One

"One" is a powerful anti-war anthem that delves into the profound physical and psychological horrors inflicted upon a soldier. The song's meaning is directly inspired by Dalton Trumbo's 1939 novel, Johnny Got His Gun, which tells the story of a World War I soldier who is rendered a quadruple amputee and loses his ability to see, hear, and speak after being hit by an artillery shell. The lyrics are a first-person narrative from the soldier's perspective, trapping the listener inside his consciousness. He is a prisoner in his own body, unable to communicate with the outside world, left with only his thoughts and the sensation of pain. The song explores themes of total isolation, despair, and the loss of humanity. The soldier's plea, "Hold my breath as I wish for death," and the climactic, repeated demand of "Kill me" serve as a harrowing commentary on euthanasia and the ultimate price of war, suggesting that such an existence is a fate worse than death. James Hetfield has also noted a personal connection to the theme, relating the feeling of being a "prisoner in his own body" to his own difficult childhood experiences of isolation.

The narrative begins from the first-person perspective of a man awakening into a state of profound confusion and terror. He finds himself unable to perceive the world around him, questioning whether he is alive and experiencing reality or trapped within a nightmare. A deep, internal scream is stifled by a profound silence, amplifying his sense of isolation. It becomes horrifyingly clear that the war has left him catastrophically wounded; he cannot see, and he realizes that very little of his physical self remains. The only sensation he can register is excruciating, inescapable pain.

His consciousness is a prison. He longs for death, holding his breath in a futile wish for it to end. He feels completely alone, a singular entity of suffering in a world that has vanished from his senses. The lyrics then shift to a desperate plea, begging God to wake him from this horror. He is trapped, unable to communicate his agony to those around him who, he feels, will not listen or truly hear his silent screams. The phrase "Back in the womb it's much too real" evokes a sense of being reborn into this state of helplessness, a life he must feel but cannot look forward to. His existence is now tethered to machines that sustain his biological functions, and he begs for this life to be severed from him.

The central torment is the feeling of being trapped within his own body, which he calls his "holding cell." A landmine is identified as the cause of his condition, having taken his sight, speech, hearing, and arms. His mind, however, remains active, a solitary witness to his absolute horror. He cannot live in any meaningful way, yet he cannot die. This creates a state of perpetual limbo. The narrative climaxes with a desperate attempt to communicate, using the only means available: moving his body to tap out "S.O.S." in Morse code, a frantic plea for help that transitions into a demand for death—"Kill me." This final, repeated plea underscores the song's ultimate message: that a life reduced to pure, isolated suffering is a fate worse than death itself.

"One" was written by Metallica's primary songwriters, James Hetfield (lyrics and rhythm guitar) and Lars Ulrich (drums), and was released as the third single from their fourth studio album, ...And Justice for All, in 1988. The initial concept of being a "living consciousness" trapped without senses or limbs was an idea Hetfield had considered as far back as the writing sessions for Master of Puppets. The band's manager, Cliff Burnstein, recognized the theme and introduced the band to Dalton Trumbo's 1939 novel Johnny Got His Gun, which then became the direct inspiration for Hetfield's lyrics. The song's musical arrangement was a collaborative effort, with the opening Bm-G chord progression inspired by the Venom song "Buried Alive". The song was recorded with producer Flemming Rasmussen, who was brought in to "save" the album's production after an initial collaboration with Mike Clink did not work out. "One" is notable for being the first Metallica song for which a music video was made. Directed by Bill Pope and Michael Salomon, the video was shot on December 7, 1988, and debuted on MTV on January 22, 1989. It powerfully intercuts scenes of the band performing with dialogue and clips from the 1971 film adaptation of Johnny Got His Gun. To avoid paying continuous royalties, Metallica eventually bought the rights to the film.

The lyrical structure of "One" largely utilizes a free verse approach, forgoing a strict, consistent rhyme scheme to enhance its narrative, diary-like feel. The focus is on the raw, desperate flow of the protagonist's thoughts. However, instances of rhyme appear, such as the couplet "I cannot live / I cannot die," which crystallizes the central conflict. The song's rhythmic structure is its most defining feature. It begins in a slow, common time (4/4) tempo, establishing a ballad-like feel. As the soldier's agitation and horror grow, the tempo dramatically increases and the rhythmic complexity builds. The second half of the song features shifts in meter and syncopation, particularly in the instrumental sections. The iconic "machine gun" section uses rapid, percussive 16th-note triplets on the kick drums and guitars, creating a palpable sense of panic and violence that perfectly aligns with the lyrical theme of war. This interplay between the lyrical rhythm and the aggressive musical rhythm drives the song's narrative arc from despair to frantic terror.

"One" is a masterclass in dynamic contrast and narrative songwriting. Musically, it functions as a multi-section suite that transitions from a clean, melodic ballad into a full-force thrash metal onslaught. The song opens with sound effects of warfare, setting a cinematic stage before introducing a clean, arpeggiated guitar melody in a minor key, creating a somber, haunting atmosphere. Kirk Hammett's clean-toned, melodic solos in the first half give way to aggressive, distorted riffing. James Hetfield's vocal delivery mirrors this shift, moving from melancholic singing to desperate, raw screams. The latter half of the song is defined by complex rhythmic techniques, including palm-muting, aggressive down-picking, and Lars Ulrich's signature "galloping" and double-bass drum patterns that famously emulate machine-gun fire. The song's climax features a highly influential tapping solo by Kirk Hammett, followed by a dual guitar harmony section, techniques that showcase the band's technical virtuosity and push the song's emotional intensity to its peak.

"One" marked a pivotal moment for Metallica and the metal genre. As the band's first-ever music video, its heavy rotation on MTV exposed their uncompromising thrash style to a mainstream audience, proving that dark, complex, and lengthy songs could achieve commercial success. The video helped the single chart and pushed the album ...And Justice for All into the Top 10. In 1990, "One" won the first-ever Grammy Award for Best Metal Performance, a significant moment of recognition for the genre, especially after Metallica had controversially lost a Grammy the previous year to Jethro Tull. The song has become one of Metallica's most iconic and frequently performed live staples. Its powerful anti-war message has allowed it to transcend the metal scene, becoming an anthem for social commentary on the true costs of conflict. Its unique structure and emotional depth have influenced countless bands, and its impact is still felt, as seen when film director Ryan Coogler cited the song's dynamic structure as an inspiration for his 2025 horror film, Sinners.

The song is built on a central, horrifying metaphor: the body as a "holding cell." This powerfully conveys the soldier's state of being physically alive but mentally and spiritually imprisoned. His mind is intact, but his body, which should be a vessel for experiencing life, has become a torture chamber he cannot escape. The loss of senses (sight, speech, hearing) symbolizes a complete disconnection from humanity and reality itself, blurring the line between being alive and dead, or dreaming and awake. The climactic "machine gun" riffs, played on the guitar and mirrored by Ulrich's double-bass drumming, are a direct musical symbol of the violence of war. This percussive assault musically reenacts the battlefield trauma that caused the soldier's condition. Furthermore, the final, desperate attempt to communicate by tapping out "S.O.S." and "Kill me" in Morse code is a potent symbol of the enduring human will to connect, even when all conventional means are lost, and highlights the ultimate tragedy of his situation.

The most significant recurring lyrical motif is the plea for release, which evolves throughout the song. It starts with the internal thought, "Hold my breath as I wish for death," and escalates to the desperate, spoken prayer, "Oh please God, wake me." This motif culminates in the final, repeated demand, "Kill me," chanted over the aggressive instrumental climax, showing the protagonist's complete shift from passive wishing to an active, desperate demand. The phrase "trapped in myself, body my holding cell" is a crucial recurring concept that acts as the song's central thesis. Musically, the main recurring motif is the clean arpeggiated guitar riff from the intro. Its return between heavier sections serves as a haunting reminder of the melody and relative peace that has been shattered, enhancing the song's dynamic structure and emotional impact.