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Lights...Camera...AMAZING! - 100%

HammerofJusticeCrushesYou, August 12th, 2016
Written based on this version: 1990, CD, Epic Records

At the age of 13 (coincidence?), I pledged my allegiance to the Suicidal Army. This was courtesy of my stepdad, who introduced me to this incredible thrash metal band! Since enlisting as a soldier, I have heard every studio release that Suicidal has put out there, and will listen to their new album, World Gone Mad, when it comes out later this year. This album, by far, is the greatest release they've ever put out, with their strongest lineup to date (Mike Muir on vocals, Rocky George on lead guitar, Mike Clark on rhythm guitar, Robert Trujillo on bass, and R.J. Herrera on drums), and their strongest set of songs on one album (10 that continue to blow me away, even after repeated listens). With that out of the way, let's see what the album has to offer...

From the opening notes of "You Can't Bring Me Down" to the closing lyrics of "Go'n Breakdown," this album will SLAY you each time you proceed to expose your eardrums to it. The first time I heard Rocky's mellow opening to the album, I knew I was in store for a tasty piece of ear candy when the intro exploded into the twin guitars of Rocky and Mike Clark and Mike Muir speaking, "What the hell's going on around here?!" "You Can't Bring Me Down" is so explosive, so full of raw energy, that writers Muir and George really put their heads together and created a work of art. The rest of side one is basically in the same style, save for "Alone," which is mellow and its lyrics are just the same, though it picks up a little through certain parts of the song. Muir's disdain for the Parents Music Resource Center (PMRC) shows up quite a few times throughout this album, with Tipper Gore and the Bakkers (Jim and Tammy Faye) even mentioned by name. Time to flip this bad boy over to side two...

The opening track to side two, "Get Whacked," was described by Allmusic as "Motörhead-ish," and the song does fit the mold in a vague, yet omnipresent way. The Mikes pushed this one to the forefront, and the off-key orchestration and fanfare that lead into the twin riffs did it for me when I first heard this song. Side two is all thrash and no mellowness, with some offering cynicism and satire in their lyrics (e.g. "Send Me Your Money"), but never fail to hit hard with their instrumentation. My personal favorite song from side two is "Go'n Breakdown," which has outstanding lyrics and instrumentation. Taking all 10 songs into consideration, they each have their own sound, and provide the listener with a sense of security in knowing that they're listening to an absolutely perfect work of thrash...

In the end, Suicidal took the ball and ran with it, and Lights...Camera...Revolution! was no fluke. The peak of their writing and musicianship, as R.J. left the band before the recording of The Art of Rebellion for "unspecified personal differences," but he was thanked in the liner notes of that album for "8 outstanding years" with the band. Though Suicidal's next album was a strong release, no album, before or after this one, could top what this outstanding album brought to the table. No matter how old this album gets, it will age like a fine wine...

What? SUICDIAL TENDENCIES are evolving! - 100%

raspberrysoda, October 3rd, 2015

Ah, Suicidal Tendencies. After numerous lineups and genre-changing, this LP marks the end of old-school thrash metal and a new era for Suicidal. Musically, the band has evolved drastically from their first album. From angry hardcore to a more metal-oriented sound in How Will I Laugh Tomorrow and here, hardcore influences were left behind almost in their entirety and slight funky influence was added as caused by the addition of talented bassist Robert Trujillo, who was using the funky slap-and-pop playing style. This album has everything: semi-ballads, quasi-ballads, breakdowns, intense drumming, melodic fast leads with flashing solos and a great vocalist named Mike Muir. Mike does an excellent job in delivering his vocals- both thrash grunts and his emotional moaning that was used heavily in the previous album.

The thrash parts of the album and are intense and heavy, and with the guitar playing and drumming in tracks such as Disco's Out, Murder's In can put Reign in Blood and Among the Living to shame. Mike's and George's dual riffing is perfect in every aspect, both technically and emotionally, and feature some extremely unorthodox patterns and chord structures (Give Me Revolution and Go'n Breakdown, for example) which show the potential that those guitarists manage to show in their Suicidal career. The funk parts, such as in Lovely are more Living Color-esque than Suicidal, but are extremely precise and catchy (Rob Trujillo nailed every single note in this entire LP), and are usually accompanied by mid-paced thrash riffs. This album has no fillers and no let-downs so far.

The lyrics are super-intelligent but are delivered with a heavy sass and a punk attitude. The lyrics range from anti-government, to metal worship and the Suicidal-famous emotional lyrics that are very uncommon among thrash bands. The band deliver those in a very painful way, accompanied with emotional riffs and solos with Mike's tortured siren-like moaning which suits the lyrics perfectly. The production is great and emphasizes every played note and doesn't dim the vocals throughout the entire album, which undoubtedly make this the best Suicidal Tendencies album ever recorded and one of the top-notch metal records of all time. Mandatory.

Plenty of Cheese on Mine - - 71%

jaworski, February 3rd, 2005

reffered to as a 'classic' recently by a British metal magazine, I bought this album not knowing what to expect. All I knew of Suicidal Tendencies was those old pictures in skate mags of skinny white guys in vests with upturned caps with 'suicidal' painted in tip-ex on the underside of the brim.

This sounds a lot like a hardcore band trying to play thrash, and for the most parts it works. It isn't a classic thrash album, especially with the horrible hardcore-ish throat shredding and rizla-thin sung sections. When they do things left of centre, like Send Me Your Money, they seem more in their element, as opposed to the cheesy beef headed second rate riff fests that make up a large portion of the album. That said, you have to remember when this was made, and I guess cheese was a lot more acceptable back then. I can't imagine any hardcore or thrash fan creaming over the long gay acoustic intros.

So it isn't classic, but it isn't bad either. It's the sort of album I'll stick on when I'm drunk, when the cheesiness doesn't piss me off and I can put some good solid head rocking time in before being sick. It's also an album I wouldn't miss too dearly if I had to sell up some.