Megadeth - Killing Is My Business...And Business Is Good (1985)

Ejected from Metallica despite being their prodigiously-talented lead guitar player and primary songwriter, Dave Mustaine was so filled with anger and bitterness and determination for revenge upon his dismissal some weeks before the recording of Metallica's seminal debut album, that he would spend the next 20-odd years singularly trying to prove what a mistake they made. I'm not sure the masses ever fully rallied behind him on that point, but the fact is, Mustaine's early Megadeth output has a by-the-seat-of-their-pants reckless renegade assault which is flat-out bonkers, enraged and intense in equal measure.

Unfairly maligned for its lacklustre production, Megadeth's debut is an insane thrill-ride of mind-melting rhythms more complex than most leads, and a generally rollicking roller-coaster ride to Hell of thrashy, herky-jerky and catchy metal madness courtesy of an amazingly sympathetic and tight band, featuring jazz-trained duo of Chris Poland on 2nd guitar and the swinging Gar Samuelson on drums.

This album is like Keith's India Pale Ale...those who like it, like it alot. (and implied, is...those who don't ...f*%k you!)

Megadeth - Peace Sells...But Who's Buying? (1986)

"Peace Sells...But Who's Brian?" as we used to say in my teenage rock band when we used to play the title track, as we had two Brians in the band.

When the 80's began waning instead of waxing and as the newly-bred intensity of thrash metal took root and its relentless adrenaline rush superceded the suddenly watered-down-seeming kicks of the old hard-rock guard of AC/DC, KISS et al., most people gravitated towards the mighty Metallica for their daily dose of head banging goodness. Though I too embraced the Bay Area Bashers warmly, it was the snarling, sneering, pissed off, gonzoid and freaky-styley warped metal antics of Megadeth which captured my interest the most.

Their 1986 sophomore release is probably the most focused and perfectly realized onslaught of taut, crushing tunes and precision tunesmithery in the band's illustrious catalogue. I remember seeing an evening news item around that time specifically calling out this album and the song Bad Omen in particular as being one prime example of the pressing problem of "today's" new breed of music warping teenagers' minds.

Poppycock, I say! It rules, say I! It may have been good then, but darn it all if'n it ain't even better now!