METALLICA "BEYOND MAGNETIC"

With very little hype, Metallica released the Beyond Magnetic EP at the end of last year. Made up of four songs that didn't make the Death Magnetic LP (produced by Rick Rubin), they played all four of these songs during their four night, 30th anniversary celebration at the Fillmore in San Francisco. (I'll be writing a separate post about that: all four shows are available at Metallica's website as paid downloads, and so far, they are worth the money).

This EP is like Reload to Death Magnetic's Load.  From the same sessions, but a bit more expansive, more jams.   I like the songs, especially the last one "Rebel Of Babylon." Like Death Magnetic, it recalls Master Of Puppets, but (sadly) without any songs that are quite that classic.

Still, it is well timed, coming shortly after the release of their double album with Lou Reed, Lulu. After that rather avant-garde project, it's good to remind everyone that Metallica is a metal band. (That said, I think Metallica made a great backing band for Lou on his Velvet Underground classics "Sweet Jane" and "White Light/White Heat.")

BACK IN THE DAY: ANTHRAX "AMONG THE LIVING"

I've been listening to Anthrax' Worship Music lately, their reunion with singer Joey Belladonna.  To me, it was the best metal album of 2011, and I know a lot of other people feel the same way.

It got me listening to what is probably the band's best album, Among The Living, which was released in 1987, the year I graduated from high school, a time when I was really into thrash metal. This album blew my mind. As everyone knows, they were part of the "Big 4" of thrash metal, along with Metallica (the album was actually dedicated to the then-recently departed Cliff Burton), Slayer and Megadeth. But those other bands were from the west coast, Anthrax definitely brought a lot of east coast flavor and culture. I wasn't familiar with hardcore punk at the time, but the New York's hardcore scene was definitely an influence on the group, as was hip-hop music, which was exploding in New York at the time, and in my opinion (I know, I'm old) was much cooler back then.

They seemed really different from other metal bands: they kind of had more of a sense of humor (as seen in their "NOT" mascot), they dressed differently (Run-DMC style training jackets, boarder shorts) and had really cool lyrical influences that I definitely related to: comic books (I knew that Scott Ian was a bit fan of Frank Miller's Batman Returns) and Stephen King. There were also songs with some kind of consciousness to them: "Indians," like Iron Maiden's "Run To The Hills" was about how Native Americans got screwed over. As I mentioned, I didn't know much about punk rock at that time, so the idea of having a social consciousness in heavy music was a new concept to me.  Also, "N.F.L." about the stupidity of John Belushi's death: not many metal bands sang about the real pitfalls of drug abuse like that. In "One World," they sang about "Russians - they're only people like us!" and "Americans: stop singing 'Hail To The Chief!'" A lot of the metal audience is more politically conservative today, I wonder how it would go over.  But man, what a ballsy move. Even "Imitation of Life" really resonated with me.  It was about phony people, and it also ripped on hair metal bands (even though years later, Anthrax would agree to open some shows for motley crue).

The above is all well and good, but when I listened to the album, it still sounded so great, so powerful, and that's what matters. I'm not always the biggest fan of Joey Belladonna's voice (I prefer John Bush, who replaced him), but I had to admit, he sounded great on last year's Worship Music, and he's perfect on Among The Living. The other thing that separated Anthrax from the other Big 4 bands was that their singers didn't sing, they were shouters.  Which is fine.  But Belladonna gave Anthrax a connection to other metal legends with great singers, like Maiden and Judas Priest.

I always felt that Anthrax didn't ever really get their due, but they have achieved a kind of legendary status.  This album explains why.  By the way, I was listening to the 2009 expanded reissue, not a bad package.  The liner notes by metal fan/comedian Brian Posehn make it worth the price of admission.  The bonus tracks really don't.  But the bonus disc is the "home video" (as they called it back then) Oidivnikufesin (N.F.V.) on DVD, which is cool.

LOU REED. METALLICA. LULU. WTF?

Gitmo, meet your new soundtrack!

I don't necessarily mean that in a bad way (other than the fact that I'm against torture).  But Lou Reed's unlikely double album collaboration with Metallica, Lulu, is one of the most abrasive albums I've ever heard, and one of the most difficult to sit through. I really admire the totally uncompromising spirit of the album: it is about as uncommercial as anything I've heard from a major artist in recent memory.

There's something admirable about a band like Metallica doing something so totally challenging to themselves and their audience (and Metallica must know that fans wouldn't like the idea of them collaborating with Lou Reed, and they'd like it less after hearing it).

That said, I don't really think I'll listen to this album too much. If I could go five years back in time and play Lulu for someone, they'd probably think that it was a Saturday Night Live skit making fun of what would happen if Lou Reed and Metallica did an album together.

In the years since Lou's classic 1989 LP New York, he's adopted a sort of atonal talking style of doing his vocals, and that's what he does here.  I'm a huge fan of his music, and I even like some of his post-New York stuff.  I liked his collaboration with his Velvet Underground bandmate, John Cale, Songs for 'Drella. Magic & Loss is an incredible album, but only if you're in a certain mood. But New York is the last Lou album that I just reach for because I want to listen to it again. Of course, he has a lot of great albums, and all the Velvet Underground LPs are incredible.  A lot of Lou's influences are avant-garde, outsider music.  But he's also influenced by doo-wop and Dion.  I'd love to see him to something you can sort of sing along to, and I thought this album might be that chance. But I again, I respect that he doesn't care what I, or anyone else, wanted with this album.

Metallica definitely do a solid job, but there's only so much they can do with this material.  I like the opener, "Brandenburg Gate," and also "Iced Honey," but that's kind of it.  I wouldn't mind seeing them do those songs in concert, with or without Lou.

I find myself wondering why Metallica agreed to this.  They definitely worked surprisingly well with Lou at the Rock and Roll Hall of Fame's 25 anniversary concert in New York a few years back, they did a great version of "Sweet Jane." They must have been surprised to have been asked by Lou to do a record, and I'm sure it appealed to Lars Ulrich and Kirk Hammett (although James Hetfield is a fan of dark outsider music by the likes of Nick Cave and Tom Waits so it makes sense that Lou's music would appeal to him as well).  Still, Lulu makes St. Anger sound like "The Black Album," and they have to have realized that this would probably be the lowest selling album in their catalog.  But I guess they wanted to do something different and challenge themselves, and that's admirable.

I imagine that their next album will be much tighter, shorter and accessible.  In fact, I've heard that they will play "The Black Album" in its entirety at a European festival this summer. Well, if this album sends them in a more song-oriented direction, I'll be grateful for Lulu.

GUITAR WORLD'S 100 GREATEST (MY ADJUSTMENTS) (part 1)

Guitar World magazine's new issue features their list of the "100 Greatest Classic Rock Guitar Songs."  I think they put together a great list, with some great choices that, sadly, don't get played on what is known on "classic rock" radio, including Bill Haley & The Comets' "Rock Around The Clock, Elvis Presley's "Jailhouse Rock," Prince & The Revolution's "Purple Rain" and the #1 song, Chuck Berry's "Johnny B. Goode."

As I often do, I create my own iPod mix to go along with the feature, with my own adjustments.   In some cases I switched one band's song with another (like with Led Zeppelin: I know "Stairway To Heaven" is, like, the most played song ever on classic rock radio or something, but I'm tired of it and I prefer "The Rain Song").  In other cases, I replaced some bands for others, creating my ideal classic rock lineup.  Not to be a snob, but on my planet, James Brown, The Stooges and The Clash are classic rock, whereas Kansas and Journey are not.  So, here's my list:

1. Chuck Berry - "Johnny B. Goode" Yeah, it's such an obvious choice (I prefer "Brown Eyed Handsome Man"... read the lyrics and replace "eyed" with "skinned" and it's a pretty radical song for the era).  But it's such an important song.  Not just in rock and roll, but in American culture.

2. Led Zeppelin - "The Rain Song" As I mentioned above, GW used "Stairway To Heaven," but, as much as I enjoy J.R.R. Tolkien's lore, which inspired the lyrics, it's sort of an overplayed song. "The Rain Song" resonates with me much more.  "Upon us all a little rain must fall." This song is as much about John Paul Jones' string arrangements as Jimmy Page's guitar though. But still, it's powerful and beautiful.

3. Jimi Hendrix - "I Don't Live Today" replacing "Purple Haze." I love "Haze," but it's another one that "classic rock" radio has driven into the ground.  "I Don't Live Today" is just as rockin', and is from the same album, Are You Experienced?

4. Guns N' Roses - "Sweet Child O' Mine" Overplayed? Hell yeah.  But when this jam came out in '87, you couldn't get enough of it.  Slash's riff was unbelievable, and he and Izzy Stradlin' were just such a great team. "Welcome To The Jungle" also made GW's list, but I kept Guns (and most other bands) to just one song.

5. Metallica - "For Whom The Bell Tolls" replacing "Enter Sandman." I love "Sandman," and I know it's where a lot of people discovered Metallica. I discovered them on a radio show called "Metal Shop," and "For Whom The Bell Tolls" was the song. I've never gotten tired of it. I have always loved James Hetfield's muscular rhythm playing.

THE MORALS OF METAL

Last night I made my return to The Busted Halo Show on SiriusXM's The Catholic Channel.  It was "Mellow" Matt's one year anniversary as the show's Board Operator, so I was invited to bring some of Matt's favorite music, heavy metal.  No problem.  Except that I had to have some kind of theme, beyond "Matt likes this music." A year and a half ago, I talked about Black Sabbath on Busted Halo, and I felt that went over well.  But I didn't want to repeat myself. 

Here's the thing about (some) heavy metal music.  It has a sense of consciousness, just like folk music, and a sense of outrage just like punk rock, but doesn't get much credit for either.  When I was a kid, though, I didn't really know much about punk rock and folk wasn't really appealing to me.  But there did seem to be a moral code to at least some records by Iron Maiden, Metallica, Anthrax and Megadeth. That struck a chord with me back then, and it still does today. I don't mind songs about cars and girls, but I also enjoy and appreciate when a lyric goes deeper. That's what was going through my mind over the past week when I was deciding what songs to use.

So the theme I came up with was war, and the effects of war on the people forced to fight.  When I first talked about Sabbath on Busted Halo, I used "War Pigs," which decried the fact that wealthy people decide that we need to go to war, but it's generally the poor who have to actually go and fight.

This time, I decided to use another Sabbath song, "Hand Of Doom," which, like "War Pigs," is on the 1970 album Paranoid. I've always interpreted the song about guys who came back from Vietnam and the damage they brought with them.  "Hand of doom" is code for heroin; some soldiers either got hooked on smack while in Vietnam, others started using when they got home.  The song doesn't glorify or moralize anything.  Because of Tony Iommi's fearsome guitar playing, you get the message that "hand of doom" is scary and not something you want to mess with. When people accuse Sabbath of being Satanists, I suggest they listen to this song.  Geezer Butler (who wrote the lyrics) wasn't trying to tell you want to think, just presenting a reality, and Ozzy Osbourne sounding as haunted as he ever would, delivered the song perfectly. To me, there's a great sense of moral outrage in this song.  How could we send people to fight for our country, and let them linger as empty shells when they come back, poisoned by heroin?

Next, I used Metallica's "Disposable Heroes" from one of the hugest albums of my high school years, 1986's Master Of Puppets. Metallica are taken for granted a bit now, as they are one of the biggest bands in the world, but back then they were very radical and underground.  This album was about the different things that control people's lives, mainly drugs and war. "Disposable Heroes" was about soldiers, and it struck me that at the time the album came out, America hadn't officially been involved in any wars, and hadn't been for quite a few years. As opposed to now, when you hear stories about soldiers from the various wars in the Middle East having problems re-acclimating to "normal" life. Metallica frontman and lyricist James Hetfield must have known some Vietnam vets, and made his own observations based on what he saw.  I'd love to ask him about this song.  In the lyrics, Hetfield doesn't have to point out that he cares about what these people were going through: the fact that he sings with such rage tells you all you need to know.  It's a subject that Springsteen has sung about, Hetfield and Metallica reaches a different audience. Maybe this song gave some people some ideas about the consequences of war. 

Finally, I used Alice In Chains' "Rooster," which Jerry Cantrell wrote about his father, a Vietnam vet, and all he went through when he returned home after the war.  The lines that resonate are "the bullets scream to me from somewhere" and also "they spit on me in my homeland." Jerry doesn't take a stance on war, but he shows from his first hand experience, what the after-effects are on people returning from war. It's a pretty heavy song.

When I was a kid, I felt that adults proclaimed heavy metal to be a depraved and angry form of music with no redeeming social value.  That was part of the appeal! But if you paid attention to the lyrics as I did (and I was not alone there), there was a lot you could get out of lyrics to songs like Iron Maiden's "Run To The Hills," Anthrax's "Indians" and Megadeth's "Peace Sells." (I'll probably write about those three songs in a later post.) I love the fact that these bands were able to get across ideas without slamming you over the head (lyrically, at least). While getting you to bang your head.

LEMMY - 49% MF, 51% SON OF A BITCH

The Lemmy documentary is finally out on DVD and BluRay. Lemmy: 49% Motherfucker, 51% Son Of A Bitch covers his early life, his days in Hawkwind and of course Motorhead, as well as his status as an icon, his fixation with nazi memorabilia, his love of rockabilly and early rock and roll, and the many women he has had trysts with.

You know me, I really only care about the music, and this film is a great argument for Lemmy and Motorhead's incredible influence. James Hetfield, Lars Ulrich, Kirk Hammett, Robert Trujilio, Jason Newstead, Dave Grohl, Henry Rollins, Ozzy Osbourne, Alice Cooper, Slash, Mike Inez, Mick Jones of The Clash, Peter Hook of Joy Division, Lars Fredericksen of Rancid and many others gave testimonials to the band's impact. I definitely believe that heavy metal would be different had Motorhead not existed. But, Lars Fredericksen and Rollins and members of The Damned point out, his influence extended well beyond metal into punk rock as well.

I have to say, I find his nazi stuff collection off-putting. He says that he's the farthest thing from a nazi, using the fact that he's had eight black girlfriends as proof.  I don't know that that's a really great argument, and I'd really like to know why he is so into that stuff, but on the other hand, Lemmy doesn't really need to explain himself to anyone.

I haven't gotten around to watching the extras - what I really want to see is Metallica's set of Motorhead covers as "The Lemmys" for Lemmy's 50th birthday.

THE BIG 4: COMING TO THE US?

Last year "The Big 4" of thrash metal - Metallica, Slayer, Megadeth and Anthrax - played their first concert together in Europe.  Of course, metal fans have been hoping that the tour would come to the U.S. Based on this image that was posted on Metallica's website today, it's going to happen.

Coincidentally enough, I watched parts of the Big 4 DVD yesterday.  I wanted to see the documentary about how members of the different bands got together to play Diamondhead's "Am I Evil?" during Metallica's set. Just the idea of Metallica playing with Dave Mustaine is cool enough, but the other members of Megadeth and Anthrax being onstage was really cool (the Slayer dudes didn't jam, other than their drummer). Most of the doc was kind of dull, but there were great scenes, like watching Tom Araya and Kerry King interact with some really intense Slayer fans.  The Slayer and Metallica performances were typically intense and awesome.  I was actually most curious to watch Anthrax's, since I have never seen them with Joey Belladonna since he quit the band for the first time. I never really thought he fit in, even back in the day: I thought he was a bit more of a Journey type guy than a thrash metaller. The Anthrax set was pretty good - and when they went from "Indians" to Black Sabbath's "Heaven and Hell" (as a tribute to Ronnie James Dio) Joey did a great job. But seeing him sing alongside Hetfield and Mustaine on "Am I Evil?" he just seemed a bit out of place.

That said, I can't wait to see this tour this summer!

TOMORROW ON OUTQ: A TALE OF TWO GENESIS SINGERS' COVERS ALBUMS

That headline may be an assault on grammar, so I apologize for that. But tomorrow morning on SIRIUS XM OutQ's The Morning Jolt with Larry Flick (featuring co-host Keith Price), I'll be talking about the latest releases from original Genesis singer Peter Gabriel and the guy who took over after Peter left the band, Phil Collins. They have both released new albums this year, both "covers albums." 

Phil Collins' Going Back sees him revisiting some of his earliest influences, namely Motown (or mostly Motown).  He's not trying to prove anything - he has nothing to prove to anyone.  Between Genesis and his solo career (not to mention the other artists he has produced and drummed for), the dude has sold more records than nearly anyone. A couple of years ago, he went on what he called "The First Final Farewell Tour," and then he did the Genesis reunion, which was pretty much a one-off deal. He's been pretty public about saying that he is happy to sort of finish his music career (in my mind, the dude pays way too much attention to his many critics). I kind of felt like this album, while being a labor of love, was likely prompted by his record label. I bet he had another record left on his deal, and they figured he could do a Rod Stewart "Great American Songbook" type deal. (I've heard that Elton John's label asked him to do that, but he wouldn't.) Famous adult-contemporary singer + songs that everyone knows and loves = $$$! I guess that could happen here, but whereas Rod did famous songs, Phil mixed some very famous Motown songs ("Heatwave," "Uptight," "Papa Was A Rolling Stone") and lesser known ones ("Blame It n The Sun," "In My Lonely Room"). It's not "hits" from start to finish. The album is enjoyable, Phil sounds like he is having fun, and The Funk Brothers (bassist Bob Babbitt, guitarist Eddie Willis and guitarist Ray Monette, who played on many original Motown tunes) are having fun also. They don't really add anything to the originals, but I don't think Phil was trying to make a Big Statement, he was just having a great time and paying tribute. It's a nice album without any pretentions.

Which brings me to Peter Gabriel's Scratch My Back, which I've written about before, and we have talked about it before on Larry Flick's show. I'm a huge Peter Gabriel fan, but I didn't like it (the first time I didn't enjoy a non-soundtrack album from Peter). I wanted to revisit it because (a) I felt guilty about kind of slamming it, (b) I thought it made an interesting contrast with Phil's album and (c) I wanted to talk about some of the I'll Scratch Yours covers of Peter's songs by other artists. The album features Peter doing no guitar/no drums covers of NPR and hipster approved acts. Peter's plan was to have everyone who he covered, cover him. A few of them flat out said no, including David Bowie and Neil Young. And supposedly Radiohead doesn't want to scratch his back, either. Peter is very much "too hip for the room," so it is interesting to see him get dissed. Anyway, as much as I try, I really can't get into the album, except for two songs: his cover of The Magnetic Fields' "The Book Of Love" and Lou Reed's "The Power Of The Heart." They are both such lovely songs. I have heard the original "Book Of Love," and I think Peter's version is an improvement. I hadn't heard "The Power Of The Heart," I think it is a semi-recent Lou song, but Peter does such a beautiful version of it. I'll Scratch Yours has been coming out one single at a time, and some of my favorites are Stephin Merritt's "Not One Of Us" (he is the leader of Magnetic Fields) and Paul Simon's "Biko," which sounds like it was written for him.

I also wanted to revisit Santana's Guitar Heaven, even though we talked about it last week. Last week, I'd only heard "While My Guitar Gently Weeps" with india.arie and Yo-Yo Ma. This week I went to iTunes to get "Whole Lotta Love" with Chris Cornell and "Little Wing" with Joe Cocker. "Whole Lotta Love" is all right, but there's no vibe. It sounds like a studio band recorded the track and emailed it to Carlos for some leads and Cornell for vocals. I think it would have been cooler if it were Chris backed up by Carlos and his touring band, live in the studio. This sounds like something recorded for Transformers or some other summer popcorn flick. Which is fine, but it could have been so much better. I'm not a huge Joe Cocker fan, I think he oversings a lot, but I think he does OK on "Little Wing," but he is a really good song interpreter (by necessity, as he doesn't write songs). I haven't heard anything else from the album: I really don't want to hear singers from Bush or Stone Temple Pilots or Train or Daughtry.

I also want to bring up some older "covers" albums, and one of the earliest ones that I am aware of is David Bowie's 1973 album Pinups. Bowie had retired his "Ziggy Stardust" persona but was still working with guys from The Spiders From Mars, and this album was a tribute to the garage rock that all of those guys loved: The Kinks, The Who, The Pretty Things, Them and The Yardbirds. Fun stuff.

Maybe my favorite covers record ever is Chris Whitley's 2000 album Perfect Day. I've talked about Chris recently, but we focused on his classic debut, Living With The Law. Recorded on March 28 and 29, 2000 (just two days) to tape (not harddrive) with Billy Martin and Chris Wood of the jazz trio Medeski, Martin & Wood, it is unbelievably beautiful. I got to interview him when it came out, and we both marveled over the first song on the album, Bob Dylan's "Spanish Harlem Incident." He said that that song was so perfect, it almost made him want to quit. I'm not the dude who says that everyone does Dylan songs better than Dylan does, but I like Chris' version of that song best. The title track is a Lou Reed cover, which I believe Susan Boyle has covered for her next album. Good for her, people should hear Chris' version.

The Ramones' Acid Eaters was their second to last album. It seemed kind of weird: they were covering lots of '60s stuff, lots of it affiliated with hippie music, which The Ramones supposedly helped to destroy with punk rock. Well, that's the way history was written, but The Ramones made history, they didn't write it. They loved bands like Love and The Jefferson Airplane, and they paid tribute to the songs, Ramones-style.

Finally, Metallica's Garage Inc. One disc was a collection of their previously released covers, the other were new ones. They've always done a great job at putting their own spin on songs, and there's no better example of that than their cover of Bob Seger's "Turn The Page." But the whole collection is awesome.

This only hits the tip of the iceberg as far as great cover albums, but these are some of my favorites.

CLASH OF THE TITANS TOUR, PART DEUX

The American Carnage tour - featuring Slayer and Megadeth - just got a bit better: Anthrax signed on! The three bands toured together back in 1991 as Clash Of The Titans, and an up-and-coming band called Alice In Chains opened. Read the details of the tour here.

Of course, the ultimate would have been a U.S. leg of the Big Four tour that's hit Europe this summer: that tour features all three bands, plus Metallica.

Back to Anthrax: I was hoping that John Bush would be rejoining the band, as they did a brief Australian tour with him a few months back. But it turns out that the guy he replaced, Joey Belladonna is back as the band's singer. I know the band recorded an album with Dan Nelson, but fired him and ditched the vocals.  I wonder if Belladonna will just re-do those and that will be the next Anthrax album.

RAY DAVIES DOING A DUETS ALBUM

NJ.com reports that Ray Davies' next album will be a bunch of new versions of Kinks songs done as duets.  He has a version of "Better Things" with Bruce Springsteen in the can, and also a version of "Celluloid Heroes" with Jon Bon Jovi. He's talking about recording other duets with Lucinda Williams and Metallica. It's just weird that it is coming on the heels of an album of choral versions of Kinks songs. 

BEST OF THE 00's: RICK RUBIN

I have often expressed admiration of Rick Rubin 's production skills. If I were a producer, I'd like to be like him: hip-hop, metal, funk, punk, country, singer-songwriters, nothing is off limits, and he proved that again in the '00s.

He remained close collaborator of Johnny Cash, producing American III: Solitary Man and American IV: The Man Comes Around in the early years of the decade. I would argue that Cash's American series of albums are nearly as good as anything he'd ever done, obviously American IV's cover of Nine Inch Nails' "Hurt" was one of the greatest moments of an incredible career. Rick also curated the incredible Unearthed box set, allowing fans to hear some of the incredible things that didn't make the American albums. He's also been the keeper of the Cash flame, releasing American V: A Hundred Highways, which featured "God's Gonna Cut You Down" (and now there's word that 2010 will see the final album from the American sessions, American VI: Ain't No Grave.

Rick started working with Tom Morello, who certainly was paying attention to Rubin's rap/rock/metal hybrids in the '80s. Rubin produced Rage Against The Machine's final album, the all-covers Renegades, as well as their posthumously released live album, Live At The Grand Olympic Auditorium (which turned out to be the band's final shows before reuniting years later). Rubin hooked Morello and Rage mates Tim Commerford and Brad Wilk up with ex-Soundgarden singer Chris Cornell and produced the first Audioslave album.

One of Rick's supposed talents is to discover new talent, and I don't know how much he's done that in the past decade, but one band he did work with early on is System Of A Down, who are one of the best metal bands around (even though they seem to be on hiatus at the moment). Rick signed them to his American Recordings, and has produced their albums, including (this decade) Toxicity (which, bizarely, hit #1 on 9/11), Steal This Album! and Hypnotize and Mesmerize.  Another younger band in the heavy guitar category he worked with The Mars Volta on their De-Loused In The Comatorium album.

He remained the go-to guy for The Red Hot Chili Peppers (having worked with them ever since 1991's BloodSugarSexMagik), producing the excellent By The Way and the maybe-too-long double album Stadium Arcadium. I really hope they work with him on the next one, which will be their first since guitarist John Frusciante quit (again).

He briefly returned to hip-hop, producing a cover of Ice-T's "99 Problems" for Jay-Z's "final" record, The Black Album. It may be Jay's finest moment. Less successful was his "Better Than I Ever Been" track that he produced for Nike, featuring Kanye West, Nas and KRS-One (DJ Premier later did a better remix which also featured Rakim).

Rubin also veered closer to the mainstream, producing Shakria's Oral Fixation albums, which included her huge hit collaboration with Wyclef Jean, "Hips Don't Lie." There was also The Dixie Chicks' album Taking The Long Way featuring the classic "Not Ready To Make Nice." And he tried to give Neil Diamond a new credibility by doing some American Recordings type stripped down albums with him. He also worked with Weezer, Wallflowers frontman Jakob Dylan on his first solo album, a new-ish Americana-type band called The Avett Brothers who I need to write more about, and The Gossip. And of course, Metallica's triumphant comeback album, Death Magnetic. He also produced some tracks with U2, but the full album he worked on with them remains in the vaults.  And he is apparently working with Crosby Stills & Nash and ZZ Top at the moment. Will he discover more LL Cool J's, Run-D.M.C.s, Public Enemys, Slayers and System of a Downs in the '00s? That's what will be interesting to see.

THE BIG FOUR: IT'S ON??? METALLICA, SLAYER, MEGADETH, ANTHRAX

A press release I got tonight announced that, in fact, "The Big Four" - Metallica, Slayer, Megadeth and Anthrax - will be performing at a concert together. So far, only at some dates on the European traveling festival Sonisphere. So, if you're going to be in Poland or the Czech Republic, you're in luck! I doubt this tour will hit the U.S. I wonder who will be Anthrax's singer?  On theirwebsite, the band lineup doesn't include anyone. Well, if this doesn't get John Bush to rejoin the band, I don't know what will.

METALLICA'S LIMITED EDITION DVD

Metallica have a new limited edition live DVD recorded on their current tour. It's called Francais Pour Une Nuit ("French For One Night") and was shot in July in France. The set comes with a bunch of extra stuff: a T-shirt, lanyard, pictures, etc. It costs $80 and you can get it here. A much better - but less visual - buy are the band's live downloads. You can buy a download of any concert on their tour here. I've bought a bunch of them, they are always awesome.

CATCH IT ON HBO: THE ROCK AND ROLL HALL OF FAME CONCERT

If, like me, you aren't a millionaire and weren't able to attend the two-night Rock and Roll Hall of Fame Concert at Madison Square Garden last week and were really bummed about it, here's a small bit of consolation: HBO will be broadcasting highlights from the show on November 29 (and probably broadcasting repeats afterwards? I don't know, I don't have HBO). You can see the lineup at the right.

In 1995, I attended the "Concert For The Rock and Roll Hall of Fame" celebrating the opening of the actual museum (the Hall of Fame existed in the abstract for years before the building was finally built and opened to the public). The lineup featured Bruce Springsteen & The E Street Band (an especially big deal, as they hadn't performed together in a few years at that point), Al Green, The Allman Brothers Band, Sheryl Crow, Bob Dylan, Aretha Franklin, George Clinton & The P-Funk Allstars, John Fogerty (his first performance in a long time), Robbie Robertson (one of his only solo performances ever), John Mellencamp, The Kinks (I think it was their final public performance), Chuck Berry, Jerry Lee Lewis, and Soul Asylum (who backed Lou Reed and then Iggy Pop). There were some cool combos: Bruce and The E Street Band backed Chuck and Jerry Lee (although I read that Bruce was unhappy with their performance), Bruce sang "Forever Young" with Dylan, Al and Aretha snag together, Sheryl sang with the Allmans, Larry Graham of The Family Stone performed with P-Funk, it was a pretty good time.

But last week's shows were even better. Rollling Stone wrote up both nights, which were filled with highlights. This time, Bruce & E Street (in top form as opposed to last time) backed up Sam Moore of Sam & Dave, John Fogerty and Darlene Love, plus they were joined by Tom Morello for "The Ghost Of Tom Joad" and The Clash's "London Calling." Wow. They also backed up Billy Joel on a few of his songs. Stevie Wonder collaborted with John Legend (who came to MSG straight from singing the National Anthem at Yankee Stadium at The World Series!), B.B. King, Sting, Smokey Robinson and Jeff Beck. Paul Simon collaborated with Dion and Little Anthony & The Imperials, and did a Simon & Garfunkel set after his solo set. And Crosby Stills & Nash were joined by Bonnie Raitt, James Taylor and Jackson Browne. That was just night one!

On night two, Aretha Franklin was joined by Annie Lennox and Lenny Kravitz, and Jeff Beck (filling in for Eric Clapton) was joined by Sting, Buddy Guy and Billy Gibbons of ZZ Top. Then stuff got really crazy as Metallica took the stage. Opening with "For Whom The Bell Tolls," "One" and Bob Seger's "Turn The Page," they were then joined by Lou Reed for versions of The Velvet Underground's "Sweet Jane" and "White Light/White Heat." Whoa. Then Ozzy Osbourne joined them for Black Sabbath's "Iron Man" and "Paranoid." Finally, Ray Davies for The Kinks' "You Really Got Me." Then it was U2, who played their own songs, but also backed Bruce Springsteen and Patti Smith for "Because The Night." The Black Eyed Peas also joined u2, as did Mick Jagger for "Gimme Shelter" and "Stuck In A Moment You Can't Get Out Of." Wow, I can't wait to see this on TV, and hopefully they release an album of this. And hopefully it will be more affordable than the DVD box set of induction ceremony highlights. (Get it here).

THE BIG FOUR TOUR: NOT HAPPENING

Metal Hammer had been kind of fuelling rumors that
Metallica, Slayer, Megadeth and Anthrax would be touring together. But now, it looks like it isn't going to happen, according to interviews with Kirk Hammett
and Lars Ulrich. It would be hard to imagine this tour

ever happening, as good as it sounds. I think if Metallica toured with Slayer, that would be awesome enough.

THE LEMMYS REUNITE

"The Lemmys" was the name that Metallica used when they played Lemmy 's 50th birthday a couple of years back. Lemmy joined them for one song (I think). Anyway, Lemmy joined Metallica again recently on stage in Nashville. Total bootleg video, but check it out anyway.

THRASH OF THE TITANS? METALLICA, SLAYER, MEGADETH AND ANTHRAX TO TOUR?

Slayer's Kerry King
says that he's heard rumors that Lars Ulrich is orchestrating the ultimate thrash metal tour - Metallica, Slayer, Megadeth and Anthrax. King spoke to Metal Hammer and said that he's only heard rumors - and also added that he didn't think Anthrax should be on the tour due to their recent lineup shakeups. That's a bummer: I'm a big Anthrax fan, but he has a point. They have no lead singer. Even if they hadn't fired their latest singer Dan Nelson, it would be weird to have Anthrax fronted by some guy they found on myspace on the bill with Metallica, Slayer and Megadeth. If they come up with a new unknown guy, same deal. If they hook up with a big name guy, like Corey Taylor of Slipknot (who, rumor had it, was thinking about it at some point) or Phil Anselmo of Pantera, it would come off a bit stunty. I can't see them pulling Joey Belladonna back into the band. I know they've been doing some shows with former singer John Bush again - maybe he returns and they tour with him? I know James Hetfield has said he wishes he wrote the Bush-era Anthrax tune "Only," maybe he'd join them onstage for that one and duet with Bush? That'd be pretty cool. Also, it's hard to imagine Megedeth touring with Metallica. But just a Metallica/Slayer tour, that would be pretty awesome.

TONIGHT ON LIQUID METAL: NO EXPIRATION

Tonight on SIRIUS|XM's Liquid Metal, I am taking over the "Listener Domination" show, playing three of my favorite metal tunes, by my three favorite metal bands: Metallica, Iron Maiden and the almighty Black Sabbath. Tune in at 7 pm ET, it's only three songs long.

HOW DOES METALLICA'S HAIR EFFECT THEIR MUSIC?

The blog The Gauntlet has a graph showing how Metallica's albums are received by fans, and compares that to their hair length on each album. It's funny, but the guy has a point. 

METALLICA TO REUNITE WITH JASON NEWSTEAD AT ROCK HALL CEREMONY

As James Hetfield alluded to earlier this year, Metallica will in fact jam with former bass player Jason Newstead when they are inducted into the Rock and Roll Hall of Fame (according to Blabbermouth), even though his likeness isn't included in thier Guitar Hero game. That's cool: he's being inducted as a former member (as is the late Cliff Burton, of course) and should be included. I wonder if Robert Trujilio is being inducted? He has only played on one album, their latest, Death Magnetic. But that album has, for sure, proved their relevance, and I doubt the guys would show up if he wasn't going to be included. (The Rolling Stones threatened not to show up when the Rock Hall said that Brian Jones and Mick Taylor, but not Ronnie Wood, would be inducted, so the Hall relented, and rightfully so).

But it's gonna be awkward I bet: I can't imagine anyone fitting in as well as Trujilio has, and I doubt that the other guys want Jason back. But if you've seen Some Kind Of Monster, you can tell that when he quit, he kind of wanted the guys to ask him back, but they never did.