METALLICA S&M WITH MICHAEL KAMEN AND SAN FRANCISCO SYMPHONY ORCHESTRA 12" Vinyl LP Album

- A live symphonic metal spectacle with deep liner notes full track list performance videos and a vivid photo gallery

Metallica’s “S&M” (1999) documents the band’s live collaboration with composer Michael Kamen and the San Francisco Symphony at the Berkeley Community Theater. Across three LPs, classics like “Master of Puppets,” “One,” and “Enter Sandman” swell with orchestral counter-lines, revealing drama inside the riffs. Two new pieces—“No Leaf Clover” and “- Human”—anchor the set. Kamen’s charts converse with the songs, widening metal’s vocabulary without dulling its bite, and the release marks Jason Newsted’s final album with the band.

Metallica S&M – When Metal Roared Through the Halls of Symphony Album Description:

Historical Context: A Collision of Worlds

In the spring of 1999, Metallica—already titans of thrash and global stadium heroes—took the boldest step of their career. They invited the San Francisco Symphony to the venerable Berkeley Community Theatre on April 21 and 22, pairing thunderous electric riffs with lush orchestral swells. What emerged was S&M (“Symphony and Metallica”), an audacious hybrid that shattered genre boundaries and electrified both diehard metalheads and classical loyalists alike.

Musical Exploration: Symphonic Threads Weaving Through Metal

At the heart of the fusion was arranger and conductor Michael Kamen, who had pressed Metallica toward orchestral collaboration years earlier after connecting with them at the Grammys. His arrangements didn't simply layer strings beneath the band—they conversed with the riffs, conjuring countermelodies and orchestral hues that felt built-in, as if these songs had always harbored symphonic life.

Metallica dipped into their catalog—from the thunderous “Master of Puppets” and ominous “The Thing That Should Not Be” to the emotive quiet storm of “Nothing Else Matters”—recasting them through a grand, cinematic lens. They also debuted two new pieces: “-Human” and “No Leaf Clover.” The latter, with its orchestral intro and chorus-versus-distortion dynamic, became a radio staple, holding the top spot on mainstream rock charts for weeks.

Key Musicians & Unique Contributions

The classic lineup—James Hetfield (vocals, rhythm guitar), Lars Ulrich (drums), Kirk Hammett (lead guitar), and Jason Newsted (bass)—stood at the crossroads. This was Newsted’s final appearance with the band. But the real otherworldly twist came from Kamen. His orchestral palette became a fifth member: he supported riffs, commented on lyrics, and became entwined with the band’s sonic identity, not as an add-on, but as a true partner in sound.

Band Historical Events & Scraps of Controversy

Metallica had always flirted with classical elements—thanks in part to Cliff Burton’s early melodic instincts—but S&M was full immersion. Some purists balked, decrying “This isn’t real Metallica.” Yet Metallica embraced that tension: they didn't hedge their power with strings—they met it head-on, matching every crescendo.

Not long after, internal tensions boiled over. By 2001, bassist Jason Newsted departed amid emotional and creative strain—making this orchestral venture all the more poignant as a final collective statement. Meanwhile, Metallica would soon be embroiled in the Napster saga, grappling with the seismic cultural shifts of the digital era. S&M thus stands lodged between realms—creative communion and incoming chaos.

Transcript of the Liner Notes on S&M

In the Lines Notes "Michael Kamen" explains the ambiance between the Metallica-fans, The San Francisco Orchestra and Metallia

 Combining one of Americas' most powerful orchestras, the San Francisco Symphony with the world's most powerful rock band, Metallica, was really about imagining musk on top and alongside of their songs. Conducting a conversation between two different worlds that share the language of music.

 Creating a dialogue between two worlds that celebrate the power of music. live in both worlds ... now, so does Metallica. began by listening to and absorbing Metallica tunes and really believing that I was a symphony orchestra playing along ... listening to the orchestra in my head and writing down what I heard.

 I reacted to the songs, inventing melodies and counter-melodies that wove themselves around the tunes and adding orchestral color and texture to songs that were already complete! Sometimes we supported the chords or the riffs, sometimes we commented on the lyric or on a solo line, adding our yokes to the song, playing the right parts on the wrong instruments ... giving every player something to say; and above all making it feel and sound like it had always been there.

 Rock bands invent their own parts to play. Orchestras rely on a composer and a conductor to tell them exactly when and how and what to play. They will read 'fly specks' on paper if necessary, and add their own expressive skill to each note making it come alive.

 When the busses loaded with the symphony members arrived the first day of the show, they were met with cheering hordes of Metallica fans that had been camped out in the park across from the hall - not the usual greeting for a Symphony Orchestra! Something different was going on.

 The first contact with the audience was a frightening roar which terrified the orchestra, more accustomed as they usually are to polite applause. The crowd's reaction was like adrenaline on stage, and we all thrived on it.

 That kind of approval is inspiring! 'The event was in a 'formalized' setting with orchestra members in ties and tails, ushers in uniforms, and band members and audience in stage and street wear. To feel the audience give a standing ovation to me and the orchestra even before one note had been played was both reassuring and friendly, but I also got the feeling that the audience was applauding its own daring in being there.

 They were ready for anything ... Brave fans!

 the beauty of nearly one hundred musicians - each of whom has dedicated their entire life to perfecting their ability to speak and express themselves through the music and their instrument and playing together - reacting to each other and the music is why the orchestra was originally formed.

 They play concertos accompanying solo piano or violin at almost every concert ... but this was something else ... a Brave New World! As the evening unfolded there was a breaking down of barriers - not only between audience and players, but players and players.

 The band wandered around the stage and into the sections of the orchestra; orchestra players leapt to their feet, excited to be making music on the edge of their seats. We were not simply supporting; and certainly not 'sweetening' ... instead, the symphony actually became the 'fifth Beatle' - a member of Metallica.

 Example: 'Call of Ktulu' is a symphonic piece even without the orchestra. A story in music. Metallica music is always a story. Adding an orchestra was like writing a film score to that story. Dancing around the sections of the tune. Every player in the orchestra working as hard as Metallica does, committed to the music.

 'After two evenings of sturm and drang - I suppose the thing that sticks most in my mind was the sheer balance in power between electric and natural instruments. The massiveness of it all was fantastic! I keep returning to Metallica's 'Rolling Stone' quote: -... we don't expect easy listening ... the band will match the 100-piece ensemble with full-on amplification ... we can still find different ways of getting

 Well I would call it a Wagnerian Orgasm! It was a full-on musical experience with all players playing hard and soaking through their tuxes and black formals from the exercise. A bit like experiencing all nine of Beethoven's symphonies and 'The Rite of Spring in one evening! I remember during the intermission hearing string players saying how they should have brought a dry change of clothes, and -it's Mitchum deodorant time- from a perspiring horn player.

 I think the physicality of conducting and playing was the Symphony's answer to Metallica's 'full on amplification' challenge. When the evening u/ Au ver, it didn't feel like it was made up of individual songs - just one very rnaood provoking storm of sound.

 Imagine taking a very stark black and white picture, tough and relentless, unpredictable yet hypnotic - as black and white as a piece of music on paper ... as driving and powerfully honest as puinping guitars, bass, drums and voice can be ... and adding orchestral light and shade, bursts of color, and surprising blocks of sound from all the incredible expressive musical instruments that have been created over hundreds of years to speak and sing our passion, our lives.

 They think it was my idea, I think it was theirs! So thanks to Lars, James, Kirk, Jason, (and to me too), and every member in the orchestra for taking it on and making it fly! "

  Michael Kamen 23 September 1999

Production & Recording Information:

Music Genre:

Classic Symphonic Thrash Metal Music

Collector Notes / Liner Notes
  • 1: 3LP set in Gatefold/FOC (Fold Open Cover) Album Cover Design.
Label & Catalognr:

Elektra 62463 / ST-E-62463

Album Packaging

This release is issued as a 3×12" LP set in a Gatefold/FOC (Fold Open Cover) sleeve.

Media Format:

Three × 12" LP vinyl; total album weight 550 grams

Year & Country:

1999

Producers:
  • Bob Rock; James Hetfield; Lars Ulrich; Michael Kamen
Bob Rock invites you to explore his legendary contributions to rock music — visit his webpage to learn more!
Band Members and Musicians on: Metallica S&M with Michael Kamen and San Francisco Symphony Orchestra
Metallica Band Members
James Hetfield – Guitars, Vocals
Lars Ulrich – Drums
Kirk Hammett – Guitars
Jason Newsted – Bass
Michael Kamen – Conductor
Production
Produced by Bob Rock with Hetfield & Ulrich and Michael Kamen
All songs arranged, orchestrated, and conducted by Michael Kamen
Recorded live at the Berkeley Community Theater, April 21–22, 1999
Recorded by Bob Rock, Randy Staub
Orchestra recorded by Stephen P. McLaughlin
Technical assistance: John Vrtacic
Mixed & edited at The Plant Studios, Sausalito, Aug–Oct ’99
Mixed by Randy Staub
Assisted by Stephen P. McLaughlin, James Brett, Kent Matcke, Darren Grahn, Leff Lefferts, Billy Konkel
Digital Edits: Mike Gillies, Darren Grahn, Paul DeCarli, Billy Bowers
Additional editing: Plantation Studios, Maui
Music Preparation: Michael Price, James Brett, Blake Neely
Music Copying: Vic Fraser, Blake Neely
Orchestrations by Michael Kamen with: Bob Elhai, Brad Warnaar, Blake Neely, Geoff Alexander, Chris Boardman, Bruce Babcock, Ted Allen, Pete Anthony, Jonathan Sacks
Mastered by George Marino at Sterling Sound
Special Thanks
Thanks to the San Francisco Symphony, Joyce Cron Wessling, Joshua Feldman
Special thanks: Debra MacCulloch
Thanks to all members of the Metallica Club
Michael Kamen thanks: Metallica, Bob Rock, Peter Mensch, Cliff Burnstein, Sue Tropio, Marc Reiter, Robert Urband, Sandra Cortez, Olga Gerrard, Deborah Johnson, Apple Masters, Kanwal Sharma, Michael Tilson-Thomas, San Francisco Symphony, LIMO, Joshua Feldman, Bob Garcia, Jeremy Freeman
It’s all for Sandra, Sasha, Zoe
Artwork & Management
Album Design: Andie Airfix at Satori
Photography: Anton Corbijn
Management: Q Prime Inc.
Michael Kamen Management: Robert Urband
First Violins
Jeremy Constant (Concertmaster), Melissa Kleinbart, Naomi Kazama, Victor Romasevich, Diane Nicolic, Robin Pankratz, Yukiko Kurakata, Jeremy Loeffler, Rudolph Kremer, Monica Gastelum, Catherine Down, Philip Santos
Second Violins
Paul Brancato (Principal), Stuart Canin, Iris Kobalka, Jerome Kim, Eugene Chukhlov, Michael Gerling, Yasuko Hattori, Frances Jeffrey, Frederick Emerich, Daniel Kobialka, Daniel Banner
Violas
Geraldine Walther (Principal), Yun Jie Liu, Don Ehrlich, Christina Reiner, David Gaudry, Christina King, Seth Mauser, Nancy Severance
Cellos
David Teie (Principal), Mara Bogatin, Jerry Brindel, David Goldblatt, Anne Pinsker, Peter Shelton, Jonathan Sacks, Richard Andaya
Basses
Larry Epstein (Principal), Stephen Tramontozzi, William Ritchen, Charles Chandler, Mark Wright, Chris Gilbert
Flutes
Paul Renzi (Principal), Linda Lukas, Catherine Payne, Robin Sobhani
Oboes
Eugene Izotov (Principal), Pamela Smith, Julie Ann Giacobassi
Clarinets
Luis Baez (Principal), Russell Dagon, Jerome Simas
Bassoons
Stephen Paulson (Principal), Deborah Weir, Steven Braunstein
Horns
Robert Ward (Principal), Bruce Roberts, Jonathan Ring, Douglas Hull, Jim Smelser, Eric Achen, Joshua Garrett
Trumpets
Glenn Fischthal (Principal), Craig Morris, Chris Bogios, Andrew Candless
Trombones
Paul Welcomer (Principal), Tom Horning, Jeffrey Budin
Tuba
Peter Wahrhaftig
Harp
Douglas Roth
Timpani
David Herbert
Percussion
Raymond Froelich (Principal), Anthony J. Cirone, Tom Hemphill
Keyboard
Artie Storch, Marc Shapiro
Publishing
All songs published by Creeping Death Music (ASCAP), except “The Ecstasy of Gold” by EMI Music Publishing
Contact
The Metallica Club, P.O. Box 18327, Knoxville, TN 37928-2327
From outside USA: include an International Reply Coupon

Complete Track-listing:

Disc One:
  1. The Ecstasy of Gold
  2. The Call of Ktulu
  3. Master of Puppets
  4. Of Wolf and Man
  5. The Thing That Should Not Be
  6. Fuel
  7. The Memory Remains
Video: Metallica: The Call of Ktulu (Live) [S&M]
Disc Two:
  1. No Leaf Clover
  2. Hero of the Day
  3. Devil's Dance
  4. Bleeding Me
  5. Nothing Else Matters
  6. Until It Sleeps
  7. For Whom the Bell Tolls
  8. Human
Video: Metallica - Nothing Else Matters (S&M) HD
Disc Three:
  1. Wherever I May Roam
  2. Outlaw Torn
  3. Sad But True
  4. One
  5. Enter Sandman
  6. Battery
Video: Metallica - Wherever I May Roam(S&M)
Album Front Cover Photo
Front cover of Metallica’s “S&M” (1999): a wide stage view seen from behind a central guitarist silhouetted against vivid concert lighting. Rows of San Francisco Symphony players fill the background amid green, purple, and amber spotlights. The upper band of the sleeve is deep black with bold white text reading METALLICA, and a smaller line noting Michael Kamen conducting the San Francisco Symphony Orchestra. An S&M staff monogram sits at the lower left.

The sleeve presents a dramatic, wide backstage perspective: a guitarist stands centered in silhouette at a tall mic, flanked by risers of orchestral players under pools of green, purple, and amber light. Reflections ripple across the polished floor, emphasizing the hall’s depth and the scale of the ensemble.

A matte-black title band crowns the image with bold, white METALLICA, and beneath it a crisp credit line—with Michael Kamen conducting the San Francisco Symphony Orchestra. At the lower left, the stylized S&M monogram intertwines a treble staff with the band’s lightning “M,” linking metal and symphonic tradition.

The composition balances raw performance energy and concert-hall precision: racks of lights frame the stage, music stands glow, and the orchestra stretches in tiers behind the central figure, evoking a live, high-dynamic range spectacle captured at the moment of ignition.

Album Back Cover Photo
Back cover image for Metallica “S&M”: a monochrome, softly grained stage still life. Two illuminated stand lamps form a bright horizontal band across the upper third. A microphone tilts in from the right toward a music stand. On the desk lies a bold two-column setlist—titles include The Ecstasy of Gold, The Call of Ktulu, Master of Puppets, Of Wolf and Man, The Thing That Should Not Be, Fuel, The Memory Remains, No Leaf Clover, Hero of the Day, Devil’s Dance, Bleeding Me, Nothing Else Matters, Until It Sleeps, For Whom the Bell Tolls, - Human, Wherever I May Roam, Outlaw Torn, Sad But True, One, Enter Sandman, Battery—partly obscured by a coiled in-ear monitor cable. Legal text runs along the bottom margin with a barcode at lower right.

This back cover frames a quiet pre-show tableau in monochrome. Two bright stand lamps hover like twin light bars, leaving the background in creamy blur while the foreground desk comes into sharp relief.

A right-leaning microphone points toward a music stand where a bold two-column setlist anchors the composition. Track names such as Master of Puppets, No Leaf Clover, Nothing Else Matters, and Enter Sandman crowd the page in heavy type.

An in-ear monitor and cable curl casually across the paper, hinting at motion and rehearsal. Along the bottom edge, tiny manufacturing text and a barcode complete the design, reinforcing this as the album’s back cover.

Photo One of Inside Page Gatefold Cover
Inside gatefold, left panel, for Metallica “S&M.” A panoramic color stage scene shows the San Francisco Symphony seated under hot gold and amber lights with screens and rigging arching overhead. A drum kit anchors center, while at far right a guitarist steps into a bright flare, guitar angled forward. The glossy floor throws long reflections. The lower half contains Michael Kamen’s liner notes printed in white on black with an ornate drop cap and, to the left, a small black-and-white inset photo of two men in animated conversation.

This inside gatefold panel opens on a sweeping stage panorama: orchestral chairs and music stands glow in gold, rigging and truss curve overhead, and projection screens paint the rear wall with color. A full drum kit sits center while, at the right edge, a guitarist strides into a burst of light.

The polished floor mirrors lamps and players, extending the depth of the hall. Along the lower field, Michael Kamen’s liner notes appear as dense white text on black with a decorative drop cap, accompanied by a small black-and-white candid of two figures in lively discussion—performance energy turning into printed memory.

Photo Two of Inside Page Gatefold Cover
Inside gatefold, right panel, for Metallica “S&M.” The upper half shows a vivid stage panorama: two guitarists’ legs and instruments frame the scene left and right, while a central drum riser (Tama kit) faces tiers of illuminated orchestral stands under teal, gold, and amber lighting. The glossy floor mirrors color like water. The lower half becomes a black information band with crisp white type: at left the band lineup and production credits with Michael Kamen, in the middle a dense roster of San Francisco Symphony personnel, and at right a four-block track list for Disc 1–3 including The Ecstasy of Gold, Master of Puppets, No Leaf Clover, Enter Sandman, and Battery.

This gatefold panel drops you into the performance from ground level: two shadowed guitarists bracket the frame while a bright drum riser and ranks of music stands glow behind them. Color washes of teal and amber spill across the polished stage, throwing long reflections.

The lower register switches to design mode—a deep black field with high-contrast white typography. Left columns list the core lineup and production team with Michael Kamen credited as conductor; the center block names the San Francisco Symphony personnel; the right side stacks the complete program by discs.

Typography in compact, all-caps blocks reinforces precision against the kinetic photo above, capturing the album’s twin identities: heavy metal power and orchestral discipline fused in one widescreen spread.

Close up of Record Label
Close-up of the vinyl label for Disc 1, Side One of Metallica “S&M.” The label is a warm beige with a thick black vinyl rim. At left, vertical text reads “DISC 1 / Side One.” Centered above the spindle hole are the Elektra logo and “STEREO 33⅓ RPM,” with catalog/matrix text including “62463-1” near the top arc. The bold METALLICA logotype sits mid-label over the line “Berkeley Community Theatre / April 21.” Below it a printed schedule lists DOORS 6:30, METALLICA 8:00–9:12, INTERMISSION 9:12–9:27, METALLICA 9:27–10:30. Along the right edge, a rotated track list names The Ecstasy of Gold, The Call of Ktulu, and Master of Puppets.

A sandy-beige label sits in the groove well like a spotlighted stage. At left, “DISC 1 / Side One” climbs vertically, while the top arc carries small catalog and rights text. Just above the spindle hole, the Elektra mark and “STEREO 33⅓ RPM” set the spec.

The center announces METALLICA in bold caps, followed by “Berkeley Community Theatre – April 21,” turning the label into a time stamp. A utilitarian schedule—Doors 6:30, Metallica 8:00–9:12, Intermission 9:12–9:27, Metallica 9:27–10:30—reads like a show manager’s cue card.

Along the right edge, a rotated column lists the opening trio: The Ecstasy of Gold, The Call of Ktulu, Master of Puppets. The thick black vinyl rim frames it all, a crisp contrast to the label’s soft grain.

Index of METALLICA Vinyl Records and Album Covers Gallery

This section shows the complete Metallica discography ordered by album-title. Several titles are International and have been listed with the country of release

METALLICA - And Justice For All
Picture Of METALLICA - And Justice For All Blackened Records 180Gr Vinyl album front cover

  This release on "Blackened Records" label, is the 2018 audiophile re-issue of ""...And Justice for All" the first album released by Metallica after the death of Cliff Burton. It is also the first album with Jason Newsted on Bass guitar.

- ..And Justice For All (Blackened Records) - ..And Justice for All (1988, Netherlands)
METALLICA - Creeping Death (Complete Set Coloured Vinyl Records)
METALLICA - Creeping Death (Complete Set Coloured Vinyl Records)  album front cover vinyl record

Creeping Death by the American Thrash Metal band "Metallica" is a 12" EP Vinyl record from 1984. Un-official versions from France (with different labels) have been released in the colors: Blue, Green, Red, White and Yellow Vinyl.

- Creeping Death Blue Vinyl (1984, France) - Creeping Death Green Vinyl (1984, France) - Creeping Death Red Vinyl (1984, France) - Creeping Death White Vinyl (1984, France) - Creeping Death Yellow Vinyl (1984, France)
METALLICA - Death Magnetic
Picture Of METALLICA - Death Magnetic ( Blackened Records ) album front cover

  This is the audiophile re-release of "Death Magnetic" the 2009 album released by the American Thrash Metal band "Metallica". This re-release comes in a gatefold album cover and two audiophile quality 180grams records.

Death Magnetic ( Blackened Records ) 12" Vinyl LP
METALLICA - Hamburg Colorline
METALLICA - Hamburg Colorline  album front cover vinyl record

Issued as a limited edition 12" vinyl LP, "Hamburg Colorline 12 May 2009" has become a coveted collector's item. Its raw, unfiltered energy transports listeners back to the heart of that explosive concert.

Hamburg Colorline 12" Vinyl LP
METALLICA - Hardwired to Self Destruct
METALLICA - Hardwired to Self Destruct album front cover vinyl record

"Hardwired to Self Destruct" is the 2016 double album released by the American Speed / Thrash Metal band "Metallica". It was released 8 years after their previous album "Death Magnetic"

Hardwired to Self Destruct 12" Vinyl LP
METALLICA - Harvester of Sorrow
METALLICA - Harvester of Sorrow album front cover vinyl record

The A-side explodes with the relentless energy of "Harvester of Sorrow." This track, a centerpiece of their landmark album "...And Justice For All," exemplifies Metallica's progressive thrash metal sound.

Harvester of Sorrow 12" Vinyl Single
METALLICA - Jump in the Fire (Dutch and English Versions)
METALLICA - Jump in the Fire  (Dutch and English Versions)  album front cover vinyl record

"Jump in the Fire" is a single derived from Metallica's debut studio album, "Kill 'em All", released in 1983.

- Jump in the Fire (1983, England) - Jump in the Fire (1983, Holland)
METALLICA - Jump in the Fire
METALLICA - Jump in the Fire album front cover vinyl record

The cover art for "Jump In The Fire" is as iconic as the track itself. Created by artist Les Edwards, the image features a demon-like creature surrounded by flames, inviting the listener to literally "jump in the fire."

Jump in the Fire 12" Shaped Picture Disc
METALLICA - Kill 'Em All (International Pressings)
METALLICA - Kill 'Em All (International Pressings)  album front cover vinyl record

Metallica’s Kill ’Em All is the explosive debut that defined thrash metal. Released in 1983, this 12” vinyl LP is raw, aggressive, and uncompromising, blending speed, power, and razor-sharp riffs. Featuring iconic tracks like ‘Seek & Destroy’ and ‘Whiplash,’ it captures the band’s youthful intensity, setting the stage for their legendary rise in the metal world.

- Kill 'Em All ( Blackened Records ) - Kill 'em All 2LP (1983, England) - Kill 'Em All (1983, France) - Kill 'Em All (1983, Holland) - Kill 'Em All (1983, UK)
METALLICA - Legendary Garage Tapes
METALLICA - Legendary Garage Tapes album front cover vinyl record

Before the polished production of "Kill 'Em All," Metallica's sound was a volatile beast, unleashed in the cramped confines of a garage. "The Legendary Garage Tapes" serve as a time capsule, showcasing the thrash metal titans

Legendary Garage Tapes 12" Vinyl LP
METALLICA - Live at the Playhouse Theatre
METALLICA - Live at the Playhouse Theatre album front cover vinyl record

This 500-copy limited edition is a treasure trove for devotees of Metallica's raw, uncompromising roots. The setlist reads like a greatest hits collection of their early years.

Live at the Playhouse Theatre 12" Vinyl LP
METALLICA - Load (European & USA Releases)
METALLICA - Load (European & USA Releases)  album front cover vinyl record

Metallica's "Load" is a sonic journey capturing the band's evolution. Released in 1996, the controversial album's vinyl edition enriches the listening experience, offering warmth and authenticity.

METALLICA - Load ( 2LP Blackened Records ) - Load (1996,E/M Ventures Elektra )
METALLICA - Master of Puppets (Two English Versions)
METALLICA - Master of Puppets (Two English Versions)  album front cover vinyl record

Metallica's 1986 album "Master of Puppets" stands as a towering achievement in heavy metal history. Its complex compositions, blistering aggression, and socially conscious themes cemented the band's reputation as leaders

- Master of Puppets (1986, Netherlands)
Updated
- Master of Puppets (1986, England) - Master of Puppets 2LP DMM audiophile (England)
METALLICA - Master of Puppets
METALLICA - Master of Puppets Picture Disc album front cover vinyl record

The METALLICA "Master of Puppets" 12" Vinyl Picture Disc, a 1986 UK 1st ISSUE with no barcode, is a rare gem for collectors. This limited edition features unique artwork on the vinyl picture disc, adding to its allure.

Master of Puppets 12" Vinyl Picture Disc
METALLICA - Self-Titled The Black Album
Picture Of  METALLICA The Black Album 2LP album front cover

This the high-end audiophile release pressed on two 12" vinyl records each on 180 gram vinyl of the self-titled Metallica album and because of the black front and back cover, it is also known as "The Black Album".

METALLICA - Self-Titled The Black Album 12" Vinyl LP
METALLICA - Oberhausen Kopi Arena
METALLICA - Oberhausen Kopi Arena  album front cover vinyl record

Recorded at the Kopi Arena, this album transports listeners back in time to a pivotal moment in Metallica's career. The band was riding high on the success of their album *Death Magnetic*

Oberhausen Kopi Arena 12" Vinyl LP
METALLICA - Ride The Lightning (European Releases)
Picture Of METALLICA - Ride The Lightning Blackened Records album front cover

Metallica's "Ride the Lightning" 12" Vinyl LP is a collector's gem. This iconic album marked a turning point in metal history, blending thrash metal and intricate compositions.

- Ride The Lightning (1984, England). - Ride the Lightning (Roadrunner, 1984, Holland) - Ride The Lightning (Vertigo, 1984, Netherlands) - Ride The Lightning (Blackened Records, 2006)
METALLICA - S&M
METALLICA - S&M album front cover vinyl record

This is METALLICA's ninth album, recorded live with the San Francisco Symphony on April 21-22 of 1999. The set list contains songs from Ride the Lightning through ReLoad, as well as two new songs: "- Human" and "No Leaf Clover".

S&M 12" Vinyl LP
METALLICA - St. Anger
METALLICA - St. Anger album front cover vinyl record

St. Anger is the eighth studio album by American heavy metal band Metallica, released on 5 June 2003. The album was originally to be released on June 10, 2003, but because of fears of extended music piracy over filesharing network

St. Anger 12" Vinyl LP
METALLICA - The 5.98 EP Garage Days Re-Revisited
METALLICA - The 5.98 EP Garage Days Re-Revisited album front cover vinyl record

Following the tragic death of bassist Cliff Burton in 1986, Metallica found themselves with a significant void to fill. With Newsted taking over bass duties, the band opted to record Garage Days

- The 5.98 EP Garage Days Re-Revisited (1987, Holland) - The 5.98 Garage Days Re-Revisited (1987, UK)
METALLICA - Until It Sleeps Red Vinyl (1996)
METALLICA - Until It Sleeps Red Vinyl (1996)  album front cover vinyl record

This limited edition album "Until It Sleeps" is the first single and the fourth song from Metallica's 1996 album Load. This version is pressed on Red Vinyl and comes in a transparent sleeve.

Until It Sleeps Red Vinyl (1996) 12" Vinyl LP