![]() Megadeth have produced far more consistent records than this. Overall, the first two songs alone validate the price of admission, and the performances throughout are extremely good, but this album is by no means the high water mark it's so often made out to be. The album doesn't just sag in the middle, it falls away completely. However the contrast on Rust In Peace, because of the way the highpoints bookend a sea of mediocre songwriting and dull riffage, is even starker. A possible comparison would be Judas Priest's Point Of Entry album, another record with stupendous highs but also some baffling sections of filler. ![]() It cannot seriously be cited as the high point of Megadeth's career - the inconsistency is too much to tolerate. This is a very strange album - one that excites tremendously for the first two songs, and entertains for the closing tracks, but in between completely falls flat and becomes lifeless. It is, quite frankly, a blessed relief when “Tornado Of Souls” eventually bursts into life – finally, an actual proper chorus! A hook! Interesting riffs! Sadly, it’s too little too late to save the record. The middle section of the album just leaves no impression on the listener. Thrashing away, certainly, but thrashing away just for the sake of it, not to produce an interesting result. They sound sterile, flat, and very forced. The one possible exception is "Five Magics" which has an interesting breakdown halfway through that provides some interest, but the rest of the time these songs just pass by aimlessly. Not one of the songs after “Hangar 18” has anything like the huge hooks, the catchy choruses, the sense of melody or the memorable riffs that make the rest of the album so good. The middle of the record is dead in the water. 91 (later expanded in The Decibel Hall of Fame Anthology Volume II ), and we did just that by interviewing Dave Mustaine, David Ellefson (who hadn’t rejoined Mustaine yet), a reluctant Marty. Many years ago, Decibel sought to tell the story of Rust in Peace in our May 2012, issue No. Given the strength of this song and the one after it, the listener might think that they are in for a treat – but here is where the album falls flat on its face. Polaris, Megadeth’s mantle piece is near and dear. The Punishment Due” which to this day remains Megadeth’s finest composition and is the perfect way to open the album. The strongest bits of the album are at the beginning, especially the opener “Holy Wars. Mustaine’s vocals are quite good and more even in quality than on his earlier output, which makes the album sound somewhat slicker than usual for Megadeth. The lyrics are also quite entertaining, even though they just go over some of the standard Mustaine topics of warfare, Armageddon, and conspiracy theories, there are some memorable lines in there. The musicianship and technical ability on offer are of a very high standard – the whole band sounds ferociously tight, disciplined and on top of their game, perhaps best showcased on “Hangar 18” where the second half of the song is given over to Mustaine and Friedman trading guitar solos back and forth. ![]() Half of the album is great thrash/speed metal, with very tight riffage, a good sense of dynamics and huge hooks everywhere you look. While there are undoubtedly some serious high points here, this is an extremely inconsistent record. Stand out from the rest and show the world that you're a true fan of Atlanta baseball.This album is generally seen as a classic of the thrash metal genre, and a pinnacle of Megadeth's career. So why settle for ordinary when you can have extraordinary? 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