METALLICA — Garage Inc. (review)

Album · 1998 · Heavy Metal

4/5 · 2021-10-16
Vim Fuego

The 1990s saw Metallica start the decade as thrash metal’s biggest band. The band and genre was somewhat niche, and not particularly well known outside metal and alternative music scenes. By the turn of the millennium, Metallica had become the biggest band in metal bar none, and was surpassed in popular music by only a handful of artists, but in creating new music thrash metal had been left far behind. “Garage Inc.” as a covers and B-sides compilation album lays bare the influences mixed in to Metallica’s thrash metal roots which made “Metallica”, “Load”, and “Re-Load” the albums which led the band to world domination.

Disc 1 of this double album is freshly recorded covers. These run the full gamut of Metallica’s musical tastes, and some work better than others. Metallica can do punk, and do it well. We know this because of their covers excellent of The Misfits, and Anti-Nowhere League’s utterly filthy “So What”. However, Metallica aren’t too good at Discharge, with “Free Speech For The Dumb” and “The More I See” bookending this disc. These versions are too… clean. Discharge’s originals are scuzzy and discordant, from a band on the verge of starvation. Metallica just can’t reproduce the same feel. It’s hard to sound desperate when you’re a multi-millionaire living comfortably. Bob Rock does big, fat, and comfortable as a producer, with the latest in studio technology at his fingertips, while Discharge would have been recorded as quickly as possible on zero budget. The guitars are too warm, and too big. The bass doesn’t have enough distortion. And Lars just can’t play D-beat drums. Still, without Discharge, thrash metal wouldn’t have been thrash metal.

Metallica’s love of NWOBHM band Diamond Head is well known, so a Diamond Head song was inevitable here, and while “It’s Electric” is no “Am I Evil?”, in the same vein as that famous cover, it’s not far removed from Metallica’s own style.

Covering Black Sabbath isn’t always as easy as it seems. Slayer stumbled with their version of “Hand of Doom”, and Megadeth’s “Paranoid” is almost an unintentional parody. Metallica don’t fuck it up as badly as those covers, but “Sabbra Cadabra” isn’t particularly impressive. They just can’t reproduce Sabbath’s whacked-out stoner groove.

The first really impressive track here is “Turn The Page”, originally by Bob Seger. It’s a brooding tale of life on the road. James Hetfield’s vocals and the ruminating main riff seem to be an indicator of where “The Memory Remains” came from.

“Die, Die My Darling” is a welcome addition to the existing collection of Misfits covers. It’s not near as rough as “Last Caress/Green Hell” recorded a decade earlier, but it retains the boisterous energy and wicked dark humour of the original.

The inclusion of Nick Cave and The Bad Seed’s “Loverman” is the biggest what-the-fuck on the whole album. The original switches between minimalist restraint and raucous post-punk anarchy, and Metallica doesn’t attempt to pull it off, but instead smooths out the rough edges and makes it their own. Cave’s introspective oblique lyrics are somewhat different to the Metallica norm, but like “Turn The Page”, the song illustrates James Hetfield’s varied vocal abilities.

The five song Mercyful Fate medley is more traditional fare. The songs don’t exactly merge seamlessly, and of course there’s no King Diamond helium vocals, but it’s 11 minutes of 80s satanic metal goodness.

Blue Öyster Cult don’t often get the love they deserve, even though they are the band who wrote monster rockers like “Godzilla”, “Burnin’ For You”, and “Don’t Fear The Reaper”. “Astronomy” isn’t one of those monster rockers, but Metallica turn it into one.

“Whiskey In The Jar” is the best song on the first disc. It’s a boisterous, catchy party anthem, and a new take on Thin Lizzy’s take of the traditional Irish folk song.

“Tuesday’s Gone” was recorded during a radio broadcast in 1997 with a number of guest musicians, including members of Alice in Chains, Corrosion of Conformity, Lynyrd Skynrd, and even Les Claypool on banjo, and… it’s fucking tedious. Yep, it’s an all-star acoustic jam that’s an all-star acoustic bore. It also indicates where Metallica found the Southern rock and country influences which popped up on the Load albums.

Disc 2 is older stuff which already existed, but was sometimes hard to come by until this release. The first five tracks come from “The $5.98 E.P.: Garage Days Re-Revisited”, which had been out of print for the best part of a decade, and dedicated collectors had been paying exorbitant prices for copies of it. The E.P. also featured the first recordings of Jason Newsted with Metallica. This sloppy spontaneous recording is a little rough around the edges, but that’s a big part of it’s charm.

The next pair of NWOBHM covers were initially recorded as B-sides for the 12” vinyl version of “Creeping Death”, released as a single in 1984. The epic “Am I Evil?” is Metallica’s most famous cover, and is so well known it may as well be their own song. Diamond Head have done very well from it over the years, with Metallica’s cover helping revive their career and earning the band a decent sum from royalties over the years too. The other song is “Blitzkrieg”, originally by Blitzkrieg, is an up-tempo blitzkrieg of a song (is that too many blitzkriegs?), and it’s choppy riffing shows how influential the NWOBHM was on thrash metal.

“Breadfan” (originally by Budgie) and “The Prince” (originally by Diamond Head) were B-sides to the 1988 single “Harvester of Sorrow” may have been another couple of Metallica’s favourites, but these are two of the lesser tracks here, and aren’t particularly exciting.

In 1990 Elektra Records marked the label’s 40th anniversary by releasing a compilation of covers by their current roster of artists from their historic catalogue of artists. Metallica’s contribution was a version of Queen’s “Stone Cold Crazy”, which didn’t need much tarting up to make it a thrash metal song. It was later used as the B-side for the “Enter Sandman” single, and it also won Metallica the consolation Grammy for Best Metal Performance in 1991.

“So What” is Metallica’s most notorious cover. The filthy song by Anti-Nowhere League was originally a B-side for their own single “Streets of London”, and had at one stage been seized as an obscene publication in the U.K. The simplistic structure of the song and it’s exaggerated profane lyrics make it a lot of fun, and it remained a live staple for many years.

“Killing Time” by Sweet Savage is another NWOBHM cover, another B-side, and another not particularly remarkable song.

There are four Motörhead songs that aren’t exactly live, but were recorded during a rehearsal for a live performance in 1995. The performance was to celebrate the legendary Lemmy’s 50th birthday, where all the members of Metallica dressed as Lemmy and banged out some Motörhead tunes. A recording of the live performance would have been better, even if it was technically worse, because these four songs are flat and lifeless, especially “Too Late, Too Late”. Even a really rough recording of a live performance would have had more energy, and maybe a bit of spirit which is missing here.

Overall, the entire album is something of a mixed bag. The new tracks on disc one show a surprising breadth of musical likes and influences, and despite a couple of missteps is about as good as cover albums ever get. The second disc gathered together in one place all the covers recorded for various different releases, which was something of a relief for fans of the band struggling to collect them all.

That it followed the relatively poorly received Load albums (relatively – "Load" and "ReLoad" have both sold more than five million copies, as has this album) may contribute to how "Garage Inc." is perceived, but it is still a strong release in Metallica’s catalogue.