'The Unforgiven III' 3 / Death Magnetic / Metallica Lyric

'The Unforgiven III' 3 / Death Magnetic / Metallica Lyric

This is the third 'Unforgiven' song....it features a soft piano introduction  which is kind of like the introduction to the song that Metallica open their concerts with The Ecstacy of Gold.  

Unforgiven Three also features a ferocious end solo from Kirk Hammet, possibly his best in years.... what do you think?


If you had to criticize the song, it would be in its lyrics. Exhibit A: "How can I be lost?
If I’ve got nowhere to go?" which is kind of Cheese Factor 10.

The Unforgiven III Lyrics


How could he know this new dawn’s light
Would change his life forever?
Set sail to sea but pulled off course
By the light of golden treasure
Was he the one causing pain
With his careless dreaming?
Been afraid, always afraid
Of the things he’s feeling
He could just be gone
He would just sail on
He would just sail on

How can I be lost?
If I’ve got nowhere to go?
Searched for seas of gold
How come it’s got so cold?
How can I be lost?
In remembrance I relive
And how can I blame you
When it’s me I can’t forgive?
These days drift on inside a fog
It’s thick and suffocating
This seeking life outside its hell
Inside intoxicating
He’s run aground like his life
Water’s much too shallow
Slipping fast down with the ship
Fading in the shadows now
A castaway
Blame all gone away
Blame gone away
How can I be lost
If I’ve got nowhere to go?
Searched for seas of gold
How come it’s got so cold?
How can I be lost?
In remembrance I relive
And how can I blame you
When it’s me I can’t forgive?
Forgive me, forgive me not
Forgive me, forgive me not
Forgive me, forgive me not
Forgive me, forgive me
Why can’t I forgive me?
Set sail to sea but pulled off course
By the light of golden treasure
How could he know this new dawn’s light
Would change his life forever
How can I be lost
If I’ve got nowhere to go?
Searched for seas of gold
How come it’s got so cold?
How can I be lost?
In remembrance I relive
So how can I blame you
When it’s me I can’t forgive?

Here's the lyrics to the other songs in Metallica's Unforgiven Trilogy:

The Unforgiven II lyrics

The Unforgiven Lyrics

More Death Magnetic Lyrics on The Metallica Lyric Lounge

3 / III/ Three / Third / Trois

Rollingstone Review Death Magnetic

Brian Hiatt of the Rolling Stone Magazine gives an assessment of Metallica's Death Magnetic:

In the Eighties, thrash metal wasn't a scene, it was an arms race: riffs kept speeding up, drum kits got bigger. But with 1991's Black Album, Metallica opted for unilateral disarmament, slowing their tempos, shortening their songs and smelting their chugging guitars and piston-powered drums into armor-plated pop hooks. After that, the band rushed from one reinvention to another, starting with the Southern-rock infusion of 1996's Load and culminating in the muddled, bizarrely produced group-therapy session of 2003's St. Anger. No longer: Death Magnetic is the musical equivalent of Russia's invasion of Georgia — a sudden act of aggression from a sleeping giant.

Just as U2 re-embraced their essential U2-ness post-Pop, this album is Metallica becoming Metallica again — specifically, the epic, speed-obsessed version from the band's template-setting trilogy of mid-Eighties albums: Master of Puppets, Ride the Lightning and, especially, the progged-out ...And Justice for All. That much is clear from the 90-second mark of Death Magnetic's first track, "That Was Just Your Life," where the band unleashes a barrage of James Hetfield's dutta-duh-duhnt riffing and Lars Ulrich's octuple-time double-bass-and-snare smashing. That long-vanished sound, as essential to Metallica as variations on the "Start Me Up" riff are to the Stones, is all over the album —you wonder how these fortysomething dudes are going to handle playing it live night after night. (Enter chiropractor.)

Death Magnetic marks the group's split with producer Bob Rock, who helmed every Metallica album from 1991 to 2004 and pushed them toward concision and immediacy — until St. Anger, when he seemed to throw up his hands altogether. (As the 2004 documentary Some Kind of Monster demonstrates, Rock deserved credit for getting any music at all out of a band determined to self-destruct.) New producer Rick Rubin shoves Metallica in the opposite direction: Half of Death Magnetic's tracks are over seven minutes long, with song structures that are not so much "verse/chorus/verse" as "long intro/heavy jam/verse/even heavier jam/chorus/bridge/wild solo/outro."

This feels like the right move for an era where Guitar Hero is the new rock radio. (Appropriately, the full album will be downloadable for GH play.) And it's not as if Top 40 stations were going to slip in Metallica between Chris Brown and the Jonas Brothers, anyway. These songs rarely feel too long: At their best, they combine the melodic smarts of Metallica's mature work with the fully armed-and-operational battle power of their early days. "The End of the Line" is a freight-train rocker with a ricocheting riff and lyrics about a doomed, drug-addicted star. It builds to a frantic guitar duel between Kirk Hammett and Hetfield, a wah-wah-crazed solo and, finally, a bridge that feels like an entirely new song. And the spectacular "All Nightmare Long" — a thematic sequel of sorts to "Enter Sandman" — combines relentless Master of Puppets guitars with a Black Album-worthy chorus.

St. Anger was a misguided attempt to recapture the band's mojo by sounding "raw" — but Death Magnetic manages to sound huge, polished and tough. The musicianship feels thrillingly live throughout, and nimble new bassist Robert Trujillo helps, even though he's mostly heard as a distant, ominous rumble. (Has there ever been a more bass-averse band in rock?)

There's supposed to be a lyrical theme here — something about death — but it's hard to discern. After expanding his lyrical palette on previous albums, Hetfield is now so determined to re-metallize that he pushes toward self-parody: "Venom of a life insane/Bites into your fragile vein," he barks on "The Judas Kiss." The "One"-style half-ballad, half-thrasher "The Day That Never Comes" appears to be yet another tale from Hetfield's rough childhood, complete with the awful pun "son shine."

But if you ignore the lyrics, Death Magnetic sounds more like it's about coming back to life. Everything comes together on the fan-favorite-to-be "Broken, Beat and Scarred," which manages to channel the full force of Metallica behind a positive message: "What don't kill ya make ya more strong," Hetfield sings, with enough power to make the cliché feel fresh. The aphorism he paraphrases happens to come from Nietzsche's Twilight of the Idols, which is subtitled How to Philosophize With a Hammer. Metallica's philosophizing may get shaky — but long may that hammer strike.

Do Metallica like Axl Rose?

Metallica fans are probably Guns N Roses fans - so for those interested in Chinese Democracy:

Here's the lyrics for Chinese Democracy by Axl Rose.

Also here's Chinese Democracy's cover art  

Metallica Is Number One in America

Metallica's American fans have spoken. Death Magnetic debuted at number on on the Bill Board Charts having sold over 490,000 albums in three days of release. This is the fifth number one debut that Metallica has had on the Bill Board charts - a feat matched by no one! Not even Paul McCartney and the Beatles....

Metallica BBC Radio 1 Concert Set List

Metallica BBC Radio 1 Concert Set List

As part of promo for their new Death Magnetic album Metallica did a gig for the BBC Radio 1 station. If you want you can listen to the show BBC Radio 1 website  until Monday 22nd of September. Metallica played five songs off Death Magnetic. The show was played at the BBC Radio Theatre. 

Metallica' s BBC  Radio 1 set list:

That Was Just Your Life
The End Of The Line
Until It Sleeps
Broken, Beat And Scarred
Cyanide
Frantic
For Whom The Bell Tolls
The Day That Never Comes
Master Of Puppets
Blackened

The following night Metallica did a show at the O2 Arena.

The Sauce 

Metallica 02 World Berlin Concert Set List, Berlin

Metallica  02 World Berlin Concert Set List, Berlin

Metallica kicked off  the O2 World Berlin Festival at a sold out 17,000-capacity arena. Metallica performed several new songs from "Death Magnetic". 

The set list:

That Was Just Your Life / The End Of The Line / The Thing That Should Not Be / Of Wolf Of Man / One / Broken, Beat, and Scarred / Cyanide / Frantic / Until It Sleeps / Wherever I May Roam / For Whom The Bells Tolls / The Day That Never Comes / Master Of Puppets / Blackened / Blitzkrieg / Jump In The Fire / Seek and Destroy

The Spaghetti Incident? was the sauce for the set.

Death Magnetic Album Review Chris Schulz

Death Magnetic CD Review by Chris Schulz

Oh, how the mighty have fallen. All it took was one brilliant doco - 2004's Some Kind of Monster - for the world to see just how far Metallica had come from their days as an unstoppable metal juggernaut.

As Monster showed, the band had become a bloated mess weighed down by their collective history, existing in a black hole of infighting, petty egos, private jets and - for singer James Hetfield - a stint in rehabilitation for alcoholism.



It culminated with 2003's rubbish record St Anger, a timid album created under a psychiatrist's watchful eye which is almost universally unloved by the band's millions of fans. And rightfully so.
Five years on, Death Magnetic - their ninth studio album - is Metallica's last chance to reclaim their metal crown.

The good news is that it's an album of firsts - the first they've recorded with producer Rick Rubin, the first to feature bassist Robert Trujillo, and the first with a new record label.
They should be re-energised and Death Magnetic starts with intent, as the raw riffs of That Was Just Your Life blister the speakers in a way that St Anger failed to do - even if Hetfield, now 45, sounds like he's struggling to keep up with Lars Ulrich's frenetic drumming and Kirk Hammet's blistering riffs.

They keep the pace up with Broken, Beat & Scarred, All Nightmare Long and The Judas Kiss, tracks that fly by in a flurry of ridiculously fast riffs and guitar solos reminiscent of their classic 80s trilogy: 1984's Ride the Lightning, 1986's Master of Puppets and 1988's ... And Justice For All.

But that's the problem, and this is where the good news ends. Metallica sound so desperate to recapture past glories they've started sounding like a pastiche of themselves.
Just listen to The End of the Line. Do those riffs sound familiar? They should to any '80s Metallica fan.

Then there's The Unforgiven III, the culmination of a trilogy that began on the Black Album. Anyone who wants to hear Hetfield sing properly should play it immediately. Everyone else, hit the delete button.

It doesn't help that Hetfield's lyrics are all over the place, an incohesive mess supposedly based around the theme of death. They are at best forgettable, at worst cringe-worthy.
"Love is a four-letter word," he sings on first single The Day That Never Comes. Er, yes it is, James. What's your point?

And Broken, Beat & Scarred's hook of, "What don't kill ya make ya more strong" would have linguists throwing their pens in disgust. [Here's the Broken, Beat and Scarred lyrics]

Ironically, Death Magnetic's saving grace is Suicide & Redemption, a nine minute-plus instrumental in which Metallica sound like they're trying to cram an entire career's worth of riffs into one song.

It's urgent, vibrant, and Hetfield doesn't get the chance to ruin it with his poor rhyme schemes. Most importantly, it kicks serious ass.

Like Death Magnetic, it's a small reminder of what Metallica once did better than anyone.

You kept your copy of the Black Album, right?

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Death Magenetic was reviewed by Chris Schulz on the Stuff Website