free reload download Free metallica reload album download. Your all-in-one podcasting solution. The best podcast player & podcast app. High-performing audio live, without limits. Easy-to-use audio recorder app. Dynamic Ad Insertion for podcasts. Convert listeners into buyers anywhere, anytime with the convenience of Podbean Premium. The seamless way for fans to support you directly from your podcast. Join Ads Marketplace to earn money through sponsorship on your podcast. 'Reload' Album Review (Compilation) The continuing cavalcade of clips continues! No intro or closing questions, just the guts of the episode with me and the guest dissecting the song. Free metallica reload album download. Metallica will be forever hailed for the dark and sophisticated vision of thrash metal they brought to the masses in the eighties. The band never stopped making music afterwards, but their legacy became. uh, complicated? Their album Load was an aggressive rebranding and an uninspired foray into muscular alternative rock, save for three or four great songs. Well, the following year, Metallica released Reload . which is more of the same. It's like they had six or seven good songs top and improvised two hours of crap filler to make sure they could market two out of whatever this was supposed to be. Reload , like its predecessor, starts rather strong with the catchy and mindless Fuel . It was a little disheartening back then to hear Metallica sing about cars like a bunch of douchebags, but Fuel is musically well put together. There's a strong, recognizable riff, a catchy chorus an there's thing clever man/machine allegory going on. It's the bare bones of a successful Metallica song. Their once profound and empowering lyrics were pretty much a thing of the past by the Reload era, but their songwriting expertise was never to be questioned when they were inspired and they. kind of were, on Fuel . It's just not the powerful experience it once was. The follow-up song is, perhaps my second favorite song of the whole Load / Reload era, after . Once again, the lyrics are simplistic, but the powerful melody, the memorable chord progression and the haunting use of Marianne Faithful got the point across better than its lyrics ever could. I don't hate The Unforgiven II either, which has the deepest, most intricate lyrics of the Load / Reload era. It's not the most original song idea, sure. But it comes from a genuine place and. and. I liked it better than the first? I believe the first Unforgiven is pretty overrated, like most power ballads Metallica 's ever written. James looks so fucking douchy in that video, with his silk shirt and his soul patch. Seriously, what the fuck? It’s hard to believe he’s the guy who wrote when you watch this. So, what exactly did I dislike about Reload , then? Everything else. I don't like to use the phrase "turned on their fans", but it's hard to imagine they wrote songs like Better Than You or Attitude as anything else than elaborate fuck yous to their critics. And their critics were mostly, you know, people who loved the shit out of their earlier work. The rest is just so uninspired and generic. They all start with a spin off the same bullshit sludgy, mid-tempo alternative rock riff, deliver lyrics about snakes (there's two snakes allegories on the record) or how fucking badass and driven they are, and they last forever. Seriously, the last three songs are seven, five and fucking eight minutes long. Few people know how fucking boring and terrible the non-singles from Reload are, because it was release in the dying days of the CD era and people bought albums only to listen to the singles back then, self-included. When you spent 20 bucks on getting a record, you didn't want to deal with any of the bullshit on it, even if it made for most of its running time. If this Load / Reload retrospective made me understand anything, it's that Metallica 's fans turned on them not necessarily because they changed their sound, but because they stopped making music with passion. And people who love you will always be the first to call you out when you start bullshitting them. ReLoad (album) ReLoad was released on November 18, 1997 through Elektra Records. It is a sequel or counterpart to the band's previous album, Load , and also the final Metallica album of the 20th century. ReLoad debuted #1 on the Billboard 200, selling 417,000 copies in its first week. Only six of the thirteen songs have ever been played live. They include "Fuel", "The Memory Remains", "Devil's Dance", "The Unforgiven II", "Low Man's Lyric", and "Carpe Diem Baby". There are also occasional jam sessions of songs including "Bad Seed", "Better Than You" and "Fixxxer". ReLoad is currently certified triple platinum by the RIAA. It was the final Metallica studio album to feature bassist Jason , though it was not his last release with the band. ReLoad also marked the second and the last appearance of a new Metallica logo on an album, until the release of Garage, Inc. The original idea was to make Metallica's sixth album a double album. However, with problems recording so many songs at one time, the band decided that half of the songs were to be released and the band would continue to work on the remaining songs and release them the following year. Drummer stated that: " It's the second half of Load . It's just coming out a year and a half later. "

This was the second album to feature most, if not all, songs in E♭ tuning, with "Bad Seed" being played in D♭ tuning and "Devil's Dance" in D tuning. D tuning was earlier used for "" on Metallica and later used for "" from Garage Inc . Recently the song "Carpe Diem Baby" premiered at the "Metallica's 30th Anniversary Party" in 2011. The songs that have never been played are "Better than You", "Slither", "Bad Seed", "Where the Wild Things Are", "Prince Charming", "Attitude", and "Fixxxer". RELOAD. I even would want to go that far to state that I'm not bored for one second when I listen to the entire 76 minutes this release counts. All songs are at least good, some even very good (like the great closer Fixxxer). And then I'm not even a true fan let alone fanboy who wants to hear nothing bad about the band. I'm just judging what I hear and can come to only one conclusion: this is a good album. Ok, maybe not essential, but good; nothing less ! So three stars it is. Metallica Reload's, but comes up empty yet again. It is pretty much just a left-over from the equally terrible 'Load' album. The worst part about this album is it nearly runs for the entire 80 minutes! To add to that liability, only two songs were even worthy of being somewhat remembered. This sound of Metallica was just one of the worst things that can happen to a successful band. Unfortunately, things indeed got a little worse down this terrible change in career path. Only recommended to Metallica die-hards and anyone willing to waste a few bucks. As expected the music style on "Reload" is very similar to the style of music on "Load" . Heavy metal with bluesy hard rock/ heavy rock elements. You�ll often hear the statement that the tracks on "Reload" are leftover tracks from "Load" but I think the quality is just as high (or low) as on "Load" . The album seriously lacks highlights though and while the tracks are mostly of an acceptable quality they are rather mediocre and unremarkable compared to the material on earlier releases. The sound production is similar to the one on "Load" . Professional but not up to par with the sound on "Metallica (1991)" . I don�t consider "Reload" a bad album or a failure in any way, but it�s overall an unremarkable and mediocre release. Especially considering the high quality of the band�s first 5 albums. Metallica simply sound uninspired. It�s like the hunger isn�t there. I�d say somewhere between a 2.5 - 3 star rating is warranted. Reload continues the style of its predecessor - Load, but this time even worse than the first. Most of the songs are absolute irritating and illogical. They are much worse than a mainstreem radio songs. The Memory Remains, The Unforgiven II and Low Man's Lyric are exception. All of them are memorable and contain melody in contrast with the others. On Reload rules again blues, country and alternative music combined in inappropriate and unbalanced style. Because of the presence of less good songs than on Load and because of the presence of less good themes in the poor songs, Reload should be ranked lower than Load. The other reason for than wil be the less number of fresh and innovative ideas here. It could be considered as a lazy and boring release with using of universal chords that can be heard in 50% of radio rock songs. That's why they are lazy and boring: made without a will. 1,5 stars. Well, this is a back to back album called in a very original way ReLoad. The same thing, lame composition, just straight metal with short songs and some kind of aggressive sound, but that sounds like a joke if you make a comparison with their old material. As well as with the Load album, the songs are pretty forgettable. If you don't pay too much attention, you can make a headbanging here and there but that's it, really, a forgettable album. The only song that I really like is Fuel, because is fresh and aggressive but the album end up plain. So, I don't recommend this album. Maybe it work for background music for a party with the boys, but if you pay too much attention you will end up boring. Not progressive elements, just straight metal and that's it. 1 star is very fair. Nothing save this album of being poor. Actually, it's worse. I really do not want to go into any of the songs, and that's OK because there is not much to go into. Generic, boring. when can I stop using these words? Even though it was bad, at least Load sounded kind of cool. ReLoad does not. As a true metal head, it pains me to hear "this album is not prog at all, but a regular metal album" because this is simply not true. I would not consider ReLoad, or the 2 albums prior, metal. And even if I had to, they are not good ones. According to Lars, "that, to me, is what Metallica are all about: exploring different things. The minute you stop exploring, then just sit down and f**king die". While I absolutely won't disagree with that, and in fact think exploring is a good thing, an experiment can go wrong. OK, enough dancing around. This album is terrible. The album starts off normally enough, of course. "Fuel" is a fabulous, powerful riff-rocker, replete with solid vocal harmonies, and its overexposure around the time of release way back when never quelched my love for it. The second song, though, is a weird cross between ultra- mainstream "alternative" rock and the experimentation of the rest of the album. Not that that's a good thing in this case; "The Memory Remains" is close to my least favorite Metallica song of all time, as it's an almost ridiculously repetitive weak, weak attempt at hard rock, complete with a cameo from Marianne Faithful that starts off seeming clever and ends up feeling incredibly stupid and gimmicky. It's followed by a positive number, though, in the aforementioned "Devil's Dance," a mid-tempo stomper with well-produced grumbling, battling guitars and overdone-but-still- enjoyable "menacing" vocals. It's a clear keeper, that's for sure. "The Unforgiven II," then, is hilariously, offensively bad. It's one thing to ape a previously well- received song for a new number in order to use the good will for that song as a crutch; it's another to prop up its rotting corpse a la Weekend at Bernie's and then rape and desecrate its rotting corpse when you're done with it. There are certain things in rock music that are fundamental offenses against nature, and one of them is not only naming a song "*Already famous song* II" (unless it's "Larks' Tongues in Aspic," of course) but using that full title in the actual lyrics. And that's all I'm going to say about it, else I get angry and blustery while typing. Aside from a great, great up-tempo 70's-style rocker (with Sabbath-quality riffs) in "Prince Charming," as well as a surprisingly decent seven- minute acoustic ballad in "Low Man's Lyric," the rest of the songs hit neither the highs nor lows of the songs already mentioned. "Slither" stands out slightly both because its main riff is pretty similar to that of "" and because of its creepy vocal harmonies, "Carpe Diem Baby" has a teeth-gritting, slightly unpleasant (in a good way) set of riffs and some oddly ok vocals, and, uh . "Where the Wild Things" Are has some pretty ugly (again, in a good way) guitar interplay. None of these are great, but none of them are even remotely bad either. As for the rest of the songs, well, I never feel like I'm listening to a "typical" album when listening to them; I don't really like the other songs, but I like how moderately unusual they are as a whole. In the end, this is another giant heap of filler smattered with a few good songs, and while this has more low points than Load does, the filler tends to be more interesting on the whole than Load 's filler. Again, an hour-long album consisting of the best material from these two behemoths would probably merit a **** rating; as is, the amount of sludge to be slithered through between these two albums makes such an assessment impossible. PS: If you're interested, my ideal 1-hour Load Sessions album would look like this: "Ain't My Bitch" "" "Devil's Dance" "2x4" "Low Man's Lyric" "Fuel" "King Nothing" "Prince Charming" "Mama Said" "The Outlaw Torn" They wisely open with "Fuel," a combustible number with plenty of honest energy pouring out of it like molten steel from a furnace. It has all the ingredients for a memorable hard rock juggernaut: A gutsy vocal from , hot guitars from , earth-shaking bass lines from and a strong backbeat from Lars Ulrich. "The Memory Remains" is a dirge-like pounder. Guest singer Marianne Faithful turns in an eerie and somewhat confusing performance but, taken in the context of her sordid history, I guess it works on a certain spooky level. The slow pace they apply to "Devil's Dance" would suggest that Lucifer is more of a stomper than a lithe Baryshnikov. The song itself is rather pedestrian but I do appreciate Hammett's demonic guitar work that adds a threatening dimension to the aural territory. "The Unforgiven II" is a bit of a head- scratcher for me because I'm not sure why they felt it necessary to revisit a composition that was a cornerstone of their mega-successful fifth record. Like many sequels this one's okay but it doesn't pack the punch of the original. However, it does effectively demonstrate that James doesn't have to scream and growl all the time to get the message of a poignant song across. The man was born with an enviable, distinctive style and he should explore its many aspects with confidence. "Better Than You" is next and it's a pile-driving rocker that emphasizes everything that got Metallica to the top of the heavy metal heap. Don't look for anything even slightly progressive on this cut, in other words. It's a battering ram meant to slam into things. "Slither" follows and it's a highlight of the album. Its Ozzy-ish vibe is infectious and its excellent hook riff along with Hetfield's ominous vocal make this tune stand out from the others. It's no masterpiece, mind you, but it does warrant repeated listens. "Carpe Diem Baby" is a good song but by now I'm feeling the album is starting to suffer from the guitar tones becoming repetitive and predictable. On the upside, though, they add something in the background (An organ? A Mellotron? A droning guitar effect? I can't tell from the credits.) that provides the track with a much-needed deeper atmosphere. Depth of field is always a plus in my book, no matter the genre. "Bad Seed" sports a rock solid groove that propels the song efficiently and it's refreshing to hear them mess around with the vocals a bit. What I'm yearning to hear most but ain't getting is for Kirk to throw caution to the wind and rip out a torrid, decapitating lead guitar solo. I don't understand why he plays it so safe. On "Where the Wild Things Are" they present an opening segment that's at least a little different but then they soon drop into their familiar, tried-and-true headbanging motif to mollify their rowdy aficionados who will accept nothing less. I do like the fact that they get creative with the arrangement, however, and that's worth noting. "Prince Charming" is next and it possesses more of a traditional metal tinge than what's been offered so far. It's not a letdown, necessarily, but there's nothing going on inside the tracks that I haven't heard before. "Low Man's Lyric" follows and it's my favorite cut on the CD. I love it when guys like these have the balls to step out of their comfort zone as they do on this tune and deliver some comprehensible lyrics in a toned-down setting. It doesn't mean they're selling out, it just shows they're more than a stagnated one trick pony act. The tinny Hurdy Gurdy organ is a nice touch, providing the number with a cool Irish aroma. "Attitude" is a decent enough rocker but it does come off as mediocre filler material to my ears. They end with an epic, "Fixxxer." Hammett's tortured guitar effect augments the song's gargantuan riff but at 8:14 in length I was wishing they'd been much bolder and perhaps run off on some proggy tangents just to mix things up a tad but, alas, they stick with their bread and butter. Released on November 18, 1997 "Reload" did not pass go but went straight to the numero uno spot on the charts. While there may have been grumblings amongst their legion of devotees about what they thought Metallica should be doing for them those minor misgivings had absolutely no effect on the number of discs purchased. If any group is able to sell over 4 million units in any era you gotta hand it to them. They're doing something right and I'd be a fool to criticize them for dancing with the girl that brought them to the prom. While a particularly revealing rock doc about the band (that showed what was transpiring during this period) indicates that all was not cool breezes and soft moonlight in the ego-sated board room of Metallica, Inc., they still managed to take care of business. This was the last go-round for bassist Jason Newsted who (along with producer ) had been instrumental in bringing a big, fat low end into their music, thereby broadening the group's appeal in the process. Yet his departure didn't derail this locomotive. They're still a force in the biz to this day. While "Reload" is slightly better than "Load" I still have a difficult time in thinking of either album as being exceptional. Still, they both kept the metal flame lit throughout the unpredictable 90s when the winds of change were blowing in from every direction imaginable. And, by the way, I've heard much, much worse. 3.2 stars. Latest members reviews. If 1995's 'Load' didn't put you off Metallica, 'Reload' certainly won't win over any new converts, but that's not going to stop me from trying to defend this hugely underrated hard rock album. It's understandable why these songs are often regarded as leftovers from its predecessor, since they' . (read more) Metallica - a band that I don't like much in that I always felt that they were overrated and mistakenly called one of the fathers of prog - metal. They did release two albums that I did like being "" and the self titled "Black Album". The previous album (Load) was an insipid . (read more) Metallica's seventh album and the follow up to Load. Those who thought Metallica could not sink any lower than they did on Load were up for a nasty surprise. Reload is a reload of the ideas from Load. That is, only worse. The sound on Reload is dirty and with more than some hints of Trouble . (read more) The leftovers of Load. I might be in minority thinking that the style change marked by Load was a great move and that Load itself is a magnificent album. Well, ReLoad continues with the same style (bluesy heavy rock with touches of alternative rock) but it's a much more weaker effort from Metallic . (read more) Yawn! This is one of the most boring rock albums I've ever heard. It's got some blues rock tendencies, and there's nothing wrong with blues rock in general - if the artist is able to actually play interesting and engaging blues rock. It's got some alternative rock tendencies, and there's nothing . (read more) After the controversy caused by the release of “Load”, a very strong album that showed the new direction Metallica went through, “Reload” was released, an album mostly filled with the tracks that didn't make it onto “Load”. At least some songs of this album we . (read more) Post a review of METALLICA "Reload" You must be a forum member to post a review, please register here if you are not. MEMBERS LOGIN ZONE. As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums. You are not logged, please complete authentication before continuing (use forum credentials). Reload. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $9.99. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then $14.99/ month. Bob Rock, Producer - , Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Writer - Hammett, Writer - Hetfield, Writer. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - , Arranger - James Hetfield, Producer, Guitar, Vocals, Writer - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums, Writer - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hetfield, Composer, Lyricist - Beau Leon, Contributor - Nigel Randall, Contributor. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals, Writer - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums, Writer - Jason Newsted, Bass - Metallica, MainArtist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hammett, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hammett, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hammett, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hammett, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - Newsted, Composer, Lyricist - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Writer - Hetfield, Writer. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. Bob Rock, Producer - Randy Staub, Engineer - James Hetfield, Producer, Guitar, Vocals - Kirk Hammett, Guitar - Lars Ulrich, Producer, Drums - Jason Newsted, Bass - Metallica, MainArtist - Ulrich, Composer, Lyricist - Hammett, Composer, Lyricist - Hetfield, Composer, Lyricist. 1997 Blackened Recordings 1997 Blackened Recordings. About the album. 1 disc(s) - 13 track(s) Total length: 01:16:01. 1997 Blackened Recordings 1997 Blackened Recordings. Why buy on Qobuz. Stream or download your music. Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions. Zero DRM. The downloaded files belong to you, without any usage limit. You can download them as many times as you like. Choose the format best suited for you. Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF. ) depending on your needs. Listen to your purchases on our apps. Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go. Legend – The Best Of Bob Marley & The Wailers. Bob Marley & The Wailers. Chopin : Piano Concertos. The Metallica Blacklist. Master of Puppets (Remastered) Ride the Lightning (Remastered) Playlists. Highway To Hell. At the dawn of the ’90s, the trip hop wave overtook the UK with an electronica sound influenced by Jamaican music and hip hop beats. With their chloroformed rhythms and heavy ambience, Massive Attack, Portishead, Tricky, Morcheeba and several other outfits invented a kind of dark, futuristic and often cinematic soul music. Here’s a spotlight on 10 albums from a genre with blurred sonic borders but a definitive musical influence. 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