The Unforgiven III song lyrics by Metallica

'The Unforgiven III' 3 lyrics by Metallica

This is the third 'Unforgiven' song following efforts from The Black album and Reload.

The best thing is 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 lead guitarist Kirk Hammet. It's possibly his best effort in years.... what do you think?

If you had to criticize the song, it would be in this lyric. "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

Rolling Stone 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.