In the late summer of 1988, Metallica released “…And Justice for All”, and buried near the end of that dense, punishing album was a song that would quietly reshape the landscape of metal. “One” was moody, cinematic, emotionally brutal, and it marked a turning point in Metallica’s evolution from thrash underdogs to mainstream titans, according to Louder.
Here’s how a wartime horror novel, a bit of insomnia, and some artistic risks helped Metallica craft one of the most powerful metal tracks of all time.
The Story of Metallica, ‘One’
A spark, a book and a nightmare
Back in 1987, James Hetfield had a loose idea swirling in his head. It was grim: a person with no limbs, no face, no voice — just a mind trapped in silence. According to Revolver, Hetfield had jotted down that unsettling image long before he had any music or lyrics attached to it.
Then Metallica’s co-manager Cliff Burnstein handed him a copy of Dalton Trumbo’s 1939 anti-war novel, “Johnny Got His Gun”. That book tells the story of Joe Bonham, a World War I soldier who survives a bomb blast only to find he has lost his arms, legs, and all of his senses. His brain, however, is fully intact. He can think, remember, and dream — but no one can hear him scream.
According to Louder, Hetfield instantly saw the connection between the book and the horrifying concept he’d imagined. In a 2001 interview, he said, “It’s just the most pitiful story. It really got me.”
Some sources, including Grunge, suggest that late bassist Cliff Burton may have introduced Hetfield to the novel years earlier, making the song a subtle tribute to Burton’s enduring influence on the band’s artistic direction. Burton had died in a tragic bus accident in 1986, and his absence still loomed heavily over Metallica during the recording of “…And Justice for All”.
Building “One”
Once the lyrical theme was set, the music came together fast. Hetfield and drummer Lars Ulrich composed the bulk of the song’s structure. It opens with soft, eerie clean guitars and battlefield sound effects — including distant explosions and machine gun fire — before erupting into rapid-fire double kicks and vicious riffing.
According to Revolver, the band borrowed sonic inspiration from Venom’s “Buried Alive”, a song with a similarly slow intro and sudden attack. Kirk Hammett, Metallica’s lead guitarist, crafted multiple versions of his solo for the middle of the track. He was so determined to perfect it that he flew across the country during a tour, from Philadelphia to New York, to redo the section in a single night.
Recording took place at One on One Studios in Los Angeles with longtime producer Flemming Rasmussen, who had also worked on “Master of Puppets”. According to Louder, the band initially tried recording with producer Mike Clink, but ultimately returned to Rasmussen for his trusted touch.
One footnote: bassist Jason Newsted’s playing is nearly inaudible on the final album mix — a decision made by Hetfield and Ulrich that’s still controversial among fans. But even with that missing low end, “One” stood out as the emotional centerpiece of the record, according to Louder.
Lights, camera, darkness
By late 1988, Metallica was on the rise but still fiercely anti-mainstream. Up until then, they had refused to make music videos, believing such moves were for pop acts, not metal bands. But “One” was different — and according to Louder, the band felt the song’s message could benefit from a visual component.
Management had already secured the rights to use footage from the 1971 film adaptation of “Johnny Got His Gun”, which had been directed by Trumbo himself. Metallica watched the movie for the first time in September, then shot their performance scenes in a cold, blacked-out Los Angeles warehouse that December. The footage was blended with scenes from the film, showing Joe Bonham’s inner torment and desperate attempts to communicate.
The first version of the video featured heavy dialogue from the movie over the song — and drummer Lars Ulrich hated it. According to Revolver, he stormed into the editing room and asked the director what they did to the song. After some heated back and forth, they found a compromise and produced a version that let the music breathe, while still delivering the emotional gut-punch.
When it premiered on MTV on January 22, 1989, the video shook viewers. It was stark, powerful, and unlike anything else on the channel. According to Louder, “One” quickly became the most requested video on MTV and pushed Metallica into the national spotlight.
Recognition and revenge
At the 1989 Grammy Awards, Metallica was nominated in the newly created Best Hard Rock/Metal Performance category. It was a moment of validation, until the envelope opened. The winner? Jethro Tull. The backlash was immediate and fierce. MTV even ran a parody segment mocking the decision, playing clips of flutes over Metallica’s thrashing sound.
But revenge came swiftly. According to Louder, the following year the Grammys created a separate Best Metal Performance category, and Metallica took home the statue — this time for “One”.
The song became their first Top 40 hit in the U.S. and proved that Metallica could reach a broader audience without compromising their identity. It paved the way for later hits like “Enter Sandman” and “The Unforgiven”, and it remains a staple of their live shows.
Flemming Rasmussen still calls it “amazing” in terms of both performance and writing, according to Louder.
Legacy of the broken soldier
More than three decades later, “One” remains one of Metallica’s most revered tracks. It’s not just the crushing riffs or the blistering solos — it’s the concept. The song dares to sit with discomfort, to ask what life is without autonomy, without voice. According to Grunge, the song’s protagonist — like the song itself — becomes a symbol of being silenced by forces beyond our control.
It also showed that metal could be more than noise and rebellion. It could be a vehicle for storytelling, grief, and protest. As Louder put it, “One” marked the point where Metallica outgrew the underground and began shaping the mainstream from the inside.
And for a song about a man who can’t move, speak or see. That’s a pretty powerful legacy.
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