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01 - The Unnamed Feeling (Explicit).mp3
02 - The Four Horsemen (Live In Paris).mp3
03 - Damage Inc (Live In Paris).mp3
04 - Leper Messiah (Live In Paris).mp3
05 - Motorbreath (Live In Paris).mp3
06 - Ride The Lightning (Live In Paris).mp3
07 - Hit The Lights (Live In Paris).mp3
Audio CD (October 25, 1990)
Album Tracks Listing
[MP3 Direct Download]
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01 - Creeping Death.mp3
02 - Fuel.mp3
03 - Wherever I May Roam.mp3
04 - For Whom the Bell Tolls.mp3
05 - Kirk Solo1.mp3
06 - Welcome Home Sanitarium.mp3
07 - And Justice For All.mp3
08 - The Memory Remains.mp3
09 - Disposable Heroes.mp3
10 - Rob Solo.mp3
11 - Orion.mp3
12 - Fade To Black.mp3
13 - Master of Puppets.mp3
14 - Battery.mp3
15 - Sad But True.mp3
16 - Kirk Solo2.mp3
17 - Nothing Else Matters.mp3
18 - One.mp3
19 - Enter Sandman.mp3
20 - Whiplash.mp3
21 - Seek and Destroy.mp3
CD1
01. Creeping Death
02. For Whom The Bell Tolls
03. Ride The Lightning
04. Harvester Of Sorrow
05. Kirk Solo #1
06. Welcome Home (Sanitarium)
07. Cyanide
08 And Justice for All
09. No Remorse
10. Fade to Black
CD2
01. Master Of Puppets
02. Damage, Inc.
03. Kirk Solo #2
04. Nothing Else Matters
05. Sad But True
06. One
07. Enter Sandman
08. Mercyful Fate
09. Seek and Destroy
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St. Anger is the eighth studio album by American heavy metal band Metallica, released on June 5, 2003. The album was originally to be released on June 10, 2003, but because of fears of extended music piracy over filesharing networks, St. Anger was released five days earlier.
The album hit #1 in 30 countries, including the U.S. Billboard 200 and Canadian Albums Chart. In 2004, the lead single from the album, "St. Anger", won a Grammy Award for "Best Metal Performance".
St. Anger represents the last collaboration between Metallica and longtime producer Bob Rock, with the announcement in early 2006 that Rick Rubin would assume production duties on their forthcoming album. A modernized version of the Metallica logo, again featuring the stabbing edges of the first and last letters of the band's earlier 1980s logo, made its debut on St. Anger.
Five and a half years elapsed between the release of the band's previous studio album, ReLoad, and the recording of St. Anger, which began in 2002. Many factors contributed to this delay, including the departure of bassist Jason Newsted, the band's feud with file-sharing service Napster, and vocalist/guitarist James Hetfield's several months in rehab for alcoholism and other unspecified addictions. The 2004 film Some Kind of Monster documents that relationships between the band members in the lead-up to the album's recording were at an all-time low.
The band began initial writing for the album in January 2001, when they rented out and converted an army barrack in The Presidio in San Francisco, California, into a makeshift studio.[6] Uncomfortable with the idea of bringing in an immediate replacement for Newsted, the band opted to have producer Bob Rock play bass guitar for the recording of the album, with plans to find a fulltime bass player upon the record's completion. Recording came to a halt in July 2001 when the band announced via its website that James Hetfield had entered a rehab center for treatment of alcoholism and other addictions. Prior to the album's release, Lars Ulrich would leave videos and audio of himself discussing the new album on the band's blog, jumpinthestudio.com (no longer working).
Metallica - S&M (1999)The set list contains songs from Ride the Lightning through ReLoad, as well as two new songs: "− Human" and "No Leaf Clover". "− Human" ("Minus Human") has never been performed without the symphony, but No Leaf Clover has been played live with a recording of the orchestral prelude.
Composer Michael Kamen scored the symphonic arrangements and conducted the orchestra during the concert.
The album's title is a play on words. The "S" (ostensibly for "symphony") is formed from a backwards treble clef, while the "M" (ostensibly for "Metallica") is taken from the band's classic logo.
During the show Hetfield re-named the song "Of Wolf and Man" to "Of Wolfgang and Man" in a reference to Wolfgang Amadeus Mozart.
| 01 | Helpless | ||
| 02 | The Small Hours | ||
| 03 | The Wait | ||
| 04 | Crash Course in Brain Surgery | ||
| 05 | Last Caress / Green Hell | ||
| 06 | Am I Evil | ||
| 07 | Blitzkrieg | ||
| 08 | Breadfan | ||
| 09 | The Prince | ||
| 10 | Stone Cold Crazy | ||
| 11 | So What! | ||
| 12 | Killing Time | ||
| 13 | Overkill | ||
| 14 | Too Late, Too Late | ||
| 15 | Stone Dead Forever | ||
| 16 | Damage Case Click below to start download: |
Garage Inc. is a compilation/cover album by American heavy metal band Metallica, released in 1998.
It includes recorded cover versions of other artists' songs, all of their b-side covers released up to that point, and the entire The $5.98 E.P.: Garage Days Re-Revisited, which had gone out of print since its original release in 1987. The title is a combination of Garage Days Re-Revisited and their song Damage, Inc. Over 5 million copies have been sold in the US as certified by the RIAA.
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The album consists of material originally written during the writing sessions for the band's previous album, Load. Metallica had initially hoped to release the Load & ReLoad songs as a double album, but that idea proved untenable for a variety of reasons. Aside from the album title, ReLoad also shares similar artwork with Load (Load uses Andres Serrano's Blood and Semen III while ReLoad uses his Piss and Blood) and a similarly distinctive blues-rock feel in many of the songs.
In addition to heavy grooves like "Fuel" and "Devil's Dance," ReLoad continues the experimentation seen on Load, with the use of violin and hurdy gurdy on "Low Man's Lyric" and Marianne Faithfull's haunting vocals on "The Memory Remains." It also bears a sequel of sorts in "The Unforgiven II," referencing a single from 1991's Metallica.
The cover of the album is original artwork depicting urine and blood. It is one of three photographic studies by Andres Serrano created in 1990 by mingling the artist's own urine and bovine blood between two sheets of Plexiglas. As with Load, ReLoad included a booklet containing band photos and select lyrics for each song.
ReLoad would mark the end of a brief, blues-influenced chapter of Metallica. They would again reinvent themselves with St. Anger, Metallica's first studio album in six years. The delay would be brought on by various circumstances such as Hetfield's entrance into rehab and the of departure of Jason Newsted from the band in 2001.
The album marked the band's return to the musical landscape, approximately five years after the release of their international smash success, Metallica. Load saw the band embrace a collective sound and identity far removed from their thrash metal roots. As on previous releases, the fourteen songs that would eventually make up the album began as rough demos created by principal songwriters James Hetfield and Lars Ulrich in Ulrich's basement recording studio, "The Dungeon." The band took over 30 demos into The Plant Studios in the spring of 1995 where they would work for approximately the next year. Once again, Metallica teamed up with famed producer Bob Rock, who had been at the helm during the recording process for Metallica.
The songwriting dispenses almost entirely with the thrash metal style that characterized the band's sound in the 1980s. In place of staccato riffs, Hetfield and lead guitarist Kirk Hammett experimented with more blues-based tones and styles. As the group had become friends with country star Waylon Jennings prior to the recording of Load, he is often credited as influential to the album's new sound, particularly songs like "Mama Said." Additionally, Ulrich adopted a minimalist approach to his drum recording, abandoning the speed and complex double bass patterns of previous albums. Hetfield displayed a lyrical evolution as well, writing what many feel to be his most personal and introspective lyrics. "Until it Sleeps," the album's lead single, addressed his father's losing battle with cancer, while "Mama Said" explored his relationship with his mother. All of this marked a departure from the political and social overtones of albums like ...And Justice for All and Master of Puppets.
The album also marked the first appearance of a new Metallica logo, rounding off the stabbing edges of the first and last letters of the band's earlier 1980s logo. The M from the original logo was used to make a shaken-like symbol known as the "ninja star" which was used as an alternate logo on this and future albums as well as other related artwork. The album featured an expansive booklet which contained many photos of the band. The booklet only contained select lyrics from each song in contrast to Metallica's previous studio albums which included complete song lyrics. Additionally, the interior artwork revolved around images of inkblots, a theme which would carry over to ReLoad and the covers for the singles released from the two albums.
The cover of the album is original artwork entitled "Semen and Blood III." It is one of three photographic studies by Andres Serrano created in 1990 by mingling the artist's own semen and bovine blood between two sheets of Plexiglas.[2]
This was Metallica's longest studio album, clocking in at 78:59. Initial pressings of the album were affixed with stickers that boasted its long playtime, simply reading "78:59."
"The Outlaw Torn" had to be shortened by about one minute to fit on the album. The full version was released on a single for "The Memory Remains" as "The Outlaw Torn (Unencumbered by Manufacturing Restrictions Version)" with a running time of 10:48. An explanation was given on the single's back cover:
When we were doing the final sequencing of the 'LOAD' album, the record company told us that we couldn't go a second past 78.59, or your CD's wouldn't play without potentially skipping. With our 14 songs, we were running about 30 seconds over, and something had to give, so the cool-ass jam at the end of 'Outlaw' got chopped (ARRRGGGHHH!!). Here is the full version as it was written, recorded and meant to be.
This was also the only Metallica studio album not to have the bassist have a writing credit. It was also their first album for all tracks to be drop-tuned a half-step; they did however, start tuning down on Master of Puppets on "The Thing That Should Not Be" and on The Black Album on "The God That Failed", and some cover songs, after that album, including the Motorhead songs that they covered before recording Load.
Ride the Lightning is often hailed by fans as a classic of the thrash metal genre, and a vital bridge between the band's albums Kill 'Em All and Master of Puppets, pushing the thrash metal of the debut into progressive territory more fully-realized on Master of Puppets and ...And Justice for All.
Ride the Lightning retains the speed of Kill 'Em All on songs like "Trapped Under Ice" and "Fight Fire with Fire", but also contains the first of Metallica's longer, more symphonically arranged tracks, such as "Fade to Black" and the nearly 9-minute closing instrumental "The Call of Ktulu".
Ride the Lightning was listed at #3 on a list compiled by metal-rules.com of the Top 100 Metal Albums of All Time and #5 by IGN Music on the Top 25 Metal Albums.
Q (Summer/01, p.127) - 5 stars out of 5 - "Reaffirms their status as the pre-eminent metal band of the modern era....They broke with the conventions of thrash metal to record the genre's first power ballad in 'Fade to Black'".
Kerrang! (p.50) - "[The album included] melody, maturity and musical intelligence. It was these traits which helped them broaden metal's scope."
"Creeping Death" was covered by Welsh glam metal band Tigertailz for a B-side in 1990, Welsh metalcore band Bullet for My Valentine on Kerrang!'s 25th Anniversary Higher Voltage complication disk, and by alternative metal band Drowning Pool at Ozzfest 2002.
"Escape" was covered by death metal band Gojira on their 2005 album From Mars to Sirius.
