The "Big Four of Thrash" Blog

Super Collider

Why all the hate? It seems the majority of people out there expect Mustaine and Megadeth to template its sonic signature and release slightly modified copies every few years for public consumption. "Super Collider" is one of the best Megadeth offerings in years precisely because the band has taken some risks and shown the ability to step outside the thrash and speed box they helped pioneer.There’s plenty to like here, a little to love, and simply no reason to hate. Sure, there are a lack of uptempo thrashers: Much of the album clocks in at the mid-tempo range, but there’s enough to make you happy, and plenty of new shades of Megadeth to enjoy.

The band once again tapped producer Johnny K (Machine Head, Sevendust, Disturbed) to help helm the record.The album kicks off in classic Megadeth fashion: “Kingmaker” is vintage Dave Mustaine and Dave Ellefson. A strong start to the record, it is packed with pulse-racing riffery, rumbling bass, an onslaught of stick and skin work, and Mustaine’s trademark grimace and growl vocals.The title track takes Megadeth a bit out of their zone and more into a classic hard rock sound. “Super Collider” is a perfect song for cranking up the Harley and hitting the highway. It’s not truly built for Mustaine’s vocal style, but he makes it work. More important, we see Mustaine stretching his songwriting chops and letting go of the need for speed. Ellefson has some sweet bass runs on this track.A great opening guitar lead-in sets off “Burn!”, with stellar fretwork from Chris Broderick throughout. There is even some nice bluesy groove in the chorus. Meanwhile, “Built For War” adds a touch of Rob Zombie chug on the verses. The song helps establish "Super Collider" as a powerful yet varied sonic slab of metal. Sure there are a bunch of lyrical clichés here, but this is heavy metal damn it, and we worship at the altar of such common man imagery: “Built for war, what do you think your fists are for?” Much like “Off the Edge” before it,”Dance in the Rain” looks at the darkness of our world and you can just feel Mustaine seething with the current political state of America. Unlike the former, which is something of a quietly easy track to dismiss, “Dance in the Rain” is a memorable mid-tempo rocker. A dreary intro leads into Mustaine laying out our daily misery. Shawn Drover, who is exceptional throughout this album adds some tasty nuances here. The subtle tempo changes add depth. Just before the four-minute mark, the song jaunts off in another direction filled with fast-descending nano-riffs and some nice cameo vocals from David Draiman (Disturbed, Device). It sort of feels somewhat like two song ideas were spliced together, but it works. It’s big and bombastic, and should be a beast live. “Beginning of Sorrow” is a full band effort and offers perhaps the most modern feel of any track on the record. Ellefson’s bass just throbs on this one. Nice spiraling lead work overlays heavy and undulating rhythms.“The Blackest Crow” really takes Megadeth in a brave new direction. The intro begins with an eerie cinematic vibe that recalls a war-torn Southern backwoods with its ganjo plucking and military drum beat. It’s easily the album’s most intriguing track, and a real treat for fans who can appreciate the maturation in songwriting. Mustaine even whips out of bit of slide guitar. Lyrically the song tackles Alzheimers as does the track “Forget to Remember” which itself feels like a Great White song with bigger, hairier balls. The vocal whispers add a nice touch.The guys get their blues groove on “Don’t Turn Your Back” before spinning it into one of the album’s few juggernauts. The album closes out with a beefy version of Thin Lizzy‘s “Cold Sweat”. They pay it due respect but crank up the edge to 11.

In all, "Super Collider" proves that Megadeth is more than a one-riff pony, and the variety displayed here is perhaps long overdue from these metal icons who no longer have anything to prove. Let the elitists pass over one of the band’s finer moments so they can languish in their limited comfort-zones. "Super Collider" delivers on every level and those who take the time to soak it in will hear its magnitude (Rustyn Rose for Examiner.com wrote this review, and it's a properly detailed, overall correct review as compared to the overwhelming negative reviews coming out from every corner of the world, including Allmusic.com. Allmusic seemed "unhappily" bias this time around, and this album deserves a well balanced persective. One will ultimately come to a conclusion, however, if they care for the record regardless of a review. So, in the end the music will speak for itself, so check it out today!).

Metallica Bio

Metallica was easily the best, most influential heavy metal band of the '80s. Responsible for bringing the genre back to Earth, the bandmates looked and talked like they were from the street, shunning the usual rockstar games of metal musicians during the early '80s. Metallica also expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions. The release of 1983's Kill 'Em All marked the beginning of the legitimization of heavy metal's underground, bringing new complexity and depth to thrash metal. With each album, the band's playing and writing improved; James Hetfield developed a signature rhythm playing that matched his growl, while lead guitarist Kirk Hammett became one of the most copied guitarists in metal. To complete the package, Lars Ulrich's thunderous (yet complex) drumming clicked in perfectly with Cliff Burton's innovative bass playing.

After releasing their masterpiece Master of Puppets in 1986, tragedy struck the band when their tour bus crashed while traveling in Sweden. Burton died in the accident. When the band decided to continue, Jason Newsted was chosen to replace Burton; two years later, the band released the conceptually ambitious ...And Justice for All, which hit the Top Ten without any radio play and very little support from MTV. But Metallica completely crossed over into the mainstream with 1991's Metallica, a self-titled effort that found the band trading in their long compositions for more concise song structures. Peppered with hits like "Wherever I May Roam" and "Enter Sandman", it resulted in a number one album that sold over seven million copies in the U.S. alone. To support the record, Metallica launched a long tour that kept the musicians on the road for nearly two years.

By the '90s, Metallica had changed the rules for all heavy metal bands; they were the leaders of the genre, respected not only by headbangers, but by mainstream record buyers and critics. No other heavy metal band has ever been able to pull off such a feat. However, the group lost a portion of their core audience with their long-awaited follow-up to Metallica, 1996's Load. The album moved the band toward alternative rock in terms of image -- they cut their hair and had their picture taken by Anton Corbijn. Although the album was a hit upon its summer release, entering the charts at number one and selling three million copies within two months, certain members of their fanbase complained about the shift in image, as well as the group's decision to headline the sixth Lollapalooza. Re-Load, which combined new material with songs left off of the original Load record, appeared in 1997; despite poor reviews, it sold at a typically brisk pace and spun off several successful singles, including "Fuel" and "The Memory Remains." Garage Inc., a double-disc collection of B-sides, rarities, and newly recorded covers, followed in 1998. The band's take on Bob Seger's "Turn the Page" helped maintain their presence in the charts, and Metallica continued their flood of product with 1999's S&M, which documented a live concert with the San Francisco Symphony. It debuted at number two, reconfirming the group's immense popularity.

Metallica spent most of 2000 embroiled in controversy by spearheading a legal assault against Napster, a file-sharing service that allowed users to download music files from each other's computers. Aggressively targeting copyright infringement of their own material, the band notoriously had over 300,000 users kicked off the service, creating a widespread debate over the availability of digital music that raged for most of the year. In January 2001, bassist Jason Newsted announced his amicable departure from the band. Shortly after the band appeared at the ESPN awards in April of the same year, Hetfield, Hammett, and Ulrich entered the recording studio to begin work on their next album, with producer Bob Rock lined up to handle bass duties for the sessions (meanwhile, rumors swirled of former Ozzy Osbourne/Alice in Chains bassist Mike Inez being considered for the vacated position). In July, Metallica surprisingly dropped their lawsuit against Napster, perhaps sensing that their controversial stance did more bad than good to their "band of the people" image. That same summer, the band's recording sessions (and all other band-related matters) were put on hold as Hetfield entered an undisclosed rehab facility for alcoholism and other addictions. He completed treatment and rejoined the band as they headed back into the studio in 2002 to record St. Anger, which was later released in mid-2003.

The recording of St. Anger was capped with the search for a permanent replacement for Newstead. After a long audition process, former Ozzy Osbourne/Suicidal Tendencies bass player Robert Trujillo was selected and joined Metallica for their 2003/2004 world tour. The growing pains that the band experienced during the recording of St. Anger were captured in the celebrated documentary Some Kind of Monster, which saw theatrical release in 2004. Four years later, the band returned with Death Magnetic, an energized album that returned the band to its early-'80s roots. Former Slayer producer Rick Rubin helmed the album, having replaced the band's longtime producer Bob Rock, while Kirk Hammett (who was forbidden to play guitar solos on St. Anger) peppered the record with metallic riffs and frenetic solos. - Allmusic

Megadeth Bio

After he left Metallica in 1983, guitarist/vocalist Dave Mustaine formed the thrash metal quartet Megadeth. Though Megadeth followed the basic blueprint of Metallica's relentless attack, Mustaine's group distinguished themselves from his earlier band by lessening the progressive rock influences, adding an emphasis on instrumental skills, speeding the tempo up slightly, and making the instrumental attack harsher. By streamlining the classic thrash metal approach and making the music more threatening, as well as making the lyrics more nihilistic, Megadeth became one of the leading bands of the genre during the mid-'80s and late '80s. Each album they released went at least gold, and they continually sold out arenas across America, in addition to developing a strong following overseas. By the early '90s, they had toned their music down slightly, yet that simply increased their following; all of their proper '90s albums debuted in the Top Ten.

Throughout Megadeth's many lineup changes, the two core members were bassist Dave Ellefson and guitarist/vocalist Dave Mustaine (born September 13, 1961), who was the band's official leader. Mustaine grew up in the suburbs of Southern California, where he was raised by his mother in a broken home; frequently, his mother left him to be raised by aunts and uncles, who never encouraged his musical inclinations and often belittled him for his fondness for heavy metal. In 1981, he formed Metallica with James Hetfield and Lars Ulrich. Mustaine spent two years with Metallica, developing a strong cult following in California's underground metal scene, before he was kicked out of the group in 1983, allegedly over his substance abuse. Immediately following his firing, he formed Megadeth with Ellefson, Slayer guitarist Kerry King, and drummer Lee Rauch. This lineup was extremely short-lived, and Mustaine and Ellefson soon recruited guitarist Chris Poland and drummer Gar Samuelson.

For the next few years, Megadeth toured and gained a following, signing with the independent label Combat in late 1984. The following year, the group released their debut, Killing Is My Business...And Business Is Good!, which received strong reviews, not only in metal-oriented publications, but also in mainstream music magazines. The album sold very well for an independent release, which attracted the attention of major record labels. By the end of the year, the group had signed with Capitol. Megadeth's first major-label album, Peace Sells...But Who's Buying?, was released in the fall of 1986. Like its predecessor, Peace Sells was greeted by strong reviews and sales; it eventually went platinum.

Although the band's fortunes were on the upswing, Mustaine was beginning to sink deeper into drug abuse, specifically heroin. Soon, his addictions began to affect his work. Many stories concerning his erratic behavior were circulating within the metal community, and they seemed to be proven correct when he fired both Poland and Samuelson before the recording of the band's third album; they were replaced by Jeff Young and Chuck Behler, respectively. The new lineup debuted on So Far, So Good...So What!, released early in 1988. So Far, So Good peaked at number 28 on the charts and also eventually went platinum (despite less enthusiastic reviews); it also featured a notorious cover of the Sex Pistols' "Anarchy in the UK" with incorrect lyrics.

In the years immediately following the release of So Far, So Good...So What!, Mustaine was impaired by his drug addictions. In early 1990, he was arrested for driving under the influence and entered a rehabilitation program. By the end of the year, he was not only sober, but he had reconvened the band, firing Young and Behler and replacing them with guitarist Marty Friedman and drummer Nick Menza. This lineup recorded Megadeth's fourth and most progressive album, Rust in Peace. The record peaked at number 23 on the American charts and went platinum. 1991 saw Metallica break through to the mainstream, and sensing the possibility for similar success, Mustaine followed suit in stripping down the band's sound, though it remained as technically perfectionistic as Rust in Peace. The result, Countdown to Extinction, was released in 1992, entering the charts at number two; the record went double platinum and became the band's biggest hit, confirming that they had retained their audience in the wake of grunge.

Now one of the most popular metal bands in the world, Megadeth moved further toward the mainstream with Youthanasia in 1994, which entered the charts at number four and, like its predecessor, went platinum. The following year, the group released Hidden Treasures, a rarities collection that featured some of the soundtrack tunes that had helped expand the group's MTV audience in the early '90s. 1997's Cryptic Writings found Megadeth fully embraced by album rock radio, which formerly would never have touched the band. Ex-Suicidal Tendencies drummer Jimmy DeGrasso signed on in 1998, in time for the following year's Risk. In 2000, following the release of the best-of Capitol Punishment, Marty Friedman followed Nick Menza out the door; he was replaced by former Savatage and Alice Cooper guitarist Al Pitrelli. After signing with the BMG subsidiary Sanctuary, Megadeth debuted its new lineup on 2001's The World Needs a Hero.

While on break from touring, Mustaine suffered a serious injury in January 2002 while staying in Texas. He was diagnosed with having radial neuropathy shortly thereafter, a condition that prevented him from playing guitar. The compressed radial nerves in his left arm and hand were strained, leaving Megadeth little recourse but to disband in April 2002, after almost 20 years in the music industry. During his time off, Mustaine prepared an elaborate reissue campaign, remastering each album and reissuing them all with bonus material. This campaign set the stage for a Megadeth revival, which came in 2004-2005 with a surprising comeback album, The System Has Failed, and some heavy touring. Capitol released a new best-of, simply titled Greatest Hits, just as Megadeth hit the summer concert circuit, headlining Mustaine's own Gigantour festival. In 2007 Megadeth released the politically charged United Abominations. - Allmusic

Slayer Bio

Slayer was one of the most distinctive, influential, and extreme thrash metal bands of the 1980s. Their graphic lyrics deal with everything from death and dismemberment to war and the horrors of hell. Their full-throttle velocity, wildly chaotic guitar solos, and powerful musical chops paint an effectively chilling sonic background for their obsessive chronicling of the dark side; this correspondence has helped Slayer's music hold up arguably better than the remaining Big Three '80s thrash outfits (Metallica, Megadeth, Anthrax). Naturally, Slayer has stirred up quite a bit of controversy over the years, with rumors flying about Satanism and Nazism that have only added to their mystique. Over the years, Slayer put out some high-quality albums, one undisputed classic (Reign in Blood), and saw the numbers of naysayers and detractors shrinking as their impact on the growing death metal movement was gradually and respectfully acknowledged. Slayer survived into the 1990s with arguably the most vitality and the least compromise of any pre-Nirvana metal band, and their intensity still inspires similar responses from their devoted fans.

Slayer was formed in 1982 in Huntington Beach, CA, by guitarists Kerry King and Jeff Hanneman; also recruited were bassist/vocalist Tom Araya and drummer Dave Lombardo. The band started out playing covers of Judas Priest and Iron Maiden songs, but quickly discovered that they could get attention (and fans) by exploiting threatening, satanic imagery. The band was invited by Metal Blade's Brian Slagel to contribute a track to the Metal Massacre, Vol. 3 compilation (a series that also saw the vinyl debuts of Metallica and Voivod); a contract and debut album, Show No Mercy, followed shortly thereafter. While Slayer's early approach was rather cartoonish, their breakneck speed and instrumental prowess were still highly evident. Two EPs, Haunting the Chapel and Live Undead, were released in 1984, but 1985's Hell Awaits refined their lyrical obsessions into a sort of concept album about damnation and torture and made an immediate sensation in heavy metal circles, winning Slayer a rabid cult following.

Def Jam co-founder Rick Rubin took a liking to the band, signed them to his label, and contributed the first clear-sounding production heard on any Slayer album for the stripped-down Reign in Blood. Due to the graphic nature of the material, CBS refused to distribute the album, which garnered a great deal of publicity for the band; eventually, Geffen Records stepped in. Combining Slayer's trademark speed metal with the tempos and song lengths (if not structures) of hardcore, along with the band's most disturbing lyrics yet, Reign in Blood was an instant classic, breaking the band through to a wider audience, and was hailed by some as the greatest speed metal album of all time (some give the nod to Metallica's Master of Puppets).

South of Heaven disappointed some of the band's hardcore followers, as Slayer successfully broke out of the potential stylistic straitjacket of their reputation as the world's fastest, most extreme band. Drummer Lombardo took some time off and was briefly replaced by Whiplash drummer Tony Scaglione, but soon returned to the fold. 1990's Seasons in the Abyss was well received in all respects, incorporating more of the classic Slayer intensity into a more commercial -- but no less uncompromising -- sound. "War Ensemble" and the title track became favorites on MTV's Headbanger's Ball, and Slayer consolidated their position at the forefront of thrash, along with Metallica. Following the release of the double live album Decade of Aggression, Lombardo left the band for good due to personality conflicts with the other members and formed Grip Inc.

Slayer remained quiet for a few years; the only new material released after 1990 was a duet with Ice-T recorded for the Judgment Night soundtrack on a medley of songs by the Exploited. After leaving the Forbidden, Paul Bostaph signed on as the new drummer for 1994's Divine Intervention, which was released to glowing reviews; thanks to the new death metal movement, which drew upon Slayer and particularly Reign in Blood for its inspiration, Slayer was hailed as a metal innovator. The album was a massive success, debuting at number eight on the Billboard album charts.

Bostaph left the band to concentrate on a side project, the Truth About Seafood, and was replaced by ex-Testament drummer Jon Dette for Undisputed Attitude, an album consisting mostly of punk and hardcore covers. Bostaph rejoined Slayer in time to record 1998's Diabolus in Musica. The band reunited with Def Jam for 2001's God Hates Us All. In 2004, they unleashed the four-disc anthology Soundtrack to the Apocalypse, followed by an album of all-new material, Christ Illusion, in 2006. - Allmusic

Anthrax Bio

Nearly as much as Metallica or Megadeth, Anthrax was responsible for the emergence of speed and thrash metal. Combining the speed and fury of hardcore punk with the prominent guitars and vocals of heavy metal, they helped create a new subgenre of heavy metal on their early albums. Original guitarists Scott Ian and Dan Spitz were a formidable pair, spitting out lightning-fast riffs and solos that never seemed masturbatory. Unlike Metallica or Megadeth, they had the good sense to temper their often serious music with a healthy dose of humor and realism. After their first album, Fistful of Metal, singer Joey Belladonna and bassist Frank Bello joined the lineup. Belladonna helped take the band farther away from conventional metal clichés, and over the next five albums (with the exception of 1988's State of Euphoria, where the band sounded like they were in a creative straitjacket), Anthrax arguably became the leaders of speed metal. As the '80s became the '90s, they also began to increase their experiments with hip-hop, culminating in a tour with Public Enemy in 1991 and a joint re-recording of PE's classic "Bring the Noise." After their peak period of the late '80s, Anthrax kicked Belladonna out of the band in 1992 and replaced him with ex-Armored Saint vocalist John Bush -- a singer that was gruffer and deeper, fitting most metal conventions perfectly. Subsequently, their sound became less unique and their audience shrank slightly as a consequence, and after signing to Elektra for 1993's Sound of White Noise, the group left the label after just one more album, 1995's Stomp 442. At that point, Anthrax -- now a four-piece consisting of Ian, Bush, Bello, and drummer Charlie Benante -- built their own studio in Yonkers, NY, and after a three-year hiatus returned with their Ignition label debut The Threat Is Real, Vol. 8. 1999 saw the release of Anthrax's very first "hits" collection, titled Return of the Killer A's: The Best Of, also their first release for the Beyond label. The album included a cover of "Ball of Confusion," which featured a duet between current frontman Bush and former vocalist Belladonna. A proposed tour that was to include both vocalists was announced, but on the eve of its launch, Belladonna pulled out, reportedly for monetary reasons. The tour carried on, as Anthrax signed on to participate in a package tour during the summer of 2000 with Mötley Crüe and Megadeth, but left the tour after only playing a handful of dates. Anthrax appeared on the Twisted Sister tribute album Twisted Forever in 2001 (covering the track "Destroyer"), and began recording their next album the same year. In addition, guitarist Ian found time to regularly host the metal television program Rock Show on VH1, plus he appeared as part of the fictional metal band Titannica in the film Run, Ronnie, Run. VH1 programming heads eventually replaced Ian with Sebastian Bach, but the band was ready to head back into the studio anyway. New guitarist Rob Caggiano joined in the spring of 2002, just in time for the recording. A year later, Anthrax made their Sanctuary debut with We've Come for You All. The band's dynamic hadn't changed, and touring in support of that album was met with overwhelming success. The CD/DVD set Music of Mass Destruction: Live in Chicago, which arrived in spring 2004, celebrated Anthrax's two decades in the business. Then, in 2005, Anthrax's entire original lineup of Ian, Spitz, Belladonna, Benante, and Bello reunited for a tour and the CD/DVD retrospective Anhtrology: No Hit Wonders [1985-1991]. Anthrax also issued Alive 2, recorded during their summer 2005 reuninon tour. - Allmusic

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Metallica Bio

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