Countdown to Extinction

I had originally heard of Megadeth because of this album so I really can't talk shit about it too much (oh wait, yes I can). However, once I got my hands on some Peace Sells...But Who's Buying?, Last Rites, and So Far, So Good...So What? well, let's just say Countdown to Extinction got put on the backburner for some serious thrash/speed metal that Megadeth was famous for in the 80s. I do have to commend Megadeth on this effort though. Because believe me, they could have gone so much softer and more commercial than whats presented on this album for 1992. With Nirvana and those fuckheads Metallica coming out with Nevermind (actually a good album) and Black Album (a steaming pile of dog shit) respectively, thrash was basically killed off and became a dying race. Move over for death metal and grunge. You had your turn on the merry-go-round. It was a nightmare for thrashers everywhere who thought our genre would last into the 90s.

Even though I think this album is still a high quality Megadeth album I've always had my qualms about it. It seemed losing the thrash tag and trying to lengthen their reign into the new decade was the thing to do for thrash bands but, that's not really what metal is about.....is it? Isn't metal loved in a die-hard way because their bands and fans refuse to give up their principles and answer to no higher power? You're not supposed to make compromises in a thrash metal band! Especially with your music! Why all of the sudden just because of a new genre of music rears its ugly head in the early 90s did metal bands try to emulate it and try to become something they're not? I mean back in the 80s there was New Wave/Synthpop, Post-Punk, Michael Jackson, Bruce Springsteen and plenty of other popular genres of music but I will bet you not ONE of the thrash metal bands back then just suddenly jumped up and said "Holy Shit! Bruce Springsteen just released Born in the USA and everyone loves it! We gotta sound like that now to be successful!"

I guess where I'm going with this is Countdown to Extinction marks the point in Megadeth's career where the vital areas were shown. At least, to me, it showed not even Megadeth were safe from the commercial, everyone-copy-whatever-Metallica-or-Nirvana-does-or-you-won't-be-a-success fad in the 90s that plagued and claimed so many other thash bands in its wake (thank god we have death metal and black metal). The songs are extremely catchy and well-written but I would say only half or maybe even less than half can be considered thrash metal songs. The sound is produced well, but for all you thrashers out there that are looking for a Black Friday or Five Magics level of insanity in the songs and raw production, stay away. As for musicianship the guitars and vocals by Dave are the best on the album even if the guitar work has been dumbed down since Rust in Peace. Mustaine can still write riffs that's for sure. Nick Menza's drumwork has also been dumbed down since RIP but has moments his moments in songs like Psychotron and Ashes in Your Mouth. Otherwise I get kinda disappointed in the drumming because it's mainly a 4/4 kick snare kick snare beat most of the time with unenthusiastic fills. The Rust in Peace drumming shits all over this. The bass is also uninspiring although the tone suits the music. Gone are Dave Ellefson's creative fills like in Peace Sells or Killing is My Business.

To start off, Menza begins with a short drum fill and Dave opens up with the riff to Skin O' My Teeth. This is one of the faster, upbeat songs on the album and has a wide intervallic solo from Friedman. Simple riff yet so very effective. One fo the stronger tracks and a perfect opener. Symphony of Destruction is very plodding and the verse riff sounds like they came up with it at the last minute. The bridge and chorus is cool though with the descending arpeggios. I've played this one over so many times and heard it too much. Architecture of Aggression is one of my favorite tracks on the CTE. The riffs are played with calculated accuracy and Dave is no longer straining himself in the vocal department as he would occasionally on Rust in Peace. Throughout the whole album Dave adopts a lower singing style approach without losing the edge or grit in his delivery, something I wish he would do today since his voice sounds like Spongebob nowadays. Anyways, Architecture is the song on this album I find gets stuck in my head the most. There's time changes, thoughtful lyrics, riffs, as always, and two realy solid solos by Marty. A highlight for sure. Foreclosure of a Dream is also very catchy and alternates between clean verses and hard driving choruses. Once again, Dave delivers vocally on this song perfectly, putting plenty of feeling into the performance. The clean guitars and harmonized leads are great too. I'm not too fond of the meaning of the song but I can let that slide. It just goes to show that political messages, liberal or conservative, should never be more important than the music being played.

Sweating Bullets. What can I say. Genius song about schizophrenia and losing your sanity. Best lyrics on the damn album. Some people say they can't stand Dave's vocals on this one but I think they're funny as hell and delightfully evil. Listen to the solo and the riffs after it. So damn heavy. This one never gets old no matter how many times I play it. "..........Mankind has gotta know.....his limitations." This Was My Life is just ok. Really simple, unimpressive solo by Mustaine. Just a few notes on the E string and thats it. Phantom Lord clean part alert! Countdown to Extinction is just ok too. It tries to be Foreclosure of a Dream but falls short. It tries to be bombastic or dynamic but in the end is too held back for its own good. High Speed Dirt has very good riffs but is too happy. Psychotron is a mid paced chugger with numerous extended solos by Marty. Highly recommended. Captive Honour, along with AoA, are my two favorite songs on here. A melodic, minor intro comes in then is followed by a hilarious skit/spoken word thing in between with a judge, jury, the victim, and a black guy. "Boy your soul better belong to Jesus.....MMHHHMMMMM....cause your ass belongs to me HAHAHAHAHAHAHAHA" Snaking, weaving riffs followed by some EPIC solos by Dave and Marty round this one out. Pure hilarity and monster riffs/solos make this one for me. For some reason on this song, the tone is much harsher and just adds to the music. Finally we end with Ashes in Your Mouth which sounds like an outtake from Rust in Peace. If the whole album sounded like this song it would probably get a 90-95%. This is perhaps the only true thrash song on the album. The riffs are played at breakneck speed and goes from a heavy shred rhythm to a melodic Maiden-esque progression towards the end. A final cadenza by Nick and the album's done.

This I think is the last Megadeth album that I can listen to all the way and not skip a track. The majority of the songs are strong but are nowhere near what they could have been if Megadeth would have stuck to their roots instead of becoming plaid-clad-warriors. As time would go on, my interest waned with Megadeth's future releases. Youthanasia is basically Countdown Part II but even more commercial. Yuck. I have the biggest love-hate relationship with this album because the songs and delivery are there and they mean well but you cannot deny this is where Megadeth stopped saying to themselves: How can we top our last album? How can we become something better than what we accomplished a year or two ago?

If I may add one more thing: Now you can agree or disagree with me, I personally don't care but I think Marty Friedman was responsible for the "demise" of the classic Megadeth. I've seen interviews, listened to the music, and did my homework. Go ahead look up the video on Headbangers Ball that shows Countdown being produced and Rikki Rachtman interviews the guys. Marty says he had no input, save for the solos, on RIP. On Countdown he said he had way more input. RED FLAG ALERT. This is the guy who was playing in 3rd rate glam/hair bands in the mid 80s (save for Cacophony) and although he had chops, he is not metal by any means. I'm not trying to sound like an elitist here but why do you think Iron Maiden kicked out Dennis Stratton after the first album? The guy hated the more harder edged songs and preferred softer rock AOR stuff. NOT COOL. Why do you think they kicked Glen Matlock out of the Sex Pistols? Cause he raved about the Beatles way too damn much. WHY DO YOU THINK GEORGE LYNCH TRIED OUT FOR OZZY TWICE AND DIDN'T GET THE GIG? Because George Lynch can't write a metal lick to save his life. I love George Lynch's playing, but he's not metal at all. He was in Dokken for fuck's sake. Can you imagine Lynch trying to come up with songs that could hold a candle to Diary of a Madman? Yeah right. And I'm Mary Queen of Scots. He simply is NOT METAL. My single biggest reservation about this album and Megadeth after Rust in Peace is Marty Friedman. The music speaks for itself. As soon as he got a little leeway to give his share, he softened the band with his "rock" riffs and sub-par contributions. The guy can play the shit out of a guitar, but apparently Megadeth "wasn't aggressive enough for him." And this is the guy who played on Risk, Cryptic Writings, Youthanasia, and CTE, the softest albums of Megadeth's career because of him. Go shove Peace Sells...But Who's Buying up your ass you pretentious poser and learn what aggressive really means.

Well, I put my two cents in. Recommended Megadeth album but suffers from slow/commercial/non-thrash offerings and dumbed down musicianship. 73% is being EXTREMELY generous on this one.
As Dr. Evil says: "You're quasi-evil. You're semi-evil. You're the margarine of evil. You're the diet Coke of evil." This is the Diet Coke of Megadeth's career. The beginning of the end.