Their first albums have no ballads. Elsewhere, Dancing Undercover and Master of Puppets (their 1986 albums) are comparable in terms of being favourably influenced by non-metal music. Dancing Undercover is also comparable to St. Anger in that it was the only other album to have no ballads. Robbin Crosby once said the self-titled début EP of Ratt was the real Ratt before they got too posh and polished (the irony being that it was produced by the same guy who wrote Walk like an Egyptian for The Bangles and the 21 Jump Street theme).
I can imagine a Metallica fan saying that Kill ’em All showcases the real Metallica before they got too progressive, poetic and passionate (Ratt’s singer described his vagrant lifestyle as consisting of paychecks, parties and pussies). It’s the only album where you can fully appreciate Cliff as a bassist. Ironically, Kill ’em All is their lightest album because the incredibly quick nature of the riffing meant that the guitars had to have a higher-than-usual tuning so that the music was coherent. It’s their cleanest-sounding record (ditto for Ratt’s powerfully pop Detonator).
Rob’s role in Ratt was comparable to Cliff’s role in Metallica. Bobby Blotzer claimed that Rob was a genius who was the backbone of Ratt’s success. Stephen Pearcy claimed that Rob made Ratt retain their metal identity. As for other comparisons, both rhythm guitarists wore shirts based on A Clockwork Orange. Both also had less flashy guitar solos. Elsewhere, James and Rob were described with royal titles for a reason which wasn’t to do with music.
Rob was nicknamed King because his height reflected his maturity, whereas Lonn Friend (a journalist) described James as a kind soul with magnificent character who is a prince in a land of few gentlemen (James played with his daughter during the making of the self-titled album). Reach for the Sky was to Ratt what …and Justice for All was to Metallica (their fourth albums). Both albums started production with famous producers by the name of Mike, and were released in 1988 (their darkest year of debauchery).
Ratt’s producer was Mike Stone, who produced Whitesnake’s blues metal ’87 LP (a very big hit) whereas Metallica worked with Mike Clink, who produced G’N’R’s bluesy Appetite for Destruction (also ’87). Both producers were more suited to the opposite band (Clink for clean-cut rock and Stone for hard-hitting rock). Unfortunately for both bands, the two Mikes weren’t really what they anticipated, resulting in both bands returning to their tried and true producers who were seen as the answers to their problems.
For Ratt, it was Beau Hill. For Metallica, it was Flemming Rasmussen. The situations were difficult enough that, when their former producers were hired, they underwent salvage missions. However, this did not stop the two metal bands from capitalizing on the commercial appeal of mentioning these big names of whom they collaborated with. Ironically, both LPs would mark the final time that they would work with their time-tested producers.
The amount of material that was written for Ratt’s and Metallica’s ’88 offerings was at an all-time high as well. The artwork of both albums (whilst being conceptually diametrical) were their most ambitiously conceived. They feature epic portrayals of classical-styled female figures (with the lightest skin tones) within a context that represents the themes of the albums. Their stage shows were certainly larger than before with large recreations of the album covers in different forms. For Ratt, it was displayed on curtains. For Metallica, it was depicted as a statue – sort of like Spın̈al Tap.
Actually, both bands are the ultimate embodiment of Spın̈al Tap. With Metallica, their black album is comparable to the latter’s Smell the Glove. As for Ratt, they are the best example of a metal band who is more of a household name in Japan than they are in America. Ratt being produced by Desmond Child for their fifth album (Detonator) is definitely comparable to Metallica being produced by Bob Rock for their fifth album (Metallica). The making of The Unforgiven for A Year and a Half in the Life of Metallica makes me wonder what Juan Croucier filmed in regards to the making of Givin’ Yourself Away.
Warren DeMartini’s middle solo is just as soulful as Kirk’s solo. Givin’ yourself Away is the most supreme example of a song having intro, bridge, versus, chorus and outro solos. In general, I would love to see what home movie footage that Juan has of Ratt (especially the making of the Detonator album). Both bands are so equally good that their first 5 albums contain memorable songs from start to finish. People might detest how I attest Ratt to be a metal band that’s worthy of being mentioned in the same breath as Metallica, but duly note that a lot of Ratt’s songs were written in minor key. Also, Ratt were self aware enough to not have songs with rock in the titles.