Throughout the 90s, Metallica exploded with Bob Rock at the production helm and while some may still lament this shift from their Thrash origins, it did allow for a radio-friendly, welcoming sound, that would make the band a household name. However, all was not lost in the Black Album, Load/Reload eras for in 1998, Metallica would once again go back to their roots to deliver the somewhat produced Garage Inc. compilation.
Yes, some of the newer recordings on Garage Inc. are a little less Thrash driven than some fans may like, but I find all songs, from all eras, blend effortlessly together thereby making Garage Inc. one of the greatest compilations to have ever been released.
As it has a little bit of everything, Garage Inc. quickly became one of my most beloved albums and arguably my favourite Metallica album; at least until S&M was released in 1999. The double CD would go everywhere with me and I look back at that era with nostalgia for it was the music of my youth that simultaneously gave me the confidence to traverse the confusing and wondrous world around me.
Years later, however, while the double CD had succumbed to the MP3 era, I was fortunate enough to acquire the Blackened Recordings Vinyl reissue (BLCKND013-1). To say it’s superb is an understatement. While I’ve been critical of other Metallica reissues on their own Blackened Recordings label, this particular release is nothing short of pure perfection and is highly recommended.
The mastering is superb with a full and warm tonality that is not only perfect for vinyl but the style of music. When listening to the vinyl reissue, I never find myself longing for more musicality or a different presentation such as that offered via streaming services. The vinyl layout and design, while mimicking the original CD, is similarly stunning offering full-featured liner notes that become a value-added proposition for fans and collectors alike.
I’ve also listened to the Apple Music edition, an Apple Digital Master, and for a compressed digital offering, it too is extraordinary. Not as good as the vinyl reissue, however, but you won’t be disappointed if you only have access to the Apple Music edition for it produces a beautiful full-bodied sound only lacking the vinyl warmth that is inherent to the format.
DISC 1 / Side One (New Recordings '98)
Free Speech For The Dumb is a fat Thrash-infused song that encourages you to turn the volume up. It isn't my favourite song on the album, but it gets the album off to an incredible start.
It's Electric is an excellent song that is perfectly suited to Hetfield's vocal style and the overall musicality of the band. It is mastered with a little too much focus on the treble region, but that is a minor quibble.
Sabbra Cadabra has a gorgeous guitar intro. The groove is so compelling that you will be toe-tapping and head-bopping subconsciously. The overall sonic signature of Sabbra Cadabra is cemented in blues rock and roll and I absolutely love it!
Turn The Page was an exceptional song when originally performed by Bob Seger, but Metallica has made it their own and has taken the song to another level. It is one of Metallica’s greatest recordings and is one of their songs I play regularly.
DISC 1 / Side Two (New Recordings '98)
Die, Die My Darling is a killer rock track. I love it!
Loverman may initially sound like a strange pick as one wouldn't normally associate Nick Cave And The Bad Seeds with Metallica, but Metallica certainly recorded an excellent rendition that is worthy of the musicality heard on the original recording. Both versions are excellent, but I find that I gravitate to Metallica’s interpretation as I feel it is the more polished of the two.
Mercyful Fate is an exceptional song that commands you to turn the volume knob to the right. Yes, your neighbours will likely call the boys and girls in blue, but it will be worth it! Seriously, listening via lower volumes destroys the musicality and energy of this song. It is expertly recorded and mixed while being nothing short of a rock and roll symphony. King Diamond and Hank Shermann would be proud!
DISC 2 / Side One (New Recordings '98)
Astronomy has always been a favourite of mine. The incredible Blue Öyster Cult may have recorded the original epic, but the first time I ever heard Astronomy was when Metallica covered it for Garage Inc.. Hence, as excellent as the original is, I will always hold Metallica’s rendition near and dear to my heart. Interestingly, it would be this song, along with Don’t Fear The Reaper, that would push me to become a dedicated fan of Blue Öyster Cult. Therefore, one can conclude that while some cover albums aren’t worth listening to, there are others, such as Garage Inc., that are done with so much respect to the original, you feel compelled to track down the original recordings.
Whisky In The Jar is an awesome groove-filled track. It is another song that compels me to sing-a-long as my body moves to the rhythm of the music. I probably look like I’ve lost control of myself, when in public, but I don’t care, Whisky In The Jar is that good!
Tuesday's Gone is perhaps the only song on the album that I don't like. It isn't a bad song on its own, it just isn't well suited to the album. Plus, every time I listen to it, I think of Bob Geldof. I also feel Metallica sounds too much like Bon Jovi on this track. I love Bon Jovi, but this is a Metallica record. As I think about it more, perhaps it is the nasal grind of the Geldof/Bon Jovi duet, I Don’t Like Mondays, that reminds me of Metallica’s rendition of Tuesday’s Gone. That all said, I much prefer Lynyrd Skynyrd’s original as it is less monotonous. I guess we can be thankful that Metallica didn’t try to interpret Free Bird as some songs should never be covered.
The More I See wraps up the '98 recordings in style with a harder hitting song than Tuesday's Gone. It also displaces the ridiculous outro Metallica recorded as part of Tuesday's Gone. The More I See is certainly meat and potatoes rock and roll, but Metallica’s added gravy ensures the song sounds fantastic.
DISC 2 / Side Two (Garage Days Re-Revisited '87)
Helpless has an incredible rhythm and riff-centric sound but the soundstage, while dynamic, does border on the limits of acceptable audio compression. A great song, nonetheless.
The Small Hours is musical perfection as it terrifies me and simultaneously excites me. That haunting introduction and beat would be the perfect musical accompaniment for any horror film set in an insane asylum. It is brilliant from start to finish and in some ways reminds me of Blue Oyster Cult’s Don’t Fear The Reaper.
The Wait has incredible energy, but I feel Hetfield’s distorted vocal lets the song down as he sounds lost in the soundstage. While it certainly isn't a bad song, it also doesn't feel polished. Although, I guess that is the point of a 'Garage' style album, isn’t it?
Crash Course In Brain Surgery features the bass that Newsted was deprived of on ...And Justice For All. Overall, it is a solid cover and worthy of inclusion.
Last Caress/Green Hell is one of the greatest covers/recordings Metallica has ever made. It is Punk Rock with a little Thrash thrown in for good measure. I love it!
DISC 3 / Side One (Garage Days Re-visited '84 + B-Sides & One-Offs '88-'91)
Am I Evil? YES, I AM!...I always get a little carried away with this song. It is bloody brilliant and if Satan has a playlist, this would most certainly be on it.
Blitzkrieg is as thrashy as you can get. Get that air guitar out and enjoy!
Breadfan has a killer riff but, beyond that, I don't feel drawn to the song. Hence, for me, this is a filler track.
The Prince is somewhat similar to Breadfan as I don't connect with the song on an emotional level. That said, I would be lying if I said that I didn't enjoy aspects of each song. I can certainly point to aspects that I adore, but if it doesn’t come together cohesively, then those elements remain highlights in an otherwise pedestrian performance.
Stone Cold Crazy is a great song. I love the original as it is one of Queen's best, but Metallica, yet again, takes the song to another level of excellence.
DISC 3 / Side Two (B-Sides & One-Offs '88-'91 + Motorheadache ‘95)
So What is a great way to start the sixth side of the vinyl release. It’s rude and crude, but it’s such a fun song! If you can look past the overt profanity, you will thoroughly enjoy this epic rock song.
Killing Time is a solid cover song that I neither like or dislike. It is a filler track and is perfectly suited for that purpose.
Overkill raises mixed emotions as I believe that some music just shouldn’t be covered. Perhaps it is just me, but covering Motörhead is akin to Avenged Sevenfold covering Metallica. It works, really well, but I'm not sure it should be done.
Damage Case is a great song, with a great groove.
Stone Dead Forever is an excellent song, but I feel Hetfield is imitating Kilmister, rather than making the song his own. This is, of course, the danger of cover songs versus recording someone else’s unpublished song. Yes, imitation is a form of flattery, but I have always had reservations about it when listening to cover songs.
Too Late Too Late is a perfect song to close this epic release on. While it encourages me to listen to the album again, and stay within Metallica's back catalogue, Garage Inc. is a lengthy release and I seldom follow it up with anything else as I want to savour the experience.
Metallica's Garage Inc. is an incredible covers album. There really isn't a bad song to be heard and while I may not connect with a few of the songs, they certainly work well with the overall style of the compilation. If nothing else, it becomes clear that should Metallica run out of song ideas, and got bored playing their classics, they could make it as one of the greatest cover bands in history.