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整理人: KGB(2000-04-08 12:30:18), 站内信件
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Metallica Gets Into S & M
By Murray Engleheart
Metallica is no stranger to ripping up the heavy-metal rulebook and gl
eefully heaving it against the nearest wall. The band wrote most of th
e latter day chapters anyway and will probably write a few more before
it's done.
But that's the license that comes with selling 60 million albums world
wide. Nonetheless two performances on April 21 and 22 this year at Ber
kley's Community Theatre with the San Francisco Symphony Orchestra as
captured on S & M (Symphony and Metallica) -- a double CD containing t
wo new songs, "No Leaf Clover" and "Human" -- still seems something of
a leap.
"They came out in their tuxes and tails and everything," says bassist
Jason Newsted of the orchestra members. "They're used to like, 'Bravo!
' and they're greeted by the regular Metallica audience like, 'Fuck ye
ah!!!' Like total maniacs, loud, loud, loud people throwing flowers at
them and throwing the metal sign and going, 'Fucking A!' So they were
quite taken aback but in a really pleasantly surprised way. They turn
ed bright red, and they're all smiling so big like little kids man. Th
ey've played in front of Kings and Queens and whoever else, and here t
hey are in front of these loyal Metallica kids."
CDNOW: Where did the idea for the orchestral project come from?
Jason Newsted: Michael Kamen suggested it a couple of years back. We m
et him at the end of '90 or beginning of '91. James [Hetfield] and Mic
hael pieced together strings for "Nothing Else Matters" on the "Black
Album." We've kind of kept in touch. He's seen a couple of Metallica l
ive shows, and I think he really dug the sheer power of it all.
He related the power of four guys with their distortion compared to 10
0 symphony members making this huge grandiose racket so I think that h
e wanted to piece those two together. He seriously approached us almos
t two years ago, and we said, "Heck, yeah we're up for the challenge!"
I think Michael, especially within some of the older compositions of M
etallica, the instrumentals like "Orion" and "Call of Ktulu," heard li
ke a heavy metal orchestra. We'd already created it really.
Most of the people in the symphony can only play from paper. Just what
you put in front of them, and hell, they can kick its arse. They usua
lly really couldn't just jam if you asked them to. Us, on the other ha
nd, we can only jam, and we wouldn't know what to do if you put paper
in front of us. And the symphony is the best playing softly most of th
e time so they can hear all their delicate instruments, and Metallica
are way better at playing really loud. So you've got these two things
to contend with, and you kind of throw them all in a bag and hope that
everything comes out.
"One thing I was very proud of was the loyal fans of Metallica that we
re able to make it to the shows were all really well behaved, and a lo
t of people got dressed up."
Did you have to make any concessions to make sure the orchestra member
s kept some degree of their hearing?
For the first time in Metallica's career we wore in-ear monitors. We'r
e used to having full, huge, powerful monitors on the side of the stag
e and in front of us on the stage so when you hit the guitar it moves
you, it moves you physically.
The volume ... you feel that it's out of tune before you hear that it'
s out of tune because it's so loud; that kind of thing. So we had all
of the sound that we're used to, this huge sound coming into these lit
tle things in our ears.
At the same time, you've got all these people playing all this stuff a
round you that is so far from your regular one, two, three, four rock-
and-roll beat that we're used to playing to, and they're playing all t
hese frills and different crazy runs all over the place. It was quite
a challenge to try to keep your concentration on what you were actuall
y playing and keep the Metallica thing in tact.
How did the shows go?
The first night was very nerve wracking, and the second night was grea
t, man. The interaction, getting up into the ranks of the orchestra an
d sweating down on their instruments and down onto the music on the mu
sic stands and doing the war face, you know, right in their face, "Com
e on!" And they were loving life for a second there.
You've got this old Russian cat with a scarf over his shoulder and the
white hair and just prim and proper and all that thing, and you'd get
right up to him and go, "Yeahhhhhh!" And he doesn't want to give in,
but he eventually smiles, gives you a little nod or whatever of approv
al. That was the best part, the interaction and finally earning that r
espect was really cool.
"Most of the people in the symphony can only play from paper ?They usu
ally really couldn't just jam if you asked them to. Us, on the other h
and, we can only jam, and we wouldn't know what to do if you put paper
in front of us."
Were there any requests for autographs from the orchestra?
The best thing was the primary cellist. I think it was probably before
we even started making all the noise. He had his "Black album" and as
ked, "Can you sign this for me man? I've been a big fan for a long tim
e." It was like, "Holy shit! This is the first chair cellist in the Sa
n Francisco Symphony!"
That kind of broke the ice, and everybody asked each other for autogra
phs. We're swapping them for the next two days. They were wearing Meta
llica shirts and everything, man. It was awesome.
One thing I was very proud of was the loyal fans of Metallica that wer
e able to make it to the shows were all really well behaved, and a lot
of people got dressed up. You know you're used to seeing them in thei
r Metallica rags and tags and whatever, and they got dressed up, and s
ome of the girls looked really nice.
My dentist, lawyer, and mum and dad, and elderly friends were there. I
had a friend there who was 91 years old checking it out and loving it
.
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你说这班车可以把我送到天国去,怎么我觉得我在一步步接近地狱。
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