Released on August 6, 2013, Heavy Metal Music is Newsted’s fiery reintroduction to the metal scene—a no-frills, riff-driven statement of purpose from a veteran who had nothing left to prove but everything left to say. Best known as Metallica’s long-serving bassist, Jason Newsted stepped out from the shadows and into the spotlight with a debut that’s heavy, honest, and surprisingly personal. This wasn’t just a side project—it was a full-force return to form.
At its core, Heavy Metal Music is exactly what its title promises: pure, unapologetic metal. Drawing from the grit of classic thrash, the stomp of groove metal, and even touches of doom, Newsted crafted an album that feels both familiar and ferocious. It doesn’t chase trends—it embraces tradition, with grit in its teeth and heart on its sleeve.
In an era where many legacy acts were softening their sound or leaning into nostalgia, Heavy Metal Music came roaring out of the gate with a refreshingly grounded approach. It’s heavy—but sincere. Loud—but focused. Newsted wasn’t trying to reinvent the genre—he was reminding us why we fell in love with it in the first place.
Riffs, Rage, and Reclamation: The Sound Takes Shape
“Heroic Dose” opens the album with a massive, detuned stomp. It’s thick, groovy, and instantly commanding. Newsted’s vocals—gruff and grounded—cut through the wall of sound with veteran confidence. The message is clear: the dose is strong, and it’s self-prescribed.
“Soldierhead” charges forward with military precision, driven by pounding drums and a barked vocal assault. The riffs are sharp and galloping, echoing early Motörhead energy with a modern crunch. It’s both an anthem and a war cry—short, punchy, and fully in control.
“...As the Crow Flies” slows things down to a sludgier, doomier pace. The Sabbath influence is strong here, but Newsted makes it his own with dynamic vocal phrasing and a heavy sense of atmosphere. It’s a highlight not just for its weight but for its brooding tone.
“Ampossible” leans more melodic—though still heavy—with layered guitars and a chorus that borders on anthemic. It’s the kind of track that shows Newsted isn’t afraid to blend grit with emotion, and it works surprisingly well.
From the Shadows to the Spotlight: The Depth Builds
“King of the Underdogs” is a mission statement. With a crawling groove and a defiant vocal delivery, Newsted embraces the role he’s often been given—outsider, survivor, underdog—and turns it into strength. It’s one of the album’s most personal moments and one of its most powerful.
“Nocturnus” brings in some of the darkest tones on the record, blending eerie guitar melodies with a slow, crushing rhythm. It’s heavy in the emotional sense too—haunting, restrained, and full of atmosphere.
“Twisted Tail of the Comet” picks the pace back up with a relentless gallop. The double-bass drumming kicks into overdrive, and the guitars churn like engine pistons. It’s an underrated thrasher that shows the band can still bring speed when they want to.
“Above All” closes the album with purpose. It’s not a dramatic finale but a grounded one—staying true to the album’s identity: straight-up, no-bull heavy metal. The final notes feel like a mic drop from a man who's said what he came to say—and meant it.
Performance and Production: Veteran Power on Full Display
Jason Newsted steps into the frontman role with surprising ease. His vocal performance is raw but effective—equal parts Lemmy, Hetfield, and entirely his own. It’s not about range; it’s about conviction, and he has it in spades.
His bass tone, as always, is thick and aggressive. It’s not buried—it’s front and center, anchoring the band’s sound and giving it serious heft. The low-end growl is unmistakably Newsted.
The guitar duo of Jessie Farnsworth and Mike Mushok (Staind) bring a versatile approach, from down-tuned chugs to melodic leads. They don’t overplay—they lock into grooves and riffs that serve the song, not the ego.
Jesus Mendez Jr. delivers tight, no-frills drumming throughout. It’s muscular, steady, and hits with impact, especially on tracks like “Soldierhead” and “Twisted Tail.”
The production—handled by Newsted himself and Anthony Focx—is thick and modern without being overly polished. The guitars roar, the bass snarls, and the drums punch hard. It’s a rawer mix than many modern records, but that’s part of its charm. It feels real.
Final Verdict: 9/10
Heavy Metal Music is exactly what it claims to be: a back-to-basics, riff-first, heart-forward metal album from one of the genre’s most underrated figures. It’s not trying to be groundbreaking—it’s trying to be loud, honest, and heavy. And it nails all three.
Twelve tracks of unpretentious, battle-hardened metal, this debut is a triumph of spirit more than flash. For fans of old-school aggression, groove, and grit, Heavy Metal Music is a welcome reminder that sometimes, keeping it simple is what hits the hardest.
A decade later, it still stands tall—proof that Jason Newsted didn’t just support heavy metal’s biggest bands; he could carry one himself.
