Metallica: Some Kind of Monster

Programme Notes

Enter soundman
One's a funny heavy metal act. The other is Spinal Tap. A new documentary finds Metallica increasingly resembling the satirical rockers. John Robinson tries to spot the difference

In a way, the makers of Spinal Tap had it easy with heavy metal. A genre populated in the main by enormous egos, by odd British men, and with its own strange rituals ... this was satire very much waiting to be gathered. All its makers had to do was shake the tree.

Heavy metal, though, has had it considerably harder with Spinal Tap. Just as Smashie and Nicey helped kill the old-style Radio 1 DJ, Tap helped put the nail in the coffin of a certain type of heavy rock. The last thing you would want to do, one would think, if you were Metallica, and going through some tough times, would be to commission a film about yourself, and risk conforming to stereotypes long established as the characteristics of very misguided men. But this is what they did. It is, in short, the action of a group with armadillos in their trousers.

So let's salute Tap and Metallica both. Two bands with issues, not afraid to confront them in public. Two bands with their ridiculous qualities, of course, but still unselfconscious enough to let their hair down while the cameras roll.
OK, but which one's which?

"A documentary, if you will, rockumentary ..."

The scene: Having impressed the group with their film on the West Memphis Three, documentary film-makers Joe Berlinger and Bruce Sinofsky undertake the making of a film about Metallica. Unfortunately, this coincides with the group's inter-personal and musical relationships, not to mention public popularity, all hitting an all-time low.

Too much perspective: Commercial director Marty DiBergi ("The little dog that chases the covered wagon under the sink? That was one of mine ... ") sets out to make a documentary about British heavy metal band Spinal Tap. Unfortunately, this coincides with the group's inter-personal and musical relationships, not to mention public popularity, hitting an all-time low.

The guru

The scene: Relations between Metallica principals Lars Ulrich and James Hetfield having broken down, the band decide, at the suggestion of their management team, to employ the services of therapist/performance-enhancement specialist Phil Towle to aid in the recording of their new album. To start with, Phil makes helpful suggestions about channelling aggression. By the end of sessions, he is contributing lyrics, ascribing mood zones to the studio, and thinking of selling his house and moving to California to be with the group full time.
Too much perspective: It's all reminiscent of the growing influence on Spinal Tap of co-manager Jeanine Pettibone, girlfriend of guitarist David St Hubbins. "Before I met Jeanine I was cosmically a shambles," says David. Says Jeanine: "I say, 'That's good.' Or 'That's bad.' Or 'That's shit.'"

The niggling details

The scene: As the band prepare to begin recording, they take a look around the studio to check on the set-up of their equipment. As they walk round, they notice a microphone stand which has been incorrectly labelled as belonging to "Mettlica". Lars and James are not impressed. "Mettlica. They can't even spell it right," James complains. "We've only been together 20 years ... "
Too much perspective: Minor annoyances like this plagued the day-to-day existence of Spinal Tap. Our tour, Nigel Tufnel is seen to complain to his manager Ian Faith about the "backstage arrangements". "I want large bread. Would you be happy holding this? That's exhibit A."

The arguments

Rather than use the method that has produced their previous successful albums (one person brings in ideas, which are worked into songs), it is decided the new Metallica compositions will derive from collective, non-hierarchical jam sessions. Eighteen months of largely inspiration-free noodling duly ensues. As, after one such depressing musical encounter, does the following argument.
Lars: "I'm trying to do something different."
James: "I'm used to hearing the drummer do the ... beat part."
Lars: "What I'm hearing, it sounds a little stark."
James: "That's such bullshit."
Lars: "I think it sounds stark. What part of that don't you understand? Do you want me to write it down?" (James storms out)
Too much perspective: "We're closer than brothers," says David St Hubbins. "Brothers always fight."

The military facility

The scene: Rather than using a familiar studio, the band decide to use a new location to match the new working methods that they'll be using when recording the album. They hire space at the Presidio, a military barracks outside San Francisco. "There's definitely a vibe here," says James. Such is the vibe he quickly leaves the band and enters rehab for a year. The space at the Presidio is not used again.

Too much perspective: After the cancellation of a gig in Seattle, Jeanine arranges for Spinal Tap to play at an USAF mixer social, where they are greeted by a military official. "We're big fans of all your records. By which I don't mean yours personally, but the whole genre of rock'n'roll ... "
The gig goes disastrously. Nigel leaves the group.

The changing cast of musicians

The scene: For Spinal Tap, the problem was drummers. For Metallica, it's been bass players. Original bass player Cliff Burton was killed in a bus crash when the band were on tour in Sweden in 1986. Some Kind Of Monster joins the band after the departure of his replacement, the prominently-chinned Jason Newsted. Jason leaves after James admits he cannot deal with Jason having a side project, Echobrain. As a gesture of goodwill to new arrival Robert Trujillo, they pay him a million dollars.
Too much perspective: Of the demise of their second drummer Eric "Stumpy Joe" Childs, Spinal Tap bass player Derek Smalls explains: "The official explanation is that he choked on vomit. Though they think it may have been someone else's."

The music
The scene: With James in rehab, work on the new Metallica album is dramatically slowed. During a visit from his father Torbin, Lars plays him a track which consists of vaguely demonic wailing. His father is unimpressed. "It just sounds to me like some guys who just got an echo machine." Lars laughs hysterically. But there is pain in his eyes.
Too much perspective: In his own time, Nigel Tufnel works on gentle piano material in D minor, "the saddest of all keys". He plays a piece for Marty. "It's called Lick My Love Pump," he explains.

The fans

The scene: The film joins Metallica in the wake of their dispute with Napster, the online music file-sharing service. "I have become the most hated man in rock'n'roll," laments Lars to an interviewer.
Too much perspective: At a gig in Stockton, California, Tap realise that without Nigel on guitar, they can only play 10 minutes of material. They decide to debut Jazz Odyssey, a composition by bass player Derek Smalls. "Hope you like our new direction," they announce. The band are booed.

The guitar solos

The scene: As the band struggle to maintain some relevance in the marketplace, Lars Ulrich wonders if guitar solos are an anachronism for today's rock band. This he says to the alarm of lead guitarist Kirk Hammett, whose chief role in Metallica is to supply those guitar solos. If they are excised from the band's sound, his only discernible contribution to Metallica will be his growing resemblance to the character actor Steve Buscemi. "No guitar solos ... it's just a trend," he protests.
Too much perspective: Nigel Tufnel's solo spot during the Tap stage show, during which he plays a guitar with his foot. "My solos are my trademark," he says.

Saturday October 2, 2004
The Guardian

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