S&M

Disc 1
1	The Ecstasy of Gold 2:30
2	The Call of Ktulu 9:34
3	Master of Puppets 8:54
4	Of Wolf and Man 4:18
5	The Thing That Should Not Be 7:26
6	Fuel 4:35
7	The Memory Remains 4:42
8	No Leaf Clover 5:43
9	Hero of the Day 4:44
10	Devil's Dance 5:26
11	Bleeding Me 9:01
Disc 2
1	Nothing Else Matters 6:47
2	Until It Sleeps 4:29
3	For Whom the Bell Tolls 4:52
4	Human 4:19
5	Wherever I May Roam 7:01
6	Outlaw Torn 9:58
7	Sad But True 5:46
8	One 7:53
9	Enter Sandman 7:39
10	Battery 7:24

Barnes & Noble

For the last half decade, heavy-metal titans Metallica have strived to expand their musical palette while making heavy metal more palatable to the mainstream. They explored southern rock, blues, and psychedelia with LOAD (1996) and RELOAD (1997); they covered their favorite punk and popular artists (Misfits, Mercyful Fate, Nick Cave, Bob Seeger) on their double CD of covers, GARAGE INC. (1998); and they tinkered with electronica on remixes with Moby and DJ Spooky. But Metallica's most grandiose accomplishment took place last year when the band joined forces with Michael Kamen and the San Francisco Symphony to recontextualize much of Metallica's back catalog. The bold, unlikely pairing is captured in all its sonic glory on S&M, a two-disc live CD. Slow-burning tracks like "Until It Sleeps," "For Whom the Bell Tolls, "Nothing Else Matters," and the instrumental "The Call of Ktulu" are most effective, as their mid-paced tempos allow the orchestra the most breathing room. But the thundering fare of "Master of Puppets," "Battery," and "Of Wolf and Man" are also dynamic and undeniably ear-pleasing. Considering how ambitious Metallica have become in just a few years, a four-part, triple-disc heavy-metal opera can't be too far off. Jon Wiederhorn

All Music Guide

After 1988's ...And Justice for All, Metallica pared down its progressive, heavy metal sound. During the '90s, the band's studio releases grew slicker and more produced, resulting in mostly radio-friendly, good ol' boy metal. By the end of the decade, Metallica was established as the pioneer of modern metal, but the band hadn't done anything innovative, arguably, in ten years. In April 1999, the group performed two concerts with the San Francisco Symphony, and the result was S&M, a two-disc collection of the concerts. Overall, the album successfully pairs violin strings with guitar strings, but it's no surprise that the best tracks here are the older songs; their multi-layered, compositional style works well with symphonic arrangements. "Master of Puppets," "Call of the Ktulu," "One," and "For Whom the Bell Tolls" sound richer and fuller with violin, trumpet, clarinet, harp, trombone, and flute accompaniments, but "Sad but True," "Devil's Dance," and especially "Of Wolf and Man" range from haphazard and melodramatic to uninspired. S&M definitely has its moments, and not just with the pre-Black Album material: "Fuel" surpasses the furious pumping energy of the studio version, "Hero of the Day" stays poignant throughout, and "Until It Sleeps" has a wonderfully sinister feel. James Hetfield maintains his madman persona from beginning to end, laughing maniacally and grunting and growling at all the right moments. Overall, the symphony adds a macabre, ghoulish atmosphere -- it all sounds like a Broadway freak show or a revved-up Danny Elfman nightmare. Which is exactly what a Metallica album should sound like, even if every song isn't the best (or most appropriate) in the band's catalog. Gina Boldman