LIBRO

METALLICA S&M HIGHLIGHTS LIBRO GUITAR TABLATURE ONE-Nothing Else Matters-Enter Sandman-The Call Of Ktulu

METALLICA, S&M HIGHLIGHTS. GUITAR TABLATURE

LIBRO DI MUSICA PER CHITARRA CON TABLATURE.

INCLUDES ORCHESTRAL MELODIES.
ORIGINAL ORCHESTRATIONS: MICHAEL KAMEN

Content

The Call Of Ktulu
Master Of Puppets
No Leaf Clover
Hero Of The Day
Bleeding Me
Nothing Else Matters
Until It Sleeps
Human
Outlaw Torn
One
Enter Sandman 

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METALLICA GUITAR TABLATURE SPARTITI ACCORDI LIBRO-The Unforgiven-Nothing Else Matters-chitarra

METALLICA, METALLICA. GUITAR TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA E VOCE, PENTAGRAMMA, ACCORDI, TABLATURE. 

Registrato tra il 6 ottobre 1990 e il 16 giugno 1991. Disco uscito il 13 Agosto 1991.

Questo è il disco più conosciuto della band, per 4 settimane è stato al numero 1 della classifica Billboard 200. Ha venduto 15 milioni di copie solo negli Stati Uniti.

La copertina del disco si è ispirata alla bandiera di Gadsden, una storica bandiera statunitense che contiene un serpente a sonagli su sfondo giallo e la scritta "DONT TREAD ON ME" ("NON CALPESTARMI"), è anche inclusa una canzone intitolata così. La bandiera apparve per la prima volta nel 1775 ed è considerata una delle prime bandiere degli Stati Uniti. Dopo la Guerra di indipendenza americana la bandiera è apparsa in varie occasioni come simbolo di patriottismo e di libertà. Inoltre è considerata un importante simbolo nell'ambito dell'area libertarians statunitense.

O la biscia moralista dell'Eden? A Adamo e Eva Dio padre gli aveva detto: "non ascoltate quello là che vi da intendere tutte teorie". E infatti dopo avere "mangiato" la mela, la prima cosa che fanno è quella di nascondersi perché si vergognavano di essere nudi, la mela dell'ideologia e del moralismo.

Ci sono 2 teorie in chi offre il frutto ai due ingenui:

1, La teoria delle cose sacre, "il bene e il male" come cose astratte, alte, spirituali, separate dal corpo e dal quotidiano.

2. Adamo risponde "è stata lei, la donna che tu mi hai dato", questo è il primo divorzio della storia. 

 
 
Enter Sandman

Sad But True
Holier Than Thou

The Unforgiven

Wherever I May Roam

Don't Tread On Me

Through The Never

Nothing Else Matters

Of Wolf And Man

The God That Failed

My Friend Of Misery

The Struggle Within

 

 

KIRK HAMMETT

You've said in the past that for the first albums you had a "gunslinger" attitude.

That went right through Master of Puppets, which was kind of half and half. I can still think of times when I thought, "Well, this solo just has to be the shit." But that was also when I started to slow down and give my solos a little bit more breathing space. The solos on the Metallica album are more my kind of style. Another thing I learned just recently concerns laying back, and pushing on notes, playing certain notes softer and certain notes harder. It's like a real subtle thing that makes a ton of difference. It comes from the blues. It's more like that grooving, swinging thing-the big 4/4 type beat. I remember one time Jason [Newsted] put on a blues recoordand the band sounded like they were about to fall apart at any second. The bass player's playing behind the beat, the guitar player was in front of the beat, and the piano player was like soloing all over. There was something compelling about listening to that type of music. I thought to myself, sometimes when music is played like that, it has the ability to keep the listener on edge. I stored that in the back of my mind. Then when we went into the studio and I was doing my solos, [producer] Bob Rock was aware of that same aspect. He goes, "Why don't you try to incorporate some of that into this little passage right here?" I learned a lot from his suggesting that. Listen to "Sad But True."

 

How have you been exploring the blues?

Me and Jason jam a lot. Jamming with someone helps your playing a lot more than just playing by yourself in a room. Maybe it is obvious but we just started doing this on tour. A lot of people ask, "What are you going to do on your day off?" I tell them, "Me and Jason are going to jam." They kind of look at us funny. They think, "Isn't that what you're doing gigging, going out and playing?" I go, "Yeah, but when we jam is the time when we pursue our outside musical interests." Me and Jason are heavily into the blues now. Buddy Guy, Albert King, B.B. King, of course the Vaughan Brothers. I just picked up Magic Slim. He rips. He is amazing. He plays a Jaguar. Robert Johnson is incredible. Son House is incredible too. Clarence Gatemouth Brown ...when that guy picks up a violin and plays blues licks on a violin, me and Jason feel like crying all the way home. We're going to form a blues band when we get off the road. We have a lot of songs written. We play anything from jazz tunes to sloppy '50s progressions-you know, those A minor, F, C, G [chords] that every '50s song uses. We play Mississippi Delta style blues. We play slide and Hendrixy stuff. One time we played "Voodoo Child" for an hour. One night when I was really drunk I sang ''I'm A man."

 

What might attract Metallica fans to the blues?

Check out the mood. Howlin' Wolf wrote some pretty heavy riffs. "Smokestack Lightning" is the riff everyone knows. Back then it was considered punky and dirty and lowdown. It was the devil's music. It's similar to the people we see out in front of our gigs handing out flyers saying Metallica is the devil's music and "666" and all this other crap. Those blues people were getting the same bad rap a lot of people are trying to hang on us right now. If you turned it up and played it aggressively, "Smokestack Lightning" is basically a heavy metal song.

 

Sort of what Jeff Beck did to "Ain't Superstitious."

Exactly. The attitude is there. Maybe not the types of distortion and types of low end but the basic attitude is there. The attitude of rebellion, anger and not being satisfied with your lifestyle. A lot of those same feelings came across in that music that come across in heavy metal. If someone wants to get into blues and is looking for that same sort of thing, you ...

 

 

... in the band and my own guitar playing. I see it here and there. It's a passing thought to me. I don't dwell on it. Alot of it has to do with the fact that we're a high profile metal band now.

 

That's not it. It was a stylistic change. Are you aware of that?

I guess I am aware of it but I haven't thought about it. Maybe it's short-sightedness. I notice there has been a stylistic change in a lot of other metal bands. The heavy down-picking thing, the palm muting thing, the fast stuff, the minor chords, the flatted fifth type progressions, the tempo changes from half-time to doubletime are real popular right now. Whenever I hear a lot of that I think, "Hey, that's just like this song." A lot of people try to get James' rhythm guitar sound, much the same way that players tried to get that Yngwietype of playing back in the mid '80s or the Van Halen hammer-on thing in the early '80s.Alot of people are trying to get the sound and that attitude that James gets.

 

The Priest/Ozzy/Sabbath/Dio sound is considered almost passe.

Yeah, you're right. I might be wrong but I have a feeling that heavy metal is going to start getting more industrialized, like Ministry and Godflesh and Head of David. The main guy in Ministry, Al Jorgensen, had a side project called 1,000 Homo DJs. He did a cover of Black Sabbath's "Supernaut" and industrialized it. I listened to that and thought this might be the new direction that metal is going in. At the same time we have the whole Seattle thing, which isn't new. I've been listening to Seattle bands since 1988. I might get a lot of flak for this, but Pearl Jam remind me of classic rock. Nirvana have moments when they are very Sabbath-like. Bands like Tad sound like late '70s hard rock to me. Soundgarden sound Sabbathy but that is a little more obvious. It backs my theory that music has a way of recycling itself and regurgitating out all the bad elements and keeping all the good elements and adding in fresh ideas.

 

Will Metallica become industrialized?

I don't know; it all depends if I buy a·sampling device or not. We all write music, then we all get together. Once all that music comes together, that's when the change is evident. Our sound is capable of changing within a couple of weeks. It's all depending on what everyone has written over the past two years and how everything has been coordinated.

 

What's your answer to those who say you sold out on the Metallica album?

That's all bullshit. Sold out! Come on, we just got together and we wrote music that we wanted to make different. We approached it from a different attitude and we were totally taking a chance. Sold out!We could have put out an album just like our first four albums. That would be selling out because that is tried and true success. That's guaranteed success for us. That's what selling out to me is: Guaranteeing your success. We went the opposite route.

 

Do you anticipate you will not go back to the era when bass and drums played the same riff?

I wouldn't rule out that playing technique. As far as having a whole album like that, I don't know. We've grown musically over the course of this tour. I've seen it with all of us. James is listening heavily to country and western music and playing pedal steel. I've become even more of a Hendrix fan than I've ever been and I'm playing a lot of blues now. Lars has a very open ear now to younger, fresher things that are out on the street. I don't mean this as an insult but Lars used to only listen to bands once they made the Billboard Top 10. He is a lot more open in his listening nowadays. Our musical taste has changed considerably over the course of this tour. Who is to say what the next Metallica record will sound like?

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€29,99

METALLICA RE-LOAD GUITAR TABLATURE-Better Than You-Carpe Diem-Fuel-Unforgiven II-SLITHER LIBRO

METALLICA, RE-LOAD. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA E VOCE. PENTAGRAMMA, ACCORDI E TABLATURE. 

Metallica - Re-Load
Series: Guitar Book
Publisher: Cherry Lane Music TAB
Artist: Metallica

Matching folio to the CD that debuted at #1 on the Billboard album chart. This is the companion volume to the metal band's 1996 smash release 'Load', which also debuted at #1.

Inventory #HL 02501297
ISBN: 9781575600949
UPC: 073999105124
Width: 9.0"
Length: 12.0"
164 pages

Song List:
Attitude
Bad Seed
Better Than You
Carpe Diem Baby
Devil's Dance
Fixxxer
Fuel
Low Man's Lyric
The Memory Remains
Prince Charming
Slither
The Unforgiven II
Where The Wild Things Are

Prezzo: €34,99
€34,99

METALLICA RIDE THE LIGHTNING BASS TABLATURE SPARTITI LIBRO BASSO PLAY IT LIKE IT IS ACCORDI

METALLICA, RIDE THE LIGHTNING. BASS TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA BASSO E VOCE. ACCORDI, PENTAGRAMMA, TABLATURE. 

Metallica - Ride the Lightning
Series: Bass Guitar Series
Publisher: Cherry Lane Music
Artist: Metallica

Matching folio to Metallica's second album, including: Creeping Death - Fade To Black - and more. 40 pages

Inventory #HL 02507040
ISBN: 9780895245540
UPC: 073999070408
Publisher Code: 7040
Width: 9.0"
Length: 12.0"
40 pages
 

RIDE THE LIGHTNING

Metallica is an extraordinary thrash band. Widely regarded as the "Beatles of speed metal,"
they are, by far, the most ambitious, inventive and musically satisfying proponents of the genre.
In their vision, the possibilities for enlargement and elaboration of the heavy metal medium
have been more than glimpsed, they have become practically codified, attaining a contemporary
"classic" significance while providing virtually everyone else presently active in the style
with a model of how it's done. Emerging in the early 1980's, they rapidly assumed the status
of archetype, following the release of their second album, Ride the Lightning, in 1984.
Cliff Burton was an extraordinary thrash bassist. He was the perfect foil for the energetic and
propulsive drum bombast of Lars Ulrich and the pulverizing crunch-chording of guitarists
James Hetfield and Kirk Hammett. Maintaining a heavy, relentless bottom-end pulse as a
component of the rhythm section as well as astrong intuitive sense of embellishment in melodic
fills, Cliff represented the obvious next link in the lineage of modern rock bass playing (in the
tradition of Jack Bruce, Tim Bogert, Chris Squire and Steve Harris). Consider the unusual
approaches found in the bass parts of "The Call of Ktulu" (an instrumental rendering of the
classic horror tale by H. P. Lovecraft-originally spelled "The Call of Cthulhu"-well worth
checking out). Here, Cliff provides an eerie bass solo colored by distortion and wah wah pedal,
which is somewhat buried in the mix but is nonetheless felt lurking menacingly in the
background like one of Lovecraft's own tentacled monstrosities. The use of distortion and wah
wah is a well-known timbral touch in Burton's sound-think back to the similar tone of the "(Anesthesia)-
Pulling Teeth" solo from Kill 'Em All. In "Ktulu," the soloing assumes a textural role
within the powerful ensemble groove, adding strange vowel effects to accented power chords,
diads and octaves or blurring the separate notes of the bass melody with sudden shifts of treble
(+) and bass (0) boosting. A very effective tactic considering the nature of Lovecraft's story.
The distorted wah tone is recalled orchestrally behind Kirk Hammett's guitar soloing to add yet
more unusual color to the arrangement, this time decorating the sinister A5 to 0#5 tritone riff
with wah-inflected timbres.
Cliff's distortion/wah wah sound is heard also in "For Whom the Bell Tolls" (intro). Here, two
basses are involved: one (Bass I) playing the ensemble root notes F# to E (with a straight,
unprocessed tone) and the other (Bass II) doubling the guitar melody above (with the
processed sound).
"Ride the Lightning" gives us an ideal opportunity to examine the area of feel changes in
modern speed metal and how they are reflected in the creation of an appropriate bass line. A
variety of rhythmic feels are employed throughout the piece. The basic pulse is a moderate
rock at =152, and this is emphasized by the use of quarter notes in the intro progressing to
a solid 4/4 feel (a tempo) of steady eighth notes in the verse (Bass Fig. 2). Bass Fig. 3 sets
up a double time feel with its transition to straight sixteenths in the second bar. The transition
leads to Bass Fig. 4 (officially in double time feel) which is constructed of sixteenths completely.
The use of the double time sixteenths give the impression of faster movement without actually
changing tempo, hence the term "double time feeL"
Also noteworthy in "Ride the Lightning" and in Metallica's music in general is the trademark use
of the tritone (flatfive) interval in riff building. It appears in the intro (bar 13: Bb5 over an E pedal)
and in Bass Fig. 1 in melodic form (relationship of F#5to C5 in the line). It is also the main idea
harmonically and thematically in the verse riff (Bass Fig. 2). Here, it again occurs as a Bb note
played against the E pedal (presented in ensemble form as a heavy bass/rhythm-guitarfigure).
Cliff Burton contributed compositionally to Metallica as well, co-writing six of the eight songs
on Ride the Lightning. Often referred to as the "soul of Metallica," he was an integral part of
their innovative sound and approach during a particularly important period in their development.
His untimely death while touring with Metallica (behind the Master of Puppets record)
remains one of the most regrettable tragedies in rock. The band responded by releasing the
tribute video Cliff 'Em All, dedicated to his memory shortly thereafter-for a great musician,
bass player and personality who helped to shape the most striking sounds in modern metal.
 

Released: July 27, 1984
Recorded: February 20 - March 14, 1984 at Sweet Silence Studios, Copenhagen, Denmark
Genre: Thrash metal
Length: 47:23
Label: Megaforce, Music for Nations, Elektra, Vertigo

James Hetfield – lead vocals, rhythm guitar
Kirk Hammett – lead guitar
Cliff Burton – bass, backing vocals
Lars Ulrich – drums

Production
Metallica; Flemming Rasmussen; Mark Whitaker – producers
Flemming Rasmussen – engineer
George Marino – remastering

Ride The Lightning

As recorded by METALLICA on ELEKTRA RECORDS
Management: Q Prime, Inc.
Transcribed by Steve Gorenberg
Music Engraving by W.R. Music
Production Manager: Daniel Rosenbaum
Art Direction: Alisa Hill
Administration: Monica Corton
Director of Music: Mark Phillips
Photography by Ross Halfin
ISBN: 0-89524-554-X
1990 Cherry Lane Music Company, Inc. International Copyright Secured All Rights Reserved

CONTENTS
Introduction by Wolf Marshall
Tablature Explanation

Song List:

The Call of Ktulu (Instrumental) - Hetfield, Ulrich, Burton, Mustaine
Creeping Death - Hetfield, Ulrich, Burton, Hammett 
Escape - Hetfield, Ulrich, Hammett 
Fade to Black - Hetfield, Ulrich, Burton, Kirk Hammett 
Fight Fire with Fire - James Hetfield, Lars Ulrich, Cliff Burton 
For Whom the Bell Tolls - Hetfield, Ulrich, Burton 
Ride the Lightning - Hetfield, Ulrich, Burton, Dave Mustaine 
Trapped Under Ice - Hetfield, Ulrich, Hammett 

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METALLICA RIDE THE LIGHTNING-GUITAR TABLATURE SPARTITI CHITARRA LIBRO

METALLICA, RIDE THE LIGHTNING. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

 

LIBRO DI MUSICA METAL.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Con l'intenzione di formare un gruppo di metallo dalle sonorità Europee, un danese a Los Angeles di nome Lars Ulrich, deciderà insieme a James Hetfield, di chiamare il gruppo Metallica. La breve parentesi con Dave Mustaine alla chitarra solista, lo spostamento della band a San Francisco, l'aiuto del proprietario di un negozio di dischi, Jon Zazula, e poi l'entrata della chitarra di Kirk Hammett, confluirà nella registrazione del primo album nel 1983. Il secondo disco "ride the lightning" sarà registrato in Danimarca, e uscirà nell'agosto del 1984; in breve tempo entra in classifica vendendo subito in maniera inpensabile per un gruppo metal di questo genere. Nel settembre del 1986 dopo l'uscita del terzo album, durante il tour europeo con gli Antharax (il cui nome è stato preso da un pericoloso morbo che colpisce gli animali e le persone) il bus del gruppo sbanda e va fuori strada, lasciando il bassista dei Metallica Cliff Burton privo di vita. TABLATURE

Metallica - Ride the Lightning
Series: Guitar Personality
Publisher: Cherry Lane Music
Artist: Metallica

Matching folio to Metallica's second album, including: Creeping Death • Fade To Black • and more.

Inventory #HL 02507019
ISBN: 9780895244949
UPC: 073999070194
Publisher Code: 7019
Width: 9.0"
Length: 12.0"
64 pages

Song List:

The Call Of Ktulu
Creeping Death
Escape
Fade To Black
Fight Fire With Fire
For Whom The Bell Tolls
Ride The Lightning
Trapped Under Ice

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€26,99

METALLICA S&M HIGHLIGHTS LIBRO BASS TABLATURE Hero Of The Day-No Leaf Clover-Bleeding Me-ONE-HUMAN

METALLICA, S&M HIGHLIGHTS. BASS TABLATURE

LIBRO DI MUSICA PER BASSO CON TABLATURE.

Content:

Human
Bleeding Me
Enter Sandman
Hero Of The Day
Master Of Puppets
No Leaf Clover
Nothing Else Matters
One
The Call Of Ktulu
The Outlaw Torn
Until It Sleeps 

Prezzo: €39,99
€39,99

METALLICA LOAD BASS TABLATURE SHEET MUSIC BOOK BASSO SPARTITI VOCE LIBRO ACCORDI HAL LEONARD

METALLICA, LOAD. BASS. SHEET MUSIC BOOK WITH TABLATURE .

LIBRO DI MUSICA METAL,

SPARTITI PER BASSO E VOCE : 

ACCORDI, PENTAGRAMMA, TABLATURE

 

Cover Artwork by Andres Serrano

METALLICA - LOAD
Series: Bass
Publisher: Cherry Lane Music TAB

Artist: Metallica

The matching folio to the long-awaited, hard-hitting new album - with the double guitar onslaught of Hetfield and Hammett - features 14 songs, including: 2 x 4 • Ain't My Bitch • Until It Sleeps • The Outlaw Torn • Wasting My Hate • plus biography, photos, and full-color fold-out.

Ain't My Bitch
Bleeding Me
Cure
Hero Of The Day
The House Jack Built
King Nothing
Mama Said
The Outlaw Torn
Poor Twisted Me
Ronnie
The Thorn Within
2 x 4
Until It Sleeps
Wasting My Hate


Inventory # HL 02505919
ISBN: 1575600153
EAN: 9781575600154
UPC: 073999059199
Width: 9
Length: 12
Pages: 104
 

Prezzo: €39,99
€39,99

METALLICA LOAD GUITAR TABLATURE-2 x 4-Ain't My Bitch-Until It Sleeps-The Outlaw Torn-LIBRO

METALLICA, LOAD. GUITAR TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA E VOCE. PENTAGRAMMA, ACCORDI E TABLATURE. 

Metallica - Load

Series: Guitar Personality
Publisher: Cherry Lane Music
TAB
Artist: Metallica

The matching folio to the long-awaited, hard-hitting new album – with the double guitar onslaught of Hetfield and Hammett – features 14 songs, including: 2 x 4 • Ain't My Bitch • Until It Sleeps • The Outlaw Torn • Wasting My Hate • plus biography, photos, and full-color fold-out.

Inventory #HL 02501275
ISBN: 9781575600147
UPC: 073999012750
Width: 9.0"
Length: 12.0"
160 pages

Song List:

Ain't My Bitch
Bleeding Me
Cure
Hero Of The Day
The House Jack Built
King Nothing
Mama Said
The Outlaw Torn
Poor Twisted Me
Ronnie
The Thorn Within
2 x 4
Until It Sleeps
Wasting My Hate

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€31,99

METALLICA MASTER OF PUPPETS GUITAR TABLATURE LIBRO CHITARRA SPARTITI

METALLICA, MASTER OF PUPPETS. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA METAL, 

SPARTITI PER VOCE E CHITARRA:

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Series: Play It Like It Is
Publisher: Cherry Lane Music
TAB
Artist: Metallica

Matching folio to the best-selling album. Includes: Master of Puppets • Battery • Leper Messiah • plus photos.

Metallica – Master of Puppets
Series: Play It Like It Is
TAB 
HL #02507920
Inventory #HL 02507920
ISBN: 9780895243584
UPC: 073999079203
Publisher Code: 7920
Width: 9.0"
Length: 12.0"
68 pages


Song List:

Battery
Damage, Inc.
Disposable Heroes
Leper Messiah
Master Of Puppets
Orion
The Thing That Should Not Be
Welcome Home (Sanitarium)

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METALLICA GARAGE INC Play It Like is GUITAR TABLATURE Sabbra Cadabra-NATIONAL ACROBAT-Whiskey in the Jar

METALLICA, GARAGE INC. . SHEET MUSIC BOOK WITH GUITAR TABLATURE . 

LIBRO DI MUSICA METAL. 

SPARTITI PER VOCE E CHITARRA.

CON ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Metallica - Garage Inc.
Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Metallica

Inventory #HL 02500070
ISBN: 9781575601953
UPC: 073999234589
Width: 9.0"
Length: 12.0"
304 pages

This folio features all 27 songs from their double-album of covers, plus lots of photos. The guitar edition also has a special 8-page color section. Songs include, 304 pages


Am I Evil?
Astronomy
Blitzkrieg
Breadfan
Crash Course In Brain Surgery
Damage Case
Die Die My Darling
Free Speech For The Dumb
Helpless
It's Electric
Killing Time
Last Caress
Loverman
Mercyful Fate
The More I See
Overkill
The Prince
Sabbra Cadabra ( e National Acrobat, Cover di canzoni dei Black Sabbath)
The Small Hours
So What
Stone Cold Crazy
Stone Dead Forever
Too Late Too Late
Tuesday's Gone
Turn The Page
The Wait
Whiskey In The Jar ( cover di canzone tradizionale irlandese )  

 

Disc one
These tracks were recorded in September–October 1998 for the Garage Inc. album.
No. Title Writer(s) Original artist (date) Length
1. "Free Speech for the Dumb" Garry Maloney, Kevin "Cal" Morris, Tony "Bones" Roberts, Roy "Rainy" Wainwright Discharge (1982) 2:36
2. "It's Electric" Sean Harris, Brian Tatler Diamond Head (1980) 3:34
3. "Sabbra Cadabra" (also covers part of the Black Sabbath song "A National Acrobat") Ozzy Osbourne, Tommy Iommi, Geezer Butler, Bill Ward Black Sabbath (1973) 6:20
4. "Turn the Page" Bob Seger Bob Seger (1973) 6:06
5. "Die, Die, My Darling" Glenn Danzig Misfits (1984) 2:29
6. "Loverman" Nick Cave Nick Cave and the Bad Seeds (1994) 7:53
7. "Mercyful Fate" (a medley of the songs "Satan's Fall", "Curse of the Pharaohs", "A Corpse Without Soul", "Into the Coven", and "Evil") King Diamond, Hank Shermann Mercyful Fate (1982, 1983) 11:11
8. "Astronomy" Joe Bouchard, Albert Bouchard, Sandy Pearlman Blue Öyster Cult (1974) 6:38
9. "Whiskey in the Jar" Traditional arr. Eric Bell, Brian Downey, Phil Lynott Traditional, inspired by Thin Lizzy's version (1973) 5:05
10. "Tuesday's Gone" (feat. Pepper Keenan, Jerry Cantrell, Sean Kinney, "Big" Jim Martin, John Popper, Gary Rossington, & Les Claypool) Ronnie Van Zant, Gary Rossington, Allen Collins Lynyrd Skynyrd (1973) 9:06
11. "The More I See" (contains a short segment of the Robin Trower song "Bridge of Sighs", from the album of the same name) Maloney, Morris, Peter "Pooch" Purtill, Wainwright Discharge (1984) 4:49
[edit]Disc two
These tracks are a collection of B-sides from artists Metallica were inspired by, throughout the early years of the band.
The E.P.: Garage Days Re-Revisited (1987)
No. Title Writer(s) Original artist Length
1. "Helpless" Harris, Tatler Diamond Head (1980) 6:38
2. "The Small Hours" John Mortimer, John McCullim, Bryan Bartley, Ron Levine Holocaust (1983) 6:43
3. "The Wait" Jaz Coleman, Kevin "Geordie" Walker, Martin "Youth" Glover, Paul Ferguson Killing Joke (1980) 4:55
4. "Crash Course in Brain Surgery" Burke Shelley, Tony Bourge, Ray Phillips Budgie (1971) 3:10
5. "Last Caress/Green Hell" (contains a parody of Iron Maiden's song "Run to the Hills" at the end. Iron Maiden responded to this on a B-side cover of the Montrose song titled "Space Station No. 5") Glenn Danzig Misfits (1978/1983) 3:30
 

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