Quoted from "Chief"

Auf der Seite stehen mittlerweile auch mal 3 Tracks, "Junior Dad". "Pumping Blood" und Mistres Dread".

Waren die bei dem Musical auch dabei?

Quoted from "Deathcrush 666"

Nja....oder man schaut nach vorne und hofft auf inspirirende neue Musik...

Quoted from "Payn"

Hoffe, dass die Jungs auf dem nächsten Album headbang parts haben... Die Songs von DM waren zwar ok aber nicht wirklich prägend!
Langsame und fette Riffs etc. mit Drums, die sich vllt. mal gut anhören und einem F E T T E M Gitarrensound, der auch nach Hetfield aus den 80ern klingt.

Quoted

The Lyrics That Made METALLICA Cry

METALLICA lead guitarist Kirk Hammett revealed to Mojo that he and frontman James Hetfield were both brought to tears during the sessions for the band's upcoming collaborative album with Lou Reed, titled "Lulu". Hammett explained that the outbursts occurred while they were recording a song called "Junior Dad", saying, "I had just lost my father literally three or four weeks previous. I had to run out of the control room, and I found myself standing in the kitchen, sobbing away. James came into the kitchen in the same condition — he was sobbing, too. It was insane."

The lyrics to the song "Junior Dad" can be found in Lou Reed's "Pass Thru Fire: The Collected Lyrics" book, which was originally published by Hyperion Books in 2000.

"Junior Dad" lyrics:

Would you come to me
If I was half drowning
An arm above the last wave
Would you come to me
Would you pull me up

Would the effort really hurt you
Is it unfair to ask you
To help pull me up

The window broke the silence of the matches
The smoke effortlessly floating
I'm all choked up

Pull me up
Would you be my lord and savior
Pull me up by the hair
Now would you kiss me on my lips

Burning fever burning on my forehead
The brain that once was listening
Now shoots out its tiresome message

Won't you pull me up
Scalding my dead father has the motor
And he's driving towards
An island of lost souls

Sunny - a monkey then to monkey
I will teach you meanness fear and blindness
No social redeeming kindness

Oh-or-state of grace
Would you pull me up
Would you drop the mental bullet
Would you pull me by the arm up
Would you still kiss my lips
Hiccup: the dream is over
Get the coffee: turn the lights on
Say hello to junior dad
The greatest disappointment
Age withered him and changed him
Into junior dad
Psychic savagery [End of lyrics]

Video footage of Reed and his wife, Laurie Anderson, performing "Junior Dad" in Paris in September 2009 can be seen below.

The lyrics that apparently got to the two metal men were "Say hello to junior dad/The greatest disappointment/Age withered and changed him."

Hammett added, "[Reed] managed to take out both guitar players in METALLICA in one fell swoop, with his amazing poetic lyrics."

James Hetfield's father abandoned his family when James was just 13, an experience that the singer/guitarist has spoken about at length in a new documentary called "Absent".

"Lulu" is due out on November 1 and was secretly recorded in May at METALLICA's studio in the Bay Area. The album is based around music Reed originally wrote for a theatrical production of "The Lulu Plays".

Quoted from "Bugatti"

Ist einem aufgefallen das James dieses Jahr zwischendurch mal während den Shows mit neuen Riffs dahergekommen ist?
http://www.youtube.com/watch?v=l2fe2CEl3Q0
http://www.youtube.com/watch?v=lNOYCl83jyY&feature=related
Von Gelsenkirchen das find ich jetzt nicht mehr..

Quoted from "Bugatti"

http://www.youtube.com/watch?feature=pla…d&v=JhaUDl4jbS0

Quoted

Nein im Ernst, das ist eine ganz andere Baustelle und mich würde wirklich interessieren, wie man diesem Klangexperiment einen Rock-Anstrich verpassen kann.

Quoted

LULU: LOU REED & METALLICA
(Son of Kurtz)
"Why is this surprising?" probes Lou Reed, as only he can. "An odd collaboration would be Metallica and Cher. That would be odd. Us - that's an obvious collaboration."
Nevertheless, the exhilarating news that LOU REED and METALLICA have joined unstoppable forces for the album LULU has raised a few eyebrows. Yet the more you think about it, the more it makes sense. And when you stop thinking about it and listen to and experience the 90 minutes of music, it makes perfect sense - and sensory perfection. As W. B. Yeats once posited, "Sex and death are the only subjects seriously interesting to an adult."
As fearless musical pioneers of different generations, the combination of Lou Reed and Metallica was always going to deliver something startlingly different and exciting, on visceral and cerebral levels. They've achieved that resonantly on "Lulu", a set of extended songs inspired by German expressionist Frank Wedekind's early 20th century plays Earth Spirit and Pandora's Box (much admired by Freud). The plays, originally published in 1904 and set in Germany, Paris and London in the 1890s, whirl between the points of view of Lulu, an inverted-Eve-like cipher-mirror of desire and abuse, and the people who fall desperately in love with her. Then she meets Jack The Ripper...
"I have no real feelings in my soul/ Where most have passion I have a hole", state Reed's brilliantly uncompromising, harrowing, lyrics.
Reed had sketched out songs for director-choreographer Robert Wilson's theatrical production of the Lulu plays - hugely controversial in their day and barely less so a hundred years on - in Berlin. "He asked if we were game," says Lars Ulrich, "and we've been forever touched and changed by the experience." Adds James Hetfield, "We thought: what can we do, what we can add to the potency of this, to take it to another level, make it heavy, make it rock?" "This is perfect," says Reed. "The best thing I ever did, with the best guys I could possibly find on the planet. I wouldn't change a hair on its head."
The king of New York avant-rock, Lou Reed made innovative, iconoclastic music with the profoundly influential The Velvet Underground before "Walk On The Wild Side" gave him 1972's most unlikely pop hit. He reacted to this development with admirable perversity, releasing a stream of diverse and challenging solo albums, from the macabre, monumental Berlin to the subtle, seductive Coney Island Baby, from the wallpaper-peeling Metal Machine Music to the punk pivot Street Hassle. More recent years have seen his always-present literary bent come increasingly to the fore on works like New York, Magic And Loss and The Raven. His aim has often been to set the spirit of Burroughs, Selby and Poe to three or four chords, to marry the gutter and the stars, to fuse trash and majesty. "I harboured the hope," he once said, "that the intelligence that once inhabited novels and films would ingest rock." He added back then, "I was, perhaps, wrong." Or perhaps, after this, right.
"Give me enough hope and I'll hang myself" - Delmore Schwartz.
Metallica, the world's best selling hard rock band (with well over 100 million albums sold), formed in California in 1981, and it would be no exaggeration to say they've since redefined what we call rock. Like Reed's, their lyrics have never been shy to discuss alienation, fear, death. Musically, they've expanded the boundaries of metal, using speed and volume not just to pound the listener but to enhance their song structures, take sound to new places. They've revived the heavy rock genre by grounding and earthing it before sending it through the stratosphere. Epic, enduring albums like Ride The Lightning, Master Of Puppets and 2008's Death Magnetic have established the nine-time Grammy winners' legacy.
These two giants of modern music first came together in October 2009, at the 25th anniversary Rock And Roll Hall Of Fame concerts in New York. Metallica - founder members singer/guitarist Hetfield and drummer Ulrich plus guitarist Kirk Hammett and bassist Rob Trujillo - played with the hometown hero Reed on Velvets classics "Sweet Jane" and "White Light/White Heat". Reed pronounced, "We knew from then that we were made for each other." Lars Ulrich takes up the story.
"We were invited to host a segment at the Hall Of Fame anniversary bash: I guess we represented the outsiders, the left-field artists. Top of our list to collaborate with was Lou Reed, who I think is like a solo version of Metallica in a way. He's always done his own thing, for decades, continued to reinvent himself, challenging not only himself but his fans. And it just felt so right, so effortless. So we ran with it, inspired. Lou threw out: why don't we do more, make a record together? We had to run around the world three times and finish our Death Magnetic endeavour, and then we were ready!"
The original plan was to revisit what Lars describes as "some of Lou's lost jewels - songs that he felt he'd like to give a second spin, and we could do whatever it is we do to some of those songs." That idea "hung in the air for a couple of months". Then, a week or two before that session was to begin, "Lou called up and said, "Listen, I have this other idea...""
"We were very interested in working with Lou", continues James Hetfield. "I had these giant question marks: what's it going to be like? What's going to happen? So it was great when he sent us the lyrics for the Lulu body of work. It was something we could sink our teeth into. I could take off my singer and lyricist hat and concentrate on the music part. These were very potent lyrics, with a soundscape behind them for atmosphere. Lars and I sat there with an acoustic and let this blank canvas take us where it needed to go. It was a great gift, to be asked to stamp 'TALLICA on it. And that's what we did."
"Stamped?" chuckles Reed. "Branded! It's in and it's not coming out..."
"This idea sounded like an even better situation for us," suggests Kirk Hammett. "It gave us an opportunity to truly collaborate with Lou on something that wasn't already established. We ended up writing and recording with him there and then, just like that, without a lot of afterthought or reworking. It was an exercise in spontaneity, in improvising: there are things we just could not recreate. We bowed to the magic."
Lou Reed picks up the tale of Lulu's birth. "I'd worked on this thing for a while. Frank Wedekind didn't get it right first time either, so he tried again. In Berlin they told me there were fourteen versions of this play floating around with differing emphases, but the main thrust of is like Pandora's Box. Lulu is the great femme fatale. She was conceived as immoral. Or amoral. Shocking for the bourgeois in those days, which I guess is why it was written.
"And then I got my paws on it, tried to make sense out of it with my significant other, Laurie Anderson. It was almost impossible at first. We had to figure who Lulu was, her psychology. We had to bring her to life in a sophisticated way, using rock. And the hardest power rock you could come up with would have to be Metallica. They live on that planet. We played together, and I knew it: dream come true.
"My Lulu had a head but she needed a body. They said: let's go, let's do it, can't wait. I'd been submerging my psyche in Lulu and the various characters, and in the studio we'd examine this further. It's not always Lulu singing; in my mind I'm switching gears, characters. It's not easy. It's not a party record. It's like: what happens if you try to bring the whole thing up to the level of Selby, Poe, Burroughs, Inge, Tennessee Williams...? There's an argument that if you have to think, you can't rock. But the mind is the most erogenous zone I know, so that's an unusually dumb comment. This is a new genre here, and we punch it out. This is where I like to exist."
How should the listener feel after hearing Lulu, with its graphic lyrics of jealousy, lust, violence and revenge, its grinding riffs and tantalising tones? Is it a journey into the heart of darkness?
"I wouldn't call it the heart of darkness", muses Reed. "I'd call it the heart of illumination."
"It could be disturbing," suggests Rob Trujillo. "At the same time it could be beautiful. It's a marriage of attitudes."
Ask if the project took Metallica out of their comfort zone, and Reed laughs, "Have you ever heard their "comfort zone"?" Lars adds, "We were psyched to be thrown into a situation with no specific structure. We were reinventing the wheel! We've tried over the years in certain instrumental pieces to get as far out there as possible, but nothing we'd ever done prepared us for where this went. We spent four weeks in our studio, and Lou showed up on the first Monday - by lunchtime we were deep in it, faster than anyone could keep track of. It's been an authentic, intuitive and impulsive journey. We weren't always sure where it was going, but it sure as fuck was an exciting ride to be on." "We all felt the same way", adds Lou.
James concurs, "It's so great to have another powerful force in the room like Lou. There was the feeling-out period, but soon I couldn't stop saying yes. I thought: we need to just agree that this is awesome. What's steering the ship at that point? The moment is. As soon as we let go of that fear of no control, we were in Heaven. So many ideas, but all agreeing that this is magic, don't mess with it. Celebrate what's happening here..."
"It's definitely not a Metallica album, or a Lou Reed album", offers Kirk. "It's something else. It's a new animal, a hybrid. Nobody in our world, the heavy metal world, has ever done anything like this."
"It's made us a better band. It's going to freak some people out", says Rob. "And that's good."
"This," concludes Lou, "is the best thing I ever did. And I did it with the best group I could possibly find on the planet. By definition, everybody involved was honest. This has come into the world pure. We pushed as far as we possibly could within the realms of reality."

Quoted

Produced by Lou Reed, Metallica, Hal Wilner, & Greg Fidelman
Mixed by Greg Fidelman

Quoted from "Magnetica"

Das Zitat kenne ich

Und ich ahne bereits böses. Irgendwo hieß es ja mal, dass die Musik, die Lou da mit Metallica aufnimmt, eher eine Fortführung des Lulu-Stückes sei. Also nix mit dem eigentlichen Stück zu haben soll. Jetzt hört sich das für mich aber doch so an, dass die Lieder aus dem Stück, welches ja in Berlin aufgeführt wird, einfach mit Metallica neu aufgenommen wurden. Und dann gute Nacht. Denn das Stück, und auch die Musik, bekommen in etlichen Reviews ihr Fett weg. Bis auf 1-2 Lieder soll da nix gutes bei gewesen sein. Müsst ihr mal bei Interesse im Internet stöbern. Leider findet man auf Youtube nicht viel, aber die Vorraussetzungen könnten scheinbar besser sein.
Also ich will da jetzt nicht zuviel hineininterpretieren, vielleicht haben unsere 'Tallica-Boys das Ruder ja noch rumgerissen, aber ich gehe da inzwischen doch eher mit niedrigen Erwartungen dran. Naja, urteilen sollten wir ja wohl erst, wenn wir was von der Musik gehört haben...

Ich hoffe, da kommen bald schnellstens ein paar Ausschnitte auf die Seite...

Edit:
Hier eins der Lieder, die besser sein sollen:


Wenn er sowas tatsächlich mit Metallica aufgenommen hat, bin ich gespannt, was da raus kommt