Garage days metallica full album11/21/2023 To overcome grief of such proportions is a barely surmountable chore, but as the most tired cliche in the universe says, “Life has to go on”… and so it did, with a new kid on the block whose mettle was to be tested on a covers-only compilation. This was to be the first recording the band would put out after the tragic death of their friend, comrade, colleague and mentor Cliff Burton. Quite a few years later I sit here now, knowing the originals only too well, also trying to find any pitfalls in this at first sight/listen frivolously assembled, just-for-the-fun-of it effort… and I can’t find many… not many at all. For me this was another fairly entertaining offering from the new hotshots of metal who were trying various things along the way, amazingly invariably reaching the same level of success. When I heard this slab the first time, I had no idea those cuts were covers, although that wasn’t very hard to guess, after a few listens mind you, having in mind the diversity in both execution and mood. Besides, what a better testing ground for the newcomer Jason Newsted than jamming along on a couple of forgotten hits? Cause if he fails to deliver on those then his stint here would be rendered meaningless… right? Surely the Flotsams would take him back for another bass-dominated speed/thrashing doomsday… He didn’t cause the Four Horsemen knew their unfluences inside/out, and knew what would work during these songs’ renditions, and what wouldn’t. It beats me why John Mortimer had decided to awkwardly insert an old composition into a new incompatible-with-it frame… ah, I know why! Cause he’d heard this version offered by this new budding act from San Francisco, California, and had decided to improve on it… I was listening to “Hypnosis of Birds” the other day for the umpteenth time, Holocaust’s grand progressive gem, on which “The Small Hours” is easily the weakest track, a rowdy brooding presence that ruins an otherwise solid homogenous surreal psychedelic trip.
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