One – Metallica

GOD HELP ME…

It’s safe to say that Metallica is one of the most successful metal bands in recent memory. I doubt that anyone in the comment section will refute that statement, but I also doubt that anyone who does, has much to go on. Metallica’s first three albums: “Kill ‘Em All”, “Ride the Lightning” and “Master of Puppets” quickly transformed the young, rebellious band into a trash metal icon and a household name. There’s no arguing Metallica’s success.

While writing this review I was staggered to discover just how many awards Metallica have received for their music. From their first three albums alone they received three Grammy Awards out of six nominations. And that’s only three out of their eleven released albums. All evidence to the contrary; Metallica is undeniably a legendary band.

So I found myself revisiting their collection recently. And surprise, surprise, I again became obsessed with the world of Metallica. But of all the albums I have come to love as a Metallica fan, I was surprisingly drawn to their 1988 album, “…And Justice For All”. But one particular song – no pun intended – found itself unable to escape my grasp: “One“.

Don’t confuse my obsession with any kind of distaste for the rest of the album. “…And Justice For All” is an incredible album in itself – despite it’s lack of bass. It was the perfect album for Metallica to produce in their environment at the time. With the loss of their bassist Cliff Burton just two years prior, they were in a state of grief. This album carries that grief. Along with their anger, despair, frustration and pain. It was exactly what the band needed to bridge the gap between Cliff and their new bassist, Jason Newsted.

But enough about the album as a whole. Let’s talk about “One.” Winning the Grammy Award for “Best Metal Performance” in 1990 this track is a fantastic example of what this album has to offer. Every time I listen to the song I am taken by surprise in one way or another. Recently the intro to the song has left me in a state of unshakable amazement. It is unforgettable and paints an immediate picture. The ambient sounds of distant machine guns firing, muffled explosions, bullets flying by and soldiers barking and screaming create an immediate impact on your senses. Listening with stereo headphones – likely at a higher volume level than recommended for a healthy eardrum -only enhanced my immersion. I couldn’t help but imagine the muddy trenches of World War I, the forests of Vietnam and the fog of war often depicted in movies.

Then the guitar enters. James Hetfield’s clean intro immediately sets the tone for this song. Depression, despair and anger are the roots of the melody. Hetfield makes that abundantly clear from the first bar. The lyrics and guitar parts carry the emotional weight of this song, with Lars providing the backbone through a majority of the verse and chorus. James’ guitar tone is harrowing, simple and sad. It sets the stage, and Kirk Hammett’s lead sound only helps to accentuate the flow of the melody, even before the first lyrics emerge from the mist.

The verse of this song is outstanding. The simple melody from the intro carries on throughout the verse as Hetfield softly sings the first lines of the song.

"I can't remember anything,
Can't tell if this is true or dream,
Deep down inside I feel the 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."

This song is about a wounded soldier. The soldier stepped on a landmine on a battlefield and is now critically injured in a hospital, his arms and legs blown off. He is blind and unable to speak or move. Each lyric is a line of his thoughts, his pain, his struggle and his cries for help. His life is now only pain and suffering. He is desperate. That desperation leads to anger, and that anger explodes in the chorus.

The chorus is a stand-out, there’s no doubt about that. The transition from the clean, depressing verse, into the angry, distorted chorus is beautifully executed and occurs multiple times throughout the song. The transition from verse to chorus in this song is like a burst of anger. The desperation of the soldier festers during the verse until it suddenly explodes in the chorus, creating a fantastic rise and fall structure.

"Hold my breath as I wish for death,
Oh please, God, wake me (help me)." 

The tonal changes in the verse and chorus fight for control, as the anger of the soldier rises and falls. This structure continues throughout the song, until the song arrives at it’s most exhilarating stage. The breakdown…

This is where the angry, distorted tone of the chorus takes over, leaving the verses behind. Lars Ulrich’s double kick pattern, coupled with James’ and Kirk’s chugging prowess, fills the song with rage. It’s these kind of moments that will give even the most experienced headbangers a sore neck. And then the vocals hit.

"Darkness imprisoning me, 
All that I see,
Absolute horror,
I cannot live,
I cannot die,
Trapped in myself, 
Body my holding cell."

"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."

The soldier has reached his breaking point. He is no longer desperate, he is no longer sad. He is enraged, furious and violent. And so is the song. The climax of this song masterfully manifests every emotion. And it’s addictive. But just when you think it can’t get any better, Kirk erupts. Kirk Hammett’s lead guitar work is masterful, and supports the aggressive climax of the song perfectly, with a haunting lead tone filled with rage and desperation.

This song is addictive. It’s an anti-war song filled with emotions. It is beautifully crafted, excellently written and contains a truly moving story. I am addicted. God help me.