DISC ONE
After a string of albums which solidified Metallica as the loudest, hardest, and definitely most intense heavy metal band since the days of Black Sabbath, Blue Oyster Cult, and Motörhead, and being easily recognized as the most popular metal band of the last ten years, Metallica decided to do something not unfamiliar to them for their next studio album: put out a set of cover versions of songs which had inspired, amused, and influenced not only them, but legions of rockers worldwide. However, unlike the minute offerings of the past, this would be something much more: an entire album's worth of new covers, as well as a second disc of 16 killer songs released from 1984-1995. Normally, when a band resorts to covering the material of other bands, it is a signal that
their time in the limelight is about to be reduced to the glow of a 40-watt desk lamp. But with these boys, it was about more than covering classics and tandards; it was about paying tribute to their heroes. And what a tremendous tribute it is.
As the album rips open with the Discharge song "Free Speech For The Dumb," one is inclined to ask "Is this really Metallica?" After all, for the previous three albums, the boys had been as heavy as ever, but with a much more refined sound than before. This song is nothing but shredding guitars, thunderous rhythms, and howling vocals. Oh yeah, it's Metallica all right, and there's no stopping them now. Just wait to hear what else they have up their sleeve...
It's no secret that Metallica was influenced heavily by Diamond Head, particularly in the early days of the band. Diamond Head was heavy and epic-sounding, but they also had humor, and this shone through on Metallica's roaring, nearly hilarious cover of "It's Electric." Also quite funny, yet very serious, is their version of "Sabbra Cadabra," originally released on Black Sabbath's Sabbath, Bloody Sabbath album. In the 1980's, and perhaps even the 1990's, few if any would have ever pictured James Hetfield singing, "Feel so good, I feel so fine/Love the little lady always on my mind", but you know what? It isn't so bad as one might think. In fact, it's rather good. But the original version tailed off into an acoustic, mellow ending. Since Metallica could not have that, they threw in a piece of the Sabbath song "A National Acrobat," also from Sabbath, Bloody Sabbath. With more doom-laden lyrics, it added that dark edge that Metallica is known for.
Next up is "Turn The Page," originally by Bob Seger. After their many years on the road and reputation for being the ultimate touring band for heavy metal, this song about the not-so-glorious side of life on tour is no surprise. What is a surprise is how well it is done: Hetfield's voice is in top condition, and replacing the sounds of pianos and saxophones on the original with guitars on Metallica's version sounds as natural a choice as could be made.
Next up is a triple shot of pure mischief: covers of the classic Misfits tune "Die, Die My Darling," Nick Cave and the Badseeds' "Loverman," and a medley of Mercyful Fate tunes, including "Satan's Fall," "Curse Of The Pharaohs," "A Corpse Without Soul," "Into The Coven," and the simply stated "Evil." On "Die, Die My Darling" Hetfield gives only the slightest semblance to singing amidst the wicked howls of "Just shut your pretty mouth, I'll be seeing you again - I'll be seeing you in Hell!". On "Loverman," a deeply spoken monologue and the painful bellows of a man drowning in his own despair are the highlight of the song, while the Mercyful Fate medley is simply a sinister good time for all, with Metallica singing evil lyrics that predate their own "Devil's Dance" by fifteen
years.
Again comes a triple shot, but this time of classic rock that many of their newer fans might know; but many had probably not heard these songs before Metallica presented them. A cover of Blue Oyster Cult's "Astronomy" finds the band playing in a heavy classic rock fashion, with Hetfield singing at the top of his vocal range, almost having to strain his vocal chords to hit the higher notes. Next comes a balls-out-take-no-prisoners version of Thin Lizzy's arrangement of the traditional Irish folk-song "Whiskey In The Jar." While obviously heavier than Phil Lynott could ever have made it, even fans of the late Celtic-Rock god can appreciate this faithful cover. And then comes an acoustic rendition of the Lynyrd Skynyrd standard blues number "Tuesday's Gone." With a host of special guests, including Pepper Keenan on dueling lead vocals, John Popper on harmonica, and most importantly Skynyrd's own Gary Rossington on lead guitar, this song finds Hetfield's voice at its most bluesy, and the rest of the band's musicianship at its most soulful.
Finally, this part of the album draws to a close with another Discharge cover, "The More I See." As it opens this time with Lars Ulrich's rock-steady drumming and Jason Newsted's pounding bass, the double guitar attack begins slowly, and eventually leads into Hetfield once again growling with the intensity of a newly castrated grizzly bear ready to kill. With its threatening, downtrodden lyrics, one doesn't know whether to jump and scream or cower under the table. But wait!- as if this all weren't enough to go crazy for, there's still a lot more to come.
DISC TWO
Garage Days Re-Revisited '87
Released in time for the band's appearance at the legendary Castle Donnington festival, it showcases the (at that time) newly formed line-up of Ulrich/Hetfield/Hammett/Jason Newsted, who had replaced the legendary Cliff Burton after the tragic events on the European leg of the tour supporting Master Of Puppets. The first track is (predictably) a Diamond Head number called "Helpless." This fast, angry tune is a sharp contrast from "It's Electric," yet both are from the same album. It showcases the raw energy Metallica had when they were just messing around. This is followed by perhaps the heaviest, most brutal cover Metallica has ever produced, the Holocaust song "The Small Hours." It is a mean brute that trudges along with the same feel as brigade of slow moving tanks about to demolish whatever dares to step in the way - definitely the highlight of this E.P. "The Wait," by the band Killing Joke, follows "The Small Hours" with a shot of pure NWOBHM attitude and speed. Next is the half progressive/half heavy-as-an-elephant Budgie tune "Crash Course In Brain Surgery." The set is rounded out with the sadistic (yet funny as hell!) Misfits double-shot of "Last Caress/Green Hell."
Garage Days Revisited '84
Actually a double B-side to the 1984 "Creeping Death" single, these songs were recorded basically because the band did not have enough material to put on a
non-album original piece to the single. Bet you can't guess what band Metallica covered to begin their original Garage outing... that's right, Diamond Head. But this one is different: "Am I Evil?" is one of the definitive NWOBHM songs, and was definitely the highlight of their 1980 release Lightning To The Nations. Metallica has been playing this one live since the beginning of its career, and has always done a faithful rendition of it. In fact, it is so well known that many people believe it to be a Metallica original (even though the writing credits say otherwise). The other song on this E.P. is a roaring piece called "Blitzkrieg," by the band Blitzkrieg. While not quite the song that "Am I Evil?" may be, but it fits well amidst Metallica's music.
B-Sides & One-Offs '88-'91
This section begins with an oldie-but-goodie, "Breadfan," which was originally released by the band Budgie in 1973. Despite coming from the same time period as other classic rock songs covered on this album, it is heavier than any of them. While not a tremendously prolific song, it serves the purpose of being a great headbanging tune. Next up is "The Prince," by (who else?) Diamond Head. The last of their tunes to be showcased on this album, it is perhaps the fastest, most driving song that Metallica covered. It has the least commercial appeal of any of the Diamond Head covers, but it really is a killer. "Stone Cold Crazy," by Queen, is the next monster to appear. While Queen's version actually was rather heavy, Metallica pumped it up on steroids and gave it a fresh sound (as well as a bit of profanity not found in the original). James actually got to perform this with the remaining members of Queen in 1992 at Wembley
Stadium in London, England as part of the Freddie Mercury tribute concert, which is well worth hearing. Perhaps no other song sums up Metallica's bad attitude than the vulgar, profane, foul, offensive, and downright hilarious "So What," originally released in 1981 by the Anti-Nowhere League. While not for the weak at heart or easily offended, this song is nothing but a good time pub song. The set is rounded out by the Sweet Savage tune "Killing Time" from 1981. It is rather wicked in a humorous way, but what else do you want from Metallica?
Motörheadache '95
Taken from rehearsals for their upcoming appearance at Lemmy Kilmister's 50th birthday party, these songs show Metallica at its most raw and care-free. While James Hetfield doesn't even come close to capturing the intensity of Lemmy's buzzsaw vocals on any of the songs, they are a treat to listen to just the same. First up is the Motörhead standard "Overkill," from 1979. With its double kick-drum intro and heavy rhythms, it shows Metallica still had fire in their bellies. Even though Hetfield completely missed the third verse, the song is easily the best of the four Motörhead tunes covered. "Damage Case," also originally on the Overkill album as well, follows. It's a good time song, and even has the potential to be danced to because of its classic rock & roll
beat. Again, it lacks the intensity of the original, but compared to Motörhead, most things do. The 1979 Bomber album provided "Stone Dead Forever," which actually does come close to being as balls-out as the original, thanks to the growls of Jason Newsted on backing vocals. Not one of Motörhead's best tunes, Metallica did a good rendition of it. The 1979 B-side "Too Late Too Late" closes the album, and while perhaps not the best choice to do so ("Overkill" would have been ideal), it certainly leaves the listener deaf and dumb. Overall, this set is possibly the closest Metallica came to recreating the garage feeling of their early years together. The music is top-notch, certainly. It is not without flaw, but that's the way a "garage band" should be: gloriously imperfect.
