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From album
Kill ’Em All
Metallica · 2016
Details
Duración4:14
ÁlbumKill ’Em All
Año2016
ISRCUSEE19900915
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The story behind
When you dive into *Anesthesia – Pulling Teeth*, you're immediately struck by the audacity of a bassist who doesn't settle. This isn't just a song; it's Cliff Burton's calling card, showcasing a "lead bass" style that broke the mold. You hear how he uses heavy distortion, the wah-wah pedal, and techniques like tapping – things not often heard from a bass. In fact, it's the first instrumental track they recorded and the only one on their debut album, Kill 'Em All, where Burton is credited as a songwriter. It's interesting to note that Lars Ulrich has no songwriting credit here, nor does James Hetfield, which highlights Cliff's authorship.
The story of how he became part of Metallica has its roots in 1981, when Cliff Burton was already experimenting with his sound in a band called Agents of Misfortune, sharing the stage with Jim Martin, who would later become the guitarist for Faith No More. Even back then, at performances like the "Battle of the Bands" by the Hayward Area Recreation Department, you could see Burton playing fragments of what would become *Anesthesia – Pulling Teeth* and the intro to *For Whom the Bell Tolls*. Upon joining Metallica in 1983, he brought that energy and unique approach with him, making this bass solo a key piece in their shows. James Hetfield, in a chat for Bass Player in January 2025, recalled how Cliff always sought to go further, exploring the fretboard and making certain notes resonate with a particular force, without anyone trying to limit him. For the recording of Kill 'Em All, Burton primarily used his Rickenbacker 4001 bass.
The way *Anesthesia – Pulling Teeth* was recorded is as unique as its sound. Cliff Burton insisted on recording it alone, in an empty room, while the technicians waited downstairs. He did it in a single take, after about twenty minutes of preparation. Kirk Hammett, Metallica's guitarist, recounted for Metal Hammer how he saw Cliff isolate himself in that room, focused on achieving the perfect sound, even asking him to leave just before recording. Engineer Chris Bubacz introduced the take as "Bass Solo, take one," confirming its spontaneous nature. The first part of the song shows Burton's influence from classical music, with arpeggios reminiscent of Bach. After a brief pause, Lars Ulrich joins with the drums, marking the beginning of a more powerful and free ending, with a style that feels improvised.