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And Justice for All Import

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Audio CD, Import, September 28, 2010
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Editorial Reviews

Japanese only SHM Paper Sleeve pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing, SHM-CDs feature improved transparency on the data side of the disc, allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Universal. 2010.
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Product Details

  • Audio CD (September 28, 2010)
  • Number of Discs: 1
  • Format: Import
  • Label: Universal Japan
  • ASIN: B003UDP996
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (1,051 customer reviews)
  • Amazon Best Sellers Rank: #994,257 in Music (See Top 100 in Music)

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Customer Reviews

Most Helpful Customer Reviews

218 of 229 people found the following review helpful By Brent Evans on June 10, 2003
Format: Audio CD
After an extended layoff period and a classic `covers' ep, Metallica returned with a vengeance on AND JUSTICE FOR ALL. All the anger and sadness they held in on the death of bassist Cliff Burton was unleashed on the record buying public. The album is full of seething vocals and complex chord and tempo changes, with melody at its centre. Lars Ulrich (drummer) and Kirk Hammet (lead guitar) have never played better. Unfortunately for new boy bassist Jason Newsted, the house producer Fleming Rasmussen buries his contributions way into the mix, so it sometimes sounds like he's absent. However, this complaint aside, if you wish to hear some truly angry heavy metal way before `Rage Against The Machine' raised its collective voice in protest, check out the true rage and beauty of this release.
BLACKENED - Starting, as the two previous Metallica albums on a deceptively soft note, this anti -war track suddenly roars to life with a snarl at it's heart, courtesy of James Hetfield. Jason Newsted's bass sounds like a buzz saw as Hetfield's spits out horror filled images: "Fire! To begin whipping dance of the dead". The abrupt change of pace in the track's middle only goes to prove what an impressive drummer Lars Ulrich can be. Kirk Hammet's lead solo incredibly shows an improvement since the `Master of Puppets' album. An intelligent update of the `Ride the Lightning' leadoff track, `Fight Fire With Fire'.
AND JUSTICE FOR ALL - Another soft build-up into a shout of protest. This time the target's the buying off of justice and the corruption of the system. The chorus is a total damnation of the unfairness of it all. Lars pounds every part of his kit in a display of virtuosity that only some metal drummers can manage.
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45 of 48 people found the following review helpful By Campbell Roark on November 2, 2005
Format: Audio CD
Epic. This is the line of demarcation... The toe in the dirt scrawling out the line bewteen fans of the old-school thrash Metallica and their more pop-conscious fans of the new. It's also my favorite Metallica CD, I find it to be their most consistently BADASS. Epic riffs, sprawling density; the songs are allowed to take up as much time and aural texture as is needed ("...And Justice For All" and "To Live Is To Die," both clock in at just under 10 minutes).

This one: Exceptionally well-paced, a tad thinly recorded, brutal sonic delivery. Killer legendary tracks. Thematically unified, this would be Metallica's most socially-driven release as most, if not all, of the tracks seem to deal (in some way) with ostracism, petty-tribal-hates, the plight of those passed-over, those forgotten, those stepped on or kicked out of the way... James's vitriol is unleashed in full! No sleepers, no skippers.

Something I don't see noted in here much: the drums! Lars really pounds the living soul out of himself on this one. There's more variety and interesting bass-drum fill work on this one than previous (and following) releases. It almost sounds like a different drummer at times. Early Metallica skin-work always comes off as a tad marginal... That's probably because I don't know anything about drums beyond digging double-bass-kicks. This one brings them aplenty.

...From the melodic building electric drone of the first track "Blackened," (which infectiously sets the tone for the what is to come), to the take-no-prisoners thrash mayhem of "Dyers Eve," a blistering and acerbic closer.

Some high points: The parts in "Eye Of The Beholder" When James starts howling "Independence, Liberty! FREEEEEDOM!
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16 of 17 people found the following review helpful By Stewart Wilson on April 9, 2006
Format: Audio CD
This album always produces very differing opinions amongst Metallica fans. Some say it was their best work, some say it signalled the band entering a downward spiral and heading into the mainstream. Some fans turned against the band altogether after they released 'the video they said they would never make' for the song 'One'. Lots of question marks hang over the quality of production on this record. The guitars sound very over-processed, Lars' bass drums convey more of a click sound than the thump we are used to hearing. However, the main source of discussion is the distinct absence of Jason Newsted's bass. Those who know Metallica will know that Newsted was a new addition to the band for this record; previous bassist Cliff Burton died shortly after the recording of 'Master Of Puppets'. But if you were to listen to '...And Justice For All', you wouldn't have thought that Metallica had even found a replacement as the bass is buried so deep beneath the guitars that it is almost unrecogniseable. Some of the songs contain such complex tempo changes and disjointed rhythms that the band found it particularly hard to replicate any of them on stage. The tracks are much longer than ever before, two of them are over 9 minutes long and only two are less than 6 minutes long. However, all this aside...I still believe this to be Metallica's greatest album to date.

The album opens with 'Blackened', and an atmospheric opening which was actually recorded backwards. After the build-up, James Hetfield displays the song's main riff before Lars Ulrich comes in with a lightning-fast drumbeat. Kirk Hammett's solo in this one is also guaranteed to impress. The title track then follows.
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