The silent bass: The story behind Metallica’s quiet ‘…And Justice For All’ bass tone

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As a lifelong Metallica fan and someone who grew up with the raw power of albums like “Ride The Lightning” and “Master of Puppets,” the release of “…And Justice For All” was a bittersweet moment for me. On one hand, I was thrilled to hear new music from my favorite band. On the other hand, the near-inaudible bass left me feeling like I was missing an essential ingredient in the Metallica recipe that I’d come to know and love.

1988’s album “…And Justice For All” by Metallica is admired greatly among metal enthusiasts, but it frequently faces criticism due to its almost undetectable bass guitar sound. To put it simply, the “Harvester of Sorrow” record might have yielded more bass sound! This was Metallica’s first album with bassist Jason Newsted, who joined the band following the unfortunate demise of Cliff Burton in 1986.

Although Jason Newstead significantly contributed to Metallica’s evolution during a challenging period, his influence on the album is relatively subtle. Flemming Rasmussen, who produced their albums like ‘Ride The Lightning’, ‘Master of Puppets’, and ‘…And Justice For All’, suggests that the band deliberately held back Newstead’s bass lines to provoke a response from Jason. In an interview with Metal Injection, Rasmussen stated, “I believe – just speculating here – they did this to elicit some kind of reaction from Jason.”

In this scenario, it’s suggested that the band, who were still mourning Burton’s passing, might have been assessing Newsted’s commitment and loyalty by testing him. The reason being, as stated by someone else, Jason was a fan and rarely disagreed or expressed his own views. It seems they anticipated him to assert himself within the band, possibly seeking a response. When no reaction ensued, that’s how the album eventually took shape.

As a devoted Metallica enthusiast, I’ve often pondered about the emotional turmoil that shaped their iconic albums. In a 2018 interview with Blabbermouth, James Hetfield, the band’s charismatic leader, revealed an intriguing insight. He admitted that the band’s profound sorrow over Burton’s demise was unintentionally channeled towards Cliff Burton’s successor, Jason Newsted. In a nutshell, he explained that our collective grief and melancholy were redirected at him due to his quirky nature, making him an easy target for our pent-up emotions. Interestingly, Newstead was resilient enough to endure this treatment, which worked in his favor. However, the band found it unsettling that he remained a devoted fan, something we found intolerable and sought to change. We aimed to ‘unfan’ him, so to speak.

Metallica vs. Jason Newsted’s bass?

In a more heartfelt and less aggressive tone, guitarist Kirk Hammett expressed his longing: “I deeply wish we had more recordings from the first three or four years with Cliff Burton in the band. There simply isn’t enough video, there aren’t enough photos, and overall, not enough memories of him…”

After Burton’s passing, the band experienced a challenging phase that significantly altered their dynamics, creating an unoptimal creative setting. Despite Primus’ Les Claypool, a skilled bassist who tried out for the position, not being selected because he didn’t quite mesh with the group (Claypool proposed playing some Isley Brothers tunes during the audition).

Despite taking over the role, Newsted encountered difficulties fitting in with a band that was still grieving and adapting to their revised lineup following the release of …And Justice For All. Over the years, enthusiasts have produced remixes and cover versions that emphasize Newsted’s bass lines, such as the fan-created remix …And Justice for Jason, which showcases how the album could have sounded if Newsted’s influence was more prominent.

These endeavors underscore the ongoing disagreement, a matter frequently discussed by both supporters and critics of Metallica, about which aspects are most compelling.

Newsted after Metallica

Three years post the album’s debut, Newsted looked back on his time with Metallica, stating his playing style enhanced their tightness. Unfortunately, his stint with Metallica concluded in 2001, leading him to explore diverse projects such as joining Ozzy Osbourne’s band, where he was less frequently referred to as Jason “Newkid” thereafter.

Apart from his solo project called “Newstead”, he experimented with a band that shared his name, but unfortunately, it didn’t last long. Speaking about the experience, Newsted said, “There were some really good aspects and some really challenging ones as well.” He continued, “When it came to financial matters, wearing multiple hats, writing lyrics, composing music, performing, and funding everything by myself, it became simply too overwhelming.”

Robert Trujillo, who took over from previous members in Metallica, introduced a unique playing style to the band and also shared a history of performing with the legendary vocalist of Black Sabbath.

No hard feelings over extra-soft bass?

Reflecting on my time with Metallica during the recording of “…And Justice For All,” it’s clear that chapter holds a unique place in the band’s history. Contrary to what some might assume, I don’t harbor the same bitterness about the experience as one might expect. In fact, I acknowledge their immense global influence during this era, saying, “For this generation, they are undeniably the biggest band on the planet.”

Nonetheless, the debate over the mixing of the tracks underscores the profound internal conflicts and emotional turmoil that fueled one of the most influential heavy metal albums from the late 1980s. Although some criticized the bass mix, the album firmly established Metallica as a pivotal act in the metal scene, securing their first Grammy nomination and paving the way for their subsequent achievements.

Could you possibly hear the bassline in this remastered tune? Give it a listen if you’d like, and enjoy! Just a heads up, this version has been enhanced.

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2024-08-11 15:01