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Garage Days Re-Revisited Remastered
LP, Remastered
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The $5.98 EP - Garage Days Re-Revisited (Remastered) [Explicit]
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MP3 Music, August 21, 1987
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Audio CD, Original recording remastered, April 13, 2018
"Please retry" | $4.87 | $5.06 |
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Track Listings
Disc: 1
1 | Helpless (Remastered) |
2 | The Small Hours (Remastered) |
Disc: 2
1 | The Wait (Remastered) |
2 | Crash Course in Brain Surgery (Remastered) |
3 | Last Caress / Green Hell (Remastered) |
Editorial Reviews
Originally released over 30 years ago on August 21, 1987, the collection features the band covering songs by early Metallica influencers such as Diamond Head, Holocaust, Killing Joke, Budgie, and The Misfits. The five songs from the EP were later included as a part of the 1998 multi-platinum releaseGarage, Inc., but the band felt it was time to bring it back in the original formats!
Product details
- Is Discontinued By Manufacturer : No
- Product Dimensions : 12.36 x 12.36 x 0.31 inches; 8.32 ounces
- Manufacturer : Rhino/Blackened Recordings
- Item model number : BLCKND036R
- Original Release Date : 2018
- Date First Available : January 26, 2018
- Label : Rhino/Blackened Recordings
- ASIN : B0798GMX2S
- Number of discs : 1
- Best Sellers Rank: #61,031 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #5,863 in Metal
- #28,312 in Rock (CDs & Vinyl)
- Customer Reviews:
Customer reviews
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Helpless-
A fine drum intro without Lars later years snare tone. The guitar tone here is exquisite. Kind of a typical old school tallica arrangement with power chords and some muted open strings. But some speed metal riffage during the chorus “helpless”. Something the Metallica of today is lacking. The Bass fill with 4:15 left is a nice showcase of Newsted and his bassline throughout the entire song is pretty slick, and we can actually hear it. Listen to it behind the twin guitar part that follows. With some more speed metal riff following that, it harkens back to a metallica of the KEA era. The song wraps up right after a Hammett solo that gives us a glimpse of a guitar player that is not resting on his laurels, but is out to impress guitar players. Unfortunately we would only ever get one more album with that Kirk playing on it.
The Small Hours -
We often think of Slayer as the thrash band that would give us the creepy, horror movie soundtrack intros, but here the Bay Area boys give us an intro right out of a cult horror classic. Lars’ drumming on this track is one of my favorites.
The main track sounds slower than the original, but it adds an ominous overtone to the entire track. Again the speed with the great guitar tone delivers a fantastic groove that one can’t help but slowly headbang too. There’s some great basswork going on behind the guitar in the verses. Why this wasn’t the case for the rest of Metallica recording history is beyond me. With 2:35 left in the track, we hear some old school galloping speed riffs and then another one of those guitar solos that’s on fire. And not a trace of future bluesy bendy notes that Kirk is now known for.
The Wait -
This is a song I always thought Prong should cover, but Metallica diverts further from the original than I think Tommy and Co. would have. The opening vocals sound like something that Dave Mustaine would have done on So Far.. So Good... So What! Not typical for Hetfield at all, and I like it. Like the original by Killing Joke, there is some popping bass lines going on throughout the song. Pay attention when there is 2:15 left in the track Metallica had found a real jem with Newstead, it’s a shame that they buried him so much and so often during his tenure. James’ vocals also impress during the chorus “The Waaaaaaait” is done with precision that at that time I didn’t think he had. With 1:15 left we get another Kirk solo, but it’s part ripping and part bendy, feely with way too much wah pedal.Probably my least favorite solo on the EP
Crash Course in Brain Surgery -
Bass intro of coolness. And another track that they seemingly chose to showcase their new bassist. Pay attention to 0:37 left , that’s the perfect bass tone on a perfect bass lick. Another track that features a more standard old school power chord/palm muted open string section. But that’s a vast improvement over the original. With 1:05 left Kirk launches into a short solo that perfectly shows why he was in all guitar magazines as the hot shot guitar player from the thrash genre. Easily my favorite solo on the album and in the running for my favorite Kirk solo ever.
Last Caress/ Green Hell -
As a dude that like the Danzig era Misfits, the highlight of this cover was actually hearing the song. The old Misfits recordings suffer terribly from sound quality of a shoebox tape recorder...in a fishbowl….in a different room….of a different house...across the street from the band.
On top of that, the misfits obviously couldn’t afford good amps, so their guitar tone from the start was lackluster at best. I always figured they wrapped their guitar strings loosely with aluminum foil to get their “distortion” because that’s how I replicated it when I was a kid. So here we have Metallica doing a pretty faithful rendition of the original(s) with a killer guitar tone and quite clear recordings, even if it was done in a garage.
All in all, I’d rather listen to this EP than any of Metallica’s LPs. Even though I really like a lot of the writing that James has done, unfortunately the best written songs also happen to be the worst recorded songs. Had AJFA been recorded to sound like Garage Days, people would barely remember MOP. I don’t understand why they chose to sabotage themselves with what would have been their obvious masterpiece had they just stuck a good sounding recording that they had managed to achieve in 6 days in a garage.
Reviewed in the United States on May 14, 2018
Helpless-
A fine drum intro without Lars later years snare tone. The guitar tone here is exquisite. Kind of a typical old school tallica arrangement with power chords and some muted open strings. But some speed metal riffage during the chorus “helpless”. Something the Metallica of today is lacking. The Bass fill with 4:15 left is a nice showcase of Newsted and his bassline throughout the entire song is pretty slick, and we can actually hear it. Listen to it behind the twin guitar part that follows. With some more speed metal riff following that, it harkens back to a metallica of the KEA era. The song wraps up right after a Hammett solo that gives us a glimpse of a guitar player that is not resting on his laurels, but is out to impress guitar players. Unfortunately we would only ever get one more album with that Kirk playing on it.
The Small Hours -
We often think of Slayer as the thrash band that would give us the creepy, horror movie soundtrack intros, but here the Bay Area boys give us an intro right out of a cult horror classic. Lars’ drumming on this track is one of my favorites.
The main track sounds slower than the original, but it adds an ominous overtone to the entire track. Again the speed with the great guitar tone delivers a fantastic groove that one can’t help but slowly headbang too. There’s some great basswork going on behind the guitar in the verses. Why this wasn’t the case for the rest of Metallica recording history is beyond me. With 2:35 left in the track, we hear some old school galloping speed riffs and then another one of those guitar solos that’s on fire. And not a trace of future bluesy bendy notes that Kirk is now known for.
The Wait -
This is a song I always thought Prong should cover, but Metallica diverts further from the original than I think Tommy and Co. would have. The opening vocals sound like something that Dave Mustaine would have done on So Far.. So Good... So What! Not typical for Hetfield at all, and I like it. Like the original by Killing Joke, there is some popping bass lines going on throughout the song. Pay attention when there is 2:15 left in the track Metallica had found a real jem with Newstead, it’s a shame that they buried him so much and so often during his tenure. James’ vocals also impress during the chorus “The Waaaaaaait” is done with precision that at that time I didn’t think he had. With 1:15 left we get another Kirk solo, but it’s part ripping and part bendy, feely with way too much wah pedal.Probably my least favorite solo on the EP
Crash Course in Brain Surgery -
Bass intro of coolness. And another track that they seemingly chose to showcase their new bassist. Pay attention to 0:37 left , that’s the perfect bass tone on a perfect bass lick. Another track that features a more standard old school power chord/palm muted open string section. But that’s a vast improvement over the original. With 1:05 left Kirk launches into a short solo that perfectly shows why he was in all guitar magazines as the hot shot guitar player from the thrash genre. Easily my favorite solo on the album and in the running for my favorite Kirk solo ever.
Last Caress/ Green Hell -
As a dude that like the Danzig era Misfits, the highlight of this cover was actually hearing the song. The old Misfits recordings suffer terribly from sound quality of a shoebox tape recorder...in a fishbowl….in a different room….of a different house...across the street from the band.
On top of that, the misfits obviously couldn’t afford good amps, so their guitar tone from the start was lackluster at best. I always figured they wrapped their guitar strings loosely with aluminum foil to get their “distortion” because that’s how I replicated it when I was a kid. So here we have Metallica doing a pretty faithful rendition of the original(s) with a killer guitar tone and quite clear recordings, even if it was done in a garage.
All in all, I’d rather listen to this EP than any of Metallica’s LPs. Even though I really like a lot of the writing that James has done, unfortunately the best written songs also happen to be the worst recorded songs. Had AJFA been recorded to sound like Garage Days, people would barely remember MOP. I don’t understand why they chose to sabotage themselves with what would have been their obvious masterpiece had they just stuck a good sounding recording that they had managed to achieve in 6 days in a garage.
The re-masters are done well.
Uh, hell yeah son!
Still "not very produced," but still sounds just as good as it ever has.
The first album featuring Jason Newsted, and his bass is certainly present here, unlike ...And Justice For All, so no worries on that front. Though you'd already know this if you have a history with this album, like I do. Definitely permeates a warm, nostalgic feel, and probably would even if this E.P. is new to you.
My one complaint, and the only thing preventing a 5-star rating, is that the CD comes in a slipcover, NOT a jewel case... This information wasn't listed anywhere either. Besides that, would recommend!