Great Metal Albums of 1989: Bitch- A Rose By Any Other Name

After their less than successful attempt at gaining more commercial notice on the album, “Betsy,” Bitch not only went back to their more traditional sound with “A Rose By Any Other Name,” they went even harder. This six song EP comes blasting out of the gate with a more thrash metal approach on “Walls of Love.” You know right from the get-go that Bitch aren’t fooling around. “Walls of Love” comes out at 600mph and maintains that cruising speed all through the track. However, the band remain as they were on previous albums with Betsy’s voice being as good as very, the rhythm section might speed up but remains solid and you get a great guitar solo from the very underrated David Carruth.

After the blinding start, the next track, “Throw Me In,” slows down a little while still managing to pound your eardrums with power chords. This is one of those metal anthem type songs where you want to throw your fist up in the air and headbang along to it. However, better is to come because right after is my choice for best song on the album, “Sunset Strut.” The power metal approach is still present and Betsy’s vocals are just superb with the guitar, bass and drums keeping up support behind her. There are some cool drum fills from Robby Settles (R.I.P.) and David hammers an intriguing guitar solo followed by some nice hooks on the second half of the song.

With the track, “Skullcrusher,” the name says it all. Bitch are out to crush your skull, period. After an cool intro from Dave, the song goes full on thrash here and Betsy proves she can adapt her voice to keep up, I love her screams on this, and need I mention Dave again? Betsy takes a break on the instrumental, “”Crashthepartysmashthecake,” but the rest of the band certainly do not. The speed is kept up and Ron Cordy’s bassline anchors the song firmly, especially when Dave is called upon to work his six string magic. Closer, “Make It Real,” slows down slightly but only enough to deliver one last blow to the jaw before ending the album nicely.

Track Listing:

1. Walls of Love
2. Throw Me In
3. Sunset Strut
4. Skullcrusher
5. Crashthepartysmashthecake
6. Make It Real

Bitch

Betsy ‘Bitch’ Weiss- vocals

David Carruth- guitar, backing vocals

Ron Cordy- bass, backing vocals

Robby Settles- drums, backing vocals

Once again, I’m venturing out onto the thin branch and say that possibly, Bitch was one of the best bands not to get the attention they richly deserved. On “A Rose By Any Other Name,” you might only get six songs but they are six songs you definitely remember.

Next post: Motley Crue- Dr. Feelgood

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Go Beyond the 1980s?

When I first began 80smetalman’s Blog way back in 2011, my purpose was to highlight the music from what I called the ‘Golden Age of Heavy Metal,’ also known as the 1980s. The other purpose was to boost sales of my book “Rock and Roll Children,” which hasn’t panned out the way I had originally hoped. In any case, I have had a lot of fun doing so and it has been a learning experience for me as much as many of you.

Now I’m about to enter the final year of the golden decade and decisions have to made. See, it was my original intention that once I have written about the last album of 1989, that my mission would be accomplished, that I would not carry on past the golden decade. Oh, I would still write posts, I have many ideas for top ten lists and other relevant material and I would continue to report on any concerts I go to and other happenings. For example, many of the great rock and metal artists will continue to leave the mortal realm for Rock Heaven but the history tour would be over.

Since I have stated this, some of you out there want me to carry on into the 1990s and beyond. Let me say that I am truly flattered. Part of me wants to carry on but there is a huge part of me that has reservations about it. After the 80s ended, my lust for great music took a back seat as I had what some people might call ‘real responsibilities.’ A wife and newborn child will do that to a person, especially as my then wife told me that I should stop being a prat and grow up, her exact words. As a result, my musical knowledge of the decade isn’t very good. I know there were many good albums, my sister would send me tapes of songs from different bands every Christmas and birthday right up to 1997. Therefore, I could do it.

Let me dispel one myth that many of you don’t know about. Back then, some people wrongly assumed that my seeming lack of interest in music was down to my conversion to the Mormon faith in late 1989. That could be nothing further from the truth. When I was investigating the church, I came right out and asked the missionaries that if I joined, would I be expected to burn all my AC/DC albums. One missionary responded, “No, but if you feel so inclined, you can give them to me.” But that’s all irrelevant. Besides, I went completely off the rails for a little bit when my marriage ended in 2000 and as a result, I was excommunicated.

Therefore, I am asking all of you, my readers, as to what I should do. Shall I keep posting about albums beyond 1989 or shall I just leave it with the great memories of the golden decade? As I try to put out two posts a week, I could cut it down to one post or even three posts every two weeks. That might take some of the pressure off. Again, your input is needed here.

Let me say, that I have always felt welcome here in the blogging community. I have enjoyed reading your posts and gaining new knowledge and insights into music. This is why I am asking your opinions as they do matter to me.

With that note, thanks to Mike Ladano for telling me how I can upload videos I took at concerts, I will leave you with three I took ages ago. I apologize in advance for the poor quality in sound from the two Download videos.

Kreator- Download 2018

Ozzy- Download 2018

Hannah Wicklund, Bristol UK, 2019

Next post: Original vs. Cover- Aerosmith and Testament

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Great Metal Albums of 1988: Motorhead- No Sleep at All

According the written history, Motorhead put out this live album, “No Sleep at All,” because there was a huge clamour from fans for a live album with this line-up. Not only did the band quench the fans’ thirst, they did so in a unique manner. While most live albums were recorded in places like Budokan or Hammersmith or at some American venue, “No Sleep at All” was recorded from a concert in Finland.

Since it was the mid 1980s when I finally got into Motorhead in full earnest, this album was perfect for me at the time. Most of the tracks on it were from the albums which were released around the same time. Songs from “Rock ‘N’ Roll” and “Orgasmatron” pretty much make up the content of the album. Of course, there are old favourites such as “Ace of Spades” and “Overkill,” the latter closing out the album. Naturally, we could all add our own ideas as to which of the old songs should have been included, for me it’s “Iron Fist,” but that’s a pointless argument. The fans wanted to see a live album from the current line up at the time, so it’s no surprise that songs from the albums of the time featured heavy. Did I just go full circle?

Motorhead have always been a great band live and having seen them twice, both during this era, I can concur. This is in spite of the fact that when I saw them in New York in December 1985, I thought Lemmy was being a bit of an asshole with his constant moaning about the sound. They sounded great to me. Oh, the other time was Donington 1986. The point I am trying to make is that Motorhead are so great live, that any live album is bound to be good, this one included. Furthermore, it is also why I think the best part of the album is tracks four through seven. I especially like Lemmy’s little speech when he introduces “Built for Speed.” Just as amusing was when he introduces my favourite Motorhead song, “Killed By Death.” He says it was a big hit for them because he has 10,000 copies at his house.

Track Listing:

1. Dr. Rock
2. Traitor
3. Dogs
4. Ace of Spades
5. Eat the Rich
6. Built for Speed
7. Deaf Forever
8. Just Cos You Got the Power
9. Killed by Death
10. Overkill

Motorhead, 1988

Lemmy- lead vocals, bass

Phil ‘Wizzo’ Campbell- guitar

Michael ‘Wurzel’ Burston- guitar

Phil ‘Philthy Animal’ Taylor- drums

Actually, there isn’t much detail I can add about this live album, It does what it set out to do, showcase the workings for a great line-up and for me, it was the right album at the right time.

Next post: Testament- The New Order

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Great Metal Albums of 1988: Running Wild- Port Royal

My introduction to pirate metal came at Bloodstock 2018 when I was totally wowed by the band Alestorm. It turns out, this particular subgenre of heavy metal has been around since the 1980s and one of its founders was the German metal band, Running Wild. Of course, I’ve said many times over that metal wasn’t so categorized and sub- categorized as it is today, so Running Wild wouldn’t have been known as pirate metal. In any case, what I think like about pirate metal, if Running Wild’s “Port Royal” album is anything to go by, is that songs are all about pirates and there seems to be no set rules as to who the pirate theme is delivered. This album seems to incorporate several other subgenres such as Viking metal and power metal.

Alestorm on stage with a lot of flying inflatable objects. Bloodstock, 2018

Following a brief intro where a lost person is informed he is in Port Royal, the band go into a power metal mode for the next two tracks. Power chords galore on both tracks kick start this album off right. They get the blood pumping and the head and fist banging and of course a cool guitar solo on the second track, “Raging Fire.” From there, “Into the Arena,” goes almost speed metal. Rolf Kasperek’s clear and melodic vocals which are on every track don’t alter with the faster tempo of the track. When I hear the guitar solos and fills on the track, I can’t help thinking that it’s a case of Helloween meets Anthrax’s “Spreading the Disease” album.

At the album’s midpoint, we come to the best song on the album, “Uaschitschun,” which is what Native Americans referred to white males. This song is from the view of Native Americans on how the greed of the white colonizers was devastating the land. The lyrics are sung to a strong metal backing and some nice backing vocals at the chorus but the message behind the song is never lost. In fact, a very powerful spoken word inspired by Chief Seattle when whites came to buy the land hits the message home at the end.

Only when the last tree is felled, the last fish caught and the last river poisoned

Then you will know that man can’t eat money.

If one need further reflection on the meaning of the previous track, then the instrumental, “Final Gates,” lets you do that. However, it is quite catchy with a groovy bassline from Jens Becker. Also, I would like to know who the lead guitarist is because it’s not specified on Wikipedia. Both Kasperek and Majk Moti are credited as guitarist. The instrumental provides the perfect bridge between the previous track and “Conquistadores.” On this one, Running Wild go Viking metal here and I get vibes of Hammerfall with this one. It turns out that the video for the song did get some play on MTV’s “Headbanger’s Ball,” so that’s a plus for them. And like “Uaschitschun,” the music only goes to push home the message behind it and there’s a cool guitar solo and drum fill at the end.

The next three tracks go more speed metal, especially the middle one, “Warchild.” This is definitely the fastest track on the album and it’s done well. These three tracks go streaking through, very nicely I might add, to the eight minute plus closer “Calico Jack,” which is about, yeah you guessed, a pirate. Apparently, this Calico Jack was the designer of the famous pirate skull and crossbones flag known as the ‘Jolly Roger.’ Great history lesson where all of the elements the band used on all the previous tracks come together and make a great closer.

Track Listing:

1. Intro
2. Port Royal
3. Raging Fire
4. Into the Arena
5. Uaschitschun
6. Final Gates
7. Conquistadores
8. Blown to Kingdom Come
9. Warchild
10. Mutiny
11. Calico Jack

Rolf Kasperek- lead vocals, guitar

Majk Moti- guitars

Jens Becker- bass

Steffan Schwarzmann- drums

It was only recently I became aware that Running Wild even existed, my loss for sure. I don’t remember who told me about this band but whoever it is, thank you. I discovered a great album in “Port Royal.”

Next post: Zodiac Mindwarp and the Love Reaction- Tattooed Beat Messiah

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Great Metal Albums of 1988: Overkill- Under the Influence

Some people might call me manic/depressive. After all, I’ve gone from reviewing a melodic metal album from Winger to the thrash metal of Overkill. The thing is that I have always been able to do that, even listening to tapes or CDs in the car. But the explanation for it is quite simple, for me good music is good music and it doesn’t matter if it goes from extremes as long as it’s suitable for me. The key is that I like the music.

The 1988 album, “Under the Influence,” from Overkill, who are from my home state of New Jersey, is thrash as thrash was meant to be. Overkill come out with flames burning out the back with opener, “Shred.” Interesting title for a song because it was before lead guitarists were nicknamed ‘shredders’ but guitarist, Bobby Gustafson, does exactly that on the guitar solo. It stamps the band’s authority for the entire album and no quarter is given when the album progresses to “Never Say Never.” While a thrash blast at first, things do slow down a little and we get treated to a clunky bass line from D.D. Verni but it’s Bobby ‘Blitz’ Ellsworth’s vocals that make the song.

Not wanting to be left out, “Hello From the Gutter” has some great drum fills compliments of Sid Falck, which along with some great riffs from Bobby introduce a blinder of a song, especially when we get to the guitar solo. While the first two tracks lay down the foundations to establish the album, this one carries it into outer space. That level of continues on with the next track, which is my favourite, “Mad Gone World.” Starting with some wicked chords, guitar, bass and drums launch into a huge thrash-fest. Believe me, when I hear this song, I want to get out of my chair and find a mosh pit. Bobby’s high screams only go to make this song even better, only resting for the mosh parts and another great guitar solo. At the end of the song, I don’t want just a mosh pit but a stage to dive from.

After four uplifting songs, maybe Overkill thought the listener needed a slight rest. I stress the slight here because “Brainfade” slows down slightly and while it’s a decent track, I don’t rate it as high as the first four tracks. Still, when I listen to the album, I never skip over it. However, mayhem returns with the track, ‘Drunken Wisdom.” This song is one I think many of us can identify with. Most of us have probably been to a party where the drunk guy thinks he can use his current condition to deliver what he thinks is remarkable insight. I know, I ‘ve been that guy and also the one listening to that guy. What’s more is how the song starts of with a soft acoustic intro and then slowly progresses with power chords and a noticeable bass line which is more doom metal. However, after some words from Bobby condemning such acts, the song picks up tempo and there is a great guitar solo. It never gets to thrash metal pace but it’s a good change of pace and it ends on that soft acoustic piece.

Once again, I’m going to be critical of the order of tracks on the album. My criticism of “End of the Line” isn’t the song itself, it’s that it would have been better as the closer and not just because of the title. For me, this vibe behind the song, combined with the melody and feel and the guitar solo followed by the instrumental part, just says to me that this song should have been at the end. It would have been a great way to end the album. The actual closer, “Overkill III (Under the Influence) would have been better in the number seven slot. Just a simple swap between the two songs would have made a great album even greater. Not to leave it out, “Head First” is perfectly fine at the penultimate spot.

Track Listing:

1. Shred
2. Never Say Never
3. Hello From the Gutter
4. Mad Gone World
5. Brainfade
6. Drunken Wisdom
7. End of the Line
8. Head First
9. Overkill III (Under the Influence)

Overkill

Bobby ‘Blitz’ Ellsworth- lead vocals

D.D. Verni- bass, backing vocals

Bobby Gustafson- guitar, backing vocals

Sid Falck- drums

There is much debate as to which band should join the Big 4, should it be expanded to the Big 5. While Overkill would still be considered an outsider in the running, “Under the Influence” makes a bold claim on the band’s behalf.

Next post: Running Wild- Port Royal

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Great Metal Albums of 1988: Bullet Boys

Yet another album which I missed back in the day but was made aware of it by one of you out there. As far as I know, Bullet Boys might have been a sensation in the US but they never made an impact in the UK. That’s my excuse for missing them back in the day and I’m sticking with it. Still, they say it’s better late than never and after listening to this debut album, I’m glad that I finally got to experience them.

Bullet Boys come out firing on all cylinders with “Hard As a Rock.” It’s a throat grabbing opener and lets you know that these guys are out to rock you. This is immediately followed by the single, “Smooth Up In Ya.” My initial thought was that this tune was too high energised to be a single given the music environment at the time. This song just rocks, pure and simple. With that title, I’m surprised that this song wasn’t on some sort of PMRC hit list. So, two songs in and I’m enjoying the album very much.

A “Working for the Weekend” percussion intro brings in “Owed to Joe.” This track is a little slower and more 80s metal sounding, not that that’s ever a bad thing. Returning to the musical climate of the time, one would have thought this one might have been the single because of said vibe. Nevertheless, the song still kicks ass, the guitar solo especially. Afterwards, we move on to the very Van Halen sounding “Shoot the Preacher Down,” which gets my vote for hidden gem. I can definitely imagine Van Halen playing this. The singer does his best DLR and the guitars are Eddie inspired. Then the rhythm section is definitely Michael and Alex cloned. Maybe because the song sounds like one of my favourite VH songs, “Hot For Teacher,” is the reason I like it so much.

However the band doesn’t rest on their laurels. Midway through the album, we get a metalized cover of the O’Jays classic, “For the Love of Money.” I don’t know how the O’Jays might have felt about the cover but I sure like it. The guitar work of Mick Sweda and bass of Lonnie Vincent reigns supreme here. As we head to the second half of the album, we get my least favourite track, “Kissin’ Kitty.” It’s in no way a bad song, it just doesn’t reach the heights the other songs on the album do. It has this ‘all been done before’ vibe to it even though the Bullet Boys play it very well.

If the mentioned hidden gem wasn’t on the album, then the track “Hell On My Heels” would have been bestowed the honour. While a slower neo-blues song where the rhythm section shines, the song still is able to knock your socks off. It has a cool guitar solo but I think what kept it from being the gem is down to my belief that singer Marc Torien tries too hard to be Joe Cool metal singer. Quarterback signals begin the fastest track, “Crank Me Up,” which they do. This song is what Van Halen might sound like if they went speed metal. Furthermore, I’m really beginning to like Mick as a guitarist.

Some very interesting guitar riffs, bass notes and drum fills bring in penultimate track, “Badlands.” It’s short and to the point but catchy nonetheless. Closer “F#9” begins as if it’s not going to be a closer. However, that changes as the song progresses. The tempo changes to more of a wind down vibe as the song and the album is heading for its natural conclusion. Still, we get one last cool guitar solo from Mick. Overall, I’m impressed.

Track Listing:

1. Hard As a Rock
2. Smooth Up In Ya
3. Owed to Joe
4. Shoot the Preacher Down
5. For the Love of Money
6. Kissin’ Kitty
7. Hell on My Heels
8. Crank Me Up
9. Badlands
10. F#9

Marc Torien- lead vocals

Mick Sweda- lead guitar, backing vocals

Lonnie Vincent- bass, backing vocals

Jimmy D’Anda- drums

Yes, I regret missing the Bullet Boys self titled debut album back in 1988. I got to hear it now and while, in spite of Tee-Bone Man and Superdekes’ adventures, I can’t go back in time. Still, I think it’s a great album.

Next post: Winger

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Great Metal Albums of 1988: Armoured Saint- Saints Will Conquer

Like Riot, Armoured Saint was another great metal band from the 1980s who never got to the level of stardom they should have achieved. The major advantage Armoured Saint had over Riot in regards to my loyalty is that I’ve seen Armoured Saint live, twice. Although the first time I was too drunk to fully appreciate them. However, they totally kicked ass when I saw them at Bloodstock 2015 and their 1988 live album, “Saints Will Conquer,” reminds me of just how good this band is live.

“Saints Will Conquer” was recorded live in Cleveland in October of 1987. From the outset, the mentioned intensity comes through with the opener, “Raising Fear.” It does what any good concert opening song should do, it gets you on your feet and pumping your fist in the air. “Nervous Man” carries that intensity forward and takes it further. The guitar solo is absolutely mind blowing. Then comes the good full speed metal on “Chemical Euphoria.” Three songs in and I have come to the conclusion if they had played this exact set of songs, these days, I would have been reaching for an oxygen mask by now. Still, it’s too bad that I didn’t get to see it in 1988 as the then 27 year old me would have been able to keep up no problem.

I love the power chords which open the track, “Book of Blood.” While slower and clunkier, the power chords and vocals of John Bush and a cool bass line from Joey Vera make this probably the best song on the album. On things pertaining to John, he does show his skills as a frontman as he gets the crowd participating on “Can U Deliver.” Some might say that what he says to the crowd is somewhat predictable but he does it with flair. If I was in the audience, I would be trying to deliver, especially with that drum solo from Gonzo Sandoval near the end.

Speed metal goes full frenzy on “Long Before I Die.” Great guitar work from Dave Prichard adds a further dimension. Some cool speed riffs bring in “Madhouse” and in case anyone is wondering, it’s not a cover of the Anthrax classic. It’s its own speed metal bash. Closing out the album is the only studio recorded song, “No Reason to Live.” This was an unreleased song from the band’s 1983 demo and it’s probably the closest they ever came to a power ballad. The song is slower and more bluesy but the guitars are cool, John sings it with marvelous conviction and the rhythm section is spot on. So, what’s not to like?

The album has been criticized for not representing Armoured Saint’s early era well. Missing from the album is their famous “March of the Saint” from the debut album and their radio hit, “Isolation.” I’ll give 200 80smetalman points to anyone who knows a reason why these two tracks weren’t on the album. I know that the band nailed both of these when I saw them live so it doesn’t figure why they’re not here. If they were, it would have made a great album even greater.

Track Listing:

1. Raising Fear
2. Nervous Man
3. Chemical Euphoria
4. Book of Blood
5. Can U Deliver
6. Long Before I Die
7. Madhouse
8. No Reason to Live

Armoured Saint

John Bush- vocals

Dave Prichard- guitar

Joey Vera- bass

Gonzo Sandoval- drums

Phil Sandoval- guitar

You know what? I’m not going to get all bent up over what songs didn’t get on this great live album. “Saints Will Conquer” confirms how great Armoured Saint is live, no matter what songs they play.

Next post: Paul Di’Anno’s Battlezone- Warchild, The Best of

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Great Metal Albums of 1988: Riot- Thundersteel

In most cases, bands who try to be all things to all people on an album, usually fail on all accounts. People like putting things into nice little pigeon holes and if they can’t then it’s ignored. However, in the case of Riot’s “Thundersteel” album, they did that very thing successfully. The band intentionally took parts of everything metal had to offer in the 1980s, put it all together on one album and the result was a smashing album.

Riot took a long break in the mid 1980s. “Thundersteel” was their first album since the 1983 “Born in America” album and maybe that worked to their advantage when recording the album. The reason for the band’s five year inactivity isn’t known but Riot was one band that always seemed to be one album away from achieving superstardom, which always seemed to allude them. So, it can be speculated that since Riot had no label put on them, there was no pressure on them to sound a certain way.

What Riot did was pay attention to what was going on in the metal world and take all the best pieces of everything and put it on the album. The album kicks off with a very thrash metal sounding title track which definitely gets the blood pumping and lets you know that in no uncertain terms, Riot are back. An example of doing things right on the album comes in the form of the second track, “Fight or Fall.” Unlike some bands who might stick a ballad after the thrash metal, (yes, fools) “Fight or Fall” is a very strong power metal song and I do emphasize the power.

Next comes not only the best song on the album and proof that Riot knew exactly what they were doing, “Sign of the Crimson Storm.” Not only is it the best song on the album, it’s my second favourite Riot song of all time. Number one goes to “Swords and Tequila” from the “Fire Down Under” album. On this track, Riot successfully combine power and progressive metal. You get power chords and melodic parts together and Tony Moore’s soaring vocals add the right kind of spice to it.

You get speed metal on “Flight of the Warrior” only slowing down for the choruses. The rhythm section is spot on here and shows you can have a bit of fantasy with some speed and that speed carries on with “On Wings of Eagles.” The chorus isn’t as melodic as its predecessor but it doesn’t have to be as the drums and guitar riffs totally beat you to death. Then we come to the hidden gem, “Johnny’s Back.” A groovy bass line starts it off and then Riot show why they are considered by many as a power metal band. There’s power galore in this tune from start to finish and a very interesting guitar solo from Mark Reale.

After six songs, one might be wondering if Riot incorporate everything, where’s the token ballad? Well, the closest they come is on the very soft acoustic intro on “Bloodstreets.” However, that intro is short lived as things go into early Judas Priest territory and I think Riot would have made Priest proud on this one. They stick to that formula with penultimate track, “Run For Your Life.” In fact, Tony Moore’s vocals are very similar to Rob Halford’s on this one. “Thundersteel” closes with a very progressive “Buried Alive (Tell Tale Heart)” which is the longest track at over eight minutes. It starts with a funeral and then some more spoken words backed up by a cool lead guitar riff. All right, if I haven’t done so in the past, I will add Mark Reale to my list of great under appreciated guitarists. The song goes way out there in the progressive concept world. It’s a take on Edgar Allen Poe’s “The Tell Tale Heart” and Riot put a good metal spin on it, making it the perfect closer.

Track Listing:

1. Thundersteel
2. Fight or Fall
3. Sign of the Crimson Storm
4. Flight of the Warrior
5. On Wings of Eagles
6. Johnny’s Back
7. Bloodstreets
8. Run For Your Life
9. Buried Alive (Tell Tale Heart)

Riot

Tony Moore- vocals

Mark Reale- guitar

Don Van Stavern- bass

Bobby Jarzombek- drums

And because I didn’t put this one on the post when I posted about the “Fire Down Under” album, I’m including it now.

In Riot’s case, maybe the five year layoff was a good thing because they came back with a blinder of an album in “Thundersteel.” While it still didn’t propel the band to superstardom, it’s still a great album.

Next post: Armoured Saint- Saints Will Conquer

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Great Metal Albums of 1988: Megadeth- So Far, So Good, So What

After a couple of lite metal albums, I thought I would go full on thrash with Megadeth’s “So Far, So Good, So What” album. Just like in 1986, what is now known as ‘The Big 4,” put out cool albums in 1988, although I won’t say they were pivotal in the careers of any of the Big 4 bands. And though it’s not intentional, having covered the albums of the other three bands, Megadeth is the last of the group whose album I’m writing about. I did the same in 1986 and I swear it just happened that way.

Megadeth went through some lineup changes following their previous blockbuster, “Peace Sells But Who’s Buying” album and this one. Drummer Gar Samuelson and guitarist Chris Poland were dismissed from the band for disruptive behaviour. Dave Mustaine claimed that Poland was selling the band’s equipment in order to score drugs. Samuelson was replaced by the band’s drum technician, Chuck Behler, although Slayer drummer Dave Lombardo considered joining the band. Mustaine would go through a few guitarists before sticking with Jeff Young. Apparently, Slash was considered.

“So Far, So Good, So What” begins with a lot of fanfare on the instrumental “Into the Lungs of Hell.” I like this song because it shoots down the Duranie belief that heavy metal musicians can only play three chords. It opens with a medieval sounding intro and goes a bit progressive at some points with the guitar even venturing into Joe Satriani territory. However, it retains the aggression which Megadeth has been known for. That aggression increases on “Set the World Afire.” It begins with a fast and furious intro slowing down to some cool riffs and the always sinister voice of Dave. It’s the first song he wrote after being fired from Metallica.

One song which has been the focus of much debate is the cover of the Sex Pistols classic, “Anarchy in the UK.” Some say that this was evidence that Dave was running out of fresh ideas while others praised the band’s cover of the song. I agree with the latter, it’s a great cover of a classic and bringing in Sex Pistols guitarist, Steve Jones, to play on it was, in my view, a stroke of genius. Megadeth go a bit concept on “Mary Jane,” which is a song about a witch who was killed by her father and cursed so that if anyone disturbs her resting place, they would suffer instant death. There does seem to be a lot happening at once in the song, the lead guitar in the background borders on distracting but that improves when that goes and the band gets down to business.

If you have ever been pulled over by the cops, then you might appreciate the theme of “502.” It’s the California code for drink driving, something Mustane would get busted for in March of the following year. It’s a fast paced speed metal song with some good guitar work. This is one you can play when driving down the highway at 90mph. If you don’t have a car, then it’s also good for a mosh pit. “In My Darkest Hour” was written in response to the death of Cliff Burton. The mood is set with the gloomy acoustic guitar intro followed by some harsh power chords. This song would have fit well on Metallica’s “Black Album” but Dave’s sinister voice puts the Megadeth stamp on it. The rhythm guitar on this song is very catchy, hypnotic even and it gets my vote for song of the album, especially with the guitar solo.

“Liar” is directed specifically at Chris Poland and Dave’s belief that he was selling equipment for drugs. It does have a cool guitar riff trade off at the beginning and the rhythm section really shines on it. I do love the line, “Your girlfriend got herpes” and the guitar solo which follows the line “You fuckin’ liar.” Bassist David Ellefson lays down a great bass line on the closer “Hook in Mouth.” The line is backed up with some cool thrash metal riffs and a guitar solo tradeoff. Pure thrash and the best way to end this album.

Track Listing:

1. Into the Lungs of Hell
2. Set the World Afire
3. Anarchy in the UK
4. Mary Jane
5. 502
6. In the Darkest Hour
7. Liar
8. Hook in Mouth

Megadeth

Dave Mustaine- lead vocals, guitars

David Ellefson- bass, backing vocals

Jeff Young- guitars

Chuck Behler- drums, percussion

Additional Musicians:

Steve Jones- guitar on “Anarchy in the UK”

It has been said that “So Far, So Good, So What” is largely overlooked in regards to other Megadeth albums. I admit that I am guilty of this as well, so I am glad that I went back and had a great thrash out.

Next post: Riot- Thundersteel

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