Last updated on 10 July 2020
The Black Album came first in the ’90s, which was also the first one Bob Rock produced. This was a time when Metallica started to see the light. That they could not just scream about the stage forever, and stay at the same decent levels of fan support. Much to the dismay of one James Hetfield, it seems, judging by some of his remarks that still float about the YouTube multiverse.
So, a somewhat painful time of trial and error commenced. A timespan filled with big controversies that should last the better part of a decade. Of strange metal elements loaded into formerly pure thrash songs, that finally lifted Metallica out of the safe haven of Thrash Metal underground. Out into the light, where the really massive fan bases dwell.
Load – the second one in the series – came on board in 1996, with Reload to follow just one short year later. Now, those who think that the somewhat ill-fated trials prevalent on Load stopped will be disappointed. To the contrary, Metallica put the pedal to the metal and went for – what they called – refinement.
Of course, all started – again – with the album cover. The image on Load – Semen and Blood III – from Andres Serrano already disgusted parts of the band. But for Reload, Ulrich/Hammett again prevailed. And imposed a second horrible cover on the band, going by the artfully arranged name of Piss And Blood XXVI. All this, done by a guy who thinks that submerging crucifixes into urine and snapping photos of them will end up in art. As in, credible art or something like that.
Taste is debatable, of course. And James Hetfield later came clear with some hate mail by calling both covers necessary, but a “..matching hatred“. In the end, self-proclaimed art master Ulrich made the band spend a ton of useless time to select a dead ugly cover of questionable design. Instead of using their limited time well to improve their songs.
Because you know what?
Refinement is what some of these tracks sorely needed. And – a somewhat cosmic joke right there – the band had trouble to find enough time to tidy everything up properly at the end of the recording session, so I am told. In other words, the album went to market with loose ends still unfinished.
You see, at the end of the day, nobody really cared for what showed on the cover. As long as Metallica delivered the metal everyone craved. If you get my drift.
But did Reload really live up to that expectation?
Headphones on, volume up, first listen. Fuel just takes off with a vengeance with Hetfield screaming into the mic. Wow, I think, a fucking atomic attack straight out the door. That’s a pretty nasty improvement over Load. And indeed it was. Only it did not last too long. The experimentation continued, as in much more intense.
You’ll need to wait no longer than track #2 The Memory Remains. In comes some sort of a Black Sabbath riff-fest with a certain weird fuzziness, and a stellar solo or two. Yet, the atrocious, leathery chanting by Marianne Faithful at the end really takes the cake in all its sparkly weirdness.
It is indeed one of the most astonishing tidbits of this record that the songs on Reload are not leftovers from past albums. The tracks are all original, and the band decided to release two tightly staggered records, they had so much material. So that they could get more mileage out of them, as opposed to just one giant double whammy.
Now, Reload definitely sports a much crunchier brand of metal than Load ever mustered. Strong influences of Heavy Metal would follow fuzzy tunes Ozzy would have preferred. Then you get a pretty cool rendition of AC/DC in Slither. So well done that I am still waiting for Bon Scott to emerge. But of course, it is all Metallica style and energy, as it should be. And the sturdy riffing on Carpe Diem Baby still makes me come back for seconds to this day.
But The Unforgiven II really gets us into the thick of things. I like this mix of Nothing Else Matters (Black Album) and Bleeding Me (Load) at first. Which then disintegrates into this nice progression and mid-tempo groove that transform this track into something remarkable.
And I must say, Hetfield really put himself out on Reload. I marvel at this guy who – not many years earlier – was seen as a screamer only. And truly, it does not come easy for him to modulate and strain his voice.
Just take Low Man’s Lyric for instance. The slow ballad with its weird country-ish flavor really flowers, once Hetfield‘s voice kicks in. And it is not the mad piping, the predictable guitar and drum work on that track that really carries the prize. It is the vocalist.
To wrap this up some, Reload is all about experimentation. About taking things to the next level, technically speaking and as a band. Even if this meant to move Metallica beyond the ‘pure’ path of metal. A fact that die-hard fans still loudly bemoan to this day.
With Reload the band definitely moved out of their Thrash Metal underground haven into the light. And rendered the band and its sound accessible to a much larger fan base.
Since then, Metallica retained this nimbus of whiskey swirling metallers, so tough that they crunched metal cubes for breakfast. Even if this record and its two predecessors were severely toned-down versions of former works. Perception is everything though, and this one really stuck and sold them many a record.
As to the album itself, Reload definitely is better than some. But it will never reach the height of the Black Album. No, sir, it just won’t.
Get dat tune: