If a single lyric could ever serve as a band's mantra, this line from the classic Metallica tune "Damage Inc" does it. It's given Metallica carte blanche to do whatever they want whenever they wanted to. Looking at their meteoric ascent from the underground to becoming the biggest band in the world, this philosophy has served them well. This gunslinger approach has also nuked on them - see the Napster fiasco or the image makeover that accompanied the "Load" album(although there were some decent tunes on there). Put that way, collaborating with Lou Reed, while a head scratcher, totally fits their M.O.
Ordinarily, a project like this would raise more than a few eyebrows. Unlike Kanye and Jay Z that fit like peas in a pod, this is a case of strange bedfellows. This project pairs a band that cut it's teeth touring with Venom, Raven, etc with an artist better associated with all things avant garde. To top it off, the project is based on an unfinished opera written in the 1920's about the life and loves of a dancer named Lulu. Any other combination of artists and the level of intrigue would hit fever pitch. However, this was no ordinary union and neither was was the hype which seemed to be unanimous.
Everyone expected it to suck - badly
Of course, releasing the one of the worst songs on the album, "The View", as the lead-off single did not help. Contrary to the extraordinarily low expectations that came with the release, Lulu does not entirely suck, nor is it the worst album of all time. If anything, it's a perfect example of what you find along the road to hell - lots of good intentions
Lulu actually starts off with a really nice, low key rocker called Brandenburg Gate that packs a Load era groove with a tale about Lulu's exposure to the big city. Lou's vocals fit this song well and James Hetfield's support during the chorus provide a nice counterbalance.
The next couple of songs, the infamous "The View" and "Pumping Blood" both are both pretty horrible. Avoid at all costs. Shockingly though, the album actually starts to improve from this point on.
"Mistress Dread" brings back a sorely missed component, good old fashioned, full throttle, speed metal countered with a quiet but ominous sounding organ tone that lingers throughout. Reed uses his occasionally off key singing style to full effect with the twist and turns that are synonymous with classic Metallica thrash. "Cheat on Me" is another groove oriented rocker that benefits again from Hetfield's backing vocals. Of the songs on Lulu, this seems to be the most complete of the 11 tracks.
The last four songs of the album, while not awful, suffer from being long winded. "Frustration" kinds of plods along until about the mid-point where a creepy little break in the middle of the song segues into a full blown barnstormer finish. The rambling lyrics of "Little Dog" almost drown out the neat contrast of Hetfield's slow, lazy acoustic riffs and Kirk Hammett's droning electric leads that weave in and out throughout. Clocking in at 30 minutes the last two songs "Dragon" and "Junior Dad" are forgettable.
Lulu is a combination of the good, the bad, and the ugly. There actually some pretty decent moments on this record but they are drowned out by the bad and really bad. The chances of me actually listening to it again are nil. When you've been around as long as these two artists, guess you can afford to throw caution to the wind and say "What the F**K, make your move" and not worry much.
For those who need an old school fix, here's one for you..."enjoy"
Ordinarily, a project like this would raise more than a few eyebrows. Unlike Kanye and Jay Z that fit like peas in a pod, this is a case of strange bedfellows. This project pairs a band that cut it's teeth touring with Venom, Raven, etc with an artist better associated with all things avant garde. To top it off, the project is based on an unfinished opera written in the 1920's about the life and loves of a dancer named Lulu. Any other combination of artists and the level of intrigue would hit fever pitch. However, this was no ordinary union and neither was was the hype which seemed to be unanimous.
Everyone expected it to suck - badly
Of course, releasing the one of the worst songs on the album, "The View", as the lead-off single did not help. Contrary to the extraordinarily low expectations that came with the release, Lulu does not entirely suck, nor is it the worst album of all time. If anything, it's a perfect example of what you find along the road to hell - lots of good intentions
Lulu actually starts off with a really nice, low key rocker called Brandenburg Gate that packs a Load era groove with a tale about Lulu's exposure to the big city. Lou's vocals fit this song well and James Hetfield's support during the chorus provide a nice counterbalance.
The next couple of songs, the infamous "The View" and "Pumping Blood" both are both pretty horrible. Avoid at all costs. Shockingly though, the album actually starts to improve from this point on.
"Mistress Dread" brings back a sorely missed component, good old fashioned, full throttle, speed metal countered with a quiet but ominous sounding organ tone that lingers throughout. Reed uses his occasionally off key singing style to full effect with the twist and turns that are synonymous with classic Metallica thrash. "Cheat on Me" is another groove oriented rocker that benefits again from Hetfield's backing vocals. Of the songs on Lulu, this seems to be the most complete of the 11 tracks.
The last four songs of the album, while not awful, suffer from being long winded. "Frustration" kinds of plods along until about the mid-point where a creepy little break in the middle of the song segues into a full blown barnstormer finish. The rambling lyrics of "Little Dog" almost drown out the neat contrast of Hetfield's slow, lazy acoustic riffs and Kirk Hammett's droning electric leads that weave in and out throughout. Clocking in at 30 minutes the last two songs "Dragon" and "Junior Dad" are forgettable.
Lulu is a combination of the good, the bad, and the ugly. There actually some pretty decent moments on this record but they are drowned out by the bad and really bad. The chances of me actually listening to it again are nil. When you've been around as long as these two artists, guess you can afford to throw caution to the wind and say "What the F**K, make your move" and not worry much.
For those who need an old school fix, here's one for you..."enjoy"
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