Bio of the Band
Over the course of this band’s existence, Metallica has exploded into a monstrous success. Unfortunately, many of the band’s original fans do not share some of the same ecstatic feelings about this success. They claim that, because of some changes in style and opinion, that “their” band has changed strictly for the money and betrayed their cause. They have claimed their band has sold out. What began as a limited group of people has grown to a great big group of so-called fans. Obviously, they do not understand what “their” band is all about and that they have been on a musical exploration over the last fifteen years. Trying to avoid being stagnant and boring, Metallica has experimented in many different styles and has expressed many different attitudes. If they consider this selling out, they need to recheck the definition.
We all know the story of Metallica. Beginning their musical journey in Los Angeles, CA in 1981, the band has grown from average, teenage musicians to some of the most incredible players of their kind. James Hetfield (rhythm guitar & vocals), Lars Ulrich (drums), Cliff Burton (bass guitar), and Kirk Hammett (lead guitar) has shaped the genre of heavy metal into many different forms. Inventing what some called thrash metal, they ripped through many clubs burning up the stages with their bursts of fast-paced riffs and well-structured songs. Forming a cult following in the Los Angeles and San Francisco area, the band really began to hit it big after the recording of their, now notorious demo, No Life ‘til Leather and their 1983 debut gem, Kill ’Em All. Starting off with small club tours, the band began their journey for world domination.
Some fans dispute, that the instant they signed to a record label and began a large-scale tour, they had sold out. No longer were they completely in the California area; they were traveling the country turning their music on to new audiences and a larger crowd. They have not compromised anything and they have not gone against any of their words, so the cry of sell-out was more of a fan whining because they were losing their “personal” band, a band that no one knew about and was the first one on the block to discover.
By the time 1984 rolled around, the band finally had a stable lineup and aspiring songwriters within. Hammett and Burton have introduced many new sounds to the songwriting duo of Hetfield and Ulrich. They were beginning to try out new and different things to mesh with their, already perfected, “thrash metal” style. They ventured into their area of instrumentals and longer, more thought out bursts of energy and soul.
After a few months of work in a Copenhagen studio called Sweet Silence, Ride the Lightning was released to a power hungry audience looking for Kill ‘em all Part Two. (Doughton 56) What they found was completely different. They found an album of eight songs, which stretched out to a mammoth forty-five minutes, of many new sounds and attitudes. The albums opened up with an acoustic buildup that broke into an all out, progressive, thrash out (“Fight Fire with Fire”) as the listeners were finding more than what Kill ‘em All had to offer. They were finding thought out epics (“Ride the Lightning” and the classic “Creeping Death”), a slow, radio orientated tune entitled “Escape,” to and 8-½ minute instrumental epic (“The Call of Ktulu”). It was also to the listeners surprise to find what was molded into track number four, “Fade to Black.”
“Fade to Black” was a complete effort written by the group of Hetfield/Ulrich/Burton/Hammett and was the first attempt a band of this caliber made at a ballad. This “slowing down” of sorts ignited a ferocious uproar within the fan base of the band. Right away, their fans had the audacity to say that Metallica had sold out. A slight change in style and a slight change of pace automatically qualified them for “sell out” material, they claimed.
Ulrich commented on the fact that “We’re doing what we’re doing the way we feel a certain time. The band had matured and we’re still learning. If people think we’re wimping out, then fuck ‘em, we don’t need that kind of shit. (Putterford 72)
The fans may have heard what was coming through the speakers but they were not actually listening to the song. The song had the acoustic verses, but it closed out with an emotion twisting, harmonic, heavy ending. They also did not fully listen to the lyrics. The lyrics were quite depressing with a suicidal-esque tone. It was written at a very depressing time for the band when they just needed to purge their feelings. (Doughton 56) They saw no need to write the song to get radio airplay, because they knew it would not come. (Doughton 56) They were writing songs for themselves, a quality that has continued over the past fifteen years.
The Ride the Lightning-era also brought forth a first time for many other things too. It was a time that introduced the band to their first European tour and a whole new legion of fans. Released to introduce Europeans to the concept of Metallica, Kill ‘em All’s “Jump In the Fire” and Ride the Lightning’s “Creeping Death” were released as singles including a couple live tracks on the first and the, now infamous, Garage Days Revisited on the latter. This was viewed as a sell out by many American fans. These singles, to them, were released to, not only make money off the European fans, but to persuade American fans to shell out their hard earned cash to buy these imported records. It turns out that these fans were just jealous of the fact that Europe had something on “their” band that they did not. The singles went on to sell quite a few copies over a ten-year period, until their deletion in 1994, and have remained a prominent part of the trading circle.
This time also was the introduction of a big-time management company called Q-Prime. At the time, Q-Prime had been managing quite a few big-name bands, including Def Leppard, and found Metallica to be the next great thing to make big. Peter Mensch and Cliff Burnstien, the two in charge of Metallica, have been with the band ever since, calculating every move they make to make sure it is the right one.
Finally, the biggest occurrence of this time had been the band and their signing to a major record label. Elektra Records, who held the likes of the Doors and Motley Crue, brought more exposure and a more marketing angle to this growing band. They were going to attempt to get Metallica out to as many people as possible, whether they liked it or not. Signing to Elektra also meant that they needed to leave Megaforce, the independent label that started them out. Fans didn’t like the idea of “their” band entering the big leagues, and called them sell outs for leaving their independent label, for a more wealthy, major label. Again, that cry came as a result of losing “their” small, underground band as they began their steady climb to the top.
By the end of the 1984 European tour, the band went on hiatus to record their next album. Again jetting out to Copenhagen’s Sweet Silence Studio and brought together another album of masterly crafted songs. Musically, Master of Puppets continued what Ride the Lightning had begun. Though the songs took a turn towards longer, epic lengths, the band spoke as one, the guitars, drums and bass on a mission for contrasts, heavy and melodic at times. Hetfield’s singing style wasn’t much more than a scream most of the time, but it was his guitar duties that became Metallica’s signature sound. He could play with the best of them, thrash metal speed and crunch that ventured into a Thin Lizzy style of harmony and melody guitars which was becoming a bit more prominent. It was Hetfield’s guitars that spoke the melody much more than his voice.
Master of Puppets and Ride the Lightning was similar in many ways, yet they still were much more different than each other. Both albums opened up with an acoustic buildup, but it was Master of Puppets’ “Battery” that showed a harmonious Metallica. This album was showing listeners a group of heavy metal musicians that could actually play. Song structure was the same in some areas, but it seemed that it was more thought out than in the past. “Master of Puppets” was somewhat reminiscent of Ride the Lightning’s “Creeping Death,” but it seemed that “Master of Puppets” was overflowing with new styles and new influences. “Master of Puppets’” mid-section alone showed a much more mature Metallica. “Orion” was along the same lines of Ride the Lightning’s “The Call of Ktulu” only because they were both instrumentals. Both were immensely different from each other, and the fans need to come to terms with a growing, maturing Metallica.
Surprisingly, Master of Puppets rose all the way to Number 29 on Billboard Music Charts and was becoming a big underground hit. (Doughton 65) Some of the early fans were having a hard time gripping the fact that “their” band was becoming more and more popular. These fans would analyze every little thing the band had been doing and picks it apart piece by piece trying to find a fault.
Ulrich is quoted in 1986 saying, “I sometimes get uncomfortable when we’re analyzed too much, because I’m not sure that this is a band that should be analyzed in that fashion.” We’re really still the same roaring drunks, which is why, when people mention selling out; it’s bullshit. Unfortunately, that isn’t always to do with the music, it’s to do with other things and I know that from being a kid myself. It’s like some people don’t want you to get bigger.” (Putterford 72)
Metallica established their “image” as anti-image and anti-commercial; an image and ethic strived for by Burton. This image went as far as never having a real photo shoot in a studio. Instead the photo’s usually came from the bands almost incessant touring. These pictures were often lighthearted, as the band never took themselves too seriously, except for their music, and the band knew it was the music that spoke for them. They also swore that they would never venture into the music video medium because it had become very watered down. (Putterford 64)
“Why? What’s the point?” Ulrich asks regarding production of a music video. “If we ever do get around to doing one, though, it’ll have to be completely different from your typical bullshit video that you can see on MTV’s ‘Headbangers’ Ball,’ because we don’t want to be associated with all the other shit that’s on there.” (Putterford 64)
Metallica continued their rise to stardom when the metal master, Ozzy Osbourne, chose them to be the supporting act on his “Ultimate Sin” tour. City by city, the band would continue to steal the show from Osbourne. (Crocker 81) They seemed unstoppable until the fateful night on September 26, 1986. On route to Copenhagen, Denmark, the bands tour bus slipped on a patch of ice jettisoning the passengers out of their bunks. Burton attempted to escape through the bus’ window, but the vehicle made one more fateful flip, crushing him beneath it. Cliff Burton, master bass player and ingenious songwriter died at the age of 23. Burton’s death had an enormous affect on the band. For some time, they contemplated ending the band since an integral part had been lost. After mourning the loss of their friend, they evaluated the situation and decided to begin to audition new bass players. (Doughton 82)
“The last thing Cliff would’ve wanted us to do was quit.” Hetfield told MTV’s Kurt Loder in a 1991 interview. “He’d be the first one to kick us in the ass and make us wake up.” (MTV Rockumentary)
After auditioning quite a number of bass players, they settled with Jason Newsted of the little known Arizona band, Flotsam and Jetsam. After auditioning, the band was impressed by his playing ability and the song writing that he’d contributed to Flotsam and Jetsam. Newsted jumped on board on Halloween of 1986 and began a grueling task of becoming “road-worthy” before the band embarked on their first Japanese tour. (Doughton 82)
Newsted was broken in throughout the remainder of the Damage Inc. Tour and became an integral part of the band’s future sounds and shows. During the months between the ending of the Damage Inc. Tour and their small European stint in August of 1987, the band kept themselves busy with many projects.
“Well, we finally went and did what we always talked about not doing, releasing a vid!!” The liner notes of their first home video, The $19.98 Home Vid - Cliff ‘Em All, began. “Before you throw up in disgust, let us (except K---) tell you the idea behind this. First of all, this is not your typical piece of shit home video done with high-tech 10 camera production and sound, it’s a compilation of bootleg footage shot by sneaky Metallifux, stuff shot for TV that was never used, but were held onto, home footage, personal fotos & us drunk. But most important, its really a look back at the 3 ½ years that Cliff was with us and includes his best bass solos and the home footage & pix, that we feel best capture his unique personality & style. The quality in some places ain’t that happening, but the feeling is there and that’s what matters!!!” (The $19.98 Home Vid - Cliff ‘Em All)
In typical Metallica style, they broke the rules and released a video their way. It is a perfect tribute to Burton and is a very unique video. The sales shot through the roof as fans gobbled up this video to see just what Burton was like. Unfortunately, a small percentage of fans didn’t share the same ideas. Metallica had again sold out, this time going against their word and making a video. They looked past the fact that it was a tribute to an integral part of Metallica and looked right into the sales point of view. Some people just weren’t getting it, Metallica did everything their way and only their way, and that’s exactly how this home video was done, Metallica’s way.
Another result of their summer vacation was the release of The $5.98 E.P.-Garage Days Re-revisited. This E.P. was a batch of six cover tunes by their favorite bands released to introduce the world to Jason Newsted. The raw sounding E.P. also pulled an extremely unexpected stunt, it shot up the charts to number 28 and, within weeks, sold 500,000 units, therefore certifying it gold. (Doughton 97) Again, some fans objected to the release of this non-produced gem. The fans objected to the fact that the band was putting out lackluster material and figured that they were in it for a quick buck. They completely missed the whole intention of the E.P.; fun. It was a fun release they put together and they thought they’d share it with their friends and fans and at the same time introduce everybody to the new guy.
“It’s very important that people know that this is a fun thing and has nothing to do with albums or anything.” Ulrich reminds complaining fans. (Putterford 48)
Returning back to a serious frame of mind, the band returned to the studio to record their first original effort without Burton. The result of five long months of work was the mammoth record titled …And Justice for All. …And Justice for All showcased a new, more intricate Metallica as they experimented in longer, more progressive songs. Opting toward a new opening, the album opened with a high-intensity buildup into a blast of sonic energy. “Blackened” introduced the world to the new, politically involved Metallica. Most of the nine songs presented on …And Justice for All dealt with many political topics including the media and the justice system. Newsted only contributed to one track on the album (“Blackened”) and even Burton contributed (“To Live is to Die”). “To Live is to Die” just shows how someone can still live on even after they’re gone.
Some fans were concerned with the band’s current “political state.” Thinking that Metallica wanted to jump on the political-bashing bandwagon, they were automatically qualified as sell outs for tackling issues that involved the world.
…And Justice for All also brought forth another experimentation, the music video. Keeping the same attitude they had when they put together Cliff ‘Em All, the band filmed a video for the war-inspired song, “One.” Meshing clips from Dalton Trumbo’s movie, Johnny Got His Gun and black-and-white shots of a warehouse jam, Metallica released this depressing video onto the public. MTV picked it up right away and, surprisingly put it in heavy rotation. (MTV Rockumentary) This dismal video, no matter how much “Metallica” it was, was a sell out because the band had, again, supposedly gone back on their word and filmed a MTV video.
The results of the constant video airplay, word of mouth, and live shows also brought heavy sales in the …And Justice for All album. The record rose to a high, #7 and the record eventually went triple-platinum. (So What! 8) Fans were seeing the band climb higher and higher as more records were selling and more concerts were selling out. To some, it wasn’t only the concerts that were selling out, it was the band. They sold out to MTV for filming a video and they sold out to the radio for trimming “One” down to accommodate time constraints and they sold out to the public for performing on the Grammy’s. Metallica kept trucking down the road doing what they did best; playing music.
After the Damaged Justice tour ended, Metallica began to refocus their work and record their next album, 1991’s Metallica (which was also known as The Black Album). The album was as long as the pervious albums but contained more songs. The Black Album had a simpler approach to music and had a much more powerful voice. Hetfield allowed his voice to show emotion and allowed it to tread the melodic area; Newsted’s bass was a powerful, driving force; Ulrich’s drums, though simpler, allowed someone to lock into a song; and Hammett’s guitar solo’s showed hope from what became a boring trend of shredding. Bob Rock worked with the band, as opposed to just recording them. Though Metallica wrote the songs, Rock allowed the band to experiment with new sounds and effects. Rock worked with the band to achieve tones and sounds to make a better, more dynamic album.
After the band chose Rock as their producer, it provoked a fan response familiar of the pre-Ride the Lightning hysteria over “Fade to Black.” The band was forced to endure rumors that the new album would have the glossy sound which their new producer had put upon such albums as Bon Jovi’s Slippery When Wet and Motley Crue’s Dr. Feelgood. The band admired his ear for sound and knew he had to correct the sound they had produced on their previous record. (Doughton 111)
The album opened up with the crushing tune, “Enter Sandman” and heralded a new, simpler Metallica. They weren’t cramming 12 riffs into a song and making things as complicated as before. They had become simpler, and in some way, a little radio friendly. The new songs weren’t as fast as they had been in the past and they were quite a bit shorter. “Sad But True” showed a side of Metallica that was heavier than Black Sabbath and more in your face than ever. With its orchestrated backing arrangement, “Nothing Else Matters” showed to be the most personal song Metallica has ever written.
When The Black Album hit the stores in August of 1991, it shot like a bullet up the chart into the #1 position and spawned many hit singles for the band. (Doughton 114) Many fans did not know what to think of this album. Many liked the exploration into new territory, but other thrash-metal purists cried sell out again. They saw their band making more videos for MTV, selling 13 million records, and hearing them constantly on the radio, they had no doubt in their mind that Metallica had changed for the money. How little these people knew about “their” band. Metallica was always a band about changing, and this change was another notch in their belt.
With as much difference each Metallica album had been from one another, an album like The Black Album was almost a direct reaction to the others instead of trying to follow a formula for success. If the band wanted success, it would have been much easier to make an album closer to the formula of the first albums. Instead, they searched for musical success.
After a grueling 300-date tour that spanned the course of three years, half of the band took a well-deserved time off. As Hammett and Newsted were enjoying some time off, Hetfield and Ulrich sifted through the piles of live tapes that had culminated over the past tour. They decided to clean house and release 1993’s Live Shit: Binge & Purge, a box set containing three live shows and a number of small goodies. Shipped and sold in a mini-Metallica roadcase, Binge & Purge sold for $85 and just happened to be released in time for Christmas. Die-hard fans who refused to shell out that kind of money for a box set, cried sell out again claiming the box set was only released to thicken their wallets. Metallica, in no way, betrayed any of their causes and released Binge & Purge in the same manner The $5.98 E.P. was release; as a way to clean house and have fun all at the same time. (Putterford, 49)
Happy with the method and direction of The Black Album, Metallica decided to work with Rock again. This time around, things would be different with Rock, as the tension of him being the “new guy” or “outsider” was lifted. Rock became part of the Metallica mix.
During the writing process for the sixth Metallica opus, something incredible occurred. There was too much material that had been written and Hetfield and Ulrich couldn’t stop putting material together. The new material flowed out, whereas, in the past, albums had been conceived in their mind to have “X” amount of songs. As the band recorded the new album, they still wrote songs, something unheard of for Metallica. All in all, about 30 songs were eventually written. Instead of trying to record every last song and delaying the release of a new album even further, fourteen songs were chosen to be the new Metallica album, to be named Load.
Load opened with the Motorhead-esque “Ain’t My Bitch” that romped through a heavy-metal groove. Lyrically, “Ain’t My Bitch” seemed to be Hetfield’s reaction of the sell out cries.
Headstrong What’s wrong I’ve already heard this song before you arrived And now it’s time to kiss your ass goodbye
Dragging me down Why you around So useless
It ain’t my fall It ain’t my call It ain’t my bitch (Hetfield, Ulrich)
Load was definitely a change from the past, but it was still a Metallica record, a record full of experimentations. The hypnotic chords of “Until It Sleeps” mystified the listener as “King Nothing” crushed the ears of those who embarked upon Metallica’s new journey. The upbeat “Hero of the Day” was a definite change from “One.” Metallica experimented quite a bit on this album with a couple blues tunes reminiscent of early ZZ Top and AC/DC to the folk/country twang of “Mama Said” that is a dead ringer for the Rolling Stones in their experimental days. The band didn’t care what the reaction was going to be toward this album as long as they were happy with themselves in the end. The write music for themselves and for those who want to come along for the ride, they are welcome to.
They did not completely abandon their ethics of past albums. The speed reared its ugly head in some key places and the epic roots showed up in “Bleeding Me” and “The Outlaw Torn.” More than that, it was an eagerness to bend the barriers of other aspects of music that a heavy metal bad dare not try that made Load an even bigger success. (Ulrich 77) It was punk and the New Wave of British Heavy Metal that spurred the creation of Metallica, but that was fifteen years ago. It was time to say “what now?” These guys were entering their mid-30’s and surely there were new influences to deal with, and yes, that would upset some fans. But, Metallica was never one to conform to anyone. Even though dealing with the anger of longtime fans became harder to deal with, it was time to come to terms that some fans just weren’t growing the same way Metallica was. There are plenty of people who love Load.
Even though there are plenty of people who love Load, there are quite a number of people who hate it. The hate every piece of music that is presented on it and hate the entire concept of the whole album. Their heavy metal band ventured into territory that they despise and they are having a hard time dealing with it. They thought the album was too “trend-orientated.” The whole “alternative” scene had taken over music and the minute Metallica tries something different, they are automatically going “alternative” to sell a couple extra records. They thought “Hero of the Day” was too poppy and “The House Jack Built” sounded too much like Alice in Chains. “Mama Said” was too personal, and god forbid it was country music. The songs were too simple for them, to them, they were too radio-friendly, while to the radio, and it was the exact opposite. Radio may drive the singles into the ground, but they are too afraid to venture off into the other aspects of the album. They want their old Metallica back and they want them now. Many fans just thought that they lost track of their roots.
“We know our roots better than anybody!” Hetfield bellows to a sold out crowd. (Lollapalooza)
Not only did a new sound come with Load, but a new look came too. Sick and tired of long hair, Ulrich, Hammett, and Hetfield cropped their hair to a new, shorter length that Newsted had been accustomed to for the past couple years. They also began working with U2’s photographer, Anton Corbijn. Corbijn has been known for many artsy photos, many of which has been very fashion orientated. What do Metallica fans find when they open up their Load booklet? They find about a hundred or so pictures of band members wearing eyeliner and other makeup. The band was merely having fun with the camera and got a little carried away. (Chirazi 18) Thinking their band had gone “alternative” again, the phrase “sell out” rang louder than ever.
Along with this new look and supposed “alternative” image, Metallica was invited to perform on the 1996 Lollapalooza tour. Lollapalooza has been an alternative festival that had introduced bands like Pearl Jam and the Smashing Pumpkins to the world. What was Metallica doing at an alternative festival?
“People are too worried that the big, bad Metallica will come and crush their little festival. We just came here to play!” Hetfield comments. (Lollapalooza)
After the Lollapalooza tour, Metallica went back out onto the road to do their own thing. They took their gargantuan stage show all across the road denting each and every town they played. They were showing the doubters that Metallica still had it in them and there was nothing different about them but a couple haircuts. At each and every show, Hetfield makes it clear, as he makes the crowd repeat with him, the phrase of “We don’t give a shit!!!” (Hetfield Poor Touring Me)
It’s not that Metallica changed their sound or look to sell albums or to make money. They did what came naturally to them. There were decisions to make, but it had to do with the four guys than with the band. And like all people, even Metallica might make mistakes it might later question, not regret, because the band respects the growing process and its growing pains. Metallica has always pushed the boundaries. They’ve never been afraid to change or to develop. This, in itself, may upset some, but that is a risk they have to take to mature.
If Metallica were to go back and record Master of Puppets Part 2 to please a large portion of people, wouldn’t that be a sell out? They would be writing for those people and not for themselves. They would be betraying their feelings, betraying their cause, and would be writing for the public. That would be the true sell out.
Metallica is still the same guys that they were when they first began. They are still the same men that wrote “Creeping Death” and “Fade to Black.” They are the same group of men who push the boundaries with each and everything they do. They are not afraid to try. They are not afraid to explore. In the words of Cliff Burton, “We do what we want to do and if you don’t like it, fuck off.” (Cliff ‘em All)
Through six albums and fifteen years, Metallica has managed to push the limits of what they do. With each successive album, they have grown and produced music that surpassed their previous efforts, not necessarily better, but unique and at least equal. One can only wait to see what will come next. One thing is for sure; it won’t be anything you’ve heard before. Knowing Metallica, they will venture off into uncharted territory and experiment with new styles and sounds. Metallica has grown from four angry teenagers into a group of mature musicians that what their music recognized. If people like it, they’re allowed to join the group on a ride. If people don’t like it, that’s fine with them too. As long as Metallica is happy with what they do, they will continue to be the world’s biggest heavy metal band.
-Major Thanks to http://www.chapinc.com/MetBio.html
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Quotes
3 reasons why James said that his Black Sabbath record was important:
" First it scared the s*** out of me. Second, it crushed the f*** out of
all the peace'n'love'n everything's groovy bulls*** that was still hanging
around in the early seventies. And third, my friends' moms wouldn't let
them own it!"
-James Hetfield
"I'd like to have a beer-holder on my guitar like they have on boats."
-James Hetfield
"To me the most boring thing in the world is safe, mainstream heavy metal...I'd rather listen to Madonna."
-Lars Ulrich
"We're no different from them (fans). We see the world like other people. We don't live in mansions, and we're not hiding behind fences and making our own pretentious fantasy world with chicks and mountains of drugs. We live in the real world, and the real world's an ugly place."
-Lars Ulrich
"There are actually quite a few bands not necessarily in our genre, that reflect what's going on nowadays. Public Enemy, N.W.A.-two rap bands I can think of that are the best examples-their lyrics are so heavy! Bands like them or us are simply a reflection of the times, a statement on our world. It's an ugly place and the sad thing is that the world doesn't seem to get any better as the years go by."
-Kirk Hammett
"When a man lies he murders some
part of the world
These are the pale deaths which men miscall their lives
All this I cannot bear to witness any longer
Cannot the kingdom of salvation take me home"
(Cliff Burton - To Live Is To Die)
Lyrics
End of passion play, crumbling away
I'm your source of self-destruction
Veins that pump with fear, sucking darkest clear
Leading on your death's construction
[Chorus:]
Taste me you will see
more is all you need
you're dedicated to
how I'm killing you
Come crawling faster
obey your Master
your life burns faster
obey your Master
Master
Master of Puppets I'm pulling your strings
twisting your mind and smashing your dreams
Blinded by me, you can't see a thing
Just call my name, `cause I'll hear you scream
Master
Master
Just call my name, `cause I'll hear you scream
Master
Master
[End Chorus]
Needlework the way, never you betray
life of death becoming clearer
Pain monopoly, ritual misery
chop your breakfast on a mirror
[Chorus]
Master, Master, Where's the dreams that I've been after?
Master, Master, You promised only lies
Laughter, Laughter, All I hear and see is laughter
Laughter, Laughter, laughing at my cries
Hell is worth all that, natural habitat
just a rhyme without a reason
Neverending maze, drift on numbered days
now your life is out of season
[Chorus]
[Fade out with evil laughter].
Spineless from the start, sucked into the part
circus comes to town, you play the lead clown
Please, please
spreading his disease, living by his story
Knees, knees
falling to your knees, suffer for his glory
You will
[Chorus]
Time for lust, time for lie
time to kiss your life goodbye
Send me money, send me green
Heaven you will meet
Make a contribution
and you'll get a better seat
[End Chorus]
Bow to Leper Messiah
Marvel at his tricks, need your Sunday fix
blind devotion came, rotting your brain
Chain, chain
Join the endless chain
Fame, Fame
Infection is the game, stinking drunk with power
We see
[Chorus]
Bow to Leper Messiah
Witchery, weakening
Sees the sheep are gathering
set the trap, hypnotize
now you follow
[Chorus]
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I can't remember anything
Can't tell if this is true or dream
Deep down inside i feel to scream
This terrible silence stops me
Now that the war is through with me
I'm waking up i can not see
That there is not much left of me
Nothing is real but pain now
Hold my breath as i wish for death
Oh please god,wake me
Back in the womb its much too real
In pumps life that i must feel
But can't look forward to reveal
Look to the time when i'll live
Fed through the tube that sticks in me
Just like a wartime novelty
Tied to machines that make me be
Cut this life off from me
Hold my breath as i wish for death
Oh please god,wake me
Now the world is gone i'm just one
Oh god,help me hold my breath as i wish for death
Oh please god help me
Darkness imprisoning me
All that i see
Absolute horror
I cannot live
I cannot die
Trapped in myself
Body my holding cell
Landmine has taken my sight
Taken my speech
Taken my hearing
Taken my arms
Taken my legs
Taken my soul
Left me with life in hell
Say your prayers little one
don't forget, my son
to include everyone
tuck you in, warm within
keep you free from sin
till the sandman he comes
sleep with one eye open
gripping your pillow tight
exit light
enter night
take my hand
off to never never land
something's wrong, shut the light
heavy thoughts tonight
and they aren't of snow white
dreams of war, dreams of liars
dreams of dragon's fire
and of things that will bite
sleep with one eye open
gripping your pillow tight
exit light
enter night
take my hand
off to never never land
now I lay me down to sleep
pray the lord my soul to keep
if I die before I wake
pray the lord my soul to take
hush little baby, don't say a word
and never mind that noise you heard
it's just the beast under your bed,
in your closet, in your head
exit light
enter night
grain of sand
exit light
enter night
take my hand
we're off to never never land
Pictures
