The One Where Bryan Defends St. Anger // Composer Reacts to Metallica - All Within My Hands

追加: 2026-05-13

[00:00:02]Hello and welcome back to another episode of Critical Reactions with your host Brian. We're gonna continue on with this week's theme of me just sharing stuff that I I enjoy that has gotten me through low points in my life. Just I don't know, stuff I'd like to share with y'all.

[00:00:22]Now, you may have looked at the thumbnail and maybe even the title of this video and and thought, "hm, all within my hands, I don't recognize that Metallica song."

[00:00:34]Yeah, this is kind of a deep cut on their most maligned album, too. This is the album closer to Saint Anger. And if you haven't heard me say it before, and I have certainly said this many times, Saint Anger is my favorite Metallica album. I don't mean to classify that as their best. It's just the one I enjoy most from them.

[00:00:58]So, we are going to check out the album closer here. I I suppose content warning. The trash can drums are definitely on this track. [laughter] If you're familiar with Sane Anger's production, yeah, this this pretty much fits in with everything else on the album. And I don't think I'll be changing anyone's mind on this sound in general, this composition style that they created for this album. I don't think anyone's going to walk away from this video and think, "Wow, you know, same anger." That's definitely a bit of a, you know, it's it's been maligned unfairly. No, I don't think anyone's going to think that when we're done. But I hope to give you a new appreciation on this track and maybe give you a mindset or perspective to view the rest of the album through if you decided to check it out again. [clears throat] Maybe. Anyways, let's get into this.

[00:01:51]Two-minute intro is really long for me.

[00:01:54]All Within My Hands by Metallica.

[00:02:09]>> [music] >> Right from the start, even [music] with the pig scraping at the beginning, it's it comes off as filthy. There's a dirtiness to all of this. [music] [music] And the guitars and the bass [music] are so loud, you can't really ignore them. They're focused. Heat. [music] [music] Heat.

[00:02:48][music] >> [music] >> The dual guitar [music] work, the atmosphere building, the bass and drums pushing the song for chord with the syncopation. All within my hands.

[00:03:16]Squeeze [music] it in.

[00:03:18]Crush it down.

[00:03:21]All within my hands.

[00:03:25]Hold [music] it dear.

[00:03:27]Hold it soft chains. [music] [music] Oh, it's in my hands.

[00:03:44]Look to death. [music] Smack you round and round and Oh, it's in my hands.

[00:03:59]>> [music] >> I love that last section, too. It's just one note over and over and over.

[00:04:04]>> Love is [music] control. I'll die if I let go. Love is control. I'll die if [music] I let go.

[00:04:17]Those slides on the guitar.

[00:04:21]Very [music] easy. rolling this like sludgy >> rip [music] call response [music] within my hands [music] within my hands now [music] with my hands now within my [music] hands >> [music] >> The guitar is kind of trading off sounds, textures.

[00:05:03][music] It is not without its camp. And that awe always gets me. It is such [music] [music] >> I also love how the two guitars [music] are bouncing between two notes but in different manners. They're not [music] aligned.

[00:05:35]Oh, [music] >> and the [music] drums in the background still intense despite the low energy.

[00:05:45]It's all in my hand.

[00:05:49]On the phone, [music] on to myself.

[00:05:55]All within my hand. [screaming] >> [music] [music] >> Love is control. I'll die if I [music] let go. Love is control. I'll die if I let go. Let it go.

[00:06:20][music] >> Dude, this chorus is so good. [music] Feel my hands [music] out with my hands.

[00:06:38]Within [music] my hands with my hands [music] me in my hands.

[00:06:52]Always in my hands again.

[00:06:57]>> [music] >> I love the tension in the vocal harmony while we have a pedal tone at the top end of the harmony.

[00:07:09]Clever little twist there. Transition through like a a faulty chord that feedback clipping in and out.

[00:07:19][music] >> [music] >> There's just so much momentum to this track. Just always going. [music] [music] I'll die if I let go. Control is love.

[00:07:45]Love is [music] control.

[00:07:50]I'll fall and let go. Control [music] is love. Love is control.

[00:08:00]Subtle variation on the previous riff creating this space driving space.

[00:08:09][music] I let you love me. I will only let you brea.

[00:08:16]>> Also, there's a phenomenal stream coming up.

[00:08:20][music] [screaming] Love is control. I love it. It fits so well, too. [music] >> [music] >> Baby, [music] the syncupation against the sludgy coming is just such a good combo.

[00:08:53][music] within my hand [music] [music] in my hands again.

[00:09:19]It's time for the infamous ending.

[00:09:21][music] Kill [music] kill.

[00:09:35][music] >> The drums doing a phenomenal job of sounding [music] like a train in the background.

[00:09:50]Go go go go go go [music] [screaming] [music] go [music] go go go.

[00:10:06][screaming] [music] Wish that one had changed just [music] a little bit. Returning to the same tense diad and then it just peters out. Uh, all right, dude. We do not need to go to purify. I mean, purify is a solid track, too. But we're talking about All Within My Hands today.

[00:10:57]I'm actually kind of curious how many of how many of you are sitting here and just thinking, "Yeah, dude, that song is irredeemable. Not great at all."

[00:11:08]Again, I don't think I'm going to change anyone's mind on this, but I I do want to contextualize some of this. I want to try to if you can't figure out why Metallica made this track.

[00:11:20]Hopefully by the end of this you can understand the song a little bit better.

[00:11:25]Maybe from I can't say Metallica's perspective. I've never interviewed them. I don't know what kind of process went into making this album, but at least from the connections that I see while listening to it because this is incredibly cohesive. May maybe not the best executed. Uh, I still stand by the fact that the chorus is phenomenal. I have tried to find other sludge metal that captures this chorus's energy and I can't. Actually, this is a really good segue. Let's start with this. The chorus is just great. It's a little bit of that really gritty, fuzzy, large guitars. The smoothness of movement between notes.

[00:12:07]There's so much uh so many effects on the guitars themselves that you really don't hear too much of the picking and so the notes just kind of blur into one another and you get this and it's just like it's gritty, it's compact, there's a menacing element to it, but also something a little bit somber to it as well.

[00:12:30]And I really like how this is further alluded to with the uh those uh they sound like slides to me. They might be bends. It's just a very smooth movement.

[00:12:42]Uh a half-step movement that to me adds a lot of bluesiness to this. Now, blues chord, blues scale. These do show up in stoner rock, stoner metal quite a bit. I wouldn't say it's synonymous with the style, but I do hear a lot of bluesy ideas showing up in stoner metal.

[00:13:01]But I think for right here, uh, that the notes already being played have a a melancholic weight to them, and adding in this one bluesy idea just exacerbates it. It multiplies it. It amplifies it in a way that I think if you just gone straight blues, it wouldn't necessarily have. There's almost a doomy kind of feel to the note choices here, the intervals themselves, but it's so sludgy that it brings all this heaviness down while still having momentum. And I find this to be really interesting. I think a lot of it comes from the drums and the bass who love to do uh well, the bass we get a lot of syncopated ideas out of, and the drummer just doesn't stop. I mean, it's almost a meme how much Lars loves his snare, but this is a very snare-based track. Um, and I know a lot of people complain about the snare, but to me, it almost becomes background noise. It is just this constant uh like static texture to the track just because of how often it's played.

[00:14:07]it. I think it's easy to just kind of dismiss it as noise and it becomes a flavor of the song more so than this banging sound that I constantly hear. I agree. It's really high up in the production. You can't ignore that. But at least for me, maybe it's cuz I've heard this the song thousands of times now. But it just it blends into the background as an aggressive layer to it all. But it also drives the song forward. The guitars are trying to slow things down. It's a heavy weight upon everything and the drums are just consistent. They they're focused. They know where they're going. Keep this in mind. This idea of focused weight is present throughout most of this track.

[00:14:48]Um, but we have this really sick guitar riff and like it's kind of bluesy, it's heavy, it's moody, but it's also filthy and grimy. I'm going to talk about that in this in a second, maybe the next section, cuz the intro really kicks this idea off well. Um, you have the bass with these cool syncopated lines in the back, uh, creating some extra groove to this. There's a lot of syncopated hits on the vocals as well, and it just creates this, I don't know, there's a smoothness to this. Uh, when I listen to this, I don't know how much of it was conveyed in my body language. It's a lot of sharp movements, but also a lot of smooth hip movements, which I don't think I I [clears throat] don't think it's influencing the upper body too much. So, I don't know how much of that came through in the camera, but I mean, it's just like there's a smoothness to it alongside those really chunky like sharp what I usually like bring into like headbang uh parts of my uh body movement. And it's just this really interesting juxosition through smoothness and sharpness of something that feels very aggressive and rigid, but there's also a fluidity to all of it, too.

[00:16:02]And then you have the vocals and it's just constant dual layer call response, but every call and response is held out beyond the point where the call or response is also sung. Normally it would be, you know, one vocal and then the next, but this one sings and before it's done, the other ones come up and this one's still holding a note out while this one's still going. And there's so much overlap between the two of these that we get all these beautiful harmonies in here as well. And of course, all of this uh culminates into this very jagged don.

[00:16:40]And then this takes us to the uh final chord that is incredibly tense. As I mentioned, there is a pedal tone in this, but it's at the top of our chord.

[00:16:49]It presents a a height or a peak that we continue to descend from.

[00:16:56]Keep that in mind. That's something we're going to touch on when we hit lyrical themes.

[00:17:01]But there's so much tension here. And you can feel how all of this aggression is directed towards this final moment.

[00:17:09]And this final moment is a fall from a height, fall from a plateau, whatever.

[00:17:18]And it almost feels like the guitars want to avoid that. They're pulling things down. They're trying to drag things out. But everything about this song is forward momentum to get to that point.

[00:17:31]It is just groovy. It's gritty. It's textured. It's atmospheric. The riff pulls you in.

[00:17:38]And then the the vocal harmonies. Man, I'm always here for dual vocals. And uh I I don't think we hear it here. I think James does both sets of vocals, but uh I've seen live videos where I think the basist, I always forget his name, does the uh second vocals, but I I do know that they made a re-imagined version of this a few years back for a Symphony of Metallica concert. And uh both the basist and Kirk did harmonized vocals on this track. So I thought that was pretty cool.

[00:18:13]I thought about doing a compare and contrast between this original and the reimagined, but I don't really want to do that. One, I don't want to tear down the reimagined one. It is a phenomenal arrangement. It really is. It doesn't fit the lyrics, though, and I think that really turns me away from it. But if it was a totally different song, brand new track, wrote new lyrics for it, completely new idea, I'd be praising it left and right. It is a gorgeous composition.

[00:18:44]It's just not all within my hands. And I can't even see it from a new perspective of, you know, what if we took this story, these lyrics, and changed the the perspective of it. What if we looked at it from a more somber view instead of this aggression? I don't think it works.

[00:18:58]I think the lyrics would need to be changed a little bit for it. So, it's a really bad All Within My Hands interpretation. It is a phenomenal song and I don't want to tear it down cuz I know I will. So, I'm not doing that comparison. I guess it just did like a little T TLDDR.

[00:19:12]Dang. Anyways, it's solid. Go check it out. Uh, I'll put a link to it down in the description box. All right. So, that's the chorus. Phenomenal stuff.

[00:19:23]Absolutely loved it. I'm curious if anyone else does to uh, you know, Diamond in the Rough Style. Maybe none of this album works for you, but this was a sick chorus. You can't deny it.

[00:19:32]I'd be interested to see if anyone is in that boat. Maybe this is the first time you've heard anything from Saint Anger and you're like, "Dang, you know, I heard bad things about it." But so far, it's pretty good. I enjoyed the song.

[00:19:41]This guy's breakdowns got me into it.

[00:19:44]Maybe I'll give it a shot. Let me know about that in in the comments, too. I'm just uh really intrigued about people's relationship to this album because I think it's one of those things that certainly when it came out uh I think it was destined to be maligned. Uh people were just going to move away from it because it was very much not Metallica.

[00:20:05]But I think it's one of those cases where over the years opinion is going to soften as it's viewed in a less temporal light cuz it's hard. Well, I don't know.

[00:20:20]Metallica's kind of gone back to their own their old ways. So, a lot of their new stuff just sounds like their old stuff. So, it'd be really easy still to compare this to traditional Metallica.

[00:20:32]Anyways, somehow that became like three sections in one. I don't know what I'm going to do with timestamps there.

[00:20:37]Everything just fluidly moved into one another. The opening right from the start, I think it's very easy to feel the emotions of this track. The guitars come in and they are filthy. We have this uh pick scraping that we have at the very beginning of the track and it's introducing something that's just a little unnerving. Something just ticking off on the corner. You can't quite place what it is, but it's certainly not positive. You're already a little apprehensive about what's about to come in. Uh the guitars come in, they're filthy, they're huge, they're compressed. Uh they're very gritty sounds altogether.

[00:21:16]Comparatively, I mean, the the thing with art is you can always find something more extreme, right? Is this the grittiest thing I've heard? No. I might give that to 9in nails downward spiral spiral. But even at that point, is that the grittiest thing ever created in sonically? Probably not. So, you know, perspective, uh, biases, what you've heard in life, what you're comparing this to is all going to play into this. But for me, it's it's a fairly gritty sound.

[00:21:47]It's also large, and there's a lot of staccato attacks in this. I had mentioned this in the uh verse I think was of the pre chorus where uh it's just constant eighth notes from the guitars shorter abrupter and no pedal tone in sight. Metallica loves to use pedal tone. It's a metal uh riff staple to have a pedal tone and then every once in a while play a little like cool part of a riff and then come back to the pedal tone and go back to the riff. That's not what Metallica does here. They just hit the chord. And it might not even be the chord. I think it might just be the root note uh of the well, not the root note, but a single note within the chord. It's like maybe like the fifth and then a sharp fourth and a second. It is descending, of course, cuz descent is a big theme on this track. But it is just the one note.

[00:22:43]We don't get to move around or dance around. It's just locked in. It's focused.

[00:22:49]And that focus, which we also see in the drum work throughout this entire track, um I think ties into a larger idea that right off the bat, every instrument sounds violent.

[00:23:04]It is gritty. It is heavy. It is weighty. But there's so much syncopation, not syncopation, uh staccato work on here. And when you hear that alongside the weight and size of these instruments, it is not something that feels dextrous. It is not something that feels pleasant or vibrant. A lot of it is just very sharp attacks. And I think attack is the word here.

[00:23:31]This track feels violent from the start to the end. That gritty, filthy, distorted violence is how I understand this track to be. Now, of course, it isn't always that. Well, before we segue, there is also the sound effects all throughout this track. There is a lot of riffage going on in here. There's more textural harmonic work like I had mentioned just kind of playing one note at a time kind of giving us harmonic information moving when the chord moves and no other thing going on in what the guitar or bass is are are doing. But there's also just a lot of screeching and bends and grinding which I'm going to assume is some sort of pick scrapes also that we heard at the beginning. But elsewhere in the track, there's all sorts of places where the song will cut out for a second and then just a sound will appear often with the right guitar, but the left guitar gets in on this as well.

[00:24:37]Um, it is once again just more of this filth, this violence. This isn't a normal song. Metallica has used their instruments texturally before, but more often than than not, the guitar work is riffbased.

[00:24:57]It's focused on melodic ideas.

[00:25:01]Metallica is actually really good for melodic riffs, and it's one of the things I love best about their wider discoraphy, just how many riffs are both sick, but also memorable melodies.

[00:25:14]And we don't really get much of that at all in here. We get the inverse actually, which is what new metal and alternative metal and even metal coral love to do is use the instrument as a texture to paint with it rather than use the language of music to create sounds and noise and textures to help build an atmosphere.

[00:25:35]This is something I don't think I've heard much of from Metallica prior to this. maybe a couple of ideas, particularly in their rockier side. Uh, but when I think back to their thrash metal, I mean, they were riff gods. They didn't need textures and sounds. They used riffs to to to tell their stories.

[00:25:56]Um, but I think that they do it phenomenally well here. Is it the best I've ever heard? No. But for a band who's never used it before, I think they picked up on it rather well. And you can actually hear it all throughout this album. It's a very different perspective to writing and is one of the reasons probably why most metal fans and Metallica fans in general weren't a big fan of this album. It is a totally different genre and with that comes new ways of speaking.

[00:26:22]No different than when your favorite, I don't know, metal band makes a pop album or tries it on electronic sound. Um, it's not going to work for everyone, but I find it fascinating that they understand the language of this other genre well enough to work within it. Um, and I find it really interesting that bands like King Gizard and the Lizard Wizard can get away with having a totally different sound every album and then Metallica fans get mad if Metallica isn't playing Metallica. [laughter] Two wildly different groups of fans. Uh, and I do think that we have lost a very interesting timeline where Metallica experimented more. This was a rough start, but a really great attempt.

[00:27:08]Execution might not have been great, but the vision was there. And I wish we could have seen Metallica experiment more.

[00:27:18]Uh, anyways, where were we? Excellent chorus. Violence and filth.

[00:27:25]If I were to hit uh momentum, there is one two moments technically in this track where the energy comes down and it's a it's the whole sound just drops. We have just two notes coming in over here, very light. And then the vocals are all within my and it's just a very light sound, but the notes that the vocal chooses to work on right here are very tense. We don't really know what's on the other side of this, but it probably isn't good. But what I love is the foreshadowing here.

[00:28:11]The drums do not stop. Quarter note snare this entire time. It is so noisy, so abrupt, and and clashing with everything else. All this energy drops.

[00:28:25]The layers are gone. We're focusing on lower volume. And the drums are just in the background smashing this snare over and over and over. Now they are produced a little lighter. It almost sounds as if they're pushed into the distance. And I think this really works because of course after this moment the whole band comes in and we kick into the pre chorus I think and uh you know it's big it's explosive especially coming out of this small idea. It feels like it came out of nowhere but the drums were telling us this whole time dude this is where we're going. We are bottling up this energy and while it looks calm and quiet on the surface there is a storm within waiting to bust out.

[00:29:06]And so the song never really feels like it has much pacing to it. It feels consistent. The intensity is always at a nine or a 10 throughout this track, even when it shouldn't. Maybe you don't you didn't even know why you still felt tense in those quiet moments. They felt like they should be soft. They should be low energy. And yet it doesn't really feel that way. And it's it really is the drums. They're produced in a way to kind of disguise them a little bit, but they're there. And I love that attention to detail because to me, Metallica isn't necessarily a theme band. I've never watched any behind the scenes on them.

[00:29:49]I'm not the biggest fan of Metallica. I know most of their big hit hits hits, some of their lesserk known, but there's tons of deep cuts I'm unaware of. Um, but to me, despite the fact that they have some songs that are really strong with tying musical themes and lyrical themes, I think one is a phenomenal track for this and maybe one of their best at creating an atmosphere that facilitates the story of the song. I don't think that this is always true for them and it wouldn't surprise me if I found out that they were a riff first band where they come up with riffs or drum parts. They build out a song and then some lyrics are sung to that that might match some of the emotional energy but isn't necessarily something that is designed to fit onetoone with the music.

[00:30:39]This though stands out to me again in a bit of opposition where there is almost perfect synergy all the time in this track.

[00:30:48]So let's go over the things here.

[00:30:50]Violence, grit, uh explosive energy, uh lots of clashing ideas, whether that is soft to loud ideas, smooth to jerky, uh you know, weigh down versus momentous, this is a track of opposites.

[00:31:12]And that takes us to the lyrics. The lyrics are about control, a violent kind of control.

[00:31:20]The chorus says that I will kill and crush all within my hands. I will squeeze it. I will choke it and trap it all.

[00:31:31]It's about ensuring that you have total control over what you have around you. We actually see this laid out really clearly. I'm not going to say that these are like, you know, phenomenal poetry here. This is all very uh very surface level. Um, the bridge says, "Control is love. Love is control. And I will fall if I let go. I will die if I let go."

[00:32:00]And if you ain't picked it up yet, he says, "I'll only let you breathe with the air that you receive."

[00:32:06]It is all about controlling your loved ones.

[00:32:11]This type of control is violent in nature. Maybe not necessarily physically, but emotionally, mentally.

[00:32:22]To bend your will completely to someone else's is subversive. Is it is a destruction of free will to serve for someone else at their whims. It is inherently about breaking someone and breaking lots of someone's.

[00:32:41]Although I think in this track in particular, it seems to just be our narrator and one other person. To me, I read this about anyone, anyone in his life that is close enough to him, he will try to control.

[00:32:59]We have the uh opening verse that says, "All within my hands, I will hold it dear. I will hold it until it suffocates. I will love it to death."

[00:33:12]It is a warped idea of what love is entirely.

[00:33:21]While it is a fairly juvenile lyrical set, particularly with the final part of the song, which I will touch on in a second, it does absolutely match everything in the music.

[00:33:38]This is a song about confusing one thing for another and believing so dearly that if you don't have that control that everything will fall apart. not realizing that you're destroying everything in the process, making it fall apart regardless. You are the progeniator of your own demise.

[00:34:00]Unfortunately, you're just tearing everyone else down with you. You're breaking them along with yourself.

[00:34:06]That's the tragedy of this track.

[00:34:10]the conflict within the song. How there seems to be this m mismatch is both the conflict within. Trying to control everything and keep it clean while also destroying it because your control is too tightly gripped, but also the conflict between those that he loves or believes he loves and him.

[00:34:34]There are these little sounds, particularly the pick scraping at the beginning, but also those really long bends that we hear out of nowhere from the right guitar in the chorus. I believe it is that to me kind of indicate through pop culture audio signifiers danger. I think right from the start we can tell that whatever this song is, it's going to be dangerous. And of course, it is about a dangerous narrator. But I think by the end of the song, we see somebody who has completely cracked. They've lost sight. They've lost sanity. Uh they've lost sight of what they're trying to achieve. I'm not quite sure particularly what they were going for because it is entirely too blunt, but just the repetition of kill over and over again with James really leaning into an almost untrained harsh vocal, which I think works really well. In this case, we heard James do one kind of comical scream at the end of uh the bridge. Um, and then we have these wild unhinged screams here at the end, too. It is it it's juvenile.

[00:35:50]Again, I don't think this is the best execution ever, but I get the idea that this person controlled everything around them so much that they lost it all. The bridge was I will fail if I let go.

[00:36:04]I'll lose everything if I let go of it.

[00:36:06]And in the end they lost anything anyways. Which means that their worldview, what they thought they had to do in order to stay sane and loved and happy didn't work. They were left with two things. A mental break or accepting their failure and the fact that they had this all wrong to begin with.

[00:36:28]Again, I don't think it's well executed, but I see the vision here. And I love James's commitment to this.

[00:36:35]I don't think that if any of these screams were done with more intention, if we had more traditional harsh vocals in here that it would have been improved. In fact, I think the opposite.

[00:36:47]This doesn't feel like someone who is making these screams because they're wellversed in it. Sounds like someone screaming because they just don't care anymore. It sounds very natural and human.

[00:37:00]It's uh it's a fun ridiculous ending.

[00:37:05]Absolutely. And honestly, I do wish the the track didn't have it. I wish they had found a different way to explore this uh narrative bit that the person had a break with reality after they had lost control through having too much control. The paradox of that rather than implying it and then going this fairly be movie horror thing where it's just way over the top and in your face and and blunt about it. But again, I do enjoy the commitment to the bit. And I do like the end of the track really focusing down on I would say the horror of this element because as far as I can read it, the end of this song isn't about enacting control anymore, but it's just someone who's turned into a murderer and is killing everyone around them. and the song slowing down to a snail's pace with these chords just lingering and then these really tense diads permeating through the air before we have another slow chord progression to me is as he mentioned at the beginning choking the life out of someone suffocating it with his hands Again, the execution is really not great.

[00:38:34][laughter] I can't defend that at all on this album. And this track, I think, is probably one of the worst as far as vision to execution uh separation.

[00:38:45]But I see the vision here. And I think that within the skills they had, they did this well.

[00:38:53]It's weird that as nuanced as Metallica sometimes can be and as poetic as their lyrics have been in the past, this is just an incredibly blunt song. But I think if we view the lyrics through the lens of a narrator who is like this, bluntness probably matches that really well. So, I I find myself kind of torn if this is phenomenally well done performance music or if it's just a decent track that could have been done better.

[00:39:25]Regardless, it still all comes together to me really well. And that chorus still hits. Dude, that is still such a good chorus. I do wish it was maybe a little shorter. I think for 9 minutes it's too long. But again, if we cut off the last minute and a half, I think it really allows the song to breathe a bit. Get rid of the kill section. I think that's where things really start to drag. Maybe found a different way to do it when it have felt so long.

[00:39:53]But this is still one of my favorite Metallica tracks. And as I mentioned earlier, I cannot find anything that hits like that chorus. Metallica found gold with that. They really did. And one thing I didn't even think about adding is James' voice just fits this style really well. I know people have compared his vocal range to the drop D or C or whatever they were playing in here and how there's a little bit of a mismatch there. Yeah, maybe. But I I've always found that to be a weird thing. James' range is fine for this.

[00:40:30]It's really weird to say somebody always sings in this range, so they can't sing any lower than it. It's always felt really weird to me.

[00:40:40]Uh, but I think James' grit and sort of his southern bluesy kind of vocals have always fit this style of grittier music well. And again, I think it's a shame that he's kind of locked into this thrash metal sound because Metallica sounds great. The typical stuff, uh, the the latest stuff sounds great with his voice on it. But I think he's just it's one of those cases where I really wish a singer had the chance to try other genres. Not even with Metallica, just James Hetfield with I don't know doing a feature on some sludge metal band. Let's hear him with Queens of the Stone Age for some stoner. Let's let's hear him with uh actually James singing on a to go back to King Gizard and the Lizard Wizard would be phenomenal.

[00:41:30]So, there's lots of cool projects out there that I'd love to have seen James do. And I I don't He's not getting too old. He can do it. But, you know, they are getting up there in age. I don't see them playing too much longer.

[00:41:46]Not saying they can't. It's just at a certain point, just call it, dude. It's not like they need the money. Creative outlet. Sure. I can I can appreciate that. As a musician and composer myself, if you've got ideas in your head, you got to get them out. But did y'all listen to 72 seasons? Is that what it was called?

[00:42:08]Uh, I don't know what the public Discord is on that, but that was not a highlight for me that year. [laughter] What was that, two years ago, three years ago? Uh, left no mark on me at all.

[00:42:21]I just kind of remember being generally wellelmed by it. Not great, not bad. Uh, anyways, if anyone knows James Hetfield and wants to get him in touch with me, I would I have I have a series of collabs I'd love to see him love to see him do.

[00:42:40]Anyways, just rambling about non all within My Hand stuff here. Let's wrap this up. These are my thoughts on Metallica's All Within My Hands. I listen to this album like a few times a year easily.

[00:42:55]I should say I listen to it in groups.

[00:42:57]Once I hear the album once, I'm like, "Dang." It goes on repeat for a few days, honestly. Um, and this is always the song that the back half of the album, I'd argue, is the best half of the album. It's where all the good ones are.

[00:43:12]And, uh, aside from the final few minutes, it's a good way to wrap up the album.

[00:43:17]Anyways, again, I'm rambling, dude. I I just have so much love for this. And I hate that this album is so maligned.

[00:43:22]What are your thoughts on All Within My Hands by Metallica. Let me know. Put all you know your your opinions, your perspectives, anything else you'd like to add into the comment section below.

[00:43:32]Above that in the description box, find a link to Linkree takes you here. You can find links to my music, ways to support the channel, a link to the Discord server, and so much more. Above that, if you could like, subscribe, and ring the bell. I greatly appreciate all three of those. Also, real quick, um, if if you need more convincing that say anger is actually good but just not well executed, uh, Todd Barish, I'm going to put his uh, YouTube link down below.

[00:44:00]He's done quite a few uh, St. anger covers, reimaginings, and uh yeah, phenomenal work. Capturing a lot of the essence of the original music while still finding ways to improve it and and pull out what at least he thought was the core of and essence of the tracks and turning them into solid bangers. Uh I think he did that with most of the album, maybe even the whole album. Uh, really cool project.

[00:44:31]And I know there was I forget the name of this other group. I know there was a a group of people who played the entire SA anger album with normal drums instead of steel drums with the snare turned off. And I know quite a few people were uh enjoyed that cover as well. And that was a full album cover. So, I mean, this is a really good album. It's just the execution is not all the way there. I I wish it wasn't slept on or hated as much. I'm rambling again. Um I have so much love for this album. I really do. That wraps it up for today.

[00:45:09]I'll be back tomorrow, 5:00 p.m. Eastern Standard Time, 9:00 p.m. UTC. Until next time, remember to be critical, not cynical, of the music you listen to. And have a fantastic morning, afternoon, or evening, whenever you choose to watch my videos.

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