Sie sind vermutlich noch nicht im Forum angemeldet - Klicken Sie hier um sich kostenlos anzumelden  
Willkommen auf forum.metallicafan.de – die deutsche METALLICA-Community!
Das Forum war Teil der Community von METALLICAfan.de, Deutschlands meistbesuchtester METALLICA-Fansite.
METALLICAfan.de hat nach über 11 Jahren Ende 2010 die Seiten geschlossen. Dieses Forum bleibt weiterhin erhalten. Wir freuen uns auf viele spannende Diskussionen rund um METALLICA, Metal, u.v.m.!
Sie können sich hier anmelden
Dieses Thema hat 136 Antworten
und wurde 10.960 mal aufgerufen
 Von "Kill 'Em All" bis "Through The Never"
Seiten 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10
Masterin86 Offline

Blackened Member


Beiträge: 77

04.05.2005 20:27
#61 RE:And Justice For All antworten

Das Justice is irgendwie mein Lieblingsalbum!!

Taste me you will see
more is all you need
Dedicaded too
Haw I'm killing YOU!!

Skullcrusher Offline

Phantom Member

Beiträge: 158

06.05.2005 21:27
#62 RE:And Justice For All antworten

Tja jeder hat seine eigene Meinung...
Ich find S&M, Master of Puppets und Ride the lightning besser

~|~ Offline

Heavy Metallifux

Beiträge: 1.412

15.09.2005 20:56
#63 RE: RE:And Justice For All antworten

warum hat metallica eigentlich in den ausgehenden 80er Jahren ein politisches Album gemacht?


___________________________________________
time is like a fuse - short and burning fast
armageddon is here - like said in the past

Miss Hetfield Offline

Newkid

Beiträge: 8

06.04.2006 12:49
#64 And Justice For All antworten

Ich fidn das album klasse...Ich find so die besten lyrics sind in diesem Album...
(ich mus mich jedesmal totlachen wenn james bei eye of the beholder anfängt zu singen)

Saber Rider Offline

Godfather of Metal


Beiträge: 6.461

06.04.2006 14:37
#65 RE: RE:And Justice For All antworten

In Antwort auf:
warum hat metallica eigentlich in den ausgehenden 80er Jahren ein politisches Album gemacht?

Ich seh die Frage erst jetzt....

Ähm.....bist das wirklich du, ~I~?


~|~ Offline

Heavy Metallifux

Beiträge: 1.412

06.04.2006 16:20
#66 RE: RE:And Justice For All antworten

ja ich fände es cool, wenn sie es jetzt machen würden. DAS würde mich einfach richtig interessieren.


Saber Rider Offline

Godfather of Metal


Beiträge: 6.461

06.04.2006 22:49
#67 RE: RE:And Justice For All antworten

Zum einen sind Gesellschafts- und Politkritische Themen im Thrashmetal ja so alt wie das Genre selber, zum anderen wüsst ich jetz nicht was daran gerade jetzt interessant sein sollte, Met haben ja noch nie ein aktuelles Thema vertont sondern immer sehr allgemein gemosert.


~|~ Offline

Heavy Metallifux

Beiträge: 1.412

24.11.2006 09:29
#68 RE: RE:And Justice For All antworten

Gerade auf 4 horsemensite gefunden. ...

Writer Pete Flies has written the following article which discusses the real experience of veterans returning from Iraq related to Metallica's "One."



Says Pete, "Because I'm tired of pro-war country music anthems, I thought it was time to revive the meaning an old anti-war song that reminds us of what really happens when veterans come home. Metallica's 'One' is based on a 1939 novel called Johnny Get Your Gun."

"The prelude starts with a slow crescendo of automatic weapons, M60s and M16s, firing in bursts while an urgent voice of a sergeant desperately calls out informal military movements - "Move!" "Go go go!" Then comes the sound of detonations from grenades, mortars, artillery rounds, claymores, or even RPGs. A deeper rumble starts, one of erupted gunpowder and shrapnel that buries the undercurrent of rifle fire temporarily. An aftershock then tucks into the beating wings of an approaching or departing Huey or Apache helicopter.

Metallica's 'One' begins with the drums of war. A seventeen second introduction is an attempt to set the tone for the song. The sounds are from the acute moments of war when all the hurry-up-and-wait military life has ended, when all the morning push-ups and inspections and flag-waving formations have become secondary to holding onto the spark of life, and when training either saves lives or has no relevance whatsoever. 'One' starts with the moment when the world erupts with bloody hell and when the madness of men is ruthlessly unleashed.

When I first started listening to 'One' again this year, I was still in the Army Reserve, and although I never had to go to Iraq, I saw a few of the after-effects in my unit. For instance, on the rifle range, when the first bullet was fired downrange, the echo of the shot caused two guys to hit the deck, by instinct. They were visibly rattled, even though we were safely on a monitored range. Other obvious signs of agitation were the bar fights, tripped by insignificant events. Or driving around, they would avoid driving over any bumps or litter because it reminded them of an IED. They had an edge, a chip, just like the veterans of every war in history.

In World War I, the condition was called shell shock. In WWII it was called battle fatigue, which General Patton confused with cowardice. Then there was something called Post Vietnam Syndrome. Now it is called Post-Traumatic Stress Disorder, or PTSD. Surely the Romans and Greeks had their own names for the phenomenon, but what more can be said: the experience of war rattles and unnerves human beings. Hemingway didn't have a name for it, but he wrote about it in the short story "Big Two-Hearted River." Nothing can dismiss this truth: war puts life on the rack and damages people beyond repair. It should not go unsaid or unnoticed that the people who usually start wars from afar are ones that never took part in a previous one.

This is exactly why 'One' can be thought of as an almost therapeutic song, and not only for veterans, but for anyone struggling to understand their inexplicable rage. The song is about pain in the mind. Mental pain can be every bit as bad as physical pain. In some cases it is worse, because mental pain makes one feel helpless, confused and unable to articulate what's wrong. With a cast over a broken leg or a scab to pick, at least the mind can gather where the pain is coming from, but when the pain is confined to the internal portions of the brain, the amorphous and unexplainable wrenching can make a head feel like a glass beaker set to roast on a 3,000 degree hotplate.

'One' is like a release valve. The song provides an outlet, a way of letting the heat out, without the nervous breakdown. 'One' is both a thank-you card and a get-well-soon-balloon, signed, "sincerely, James Hetfield and Lars Ulrich."

Metallica's 'One' is more relevant now than ever, certainly more so in 2006 than when the song was first released in 1988 on the And Justice For All Album. In 1988 America wasn't at war, save various secret operations in Latin America and Cold War proxy conflicts, such as the Iraq-Iran war, which was wrapping up – yes, the war in which the US most likely aided its regional ally, Saddam Hussein. But right now, the song lyrics of 'One' parallel what is happening in the current Iraq fiasco, where we have soldiers coming home wounded but are unseen and unheard. America However, they quietly return to Washington's Walter Reed hospital for reconstruction, or go to the Brooks Army Medical Center burn ward in Texas. has lost approximately 3,000 soldiers in the war, but for every roadside bomb that kills one person, many more people are wounded.

The silent ones are not spoken of on the evening network news. Occasionally, there is a story about a motivated amputee who is doing his damnedest to cope and live well. But plastic surgery and prosthetics may give the rest of the struggling soldiers a semblance of outward normality, but most will deal with the inner struggle forever. The Christian Science Monitor and CBS have reported that the vets are showing up at the homeless shelters already. Rest assured, it is not because they are lazy, just like it is no coincidence that a generation of men still occupy shelter beds from the senseless war we lost in Vietnam. A 1999 study found that 33 percent of homeless men have performed military service. Hoo-ah!

Few things can be considered close to perfect in this world, save a few pieces of art, music and writing that somehow came out of mere humans. Somehow, someway, these persons or groups created a nearly flawless ensemble or pattern that resonated long after they stopped thinking about it. The mix is often indescribable. A song that nears the utmost perfection in purity is "Ave Maria." It is the sound of peace, beauty, solemnity, and a world untainted. Metallica's 'One' is the converse of "Ave Maria," yet more satisfying. To those that love the song, there is nothing more intense and at the same time relaxing.

'One' may sound like the rant of an angry young man, but it is more of an anthem for veterans. Metallica has written and performed other songs with a patriotic bent like "Don't Tread On Me" that quoted Revolutionary War hero Patrick Henry. The song also had a line that echoed an idea as common among Colonels as the high priests of Cold War politics: "To secure peace is to prepare for war."

The roots of 'One' came from a 1939 novel by Dalton Trumbo called Johnny Got His Gun. The book is named after a wartime slogan that prompted good young men to sign up, not unlike the "Army of One" campaign, now replaced by the "Army Strong" campaign, and myriad other glossy sales pitches that aspire to Marine Corps effectiveness.

What makes 'One' such an apotheosis of music is the mixture of the music and the lyrics. Metal lyrics can often get passed over because deciphering them can be painstaking (see: Nirvana). Melodies, however, supercede lyrics in all cases, because the associated lyrics only become important if the song hooks the listener (see: Nirvana). Likewise, a song in a foreign language transcends illiterate tongues. Not many American Catholics understand the German, "Ave Maria! Jungfrau mild," but it doesn't matter; they know what the song means to them.

So it is with Metallica's anthem. To explain why the song is a masterpiece, I will attempt to describe what makes the song so cathartic, how it makes me feel, and why it is much like a religion in itself. Listening to it makes me feel as clean as any confession or bathtub.

Time/My Description/Lyrics (where applicable):

00:17 - The cornerstone of the song begins with the simple four notes that continue to provide a consistent undercurrent for much of 'One'. Still, I can't help but notice the similarity in these four notes to an EKG, or the graph that records the electrical voltage of the heart. If the song is in fact about a man who has had his face blown off by a land mine, then the transition from the sounds of war to the sound of a heart beating is significant. If the wounded man has just regained consciousness in a hospital, then the notes are not only catchy, but are borderline genius. If Hetfield and Ulrich did not have this in mind, the notes accomplish a second effect by setting the mood to where the song can begin its slow and uneasy climb into the first verse, and eventually crescendo from this base camp into the raging peak at the end.

00:35 - A second guitar joins the four-note EKG, offsetting the mood with a lighter but still ominous sound. The entrance seems to have a nuanced depression in it. The notes feel like a lost voice in a wasteland, as they come down over the EKG beat, like the wounded man is saying, "Where am I?"

00:52 - The first bass drum sound is heard, coupled with the stifled cymbal or high-hat. This gives way to a change in the tone of the second guitar, a more frantic sound. Here 'One' starts to pick up tempo, accelerate. The bass drum begins a rhythmic beat that sounds like a scared person's heart. Again, if this is not intended, it fits with the story of "One." The short solo of the second guitar seems more aware of itself now, or more lucid than when we first heard it.

01:10 -The first verse approaches with a heavy bass drum drop that moves the tone into the full sound, a stereo 3D immersion that raises the blood pressure just a notch.

1:29 - The solo climbs over the four-note EKG into an almost happy state for a moment. There is almost a heavenly kind of strum and feel to this part, like the wounded man is seeing the white light, or his soul is thinking about leaving him. But in just a moment he will come back down to a living hell. For this moment, 'One' almost seems like it's going to be a hopeful song, kind of like Romeo and Juliet feels as the lovers go off to wed, before rage and the feud unscrews Romeo.

01:43 - The lyrics clarify some of the questions as to what's going on. To our wounded fellow, reality is completely unclear. He is silent and trying to figure out what's happening. One thing is for sure, however: only pain is real and he wants to escape it. It's like a description of a nightmare, where the dream can't be escaped even if you are only locked in sleep. After the first four lines of the lyrics, he says something telling: "Now that the war is through with me." The war is referred to like a machine, or a beast, or a living entity of some kind that consumes things and spits them out, pushes them out of its exhaust pipe. These lines tie us back to the prelude war scene. He's waking up, and frankly, he's starting to get a little pissed off. The increase in noise between verses is subtle but key to the incessant climb throughout the song.

Lyric:
I can't remember anything
Can't tell if this is true or dream
Deep down inside I feel to scream
This terrible silence stops me
Now that the war is through with me
I'm waking up, I cannot see
That there is not much left of me
Nothing is real but pain now

02:10 - The chorus lyrics seem to lift the voice into a prayer. He is scared but still coherent enough to ask for God's help. He still believes in some things, mostly that this can't be real, and that he will be assisted at some point. God will pinch him, and end the nightmare. At the end of the verse, the chorus is sustained while the second guitar once again climbs into its happy place. The prayerful mood of the first chorus is key to setting up the later verses, as hope dwindles.

Lyric:
Hold my breath as I wish for death
Oh please, God, wake me

02:31 - The second verse answers more questions about the poor bastard. He compares the life-support and hoses sticking into him to an umbilical cord, as if he's been replaced into the womb, but unnaturally as an adult. Clearly some time has progressed since the last verse, when he was only aware of his pain. He's now bitter about the location, his situation. He first admits in this verse that death is better than the misery of laying in the bed. In other words, his hope has waned. He's asking someone to kill him, which parallels the storyline of Johnny Got His Gun, where the deaf, mute, deformed hero learns to tap his head to make morse code that spells out: "Kill Me."

Lyric:
Back in the womb it's much too real
In pumps life that I must feel
But can't look forward to reveal
Look to the time when I'll live
Fed through the tube that sticks in me
Just like a wartime novelty
Tied to machines that make me be
Cut this life off from me

02:59 - Second chorus. Here the wounded man finds a little hope again. This could be described as the highs and lows of recovery, a situation that anyone from an alcoholic to a guy with a broken nose can relate to. The voice sounds angrier this time, however. The sustained last word of the chorus leads one last time into a nice solo, where the guitars seem to fly off to heaven for a bit.

Lyric:
Hold my breath as I wish for death
Oh please, God, wake me

03:34 - But heaven is gone. All hope is null and void. The world is gone – he's cut off. The line "I'm just one" seems to mean that he's like a dot in the universe, just a spec in the ether somewhere. The title 'One' can mean a lot of things, much as it did in The Matrix. But this 'One' is an isolated, lonely number – a separated entity from all other living things. This is not a savior, or a heroic one, this is the hell of solitude. Some describe hell as being the absence of God, and for non-Christians, those descriptions never quite hold water. However, this can make sense because his solitude is palpable. Hell is being without another soul. For those that find the "spirit" of mankind to be here on earth, this makes sense beyond any supernatural meaning. Also, for those who haven't been injured in war, this description resembles the feeling attained after one has burned a bridge, or caused friends and family to disown him. It is a wretched solitude. A broken heart is often a kind of hell, caused by an unbearable loneliness.

Lyric:
Now the world is gone, I'm just one
Oh God, help me
Hold my breath as I wish for death
Oh please, God, help me

03:50 - The song accelerates slightly once again. The tone thickens and the anger is enriched with distortion. The solos do not ascend into kind harpsichord-like dances any longer. Now the sounds are grating. His head is on the hotplate now. He's as tight as the snare drum, which has also gotten louder.

04:16 - Perhaps the most important tone-change in the song is the entry of the first double-bass drum. The rapid bass starts pounding like a heart rising in pressure. The speed of the bass is nerve-wracking. Moreover, the chainsaw sound of the guitar solo starts to feel like a cutting has either already happened, or is happening. What makes the entry of the bass so important here is that the beat is yet overshadowed by the guitars, but soon it emerges on its own, creating an eerier calm-before-the-storm, a silence that shows our wounded hero has sadly gone shit nuts. Yet his suffering becomes our vicarious sacrifice, and we are somehow strengthened by his incredible pain. Sound familiar?

04:30 - Here the bass emerges and takes the center stage. There is a floating in the song here. The tension builds as the bass hammers sixteenth notes, or maybe even thirty-second notes or one hundred twenty-eighth notes. The chainsaw sound stops and the air crystallizes for a moment. Our wounded veteran, however, seems to be palpitating so rapidly that he will soon unleash a scream.

04:34 - And he worsens further. Much further. I always get a chill at how south his condition goes. The guitars and bass guitar start hammering at the same pace of the double-bass drums. When I first heard this, I could not imagine how they played it so fast and furious. This is the crux of the song, where the rage is let loose. He's no longer holding it back. He is mad, ruined, unstable, enraged.

04:51 - Here we are given a laconic description of what's taking place around him. Our wounded vet can only speak in frantic sentences and somewhat describe the pain and suffering he's undergone. The state is particularly miserable because he truly cannot live or die. Like Terry Shiavo, he may have something in his mind, but he can never live like he did before. His body is a prison which he wants to escape, but because of modern medicine, humans want to keep him trapped in an earthly purgatory. Hetfield sings at the same pace of the guitars, making the sound reverberate with the frustration of the patient. His rage is helpless, utterly useless and cannot possibly assuage his anguish in any way, but yet he must rage because that is all that he can do. He is helpless outside of his head.

Lyric:
Darkness imprisoning me
All that I see
Absolute horror
I cannot live
I cannot die
Trapped in myself
Body my holding cell

05:08 - Only now do we know for sure how he got into this hospital. The lyrics are effective at creating suspense, just like a good story that slowly lets out the details. The continuous crescendo of the song adds to the effect. The final line in this stanza is screamed by Hetfield, releasing the band into a terrorized jam session. The song speeds up yet again. In fact, it is whipped into a frenzy that lasts until the final beat.

Lyric:
Landmine has taken my sight
Taken my speech
Taken my hearing
Taken my arms
Taken my legs
Taken my soul
Left me with life in hell

05:20 - The song is let out to play, like a wild, starving dog.

05:26 - The snare raps at the same beat of the machine gun at the start. Is this a flashback? Maybe. But if not, it still provides excellent breaks in the rapid crossfire of bass-drum, bass guitar, and the other guitars. It happens again at 05:29 and 05:39.

05:43 - A solo of riddling and jittering up-and-down scales gives a devilish feel. The solo, however, feels a little too much like a typical collection of metal riffs stuck into an incredibly original song. To be fair, this is a long song. The solo works, but for some reason it seems to lack the anger Metallica wanted it to have. This may be because they did such a good job building the crescendo that they left nowhere for themselves to climb.

06:19 - After the solo, just when it has gone on for nearly forty seconds, Metallica creates one of the greatest dropoffs ever. Everything comes down an octave in a heave – drums, bass, guitars – it's practically an enema. The song then returns to the rapid madness, as it prepares for another solo.

06:32 - A second mega-dropoff enema leads into the next solo.

06:51 - We return to the rushing current underneath the solo. The current rises and falls, as if our wounded vet is making agonal respirations or is being shocked on his deathbed. "Clear!" He's approaching the end.

07:20 - Stop. The abrupt ending saws the head off the song, in the only way this masterpiece could possibly end –with the death of its raging hero. Achilles, eat your heart out – your wrath has got nothing on Johnny. 'One' is a tragedy where the hero must fight to die, not to live. Most importantly, Metallica chose not to back off on the ending, or to ritard or decrescendo, or sap it up with a sickening hopefulness. No, they put the chain to the wood, full-throttle to the final beat, and let him crash. What a relief. It's a thrill, and through our suffering hero, we actually feel better about life. If anything, this type of music doesn't create crime, it reduces it. The calming effect of the ending nearly exhausts me. However, I usually listen to "Blackened" right after 'One' and have a wholly new religious experience.

Pete Flies' writing history includes:

- In 2005, he published his first novel, a comedy, Memoirs Of A Virus Programme , which is now being shopped by a production company, Bonsai Entertainment.

- His second novel, Immaculate, will be available on December 24th.

- Also in 2006, he became a regular contributor to AskMen.com for humor, advice, and miscellaneous articles. Pete is also a sportswriter for All Headline News. Along with several other writers, he formed a writer's group in Zurich, Switzerland, a fiction workshop.

el barto Offline

Phantom Member


Beiträge: 189

26.07.2007 19:24
#69 RE: RE:And Justice For All antworten

Das Video zu One müsst ihr euch unbedingt anschauen. Es handelt von "Johnny zieht in den Krieg"... Da gehts um einen übereifrigen Jüngling der in den Krieg ziehen will, wie der Titel schon sagt. Er verliert bei einer Explosion alle Sinne und bis auf Kopf und Bauch alle Körperteile. Aber er lebt noch... Das muss ein sehr trauriges Buch sein....

"Irre, dass ich gewonnen habe. Ich trat an gegen Frieden, Wohlstand - und den Amtsinhaber."
-George Bush zum schwedischen Premierminister.
Er wusste nicht, dass die Kameras bereits liefen...

mig Offline

Veritas † Aequitas


Beiträge: 6.208

26.07.2007 19:37
#70 RE: RE:And Justice For All antworten

Hallo und Willkommen im Forum el barto!
Nett, dass du uns auf das Video aufmerksam machst. Allerdings hören eine Vielzahl der Leute hier, schon seit mehreren Jahren Metallica's Musik. Du kannst also davon ausgehen, dass wir alle das Video zu Genüge kennen.

Trotzdem noch viel Spaß hier.



1893% Kurzpass-Armin-Fan

panteraxxl Offline

Inhuman Dunkelthron Miesepeter


Beiträge: 9.749

28.07.2007 13:04
#71 RE: RE:And Justice For All antworten

vielleicht spendet ihm jmd ne {line} für die sig?

el barto Offline

Phantom Member


Beiträge: 189

28.07.2007 17:45
#72 RE: RE:And Justice For All antworten

Sorry wegen dem blöden Eintrag...Danke panteraxxl, dass du mich auf die fehlende Line aufmerksam gemacht hast. So besser?


"Irre, dass ich gewonnen habe. Ich trat an gegen Frieden, Wohlstand - und den Amtsinhaber."
-George Bush zum schwedischen Premierminister.
Er wusste nicht, dass die Kameras bereits liefen...

panteraxxl Offline

Inhuman Dunkelthron Miesepeter


Beiträge: 9.749

28.07.2007 17:58
#73 RE: RE:And Justice For All antworten

viel besser! ;-)
achja.. willkommen auch.. (auch wenn ich hier gar nicht dafür zuständig bin... trotzdem!)

el barto Offline

Phantom Member


Beiträge: 189

05.08.2007 08:59
#74 RE: RE:And Justice For All antworten
Ach ja, um beim Thema zu bleiben: Justice ist von den ersten vieren das schwächste Album. The Shortest Straw und The Frayed Ends Of Sanity
habe ich noch nie gemocht. Am besten sind One, Harvester Of Sorrow und Eye Of The Beholder.
Das Album kriegt von mir ne 2-. Das soll nich heißen, dass das Album scheiße ist, mir gefallen halt die ersten drei Alben besser.
Hier eine Gesamtbewertung:
Blackened - Note 2
And Justice For All - Note 2-
Eye Of The Beholder - Note 1-
One - 1
The Shortest Straw - 3
Harvester Of Sorrow - 2+
The Frayed Ends Of Sanity - 3-
To Live Is To Die - 2
Dyers Eve - 2-




"Irre, dass ich gewonnen habe. Ich trat an gegen Frieden, Wohlstand - und den Amtsinhaber."
-George Bush zum schwedischen Premierminister.
Er wusste nicht, dass die Kameras bereits liefen...

WildChild Offline

Overkill Member


Beiträge: 611

05.08.2007 09:55
#75 RE: RE:And Justice For All antworten

quatsch nicht...gerade Straw und Sanity sind die Killer des Albums. Underrated as fuck!

------------------------------------------------------------

"Jesus Christ has gone to prepare up a place for me."
"Great."
"And where he is, I'm going to be there someday."
"Great."
"No more tears, no more death, no more dying, no more pain."
"Beautiful."
"Where are you going to be?"
"IN TORMENT IN HELL!"

Seiten 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10
«« St. Anger
 Sprung  
Xobor Ein Kostenloses Forum von Xobor.de
Einfach ein Forum erstellen