Original subtitles

All right. Sorry about

that. Uh, same place. Pick up where we

left off. Just come in.

[Music]

Almost like

you're almost like you're in this fight.

[Music]

along balancing it right and wrong. Why

is it so hard? Always pull the jo almost

like your fight. And there it went.

Almost like your

life. Take it from the practice before

the melody. Take it from the riffing

before the melody.

[Music]

[Music]

D. That's a lot better. There we go.

During that last verse, it still feels

like I should hit open cords.

Cuz when we choke down, it's just I

don't know. Well, maybe don't choke.

Yeah. When it when I choke down with

you, it just it sounds like too much.

I'm not choking at all. I'm raoning it,

man.

[Music]

All right, boys. Let's rock it.

Seriously. Seriously. Let's do it. I

mean, let's rock. 1 2 1 2

[Music]

Not overall. No, tempo wise seems pretty

in there. It felt pretty exciting. That

was pretty hot, man. That was rocking.

Absolutely.

So transition very weird. Have you heard

of Mike going to the solo? The first

solo section

going into the first from that grind

into the solo seems shady to

[Music]

play the take. You know those accents at

the end of each verse I they they get

better. I I'm not sure I've nailed them

[Music]

quite that good though.

Can I hear the going right? Right. Going

into that solo. Is that comfortable?

[Music]

[Music]

I got some ice, man. There's that one

part in the middle that takes off even

the riff with the vocal.

It feels great, but it's I'm like I

never I noticed that it's picked up

before, but I never noticed it while

someone was having to play and staring

at them. Man, that's cooking.

But just the

It's that. Yeah.

Make those audible, you know.

[Music]

Okay. So, that

[Music]

works. I like the sound we got on this

[Music]

one. Pretty cool.

We do need

fader levels. So, this just goes off.

That stays. That's correct. Yeah. Um,

which of these faders are the same? Um,

the stiletto 7 and 8. Those are pretty

close. It's like 514. Yeah, that's very,

very close. Okay.

[Music]

But I was in the middle, too. Yeah,

but that's all right. We got to lay

down. Okay,

let's talk about this part. So, check

this out. Right, it's very the very very

intro.

[Music]

It's that first riff. Mhm.

This might be the first song on the

record, right? Yeah. So, in theory,

this might be your first entrance on a

metallic record. Make it count. There it

is. Make it count. Exactly. No pressure.

Just the first run.

[Music]

Got the intro.

[Music]

Hi guy. Play the one with Kurt Right.

No, don't play seven here.

The Wow. Wow. finger has not been

recorded yet. It's still from the from

the original,

just so you know.

[Music]

[Applause]

So, I think the

um my main questions are the guy coming

out of the solo. Uh no, the guy after

each chorus, it sounds like the first

two

are different than the last one.

Yeah,

that sounds in the first coming out of

the first two choruses, they sound

either too tight or too what is it? Two

are they higher? They're a different

note than the last one. Okay, cuz the

last one

sounds right to me. Last one's in D.

These are all in E.

It sounds good. You can have a big old

vocal over that.

You ready? I'm ready. Let me tell you

between the two of you guys. Come on.

When I say ready, I don't mean if I hit

record, will you play something? I know

that's going to

happen. Something that we're going to

put on the record. Are you ready? Yeah.

[Music]

[Music]

[Applause]

[Music]

That's a cool.

Can you get that second high

note more? Yeah. See what happens on it

cuz what you're hearing is the the B

string is sounding a little bit. It's

creeping in there a little bit. That's

why it sounds the way it does. I'll try

and do it again.

There you go. Just like that. You go a

[Applause]

step. Let's go back to the beginning.

The third one.

[Music]

That spike is where it starts.

Awesome. No comping.

All right. It's kind of calm. Here we

go.

Like a fly man that is to the speed and

grab a seat. Like a listen that is never

learning to repeat. Like a face is a

speed. All I can do is I

fight like a misery that keeps me

focused through. I'm going astray like a

little we like a

stupid.

Yeah. Cy is long.

Realize we don't belong. Useless

anyhow. Never stop the bleeding now.

I'll deny this bite. And there it went

almost like your life.

I think we feel that it's the album

opener and that it's the kind of the

battery. It's got the kind of the

classic Metallica. It definitely has the

classic Metallica. classic Metallica and

also the intro titles do Metallica.

Well, I prefer um you know at the very

end when he says that was just your

life. Yes. I think that's uh strong. I

think it's a little more dramatic than

almost like your life. Yeah, that was

just it's just punchier and harder and

and more kind of I agree with that. I

like that was just your life. I mean, I

would have thought maybe disconnect

somehow, but that was just your life is

much more evocative. That was just your

life. Boom. Hi, guy. Yep.

[Applause]

[Music]

[Music]

Heat. Heat.

[Applause]

[Music]

Now your

life is your life.

[Music]

[Music]

See not my fault from grace.

[Music]

All right.

Um Oh, got to start making a

record. That was cool.

Let's try it.

[Music]

You know, it's got to be get better than

that. It's good. Yeah. But, you know,

and then like a core, you know, like we

all

[Music]

That's going to be awesome.

[Music]

Yeah, it feels better. You want to

listen to it or you want to keep putting

it together? Keep it together.

Okay. I think the main thing is that

it's constant.

That's the most important thing. You

like maybe two sets of singing but

coming back to the riff in between for

singing pauses is really cool. You want

to keep it that short. Do one round of

the riff and then maybe do it again.

Start off with a riff E then go to G

stado

right and then

back or something. Try this. Just move

forward with this. Do four, rip an E,

then go to G, G. Then try and go to the

back half of the

chorus. Yeah. 2 3 1 2 play the back half

of the chords and then play the front

half of the chorus and you join up.

That's where you can then start doing

your variations of that. So E G, then

the back half of the chorus, then the

front half of the chorus, and then we

can do a

breakdown. So you hook up with him and

play like a noty thing alongside the

front half of the chorus or something.

And then maybe I can break it down to

like a four times or

something. Where do you want to take it

from?

Rip into this part we're talking about.

Right. So you take from where the solo

starts. So it starts on the main riff.

It goes one.

[Music]

It's like, you know what I mean? The two

separate things make the total less. So,

it's either maybe he doubles up with you

and you do the modulation and set up the

back half of it or you don't do it and

play the chord. That's my first thought.

My idea is maybe take the back half of

the course, put it up front and then the

second half we do

the do that together and I do some other

vocal thing and then we hook up on the

Yeah. But if I play with them, they'll

totally stand out. You get a distortion

kind of sound or something.

[Music]

Heat. Heat.

[Music]

[Music]

I get screwed up cuz I don't know how

many there are now. I I don't either. It

sounded rocking in here. That middle bit

was sweet. You guys are playing great.

It's like either this is really on or

not really on. And it's today it's

really on. That's so weird. No, I just

can't find I can't find. Yesterday I

slept and I went running and I didn't

steam in the whole thing. Might not have

been you. That's the thing. It's the

It's the total connection. But today I

didn't go running cuz I kind of slept

late and I couldn't be bothered and I

was still kind of in a pissy mood from

yesterday. So I didn't go running today.

Fire today. And then I come out here and

it's

great for a man who believes in

absolutes. It's

what's the first spot that you have for

me?

[Music]

The just those coming in tight, you

know, hearing it just like a hit, you

know?

[Music]

Now the little gap there is good,

[Music]

but

man

[Music]

Heat. Heat.

[Music]

[Music]

[Music]

That's going to be a good one. Done. And

that sounded really good, dude. That

sounded really good. Heavy and rocking.

That sounded like the best I've ever

ever heard it ever.

[Music]

That's what I'm talking about, dude.

Yeah. All right, we're going to do some

punches. Okay.

So, beginning of

the I know we just got a couple of these

spots, but that was pretty far. You

can't focus.

That part right there. I didn't get the

little

ready. Yeah. Sounds pretty thorough.

[Music]

So what's what's the

riff? Okay. Turn to have up tracking

this straight

[Music]

double. We have a goose extra hang there

if we want to do that. Do we have a

goose egg there? Hang. Do we have a hang

on that side if we want?

We can.

Yeah. So, here's the

one Kirk's home solo.

[Music]

[Applause]

[Music]

We coming.

Did you ever hear the other one?

[Music]

is the way I hear it. It's pretty

simple. The second

one feels lively and feels like it's

playing with the off the music. The

first one feels like it's something

that's composed and kind of labored over

and kind of thought out. Sometimes when

you have to kind of sit around and wait

or whatever, you kind of get into the

places where you overthink it, you know.

But I think what we're going for here is

so much more of a lively moment and

something where we keep going back to

the floor all the time and trying to

make sure that that human element is

there. And so the second one it sounds

like you're playing with the music and

with the rest of us where the first one

sounds exactly like you're sitting in a

room by yourself thinking and

overdubbing, you know. And to me it's

it's really apparent. I would agree with

that.

19 day

two. 19 day three. No. 19 day 4.

I mean, you know what? Yeah. I was I

mean, it's not bad, but I mean, you're

looking for No, I'm looking for

ridiculous. Rick said this song was

ridiculous, and I can't It's not It's

not good enough. But if you step

away from the details, it's not you'll

this solo is not the only thing that's

going to make anything ridiculous or

every dude every nanoc has to be

ridiculous.

Okay. Seriously, we got to set the bar a

little higher. Okay. I'm Man, I'm with

you.

It's Yeah, it's almost so much more.

Wow. What are we going to do? We'll go

fill that gap up. It's cool, too, cuz

you got the the strings on your guitar.

That should be the main.

So, I'll start from sort of the

beginning of the break. Yeah.

The slave becomes the master.

The slave becomes the master. Yeah.

[Music]

Slave is usually flat. Huh. Maybe try it

at the end of the day. Yeah. What's um

what's on the menu for today? Well,

we've

[Music]

got one of the ones where it just feels

like it should be that I I try purposely

to go and find stuff in all the other

songs where it's not the end of the end

of the chorus. Um, but this one just

fits. Did you reach the end? Is it the

end of the line or you've reached the

end of the line? The end of the line.

New consequence machine. You first on

your gasoline asylum over time. Never

mind. You reach the end of the

line. That was the That was the best one

yet. Getting very close to what it could

be. Cool.

[Music]

like that. That's very cool.

[Music]

That's great.

Don't forget that 6 months from now.

Well, that's what I was trying to do.

So, let me just play somewhere. Well,

you got it on video.

You roll. I roll. We

roll. We roll around. So when you come

up with these ideas, we usually like

massage them around with the vocals are.

If you think it's going to be more

inspiring to you to come up with parts,

couple of them in half.

Yeah. Well, we can't build something

around the vocals cuz there's there's I

can't think of a new school for it.

You're staying after school. Yeah.

Okay, the kids are out in recess. Yeah,

I know. I want detention.

[Applause]

Is that your wireless cutout? Yeah, your

wireless cutout. I get it. And the You

have to go stand here on the spot.

That's the wireless sweet spot.

[Music]

[Music]

[Music]

He's She's playing octaves or something.

Playing that chord.

You know the chord that you always play.

That's what I'm playing. Isn't that what

it is? I don't know. I'll have to have

to listen to it.

Do we know that's right though?

[Music]

That's what I've been playing. That's

what I play, too. All right.

Right on.

[Music]

Whoa. Come on,

boys. One, two, three, four.

[Music]

[Music]

So instead of G on

the the notes just before that, we're

doing E.

[Music]

Okay. The other thing I noticed in that

riff,

[Music]

uh, you know, like a slide after it set

set the note up again.

[Music]

[Music]

Four and five in this and the last one.

Last one to me. Four and five are the

ones we've been trying to get. Okay, so

those are still funny. And then punch

out and then grab the very last

[Music]

[Music]

[Music]

I think I got the last one. Yeah. So,

uh, check your E

string. You're right. It's good. Here we

go.

[Music]

Why you put on the ground? Use your

foot.

Feel like it's better with the hand.

I wouldn't mind hearing something that

goes along with the bass to make it a

little heavier. I don't know how you

could make that part heavier. It's just

it's

[Music]

it's chord. I mean, he's

doing he's just playing. He's one way to

h instead of doing it like that. But if

the kids aren't going to do it on their

own, they're listening to

that. Yes.

He's going down super low.

I think everything

going is not so great. Okay. Cuz the

vocal and that

guitar and that are doing it. But the

bass is at least doing a

check it out. I'm thinking maybe instead

if there was more movement, you know,

like

aa, you know, something that moved

around even

more. Why? Just for

kids, just get one of those orurves. See

what that

does. and get an onion

pakora. Crispy onion ball deep fried in

flour batter. That sounds just like

having a piece of sashimi. Huh? Say

healthy. When we did the demo back in

the day and we did rhythm rhythm and

then down the middle, okay, there was no

doom in the front. So the issue of what

note should sustain through that was not

addressed. Maybe that's something James

should be part of. It's a pretty uh uh

sophisticated musical question.

What's the matter with coming out then?

What's the problem with coming out?

Sophisticated musical question. What is

the problem with this? After 27 years,

we're finally at a point in our career

where there's we're standing in front of

something sophisticated today.

[Music]

that note. Yeah. Okay. So, can that note

sustain? Can Can that note sustain

through? Um, no. Because it's the same

as

this. So,

no. See, it's it's all right during the

the first

chord. Right there is a stretch, but

right there is a love. Oh, so you just

have to be out by that. Yeah, basically.

Okay. So, how would you play it if you

were just playing it?

[Music]

That's what you did out there and it

worked. So, we're trying to get this on

the intro

guitar. Yeah. Little dude. Oh, yeah. The

main thing is that

That's the teaser for the Right. Right.

Okay. Well, maybe you have a fresh

perspective on it.

Wait, wait,

[Music]

wait. You

know, that guitar

starts for early. That could be cool.

Oh,

that starts over the intro.

You know what I mean?

One more, please.

[Music]

Got it.

Really cool if you can. That was a great

thing at the end. Um if you can try and

kind of end

right where the scare roll ends da da da

out. You know what I mean?

[Music]

So what happens here is two rounds of

that

[Music]

base. So you've redone the bass and

black squirrel. Yes.

[Music]

Should I slide with him? I like that

slide. Try to play a

little back so everyone else is

You're the You're the anchor. Here we

go.

[Music]

That was good. Yeah, I like

that. Make him more

[Music]

strong. Yeah.

Yeah. Rise again. Rise.

Again, this song takes my breath away.

It's in different areas, certain vowels.

I need to practice this a lot

more. Maybe it's not ready to be sung.

Well, there's a lot of singing over a

long stretched out period, especially,

you know, the rise

fall, black days, black nights. It's

it's kind of it's just long, dude.

What's going on?

I got a new gig, man. What's going on,

man? I figured I'm vocalizing.

All right. I guess what James' aren't

working out, man. And figured couple

there's a new kid in town. Come on.

There's a lot of songs. Like, you got to

let you sing one, right? Yeah. We each

getting a song. What? What don't Okay,

let's do it. I'm

ready. What don't kill you makes you

more strong.

What don't kill you makes you more

strong. What don't kill you makes you

more strong.

The best uptempo riff in the song is the

one at the end.

I mean that it's so rare in our songs

that the ending has a new vibe and I

love that. Um, but maybe we have to

bring it in earlier because it's so

good. Can we get a title out of this

one? Kirk, wasn't it Scars on Scars? All

my song titles I have gone for the most

extreme, the most despair, the the one

that ties

into that kind of thing. So, I'd throw

out broken, beat, and scarred. I just

got to maybe overexaggerate opening it

up. Break in your life. Broken, beat,

and

scarred. But we die hard.

[Music]

There's

Yeah, that's weird. It's

[Music]

cool.

Right. Be nice to start it with that

picking like two golds and then you come

in with that

melody. That's

awesome. You feeling that? You feeling

this?

[Music]

Yeah, maybe that new should disappear

during the verse. I'm just thinking we

could add one more little thing onto

this. So,

[Music]

[Applause]

[Music]

[Applause]

[Music]

Hey, hey, hey.

[Music]

I want that last run. At

[Music]

last, we did it.

[Music]

Oh, it's all very different for us, is

it? Well, yeah. I mean, the whole

context of it, the whole song

Got that ready.

Got it ready. It's ready. Duke is

rolling.

[Music]

[Music]

So, James, where would you start with

the chorus or you want to just to get

the sound? You want to start?

What? You want to start there?

What's this sound? Murder scene. Oh,

these faders are all accurate. Yes. How

about these switches? No.

I don't I don't want to start with

clean. I just thought that was a cool

sound. Yeah. No. No.

[Music]

It's a little more scoopy sounding

actually.

[Music]

Huh. It's less that for some reason.

[Music]

So, let's put up Casper. All right.

Never spoken

here. Love the

word here in this

prison. I suffer this no

longer. I'm putting it into this. I

swear this I swear the sun will shine.

This I swear sun will shine.

This

[Music]

[Applause]

[Music]

way. My initial thought is that not

going to work. It's going to mess with

the flow of these.

When we talked about the old

stuff, the exciting

rhythms, you couldn't have two things

take the same

place. So, it's either you enjoyed the

melody or you enjoyed the rhythm and it

kind of didn't weren't able to live in

the same

place. So, the melody usually

suffered which it got brought way down

in the

mix. And these melodies were

written to carry a part, right? So, we

need something to support it. Just I

just want to put that out there to have

[Music]

that. Heat. Heat.

[Music]

Heat. Heat.

[Music]

Sounds awesome. It sounds great.

Continuity of everything we talk about

every time we come to one of these forks

in the road, which is like, let's go for

the thing that sounds livelier. And to

me, if it feels like it's, you know,

Kirk is doing the solo and then that was

kind of how it was written. It was like

he's doing the solo and then he goes in

and starts doing that thing and then

when the rhythm turns into the low guy,

he goes to the high guy. I mean, it's

not rocket science. It should be able to

work.

[Music]

[Applause]

Is that grabby? Like it belongs more

with the chorus, you know, as an

extension, which is okay. I just want it

to be a unique sound.

Try something with the same character.

And do we have a talk box?

[Applause]

[Music]

[Applause]

[Music]

There's a couple ways you can do it. You

can totally open your throat up, you

know, and get

it or just keep the back of your throat

closed and you kind of just do a tongue.

You know, the tongue is a little less

radical, right? When you open your

throat, it kind of gets

right.

[Music]

[Music]

You cross that line. How's that feel?

It's cool, but uh you know, maybe it's

over the top. Maybe it's mixed. That's

mixed way back. Maybe there's two

guitars doing it. Are you Did anyone

tell you that the middle the love it

this

bit a little shorter?

[Music]

[Music]

[Music]

Yeah.

Huh?

[Music]

Yeah.

[Music]

born to push you

around. Better just stay

down. You pull away. He hits the flash.

You hit the

ground. Mouth so full of

lies. Tend to black your

eyes. Just keep them closed. Keep

praying.

Keep waiting.

[Music]

Nice. Do you have an idea, James? Well,

I have the day that never comes. I like

that. That's great. Pretty neat. I think

somewhat epic sounding like the song.

That's great.

Along with our kind of, you know, the

thing that shooting the bees, the the

kind of statement within the title. The

day that never comes like that's really

rocketing. It's pretty cool.

the day that never

comes

off. Oh, when you stand up and feel that

[Music]

warm. But the sunshine never comes.

[Music]

rocking

[Music]

out. I guess the bass player would be

really good at that, huh? All of this.

Well, the technique is

[Music]

You should do the

intro. You can do this.

[Music]

All right. Throwing some down, dude.

Your gigs in jeopardy. Oh,

no. What's going on? He's a good

flamingo player. No idea. It's that bass

player, man.

[Music]

Yeah, there you go.

[Applause]

What was that thing you were doing?

[Music]

Yeah,

[Music]

that's cool, man. That sounds bad.

It's very cool.

Yeah. Yeah. And

[Music]

then what you guys doing, man? We're

playing Rome 2. Rome two. He uh like

flamingo man here.

Pieces of it are really good that could

be repeated, you

know. Maybe you and I should just quit.

I

[Applause]

love you. Put that in to see if

[Music]

Yeah.

Down and have the temples. Yeah, that's

cool.

[Music]

First of all, I have to say that what I

what I call the flight of the bumblebee

section right before the verse comes in,

that's brilliant. It's amazing. I that's

just a great great section. I don't know

what part you're talking about. The

thing right before he starts to sing

super fast before the verse. There's a

famous classical violin piece called

Flight of the Bumblebee which is you

know like 2 minutes long and like has

more notes than anything ever played.

[Music]

Okay. So, let's hear 49.

Yes. Okay. Now, question for you. Mhm.

Does that fill? Mhm. The fill at the end

of the second bar. Creatively, it's the

same fill. Yes. Okay. All right. Put the

fill in. And then we just have to see if

there are any air cuts in there.

Stop that. Mhm. That fill or the best

version of that fill should replace the

skippy thing in chorus 2. That fill has

that. The reason I'm saying that is it's

played probably over the takes six,

eight, 10 times. So what's So that's

basically what that is. It's half It's a

half length snare field that lands on

the end. Okay. So it doesn't land on the

down beat. Yeah. And we talked about

that. That's not a great part for me

either in that song.

I think that part's great, too. I just

don't know if that's the best place for

it in the song. I'm thinking maybe

something else in the song that

might serve it better

[Music]

where I don't know.

I think what makes it so cool is the

fact

that it sits away from the guitar solo.

[Music]

But maybe that's just my old Yeah,

that's why we had edited a version where

it was part of the solo cuz to me it

does it sounds like a sendoff after the

end of a solo.

[Music]

Let's just take it from the

Should we just play it out from there?

Sure.

[Music]

I'm cruising, man. I'm like, "Yeah,

cool. Yeah, I could do this all day.

Cool.

[Music]

Oh man, you're crazy. No, I want to rock

it, man. I don't want to be playing no,

man. I want to rock.

[Music]

[Music]

Going for the jugular, man. Cool.

[Music]

I mean that's welloiled right there.

Well oiled and greasy.

We are in

um much better shape than we were 3

weeks ago when we played this last.

I would say overall we're in much better

shape. I personally have lost about 4

lb.

Do you think that should be on big

chords on each side?

Well, the verse. What's the I like this

going along with the high hat. What's

the emphasis? What's the main guitar

bar?

You want to come in with the lyric sheet

and we'll go through everything.

All righty. Yeah. Some of these verses

were a little like where do you breathe?

[Applause]

That's as good. Don't I don't think it

flows as good.

Other one flows better. What's to come

and what's to be? Okay. You like it

better jumpy with the extra stuff? I

don't know. it. The other one seems a

lot like like it's with the music's too

much, you know? Still you run, what's to

come, what's to be.

Still you run. What is to come? What is

[Music]

So, I could do

is I could just do some warm up vocally

and see where I'm at. Yeah, let's do

that.

[Applause]

Cuz we treat our soul with our

mercy. Chase your soul all night long.

Feel free upon your face. Feel shift

every move we face. See, I would call

the song hunt you down without mercy.

Hunt you down without mercy. Hunt you

down all nightmare long. And those are

that's classic stuff. Yeah. All

nightmare long. On that note, I'll say

that my title is all nightmare long.

That's what I was thinking, too. I think

that's all night long. So great. That's

what I was thinking. And it's such a

clever twist on all night long. all

nightmare long. It's a great

[Music]

[Music]

All the lonely crew.

I think he

knows I'm lonely,

too. So lonely.

That was pretty funny last night with

the French Canadian guy trying to tell

you what where to put the accent on the

sal. Yeah, he did. He said

put the accent on the salab. Yeah,

salab. Remember we talked about

emphasizing the open E instead of the

high note. That's one thing. I don't

know what we could do to do that, but

and then on the core

here, but he goes, he's pretty tight on

that. It's and it's like there's no low

E on those

chords. And I think that has a cool push

and pull thing.

And I was I know he was

doing I think a single note sounds

pretty good on that.

Okay.

[Music]

Let me hear this in the tracks. Come my

bearings. Go ahead and arm all four of

those tracks.

So you play the intro without a wad

first.

I can.

Do we have a W? be the volume on the

other side.

[Music]

All right, then. From the top. What?

Check. Huh? Hey, listen. I don't need to

hear nothing from the top.

[Music]

2

3. Okay, thank

you. Good to go. Thanks.

Talk to me.

I' I'd leave the pedal on and forget to

turn it off. So, let's let uh Zach, I'll

do it. song. Let's try one more world

with me.

[Music]

Not bad. That was better. That was some

cool.

Let's go for another one. We'll get

comfortable with it.

[Music]

More cool really funky.

[Music]

So,

yeah. It's not dot dot dot. It's dot dot

dot. Okay. Yeah. It's S O and then

almost S. Almost S. Yeah.

Ready? Yeah.

Three.

[Music]

I'm I'm here, right? Well, that's the

bad one. Okay. Yeah. See, I was looking

at that. Okay. I got you. I was like,

I'm going to nail it this time. I got it

on the screen, baby.

[Music]

What is that? That's a variation on the

bridge in the first cycle, right?

It's kind of

rhythmically it's the same as the

I was thinking can you can't do um if

you did one track where it stayed the

regular rhythm that would just clash

with all those notes would it? No, I

don't think so. But it would just get at

the end have to figure something out.

This is good.

[Music]

Yeah. If you want a single note rhythm

under that, that would work. Let's hear

that part again with just the drums and

[Music]

bass. It's

like it's probably the difficult most

difficult thing to

edit of all is that

[Music]

part. It's not.

So there's no two tune three. This is a

ProTools thing. I can't explain why.

This goes one and then you what you just

heard was four. Let's do two then. It

won't let me. It went to five. Can you

correct Finland? You're the master. This

is the machine. He's the slave. You tell

it. You want to give me 2 minutes? No.

Five. I will do it.

[Music]

But stay there just a se longer on those

fast that fast ripping thing. right

here. Please.

You ready? Hell yeah.

[Applause]

[Music]

[Music]

[Applause]

[Music]

Same thing again up there at the front.

It was awesome. Awesome.

[Music]

[Applause]

[Music]

Yeah. It's pretty good.

Yeah. Just turn the output down. Word

says that rain or they tears that stain

your concrete face for years.

Is that about how loud I just sing?

We'll find out part. Yeah. It's peace at

last. Oh, peace at last. Let's

try peace at last.

You good with that one or you want to

try it again?

Hello. You haven't sung in a little

while. Yeah, baby. No warm-ups. Right

in. For a minute there, I didn't put

that you were reading your lyrics off

your phone. I thought he's he just got

an email or something. He's reading an

email. He's about ready to drop in.

Multitask indeed. He's not focused, man.

Yeah, I got all my lyrics in there on

the phone. Yeah. So, I can sit and

fiddle with lyrics on the plane. Rewrite

stuff. Yeah, that's cool. I'm thinking

about just doing a one guitar in the

middle. Really? Razory just going

um stems.

Sir, let me That'll take a minute. You

know how long that takes. Can you turn

the Marshall and the and the um crank on

standby? Yes, sir. Everything else on

the crank and then come off. Arm those

guys. Go to playlist one. Go to the

front of the section. Play those

[Music]

here. Thank you, sir. You're

[Music]

done. All right, we did it. Four songs

in four days. That's a decent week's

worth. Nice work, dude. It was short,

too. We did a short day today. We did a

short day on Tuesday. Always a pleasure.

Always. You know what I'm talking about.

Always a pressure. Um song is really fun

to play live because we've been jamming

on it. And uh it's it's a song that will

definitely, you know, in a live format

hold itself. Yeah. I told James, I think

this should be if we're going to just

play one new song this summer. I think

this should be it cuz it's really fun to

play. It's not there's no math elements

in it, you know? It's kind of like you

just play it and you feel it. You don't

have to overthink it. It's a great

introduction to

um to what's coming in a way. And not to

taint what we got going on, but this

reminds me of the solidity of the Black

Album and the

bounce of that. It's solid. Mhm. But

it's beyond the black album for sure.

[Music]

I fail into

darkness. It's really

high. Should get Giddy Lee in

[Music]

here. It's

Dr. I've been waiting for.

Rear view mirror. You're singing great.

Uhoh. Sounds awesome. Aha. Yeah.

Awesome. All right. Big power, huh?

Sounds like a dawn. Ara, the whole

concept around Azrael, which is used to

be the lyrics, which you took out. Yeah.

We noticed that. which was

the, you know, the angel that supposedly

separates the soul from the body. body

at that point and you know

wanting somebody's wanting to to speed

up that process, you

know, so you know, being in love with

the cemetery, hanging out in it, uh

wanting just to end things and praying

to Ezrael to come

sooner. So

Azrael didn't sing

quite so good as suicide and cyanide,

you know, Azrael, you know, right? It

ended up sounding like Israel or some

other thing, you know. And actually,

Suicide Silent kind of makes the point

even more specific, I think. Really,

just a test. Singing suicide in the

song. Yeah. But you see that what I love

about Suicide, I've Already died. It's

kind of like Hunt You Down Without

Mercy. It's like it's it's it's worse.

It's like it's worse. Hello. Hello.

Hello. Yeah, it's getting better. Can

you make it harder?

[Music]

The only comment I'd like to sit here as

we're, you know, getting so off of the

song is that um a month ago when we were

down in Malibu, the phrase, "Let's just

sack it right now." As we were

struggling with the chorus and

struggling with the arrangement came up

from multiple people in the room. Okay.

So my point with that is that um to me

this is a testament to the fact that

that mo all these songs are one step

away from near greatness. It's just a

matter of whether we want to work on it

or not. Trying to get the low end. I

only got some low

there. Too much.

[Music]

[Applause]

[Music]

But that's not the good one. The one you

made is good.

[Music]

The one that starts

since there's something about the those

two notes that are super uh catchy. If

you were to just pick up a guitar and

play that, how would you how would you

uh loop those?

[Music]

Yeah. I I don't know if it's played to

be

[Music]

looped. That's the last one.

[Music]

[Applause]

You know, like

maybe play the the modulates and then

you know what I mean? Like do one of

those and then come that drums come in

and start section.

[Applause]

Maybe you should

be start with that. That's that's, you

know, that's instant. It's instant. It

just grabs you right away. Yeah.

[Music]

But if this is the chorus, it could it

could be kind of whatever it needs to

be, right? Or for inance of the

Unforgiven, it still starts with a melo

part. The intro, the top of the song.

Yeah. So that could be the top of the

song. Then we go to the heavy part for

verse singing and then we go back to it

for chords. You know what's what's the

heavy part?

We were just we were using the

unforgiven starting point because it it

swaps, you know, it's the heavy verse

and the

light matter.

[Music]

Oh

[Music]

yeah.

Okay. You got that little part of the

verse, too? Yeah.

[Music]

But you know what's cool about the

unforgiven which we haven't done in any

of these songs yet is that the tempo is

the same between the two parts. So you

got the heavy

thing but the same temp you know so

between those two. It's not like you

know halftime in one and then it goes in

the other parts fast or whatever. And I

think It would be cool to just revisit

that formula with one song and have the

chorus be the melo picking, have that

heavy verse, but that the tempo is kind

of the same.

[Music]

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

[Applause]

[Music]

That's great. I don't know. I feel cool.

Sounds great. It's really good. We just

finished the song. The

[Music]

[Applause]

[Music]

part. There you go. That's a keeper.

My playing is is is way different from

previous albums. It's almost like an

Angus Young kind of feel. You know what?

This stuff in general. Yeah. Really? To

me. Yeah. It's the sound. It's the It's

the the the the attitude. It's the

liveless.

When I hear this stuff, I don't think

Anger's young, but that's okay.

Yeah. You know, just that's just my

observation.

[Applause]

[Music]

[Applause]

[Music]

Heat. Heat. Thank you.

[Music]

[Applause]

[Music]

That's the best feeling one from today.

I think that was really good. Let's just

play it one more time.

[Music]

That sounds like it might want to have a

little

more happening maybe earlier or doubled.

It

just it sounds like

it's it just sounds like it it kind of

ramps up at the very end. Um or maybe it

should ramp up a little slower or a

little sooner or something. It's like if

the if the volume swells, we're kind of

sitting down the middle and

then B or something like one, two,

three, four, step up. But right now it's

like the volume swells are the kind of

the right side from the better part of

it. Sounds like it needs a little

something that's a little weightier, a

little earlier. Okay, your entrance is

just one.

Okay, I got it.

I forgot. It's been a long time. A

really big

set. Heavy

metal fish is

[Music]

[Music]

[Music]

Okay, we're going to get intro first

because this is a whole vibe here. It's

really cool if you can. That was a great

thing at the end. Um, if you can try and

kind of end right where the scare roll

ends. Duck duck duck duck out.

[Music]

[Applause]

[Music]

Okay. Pretty good. But 28's better,

right? I think so. Yeah. 28. On the

choruses, I just I get really

self-conscious. Don't know how to end

words. And I'm I'm like out here tapping

my foot and I hear in my voice

going, you

know.

Okay.

Silly but pulled off course by the light

of golden treasure.

How could he know this new dawn's light

would change his life

[Music]

forever? How can I be

lost if I've got nowhere to go?

I'm not leaving this song off the album.

I really got to be on the album. I think

it's a really really great song. If you

don't put this on the album, it's a big

mistake. First of all, it's not us. It's

Unforgiven three. It ties the past. It's

good. It's hookie. It's going to It's

going to grasp the fan that's hanging

out in the middle. I think I melly with

you all the way, bro. And I I always

come back to this song. Maybe it's cuz

I'm the singer. Maybe because I'm the

melody guy. I always come back. And how

can I blame

you when it's me I can't forive.

[Music]

[Music]

So what did you guys do yesterday? Just

listened to a lot of riffs and went

through a bunch of CDs and tried to just

trying I want to get through it. So I

haven't I have an idea that you know

there's an end point. It's like here

this is where it ends and now we have

this much to work with. You know what I

mean? So we're just going through

mapping out CDs and um listening. So I

can't write any of this.

It never ends. They're they're already

written. We've written the last riff

there ever is to be written. But you

know what I mean? just trying to find

like hey go through your luggage is just

so good that you know I mean there a

couple what three four things there's

some good stuff on there man there's a

cool thing on your Lucifer CD there's a

couple cool things on there I actually

have to say well there's 55 tracks

I hope I get one or two out 55 ideas on

there it's always the diggity diggers

after

the Okay.

[Music]

[Applause]

[Music]

How'd that feel? Okay. How you playing

this riff? Right.

[Applause]

[Music]

[Applause]

Is that how you're playing it pretty

much? I think one is up and Yeah.

[Music]

Are you doing a higher one?

[Music]

Okay. So, one goes, the other one

[Music]

goes. So, you do that. Yeah. I guess you

do the high one. I'll

do So,

it's Yep.

[Music]

been wanting to hit

[Applause]

that. Yeah.

[Music]

There's a big clap clap

[Music]

clap. It's so good.

[Music]

Okay, got that. Surrender unto me.

Submitually or submit. And there's only

me.

Submit infectiously. Just that one.

Okay.

You

never taste the kiss of Judas.

[Music]

Yeah. Little soft. Going to be a dance

favorite. I can tell is going to be the

Judas Kiss dance craze. You want to What

do you want to do next? What's the other

one that's really different? Gym bag.

Gym bag. Jim bag. Gym bag. Yeah. A

different a different course. Let's hear

it.

[Music]

Heat. Heat.

We're still in gym bag right now. That's

fine. Okay. Yeah. Let me just just the

wrap.

[Music]

Yeah. Can you solo it there?

That

says that in the rough spot. You go with

that mic.

[Music]

Still closer than last week. Way closer.

It's totally I'm totally I'm completely

mystified. Yeah. Why? Because we worked

for hours and couldn't even come close

to these sounds. We were going to

commit. We were doing like I was going

to hurry. I was just going to what the

sounds we're trying to get right now.

Yeah. You're kidding me. Just trying to

m like it was so far away. It was

like Okay. I play my stuff. Okay.

Playing your your guitar. It was Bro,

it's the long hair. Something else. It's

the long hair. The long hair.

But I mean, that's like I mean, we were

not even close. We've been working on

this for like half an hour now. We're

pretty much there.

I'm glad to know that. Uh, you know

what? I think we should indispensable. I

think we should go home now. Yeah, I'm

going to end on a high note. I'm not I

don't chance it,

but I'm just getting started.

[Music]

Let's listen to the original one and

figure exactly what it is we don't like

about it.

What? It It needs to be a higher

[Music]

note. Let me see where the note is here.

[Music]

That's where it is, right? It needs to

be.

Can you go higher than that? Yeah.

Okay, I'll do that. Push that.

[Music]

That sounded good, too. Yeah, that did.

That just

made my past three weeks. Excellent. You

don't know how [ __ ] I was getting

about that note. Really? Yeah. So,

that's a whole another therapy session

altogether. Okay. I am

[Music]

[Music]

[Applause]

[Music]

Wait.

[Music]

Well,

um, four things. Four things. Let's hear

them

in the intro. Yes. You want to You want

to have some straight chords

that are just straight? Let's hear

what's the bass doing. That kind of

determines what the root is. Then

[Music]

that's really It's hard to explain, but

you know, they're kind of woven in there

to where

chords I don't know if a straight cord

would work. Okay. It seems like it could

be a little weightier. I don't know what

you'd put back there, but maybe there's

something you'd put back there when it

goes to the harmony. I think the front

of it is okay.

You're not talking about that at all.

No, just tell about the single note when

that comes in. I mean, that part's

pretty cool and

unique, and it could easily be taken to

another level of the old days where

you've got three-part harmonies doing it

all, you know?

[Music]

How else can we do that? Well,

originally I did it.

[Music]

Okay. But but you play with your

fingers. You're going

[Music]

so

play that part with

[Music]

I think it's the fingers are going to be

better.

[Music]

I think that was good. That was good. I

I need a little ear

[Music]

break. When the world has turned its

back. When the days have turned pitch

black. When the fear abducts your

tongue. When the fire's dead and gone.

That was great. Up to one more. I felt

the metal. Yeah. One more metal like

that and we'll move on. Okay. When the

storm

Uhoh. When the storm has

blacked.

When the

storm

has blacked. Blacked. When the storm has

blacked your sky. able crucify when the

eagle strips your rain. Assassinate the

living flame the end of fall for the

Judas kiss. I mean trying to you know

remember you said that uh Rick going

along right with the

music was going to be more powerful

trying to hit that better instead of

trying to stagger it or you

know the Judas Papa Judas kiss. it comes

to this. Cannot

resist of the dudest cat.

It's just got that

epic feel to it. You know, one of the

things I love the most to me is one of

actually the one of the high points of

the album is James' part at the end of

the verse. So what now? Where go I? Oh,

that absolutely that thing. So what now?

Where go? Yeah, that's one of the

highlights of the album for me. That's

fantastic.

[Music]

Yeah, title. We both agree on the Judas

kiss.

[ __ ] the Judas kiss.

[Music]

You want to play with the other guitar?

I want to listen to this in the track

and see. Yeah, this I think this seems

to be working really well on all the

other livens it up. Livesens it up.

Ready? Yeah. You remember how this one

goes? It's been a while.

[Laughter]

[Music]

Uh, what are you asking? I'm asking if

let's say we keep that thing that we

call Culu 2 as the main part of the song

we're working on now and we still want

to do an instrumental. I just want to

make sure that we at least know that if

we put it in this song that we have to

do something else with the instrumental.

Well, I'd rather do take those other

pieces and put them in the instrumental

and then all of a sudden there's a

breakdown that's total melody, you know,

like

It goes to some picking

[Music]

things and then maybe, you know, then

there's a a harmony part to that and

that that could be pretty good. I think

that other part would work if something

else happened like if there was just

accents or something.

You did great. Great idea.

Great. Yeah. So there's no

scare.

Okay. No loight.

[Music]

We never do like that.

Why?

[Music]

We'll do an outtake of that for some DVD

or something.

[Music]

What would you like the drums to play

during that part?

What do you feel, man? We need to play

it so I can feel it. Cuz I can't play it

if I can't feel

it. Just play a little bit.

[Music]

[Applause]

It should be like a that should be like

the thing in bleeding me. I can just

hear that like that quickly.

That's

maybe the first two should just be you

three of you guys. And maybe I'll accent

the last two. You know the part in

bleeding me at the end of the

solo. Yeah. You know that super banging.

I got to say that instrumental

intimidates me bros. I don't know where

to start. I know it's in the key of

B. I just don't know where to start as

far as learning

it. I need a GPS for that thing. It's a

challenge. I need a musical GPS because

it's just it's it's symphonic. It's a

monster. It's totally

intense. I love it. Damn something.

Why don't you guys play something?

[Music]

[Music]

[Music]

That's heavy metal, right? Yes. Is that

heavy metal? That's heavy metal. One of

the finest examples of heavy metal that

you will ever hear today. Today. What's

up, bro?

[Music]

[Music]

Is that picking thing

that thing? Yeah, that's going to be

done in the solo thing. Okay, it's I've

got a little piece of the bed kind of

quiet in there just to the chart for

solo sound stuff. Well, I think we're in

good shape. You want to go up to the

middle part? It was cool rocking back

and forth there. You get like a phasing.

It changes as you go back. Yeah, it's

really um sounds pocket this thing. I do

think that what we want to do is we

should

I think we got a great solo and I really

like the end. Maybe if you just want to

can you chop the the very ass that out.

[Music]

[Applause]

[Music]

[Applause]

[Music]

That was pretty great. Yeah. Wouldn't be

that loud, but it's great. It adds I I

think it's it's pretty good. Let's get

another take so we have another take on

this one. When you end, go

[Music]

to single

note. You got to give it a little w and

get out. Hit the low note of the

chord. Gotcha.

[Music]

[Music]

That is really

good. That could

be one of the best souls you ever play.

[Music]

Somewhere there was a wrong

note. I mean, was it like a harmony

note? Was it a wrong note? Cuz not bass

hit a wrong note. Notes are are always

wrong. Sometimes they're

relative. It could be a a minor third to

the root, a flatted fifth.

[Music]

That's what it is. Yeah. Your

boys, James and them were playing the B

note. And remember when I told you guys

about it and you guys all came down on

me? Oh, dude, this is a half step off.

We'll fix it. We'll we'll uh we'll pitch

change it and all that kind of stuff. Is

it was it clap? Because they were

hitting a B and I was hitting the B

flat, which is supposed to be a B flat.

That was a B flat. Did they hit a B

flat?

[Music]

Yeah. Is that right? Yeah. See, that

would be the wrong note. This would be

the wrong

note. It's

okay. But I wrote that part, man. You

know, it's like your trip called you out

on my my park. So, let's

try it off.

How come you're crouching, man? Oh, man.

I just had to get low. Had to get low.

It's tough to know if that A is going to

work in there, you know. Yeah.

[Music]

on my own. It sounds cool. Maybe because

the bass is in there or maybe just the

way that notes hanging. I don't know.

Right.

The bass in right now. The bass is in

right now. Can we get that back without

the bass?

[Applause]

Like I want it to be somewhat exciting

because that's pretty simple on that

side, right?

Is it too fliddly? I think it is a

little bit.

[Music]

[Applause]

[Music]

[Applause]

[Music]

Yeah. Maybe it's Maybe it sets it up.

It's too too much of a setup, you know?

All right.

[Music]

I'll simplify it. Okay. You want me to

leave the bass out? No.

[Music]

That was the best one. That sounded like

the record to me. This made sense. I

don't know what you were doing. I was

really not

trying to pay any attention to tuning or

whatever you were doing. I just kind of

was just listening and nothing went Oh,

that's weird.

[Music]

[Laughter]

[Music]

[Laughter]

on

the Are you hammering

[Music]

that first and

third? What if you hit all three of

those? Would that make it clunkier? I

think a little bit.

You know what it has? It's You know what

that sounds like? It sounds sad and it

sounds There's an emotion in it. That

sounds It put

chills. When I've heard this song, it

always gives me chills on my back. It

sends shivers down my spine. I like the

idea a lot of having an instrumental. I

think it's a total, you know, the

rearview mirror of of Orion and and um

Live Die and Cula. I think it's a

beautiful piece of music. I think it has

a place on this record. Number one, it's

incredibly epic. Number two, it's quote

the breather. The way I envision the

record, I have um the song title as

suicide and forgiveness or suicide

redemption. So that's the that's the

song title. See that from the top?

[Music]

[Applause]

[Music]

It's been real. It's been nice.

[Music]

Can't wait till he sings on 10. Man,

it's going to be awesome. 10 is a 10's

song that will definitely round out the

spectrum.

[Music]

Let's just revisit some of these. See

what it sounds like. So, why don't I

start it off? Let me just play this

thing because it's it's kind of odd cuz

it's something from his

[Music]

CD. Back to the front. That's a catchy

line. I like it.

[Music]

[Applause]

[Music]

[Music]

That's pretty cool. There's just

multiple gallops or you could

[Music]

That's good, man. That's like old

[Music]

school. That's good. Let's go jam on

that. I would love to see if that would

fit with the other

one. Number 10, I think. So, take it

from the double thing before the solo.

[Applause]

[Music]

[Music]

Quick

harmonically killer. I mean that lends

itself to all kinds of naughty fun

stuff. Felt pretty good. That was pretty

fun. It's making me sweat.

[Music]

What do you hear when you hear that?

That riff? Yeah. Something giant. Do you

hear a song around it? it. It's

difficult when when you're down at that

kind of tempo. You can sing over that.

You could you chorus over that. You can

B part over it. You can move it around.

You could take pieces of it to make B

parts. I do I I hear that's

[Music]

[Music]

[Music]

Yeah, that's fun to play, dude. It is.

Like I said, bro, top 10. Really fun

as far as like arrangement, parts,

intensity. Oh, yeah. Economics.

Get out of here. Flow,

edge, aggression,

foul odor. What about in that last verse

doing what you did? Do you do that on

the

symbol without the double kick? You

know, claustrophobic.

Got a lot of that. I'm out of this.

Got a lot of that. Got that. Okay.

They're singing over this

part. We're taking it from the top of

that. No, from the second one. Okay.

From the second round. There's two and

two, right?

[Music]

Yeah. Okay. From the second round.

Okay. Only I got to see the

end. I got to see the end.

[Music]

[Music]

Nice hot. Yeah, that was pretty hot. Is

that opening enough? Yeah, it's cool.

Okay, one more. This will be five.

[Music]

Good. Yeah, nice one. Awesome.

Just on this tank. I want to get that

part. there. That little build better.

Get your fingers limber. You ready to

go? You tell me

[Music]

when that was hot, dude. Let me give it

a couple like that. That's the way to do

it. There. You notice where that spit it

out? Have you been hearing that spit it

out all lately today? Spit it out.

Yeah, that was Lara's phone, right? What

is up with that? I was like, no, it's

not right. Totally. That's Lars's ring

on his phone right now. Is this

Spit it out.

Spit it out. Spit it out. Yeah.

I want something that's even more

flange. Eddie Van Halen flange. Plug it

in, dude. Give it to me. But I got This

will go back in the claw and flange,

right? That's right.

Come on, dude. What do you got? What do

we got to lose? Right. Exactly.

[Music]

That's a

solo. Check. Make a do a stop on this

next take.

We got to get

that spin it out.

[Music]

[Applause]

[Music]

Spit it out.

[Music]

It totally sounds like a car speeding

off the bridge.

Even if that's just I don't know that's

just fun. We'll see if we use it. But

that was awesome. Spit spit it out.

[Music]

[Music]

[Music]

demo. Oh,

[Music]

are these tight? This is good.

Is that kind of swimming?

[Music]

Most of them. Huh? Most of them. We'll

clean that up. It looks like we've got

three different things that we

tried. I don't really know if one was

better than any of the others,

[Music]

but that's one thing we tried. What's

What's wrong with that?

I mean, is there like a a clashing thing

or No, I mean it's just you don't like

it, but there's not anything wrong with

it. It's following the B. That

particular There's three things. That's

the one that follows the bass, but it's

because in that

range this guitar is an octave above the

bass and it and then so here's this guy.

Here's the bass and the the other two

guitars are right

here. And they're fighting in the same

area to me to my area. The melodies hard

lower than normal,

you know, except around this part. I

just think I'd say he gets a better

fatter bass. I mean, we got a good bass

player. He could probably step it up

with something

[Music]

there. I hear something.

[Music]

Yeah. That'll be up on YouTube tonight

at

[Laughter]

uh Prophecy Reveal.

Just like

that. Holding on the deal.

[Applause]

[Music]

[Music]

Holy smokes. Yeah. How's that feel? It's

a burner, man. It's only 4 450.

Yeah, but it's 300 miles an hour. A lot

of notes as [ __ ]

I think this one was the one that has

the quickest consensus between James and

me. I mean, both of us agreed that it

should be called My Apocalypse.

Yeah, I agree. Okay, fine. That's just

obvious forever. Suffer my

[Applause]

[Music]

apocalypse. Suffer.

[Music]

What's next? Good morning, Vietnam.

So, this is That was great. Yeah. Next

song. Puzzle level. It's nice and loud.

Is it too loud? This This No, no, that's

that's that's great. Okay.