メタリカが現象となる

ベーシストにジェイソン・ニューステッドを迎えて制作された通算4作目、88年発表の新リマスター。「ワン」ではバンド初となるミュージック・ビデオ制作、ツアーでは女神が崩れるという圧巻のプロダクション、初のグラミー受賞…よりプログレッシヴに、規格外のアティテュードとまさに破竹の勢いをもって世界規模でメタリカという熱狂の渦を拡張していった。
アルバム本体(リマスター)+ボックス収録のデモ/ラフ・ミックスCD、ライヴCDからそれぞれ抜粋して1枚ずつに収録した精鋭の3枚組。

発売・販売元 提供資料 （2018/10/09）

Rolling Stone - 4.5 stars out of 5 -- "Dense, complex and mad at the world -- JUSTICE contained nine statements of aggression that resonated with fans of heavy music en masse." Q (Summer/01, p.127) - 4 stars out of 5 - "...Featured much overblown riffage and the future classic 'One'..."a Kerrang (Magazine) (p.55) - "[O]ne of Metallica's finest moments..." Pitchfork (Website) - "The songwriting of singer James Hetfield and drummer Lars Ulrich is their most complex and vicious, retaining the power of their early thrash while jettisoning its simplistic schoolyard chants and avoiding the less-compelling hard rock tendencies to come."

Rovi

The most immediately noticeable aspect of ...And Justice for All isn't Metallica's still-growing compositional sophistication or the apocalyptic lyrical portrait of a society in decay. It's the weird, bone-dry production. The guitars buzz thinly, the drums click more than pound, and Jason Newsted's bass is nearly inaudible. It's a shame that the cold, flat sound obscures some of the sonic details, because ...And Justice for All is Metallica's most complex, ambitious work; every song is an expanded suite, with only two of the nine tracks clocking in at under six minutes. It takes a while to sink in, but given time, ...And Justice for All reveals some of Metallica's best material. It also reveals the band's determination to pull out all the compositional stops, throwing in extra sections, odd-numbered time signatures, and dense webs of guitar arpeggios and harmonized leads. At times, it seems like they're doing it simply because they can; parts of the album lack direction and probably should have been trimmed for momentum's sake. Pacing-wise, the album again loosely follows the blueprint of Ride the Lightning, though not as closely as Master of Puppets. This time around, the fourth song -- once again a ballad with a thrashy chorus and outro -- gave the band one of the unlikeliest Top 40 singles in history; "One" was an instant metal classic, based on Dalton Trumbo's antiwar novel Johnny Got His Gun and climaxing with a pulverizing machine-gun imitation. As a whole, opinions on ...And Justice for All remain somewhat divided: some think it's a slightly flawed masterpiece and the pinnacle of Metallica's progressive years; others see it as bloated and overambitious. Either interpretation can be readily supported, but the band had clearly taken this direction as far as it could. The difficulty of reproducing these songs in concert eventually convinced Metallica that it was time for an overhaul. ~ Steve Huey

Rovi