This should have been a solo album, much like the MD.45 album The Craving Dave did in 1996. However, much like that album became (when it was remastered Dave recorded his own vocals on the songs instead of Lee Ving’s), it was released as a Megadeth album even though only Mustaine remained and wrote all of the songs on his own, and that session musicians had been hired to flesh out the rest of the album. There’s no doubt the record company wanted it this way in order to try and sell it, but the lack of an actual band to promote its release means it lacks conviction. While Dave has always been the chief songwriter on this album he is the only contributor, which does feel as though it hinders the album overall without anyone else’s input. In fact, one of the selling points of the album was the ‘return’ of original Megadeth guitarist Chris Poland to play on the album. Of course, in the long run he just contributes some solos to many of the songs, while Dave does double duty on rhythm and lead.
Beyond these elements there is some good material here and also other songs that, although they do appear to have some flaws, are still catchy enough to keep you enjoying what you are hearing. Don’t know what I mean? Well, if I was to take the three best known and probably most popular songs on the album and break them down you would probably see. Because I do quite like “Die Dead Enough”, “Of Mice and Men” and “Back in the Day” as songs, but they still have these characteristics that nag me even as I sing along with them. “Die Dead Enough” tends to drone through the chorus rather than progress with an angry spitting of the lyrics which it really feels it needs. It feels like it needs more angry emotion than gets used. “Of Mice and Men” is like a whine during the vocals. I know Mustaine has his own unique vocal sound that does on occasions sound a bit whiney, but it really does come across in parts of this song. “Back in the Day” has a faster pace and with the right attributes to make it a fun song, but for some reason it just comes across as a bit rocky, like a song that’s trying too hard to be something it quite clearly is not. As I said, none of these things mentioned stops me from loving these songs as they are, it’s just that I don’t count them as great Megadeth songs overall because of what I see are their perceived flaws.
As to the rest of the album, it too has its moments but without taking the great leap required to being a classic. “Blackmail the Universe” starts the album off well, “Kick the Chair”, “The Scorpion” and “Tears in a Vial” all have the right attributes. The second half of the album probably doesn’t live up to the first half, but that doesn’t mean it is terrible. In fact it leaves much of the previous two albums in the dust. You can pick up where Chris Poland has introduced his solos and riffs, and yes it is hard to ignore the way it leads you to be reminded of Killing Is My Business... And Business Is Good! in those places – for instance the start of “Back in the Day”.
Is this a Megadeth album in anything but name only? Given how heavily Mustaine is involved in all facets of it you have to say it is. Perhaps it doesn’t have that centred feel that albums did when there was a core band in the building, but it has the elements. As a comeback album, a redemption album or a retaliatory album, it is good enough to help dispel the doubts that may have been around regarding Megadeth and Mustaine’s demise. I enjoy the album enough to put on and listen to all the way through, but still feels as though it was a filler rather than a killer.
Rating: “The air is thick, but the oxygen's thin”. 3/5
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