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METALLICA

WITH MICHAEL KAMEN CONDUCTING


THE SAN FRANCISCO SYMPHONY ORCHESTRA

1. THE ECSTASY OF GOLD (2:31)


2. THE CALL OF KTULU (9:34)
3. MASTER OF PUPPETS (8:55)
4. OF WOLF AND MAN (4:19)
5. THE THING THAT SHOULD NOT BE (7:27)
6. FUEL (4:36)
7. THE MEMORY REMAINS (4:42)
8. NO LEAF CLOVER (5:43)
9. HERO OF THE DAY (4:45)
10. DEVIL’S DANCE (5:26)
11. BLEEDING ME (9:02)
12. NOTHING ELSE MATTERS (6:47)
13. UNTIL IT SLEEPS (4:30)
14. FOR WHOM THE BELL TOLLS (4:52)
15. – HUMAN (4:20)
16. WHEREVER I MAY ROAM (7:02)
17. OUTLAW TORN (9:59)
18. SAD BUT TRUE (5:46)
19. ONE (7:53)
20. ENTER SANDMAN (7:39)
21. BATTERY (7:25)

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C ombining one of America's most powerful orchestras, the San Francisco
Symphony, with the world's most powerful rock band, Metallica, was really
Example: ‘Call of Ktulu’ is a symphonic piece even without the orchestra. A
story in music. Metallica music is always a story. Adding an orchestra was like
writing a film score to that story. Dancing around the sections of the tune.
about imagining music on top and alongside of their songs. Conducting a Every player in the orchestra working as hard as Metallica does, committed to
conversation between two different worlds that share the language of music. the music.
Creating a dialogue between two worlds that celebrate the power of music.
After two evenings of sturm and drang – I suppose the thing that sticks most
I live in both worlds ... now, so does Metallica. in my mind was the sheer balance in power between electric and natural
instruments. The massiveness of it all was fantastic! I keep returning to
I began by listening to and absorbing Metallica tunes and really believing that Metallica's ‘Rolling Stone’ quote: "... we don't expect easy listening ... the band
I was a symphony orchestra playing along ... listening to the orchestra in my will match the 100-piece ensemble with full-on amplification ... we can still find
head and writing down what I heard. I reacted to the songs, inventing melodies different ways of getting off."
and counter-melodies that wove themselves around the tunes and adding
orchestral color and texture to songs that were already complete! Well I would call it a Wagnerian Orgasm! It was a full-on musical experience
Sometimes we supported the chords or the riffs, sometimes we commented on with all players playing hard and soaking through their tuxes and black formals
from the exercise. A bit like experiencing all nine of Beethoven’s symphonies
the lyric or on a solo line, adding our voices to the song, playing the right parts and ‘The Rite of Spring’ in one evening! I remember during the intermission
on the wrong instruments ... giving every player something to say; and above all hearing string players saying how they should have brought a dry change of
making it feel and sound like it had always been there. clothes, and "it's Mitchum deodorant time" from a perspiring horn player. I
R ock bands invent their own parts to play. Orchestras rely on a composer and think the physicality of conducting and playing was the Symphony's answer to
a conductor to tell them exactly when and how and what to play. They will read Metallica's ‘full on amplification’ challenge.
‘fly specks’ on paper if necessary, and add their own expressive skill to each note
... making it come alive.
When the evening was over, it didn’t feel like it was made up of individual
songs – just one very mood provoking storm of sound.
When the busses loaded with the symphony members arrived the first day of Imagine taking a very stark black and white picture, tough and relentless,
the show, they were met with cheering hordes of Metallica fans that had been unpredictable yet hypnotic – as black and white as a piece of music on paper ...
camped out in the park across from the hall – not the usual greeting for a
Symphony Orchestra! Something different was going on. The beauty of nearly one hundred musicians – each of whom has dedicated as driving and powerfully honest as pumping guitars, bass, drums and voice can
be ... and adding orchestral light and shade, bursts of color, and surprising
their entire life to perfecting their ability to speak and express themselves
The first contact with the audience was a frightening roar which terrified the through the music and their instrument and playing together – reacting to blocks of sound from all the incredible expressive musical instruments that have
been created over hundreds of years to speak and sing our passion, our lives.
orchestra, more accustomed as they usually are to polite applause. The crowd’s each other and the music is why the orchestra was originally formed. They play
reaction was like adrenaline on stage, and we all thrived on it. That kind of concertos accompanying solo piano or violin at almost every concert ... but this
approval is inspiring! was something else ... a Brave New World! They think it was my idea, I think it was theirs!
The event was in a 'formalized' setting with orchestra members in ties and tails, As the evening unfolded there was a breaking down of barriers – not only So thanks to Lars, James, Kirk, Jason, (and to me too), and every member in
ushers in uniforms, and band members and audience in stage and street wear. between audience and players, but players and players. The band wandered
the orchestra for taking it on and making it fly!
around the stage and into the sections of the orchestra; orchestra players leapt
To feel the audience give a standing ovation to me and the orchestra even to their feet, excited to be making music on the edge of their seats. We were
before one note had been played was both reassuring and friendly, but I also not simply supporting; and certainly not ‘sweetening’ ... instead, the symphony
got the feeling that the audience was applauding its own daring in being there. actually became the ‘fifth Beatle’ – a member of Metallica. Michael Kamen
They were ready for anything ... Brave fans! September 23, 1999

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JAMES HETFIELD – GUITARS, VOCALS
LARS ULRICH – DRUMS
San Francisco Symphony Personnel: Bassoons;
Stephen Paulson (Principal),
1. THE ECSTASY OF GOLD 12. NOTHING ELSE MATTERS
First Violins; (Ennio Morricone) (Hetfield/Ulrich)
KIRK HAMMETT – GUITARS Rob Weir, Steven Braunstein
JASON NEWSTED – BASS Jeremy Constant (Concertmaster), Horns; Originally recorded by Ennio Morricone and released Original version available on ‘METALLICA’
Melissa Kleinbart, Naomi Kazama on ‘The Good, The Bad And The Ugly’ soundtrack
MICHAEL KAMEN – CONDUCTOR Victor Romasevich, Diane Nicholeris Robert Ward (Principal),
Bruce Roberts, Jonathan Ring
13. UNTIL IT SLEEPS
Produced by Bob Rock
Florin Parvulescu, Yukiko Kurakata
Kelly Leon-Pearce, Rudolph Kremer Douglas Hull, Jim Smesler 2. THE CALL OF KTULU (Hetfield/Ulrich)
with Hetfield & Ulrich and Michael Kamen Connie Gantsweg, Catherine Down Eric Achen, Joshua Garrett (Hetfield/Ulrich/Burton/Mustaine) Original version available on ‘LOAD’
Philip Santos Trumpets; Original version available on ‘RIDE THE LIGHTNING’
All songs arranged, orchestrated
and conducted by Michael Kamen Second Violins; Glenn Fischthal (Principal), 14. FOR WHOM THE BELL TOLLS
Recorded live at the Berkeley Community Theater in Paul Brancato (Principal), Craig Morris, Chris Bogios 3. MASTER OF PUPPETS (Hetfield/Ulrich/Burton)
Berkeley, California, on April 21-22, 1999 using the Effanel Chumming Mo Kobialka Andrew McCandless (Hetfield/Ulrich/Burton/Hammett) Original version available on ‘RIDE THE LIGHTNING’
Music and Westwood One mobile recording trucks Kum Mo Kim, Enrique Bocedi Trombones; Original version available on ‘MASTER OF PUPPETS’
Recorded by Bob Rock, Randy Staub Michael Gerling, Yasuko Hattori
Frances Jeffrey, Bruce Freifeld
Paul Welcomer (Principal), 15. – HUMAN
Orchestra recorded by Stephen P McLaughlin
Technical Assistance by John Vrtacic Daniel Kobialka, Daniel Banner
Tom Hornig, Jeffrey Budin
John Engelkes 4. OF WOLF AND MAN (Hetfield/Ulrich)
(Hetfield/Ulrich/Hammett) Previously unreleased
Mixed and edited at The Plant Studios, Violas; Tuba;
Original version available on ‘METALLICA’
Sausalito, California, August-October ‘99
Mixed by Randy Staub
Geraldine Walther (Principal),
Yun Jie Liu, Don Ehrlich
Peter Wahrhaftig 16. WHEREVER I MAY ROAM
Assisted by Stephen P McLaughlin, James Brett Gina Feinauer, David Gaudry Harp;
Douglas Rioth
5. THE THING THAT SHOULD NOT BE (Hetfield/Ulrich)
Original version available on ‘METALLICA’
Kent Matcke, Darren Grahn, Leff Leffertz and Billy Konkel Leonid Gesin, Christina King (Hetfield/Ulrich/Hammett)
Seth Mausner, Nanci Severance Timpani; Original version available on ‘MASTER OF PUPPETS’
Digital Edits by Mike Gillies, Darren Grahn
Paul DeCarli and Billy Bowers Violincellos; David Herbert 17. OUTLAW TORN
Additional editing at Plantation Studios, Maui, Hawaii David Teie (Principal),
Barara Bogatin, Jill Rachuy Brindel
Percussion; 6. FUEL (Hetfield/Ulrich)
Original version available on ‘LOAD’
Music Preparation by Michael Price and James Brett Raymond Froehlich (Principal), (Hetfield/Ulrich/Hammett)
David Goldblatt, Anne Pinsker Anthony J. Cirone, Tom Hemphill
with Blake Neely Original version available on ‘RE-LOAD’
Music Copying by Vic Fraser and Blake Neely Peter Shelton, Judiyaba
Richard Andaya
Artie Storch 18. SAD BUT TRUE
Orchestrations by Michael Kamen with:
Bob Elhai, Brad Warnaar, Blake Neely, Geoff Alexander Basses;
Keyboard;
Marc Shapiro
7. THE MEMORY REMAINS (Hetfield/Ulrich)
Original version available on ‘METALLICA’
Chris Boardman, Bruce Babcock, Ted Allen Larry Epstein (Principal), (Hetfield/Ulrich)
Pete Anthony and Jonathan Sacks Stephen Tramontozzi, William Ritchen Original version available on ‘RE-LOAD’
Mastered by George Marino at Sterling Sound
Chris Gilbert, S. Mark Wright All songs published by 19. ONE
Charles Chandler Creeping Death Music (ASCAP), 8. NO LEAF CLOVER (Hetfield/Ulrich)
Thanks to everyone at the San Francisco Symphony, Flutes; except "The Ecstasy of Gold,” published (Hetfield/Ulrich) Original version available on ‘...AND JUSTICE FOR ALL’
especially Joyce Cron Wessling and Joshua Feldman by EMI Music Publishing
Paul Renzi (Principal), Previously unreleased
Special thanks to Debra MacCulloch
for all the long hours and funny letters
Linda Lukas, Catherine Payne 20. ENTER SANDMAN
Once again, thanks to all the good people
Oboes; For fan club information go to
www.metallica.com
9. HERO OF THE DAY (Hetfield/Ulrich/Hammett)
involved at The Plant Eugene Izotov (Principal), (Hetfield/Ulrich/Hammett) Original version available on ‘METALLICA’
Pamela Smith, Julie Ann Giacobassi Original version available on ‘LOAD’
Michael Kamen thanks: Metallica, Bob Rock, Peter Mensch
Cliff Burnstein, Sue Tropio, Marc Reiter, Robert Urband Clarinets; METALLICA.COM 21. BATTERY
Sandra Cortez, Olga Gerrard, Deborah Jones
Apple Masters and Kanwal Sharma, Michael Tilson-Thomas
Luis Baez (Principal),
Sheryl Renk, Anthony Striplen
10. DEVIL’S DANCE (Hetfield/Ulrich)
and The San Francisco Symphony, Andy Brown and LMO, ©1999 Blackend Recordings. BLCKND-477372 (Hetfield/Ulrich) Original version available on ‘MASTER OF PUPPETS’
Joshua Feldman, Bob Garcia and Jeremy Freeman. Original version available on ‘RE-LOAD’
It’s all for Sandra, Sasha and Zoe.
Album Design by Andie Airfix at Satori 11. BLEEDING ME
Photography by Anton Corbijn (Hetfield/Ulrich/Hammett)
Management by Q Prime Inc. Original version available on ‘LOAD’ 3
Management for Michael Kamen by Robert Urband
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