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Ex METALLICA Bassist JASON NEWSTED Admits He Was “F**king Livid” When He First Heard ‘…And Justice For All’

In a new interview, Metallica's ex- bassist recalls being horrified upon hearing the final mix of the band's completed mix of the album.

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Former METALLICA bassist Jason Newsted admits he was “fucking livid” when he first heard the band’s ‘…And Justice For All’ album and discovered that his contributions to the effort were essentially inaudible.

In a new interview with Metal Hammer, METALLICA’s ex- bassist recalls being horrified upon hearing the final mix of the band’s completed mix of the album, which is officially credited to Steve Thompson and Michael Barbiero.

“I was fucking livid!,” Newsted reveals. “Are you kidding me? I was ready [to go] for throats, man!”

“No, I was out of my head, because I really thought I did well,” he admits, more seriously. “And I thought I played how I was supposed to play.”

Jason Newsted, formerly of fellow thrashers FLOTSAM & JETSAM, joined METALLICA after the tragic death of Cliff Burton in 1986, and was itching to get in there and give his best to the group.

Jason admits he shouldn’t have been very surprised that the sessions for the record quickly became all about frontman James Hetfield and drummer Lars Ulrich.

“Lars and James were the original garage band duo, as far as that goes,” he says. They always made the records that way, from [1982 demo cassette] No Life ’Til Leather, it was Lars and James, guitar and drums. On the original No Life ’Til Leather cassette – if you happen to ever see a real copy or a photo of a real copy – in Lars’ handwriting, in ink pen, on the label of the cassette, [it reads] ‘Turn bass down on stereo’. On No Life ’Til Leather!”

“They mixed it how it was supposed to be mixed: there’s the bass and there’s the guitar from all the way back. But Lars didn’t want [that] because it messed with his drums somehow, so when he sends the demo out to fucking Combat Records and wherever, [his instruction is] ‘Turn the bass down before you even listen to this.’ Before you even get it going, just turn the bass down. Right from the get go. Before you even start. That’s where he’s been his whole goddamn life, so why would it be any different when it came to […And Justice For All]? They made Kill ’Em All that way, they made Ride… that way, they made Master… that way, all of them. Those two guys in a room [mimics drum beats and playing], that’s the way it always happened. [For] the most successful metal band of all time. So you argue with this shit? I’m not really sure.”

“Now it’s become the best garage band album ever [for artists such as] Black Keys, White Stripes, Duo Jets, the different ‘power duos’ of garage stuff.”

Lars commented on Jason’s inaudible bass tracks on the record in a 2008 interview with Decibel magazine, commemorating the album’s then 20th anniversary.

“No, it wasn’t intentional,” he said. “Justice… was the James and Lars show from beginning to end, but it wasn’t, ‘Fuck this guy — let’s turn his bass down.’ It was more like, ‘We’re mixing, so let’s pat ourselves on the back and turn the rhythms and the drums up.’ But we basically kept turning everything else up until the bass disappeared.” (Laughs)

Kirk Hammett would offer more on the subject within the same interview.

“The reason you can’t hear the bass so well is because the bass frequencies in Jason’s tone kinda interfered with the tone that James was trying to shoot for with his rhythm guitar sound, and every time the two blended together, it just wasn’t happening,” he explained. “So the only thing left to do was turn the bass down in the mix. It was unfortunate.”

“It was an experiment, too,” he added, “we were totally going for a dry, in-your-face sound, and some people really like that sound. A lot of the newer-generation bands, especially, think that album sounds great. But at the end of the day, it was an experiment. I’m not really sure it was 100 percent successful, but it is a unique sound that that album has.”

“If the Justice… album had been mixed like a regular record, we wouldn’t be talking about it right now,” says Jason Newsted in conclusion. “It would’ve did what it did and we still would say it sells a couple thousand copies a year, or month, or week, whatever, and it does its thing, and it just sounds like it sounds and there you go. But because of the way it all came out, it became such an unnecessary big fucking deal, [and] we’re still talking about it again. I think it was brilliant they didn’t even realise how fucking brilliant they were in their drunk stupor to do what they did!”

You can listen to the full interview with Jason Newsted at this location.