I don't think Metallica should do country. I don't think that tasted very good to me. Still, Hetfield defends Load 's contents. Trending: 'Abbey Road' Songs R. Home News. Share on Twitter Share on Facebook. Next: Top 10 Metallica Songs. Filed Under: Metallica. Every Metallica album sounds different from its predecessor, but each time Metallica made an incremental and logical change.
Even if stripping the prog away and simplifying their songs for Metallica was a bold-faced commercial move, at least it made sense from a songwriting perspective. Load deserves praise.
With proper technique, he pushed his voice into as much unexplored territory as he could, utilizing vocal overdubs to harmonize with himself and switching timbre between songs. Load is the sound of him finding his voice for the first time, and not just as a singer. He metamorphosed from escapist metal lyricist to confessional songwriter in the American folk and blues vein, maybe thanks to all the time he was spending with Waylon Jennings. His sonic palette expanded to match his voice and lyrics. For all the shade even diehard Metallica fans throw at him, Lars Ulrich was the band member that steered the band toward Diamond Head and Mercyful Fate as influences.
Perhaps as a direct nod to this idea, the band hired photographer Anton Corbijn, who shot the iconic cover of The Joshua Tree , to photograph the booklet photos in Load. Did Metallica forget the name of their own band? Kirk Hammet's overuse of the wah pedal isn't the only obnoxious component to Load's delivery, but James Hetfield sounds nothing like he did in years past. There used to be a ferocity in his vocals that haven't been present since this album's release.
Sure, one can't expect a vocalist to sound good forever, I can forgive someone for aging, but Hetfield's vocals have become downright cartoonish. He sounds like he's trying too hard to be macho, and often adds an extra 5 syllables to every word he utters. To make matters worse, Load often utilizes multiple vocal tracks. They have shifted their attention from writing thoughtful music to writing sing-a-longs.
Then you have songs on this album like "2x4" which I'm Hetfield sings like he's literally about to fall asleep. What about Lars Ulrich and Jason Newsted? Unfortunately, they do absolutely nothing of interest on the album, they might as well be phone-in studio musicians because they don't make much of an impression, they're just there to fulfill their roles.
Overall, Load is an amalgamation of commercial southern rock and the zeitgeist of the 90's heavy metal music scene. Metallica were listening to bands like Alice in Chains and Corrosion of Conformity around this time and it shows through in their songs, but those bands were able to pull off this style of bluesy southern rock. Metallica on the other hand have nothing to really showcase on Load that hasn't already been done before and done better. They were once one of the biggest names in heavy meta, but here they've produced some washed up redneck rock that sounds more suitable for a WWE wrestler's theme song as they walk out to the ring.
Let me stress that I can handle change, but this is simply not a change I am willing to embrace or endure. There is no saving grace for this album other than the fact that it isn't "St. Yeah, Metallica was certainly changing and it made a bit of sense considering how big of a shift the Black Album was for them.
Yet, I don't think people were expecting an album stuffed with influence from blues and southern rock, and a somewhat more relaxed demeanor out of Metallica for their follow-up to their self-titled. The change was probably brought on as a result of the landscape the Black Album helped to create with thrash mostly played out and gone, with alternative metal bands rising in its wake and new sounds that were going from innovative to trendy really fast. Metallica was going to make a change simply because regressing made little sense then and they were now a commercial entity expected to sell.
As a result, Load was an extremely middling album with a few songs that were made to garner airplay and a lot of others that don't dare to either offend or excite. One could label this thing as being tepid and derivative considering the close playing towards new influences added to their sound. All of which are decent bands, but Metallica extracted the style of these bands, but not really the substance for their newest volley of songs. A lot of what we get on here is at best simple, yet catchy and groovy from the singles and rather meandering and underwhelming from a lot of the other material.
They have all of these new influences and somehow you don't get the energy, punch, or emotive strength of those influences. Not only is this album derivative, it also doesn't add much to, or even give any extra kick to these new influences added. The songs are usually unexciting and lack in energy or flow. How do they lack in energy or flow? Well most of this album is sluggish and doesn't capture much heft or feeling to the rhythm or the song structures.
It doesn't pick up all that much and the only later track with much intensity is "Wasting My Hate" and it's kind of a chore to get to that song through the whole earlier album since most of it is similar sluggish, bluesy dross with guitars that only have a bit of groove to them and very little fire. They use a ton of slow builds that lead to minimal payoffs.
I know the slower tracks often try for something emotionally moving or moody, but I have a hard time feeling much with the dull instrumentation and Hetfield's overly accented redneck vocals. He's adding so much emphasis to his voice that it almost becomes silly. There's also no real moment where Load kicks things up and delivers some truly intense blues metal, for the most part everything is middling, the tempo, the guitars, the mood, the lyrics, even James is pretty moderate with his delivery despite how hick-ish he sounds.
That's also not to mention how some songs are just dull and wimpy like "Hero of The Day" and the cover of country classic "Mama Said" where it all focuses on Hetfield too much while the music is slow and lightweight. There is just too much meandering and not enough action. Load is the result of turning Metallica from a creative entity to a commercial one, and ending up stuck in the mid 90s when metal in general was trying to find new styles and sounds.
They picked some good influences to draw from, but played it too safe with songs that are somewhat passable, but still rather boring and slow to rise. Even the more energetic tracks are rather simple and don't offer much besides a bluesy groove and a chorus to stick in your head. It feels underwhelming and lacking compared to anything Metallica has released beforehand. I also find the pseudo-redneck gimmick to be just flat-out goofy, but sadly not goofy enough to be fun.
It doesn't go for any new heights in anything that they do, if anything this is Metallica dialing their talent ever further back while trying to capitalize on catchiness that's somewhat there and groove that isn't all that intense. I think this album is really boring and not all that ambitious. There's some decent moments, but they are so few and merely good, not exceptional. The pacing is also boring.
I think the bands that influenced Metallica so obviously during this time have far outdone Metallica. Load was tame and slow, that's all I have to say. This album is generally seen as the beginning of the end, for Metallica. An album which marked their more commercialized sound that would forever tarnish a pristine metal giants repetoire. However, despite its flaws I still believe the album holds up reasonably well and doesn't disgrace their catalog. The change of direction from their earlier albums may be unsettling however as Metallica added more melodic elements and slowed down One this more 'easy listening' album shouldn't have been a complete surprise.
As a whole this is a fun album lacking some of the heart and punch of their earlier works but still an enjoyable listen. First, I'd like to address the fact that this album doesn't hold up against Its predecessors in terms of heaviness. It just isn't as heavy. A lot of the gritty vibe, however, remains present. This is still Metallica and the raw aggression isn't gone, it just isn't as strong. This album takes a very different direction and while seeming more mainstream it is still leagues above more groovy sounding outfits Disturbed or FFDP that the mainstream considers metal.
This is definitely not Metallica's brutalist album by far, but it isn't LuLu and the songwriting is leagues better than St. The album opens strong with one of my favorite tracks off Load "Ain't My Bitch" you can feel the aggression here and it gets the album off to a solid start. Now sadly the album as a whole doesn't get much heavier than this track, yet this particular song still has some nice riffs.
After this song it hits a more mediocre step with "2x4". Thats the thing with this album it honestly sounds like heavy blues rock more so than metal. It is a beautiful touching and most definitely emotional track about James Hetfield's relationship with his mother. You can't say this album has no soul when listening to this particular track. As for the worse tracks of the album "Hero of The Day" and the first half of "Bleeding Me" can be retired next to your Hootie and the Blowfish alt rock crap.
This isn't a bad album, far from it actually. It contains dozens of enjoyable strong songs that are fun to listen too. Ultimately, this isn't the sellout album it is generally accused of being. Rather this work represents a moving more towards a sound, I think, they wanted to hear. This, I think, can be seen in "Mama Said" which is only unusual because it is a Metallica song. Yeah, it isn't brutal but it definitely has a working class badass sound. As good as I think the album is there are numerous detractors.
Holistically this work suffers from a lack of heaviness and over all presence of what you think Metallica should be, metal. So for an album from a pioneer of thrash metal it doesn't live up at all. However, many of the songs have a catchy melodic sound with interesting lyrical content. It isn't necessarily amazing but its pretty darn good. They definitely tried some interesting choices on this album and spiced up their repertoire. While they don't go as out there as "Sweating Bullets" from Megadeth's Countdown to Extinction they manage to write interesting solid songs.
If you want a Metallica album to destroy a punching bag too this shouldn't be considered. If you want a softer version of And Justice For All Variety is the spice of life and this album has a ton of it showing Metallica's depth as a band. Finally, for veterans whose jaded ears can only stand pure thrash metal don't listen to it you won't like it, simple as that.
Metallica was probably the busiest band to exist throughout the early s. Not because of the material they were releasing in terms of quantity, but because of the lengthy tours supporting the band's breakthrough self-titled album. The band would tour from to in support of said album and in , during the recording sessions for "Load" and "ReLoad", the band played a few shows for a very short tour called "Escape from the Studio '95". It nearly took a year to record these albums alone, not counting the extensive touring, which produced a five-year gap between "Metallica" and "Load".
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Along with the abhorred "St. Anger", the two "Load" albums are often considered the band's weakest efforts. Of course, "St. Anger" is the band's worst album in my opinion but these two are quite lackluster in a lot of areas. Metallica had created quite the divide in their fanbase with their previous album.
How Metallica Drew a Line in the Sand With ‘Load’
Instead of following the band's thrash metal formula, they opted to shift towards a more radio-friendly heavy metal style with a stripped down, simplistic sound with shorter songs focusing on far fewer musical ideas. While this was a radical shift in style, the band still obviously played heavy metal. With 'Load", we see the band straying further away from metal and into a more hard rock territory. The band played two new songs during their "Escape from the Studio '95" shows, "2x4" and "Devil's Dance". This gave the fans a taste of the band's new sound and I'm sure it alienated the band's thrash fanbase even more.
With the release of this album, the band had totally abandoned any trace of their original sound and style, even sporting new haircuts. As if hair should have anything to do with musical style anyway. Regardless, "Load" is a very controversial release from Metallica. It has some really cool ideas here and there but pales in comparison to the band's 80's output, and also manages to fall short of the self-titled album. Right away, things begin to sound very different. The production of this album showcases very meaty, crunchy guitars that really focus mostly on simple riffs and grooves.
It differs from the previous album because it's not as clean and polished, but it's also not dirty.
This is an album that has definite traces of metal but it mainly qualifies as a bluesy hard rock one. There is an obvious influence of southern rock here that is even more prominent on songs such as "Ronnie" and "2x4". The southern influences aren't exactly horrible but they come off as cheesy and frankly, I feel the opening track is a bad way to start the album.
It has energy but lacks substance. It is a combination of rock and country music with steel guitars and melodies that sound like it should have been released by Brad Paisley or something. I'll say if a country artist was to record something like this, it would be pretty decent. But Metallica?
Nah, man. It sounds awkward and strange. It ties with "Cure" for my least favorite song on this release. Along with the southern influence comes a huge incorporation of blues. The entire thing holds my attention and I can listen to it over and over and never get tired of it. It's a slower one that opens with some bluesy clean guitars and quite mellow vocals from James Hetfield. When it picks up, it transforms into a solid hard rock song that makes it one of the two songs on this album that are actually really worth the time to listen.
This song contains no filler and the solo, while not one of the best from Kirk, sounds great. It works well with the musical direction of the song. The other track that probably qualifies as my favorite here is the closing song "The Outlaw Torn". Running at nearly 10 minutes in length, it is among Metallica's longest. In fact, it would have been over 10 minutes if the CD's storage capacity would have allowed for it, and there is an uncut version of the song which continues the absolutely amazing jam toward the end.
The riffs here are great and while simple, do the job. Solo wise, it's on board with "Bleeding Me". My favorite part of the song is the aforementioned section which contains one of the coolest riffs, and some bluesy guitar noodling. I really can't say anything negative about these two songs because they are powerful and full of heart. Sure, they don't beat out "Justice" or "Sanitarium", but that's not the goal here. I feel this album is slightly stronger than "ReLoad" although it's not by much.
The simplistic drumming isn't worth talking about and really, there are only a few songs that really sound great. I can see why people would say this is the worst Metallica album but trust me, that ain't the case at all. The worst would come a few years later. This is just weird and somewhat boring stuff aside from a few gems. Mostly filler but some songs are killer. Metallica's work since the Black Album has been mercilessly scrutinised in my opinion, and sometimes this has been rather unfair.
Load is certainly a departure from previous albums, but what is wrong with a little change? It is obvious fairly quickly that the thrash elements of the band's music in the s are not present, but I think that Load is a good album, and Metallica were adventurous in trying something different. The songs are slower and generally shorter than those on, say, Master of Puppets. James Hetfield is on fine form, with tuneful vocals in a similar vein to those on 's Metallica.
Load is quite dark in its tone, and the guitars dropped down by a half step certainly contribute to this. Some of the slowed down songs can be as menacing as the faster, thrashier ones of old, showing that speed isn't necessarily everything to make a decent Metallica song. The album improves towards the end, but at fourteen tracks long I feel that Load could be truncated and made even better, while some fans would argue that the best songs on Load and ReLoad could have been stitched together to make one very solid album.
I still maintain that most of Load is very good and that it has had a harsh treatment. It's well worth a listen, though it isn't quite the same standard as Metallica's classic thrash in the '80s glory days. Over the years many have viewed Load as Metallica's start to their so called downfall.
Coming off the back of one, if not the biggest selling metal album ever made with their self titled album would never be an easy task, especially when many of Metallica's older fans already claimed they had lost their way when they stopped producing thrash when they teamed up with 80's pop-rock producer Bob Rock to produce said album. If Metallica fans were looking for a more thrash tinged album to compensate for their drop in pace then 'Load' was definitely the album they were fearing the most. The majority of this 14 track album is as good as any album you will find.
Fair enough, so 'Ain't My Bitch' is not quite the classic opening song that 'Fight Fire With Fire' or 'Battery' is and songs like '2X4' and 'Ronnie' may not have the intensity and speed of anything off their first 4 albums but what we have are songs full of heavy, ballsy riffs, melodies and quite a fair bit of experimenting especially on ''The House That Jack Built' with its voice box and vocal effects which give it quite the atmosphere. Halfway through the album is where things start to get a little bit messy.
After the first of 2 epics, 'Bleeding Me' is where the songs start to lose their interest. Why they never play this one live often is a mystery to me. Of course all good things must come to an end and there's no better ending on a Metallica album than 'The Outlaw Torn,' a near 10 minute epic which is not just the best song on the album but one of Metallica's best songs ever written. As with all the songs on the album its worth mentioning how good the individual performances are on 'Load' especially from Lars Ulrich, who more often than not gets criticised for his almost out of time style of drumming which works wonders on this album.
James Hetfield's voice is also one of his strongest and really shows his range from singing the more ballad like songs such as 'Hero of the day' to the more ballsy 'Ain't My Bitch' type songs. In the grand scale of Metallica albums 'Load' has a lot more in common with its predecessor than any of their 'classic' 4 albums ever did so its not quite the giant leap which a lot of people claimed that it is.
The production on this album is crisp and sharp, just as 'Metallica' before it was. Everything sounds crystal clear which for the most part is never a bad thing but at times it can come across as a 'safe' sounding album but this is just down to personal preference. Be thankful that Metallica didn't continue writing the same old album over and over and that they had the balls to actually try something new and that the risk has paid off tenfold.
Five years after a repetitive and dull but commercially successful groove metal release in the form of "Metallica", the same band comes around with a headless and boring but once again well selling successor entitled "Load". At least Metallica didn't try to copy the sound of the famous predecessor, but to progress and try out new things. Thrash and groove metal elements are almost completely absent on this album. The band headed for a more blues, hard and southern rock influenced sound. This record also includes the first two Metallica songs that feature no guitar solo at all. To underline its new approach, the band went even further and presented a new and ordinary looking new logo and came around with a controversial cover artwork which consists of a mixture of bovine blood and human semen pressed between two sheets of plexiglass.
All these somewhat radical changes speak for some sort of midlife crisis of the band and a desperate try to reinvent themselves after the overwhelming success of the past years. Old school fans were going to hate this album anyway but from the artist's point of view, this brave new direction could have brought some fresh air to the band in a time where relationships between the members already started to decrease. While "Reload" sounded surprisingly liberating, open-minded and structured with its southern rock influenced style, "Load" suffers from an directionless, unimpressive and weak song writing.
The album is not only completely overloaded with a running time of seventy-nine minutes but many songs are at least two or three minutes too long and turn out being either endlessly plodding or losing the momentum of the few good ideas present on this release. In fact, there isn't one single track on here that completely pleases me. The better songs on the album have a few creative ideas in form of some atmospheric tones, a few great guitar licks, riffs or solos or some newly introspective lyrics but there isn't one single song without any obvious flaws. Among the better tracks on the record is first of all the joyous yet mean opening rocker "Ain't My Bitch" that features an energizing rhythm section and a great blues rock inspired guitar solo.
On the other side, the track is slightly too long for being a straight opener, the vocal performance sounds humorously exaggerated and the lyrics are quite vapid as well. Five years earlier, this track would have been a bonus track for a single at best and now it's one of the few solid tracks on the entire album. The plodding "The House Jack Built" goes the other way around as the lyrics are quite interesting and the eerie vocal effects build up a particular atmosphere. The overtly experimental instrumental section with talkbox effects is though laughable at best and really pesky at worst.
This song also drags on for far too long with its chugging riffs and pseudo-progressive sounds. It's an alternative rock song with an eerie and hypnotizing atmosphere but which fails to truly develop from there. What could have been a truly original track is harmed by an extremely drowsy chorus and annoyingly whiny lyrics. All other songs are not even worth mentioning because they sound invalidated, plodding and unspectacular. As they are all terrible, it doesn't make sense to point out any of those confusing, overlong and weak oddities.
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It really strikes me how the band succeeded most of its experiments on the consistent, energizing and entertaining "Reload" while "Load" is its complete antithesis and sounds inconsistent, directionless and plain boring. The songs on here are not as bad as several tracks on the oddball that was "Lulu" but even this horrible project still had two or three entirely decent tracks which isn't the case for this album as it sounds really unimpressive as a whole.
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Between a record that has a few great tracks and many truly horrible songs and filler compilation that leaves you completely cold, it's actually quite tough to judge what is worse and that's why my final rating of this failure here could have been even lower than it actually is. In the end, I would still slightly prefer this record to "Lulu" but it's a close run.
This album was a disappointment when it was initially released back in the days and in comparison to its much better twin album "Reload", this record didn't age well and didn't grow on me at all. I would simply suggest you to just avoid this record at all costs if you're not a diehard collector with too much money to waste. I have spent many years pretending to hate Metallica, and it is only recently I have realised how awesome they actually are, and that even production problems can't prevent me from enjoying They have done not-as-good-as-the-rest songs in the past, but they have always been listenable and provided strong album filler.
Unfortunately, Load takes it to the next level and features some indefensibly dreadful compositions. And so many too! Since when does an album need to be 14 songs long?! Let's not give it the courtesy of a long review. There are no hooks to speak of, neither is there an atmosphere; Metallica sound like they were literally dead during the recording process. The whole composition sounds wrong; it sounds broken. I can feel any sense of hope dying inside when those first few arpeggio chords ring out, and feel sick when the vocals come in.
It's definitely the worst Metallica song for me. I can't even listen to it. So the rest of the album kind of looks good in comparison, right? You would have to be completely starved of decent music or have no basic music-based education to think songs like 'Bleeding Me' and 'Cure' are in any way good. Sure, they aren't bad - they follow the basic principles of songwriting, but they are so terribly average that it doesn't even feel like Metallica anymore.
More a side project with the same members, where the songs aren't written by any of them. Is there anything excellent on this album? Yes, and it is the worst titled song on the album: 'Ain't My Bitch'. And what exactly makes it the best? It has energy. It's inane and bluesy, but goes quick enough to prevent too much analysis. Which is the problem with the rest of the album: yes, there's some neat blues riffs, but they're killed by slow tempos, under-development and feeling unnatural in the hands of Metallica. Those verses weirdly fit together. But that is another song with plenty of energy and heart.
It's quite cute, with soft verses over which Hetfield does his best cuddly but misunderstood lion impression. Sadly, it suffers from a ridiculously unsuitable bridge, which is far too heavy in relation to rest of the song, and due to the production and guitar tone, it sounds very messy. And as much as I once disliked 'Mama Said', it feels like some actual thought went in during composition, and you can feel the emotion during recording.
Hetfield sings very well, and makes the song his. In fact, as mentioned above, it sounds and feels like a solo-release by Hetfield. The rest of the album is take it or leave it. And that isn't really something you can have said about Metallica before this release. The songs do little to inspire, they don't make me want to pick up a guitar and play along, and the lyrics and melodically stunted compositions are nothing to sing or hum along to.
If you cut down the goddamn length it wouldn't be so bad! Some of these songs are not material good enough for an album release, and would have made a fairly okay but avoidable EP like Beyond Magnetic. The length isn't even the worst thing about reviewing the album All of this is only made worse by the disappointment of realizing that 'Fuel' isn't on this album, when I always thought it was. Load is purely for the most hardcore Metallica fan, who can find more ways to defend it than I can. Load is an album that has received more than its fair share of hate over the course of the years since it was released, much of which it does not deserve.
What Load is is the next step in Metallica's musical evolution, having already taken place on their self titled album. Load is a fourteen track long blues-rock album with some sizable chunks of metal distributed throughout the record that clocks in at just under the CD-limit of 80 minutes, bursting with lively energy and variation unlike anything found on a Metallica release before.
This album is sandwiched in between the flawed great that was The Black album and the cancer to the ear of Reload, and manages to carve out an identity all of its own.
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Buckle up, Sputnik, for when listening to this album, you are in for one hell of a ride. Opening the album up, Ain't My Bitch is one of the heavier songs on the album, packing the bite that Metallica were known for in their thrash hay day of the 's, despite continuing the deviation from this style that was introduced on the previous album.
This could easily have fit in among the songs found on the Black Album, being brash and rude, whilst still being aggressive. The lyrics are rather poor, but they are more than made up for by the level of fun that has clearly been put into the song, which is blatant throughout the record. This is an album with Metallica going with the flow and incorporating so many different styles that it simply becomes a wonder that it works as well as it does.
The album is primarily a blues-rock release, but there is the metal side covered by Ain't My Bitch and parts of epic closer Outlaw Torn. Until It Sleeps displays the most commercially-oriented style of Metallica that would be explored to a greater degree on the following album, with its verse-chorus structure and catchy nature, with music that takes a minimalist approach to allow for the vocals to seep to the front.
Whilst on the subject of the vocals, this is James Hetfield's real transition point. The Black Album contained moments of straightforward singing on songs such as Nothing Else Matters, whilst still retaining some shouted vocals and hard-edged vocal songs on various tracks, with Enter Sandman being the most well known example of this styling. On Load, however, James never reverts to the barking that was utilized throughout the past three albums, instead packing a sleazy style of singing, akin to a more radio-friendly style of vocal work.
Songs like Until It Sleeps and Cure contain some decent enough singing within the context of the album, but it is the Southern rock tinted exploration of 2 X 4 and the bellowed vocals throughout The Outlaw Torn and parts of Bleeding Me that really steal the show vocally.
The Outlaw Torn carries a lot of weight through its vocals and lyrics, proving to be one of the most emotionally-charged songs the band has put out in the vein of Nothing Else Matters and The Unforgiven, but without needing to be structured as a ballad. Bleeding Me is the other epic-lengthed song of the album, with both clocking in at over eight minutes in length, and both actually utilizing said lengths to the best of their ability. Both stand out as two of the best in the band's discography, regardless of opinions on the album.
The Cure is a solid enough song, with some nice bass work perfectly audible played by Jason Newsted in the final third of the song, and containing some of the better drumming from Lars Ulrich. Ulrich went for a very simple style of playing on this album to fit in with the radio-oriented blues rock styling of the album, and, whilst it is nothing special, it actually isn't half as bad as has gone down in history. Ulrich, regardless of what mockery of himself he may have become on St. Anger, and regardless of the sellouts he had a hand in over the year, and regardless of the Napster controversy, is actually not as poor as stated.
How much creativity could truly have been expected from a simplified blues rock album? The guitar work is similarly simplistic, with Kirk seamlessly adopting a shift to a more streamlined sound, whilst still retaining his knack for writing decent enough solos, evidenced here by the killer lead work found on Bleeding Me, Poor Twisted Me and Cure. The lyrics are very introspective of James Hetfield's life, dealing with various topics, including but not limited to his mothers battle with cancer and feelings of regret, as well as drug abuse.
They are well written, without being anything too special, but they undeniably manage to convey the feelings that the songs outline in a formidable manner. The one major criticism that can be made of Load is the running time, with Outlaw Torn having had to be cut by over a minute in order to keep the album within the time restrictions to avoid the CD-rom skipping. However, this is not the overly drawn out styling of songs that would cripple St. Anger or Death Magnetic, instead being very much manageable song lengths, but with some feeling a little unnecessary.
Bar the very personal lyrics, King Nothing is a little unnecessary, as is Mama Said which feels like a weaker version of Nothing Else Matters and contains the worst vocal performance on the album, and the repetition found towards the end of Thorn Within does drag on a little too long. Overall, this may well be one of the most criminally underrated and overlooked albums in history, standing out as one of the more unique and enjoyable in Metallica's discography, never growing stale, despite the hideously long running time and the certain lack of instrumental prowess on display on this album.
This is an enjoyable enough blues rock album, which has a lot to love about it, and is merely a little too drawn out for its own good. Were it two tracks shorter, and with a couple of sections to certain songs being cut back a little, then this would stand tall among the earlier releases by the band. However, this really is still a great album and deserves a listen, being the last album that is thoroughly enjoyable to listen to. Unfortunately, the rejects from this album would later be released on the aforementioned tragedy that is Reload, which does little to redeem this album's notoriety, which was never earned in the first place.
No longer were they a fairly successful metal band making ends meet by touring. Now they were a moneymaking metal machine. A band that were selling squillions of albums and making a fuck load of money in the process. Now with fame and money comes change. Everything changed for them. Their lifestyle, their principles, their taste, and most defiantly, their taste in music.
I can appreciate that the members of the band have grown up and would have had different tastes in music. Country, blues, indie Lars, you dick! Until It Sleeps and Hero Of The Day sound too clean and poppy to even be on this album to begin with and probably would have sounded better on an Alanis Morissette album or something else of that ilk. Ronnie, while I do like this song, just sounds massively out of place.