Metallica - "Loads Of Crap, Part 1 & 2"

Between 1991 and 1996, Metallica competed with Guns N' Roses as the biggest band in the land (while Pearl Jam and Nirvana were just climbing to the top). Metallica had released their incredibly successful self-titled disc entitled "Metallica" (and referred to here as the "Black" album to avoid confusion) that, while faithful followers did not like the music because it veered from their previous "thrash" stylings, won over millions of new fans, with melodic and/or groove-based, simpler songs like "Enter Sandman", "The Unforgiven", and "Sad But True", that would not contain numerous riffs and tempos, but stay within a common theme. The running punchline when the faithful followers said Metallica "sold out", the band would reply "every night". To date, the album has gone 16x platinum in the United States, but much like their future (albeit ill-fated) tourmates, Guns N' Roses (who were promoting their post-"Appetite For Destruction" albums, "Use Your Illusions I & II"), they found that following such a mammoth release was not only a gargantuan task, but it seemed that both bands wrote (and recorded) so much material that they released it all to see what would stick.

Metallica followed up this album with their dual batch of songs, writing the material for "Load" (released in 1996) and "Re-Load"(released in 1997) simultaneously, while the basic tracks for "Re-Load" were finished at the same time as "Load", under the supervision of famed producer, Bob Rock (Bon Jovi, The Cult, Motley Crue, and more). This albums continued to a more bluesy side of the band that further distanced fans who were there from the beginning, calling the album "Load Of Sh!t", while, in the attempt to appear more artsy, left newer fans wondering if this was what they were buying into. With "Load" going platinum 5 times in the US, and "Re-Load" reaching that status 4 times, it would be hard for almost any other band to call these albums a commercial failure, but music industry expectations being so high following the "Black" album, they were exactly that. Fans (partially unjustifiably and unfairly) dismissed much of the music due to the band's new look featuring newly shorn hair styles, cigars, suits, eyeliner, and blood stained semen album covers.

With this in mind (like I wrote previously with Guns N' Roses "Use Your Illusions"), I decided to take it upon myself to create one album out of both using the same previous parameters and rules, while maintaining certain trademarks of the band's sound (such as their identifiable groove, their melodic stylings, and refined harshness):

• I can use any demos found from the time of the release of the "Black" album (wasn't any that I found).
• Any recordings later found on the covers collection Metallica released later on "Garage, Inc." that was recorded during this time (although I did not add any due to Metallica never including a cover on the initial release of any album, and before you mention it, "Kill 'Em All" did not have "Am I Evil?" or "Blitzkreig", as they were added when Elektra reissued the album after signing the band).
• Since "Load" clocked in at 78 minutes and 58 seconds, while "Re-Load" came in at 76 minutes, I split the difference with a time cap of 77 minutes and 30 seconds.
• While CDs were the choice of format at this time, music was still being released on cassette and, on a smaller scale, LPs, I created with list with the idea of two sides.
• While a song may have been released as a single, that merit alone did not mean automatic inclusion.
• I picked songs with no regard making the same amount of songs from each release, but to create one complete release regardless of the collection in which it previously came.

I created a playlist on the free streaming site Spotify if you would like to listen as I give my choices:

1. Fuel (Hetfield, Ulrich, Hammett) - I kick off the first with could possibly be the most straight forward song in this collection, which is what the band also chose to do on "Re-Load". This widely-used selection in the racing circuit was an easy choice for its inclusion.
2. Ain't My Bitch (Hetfield, Ulrich) - This track, which was the opening song on "Load", completed for the spot on this collection as well. It was selected second to carry the theme that Metallica were in a "take no prisoners" approach. Carrying the band characteristic groove, this fan favorite was a live staple during this period.
3. King Nothing (Hetfield, Ulrich, Hammett) - I had always heard the band got weary of playing "Enter Sandman" during any televised appearance, and this song from "Load" was released as a single to quell that request from programmers. I would chose this song as the first single due to its' familiar sound and arrangement to "Enter Sandman", which includes an homage to the "Black" album hit at the end of the song.
4. Slither (Hetfield, Ulrich, Hammett) - Carrying their signature groove, this song stays in the initial feel of the album in terms of heaviness. Aptly titled due to its snake-like charm, the band locks in collectively to create a squirmy feeling.
5. Hero Of The Day (Hetfield, Ulrich, Hammett) - Starting out displaying Metallica's melodic side, this track turns into a full on thrash number towards the end, allowing James Hetfield to show is melodic voice and signature growl within one track.
6. 2 x 4 (Hetfield, Ulrich, Hammett) - Feeling the need to re-establish the classic Metallica swagger with a bluesy edge, this song closes out the first side. With ample groove, this song signs off the side with a monstrous groove.
7. Better Than You (Hetfield, Ulrich) - This grammy winning number is the punch in the teeth the second set needs to kick off. Signatory with Hetfield's fiery vocal lines and crushing guitar lines, this song's theme of contentment carries a personal anger that has carried through the collection thus far.
8.  Bad Seed (Hetfield, Ulrich, Hammett) - This slow churning tune features a mammoth groove while James Hetfield spits lyrics about forcing someone to come to terms with honesty. Bassist Jason Newsted leads this rhythm with a surprising running bassline during the solo while supplying a solid bottom end for the rest of the track.
9. Until It Sleeps (Hetfield, Ulrich) - With familiarity in sound to the "Black" album's "The Unforgiven", this is this collection's second foray into being a predominately melodic track. With subtle instrumentation in the verses, the song carries into the pre-chorus and chorus with a heavier fare, creating a nice balance of peaks and valleys.
10. Devil's Dance (Hetfield, Ulrich) - Armed with a sinister groove, this song displays Hetfield's  darker side lyrically. Reminiscent lyrically of being the story from the point of view of the snake in the story of Adam and Eve in the book of Genesis of The Bible, this song locks in stylistically feeling tempted.
11. Cure (Hetfield, Ulrich) - With "Load" and "Re-Load" offering their fair share of more blues-based numbers (by the band's standards), I decided to include this track. With a Danzig-like verse, the pre-chorus and chorus that would waver the crowd live, had it been played in that capacity. Tragically overlooked.
12. Wasting My Hate (Hetfield, Ulrich, Hammett) - Closing this collection with Metallica's tradition of a more upbeat rhythm, although not as fast as some of the songs in this position on previous releases. This song offers a soundtrack to angst that would make a part of any workout playlist.

This collection is 12 tracks long clocking in around 58 minutes, with 7 songs from "Load", and 5 from "Re-Load".

There were some notable songs not chosen for this collection that were singles:

• Mama Said (Hetfield, Ulrich) - This country-flavored song didn't fit this collection, nor would I say it even fit its inclusion on "Load". Save it for the solo album, James.
• The Memory Remains (Hetfield, Ulrich) - Spotlighting folk singer Marianne Faithfull, this song, while fitting their adventurous stylings upon release, did not fit in what I would consider a more cohesive gathering of music. May have used it for a soundtrack somewhere, however.
• The Unforgiven II (Hetfield, Ulrich, Hammett) - One "The Unforgiven" song was enough. It should've died there, instead of being flogged like a dead horse. I would not have objected if they wanted to create a unique EP consisting all three movements of the similarly titled themes, but the song has no place here in my opinion.

On this collection, these would be the singles:

• King Nothing
• Bad Seed
• Until It Seems
• Hero Of The Day
• Fuel

By trimming what many consider the fat from "Load" and "Re-Load", I feel a release like this would've followed where the "Black" album left off, with a possibility that it could've saved the band from the misguided foray into the misguided attempt to be trendy with the release of "St. Anger". 

I'm curious what you think. What did I miss? Feel free to comment and critique here or my social media pages.

Until we meet again...