Master of Puppets - третий студийный альбом американской хэви-метал группы Metallica , выпущенный 3 марта 1986 года лейблом Elektra Records . [1] Записанный в Дании на студии Sweet Silence Studios с продюсером Флеммингом Расмуссеном , это был последний альбом группы с участием басиста Клиффа Бертона , который погиб в автобусной аварии в Швеции во время промо-тура альбома.
Кукловод | ||||
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Студийный альбом по Metallica | ||||
Выпущенный | 3 марта 1986 г. | |||
Записано | Сентябрь - декабрь 1985 г. | |||
Студия | Sweet Silence , Копенгаген | |||
Жанр | Трэш метал | |||
Длина | 54 : 47 | |||
Этикетка | Электра | |||
Режиссер |
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Хронология Metallica | ||||
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Хронология студийного альбома Metallica | ||||
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Синглы от Master of Puppets | ||||
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Обложка альбома, разработанная Metallica и Peter Mensch и нарисованная Доном Браутигамом, изображает кладбище из белых крестов, привязанных к веревкам, которыми управляет пара рук в кроваво-красном небе. Вместо того, чтобы выпустить сингл или видео перед выпуском альбома, Metallica отправились в пятимесячный тур по Америке в поддержку Оззи Осборна . Европейский этап был отменен после смерти Бертона в сентябре 1986 года, и группа вернулась домой, чтобы пройти прослушивание нового басиста.
"Master of Puppets" занял 29-е место в Billboard 200 и получил широкое признание критиков, которые высоко оценили его музыку и политические тексты. Он широко считается одним из величайших и самых влиятельных трэш-металлических альбомов всех времен, и ему приписывают укрепление американской трэш-металлической сцены. Она была сертифицирована в шесть раз платиновым в RIAA в 2003 году для перевозки шести миллионов копий в Соединенных Штатах, а затем был сертифицирован в шесть раз платиновым Music Canada и платиной BPI . В 2015 году Master of Puppets стала первой металлической записью, выбранной Библиотекой Конгресса для сохранения в Национальном реестре звукозаписи, поскольку она «культурно, исторически или эстетически значима». [2]
Фон и запись
Дебютный альбом Metallica 1983 года Kill 'Em All заложил основу трэш-метала с его агрессивной музыкальностью и язвительными текстами. Альбом оживил американскую андеграундную сцену и вдохновил современников на создание аналогичных записей. [3] Второй альбом группы Ride the Lightning расширил границы жанра за счет более изощренного написания песен и улучшенного производства. Альбом привлек внимание представителя Elektra Records Майкла Алаго, который подписал с группой контракт на восемь альбомов осенью 1984 года, в середине промо-тура альбома. [4] Elektra переиздала Ride the Lightning 19 ноября, и группа начала гастролировать по большим площадкам и фестивалям в течение 1985 года. После расставания с менеджером Джоном Зазулой Metallica наняла руководителей Q Prime Клиффа Бернстайна и Питера Менша . Летом группа играла на фестивале Monsters of Rock в замке Донингтон вместе с Бон Джови и Раттом перед 70 000 аудиторией. [5]
Metallica были заинтересованы в создании альбома, который впечатлил бы критиков и поклонников, и начали писать новый материал в середине 1985 года. Ведущий вокалист и ритм-гитарист Джеймс Хэтфилд и барабанщик Ларс Ульрих были основными авторами песен на альбоме, уже получившем название Master of Puppets . Эти двое разработали идеи в гараже в Эль-Серрито, Калифорния , прежде чем пригласить басиста Клиффа Бертона и гитариста Кирка Хэммета на репетиции. [6] Хэтфилд и Ульрих описали процесс написания песен как начинающийся с «гитарных риффов, собираемых и собираемых заново, пока они не начнут звучать как песня». После этого группа придумала название песни и тему, а Хэтфилд написал текст, соответствующий названию. [7] Master of Puppets - первый альбом Metallica, в котором в написании песен не участвовал бывший ведущий гитарист Дэйв Мастейн . Мастейн утверждал, что он был соавтором "Leper Messiah", основанного на старой песне "The Hills Ran Red". Группа отрицала это, но заявляла, что одна из секций вобрала в себя идеи Мастейна. [8]
- Клифф Бернстайн, подписавший контракт с Metallica [9]
Группу не понравилась акустика тех американских студий, которые они рассматривали, и они решили записываться в родной для Ульриха Дании. [10] Ульрих брал уроки игры на барабанах, а Хэммет работал с Джо Сатриани, чтобы научиться записывать более эффективно. [6] Ульрих вел переговоры с басистом и вокалистом Rush Гедди Ли о продюсировании альбома, но сотрудничество так и не состоялось из-за несогласованного графика. [11] Metallica записала альбом с продюсером Флеммингом Расмуссеном в Sweet Silence Studios в Копенгагене, Дания , с 1 сентября по 27 декабря 1985 года. [12] Написание всех песен, кроме «Orion» и «The Thing That Not Should Be». "был закончен до приезда группы в Копенгаген. [8] Расмуссен заявил, что группа привезла хорошо подготовленные демо -версии песен, и лишь незначительные изменения были внесены в композиции в студии. [13] Запись заняла больше времени, чем предыдущий альбом, потому что Metallica развили чувство перфекционизма и имели более высокие амбиции. [10] Metallica отказалась от изящного производства и синтезатора современных альбомов хард-рока и глэм-метала . Имея репутацию пьяницы, в дни записи группа оставалась трезвой. [8] Хэммет напомнил, что группа «просто записывала еще один альбом» в то время и «понятия не имела, что пластинка будет иметь такое влияние, которое она будет иметь в дальнейшем». Он также сказал, что группа "определенно достигла пика" в то время, и что у альбома "звучание группы, действительно густой, действительно обучающейся тому, как хорошо работать вместе". [14]
Расмуссен и Metallica не смогли закончить микстейпы, как планировалось. Вместо этого в январе 1986 года многодорожечные записи были отправлены Майклу Вагенеру , который закончил сведение альбома. [6] Обложка была разработана Metallica и Peter Mensch и нарисована Доном Браутигамом. На нем изображено кладбище из белых крестов, привязанных к веревкам, которыми манипулирует пара рук в кроваво-красном небе. Ульрих объяснил, что обложка суммирует лирическое содержание альбома - подсознательно манипулируют людьми. [15] Оригинальное произведение искусства было продано на Рокфеллер Плаза , Нью-Йорк, в 2008 году за 28 000 долларов. [16] Группа высмеивала предупреждающие наклейки, продвигаемые PMRC, с шутливой надписью Parental Advisory на обложке: «Единственный трек, который вы, вероятно, выиграли. Не хочу играть, это Damage, Inc. из-за многократного использования печально известного слова "F". В остальном на этой пластинке нет никаких " shits", "fucks", "pisses", "cunts", "motherfuckers" или "cocksuckers" ". [10]
Альбом был записан с использованием следующего оборудования: гитары Хэмметта были Gibson Flying V 1974 года , Jackson Randy Rhoads и копия Fernandes Stratocaster; [17] Хэтфилд использовал Jackson King V, проигранный через усилитель Mesa Boogie Mark IIC +, модифицированный как предусилитель; [18] Бертон играл на Aria Pro II SB1000 через усилители и кабинеты Mesa Boogie; [19] Ульрих играл на барабанах Tama и позаимствовал редкий малый барабан Ludwig Black Beauty у барабанщика Def Leppard Рика Аллена . [20]
Музыка и тексты песен
Master of Puppets отличается динамичной музыкой и плотными аранжировками. Metallica продемонстрировала более изысканный подход и исполнение по сравнению с двумя предыдущими альбомами, с многослойными песнями и технической ловкостью. [21] Этот альбом и его предшественник Ride the Lightning следуют аналогичной последовательности треков: оба открываются быстрой песней с акустическим вступлением, за которой следует длинная заглавная песня, и четвертый трек с балладными качествами. [8] Хотя оба альбома имеют схожую структуру, музыкальный стиль Master of Puppets более мощный и эпический по размеру, с плотными ритмами и нежными гитарными соло. [22] По словам музыкального писателя Джоэла МакИвера , Master of Puppets представил трэш-метал на новый уровень тяжести и сложности, демонстрируя атмосферные и точно исполненные песни. Вокал Хэтфилда превратился из хриплого крика первых двух альбомов в более глубокий, сдержанный, но агрессивный стиль. [10] В песнях исследуются такие темы, как контроль и злоупотребление властью. Тексты песен описывают последствия отчуждения, угнетения и чувства бессилия. Автор Райан Мур подумал, что в текстах изображены «зловещие, но неназванные силы власти, обладающие полным контролем над беспомощными людьми». [23] Лирика была сочтена проницательной и мучительной, и писатель Брок Хеландер похвалил ее как честную и социально сознательную. [24] Ссылаясь на эпические пропорции песен, Имонн Стэк из BBC Music заявил, что «на этом этапе своей карьеры Metallica даже не пела песни, они рассказывали истории». [25] Композиции и аранжировки основаны на классическом обучении басиста Клиффа Бертона и его понимании гармонии. [10]
«Батарея» относится к гневному насилию, как в термине «нападение и нанесение побоев». Некоторые критики утверждали, что название на самом деле относится к артиллерийской батарее, и интерпретировали его как «Хэтфилд [воспевание] военной тактики в качестве агрессора», олицетворяющий разрушение. Песня начинается с тяжелых басов акустических гитар, которые строятся на многодорожечных слоях, пока к ним не присоединяется звуковая стена искаженных электрогитар. [10] Затем он переходит в быстрые, агрессивные риффы с нестандартными ритмами и сильно искаженными минорными диадами, где можно ожидать пауэр-аккордов основной пятой части . Хэтфилд импровизировал рифф во время отдыха в Лондоне. [17] " Master of Puppets " состоит из нескольких риффов с нечетными метрами и четко подобранной средней части с мелодичным соло. Песня имеет схожую структуру с "The Four Horsemen" из первого альбома группы: два набора куплет-припев приводят к длительной интерлюдии к другому набору куплет-припев. [26] Вводная часть и пре-куплет содержат быстрые хроматические риффы со скоростью около 212 ударов в минуту в основном4
4время. [17] Каждый четвертый такт каждого куплета и концовки прерывается более чем на бит; тактовый эти бары часто идеалистический анализируются как существо5
8, [26] но исполняется с задержкой после третьей доли, что приближает ее к21
32 (4 + 4 + 5 + 4 + 4
32). [27] За вторым припевом следует длинная интерлюдия, которая начинается с чистого арпеджио, в котором Хэтфилд вносит мелодичное соло; риффы становятся искаженными и все более тяжелыми, и Хэммет дает более виртуозное соло, прежде чем песня в конечном итоге вернется к основному куплету. [26] Песня заканчивается зловещим смехом. Лирическая тема - кокаиновая зависимость. [28]
«Вещь, которой не должно быть» была вдохновлена мифами о Ктулху, созданными знаменитым писателем-хоррором Лавкрафтом , с заметными прямыми отсылками к «Тени над Иннсмутом» [31] и самому Ктулху , который является предметом припева песни. Он считается самым тяжелым треком на альбоме, основной рифф которого имитирует зверя, утаскивающего себя в море. Black Sabbath -influenced гитара вниз настроена, создавая медленную и капризную атмосферу. [17] «Добро пожаловать домой (санаторий)» был основан на романе Кена Кизи « Пролетая над гнездом кукушки» и передает мысли пациента, несправедливо заключенного в психиатрическую лечебницу. [31] Песня открывается секцией чистых одиночных струнных и гармоник . Чистый основной рифф с арпеджио воспроизводится попеременно.4
4 and 6
4 time signatures.[17] The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning, "One" on ...And Justice for All and later "The Day That Never Comes" on Death Magnetic.[26]
"Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record.[32] The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films.[8] The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told.[30] The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!".[26] The title derives from the lyrics to the David Bowie song "Ziggy Stardust".[8] "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass riff at half-tempo. The tempo accelerates during the latter part, and ends with music fading out.[19] Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies.[8] "Damage, Inc." rants about senseless violence and reprisal at an unspecified target.[10] It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death".[8] The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.[17]
Прием
Review scores | |
---|---|
Source | Rating |
AllMusic | [21] |
Chicago Tribune | [33] |
Christgau's Record Guide: The '80s | B–[34] |
Collector's Guide to Heavy Metal | 10/10[35] |
Encyclopedia of Popular Music | [36] |
The Great Rock Discography | 9/10[37] |
Kerrang! | [4] |
MusicHound Rock | 4/5[38] |
The Rolling Stone Album Guide | [39] |
Sputnikmusic | 4.5/5[40] |
Master of Puppets was hailed as a masterpiece by critics outside of the thrash metal audience and cited by some as the genre's greatest album.[21] In a contemporary review, Tim Holmes of Rolling Stone asserted that the band had redefined heavy metal with the technical skill and subtlety showcased on the album, which he described as "the sound of global paranoia".[41] Kerrang! wrote that Master of Puppets "finally put Metallica into the big leagues where they belong".[6] Editor Tom King said Metallica was at an "incredible song-writing peak" during the recording sessions, partially because Burton contributed to the songwriting.[28] By contrast, Spin magazine's Judge I-Rankin was disappointed with the album and said, although the production is exceptional and Metallica's experimentation is commendable, it eschews the less "intellectual" approach of Kill 'Em All for a MDC-inspired direction that is inconsistent.[32]
In a retrospective review, AllMusic's Steve Huey viewed Master of Puppets as Metallica's best album and remarked that, although it was not as unexpected as Ride the Lightning, it is a more musically and thematically consistent album.[21] Greg Kot of the Chicago Tribune said the songs were the band's most intense at that point, and veer toward "the progressive tendency of Rush."[33] Adrien Begrand of PopMatters praised the production as "a metal version of Phil Spector's Wall of Sound" and believed none of Metallica's subsequent albums could match its passionate and intense musical quality.[31] BBC Music's Eamonn Stack called the album "hard, fast, rock with substance" and likened the songs to stories of "biblical proportions".[25] Canadian journalist Martin Popoff compared the album to Ride the Lightning and found Master of Puppets not a remake, though similar in "awesome power and effect".[35] Robert Christgau was more critical. Writing in Christgau's Record Guide: The '80s (1990), he said the band's energy and political motivations are respectable, but the music evokes clichéd images of "revolutionary heroes" who are "male chauvinists too inexperienced to know better".[34] English philosopher Roger Scruton, who frequently criticized contemporary pop music, praised Metallica and in particular Master of Puppets, writing, "I have actually been listening to quite a bit of heavy metal lately, and Metallica, I think, is genuinely talented. Master of Puppets I think has got something genuinely both poetic – violently poetic – and musical. Every now and then something like that stands out."[42]
Released on March 3, 1986, the album had a 72-week run on the Billboard 200 album charts and earned the band its first gold certification.[5] The album debuted on March 29, 1986, at number 128[43] and peaked at number 29 on the Billboard 200 chart.[7] Billboard reported that 300,000 copies were sold in its first three weeks.[44] More than 500,000 copies were sold in its first year, even with virtually no radio airplay and no music videos.[45] In 2003, Master of Puppets was certified 6× platinum by the Recording Industry Association of America (RIAA), with six million copies shipped in the United States. Between the beginning of the Nielsen SoundScan era in 1991 and 2009, 4,578,000 copies were sold.[46] The album was less successful on an international level, despite entering the top 5 on the Finnish and the top 40 on the German and Swiss album charts in its inaugural year.[47] In 2004, it peaked within the top 15 in Sweden. In 2008, the album reached the top 40 on the Australian and Norwegian album charts.[48] It received 6× platinum certification from Music Canada and a golden award from the British Phonographic Industry (BPI) for shipments of 600,000 and 100,000 copies, respectively.[49][50]
Похвалы и наследие
Master of Puppets has appeared in several publications' best album lists. It was ranked number 167 on the list of Rolling Stone's 500 Greatest Albums of All Time,[51] maintaining the rating in a 2012 revised list,[52] and upgrading to number 97 in a 2020 revised list.[53] The magazine would also later rank it second on its 2017 list of "100 Greatest Metal Albums of All Time", behind Black Sabbath's Paranoid.[54] Time included the album in its list of the 100 best albums of all time. According to the magazine's Josh Tyrangiel, Master of Puppets reinforced the velocity of playing in heavy metal and diminished some of its clichés.[55] Slant Magazine placed the album at number 90 on its list of the best albums of the 1980s, saying Master of Puppets is Metallica's best and most sincere recording.[56] The album is featured in Robert Dimery's book 1001 Albums You Must Hear Before You Die.[57] IGN named Master of Puppets the best heavy metal album of all time. The website stated it was Metallica's best because it "built upon and perfected everything they had experimented with prior" and that "all the pieces come together in glorious cohesion".[58] Music journalist Martin Popoff also ranked it the best heavy metal album.[59] The album was voted the fourth greatest guitar album of all time by Guitar World in 2006,[60] and the title track ranked number 61 on the magazine's list of the 100 greatest guitar solos.[61] Total Guitar ranked the main riff of the title track at number 7 among the top 20 guitar riffs.[62] The April 2006 edition of Kerrang! was dedicated to the album and gave away to readers the cover album Master of Puppets: Remastered.[63]
Master of Puppets became thrash metal's first platinum album and by the early 1990s thrash metal successfully challenged and redefined the mainstream of heavy metal. Metallica and a few other bands headlined arena concerts and appeared regularly on MTV, although radio play remained incommensurate with their popularity.[64] Master of Puppets is widely accepted as the genre's most accomplished album, and paved the way for subsequent development.[65] The album, in the words of writer Christopher Knowles, "ripped Metallica away from the underground and put them atop the metal mountain".[66] David Hayter from Guitar Planet recognized the album as one of the most influential records ever made and a benchmark by which other metal albums should be judged.[22] MTV's Kyle Anderson had similar thoughts, saying that 25 years after its release the album remained a "stone cold classic".[67] Carlos Ramirez from Noisecreep believes that Master of Puppets stands as one of the most representative albums of its genre.[68]
1986 is seen as a pinnacle year for thrash metal in which the genre broke out of the underground due to albums such as Megadeth's Peace Sells... but Who's Buying? and Slayer's Reign in Blood. Anthrax released Among the Living in 1987, and by the end of the year these bands, alongside Metallica, were being called the "Big Four" of thrash metal.[10] Master of Puppets frequently tops critic and fan polls of favorite thrash metal albums—the most frequent rival is Slayer's Reign in Blood, also released in 1986 and also considered that band's peak. The rivalry partially stemmed from a contrast in approaches on the two albums, between the sophistication of Master of Puppets and the velocity of Reign in Blood. Histories of the band tend to position Ride the Lightning, Master of Puppets, and ...And Justice for All as a trilogy over the course of which the band's music progressively matured and became more sophisticated.[26] In 2015, the album was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and was selected for preservation in the National Recording Registry.[69]
Тур и смерть Бертона
Metallica opted for extensive touring instead of releasing a single or video to promote the album.[8] The Damage, Inc. Tour began in March 1986, and the band spent March to August touring as the opening act for Ozzy Osbourne in the United States, the first tour Metallica played to arena-sized audiences.[5] During sound checks, the group played riffs from Osbourne's previous band Black Sabbath, which Osbourne perceived as mockery. Ulrich, however, stated that Metallica was honored to play with Osbourne, who treated the band well on the tour.[9] Metallica was noted by the media for their excessive drinking habit while touring and earned the nickname "Alcoholica".[4] The band members occasionally even wore satirical T-shirts reading "Alcoholica/Drank 'Em All".[9]
The band usually played a 45-minute set often followed by an encore. According to Ulrich, the audiences in bigger cities were already familiar with Metallica's music, unlike in the smaller towns they've visited. "In the B-markets, people really don't know what we're all about. But after 45 or 50 minutes we can tell we've won them over. And fans who come to hear Ozzy go home liking Metallica."[70] Metallica won over Osbourne's fans and slowly began to establish a mainstream following.[71] Hetfield broke his wrist in a mid-tour skateboarding accident, and guitar technician John Marshall played rhythm guitar on several dates.[72]
The European leg of the tour commenced in September, with Anthrax as the supporting band. The morning after a performance on September 26 in Stockholm, the band's bus rolled off the road, and Burton was thrown through a window and killed instantly. The driver claimed he hit a patch of black ice, but others believed he was either drunk or fell asleep at the wheel. The driver was charged with manslaughter but was not convicted.[8] The band returned to San Francisco and hired Flotsam and Jetsam bassist Jason Newsted to replace Burton.[73] Many of the songs that appeared on the band's next album, ...And Justice for All, were composed during Burton's career with the band.[19]
Later live performances
All of the songs have been performed live, and some became permanent setlist features.[74] Four tracks were featured on the nine-song set list for the album's promotional tour: "Battery" as opener, "Master of Puppets", "Welcome Home (Sanitarium)", and "Damage, Inc."[10] The title track, which was issued as a single in France,[75] became a live staple and the most-played Metallica song. Loudwire's Chad Childers characterized the band's performance as "furious" and the song as the set's highlight.[76] Rolling Stone described the live performance as "a classic in all its eight-minute glory".[77] While filming its 3D movie Metallica: Through the Never (2013) at the Rogers Arena in Vancouver, crosses were rising from the stage during the song, reminiscent of the album's cover art.[78]
"Welcome Home (Sanitarium)" is the second-most performed song from the album.[79] The live performance is often accompanied by lasers, pyrotechnical effects and film screens.[78] "Battery" is usually played at the beginning of the setlist or during the encore, accompanied by lasers and flame plumes.[80] "Disposable Heroes" is featured in the video album Orgullo, Pasión, y Gloria: Tres Noches en la Ciudad de México (2009) filmed in Mexico City, in which the song was played on the second of three nights at the Foro Sol.[81] "Orion" is the least-performed song from the album.[79] Its first live performance was during the Escape from the Studio '06 tour, when the band performed the album in its entirety, honoring the 20th anniversary of its release.[82] The band performed the album in the middle of the set.[83] "Battery", "Welcome Home (Sanitarium)", "Damage, Inc." and the full-length "Master of Puppets" were revived for the band's concerts in 1998 and 1999, after having been retired for a number of years.[26]
Отслеживание
All lyrics written by James Hetfield. The bonus tracks on the digital re-release were recorded live at the Seattle Coliseum, Seattle, Washington, on August 29 and 30, 1989, and also appeared on the live album Live Shit: Binge & Purge (1993).
No. | Title | Music | Length |
---|---|---|---|
1. | "Battery" |
| 5:13 |
2. | "Master of Puppets" |
| 8:36 |
3. | "The Thing That Should Not Be" |
| 6:36 |
4. | "Welcome Home (Sanitarium)" |
| 6:27 |
No. | Title | Music | Length |
---|---|---|---|
5. | "Disposable Heroes" |
| 8:17 |
6. | "Leper Messiah" |
| 5:40 |
7. | "Orion" (instrumental) |
| 8:27 |
8. | "Damage, Inc." |
| 5:32 |
Total length: | 54:47 |
No. | Title | Music | Length |
---|---|---|---|
9. | "Battery (Live)" |
| 4:53 |
10. | "The Thing That Should Not Be (Live)" |
| 7:02 |
Total length: | 66:42 |
2017 deluxe box set
In 2017, the album was remastered and reissued in a limited edition deluxe box set with an expanded track listing and bonus content. The deluxe edition set includes the original album on vinyl and CD, with two additional vinyl records containing a live recording from Chicago; nine CDs of interviews, rough mixes, demo recordings, outtakes, and live recordings recorded from 1985 to 1987; a cassette of a fan recording of Metallica's September 1986 live concert in Stockholm, which was Cliff Burton's final performance before his death; and two DVDs of interviews and live recordings recorded in 1986.[85]
Персонал
Credits are adapted from the album's liner notes.[86]
Metallica
- James Hetfield – vocals, rhythm guitar, solo on "Master of Puppets" and "Orion", production
- Kirk Hammett – lead guitar, production
- Cliff Burton – bass, backing vocals, bass solo on "Orion", production (main album tracks only)
- Lars Ulrich – drums, production
* Jason Newsted – bass, backing vocals (bonus tracks only)
Production
- Flemming Rasmussen – production, engineering
- Andy Wroblewski – assistant engineer
- Michael Wagener – mixing
- Mark Wilzcak – assistant mixing engineer
- Mike Gillies – mixing of digital re-release bonus tracks
- George Marino – mastering, remastering on 1995 re-release
- Howie Weinberg – 2017 remastering
- Michael Alago – A&R executive
Artwork
- Peter Mensch – cover concept
- Don Brautigam – cover illustration
- Ross Halfin – photography
- Rich Likong – photography
- Rob Ellsi – photography
Диаграммы
Weekly charts
| Year-end charts
|
Сертификаты
Region | Certification | Certified units/sales |
---|---|---|
Argentina (CAPIF)[95] | Platinum | 60,000^ |
Australia (ARIA)[96] | Platinum | 70,000^ |
Belgium (BEA)[97] | Gold | 25,000* |
Canada (Music Canada)[49] | 6× Platinum | 600,000^ |
Finland (Musiikkituottajat)[98] | Platinum | 81,051[98] |
Germany (BVMI)[99] | Platinum | 500,000 |
Italy (FIMI)[100] sales since 2009 | Gold | 25,000* |
New Zealand (RMNZ)[101] | Platinum | 15,000^ |
Poland (ZPAV)[102] | Platinum | 100,000 |
United Kingdom (BPI)[103] | Platinum | 300,000^ |
United States (RIAA)[104] | 6× Platinum | 6,000,000^ |
* Sales figures based on certification alone. |
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Внешние ссылки
- Master of Puppets at Discogs (list of releases)