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Heavy, sure. Aggressive... eh, not really. It certainly is better than anything Anthrax, Megadeth or Metallica released in the 90s, with the only exception being Metallica's breakthrough success, The Black Album. I dropped off after Countdown to Extinction, as I felt it was so-so, though I do like 2-3 songs of it and Youthanasia. Still, they do not even begin to compete against Peace Sells or SFSGSW, and as far as I understand, Megadeth was on a very serious downward slope after Youthanasia, which I believe started after Rust in Peace. While Rust in Peace is alright, I think the lesser mentioned songs are absolutely filler, but what do I know? Most Megadeth fans think of that album as the pinnacle of their career and I am quite a fan of Marty's leads on that album.
That said, enough comparisons. Dave Mustaine's vocals and guitar playing are definitely more metal than everything between between this album and Countdown to Extinction. Quite a few fans criticize this album because a few of the songs possibly reuse riffs from previous songs and the rewritten somewhat cover of Am I Evil? As for his vocals, he's still doing that sort of singing style of his and not using much of his patented snarl anymore. The lyrics at times can be somewhat cheesy, but aren't entirely laughable. The 'break up' in 1000 Times Goodbye is a tad funny, though. "You know what? ...You suck!"
The drumming by Jimmy DeGrasso is nice, though a tad too stiff compared to the other great drummers Megadeth has had, like Gar Samuelson and Nick Menza. While he is technically proficient and on top of his game, he's a tad too precise. It's not really a bad thing, it's just different for metal and rock, which are a little looser. At least the tone of the drums is nice and doesn't step on anyone's toes like can sometimes be an issue, though I don't think Megadeth has ever had that issue except for maybe Killing is my Business.
Al Pitrelli is definitely good at what he does, but it's sad to see Marty gone. He's obviously less exotic, since he's not Marty Friedman, and quite a bit more classic in his approach. Stepping into this position after three great guitar players once filled it must've been pretty daunting, but he does a good job regardless. While I maybe wrong, I don't really think Al gets an extended break to just let loose and most of his solos seem to be 8 bars at most. Like I said, I could be wrong, but they don't seem to be the extended lead lines like Marty got on Rust in Peace and Countdown to Extinction.
Dave Ellefson's bass guitar really fills out the sound and is actually noticeable, as you can both hear it and follow it. He can really lock in and is quite an underrated bassist. I'd put him in the top five with Steve Harris, Cliff Burton, Jason Newsted, and Frank Bello, though maybe not in that order. He certainly makes this album sound heavier.
Compared to early Megadeth, these tracks are rather slow and seriously lack punky Dave Mustaine aggression, but compared to the previous 3 or 4 albums, are a step in the right direction. I also must totally commend Dave's ability to come back from the nerve damage that caused him to stop playing guitar for a time, as I am sure it wasn't easy to give up something you love and then try to get back to were you were a few years prior, not to mention back in your 80s hayday. In closing, this album isn't perfect, isn't aggressive, and isn't fast or have that punk attitude like the best Megadeth songs are, but what they do have is catchy, well-written tunes that are quite a bit better than some of the shit after Countdown to Extinction, which wasn't all that great itself.
Recipe for Hate... Warhorse
Losing My Senses
Dread and the Fugitive Mind
With nearly thirty years worth of material to their name, I think this may be the most overlooked Megadeth album in the group's long-running history. It is not as actively hated as "Risk," but its borderline thrash leanings have officially been rendered obsolete by the more recent additions to the Megadeth discography. On the other hand, it is fairly significant for being the only album to feature Savatage guitarist Al Pitrelli and the last album to feature drummer Jim DeGrasso and longtime bassist Dave Ellefson.
Musically, you could describe this album as sounding like a more modern cross between “Cryptic Writings” and “Countdown To Extinction.” The guitar playing is definitely “metal” but rarely reaches true levels of technicality or intensity, the songs are fairly accessible but don’t have any signs of blatant commercialism or memorable hooks that command your attention, and the production’s somewhat bland coating makes it sound like no other Megadeth album to date. On the other hand, Dave Mustaine manages to put on a pretty good vocal performance in spite of the material he has come up with and even carries songs like “Disconnect” and “1000 Times Goodbye” with his solid singing voice. The bass presence is also quite strong and really stands out on tracks like “Disconnect” and “Recipe For Hate.” There are also a few moments that attempt a darker direction, but they’re relatively few and far between…
While the title track seems to promise a return to more political themes, most of this album’s lyrics seem to deal with more introspective ideas. “Burning Bridges” and “Losing My Senses” seem to deal with regret in one’s life, “Recipe For Hate/Warhorse” and “When” focus more of anger, and I always like to think of “Dread And The Fugitive Mind” as being an Agnostic anthem of sorts. Other topics covered on the album include relationships (“1000 Times Goodbye,” “Promises”), modern society (“Disconnect,” “Moto Psycho”), and a return to an old fan favorite (“Return To Hangar”). While there are a few goofy lines that come up, there are an equal number of filler songs that are actually made interesting by some intriguing lines…
Like so many other thrash veterans attempting to reclaim their places in the Pantheon, this album’s biggest flaw is a lingering feeling of desperation. A number of songs sound like mere imitations in their attempts to pay homage and a few manage to go into borderline plagiarism. “Return To Hangar” doesn’t quite reach the standards of the original tune and the structure of “Dread And The Fugitive Mind” is eerily similar to that of “Sweating Bullets.” Hell, they even manage to channel Diamond Head in the “Sucking My Love” inspired bass solo of “Disconnect” and the entire song structure of the infamous “When”…
And I’ve really got to ask why no one thought it’d be a good idea to put “Kill the King” on here. I know that fact has nothing to do with this album itself, but that song is one of the best that Megadeth has ever recorded and doesn’t deserve its association with the horribly lacking “Capitol Punishment” compilation…
I think Mustaine himself put it best when he described this album in hindsight as a step in the right direction rather than an all-out return to form. It has plenty of decent songs, but there’s little worth noting for anyone that isn’t a fanboy/completist. It’s certainly not in the same realm of disappointment as “St. Anger,” that’s for sure…
1) Fairly accessible songs
2) Great vocals and bass playing
3) Often intriguing lyrics
1) Somewhat desperate songwriting
2) The riffs often lack the signature Megadeth intensity and technicality
3) Bland production
My Current Favorites:
“Disconnect,” “Moto Psycho,” “1000 Times Goodbye,” “Dread And The Fugitive Mind,” and “When”
Starting things over at square one rarely results in a masterpiece being put together, and that is precisely what went on when this album was thrown together and released to the public. Mustaine had essentially lost his longest running axe partner and half of his rhythm section, not to mention that it had been going on 7 years since he’d put together an album that was 100% metal, let alone thrash metal. In keeping with all of this, one shouldn’t approach “The World Needs A Hero” with high expectations. But even when canceling out the unrealistic hope of a return to “Rust In Peace”, especially considering that Marty Friedman is out of the picture, this album does leave a bit to be desired.
First to get the obvious out of the way, this is basically a metal album, though there is some retention of rock oriented influences as heard on “Cryptic Writings”. These tend to occur during the extended intros of certain songs, and in some isolated cases they take over the song entirely. Otherwise, what unfolds to the ears is something largely comparable to “Youthanasia”, though lacking a lot of the impressive hooks and often trying to merge some older thrash elements into the mix. What results is an album that is just a tiny bit heavier than your average heavy metal album, and definitely a good bit more technical in the riff department.
There are many positive examples of songs that settle into a fairly older vain of Megadeth, albeit ones that hearken to the early to mid-90s rather than the 80s. Songs such as the catchy and minimalist “Moto Psycho”, the mid-paced yet intricate “Disconnect”, and the heavier and riff happy “Burning Bridges”. These songs all carry elements of stronger moments heard on “Countdown To Extinction” and on the various non-album songs that floated around before and after “Youthanasia”. “Burning Bridges” actually turns into a speed/thrash song during the guitar solo, definitely reminiscent of “Fear His Name” off of Overkill’s “Taking Over”.
Unfortunately, there are also a fair share of flawed songs and also a few genuine throwaways. The title track “The World Needs A Hero” and “1000 Times Goodbye” both contain a fair share of solid riff work, but both are loaded with Mustaine’s odd narrative ramblings, which are actually the most overblown fits of sheer corniness he’s ever come up with. At times it almost sounds as if he came up with the verses of these songs via pure stream of consciousness. “Recipe For Hate...Warhorse” brings back memories of “Dawn Patrol”, as it spends more than 2 minutes riding a bass line and contains similarly rambling verses before it actually gets going. Once it does, it breaks out into a series of highly effective riffs and lead breaks, making you wonder why they just didn’t kick things in at around the 1 minute mark.
There’s really only one section where this album truly breaks out into owning what it does and throwing out the true strength of this band, and that is the two song set of “Silent Scorn” and “Return To The Hangar”. While this is meant to be the sequel/conclusion of the famed “Hangar 18” story from “Rust In Peace”, musically this sounds closer to what was heard on “So Far, So Good, So What?”. The first song is a part acoustic ballad, part military march that listens like an army funeral. What follows in the second song is the only thing on here that qualifies as thrash, albeit a shorter and darker version of the late 80s sound of Megadeth. The ending riff where the solo interchange comes in sounds like it was inspired by “Darkness Descends”, and cooks better than anything heard on “Countdown To Extinction” or “Youthanasia”. Why Dave can’t write a whole album like this anymore is absolutely beyond me.
Though this has its moments, it is still a step behind “Cryptic Writings” as an overall listen. If you are one of these old school fans of Megadeth who liked the albums before Dave would speak entire verses of words as if he were on a pulpit, be prepared to be annoyed by about 1/3 of what is on here. This is definitely something that falls into bargain hunting territory, preferably at $6 or less. As much as it pains me to say it, there are cases where an album can be Metal yet simultaneously not very good.
Originally submitted to (www.metal-observer.com) on March 31, 2009.
The World Needs a Hero is supposed to be Megadeth’s return to a more metal sound – according to all the hype that surrounded the release of the album. In reality (without media hype) The World Needs a Hero is a really eclectic mix of influences, sounds, and styles of music. I would say overall it’s probably more “metal” then some previous releases.
There is a definitely a mix of different sounding songs on The World Needs a Hero. The album may not have fluidity to it but you never know what the next song is going to sound like – which is fun in its own way. It does allow the album to be fresh for multiple listenings – but as a Megadeth fan, this album isn’t solid.
Dave Mustaine has done a lot in his life and with the music of Megadeth I expect a little experimentation. One can hear plenty of different concepts in work on The World Needs a Hero. There are more classic metal sounding tracks (“Disconnect”) but there is more of a focus on the groove with The World Needs a Hero than before. There is heavy riffing the leads do take a slight back seat to the main structure of the songs. Songs like “The World Needs a Hero” and “Moto-psycho” have major grooves and focus on that. The guitar work is well done on all the music (even the acoustic/Spanish style on Silent Scorn) and Al Pitrelli (his only Megadeth work) does amazing solos with Dave.
One track that stands out (especially since they all are so different) is “Promises.” It’s a ballad that has violins and a very epic and sad feel to it. I found at first I thought, “oh how sappy.” But afterwards I wanted to listen to it again. It’s really thoughtful and even though it’s not “metal” in that way – it’s still an amazing song.
Both the bass work and drumming have a new focus on The World Needs a Hero. With the new “groove” lens, this allows the structuring elements of the music to take a step forward. This gives this album a unique feel in the Megadeth catalog.
Dave Mustaine does some interesting vocal things on The World Needs a Hero. He seems to do a lot more layering of his vocals lines. He does echoes in the vocals along with an entire track of spoken word. Which is fine – but the track is a little long to do the entire thing in spoken lines. Luckily the lyrics of that track help with the spoken words because Dave is an amazing lyricist. There is nothing too new on this album – the lyrics are shady representations of life, politics, speed, and basic anger issues. I love reading Megadeth lyrics because they are well thought out and applicable to story-telling.
It’s very strange that such a wishy-washy album could be catchy. Megadeth’s use of a variety of tempos, guitar tones, and even violins and trumpets allows this album to be an eclectic (but fun) mixture. It’s not as “metal” as one would hope but there are some standout tracks even if the entire album isn’t powerful.
Songs to check out: Disconnect, Dread and the Fugitive Mind, Promises.
Most Megadeth fans are introduced to the band either through their earliest works or through their early 90’s material. In either case, they are usually forewarned by their knowing brethren to stay away from anything released afterwards. Such was my experience, and the reason that The World Needs a Hero (henceforth TWNAH) was the last Megadeth album to enter my collection. But as it turns out, TWNAH is not an album to fear and avoid; rather, it is a return to the melodic heavy metal style of Youthanasia spiced with the mainstream touches of Cryptic Writings and after the experimental disaster that was Risk, it’s more than welcome. Those expecting a thrash album are going to be disappointed (aren’t we always?), but those that enjoyed their mid-90’s sound will find TWNAH a weaker but comparable addition to that era in the ‘Deth discography.
The return of heavy metal is the album’s key strength. Though Dave’s vocals keep with the more melodic emphasis of their later years, there is an unspoken shift from vocal-oriented songs back to riff-oriented ones and the entire album just has a better feel because of it. Tracks like “Disconnect,” “Recipe for Hate…Warhorse” (the ellipses return!), and “Dread and the Fugitive Mind” represent the heavier bulk of the album: catchy, forceful heavy metal, and it’s good to see the band step up to the plate to deliver it to us. Jimmy Degrasso brings back the double bass beats. Dave Ellefson delivers the strong low end counter melodies just like he used to (“Recipe for Hate” is a throwback to Rust in Piece-era glory). And Dave Mustaine and new enlist Al Pitrelli (from Savatage, whose style is similar to the melodic shred of Marty Friedman) overpopulate the album with poignant lead guitar, to no complaint from me. Mustaine’s leadwork traditionally takes the backseat to his hired gun, but on TWNAH, it’s clear that he has improved almost to the point of equality with Pitrelli. His vocal performance is less consistent, but his melodic singing continues to improve. Certain songs, particularly “Burning Bridges” and the excellent “Losing My Senses,” take the album’ melodic facet to the forefront. I prefer the balance of melody and general heaviness that Youthanasia displayed so prominently, but these tracks never degenerate into Risk territory, with one exception.
“Promises” deserves mention as one of the unexpected diversions in sound that is sure to polarize listeners. As a string-laden ballad, it’s inclusion on a Megadeth album is curious and, for a lot of people, blasphemous. But I defend it: while not as potent as “A Tout Le Monde,” this song is surprisingly touching and a good display of Mustaine’s willingness to try something different every once in awhile. It is also Al Pitrelli’s sole shared writing credit. Good for him.
On the weaker end of the songwriting spectrum we have “1000 Times Goodbye,” which in addition to being lyrically impotent, is quite dragged out and repeatedly interrupted by spoken interjections. “Silent Scorn” is a brief little acoustic instrumental with lead guitar over it. If there wasn’t trumpet parts (!) to it, it would kind of sound like a reject from Testament’s The New Order. Kinda pointless, really. “Return to Hanger,” despite being the only song to have legitimate thrash sections on the album, is a sequel to the classic “Hanger 18,” borrowing heavily from the riffs, vocal lines, and general musical/lyrical arrangement of its older brother. As such, it just begs to be compared to the original, which it cannot hope to live up to. Finally, closer “When” takes forever to get going (over three minutes of vacuous intro precede the song proper), though it’s a decent albeit longwinded song when it does eventually kick in. There’s also a bonus track “Coming Home” on the Japanese version that might as well be a lost Ozzy ballad. Trust me on this one, you can live without it.
It’d like it more if there were actually fucking thrash songs on it (duh), but as one of the many younger metalheads who discovered Megadeth through their early/mid 90’s output, I can’t help but enjoy the majority of this album anyway. The naysayers will continue to say their ‘nay,’ but don’t let that discourage you from giving it a shot, especially if TWNAH sounds like it might be up your alley.
Highlights: “Recipe for Hate…Warhorse,” “Losing My Senses,” “Dread and the Fugitive Mind”
Megadeth's 2001 "The World Needs A Hero" was not the "Rust In Peace 2" many hyped it up to be before its release. However, it is a solid metal album, and somehwat of a throwback for the band.
The album opens with "Disconnect"- a song with a decent riff, and a memorable solo. The title track comes next. Although musically weaker than the opener, it does have some catchy drumming and I like the lyrics. "MotoPsycho" comes next. This was the album's radio single, and you can tell the song was made for radio airplay: it's short and not the most incredibly heavy, musically or lyrically, song that Megadeth has released. While many regard this song as crap, I think the songs catchiness is undeniable, and a catchy song is a good song in my opinion, regardless how corny it maybe. And it still is heavier than 98 percent pof what is played on the radio anyway. Next, "1000 Time Goodbye" plays. A song about breaking up- both uninteresting lyrically and musically; a good song to skip. "Burning Bridges" folows- not a bad song... and not a good one either. "Promises" is Dave's attempt at a ballad that seems to come on every album after "Countdown". Not a terrible song, quite memorable actually. It just clashes with the expected Megadeth style though, which may irritate some.
The second Half of the CD picks up the heaviness a little, and the songs are a bit better. "Recipe for Hate... Warhorse" follows. A pretty good song overall, with nice heavy riffs and good soloing again. Killer bass line as well. Next is "Losing My Senses". At first, I didn't like this song at all, but after a few listens, the chorus is tolerable and I have grown to like it a little. "Dread and The Fugitive Mind" is arguably the standout track on this album. Excellent soloing, riffs, drumming, and lyrics. Unfortanately for this album as a whole, the song was previously released on "Capitol Punishment", so it is kind of old news for most. The instrumental, "Silent Scorn", has a great, dark and gloomy atmosphere in it, whch leads into "Return to Hangar". If this song just had a different title, I think it would be much more liked, as the music is top notch and heavy, but just falls short of "Hangar 18". "When" closes the album. I honestly hate dthis song up until this week, when I started listing to the end of the song. While the beginning is boring as hell and will cause many just to skip the track altogether, the ending of it picks up the pace and isn't so bad afterall.
"The World Needs a Hero" is a decent collection of modernized (and albeit, watered down) thrash metal. It is far from being a "Triumphant return to Thrash" that some have heralded it to be, but on the other side, this album is also not as bad as some make it out to be.
After the abortion that we have come to know as Risk, it was painfully evident that Megadeth could not get any worse (we hoped!). Thankfully, they didn't. They came back with a hard rocking album that sounded a bit like the Countdown to Extinction days. The songs are much heavier and more Megadeth styles than those on either Cryptic Writings or Risk. The guitar work is nowhere near as technical as say, Rust In Peace, but that's a high plateau to be able to match. Great riffs are present throughout the whole album.
Disconnect opens the album with a killer riff then into a great chorus for a nice start to the album. The World Needs a Hero is full of more good riffs and an interesting chorus (very catchy) which is semi-ruined by the annoying as fuck voice-over parts. Moto Psycho is probably the catchiest song Megadeth has ever written but it's also very good (and very underrated for what it is). 1000 Times Goodbye is my favourite song on the album because it does what Mustaine has done with other songs in the past (Wake Up Dead, Mechanix, Holy Wars) and that is it completly changes directions halfway through the song. The phone calls kinda suck, so just listen to the live version from Rude Awakening (which fucing ROCKS). Burning Bridges is another decent song. Nothing too special, the intro guitar is pretty cool and the verse is decent. Promises sucks, recycled Risk material. Recipe for Hate...Warhorse is the heaviest song on the album and another one that would fit perfectly on Countdown. Mustaine's vocals also sound pretty good on this one. Losing My Senses is not great by any means. Just another back-catalog Megadeth song. The last 4 songs on the album are fucking killer. Dread and the Fugitive mind has a wicked chorus that is so easy to sing to and Silent Scorn is a great acoustic break that sounds like your joining the goddamn army. Return to Hangar is also amazing, a second part to Hangar 18 from Rust In Peace. Not quite as orgasmic as the original, but still very good. The album closes with When, with has a very famillar riff *cough*Call of Ktulu*cough* to open and Mustaine ranting about something. However, this rant manages to sound good and turns into a half cover of Diamond Head's Am I Evil. A very good comeback for Deth, and unless we are subject to a mircale, the last Megadeth album.
Disconnect - 9/10
The World Needs a Hero - 8/10
Moto Psycho - 8.5/10
1000 Times Goodbye - 9.5/10
Burning Bridges - 8/10
Promises - 5/10
Recipe for Hate...Warhorse - 8.5/10
Losing My Senses - 6.5/10
Dread and the Fugitive Mind - 8.5/10
Silent Scorn - 9/10
Return to Hangar - 9/10
When - 8/10
No perfect songs on the album, but still very solid.
The World Needs A Hero (TWNAH for the rest of this review) was released on a rabid Megadeth fanbase in 2001. Now why were those fans rabid? After the overblown split with Capitol and the release of Risk, many a 'Deth fan salivated at the kind of music a pissed-off Dave Mustaine might conjure up for his next release. Add to that the fact that Marty Friedman had left the band to pursue "softer" music, and the recipe seemed to be set for a bonecrushing return for the Megadeth boys.
This, of course, was not exactly what happened.
First off, every Megadeth fan in existance wanted and expected a rehashing of Rust In Peace. This was not a valid expectation, no matter how many people bitched about Risk and Cryptic Writings. Evolution, people. Progression. Say what you want about the band, they have at least learned to evolve and progress. Back to the album.
TWNAH starts off with Disconnect, a personal favorite reminiscient of Youthanasia's more mellower metal tracks.
Next up is TWNAH the song. Another good one, and a great Megadeth tune in that it makes use of the attitude from one Dave Mustaine. Proof that great songs can be made using simple guitar riffs.
Moto Psycho is #3, and this one is not one of the better ones. Yeah, it sounds like a great bunch of riffage, but there are really only one or two riffs that just get rehashed throughout the entire song. A direct contrast to TWNAH, where that actually worked well. Also, the lyrics and subject matter are a bit silly after the first listen.
1000 Times Goodbye is another example of turning Dave's attitude into song. Not as good as TWNAH again, but much better than Moto Psycho. Yes, more relatively uncomplicated riffwork, but on a whole it fits the song again.
Burning Bridges is next, and this one is not very good. The song would have been perfect on Risk, and that about sums that up! The biggest problem is that Dave's vocals seem a bit forced during the chorus.
Promises is a great song. Maybe not a great Megadeth song, but definitely a great song on its own. The lyrics are moving, the musicianship is excellent, and the song itself is great to listen to.
Recipe For Hate...Warhorse is one of the finest tracks on the album, and one of the best Megadeth tracks since Train Of Consequences. The guitar work in the second half of the song is just superb, and reminiscient of what Megadeth fans had been expecting the whole CD to sound like.
Loosing My Senses is just weird. Forget this song, it just doesn't work.
Dread And The Fugitive Mind. One word: filler. Not a bad song, but we'd heard it already guys.
Silent Scorn is the latest instrumental from Megadeth. Even with the weird horn accompaniment, the song is catchy and great to listen to (and play on guitar!). Megadeth has proven able to write this kind of music, and Dave needs to do mroe of this in the future.
Return To Hangar. At first I thought this was a cheap attempt to get fans of old-school Megadeth to buy the album, but after hearing it I realized that the song was a great piece of work. Had the whole album been composed of songs along the lines or Recipe... and Return To Hangar, this album would have been recieved much better by fans. The lead guitar tradeoffs between Pitrelli and Mustaine are excellent and bring back memories of Rust In Peace's soloing.
When finishes out the album, and is Megadeth's longest song ever (ok, not counting the remix of Symphony!). It starts out alright, although Dave's vocals could have been better here. Once the distortion kicks in life gets a little better. Not too much, because you're distracted from the quality of the song by the obvious nod to Diamond Head's Am I Evil?
All in all, a decent release. For shits and giggles, lets compare TWNAH and Metallica's Load/Re-Load debacle. TWNAH is a decent Megadeth album. This is its strong point; it's clearly recognizable as a Megadeth release. The Loads, on the other hand, great hard rock albums. The difference is that in this case, they aren't good Metallica CDs. On this point Mustaine and Co. score a point, they have maintained their image and "essence" if you will regardless of the iteration of their music that one might hear. Metallica, on the other hand, evolved a little too much.
Summing up, there's a lot of good Megadeth material on this one. The only problem is that there's not a lot of GREAT Megadeth material on this one. However, the one clue that the album wasn't going to be a total load of crap is found in the credits...Dave Mustaine was the sole author for nearly all of the tracks. For thos of you not paying attention, there was at least one co-author on nearly all of Risk's tracks. You do the math.
Megadeth found a little bit of their former selves on this work. They’ve returned with a metal album, a reasonable album, not brilliant, but really much better than that “Should have never seen the light of day” or should I say “Should have been butchered to death at birth” album “Risk”…
This album was the obvious Mustaine effort to try to get his fans back after that abortion that someday someone has called “Risk”. This album is a mixture of the agressivity of “Peace Sells…”with the more commercial sense of making metal of “Cryptic Writings” and the spirit of an elder Megadeth already reaching their mid thirties… It’s not bad, but those songs really could’ve got more faster at sometimes and those riffs should’ve been stricken with more feeling and thickness on those guitars. All the band members were at their best at this that would be (and we don’t really know that for sure yet…) their last originals record. New boy from Savatage, Al Pitrelli shredded some really fine solos on this one, and he’s good, no doubt he’s a whiz but…that place is and always will be Friedman’s place. Dave Mustaine, once more made a good job, trying to create, as usual, those inverted chords and riffs that no one else in this fucking earth can play, except for the lead guitarist, and DAMN IT you got to admire someone that’s always trying to put other guitarists in the front of their sound devices for more than two hours in a row, just to learn how to play that fuckin riff…Great! The rhythm basis is also irreprehensible. Jimmy De Grasso strikes the leathers as hard as he can until he’s completely dead for a day…and David Ellefson, the veteran, made his bass really have some presence on this record.
It has some good songs like “Disconnect”, “1000 Times Goodbye”, “Recipe for Hate…Warhorse”, the sequel to “Hangar 18”: “Return to Hangar 18” with a rhythm basis being similar to the former song but not as heavy as the original, too bad!, and the fantastic closer “When”, a really pure metal song…
Stuff like “Moto Psycho”, “Burning Bridges” is not that bad, just some attempts to gain some mainstream attention that weren’t essential in this one. But…we know that everyone makes mistakes…Megadeth in the last years became no exception. I’ll just say their names and nothing more: “Promises”, “Silent Scorn” and “Losing My Senses”.
Well even if you are a Megadeth fan or just one of those guys that doesn’t know jack shit about what metal really is, this album can be an interesting experience for all of you…but if you don’t know Megadeth’s real potential I suggest that before you approach this one, you try to get your hands on “Youthanasia”, “Countdown to Extinction” or “Rust in Peace”. Well…if you need comparison…I could say that compare “The World Needs a Hero” to one of the three albums I’ve cited before, is like compare horse shit to strawberry cake…More, I just cant say about it…
I don't believe anyone listened to this cd objectively. Everyone has come to expect instant classics from Megadeth and complex thrash that boggles the mind, but when listening to this one, you have to throw off all that nostalgia and remember what year it is and how old Mustaine and co. are. It's not 1990 and we ain't gonna see another Rust In Peace so just forget about it. Megadeth as a total thrash band is gone. Marty is gone, and so is Nick. I'm sorry to say that as well, but truth be told, Mustaine is still one of the premier songwriters in the metal world.
My standpoint when I first stuck this in my player was that if it's better than Risk, I'll be happy. Well, it was obvious about 3 seconds in that it was better. Disconnect is one of the better tunes on this cd, and is a well structured Countdown To Extinction sounding song, but more modernized. The title track is somewhat disappointing, weak sounding, though there are a couple decent riffs there. Moto Psycho is annoying to say the least, and was more than likely written for radio play. 1000 Times Goodbye, well...I think this was more of a farewell to the good old days of thrash when Megadeth ruled the kingdom. Burning Bridges is without a doubt the cd's best track. It has a more So Far So Good So What feel about it, especially with the guitar harmonies in the chorus, much more thrash than anything they've done in years. Recipe For Hate/Warhorse is a little on the strange side, sounds like it was meant to be played about 10 times faster. Losing My Senses is a Risk song, must've missed that one when mixing it down or something. Dread And The Fugitive Mind is something different from Megadeth, although that double bass thing near the end is a little too much like One...Return To Hangar is blaspheme, and When, well it seems like Dave liked Am I Evil? so much that he'd cover it...but then he got the brilliant Idea to rename it and take credit...oops!
All in all this is still a solid album by a more than solid band. We all know they're capable of so much more, but until Dave decides he can wield the axe again, we'll be left salivating for more...
So Megadeth claim to have returned to their thrash sound on this cd. Well to be blunt, they lied, for the most part. This cd isn't a total bomb like Risk, but its still not that good. A lot of tracks on this cd were originally penned for Capitol Punishment, before that cd became a best-of. They should have remained in the vault and not added to this cd.
The songs on here aren't that thrashy, but decently heavy. Al Pitrelli does shred a few good solos on here. The drumming is pretty good, but nothing that really makes Jimmy stand out, aside from the song burning bridges. The vocals...well its Dave Mustaine, so what are you expecting? The cd opens with the track Disconnect and its an ok song. The title track comes up next and is pretty dumb. "the white house is calling. tell them i'll call back" The stupid little "phone calls" that take place in this song make me cringe. What do we have next, well thats Moto Psycho. Think Metallica 1991 radio single and you have the jist of this song. 1000 times Goodbye is next and I can't stand this song. Its just so dumb, like the title track. There is all these samples of a girl saying things like "we're through" or "there was another guy" or some stupid bullshit like that. So unless Dave just got divorced, this song is about something in the distant past. Not only that, but this isn't what I want to hear megadeth singing about. Burning Bridges is next and the way it starts, this cd is looking very bleak. Then after like 2 minutes, it picks up with a good solo and some cool drumming. Now if only the WHOLE song was similar to this or if most of the cd could be like this, it would be much better. Promises is next and oh my, this is it. A full out whiny ballad that is just screaming RADIO SINGLE. If you've made it this far, just make sure you hit the skip button before you have to hear anything from promises. The next few songs are filler, again with some decent parts in them, but not enough to sustain the whole song. Then we get to a little intro to return to hanger, which features trumpets. WTF?! Ah the much heralded song Return to Hanger, which is a basically a sequel to hanger 18. This song didn't need a sequel. Its an ok song and much better than when Metallica did a sequel to Unforgiven, but still, just leave your legacy of rust in peace alone!! The cd ends with a 9 minute song called When. It has some clear Metallica/Diamond Head rip offs on here, but I don't even listen to this song. It takes a good 3-4 minutes to actually get going and by then I've already given up. If I want to listen to a 9 minute song called When, I'll pop on Opeth.
Overall, this cd is NOT a return to the bands early sound. It has a few decent tracks and a few moments that stand out, but in the end, its not enough to bring the old fans back. Get rid of the ballads and dumb songs, pump up the speed and it would have been better. Though I will give credit for the cover art, its fucking cool! If your a die-hard megadeth fan, then you should probably have this, but if not, don't waste your time. I know I will be trying to sell this cd very soon.