In reality, though, it just didn't quite stack up to the band's previous efforts. The tight songwriting and precision performances that highlighted such works as 1991's "Metallica" and 1989's "...And Justice for All" (which are dissimilar albums, but both feature these characteristics) seemed to be put on the backburner in favor of a looser, more "alternative" feel and more experimental arrangements.

While there is nothing wrong with this, the tactics did lead to the most spotty, uneven album of Metallica's career. The highlights of "Load," such as catchy, infectious "Ain't My Bitch" and the deeply grooving "Bleeding Me," are counteracted by such tunes as the over-long, under-interesting "The Outlaw Torn."

Though not a bad album by any means, there obviously was room for improvement.

Thus, we are now presented with "Re-Load," a batch of songs written and at least partially recorded at roughly the same time as the "Load" material.

These songs are considerably more rocking and less groove-oriented than those on "Load," and the softer material packs more of an emotional punch than its predecessor's.

However, the proliferation of similar, mid-tempo rockers shows that much of what makes up the body of "Re-Load" are, sadly, simply leftovers from the previous album's sessions.

Despite this, the new effort has some amazing highs. The first three songs--"Fuel," "The Memory Remains" (the first single from "Re-Load") and "Devil's Dance"--are all energetic and well-written numbers that get the show started with reckless abandon.

"Low Man's Lyric" is the kind of intense ballad that the band's chief songwriters, guitarist/vocalist James Hetfield and drummer Lars Ulrich, of which they have shown themselves to be capable.

The epic feel that was so notably absent on the songs that seemed to be reaching for it on "Load" (such as "The Outlaw Torn" and "The House Jack Built") thankfully has returned on "Where the Wild Things Are" and "Fixxxer."

Also, "Carpe Diem Baby" captures the same slow intensity as "Sad But True" did on Metallica.

Best of all, "Re-Load" does not suffer from the rampant overproduction present on "Load." With a few exceptions, the songs on the prior album never seemed to have the raw energy that Metallica's music invariably does.

However, even the more lackluster numbers on "Re-Load" seem to be more intense and less reined-in--more like the Metallica of old.

Those songs, though, are ultimately what drag down the album. Tunes like "Bad Seed" and "Better Than You" are simply generic when one considers what the band truly has in terms of songwriting.

Not only does this betray the album's origins, it also affects the impact of the work as a whole. Since there is a fair amount of filler, "Re-Load" does not flow as consistently well as past albums. Only the high quality of the other songs keeps this effort from tripping completely into mediocrity.

Another problem is the length of "Re-Load." Those familiar with "Load" know it is nearly as long as a CD can possibly get. Though its successor is not quite as long-winded (it clocks in at more than 76 minutes), it is still far too long when the strength of the material is considered.

A good example of this is "The Unforgiven II." While the music and lyrics are almost completely different from the 1991 original, it is clearly crammed into the same framework and does little to expand on it.

This, and at least one of the "filler" songs, could have (and probably should have) been cut from the track list rather easily, streamlining the album and making it tighter.

This is a collection of leftovers, though, so cutting anything would defeat the point.

Therefore, the album also has a conceptual flaw that is difficult to overcome.

But the band tries hard with some exceptional songs and comes close to pulling it off.

The Used Rack

These are two bands that, judging by the number of covers of their songs that Metallica has recorded (four each), were influential in shaping the sound of the most successful metal band ever.

Diamond Head

Emerging from the "New Wave of British Heavy Metal" (sort of an early ’80s Seattle in London but with much less money being thrown at it) along with such bands as Def Leppard and Iron Maiden was the criminally overlooked Diamond Head.

Led by guitarist Brian Tatler and vocalist Sean Harris, the band recorded an EP ("Diamond Lights" or "the White Album"--not because it was making a statement but because it couldn't afford cover art), three LPs (the unbelievable "Lightning to the Nations" and the more progressive "Borrowed Time" and "Canterbury") and a handful of singles worth of incredibly well-written, catchy hard rock tunes from 1979 to 1983.

Unfortunately, most of their catalog remains unavailable in the United States, leaving only compilations ("Behold the Beginning" and the recently released "To Heaven from Hell") featuring Tatler's sterile 1986 remixes.

The best place to experience the band at its zenith is the Japanese version of "Lightning to the Nations." It features the original album, "Diamond Lights," most of the period's singles and no remixes.

Motorhead

Though most know this band through its reputation as the loudest band ever or through gravel- throated frontman/icon Lemmy, Motorhead is responsible for some of the most driving, energetic music ever. This year marks its 22nd year in the business and has seen the release of its CD "Overnite Sensation."

However, to find what the band is all about, look no further than the trio of albums from 1979 to 1981, "Overkill," "Bomber" and "Ace of Spades." These are stacked top to bottom with the ballsiest rock music you ever will hear, and they still stand up today, more than 15 years later. These, or any of the band's powerful live work, are essential to any hard rock/metal collection.