Nov. 27, 2025
David Ellefson Plays “(Anesthesia) – Pulling Teeth” on No Life 'Til Leather
No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All Silver Lining Music to release No Life ‘Til Leather – A Tribute to Metallica’s Kill ‘Em All on November 14th. The second single from the all-star compilation is David Ellefson’s monumental...
No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All
Silver Lining Music to release No Life ‘Til Leather – A Tribute to Metallica’s Kill ‘Em All on November 14th. The second single from the all-star compilation is David Ellefson’s monumental cover of Metallica’s instrumental epic ‘(Anesthesia) - Pulling Teeth’.
“It was a total honor to be asked to participate in this album, especially to record the iconic bass composition ‘(Anesthesia) - Pulling Teeth’ by the one and only Cliff Burton” comments David Ellefson. “I was able to borrow one of Cliff's Aria Pro signature bass guitars and signature Morley fuzz/wah pedal for the session to replicate his sharp, yet thunderous tone he created on the original recording. It is my hope that this homage will highlight Cliff's larger than life personality and that his music will always live on through this unique and iconic song he gave to the world.”
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WEBVTT
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Hi, you have done to censure Wow for you you.
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This is the pipe Man here on the Adventures pipe
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Man W four c Y Radio. And I'm pretty excited
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about our next interview here because we're going to talk
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about a great new album coming out. That's a compilation
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album and one of the best bases out there. I
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don't think anybody else could pull off pulling Teeth. And
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this guest right here, David Ellison, how's it going.
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Hey, it's it's going well. Man. Thank you for your
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kind words.
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Yeah, like I think it takes a lot of balls
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to try to pull off.
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Cliff Burton and you did it masterfully.
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Well, thank you. I appreciate it. Yeah, it was not
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something to go into lightly. You know. It's like playing
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Jocko Pastorius Birdland or Eddie Van Halen eruption. You know,
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there's just some things that are like you don't just
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caval literally like walk into it. Sure, I'll do that,
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you know, you know, but uh, you know, to whom
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much is given, much is expected, right, So you know
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I I you know, I honestly, when Silver Linings Records
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came to me about it, I was kind of like,
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are you sure, I mean, really, it's like, can't you
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ask Geezer or Steve Harris or you know, It's like,
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you know, I was just like going, you know, I
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just like, look me and Cliff, you know, I mean, look,
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Cliff joined Metallic in what December eighty two. We started
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Megadeth June eighty three, so you know, I was six
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months behind them. Obviously, Metallic it was already a force
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to be reckoned with, and we were starting Megadeth from
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the ground up. But you know, Cliff and I were friends,
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and you know, we play very different, you know, and
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you know, so I was just kind of you know, asking,
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and they said, no, like you're the guy, like you
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you are the guy we want to do. What There's
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a list, you know, like if I was like, I'm
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too busy, it was like there was a list. Like
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they really they were very focused on who they wanted
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to do the songs, and they wanted me to do
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this one. So I thought, okay, this is one where
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you just you step up. And you know, I sat
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here in this very room, you know, with my Jackson
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basses plugging in, just going all right, like we're how
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do I get into this song? Right? Because it's it's
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a unique creation, right, It's not only as it's a
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very expressive piece. And as I watched a bunch of
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video clips, you know that there's the nucleus of the
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of the composition. But you know Cliff would take some
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liberties and go off and add lib a little bit,
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and you know, some days, if it was a big
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festival like that day on the Green Thing, he was
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pretty aggressive and getting you know, pretty wide with it
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as we would, you know, in front of that kind
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of a crowd. But for the most part, you know,
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it's a composed piece. So I hit up my friend
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James chen Over at aria Pro who I had met
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at NAM a few years ago, and Ray Burton was
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Derek Cliff's dad, and they were rolling out the new
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aria Pro Cliff Burton signature model, which is a beautiful,
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very nice instrument. Ario Pro makes some really good quality
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stuff and it was neck through. It had a lighter
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gauge proto sound round round strings on it. They also
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distribute the Morley Cliff Burton signature Wallah the distortion wah
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wah pedal, which is a big signature of Cliffs and
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for sure is the drive of this whole piece. This
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anesthesia pulling tee piece right. So once they kindly sent
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me all that stuff because I told him what it
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was for, and they were super excited. They sent me
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the whole package. I opened it up, I plugged it
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in here, and as soon as I had it, I
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heard the distortion and I was like, ah, all right,
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this isn't going to be so hard after all, you know,
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because it isn't. This one wasn't just learning the notes.
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This was getting inside the song and really, you know,
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becoming part of it, which I think you really have
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to do in any song. You know, if I'm going
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to play an Iron Maiden song, it's like, okay, let
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me think like Steve. Let me think like a writer,
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a bass player, a performer, you know, you kind of
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visualize who he is or Geezer, you know, in any
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of your heroes, Gene Simmons, you know what I mean,
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put yourself on seven inch platforms. You're ready to breathe fire.
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That's how you play the Slide and Cold Gino, you
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know what I mean. It's like you're ruling the earth
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as the god of thunder, you know. So you know,
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you have to get into the character of the person
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because the song is just an extension of the character.
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So this song is just an extension of Cliff Burton's character.
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And you know, to some degree, you kind of got
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to dress the part, look the part, play the part,
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you know, in order to really execute it properly.
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I think, well, what I loved about too is you
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definitely did justice, but you also gave a little bit
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your spin on it, and I think that's important. You know,
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you can't just I think anybody that tries to play
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it exactly like the original person, you're never gonna like
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match that because you're not that person. So it's cool
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that you delved in and you got the spirit of
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the Cliff, but then you added the David to it
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to make it unique.
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Yeah, I mean, thank you for that. And I agree.
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I watched some YouTube clips and there's some of these,
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you know, very educated musicians who could really break it down.
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They had manuscript on YouTube so you could watch, you know,
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the little bouncy ball on the notes, and you know,
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and I'm like thinking, man, these guys, you know, these
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are very educated, studied players, you know, who can do
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this kind of stuff. And you know, I've been more
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of an artist and a performer as a bass player.
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You know, I'm not so much of a professor in
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that respect. So I watched those guys that I went,
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I'm doomed, you know what I mean, because you know
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there's guys, there's guys that you know, don't look the part,
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but they can sit there with their bass up by
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their gin and play the part pretty much perfectly, you know,
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And I'm like, sounds pretty good. But you know, I
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had the advantage, you know. I went. I was in
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Europe last year, twenty twenty four, and I went down
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to see Metallica in Munich and I got some time
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with Lars after the show and I told him about
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this cause I said, look, when I go home here
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next week, I'm going to be going into this this
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session and recording this. And he even said, he goes, now,
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that's it's kind of weird, like, you know, you're a
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pick player and clips of the figure guy and you
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guys play very differently. I said, I know, I tried
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to tell them this and they won't take no for
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an answer, you know, and thank god they didn't. But
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you know, so he you know, he he gave it
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his blessing and he's just like, well, he goes you
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know what, make it your own, you know, and you
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know Lars, you know is you know, he is the
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masterful composer, you know what I mean? And I thought, look,
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you know he was in a band with Cliff. He
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knew Cliff is a person, a bandmate, a bus mate,
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you know, a backstage drinking beer, eating off the deli
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trade mate. You know, he really knew Cliff, and you know,
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so to get to get his blessing and so and
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wasn't this his blessing? But it was also sort of
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a creative you know, he's the maestro of you know
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in a sense, you know, Metallica. And so it's like, okay, what, maestro,
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any any suggestions to me? What what do you think?
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You know, how would you approach this? You know? And
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so it it. It helped to get you know, not
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only his blessing on it, but sort of give a
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little creative direction, even if it was just make it
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your own, which, as you just brought up, kept me
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from having to be so tied perfectly to it. I
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better get every bend and every note, or some guy
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in Ohio or some guy over in Turkey is gonna
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be up my ass about how I messed it up,
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and and and so one of the things I did is,
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you know, there's some other riffs of Cliff that I
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think are very definitive. You know. For me, of course,
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it's peace Cells. That's my riff, right, that's my star
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that was blessed upon me in the musician you know,
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you know, Geezer is the guy, you know, but and
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I you know a bunch of stuff, right. So you know,
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Steve Harrison has got you know, wrathchild Killers. So we
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all kind of have our identified signature riffs, right, And
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so I thought about Cliff's signature riffs, and of course
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there's several inside of this piece of music with anesthesia,
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but I also thought, look for whom the bell tolls,
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that's that's his peace cells, right, that's kind of our
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you know, when you hear whom the bell toll, that's
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that's really his riff. Right. The other one is that
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I really like is Oriyan. You know that I love that,
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and Master Puppets is really one of my favorite metal
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records and one of my favorite Metallica records. Right. So,
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and I got to talk with Cliff a bit and
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there on tour with Ozzie Me and Dave went to
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go see them Michael Ilago, who had signed them to
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Electra Records. We were in town. Michael was courting me
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and Dave to sign Mega to Electra Records, and it
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didn't go that way. But we went over to see Metallica.
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They were, you know, it was a big tour of
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them supporting Ozzy on a Master Puppets tour, and I
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got to chat with Cliff a little bit about some
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of his composing on Master Puppets, and then you know,
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of course, sadly he wasn't but a few weeks or
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a couple of months later he was. He was gone,
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you know, so you know, to just you know, I mean,
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Cliff and I never sat down with basses in hand
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and sort of browed down or anything like that, but uh,
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you know, you know, just just chatting as fellow musicians,
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fellow bass players, et cetera, seeing him perform a bunch.
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You know. Again, it was about just sort of cat
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who is the entity? And that's why I said, you know,
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in the little video that I shot when I did
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the play through, I said, this is my homage, you know,
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this is my homage to clip So to me, I
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kind of tried to make it even a little bigger
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than just anesthesia pulling teeth. I tried to make it
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really more of a you know, a salute you know,
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to him as an artist, and try to include a
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bunch of his music inside of that performance.
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I love it, and you know, based on everything you're saying,
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I would have had a question before that I don't
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have now. And that is why silver Lining Music picked
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you and you were to want. You were the only one.
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I think everything you said is the reason they did.
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They wanted somebody I think a little different, but that's
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going to take it seriously. They didn't want somebody just
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gang up there and copy cutting. That's that's what I
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got out of the whole conversation is like David will
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put his own spin on it, make it unique, but
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he'll also study Cliff to make sure there is homage
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paid to him.
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Well cool me, I know, I guess so I guess that.
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I mean the people at several Lightings are wonderful.
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Uh.
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They've got tremendous artists on their label, you know, with
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Saxon and your Eye Heap and you know bands I love.
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I love the bands that are on this record. You know,
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I mean as soon as they said Saxon and Testament
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and on the Almighty, I'm like done, say no more,
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what song do you want me to do? Of course
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it would have to be that one, you know, but
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uh but no, you're you're you're right. I think this
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is you know, they did a great job with it,
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and and it is funny that you know, there's there's
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history around this whole no life to letther thing. Of course,
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me being in Megadeth with Mustain, you know, which was
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recorded demo that he was on, you know.
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Then which I have.
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It's great. I love it, I love and I love
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Ron McGovney. I mean really, you know, I got to
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know Ron McGovney as a person. We used to go
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down to Orange County and go Drake beer with him
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and his girlfriend and have like parties, have parties down
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in Orange County with Dave and his buddies, you know.
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So I got to know him personally and have remained
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you know, friends with him. But more than that, as
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a bass player, I got to know his basslines throughout
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those songs. And I remember when excuse me, when Kill
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them All showed up a h at the apartment there
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where me and Dave were living, and you know, we
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sat and studied. Of course, Dave was studying more kirk
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Havit's guitar solos and already, but I was, I was
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paying attention to Cliff, and I went, you know, I
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would have probably done that too, you know, to slow
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the mechanics, you know, which was renamed four Horsemen, to
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