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Not know how to process itand I had I have lost someone like that under the circumstances you know I’m thinking of us hadand so I think subconsciously we buried a lot of stuffand that stuff is struggling to get outand I think subconsciously a lot of it got to the music believe that in retrospect about for for you Lars gives you know in some ways the drummingand that the intensity of what you had to do a lot of those songs it can be almost like a physical release to get stuff out were you conscious of that or was it when I think back on that time for me it’s part of the story you know so obviously yes you like James is referring to you know it when I think of justice slots in between pastor puppets in the black album silk the tendency to to kind of look at these experiences very sort of practicallyand and so there was this cold public thing then like you saying Jason came in obviouslyand and we talked 1000 times about this we were not able to process grief none of us knew really how to deal with it so we all jumped in various liquor bottlesand gave Jason a really hard time because what the fuck was he doing here in an adult thing was so bizarreand that when I think back to that time now I just remember you we just always kept moving know it was always we never sat stilland very sexy when we had a little bit of a break that spring we would finish the master puppetsand then we were started writing the first couple things first you know that I think the first thing we were writing was the blackened we’re all in San Rafael at some rehearsal studioand then was post to go play Saturday Night Liveand and then James focus onand then there was a kind of a break in the actionand and then the you know we sort of now whatand then the Karachi P happenedand then rebuilt the studio in my houseand calls in Boulevardand then we went to work on writing the stuff we came back from a few festivalsand from me musically picking up all we left off I I wish I could tell you that at least I was conscious of the fact that Gil the accident or any of that played a specific role in choices of riffs of choices of lyric subjects or anything but I don’t recall it that way just felt like here we go again that the motivation was ideally the thing that was what was job momentum it was really what is the word that I think ofand that time it just felt like there was this autopsy opposites what it is now but it was like we belong on the road home is the road to wholeness movement home is touring home is out there living doing all that stuff in all these different crazy placesand always just never standing still always moving forwardand it was just you know that the records were almost like a catalyst to just keep the touring goingand so you always like we left off a master puppetsand then liking to sing the songs got longerand crazierand more progressiveand more sidewaysand Ellenand that sort of ran into a wall over the course of the chore for the next yearand a half when went like you saying Soto okay now or in Greenville South Carolinaand here comes Dino sweet justice songs over the course of 30 minutesand everybody like it was like we need to we look at this but for me I can’t tell you that Gil the playing sanity was something particular to that time it just it was always about movement before we get to the processand curious Rob you know someone who would been an outsider fan listening to this record what was your impression of that album the first time you heard it both as musicand is something that spoke to you as a young man I always thought I I thought of justice is more of a concept albumand a consult about what just just everything from the systemand himand like some of the titles that you had to take any what happens with the a lot of bands what happens of Metallica is it’s easy for the fan to create his vision of which open interpretation so there’s the idea that you that you process of what it meansand what it isand it’s sort of a journey that you take from the album cover which was totally amazing probably my favorite Taser music comes to life through the album cover in what you’re listening toand the unique you I will get in the sound I’m sure but I mean all of that stuff played a role in this really special albumand it was really very different from what had been done prior so it was an exciting time you nice to ice to go running in the mountains in Santa Monica Mountains with my act cassette you know my my headphones a Walkmanand that was sort of I mean every metallic album you know that’s what I tested it to how fast I could jogand run there whatever you ask dad that it was it was for me an exciting timeand when the tour came aroundand stuff that was sort of the talk of the town we’ve done this really forensic approach to each of the records from Killam all lightning mastering out justiceand with the rift tapes the demos the rough mixes in going back through justice in particular which is really running the album alone was an enormous document big enough to be a sellout what is it that you realize about that working progress that process by which you are putting songs together but the songs actually were in its own is like architecture you know there’s actually the sheets in the book where from the sessions which I think is that tape counter numbersand it actually breaks down solo one solo to pre chorus back to verse oneand this goes on for like two so that you actually you actually mapped out the music where is most people write songsand as I here’s the verse here’s the bridge here’s the outright you are actually building something with a much different structure even then you have a master puppets dad’s kind of like the billing of the house like you said here’s the things we need what else would be really cool in here was the finishing workand you know what’s the overall lookand feel they you’re right it was every song was a riff tape in itselfand we had so many riffs that we wanted to get them all in so we were in we were jamming riffs in the Air Forceand a manand we talk about the craziness of freight ends or something it all the sender goes over this wayand you know trying to outdo ourselves that way how many riffs can we get in one song would you logic of that what I think one thing a sense that you really trying to deeper I think by playing together like touring bike whenever growing whatever was happeningand were getting better literally just getting better at what we were doing we were more just sort of just on top of what we were doing it what it felt like maybe we were just more confidence during the trained ship whateverand I think so we could do like freight ends in Outing would be capable of doing freight ends five years earlier on Killam all on by the legs we just didn’t have the chops of the skills yetand think at that time still it was very much there was this kind of underlying thing about abilityand about shopsand about you know what slayer doingand what’s ill make it as doingand in all this we just like I think of this record is still the next step in that it wasn’t really until Bob rock showed up a couple years laterand started challenging us in the way we were writing the way were recording the way we were arranging the way would look at everything justice was just the next record same process but more over same process but everything was exaggerated more riffs longer songs crazier sideways you knowand it was inevitable that it would run into a wall was a place further the goal is interesting because in that I actually listen to the whole disk of the rift tapes you knowand all those bits that were coming up got as you it was as if there’s a market for 87 years James went to your tapes where your playing harvester piece of harvester sorry but one actually ends up in there also is I holderand there’s another one from October 1987 is a writing session I guess you guys are doing at your place in El Cerritoand your playing blackand suddenly in the middle there’s a bit of harvester so it was like any one of these bits could it in in any other song to get his breath to make it on the album you need to make them what songs again to fit in all example of how you how that was always that positive that goes back goes back to the beginningand a part ofand it’s still running if you satand talked about hardwired self destruct coming at still part of our DNAand I think that is when Metallica works there are times when we forced different waysand that’s maybe when something differentand cool comes up but what a lot of people said what the fuck are they doing but when Metallica really is OG metallic at that is what we do it’s just this giant puzzle if you want to playand illustrate anything at anytime feel for you I am going back to the arrangementsand any we were kind of already on that course going down that path with saws like write the lightningand Master of puppets in ohand a solid justice for all is not really that far away from sonic master puppets are right the lightning deftly has more parts see a debtor has more riffs but I mean we’re slowly inching in that that direction anywayand another thing I note that stated pick up on what Lars said in the late 80s it was just a saying you know there everyone wanted to show how much they can play it was it was a time of like you know all these these guitar solo album seal just shy Steve I had a lot of progressive metal bands of dream theaterand there is a real emphasis on playing back there is a short window like between 1986 to 1989 but we deftly felt thatand I think you know some of that crafting into this albumand just in a whining to show people that yeah you were wherever you were a metal bat actually pray you know to get staff even more intricate stuff without really being a full productand you knowand sell any is a sign of the times was the actual logic was just pick one song is exemplary actually logic building slackened is actually that’s innocent sunk as that’s the one that has the one cowriting credit for Jason made with was Jason’s money I remember on the after he joined the mean we would tuning rooms at the time but I mean that malware that that was written on the base right I think gay came over to my apartment at the time in Albanyand not New York Albany but gay came overand you know when you are just hanging outand we were just starting to get some ideas together like a what you gotten that was one of the things the one thing I would always stand out for me as he he would play that thingand just the way the riff was different every time at the end if it were it felt really freshand really cool because it came it would keep coming through within there be that little twist at the end it would sort of make it different lead into another bitand then when you came back it had that assurance about it but there was still that twist in the tale exactly it was it was rolling but you know which way was gonna roll for secondand but you could still hang onto it but having gotten that riff what do you think okay what would go well with that in a way there’s a it’s an interesting logic because it’s a kind of composition that really stands because the record clearly does have a legacyand yet when you look at itand I look at those tape sheets where it’s actually broken down any one of the as I said anyone of those pieces might’ve gone somewhere us but clearly there was an internal logic writing wiseand ultimately vocally because there’s actually one version of blackened in the box where your your playing the your playing the riffand humming the vocal melody there’s no words but clearly you got an idea of what’s got a sale over top let’s always something that I I feel I’ve been pretty good at his you know the drummers doing something the guitars doing something does not have to be the sameand then the vocals going to you know there’s a the way they work together I’ve always thought of the voice as one of the instruments so there’s a percussive thing just like I’m playing drums on the guitar essentiallyand then same with my singing you just another rhythm that’s happening along with thatand that’s just part of building a song out of the three dozen parts injustice that are listed on that one sheet that’s in the book where would what would’ve been the point where okay we are actually starting to composeand justice for all we say that about every single album just press the red buttonand recorded all thatand then we’ll figure out what’s good let’s just jam less is right this is createand let’s let it organically happen orand or let’s take this riff that we loveand force it in somewhere you know you notice you know everything there was a bit of that was a bit of everything but I think the jamming came a little later this was extremely detailed very precise we wanted to be us as tight as block it’s tight as we could ever beand you know not not just playing lies but sonically we wanted it to punch you in the faceand that’s that I think that was our motivation’s you know as far as sound wise we wanted it to we wanted it to jump out you know we were obviously in a transition in a dark place but we did we it was darker than in your new other places that I’ve been before but I’ve been in a lot of darkness so for me it was just kind of the next thingand what you do with that while you write about it you’re right about it you put it out thereand I do remember people saying wow now that you know Cliff died your neck in a write about death anymore slick others even more reason to write about it you know actually one of the earliest rip tapes that’s in the box there’s a late in a couple of late 86 was one of them is for dyers he so it weather that we are concept was already there clearly you are moving into a as you say are pretty darkand intense place where you almost whether you know it or not right I think yet you know all the albums well besides can kill them always you know that was us is ABC we had the soggy attitude of the first one we actually sat on a road right the lightning then master puppets were were getting topicaland then you knowand justice for all very topical but also there started to be a little more internal stuff showing up you know not so much opinions but my experience with could you see that Mars as the songwriting developed could you see that turning inward a bit or was it maybe not as hindsight I guess I when I look back in my mind the way all this connects is is you know when Bob rock showed up things changedand it was a whole different kind of thing you know that I think one thing that’s interesting to bring up is that we did attempt to record somebody else with my claim somebody else it can also Fleming Rasmussen did write a lightning funand Rasmussen did a master puppetsand were like gunsand roses record had come out there was a lot of would likeand it was like it was this sound thing happened this attitudeand I would consider handling a while in oiland the site somebody elseand then my clink came inand got bless himand his patientsand so onand Jamesand I went to LAand what that last maybe like a couple weeks before week something like thatand it just wasn’t it didn’t yell because I think primarily we just what ready to let somebody in yet we had a way we had a way that in our minds worked we were incredibly guarded about Metallica at that time still there was so many companies would get involved in an our people would get involvedand there was this whole thing with moneyand promotionand MTVand so is always stuffand we were like talk all that you were just where independent nobodies can fuck without shit Jamesand I the gatekeepers anybody that comes in to try to unsettle this would just talking chop them away you mean so gently called clink you know again God blessand he the last couple three weeks maybe four weeksand then Fleming came overand we were like back to what we knewand again not about right or wrong or battle were so it was just like this is what we noticeable when I think what we had is sort of found a way to know like this am sitting here listening to what everybody sayingand try to think about what was really going on at the time I think that there was it was are not balances you know so we found a way to get back is primarily Jamesand I to have our voices in the writingand the parts in the sonicsand it was not necessarily but the big picture but it was about the way that it could all coexist without anybody having sick backstab or it was like we’ve all chained togetherand we would move forward this was the way it worked it was like why I kicked him sound like that while parlays the kitchen salad that is because there was no other place for the kick drum to sort of come through because James gets heart was sort of here so kick drum would live up they are little bit down here so there’s a kind of the is a reason for a lot of the stuff nobody satand said is we had a record that can be mixed this way is to know it it’s sort of like we bought capable of thinking at that level so a lot of it was a result of what I think were sort of balancing points along the way to just sort of make it all work for the big picture date with I don’t know if any that makes sense now actually it says it does make sense because I was actually thinking listening back to the record again the other day is that you know one of the reasons justice seems like possibly the most extreme record you ever made is because the tone of it is so vicious you know the guitars are really compressed the drums are really compressed it’s really got this but is it sound like this frayed end of sanity like someone is really on the edge of just losing itand it really cuts like a knife but it’s important to is important to say that correct if I’m wrong to do it wasn’t it wasn’t planned that way it wasn’t like we did sit thereand go in a year from nowand have a record that sounds this particular way it of the word accidental but it’s to just a result of the instinctive choices that were made along the way to sort of what we consider to make it work keep people at they all that kind of shit you noting this is our thing nobody to talk with we can touch it was gonna get involved with the gatekeepers talk you know that was kind of my recollection of that whole year was was Jason really integrated performance wise because when I then heard the songs performed live on that tour when I went out with you guysand not Sheffield Belfastand Dublin he was clearly up huge presence in that sound one of the things that you know has been a topic of discussion for 30 years is where did the base goand yet clearly as amused as a performerand as an instrumentalistand as a writer he had started coming into his own how would you characterize what his place in that was because maybe people didn’t necessarily hear it immediately on the record I think it had to be extremely bittersweet for him like a dream come true but I’m stepping into someone shoes who can never be filledand must’ve been very difficultand for himand for us it was difficult it just truly wasand psych 101 will tell you that all her anger our griefand sadness got directed at him when it you know not all of it but quite a bit of it was he was an easy targetand I think the pocket that there were a couple things about Jason you know his personality he was he felt he was goofy enough to take it which was a positive for I think he was such a fanand we hated that we hated that part we wanted to un fan himand become as hard as you are yeah as hard as we were so trying to beat the fan out of them trying to also get them to play something different like Cliffwood you he was that he played with a picand he would follow whatever I would doand and I’m I remember there were times where I in IB planner I just turn around he couldn’t see plan so we can follow music to do whatever you want to do you know so but obviously live he was definitely he fit right in he was a great forceand you heard the base live soand he wasn’t afraid to step up to the micand bark whenever he felt like itand he was he was he would sweat he would really sweatand he put a lot into the live show so that gained a lot of respect at least I think for us once we started touring with themand also you know I think Jason tried again to type to try to balance things out by kind of thinking of really being prominent on the on the side of songs in their played lifeand he played the shit out of songsand you can tell that he was like getting it is alland I think some of that was because he was trying to compensate for it on the albumand that was his way to for his parts to be heard but we don’t know is a on they are yeahand nine the live life situationand so you know I think there’s a bit of that in the writing phase the songs that you’ve got credits for include justice either the holder frayed endsand dyers even at what point would you come in with ideas or riffs where you include where you gathering thingsand putting them into like a big basketand listening to stop world coming in as things were developing to say all hear something it could go here to add to the length of the back then we widget we would basically just get all her with tapesand just throw in a big pileand you know about the best the best part to be gleaned from those tapesand that they would be put into the songsand he basically that’s that’s how it was done back than any really you know we had we had different approaches to that overand over the course of the night different albums but you back then basically I would have a have photographsand get to these guys nowand then come back XML days laterand I would hear those those resting in context of the songsand you know the all you recognize that withand Natalia are recognized that riff that James is playing six months ago on itand it’s in a song to me you know there’s a that’s just how wise I cannot emphasize the word puzzle enough coming the immediate possible yes is Kirk Sanders go out of 50 riffs are hundreds of fucking basket of polar vesseland then that one goes there know that one goes there weight that one could work better they are flip that would put that one harvester put that feels like it’s just a bucket positive using them around in the studio as well know that by the time we got to to LA all the songs were done I mean it wasn’t think it was till maybe even the load error we always me the songs were pretty much done certainly in the Fleming era all the songs were 100 99. Active when they lack the most basic cities education health care jobs they said we could do in the reserve one God two different worlds Steve Bell was a pastor for eight years before he became an entrepreneur because of the pandemic Stephen Doty worship remotely from their living room and I moral values are important to them but they can forgive the fact that the president regularly disregards the 10 Commandments after all politics is always an immoral business our human agree with me were present in chapter 5 I still think over all that he tries to do what’s right even to come across I’m not to judge the man I knew my own frailties and minds and that’s between him and got really that’s not really my judgment I’m not going to be on the put him at the same level as Jesus so he just by present is not my faith Independence Day in Wisconsin pastor Greg braves the baking sun for hours after all a barbecue is essential on the Fourth of July Donald Trump has just promised to make America great again be very See Other Shirt: April Girl I Am Who I Am You Approval Isn't Needed T Shirt
