Download: NEW RECORDINGS ’98

NEW RECORDINGS ’98 1. FREE SPEECH FOR THE DUMB (2:35) 2. IT’S ELECTRIC (3:33) 3. SABBRA CADABRA (6:20) 4. TURN THE PAGE (6:06) 5. DIE, DIE MY DARLING (2:26) 6. LOVERMAN (7:52) 7. MERCYFUL FATE (11:10) 8. ASTRONOMY (6:37) 9. WHISKEY IN THE JAR (5:04) 10. TUESDAY’S GONE (9:03) 11. THE MORE I SEE (3:23) GARAGE DAYS RE-REVISITED ’87 12. HELPLESS (6:36) 13. THE SMALL HOURS (6:40) 14. THE WAIT (4:52) 15. CRASH COURSE IN BRAIN SURGERY (3:08) 16. LAST CARESS/GREEN HELL (3:29) GARAGE DAYS REVISITED ’84 17. AM I EVIL? (7:50) 18. BLITZKRIEG (3:36) B-SIDES & ONE-OFFS ’88-’91 19. BREADFAN (5:41) 20. THE PRINCE (4:24) 21. STONE COLD CRAZY (2:17) 22. SO WHAT (3:08) 23. KILLING TIME (3:03) MOTORHEADACHE ’95 24. OVERKILL (4:05) 25. DAMAGE CASE (3:40) 26. STONE DEAD FOREVER (4:51) 27. TOO LATE TOO LATE (3:12), ng Nig htly i Appea r TheMetallicats overing all you r favorites c,

JAMES HETFIELD – GUITARS, VOCALS NEW RECORDINGS ‘98 GARAGE DAYS RE-REVISITED ‘87 22. SO WHAT LARS ULRICH – DRUMS (Exalt/Culmer) KIRK HAMMETT – GUITARS 1. FREE SPEECH FOR THE DUMB 12. HELPLESS Published by Link Music Ltd(Morris/Wainwright/Molaney/Roberts)

JASON NEWSTED – BASS (Harris/Tatler) Originally released by the Anti-Nowhere League in 1981Published by Maxwood Music Ltd Published by Happy Face Music Ltd/Zomba Enterprises, Inc as a B-side to the “Streets of London” single Originally released by Discharge in 1982 on the “Hear Nothing See Nothing Say Nothing” album Originally released by Diamond Head in 1980 23. KILLING TIME Tracks 1-11: on the “Lightning to the Nations” album (Sweet Savage) Somewhat produced by Bob Rock with Hetfield & Ulrich 2. IT’S ELECTRIC(Tatler/Harris) 13. THE SMALL HOURS Published by Telstar Music Engineered by Randy Staub Originally released by Sweet Savage in 1981Published by Happy Face Music/Zomba Enterprises, Inc (Holocaust) Additional Engineering by Brian Dobbs as a B-side to the “Take No Prisoners” single Assisted by Kent Matcke, Leff Lefferts and Chris Manning Originally released by Diamond Head in 1980 Published by Edgy Music Ltd on the “Lightning to the Nations” album Originally released by Holocaust in 1983 Tracks 22-23 originally released by Metallica in November Digital Edits by Paul DeCarli and Mike Gillies 1991 as B-sides to “The Unforgiven” UK single 3. SABBRA CADABRA on the “Holocaust Live – Hot Curry and Wine” EPRecorded & mixed at The Plant Studios, (except Track 10), Sausalito, California, in September-October 1998 (Featuring an excerpt from A NATIONAL ACROBAT) 14. THE WAIT MOTORHEADACHE ‘95 Mixed by Randy Staub and Mixed by Mike Fraser (Black Sabbath) (Killing Joke) Published by Essex Music, Ltd Published by E.G.Music Inc/BMG Music 24. OVERKILL Mastered by George Marino at Sterling Sound (Kilmister/Clarke/Taylor)Originally released by Black Sabbath in 1973 Originally released by Killing Joke in 1980 Published by EMI Intertrax As always, thanks to all the good people involved at The Plant on the “Sabbath Bloody Sabbath” album on the “Killing Joke” album Originally released by Motorhead in 1979 Tracks 12-16: Not very produced by Metallica 4. TURN THE PAGE 15. CRASH COURSE IN BRAIN SURGERY on the “Overkill” album Engineered by Csaba “The Hut” Petocz (Seger) (Shelley/Bourge/Phillips) 25. DAMAGE CASE Recorded in Los Angeles, California, in 1987 Published by Gear Publishing Co Published by Essex Music International, Ltd (Kilmister/Clarke/Taylor/Farren) Tracks 17-18: Produced by Metallica and Mark Whitaker Originally released by Bob Seger in 1973 Originally released by Budgie in 1971 on the “Budgie” album Published by EMI Intertrax Engineered by Jeffrey “Nik” Norman on the “Back in ‘72” album 16. LAST CARESS/GREEN HELL Originally released by Motorhead in 1979 Recorded in Sausalito, California, in 1984 5. DIE, DIE MY DARLING (Danzig) on the “Overkill” album CLIFF BURTON – BASS (Danzig) Published by Evilive Music 26. STONE DEAD FOREVER Tracks 19-20: Not produced Published by Evilive Music “Last Caress” originally released by The Misfits in 1980 (Kilmister/Clarke/Taylor) Engineered by Mike Clink and Toby “Rage” Wright Originally released by The Misfits in 1984 as a single on the ”Beware” EP. “Green Hell” originally released Published by EMI Intertrax Rough mix by Flemming Rasmussen 6. LOVERMAN by The Misfits in 1983 on the “Earth A.D.” album. Originally released by Motorhead in 1979Recorded in Los Angeles, California in 1988 (Cave) Tracks 12-16 originally released by Metallica in August 1987 on on the “Bomber” album Track 21: Kind of produced by Metallica Published by Mute Songs Ltd/Windswept Pacific Songs The $5.98 E.P. – Garage Days Re-Revisited 27. TOO LATE TOO LATE Engineered by Toby “Rage” Wright Originally released by Nick Cave and the Bad Seeds (Kilmister/Clarke/Taylor) Recorded in Berkeley, California in 1990 in 1994 on the “Let Love In” album GARAGE DAYS REVISITED ‘84 Published by EMI Intertrax Tracks 22-23: Roughly produced by Bob Rock 17. AM I EVIL? Originally released by Motorhead in 1979with Hetfield & Ulrich 7. MERCYFUL FATE as a B-side to the “Overkill” single (Featuring SATAN’S FALL, CURSE OF THE PHARAOHS, (Harris/Tatler)Engineered by Randy Staub Recorded in Los Angeles, California, in 1991 A CORPSE WITHOUT SOUL, INTO THE COVEN and EVIL) Published by Happy Face Music Ltd/Zomba Enterprises, Inc Tracks 24-27 originally released in September 1996 by Metallica (Shermann/Diamond) Originally released by Diamond Head in 1980 as B-sides to the “Hero of the Day” UK single Tracks 24-27: Not produced Published by Roadblock Music, Inc on the “Lightning to the Nations” album Recorded live direct to two-track at The Plant Studios in Sausalito, California, in December, 1995 “A Corpse Without Soul” originally released by Mercyful Fate in 18. BLITZKRIEG1982 on the “Mercyful Fate” EP. All other songs originally Mixed by Randy Staub (Jones/Smith/Sirotto)released by Mercyful Fate in 1983 on the “Melissa” album. Published by Men From The North Ltd Remastered by George Marino at Sterling Sound 8. ASTRONOMY Originally released by Blitzkrieg in 1981 Album Design by Andie Airfix at Satori (S.Pearlman/A.Bouchard/J.Bouchard) as a B-side to the “Buried Alive” single Front cover photography and “Metallicats” photograph by Anton Corbijn Published by Sony ATV Tunes Tracks 17-18 originally released by Metallica in November 1984 Back cover photography of original sleeve by Ross Halfin Originally released by Blue Oyster Cult in 1974 as B-sides to the “Creeping Death” UK single Additional photography by Ross Halfin and Mark Leialoha on the “Secret Treaties” album Management by Q Prime, Inc. B-SIDES & ONE-OFFS ‘88-’919. WHISKEY IN THE JAR (Traditional) 19. BREADFAN Released by Thin Lizzy in 1972 as a UK single (Phillips/Shelley/Bourge) Published by Essex Music International Ltd 10. TUESDAY’S GONE Originally released by Budgie in 1973 (Collins/Van Zandt) on the “Never Turn Your Back on a Friend” album Published by MCA Duchess Music Originally released by Lynyrd Skynyrd in 1973 on the 20. THE PRINCE “Pronounced Léh-nérd Skin-nérd” album (Harris/Tatler) Published by Happy Face Music Ltd/Zomba Enterprises, Inc Original Metallica (& friends) version heard on the “Don’t Call Us, We’ll Call You” radio special on December 18, 1997 Originally released by Diamond Head in 1980 FOR FAN CLUB INFORMATION GOon the “Lightning To The Nations” album Jerry Cantrell appears courtesy of Columbia Records. Les Claypool appears courtesy of TO WWW.METALLICA.COM Interscope Records and Primus. Pepper Keenan appears courtesy of Columbia Records and Tracks 19-20 originally released by Metallica in September 1988 as Corrosion Of Conformity. Sean Kinney appears courtesy of Columbia Records. Jim Martin B-sides to the “Harvester of Sorrow” UK single appears courtesy of himself. John Popper appears courtesy of A&M Records and Blues Traveler. Gary Rossington appears courtesy of CMC International. 21. STONE COLD CRAZY metallica.com (Mercury/May/Taylor/Deacon) 11. THE MORE I SEE Published by Glenwood Music Corp (Morris/Wainwright/Molaney/Roberts) Published by Maxwood Music, Ltd Originally released by Queen in 1974 Originally released by Discharge in 1984 as a single on the “Sheer Heart Attack” album Originally released by Metallica in September 1990 on ”Rubaiyat,” Elektra’s 40th Anniversay compilation album ©1998 Blackened Recordings. 4, ering nearly 30 years of metal, thrash, light-opera singer, raised in a strict punk, post-punk and otherwise – that Christian Science household – answers doesn’t have a vital, valid connection to the ad; jam sessions start. In the fall of Metallica’s history and ambition. This is ‘81; the band (briefly including guitarist, the stuff that made the classic lineup(s) Lloyd Grant) cuts “Hit the Lights,” which – Hetfield, Ulrich, guitarist Kirk ends up on a local, independent compila- Hammett, bassist Jason Newsted and tion, Metal Massacre. First shows in his crucial predecessor, the late, great early ‘82. World conquest begins. bass monster Cliff Burton – want to There is, of course, more. Born play instruments, form a band, hit the December 26, 1963 in Copenhagen, road and write original songs. In short, Ulrich enjoyed the kind of breezy inde- to be as good, and maybe even better, pendence and cultural exposure only than the records they loved. possible in a truly bohemian family. His But that was down the road apiece. father, Danish tennis pro Torben Ulrich, That night in Anaheim; the show a was a jazz head, tight with many of the week later opening for British cult gods expatriate American stars living in Saxon at the Whisky A Go Go in Los Scandanavia. Lars’ godfather was the Angeles; the Blitzkrieg, Sweet Savage great saxophonist Dexter Gordon; trum- and four Diamond Head songs they peter Don Cherry lived down the street. played at those shows – there was a One of Lars’ first rock-concert experi- simple reason for all that. “It was,” ences was going with his parents to the Ulrich insists, “just, ‘Let’s do something Rolling Stones’ historic free show in London’s Hyde Park in July, 1969 – he

It may be the worst thing you “Whole Lotta Love” and “How Many

can say about a rock band: More Times.” “They just play covers.” The Who, the Beach Boys, Deep

The very word Purple, the Yardbirds, the Sex

– covers – is terse and ugly. Pistols, the Allman Brothers, BlueÖyster Cult, R.E.M.: they were all It stinks of long nights in smelly bars cover bands at one point – on stage, run by shitbird owners who pay base- on B-sides, in the garage. Go back 16 ment wages. It reeks of four-and-more years – past the sold-out, 24-month sets a night, tired hits, human-jukebox tours; the gizzillion-selling albums; arrangements and dispiriting crowds, the MTV video awards – and yeah, dazed barflies and howling frat guys Metallica played covers. From Day more interested in getting laid – or One. At their debut live perform- just laid out on hard drink – than in ance, in March, 1982 at a club called getting rocked. Radio City in Anaheim, California, But everybody who’s anybody has Metallica – the first gigging four- done it; there’s no better kind of rock some of drummer Lars Ulrich, singer- & roll schooling. Every great band, any guitarist James Hetfield, bassist Ron superstar combo that has ever truly McGovney and guitarist Dave fun. mattered, started out playing covers, Mustaine – performed everything Here are these records we sit around was five. Lars was nine when he saw forging an identity and agenda out of they knew. That included three orig- and listen to, here are the records that Deep Purple in Copenhagen. the licks and kicks of other people’s inals, all they had so far: “Hit the get us off. It would be fun to play some Ulrich was already a teenage metalhead songs: the Beatles in Hamburg, gassed Lights,” “Jump in the Fire” and an of this music.’ We started life as a cover when he was knocked flat by the young- on German beer and amphetamines, early blueprint of “The Four band.” blood renaissance that ripped through roaring through Chuck Berry and Carl Horsemen” called “Mechanix.” And You probably know at least the pocket- England between 1979 and 1983, a roar- Perkins; the Rolling Stones in London there were seven covers, all pulled edition version of Metallica’s origins: A ing hybrid of air-guitar testosterone and blues pubs, putting an English, subur- from Ulrich’s deep library of British Danish-born, junior-tennis player and punk-ish DIY temper christened the New ban spin on the black Chicago mojo of metal-underground aspiring drummer, living Wave of British Heavy Metal by Geoff Howlin’ Wolf, Jimmy Reed and Muddy vinyl. in Southern California Barton, a writer for the British music Waters; the Grateful Dead taking Five of those covers are with a massive record weekly Sounds. In L.A., where he 20-minute improv rambles through on this album. One of collection, places a news- moved with his parents in 1980, Ulrich Bob Dylan and classic Motown at acid- them, “Am I Evil?” by paper ad in the spring of kept up to date with the torrent of U.K. dance parties in San Francisco; Led Diamond Head, is still a 1981 seeking like-minded indie-label and living-room-imprint Zeppelin dropping napalm shots of Metallica-encore stan- headbangers. A guitarist releases (some with pressings in the low Buddy Holly, the Buffalo Springfield, dard. In fact, there is from the L.A. suburbs – three figures) by subscribing to an Spirit and the Sun Records catalog nothing in this collec- the son of a trucking- English mail-order house, Bullit Records. into the elastic jam sections of tion – 27 songs or med- company owner and He was such a loyal customer that after 5 leys from 18 artists cov-, Savage, Tygers of Pan Tang. I would ‘Xanadu’ by Rush and Led Zeppelin’s stay over at his place for days at a ‘Kashmir.’ We liked epicness; we want- time, making tapes of his records ed things to be grand.” and sleeping on the carpet. “Am I Evil?,” “The Prince,” “Helpless” “The other thing that was amazing and “It’s Electric,” – all from Lightning to me was that all these bands lived – are covered here. The first three in the same cities and towns in were performed in Anaheim and at England, scraping the money the Whisky. (A fourth number from together to make a single. In the album, “Sucking My Love,” was Birmingham, there would be ten bands and they’d all sound differ- ent.” In L.A., you could go stupid from hearing local bands wringing the life out of the same old tem- plates – Aerosmith, Zeppelin, Purple, AC/DC. Two decades later, it is hard to imag- ine why a scene as short-lived and geographically provincial as the NWOBHM was such a wow. Many of the hallowed, seven-inch artifacts of the day sound like rushed, shoe- Lightning was an Ulrich passion string-budget demos, which many and Diamond Head became one of actually were. There is also the lin- the single biggest influences on gering aroma of rock-warrior cheese Metallica’s sound and modular riff- in fly-the-flag anthems like Diamond based style of composition. Ulrich Head’s “It’s Electric”: “I’m gonna be a even roomed with Harris and Tatler rock’n’roll star/Gonna groove from during that ‘81 trip and sat in on night to day..” their writing sessions. dropped from the set soon after.) Maybe you had to be there. I was – “I used to go over to the singer’s Diamond Head were, Ulrich bluntly in the spring of 1980, on a Def house and we’d write in his bed- declares, “50 percent of what ended Leppard tour – and it was righteous room,” Tatler explained to me in a up being Metallica. We got the whole fun: a breath of hot, dank air from 1989 interview. “And Lars would be thing about riffs and structuring, the the street, a fan-driven backlash to there, hanging out while we were adventure and liberties, from them.” the platinum-rock aristocracy and laboring over arrangements. We’d The other 50 percent was Motörhead: the hokey grandeur of arena-show spend all day writing songs, arrang- the howling aggro, the lean, mean awhile, rather than wait for Ulrich’s culture. It was the punk-rock wars ing sections, and he probably attack. Hetfield: “We put the two want lists and checks, Bullit just dis- all over again with longer hair, thought that was the way bands ‘Heads together and came up with patched everything – regular ship- longer songs and an obsessive write. We didn’t worry about how something unique.” ments every couple of weeks – and emphasis on the power and glory of long a song had to be. It came out They just didn’t have enough of it billed him for the goods. the Almighty Riff. Which is why, however it felt right, whether it was – yet. No one noticed. There was nothree minutes or ten. We probably Born August 3, 1963, Hetfield was when Ulrich made an NWOBHM pil- stage banter, no announcements already hip to the tip of the grimage in July, 1981 to experience got the idea from things like about who wrote what, at the Radio NWOBHM, bands like Iron Maiden the action first hand, he zipped right City and Whisky gigs. Metallica played and Angel Witch, when he met from Heathrow Airport to the the songs. And the covers were so Ulrich. He learned to play guitar by Woolwich Odeon to see Diamond obscure that, Ulrich admits, “every- playing along with Scorpions and Head. body just assumed they were our UFO albums, slowing the turntable Formed in 1977 in the West songs.” Everybody except a guy who down to copy Michael Schenker’s Midlands town of Stourbridge, came up to the band backstage solos. Hetfield developed his taut, Diamond Head– singer Sean Harris, at the Whisky. In a British accent, he muscular style of rhythm playing guitarist Brian Tatler, bassist Colin dryly inquired, “Have you guys ever from hours of study with Black Kimberley and drummer Duncan heard of a band called Diamond Sabbath platters. Scott – were that very rare bird in Head?” Ulrich, stunned, just asked, But he was astounded by the size heavy metal: hard and smart. Their “Why?” debut album, Lightning to the “Well,” the guy replied, “I workedand specialist depth of Ulrich’s col- Nations, initially released in 1980 by with Diamond Head for the last twolection. It was, Hetfield says plainly, the band with a plain white sleeve years doing their monitors.”“fucking huge. When Lars first came “Of course, we’d heard of fucking to the States, he had all these sin- and label, remains one of the finest gles with devils and pentagrams and full-length documents of the period, Diamond Head,” Ulrich says, laughing rough-looking guys with leather a record of ferocious riff games and in retrospect. “We’d just played half jackets on the covers: Motörhead, clever, expansive arrangements, their catalog. That was so surreal – he 6 Diamond Head, Witchfynde, Sweet honed to crisp, stabbing effect., was the only one in Southern bolder and profoundly more power- Tygers of Pan Tang) larly songs from California who was in on the ful band than the one that began by associated with the the group’s early- secret.” The punch line: that British cribbing from NWOBHM 45’s. Their Neat Records label in ’70s period with gentleman, Paul Owen, one of 1982 demo cassette, No Life ‘Til Newcastle. The origi- guitarist Eric Bell. Saxon’s sound men that night, has Leather, had been the talk of the nal quintet never “Cliff had a very been a member of Metallica’s road international tape-traders network. got to make an melodic sensibili- crew for the last decade. They had two new members – album; they lasted ty,” says Hammett. Burton, who joined in late ‘82, and just over a year and “If you listen to Hammett, who replaced Mustaine broke up shortly ‘Orion’ (on Master the following March. The realigned after issuing their of Puppets), the Metallica then took speed metal only single in 1981. melodic part at the overground, big time, with the 1983 (Later Blitzkriegs end with those gui- release of their atomic debut LP, Kill featured different tar harmonies – he ‘Em All, and now had a deal with a members.) But the wrote that entire major American label, Elektra. The group’s namesake anthem, the B- bit. I remember when we were group had also recorded its first side of “Buried Alive,” was demon going over that, I said to him, cover versions: “Am I Evil?” and wax, a shameless but irresistible ‘Damn, that sounds like Thin Lizzy.’ “Blitzkrieg,” paired as Garage Days rewrite of the 1973 hit “Hocus He turned to me and said, ‘That’s Revisited on the 1984 U.K. 12-inch Pocus” by the Dutch group Focus, where I get all my shit from, man.’” single, “Creeping Death.” given the bracing, twin-guitar treat- Like the “Creeping Death” B-sides, In Burton, born February 10, 1962 in ment of mid-’70s Thin Lizzy. To The $5.98 EP: Garage Days Re- San Francisco, Hetfield and Ulrich Ulrich, “Blitzkrieg” was “just one of Revisited – its full title, with the found a young musician so special – those singles: ‘Fuck, this rocks.’” price up front so retailers couldn’t The cassette cover was black all a college-level student of classical The title, Garage Days Revisited, fuck the kids for an extra buck – was over, with nothing on it except a piano with feral stage presence and was a literal tribute to Metallica’s partly conceived as a promo tool. In piece of white tape with the word a volcanic bass technique — that beginnings. Early rehearsals in L.A. November, 1986, Hetfield, Ulrich and “Mezzfits” written on it. The music they relocated to the Bay Area just were held in Ron McGovney’s Hammett picked themselves up out was supersonic punk-a-rama, B- to poach Burton from his old band, garage, soundproofed with card- of mourning and found a new movie gore and two- Trauma. Born board, supermarket egg cartons and bassist, Jason Newsted, from the minute riff’n’roll by November 18, old carpet remnants pinched by Phoenix, Arizona, band Flotsam and the Misfits, a New 1962 and, like Hetfield and Ulrich from trash dump- Jetsam. The four of ‘em quickly hit Jersey band of late- Burton, an S.F. sters in the Newport Beach apart- the road, fulfilling outstanding ’70s vintage, native, Hammett ment complex where Ulrich lived at Master of Puppets tour dates. extraordinary stay- was a guitarist the time. When Hetfield and Ulrich They also got a prestigious booking ing power and mad whose catholic moved to San Francisco after recruit- for the summer of 1987: a slot on pop genius. And it education in ing Burton, the pair made one last the Monsters of Rock bill at Castle was the only thing heavy music – sweep of the dumpsters and scored Donington, England. The band’s U.K. Cliff Burton listened Kiss, UFO, the enough carpet, however worn and label, Vertigo, proposed an EP to to during Metallica’s rich, local punk- smelly, to outfit the garage in their coincide with the appearance. summer of 1985. metal scene, the new bachelor crib in the East Bay Never a band of overwriters, He drove the rest of Haight-Ashbury neighborhood of El Cerrito. Metallica had nothing to pull out of the group, in Ulrich’s flavor of his Burton would not live to see the songbag. An attempt, after the words, “fucking crazy older brother’s Metallica’s next Garage Days last Puppets shows, to jump into with this shit. We were writing records (Santana, Hendrix) – could record. On September 27, 1986, the next studio album proved pre- Master of Puppets and driving be heard in his knockout combina- Metallica were on an overnight mature, yielding only a formative around in his green Volkswagen sta- tion of chops and velocity. drive between gigs in Sweden when “Blackened.” Then Hetfield broke his tion wagon to photo sessions,” Making Garage Days Revisited the tour bus suddenly veered off the arm skateboarding; another couple Ulrich says. “Cliff would just pound was an accident of necessity. road and overturned. Burton was of months went out the window. this Misfits stuff, drum on the dash- “Creeping Death” was pulled from killed instantly; he was 24. But his With Donington looming, the solu- board and make everybody fucking the ‘84 album, Ride the Lightning, broad taste in music had a lasting tion was clear: more covers. nuts. And Cliff wasn’t the best driver to promote a European tour and it effect on Metallica’s songwriting For Hetfield, Hammett and Ulrich, to begin with. has long been an article of faith in and the genre spread of later cover The $5.98 EP was therapy through “But through submission, we got England and Europe that singles, as romps. Hammett recalls many listen- noise, a chance to work through into it too. The vocals and melodies an art form and value-added item, ing sessions with Burton: “He’d their loss via songs that were part of were infectious. When you heard include fresh kill on the B-side. make us listen to Creedence their years with Burton. For the stuff ten times, no matter how Metallica had no new or leftover Clearwater Revival, Simon and Newsted – born March 4, 1963, in hard you tried to resist it, you got originals. “Am I Evil?” and Garfunkel. He turned me on to the Battle Creek, Michigan – it was an caught up in it.” “Blitzkrieg” were naturals. Velvet Underground and the opportunity to prove himself as a “Cliff,” Kirk Hammett notes fondly, Blitzkrieg – the band – formed in Dictators.” Burton frequently played player and bandmate without the “had a way of commandeering the 1980 in Wolverhampton, England piano recordings of the works of immediate burden of a new studio tape player in any vehicle.” and were one of several NWOBHM Johann Sebastian Bach and was record. He started by assuming the 7 In 1985, Metallica were an older, bands (including White Spirit and always spinning Thin Lizzy, particu- role of job foreman in the renova-, tion of Metallica’s lat- his fill of Iron subtle, they’re not progressive.they gers got caught in a roadcase on the est rehearsal space: Maiden and are a Rock Band, a freaking good Rock loadout. I think he broke his thumb.” the garage in Ulrich’s Diamond Head. Band.” Too true. What Budgie lacked in “Helpless” by Diamond Head and “The new house, right Still, most of the finesse they made up in the tonnage Small Hours” by Holocaust were the across the street material recorded and ten-story-drop impact of their guitar EP’s inevitable nods to the NWOBHM. from his and for The $5.98 EP hooks. Metallica gave a near-literal, hyper- Hetfield’s old pad in was new to him. “I Alas, the group tended to lace the big speed reading of the first two-thirds El Cerrito. Raised on just studied it the fun with incongruous acoustic-ballad of “Helpless,” lopping off a lengthy a farm and experi- best I could,” passages and weird ham like the “Oooh, coda that Diamond Head had played enced in construc- Newsted says, “and baby, I can rock’n’roll” vocal break in in a strange type of metal gallop. tion, Newsted put tried to put my sig- “Crash Course in Brain Surgery.” Holocaust were from Edinburgh, together a $4,000 nature on there.” “There’d be this awesome riff,” says Scotland. “They were one of those budget, bought tools Among the songs Hetfield, “then they’d go off into some bands kicking around in 1981 and and materials and, considered for The mellow trip through the daisies.” For the ‘82,” Ulrich says. “They had a little bit usually with a team of friends, $5.98 EP, then dropped: “White EP, Metallica replaced the “Oooh, baby” of cheese factor to them, but they appeared at Ulrich’s place at 10 Lightning” by a NWOBHM group, part with massed drunken bellowing. also had some stuff that was really o’clock each morning, ready to ham- Paralex; “Signal Thunder” by Bow When Metallica covered Budgie’s weighty.” “The Small Hours” was a mer. To soundproof the walls, he Wow, a Japanese band that enjoyed “Breadfan” during the .And Justice slow, mean bruiser, with a tempo like used the old-carpet trick, hauling a minor flurry of U.S. cult interest; for All sessions, they simply chopped a dying man’s crawl, taken from a discarded rolls from his apartment and “I’m No Fool,” by the NWOBHM the mellow-daisies bit. 1983 EP, Holocaust Live: – Hot Curry building. trio Gaskin. At one rehearsal, Budgie footnotes: The label copy of The and Wine. Hammett says, Metallica were run- $5.98 EP noted that “Crash Course in “I’ve got something to say/I killed “At first, you didn’t notice it,” ning into brick walls with “White Newsted says, “but once the carpet Lightning,” so he began playing the was in the room, the stench hit you hellish, staccato riff of “The Wait” by – huge spill spots, beer stains, that the British post-punk band Killing used to be on people’s floors. I tried Joke. The rest of Metallica fell in. to create a little air-conditioning sys- They all knew it from a mix tape tem in there; it never really worked. given to Burton by Rich Birch (R.I.P.), But we spent a lot best known to Metallifans as “Rich Banger” for his immortal quote on the back cover of Kill ‘Em All, “Bang the head that doesn’t bang.” “The Wait” was not obvious Metallica meat. A London four-piece, Killing Joke were part of the art- house mutiny in British punk at the turn of the ‘80s. Like their best con- temporaries – Gang of Four, The Pop Group, Public Image Ltd. – Killing Joke applied the rhythms and instru- mental character of funk and dub reggae to punk’s martial-riff dynam- ics and black-hearted world view. The 1980 album, Killing Joke, of time in which included “The Wait,” remains that garage and rehearsed those EP a high-octane cocktail of heaving songs for a month before going into guitar corrosion and nihilistic snarl. Brain Surgery” was recorded in 1974. It the studio to cut ‘em.” Budgie were from the far, opposite was included on Budgie’s album of that While in high school, Newsted end of Metallica’s heavy-boogie year, In For the Kill, but had been cut moonlighted at the University of radar. From Cardiff, Wales, Budgie – in 1971 and first issued on Budgie, list- Black Sabbath, taking bass lessons led by singer-bassist Burke Shelley – ed simply as “Crash Course.” Also, from Geezer Butler by listening played old-school muck’n’howl, the Budgie had some of the best song titles repeatedly to the Master of Reality thermal-trio sound of Cream curdled in the business: “Hot as a Docker’s album. He had a “big hero-worship with mega-spoonfuls of Black Armpit,” “Panzer Division Destroyed,” thing” for Rush’s Geddy Lee and was Sabbath. Rodger Bain, Sabbath’s “Nude Disintegrating Parachutist dead into Lemmy from Motörhead original producer, even did the hon- Woman.” Not as amusing was the night because “he was playing distorted ors on the 1971 debut, Budgie, not- Metallica met Burke Shelley in Cardiff on bass, fast, with a pick.” In Phoenix, ing in his back-cover testimonial that the Justice tour. He was employed at Newsted haunted the import-metal Budgie “aren’t the world’s greatest the venue as a stage hand. “Then, to bins in local record shops, getting composers, they’re not particularly add injury to insult,” says Ulrich, “his fin- 8, Blank, with the hard, brooding sin- take the piss out of ourselves.” appeared on the backside of gle “Cough/Cool.” In 1978, in a freak According to Newsted, “Harvester of Sorrow” in Britain. twist of business, the Misfits, by The $5.98 EP: Garage Days Emerging from twelve months of then a quartet, received 30 hours of Re-Revisited was recorded and writing and recording Metallica in free studio time from Mercury mixed in six days. Metallica never 1991, the band had “Killing Time” by Records in return for dropping the work that fast on their own songs. Sweet Savage and the ludicrously Blank name, also used by a Mercury- For Metallica, studio albums are obscene “So What” by Anti- distributed imprint – run by marathon labors in obsession and Nowhere League in hand. Metallica’s future managers, Cliff perfection, completed in what “Killing Time” was NWOBHM time Burnstein and Peter Mensch. Hammett characterized to me in again. Today, the Irish band Sweet Among the 17 songs recorded at 1996 as “Metallitime”: “We’re the Savage are best known, if at all, for those sessions – material that was master procrastinators. We tend to their lead guitarist Vivian Campbell, supposed to comprise the Misfits’ sweat and toil on the beginning ofaaBelfast native now in Def Leppard debut album, but which went unre- record, and a lot of that has to do who did time with Ronnie James Dio leased in America until 1996 as with establishing a stride that works and David Coverdale’s Whitesnake. Static Age – was “Last Caress.” for us. Sometimes establishing that But “Killing Time” – the B-side of your baby today”: Those memorable (Hetfield knew the song from a 1980 momentum is very difficult.” Sweet Savage’s ‘81 single, “Take No lines were the starting gun for the cli- Prisoners” – was solid metal, a pas- mactic Misfits medley, a grafting of the sionate blast of anti-war games in homicidal “Last Caress” and the head- the same, high-decibel protest tradi- long death curse “Green Hell.” “There tion as Metallica’s “One.” was a huge comic element to the Anti-Nowhere League were, by con- Misfits,” Hetfield says with nothing but trast, cartoon hooligans, comic relief admiration. “They got their whole from the Sid Vicious clones and skin- being from comic books and head riots that brought U.K. punk to monster mags. But I loved their a disheartening, early-’80s low. A amazing, almost pop-y hooks. quartet including an Iranian drum- They were smashing guitars and mer, a guitarist called Magoo and a singing about some horrible singer, Animal, who definitely stuff – in these pop songs. looked the name, the League “And Glenn Danzig was singing became the toast of British lager some cool shit. He was a major lads with a riotous disemboweling influence when I was trying to of a genteel, ‘70s folk hit, “Streets of become a real singer, getting that London,” by singer-songwriter Ralph yelling/singing sound down. Most of McTell. The London police were not the other punk bands – there were no so pleased with the B-side, “So notes. The Misfits had notes.” What,” a feast of sexually, scatologi- But no respect. Now routinely cited as cally explicit, pub-bully boasts. In godhead, the Misfits were ignored by Revisiting their garage days on the February, 1982, authorities confiscat- critics and record-company A&R clowns EP proved beneficial on that count. ed 10,000 copies of the 45, then in their first lifetime, from 1977 to English EP, Beware.) “Green Hell” Metallica discovered that, instead of destroyed them under the Obscene 1984. Danzig and bassist Jerry Caiafa was on the 1983 LP, Earth A.D., a leaping into the deep end of a new Publications Act and forbade the (a/k/a Jerry Only) started the band as a fast, vicious document of the Misfits’ album, they could work up to run- label, WXYZ, from pressing any trio in Lodi, New Jersey, naming them- evolution into mighty hardcore- ning speed – check guitar and drum more. A BBC Radio jock, Tony selves after Marilyn Monroe’s final metal rompers. Despite the spread sounds, settle into a studio – with Blackburn, was quoted on the mat- movie and initiating their own label, in vintage, “Last Caress” and “Green covers. The first things to hit tape ter in the tabloid press: “These Hell” were, Hetfield says, “just two when Metallica started .And records are a disgrace to the indus- songs we liked, so we butted them Justice For All were Diamond try. They are obviously made by together.” Head’s “The Prince” and Budgie’s untalented people who are out to The snatch of bent-note wailing in “Breadfan.” Ulrich concedes that it make money by shocking people.” the fadeout was not from the was “predictable” to go back to Purists to the bone, Metallica record- Misfits catalog but a nutty bow to Diamond Head; he also uses the ed the song with speed and sleaze Iron Maiden, an out-of-tune taste of word “loyal.” “Breadfan” was a mix- intact. “Run to the Hills.” “Lars had learned tape favorite, something he and Queen’s “Stone Cold Crazy” is the this drum bit,” Hetfield explains. “He Hetfield listened to as they tooled only cover Metallica has ever cut to kept playing it over and over, and through L.A. in a rental car, checking order. To celebrate its 40th anniver- we just kind of goofed on it at the out prospective recording facilities sary, Elektra Records asked 38 acts end of the track. It was nothing for Justice. on the roster to record vintage against Maiden. It was just a way to The start-of-session covers solved Elektra-catalog songs for a double take the piss out of metal. the continuing B-sides problem as CD, Rubáiyát. Ulrich says doing “And,” he quickly adds, “a way to well. “Breadfan” and “The Prince” Queen was a no-brainer: “You could 9, sit down, look at the song list and tible embodiment of the road life. ‘Road Crew’ all the time – Gone,” from go, ‘Well, maybe someone else Born on Christmas Eve, 1945, Lemmy but he was right next to Skynyrd’s August, should cover ‘Hotel California.’” For played in Beatle-pop and acid-rock me, rubbing his warts on 1973 debut, Hetfield, picking “Stone Cold Crazy” bands in the ‘60s, roadied for Jimi me, talking in my ear, say- Pronounced.“I – two minutes of premium locomo- Hendrix and was the bassist in the ing the words back- always loved that tion from 1974’s Sheer Heart British space-rock group Hawkwind wards,” Newsted says, one,” says Hetfield. Attack – was a tribute to Queen until they fired him following a 1975 laughing. “I was like, “It’s a movin’-on guitarist Brian May: Canadian drug bust. Lemmy then ‘Dude, I love you, but I’m song – you’re split- “Brian May was the harmony mas- formed the first of several proto- freaking out enough ting, you’re leaving ter. He came up with these huge lineups of Motörhead (slang for without you fucking with your woman at parts that sounded like string sec- amphetamine user) before settling me.’” home. You’re off tions, flamboyant orchestrations. on the classic ‘76-’82 formation with Lynyrd Skynyrd’s doing your own And he was doing it all on guitar. guitarist Fast Eddie Clarke and drum- “Tuesday’s Gone” is thing. It really fits Along with Thin Lizzy, what he did mer Phil “Philthy Animal” Taylor. another oddfellow here – acoustic the road.” on those records helped us a lot in Lemmy once claimed that if and recorded live at the studios of Touring and startime; the hunger, using guitar harmonies in our Motörhead moved next door to you, KSJO-FM in San Jose, California, dur- the parties, the work and learning – songs.” your lawn would die. That is every- ing a national interview-and-camp- Metallica have tried to telescope it Metallica were deep into the Re- thing you need to know about the fire-jam broadcast to promote Re- all into the ten new recordings in Load sessions, in December of 1997, raw, violent magic of Motörhead at Load in December, 1997. Friends on this collection, selections meant to when they were called about a their best. hand included Blues Traveler har- capture the long haul from youthful birthday party – for Ian “Lemmy” Metallica turned up at the Whisky in monica wiz John Popper, guitarist exuberance and what-the-hell reck- Kilmister of Motörhead, about to Lemmy wigs and aviator shades. For Jerry Cantrell and drummer Sean lessness to craft, experience and turn 50. Metallica said yes, without “We Are the Road Crew,” the man Kinney of Alice In Chains, Les reflection. Black Sabbath, thinking twice, but passed on the himself hit the stage, singing and Claypool of Primus on banjo, Mercyful Fate, Discharge, Blue notion of showing up for an all-star playing bass with an awestruck Corrosion Of Conformity guitarist Öyster Cult, more Diamond jam in L.A. at the Whisky. Instead, Newsted. “I knew all the words – Pepper Keenan, ex-Faith No More gui- Head (“It’s Electric”) and Misfits they offered to open for Motörhead, Flotsam and Jetsam used to play tarist Jim Martin and Metallica’s spe- (“Die, Die My Darling,” the last unannounced, as a tribute band. cially invited guest, founding Skynyrd single of the Danzig era): it’s Hetfield, Ulrich, Hammett and guitarist Gary Rossington. obvious which end of the Newsted quickly rehearsed six tunes: Metallica had deep, if not visible, yardstick they come from. “Overkill” and “Too Late, Too Late,” roots in Skynyrd. “Sweet Home Metallica could have pulled both sides of a 1979 single; Alabama” was the first record anything from Sabbath. They “Damage Case” from the Overkill Hetfield ever bought (“I rode my declined, naturally, to do the LP; “Stone Dead Forever” on the ‘79 Schwinn bike over to the music store hits: “Paranoid,” “War Pigs,” album Bomber; and, from 1980’s where I bought the sheet music for etc. Buried in the middle of the 1974 Ace of Spades, “We Are the Road my fucking piano lessons”); Newsted album, Sabbath Bloody Sabbath, Crew” and “The Chase Is Better Than talks about how much he learned “Sabbra Cadabra” has always been, the Catch.” Tape was rolling (“the swing and rockin’ vibe”) from in Ulrich’s estimation, “the fucking (Metallica keep a DAT machine run- Leon Wilkeson’s bass work. And it is riff from hell. I remember, on the ning at all times in the studio) and not hard to find parallels in the way Load tour, talking with Kirk about the first four songs, taken live from Skynyrd, a working-class-outlaw this project one night in Frankfurt, the floor, mistakes and all, became crew from Jacksonville, Florida, and staying up and watching the sun U.K. B-sides. Metallica, a generation later, both rise, and saying, ‘If we do any Much has been said about Lemmy as became stars – by singing and play- Sabbath, it’s got to be “Sabbra a punk and metal father figure. It’s ing not for the press and the indus- Cadabra.”’ There’s actually a bit of still not enough. He is one of the try, but the people. “The very plain- that feel in ‘2X4’ (on Load).” But most ferocious bass players to walk spokenness that was Skynyrd’s Sabbath’s original also had a spaced- the earth and a seemingly indestruc- glory,” Dave Marsh wrote in Rolling out midsection not as suitable to Stone in 1978, “was also what kept Metallica’s temper; hence the insert- them from critical acclaim; they ed, cast-iron shot of “A National always seemed too vulgar. Mostly, Acrobat,” also on Sabbath Bloody the group’s music is about simple Sabbath. pleasures and grim problems, but if “Black Sabbath were not a direct the songs are realistic, a romantic’s influence on our music,” Ulrich vision has shaped that reality.” asserts. “They had been going for There may be no finer example of too long. But they were a big influ- Skynyrd’s intuitive balance of gritty ence on the four of us as we were truth and bittersweet yearning than growing up.” He adds that on their the chiming guitars, slow, sad gait 1986 tour dates, opening for the and gin-soaked blues of singer solo Ozzy Osbourne, Metallica had Ronnie Van Zant in “Tuesday’s the love and nerve to soundcheck 10, with songs from Osbourne’s Sabbath dashing young bandit robs an army is only slightly more wordy: “From days: “We were doing it, hoping he’d officer to keep his girlfriend happy, where I stand I see/Pain, suppression be backstage in his dressing room, only to be imprisoned after she and misery/The more I see, the more hear us and come out and jam.” It betrays him – and Lynott sang with I see/The less, the less I believe.” “I didn’t happen. the warm, resigned soul of wound- love singing the Discharge stuff,” “Astronomy” comes from Blue Öys- ed youth. Eric Bell created the ele- raves Hetfield. “You’ve only got ter Cult’s 1974 guitar-army classic, gant, signature guitar line, with its three lines, sung 50 times over. But Secret Treaties. Newsted claims distinctive stutter, and the song, the riffs – that guitarist Bones was that, in his teenage concert-going released in the middle of English pulling off some serious metal riffs.” years, he saw BÖC more than any glam mania, became the first of Unlike most of the acts Metallica other band – “because they toured many hits for Lynott and Lizzy. But it have covered, Mercyful Fate were more than any other band.” was a rough ride. Lynott died in friends and contemporaries. They I vividly remember seeing them in January, 1986, after experiencing, all formed in 1981, the same year as Philadelphia in ‘75, Buck Dharma and too intimately, the blinding excesses Metallica, and, like Ulrich, were Eric Bloom locking guitar necks like and bleak depths of rock-star living. Danish. Fronted by King Diamond – “They were very pure, very sarcastic, medieval swordsmen in front of Metallica were as likely to be listen- an operatic howler with aspirations very friendly, very open and warm. three floor-to-ceiling banners with ing to the English bullet-punk anar- to Satanism who performed in face And they were doing this wild the group’s trademark cross-and- chists Discharge as they were Lizzy paint which made him look like a Purple-meets-Judas Priest thing with claw logo, turning the classy Shubert or the Misfits during those record- cross between Gene Simmons of a more progressive element. Really Theater on Broad Street into some playing binges in El Cerrito. “Back in Kiss and a professional insane stuff.” kind of electric teenage Nuremberg. Nick Cave’s “Loverman” is at once On record, BÖC were metal with the most bizarre, and logical, entry brains. They wrote fierce, savvy here, an example of how superficial garage-noir songs about biker wars categorization confuses deeper con- and adolescent meltdown. They col- nections in music. Cave and Hetfield laborated with punk priestess Patti couldn’t come from more apparently Smith and rock critic Richard Meltzer, different worlds: Hetfield was a sub- were literate in ‘60s punk and psy- urban adolescent metalhead at the chedelia and, in Dharma, had a lead same time Cave – born in 1957 in guitarist of astounding force and Warracknabeal in Victoria, Australia, precision. He didn’t just play licks; the son of a mathematics and litera- he shoved hot needles in your ears. ture teacher – was terrorizing punksand Goths as the shamanistic vocal- “Whiskey in the Jar” is a traditional ist of the pioneering Aussie band Irish folk ballad, certainly the oldest the Birthday Party. But Cave, with song Metallica have ever covered. the Birthday Party and then with his Revived on record in 1967 by the own group the Bad Seeds, found Irish singing group the Dubliners, the lyric inspiration in the darkest cor- song was radically recast in 1972 by ners of the human condition, partic- Thin Lizzy. A young man of mixed ularly as described in the Old race in a rough-and-tumble culture, wrestler – Mercyful Fate followed a Testament; Hetfield wrote aboutthe group’s singer-bassist Phil Lynott was a part-black, part-Irish poet and the partying days,” says Hetfield, roughly parallel track to Metallica in capital punishment and ancient Egyptian plague. And both men are raver who understood all too well “we’d put on a Motörhead record, the early ‘80s underground, scoring Angel Witch, then Discharge — and raves for the dense, torrid riff archi- very fond of extremes, the juxtapo-the deep blues and swaggering, sition of soft, focused menace with embattled optimism of great Irish no one flinched. It all belonged tecture of guitarist Hank Shermann chaotic despair. The same jarring mix storytelling. “Whiskey in the Jar” together. It was aggressive, it had on three privately-released demo was definitely his cup of sorrow – a guitars, it felt good.” That’s tapes and a 1982 EP, Mercyful Fate. of light and dark in Metallica’s “Fade Hammett in a Discharge T- When Metallica went to Denmark in to Black” can be heard in the convul- shirt on the back cover of 1984 to make Ride the Lightning, sive erotic misery of “Loverman,” Ride the Lightning. they practiced in Mercyful Fate’s from Cave’s 1994 album with the “Free Speech for the rehearsal studio. Of the five Fate Bad Seeds, Let Love In. Dumb,” one of fourteen songs in Metallica’s medley, “A Cave first came to Hetfield’s atten- torpedos on Discharge’s Corpse Without a Soul” is from the tion through Metallica’s producer 1982 debut album, Hear EP; “Evil,” “Curse of the Pharaohs” Bob Rock, who gave the guitarist a Nothing See Nothing and “Satan’s Fall” first circulated copy of Cave’s death-song cycle, Say Nothing, is definitive among tape traders as a BBC Radio Murder Ballads. “I went, ‘Whoah! punk pith: The title – that’s session, done in March, 1983; “Into These are cool songs and they’re all the whole lyric – is repeat- the Coven” was on the ‘83 album, about murders,’” Hetfield says, cack- ed four times in two pass- Melissa. “Mercyful Fate were very ling. “But that made me investigate es over roiling hardcore Danish guys in attitude,” says Ulrich, his other material and I was turned thunder. “The More I See” who should know such things. on by it completely, by the moods 11 he created.”, In 1996, at the time of Murder hours and there’s nothing there to Ballads, I asked Cave in an inter- do/And you don’t feel much like view about his impulse, and talent, writin’/You just wish the trip was for writing about violence and through.” It was a song of brooding degradation. “I’m no authority on quiet, pregnant with the loneliness of the subject at all,” he said. “I just hotel rooms, the stares in restaurants, have a certain way with words the deafening silence after the audi- when it comes to writing about vio- ence goes home. Seger told Rolling lence. I enjoy ruminating over the Stone in 1978 that “all the roadies I’ve details.” Love songs were a thornier ever met say, ‘Yeah, you’re telling my problem. “I don’t think I could ever story.’” Metallica have told it again, write a straight love song in the their way. sense that it’s truly optimistic, And that’s it, all the covers Metallica because I don’t have that relation- have committed to record – for now. ship with love. I’m always conscious They don’t need to play other people’s of the way it’s gonna end from early songs, for fun or profit, ever again. But on, from the tiny cracks that appear. they will. “Man, it helps you get bet- You can see the things that will ulti- ter,” Hetfield contends. “It gets you mately destroy the relationship.” thinking about sounds and things, Like, for instance, the road. Listening makes you a better musician. You can to his car as he drove across the go in some of these directions, and it’s Golden Gate Bridge about three a little less of a shock, at first, for the years ago, Ulrich heard Bob Seger’s fans – ‘Oh, it’s just a cover song.’” “Turn the Page,” a brutally honest, “The songs we write,” says Ulrich, “are white-soul ballad about the oppres- dissected and analyzed. We sit with sive grind and stupefying ennui of them for months. With someone else’s touring, the stuff the fans never see. song, you only have to capture the Ulrich’s response: “That song has moment. And there will always be a ‘James Hetfield’ written all over it.” real need for us to have that outlet, as Hetfield had a similar initial reaction: long as there is a Metallica. I really “It was the lyrics. We should have believe that.” written that.” A heartland-rock superstar working – David Fricke consistently, proudly, in the rock & New York City, October, 1998 roll mainstream of Dylan, the Stones, Presley and classic soul, Seger, a Detroit native, was the antithesis of everything Metallica aspired to in 1981 and ‘82. But like them, he knew about the high price of going for the gusto, of putting your music on small-hope indie labels and playing in bars for beer money and flickers of encourage- ment. He cut a string of mid-’60s singles (“Ramblin’, Gamblin’ Man,” “East Side Story,” “Heavy Music”) now considered garage-punk dia- monds but which were mostly regional hits. For a decade, Seger was virtually unknown outside the Midwest, where he toured tirelessly on the back of fine, woefully under- promoted albums, like Back in ‘72. Released the following year, Back in ‘72 included “Turn the Page,” a slice from Seger’s own life on the endless highway: “But your thoughts will soon be wandering the way they always do/When you’re riding 16, 22. SO WHAT (3:08) GARAGE DAYS RE-REVISITED ’87 23. KILLING TIME (3:03)

NEW RECORDINGS ’98 12. HELPLESS (6:36)

1. FREE SPEECH FOR THE DUMB (2:35) 13. THE SMALL HOURS (6:40) MOTORHEADACHE ’95 2. IT’S ELECTRIC (3:33) 14. THE WAIT (4:52) 24. OVERKILL (4:05) 3. SABBRA CADABRA (6:20) 15. CRASH COURSE IN BRAIN SURGERY (3:08) 25. DAMAGE CASE (3:40) 4. TURN THE PAGE (6:06) 16. LAST CARESS/GREEN HELL (3:29) 26. STONE DEAD FOREVER (4:51) 5. DIE, DIE MY DARLING (2:26) GARAGE DAYS REVISITED ’84 27. TOO LATE TOO LATE (3:12) 6. LOVERMAN (7:52) 17. AM I EVIL? (7:50) 7. MERCYFUL FATE (11:10) 18. BLITZKRIEG (3:36) 8. ASTRONOMY (6:37) metallica.com 9. WHISKEY IN THE JAR (5:04) B-SIDES & ONE-OFFS ’88-’91 10. TUESDAY’S GONE (9:03) 19. BREADFAN (5:41) 11. THE MORE I SEE (3:23) 20. THE PRINCE (4:24) 21. STONE COLD CRAZY (2:17) ©1998 Blackened Recordings. BLCKND-477308]

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