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Review: Originally released in 1998, Garage Inc. would follow the split double albums of Load and Re:Load as a form of creative cleanse for thrash metal titans Metallica. Clocking it at over two hours, this epic compilation of covers taken from the Garage Days Sessions, B-sides, as well as new selections, paint a sprawling sonic picture of the vast array of influences each member holds dear. Running the gamut from punk and hardcore (Discharge, Misfits), to early proto-metal (King Diamond, Motorhead), all the way to their classic rock and more outsider inspirations such as Bob Seger, Blue Oyster Cult and Lynyrd Skynyrd (with their rendition of 'Tuesday's Gone' as an exceptional highlight); this bloated, overstuffed collection may appear overwhelming at first glance, but offers a curious through line and insight into the varying machinations that have maintained Metallica's status as the biggest thrash metal act of all time. It all had to start somewhere, and what better place than the garage?

Review: "It rained like a cow pissing on a flat rock" Aerosmith's Steven Tyler apparently once said about Woodstock 94. His band's set, in the middle of the night, followed a monumental firework display at the end of Metallica's typically juggernaut show. A cataclysmic halt, picturing the scene in your mind now is almost biblical, moody storms setting in across a dangerously oversold, woefully organised weekender headlined by some of the most lightning-worthy rock bands on the planet. Short Cuts: The Best of Woodstock 94 is more than a concert recording, then. An abridged version of a marathon set, it's also a declaration of intent from metal titans who refused to be upstaged by the events unfolding around them. If there's ever an excuse to revisit Metallica on stage during the Black Album period, then surely it's with a backdrop of chaos and rage?

Review: Metallica's self-titled fifth full-length, subsequently dubbed 'The Black Album', still serves as the controversial bridging point from their iconic run of four definitive thrash metal classics throughout the 80's, to their more sporadic and messy 90s output. For some, the inclusion of producer Bob Rock was a step too far into accessible territory as ten-minute instrumentals were abandoned, compositions were simplified, and the overall aggressive, grim edges showcased on the preceding classics Master Of Puppets and ...And Justice for All were somewhat sanded down to appeal to as large of an audience as possible. Make no mistake however, for every naysayer fan who opts to live in a fantasy where Metallica never continued into a second decade, there's still legions of adoring defenders who praise the balance the group would strike. It also doesn't hurt that the tracklist boasts literally some of the most well known and iconic cuts of their career, from the opening classic 'Enter Sandman' to the hefty groove of 'Sad But True', to more melodious fare like 'The Unforgiven' as well as the timeless ballad 'Nothing Else Matters'.