I do feel Metallica tried to cram too much into one song. It is very tactful and respectful, not entering parody at all. I give Hetfield high praise for tackling the vocal styling of King Diamond. Whether it is the first time you have heard this medley or the 50 th, settle in and get comfortable because this 12-minute opus is a monstrous undertaking, both for the band and our ears. I do feel the song drags a bit and could have easily been a couple of minutes shorter, but that is my only complaint. My favourite part of the track is the slow spell-out portion that leads back into the heavy screaming bit. Metallica peppers “Loverman” with so many unique sounds and noises that it is hard to tell that it is in fact a Metallica cover, until the chorus that is. The song is simply a trip, there is no other way to put it. I consider “Loverman” to not only be the most experimental cut on the record, but also the most interesting choice in artists/songs that Metallica has covered. It is a sheer delight from start to finish and Hetfield’s “Just die-uh” at the end of the song finishes it nicely. It is my favourite of all the “Misfits” covers that Metallica has tackled over the years, with its up-tempo groove and catchy-as-hell melodies. To date, it has been performed 170 times since 1998. “Die” has the distinction of being the most played song from the album. Kudos are to Hammett who delivers subtle and effective slide guitar work. It is a powerful song that is made even stronger with the accompanying video. The back half of the song is my favourite portion, a “Reload” influenced solo leads us on a pure Hetfield Odessey where he finds a new voice and delivers some goosebump-inducing melodies. The remarkable thing about all Metallica cover songs is that they maintain the soul and spirit of the original artist’s vision all while introducing elements that are distinct “Metallica.” “Page” represents are rare occasion where a cover song transcends the original. The transition between “Cadabra” and “A National Acrobat” is seamless, with the latter being the highlight of both sections for me. The mix of Tommy Iommi’s Riffs and Ozzy’s lyrics performed by Metallica is too great for one song. When I listen to “Garage Inc.” the word FUN always enters my mind, and “Sabbra Cadabra” is no exception.īlack Sabbath is a band that you would expect Metallica to cover, and I cannot think of better songs for them to pay homage to. It is not overproduced, and as with most of the record, they let the vocals stay raw, which conceptually fits the record. Overall, the song works for me on all levels, but the highlight of this song is James Hetfield’s vocal performance. The songs are at opposite ends of the spectrum, and I consider “Electric” to be the proper beginning of the album. The juxtaposition between the harsh and steady “Speech” into the highly energetic “Electric.” is nice. Kirk Hammett has a couple of forgettable guitar fills, so let us say I am happy that the runtime of this song is less than three minutes. With that said, the guitar tone is heavy and punishing, which sounds nice and meaty when mixed with Lars Ulrich’s Drum tone. I understand the band was looking to make a statement by opening and closing “Garage Inc.” with a “Discharge” song, it just fails to draw me in. “Speech” is my least favourite track of the album. So, in honour of the release of “Garage Inc.” here is my track-by-track review. It collected all the previously released cover songs (Garage Days Re-Revisited) and Japanese C-Sides (According to Lars Ulrich.)įor the sake of this review, I elected to cover the first disc. “Garage Inc.” is a two-disc set that is part cover and a part compilation album. The band was in their most productive period as “S & M” would be released in 1998. On November 24 th, 1998, Metallica released “Garage Inc.” The release marked the third consecutive year with a Metallica album.
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