Directed by James Yukich. Mustaine has no problem in stabbing the knife deep in the heart of the government. Prime's strange half-sloped windscreen design appears in the next shot, an error found in several other episodes including ". Even on its own, it’s a great thrash song. Some databases are out of sync and we haven't been able to fix it yet. Top tier instrumentation? As a result, the band has sacrificed most of the complexity that had accompanied Rust in Peace in favor of a more streamlined and polished sound. "Skin 'O My Teeth"? When Shockwave contacts Megatron about the generator's imminent destruction, the eyes on his Decepticon insignia are missing. Maybe the biggest difference from the previous album, “Rust in Peace” is that Marty Friedman no longer shreds at will. This album is the clear transition, if not the abrupt halt in their discography that identifies their change in sound. This time, it's some shriveled-up old dude with a loin cloth around his waist, screaming. This definitive lineup was at the top of its game during the recording of the album; David Ellefson's bass is, as always top notch, and shares the limelight in the intro to the title track. As the Autobots drive past cam, Ironhide and Ratchet's passenger side windows are HUGE. The riffs are played with calculated accuracy and Dave is no longer straining himself in the vocal department as he would occasionally on Rust in Peace. As to the song quality, most are alright at least. Some people say they can't stand Dave's vocals on this one but I think they're funny as hell and delightfully evil. Whether Countdown to Extinction turned out better than Metallica’s black album, or in fact the other way around, is the topic of another discussion. The riffs have this strange, cheerful circus-y vibe to them, and make the album sound silly and light-hearted, as opposed to menacing or serious, as one should expect with a thrash band of this status, let alone a band fronted by one of the men who pioneered the genre. 2002 — Transformers — Original Series: Volume Three (Sony Wonder) In conclusion, CTE achieves its goal of combining fast and moderate speeds in the songs and is a testament to the willingness of the band to grow as musicians and not get stuck in a thrash metal straitjacket. It’s also odd how upbeat these tracks are considering the demeanor of the others. As Dr. Instead, we now hear no bullshit, balls to the wall heavy metal which isn't afraid to experiment with different sounds or speeds. Songs like "Captive Honour" and "Countdown to Extinction" just make you want to throw your palm against your face. This was My Life is a great track but not particularly memorable. I think some other quality playing can be found in This Was My Life, Foreclosure of a Dream, and Sweating Bullets. There are many excellent tracks on here which rarly get any attention like Skin O' My Teeth, Architecture of Aggression, Foreclosure of a Dream, Psychotron, Captive Honour not to mention others. As if album sales were indicators of quality, anyway. Do I see a mainstream out pour with this one? That said, this may be Megadeth's catchiest album - Sweating Bullets, Symphony of Destruction, High Speed Dirt, and others are just too fun to easily let go. For one, there was more variety contained, and for two, it was mostly excellent. For one, most of the solos are great, as expected with Marty Friedman. It was loaded with tracks from the mediocre Cryptic Writings, however, and wasn't really that good. Megadeth guns for arena thrash success and gets it on Countdown to Extinction.Following the lead of 1991's Metallica, Megadeth trades in their lengthy, progressive compositions for streamlined, tightly written and played songs more conducive to radio and MTV airplay. And that's the first thing that's gone right all day. Yes, this is a song about someone free-falling out of the sky on his way to certain death once he meets the ground as a “dirt torpedo”. "As I believe the Earthlings say... lay it on me, man. Unlike the aggressive thrash riffs of old, this is more of a melodic rocker with an overall traditional heavy metal sound. Marty says he had no input, save for the solos, on RIP. Megadeth will always matter to me, no matter what. Check. It was the group's second studio release to feature the "classic" lineup of Dave Mustaine, Marty Friedman, David Ellefson and Nick Menza, with all of them contributing to songwriting on the album. Starscream plans to blow up the labs ultimate power source in order to destroy Earth and claim the universes ultimate power for himself. What is in fact fairly interesting about Countdown to Extinction is that despite looking like a commercial album (simpler cover, more consistent song lengths, generally verse-chorus song structures) it has a lot of detail and skill added to it that takes it whole levels above mere commercialism. Captive Honour, on the other hand, features a pretty complicated riff that almost sounds like a lead. Music videos were made for the songs Foreclosure of a Dream, High Speed Dirt, Symphony of Destruction and Skin 'o My Teeth. A final cadenza by Nick and the album's done. Megadeth trades in its lengthy, progressive compositions for streamlined, tightly written and played songs more conducive to radio and MTV airplay. Even though I think this album is still a high quality Megadeth album I've always had my qualms about it. Quite simply put this song is a riff-fest if there was any on this album. This album is "generic". From the weird singing of Mustaine, the firm bass guitar, the dynamic drums to the superb, typical riffs, this is a pure Megadeth album with less speed but with balls of metal. I have the remaster from 2004 and he's certainly mixed high on that edition, while there's a demo version of 'Countdown to Extinction' that features a nice bass solo. I honestly thought that Countdown to Extinction was about HUMAN extinction and not about species of animals disappearing....is Dave making a run for Greenpeace now? The soloing is still very good, as good as could be found at the time. in that nasaly voice he has. The drumming and riffs meanwhile are more minimal, simplistic, and less aggressive than before, with the riffs taking on a heavy/groove metal character. It's not insightful, but it's pretty good as a statement of the times. Meagadeth was walking a different path for now on and if no one had accepted that, they only had until the next few albums to see.... Two years after the release of Rust In Peace and just when the dust from their nuclear holocaust had began to settle down, Megadeth unleashed their fifth hit on humanity, titled just as properly, Countdown To Extinction. Laserbeak, who was standing guard over them, is captured and Jazz forces him to play his findings. And at the risk of somehow ducking the real reasons behind my personal angst, I can't exactly say what it is about it that really digs at me. But let me not describe this record as a slow album by far. It's terribly placed, awkward, and uncanny. The bass no longer maims like it did in earlier works, such as “Take No Prisoners.” It has become equivalent in importance to a typical AC/DC album. Geek work's made for a geek! Pretty disappointing. They like to think they're being deep and edgy without wanting to go the extra mile of alienating the alpha males at the bar. ‘This Was My Life’ is another great and catchy song, as is the title track, ‘Countdown To Extinction.’ Although it does seem a bit more commercialized, it is nowhere NEAR as commercial as, say, Metallica’s Black Album, which was released around the same time. Maybe this was a prediction to what Dio's corpse would look like after Last in Line shit on his reputation. The beginning of the end. This Was My Life is just ok. Really simple, unimpressive solo by Mustaine. As a result, this is the one album of their entire discography I can claim to actually dislike. The album starts off with a pretty fast track in Skin O' My Teeth, and then goes into the megahit Symphony of Destruction. So damn heavy. Psychotron has a very good riff although the pace is kind of weird, again, a catchy melody which stands by itself, actually, Symphony and Psycho were the first two songs I listened to from Megadeth back when I was about 14 or 15 years I guess, so catchy they are that until today I love the band, all because those two. But don’t cry out “sellout” as this still maintains its artistic credibility. When we last see Laserbeak, he's held prisoner in Jazz's tape deck. I also must admit the “your soul better belong to Jesus, because your ass belongs to me” makes me giggle every time. This song also fetaured a memorable video with multiple Mustaines! I'm sure you've heard it all. Next Symphony of Destruction is as I mentioned simple riff-wise but heavy and extremely catchy with some really rough vocals by Dave which only he seems to be capable of, watch out for that solo. The cause could have been from more input on the writing from the other band members rather than the Daves. High Speed Dirt has very good riffs but is too happy. This is more a heavy than thrash album, but I'd recommend both try it. Unfortunately, Megadeth’s fifth album constitutes an end to the breakneck thrash of old, again just like Metallica. Despite softening up the sound, the music still remains enjoyable and the band still maintains its identity, something that the band lacked in albums like Risk. So why did this album get a 40% and not a 90%, per se? The spoken part represents the split personalities and voices that may or may not have actually been inside Dave's head at the time. And I don’t like it. Starscream's tailfins are miscolored as he falls to Earth and impacts. We all know the story: the alternative/grunge wave swept metal back into the underground and everything that was supposed to be rebellious and cool in the eighties was suddenly considered outdated, clichéd and lame. There are a few songs that don't seem to quite hit it off due to a lack of momentum or slightly plodding verses, such as 'Architecture of Aggression' and 'Foreclosure of a Dream', while 'This Is My Life' is the only time that I suspect I'm listening to Hetfield and co., suggested by the stomping riff and Mustaine's unfortunately stolen "Hey" before the chorus. As displayed on earlier songs like Peace Sells, Mustaine employs what I refer to as the "Call And Answer" lyric technique, where one line asks a question or makes a statement, and the next line answers it, if you will. Folks will attack Metallica's self-titled 'till the end of days, but will inexplicably defend this tooth-and-nail. Dave Mustaine is believed to have been trying to compete with Metallica's Black Album on this release (a band that pretty much stole their original early 80s sound from him), and this is probably the case, but the result has been quite different. 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