R E V I E W S
MEGADETH - The World Needs A Hero (Sanctuary)
"We're going back to our roots."
Yep, they all say it at some time. But do they really mean it? And do they actually succeed in capturing what they once were? Does it sound forced or artificial? These questions could be hurled at just about any band getting on 10 plus years who have veered from their core inspiration. And it seems, just about every band does.
Risk was more than an update of the Megadeth sound, it was a potentially career altering plunge that left many diehard fans shaking their heads instead of banging them. Were Megadeth going to 'Tallica on us? Gasps were heard around the Universe as the World Wrestling Federation seemed the most appropriate partnership in the album's campaign. We can thank "Crush'em" for that one. Nothing against pro wrastlin', but as a major artistic companion? And then came "Breadline", a decent, socially conscious single that provided a couple beeds of oldschool sweat. But the album's overall sense of trying to be something it couldn't was an awkward, almost cruel joke to the faithful. Sure, some liked it. And maybe it had some interesting things to say musically. But interesting blows chunks. Megadeth was, and thankfully is again, about metal.
The World Needs A Hero might as well be titled Heavy Metal Needs a Hero, for their few mainstream acts out there representing their genre with any dignity. Or shall we say, they simply lack "roots." Megadeth doesn't lack roots, it is just that they shoved them aside for a period. But, because life, when you least expect it, actually produces something you've longed for, Dave Mustaine and Company have managed to find that elusive spark, as did Rob Halford last year. Let's delve into it, shall we?
"Disconnect" is a surprisingly hypnotic, sleeper of an opening track. There is no trite statement of "We're back, eat this!" but rather a calm, mature metallic riff (yes, there is such a thing!) that caresses us, suggesting things are okay, but not going for a knock out punch just yet.
The foreplay ends quickly as the title track presents a percussion happy, yet atmospheric metal socially involved iron flurry of pure 'Deth. As with all great 'Deth, the bass line is the secret weapon here.
"Moto Psycho" is a perfect Megadeth single. For one, it is an anthem of sorts, at least in spirit. That's a fine riff there folks. Plus it is heavy enough to get the nod, but catchy enough to lure newbies. Tailgate parties here we come.
"1000 Times Goodbye" is structurally old school but not overly intense. In other words, it could have fit perfectly on Countdown to Extinction. Still, the guitars have a nice, compact crunch.
"Burning Bridges" has a little bit of that vibe metal that the band has practiced over the last 3 studio albums, but it doesn't last much longer than the intro. Spooky guitar coos and a snarly Dave makes all better 30 seconds into the track. Killer hook too!
"Promises" is a ballad of sorts. For some reason I could imagine Ozzy singing this. Thus, it works, even with Dave's limited vocal range. Not killer, but an adequate break in the action to keep them necks from splittin'.
"Recipe For Hate...Warhorse" is Rust In Peace era in that it combines sophistication with shred-a-holic devastation. A long intro that features exotic guitars leads into a genuine Raise-Your-Fist-And-Yell axe attack. This is perhaps the most oldschool Megadeth moment on the disc.
"Losing My Senses" is another Countdown to Extinction harkening. A hummable metal excursion that won't hurt anything over 50 pounds but shouldn't offend the hardcore either.
"Dread and The Fugitive Mind" can easily be imagined as a left over track from Peace Sells and So Far, So Good era, thrusting forth under bristling guitars and stop-start Mustaine rants (I think they are a registered trademark at this point!) One of the best moments on the album.
"Silent Scorn" is a mellow instrumental that leads into "Return to Hangar", an obvious and significant throwback to the Rust In Peace classic. Though it retains much of the original hook of the original it offers a few twists and turns to prevent it from being an all out clone. Still, one gets the impression that this signifies a statement by the band regarding where they intend to take the proceedings from 2001 on..."oldschool baby."
"When" is a plodding epic that doesn't live up to the drawn out build. Frankly, this one just doesn't close things out well, but 11 outta 12 ain't bad?
Megadeth is back. That includes "The roots" and all. Oh, and that Vic fellow is on the cover again...jumping out of some unfortunate soul's chest...maybe it is a symbol of the indigestion felt after Risk?