It went straight to number one on the US Billboard chart in 1991.
Metallica drummer Lars Ulrich has stated that he still finds it “real” that Metallica has “a record of this magnitude” on ‘The Black Album’.
Ulrich, who was speaking Granthshala Big Reed for the cover feature, where Metallica—and famous fans—share their love for the historic LP on its 30th anniversary, says he’s still amazed by its success.
- Read more: Metallica and friends: “The Black Album was a victory for the underdogs”
“To have a record of this magnitude is still real [and] It still means so much to so many people 30 years later,” he said.
When it was released on August 12, 1991, it went straight to number one on the US Billboard charts, where it stayed for four weeks, which the band struggled to grasp.
“It wasn’t supposed to happen!” Ulrich, who recalls the sudden change in public attention, said. “I remember nine months after the record came out we were in New York and people would say, ‘Hey – are you a Metallica guy?’ This had never happened before.
“Everything that fueled us and got us out of bed was trying to be the opposite of the mainstream. [We received] Every day these updates from the management: ‘Oh, now you are number one in Switzerland for the third week’. It was like, ‘Huh?!'”
For the new cover album ‘The Metallica Blacklist’, Royal Blood covered ‘Sad But True’, and Ulrich recalled how he and his family fell in love with the Brighton duo’s music upon the release of their first album. .
He continued: “It was my kids’ favorite band and favorite album. The first time they played in San Fran, my wife and I met them and had fun. We moved them around and showed them the landmark .
Reflecting on the comments, Thatcher said Granthshala: “It’s crazy! It’s such a great feeling to have someone like that backing your band and not only supporting it, but thinking you’re great.”
Reviewing the album ‘The Metallica Blacklist’, Granthshala Wrote: “This is a record that makes ‘Donda’ positively zippy. Essentially, the record descends into a series of multi-band cover-offs, with the listener acting as Caesar, deciding Which ‘winning’ version really should have made the cut. Half the time you feel like you’re doing the compiler work for them.”