Into the Black: The Inside Story of Metallica (1991-2014)
Format: PDF / Kindle (mobi) / ePub
But with such enormous success came new challenges, as Metallica ran the risk of alienating their original fan base. They were beset by controversy over musical stylistic shifts, supposed concessions to the mainstream, even their choice of haircuts.
During this transformative era, journalists Paul Brannigan and Ian Winwood had unprecedented access to Metallica. They accompanied the band on tour and joined them in the studio, getting exhilarating eyewitness views into the belly of the beast. Together they amassed over 75 hours of interview material, much of it never in print before now.
Through changes both musical and personal, Metallica struggled to maintain their identity and remain a viable creative force. A ferocious battle with the file-sharing company Napster saw the quartet attract the worst PR of their career. Meanwhile, communication breakdowns between James Hetfield, Lars Ulrich, Kirk Hammett, and Jason Newsted (who would leave the band in 2001) led to fierce internal arguments, as laid bare in the controversial documentary Some Kind of Monster.
At the end of the century, Metallica had appeared to be a band teetering on the brink of self-destruction, but through setbacks and struggles they endured and thrived. From Load, Reload, and Garage, Inc. to the stunning return to form in Death Magnetic and the massive tours that accompanied them—including the real story behind the Big Four shows—Into the Black takes readers inside the heart of Metallica and concludes the saga of one of the greatest rock bands of all time.
for detail and relentless pursuit of picture quality can be seen in the photographs included in this book. By far the most stable and reliable part of our own little organisation, Scarlet is also a friend of the most precious kind, and for reasons other than the fact that we’re both scared of her. The authors are honoured to have a corner man of the experience and ability of Matthew Hamilton, our agent at Aitken Alexander Associates. Resisting the temptation to spend his working day gently
as Terry Gilliam’s Brazil, David Cronenberg’s The Dead Zone and Alan Parker’s Pink Floyd The Wall. Kamen also worked with Pink Floyd on The Wall album in 1979, as well as collaborating with artists such as Kate Bush, Eric Clapton, Bob Dylan and Herbie Hancock. In 1991 Kamen was invited to oversee the addition of a string section to ‘Nothing Else Matters’, a version of which came to be known as ‘The Elevator Mix’. Assuming that was the end of that, the composer was surprised to discover on meeting
material was 100 per cent effective. It was the beginning of the end for Shawn Fanning’s enterprise. What Lars Ulrich understood in 1999, and what virtually no other recording artist seemed to recognise, was not so much what Napster represented in the present but what its business model might mean for the future. Any musician today who does not regard the quotes printed above as being anything less than prophetic is a fool. The trouble facing Ulrich in his fight was the roles in which the
miss the point. With the song’s lyric as a guide, Matt Mahurin’s masterful short film is a study not so much of loss but of things that were never uncovered – let alone loved or savoured – in the first place. Alongside this, viewers might marvel at, or be unnerved by, the length of time and the resonant clarity with which the film-maker’s images stayed with them. ‘Actually, not long after I’d made the video I was on a train from New York to Washington DC,’ remembers Mahurin. ‘In a really wild
great! Let’s move on.” And that’s just so diametrically opposed to the way we work.’ ‘There’s no question that when you bring thought into music, it changes,’ says Ulrich. ‘Maybe there are times when it changes for the better, but for us it was an incredible opportunity to [say] – for close to the first time in our career – “Just leave it.”’ When the ladies and gentlemen of the press heard Lulu, most among their number wished that Lou Reed and Metallica had done just that. As ever, journalists