Music
All stringed instruments featured in this song, both guitars and basses, are tuned in the standard tuning of E A D G B E. The original recording of the song is notable for its interesting instrumentation: Asian instruments such as a gong and sitar feature, along with an overdubbed Warwick twelve-string bass (as mentioned by the bassist Jason Newsted on the Classic Albums: Metallica - Metallica DVD). This instrument was only used for 'effect' during the intro to emphasize several accented notes and that a standardly tuned 4-string bass was used as the main bass instrument throughout the remainder of the recording.
The song is performed frequently during the band's live concerts, and was performed with the San Francisco Symphony Orchestra (conducted by Michael Kamen) on the live S&M and its companion DVD. When performed live, the band has always relied on their original sitar recording for the intro (the band enters on the first accented note to dramatic effect), however for the S&M concerts guitarist Kirk Hammett utilised a Danelectro electric sitar for the intro before switching to his ESP electric guitar. Jason Newsted never reprised his use of the 12-string bass guitar for any live performances of the song.
The music video featured clips from Metallica behind the scenes and in concert, during their Wherever We May Roam Tour.
Read more about this topic: Wherever I May Roam
Famous quotes containing the word music:
“But the dark changed to red, and torches shone,
And deafening music shook the leaves; a troop
Shouldered a litter with a wounded man,
Or smote upon the string and to the sound
Sang of the beast that gave the fatal wound.”
—William Butler Yeats (1865–1939)
“The basic difference between classical music and jazz is that in the former the music is always greater than its performance—Beethoven’s Violin Concerto, for instance, is always greater than its performance—whereas the way jazz is performed is always more important than what is being performed.”
—André Previn (b. 1929)
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.”
—Imamu Amiri Baraka (b. 1934)