Metallica could never have sprung from the minds of bedroom strummers. The enterprise required a garage—one big and grimy enough to contain a monumental sound, a vanload of monumental amplifiers, and the inevitable chaos of Budweiser abuse. More than 10 years ago, the band paid homage to its birthplace with The $5.98 EP: Garage Days Re-Revisited, a scrappy collection of covers, the most memorable being a speed-of-sound reading of the Misfits’ rape-and-murder fantasy “Last Caress.” The EP was essentially a palate cleanser—Metallica’s bloated but voluptuous masterwork …And Justice for All would soon follow—and with the band now in the type of creative holding pattern that often follows a world conquest, the womb beckons once again. The new double-disc covers package Garage Inc. contains Garage Days and a bunch of other stuff—a four-song Motörhead homage, a clutch of B-sides and one-offs, and a full disc of reinterpretations recorded this year. The mostly obscure metal songs are heartfelt and satisfyingly vicious—on Discharge’s “Free Speech for the Dumb,” the sound of Kirk Hammett’s guitar alone could recharge a dead car battery—although the real revelations are in the apparent sonic mispairings. I still damn the day James Hetfield woke up and decided he could croon, but the point of his vocal on Skynyrd’s “Tuesday’s Gone” is a good one: The only difference between rage and longing is volume. Even better, the band indulges in Bob Seger’s “Turn the Page” for more than just campy kicks. The song’s corny as hell, but the guys never let go of it, conjuring the life of a road warrior as a death run from the apocalypse. Just like that, the timeless original is no longer definitive.—Brett Anderson