The Sonics "This Is The Sonics" 2015****

Well, this is another band I never expected to see live. I discovered the Sonics in my late teens via The Fuzztones whose version of "Strychnine" was a staple of Athens rock clubs in the 80's. So I went back to the source and discovered the rock'n'roll treasure that is the Sonics' first two albums. I immediately connected with their combination of raw energy and unhinged fun, and started playing their records as loud as I dared, dancing wildly alone in my room with the shutters closed - lest the neighbours thought I had an epileptic fit and called an ambulance. The original band had disintegrated in 1967 with members going back to their dayjobs or whatever, so who could ever predict they'd be touring their great garage-punk songbook around the world 50 years later? Of course when I discovered a few days ago that they were about to play in Amsterdam, I jumped at the chance to see them. The venue was Paradiso Noord, a modern concert hall only a 5-minute ferry ride from the city's Central Station. Unbeknownst to me, though, the band was not the (more or less) original Sonics that reformed a few years back, but the touring version: Founder member Rob Lind, a couple of latter-day members and guests Evan Stone (Boss Martians) on guitar and Jake Cavaliere (a Lord of Altamont, and former Fuzztone to boot) on keyboards. So it was really a sort of all-star garage band, rather than The Sonics. Which didn't stop me from having fun after overcoming the initial disappointment, since the music was loud and exciting as always. Now if only they had a vocalist that could scream and shout like Gerry Roslie... The musicians shared vocal duties amongst themselves, and even had a guest singer (from Norwegian Sonics tribute band Strychnine) for a couple of songs, but still didn't sound like the band that recorded "Boom" and "Here Are The Sonics".

Which is, improbably, not the case with this, their  2015 comeback LP. I mean who the hell could expect them to match the wild energy of their debut, half a century later? And yet, they (very nearly) do! Rob's howling sax and Larry's shredding guitar are a thing to behold, but the real stunner is Gerry, shrieking otherworldly, yelping and banging his piano like a young Little Richard. Maybe nowadays there's a bit more grit in his voice, but since when is that a bad thing? The band wear, like always, their influences on their sleeve, paying tribute to R&B pioneers by gleefully and violently ripping their classics apart before pulverising them and stomping them to the ground: Hank Ballard's "Look At Little Sister", Bo Diddley's "You Can't Judge a Book By the Cover" and Eddie Holland's "Leaving Here" are played at maximum volume. Best of all the covers is Ray Charles' "I Don't Need No Doctor", the definitive version of a tune previously covered by the likes of Chocolate Watch Band and Humble Pie. Apparently it's sung by bassist Freddie Dennis (and "new boy" together with drummer Dusty Watson) formerly of The Kingsmen.
A slight evolution in their sound is evident in the more classic rock-oriented tunes like "Spend The Night", "Save The Planet" (because "it's the only one with beer") "Be A Woman" (a song given to them by Aussie indie rockers Hoodoo Gurus) and, their speciality, mean-woman put-down "I Got Your Number" ("...and it's 666"). Lead single "Bad Betty" is a wild garage tune about a tough biker chick and "Sugaree" another R&B scorcher with wild sax and piano. Lastly "The Hard Way" and "Livin' In Chaos" are noisy garage punk similar e.g. to the Dirtbombs, whose bassist Jim Diamond did a fine job producing this album: Recording in mono, he managed to retain the raw energy of their old records while giving them a clearer, lively, modern sound. All in all, it's probably the comeback album of the decade and a worthy successor to their classic 60's trilogy. A highly recommended purchase, look for the vinyl version that comes with a bonus CD so you can listen to this album on the road too. And if you do like it, I've got more good news for you: during the concert, Rob talked about a new LP they'll be recording later in the year, and previewed some of the songs including a cover of "Get Back In The Car" by The Lords Of Altamont. I sure hope that Gerry and Larry will be back on board for the recording!

***** for I Don't Need No Doctor, Bad Betty, Leaving Here, Look At Little Sister, I Got Your Number, Save the Planet

**** for Be a Woman, You Can't Judge a Book By the Cover, The Hard Way, Sugaree, Livin' In Chaos

*** for Spend the Night

Brian Eno "Ambient 1 Music for Airports" 1978****

This is probably Eno's most celebrated album, yet I avoided it for years and only came around to buying it after finishing with his conventional, song-based, 70's  discography. I'm not a fan of instrumental music, still less of new age and ambient styles. But I thought I'd make an exception since this is widely considered the first (and, by some, the best) ever ambient album - in any case the first that was expressly created as a mood piece. Eno's purpose was to create music that, although interesting, would pass unnoticed while "inducing calm and space to think”. This is its saving grace as well as what separates Eno's ambient albums from shopping mall muzak, which steers away from thoughtfulness towards shopping-friendly mild euphoria. As you may have guessed atmospheric is the keyword here, tranquil instrumental music with no obvious hooks such as you might find in classical or jazz. Resonant melodies played by synths, pianos and human voices (I know I said it's an instrumental album, but the wordless vocals are strictly used as a musical instrument) are intertwined but, because the music is so sparse, the result isn't discordant or busy sounding. Rather like the calming sensation of lightly falling raindrops, birdsong and a running brook, if I may get poetic for once, the elements are neither harmonising nor conflicting. The first track "1/1" is the longest: 17,5 minutes of lovely piano snippets (composed and played by Soft Machine's Robert Wyatt) repeated endlessly over an atmospheric synth background. If you're listening intently, it'll bore you to death. Which makes it the perfect opener for this album: after 5 minutes or so, either the music has melted into the background and dug itself into your subconscious or you feel the need to yank the record out and put something more meaty. On "2/1" the piano is replaced by "angelic" female vocals inducing a choral spiritual/meditative feel. "1/2", opening what originally used to be the LP's side 2, blends the sparse piano and vocals of  the previous two tracks to great effect. Probably the prettiest piece on the record. While still being extremely calm and hypnotic, "2/2" is a fuller piece than what preceded it, almost like a conventional jazz/modern classical composition. The synths emulate a wind instrument playing an actual melody next to the usual wave-like sound. Apparently the record fulfilled its stated purpose for a time, serving as background music at New York's LaGuardia airport -until commuters started complaining that it was too "depressing". For myself, I couldn't disagree more. I find it a gorgeous piece of music that never fails to set the mood right when used in the correct occasion.

***** for 2/1

**** for 1/2, 2/2

*** for 1/1

Can "Tago Mago" 1971*****

Tago Mago is a standard addition to best-albums-ever lists. Understandable, since it's the quintessential Can/Kraut Rock album. American singer Malcolm Mooney had just returned to his homeland and his replacement was another foreigner, Japanese Damo Suzuki, whom the band found playing music on the streets of Munich. His style suited Can's experimentalism. He was more of a whisperer and screamer rather than a conventional singer and his interplay with the other musicians is phenomenal, everyone seemingly in his own little universe yet the band playing as if they share a collective mind. "Paperhouse" starts the album off and for a few seconds it sounds like West Coast psychedelia before any notion of a song is dissolved in chaos. Great improvisational jazzy guitar and drumming, with Suzuki mumbling in the background, shouting and then hiding again. "Mushroom" is a chilly song about Hiroshima that draws a nakedly emotional performance from Suzuki, while the band plays with controlled menace. It sounds like nothing ever heard up to that point, paving the way for future bands from Radiohead to The Fall. "Oh Yeah" is an atmospheric song with a steady motorik rhythm. Once more the guitar work is excellent and Suzuki sings partly in Japanese. I'm willing to bet it's just stream-of-consciousness nonsense but it sounds nevertheless great. "Halleluwah"is an 18,5 minute monster of a track. It starts off with a bluesy intro and soon enters into a funky groove - I'd say about as funky as genetically possible for a bunch of  German guys. There's a long drumming section, various effects and vocals alternating between lazy and loud. All in all, a mindblowing achievement. Following track "Aumgn" is almost its equal in duration but an exercise in tunelessness full of effects, shrieks and barks. Some interesting drumming appears halfway into the song, but otherwise just a curiosity. "Peking O" is another experimental song with frantic and unintelligible vocals. It reminds me of Captain Beefhart in Trout Mask Replica. Like that album, depending on where you stand, it can be considered either genius or nonsense. I'm more of the second opinion, myself.  Finally "Bring Me Coffee or Tea" closes the album with some cool atmospheric pre-chillout pre-new wave music. Overall it's an amazing record. Though by no means an easily accessible one, it's full of original ideas and proved an influential landmark, a mysterious monolith of an album that appeared out of nowhere,  dispensing inspiration and creating evolution without giving any clues to its true nature (cool 2001:Space Odyssey reference, ja?). Some of its dark magic may be explained by the supposed links to occultist and high priest of Satanism Aleister Crowley who is somehow connected to the enigmatically named Isla de Tagomago (just off Ibiza) whence this album's title stems.

***** for Mushroom, Halleluhwah 

**** for Paperhouse, Oh Yeah

*** for Bring Me Coffee or Tea

** for Aumgn, Peking O.

R.I.P. 2017

Hello, and best wishes for the New Year. Last December was the laziest I've ever been in terms of blogging, only 3 posts. It had to do with moving house, lack of access to my listening equipment and limited time on the laptop. I'll bounce back soon, I promise. For a start, a sobering subject after the festive days: A list of musicians that passed away last year. Some of them, like Chuck Berry & Fats Domino, had already passed to legend after having lived a long and full life. Others were still relatively young (I've marked the ages of those who died before turning 60). Especially poignant this year, the suicides of two friends and iconic hard rockers of the 90's and 00's, Soundgarden's Chris Cornell and Linkin Park's Chester Bennington. Also, one which I almost missed: the passing of Dead Moon's Fred Cole went unreported on mainstream media end-of-the-year absence lists, and was barely mentioned on Mojo's "they also served" section of obituaries. He was an underground legend and a real rock'n'roll idol of mine, and I'll be sure to write a review/tribute on him in this blog when I can. It't be nice to do the same for each of the deceased, but alas there's too many of them. Let's at least take time to read their names and bid them a mental farewell: 

Thank you for the music,

Chuck Berry (Rock ’n’ Roll Pioneer)
Fats Domino (R&B/Rock ’n’ Roll Pioneer)
Tom Petty (Singer, also member of Traveling Wilburys)

Gregg Allman (Singer/Organist Allman Brothers)

Chris Cornell 52 (Singer, Soundgarden/Audioslave)

Chester Bennington 41 (Singer, Linkin Park)
Walter Becker (Bassist/Guitarist, Steely Dan)

Grant Hart 56 (Drummer/singer,Hüsker Dü)

J. Geils (Guitarist, J. Geils Band)

Malcolm Young (Guitarist, AC/DC)
George Young (Easybeats guitarist, AC/DC mentor/producer)

Johnny Hallyday (The ultimate French rock star)

John Wetton (Bassist, Asia/King Crimson/Roxy Music/Uriah Heep)
James Cotton (Chicago Blues Singer/harmonica player)
Chuck Mosley 57 (Singer, Faith No More/Bad Brains)

Jaki Liebezeit (Drummer for Kraut rockers Can)
Holger Czukay (Bass/Guitar, Can)
Al Jarreau (Soul Singer)

Charles Bradley (Soul Singer)

Lonnie Brooks (Blues Guitarist)

Pat DiNizio (Singer, The Smithereens)

Banner Thomas (Bassist, Molly Hatchet)
Dave Hlubek (Guitarist, Molly Hatchet)
Joni Sledge (Singer, disco act Sister Sledge)

Martin Eric Ain 50 (Bassist, metal band Celtic Frost)
Pentti Glan (Drummer, Alice Cooper/Lou Reed)

Gordon Downie 53 (Singer, Tragically Hip)

Glen Campbell (Country singer/guitarist)

Geoff Nicholls (Keyboards, Black Sabbath)
David Axelrod (Composer/arranger, Jazz/Soul/Psych)
Fred Cole (Singer/guitarist, Dead Moon/Lollipop Shoppe)
Larry Coryell (Jazz guitarist)

Butch Trucks (Drummer, Allman Brothers)

Maggie Roche (Singer, The Roches)

Mike Kellie (Drummer, Spooky Tooth/The Only Ones)

Don Williams (Country singer)

Sib Hashia (Drummer, AOR hitmakers Boston)
Rick Stevens (Singer, Tower of Power)

Pete Overend Watts (Bassist, Mott the Hoople)

Tommy Allsup (Guitarist for Buddy Holly & other acts)

David Peel (Folk singer, hippie activist)

Dave Rosser 50 (Guitarist, Afghan Whigs)
Scott Putesky aka Daisy Berkowitz 49 (Guitarist, Marilyn Manson)

Melissa Bell (Singer, Soul II Soul)
Goldy McJohn (Organist, Steppenwolf)
Steve Lang (Bassist, April Wine)
Deke Leonard (Guitar/Keyboards, Man)
Robert Dahlqvist 40 (Guitarist, The Hellacopters)
Larry Steinbachek 56 (80's pop band Bronski Beat)
Allan Holdsworth (Jazz/prog guitarist, Soft Machine/U.K.)
Earl "Wire" Lindo (keyboards, Bob Marley's Wailers)
Gil Ray (80's New Wave band Game Theory)
Toby Smith 46 (Keyboards, Jamiroquai)
Bobby Freeman (60's R&B singer)
Kevin Garcia 41 (Bassist, Grandaddy)
Dikmik (Electronics/Synths, Hawkwind)
Sonny Geraci (Singer, US 60's group The Outsiders)
"Skip" Prokop (Canadian rocker, Paupers/Lighthouse)
Robert Fisher 59 (Willard Grant Conspiracy)
Lionel Augustus "Saxa" Martin (Sax, The Beat)
Keni Richards (Drummer, 80's "hair metal" band Autograph)
David Cassidy (Actor/singer, Partridge Family)
Robert Lee "Pops" Popwell (Bassist, The Young Rascals/Crusaders)
Jimmy Copley (Drummer, Manfred Mann's Earth Band)
Iain Shedden (Drummer, Aussie punks The Saints)
John Lever (Drummer, The Chameleons UK)
Wayne Cochran (60's R&B singer)
Franz Jarnach (German rockers The Rattles)
Jimmy Nalls (Guitarist, Sea Level)
Joey Alves (Guitarist, Y&T)

Uncut's Weirdest Albums Of All Time (?)

A few months ago Uncut Magazine published  this list of their "101 Weirdest Albums Of All Time". A relative failure, if  judged by the title, as these albums are in no way the weirdest of all time: You have cult favourites, sonic experiments, bad or atypical albums by mainstream artists and, yes, genuinely out-there stuff existing in the twilight between genius and madness. Cover star Captain Beefheart certainly belonged to the latest category. I can't relay my emotions on hearing his Trout Mask Replica LP. Having heard it was a masterpiece, I bought it at a record bazaar in my late teens. I tried to like it, but to my ears it sounded like an incompetently played mix of blues and psychedelia. I promptly sold it, only to buy it again on CD twenty years later. I figured I had to have it in my collection but I haven't yet decided if I like it. Skip Spence's Oar belongs to the same "weird masterpiece" category, albeit a much more listenable one. Syd Barrett's solo albums are strangely absent but Floyd's The Final Cut is included. Why The Final Cut? It's by no means Floyd's weirdest (my vote would go to Ummagumma or Atom Heart Mother), more like a needless addendum to The Wall. And why Hüsker Dü's Zen Arcade? Bold for its time but certainly not an a par with Captain Beefheart in terms of weirdness. And Pere Ubu's New Picnic Time is neither their best nor -in my opinion- their strangest. 

White Noise's "Electric Storm" is a charmingly bonkers mix of folk and proto-electronica, and while Aphrodite’s Child's "666" is certainly mad, it's only slightly weirder than your average 70's prog concept album. Crazy times, the 70's. I blame the LSD, its effect keeps reverberating a decade later.

Winds Of Change is one of my all-time favourites, and I never thought of it as being weird. I guess you could call a track like "The Black Plague" somewhat dark, but weird? Hmmm, maybe there is a point there... In any case, the whole list seems rather random, but it nevertheless makes for interesting, if challenging, listening. 

The albums I mentioned already, along with a few others, are in my collection so I'll have the chance to present them here in the future. Some others (e.g. Dee Dee Ramone's rap LP) I don't own any more and yet others are still in my shopping list. It'd be cool to own e.g. Zaireeka on vinyl, even if it is comprised by 4 LP's that need to be played simultaneously - which makes it almost impossible to play. The majority of these albums I've never heard, but I aim to rectify this omission. I publish the whole list here, so you can do the same...

1. Todd Rundgren – A Wizard, A True Star – 1973

2. John & Yoko – The Wedding Album – 1969

3. Lou Reed & Metallica – Lulu – 2011

4. Joe Meek – I Hear A New World – 1991

5. Scott Walker – The Drift – 2006

6. Butthole Surfers – Locust Abortion Technician – 1987

7. Sun Ra – Disco 3000 – 1978

8. Lee Perry – Cow Thief Skank – 1973

9. Jandek – Ready For The House – 1978

10. John Tilbury – John Cage: Sonatas & Interludes For Prepared Piano – 1975

11. Captain Beefheart & The Magic Band – Trout Mask Replica – 1969

12. White Noise – An Electric Storm – 1969

13. Mike Patton – Adult Themes For Voices – 1996

14. The Residents – The Third Reich ‘N’ Roll – 1976

15. Aphrodite’s Child – 666 – 1972

16. Art Bears – Winter Songs – 1979

17. Chris Gaines – Greatest Hits – 1999

18. Faust – Faust (Aka Clear) – 1971

19. Sheldon Allman – Folk Songs For The 21st Century – 1960

20. Sham 69 – That’s Life – 1978

21. Portsmouth Sinfonia – Plays Popular Classics – 1974

22. Skip Spence – Oar – 1969

 23. Comus – First Utterance – 1971

24. Frank Zappa – Lumpy Gravy – 1968

25. Alvaro – Drinking My Own Sperm – 1977

26. Various Frogs – Sounds Of North America

27. Denim – Novelty Rock – 1997

28. Flaming Lips – Zaireeka – 1997

29. Chris Butler – The Devil Glitch – 1996

30. Lucia Pamela – Into Outer Space With Lucia Pamela – 1969

31. Julian Cope – Skellington – 1989

32. Moondog – Moondog – 1969

33. Half Japanese – Half Gentlemen/Not Beasts – 1980

34. Godley & Crème – Consequences – 1977

35. Throbbing Gristle – 20 Jazz Funk Greats – 1979

36. Gong – Flying Teapot – 1973

37. The Fiery Furnaces – Rehearsing My Choir – 2005

38. Lil B – Rain In England – 2010

39. David Peel & The Lower East Side – The Pope Smokes Dope – 1971

40. Spirit – The Adventures Of Captain Kopter… – 1981

41. Yat-Kha – Re-Covers – 2005

42. Martin Denny – Exotica – 1957

43. The Cosmic Jokers – The Cosmic Jokers – 1974

44. Robert Ashley – Yellow Man With Heart With Wings – 1990

45. Marc Bolan & T.Rex – Zinc Alloy And The Hidden Riders Of Tomorrow – 1974

46. Ivor Cutler – Dandruff – 1974

47. Robert Mitchum – Calypso Is Like So… – 1957

48. John Coltrane – Ascension – 19??

49. Rudimentary Peni – Pope Adrian 37th Psychristiatric – 1995

50. The Shaggs – Philosophy Of The World – 1969

51. Magma – Mekanik Destruktiw Kommandoh – 1973

52. Sonny Bono – Inner Views – 1967

53. Armand Schaubroeck Steals – Rat****er – 1978

54. John Oswald – Grayfolded – 1994

55. General Magic + Pita – Fridge Trax – 1995

56. Sonic Youth – Syr4: Goodbye 20th Century – 1999

57. Robert Calvert – Captain Lockheed & The Starfighters – 1974

58. Holy Modal Rounders – The Moray Eels Eat The Holy Modal Rounders – 1968

59. Kim Fowley – Outrageous – 1968

60. Paul Horn – Inside – 1968

61. Third Ear Band – Third Ear Band – 1970

62. Slint – Spiderland – 1991

63. Hampton Grease Band – Music To Eat – 1971

64. Ya Ho Wa 13 – Savage Sons Of Ya Ho Wa – 1974

65. The Osmonds – The Plan – 1973

66. The Frogs – It’s Only Right And Natural – 1989

67. Pere Ubu – New Picnic Time – 1979

 68. Caetano Veloso – Araca Azul – 1972

69. Circle One – Patterns Of Force – 1983

70. Lewis – L’amour – 2014

71. David Stoughton – Transformer – 1968

72. The Fall – Dragnet – 1979

73. Centipede – Septober Energy – 1971

74. Michael Nesmith – The Prison: A Book With A Soundtrack – 1974

75. The Beatles – Love – 2006

76. Royal Trux – Twin Infinitives – 1990

77. Elvis Presley – Having Fun With Elvis On Stage – 1974

78. AA Allen And His Miracle Revival Ministries – 19??

79. The Group – The Feed-Back – 1970

80. Eric Burdon & The Animals – Winds Of Change – 1967

81. Bobb Trimble – Harvest Of Dreams – 1982

82. John Greaves/Peter Blegvad/Lisa Harman – Kew.Rhone – 1977

83. RD Burman/Various – Hare Rama Hare Krishna – 1971

84. Lucifer – Big Gun – 1972

85. Shooter Jennings – Countach (For Giorgio) – 2016

86. Wild Man Fischer – An Evening With Wild Man Fischer – 1969

87. John Fahey – Requia – 1967

88. John Cale – The Academy In Peril – 1972

89. Current 93 – Swastikas For Noddy – 1988

90. Tom Russell – Hotwalker – 2005

91. Neil Young – Trans – 1982

92. Ra-X – The Opium Den (Parts I-IV)

93. Freddie And The Dreamers – Over In The Overworld – 1971

94. Husker Du – Zen Arcade – 1984

95. Various Artists – Great Googa Moogal – 2003

96. Fred Frith – Guitar Solos – 1974

97. R Kelly – Trapped In The Closet – 2005

98. Cromagnon – Orgasm – 1969

99. Dee Dee King aka Dee Dee Ramone – Standing In The Spotlight – 1989

 100. Merzbow – Merzcar – 1994

101. Pink Floyd – The Final Cut – 1983

Rank and File "Sundown" 1982****

 This is considered a seminal "cowpunk" album - but is that a good thing? If there was ever an unappealingly named genre, this surely must be it. The Kinman brothers were members of a politically charged California punk band (The Dils) before relocating to Texas and teaming with guitarist Alejandro Escovedo to create Rank & File. Thankfully their new band didn't sound like California punks engaging in musical tourism, but quite the opposite: like a bunch of youths with a country & western background who are nevertheless free of traditionalist restraints trying to find their place in the 80's music scene. And a place they did find, even in MTV, an unlikely medium for former socialist punks. Their political affiliations are still sometimes lyrically evident (as in the exploited workers of "Rank And File") but mostly take second place to their attempt to reclaim country music from the conservative/reactionary establishment. One can detect a slight Clash influence, but mostly it's country/roots music played with a modern (for the 80's) new wave sensibility. Bands like The Long Ryders and Uncle Tupelo picked up on what they did and took it further, which brings us to the present-day alt.country movement (much better title than cowpunk, don't you think?) 20-something years later, the label "Collectors Music" made their music available on CD which helped people rediscover them, but original vinyl LP's like this are easy to get second hand, and cheaper. The record opens with "Amanda Ruth", a Byrds-ian folk rocker showcasing the Kinman Bros' harmonies, one of their most remarkable features - one of them has a sweet high voice and the other a booming low one, quite the combination. Closer "Coyote" is similar fare, albeit with a surprising dub reggae interlude. A bit of reggae (not to mention B52's-like new wave and 50's teen pop) is also discernible in the excellent title song. "(Glad I'm) Not In Love", "I Went Walking" and "I Don't Go Out Much Anymore" are sprightly country & western with twangy guitars, while "The Conductor Wore Black" sounds like Johnny Cash fronting a ska band pulling the Good Ole' Boys routine from the Blues Brothers - if you know what I mean. In any case, it's awesome. Of the rest, "Sundown" is mid tempo straight C&W and "Lucky Day" a tender ballad. Not one weak song in the bunch! There aren't many bands making me want to go "Yeee Haw!!" - but these guys do...

***** for The Conductor Wore Black 

**** for Amanda Ruth, (Glad I'm) Not in Love, Rank and File, Sundown, I Went Walking, Lucky Day, Coyote

*** for I Don't Go Out Much Anymore

Megadeth "Peace Sells...But Who's Buying?" 1986****

Metal fans will know this already, but to me it came as a revelation while watching the music documentary "Some Kind Of Monster" on DVD : Megadeth leader Dave Mustaine was a founding member of Metallica - the original lead guitarist, to be precise. In the movie, Metallica are facing an "existential" crisis and going through group therapy. As a consequence they finally decide to talk with Mustaine about the time they threw him off the band. He gets emotional about the perceived injustice of it, and cries in front of the camera. He later asked them not to show this moment on film, but of course they ignored him because he had given his written consent before the filming. For those who don't know the story, the other members had secretly arranged to replace him as soon as their tour ended. After the last gig (in New York) they told him he was fired and left him with only a bus ticket to L.A. (a four-day journey) while they flew to their destination with their new guitarist to record their first album, including songs written by Mustaine. And the moral of the story is: Metallica are assholes. Of course we all knew it already from the napster trial, when they turned against their own fans for downloading their music. And, in any case, this isn't about Metallica. It's about Mustaine's next band.

Peace Sells... but Who's Buying? is Megadeth's second album, recorded with the band in various stages of drug abuse and homelessness. It quickly gained acceptance in metal cycles and is now considered a pivotal album of early thrash metal. Like their peers (the so-called Big 4 included Megadeth, Metallica, Slayer and Anthrax) they dealt in ultra-fast drumming and aggressive vocals, but they also had the advantage of two highly skilled guitarists (Mustaine and Poland) who could both lay one fast riff after another as well as play shredding solos. Lyrical themes include the occult, sex, violence, and -a rarity in this genre- the odd social commentary. Opener "Wake Up Dead" is a tight number with a catchy riff, while "Conjuring" builds up slowly, beginning with satanic incantations before evolving into another riff-fest. The anti-establishment title track opens with a playful bass line and continues with an infectious riff and Sabbath-y chorus. The lyrics are partly spoken (don't call it rap) and partly sung. The band made a suitably aggressive promo video for it (their first) which got them some MTV exposure. While the first three tracks touch perfection, from here on there's a slight drop in quality - not that there's anything wrong with the galloping rhythms of "Devil's Island" or more conventional metal of "The Last Words". "Good Mourning/Black Friday" and "Bad Omen" are more complex compositions, even including acoustic passages, but somewhat directionless despite the great playing. "I Ain't Superstitious" is the odd song out, a classic blues in Zeppelin vein. I don't know what their fans made of it, but I enjoyed it. The CD reissue adds four alternative early mixes which aren't drastically different to my ears. If, on the other hand, you're overtly familiar with the album you may appreciate the small differences. Last but not least, the cover is as iconic as the music, featuring Megadeth mascot Vic Rattlehead in front of a post-apocalyptic U.N. building. I'm guessing that, if you like thrash metal, you already know this album inside out. If you're not familiar with the genre, this is a good place to start. Just press play on the youtube clips below.

***** for Peace Sells 

**** for Wake Up Dead, The Conjuring, Devils Island, My Last Words

*** for Good Mourning/Black Friday, Bad Omen, I Ain't Superstitious