• Oblivion Let Me Do That One Again Movie
• Tandilwe Oblivion
• Oblivion Let Me Do That One Again Chords

There’s a palpable air of nostalgia filling Nottingham’s Rock City, where a heaving throng of rock fans are anticipating a transportation back to simpler times. Bradford rock band are about to run through their 1994 second – and defining – album, How To Make Friends And Influence People.Hours before they're due to take the stage, Louder joins vocalist Tony Wright and bassist Leigh Marklew in the bowels of the venue, to discuss what it feels like to be riding a nostalgic high, their ascent and the wilderness years that followed.' People are genuinely passionate about music, so to get the chance to come back out and see this means a lot,' Wright tells Louder of the excitement the reunion shows have been creating among fans.

'We get the emails the next day saying, 'I can’t hear, I can’t speak, I can’t wait till next week.' 'But there was also a time where things weren't so rosy for the band. After a meteoric rise, largely on the strength of How To.’s run of singles – Oblivion, Middleman, Pretend Best Friend, Alice, What’s The Matter? And Some People Say – they were dropped by EMI at their peak and disappeared into the wilderness.Their next album, Regular Urban Survivors, shifted even more units than its predecessor, while its follow up, Shaving Peaches, provided a genuine number one single, as a dance remix of Tequila crossed over to mainstream music fans. This is when the downturn came. “There’s a period in every band’s life when you set off and appeal to the younger generation,' says Wright. 'It’s them who discover bands and say 'Listen to this'.

And then they grow up with you, because they discovered you. They have a sort of ownership, a pride in discovering you at the start.' “Then they grow up. Within three or four albums, those kids have got kids and have got to get a job, get a mortgage.

'I heard that thieves broke into the Arcane University, the Imperial Legion Compound and the temple. All on the same night!,Wait a minute, let me do that one again, I heard that thieves broke into the Arcane University, the Imperial Legion Compound and the temple. All on the same night!'

They can’t go out to gigs. They can’t be getting smashed out their heads all the time – and that’s when the wilderness starts.”That 'wilderness' saw Terrorvision part ways for solo projects and 'real jobs' in 2001, with sporadic shows up until 2011 when a new album Super Delux appeared. But for all intents and purposes – save for their hardcore fanbase – the formerly chart-topping act were largely out of mass view.'

If you want to say this is the defining album for Terrorvision, I would find it hard to disagree.' Leigh MarklewBut the 2019 incarnation of Terrorvision – now without original drummer Shutty (replaced by Cameron Greenwood) – is again riding a wave of positivity, contentedness and self-sufficiency. With no representation but themselves, no big label and no need to have hits to survive, the pressure is off.

Terrorvision can just be who they want, when they want.Markew explains that since 2001, the band has never been a “full time thing”, but an ongoing passion project to pick up as and when it suits.This position is largely down to breaking through with the album they are currently onstage performing. Even 25 years on, every song holds up.

It’s their defining statement.“I think without a doubt, the middle two albums – this one and Regular Urban Survivors – were quite clearly the biggest selling records for the band,' says Marklew. 'So, they will always be important to us. It’s difficult to say about strongest albums, I am always hyper critical about our stuff anyway, so I have high points on every album and tracks that we should have worked better on.'

• Mar 20, 2006 - Wait a minute, let me do that one again. LordofEvil96 said at 6:22 PM on Wed Mar 21 2018. Have you heard of the High Elves?
• This bug is fixed by the Unofficial Oblivion DLC Patches. She may be affected by the let me do that one again glitch. This bug is fixed by the Unofficial Oblivion Patch. Every item you sell her will remain in her inventory. This can lead to long pauses if her inventory gets too full.

But yeah, if you want to say this is the defining album for Terrorvision, I would find it hard to disagree.' And at this moment, as the power riffs of Discotheque Wreck emanate from the stage, it's clear this music has not only aged well, but is an album largely without filler. It's a release that gave British rock a leg-up back to the top of the charts and reconnected people with music that could be both fun and meaningful.The British rock landscape that Terrorvision stepped into was anything but vital.

Overshadowed by the powerful innovation coming out of the US, UK rock was going through the motions – rock by numbers, predictable riffs and often cringe-worthy lyrics.The band ended up looking across the Atlantic for their cues. “At that time, as a rock band, an English rock band, we were thinking 'How do we get as heavy and as powerful as some of those American records?' ' says Marklew. 'They always sounded really good.“I remember before we got signed, we’d all go out to gigs together, 19 or 20 years old, going out to watch 's first gigs in Bradford., – we saw them all. We were massively influenced by them. Well not influenced – more inspired by them. They’re fucking cool.'

Occasionally we would try and do a riff reminiscent of those bands, but always thought 'No, we can’t do it as good as them.' But they inspired us.”' at Donington,' Wright chips in. 'We’re nothing like Guns N' Roses, but they're one of those bands that when you see them, they make you think: 'I want to get up there and I want to do that'.With the awfully named pushing an agenda of British pride for indie bands, the air was ripe for rock music to get noticed again. A batch of fresh rock bands like, 3 Colours Red, and brought big riffs back to the forefront of British consciousness, all lazily lumped in under the banner by the press (more on that later). Whether they always get the credit they deserve, Terrorvision were at the vanguard of that new excitement.Out of the early 90s -driven angst, they emerged as smiling, bouncing, genre-defying jesters of the rock scene.

Is the embodiment of this, taking in hard rock riffs, doo-wop choruses, jazz breakdowns and pop melodies, taking the listener on an unexpected journey.“It’s just the way we are, int it?” says Wright of their fast and loose approach to genre.“Nobody then would do it!' Adds Marklew.

'I mean, why would you choose to do six different styles of music on one album? It’s just what came out.' “We’re all from different backgrounds where we come from,' Wright elaborates. 'We all like different things. I find that when you get a likeminded band that all like a certain other band, they try to sound like that band they like.' Some people aim for that, aim to sound like their heroes.

But we’re so varied. You’re into Kiss, aren’t you he gestures towards Marklew, Shutty would be in to, Saxon and all that, all joined by a love of the. But I love and the Carpenters, but then I also like, so they're always in there somewhere.”This is all apparent in the gig we're currently watching, where the band’s bombast comes as much from the keyboard stabs and horn blasts as it does guitar, bass and drums.'

It’s not about saying you should think this way. It’s about saying that there’s an alternative way of thinking.” Tony WrightMatch this with a formative appreciation of new wave pop and and that completes the influence crib sheet for Terrorvision. They sound like all this and nothing like it at all.They stuck out as different when they first appeared and the music press didn’t really know what to do with them, not exactly embracing them. This lack of genre predictability, their Yorkshire roots, catchy tunes and chipper demeanour saw them often maligned and misunderstood. The dismissals of them being either “not serious” or “throwaway” missed the point – so much so that many missed the album’s deep political edge, a fact that still grates on Wright.“People never got that!”, he said slightly exasperated.“I think they thought because we got a buzz out of playing and we smiled, that it was all a laugh and a joke and a crate of ale.

But when you listen to the songs now, you can hear that they're political without dictating to anybody. It’s not about saying you should think this way.

It’s about saying that there’s an alternative way of thinking.”. Listening today to songs like Still The Rhythm, Stab In The Back or even Oblivion, you can clearly hear the political messages; ideas that resonate hugely with the political world we live in.“If you look at the fucking state of the world now, where we are saying 'You can’t come here, you can’t go there,' says Wright. 'We don’t want people that have the mindset, the nouse and the wherewithal to travel across the world without any money in their pocket entering this country. We want to fill this country up with people that can’t be arsed to even get up and walk to the shop.' Politics was always part of Terrorvision’s creative make-up. “Most of our songs have, if not a political comment, a social comment,' says Marklew.

'An opinion, a view that asks a question. But the music press, especially the mainstream press, chose not to see that. Even Oblivion asks questions, but it’s wrapped up in a doo-wop chorus, so it wasn’t taken seriously.”When they were given coverage, they were lumped in with ‘Britrock’, a lazy umbrella term to explain the resurgence of rock in a new form. Like almost every band attributed to a “scene”, Terrorvision were never fans of the term.“We did that tour called alongside and The Wildhearts. That’s a shit name for a tour,” says Wright. “But we set off on tour and watched.'

' were on there as well, trying to destroy Britrock. They probably have more Spotify hits than all those bands put together. So we went on this tour and played, nothing like Reef, nothing like the Wildhearts and actually it’s this term 'Britrock' that needs to be destroyed.' We’re going to show you three of the bands from the 90s that were lumped into that, who’ve come along and said, 'Let’s destroy that shit term – Britrock'.

Because it’s laziness, they’d had Britpop and this was just laziness – 'Let’s call it Britrock.' As obviously 'shit' as the term is, it did give the band a boost and place to exist. It undoubtedly helped them reach the heights they did.Now in 2019, it is hard to avoid the fact that Terrorvision’s existence still hangs on that 90s heyday. Many bands hate having to use nostalgia as a tool, but, as Marklew explains, they have no such problem.“We don’t have an issue with it no, we wouldn’t be doing it, we enjoy it,' he says. 'We're only doing these four gigs, we aren’t going round the country flogging that dead horse; we're keeping it fun.

It needs to be fun for us, then we’ll move on. If we do anything after this, it might be a bit of new music. You gotta keep plugging back into the thought of writing new material.' Finishes, the venue is full of grins and sweat. There’s not a single person in sight who hasn't been loving every minute. They feel part of something again, something they thought they'd lost.“Connection is a really good word,' says Marklew.

'There’s that connection, it’s a shared past and shared love of something. First time around you can’t really have that, it’s just youthful excitement I suppose. What makes it fun is the nostalgic element.' Nostalgia is a bit of a cheap word but nostalgia is powerful. I saw that Queen movie, which I thought was pretty rank, but the nostalgic feeling and emotion you get from listening to that music again, which meant so much to me as a kid, is great.' And as the lights come up on their Rock City date, that nostalgic feeling is flowing in full force and it really is great. A second set, and two-pronged encore has expanded the evening and proven just how many massive tunes this unlikely bunch from Yorkshire made.

It’s almost impossible not to bounce to Perseverance.“For ten years it was the most crazy, mad experience' concludes Marklew. 'We all gave 110%, every day.”This is what Terrorvision are reminding us of every time they get on stage. They gave everything they had to some of most infectious rock music of the 90s, and the opportunity to bask in that glory again is incredible.

Writer Pete Flies has written the following article which discusses the real experience of veterans returning from Iraq related to MEALLICA'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!' 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 anythingCan't tell if this is true or dreamDeep down inside I feel to screamThis terrible silence stops meNow that the war is through with meI'm waking up, I cannot seeThat there is not much left of meNothing is real but pain now02:10 - 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 deathOh please, God, wake me02:31 - 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.

Oblivion Let Me Do That One Again Movie

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 realIn pumps life that I must feelBut can't look forward to revealLook to the time when I'll liveFed through the tube that sticks in meJust like a wartime noveltyTied to machines that make me beCut this life off from me02:59 - 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.

Tandilwe Oblivion

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 deathOh please, God, wake me03:34 - 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 oneOh God, help meHold my breath as I wish for deathOh please, God, help me03:50 - 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.

Oblivion Let Me Do That One Again Chords

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 meAll that I seeAbsolute horrorI cannot liveI cannot dieTrapped in myselfBody my holding cell05:08 - 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 sightTaken my speechTaken my hearingTaken my armsTaken my legsTaken my soulLeft me with life in hell05:20 - 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? 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. 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.