Reviews

There are those that believe Metal Blade Records is a company that reissues albums to preserve the early history of metal, and others that believe they are always looking for a quick way to grab more cash from their early catalogue. Regardless of their motivations, fans are better for it, as this reissue proves. Actually released 41 years after the original album (but remastered back in February 2025), the triple album set contains the Hell Awaits album remastered packaged with a previously unavailable concert recorded Germany in June 1985. The original album was mastered by legendary engineer Bernie Grundman, but it was never going to be listed as one of his greatest efforts. It lacked punch and was totally lifeless. Over the years many have defended the sound, calling it dark and ominous, but it was lacklustre at best. This new mastering breathes life into the album and gives it a unexpected boost that remastering usually doesn't. The drums (always the weakest part of the original) have more clarity and actual power, rather than the tiny sound on the original, and the bass guitar is a lot more audible. Often the difference between the original and a remaster is so minuscule that there is little value in comparison, but this isn't the case here. The new mastering is without a doubt the best sounding version of the album ever made available. Regardless, a remix still would have been an even better option, but after 40 years it is likely the original tapes are long lost. As good as the remastering is though, the full concert recorded a couple of months after the release of the original album, is the jewel in the crown of the collection. This is far from a perfect listing experience, sounding more like an 'official bootleg', but it is priceless as a document of the era. Listening through headphones is a brutal experience, with the drums thundering over everything else, turning the guitars into a muddy mess of noise. Tom Araya's vocals are loud and bright and cut through with such volume they are jarring. Using speakers to listen is a better option, and although the sound is still rough, it hides many of the inconsistencies of the recording. Thankfully, the sound quality does get better as the concert progresses. By a few songs in the mix improves noticeably, likely as a result of the mixing desk adjusting the levels on the night. Regardless, it is still a low quality affair - but in some ways that is better than a polished recording anyway, as what this shows is band that is full of piss and vinegar, ready to take on the world one venue at a time. Tonally the guitars occupy a similar space, so the faster parts tend to blur as the two guitarists try to keep a similar tempo. The slower parts, like the break down mid-way through 'At Dawn They Sleep' cut through clearer, and the guitar tone screams classic thrash when it is clear. Jeff Hanneman tends to stick closer to his recorded solos (usually with subtle melody), whereas Kerry King's frantic chaotic style tends to be mostly consumed by the white noise. The vocals are ragged in places, most notably when Araya tries to put in a big scream like the ending of 'Fight Till Death', and his between song banter is often so cringe inducing it is actually embarrassing (his introduction to 'Necrophiliac' being a perfect example), but for the most part his voice holds up well. He doesn't so much sing as 'bark' many of the lyrics, but that has always been a trademark of his style. With the drums of Dave Lomardo coming through louder than anything else, it is easy to hear his playing clearly, and he proves (even this early into his career) that he is worthy of every accolade he receives. His drum work is tight and smooth, and he is the star of the recording in many ways. The song selection is superb, with a concert of decent length allowing the band to play the two full-length albums almost in entirety and still have room to slip in rarities like 'Aggressive Perfector'. The only faux par was closing with 'Praise Of Death' instead of placing 'Chemical Warfare' in the encore final spot. Otherwise, any fan would agree it is a perfect setlist for Slayer in the mid-80s. The recording isn't going to win the band any awards for sound quality, but that isn't the point. This is the closest anyone will ever come to boarding a time machine and heading back to 1985 to see the emerging thrash scene in full flight.

This review will take a different tact to other reviews I write. C'mon, we are talking Megadeth here. One of the huge pioneers of the thrash metal scene. They were the landscape of my youth and I will always forever thank them for such classic sounding, drum roles, bass lines and shredding guitar solos that cannot be beaten and deserve the upmost respect. This review will not delve into the history of the band. The ups and downs and challenges they met along the way. The fact that they have influenced metalheads for 40 plus years is something worth acknowledging. So this review will be a break-down of each song on their self-titled finale. O.K., strap yourself in and enjoy the ride. The opening track 'Tipping Point' I find a brilliant rendition of their classic sound. Dave with his angry voice and equally angry riffs. To this day he has never lost the ability to put a solo together. The breakdown toward the end is epic and the pick up to close the opener is simply awesome. It sets the pathway for a classic album to proceed. It is in the mould of their 'modern sound' which is Countdown To Extinction onwards in my view, and that's not necessarily a bad thing really. 'I Don't Care' reminds me of the 'Sweating Bullets' song. It's a very simple but catchy song. 'Hey God' - it's confessional time in the house of Mustaine. Is this a 360 from 'The Conjuring' days? Interesting topic, but again all the standard elements of a modern day Megadeth are there. Just nothing outstanding. 'Let There Be Shred' starts off fast paced it doesn't stop. The song name can be considered a little corny, but looking into it, this is what Dave has been all about, and this is a great example of his best work. It's the first time I notice his voice is on point and the aging doesn't show, so settle in for the best of Dave, with the band supporting him perfectly. 'Puppet Parade' shows again the highlight here is Mustaine's angry spoken vocal. He is putting in his best effort, however, the song itself fails to really ignite any excitement in a snapping of necks kinda way. 'Another Bad Day' has me saying not much on this one. I'd be repeating myself. Not anything to remember. 'Made To Kill' opens with a nice drum solo for nothing different, before Mustaine takes over with his magic. A pretty straight forward in and out from this point onwards which doesn't anything different to what we have already heard. 'Obey The Call' provides a great example of it becoming a little too obvious by now that we are hearing a similar but different song, with none of it being something you'd return to for years to come. The music is tight as always, and again the riffs can't be faulted, but now it has become predictable which is unfortunate. 'I Am War' is a mid-tempo song which is the last thing you want to hear. as the second-to-last original song they will ever release. We should be at fireworks point right now, pulling out the best you ever can Dave to an ultimate crescendo to the final song, but alas. 'The Last Note' should be an explosion of reflection of their best work, both early and modern. Giving this a close listen, you only need to get past the 5 or 10 seconds of spoken word before disappointment sets in. Even the 'I came, I ruled, now I disappear' really doesn't pull at the heart strings. Dude, Mustaine, is this what the band have come to after this 40+ year legacy? It is embarrassing to be honest. I dunno - I really was hoping for a return to their best. Not note for note, but an acknowledgement of what they have written over the years. It is sad for me to say that this album will struggle to make my Top 10 releases of all time for them. It shouldn't be that way. I'll give them a favourable review in respect of the magnificent legacy they have provided to the fans, bit this is really a sad ending to a man who is bigger that he really knows I think in the legacy of thrash metal altogether. Otherwise he would have written a for the fans record, rather than a self-reflection of his own importance. I think that is what it comes down to for me.