@@vananon51 Cliff helped make Metallica. Their evolution started under his influence. But yeah Flemming let the band do what they wanna do and it was almost everytime right.
Why they haven't by now is beyond ridiculous. I wonder what the real reason is as to why they haven't yet. Too many magic tricks back then as compared to now or what? Confusing since those were simply the best form of Metallica that ever existed.
Yep. I've no clue why they dont.. Instead they entertain that jerk who's got no idea. Or even Bob Rock.. Its like they purposely want to discredit and avoid the producers who made them what they are today.
@@benhemperson5963 Or if Jason didn't leave or if Dave wasn't fired etc etc. While I can appreciate how much they all love Cliff and whatever they learned from him concerning music and all... there are times that it goes a bit overboard. Having that said... Imagine Justice with Cliff. Now that's a riot. :D
@@Jayteaseepiirturi Do you think musically Metallica would have taken the same path during the Load/ReLoad era if Cliff was still in the band? Agreed there’s so many variables but it’s interesting to think about the alternate possibilities
@@benhemperson5963 Okay, fine. I'm gonna let out the fanboy. :D I'm from Jason era so it's really hard to say. But a part of me thinks Burton might have wanted things to get a bit more... I don't know, progressive? Justice might have well been in line with all that. But I don't know, the kind of fella Cliff seems to be by all the descriptions, Loads seem to be right down his alley.
Metallica referenced Motley Crue as one of the reasons for choosing Bob Rock. I was always surprised that they publicly stated that. Back then, the Crue was a line in the sand. Nowadays, $$ rules. Nothing Else Matters. (😂sorry!)
@@angelotroThey referenced Crue AND Bon Jovi's records that Rock produced. But James specified "but the bands sucked and the songs were f@cking g@y.".
@@toddmorrissey8372 if you mean post Bob Rock with Rubin... much of a muchness for me. James just doesn't have enough co-contributors for any producer to fix.
They missed the one opportunity to work with him again for sure. Imagine inviting Flemming and Jason to studio for remixing/remastering of AJFA. That would be just great.
100%. Fidelman is overdone as their producer/eng. Too scared to tell them no. Too many yes men all around them in their Metalli-bubble. The albums have just gotten mushier and lazier, esp from Lars and Kirk. They need someone like Bob or Flemming that will call them out on what sucks or not. Where to edit. What the tones need to be. They also need an outsider to mix. The more involved James and Lars are in that part, the worse the result seems to have been. Andy Sneap for example would do a great job with them. The new Priest album sounds brilliant.
@@pgbangarang8394you really have no clue what you’re on about. Flemming didn’t call them out much and hetfield and lars controlled everything on them first 4 albums
@20:00 "And Justice is the album that inspired most people to make a band." 100% correct. Master was the epitome of the last decade if thrash. Justice changed the trajectory of metal going forward.
I've never fallen for that "we did it to haze Jason" or "we were grieving for Cliff". remember Garage Days? the EP that came out before it? massive bass. THAT would have been the release that they were hazing or grieving & taking it out on Jason. they didnt. Lars & James were going for a specific sound; a dry, clinical sound with the kick drum punching through like a typewriter. it changed the course of metal.... every thrash and death metal band had clicky kick drum from that point onward.
they were also burned out and more than a little deaf...they mixed that album between shows on tour....play show, fly to studio, get loaded, mix, fly to show, repeat.
I'm not buying your hypothesis. I chose to specialise bass in the early days because modern electric bass is the most tremendous big dick sound I've ever heard, and when played tight and glued to the kick drum is even more tremendous. You've heard and justice for jason, its objectively a superior mix. I've done a recording of blackened, and over compensated for all the years of hearing no bass, by over playing the bass and it sounds even more fucking tremendous. We'll never know the real reason why they turned jason down but it certainly wasn't because they were going for some "specific sound". Its a masterful album and they ruined it for some reson.
@@bassedtaz and justice for jason is a terrible mix. its mix by someone that that doesn't have a clue about mixing. The bass is simply put on top as the loudest instrument (like it is the lead) It's the stupidest mix I have ever heard
@@bassedtaz What I kind of like (and also dislike) about Metallica is that, they're not doing a remixed version. Hah, I want Justice to Jason and all that, but in the end, is not sticking to their guns about the Justice mix also saying: "We fucked up, you can all listen to how we fucked up and learn from our mistakes"? And even Jason let that thing go, saying they pretty much did that to Cliff, too. It's kind of sad because what Jason's doing down there on Justice is more intricate than most people realise and, say, Hetfield gives him credit for. He seems to have a distinct way of playing bass guitar that, say, Trujillo or even Burton probably couldn't touch. It's recognizable, it's breathable and it's signaturely his way. I recently listened to that Tina Turner song where Newsted played bass. The chops were insanely familiar, even though it was a softer song. I believe it's also rooted in what Bob Rock had said to him about Black Album and Metallica: dude, in this band, you don't play bass conventionally and you've got a limitless space to play in in the bass area. I think I know what Bob meant.
Honestly, great interview. Its very insightful and well done. We appreciate this. It would be very poetic if Metallica and Flemming worked on an album together again. They dont need to make a super commercial album. They could go full on raw/old school if they wanted
I hear what you're saying, but Metallica is locked in to recording at HQ, LOOKING at the music(vs. LISTENING) on a grid and quantizing everything. Not much of difference Fleming could make unless they went into an outside studio, and agreed to a totally different sonic concept. I mean, they have their own label (Blackened) and literally their own vinyl album pressing plant.
My favorite producer of all time. His Morbid Angel work was killer too. If you compare Metallica demos of Master compared to the mix Flemming ended up finishing with, it was an incredible difference.
Thank you for finally saying NOBODY, who hadn't already, knew about this shit until social media. I'm so tired of people talking about shit they no nothing about, because they saw a snippet on FB.
I think that 99% of Metallica fans totally disagree. The "Flemming Albums" are Metallicas best Albums. Not by accident called "Holy Trinity". Not by accident, with TBA, Metallicas highest ranking albums in the greates Records of all Time.
Interesting interview. I dropped out after Justice. Still love those early records 40 years later. It capped my metal years, although I recently got Justice on the Walmart lp. Sounds better than the cd. There’s a bit more bass with the lp so I suspect it was remastered a tinge.I really wish they had added Jason’s musicianship back in. I know, I know. Controversial.
@@anthonyroberts1424Two things-I was clobbered by radio play with the Black Album as my group of friends, many of which, didn’t get the earlier vibe. Me and my buddy veered away. Those first 4 was our scene. It was hard as a fan letting go of the private club of it all. Bob Rock definitely made them more accessible and I missed that edge. It was the second time in short years that it had happened. Nirvana’s Bleach was my kind of record , then Nevermind landed. It was omnipresent. Then Kurt was taken, and I’ve only recently been able to listen to them again. Mostly to do with the tragedy of how it all went down. I so wish he was still making music. I’ll have to give the Black lp another go with fresh ears. Yes…I noticed a difference with the new lp. I can’t say they turned up Jason’s bass parts, but they warmed it up with some bass frequencies. It’s a bit less sterile sounding(could be a digital artifact) and I loved that album but even in its day, we knew the bass was missing? I never did hear the original vinyl. Having said that, I haven’t compared the two sources I own and don’t know? If they did, it was without overly compressing it like you hear on many new records.I’m not always a fan of remasters-I don’t actually know if they did remaster it. I know my stereo is better so maybe that’s to do with it. Sometimes you can hear the album as it was meant to be heard. Some recent remixed/remastered Replacement records definitely benefited. I only knew the Justice cd from its release. I worked in a record store as those early albums came out during the hair metal heyday and what a breath of fresh air it was. I actually got to see them on the Justice tour and they killed. Loud, tight as hell, and sounded great. Best part, (and I wondered if it would happen to me at the time as I looked around at ‘adult’s’ in the 80’s)…..as I’ve aged, I never lost my love for music and for turning it up to 11’. Maybe I never grew up. It’s beautiful lime green, great sounding vinyl from their own pressing plant.
@@GIBKEL That’s a really interesting comparison you just made between early Nirvana & Metallica, I think the black album may have been more beneficial to Metallica than Nevermind was to Nirvana in the sense that Metallica mania lasted longer in my opinion: In Utero was actually outsold by Pearl Jam VS pre Kurt’s death. If Kurt didn’t die I think the black album would still be bigger than Nevermind, but in either case yes seeing the mainstream eat up Metallica changed the “vibe”
@@GIBKEL And in terms of CD vs Vinyl vs Cassette, I never really thought the sound would be that different but now you’ve got me thinking lol. That’s killer you got to see Metallica live during the Justice tour, how would compare their live performances now?
I have pictures of Cliff and I standing in front of the bus flipping off the camera. He was super nice. The nicest person in the band. Lars was also super nice.
As if seeing the "Piece of Mind" cassette being held with Eddie Munson shouted "...this IS music!!!!" wasn't enough... the INSTANT I'd heard the first E power chord stab in the opening riff for Master of Puppets that Eddie played in the upside-down, present-day me shouted "yyyyYYYYEEESSS!!!!!!!" as if I were at a Metallica concert, and 12-year-old me felt validated, and almost vindicated, that more people actually DID love this music after all. Awesome interview; always love all these insights and behind-the-scenes info... thank you both, Gentlemen. Long live Metallica. (Fan since 1988.) \m/, (*o*) ,\m/
Thank you Fern, you're very welcome. & agreed, it's cool that Master of Puppets got an homage in one of the biggest shows out there. I personally haven't watched Stranger Things yet though, I gotta get on that lol.
I'd love to see those three albums not just get a remaster, but a full remix. With mixing techniques and hardware/software nowadays, those albums could be absolutely unbelievable. I have the recent MOP vinyl remaster, it sounds quite flat and not a lot of space to it, and the remastering level is extremely low. And AJFA could do with a remix to inject some life into the audio of the songs, along with some bass.😉
Maybe I'm getting ahead of myself, but judging from the description..... ....look I know very, VERY well that Flemming has been eating off the Metallica albums for 40 years, but it would be nice if an interview asked him about Morbid Angel and Blind Guardian and the other bands he's produced.
I knew of Metallica during Kill em All but never heard them till the compilation album (Music for Nations) in the summer of 1984 Creeping Death was on there. They were instantly the greatest band I ever heard & got Ride imediatly.They were still on Mega Force then. So, Ride is a 10, Master 9 1/2, Justice is 4th for me after Kill.
That was the best Metallica, seen them on the black album tour. when they really put on a full on show, after that just couldn't listen to any of their stuff. They played Slane and I just couldn't go to see them. They've never been listenable since they released load. Just copying what was trending at that particular time. Sad but true, maybe I've just an eighties metal ear. But I don't listen to much new metal. All bands seem to follow the same template to me.
This is probably not a correct question, but.. Why is there no double bass on Lightning, in the title song, in Fade to black and trapped under the ice? The trap is under the ice, Lars is there, the double bass is kicking the whole song. But you can't hear it. I only realized this when I listened to a separate drum track. In Demag Inc, the last verse, the double bass is heard, then not heard. He appears and disappears. Let's say in the Battery, everything is heard well and evenly. There is fire in the fight, the double bass can also be heard normally. Why wasn't the volume adjusted on the songs I listed, fade, lightning, trap?
Are you saying there is double bass on ride the lightning fade to black and trapped under ice but we just can’t hear it? If that’s true that’s cool, didn’t know that
because thats the way metal was mixed in the 80's.... before And Justice For All. kick drums werent highly compressed or pushed to the forefront. it was mixed "as it was played". this tie's in with the whole "why was Jason turned down in the mix". because in 88 Lars & James decided to make the kickdrum ultra punchy and dominate. it became the norm after 88, but seriously listen to some Venom, Kreator and Possessed records from 1982-1986.... thats how metal was produced @user-Tulpa9Na6Metle
@@benhemperson5963 Yes, that's exactly what I'm saying, the album "Ride the Lightning" is full of double bass, but you can hear it more or less well, only on fight fire with fire. I'm just writing with a translator, it's confusing.
@@coldacre Dude, I heard what you're talking about. I listened to Sleer, Anthrax, metal church, other bands of the early 80s, and ... I know what you're talking about, but...in my opinion, these bands, on the contrary, tried to emphasize the double bass, and metallica seemed to be the opposite.Metallica has well-accented kicks with cymbals), but the double bass, until the 88th year, sounded just like a inaudible. Even kill em all, everything is bad there in terms of legs, not only with the double bass, but also with twos. On kill em all, the feet are heard even worse than on Lightning. Not all groups had this problem. Many even with such a "barrel" sound, rather than a flat "justice" sound, sounded clearer than the double bass on the first three metallica albums.
Well,Jason realized he was the new guy in the band and didn't want it to seem like he came there to take over,but he wasn't trying to replace Cliff either,because there was no replacing him,he was like a leader,his knowledge of music helped alot when they'd be in the studio,and im sure hed speak his mind if he didnt like something and would offer up his own ideas,and Jason realized he wasn't Cliff and wasn't trying to be.
It's an interesting thing that so often happens: For all of Lars' shorcomings in a live setting a lot of people - even some great drummers - recognize him as the talented but criminally unpolished drummer that he is. It took me getting to my 40's to realise Lars' philosophy as a drummer of a band and how absolutely right it is. Yes, he has his shortcomings in the live setting. Let's take that for granted. There's no denying that. But also, that's Metallica as a whole. So what I discovered Lars' philosophy to be is to work with the music. Any genre, any style, don't play the flashy thing. Play the RIGHT thing. It's pretty ironic knowing how big of an ego he sometimes seems to have (well, truthfully, his ego lies in his snaredrum. When I listen to Metallica it always feels like the snaredrum is on my lap). Now that in this video Rasmussen reminds us that he is from a jazz family, it all falls into place for me. Of course, it's so simple that it's almost retarded. Jazz musicians are the masters of slipping into the pocket in an ensemble. If this is what Lars has been watching when growing up, why would that not rub off on his way of applying his instrument also on metal? Or any genre, if you will. This sheds more light into his character as... not so much as a drummer but a piece of an ensemble.
Lars is Metallicas drummer. Thats it. His playing is perfect for the band he formed with James. It doesn`t matter that he is not respected by other drummers, there is no denying what he and his band have done. Long after all these conversations are over about best drummers, Metallica will stand the test of time. They will be held in the same regards as The Beatles, Rolling Stones, Led Zep, Pink Floyd. Heck, they reached that status a long time ago.
@@davifernandeslima01 I'll give you that, while I'm good with executing music, I'm horrible at listening to it. And... well, Beatles have never appealed to me. :) But if you say so, I shall take your word for it. Plus Ringo is freakishly consistent in his simplicity.
Dude, Lars made a conscious decision not to maintain his chops years ago. Nevermind IMPROVING. When a guy can't play the parts he played night-after-night years ago, thats a major issue. He's an excellent arranger and song structure guy, and that's been his focus for over 20 years now.
A Remastered version of And Justice For All could easily be done with today’s technology. At this point in Metallica’s career and accomplishments, as a band the fans and Jason Newsted deserve more respect. Bring back the BASS!
check out Ahdy Khairat here on TH-cam, he did a couple of remix+remasters of the AJFA songs that had Jason's actual bass stems released with the Guitar Hero Metallica game. They're not just him slapping the raw bass track into the mix too, he actually adjusted all of the instruments and created a new sound.
You know you can buy remastered justice right now, yes? I think you mean remixed tho. ..but that will never happen. Watch dodgey TH-cam mixes if you're aching.
I'm not trying to throw shade toward Rasmussen, but the bass volume is just as much on the producer as it was James, Lars and Jason. He could have helped him step it up, but they left the fans with an epic, yet thin sounding album.
im 51. he stated it clearly at the beginning. master is obviously the "better" album...but lightning is the best album they ever made. while master paints a detailed picture and has smooth fades in and out and is clearly the mans "piece from knowing" that he is good. however, for the average teenage listener, lightning has a sound that still attaches to the average life of a kid. it sounds like the band is in the next bedroom slowly cranking it up until you realize...its fucking metallica. also, fade to black is absolutely haunting and its not the guitars and vocals alone that make that happen. its the production. lightning rules.
It's all in the ears of the listner. "...and Justice for All" is the only Metallica album I still somewhat regularily listen to, and to me it's their best album, obviously. I'm not saying by any means that I think RtL and MoP are bad albums, but Justice is just more my thing.
5:13 remixing “Justice” with the bass back in would be actual justice for Jason and for the fans, who respectively deserve their vision included in the project and a great sounding version of a great album
I really like and respect Flemming and his work, but just gonna say, when I hear his point that effectively "Jason should've stood his ground and told the band to shove off"....I feel like I'm hearing an argument on the subject pitched completely from Lars Ulrich's point of view. The Newstead situation is 100% the lowest point in the band's legacy. I've watched Newstead interviews and _as he tells the story_, it doesn't portray them (Lars and particularly James) in a very flattering light. So when I hear Flemming hypothesize "and if he'd been more obstinate Jason might still be in Metallica", I feel that idea misses the mark. I don't agree, because the personality conflict between Newstead and Hetfield and Ulrich was never going away, and it would have fractured the band eventually.
Sure, but I think it was a stupid thing to ask him to begin with. How should he know? It's a little like asking why a couple you knew 15 years ago, and had no affiliation with since then, recently broke up.
no one is going to derail an album's production because of a new band member. james and lars were burned out and deaf as posts while they were mixing that record. playing shows, red eye flying back and forth to studios to mix, drinking hard, cocaine...... simple as that.
That Frayed Ends intro however is not exactly the one from Oz. The Oz version is a 5th interval where as the Frayed one is a diminished 5th evil tone. So I never understood why everybody keeps saying it is FROM the Oz. It certainly sounds influenced from there but it isn't truly it.
@@JoeBlanton-wq3sm I can't corroborate if that is absolutely true or not. If it is true however, it is quite odd indeed since it is not a sample of the original.
@@TaureanMixing It doesn't have to be. It's very clear that it was derived from Oz because of the chanting, the rhythm of it, the feel. If you took the Enter Sandman riff and changed it just one semitone, it would still sound like the Enter Sandman riff. And you can't just take stuff, change it miniminally and get away with it.
@@roaringviking5693 Ah, thanks, I know how copyright works, it was part of training. Using Sandman riff as an example is not the same compared to this in the least. A chord progression or interval progression without clear representation of an actual song, cannot be copyrighted. Motifs are a bit tricky too. These three elements needs full melodic movement on top of them along with other musical elements, harmonies, counterpoints, etc., to create a full copyrighted work. Metallica did not do that in the least. They played a similar intervalic progression, rhythmically speaking, but a different interval in conjunction with an entirely different arrangement, instrumentation, harmony (or lack thereof). My point still stands, this story about the intro is peculiar, but interesting.
Dude, they even chant the same “ohh-eee-yo, yooo-ho!” It’s clearly lifted. Whether on purpose or not, at first. At least by the time they knew the connection, they intentionally leaned into it. And I love it, anyway! Such a cool little Easter egg.
After 3:45.If Flemming 'speculation' is right it was the most stupid way to provoke Jason. Even if we put away all that emotional stuff and their relations with each other we would get people who made the album sounding worse. Was it worth it? I don't think so
When I first can joyn an existing band first I try to adapt and not being edgy.... Jason did it right. I totally prever the singing of Hetfield in the 80s albums.
James vocals in the 80s actually were much better! The power, the anger and the aggression were much better suited to Metallica's sound. However, this is always a question of taste... Some people who like the Black Album better than Justice or Puppets will see it the other way around.
Also, I'll admit Flemming is a solid producer, but what it really comes down to is Lars wanted to sleep at his parents house rather than sleep in the cold attic of a studio while recording. Especially after sleeping in the shithole during the making of Kill Em All.
To get to the next level commercially, they needed someone to tell them how the record was going to sound. Someone who could make the recorded sound accessible and have the clout to be their boss.
@@kevgamble that’s a good point, but if they stick with Flemming do you think Load/ReLoad would have happened or would they have stayed closer to thrash?
@El...Preyeah..the idea was to make a jagged sharp edge heavy metal album where the drums stood out. The bass would soften the sound. Metal back then was not a bass oriented genre.
So, they made the record sound worse to get Jason to push back. He doesn't... so they double down and just release an album of great songs that sound shit? Okay, sure. It was either a coping mechanism or an ego thing of James and Lars both wanting to be loudest in the mix. Most likely both.
So if you listen to all the versions with louder bass - they really do sound like shit! So it was obviously the right decision. Jason practically doubled James' guitar, which just sounds weird.
@@fam.hunger5244 even if I agreed with your premise... which, no. All that would mean is that the album sounds shit with and without louder bass... if that's the case how are good decisions being made by anyone? Next you'll be telling me St. Anger sounds worse with a less irritating snare sound.
@@fam.hunger5244I tend to agree. With the extremely driven tone of the VERY scooped guitars, I think they were sort of backed into a corner with regard to the final mix. The guitars have so much bass freq already that you’d almost have to boost the bass guitar to an unnatural level in order to get both audible. I think they learned a hard lesson here that (at least with regard to mixes) they learned how to fix that problem on The Black Album.
They honored Cliff by screwing Jason. Sad because on the Justice tour, the songs were amazing. The bad lines were booming and Jason, in my opinion, was the best bassist in Metallica.
If that was the case with why they chose not to use the bass tracks, that’s fkd up. How would you expect anyone, especially a fan, to come in on this? An icon died. He is replacing that icon. How you one even go about saying no to anything the others had to say! That’s BS! 😘😘🤘🤘
Ride the Lightning, Master of Puppets, or ...And Justice for All?
too hard to choose, also depends on the day 😉
Haha, all 3 albums are awesome.
@@kBlueberry2024Same I can’t decide lol
@@kBlueberry2024Definitely a hard choice, but I’d have to say And Justice
ride the lightning
Flemming was legit the 5th member. He made history...a few times.
Flemming’s contribution to Metallica is definitely underrated
Flemming > Bob schmuck Rock
@@TML0677 sure the black album has good songs, but Fleming helped make Metallica.
Don't go so far with the first one.
But he definetely made history with them
@@vananon51 Cliff helped make Metallica. Their evolution started under his influence.
But yeah Flemming let the band do what they wanna do and it was almost everytime right.
It's criminal they haven't recorded anything with Flemming since 1988.
I wish Metallica would do another album with Flemming
SAME!!!!
Exactly . It's absurd . Probably cause He will tell Lars the drums are ridiculous .
Why they haven't by now is beyond ridiculous. I wonder what the real reason is as to why they haven't yet. Too many magic tricks back then as compared to now or what? Confusing since those were simply the best form of Metallica that ever existed.
Yep. I've no clue why they dont.. Instead they entertain that jerk who's got no idea. Or even Bob Rock.. Its like they purposely want to discredit and avoid the producers who made them what they are today.
Flemming is so fuckin metal. 😄
Crazy story about Cliff, imagine one of your friends in a band dying but not knowing which one.
That struck me too.
@@Jayteaseepiirturi Always wondered how Metallica would’ve turned out if Cliff didn’t die.
@@benhemperson5963 Or if Jason didn't leave or if Dave wasn't fired etc etc. While I can appreciate how much they all love Cliff and whatever they learned from him concerning music and all... there are times that it goes a bit overboard.
Having that said... Imagine Justice with Cliff. Now that's a riot. :D
@@Jayteaseepiirturi Do you think musically Metallica would have taken the same path during the Load/ReLoad era if Cliff was still in the band?
Agreed there’s so many variables but it’s interesting to think about the alternate possibilities
@@benhemperson5963 Okay, fine. I'm gonna let out the fanboy. :D I'm from Jason era so it's really hard to say. But a part of me thinks Burton might have wanted things to get a bit more... I don't know, progressive? Justice might have well been in line with all that. But I don't know, the kind of fella Cliff seems to be by all the descriptions, Loads seem to be right down his alley.
Fleming produced the holy trinity
*Flemming
@@coyleigh Phlegming
A lot of Mercyful Fate and King Diamond were also recorded at his studio never forget he did the best Blind Guardian albums and Morbid Angel Covenant
That was a bunch of really good questions dude thank you.
You're welcome man, cheers.
Thanks heaps mate, great interview with such an amazing producer. I remember feeling so crestfallen when reading Metallica had gone to Bob Rock.
Metallica referenced Motley Crue as one of the reasons for choosing Bob Rock. I was always surprised that they publicly stated that. Back then, the Crue was a line in the sand.
Nowadays, $$ rules. Nothing Else Matters.
(😂sorry!)
@@angelotro Yeah, that statement had a cash register ring to it.
And now you can hear how much worse things have gotten sonically since Bob Rock, right?
@@angelotroThey referenced Crue AND Bon Jovi's records that Rock produced. But James specified "but the bands sucked and the songs were f@cking g@y.".
@@toddmorrissey8372 if you mean post Bob Rock with Rubin... much of a muchness for me. James just doesn't have enough co-contributors for any producer to fix.
Lets not forget he produced Blind guardian s best albums "Imaginations from the other side" and "Nightfall in middle earth"! Legend!
This interview should have way more views. This is great content!
It's only two days old, give it time.
Thanks Matt! How’d you like this one compared to the first Metallica interview?
🤞🏻
@@DanielSarkissian loved it. I appreciate all your interviews. It’s all great content!
You’re welcome Matt, cheers.
They missed the one opportunity to work with him again for sure. Imagine inviting Flemming and Jason to studio for remixing/remastering of AJFA. That would be just great.
They should have brought this man back to produce a few albums ago. Should produce their last album at least.
Would be super cool
Do u think they’d capture the same vibe?
100%. Fidelman is overdone as their producer/eng. Too scared to tell them no. Too many yes men all around them in their Metalli-bubble. The albums have just gotten mushier and lazier, esp from Lars and Kirk. They need someone like Bob or Flemming that will call them out on what sucks or not. Where to edit. What the tones need to be. They also need an outsider to mix. The more involved James and Lars are in that part, the worse the result seems to have been. Andy Sneap for example would do a great job with them. The new Priest album sounds brilliant.
@@pgbangarang8394you really have no clue what you’re on about. Flemming didn’t call them out much and hetfield and lars controlled everything on them first 4 albums
Why Cliff and Kirk were gunning for Lars' head lol . ..Cliff and Kirk informed those records, Lars got very lucky .
The beatles have released like everything they ever recorded.
Its not a crime to give us justice with bass.
Such a wasted opportunity… This whole thing about a ‘snapshot in time’… The mix is off. Nothing deserves a remix more than Justice.
They would pull a Gene and Paul and remix it with Robert playing. They would screw it up completely by doing that.
@@geraldlocklear4373 Doubt it. Jason's bass parts are flawless.
I was really surprised hearing Master of Puppets on Stranger Things lol
@20:00 "And Justice is the album that inspired most people to make a band."
100% correct. Master was the epitome of the last decade if thrash. Justice changed the trajectory of metal going forward.
I've never fallen for that "we did it to haze Jason" or "we were grieving for Cliff". remember Garage Days? the EP that came out before it? massive bass. THAT would have been the release that they were hazing or grieving & taking it out on Jason. they didnt. Lars & James were going for a specific sound; a dry, clinical sound with the kick drum punching through like a typewriter. it changed the course of metal.... every thrash and death metal band had clicky kick drum from that point onward.
they were also burned out and more than a little deaf...they mixed that album between shows on tour....play show, fly to studio, get loaded, mix, fly to show, repeat.
TBA had plenty of bass too.
I'm not buying your hypothesis. I chose to specialise bass in the early days because modern electric bass is the most tremendous big dick sound I've ever heard, and when played tight and glued to the kick drum is even more tremendous. You've heard and justice for jason, its objectively a superior mix. I've done a recording of blackened, and over compensated for all the years of hearing no bass, by over playing the bass and it sounds even more fucking tremendous. We'll never know the real reason why they turned jason down but it certainly wasn't because they were going for some "specific sound". Its a masterful album and they ruined it for some reson.
@@bassedtaz and justice for jason is a terrible mix. its mix by someone that that doesn't have a clue about mixing. The bass is simply put on top as the loudest instrument (like it is the lead) It's the stupidest mix I have ever heard
@@bassedtaz What I kind of like (and also dislike) about Metallica is that, they're not doing a remixed version. Hah, I want Justice to Jason and all that, but in the end, is not sticking to their guns about the Justice mix also saying: "We fucked up, you can all listen to how we fucked up and learn from our mistakes"? And even Jason let that thing go, saying they pretty much did that to Cliff, too.
It's kind of sad because what Jason's doing down there on Justice is more intricate than most people realise and, say, Hetfield gives him credit for. He seems to have a distinct way of playing bass guitar that, say, Trujillo or even Burton probably couldn't touch. It's recognizable, it's breathable and it's signaturely his way. I recently listened to that Tina Turner song where Newsted played bass. The chops were insanely familiar, even though it was a softer song. I believe it's also rooted in what Bob Rock had said to him about Black Album and Metallica: dude, in this band, you don't play bass conventionally and you've got a limitless space to play in in the bass area. I think I know what Bob meant.
Honestly, great interview. Its very insightful and well done. We appreciate this. It would be very poetic if Metallica and Flemming worked on an album together again. They dont need to make a super commercial album. They could go full on raw/old school if they wanted
Thanks a lot, appreciate it & agreed, it would be awesome if Flemming and Metallica did another album together.
I hear what you're saying, but Metallica is locked in to recording at HQ, LOOKING at the music(vs. LISTENING) on a grid and quantizing everything. Not much of difference Fleming could make unless they went into an outside studio, and agreed to a totally different sonic concept. I mean, they have their own label (Blackened) and literally their own vinyl album pressing plant.
My favorite producer of all time. His Morbid Angel work was killer too. If you compare Metallica demos of Master compared to the mix Flemming ended up finishing with, it was an incredible difference.
It's terrible they don't make a great record with him stat.
Thank you for finally saying NOBODY, who hadn't already, knew about this shit until social media. I'm so tired of people talking about shit they no nothing about, because they saw a snippet on FB.
Stumbled across your channel recently, been great listening to all the interviews during my long commutes. Got a new subscriber keep it up
Thanks man, appreciate it. Cheers.
Thank you for doing this! Great interview!
Master & Justice was the first 2 CDs I owned. All 3 albums are not just Metallic’s best work, but IMO the pinnacle of great heavy metal music. 🤘
I think that 99% of Metallica fans totally disagree. The "Flemming Albums" are Metallicas best Albums. Not by accident called "Holy Trinity". Not by accident, with TBA, Metallicas highest ranking albums in the greates Records of all Time.
Daniel I love your interviews, such great Q's 🙂
Thanks a lot! Appreciate it
This was so worth the wait
This is you tube gold
Awesome and entertaining
Thank you Daniel
Thank you Brian! Appreciate it.
@@DanielSarkissian killer interview, thanks Daniel
Thanks Jake, cheers.
@@DanielSarkissianhe is right fantastic interview
Thank you Leon.
If they ever make another album , they have to have Fleming produce.
Imagine how excited fans would be if they announced they were doing this. I’d flip out
Interesting interview. I dropped out after Justice. Still love those early records 40 years later. It capped my metal years, although I recently got Justice on the Walmart lp. Sounds better than the cd. There’s a bit more bass with the lp so I suspect it was remastered a tinge.I really wish they had added Jason’s musicianship back in. I know, I know. Controversial.
Interesting, so you never got into the black album? And I had no idea the CD version of Justice sounds different
@@anthonyroberts1424Two things-I was clobbered by radio play with the Black Album as my group of friends, many of which, didn’t get the earlier vibe. Me and my buddy veered away. Those first 4 was our scene. It was hard as a fan letting go of the private club of it all. Bob Rock definitely made them more accessible and I missed that edge. It was the second time in short years that it had happened. Nirvana’s Bleach was my kind of record , then Nevermind landed. It was omnipresent. Then Kurt was taken, and I’ve only recently been able to listen to them again. Mostly to do with the tragedy of how it all went down. I so wish he was still making music. I’ll have to give the Black lp another go with fresh ears.
Yes…I noticed a difference with the new lp. I can’t say they turned up Jason’s bass parts, but they warmed it up with some bass frequencies. It’s a bit less sterile sounding(could be a digital artifact) and I loved that album but even in its day, we knew the bass was missing? I never did hear the original vinyl. Having said that, I haven’t compared the two sources I own and don’t know? If they did, it was without overly compressing it like you hear on many new records.I’m not always a fan of remasters-I don’t actually know if they did remaster it. I know my stereo is better so maybe that’s to do with it. Sometimes you can hear the album as it was meant to be heard. Some recent remixed/remastered Replacement records definitely benefited. I only knew the Justice cd from its release. I worked in a record store as those early albums came out during the hair metal heyday and what a breath of fresh air it was. I actually got to see them on the Justice tour and they killed. Loud, tight as hell, and sounded great. Best part, (and I wondered if it would happen to me at the time as I looked around at ‘adult’s’ in the 80’s)…..as I’ve aged, I never lost my love for music and for turning it up to 11’. Maybe I never grew up.
It’s beautiful lime green, great sounding vinyl from their own pressing plant.
@@GIBKEL That’s a really interesting comparison you just made between early Nirvana & Metallica, I think the black album may have been more beneficial to Metallica than Nevermind was to Nirvana in the sense that Metallica mania lasted longer in my opinion: In Utero was actually outsold by Pearl Jam VS pre Kurt’s death. If Kurt didn’t die I think the black album would still be bigger than Nevermind, but in either case yes seeing the mainstream eat up Metallica changed the “vibe”
@@GIBKEL If the black album didn’t get as big as it did, do you think Metallica would have stayed closer to their roots musically?
@@GIBKEL And in terms of CD vs Vinyl vs Cassette, I never really thought the sound would be that different but now you’ve got me thinking lol. That’s killer you got to see Metallica live during the Justice tour, how would compare their live performances now?
Justice was the first album I bought and puppets was the last Metallica album I heard in 1994/95
Awesome interview, awesome video 🤘
Thanks Terence
Really great interview man!
Thanks man
I have pictures of Cliff and I standing in front of the bus flipping off the camera. He was super nice. The nicest person in the band. Lars was also super nice.
Great interview. Great questions. Interviewer is pro. Well done. 👍👍
Thanks a lot Greg
Master of puppets, my favourite!!
Awesome interview!! ❤
Thanks man 🇮🇪
Great interview. Other channels should take note. Keep it up!
Thank you, appreciate it. Cheers.
As if seeing the "Piece of Mind" cassette being held with Eddie Munson shouted "...this IS music!!!!" wasn't enough... the INSTANT I'd heard the first E power chord stab in the opening riff for Master of Puppets that Eddie played in the upside-down, present-day me shouted "yyyyYYYYEEESSS!!!!!!!" as if I were at a Metallica concert, and 12-year-old me felt validated, and almost vindicated, that more people actually DID love this music after all.
Awesome interview; always love all these insights and behind-the-scenes info... thank you both, Gentlemen.
Long live Metallica.
(Fan since 1988.)
\m/, (*o*) ,\m/
Thank you Fern, you're very welcome. & agreed, it's cool that Master of Puppets got an homage in one of the biggest shows out there. I personally haven't watched Stranger Things yet though, I gotta get on that lol.
@@DanielSarkissian It's really a ton of fun. Enjoy!
Thanks Fern, cheers.
SAME!! When I saw the master of puppets scene I was like YAAAAAA 😂 So cool they actually did that
Which season of Stranger Things does this happen?
Mesa Boogie Mark 2 C++, was perhaps $1,500 back then. Now $10,000.
After cliff died they should have had lars play bass, imagine how loud it would have been on the next album 🙄
It was loud on the next album, TBA. Also loud on Garage Days.
Probably would have an tin can sound😂
@@michaelboyle5805 awesome
Someone way more determined than me needs to make a video about wizard of oz’s connections to rock and metal music👀
I'd love to see those three albums not just get a remaster, but a full remix. With mixing techniques and hardware/software nowadays, those albums could be absolutely unbelievable. I have the recent MOP vinyl remaster, it sounds quite flat and not a lot of space to it, and the remastering level is extremely low.
And AJFA could do with a remix to inject some life into the audio of the songs, along with some bass.😉
Maybe I'm getting ahead of myself, but judging from the description.....
....look I know very, VERY well that Flemming has been eating off the Metallica albums for 40 years, but it would be nice if an interview asked him about Morbid Angel and Blind Guardian and the other bands he's produced.
The Ensiferum records were great too, in a way he’s underrated af
Which Blind Guardian did he produce?
@@Skoora Imaginations From The Other Side and Nightfall In Middle Earth.
@@Skoora Imaginations and did a lot of work on Nightfall as well
Thanks for the BG references 👍
I knew of Metallica during Kill em All but never heard them till the compilation album (Music for Nations) in the summer of 1984 Creeping Death was on there. They were instantly the greatest band I ever heard & got Ride imediatly.They were still on Mega Force then. So, Ride is a 10, Master 9 1/2, Justice is 4th for me after Kill.
That was the best Metallica, seen them on the black album tour. when they really put on a full on show, after that just couldn't listen to any of their stuff.
They played Slane and I just couldn't go to see them. They've never been listenable since they released load.
Just copying what was trending at that particular time.
Sad but true, maybe I've just an eighties metal ear.
But I don't listen to much new metal.
All bands seem to follow the same template to me.
I agree with James being a great musician and one of the greatest rhythm guitarist ever!
Great interview
Thanks Claus
can you please put chapters in your videos? or at least timestamps in the description? Thank you. 🍺🇨🇦
+1 on Master of Puppets coming out slightly above the other releases. Orion by itself IMHO would push any album over the top.
This is probably not a correct question, but.. Why is there no double bass on Lightning, in the title song, in Fade to black and trapped under the ice? The trap is under the ice, Lars is there, the double bass is kicking the whole song. But you can't hear it. I only realized this when I listened to a separate drum track.
In Demag Inc, the last verse, the double bass is heard, then not heard. He appears and disappears. Let's say in the Battery, everything is heard well and evenly. There is fire in the fight, the double bass can also be heard normally.
Why wasn't the volume adjusted on the songs I listed, fade, lightning, trap?
Are you saying there is double bass on ride the lightning fade to black and trapped under ice but we just can’t hear it? If that’s true that’s cool, didn’t know that
@@benhemperson5963 Yeah, the kick drum is really low when you think about it. Maybe Lars held a grudge and that's why the bass on Justice is so low.
because thats the way metal was mixed in the 80's.... before And Justice For All. kick drums werent highly compressed or pushed to the forefront. it was mixed "as it was played". this tie's in with the whole "why was Jason turned down in the mix". because in 88 Lars & James decided to make the kickdrum ultra punchy and dominate. it became the norm after 88, but seriously listen to some Venom, Kreator and Possessed records from 1982-1986.... thats how metal was produced @user-Tulpa9Na6Metle
@@benhemperson5963 Yes, that's exactly what I'm saying, the album "Ride the Lightning" is full of double bass, but you can hear it more or less well, only on fight fire with fire. I'm just writing with a translator, it's confusing.
@@coldacre Dude, I heard what you're talking about. I listened to Sleer, Anthrax, metal church, other bands of the early 80s, and ... I know what you're talking about, but...in my opinion, these bands, on the contrary, tried to emphasize the double bass, and metallica seemed to be the opposite.Metallica has well-accented kicks with cymbals), but the double bass, until the 88th year, sounded just like a inaudible.
Even kill em all, everything is bad there in terms of legs, not only with the double bass, but also with twos. On kill em all, the feet are heard even worse than on Lightning. Not all groups had this problem. Many even with such a "barrel" sound, rather than a flat "justice" sound, sounded clearer than the double bass on the first three metallica albums.
Would love to hear some stories about him recording the Morbid Angel "Covenant" album.
There were a few gems on Load and Reload. Unforgiven II is a beast, and The Outlaw Torn was super 'heavy' for that era, post thrash.
His big pause when asked about the Load/Reload albums was quite funny 😄
Fixxxer too 2014
Well,Jason realized he was the new guy in the band and didn't want it to seem like he came there to take over,but he wasn't trying to replace Cliff either,because there was no replacing him,he was like a leader,his knowledge of music helped alot when they'd be in the studio,and im sure hed speak his mind if he didnt like something and would offer up his own ideas,and Jason realized he wasn't Cliff and wasn't trying to be.
Fantastic interview
Thanks Bryan
It's an interesting thing that so often happens: For all of Lars' shorcomings in a live setting a lot of people - even some great drummers - recognize him as the talented but criminally unpolished drummer that he is. It took me getting to my 40's to realise Lars' philosophy as a drummer of a band and how absolutely right it is.
Yes, he has his shortcomings in the live setting. Let's take that for granted. There's no denying that. But also, that's Metallica as a whole.
So what I discovered Lars' philosophy to be is to work with the music. Any genre, any style, don't play the flashy thing. Play the RIGHT thing. It's pretty ironic knowing how big of an ego he sometimes seems to have (well, truthfully, his ego lies in his snaredrum. When I listen to Metallica it always feels like the snaredrum is on my lap).
Now that in this video Rasmussen reminds us that he is from a jazz family, it all falls into place for me. Of course, it's so simple that it's almost retarded. Jazz musicians are the masters of slipping into the pocket in an ensemble. If this is what Lars has been watching when growing up, why would that not rub off on his way of applying his instrument also on metal? Or any genre, if you will.
This sheds more light into his character as... not so much as a drummer but a piece of an ensemble.
Lars is Metallicas drummer. Thats it. His playing is perfect for the band he formed with James. It doesn`t matter that he is not respected by other drummers, there is no denying what he and his band have done. Long after all these conversations are over about best drummers, Metallica will stand the test of time. They will be held in the same regards as The Beatles, Rolling Stones, Led Zep, Pink Floyd. Heck, they reached that status a long time ago.
@@ernestbuckley8671 ...... And your point with this regarding my post?
Like Ringo!
@@davifernandeslima01 I'll give you that, while I'm good with executing music, I'm horrible at listening to it. And... well, Beatles have never appealed to me. :) But if you say so, I shall take your word for it. Plus Ringo is freakishly consistent in his simplicity.
Dude, Lars made a conscious decision not to maintain his chops years ago. Nevermind IMPROVING. When a guy can't play the parts he played night-after-night years ago, thats a major issue. He's an excellent arranger and song structure guy, and that's been his focus for over 20 years now.
Flemming needs to produce next metallica album
Def miss Jason in Metallica
They talked about whether Cliff played the intro to Battery, but I heard he played the intro to Fight Fire with Fire. Anyone know if that’s true?
Yes. Listen to Cliff's isolated bass tracka and you can hear him playing the intro on Bass
Check out some live shows too. There's a few where James and Cliff do a duet on guitar and bass for the intro and it sounds amazing.
A Remastered version of And Justice For All could easily be done with today’s technology. At this point in Metallica’s career and accomplishments, as a band the fans and Jason Newsted deserve more respect. Bring back the BASS!
check out Ahdy Khairat here on TH-cam, he did a couple of remix+remasters of the AJFA songs that had Jason's actual bass stems released with the Guitar Hero Metallica game. They're not just him slapping the raw bass track into the mix too, he actually adjusted all of the instruments and created a new sound.
They'll have to go back and remix it all rather than just remaster it.
@@panamajack5972love his remixes. Sounds like new songs in some cases.
You know you can buy remastered justice right now, yes? I think you mean remixed tho. ..but that will never happen. Watch dodgey TH-cam mixes if you're aching.
You seem to be one of those people who think artists owe fans something... they don't!
I'm not trying to throw shade toward Rasmussen, but the bass volume is just as much on the producer as it was James, Lars and Jason. He could have helped him step it up, but they left the fans with an epic, yet thin sounding album.
im 51. he stated it clearly at the beginning. master is obviously the "better" album...but lightning is the best album they ever made. while master paints a detailed picture and has smooth fades in and out and is clearly the mans "piece from knowing" that he is good. however, for the average teenage listener, lightning has a sound that still attaches to the average life of a kid. it sounds like the band is in the next bedroom slowly cranking it up until you realize...its fucking metallica. also, fade to black is absolutely haunting and its not the guitars and vocals alone that make that happen. its the production. lightning rules.
I agree, RTL always resonates with me the most.
It's all in the ears of the listner. "...and Justice for All" is the only Metallica album I still somewhat regularily listen to, and to me it's their best album, obviously. I'm not saying by any means that I think RtL and MoP are bad albums, but Justice is just more my thing.
5:13 remixing “Justice” with the bass back in would be actual justice for Jason and for the fans, who respectively deserve their vision included in the project and a great sounding version of a great album
"Justice for the fans" - you seem to be one of those people who think artists "owe" their fans something. They don't.
The Winkie Guard March. Oh - ee - oh Yo -- Oh. (March of the Winkies)
I really like and respect Flemming and his work, but just gonna say, when I hear his point that effectively "Jason should've stood his ground and told the band to shove off"....I feel like I'm hearing an argument on the subject pitched completely from Lars Ulrich's point of view.
The Newstead situation is 100% the lowest point in the band's legacy. I've watched Newstead interviews and _as he tells the story_, it doesn't portray them (Lars and particularly James) in a very flattering light. So when I hear Flemming hypothesize "and if he'd been more obstinate Jason might still be in Metallica", I feel that idea misses the mark. I don't agree, because the personality conflict between Newstead and Hetfield and Ulrich was never going away, and it would have fractured the band eventually.
Sure, but I think it was a stupid thing to ask him to begin with. How should he know? It's a little like asking why a couple you knew 15 years ago, and had no affiliation with since then, recently broke up.
no one is going to derail an album's production because of a new band member. james and lars were burned out and deaf as posts while they were mixing that record. playing shows, red eye flying back and forth to studios to mix, drinking hard, cocaine...... simple as that.
That Frayed Ends intro however is not exactly the one from Oz. The Oz version is a 5th interval where as the Frayed one is a diminished 5th evil tone. So I never understood why everybody keeps saying it is FROM the Oz. It certainly sounds influenced from there but it isn't truly it.
Well sir they had to pay to use it.
@@JoeBlanton-wq3sm I can't corroborate if that is absolutely true or not. If it is true however, it is quite odd indeed since it is not a sample of the original.
@@TaureanMixing It doesn't have to be. It's very clear that it was derived from Oz because of the chanting, the rhythm of it, the feel. If you took the Enter Sandman riff and changed it just one semitone, it would still sound like the Enter Sandman riff. And you can't just take stuff, change it miniminally and get away with it.
@@roaringviking5693 Ah, thanks, I know how copyright works, it was part of training. Using Sandman riff as an example is not the same compared to this in the least. A chord progression or interval progression without clear representation of an actual song, cannot be copyrighted. Motifs are a bit tricky too. These three elements needs full melodic movement on top of them along with other musical elements, harmonies, counterpoints, etc., to create a full copyrighted work. Metallica did not do that in the least. They played a similar intervalic progression, rhythmically speaking, but a different interval in conjunction with an entirely different arrangement, instrumentation, harmony (or lack thereof). My point still stands, this story about the intro is peculiar, but interesting.
Dude, they even chant the same “ohh-eee-yo, yooo-ho!”
It’s clearly lifted.
Whether on purpose or not, at first. At least by the time they knew the connection, they intentionally leaned into it.
And I love it, anyway! Such a cool little Easter egg.
Yes
Flemming is great! One thing though: intro on Damage Inc is backward bass and not guitars. It's Cliff who was inspired by a piece of Bach.
Correct. It was "Come Sweet Death"
The original and justice is the one with bass not the other way around
All Great !
After 3:45.If Flemming 'speculation' is right it was the most stupid way to provoke Jason. Even if we put away all that emotional stuff and their relations with each other we would get people who made the album sounding worse. Was it worth it? I don't think so
I would love to learn how he achieved the distinctive sound
Oh-rye-on
If Metallica Re-Recorded (Anger) with sound they used to have I'm sure that album would be good
Why are the same questions coming up again later again? Like that anvil intro bell?
When I first can joyn an existing band first I try to adapt and not being edgy.... Jason did it right.
I totally prever the singing of Hetfield in the 80s albums.
James vocals in the 80s actually were much better! The power, the anger and the aggression were much better suited to Metallica's sound. However, this is always a question of taste... Some people who like the Black Album better than Justice or Puppets will see it the other way around.
Master intro sounds similar to eye of the tiger😮
Haha I never realized that lol. Great catch James
@46:00 imagine being that Metallica super fan who tracks down that anvil to recreate that original sound 😂
Also, I'll admit Flemming is a solid producer, but what it really comes down to is Lars wanted to sleep at his parents house rather than sleep in the cold attic of a studio while recording. Especially after sleeping in the shithole during the making of Kill Em All.
At the 1 hour mark he talks about cliff btw
I've never missed the bass on ajfa..
March of the Winkies brah (March of the Munchkins was in The Wiz)
Why is The Thing That Should Not Be not on Flemming's favorit Metallica song list? I mean its heavier than Sad But True, for sure.
Probably the best Metallica song besides Am I Evil
@@jumpfart666
Am I Evil is a cover song.
@@jumpfart666hahahahaha it’s a cover you know this, right?
One of my favorites. That intro! And the lead guitar at 3:50 in the song.
How do you measure which one is heavier?
I still think Kill Em All is the best album. It really showcased their true thrash snarky fuck you sound.
Same, I actually really like the “underproduced” sound on Kill ‘Em All, that rawness really captures that period of the band
Yes Dave Mustaine's thrash music is the greatest on planet.
@@bendup52 But Metallica is better than Dave though
Same here is my favorite
@SoundWave1984-cu6xb If Dave stayed I feel like maybe Metallica may have gone in a different direction anyways
March of The Winkies
I feel like cliff would have gravitated towards the grunge scene (nirvana, alice in chains etc).
Curious what would have happened if Metallica made the black album with Flemming. It’d definitely be different, but would it still have been as big?
The obvious answer is no because Lars would have fucked up the production again. Just watch Year & A Half part 1.
@@MetalPersonJ Do you think they would have screwed up the bass sound again?
@@jakeclarkson2178 probably
To get to the next level commercially, they needed someone to tell them how the record was going to sound. Someone who could make the recorded sound accessible and have the clout to be their boss.
@@kevgamble that’s a good point, but if they stick with Flemming do you think Load/ReLoad would have happened or would they have stayed closer to thrash?
I can't believe the way this youtuber pronounced Orion. 1:20:50
32:18 cliff went to school for music theory
I kinda see him as their Terry Brown.
People knocking Lars never consider he WROTE half of at least 4 of the best albums ever in metal.
Justice their best though amirite
They rushed into getting a new member and made Jason suffer from it.
Metallica died with cliff.
With exception of the garage days ep everything else after puppets is useless.
Maybe I’m crazy but I actually like And Justice’s sound without the bass 🤷🏻♂️
oh i do too
@@soldaccount2022 Why do you think some people hate on it so much lol?
@@JamesC1971cus it has no bass lol. Sounds empty and midrangy
It makes it stand out from all the other metal bands with that more prominent bass sound in the mix. For sure. Yet still dark and heavy as fuk.
@El...Preyeah..the idea was to make a jagged sharp edge heavy metal album where the drums stood out. The bass would soften the sound. Metal back then was not a bass oriented genre.
How does he have Lars’ accent?
both europeans from close countries
Both Danish guys.
Jason had to take it cus bro that money was good. It’s a job.
So, they made the record sound worse to get Jason to push back. He doesn't... so they double down and just release an album of great songs that sound shit? Okay, sure.
It was either a coping mechanism or an ego thing of James and Lars both wanting to be loudest in the mix. Most likely both.
So if you listen to all the versions with louder bass - they really do sound like shit! So it was obviously the right decision. Jason practically doubled James' guitar, which just sounds weird.
@@fam.hunger5244 even if I agreed with your premise... which, no. All that would mean is that the album sounds shit with and without louder bass... if that's the case how are good decisions being made by anyone?
Next you'll be telling me St. Anger sounds worse with a less irritating snare sound.
@@fam.hunger5244I tend to agree. With the extremely driven tone of the VERY scooped guitars, I think they were sort of backed into a corner with regard to the final mix. The guitars have so much bass freq already that you’d almost have to boost the bass guitar to an unnatural level in order to get both audible.
I think they learned a hard lesson here that (at least with regard to mixes) they learned how to fix that problem on The Black Album.
They honored Cliff by screwing Jason. Sad because on the Justice tour, the songs were amazing. The bad lines were booming and Jason, in my opinion, was the best bassist in Metallica.
He reminds me slightly of Tim Pierce.. think its the eyes.
The new order
If that was the case with why they chose not to use the bass tracks, that’s fkd up. How would you expect anyone, especially a fan, to come in on this? An icon died. He is replacing that icon. How you one even go about saying no to anything the others had to say! That’s BS! 😘😘🤘🤘
WHY NOT WORK WITH HIM AGAIN?