Μetallica

Groups & Artists
#21009

βγαίνει το box του LOAD.

Υπερχαοτικό.

It’s a motherfucking new one!

Metallica: Until It Sleeps (Lyric Video)

Load (Remastered)

Available on 180g 2LP Vinyl, CD, Cassette and Digital (Including Spatial Audio)
LP includes the original extended cut of “The Outlaw Torn”

  1. Ain’t My Bitch
  2. 2 x 4
  3. The House Jack Built
  4. Until It Sleeps
  5. King Nothing
  6. Hero of the Day
  7. Bleeding Me
  8. Cure
  9. Poor Twisted Me
  10. Wasting My Hate
  11. Mama Said
  12. Thorn Within
  13. Ronnie
  14. The Outlaw Torn

Remastered by Reuben Cohen at Lurssen Mastering, Los Angeles, California
Vinyl lacquers by Chris Bellman at Bernie Grundman Mastering, Hollywood, California
Spatial Audio Mixed by Jim Monti & Greg Fidelman

Load (Remastered): 3-CD Expanded Edition

Disc One: Load (Remastered)

  1. Ain’t My Bitch
  2. 2 x 4
  3. The House Jack Built
  4. Until It Sleeps
  5. King Nothing
  6. Hero of the Day
  7. Bleeding Me
  8. Cure
  9. Poor Twisted Me
  10. Wasting My Hate
  11. Mama Said
  12. Thorn Within
  13. Ronnie
  14. The Outlaw Torn (Extended Version)

Disc Two: Riffs, Demos & Rough Mixes

  1. Bitch (“Ain’t My Bitch” Original Arrangement Rough Mix)
  2. 2 x 4 (Take 16)
  3. Jack (“The House Jack Built” Re-Edit Version 1 Rough Mix)
  4. F.O.B.D. (“Until It Sleeps” Rough Chorus Vocal Idea Mix)
  5. Load (“King Nothing” Take 16)
  6. Mouldy (“Hero of the Day” Instrumental Mix)
  7. Boss (“Bleeding Me” Demo)
    8.Previously released as part of “Fan Can 3.” Newly remastered*
  8. Believe (“Cure” Riff II)
  9. Dusty (“Poor Twisted Me” Take 12)
  10. Streamline (“Wasting My Hate” Original Arrangement Rough Mix)
  11. Mama (“Mama Said” Acoustics Only Alternate Mix)
  12. NC-17 (“Thorn Within” Riff)
  13. The Blue and The Gray (and the Red) (“Ronnie” Vocal Idea)
  14. Outlaw (“The Outlaw Torn” Outlaw of Torn Vocal Tag Alternate Mix)

Disc Three: Poor Touring Me: '96-'97

  1. Ain’t My Bitch (Live at Irvine Meadows Amphitheatre, Irvine, CA - August 4, 1996)
    2.Previously released as a B-Side to “Mama Said.” Newly remastered.*
  2. 2 x 4 (Live at Donington Park, Castle Donington, England - August 26, 1995)
    4.Previously released as a B-Side to “Until It Sleeps.” Newly mixed by Greg Fidelman.*
  3. The House Jack Built (Live Rehearsal in Birmingham, England - September 1996)
  4. Until It Sleeps (Live at Oslo Spektrum, Oslo, Norway - November 23rd, 1996)
  5. King Nothing (Live at Slim’s, San Francisco, CA - June 10, 1996)
    8.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  6. Hero of the Day (Live at 100.7 WMMS Coffee Break Concert in Cleveland, OH - February 19, 1997)
  7. Bleeding Me (Live at Globen, Stockholm, Sweden - November 16, 1996)
  8. Wasting My Hate (Live at Oslo Spektrum, Oslo, Norway - November 23, 1996)
  9. Mama Said (Live on Sverige-Sovjet, Stockholm, Sweden - November 15, 1996)
  10. Devil’s Dance (Live in Tuktoyaktuk, Canada - September 3, 1995)
  11. Fuel (Live at Rosemont Horizon, Chicago, IL - February 9, 1997)
  12. Overkill (Live at Earls Court, London, England - October 12, 1996)
  13. Kill/Ride Medley (Live at Donington Park, Castle Donington, England - August 26, 1995)
    17.Previously released as a B-Side to “Until It Sleeps.” Newly mixed by Greg Fidelman.*

Load (Remastered Deluxe Box Set)

1839:15 / 15 CDs / 6 LPs / 4 DVDs / 245 Unreleased Tracks
Also includes a Lyric Folder, Lollapalooza Poster, Magazine Cover Print, Two Tour Laminates, Rorschach Test Cards, Five Guitar/Bass Picks, Pushead Patch & 128-page Book

LP 1 & 2: Load (Remastered)

SIDE ONE

  1. Ain’t My Bitch
  2. 2 x 4
  3. The House Jack Built
  4. Until It Sleeps

SIDE TWO

  1. King Nothing
  2. Hero of the Day
  3. Bleeding Me

SIDE THREE

  1. Cure
  2. Poor Twisted Me
  3. Wasting My Hate
  4. Mama Said

SIDE FOUR

  1. Thorn Within
  2. Ronnie
  3. The Outlaw Torn (Extended Version)

LP 3: Mama Said 7" Picture Disc

SIDE ONE

  1. Mama Said

SIDE TWO

  1. Ain’t My Bitch (Live at Irvine Meadows Amphitheater, Irvine, CA - August 4, 1996)

LP 4, 5 & 6: Loadapalooza '96

Recorded live at Irvine Meadows Amphitheater, Irvine, CA - August 4, 1996)
Previously Unreleased Live Recording except where noted.

SIDE ONE

  1. Intro Jam (Live)
  2. So What (Live)
    3.Previously released as a B-Side to “Mama Said.”*
  3. Creeping Death (Live)
    5.Previously released as a B-Side to “Mama Said.”*
  4. Sad But True (Live)

SIDE TWO

  1. Ain’t My Bitch (Live)
    2.Previously released as a B-Side to “Mama Said.”*
  2. Whiplash (Live)
    4.Previously released as a B-Side to “Mama Said.”*
  3. Fade to Black (Live)

SIDE THREE

  1. King Nothing (Live)
    2.Previously released as a B-Side to “Mama Said.”*
  2. One (Live)

SIDE FOUR

  1. Until It Sleeps (Live)
  2. For Whom the Bell Tolls (Live)
  3. Wherever I May Roam (Live)

SIDE FIVE

  1. Nothing Else Matters (Live)
  2. Enter Sandman (Live)

SIDE SIX

  1. Encore Jam (Live)
  2. Master of Puppets (Live)
  3. Overkill (Live)
    4.Featuring Lemmy Kilmister*

CD 1: Load (Remastered)

  1. Ain’t My Bitch
  2. 2 x 4
  3. The House Jack Built
  4. Until It Sleeps
  5. King Nothing
  6. Hero of the Day
  7. Bleeding Me
  8. Cure
  9. Poor Twisted Me
  10. Wasting My Hate
  11. Mama Said
  12. Thorn Within
  13. Ronnie
  14. The Outlaw Torn

CD 2-6: Shadowcast (Riffs, Demos, Session Takes, Rough & Alternate Mixes)

Previously Unreleased except where noted.

DISC ONE

  1. Riff Tape Intro
  2. Bitch (“Ain’t My Bitch” Riff)
  3. 2 x 4 (Riff)
  4. 2 x 4 (Riff II)
  5. Jack (“The House Jack Built” Riff)
  6. Jack (“The House Jack Built” Riff II)
  7. Load (“King Nothing” Riff)
  8. Mouldy (“Hero of the Day” Riff)
  9. Boss (“Bleeding Me” Riff)
  10. Boss (“Bleeding Me” Riff II)
  11. Believe (“Cure” Riff)
  12. Believe (“Cure” Riff II)
  13. Believe (“Cure” Riff III)
  14. Streamline (“Wasting My Hate” Riff)
  15. Streamline (“Wasting My Hate” Riff II)
  16. NC-17 (“Thorn Within” Riff)
  17. NC-17 (“Thorn Within” Riff II)
  18. Ronnie (Jam)
  19. Outlaw (“The Outlaw Torn” Riff)
  20. Streamline (“Wasting My Hate” Demo)
    21.Previously released as part of “Fan Can 3.”*
  21. Load (“King Nothing” Demo)
    23.Previously released as part of “Fan Can 3.”*
  22. 2 x 4 (Demo)
  23. Mouldy (“Hero of the Day” Demo)
    26.Previously released as a B-Side to “Hero of the Day.”*
  24. NC-17 (“Thorn Within” Demo)
  25. Jack (“The House Jack Built” Demo)
  26. Believe (“Cure” Demo)
  27. Dusty (“Poor Twisted Me” Demo)
  28. Ronnie (Demo)
  29. Outlaw (“The Outlaw Torn” Demo)
    33.Previously released as part of “Fan Can 3.”*

DISC TWO

  1. Bitch (“Ain’t My Bitch” Demo)
    2.Previously released as part of “Fan Can 3.”*
  2. Boss (“Bleeding Me” Demo)
    4.Previously released as part of “Fan Can 3.”*
  3. Mama (“Mama Said” Demo)
    6.Previously released as a B-Side to “Mama Said.”*
  4. Boss (“Bleeding Me” Vocal Idea)
  5. Thorn Within (Guilty) (“Thorn Within” Vocal Idea)
  6. Egypt (“The House Jack Built” Vocal Idea)
  7. Mama (“Mama Said” Vocal Idea)
  8. The Blue and The Gray (and the Red) (“Ronnie” Vocal Idea)
  9. Poor Twizted Me (“Poor Twisted Me” Vocal Idea)
  10. F.O.B.D. (“Until It Sleeps” Vocal Idea)
  11. Bitch (“Ain’t My Bitch” Take 15)
  12. Streamline (“Wasting My Hate” Take 5)

DISC THREE

  1. 2 x 4 (Take 16)
  2. NC-17 (“Thorn Within” Take 18)
  3. Believe (“Cure” Take 14)
  4. Load (“King Nothing” Take 16)
  5. Jack (“The House Jack Built” Take 16)
  6. Dusty (“Poor Twisted Me” Take 12)
  7. Ronny (“Ronnie” Take 16)
  8. Boss (“Bleeding Me” Take 9)
  9. Mouldy (“Hero of the Day” Take 16)
  10. Outlaw (“The Outlaw Torn” Take 12)
  11. Mama (“Mama Said” Take 15)
  12. F.O.B.D. (“Until It Sleeps” Take 7)
    13.Previously released as a B-Side to “Until It Sleeps.” Newly Remastered.*
  13. Mama (“Mama Said” New Arrangement Take 7)

DISC FOUR

  1. Streamline (“Wasting My Hate” Original Arrangement Rough Mix)
  2. Jack (“The House Jack Built” Original Arrangement Rough Mix)
  3. Bitch (“Ain’t My Bitch” Original Arrangement Rough Mix)
  4. 2 x 4 (Original Arrangement Rough Mix)
  5. Load (“King Nothing” Original Arrangement Rough Mix)
  6. Believe (“Cure” Original Arrangement Rough Mix)
  7. 2 x 4 (Re-Edit Version 1 Rough Mix)
  8. Dusty (“Poor Twisted Me” Vocal Comp Rough Mix)
  9. NC-17 (“Thorn Within” Scratch Vocal Rough Mix)
  10. Jack (“The House Jack Built” Re-Edit Version 1 Rough Mix)
  11. Streamline (“Wasting My Hate” Edit Version 1 Rough Mix)
  12. Mouldy (“Hero of the Day” Scratch Vocal Rough Mix)
  13. F.O.B.D. (“Until It Sleeps” Rough Chorus Vocal Idea Mix)
  14. Believe (“Cure” Kirk Solo Comp 1 Rough Mix)

DISC FIVE

  1. Load (“King Nothing” Kirk Solo Comp 2 Rough Mix)
  2. Bitch (“Ain’t My Bitch” Original Ending Alternate Mix)
  3. Mouldy (“Hero of the Day” Instrumental Mix)
  4. Boss (“Bleeding Me” Lead Vocal Comp Rough Mix)
  5. Mama (“Mama Said” Acoustics Only Alternate Mix)
  6. Ronnie (Instrumental Rough Mix)
  7. Streamline (“Wasting My Hate” Fraze Slam Mix)
  8. Mama (“Mama Said” No Band Alternate Mix)
  9. Load (“King Nothing” Lead Vocal Comp Rough Mix)
  10. Ronnie (Vocal Comp Rough Mix)
  11. Jack (“The House Jack Built” More FX Alternate Mix)
  12. Outlaw (“The Outlaw Torn” Outlaw of Torn Vocal Tag Alternate Mix)

CD 7: B-Sides & Rarities

Previously Unreleased except where noted.

THE WHOLE MOTÖRHEAD-ACHE MESS

  1. Overkill
    2.Previously released as a B-Side to “Until It Sleeps.” Newly Remastered.*
  2. Damage Case
    4.Previously released as a B-Side to “Hero of the Day.” Newly Remastered*
  3. Stone Dead Forever
    6.Previously released as a B-Side to “Hero of the Day.” Newly Remastered*
  4. Too Late Too Late
    8.Previously released as a B-Side to “Hero of the Day.” Newly Remastered*
  5. The Chase is Better Than the Catch
  6. (We Are) The Road Crew/Overkill (Reprise)

ALTERNATE EDITS

  1. Mama Said (Radio Edit)
    9.Previously released as a B-Side to “Mama Said.” Newly Remastered*
  2. The Outlaw Torn (No More Manufacturing Limits!)
    11.Previously released as a B-Side to “The Memory Remains.” Newly Remastered*

THE REMIXES THAT SHOULD NOT BE

  1. Until It Sleeps (Herman Melville Mix)
    11.Previously released as a B-Side to “Until It Sleeps.” Newly Remastered*
  2. Hero of the Day (Outta B-Sides Mix)
    13.Previously released as a B-Side to “Hero of the Day.” Newly Remastered*
  3. King Nothing (Tepid Mix)
    15.Previously released as a B-Side to “The Memory Remains.” Newly Remastered*
  4. Hero of the Day (Unreleased Aux Mix)

MISC. SHIT

  1. Mama Said (Live on Later…With Jools Holland)

CD 8 & 9: Escape from the Studio '95

Recorded live at Donington Park, Castle Donington, England on August 26, 1995 except where noted. Newly mixed by Greg Fidelman.
Previously Unreleased except where noted.

DISC ONE

  1. The Ecstasy of Gold
  2. Breadfan (Live)
  3. Master of Puppets (Live)
  4. Wherever I May Roam (Live)
  5. The God That Failed (Live)
  6. Fade to Black (Live)
  7. 2 x 4 (Live)
    8.Previously released as a B-Side to “Until It Sleeps.” Newly mixed by Greg Fidelman.*
  8. Kill/Ride Medley (Live)
    10.Previously released as a B-Side to “Until It Sleeps.” Newly mixed by Greg Fidelman.*
  9. Bass Doodle (Live)
  10. For Whom the Bell Tolls (Live)
  11. Devil’s Dance (Live)
  12. Donington Jam (Live)
  13. Creeping Death (Live)

DISC TWO

  1. Welcome Home (Sanitarium) (Live)
  2. Harvester of Sorrow (Live)
  3. Guitar Solo (Live)
  4. Nothing Else Matters (Live)
  5. Sad But True (Live)
  6. One (Live)
  7. Last Caress (Live)
  8. Seek & Destroy (Live)
  9. Enter Sandman (Live)
  10. So What (Live)
  11. 2 x 4 (Live at Astoria 2, London, England - August 23, 1995)
    12.Mixed by Greg Fidelman*
  12. Devil’s Dance (Live at Astoria 2, London, England - August 23, 1995)
    14.Mixed by Greg Fidelman*

CD 10 & 11: Club Shows & Rehearsals

LIVE AT SLIM’S, SAN FRANCISCO, CA - JUNE 10, 1996

Previously unreleased except where noted. Newly mixed by Greg Fidelman.

  1. Intro Jam (Live)
  2. So What (Live)
  3. Creeping Death (Live)
  4. Sad But True (Live)
  5. Ain’t My Bitch (Live)
  6. Whiplash (Live)
  7. Fade to Black (Live)
    8.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  8. King Nothing (Live)
    10.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  9. One (Live)
    12.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  10. Until It Sleeps (Live)
  11. For Whom the Bell Tolls (Live)
  12. Wherever I May Roam (Live)
    16.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  13. Nothing Else Matters (Live)
    18.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  14. Enter Sandman (Live)
  15. Encore Jam (Live)
  16. Last Caress (Live)
    22.Featuring Jim Martin. Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  17. Master of Puppets (Live)
    24.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  18. Overkill (Live)
    26.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*
  19. Motorbreath (Live)
    28.Previously released as part of “Fan Can 2.” Newly mixed by Greg Fidelman.*

POOR REHEARSING ME (AUGUST '96)

  1. Wasting My Hate (Hun Sound Rehearsal)
  2. The House Jack Built (Hun Sound Rehearsal)

WMMS COFFEE BREAK CONCERT, CLEVELAND, OH - FEBRUARY 19, 1997

  1. Last Caress (Live)
  2. King Nothing (Live)
  3. Devil’s Dance (Live)
  4. Wasting My Hate (Live)
  5. Hero of the Day (Live)
  6. Whiplash (Live)
  7. Motorbreath (Live)

CD 12 & 13: Poor Norwegian Me '96

Recorded live at Oslo Spektrum, Oslo, Norway, on November 23, 1996.
Previously Unreleased

DISC ONE

  1. Intro Jam (Live)
  2. So What (Live)
  3. Creeping Death (Live)
  4. Sad But True (Live)
  5. Ain’t My Bitch (Live)
  6. Whiplash (Live)
  7. Bleeding Me (Live)
  8. King Nothing (Live)
  9. One (Live)
  10. Wasting My Hate (Live)
  11. Bass/Guitar Doodle (Live)
  12. Nothing Else Matters (Live)
  13. Until It Sleeps (Live)
  14. For Whom the Bell Tolls (Live)

DISC TWO

  1. Wherever I May Roam (Live)
  2. Fade to Black (Live)
  3. Seek & Destroy/Fight Fire With Fire (Live)
  4. Encore Jam (Live)
  5. Last Caress (Live)
  6. Master of Puppets (Live)
  7. Enter Sandman (Live)
  8. Encore Jam #2 (Live)
  9. Am I Evil? (Live)
  10. Motorbreath
  11. Bleeding Me (Birmingham, England Rehearsal - September 1996)
  12. Until Sleeps (Birmingham, England Rehearsal - September 1996)
  13. The House Jack Built (Birmingham, England Rehearsal - September 1996)

CD 14 & 15: Poor Touring Me '96 - '97: The Soundboard Tapes

Previously Unreleased

DISC ONE

  1. Intro Jam (Live at Rosemont Horizon, Chicago, IL - February 9, 1997)
  2. So What (Live at Forum København, Copenhagen, Denmark - November 26, 1996)
  3. Creeping Death (Live at Great Western Forum, Los Angeles, CA - December 20, 1996)
  4. Sad But True (Live at Palazzo dello Sport, Rome, Italy - September 26, 1996)
  5. Ain’t My Bitch (Live at McNichols Sports Arena, Denver, CO - January 24, 1997)
  6. Hero of the Day (Live at Miami Arena, Miami, FL - April 19, 1997)
  7. Whiplash (Live at Point Theatre, Dublin, Ireland - October 9, 1996)
  8. Bleeding Me (Live at Westfalenhalle, Dortmund, Germany, October 21, 1996)
  9. King Nothing (Live at Civic Arena, Pittsburgh, PA - March 26, 1997)
  10. One (Live at Saskatchewan Place, Saskatoon, SK, Canada - May 26, 1997)
  11. 2 x 4 (Live at Sportovni Hala, Prague, Czech Republic - September 9, 1996)
  12. Wasting My Hate (Live at Velódromo de Anoeta, San Sebastian, Spain - September 18, 1996)
  13. Devil’s Dance (Live at Madison Square Garden, New York, NY - March 10 ,1997)

DISC TWO

  1. Bass/Guitar Doodle (Live at Tingley Coliseum, Albuquerque, New Mexico - January 8, 1997)
  2. Nothing Else Matters (Live at Estádio do Restelo in Lisbon, Portugal on September 20, 1996)
  3. Until It Sleeps (Live at Thomas & Mack Center, Las Vegas, NV - January 10, 1997)
  4. For Whom the Bell Tolls (Live at Prins Van Oranjehal, Utrecht, Netherlands - November 12, 1996)
  5. Wherever I May Roam (Live at Spokane Arena, Spokane, WA - May 16, 1997)
  6. Fade to Black (Live at Centre Molson, Montreal, QC, Canada - March 28, 1997)
  7. Kill/Ride Medley (Live at Spodek, Katowice, Poland, September 8, 1996)
  8. Encore Jam (Live at Riverfront Coliseum, Cincinnati, OH - April 16, 1997)
  9. The Shortest Straw (Live at Flanders Expo, Ghent, Belgium - September 14, 1996)
  10. Master of Puppets (Live at Barrowland, Glasgow, Scotland - October 10, 1996)
  11. Enter Sandman (Live at The Omni, Atlanta, GA - April 22, 1997)
  12. Encore Jam #2 (Live at Le Dome, Marseille, France - October 2, 1996)
  13. Fuel (Live at Rosemont Horizon, Chicago, IL - February 9, 1997)
  14. Breadfan (Live at Seidenstickerhalle, Bielefeld, Germany - November 11, 1996)
  15. Overkill (Live at Earls Court, London, UK - October 12, 1996)

DVD 1: Studio Shit + U.K. Shenanigans

Previously Unreleased except where noted.

STUDIO SHIT: NOVEMBER 1995

Some footage appeared in “Fan Can 1,” but it’s all newly edited by Brett Murray.

  1. Rehearsals at The Plant Pt. 1
  2. Writing in Lars’ Dungeon Pt. 1

A WEEK AND A HALF IN THE LIFE OF METALLICA PART ONE

  1. A Week and a Half in the Life of Metallica: Pt. 1 - London
    2.Previously released as part of “Fan Can 2.”*
  2. Soundcheck (Live in London, England)
  3. 2 x 4 (Live in London, England)
    5.Mixed by Greg Fidelman. Edited by Brett Murray.*
  4. Devil’s Dance (Live in London, England)
    7.Mixed by Greg Fidelman. Edited by Brett Murray.*

A WEEK AND A HALF IN THE LIFE OF METALLICA PART TWO

  1. A Week and a Half in the Life of Metallica: Pt. 2 - Castle Donington
    2.Previously released as part of “Fan Can 2.”*
  2. 2 x 4 (Live in Castle Donington, England)
    4.Mixed by Greg Fidelman.*
  3. Kill/Ride Medley (Live in Castle Donington, England)
    6.Mixed by Greg Fidelman.*
  4. Devil’s Dance (Live in Castle Donington, England)
    8.Mixed by Greg Fidelman.*

DVD 2: Polar Beach Party

Recorded live at the Polar Beach Party, Tuktoyaktuk, Canada on September 3, 1995.
Previously Unreleased except where noted. Concert Audio Mixed by Greg Fidelman. Edited by Brett Murray.

  1. Soundcheck
  2. Backstage
  3. The Ecstasy of Gold (Live)
  4. Creeping Death (Live)
  5. Master of Puppets (Live)
  6. Wherever I May Roam (Live)
  7. Harvester of Sorrow (Live)
  8. Fade to Black (Live)
  9. 2 x 4 (Live)
  10. Bass Doodle (Live)
  11. For Whom the Bell Tolls (Live)
  12. Devil’s Dance (Live)
  13. Seek & Destroy (Live)
  14. Guitar Doodle (Live)
  15. Nothing Else Matters (Live)
  16. Sad But True (Live)
  17. One (Live)
  18. Enter Sandman (Live)
  19. So What (Live)
  20. A Week and a Half in the Life of Metallica: Pt. 3 - Tuk
    21.Previously released as part of “Fan Can 2.”*

DVD 3: Poor Swedish Me '96

Recorded live at Globen, Stockholm Sweden on November 16, 1996.
Previously Unreleased. Audio is a collection of various bootlegs mixed together by Greg Fidelman. Concert Footage Edited by Brett Murray.

  1. Intro Jam (Live)
  2. Last Caress (Live)
  3. Creeping Death (Live)
  4. Sad But True (Live)
  5. Ain’t My Bitch (Live)
  6. Whiplash (Live)
  7. Bleeding Me (Live)
  8. King Nothing (Live)
  9. One (Live)
  10. Devil’s Dance (Live)
  11. Bass/Guitar Doodle (Live)
  12. Nothing Else Matters (Live)
  13. Until It Sleeps (Live)
  14. For Whom the Bell Tolls (Live)
  15. Wherever I May Roam (Live)
  16. Fade to Black (Live)
  17. Kill/Ride Medley (Live)
  18. Encore Jam (Live)
  19. So What (Live)
  20. Master of Puppets (Live)
  21. Enter Sandman (Live)
  22. Encore Jam #2 (Live)
  23. Breadfan (Live)
  24. Overkill (Live)

DVD 4: On the Air: Music Videos + TV Appearances

Previously Unreleased except where noted.

MUSIC VIDEOS

  1. Until It Sleeps (Official Music Video)
    2.Previously released on “The Videos: 1989-2004”*
  2. Hero of the Day (Director’s Cut)
  3. Mama Said (Official Music Video)
    5.Previously released on “The Videos: 1989-2004”*
  4. King Nothing (Official Music Video)
    7.Previously released on “The Videos: 1989-2004”*
  5. Hero of the Day (U.S. Version)
  6. Hero of the Day (U.K. Version)
    10.Previously released on “The Videos: 1989-2004”*
  7. Hero of the Day (Cowboy Footage)

MTV MOTHERLOAD

  1. MTV Motherload (U.S. Version)
  2. MTV Motherload (Euro Version)

TV APPEARANCES

  1. Until It Sleeps (Live on the MTV Video Music Awards)
  2. Hero of the Day (Live on Top of the Pops)
  3. Wasting My Hate (Live on Later…with Jools Holland)
    4.Previously released on “Later…with Jools Holland…Louder”*
  4. Mama Said (Live on Later…with Jools Holland)
  5. King Nothing (Live on Later…with Jools Holland)
    7.Previously released on “Later…with Jools Holland…Even Louder”*
  6. King Nothing Last Caress/So What (Live on the MTV Europe Music Awards)
  7. Mama Said (Live on Sverige-Sovjet)
  8. King Nothing (Live on the American Music Awards)
6 Likes
#21010

Αν δεν μου ερχόταν η εφορία 1000€ (και είμαι μισθωτός ε) θα εσκαγα τα 250€ που θέλει το deluxe box set
Έχει πολλά και αξίζει νομίζω

#21011

Από τη στιγμή που σε αυτά τα κουτιά οι Metallica βάζουνε τους δίσκους και έναν σωρό από leftovers, θα έπρεπε το κουτί του Load να είχε μέσα και το Reload. Φάουλ τους.

7 Likes
#21012

Ναι, αλλά:
Φαντάζομαι θα ρθει από δω να μην κάνουμε παραγγελία απόξω ε :partying_face:

#21013

Ειχαν νομικα θεματα με τις εταιριες που διαχειριζονται Iced Earth, Pantera, Avenged Sevefold και καμια 100αρια αλλες, αφου θα επρεπε να βαλουν μεσα και τις δικες τους δισκογραφιες.

To deluxe με τα 15 CD το θελω παρα πολυ…

1 Like
#21014

Αν και πήρες απάντηση, εννοώ την κατεύθυνση, βέβαια και στυλιστικά το σοκ ήταν μεγάλο. Έχω ξαναπεί την ιστορία με το Metal Hammer εκείνου του μήνα να έχει ως εξώφυλλο το οπισθόφυλλο του Load όπου δεν τους αναγνώρισα.
Στο μουσικό κομμάτι ήταν πολλοί αυτοί που έλεγαν ότι μόνο η φωνή του Hetfield θυμίζει Metallica, και συμφωνούσα κι εγώ. Βέβαια κι εγώ στα 14 έχοντας ακούσει μόνο τα 5 πρώτα-προφανώς- και ψάχνοντας τότε τη φάση heavy metal μου φάνηκε κάπως.
Είναι όμως γεγονός ότι από τότε το Load είναι ο δίσκος που ακούω πιο συχνά όταν θέλω να ακούσω Metallica κι αυτό έχει τη δική του αξία.

5 Likes
#21015

Είχα κενό ακρόασης και εψαχνα τι θα ακούσω μετά. Μπηκα στο φορουμ. Μιλάγατε για Load. Ωραία θα ακούσω Load λεω. Βαζω και φυσικά το ακούω υπο το πρίσμα " Γτ το θαβουν γενικά? " "Τι πηγε λαθος?
" Γτ ο θεος μας εγκατέλειψε? " κτλ .

Ειναι ξεκάθαρο πως το Load ξεκινά στο 10ο λεπτό. Εκει αποκτά τον χαρακτήρα του. Εκει αρχίζει να δίνει αυτό που θέλει να δώσει. Τα πρωτα 10 δεν είναι άσχημα άπλα δεν πυροδοτουν το μουντ του Load.
Η μπαντα που σε πιανει απο μαλλιά και σου επιβάλλει το συναισθηματικό πλαισιο που θα βιώσεις τον ήχο της σε όλα τα προηγούμενα άλμπουμ, ξεκινά με έλλειψη στόχευσης. Με γενικευμένο ήχο.
Η Αναρχο - Νοτιο - Χαρλει - Turn the page - Χαρντ ροκίλα , ξεκινά στο 10 λεπτο.
Ειναι εκει και στην αρχή αλλά πολυ πιο ήπια. Δεν ξεκινάς ηπια. Εισαι Μεταλικα.

Οι γενική άποψη για το Load είναι αντανάκλαση της έλλειψης αυτοπεποίθησης απο την ίδια την Μπαντα.
" Τωρά ακούς ΑΥΤΟ !! Αν δε σου αρέσει κλείστο!" . Ετσι έπρεπε να ξεκινήσει. Αντ αυτού?
Ξεκινά με " Θα κάνουμε μαλακιούλα ! Θα το χτίσουμε σιγά- σιγα όμως. Θα δείς πως και αυτός ο ήχος αξιζεί! Σιγά - Σιγά δε θέλουμε να σε χάσουμε… ". Δεν είναι τόσο ή αλλαγή που ξενίσε κόσμο. Αν και αυτό θα σου πουν συνειδητά. Αυτό που χάλασε τον κόσμο είναι η έλλειψη αυτοπεποίθησης. ΜΕΤΑΛ ειναι αυτοπεποίθηση. Ειναι το κυριάρχο συναίθημα που μεταφέρει. Και οι καλυτεροι στο κοσμο ΗΤΑΝ, μέχρι τότε, οι Μεταλικα. Το Load διστάζει. Το κοινό διστάζει.

Εγώ θα ξεκίναγα το Αλμπουμ με το " The House that Jack Built". Κυριολεκτικά ξεκινά με τον στιχο.
" Let the show begiiiiiiiiiiinnnn ! ". Κανε πειραμα. Μεταφερσου πισω 95? 96? ποτε ήταν δε θυμαμαι.
Περιμένεις το καινουγιο , μετα το μαυρο, και ξεκίνα το άλμπουμ απο το House. (Βαλε τα 2 πρωτά πιο μετα. δεν είναι άσχημα.) . Νιώσε την διαφορά ! Μια εισαγωγή με τον χαρακτήρα του Αλμπουμ και μετα σε χτυπάει σα χταπόδι κάτω τo “Until it Sleeps” . Ετσι έπρεπε να μπει κατα την γνώμη μου. Και η άποψη για το Αλμπουμ θα ήταν πολυ διαφορετική !

1 Like
#21016

δηλαδή το Ain’t My Bitch - αναφορά στις δισκογραφικές και στο τι ζητούσαν από τους ίδιους και το 2Χ4 που σε κοπανάει στα μούτρα με τη βρεγμένη σανίδα του , είναι μαλακιούλες και δείχνουν ότι οι Metallica δεν είχαν αυτοπεποίθηση.

Οκ όλες οι απόψεις σεβαστές , διαφωνώ όμως 100%.

8 Likes
#21017

Κυρίως ο Λαρς γιατί έκοψε την κόκα και κατάλαβε ότι δεν είναι καλός drummer και στεναχωρήθηκε

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#21018

εδώ έκοψε τα μαλλιά του ρε και στενοχωρήθηκαν οι μεταλλάδες.

1 Like
#21019

Ντεμιτ ωλ ντάουν
Ντεμιτ ανμπάουντ
Ντεμιτ ωλ ντάουντ τα χελλ εγκέν :exclamation:

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#21020

Αν και το House…είναι ΥΠΕΡΟΧΟ κομμάτι, όχι δεν είναι για να ξεκινάς τον δίσκο με αυτό.
Το Ain’t My Bitch είναι…statement και η γκρούβα του 2Χ4 επίσης

4 Likes
#21021

To Ain’t My Bitch είναι ένα δυναμικό κομμάτι, κάνει καλό μπάσιμο στο δίσκο, όπως είθισται ένας δίσκος να ξεκινάει με ένα καλό ενεργειακό σφηνάκι. Το 2Χ4 ενώ είναι γκρουβάτο κομμάτι, θα προτιμούσα να έχει συντομότερη διάρκεια, κάπου κάνει κοιλιά στα αυτιά μου. Αν ήταν πιο σύντομο και έμπαινε στα καπάκια το House, εκεί θα ήταν πολύ καλή μετάβαση.

Στο Load, ενώ είναι ενας πάρα πολύ καλός δίσκος και η αλήθεια είναι ότι στη φάση που βρίσκομαι, προτιμώ το δίδυμο Load/Reload από Metallica, δεν μπορώ να δώσω το 10ρακι σε αυτό το δίσκο, επειδή πολύ απλά υπάρχουν κάποια κομμάτια για να υπάρχουν. Δεν ενοχλούν όπως Κομμάτια σαν το Invisible Kid αλλά είναι απλά passable.

Έχω την εντύπωση ότι στο Load, είχαν τη διάθεση να δείξουν ότι έχουν αστείρευτη έμπνευση, με υλικό για δύο δίσκους, άλλωστε, στο εξώφυλλο αναφερόταν ότι περιέχονται 80 λεπτά νέας μουσικής από τους Metallica. Εκεί, υπάρχουν κάποιες κοιλίες, έχω καιρό να ακούσω ολόκληρο το δίσκο από την αρχή μέχρι το τέλος, ίσως μου μιλήσει διαφορετικά αλλα, έχω την εντύπωση ότι πολλά σημεία, θα μπορούσαν να λείπουν.

Παρόλα αυτά, σίγουρα δεν ρίχνω τους δύο αυτούς δίσκους στον Καιάδα, είναι πραγματικά πολύ ενδιαφέροντες δίσκοι και είμαι από αυτούς που τους δίνω τα εύσημα για το ότι τόλμησαν να κάνουν αυτό που οι ίδιοι ήθελαν και τους έβγαινε πηγαία, δεν πιέστηκαν να βγάλουν αυτό που ζητούσε ο κόσμος αν και, μετά από χρόνια, υπέκυψαν.

Ενδιαφέρουσα η επανακυκλοφορία, έχω περιέργεια να ακούσω το Remaster αν και σε θέμα παραγωγής, είναι πολύ κομπλέ δίσκος γενικά. Το Outlaw Torn που λέγεται ότι θα είναι η extended εκδοχή, μάλλον είναι η εκδοχή που είχε βγει και σε single όπου ήταν ολόκληρο το κομμάτι, εκτός αν πρόκειται για κάποια εναλλακτική έκδοση με διαφορετικό φινάλε που κυκλοφορεί τώρα.

#21022

Προσωπικά το θεωρώ το πιο ενδιαφέρον box set ως τώρα - έχω όλα τα υπόλοιπα παρεμπιπτόντως.
Ο βασικός λόγος δεν είναι το υλικό που φυσιολογικά θα είναι διαθέσιμο σε μαγαλύτερες ποσότητες όσο πάμε σε πιο πρόσφατες κυκλοφορίες, αλλά τα παρακάτω:
Tα shadowcast (το project title του Load) CD που είναι σε χρονολογική σειρά και σου δίνουν μια ιδέα για το πως εξελίχθηκαν τα τραγούδια από το demo μέχρι το τελικό αποτέλεσμα.
Tα alternate mixes και δη το Outlaw of Torn Vocal Tag Alternate Mix και το original arrangement του Ain’t My Bitch.
Overkill με Lemmy. (We Are) The Road Crew.
Donnington live 1995 - μια από τις καλύτερες live εμφανίσεις των Metallica.
To ιστορικό λαιβ στον αρκτικό κύκλο (Tuktoyaktuk 1995), οχι απλά live αλλά σε DVD.
The House Jack Built “Live".

Ντάξει βασικά όλα τα live 1995-1997 είναι λόγος να πάρεις με κάποιο τρόπο αυτή την κυκλοφορία. Ήδη βέβαια το remaster με την uncut version του Outlaw είναι διαθέσιμη για streaming.

5 Likes
#21023

Τον Μάη του 2026 θα θέλει φούτερ στην Καλογρέζα που αργότερα μετατράπηκε σε Μαρούσι ή μπορείς να την βγάλεις και με απλό t-shirt; Ηρεμα το ρωτάω.

2 Likes
#21024

Το θέμα είναι να μην χρειαστούμε κουβέρτα και να αλλάξουμε πλευρό…

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#21025

image
image826×1000 137 KB

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#21026

Το παρακάτω θέλω να ακούσω από το box set πρώτα από όλα.

The House Jack Built (Live Rehearsal in Birmingham, England - September 1996)

3 Likes
#21027

Mε αφορμή την επανακυκλοφορία, ξαναδιάβασα την ίσως πιο ενδιαφέρουσα συνέντευη τους για το δίσκο (με αφορμή τα 20 χρόνια απο την κυκλοφορία του, το 2016). Mιλάνε τόσο μουσικά για το πως έγραψαν το δίσκο, τι επιρροές είχαν εκείνη την εποχή κοκ, όσο και για την αντίδραση από κομμάτι των οπαδών και του τύπου για το στυλιστικό.

https://www.metallica.com/so-what/2016-06-10-20-years-of-blood-semen-and-haircuts.html
Παρακάτω για όσους δεν έχουν πρόσβαση (σε 2 μέρη γιατί υπερβαίνει το μέγιστο αριθμό χαρακτήρων)

Part I:

Summary

20 Years Of Blood, Semen & Haircuts: A Conversation About Load

Anton Corbijn

Toward the end of 2015, I started to look at the year ahead and noticed that there were quite a few milestones coming up. The 30th Anniversary of Master of Puppets. The 25th Anniversary of The Black Album. The 5th Anniversary of Lulu. I thought it would be great for the band to look back on one of these milestones for So What!, but which one? Master of Puppets? Nah – I mean, it’s the greatest heavy metal album of all time, but the boys have frequently talked about it both in the press and in So What! What about The Black Album? There was a pretty great write-up in Issue 19.2 a few years back and I’m sure that’s still fresh in some people’s minds. Lulu? Um, well – maybe some other time.

I wanted to take a stroll down memory lane about an album turning 20. An album, while far from my favorite Metallica record, is a very important moment in my life. I’m talking about Load. It was an album that came out while I was in high school so the memories of the anticipation and the excitement of the release live on.

The band hasn’t talked a lot about Load or Reload in recent years. It has come up in interviews from time to time but how often have they taken a look back at that period of time? I managed to corner Lars and James at HQ before they locked themselves in the control room with Greg Fidelman to start mixing the new album. As Lars told me, he’s always down to give Load some love and both he and James were happy to sit down for a loose conversation about that period of time.

Let’s begin…

So here we are in 2016. It’s the 30th Anniversary of Master of Puppets and the 25th Anniversary of The Black Album. But I’m sure you’ve had enough about talking about those records. Let’s talk about an album that doesn’t get a whole lot of love. Load. It’s 20 years old and, shit… I guess that means I’m old!**

JH: Wait, it’s been 20 years since Load?

LU: Yeah, it came out in June—

Yep – June 4, 1996

JH: And still nobody likes it! laughs There’s a Load generation…

There is. There definitely is. Load came out when I was in high school. It was my first big memory of being a Metallica fan – I had never been a part of a new album release before. I bought The Black Album in February 1992 and Binge & Purge on the day it came out, but I followed the making of Load from the second you guys started writing it. The record came out, I saw Lollapalooza that summer, bought the t-shirts, proudly waved the Metallica flag. I genuinely liked the record. So I go back to school after summer break. I walked into my first class proudly wearing whatever tour shirt I bought over the summer. The girl I had a crush on throughout all of high school – who I had never talked to – looks at me. She’s like, “Hey Dan!” The world stopped for a minute. Holy shit – she’s talking to me. “That new Metallica album sucks!”

laughter

JH: So we ruined your sex life, huh?

Yes. Yes you did. laughs Ok, now with that story out of the way, let’s get goin’. My memories going back to the mid-90s, especially now that hindsight’s kind of 20/20, I always viewed Load as your way of saying “fuck you” to everybody. After the success of The Black Album, you basically had a huge crowd of people telling you what to do. Instead of going and making The Black Album II or Master of Puppets II you chose to go down the path that brought us Load*. When it came time to start writing, where were your heads at?***

LU: The only thing that I vividly remember was sort of what you said. The relationship with Bob Rock during The Black Album was really rocky. It wasn’t great and it didn’t end on a great note. When we parted ways after The Black Album there was no, to my recollection, no kind of thought or vibes or anything about working together ever again. We went through a year of hell with this guy and we sort of all barely survived. We made a great record but there was a lot of carnage left in the wake.

So we went away and then did the touring for a couple years and when we started thinking about it again, it wasn’t like, you know, Bob’s just gonna pick up where we left off. I mean there was none of that. When we started writing and sort of getting back together after the Summer Shit tour. It wasn’t like Bob was like a part of the team or anything like that. So Bob’s involvement came much later after we sort of spent some time mending the relationship.

I remember having a conversation where we basically sat there and said, “We can’t copy The Black Album. I mean, we can’t just do The Black Album II,” like you were saying. But I don’t recall there being a kind of a mission statement about what it should be instead. I just remember sitting there going, “We’re not gonna do The Black Album again,” but it wasn’t like, “We’re gonna do this instead.”

There still was a fairly organic element to the songwriting when James and I started in the fall of ’94. We initially started up at my house. I had built a little studio up there. A little later we started splitting between my house and James’ house. When we initially started up at my house there wasn’t a particular this is what we’re doing. I remember the first song that we were writing was what turned into “Bad Seed.”

“Bastard.”

LU: Yes! “Bastard!” But I remember we were sitting up in my house and we just started, literally there were tons of riffs, but there wasn’t a particular mission statement. We just started going through them and—

You just started jamming.

LU: Yeah. You know, finding the best riffs. It felt like a lot of it that we liked were kind of blues based and very kind of melodic riffs but there wasn’t a particular mission statement, at least not to my recollection. I just remember like, I remember we started without Bob and it was kind of like, as long as we just don’t do an album that was just a watered down version of the big one.

JH: Like you said, hindsight 20/20. History makes sense after it’s happened, you know? You’re not out to do something on purpose and, well, some people are, or not. Because every time we’ve tried to do something on purpose, it ends up either feeling or looking contrived, or it ends up being something else. You know, you can’t control that so much, especially, you know, the art part of this. It just happens.

Art just kind of flows. If you are trying to do something specific it can totally look or sound contrived.

JH: I mean it’s life, dude. You know, it’s not like here’s the point in our life where we did this. You know. Here’s where we turned and said, “Fuck you, we’re cutting our hair. Fuck you heavy metal! You can’t even tell us what to do!” That’s what it seems like now, but then, we’re just doing the next right thing.

So you started at Lars’ house and worked on a ton of demos—

JH: I think it was two tons.

I’ve seen the shelves in Lars’ vault. Now granted, those were mostly DAT tapes from The Plant, but there’s like five shelves of Shadowcast DAT tapes.

LU: Was Shadowcast the code name for that one?

Yeah – that’s sure what it looked like.

LU: I think this was the last time we used the little Fostex four-track. We were still doing the cassette tape thing. James would come over. It was pre-kids, so my recollection is you’d sorta come over in the afternoon and then we would kinda grind away. This was the first time we spent a significant time apart. We finished The Black Album tour in the summer of ’93 and we spent almost a whole year apart.

Right. You guys got together and did the box set, The Plant…

LU: Yeah, we mixed the Live Shit box set but we weren’t sort of working-working, you know. Then we went out and did the the summer tour, which was a lot of fun. I mean I remember that tour—

It was the first time I saw you guys.

LU: Yeah. I remember that tour. That was like, I just remember we did no interviews. There was no agenda. There was no big promotional angle or any kind of, it was literally like, it was almost like a victory lap. It was like, it was just like, “Hey! Here we are.” Then we come back and we had good vibes kind of going into the writing. And I remember, I still hadn’t seen maybe James two or three months after the end of that tour and then he came over and he discovered something new called Bombay Sapphire.

Ooh. That’s when the martinis started, huh?

LU: Yeah – he brought over this blue bottle. It was just James and me in my new house and it was like okay, off to the bar and then start writing. It was kind of the last record that wasn’t made at nine in the morning.

We went and chipped away at it. We’d write a song, put it down on Fostex, then James would do the nah-nah vocals and, I mean, it was all that stuff. We just kept churning away and then after a few months, looking at James your studio up at your joint got done and then we would sort of just go back and forth and do like a couple weeks at his pad and a couple weeks at my pad. It was just James and I. I mean Kirk and Jason weren’t really a part of it, at least at first.

Did you walk into it with kind of the intention of, “Hey, let’s do a double record?”

LU: No.

Anton Corbijn

So you wound up at the Plant. You had first recorded there in ’84 when you did “Am I Evil?” and “Blitzkrieg” and then mixed Live Shit there. What drew you back? Was it was just the vibe?

JH: It was close.

Yeah, it was close. You guys didn’t have to go to LA.

JH: We didn’t have to, yeah, go to LA or go over into the East Bay. It was close. And we knew them there, and we, it’s like we kinda became the house band there. We just kinda took over and it was always great to just walk in and be like, “Hey, we’re back!” you know? It’s in our back yard so it just felt comfortable.

LU: I think also we cut some sort of deal with him or did something where, didn’t they rebuild like a couple lounges and they—

JH: Yeah. Oh, yeah.

LU: They did some stuff for us. I think they, didn’t they even like expand the big room, or—?

JH: Yeah. They raised the roof on the big room. Because we wanted a bigger room for drum sounds and they didn’t have a big room, so they said, “Hey, if you’re willing to do the next record here we’re willing to do this for you.” They improved the lounges. You know, got rid of the Sly and the Family Stone hot tub and all that stuff that wasn’t really used and took up some of the outside area. They made the lounge bigger and you know, we were, it’s like we’d been in the studio so much we knew what we kinda wanted. We want a bigger control room, we want a taller roof for the drums, and we want a lounge, a hang. So, because we were spending a lot of time there. And they were willing to do it, which was great.

LU: Because it was the first record, I think the common sense around the camp was that we were starting to root and Marin County was where we were rooting. Nobody seemed particularly interested to travel back to LA or go anyplace else. Obviously history showed you that we ended up making four records in a row there for the next, you know, four or five years. We sort of took the whole place over. I mean like especially on Reload I think it got really nutty. We had all four rooms. I mean it basically became, I mean almost like HQ in some way but—

When you moved in and started recording, you didn’t stop writing. You kept writing off the floor. I’m thinking of “Until It Sleeps” in particular because that came from there, as far as I know.

JH: Yeah.

LU: Yeah, I think that was the only one.

Was it? Okay.

LU: I don’t remember. I think we just wanted like one more short, simple song. That was written at The Plant?

JH: Yeah, I remember it. Right on the floor. I mean there was, yeah, the Bombay sessions. We just go. Yeah. That was, I think, one of the first times we actually used Bob as a producer. In the past, obviously we’d have some songs written. We’d say, “Here, what do you think of that?” and then he’d be like, “Oh, ‘Sad But True’ is the next ‘Kashmir.’”

And writing “Until It Sleeps” was, “Hey, we need this,” and he’d say, “Well, let’s try something.” And I’d just start fiddling around and you know, we all go through our phases musically of what we’re listening to and it was my Chris Isaak phase and you know, all of a sudden that came up and Bob was actually helping us run with that, you know? “Hey, how about this?” and “Let’s try that.” So I vividly remember, I mean I can close my eyes and be right there, you know, sitting there and there’s the control room and—

LU: You’re talking about “Until It Sleeps?”

JH: Yeah, um hum. So that’s one of the things I remember about that.

LU: I can, since obviously this is only going out on Metallica media, I would never say this in a real interview. But wasn’t the title “F.O.B.D.?”

Yep – that’s it.

LU: Yeah, do you know what that’s short for?

It’s funny you ask. I have two answers.

LU: Okay, let’s see if you win the—

I have “Fell on Black Days” and I have “Fuck Off Brian Dobbs.” (Brian was an engineer on the album - ED)

JH: Hm. Brian Dobbs, young fuck.

LU: I think both of those are worthy contenders. So since this is not a real interview, then I will say that you know, the first answer wins the prize. Because there was, Soundgarden’s—

Superunknown.

Yeah, Superunknown was like the big record at the time and I just remember sitting around, I mean just like The Black Album was on MTV, it was just blaring constantly in the control room and I remember that we felt that their songs were – there was something like super-concise about them. I remember having this conversation about how the kind of the dynamic between the verses and the chorus musically remained kind of the same and the main thing that was changing as it was moving along was the vocals. That was kind of different than how we wrote. We had a tendency to write very dynamically… like the verse is like this and the bridge is like this and the chorus is like this, and then, you know, drum beats changing and key changing and all this type of stuff and there was a kind of a linearity to some of those Soundgarden songs that we found really unusual. So we were kind of inspired, I wasn’t quite aware of the Chris Isaak thing but I pretty clearly remember the “Fell on Black Days” linear thing that was happening.

What else was influencing you? Alice in Chains was also really big at the time – and I hear a lot of Alice in “The House Jack Built.” Corrosion of Conformity had Deliverance which I’ve always heard throughout Load and Reload. Then there’s Kyuss—**

JH: It is, it’s just a cover record. Soundgarden, C.O.C. Chris Isaak.

LU: Good thing this is not a real interview! laughs

I know, right?!

JH: No, you’re right. You get influenced by stuff you like. I mean not so much influenced but you digest the stuff that you like. What band doesn’t want to play music that they like?

Absolutely.

JH: And you know, maybe, mix in a little psychology here that musicians tend to be a little insecure so when they hear something they really like they want to do it better. The competitive insecurity is part of the digestion of what’s out there and, I think, in some of the songs trying, singing along with the guitar thing. Bob was really pushing me to expand and go out a little farther vocally. You know, take some risks artistically.

Now “Jack” has always been one of my favorite songs. Obviously never played live. Might not be able to be played live.

LU: That’s not true. We played it in Austria.

Jeff Yeager (Metallica.com Webmaster): No.

JH: We played it at sound check a bunch.

JY: Sound check, yes. We’ve argued about this before.

LU: What was the song that we played for the first two or three shows and then sacked? Do you have the actual set list?

JY: I don’t have the actual set list. I have what’s on the website.

LU: Nobody has a video or audio of Vienna?

JY: I think there’re bootlegs of Vienna.

LU: Bet you it was played. I’ll bet you.

JH: Well, I vividly remember playing it at sound check.

Were you gonna bring the talk box out?

JH: Yeah.

No way!

JH: I know we did it at sound check. I remember having, you know, visions. When you’re in the studio you’re like, “Oh, wow, the talk box, that’s really cool! Man, we gotta get one for tour” and Zach [Harmon – Equipment Manager] loves that stuff. He goes insane and starts building stuff and then we end up not doing the song. It’s one of those “ah shit” moments. It’s like you try and be unique and then stuff just doesn’t end up fitting in the set. Simple as that. Or just isn’t a good live song. There’s so many factors that play into that decision.

Right. I was thinking that maybe it didn’t work live. Now, you played “Ain’t My Bitch” and you played “Hero of the Day” a lot through those tours…

LU: We played “Hero” subsequently after it was released. We didn’t play “Hero” out of the gate.

Right. I think I saw the second or third time you guys played “Hero” in Chicago.

LU: I remember there was one show where our lighting designer talked us into opening with “Overkill.” We were trying. I mean it was the beginning of the seed that eventually came to fruition on the St. Anger tour which was to change the set list every night. And I remember the conversations used to be that if we change the set list then they’re gonna have to re-program the lights and it was like we were still sort of held captive by the production in a way. We’d do production rehearsals and do this, and then you know, the two stages and then this happens and the fucking cranes and lighting rigs and all that type of stuff, it was very orchestrated. There was very little room for changes. I remember on the places we played doubles, we used to do the “Kill/Ride Medley,” right? And then at that time “Seek & Destroy” wasn’t even a staple in our set every night. We would alternate a “Kill/Ride Medley” with “Seek & Destroy” in the places where we played doubles.

Right. And then you had a tail of “Fight Fire with Fire” at the end so that then you could still use your pyro.

LU: Right. And then I think we would play, when we came out and did the light bulb things we would play one or two different cover songs at that time. Other than that it was quite orchestrated. I do think that, was it “Fuel?” Didn’t we occasionally play “Fuel” even before it came out?

Yeah. “Fuel” and “Devil’s Dance.”

LU: Yeah, because we played “Devil’s Dance” at Donington in ’95.

JH: Yeah, it’s true. The songs were like the soundtrack for the stage. We are the artists, yeah, but –

LU: It was almost more like theater. I do remember our lighting designer John Broderick who not only was instrumental in all our great stage designs, he was a significant part of all that stuff, but he was also somebody that all of us in the band were very close to. He would travel with the band a lot and would kinda hang out. I just remember there was a lot of kind of talk about how we could change up the set list without all the issues of reprogramming lights and shit. Because I mean we were really grinding on that tour. There was a kind of a doctrine at the time, one of Mensch’s things was that if you had a really big record, the tour after the really big record would be really big. So it was almost like all the success of The Black Album, in terms of on the touring side, showed up on the Load tour where we ended up playing like multiple fucking dates like everywhere. Do you know what I mean, I just remember that fucking tour went on forever.

Yeah. A, B, and C markets. Two, three shows.

LU: And then all of a sudden somebody says open with “Overkill” which seemed like a good idea at the time.

Anton Corbijn

Speaking of live songs, what happened to “Ain’t My Bitch?” It dropped off the set in ’98 and it’s never been seen since.

LU: I’m not sure there’s a cosmic reason. I certainly don’t remember there being a particular reason—

—where you said “never again!”

LU: It was none of that. I mean you ask an interesting question. I think that obviously the rest of that decade kind of played itself out with, you know, all the cover stuff and all the symphony stuff and whatever. By the time the St. Anger thing started, because we had ignored such a significant portion of the early records up through the ‘90s we went really deep into the early records again and the “No Remorse”s and all that kinda stuff. It just felt like a lot of the stuff from the Load & Reload just got pushed to the side because we played a lot of that stuff so much up through the end of the ‘90s and it was time to, in some weird way, embrace the early records again after kind of ignoring them for so long.

Thinking back, I think it was on the run we did with Kid Rock, the New Year’s Eve run where we actually played “Trapped Under Ice?” And it was like people were going, “Oh my God! They played a deep cut from Ride the Lightning!” People were fucking freaking out. I mean now we just cycle through all those songs. It’s not a huge thing. But at that time, you know, the early records had been kind of pushed aside for the better part of a decade.

It’s kind of funny how it’s come full circle. Now you break out something like “The Unforgiven II,” a song that you had rarely played, and people are freaking out the same way. So you know, I think people just crave what they don’t hear.

So – moving back to the music, I’ve got a list of working titles here —

LU: What were some of the other ones. looking at James Do you remember some of them?

JH: I don’t remember working titles.

LU: “2 X 4.” “2 X 4” was a working title.

“2 X 4” was “2 X 4.”

LU: It ended up being the name of the song.

How about “NC-17?”

LU: Wait, wait. “NC-17” was the one with the tom verse… the “Forgive me father for I have sinned” —

Yeah. “Thorn Within.”

LU: Try me, come on.

All right – here’s an easy one… “Mouldy.”

LU: That was, that’s the single – “Hero of the Day.”

How about “Boss?”

LU: Wait, was “Boss” “Memory?” No, no, not “Memory.” “Bleeding Me.”

“Streamline.”

LU: “Streamline” is “Bad Seed?” No, wait, wait, no… “Wasting My Hate.”

“Dusty.”

LU: “Dusty” was the ZZ Top song…

Yeah – “Poor Twisted Me.”

LU: That was it.

Now for a couple off Reload – “Skimpy.”

LU: “Skimpy.” Oh, that’s “Carpe Diem Baby.”

How about “Fishtank?”

LU: That’s the “Creeping Death” one? There was something about the kids in the playground.

Yeah, yeah – “Prince Charming.”

LU: That’s it.

Back to the record. You wrap it up. You have no title, you have no art, and all of a sudden Kirk turns you on to Andreas Serrano. Do you remember when you guys decided that you wanted to go in that direction, visually – kind of the Achtung Baby vibe with Anton Corbijn—

LU: The point of origin was that, you know… no disrespect to the Ross Halfins of the world but we continued to try to reinvent the wheel a little bit or to bring fresh blood in. And so at that time in rock—

JH: Fresh blood.

LU: At that time in rock, Anton was just, he was kind of the number one guy. I mean, he also shot Bon Jovi. Obviously he was the big Depeche Mode guy and you know, so it wasn’t like let’s bring Anton in so we can take some crazy pictures. We were looking for a fresh eye. A fresh perspective. And then he caught us kind of at a time where we were sort of somewhat game for some different things.

And then the whole thing with the haircuts and all that which was obviously nonsense because you know, Jason cut his hair on The Black Album tour. I remember when he showed up in my hotel room in New York when we were on the road in ’93. But it was all that stuff that just kind of morphed into what it became, and I mean we talked about that a thousand times but we didn’t want to be boxed in and we didn’t want to be repeating what we did. And with this stuff, like it was on The Black Album, we wanted it to be abstract. Let it be mysterious. Let people do with it what they want. You know what I mean. We felt so free. It had been five years and there was this whole thing about feeling, you know. It was like the success of The Black Album had afforded us, not necessary financially, but it just afforded us— I guess kind of circling back to what you said about the big, not necessarily like “fuck you” but it was just like we can go here, we can go there, we can go here. We can do this. It was about the possibilities. Do you know what I mean? And that was kind of fun.

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Part II:

Summary

You don’t have to parade out there in a Motörhead shirt and a bullet belt all the time.

LU: Exactly, yeah. And that, you know, felt really invigorating and fun, you know?

Anton Corbijn

So James – how fun were the photos?

JH: Honestly, that was a time in my life where I was, you know, just backing off a little bit. I was trying to let things happen and I backed off quite a bit. Obviously the art and the photo shoot and the cover, for sure. I was tired of fighting. So I just kinda let it happen. That’s Lars and Kirk definitely running with Metallica right there, and that’s what it ended up as.

How about the change in the logo?

JH: That was another thing that I was not into, but tried to make the best of, you know? It just seemed like everyone wanted it to be a little more slick, a little more simple… easy to fit on posters or whatever and that’s what came up.

Was that something that Andie Airfix came up with?

LU: I don’t have a recollection of that. I mean it…I’m sure it was Andie. I don’t think there was anybody else involved. But again, we were just looking at different things. I just remember feeling that it was, I mean for example, Kirk coming in and playing rhythm guitar. There was this whole thing about exploring what all the possibilities could be and where it could go and I think at that time there, at least for a few of us, there was no line in the sand. It was a time of exploration.

Were you guys bummed out by the blowback from the some of the fan base?

LU: I was surprised. Obviously at that time there was no internet the way we know it now—

Oh man, could you imagine?!

LU: The whole thing, to my recollection, was literally about the haircuts. And then I just remember hearing myself say like 5,000 times, “Jason cut his hair in ’93.” It wasn’t like we called up like the local San Rafael barbershop. “Can we get a four for one, please? You know, in and out in an hour, four guys, fifteen minutes each.” I remember that became one of the standard answers or whatever in the press tours. You’re in the 23rd German interview of the day and they ask, “Why did you all get into haircuts at the same time?”

Metallica who was just always about being yourself, too. Just do whatever you do and don’t let anyone push you around. And then all of a sudden people are saying, “Fuck you! You didn’t do what I wanted you to do!” I’ve always thought that was bullshit.

JH: That’s where I got on board more with this. Isn’t it about what we stand for, isn’t this about what you can do as an artist? You can’t do art wrong. You might not agree with it but like this or not, it’s what we chose to do. If you don’t like the fucking haircut don’t look at the picture.

That’s when I realized that it’s okay to be a rebel if you’re doing what the other rebels want you to do. You can’t be a rebel within the rebels because then it blows their mind. You think individually and you stand up for what you believe in then you get criticized for it. I found it ridiculous that people were focusing on a look when that took away from the music. That bothered me the most.

Metallica doesn’t need a look but I guess when you don’t have a look, it’s a look, you know? Your non-look becomes a look, so when you change your look it’s a look. There was so much talked about around that [issue that] nobody even cared so much about the songs. Maybe you did. But what I realized, and I think it’s really great, that Metallica’s history, all of the albums are just, it’s life. This is our life—

— In songs.

JH: In songs, in everything. People join in when it’s their time. So when people, you know, say, “Hey, Load’s my favorite record,” I’m super grateful for that, because that’s what got them into it. So for us, this is like in the middle of it all but there’s always a beginning for somebody. And then there’s always an end… and this was the end for a lot of people too.

LU: Very poetic. Wow.

JH: I should write lyrics.

As I’ve been working on the reissues, I’ve been listening to a lot of the interviews from Ride the Lightning and Master of Puppets; it’s funny how you’re talking about not having a look is a look. Because, even back then, you guys were frequently asked about what you used to wear in 1986. It’s like well, “I’m just wearing what I feel is comfortable.” And it is literally always been part of the conversation. Because you know, again, the focus should be on the music, not “I’m wearing a Misfits shirt and haven’t changed my jeans in three weeks. Who gives a shit? So, in retrospect, nothing has really changed at all.**

JH: We don’t want to be in a box.

LU: I mean it’s hard doing interviews about Kill ‘Em All and Ride the Lightning in abundance, two or three months ago. You’re kinda sitting there, you got one foot in the new record and you’re sitting in there thinking about the future and then you’re thinking about what you had for breakfast in 1983. You know, “What were you thinking on the day you cut ‘No Remorse’?” And people ask what were you thinking when you did this, what were you thinking when you did that? It’s like I can’t remember what I was thinking yesterday. So you’re trying to put all this stuff into context or whatever.

Then people sit there and say, “Twelve years ago you said this and now you’re saying this.” Huh? What? I try to give you my truth in every moment to the best of my ability but I do fucking reserve the right to change my mind at any given time because it’s my life, end of story. So you can do what you want in your life, I’ll choose to do what I want in my life, and let’s just say that as the fucking ground rule. Okay, so if I want to fucking stand on my head or do this or whatever and then a year later go, “It’s really stupid to stand on your head,” oh, there you go… you got me. Okay? I contradicted myself.

The idea of being pigeonholed was really something that I felt, or have felt over the course of my life and needed to break free from. Because it really just makes me feel like other people are dictating my life and what I should do and how I should do it. Do you know what I mean?

Absolutely.

LU: And that’s something I think all of us can relate to at some level at different points in our lives. If you’re gonna go slightly deeper into the psychology behind some of this, when you’re four nineteen-year-old dudes living in the same fucking room together, eating and breathing and sleeping and doing all the same things. It’s a lot easier, it’s often less complicated to stay on the same path when you’re like this all the time. Now it’s, you know, fifteen – twenty years later and one guy’s over here and the other guy is over there, and the other guy’s got a house there and some guy goes to, you know, India for six months or whatever happens, do you know what I mean? All of a sudden then you come back and it’s like, well, one guy’s into this, one guy’s into that. As people get older and you start kinda getting away from that gang mentality from when you’re nineteen. Then you still have to sit there and sort of like answer, well, ten years ago you said this. It’s like, well, guess what? I fucking change. Okay, so there you go.

That’s part of the issues that I’ve had with hard rock in general, is that there’s this thing that I don’t see in other music genres. But in hard rock, if you do it one particular way, then you’re supposed to do it that particular way forever. And, just for myself and the way I view everything around me, that’s not what I signed up for. Do you know what I mean? And that can create some friction with the people at the other end. But I think we’ve tried to do the best we can to be eloquent about that, and I think, I’ve always heard myself say a version of that.

Anton Corbijn

It’s true. I can’t tell you how much I’ve heard listening to an interview from ’86, that I’ve heard in an interview from ’96, that I’ve heard in an interview from 2006. I mean, at the core, you really haven’t changed at all.

JH: That’s the one consistent thing. I love what he’s saying. I mean it’s so true that, not just in music but in life in general. This is called life. I mean, we’re evolving. We’re trying stuff and if it doesn’t work then it doesn’t work, and you go on to the next thing, and in this day and age now, you hear that somebody got busted for this and it’s all forgotten a week later. It’s interesting to hear… people just get so solidified in their opinion about something that they’re not even open enough to listen to it again and rediscover something, or you know, things that are, like you say in this type of music it’s like people don’t want to forget certain things, you know?

Well guys, thank you so much for sitting down to chat. I know it wasn’t a typical interview – I was more interested in just having a conversation. Before I let you go back into the control room, I have one last question… and it’s an important one.

Where do you keep your Grammy for “Better Than You?”

LU: We won a Grammy for “Better Than You.” laughs

JH: That’s an odd one, isn’t it?

Some fans that I know literally call the song “Grammy Award Winning Better Than You™” complete with the little trademark symbol. They get a little silly with it.

LU: If we ever play it again maybe James can introduce it that way.

JH: Well, when we re-release this, yeah. Or Reload. It’ll change. I just noticed it wasn’t on Load.

That’s all right. We won’t tell anybody.

JH: I’m consistent with that, too. laughs

…and with that, our conversation wrapped up. As deep as I wanted to go into some of the nitty gritty about recording and personal views on songs, we’ll have to save that for another time.

BUT WAIT – THERE’S MORE! Since he wasn’t due to be at HQ, I asked Steffan Chirazi ring up a certain Mr. Kirk Hammett to talk about Load as well.

Anton Corbijn

Working with Bob Rock and Randy Staub—

KH: Working with those two guys – I think working with Bob… he really, really pushes you a lot. And that’s good, you know. Sometimes you wonder if you’re being pushed to get good stuff or am I just being pushed being to be pushed? And then there are times when I felt like I was being pushed to no avail because there’s just nothing else coming out.

Nowadays I can say, “Hey, there’s nothing here. I need to like go home, take a break and recharge.” But back then, I didn’t know that was even possible for me. Or I would deny that that would even happen to me. That never happened to me, I can play till I die, you know?

Yeah, yeah, yeah. But also you, I mean you must’ve trusted Bob a great deal at that point. I mean—

KH: Absolutely. Tremendously. There’s a lot of different things about both. You know, I started tuning to E-flat for my riff tapes because I copied a lot of the Hendrix stuff. You know I used to try to figure out Jimi Hendrix solos, Stevie Ray Vaughan solos, Thin Lizzy solos and those three bands tune to E-flat. And so a lot of my riffs were in E-flat, and I guess when James would hear the riffs tuned in E-flat and he’d try to sing to ‘em, I think he kind of liked it. He liked the break it kind of gave his voice. He didn’t have to pitch that extra half step. And that’s also why on both Load and Reload the primary tuning is E-flat rather than E.

Let me ask you as well as an aside, and I mean Dan told me that this sort of came up in his chat with James. James said that when he looks back at that time he feels that he took a step back because in his mind Load was something that you and Lars were leading the charge with. Do you think that that’s true? Is that accurate, or—?

KH: I think he’s into it as much as any other album. But you know, I think when he says that, he says that more about the direction and the presentation and the execution rather than, you know, the pure song ideas?

Yeah. I suspect.

KH: Oh. Yeah. But I mean you know, having said that, I really see Load as an experiment in hard rock for us. Most of the riffs are…they remind me of ‘70s hard rock. And that’s definitely a big influence on me and I was definitely like writing hard rock riffs. For back then, you know, just because that’s where my head was at back then, you know? It’s writing hard rock riffs rather than, you know, whatever was happening at the time. My head was just in the stuff that really like spoke to me and meant a lot to me in the ‘70s. That was the stuff I was writing back then.

Yeah, it’s interesting. Well, let me just ask you, between Load and Reload, do you think if you’d have made one record and not two you’d have had an absolute belting classic? Or do you think they were, always had to have been two records?**

KH: I think they always would have had to have been two records because Load is much, much, much more experimental to me than Reload.

Interesting. Okay.

KH: Yeah. In terms of like, you know, sonics and production and just, you know, trying new things. I mean I played a lot of guitar synth on Load. A lot of guitar synth. And you know, a lot of guitar synth on Reload too but more so on Load. There’s a lot more guitar effects on Load that we hadn’t really explored in the past. That was something that I was personally into a lot back then and I was into trying to find a way to make my guitar sound like a guitar synth. Kind of a hybrid, you know.

Where did that influence come from? What influenced you to go for that direction?

KH: Hammond B3, Euston Marshalls, hearing Stevie Wonder’s Clavinet. You know, Stevie Wonder is one of the only people who can make a guitar synth, or I should say a regular Clavinet synthesizer sound like a guitar. He’s one of the only people, you know? And then, and Jan Hammer. I mean it’s difficult.

Jan Hammer?

KH: Yeah, he used to play with Jeff Beck. He did the Miami Vice theme—

That’s what I thought.

KH: Yeah, but he’s a jazz fusion guy from way back. Anyways, if you listen to Stevie Wonder’s Clavinet on “Superstition,” it sounds like a fucking guitar. It’s a fucking Clavinet.

So I guess the six cent question is did you have a, did some of Load get done on a Clavinet then?

KH: No. It was guitar synth tracks that I’d find that middle spot but I never really did…

When you look back at Load then, I mean you probably feel a tremendous ownership on it.

KH: Not any more than any other album. I mean I put in my two cents and it informed the album that we know now. I think the time was right for something like that. The time was right for that sort of experimentation, and I don’t know if we, if we can get away with doing an album like that now.

Well, I mean arguably you would say that what happened with Lou Reed was as big an experiment to the fans as this. More so. So that’s nice to know, maybe you can. I don’t know.

KH: Yeah. Actually you know, that is a valid point.

Maybe. Who knows, but I know what you’re saying.

KH: It was a good time for us to do something like that because we needed that, people would be expecting something. Something different.

Fun Facts: As you probably gathered earlier in the article, each song on Load & Reload had a working title as they were being written & recorded. Some are well known, some not so much. Here is cheat sheet that I used during my conversation with Lars & James.

“Ain’t My Bitch” = “Bitch” • “2 X 4” = “2 X 4” • “The House Jack Built” = “Jack” • “Until It Sleeps” = “F.O.B.D.” • “King Nothing” = “Load” • “Hero of the Day” = “Mouldy” • “Bleeding Me” = “Boss” • “Cure” = “Cure” • “Poor Twisted Me” = “Dusty” • “Wasting My Hate” = “Streamline” • “Mama Said” = “Mama” • “Thorn Within” = “NC-17” • “Ronnie” = “Ronnie” • “The Outlaw Torn” = “Outlaw” • “Fuel” = “Fuel” • “The Memory Remains” = “Memory” • “Devil’s Dance” = “Devil Dance” • “The Unforgiven II” = “Unforgiven” • “Better Than You” = “Better” • “Slither” = “Drivin’” • “Carpe Diem Baby” = “Skimpy” • “Bad Seed” = “Bastard” • “Where the Wild Things Are” = “Martini” • “Prince Charming” = “Fishtank” • “Low Man’s Lyric” = “Mine Eyes” • “Attitude” = “Lenny” • “Fixxxer” = “Fixer”

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