It is an incredible àlbum.
The weekend was heard in KNAC.
And one is going away to continue oyendo in the radio of the South of California
Aqui in the store it has been an authentic madness.
The Black Album.
I believe that…
Metallica was called ' ' '' but always I called ' ' Black Album to him ' '.
It had a particular thing.
It was a simple black cover,
that it did not distract to us when oía the mûsica.
We go to it They are the two in the morning.
Nobody in L.A. està amusing itself. Estàn all in the bed.
We are here, for that reason we go to the rock.
From the beginning all the songs they are based on riff.
To obtain good riff he is the main thing.
As we are advancing, we added things.
Riff is the support of all canciôn.
First canciôn that we composed,
tapeworm a fantàstico riff that Kirk Hammett composed.
And asi surgiõ the Enter Sandmann.
- This is riff - My riff.
- first that you wrote - Yes, first.
Brilliant one.
Escribi
to three in the morning.
Very it was inspired
and I said myself: ' ' I am going to compose riff very hard.''
No, I did not say anything of that.
- and he was so not ocurriõ. - history is not this one.
Riff of the àlbum is a little different of that he composed.
It composed riff that was a part and later tapeworm another final part.
Thus it was a sequence of parts.
It touches riff original.
Habria be completely different. Estaria Aûn living in East Bay.
I had the idea
to do it asi: three equal parts and the final part.
I repeat the first part.
He is lick hallucinating.
It was completely powerful and extraordinary.
It was a fantàstico clàsico rock, but intelligent.
It had a futurist quality.
It was different from old àlbumes of heavy metal.
Different from which oiamos in the radio. This riff loaded the loudspeakers.
Presentaciôn was one by itself.
We are here, if they want as if no.
These are outsiders.
The four àlbumes of these types sôlo is heard in 10 radios of America.
Sôlo did videoclip, at the end of the 4 àlbum.
It was a garage band, that queria to make tours until the aim of its life.
Independently of its statute,
the band was developed
in the press and the radios that they ponian heavy metal.
To anybody Metallica interested to him.
They did not glide to be the greater band of rock of the world.
We had finished the tour of Justice nine months before,
and we had concrete plans.
Queriamos to try to compose simple songs.
Simple, compared to the other songs.
After oir the àlbum Justice, we saw that necesitàbamos orientaciõn.
I am not despising the àlbum.
He was correct then and it was well.
But he is fàcil to recognize
who produced it and who made the mixtures.
Percusiôn and the violas estàn very high, that is, Lars and I.
For my, the àlbum Justice
not saliô very well, because not oía the low one.
The reasons were several that they originated that.
I was so responsible for that reason like demàs.
I believe that they saw
that they had to make a decision
on which he was going to leave in its next album.
Hacian always àlbumes
in agreement with its knowledge musical comedies and tecnolõgicos.
The Black Album had one orientaciôn musical different.
He is absolutely overwhelming.
It was a producer that wise to make albums,
that it adored the radio.
The cooperation between Bob Rock and the Metallica
he was destined to the success.
I went to see them Vancouver when they made the tour of Justice.
Some months later
his manager it contacted to mio
in order to make the mixture of the album.
After seeing them, I said to them:
' ' I want to produce your àlbum.''
Sentõ and was sincere with us.
One seated and it said:
' ' I saw touch You in direct times and I listened to your discs.
' ' you have not recorded in a disc
what you make in direct.''
And we thought: ' ' He pardons, but who you are tû ' '
Wise he at where this could arrive.
Of certain way, that me inspirô.
No longer he was sõlo Lars and I saying what was going to happen.
We had a fifth member,
that he would help us to obtain what we wanted.
In previous works, each member recorded separately.
I said to them cômo I was used to working.
With me, the band touched in study and it approached canciõn of that form.
They touched all together ones
and asi gave him a feeling to canciõn.
< Before, the objective era to obtain > < the perfect track of bateria. >
He was sõlo James and I.It was touching and I tried to take the best track.
We put bateria and tocàbamos until the 1 refrain.
Volviamos atràs and tocàbamos until the second.
Towards truely intense. We could not put the leg.
Ours intenciôn never was to let take to us by the mûsica.
It must be understood
that then we were jõvenes, ingenuous and reserved.
Nobody put with us.
We had one fõrmula, it was thus and point.
It would say that the first times,
perhaps the three months of the àlbum, with reproducciôn,
dificiles were enough.
I believe that they distrusted a little me.
My commentaries to its songs
they happened unnoticed.
I spoke and they ignored to me.
The types of Anthrax and Megadeth they oppressed to us enough,
with the pleasant melôdico and, you know
This type is not timido.
It seated alli and he said all his ideas.
He sent the greater ones musical silly things.
It was a period of changes.
We had to know us,
that to prove an a to us the others.
Queriamos to have the security of which the type was good
and that could develop to Metallica.
Formerly, Bob was a woman.
A hard type.
- combed Well. - Bob was asi 10 years ago.
We made him happen through everything and he sobreviviô.
Why the type està single in the cover
- Era the leader. - That girl commanded to you
lntentàbamos to increase the sound màximo.
lntentàbamos màximo volume
of the guitars, bateria and the low ones.
Queriamos the greater possible volume.
And hard powerful.
Now I like. He obtained the sound of Hetfield.
The others àlbumes they were absolutely magnificos.
But tapeworm the sound of a oriented guitar
and almost there were no serious notes, aside from the guitars.
When Bob Rock entrô, pasô the same with serious notes.
The low notes they must be present.
They must carry out a part equal and sõlo not to do ' ' pun pun pun ' '.
Later the fantàstica task came to adapt everything to two columns.
We had to learn to do it.
This is the track of guitars.
lzquierda, right and apparatus to give ' ' to body '' to the sound.
A guitar by person it was not sufficient.
I had to touch three guitars.
I touched ritmosy debian to be good.A sound barrier.
The radios they already habian ear to speak of them.
Fanes pressed enough so that they put Metallica,
but they always resisted.
Meanwhile they sent a àlbum
that captô much atenciõn.
He was hallucinating.
It was very well produced and the sound was brilliant.
The radios had to yield.
We began to have another pûblico that sôlo oia Metallica once in a while
and that them parecia a great band of heavy metal.
They realized of which it was not sôlo a good àlbum of heavy metal,
but a good àlbum of rock.
For percusiôn
we did between 30 and 40 takes for each canciõn.
Queriamos to find verses màgicos, letters, were what was…
Queriamos to adapt them
and to make a ûnico take màgico.
There were many cuts, alterations, màs courteous…
It was a very slow process.
It was a species of…
It was the ûnico method available then.
Nonteniamos digital assembly.
In the end I remained with one casete with the cuts, clear.
We liked to be here.Estàbamos to taste in time terms.
There were no other bands saying:' ' '' sounds to uncle well.
It was our site.
We could close the door and nobody bothered to us.
With the company of Bob everything quedõ better.
We began to value the moment and our work.
One was to take what we already did
to a place where never we had been
and to try to forget the past.
- Està very ràpido. - Yes.
It was a good example, for the rate that canciôn is due to use in one.
We discussed much on this.
That riff tapeworm a sound cheer, when it was touched ràpido.
We had to retard the rate.
Until with the mixture of the vowels he was too ràpido.
We had ' ' the door '' a little opened and to Bob aprovechõ,
abriõ aûn màs
and us enseñô a new form to make mûsica.
He was fantàstico.
The 9 months that we happened in this room they were a true hell.
Eramos…
Eramos really obstinate.
It knew that they were not going to serve those adjustments.
I concentrated myself mainly in the rate.
lntentaba to find the suitable rate.
Towards the changes that way.
It listened to the band and it tried to include/understand it.
This him ocurriô to the U2.
- a guitar of U2. - It is like…
The peculiar thing it is that it makes wonders with this.
Brilliant Està.
Who tocõ this one
- you Were, no - Yes.
Later we had to give the return him,
because when we did it it was not very popular.
After oir canciôn million times we thought:
why nonhaciamos things asi before
The special thing of Sad But True…
Riff of this canciôn it is of the best thing than I have heard.
When I removed the tooth from the judgment, before being anestesiado,
ûltimo which I remembered he was riff of Sad But True.
This is mûsica to remove teeth.
Lars and I different hour teniamos.
It was a man at night.
Queria to record at night and to sleep of day.
I did not want that.
He preferred to work of day, to make pauses and to see the sun.
First I arrived and he touched the guitar for vowels,
later Lars arrived and he made something in bateria and Bob…
Bob was from in the morning, all along.
Mayoria of times we did not sleep enough.
Trabajàbamos much.
I did not have a real idea of the àlbum as I believe that it had Lars.
It had good songs, just as in the others àlbumes.
Best ue habiamos composed and ibamos to send them.
Holier Than Thou quedô list before Sandmans of the World.
Lars knew, before recording,
by ' ' we give '', that Sandman was canciõn suitable.
I not it oi.
Holier Than Thou it was the great bet.
There was a weighty argument,
being first canciôn of the àlbum and also first single.
I said to them that they were not with me.
Thus it counts as it were…
Riff was that and energia…
Later surgiô the letter and melodía.
- Surgiõ the letter and was not single. - Sure nothing of single.
Thus we thought: '' What we do ' '
You cannot say trivialities in the radio.
I like the beginning of canciõn.
I decide to me the moment
in which your friend Tommy Lee llegõ and tû you were tocàndola.
You had the true one to be able.
It had a brilliant sound.
That is interesting, in the mixture there is no much of that.
The type està vomiting
You want that it sounds like the Bons Jovi or Peter Frampton.
That is.
Also I decide that decias to me that, if we had ràpidos rates màs,
we could make less things for producciõn
and for the development of canciôn.
Habia màs probabilities of which the slow songs màs
they became towards other sites and of to be màs interesting.
You thought that with ràpidos rates màs they were màs restricted.
Exact one.
He said to us that escuchàsemos and not sõlo that we heard.
Debiamos to listen and to understand what happened,
and cômo conjugated everything, so that canciõn could breathe.
The bugle of the beginning of canciôn robô of algûn site
and tocô of atràs forwards.
- Thus nobody reconocia. - Yes, but I am going it to reveal now.
Parecia a touch of ' ' Western Spaghetti ' '.
Compound Habiamos other ballads,
like Fade to Black and Welcome Home (Sanatarium).
They had melõdicos verses and a refrain heavy.
I thought badly that nonestaria to compose one canciõn
in that the dinàmica was all the opposite.
Yes, this one quedõ very well.
The room gives a certain touch.
- He is brilliant. - the rate adapts to the acûstica.
For the sound of percusiôn we used several micrõfonos in the room
and also much ecualizador.
We were to where podiamos going.
We worked weeks in the sound of bateria.
We make a pause of 25 minutes, we changed the drum and we do another one.
Us llevô long time
until having lists some songs.
But the songs they were spectacular.
The clàsica acûstica.
And armonia.
It is a brilliant sound.
Brilliant Està.
- Not note much in versiõn final. - Then no.
The Black Album,
for my, he was màs fàcil < as far as my parts. >
These songs pedian a certain type of single of guitar.
When we do the single ones,
I am Lars and who instigamos to Kirk to do them.
Kirk needs an impulse.
Sôlo memory to touch some single ones in the premises, like in The Unforgiven.
It must eat, sleep and breathe this single one until he is ready.
He knew that podia to do it better.
I composed a single one of guitar very complex.
I very was excited with him and all they hated it.
- For playing and it touches - Bond, tio.
Now which already you entered heat, we are going to oir the single one of guitar of the year.
I was stupid when choosing that piece of the video.
But then it had many idiots in the study.
I had to make a introspectiva,
in order to be able to express that feeling.
He fascinates to me the principle of that single one.
Bob puts much with him. He says:Come already, guitar of the year.
He says that he can, but much gets upset.
A point arrives in which it touches furious. That take we used for àlbumes.
You want to oir it with the voices It sings
My voice està very badly.
Not you pediria a single one of battery, if you did not have an arm.
I really lost the voice when we made the Album Black.
I exaggerated and that me llevô a a program of voice maintenance.
I went to see a type that was singing
in a church or a synagogue.
I entered and was asustadisimo.
Sentõ to the piano and was said: ' ' Very well.''
I sõlo thought:' ' iNo ' '
I saw the walls and I saw àlbumes of gold of other bands.
For that reason I thought that it would have to try.
He me entrenô the voice and I was able to emit notes again.
He was very serious. It had knots and calluses.
He consiguiô to fix it.
I remained màs calm,
but I did not arrive at lirico singer, although conseguiria wanted not it.
Continuous singing like a sailor.
It is the first time that I hear to somebody doing this so well.
They never did one to me demo sôlo with ' ' na na na ' '.
That was hallucinating.
Often James escribia the letter 5 minutes before touching.
This was the letter, but to you not you gustõ.
One of the things that us it differentiates from other bands
it is the fact that to James it likes to compose melodia before
and later it puts the letter to him
segûn certain syllables by line.
I am not able to seat to me to read a novel or poem.
I do not know to write pretty poems,
that they finish being…
They finish being the letter of the mûsica.
I am not like Phil Lynott, one of my favourite letristas.
It seated and escribia poems. I do not do that.
You do not walk wasting time
Everything was màs slow.
We were centered in the details, instruments and the mûsica.
This was perhaps a great influence so that it loosen
and to make him understand that
màs is something that to take the opposite and ' ' peace to the children ' '.
The ûnico is to enter the interior and to be màs universal.
When we began to speak of our feelings
and of subjects like the things of the life.
When we spoke on this,
all people are touched.
We cannot go against this, when we spoke of feelings
and less towards the outer world.
This sound was of a low one with six cords, right?
Under 12 cords.
- It pardons my matemàticas. - He is something that must be reviewed.
Six were not sufficient.
lntentamos with one of eight and no resultõ, for that reason we used one of 12.
- and we obtained this powerful sound. - That sound.
Twelve serious cords and notes.
They seem Eastern sounds.
It seems an Eastern instrument of percusiõn.Not parecia a low one.
- It seems a piano. - But it is different.
The simplicity of the mûsica permitiô that the vowels dominated.
It was the first time that ocurriõ.
If there are vowels, if somebody sings, canciõn must have a letter,
then I do it.
I said to him to James:
If we obtained that…
If the vocal part comes out well,
people prestarà atenciôn and oiràn what we sang.
lntenté to do that and to him it acabõ to be liked.
Speaking of friendship, that did to break the ice between James and I.
Està very well, but needs a little màs of soul.
Màs ' ' Hetfield '' that that.
Never estaria where I am today,
if it were not by him,
to give breath me.
Me abriô a little the spirit
until new styles to sing, new micrôfonos and feelings
in order to obtain different styles in the vowels.
' ' the highway is my fiancèe.''
I believe that it is the motto
of the prõximos two years and means.
Better of the prõximos 10 years.
Convirtiô in canciõn of that estàn in the highway,
the equipment that accompanied to us, the life that we lived…
We formed the band with 19 years and since then we are in tour.
Now we include/understand that this one always was our home.
I never hoped that this àlbum recepciôn had this
I never thought
that it had east impact in people.
Empezõ to be successful when saliõ
and màs has never stopped.
We were ourselves of tour
and the concerts they did not stop to appear.
2 million copies were sold of a àlbum, and 5 million of the other.
Like the àlbum it was a great international success,
we could go to several premises to act, because there was demand.
Convirtiô in one is turned endless.
When we said that he was enough,
oia:' ' But if since we touched here, we have sold màs 2.5 million.
' ' Although sõlo we act for fans that they want to see to us,
espectàculo can be done great.''
And asi continuõ.
Nonmemory whichever concerts gave.
Almost 300 anywhere in the world. They were many.
We did one turns together during two years.
Entrõ much money, we knew much people.
Us enganchõ the estrellato.
Luckily, all we
teniamos experience.
Already habiamos dice several concerts, route many kilõmetros
in order to include/understand what ocurria.
All people know that when much or something drinks asi,
it is good that we are prepared in order to face the following day.
We cannot put to us ill.
If 50 thousand people buy entrances and they want to see to us, is necessary to be well.
Whenever a tour finishes, I enter a species of depresiõn.
I must recover again my moment,
my routine.
To be of tour is like being…
it is like traveling in a train that Km/h goes to 300.
Later, the tour finishes and to the following day
we are sôlo in the premises,
given to we ourself
and we asked ourselves: '' What towards before all this ' '
The àlbum has a human quality.
I believe that,
with the songs and the vowels…
I believe that James gave a great jump with this àlbum,
mainly as soon as
to which he wanted to reach.
It was a very personal àlbum. People consiguiô to feel…
Està sensaciõn of which a real band està acting.
In certain way construcciôn was one,
piece to piece.
But in general sensaciõn was had
of which a person touched.
I always tried to reveal the personalities of the band.
lntenté to do àlbumes that to people it liked to hear.
The idea for Nothing Else Matters màs or less was a luck.
It was speaking on the telephone,
with the guitar in the lap.
It was speaking and I began to touch the four notes of this form.
They were open notes…
Later I said: ' ' I must hang.''
I began asi making agreed.
And he was so empezô.
This màs must be the clean sound.
It is touched with the fingers and it has a certain brightness.
In Nothing Else Matters
the letter speaks to be in tour,
to miss the fiancèe.
At heart
it speaks of the distance, of the bows and all that.
The fiancèes come and they go away.
One canciõn remains whenever mean something for somebody.
It is a brotherly bow. It means something for us four.
The sentimental Hetfield.
Without tricks, something real.
That is not good.
Desafinado Està.
I am speaking of the assembly.
Màs harmonizations, that I never used in others àlbumes.
- Not conocias these harmonizations - No.Quizà of other ballads.
Although after first armonias we have never stopped.
Intenciôn was not my that canciõn of Metallica was one.
Canciõn for me was one, on my feelings.
He was very personal for a band. I never thought that they liked.
It thought that they were going to say that it was not for Metallica.
It was composing for me. I believe that Lars or somebody oyõ…
and they said:' ' That is good.''
Pense I ': ' ' They hope.What I do ' '
Always me gustô much Brian May and its orquestaciones in guitar,
the ûnicas notes and the harmonizations of three parts.
Thus I did it in Nothing Else Matters.
I wrote the part of the cords with an arc of energia.
Nothing Else Matters
he was sõlo one canciôn of a àlbum,
to that they are not podian to put you limit, neither paràmetros, nor border.
This canciôn could simply be
what imaginaciõn it could create.
When Bob sugiriõ the orchestra,
clear that queria to try it.
Serious interesting.
Tapeworm nor idea of cômo not to do it.
He was ashamed, because nonwise nor I know to write mûsica.
When the orchestra arrives, I have explicàrselo
Cômo works this
Serà that I will be aqui seated and I will say to the quartet of cords:
'' First aqui, later aqui ' ' Nor in the guitar I know notes.
And Bob said to me:' ' you are not oppressed, we will look for who writes.''
A day they called to me:'' Quieres to do this canciôn with the Metallica ' '
I ask ': '' the Metallica wants orchestra ' '
He was very strange.
I requested to them that they sent canciõn to me.
It did not know what they hoped,
because it was not they fan of the Metallica.
But it knew and it knew them what type of mûsica they hacian, or that believed.
Canciõn me sorprendiõ truely.It was a ballad.
It could limit to me to follow melodía,
although he would be boring.
To the orchestras they do not like to touch asi, is not interesting for them.
For that reason I composed a line.
And I sent casetes to them of return.
And as it happens in the Rock ' n' Roll,
the telephone not sonõ.
Nobody llamõ saying: ' ' Brilliant, we like.''
I threw it to vacio.
When we touched it for the first time,
we thought:'' What we have done ' '
- Later we were accustomed. - Bob, we must speak with you.
Now that I think it, podiamos to have increased its part.
I decide to me the orchestra.
In the mixture, I decide to me that they lowered
the sound of the orchestra.
They left a little in the àlbum.
After the launching,
I gained many prizes throughout the year.
I went to the delivery of the Grammies in New York.
It was seated between the pûblico, when Metallica subiô to the scene
They touched very high and very well.
They were really brilliant.
I realized of which they were a great band of Rock ' n' Roll.
I went to the frames and I entered its dressing room.
I said to them: ' ' Hello, I am Michael Kamen.''
' ' I Was who escribiõ the guidelines of Nothing Else Matters.''
' ' they enchanted those guidelines to Us.''
' ' You are very simpàticos, but in the àlbum almost they do not notice.''
' ' Already, but '' hears this. And they removed a thing from the suitcase.
We called to him ' ' the Versiõn of the Elevator ' '.
He was màs similar that we found to mûsica of supermarket.
It was the voice of James, a guitar and the orchestra.
They said:' ' he enchants.'' to Us
' ' Listening this. We go to send it this way.''
I said to them:'' Sabe'is a thing You are hallucinating.
You would have to give concerts with orchestra.''
And they said: '' a whole concert ' '
Respondi that yes.
They said that they were going it to think.
We talked a little màs and later we took leave.
They spent eight years.
Eight years whole.
Suddenly, sonõ the telephone.
My agent said:' ' Cliff Burnstein and Peter said to me
that Metallica harà the concert.'' - ' ' What concert.' '
-''Aquel of which you spoke.'' recently - ' ' RecentlyHe was in another life.''
Nowadays, the important thing it is to do something.
Everything està related to the process creative, and to the creativity.
Now nobody feels
to think about the successes, in the sales and all that.
For ten years sôlo thought about that.
At the moment, my preocupaciõn
it is if the band can coexist,
if we have freedom in order to make those things
and to make discs with orchestras clàsicas, with songs
and other madnesses.
This is the essence of the success.
At the moment, to be a success band
it means not to satisfy to anybody, sôlo to the instinct and corazõn.
Thus they are the Metallica.
They are ûnicos in the world. They do not make the things of ' normal ' form ' '.
They do not jump with network, nor they produce popular mûsica.
Watching towards atràs, I see much work.
When I hear casetes, I hear the working hours, the time.
I hear all the difficulties.
I said to him to Bob Rock:
' ' After sending the àlbum, no we were spoken almost in a year.
He was horrible.
Never habia made a àlbum that he had been so dificil for me.
Sôlo two years màs late…
After ' ' the Black Album '', queria not to return to see it.
Later ocurriô something strange. Spent 2 years we became friends.
Friends of the soul.
Later he was brilliant and since then it has been a wonder.
I do not imagine to do àlbumes without him.
Surgiõ of a màgico place.
In the songs there is no discusiõn possible.
And the amazing thing it is to continue thus.
The Black Album sells millõn of copies to the year.
Of is Dark Side the Moon
Probably it does not have another àlbum of heavy metal,
that it sounds so well and that has so many clàsicas songs.
Habia many advantages.
Suitable songs, with the suitable producer,
with a new attitude, one good grabaciõn and timing perfect.
For us, he was long and slow.
We constructed a family that one worries.
We are not sõlo a fashion, a newness.
We constructed something and you feel well
with ' ' the Black Album ' '.
To have a àlbum of these in our race
he is something amazing.
Lars and I
habiamos already happened through much.
We grew together, we are like a family.
Previously I had problems with the family.
The mûsica attracted to me and convirtiô in my better friend.
It always could count on the mûsica, for that reason decidi to begin to touch.
Me ayudõ enough to surpass bad moments.
When I knew Lars,
he also habia had problems relatives, almost all in the band.
Or the parents were separated or they had died.
Lars and I we happened through much together.
We have a great mutual respect.
I am with this type it does màs of average life, almost 19 years.
Often, I already know what is going to say.
lntentamos to maintain to us independent.
There were moments in that apetecia to say to us:
'' What stupidity estàs doing ' '
They are moments, it comprises of the growth
and of the development.
We are like brothers. We hated ourselves and we are wanted.
The rubbing causes one energia, that it has his value.
That cannot be excluded from a project.
James and I, as you are due of to have given account,
we are different one from the other and we have different origins.
We always found a way to solve it everything.
Although sometimes he is very dificil.
Sometimes, we were frustrated mutually when we compose songs.
Sometimes, that gives origin to good ideas.
He is uniôn of two personalities.
Although…
As we become greater,
ours relaciôn becomes màs educated.
Thus he is not so bad.
Formerly he was asi:
' ' iVete to the excrement ' '
Now we worried màs
of which he is better for canciôn or for the project.
Now relaciõn is a little màs… Hatred to use this word.
Màs is a little adult.
Sometimes, he is very dificil to compose.
When it does not come out well, we got upset and we finished taking the blame one to the other.
But…
Sometimes, it is difficult to relax and to have an open attitude.
But for as much time it has been thus.
It is amused to try to make the things together.
We already know as everything works.
It is good for having by detràs 20 years of work altogether.
We gave some concerts
in Europe, May of 1990.
Razôn in individual was no one.
Later we wanted to make a pause of 9 months after the tour deJustice.
and…
the tour terminõ in Glasgow.
During weeks, each one was going to follow with its life.
The idea was to find us weeks later in San Francisco,
in order to think about ours fifth àlbum.
That ûltima night,
in that James gave one me casete
with its new ideas,
that he considered the best ones.
They are casetes with riffs of the tour.
Half an hour it finds out with riff.
' ' No, it hopes, asi ' ' '.
' ' Headresses million times, until quedarte with the main idea.''
Kirk never stopped to touch
and teniamos that to help him to mount riffs a little.
Oimos Lars and I casetes of riffs and we did one selecciôn.
Constructed Habia the study.
Usàbamos this word of a very free form.
It was a room in my house, in Berkeley.
It was good to compose songs.
Gustô to always compose to us in the small and strange premises.
Habitaciõn is one
with many carpets, batteries, guitars and equipment of grabaciôn.
My house in Berkeley it was the suitable premises.
James apareciô and he was so we began.
Reuniamos us e we improvised with riffs.
We do that from the first day.
Since then we tried to make something different.
lntentamos to make something different and it is so the songs arise.
He is something that happens, he is not something thought.
A day they appear all here, we seated,
a atmõsfera is created, we drink beers… We heard…
Oimos the new disparatadas ideas that each one grabõ since then.
The beginning of the process it is simply to hear the ideas.
We analyzed its ideas during days, some already known.
Also already it knew the ideas Kirk and some of Jason.
I believe that Enter Sandman
he was first canciõn that we composed
for the Black âlbum, after the one of Justice.
It was in house of Lars in Berkeley.
At that time, I vivia in Marin.
lba to its house pràcticamente all the days.
I have excess fines of speed that proves it.
The passage took half an hour.
We composed the Black âlbum when I remained without membership card to lead.
In two weeks they fined five times to me,
trying to arrive alli to compose. Lars lived to a side of a hill.
It was precise to raise 104 steps.
I put myself in form composing for the Black Album.
Pero Enter Sandman tapeworm riff of Kirk.
Casete of riffs was one of his.
We saw that he would be good canciôn. I believe that he was good elecciõn.
Riff of Enter Sandman it was first with that we worked.
We composed this canciôn
and, if it is heard well,
introducciôn, transiciôn and the refrain,
it is seen that everything comes from same riff, in relaciõn to the agreed ones.
It is as if canciõn was one -- riff.
Sorprendiõ to have to us composed that canciôn so simple.
Some songs are made up of almost predestined form.
With others we must make an effort to us, to work enough
and, sometimes, never they work. Thus we make them bad.
It is not worth the trouble to have average songs like support.
It is not worth the trouble. We want that all is good.
they must be sõlidas.
When riff does not work it is left a side.
So we began to touch it, we knew it.
Sandman quedô ràpidamente lists.
He was strange, because it was first canciôn that we composed.
But also it was for that already habiamos mûsica compound
and sôlo we looked for melodía to him vocal spent long time already.
It always happened the same.
James and I composed hardly the mûsica of canciôn.
Later, little by little, it elaborated
melodía and vocal stereotypes.
The letter was always ûltimo.He it wrote 5 minutes before singing.
But it was related to melodia.
When Enter Sandman…
Aûn nonteniamos name for her, he was as soon as canciõn nûmero one.
We were not able to find one melodia vocal for her.He was strange.
But, of certain form, convirtiô in the foundation,
orientaciõn of all the àlbum.
What songs they touched to me in Vancouver
I believe that it was Sandman.We touched the seven songs that estàn here.
James tocô the single ones of guitar
and the low ones I was James and.
We are raising.
- Before we did not like the low ones. - Then no.
Well, uncle.
Amplifying what serious that
Debia to be Mark 4.
Pretty what…
This was before the jump. The idea was yours.
Surely
I decide that that to me ocurriô in preproducciôn.
It follows the mûsica, you see
When me tocastéis this, aûn not habia vocal.
- Habia in the others. - What others
You can oir them.
Sôlo we wrote the letter for this one much later.
Not even it has I title.
And all the others have.
Now we have a single one.
Eras tû
It is truth
Cômo is to continuaciõn
Come, Randy, already està well
Techniques of grabaciõn of battery
10 years and 45 thousand vodkas with tônica màs late…
I do not decide to me very well.
Sôlo I know that it was a very creative time.
We had constantly new ideas.
Also it was a very aggressive time.
Elecciôn of tracks of percusiõn she was enough hard.
I was…I believe that now I have a little màs of self-confidence.
But, at that time,
she was a dificil person to treat.
For example, she appeared when me apetecia.
When he was ready, allà went I.
' ' Now I am going to eat, now I do this.'' ' ' Now it does not desire to me, now if.''
Then it said to them: ' ' iTios, I am ready, now ' '
It was so it tolerated to me.
Tensiôn was an energy with much.
For Enter Sandman we obtained riff…
He is a little liante.
I believe that we did almost 50 takes
for percusiôn.
Lars wanted to touch it, but no conseguia everything of once.
First haciamos the verses, and soon the refrain.
Equal Haciamos in the other parts and uniamos everything.
To make a track of percusiõn so intense sôlo with take,
serious almost a miracle.
Then we finished using the technique of ' ' trims and beats ' '.
We chose the best parts and we united them.
We remained with sôlo take, with the buscàbamos elements that.
Feeling,
attitude
and sound.
Lars the headress with much vigor.
Queriamos to obtain a sound…
Lars could do 3, 4 or 5 takes of percusiõn,
but teniamos that to change the skins of the battery, that was burst.
Briefly,
we tried to do the following thing,
to abstract the thought of which we did,
we tried that outside a physical and nonmental experience.
When a àlbum takes place, they press us at several levels:
money, time of study, without errors, not to leave the boys badly.
lntentamos to arrive to the center of cuestiôn.
lntentamos to catch moments of mûsica in one casete,
without thinking about them while the haciamos.
This era the objective, at least for the track of percusiôn.
Bàsicamente, we recorded casete.
After recording
pasàbamos the following month
oyendo it everything and joining the best parts.
Lars, James and Bob heard everything. They heard lostakes of battery
No, sõlo Lars and Bob.
A day took at least.
I cut and beat until being with a final track of percusiõn.
Trabajàbamos as much, that the sounds always agreed.
It worked very well. It was the first time that we did that.
It had a certain lightness, a position,
a dawn, that never habiamos been able to catch before.
We never thought
to catch the sound of a form that seemed in direct,
mainly in a study. He was hallucinating.
The track of percusiôn was so good, that we used it in all the songs.
Through that, we were able to do nine tracks màs of percusiõn.
We removed party of a great oval room.
This wall and the one of atràs smooth surfaces tenian.
We retired all the sonofletores of the ceiling.
But it was not the sufficient stop and we bought a plywood.
We varnished it and we hung it over the smooth surface,
by almost all the room.
We finished having a great room ' ' in direct ' '.
We wasted long time, we used several combined micrõfonos.
I do not know well cuàntos we used. Quizàs 40 ô 50 for percusiôn,
by all the corners, the ceiling for the sound of the guitar.
Different micrôfonos for all the especificos sounds,
for example, acute, serious sounds, close by and far…
In the end
we remained with 20 ô 21 tracks of percusiôn.
Thus it sounded.
With cuàntas tracks we remained in the end
In this canciõn I am not safe, but quizàs four.
Precisàbamos one for the guitars,
one for the single one, one for the low ones and another one for the vowels.
Usually they are two or three by canciôn.
The style of Lars he is quite conventional.
But, with time,
I finished learning, to appreciate its style.
I am thinking about an example.
They asked if he hears James with fonendoscopio.
I saw a program of your series,
on the àlbum Whós Next, of the The Who.
It spoke of Keith Moon.
Personally, I believe that Lars he is very similar to Keith Moon.
I think that he is similar to good baterias
like Bonham, Keith Moon, Ginger Baker.
It does not touch simply through canciõn.
Are surrounded feelings. Lars hears the mûsica.
They are normal batteries, with many tricks in the sleeve.
Clear that also I like.
Since already there am saying, I like màs the style of Lars.
He is original.It touches segûn the mûsica, is not something thought.
This was an example. Before never the habiamos obtained.
Bateria, the guitars and the mûsica.
I remained astonished…
Oi demo of Zappa Two five months before.
It seems that there was an interval of years between the works and nonmonths.
You understand to me It is what it seems to me when I hear it.
Everything is one cuestiôn of rate.Asi that we smoothed the rate, is better.
He is right that.
It is what you said.It seems that the mûsica he was always in each canciôn.
When you touched to me we give them,
he was everything, sôlo there we recorded of different form.
What it gave us, or better, what it gave life him to the àlbum.
Feeling, soul.
The together guitar and drum they were very well.
To people it enchants that part to him when they hear this canciôn.
He is hallucinating
The single one of guitar of Kirk Hammett in Wherever l May Roam
The single one of guitar of Wherever I May Roan begins asi.
It seems right of Hendrix.
It is completely the style of Hendrix.
I always meant that to him to people,
and I never did it, because it did not want to be known to rob single of guitar.
But all the people who touch, she robs single or riffs of guitar.
Sôlo queria a dinàmico beginning for the single one.
The sound is constant. The humming stays.
He is guay.
Fantàstico.
Canciõn, due to riff main, it sounds Eastern.
I thought that one would be enjoyed to use one scales frígia dominant,
that it sounds to something quite Eastern. This serious for my selecciõn of notes.
And resultõ very good.
The concept is the following one:several Eastern sounds in one canciôn.
Resultõ well.
The second single one of guitar in the end
it is totally improvised and espontàneo.
Surgiõ espontàneamente. Fluyõ.
We made four or five attempts.
What it is heard in the àlbum, improvisaciõn is my.
It must have been one of my better creative moments.
Sôlo I knew that there was a single one when Bob me pidiô that touched that part.
- he did not have when requesting it. - Exact.
Nobody knew it.
While, we decided that it had to have a single one in the final part.
He said to me:
' ' He begins like ûltimo, with long notes,
later he begins to develop.''
When there are vowels, the guitars they do minuendo vice versa and.
- conversaciõn Is like one. - Like an unfolding.
It goes up to here.
Aqui begins to diminish.
- Now nobody makes minuendos. - last Whattowards ahead and atràs.
The dinàmica is brilliant.
This is the part that it is not heard in the àlbum.
- Hallucinating - Guay
- That part is happening. - No longer oía that…
For 10 years, insurance. Guay
Jason Newsted speaks on My Friend Of Misery
My contribuciõn to the Black âlbum it was the subject My Friend Of Misery.
He was second canciõn that I composed with Metallica.
And it was the second àlbum that I did with them.
It was already member towards five years.
I am going to touch like it was originally,
like està in casete that I gave to Lars and James.
In the end he was not so quedô, but originally he was asi.
He was something similar to this. My Friend Of Misery.
instruments of the Black Album.
I thought that ibamos to continue having one canciôn instrumental.
But in the end no.
Canciôn was one that I elaborated sõlo, with my màquina of four tracks.
Trabajàbamos with casetes and the idea it was to oir mûsica màs possible,
of diverse bands and styles.
Later pasàbamos everything by the funnel and in the filter
and veiamos which left.
Whatever màs varied is what oimos, màs colorful is the result.
Then it was the concept that existia.
Nontapeworm as much experience as listener as I have today.
He was not understanding either in the different styles from mûsica.
But I tried to hear Soul, Funk and other types of mûsica.
Oi Black Sabbath and Hendrix, in order to give origin to new ideas.
It is always good for oir our old teachers,
in order to remember ours origenes, of where surgiô our style.
Later we can refresh and to hear other things.
Bands of Trip-Hop or of Hip-Hop,
or something that new generaciôn must to give.New artists.
He always comes well, be the one who is.
This is what we tried to do todavia today.
Brilliant one.
Bob Rock in the Desert
When I decided to work with the Metallica,
I had to take one decisiôn.
I worked with the Bons Jovi. Richie Sambora and I am friends.
He dijo:''Quiero me to make a àlbum in solitaire and I want that you produce.''
Decisiôn had to take one, to choose between a friend and a band.
I finished going to me of vacations with my family,
with my children and my woman. We went to cross the desert,
near the Grand Canyon.
We went very well, when we saw to a Indian in the border,
in the middle of the nothing, with a T-shirt of the Metallica.
I said directly: ' ' iDios mineThis is a signal ' '
After 160 kms, we stopped to throw combustible.
When I went to pay, they were the Metallica in the radio.
It was rare oírlos in the radio. I had to make a call.
I said:' ' Richie, pardons, but I must do this.''
Mezcla, the Original ones and the aim of history
Màs dificil of the mixture,
it was to have to make the first mixture of first versiôn of Sandman.
Thus, this meant
the sound of the Black Album.
It was a first launching,
tapeworm that to cause impact, to say something on which they tried.
That tardõ about 10 days.
Debiamos to happen through the fact of knowing what sounded well.
We had to find one orientaciôn.
And later everything what came. When we obtained what we wanted,
and to all people him gustõ Sandman, cômo sounded and everything,
cuestiõn was one to adapt the other songs to that space.
But dice the size of the songs
and everything what we did, it corresponds to much work.
Almost in the end we remained without time
and, with some songs, we had that to make mixtures ràpidas.
I believe that Holier Than Thou
tardõ four or five hours in being ready.
One was situaciõn difficult.
4, 5 hours for Holier Than Thou, 10 days for Sandman.He was asi '…
The launching of the àlbum was glided for six months before.
We had to give haste us.
In order to send it, debiamos to give the masters to the discogràficas companies.
For that, we had that to finish it in that day.
For that reason we had that to begin with the mixture.
While we made the mixture, James aûn was singing in another room.
Estàbamos so impatient, that there were two rooms of mixture.
He was dificil to sing some of ûltimas songs.
The time us presionõ until the end.
We had to obtain it. He was all ready one except the àlbum.
For that reason…
I had to train the voice.Then, estàbamos in A & N Studios.
Haciamos the mixture of songs, doblaje of guitars and cantàbamos.
They were to ours disposiciõn, four or five rooms of the study.
I decide to me to begin to sing Holier Than Thou
and my voice not salia well.
It was scared to spoil it again.It had to sing much.
While acabàbamos the àlbum, filmàbamos the paper clip of Enter Sandman.
We had all the work of press and publicity.
A month before the launching of the àlbum,
situaciôn she was truely caõtica.
Although, in the middle of the chaos, usually it arises the instinct.
And when it is tried…
When we do not have time, a luxury element,
also it is good,
because it forces to us to be màs instinctive and to think màs quickly.
There were many and long discussions, mainly due to the mixtures.
What must be aheadThe battery, the singerAll want ahead.
But somebody must be detràs,
to verify if everything comes out well.
That is the idea of being three-dimensional. Somebody must remain detràs.
We needed many tests and diverse mixtures
in order to include/understand for where dirigiamos us.
In a normal day, we decided, we make one sesiôn fotogràfica,
we verified the mixtures,
we released ourselves giving interviews and we returned to verify the mixtures.
James sang during two hours,
while I worried with the interviews and the videos.
Later he returned to verify the mixture.It was so it did.
And it was so they transcurrian the 16 hours of the day.
Later, sôlo I needed to go to the famous Rainbow Barn Grill,
to drink one wins in order to forget the problems the day.
It was a tremendous mess, in all the senses.
I believe that at that time teniamos about 26 years.
The Guns ' N' Roses they recorded at the end of the street.
The Skid Row also was close.
The city emanated energy, he was fantàstico.
These bands were working in his àlbumes at the same time.
It was a libertinism at all the levels.
He was amused and totally outside control.
The best part was when juntàbamos us with the Guns ' N' Roses,
we put in together problems, but sôlo they attracted the press.
He was brilliant, because we had reputaciõn of to be controlled people.
We were so bad like demàs,
but not him contàbamos to the relations pûblicas which we had done.
Those were demàs that hacian that,
and, of some form, our names they never appeared.
This type of behavior durõ some months.
It was the great madness and very amused.
Later we made the mixture digital for DAT and analõgico.
Also we made the mixture for another format.
The call Dash format.
He is very similar to Sony Multi-Tracks.
At that time, sincronizaciõn not salia very well in digitalis.
Nonteniamos the references of sincronizaciõn.
We went to New York and, later of several nights in target
and a year of much work,
Randy and I teniamos the gray skin.
The airport was a madness. I believe that I arrived the previous day.
They made the mixture of one canciõn
and aûn tenian that to do remix of another one.
Later we left running alli, we did not sleep.
When we arrived, the masters had such sounds of the digital system.
You do not imagine as we felt. We said all:'' God mio ' '
Mounted Habiamos the àlbum.
It was incredible. It thought that it died to me.
Quickly we took the DATs and we heard them.
The sound was fantàstico.
We had…
to do again the assembly of the àlbum,
in any study of the zone this of Manhattan.
Alli tenian the system,
with which we could make the assembly.
We made the masters with George and the assembly in another study.
We ran to give to George casete with the assembly.
George made the masters and in that night mandô everything.
It was a madness.
We finished to two in the morning.
After as much work, it did not have nor a bar to drink a glass.
Later we found one…
Aûn I decide that the bar to me Nell's was called, in Manhattan.
Alli estàbamos the four, Lars, James, Randy and I.Like deads.
Sôlo estàbamos we in the bar drinking to three in the morning.
Thank heavens that we finished.
Jamàs me olvidarà.
It was incredible.Nor we obtained to celebrate it, estàbamos very tired.
During a time very we were worried.
The good thing was that George Marino, the one that made the masters…
Pasô an pleasant thing. When we arrived there,
George and other people they had oido the àlbum
and they said that tapeworm a good sound.
they compare it to the Black Album.
It is a pride that somebody compares other works to ours:
of the Black Album in our àlbum.''
The God That Failed goes on the forced salary
to belong to certain religiõn, when he was young.
My parents educated to me like Christian cientifico.
This means that we did not believe in the doctors…
Religiõn has good things, but for a boy it is difficult to understand it.
It is of those religions that they are included/understood better of adult.
Meanwhile, already we have gone to the doctor and we know which one is.
Bàsicamente, it is the mind over the matter.
Like boy, for me it was very dificil to be educated in this religiõn.
It could not go to certain classes of health.
In primary, we want to be with the friends, equal being to them.
They tenian books of health and I no he could learn on the human body,
because the body it is as soon as the armor of the soul.
It is not either precise to know, one did not go away to the doctor,
because God cures our evils.
Thus it had that to raise to me and to leave the class.
The companions asked to me why he had to leave.
And again he explained to them the history of religiôn.
With seven years, this is not something that it is wanted to do continuously.
It could not play fûtbol, no it needed to make exàmenes physical…
It was completely…
It felt to me like an extraterrestrial one.
By rare that it seems, it felt to me mentally ill.
Canciõn The God That Failed
it is as a trip to that alienaciõn
and its consequences.
For some people, this I title can be very strong.
They think that Metallica està attacking religiõn.
The thoughts are sôlo that boy tapeworm.
Nobody that can prohibit me. It is like a autoterapia.