The studio I worked at, Sweet Silence, was renowned in Denmark. Rasmussen admitted in the Rolling Stone interview that he'd "never heard" of Metallica, "but I really liked them as people. We were experiencing culture shock a little bit."Īdding that they "didn't really have anything else to do besides work on music and drink Carlsberg beer," Hammett admitted, "we totally destroyed our friend's house where we were staying. It was easy for the Danish guy to fit in, but it wasn't so easy for the three American guys to fit in. "It was three American guys and a Danish guy. "It was great when we started there, but we were homesick after three or four weeks," guitarist Kirk Hammett later told Rolling Stone, with a laugh.
#Metallica ride the lightning drum full
Hear the full hour-long interview with the producer below.The four dirt-poor metalheads descended upon Ride the Lightning producer Flemming Rasmussen's studio in Copenhagen in the winter of 1984 with plenty of momentum. If Rasmussen is telling the truth, next time you have to turn off “Blackened” halfway through because it sounds like it’s coming out of a soup can, you can blame the band, not him. That’s my mistake.’ Well, I didn’t mix it!” That really clicky, high-endy bass drum, all that stuff…”Every time I hear the bass drum like that, I go ‘I’m really sorry about that. They all wanted to sound like …And Justice for All. “‘…And Justice for All’ was probably the single album in the last 30 years which has been the most influential in terms of sound for the whole generation of the hardcore metal bands. I was like, ‘What the… What?!’ It got really criticized when it came out, and people got more or less blown away because of the dryness of the sound. But imagine my surprise when I heard the album. And then once they’ve done that they said, ‘Take it another 3dB down.’Why they did that – I have no idea! It could be that they were still grieving about Cliff.
They sound good, he plays well.īut, they heard the mix and they went, ‘Alright, take the bass down, change this this this and this, and then take the bass down.’ So you can barely hear it. And I’ve heard the bass tracks and they’re absolutely amazing. It’s a different style, but he is as good of bass player as Cliff, just in a different way. He probably tried to prove that he was worth, that he was up there with Cliff, which in my opinion he is. And the bass – let me just point out – the bass tracks on …And Justice for All are actually fantastic. What happened was did a mix that they thought sounded really, really good, which had lots of bass in it. Rasmussen said that the band continually asked for the bass tracks to be lowered, and believes that they might have done so as an oddly touching gesture of respect for Burton. This was the first album that Newsted played on as a Metallica member, after the death of bassist Cliff Burton in 1986. And Justice for All, going into particular depth about the vanishingly low volume of Jason Newsted’s bass. Metal Injection points out that Rasmussen also addressed the sound of. The recording and mixing decisions on …And Justice for All are especially strange considering that it was produced by Flemming Rasmussen, who’s also responsible for the rich and punchy sound of Ride the Lightning and Master of Puppets. In a recent interview with the podcast Alphabetallica, nodded at his status as the shepherd of these classics and took a quick potshot at the band’s later catalog by claiming that “most people refer to me as the producer of the three good Metallica albums.” (A little unfair to Kill ‘Em All, but we’ll allow it.) The entire album sounds thin and weirdly restrained–pretty much the opposite of what you’d want for an ambitious and stupendously heavy metal band like early Metallica. The drums sound like they’re made of paper. The low end is so quiet that if you didn’t know any better you’d think the band made it without a bassist. Far from it: the thrash metal legends were at the height of their powers in the late ’80s when they made it, and the music inside is just as accomplished as their work on Master of Puppets and Ride the Lightning, their two widely acknowledged masterpieces. It’s pretty much agreed-upon among Metallica fans that their fourth album …And Justice for All sounds like garbage.
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