Metallica, … And Justice For All - A Classical Musician’s First Listen, Reaction, and Study

00:52:51
https://www.youtube.com/watch?v=d_ekrRu_t9M

Resumo

TLDRThe reviewer shares their first experience listening to Metallica's song "And Justice for All," initially finding the music intense and overwhelming due to its complexity. They analyze the song's themes of injustice, its structure, and its lengthy duration, comparing it to classical music. Through a deeper dive into the song, they discover its artistic value despite personal discomfort. The review highlights the significance of the lyrics and the song's powerful conveyance of emotion through its musical composition.

Conclusões

  • 🎸 Metallica's 'And Justice for All' critiques the justice system.
  • 📏 The song is notably long for rock music, posing engagement challenges.
  • 📝 The lyrics are rich in vocabulary and themes of corruption.
  • 🎶 The music features two main motifs repeated throughout.
  • 🤯 The reviewer's initial reaction was confusion and stress due to intensity.
  • 🔊 Instrumentation relies heavily on guitar and drums, creating an aggressive sound.
  • 🕐 The song's length contributes to its message about injustice.
  • 👏 The reviewer acknowledges the artistic value despite personal dislike for the genre.

Linha do tempo

  • 00:00:00 - 00:05:00

    The video begins with the host introducing their first experience with Metallica's 'And Justice for All'. They express curiosity about the band's music style, mentioning its difference from artists like Queen and The Beatles and hinting at themes of justice in the song title.

  • 00:05:00 - 00:10:00

    During the initial listening, the host notes the pleasant intro and gentle acoustic guitar, although they are surprised by the abrupt changes in intensity. The music transitions from lyrical melodies to noisy segments, leaving the host feeling out of place as they try to understand the dynamic shifts in style.

  • 00:10:00 - 00:15:00

    The host reflects on how the music seems organized despite its chaotic feel. They recognize variations and patterns that signal different sections of the song, culminating in the emergence of the vocals which prompt the host to look up the lyrics for better comprehension.

  • 00:15:00 - 00:20:00

    Upon analyzing the lyrics, the host realizes the song is not a celebration of justice but a critique of its corruption. The intensity of the music complements the dark themes present in the lyrics, representing a sense of horror and injustice rather than a call for liberty.

  • 00:20:00 - 00:25:00

    As the host continues to listen, they note the repeated musical motifs creating a cohesive structure throughout the piece, serving as 'glue' that ties back to earlier sections. The host observes there isn’t a significant shift in instrumentation between verses, indicating a broader approach to the composition rather than nuanced details for every word.

  • 00:25:00 - 00:30:00

    Moving further, the host acknowledges that the lyrical complexity surpasses that of the previous songs they analyzed, showing a richer vocabulary that adds depth to the overall experience. They express that the music effectively matches the gravity of the lyrics, highlighting feelings of frustration and horror.

  • 00:30:00 - 00:35:00

    The host listens to repeated guitar motifs, likening their structure to a cadenza in classical music, while recognizing the lack of familiarity with this aggressive rock style. They struggle to draw comparisons between the sections due to the overwhelming nature of the sound and find it challenging to fully follow the musical narrative.

  • 00:35:00 - 00:40:00

    As the video progresses, the host recognizes the similarities in instrumentation that maintain a sense of unity throughout the evolving song while commenting on the slow interludes that serve to build anticipation. They reflect on their struggles with the unfamiliar genre, attempting to see it through a classical musician’s lens and managing to feel both confused yet anticipated by each transition.

  • 00:40:00 - 00:45:00

    Ultimately, the video transitions into a deeper analysis of the song's architecture, discussing how the dual themes and instrumental solos create emotional weight. They describe how the repetitiveness in the music correlates with themes of injustice, conveying the sensation of being stuck in a corrupt system without resolution.

  • 00:45:00 - 00:52:51

    Concluding their thoughts, the host shares newfound perspectives on the long-form nature of the song and the importance of thematic development, fostering an understanding that amplifies the emotional intensity. They establish that although they cannot find enjoyment in the music, they acknowledge its artistic value and its representation of harsh realities.

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Vídeo de perguntas e respostas

  • What is the main theme of 'And Justice for All'?

    The song critiques the justice system, highlighting its corruption and failure to deliver justice.

  • Who is the artist of the song 'And Justice for All'?

    The artist is Metallica, a well-known heavy metal band.

  • What is unique about the song's musical structure?

    The song is unusually long for its genre and features two main motifs along with some complex musical transitions.

  • What does the title 'And Justice for All' reference?

    It references the final words of the Pledge of Allegiance, symbolizing the ideals of justice and liberty.

  • How did the singer react to the song during the first listen?

    The singer expressed both confusion and intrigue, finding the music intense and different from their classical background.

  • How does the singer evaluate the lyrics of the song?

    The singer appreciates the complex vocabulary and the depth of meaning, rating the lyrics highly.

  • What instruments are prominent in the song?

    The guitar and drums are the most prominent instruments, with a focus on heavy riffs and complex rhythms.

  • Did the singer enjoy the song?

    No, the singer found it stressful and fatiguing but still recognized its artistic value.

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  • 00:00:00
    [Music]
  • 00:00:00
    hi everyone
  • 00:00:01
    this is going to be my first ever
  • 00:00:03
    metallica experience
  • 00:00:05
    as usual in the first part you will get
  • 00:00:08
    to see my first listen to
  • 00:00:10
    and justice for all
  • 00:00:12
    and my spontaneous reactions and
  • 00:00:14
    thoughts about it in the second part i
  • 00:00:17
    will dig deeper
  • 00:00:19
    into the music score
  • 00:00:21
    and
  • 00:00:22
    explore the main ideas
  • 00:00:25
    demo a few things on the piano and we'll
  • 00:00:28
    find out how such a long song
  • 00:00:30
    holds up so well
  • 00:00:33
    so
  • 00:00:34
    and justice for all
  • 00:00:37
    i have heard the name metallica
  • 00:00:41
    and
  • 00:00:42
    i i'm curious
  • 00:00:45
    i understand that they're associated
  • 00:00:46
    with rock music and i'm curious what
  • 00:00:49
    kind of music and how it sounds and you
  • 00:00:52
    know their style well i've been told
  • 00:00:55
    that
  • 00:00:56
    it's a little bit different than queen
  • 00:00:59
    or the beatles
  • 00:01:01
    so i'll find out anyway i've picked a
  • 00:01:04
    piece
  • 00:01:05
    named um and justice for all which is
  • 00:01:08
    kind of an interesting name makes me
  • 00:01:10
    think of you know liberty and justice
  • 00:01:12
    for all so
  • 00:01:14
    um
  • 00:01:15
    i guess the best thing to do is dive in
  • 00:01:18
    and see what i discover
  • 00:01:22
    so here we go
  • 00:01:25
    [Music]
  • 00:01:33
    it's a very pleasant intro
  • 00:01:36
    i kind of like the guitar
  • 00:01:40
    [Music]
  • 00:01:46
    well it has so far a very
  • 00:01:49
    gentle kind of lyrical melody starting
  • 00:01:52
    out i'm hearing only guitar
  • 00:01:55
    like it sounds more like acoustic style
  • 00:01:58
    not not electric guitar
  • 00:02:01
    and i'm familiar with acoustic guitar so
  • 00:02:04
    it's relatable so far
  • 00:02:07
    [Music]
  • 00:02:13
    oh boy
  • 00:02:14
    yeah okay something happened here uh
  • 00:02:17
    um
  • 00:02:19
    it's really changing
  • 00:02:21
    okay um that was really quite an abrupt
  • 00:02:24
    change i would say
  • 00:02:27
    a little surprising for me
  • 00:02:30
    i'm going to back up just a second or
  • 00:02:32
    two
  • 00:02:34
    there we go
  • 00:02:36
    [Music]
  • 00:02:44
    okay this is where it's coming again
  • 00:02:48
    and that's where it starts
  • 00:02:50
    okay
  • 00:02:52
    that's
  • 00:02:53
    noisy
  • 00:02:54
    [Music]
  • 00:02:56
    okay now we're back to guitar this is
  • 00:02:58
    interesting it's like it's throwing me
  • 00:02:59
    back and forward
  • 00:03:00
    right
  • 00:03:04
    okay
  • 00:03:05
    it seems like it's getting more intense
  • 00:03:07
    it seems like
  • 00:03:10
    they're starting to leave the guitar
  • 00:03:12
    behind
  • 00:03:14
    that gentle acoustic opening
  • 00:03:16
    i'm curious what they're going to do
  • 00:03:18
    with it why are they doing it
  • 00:03:20
    [Music]
  • 00:03:28
    interesting right this is the kind of
  • 00:03:30
    music i'm really
  • 00:03:33
    i feel completely out of place i don't
  • 00:03:36
    know
  • 00:03:37
    how to relate to this really like i'm
  • 00:03:39
    hearing it
  • 00:03:40
    and
  • 00:03:42
    maybe you see it my response is like oh
  • 00:03:45
    my goodness it's coming at me you know
  • 00:03:48
    so
  • 00:03:49
    i'll keep going
  • 00:03:51
    [Music]
  • 00:04:02
    okay
  • 00:04:04
    it's going and it's going and it's going
  • 00:04:06
    and it's going and it's going
  • 00:04:08
    [Music]
  • 00:04:12
    right it's it's not like it's
  • 00:04:14
    disorganized i hear that there is a very
  • 00:04:18
    clear
  • 00:04:19
    ordered outline even just a little bit
  • 00:04:22
    i've listened to so far
  • 00:04:24
    there seems to be a plan and a way the
  • 00:04:26
    music is developing
  • 00:04:29
    [Music]
  • 00:04:37
    and it goes on
  • 00:04:39
    [Music]
  • 00:04:51
    yeah when i hear something like this
  • 00:04:54
    i'm like okay you did that once you did
  • 00:04:56
    it again you did it again
  • 00:04:59
    we have to do that again
  • 00:05:01
    really okay
  • 00:05:03
    fine let's keep going
  • 00:05:08
    [Music]
  • 00:05:13
    yeah they've changed it up a little bit
  • 00:05:15
    i hear some variation happening now
  • 00:05:17
    we're back to the
  • 00:05:26
    somebody likes the drums
  • 00:05:28
    [Music]
  • 00:05:36
    okay
  • 00:05:37
    i just heard the voice come in
  • 00:05:39
    now i'm going to pull up the lyrics here
  • 00:05:41
    because
  • 00:05:43
    i might be very good at hearing
  • 00:05:46
    lyrics from uh choir like let's say a
  • 00:05:49
    coral setting classical choral setting i
  • 00:05:52
    can make out those lyrics easily but
  • 00:05:54
    this
  • 00:05:55
    i can't unless i'm following the words
  • 00:05:57
    so i'm going to pull it up here
  • 00:06:00
    and
  • 00:06:02
    i'll keep listening
  • 00:06:04
    [Music]
  • 00:06:15
    [Music]
  • 00:06:19
    okay so
  • 00:06:20
    obviously this isn't going to be
  • 00:06:22
    something about
  • 00:06:26
    celebrating justice for all
  • 00:06:29
    i begin to see why the
  • 00:06:33
    intro that was a very long intro but
  • 00:06:36
    um
  • 00:06:37
    you know it started out very
  • 00:06:40
    lyrical and melodic and nice kind of
  • 00:06:43
    like the idea i had coming to this and
  • 00:06:45
    justice for all right and i'm thinking
  • 00:06:47
    liberty and justice for all what a nice
  • 00:06:49
    concept
  • 00:06:50
    and now
  • 00:06:51
    i'm looking at the words and saying that
  • 00:06:53
    it's
  • 00:06:54
    not talking about
  • 00:06:56
    it's not celebrating liberty and justice
  • 00:06:58
    for all it's halls of justice painted
  • 00:07:01
    green money talking
  • 00:07:03
    power wolves beset your door hear them
  • 00:07:05
    stalking okay so suddenly i realize
  • 00:07:08
    that's why there's this really really
  • 00:07:10
    intense hard
  • 00:07:11
    edge to the music because it seems to be
  • 00:07:14
    more about
  • 00:07:18
    a something that's supposed to be
  • 00:07:20
    justice for all but isn't all right so
  • 00:07:22
    i'm going on now
  • 00:07:23
    [Music]
  • 00:07:35
    okay yeah yeah those those lyrics make
  • 00:07:37
    sense with the music right hammer of
  • 00:07:40
    justice you saw me when i heard the
  • 00:07:42
    intro i'm like oh my goodness right
  • 00:07:45
    so
  • 00:07:47
    that suits the music
  • 00:07:49
    or the music
  • 00:07:51
    actually i would say suits the words
  • 00:07:53
    because
  • 00:07:54
    i wouldn't say that this music really
  • 00:07:57
    stands on its own it needs the words to
  • 00:07:59
    explain it i didn't understand it until
  • 00:08:02
    i started paying attention to the
  • 00:08:04
    what was written
  • 00:08:05
    what was being sung
  • 00:08:07
    [Music]
  • 00:08:15
    is
  • 00:08:17
    [Music]
  • 00:08:36
    okay
  • 00:08:37
    it's yeah i i think i am beginning to
  • 00:08:40
    get the idea of the peace
  • 00:08:43
    it's um
  • 00:08:44
    seems to be a sort of a
  • 00:08:49
    cry against injustice rather than
  • 00:08:52
    than talking about something that is
  • 00:08:54
    just
  • 00:08:55
    so
  • 00:08:57
    it's this sort of horrified
  • 00:09:00
    um
  • 00:09:03
    viewing of something that is twisted and
  • 00:09:05
    warped and
  • 00:09:06
    and doing exactly the opposite of what
  • 00:09:10
    it's supposed to be doing
  • 00:09:12
    okay
  • 00:09:13
    let's go on
  • 00:09:20
    that's pretty hardcore
  • 00:09:24
    [Music]
  • 00:09:34
    [Music]
  • 00:09:36
    okay that gets us to the end of
  • 00:09:38
    i can tell by the
  • 00:09:40
    reading the words that's the end of the
  • 00:09:41
    chorus i guess i don't have a lot to say
  • 00:09:44
    about the music other than that it
  • 00:09:46
    suits what's being expressed
  • 00:09:49
    i don't have a lot to say right now but
  • 00:09:51
    i'm going to keep listening okay
  • 00:09:54
    so this is should be coming up to the
  • 00:09:56
    second verse here i think
  • 00:09:58
    [Music]
  • 00:10:02
    uh here's the same thing coming back
  • 00:10:04
    right it's the same same little
  • 00:10:06
    guitar
  • 00:10:12
    that is how they're holding the piece
  • 00:10:14
    together
  • 00:10:15
    in between it seems to be the what i
  • 00:10:18
    would call the glue of the piece right
  • 00:10:20
    so you've got
  • 00:10:21
    the intro
  • 00:10:22
    and that's where they presented that
  • 00:10:24
    glue and i was like again and again and
  • 00:10:26
    again okay now they've set you up to
  • 00:10:29
    recognize that
  • 00:10:30
    and
  • 00:10:32
    it kind of brings you back into
  • 00:10:37
    the
  • 00:10:39
    the starting point
  • 00:10:42
    [Music]
  • 00:10:58
    hey
  • 00:11:01
    [Music]
  • 00:11:06
    so i was curious about something and i
  • 00:11:08
    see
  • 00:11:09
    um that they didn't do what i wondered
  • 00:11:11
    if they might do i wondered if they
  • 00:11:13
    might change
  • 00:11:15
    the
  • 00:11:16
    tone the dynamic of the instruments in
  • 00:11:19
    the second verse
  • 00:11:22
    since it's built around words
  • 00:11:27
    maybe the second verse i was thinking
  • 00:11:29
    okay the first verse is this now the
  • 00:11:32
    second verse might have a different
  • 00:11:33
    instrumental support but they didn't
  • 00:11:36
    which lets me know that
  • 00:11:38
    they're looking at the bigger picture
  • 00:11:41
    they're not looking at
  • 00:11:44
    at a a sort of
  • 00:11:46
    instrumental
  • 00:11:48
    shaping of the words where
  • 00:11:50
    every word gets its own nuance it's not
  • 00:11:53
    at all that it's really not what i would
  • 00:11:55
    call nuanced at all
  • 00:11:58
    i mean the guy is just basically yelling
  • 00:12:00
    out these words
  • 00:12:01
    and um the instruments are basically
  • 00:12:04
    screaming out their notes and the drum
  • 00:12:06
    is pounding away and um they're going
  • 00:12:09
    towards the the whole
  • 00:12:11
    idea that the words are expressing
  • 00:12:14
    rather than taking time to say oh this
  • 00:12:17
    word is this and this word will sound
  • 00:12:19
    like that and it's it's a it's a more
  • 00:12:23
    broad picture approach to the idea
  • 00:12:26
    [Music]
  • 00:12:34
    [Music]
  • 00:12:48
    i can't believe the things you say
  • 00:12:53
    [Music]
  • 00:12:55
    i also noticed something else that that
  • 00:12:58
    i as i'm reading through these words i'm
  • 00:12:59
    noticing that
  • 00:13:01
    these lyrics are so much more
  • 00:13:07
    uh
  • 00:13:09
    developed complex
  • 00:13:11
    than
  • 00:13:12
    the other two pieces i listened to
  • 00:13:14
    before this the one by queen about love
  • 00:13:17
    of my life
  • 00:13:18
    and the other one
  • 00:13:20
    she's leaving home by the beatles these
  • 00:13:23
    words are much more artistic i guess i
  • 00:13:25
    would say they have more they have a lot
  • 00:13:27
    of thought put into them and and how
  • 00:13:30
    they're
  • 00:13:32
    even the vocabulary is richer
  • 00:13:36
    and i guess i like that i always enjoy
  • 00:13:40
    colorful
  • 00:13:42
    expressive multi-shaded multifaceted
  • 00:13:45
    words and poetry and and even in music i
  • 00:13:49
    do right but
  • 00:13:50
    but i appreciate this about these words
  • 00:13:53
    so anyway let's go on
  • 00:13:55
    [Music]
  • 00:14:07
    [Music]
  • 00:14:15
    again this is just kind of the same
  • 00:14:19
    thing
  • 00:14:20
    coming back
  • 00:14:22
    coming back
  • 00:14:23
    and
  • 00:14:25
    it's like the music is
  • 00:14:27
    driving this home it's like it's trying
  • 00:14:29
    to pound it into your minds that
  • 00:14:32
    something is really really really wrong
  • 00:14:34
    it's unbelievable it's shocking it's
  • 00:14:36
    horrifying you know all the words
  • 00:14:38
    they're using right but i i hear that
  • 00:14:40
    the music
  • 00:14:42
    is
  • 00:14:42
    really trying to
  • 00:14:46
    drive that into
  • 00:14:49
    the audience
  • 00:14:54
    [Music]
  • 00:15:08
    okay we're back to that little
  • 00:15:11
    guitar
  • 00:15:13
    figure
  • 00:15:17
    right and now i hear also the same
  • 00:15:20
    interrupted
  • 00:15:21
    um shock moments that i heard at the
  • 00:15:24
    beginning and didn't really know what to
  • 00:15:25
    make of it
  • 00:15:26
    now i see that it makes more sense
  • 00:15:29
    because of what the words are doing and
  • 00:15:30
    it's kind of like
  • 00:15:32
    it's kind of like what the singer was
  • 00:15:33
    saying
  • 00:15:35
    um
  • 00:15:36
    i can't
  • 00:15:38
    believe
  • 00:15:41
    the price
  • 00:15:43
    you pay
  • 00:15:44
    right and and he kind of interrupted
  • 00:15:46
    that as a sort of
  • 00:15:49
    shock moment and i guess the instruments
  • 00:15:51
    are kind of doing the same thing here
  • 00:15:53
    the way they just come to a dead stop in
  • 00:15:55
    the middle of everything
  • 00:15:58
    [Music]
  • 00:16:02
    and then it goes on again
  • 00:16:07
    [Music]
  • 00:16:21
    so
  • 00:16:24
    this is obviously kind of maybe the
  • 00:16:25
    halfway point of the piece as far as the
  • 00:16:28
    the way the piece is ordering itself i
  • 00:16:30
    heard a long introduction
  • 00:16:32
    i've heard two verses so far
  • 00:16:35
    and
  • 00:16:36
    now i'm hearing
  • 00:16:39
    kind of an interlude is what i would
  • 00:16:40
    call it i don't know what what it's
  • 00:16:42
    called in rock music but in classical
  • 00:16:44
    music we call it an interlude when
  • 00:16:46
    there's an instrumental
  • 00:16:49
    section between
  • 00:16:51
    sets of of words that are being sung i
  • 00:16:53
    can tell that this is a longer set here
  • 00:16:56
    because already we're going back to
  • 00:16:58
    repeat the same thing again rather than
  • 00:17:00
    jumping into the next words
  • 00:17:03
    [Music]
  • 00:17:11
    and one other thing
  • 00:17:13
    this is so unfamiliar to me if i were
  • 00:17:15
    listening to something classical i would
  • 00:17:17
    be better able to
  • 00:17:19
    to follow and say all right this is
  • 00:17:22
    identical to what came before but
  • 00:17:25
    i'm not used to listening to this kind
  • 00:17:26
    of percussive
  • 00:17:28
    um
  • 00:17:30
    aggressive sound and
  • 00:17:32
    and it's so overwhelming to me
  • 00:17:36
    psychologically that that i
  • 00:17:38
    i've lost track
  • 00:17:40
    i don't know
  • 00:17:42
    if this is exactly what i heard in the
  • 00:17:44
    intro or if it's a variation of what i
  • 00:17:46
    heard or if it's a development of what i
  • 00:17:48
    heard i'm unable to compare right in
  • 00:17:51
    this moment
  • 00:17:52
    and to
  • 00:17:54
    to
  • 00:17:55
    pull more out of it just because it's so
  • 00:17:58
    new and it's so intense
  • 00:18:00
    so perhaps there's something here that
  • 00:18:03
    i'm missing musically but i'm it'll take
  • 00:18:05
    me a few more lessons to
  • 00:18:07
    and maybe some you know maybe i'll find
  • 00:18:10
    a score somewhere even to look at
  • 00:18:13
    in the second half but that's just
  • 00:18:14
    something that i'm realizing i can't
  • 00:18:16
    quite follow the whole
  • 00:18:18
    scheme of everything and understand it
  • 00:18:20
    fully right now
  • 00:18:33
    somebody likes that little guitar line
  • 00:18:35
    [Music]
  • 00:18:40
    kind of a show-off moment isn't it
  • 00:18:43
    [Music]
  • 00:18:55
    this reminds me of of what we would call
  • 00:18:57
    a cadenza
  • 00:18:59
    in classical music and that's a
  • 00:19:02
    that's a term that we use to describe a
  • 00:19:05
    sort of virtuosic moment where
  • 00:19:08
    maybe the orchestra is
  • 00:19:10
    has been playing along and the soloist
  • 00:19:12
    whether it's a singer or an in or a
  • 00:19:14
    violinist or you know some instrumental
  • 00:19:16
    solo
  • 00:19:18
    they get a moment to show off a bit
  • 00:19:21
    and
  • 00:19:22
    and so the orcis orchestra comes to a
  • 00:19:24
    place where a place where it either
  • 00:19:26
    pauses completely
  • 00:19:28
    or settles into a very
  • 00:19:32
    background supportive role
  • 00:19:35
    and then
  • 00:19:36
    the soloist is given free reign they can
  • 00:19:39
    do whatever they please and you know
  • 00:19:42
    they can show off all their technical
  • 00:19:43
    prowess and whatever else they can do in
  • 00:19:45
    the context of that piece and that
  • 00:19:47
    little bit there with that guitar and
  • 00:19:49
    everything kind of made me think of that
  • 00:19:52
    sort of cadenza moment
  • 00:19:54
    maybe that's how maybe that's how it's
  • 00:19:56
    done here i don't know anyway
  • 00:19:59
    [Music]
  • 00:20:11
    so i'm just guessing as much as i can
  • 00:20:14
    gather from the way the music is working
  • 00:20:16
    out
  • 00:20:17
    that maybe now we're back to this steady
  • 00:20:20
    rhythm
  • 00:20:21
    maybe that's setting us up for the next
  • 00:20:23
    verse i don't know for sure but that's
  • 00:20:25
    just a
  • 00:20:27
    i guess
  • 00:20:28
    [Music]
  • 00:20:45
    we're kind of going in slow motion now
  • 00:20:49
    putting on the brakes
  • 00:20:55
    [Music]
  • 00:21:02
    so instead of being what i thought it
  • 00:21:04
    was setting us up for
  • 00:21:06
    uh the next verse
  • 00:21:09
    it was setting us up for a change in
  • 00:21:11
    pace
  • 00:21:12
    and then
  • 00:21:13
    the percussion and
  • 00:21:15
    the
  • 00:21:16
    band
  • 00:21:19
    kind of stepped on the brakes and slowed
  • 00:21:21
    it down
  • 00:21:22
    and it's not the kind of slowing down
  • 00:21:24
    that loses energy
  • 00:21:26
    it kind of kind of makes the energy just
  • 00:21:28
    all bundle up behind it like it wants to
  • 00:21:30
    go go go but they're just holding it
  • 00:21:33
    back and holding it back
  • 00:21:36
    and it has its own way of intensifying
  • 00:21:39
    the piece
  • 00:21:40
    [Music]
  • 00:21:47
    now it seems like we're picking up speed
  • 00:21:49
    a little bit again
  • 00:21:56
    very controlled i'm impressed i'm
  • 00:21:59
    impressed with the level of control here
  • 00:22:14
    [Music]
  • 00:22:18
    okay now i hear
  • 00:22:19
    this sort of
  • 00:22:21
    repetitive
  • 00:22:23
    pattern coming back is that the setup
  • 00:22:25
    for the next verse i don't know but now
  • 00:22:27
    i'm kind of sitting on the edge of my
  • 00:22:29
    seat of
  • 00:22:31
    what is coming next they managed to
  • 00:22:33
    build in me even though i have no
  • 00:22:35
    understanding of this kind of music and
  • 00:22:36
    i'm kind of
  • 00:22:39
    groping in the dark a bit to try to wrap
  • 00:22:41
    my mind and comprehend what's going on
  • 00:22:43
    here
  • 00:22:44
    they still managed to
  • 00:22:46
    get me to
  • 00:22:48
    be
  • 00:22:49
    waiting on the edge of my seat so to
  • 00:22:51
    speak
  • 00:22:52
    for
  • 00:22:53
    what is coming next and that's a pretty
  • 00:22:56
    pretty good accomplishment
  • 00:22:58
    [Music]
  • 00:23:10
    [Music]
  • 00:23:15
    okay
  • 00:23:16
    it's really percussive right here it's
  • 00:23:17
    just
  • 00:23:18
    hardly any guitar okay now the guitar is
  • 00:23:20
    coming back in and it's the same little
  • 00:23:23
    melody right this is what we would call
  • 00:23:25
    a a
  • 00:23:27
    motif or a motif where you have this
  • 00:23:29
    little tiny clip a little tiny sample of
  • 00:23:33
    of sound
  • 00:23:38
    right that is what we call a musical
  • 00:23:41
    motif or musical motive where
  • 00:23:44
    um
  • 00:23:46
    the composer uses that in very creative
  • 00:23:48
    ways sometimes they use it just by raw
  • 00:23:50
    repetition like it seems what's
  • 00:23:52
    happening here
  • 00:23:53
    other times
  • 00:23:54
    they dress it up and get all fancy and
  • 00:23:57
    take it in new directions and stuff like
  • 00:23:59
    that but i am able to recognize that in
  • 00:24:01
    this music and i see that is a
  • 00:24:04
    very
  • 00:24:06
    important part of this musically
  • 00:24:09
    speaking
  • 00:24:11
    [Music]
  • 00:24:16
    and okay and just about when i'd given
  • 00:24:19
    up on the idea of the voice returning it
  • 00:24:21
    just came out of nowhere
  • 00:24:24
    there it is
  • 00:24:33
    [Music]
  • 00:24:44
    y'all
  • 00:24:48
    well that's pretty intense
  • 00:24:50
    as far as the as far as the
  • 00:24:54
    ideas and the music
  • 00:24:57
    but again i would say that this music is
  • 00:25:00
    doing a very fine job of supporting
  • 00:25:04
    the the expression of the words
  • 00:25:08
    [Music]
  • 00:25:20
    i can't believe i can't believe the
  • 00:25:23
    price
  • 00:25:25
    we pay
  • 00:25:30
    okay and this is coming back well it has
  • 00:25:33
    already come back to
  • 00:25:35
    the
  • 00:25:36
    repeated lines after the verse
  • 00:25:39
    the chorus
  • 00:25:41
    type
  • 00:25:42
    thing and it's
  • 00:25:44
    that's where it's it's all
  • 00:25:47
    it's all coming together and
  • 00:25:50
    summing up
  • 00:25:51
    all that has been expressed so
  • 00:25:55
    isn't far justice is right justice is
  • 00:25:58
    gone
  • 00:25:58
    [Music]
  • 00:26:01
    pulling yours free justice is done
  • 00:26:06
    seeking no truth winning is
  • 00:26:14
    yeah
  • 00:26:15
    i don't
  • 00:26:17
    i'm not able to find anything else
  • 00:26:22
    in the music beyond what i've already
  • 00:26:24
    said yet
  • 00:26:25
    i feel like i'm going to need to listen
  • 00:26:27
    to this piece a few more times
  • 00:26:30
    as i prepare for the second half because
  • 00:26:32
    i'm
  • 00:26:33
    this is challenging for me it's it's not
  • 00:26:35
    something that
  • 00:26:37
    really
  • 00:26:39
    sinks in
  • 00:26:40
    it's like
  • 00:26:41
    almost my mind is
  • 00:26:44
    and my comprehension is kind of
  • 00:26:47
    bracing against it trying to back away
  • 00:26:49
    from it
  • 00:26:52
    because it's so different and so foreign
  • 00:26:54
    to what my
  • 00:26:56
    usual
  • 00:26:59
    listening habits are but i'm going to do
  • 00:27:02
    this and i'm going to give it a try and
  • 00:27:03
    i'm going to see what i can come up with
  • 00:27:05
    but i think we're getting close to the
  • 00:27:07
    end so we'll just finish that
  • 00:27:14
    more instrumental
  • 00:27:19
    [Music]
  • 00:27:26
    [Music]
  • 00:27:33
    and another thing that i haven't
  • 00:27:35
    mentioned yet but
  • 00:27:36
    it's the style of the singing
  • 00:27:39
    because
  • 00:27:42
    as a classical musician i keep coming
  • 00:27:44
    back to that i'm used to
  • 00:27:46
    a type of singing where
  • 00:27:49
    where
  • 00:27:50
    the singers are
  • 00:27:53
    cultivating a sound that is designed to
  • 00:27:56
    be very attractive and very
  • 00:28:00
    very expressive this is more like
  • 00:28:02
    somebody just kind of yelling a few
  • 00:28:03
    notes out right
  • 00:28:05
    and
  • 00:28:08
    we find that sometimes in classical
  • 00:28:10
    music for a special effect or or you
  • 00:28:13
    know a small moment
  • 00:28:15
    but
  • 00:28:16
    we don't hear this sort of
  • 00:28:20
    whole song song at screaming volume
  • 00:28:23
    it's just not done
  • 00:28:25
    and
  • 00:28:27
    it's kind of strange to me
  • 00:28:39
    [Music]
  • 00:28:51
    [Music]
  • 00:28:55
    and it cuts off that abruptly okay
  • 00:28:59
    that was a really interesting experience
  • 00:29:02
    for me to listen to this with you and um
  • 00:29:07
    i have some work to do i guess i would
  • 00:29:09
    say that just like the music
  • 00:29:12
    suits
  • 00:29:13
    the idea that the words are expressing
  • 00:29:16
    so also even though i'm so unaccustomed
  • 00:29:19
    to this
  • 00:29:20
    screaming singing
  • 00:29:22
    i think it suits the music too i mean i
  • 00:29:24
    think it suits the words
  • 00:29:26
    the ideas that the words are expressing
  • 00:29:28
    one of the things about
  • 00:29:31
    classical music my background
  • 00:29:35
    is that
  • 00:29:39
    it really a lot of it developed
  • 00:29:42
    in the church you know during the middle
  • 00:29:44
    ages and renaissance and
  • 00:29:47
    baroque era and all of that it was a
  • 00:29:49
    very
  • 00:29:51
    worship oriented although of course not
  • 00:29:53
    all of it was worship oriented but but
  • 00:29:55
    that was a huge part
  • 00:29:58
    of
  • 00:29:59
    the development of music happened in the
  • 00:30:01
    worship context well of course
  • 00:30:03
    um
  • 00:30:04
    in a worship context a lot of what
  • 00:30:07
    you're trying to do is express
  • 00:30:09
    ideas about god
  • 00:30:12
    and
  • 00:30:13
    um being
  • 00:30:15
    the
  • 00:30:17
    developing in the western
  • 00:30:20
    in the western part of the world
  • 00:30:23
    of course it was christianity based and
  • 00:30:26
    the christian ideas about god
  • 00:30:29
    are ones of love and mercy and
  • 00:30:31
    forgiveness and sacrifice and all of
  • 00:30:34
    those things um you know there are some
  • 00:30:36
    parts of it that are also about judgment
  • 00:30:38
    and and justice and that too because
  • 00:30:41
    that's all part of the set of concepts
  • 00:30:43
    that the music is doing but with this
  • 00:30:46
    overarching idea that
  • 00:30:48
    what what the music is attempting to do
  • 00:30:51
    is either to
  • 00:30:53
    express or communicate
  • 00:30:56
    or
  • 00:30:57
    explore
  • 00:30:59
    these concepts
  • 00:31:03
    built around this idea of love both
  • 00:31:06
    both
  • 00:31:07
    humanity is love towards god and god's
  • 00:31:09
    love towards humanity and all that that
  • 00:31:12
    entails in the western church tradition
  • 00:31:14
    and then of course along
  • 00:31:16
    comes the romantic what we call the
  • 00:31:19
    romantic era
  • 00:31:21
    where
  • 00:31:22
    classical music kind of
  • 00:31:24
    broadened out
  • 00:31:27
    beyond the church a bit more than before
  • 00:31:30
    and
  • 00:31:33
    there came to be this focus on
  • 00:31:36
    expressing and exploring
  • 00:31:38
    love
  • 00:31:40
    human to human
  • 00:31:41
    you know there's a lot of songs about
  • 00:31:44
    lovers and lovers lost and or
  • 00:31:47
    or nature and the natural world and and
  • 00:31:50
    exploring
  • 00:31:54
    these natural world
  • 00:31:59
    experiences and and concepts and so
  • 00:32:03
    forth it all has a lot of love in it
  • 00:32:05
    a lot of give and take
  • 00:32:09
    i see that this music is different
  • 00:32:12
    and
  • 00:32:13
    i guess there's a place for it because
  • 00:32:16
    in real life
  • 00:32:17
    it's not all love there are a lot of
  • 00:32:19
    human emotions and experiences
  • 00:32:23
    that people go through all around the
  • 00:32:25
    world
  • 00:32:26
    which are very very hard
  • 00:32:29
    and very brutal and very
  • 00:32:33
    much
  • 00:32:35
    have have absolutely nothing to do
  • 00:32:38
    with love either
  • 00:32:41
    a human to human love or a human to
  • 00:32:43
    divine love or however one might express
  • 00:32:45
    it
  • 00:32:46
    and
  • 00:32:47
    so
  • 00:32:48
    this song itself it's delving into one
  • 00:32:51
    of those
  • 00:32:52
    elements one of those aspects and and
  • 00:32:56
    it's trying to express something that
  • 00:32:59
    needs to be expressed it's trying to
  • 00:33:01
    address something
  • 00:33:03
    that is very real and needs to be
  • 00:33:06
    addressed
  • 00:33:07
    and i can
  • 00:33:09
    there's a there's an important place for
  • 00:33:11
    that and so
  • 00:33:13
    i see how this has a value even though i
  • 00:33:15
    personally struggle to relate to this
  • 00:33:17
    kind of music
  • 00:33:19
    um
  • 00:33:20
    and i am probably doing a very poor job
  • 00:33:23
    of it today
  • 00:33:24
    in this first listen
  • 00:33:26
    but
  • 00:33:27
    i see that there is a value and an
  • 00:33:30
    importance to it and so i'm going to
  • 00:33:33
    take some time
  • 00:33:34
    and
  • 00:33:36
    see what more i can learn about this and
  • 00:33:39
    and delve into it musically artistically
  • 00:33:43
    um
  • 00:33:44
    and and i'll come back in the second
  • 00:33:46
    half and
  • 00:33:48
    let you know what i find
  • 00:33:53
    hi everyone i'm back
  • 00:33:55
    and um i've taken a few days to
  • 00:33:58
    try to dig into this song and
  • 00:34:02
    i have a lot to say and uh
  • 00:34:04
    some things to show you on the piano and
  • 00:34:08
    all kinds of stuff so let's dig right in
  • 00:34:10
    of course the words of the title piece
  • 00:34:13
    are
  • 00:34:14
    are um and justice for all are the final
  • 00:34:17
    four words of the pledge of allegiance
  • 00:34:19
    so
  • 00:34:20
    we all instantly recognize them and we
  • 00:34:23
    associate them with patriotism and the
  • 00:34:25
    high ideals we have for this country i
  • 00:34:27
    found out this song comes from
  • 00:34:29
    metallica's fourth album and serves as
  • 00:34:32
    the title piece so the album itself is
  • 00:34:34
    called and justice for all from what i
  • 00:34:37
    could find out
  • 00:34:38
    they came up with the name and ideas for
  • 00:34:40
    it kind of thought oh that's a cool idea
  • 00:34:43
    and then they went looking for some
  • 00:34:45
    inspiration and it seems like one of the
  • 00:34:47
    things they used
  • 00:34:49
    um
  • 00:34:50
    they watched as they were developing the
  • 00:34:52
    ideas of the piece was a 1979 movie of
  • 00:34:56
    the same name
  • 00:34:58
    in which al pacino played a lawyer who
  • 00:35:01
    realizes that
  • 00:35:02
    the justice system is full of corruption
  • 00:35:04
    and favoritism
  • 00:35:05
    and it kind of helps them develop their
  • 00:35:08
    approach i also found out this album
  • 00:35:10
    showcases some of metallica's most
  • 00:35:13
    complex music
  • 00:35:14
    maybe there are some other
  • 00:35:16
    pieces on it that i should try out and
  • 00:35:19
    and
  • 00:35:20
    so maybe that's coming in the future
  • 00:35:22
    some of the songs including this one
  • 00:35:24
    were so complex
  • 00:35:26
    that the band had a really hard time
  • 00:35:29
    reproducing the sound for their tour in
  • 00:35:32
    support of the album for their live tour
  • 00:35:34
    kirk hammett said in an interview once
  • 00:35:36
    that the band had finished playing this
  • 00:35:38
    song
  • 00:35:39
    and
  • 00:35:40
    one of them said we are never
  • 00:35:43
    playing that song ever again and they
  • 00:35:45
    didn't
  • 00:35:46
    for more than 20 years i guess they
  • 00:35:49
    finally gave another live performance in
  • 00:35:51
    2007. this is a long song
  • 00:35:54
    and i didn't realize how unusually long
  • 00:35:57
    it is for its genre until reading about
  • 00:36:00
    it because i'm used to classical
  • 00:36:02
    concerts and we all sit down and listen
  • 00:36:04
    to a piece of music that lasts for 30 or
  • 00:36:06
    40 minutes or or more but
  • 00:36:09
    i found out that that is not how it is
  • 00:36:11
    with rock music
  • 00:36:12
    um in fact i discovered that after the
  • 00:36:14
    first few live performances of this song
  • 00:36:18
    um one of the reasons they gave up the
  • 00:36:20
    idea and said we're never doing that
  • 00:36:22
    again
  • 00:36:22
    is because they realized that after
  • 00:36:24
    about five minutes the live audience
  • 00:36:26
    would get bored and start yawning and be
  • 00:36:29
    ready for it to be over and the song is
  • 00:36:31
    barely half finished of course
  • 00:36:33
    my first listen of it
  • 00:36:35
    i didn't have a chance to be bored
  • 00:36:37
    because i was trying so hard to follow
  • 00:36:39
    and comprehend this unfamiliar music and
  • 00:36:42
    i'll admit this piece
  • 00:36:43
    has been a real challenge and i've had
  • 00:36:45
    to work hard to get into it and to
  • 00:36:48
    understand it so one of the things i
  • 00:36:50
    wanted to talk about was what is it that
  • 00:36:52
    makes a long piece of music work
  • 00:36:55
    is this piece too long really
  • 00:36:58
    or
  • 00:36:59
    does it actually work as a long piece it
  • 00:37:02
    has to do with the architectural design
  • 00:37:05
    of a piece
  • 00:37:06
    okay i do understand now that rock a
  • 00:37:10
    rock concert is has a different purpose
  • 00:37:12
    and atmosphere than a symphony hall but
  • 00:37:15
    music has certain common characteristics
  • 00:37:17
    and requirements regardless of the genre
  • 00:37:20
    so if a piece of music is going to be
  • 00:37:22
    very long
  • 00:37:24
    it requires two things first of all it
  • 00:37:26
    it has to hold hold together meaning
  • 00:37:30
    there has to be some way of making it
  • 00:37:32
    come across as as one
  • 00:37:35
    song one piece of music
  • 00:37:38
    not just a string of separate songs or
  • 00:37:40
    musical ideas that are all patched
  • 00:37:43
    together the second thing it has to keep
  • 00:37:45
    the audience engaged for its entire
  • 00:37:47
    duration
  • 00:37:49
    i'm talking about music that's made for
  • 00:37:51
    listening to
  • 00:37:53
    background music is different
  • 00:37:55
    so
  • 00:37:56
    if we're meant to pay attention the
  • 00:37:58
    music has to engage us
  • 00:38:00
    and it can do that either by pulling us
  • 00:38:03
    deeply into an experience an atmosphere
  • 00:38:08
    a place
  • 00:38:09
    or
  • 00:38:10
    it can take us on an interesting journey
  • 00:38:13
    or perhaps both in classical music my
  • 00:38:16
    background
  • 00:38:19
    we often do this by developing a musical
  • 00:38:22
    idea it's kind of like taking some raw
  • 00:38:24
    building material let's say i have a
  • 00:38:25
    whole stack of lumber and
  • 00:38:29
    cutting it into different shapes and
  • 00:38:31
    fastening it together at different
  • 00:38:32
    angles it's all the same material
  • 00:38:35
    but it's presented in so many different
  • 00:38:37
    ways and has so many different
  • 00:38:41
    so much potential for manifesting itself
  • 00:38:44
    in different ways
  • 00:38:46
    that it stays interesting if it has a
  • 00:38:48
    good designer and here's a little piano
  • 00:38:50
    example of what i mean so the song i'm
  • 00:38:52
    going to use to illustrate this
  • 00:38:56
    idea of
  • 00:38:57
    a theme is a sonatina by clementi it's a
  • 00:39:01
    pretty popular one for students because
  • 00:39:03
    it's fairly uh approachable and easy to
  • 00:39:06
    grasp the concepts so here is the first
  • 00:39:09
    theme that we have in this sonata you
  • 00:39:10
    might even recognize it if you've
  • 00:39:12
    studied music or had anyone take piano
  • 00:39:14
    lessons
  • 00:39:18
    it's a lively little recognizable snip
  • 00:39:21
    of sound in this sonatina
  • 00:39:24
    that happens multiple times
  • 00:39:26
    and then it is developed
  • 00:39:28
    in different ways so a little bit later
  • 00:39:30
    in the piece it sounds like this
  • 00:39:36
    it's still recognizable but it's shifted
  • 00:39:38
    a bit to have a little different quality
  • 00:39:40
    and then even later it sounds like this
  • 00:39:46
    basically the same thing is the opening
  • 00:39:48
    but lower
  • 00:39:49
    then
  • 00:39:50
    it changes again
  • 00:39:55
    and it's different yet again we call
  • 00:39:58
    this thematic development
  • 00:40:00
    and
  • 00:40:02
    in this way we are able to get
  • 00:40:05
    myriad different kinds of musical moods
  • 00:40:07
    and colors and
  • 00:40:08
    experiences simply by creatively using
  • 00:40:11
    some small theme
  • 00:40:14
    and so
  • 00:40:16
    it holds together as one single piece of
  • 00:40:19
    music it has common
  • 00:40:21
    ground of course the longer a song is
  • 00:40:24
    the more thematic material is needed to
  • 00:40:26
    keep it engaging so composers often use
  • 00:40:29
    two or even more themes in a single
  • 00:40:32
    piece of music the sonatina does it
  • 00:40:34
    and we see exactly that happening also
  • 00:40:37
    in and justice for all and justice for
  • 00:40:39
    all has two main themes
  • 00:40:42
    plus a third one which is kind of an
  • 00:40:44
    elaboration of theme number two let me
  • 00:40:46
    show you what they are
  • 00:40:48
    so the first thing we hear is what we
  • 00:40:51
    get at the beginning of the song and it
  • 00:40:53
    starts out like this
  • 00:41:04
    and so on you recognize that and you'll
  • 00:41:07
    hear it over and over repeated multiple
  • 00:41:10
    times in the first portion of and
  • 00:41:12
    justice for all then a bit later we get
  • 00:41:15
    to the second theme the second theme
  • 00:41:17
    sounds like
  • 00:41:19
    well it's kind of tricky because i'm on
  • 00:41:21
    the piano and the piano doesn't do
  • 00:41:24
    things that the electric guitar does so
  • 00:41:26
    you'll see you'll feel like it's kind of
  • 00:41:28
    lacking something but still you can get
  • 00:41:30
    the basic idea so the second theme is
  • 00:41:32
    setup with this little rhythmic
  • 00:41:34
    preparation that sounds a bit like this
  • 00:41:38
    okay
  • 00:41:39
    and then immediately after that here
  • 00:41:41
    comes the second theme which goes
  • 00:41:43
    [Music]
  • 00:41:46
    and it goes back and forth between that
  • 00:41:49
    theme
  • 00:41:55
    and so forth and you'll hear that
  • 00:41:59
    over and over in the piece now what we
  • 00:42:01
    call the third theme
  • 00:42:03
    is kind of as i said uh
  • 00:42:05
    [Music]
  • 00:42:07
    an elaborate
  • 00:42:08
    variation of that second theme it's up
  • 00:42:11
    here and it sounds like this
  • 00:42:14
    [Music]
  • 00:42:16
    and you'll hear it you'll hear this one
  • 00:42:18
    down here
  • 00:42:21
    several times and then the higher sounds
  • 00:42:24
    come in
  • 00:42:26
    and so forth of course again
  • 00:42:29
    it's got a little more warp and
  • 00:42:31
    and
  • 00:42:33
    ornamentation happening in the guitar
  • 00:42:35
    itself but you'll recognize if you
  • 00:42:38
    listen to the piece
  • 00:42:39
    those
  • 00:42:40
    themes now
  • 00:42:42
    unlike the clementi sonatina
  • 00:42:46
    this song doesn't really develop the
  • 00:42:49
    themes it uses them
  • 00:42:51
    more like a motif basically exactly as
  • 00:42:53
    they were first stated simply repeating
  • 00:42:56
    and reinforcing them perhaps layering
  • 00:42:59
    more instruments
  • 00:43:01
    that creates a sense of unity as well
  • 00:43:03
    and since this is not an instruments
  • 00:43:06
    only piece but a song
  • 00:43:08
    so that the main message of the piece is
  • 00:43:10
    actually conveyed through its words we
  • 00:43:13
    don't expect or need the musical ideas
  • 00:43:15
    to be developed and explored like
  • 00:43:18
    in a
  • 00:43:19
    sonatina or sonata or symphony but
  • 00:43:23
    repeating the same motif over and over
  • 00:43:26
    and over can get very dull and it needs
  • 00:43:29
    some surprise elements
  • 00:43:31
    to keep it fresh which is just what
  • 00:43:33
    happens in this song not only do you
  • 00:43:35
    have the transition times between the
  • 00:43:37
    themes
  • 00:43:38
    which grab our attention
  • 00:43:40
    and help us to move smoothly
  • 00:43:43
    as i said before it should sound
  • 00:43:45
    unified not just tacked together the
  • 00:43:48
    transition
  • 00:43:49
    moments help us to move smoothly from
  • 00:43:52
    one theme to the other they also give us
  • 00:43:54
    something interesting to kind of break
  • 00:43:56
    up the monotony but we also find the
  • 00:43:58
    long elaborate guitar solos after the
  • 00:44:02
    second verse
  • 00:44:03
    which
  • 00:44:04
    might at first seem
  • 00:44:07
    like they're coming out of nowhere these
  • 00:44:09
    solos break the monotony but
  • 00:44:12
    because they built the solo in such a
  • 00:44:14
    way that it uses the same harmonies as
  • 00:44:17
    we hear in the chorus
  • 00:44:18
    it still
  • 00:44:19
    holds together and feels like it belongs
  • 00:44:23
    to the piece
  • 00:44:24
    so it's not like just a different song
  • 00:44:26
    dropped into the center
  • 00:44:29
    of
  • 00:44:30
    stuff that doesn't really relate how
  • 00:44:32
    does all of this contribute to the
  • 00:44:34
    effectiveness of the song to me it seems
  • 00:44:36
    like the repetitiveness
  • 00:44:38
    without development
  • 00:44:40
    is actually a very eloquent way of
  • 00:44:42
    conveying what it's like to attempt to
  • 00:44:45
    seek for justice in a warped system it's
  • 00:44:47
    like
  • 00:44:48
    no escape is opening itself to you you
  • 00:44:51
    cannot find a way out it just goes on
  • 00:44:54
    and on and on
  • 00:44:57
    the assault gets closer
  • 00:44:59
    and then the solo sections where there
  • 00:45:00
    are really
  • 00:45:01
    they're really two sections here the
  • 00:45:03
    first builds into a wild frantic
  • 00:45:06
    screaming flailing about
  • 00:45:09
    when you realize
  • 00:45:10
    that the system is so stacked against
  • 00:45:13
    you that there is no way out in the
  • 00:45:16
    imagery of the song
  • 00:45:18
    the victim is raging and grasping at
  • 00:45:21
    straws and thrashing and fighting but
  • 00:45:24
    cannot resist the aggressor and and that
  • 00:45:26
    is the moment at which musically the
  • 00:45:29
    rape is accomplished the second section
  • 00:45:31
    returns to the first thing
  • 00:45:33
    remember the theme at the very opening
  • 00:45:35
    of the piece that lilting beautiful
  • 00:45:38
    melody where it was setting us up to
  • 00:45:40
    think of and justice for all like it's a
  • 00:45:43
    beautiful concept but now the same theme
  • 00:45:46
    comes back
  • 00:45:48
    and unlike how it was presented at the
  • 00:45:51
    beginning
  • 00:45:52
    it now
  • 00:45:54
    appears as a more mechanical character
  • 00:45:57
    and each repetition of it as it builds
  • 00:46:00
    and builds is more relentless more
  • 00:46:03
    brutal
  • 00:46:04
    more of a bulldozer quality and so when
  • 00:46:07
    the third verse arrives
  • 00:46:10
    the victim is displayed as completely
  • 00:46:12
    destroyed while the machine continues
  • 00:46:16
    without a backward glance it is entirely
  • 00:46:19
    unaffected by what has occurred
  • 00:46:21
    um it has no emotional
  • 00:46:24
    impact
  • 00:46:26
    on this
  • 00:46:27
    this um system
  • 00:46:29
    and that is conveyed by the fact that
  • 00:46:32
    the musical motifs
  • 00:46:34
    in the third verse
  • 00:46:35
    [Music]
  • 00:46:37
    are exactly the same as what we heard
  • 00:46:38
    before there's no change in their
  • 00:46:40
    character there is no difference is the
  • 00:46:42
    song too long that depends on why you
  • 00:46:45
    are listening to it if you want an easy
  • 00:46:47
    listening piece something to you know
  • 00:46:49
    add to your fun maybe
  • 00:46:52
    i don't know dance to or have a party
  • 00:46:54
    around or something it's certainly going
  • 00:46:57
    to drag on too long for you
  • 00:46:59
    and if you're going to a live rock
  • 00:47:01
    concert where you want this sort of
  • 00:47:03
    adrenaline rush and fun time
  • 00:47:06
    i can see why it doesn't really work
  • 00:47:08
    there but
  • 00:47:09
    if you are looking for an eloquent
  • 00:47:11
    portrayal of an experience that is
  • 00:47:14
    very unfortunately
  • 00:47:16
    felt by many
  • 00:47:17
    possibly even by you or someone you know
  • 00:47:19
    if you want to glimpse into what it is
  • 00:47:21
    to be treated unjustly by the very
  • 00:47:24
    systems
  • 00:47:25
    which were established to protect and
  • 00:47:28
    defend and exonerate the innocent and to
  • 00:47:30
    treat the guilty fairly and justly then
  • 00:47:33
    the length of the piece is not only
  • 00:47:35
    acceptable
  • 00:47:36
    but also critical because the length
  • 00:47:39
    itself
  • 00:47:40
    is part of
  • 00:47:43
    this
  • 00:47:44
    picture these experiences don't happen
  • 00:47:47
    in such a way that a person can get
  • 00:47:49
    through it quickly and move on
  • 00:47:51
    instead they are often interminable and
  • 00:47:55
    often they don't even end until the
  • 00:47:57
    person is dead you know the grave and
  • 00:48:00
    the bees kind of ends at the sudden stop
  • 00:48:02
    like it's
  • 00:48:05
    right it doesn't end until you're dead
  • 00:48:07
    how would i grade this piece
  • 00:48:10
    uh musically
  • 00:48:12
    if i'm judging this on
  • 00:48:14
    musical merits alone
  • 00:48:16
    it definitely has some room for
  • 00:48:20
    musical development i guess metallica
  • 00:48:23
    kind of sensed it themselves
  • 00:48:25
    i don't think it's only because it was
  • 00:48:27
    hard to present in concert i think
  • 00:48:29
    i think they understood that musically
  • 00:48:33
    it has some challenges so on musical
  • 00:48:35
    merits alone
  • 00:48:38
    i'm going to give it a score around five
  • 00:48:41
    or six
  • 00:48:43
    it's not bad but
  • 00:48:45
    as we've talked about this idea of how
  • 00:48:48
    long music works
  • 00:48:50
    you can see why
  • 00:48:51
    it's got some challenges there now the
  • 00:48:53
    lyrics i haven't really talked about the
  • 00:48:54
    lyrics a whole lot
  • 00:48:56
    the theme is crystal clear
  • 00:48:59
    and they choose the best way
  • 00:49:02
    to point out this theme of corruption
  • 00:49:06
    not only corruption but corruption of
  • 00:49:09
    justice the greenback determines what is
  • 00:49:11
    just the dollar writes the reality
  • 00:49:14
    justice is portrayed as a lady and the
  • 00:49:16
    dimension and brutality of the
  • 00:49:18
    corruption is revealed by using the
  • 00:49:20
    image of rape
  • 00:49:22
    justice is lost justice is raped justice
  • 00:49:25
    is gone and then they go on winning is
  • 00:49:28
    all describing a society which is
  • 00:49:31
    seeking no truth meaning the scale of
  • 00:49:34
    values is corrupt it's it's reversed
  • 00:49:37
    the the truth means nothing
  • 00:49:40
    while winning is the ultimate goal even
  • 00:49:42
    if the means for that are corrupt so now
  • 00:49:45
    this kind of reminds me of a line from
  • 00:49:48
    from the chernobyl hbo series um
  • 00:49:51
    i watched that some time back and
  • 00:49:53
    and there's this line that has stuck
  • 00:49:56
    with me every lie we tell
  • 00:49:58
    incurs a debt to the truth
  • 00:50:01
    sooner or later that debt is paid
  • 00:50:04
    metallica
  • 00:50:06
    doesn't seem to see any way out from
  • 00:50:08
    this for them the present as well as the
  • 00:50:11
    future is so grim
  • 00:50:13
    that at the end of the day
  • 00:50:15
    nothing can save you the poetry is quite
  • 00:50:21
    rich in its vocabulary i i really
  • 00:50:24
    enjoyed
  • 00:50:25
    the
  • 00:50:26
    creativity and the depth of it
  • 00:50:30
    i wouldn't call it
  • 00:50:33
    highly
  • 00:50:35
    artistic
  • 00:50:36
    but it was very good so i'm going to
  • 00:50:38
    give it a score of seven now
  • 00:50:40
    interpretation this is tricky for me
  • 00:50:42
    because um
  • 00:50:45
    again i'm not used to
  • 00:50:47
    assessing this kind of music
  • 00:50:50
    but i would say after having spent some
  • 00:50:52
    time and listening to it over and over
  • 00:50:54
    and really trying to understand the
  • 00:50:56
    piece
  • 00:50:57
    the interpretation and the communication
  • 00:50:59
    of the message is highly effective i'm
  • 00:51:02
    not saying i like listening to it but
  • 00:51:04
    i'm saying that metallica
  • 00:51:07
    masterfully achieves its goal the voice
  • 00:51:09
    and the instruments work together so
  • 00:51:11
    well
  • 00:51:12
    that the meaning of it
  • 00:51:14
    the message really hits home and then
  • 00:51:17
    overall how does it all work together
  • 00:51:20
    everything works together in this piece
  • 00:51:22
    to create the
  • 00:51:23
    both the emotional and the cerebral
  • 00:51:26
    impact
  • 00:51:27
    even the weaknesses of the music end up
  • 00:51:30
    contributing to the overall
  • 00:51:31
    effectiveness of the work as a whole
  • 00:51:35
    so that all together it is an
  • 00:51:37
    outstanding song and i'm going to give
  • 00:51:38
    it a total score of 8. do i like it
  • 00:51:43
    well let me rephrase that do i enjoy it
  • 00:51:46
    no
  • 00:51:48
    personally
  • 00:51:50
    i find this kind of music incredibly
  • 00:51:52
    stressful and fatiguing to listen to but
  • 00:51:55
    that doesn't mean i can't appreciate it
  • 00:51:57
    and recognize that it has value and
  • 00:52:00
    importance this piece does a very good
  • 00:52:03
    job of describing a nasty ugly hurtful
  • 00:52:07
    side of society this
  • 00:52:09
    is what i naturally feel while listening
  • 00:52:12
    to it
  • 00:52:13
    distress tension revolt maybe even fear
  • 00:52:18
    i can't enjoy those feelings
  • 00:52:21
    but i certainly appreciate
  • 00:52:25
    a valuable piece of art
  • 00:52:27
    that is able to convey
  • 00:52:30
    this in such a
  • 00:52:34
    um
  • 00:52:35
    an effective manner anyway i'm looking
  • 00:52:37
    forward to your comments and further
  • 00:52:40
    suggestions
  • 00:52:41
    um like and subscribe if you want to
  • 00:52:43
    follow my channel
  • 00:52:45
    and
  • 00:52:47
    we'll see what the next piece is
Etiquetas
  • Metallica
  • And Justice for All
  • music analysis
  • rock music
  • lyrics
  • justice
  • corruption
  • musical structure
  • first listen
  • review