附注:
Kirk Hammett: "I used a Mesa-Boogie Mark 2C amp
and a black Randy Rhoads custom Jackson guitar.
For the four-bar fill at the beginning of the song, the
rest of the guys wanted something high and
screeching, but I came up with something a bit more
percussive and riff-like, a flatted fifth-type figure. I got
this real raunchy, over distorted sound which clashed
well with the tight rythm sound James had. James
played the first solo in that song, which is a great solo.
I worked on the next solo for a couple of days - getting
it tight was a real task for me. While recording the
track, my hand accidently pulled a string off the neck,
and it grounded on the neck pick-up, giving me
something like a high D. It sounded like I slid up to a
super high note that isn't even on the neck, so we left
it. For the next solo we used backwards guitar parts.
To get them I played a bunch of guitar parts that were
in the same key as the song and laid them down on
quarter-inch tape. Then we flipped the tape over and
edited it, so we had two or three minutes of backwards
guitar. We put it in the last verse of the song."
James Hetfield: "I think we wanted to write another
song like 'Creeping Death' - with open chords carried
by the vocals and a real catchy chorus. On 'Master of
Puppets' [album] we started getting into the longer,
more orchestrated songs. It was more of a challenge to
write a long song that didn't seem long. The riff for that
song was pretty messy - constantly moving it works
good live; people love to scream 'Master!' a couple of
times." (source: GuitarWorld issue of '91)
注释:
Staccato, no P.M.
slide pick
To achieve this sound, Kirk pulled his high e
string off the neck and grounded it on the
neck pickup, creating a "super high" D sounding
note and used the whammy bar...
...to change pitch
Heavy use of whamy bar
Reversed track with delay
