This era was the bridge between their raw thrash metal days and the mainstream rock sound of their 1991 self-titled "Black Album." In Seattle, they played faster and heavier than almost any other time in their career.
The setlist for this concert is not officially confirmed, but based on fan reports and online sources, here's a rough outline:
– For many fans, the Choscar rip was their first exposure to the full, unedited Seattle show — downloaded track by track from IRC or BitTorrent, burned to a CD-R, and traded at shows. The “Vibe” – The official remasters often sound “corrected.” The Choscar rip has a certain grittiness — not distortion, but an honesty that aligns with the band’s thrash roots. Metadata & Artwork – Choscar included a meticulously scanned booklet from the Live Shit box, complete with tour dates, gear notes, and photos. This turned a simple MP3 folder into a digital artifact.
: This era prominently featured bassist Jason Newsted , whose raw backing vocals—specifically his "DIE!" chants during "Creeping Death"—became a staple of the band's live identity.
First, the technicals. At 320 Kbps, the compression artifacts are virtually non-existent. The Choscar source provides a surprisingly wide stereo field. The drums are booming and dynamic—quite the contrast to the dry, brick-walled production of the studio Justice . James Hetfield’s rhythm guitar cuts through with a chainsaw buzz that feels dangerous, while Jason Newsted’s bass—often buried on the official live releases—actually rumbles here, providing the gut-punch low-end the songs desperately need. Metallica Live Shit Seattle -1989- -320 Kbps- Choscar
The Seattle 1989 setlist is widely regarded by fans as the greatest setlist Metallica ever played. It perfectly balanced the relentless speed of Kill 'Em All , the dark melodies of Ride the Lightning , the masterwork of Master of Puppets , and the complex arrangements of ...And Justice for All . Opening Volleys
In August 1989, Metallica was fueled by a unique mix of grief, rage, and explosive musical ambition. Following the tragic passing of bassist Cliff Burton in 1986, the band recruited Jason Newsted and released ...And Justice for All in 1988.
You can watch upscaled versions of the full concert video on video platforms like YouTube and OK.RU .
This public link is valid for 7 days and shares a thread, including any personal information you added. This link or copies made by others cannot be deleted. If you share with third parties, their policies apply. Can’t copy the link right now. Try again later. This era was the bridge between their raw
More than three decades later, modern metal bands still look to the Seattle 1989 footage and audio as the blueprint for live metal performance. It captures a moment in time right before Metallica altered their sonic direction to become the biggest band in the world. For fans who want to hear Metallica at their fastest, meanest, and most precise, this specific audio document remains unmatched. Whether sourced from the original box set or discovered through classic internet preservation archives like Choscar's, Seattle '89 is required listening for any serious fan of heavy music. If you want to dig deeper into this era of Metallica,
Metallica's Seattle '89: The Pinnacle of Live Thrash Metal Introduction
Title: Metallica — Live Shit: Seattle (1989) — 320 Kbps — Choscar
In the era of tape trading, finding quality recordings was difficult. "Choscar" became a trusted moniker for high-quality audio rips, ensuring that the raw energy of the show was captured without losing the nuance of the performance. Metadata & Artwork – Choscar included a meticulously
: Featuring flawless laser-like precision on the machine-gun double bass drums by Lars Ulrich.
Encoding notes:
Compare the to the Mexico City 1993 shows.
The Live Shit: Binge & Purge box set presented Seattle ’89 on three CDs (or two VHS tapes, later DVD). However, the mastering was a point of contention. The audio was compressed, slightly rolled off in the highs, and the crowd noise was often ducked to emphasize the band. It sounded “produced” — not necessarily bad, but lacking the raw, roomy punch of a great live document.
Let’s set the stage. August 1989. The ...And Justice for All tour. Jason Newsted is still the “new guy,” playing so hard his fingers bleed to prove he belongs. The songs are impossibly fast, impossibly complex, and the stage setup—the Lady Justice statues, the smoke, the hanging coffins—is pure, dark theater.