{"id":383387,"date":"2026-01-22T02:51:22","date_gmt":"2026-01-22T02:51:22","guid":{"rendered":"https:\/\/www.newsbeep.com\/uk\/383387\/"},"modified":"2026-01-22T02:51:22","modified_gmt":"2026-01-22T02:51:22","slug":"amg-goes-ranking-megadeth","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/uk\/383387\/","title":{"rendered":"AMG Goes Ranking – Megadeth"},"content":{"rendered":"

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band\u2019s entire discography? Well, if that happened, we imagine it would look something like this\u2026<\/p>\n

Megadeth requires no introduction, but I\u2019ll give one anyway to provide context for why we composed an overwrought missive about one of thrash\u2019s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth\u2019s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol\u2019 fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.<\/p>\n

Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine\u2019s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983, when Dave was famously booted from Metallica a month before recording Kill \u2019em All, to clawing their way into metal\u2019s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine\u2019s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We\u2019ll be back with a look at Megadeth\u2019s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG\u2019s countdown to distinction.<\/p>\n

\u2013 Grin Reaper<\/p>\n

\"\"<\/p>\n

The Rankings
\nGrin Reaper<\/p>\n

Megadeth has been a mainstay of my diet for as long as I\u2019ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed<\/a> and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I\u2019ve spent with this music, I owe Megathanks.<\/p>\n

\"\"#16. Risk (1999) \u2014 I\u2019m paraphrasing, but at some point, Mustaine said, \u201cIf Risk didn\u2019t have Megadeth\u2019s name on it, it would\u2019ve sold.\u201d Maybe, but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.<\/p>\n

\"\"#15. Th1rt3en<\/a> (2011) \u2014 Th1rt3en contains many of Megadeth\u2019s core ingredients, but lacks the hooks and vitality of other releases. The album\u2019s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth\u2019s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.<\/p>\n

\"\"#14. Super Collider<\/a> (2013) \u2014 Compared to Th1rt3en, Super Collider\u2019s highs are higher and its lows lower. Tracks like \u201cKingmaker\u201d and \u201cBuilt for War\u201d burn with a fire that rarely ignites on its predecessor, and while Super Collider\u2019s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.<\/p>\n

\"\"#13. The World Needs a Hero (2001) \u2014 TWNaH might rank higher if Megadeth said goodbye to \u201cWhen\u201d and \u201cPromises\u201d and trimmed fat from other tracks. As is, the choruses on \u201cDisconnect\u201d and \u201cBurning Bridges\u201d nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the \u2018return to thrash\u2019 advertised following Risk, it proved a crucial first step in course correction.<\/p>\n

\"\"#12. The Sick, the Dying\u2026 and the Dead!<\/a> (2022) \u2014 A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of \u201cWe\u2019ll Be Back\u201d) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.<\/p>\n

\"\"#11. The System Has Failed (2004) \u2014 An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia. Dave\u2019s vocals are particularly strong here, and while it\u2019s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.<\/p>\n

\"\"#10. Dystopia<\/a> (2016) \u2014 Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn\u2019t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace. The rest of the album teeters between okay and very good, but \u201cThe Threat Is Real,\u201d \u201cDystopia,\u201d and \u201cFatal Illusion\u201d are the most vital Deth has sounded in the 21st century.<\/p>\n

\"\"#9. Endgame<\/a> (2009) \u2014 Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of \u201cThis Day We Fight!\u201d and \u201cHead Crusher.\u201d This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.<\/p>\n

\"\"#8. United Abominations (2007) \u2014 Endgame and United Abominations are a toss-up, but UA wins out because there\u2019s more variety from track to track, the bass slaps me silly with engaging countermelodies (\u201cWashington Is Next!\u201d), and there\u2019s no \u201cThe Hardest Part of Letting Go\u2026Sealed with a Kiss.\u201d Plus, \u201cSleepwalker\u201d is one of my favorite Megadeth tracks in the last thirty years.<\/p>\n

\"\"#7. Cryptic Writings (1997) \u2014 Infusing all the post-grunge, alternative angst of the mid-to-late \u201990s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they\u2019re so damn good at.<\/p>\n

\"\"#6. Killing Is My Business\u2026 and Business Is Good! (1985) \u2014 Megadeth\u2019s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine\u2019s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.<\/p>\n

\"\"#5. Youthanasia (1994) \u2014 Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in \u201cVictory,\u201d which encapsulates the danger of early Deth and how Mustaine\u2019s and Friedman\u2019s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia\u2019s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn\u2019t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.<\/p>\n

\"\"#4. So Far, So Good\u2026 So What! (1988) \u2014 I originally had SFSGSW ranked lower because of how much it\u2019s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically, it\u2019s apparent that Megadeth\u2019s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy. The album also contains \u201cIn My Darkest Hour,\u201d one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth\u2019s catalog.<\/p>\n

\"\"#3. Countdown to Extinction (1992) \u2014 Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth\u2019s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can\u2019t deny Dave\u2019s success in creating some of the band\u2019s most recognizable anthems while discharging the best-selling album of Megadeth\u2019s career. \u201cSymphony of Destruction\u201d was the first Megadeth song I encountered, and once I dove deeper, \u201cSkin o\u2019 My Teeth\u201d and \u201cSweating Bullets\u201d quickly became frequent stops. Countdown remains the best fusion of Megadeth\u2019s bethrashened roots and perennial commercial lust.<\/p>\n

\"\"#2. Peace Sells\u2026 but Who\u2019s Buying? (1986) \u2014 Many will tell you that Peace Sells is Megadeth\u2019s best album. It\u2019s not, but it\u2019s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut\u2019s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells\u2019 scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later\u2026<\/p>\n

\"\"#1. Rust in Peace (1990) \u2014 For years, Megadeth\u2019s pi\u00e8ce de r\u00e9sistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave\u2019s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, \u201cHoly Wars\u2026\u201d and \u201cHangar 18\u201d dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of \u201cTornado of Souls\u201d and \u201cRust in Peace\u2026 Polaris\u201d is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there\u2019s nary a moment that doesn\u2019t set my head crushing banging. The apex of Megadeth\u2019s discography is absolute perfection, and if you don\u2019t like it, go tell it to Reader\u2019s Digest.<\/p>\n

Owlswald<\/p>\n

Long tethered to Metallica\u2019s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era\u2019s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine\u2019s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album\u2014a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.<\/p>\n

\"\"#16. Risk (1999) \u2014 Essentially, \u201cDave tries to write hit songs,\u201d Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group\u2019s most storied era. There isn\u2019t much else to say: Megadeth\u2019s greatest lineup deserved a much better send-off.<\/p>\n

\"\"#15. The World Needs a Hero (2001) \u2014 Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. \u201c1000 Times Goodbye\u201d and \u201cPromises\u201d rank among Megadeth\u2019s worst songs, squandering the potential of the \u201cReturn to Hangar\u201d concept. Indeed, the world may still need a hero, but it certainly didn\u2019t need this album.<\/p>\n

\"Megadeth#14. Th1rt3en (2011) \u2014 When the only lasting impression is Mustaine\u2019s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey \u201cGuns, Drugs, & Money\u201d and \u201cWe the People,\u201d right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.<\/p>\n

\"\"#13. Super Collider (2013) \u2014 Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. \u201cKingmaker,\u201d \u201cBeginning of Sorrow,\u201d and \u201cBuilt for War\u201d make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and \u201cThe Blackest Crow\u201d sounds like the Deadliest Catch theme song.<\/p>\n

\"\"#12. United Abominations (2007) \u2014 Despite \u201cSleepwalker,\u201d \u201cWashington Is Next!\u201d and revisiting \u201cA Tout Le Monde,\u201d United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like \u201cAmerikhastan,\u201d \u201cGears of War\u201d and the title track are a mess, and Mustaine\u2019s sermonizing rants further weigh things down.<\/p>\n

\"\"#11. The Sick, the Dying\u2026 and the Dead! (2022) \u2014 Megadeth\u2019s sixteenth effort leans on repetitive formulas and Mustaine\u2019s weary vocals. Kiko Loureiro\u2019s world-class fret-work and Dirk Verbeuren\u2019s thundering percussion shine on tracks like \u201cNight Stalkers,\u201d \u201cSacrifice,\u201d \u201cLife In Hell\u201d and \u201cWe\u2019ll Be Back.\u201d However, by the time \u201cMission to Mars\u201d hits, bloated runtimes and awful songwriting drag things to Super Collider territory.<\/p>\n

\"\"#10. Cryptic Writings (1997) \u2014 Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds\u2014one part speed, one part melody, and one part mainstream\u2014Cryptic Writings is lackadaisical. Still, tracks like \u201cShe-Wolf,\u201d \u201cThe Disintegrators,\u201d and hit song \u201cTrust\u201d remain solid amidst an otherwise underwhelming record.<\/p>\n

\"\"#9. Dystopia (2016) \u2014 Like Endgame, Dystopia marks a return to form with the addition of Chris Adler\u2019s precision and Loureiro\u2019s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (\u201cPost American World,\u201d \u201cFatal Illusion\u201d), breakneck speed (\u201cThe Threat is Real\u201d) and impressive shredding (\u201cConquer or Die,\u201d \u201cDystopia\u201d).<\/p>\n

\"\"#8. So Far, So Good\u2026 So What! (1988) \u2014 Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good\u2026 So What! still delivers some bangers with \u201cSet the World Afire,\u201d \u201cHook in Mouth\u201d and the classic \u201cIn My Darkest Hour.\u201d<\/p>\n

\"\"#7. The System Has Failed (2004) \u2014 This album is a crucial recovery from the Risk era. Chris Poland\u2019s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. \u201cKick the Chair\u201d drives the record, offering essential proof of life and showcasing Mustaine\u2019s resilience.<\/p>\n

\"\"#6. Endgame (2009) \u2014 Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like \u201cBite the Hand\u201d showcase classic riffcraft, guitarist Chris Broderick is the true catalyst\u2014his insane solos and leads elevate the entire record. Despite minor stumbles like \u201cThe Hardest Part of Letting Go,\u201d Endgame proved Megadeth still had it.<\/p>\n

\"\"#5. Killing Is My Business\u2026 and Business Is Good! (1985) \u2014 More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of \u201cMechanix\u201d to the straight-up thrash assault of \u201cThe Skull Beneath the Skin,\u201d this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine\u2019s venomous vocals and Poland\u2019s unorthodox leads. Samuelson\u2019s jazz-infused sensibilities and Ellefson\u2019s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.<\/p>\n

\"\"#4. Youthanasia (1994) \u2014 Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy \u201cTrain of Consequences\u201d to the vulnerable \u201cA Tout Le Monde,\u201d though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza\u2019s drums hit like artillery fire, particularly on tracks like \u201cBlack Curtains,\u201d \u201cYouthanasia,\u201d and \u201cReckoning Day.\u201d It\u2019s Megadeth riding on popularity without losing their edge.<\/p>\n

\"\"#3. Countdown to Extinction (1992) \u2014 Countdown to Extinction marked Megadeth\u2019s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza\u2019s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts\u2014stymied only by another now-famous black album\u2014tracks like the legendary \u201cSymphony of Destruction\u201d and \u201cSweating Bullets,\u201d \u201cForeclosure of a Dream\u201d and my personal favorite, \u201cArchitecture of Aggression,\u201d prove why this record launched Megadeth into the stratosphere.<\/p>\n

\"\"#2. Rust in Peace (1990) \u2014 What more can anyone say about this record that hasn\u2019t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late\u2014discovering this masterpiece only after Countdown to Extinction had dropped. But it\u2019s also cool to be fashionably late, right? Aside from the cheesy \u201cDawn Patrol,\u201d this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.<\/p>\n

\"\"#1. Peace Sells\u2026 but Who\u2019s Buying? (1986) \u2014 Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation, I picked up the tape, and once Samuelson\u2019s drum roll kicked off \u201cWake Up Dead,\u201d that was all she wrote. Peace Sells\u2026 but Who\u2019s Buying? is a masterclass in aggression and technicality. While \u201cWake Up Dead,\u201d the title track and \u201cThe Conjuring\u201d are popular classics, it\u2019s the darker, complex depths of \u201cBad Omen,\u201d \u201cDevil\u2019s Island\u201d and \u201cGood Mourning \/ Black Friday\u201d that define the record\u2019s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It\u2019s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.<\/p>\n

Baguette of Bodom<\/p>\n

With great \u201980s thrashing comes great \u201990s blunders, unless you\u2019re Testament<\/a>. MEGADAVE\u2019s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead\u2019s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I\u2019m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions. Lists sell\u2026 but who\u2019s buying?<\/p>\n

\"\"#16. The World Needs a Hero (2001) \u2013 Nothing says \u2018thrash comeback\u2019 like sly, edgy \u201900s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from \u201c1000 Times Goodbye\u201d to alt-metal ballad \u201cPromises\u201d should be considered a war crime. At least \u201cReturn to Hangar\u201d apes a good Megadeth track.<\/p>\n

\"\"#15. Super Collider (2013) \u2014 I don\u2019t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (\u201cKingmaker,\u201d \u201cBuilt for War\u201d), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.<\/p>\n

\"\"#14. The Sick, the Dying\u2026 and the Dead! (2022) \u2014 Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun \u201cMission to Mars\u201d are salvageable, otherwise it\u2019s a bloated monstrosity full of mediocre to bad re-thrash.<\/p>\n

\"\"#13. Risk (1999) \u2014 Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe \u201cCrush \u2018Em\u201d make Risk comically lame, but some are decent and catchy (\u201cWanderlust,\u201d \u201cI\u2019ll Be There\u201d). Not a good record by any means, but Megadave is capable of worse than boring.<\/p>\n

\"\"#12. United Abominations (2007) \u2014 A good four-track EP (especially \u201cWashington Is Next!\u201d) held hostage by the seven lame tracks that follow, not to mention \u201c\u00c0 Tout le Monde (Set Me Free)\u201d being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.<\/p>\n

\"\"#11. So Far, So Good\u2026 So What! (1988) \u2014 When discussing Megadeth\u2019s \u2018first four,\u2019 SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it\u2019s angsty, gimmicky, and \u201cAnarchy in the U.K.\u201d is a Thing That Should Not Be. However, the all-time great \u201cIn My Darkest Hour\u201d justifies the existence of the entire album.<\/p>\n

\"\"#10. Cryptic Writings (1997) \u2014 Overhated! It\u2019s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (\u201cTrust,\u201d \u201cA Secret Place\u201d). Crown jewel \u201cShe-Wolf\u201d is a discography highlight, and the closest Megadave ever got to Iron Maiden.<\/p>\n

\"\"#9. Th1rt3en (2011) \u2014 Aside from the terribad name, Thirteen is also way overhated. It\u2019s a bit too long and I don\u2019t spin it regularly, but it\u2019s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame\/Dystopia, with good fun tracks like \u201cFast Lane\u201d and \u201cWrecker.\u201d<\/p>\n

\"\"#8. Dystopia (2016) \u2014 I\u2019ve cooled on this album, but it\u2019s still one of their better current-millennium records. Not that there\u2019s a whole lot of competition! The instrumental \u201cConquer or Die!\u201d is very fun in particular, but it\u2019s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.<\/p>\n

\"\"#7. Countdown to Extinction (1992) \u2014 A strong transitional record, even if somewhat overrated. Gimmicks (\u201cPsychotron,\u201d \u201cCaptive Honour\u201d) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth\u2019s finest moments, and \u201cAshes in Your Mouth\u201d deserves more praise, too.<\/p>\n

\"\"#6. Endgame (2009) \u2014 This is commonly regarded as the best post-1990 \u2018Deth, and I totally see why. It\u2019s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem \u201cDialectic Chaos\u201d somehow being a highlight. However, there are other albums that I think do more with higher peaks.<\/p>\n

\"\"#5. The System Has Failed (2004) \u2014 Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn\u2019t been ever since, and everything from \u201cDie Dead Enough\u201d to \u201cBack in the Day\u201d is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he\u2019s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave \u201cSomething That I\u2019m Not\u201d and the strange dual outro-ish last two tracks off, but they\u2019re alright as is.<\/p>\n

\"\"#4. Killing Is My Business\u2026 and Business Is Good! (1985) \u2014 An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist \u201cThe Skull Beneath the Skin\u201d or \u201cMechanix?\u201d Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of \u201cThese Boots\u201d is much preferable\u2014but the re-recorded and censored one on reissues is really funny in its own way.<\/p>\n

\"\"#3. Youthanasia (1994) \u2014 Much like The Ritual was Testament\u2019s way of showing the world you can \u2018sell out\u2019 and still make great music, Youthanasia managed to do the same to Megadeth\u2019s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: \u201cFamily Tree,\u201d \u201cBlood of Heroes,\u201d and song title reference extravaganza \u201cVictory\u201d to boot. I\u2019d maybe only drop the title track, funnily enough.<\/p>\n

\"\"#2. Peace Sells\u2026 but Who\u2019s Buying? (1986) \u2014 Despite my accidentally remix-fueled lukewarm first impression, the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. \u201cI Ain\u2019t Superstitious\u201d is the only slight drawback, but \u201cMy Last Words\u201d makes you forget it by dishing out some of the best guitar work in the genre.<\/p>\n

\"\"#1. Rust in Peace (1990) \u2014 What is there left to say about a stone-cold classic and nigh-perfect album that hasn\u2019t already been said? Controversially, I prefer the 2004 remix for its drum sound, but Rust would take the crown either way. An album that starts with \u201cHoly Wars\u2026 The Punishment Due\u201d and ends in \u201cRust in Peace\u2026 Polaris\u201d is already an absolute monster, and the rest of the track list is equally fantastic only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners\u2014it\u2019s all here. Rust in Peace is not just a cornerstone of thrash metal; it\u2019s also a hallmark of progressive metal.<\/p>\n

Andy-War-Hall<\/p>\n

I remember when Pandora radio first put Megadeth\u2019s \u201cSkin O\u2019 My Teeth\u201d my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn\u2019t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much\u2014whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes\u2014we salute thee!<\/p>\n

\"\"#16. Risk (1999) \u2014 Risk is\u2014to borrow the closing line of \u201cTake No Prisoners\u201d\u2014\u201dshit.\u201d Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote \u201cGood Mourning\/Black Friday\u201d\u2014\u201dWhat the fuck is this?\u201d<\/p>\n

\"\"#15. Super Collider (2013) \u2014 You know your album is in dire straits when you gotta tap Disturbed\u2019s David Draiman for songwriting help. Just barely not Megadeth\u2019s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.<\/p>\n

\"\"#14. The World Needs a Hero (2001) \u2014 Bouncing back from Risk was never going to be easy. This isn\u2019t a bounce back. If not for \u201cDread and the Fugitive Mind\u201d or the deeply ironic enjoyment I derive from \u201c1000 Times Goodbye,\u201d TWNaH could easily have slipped to the bottom of this list for its shallowness alone.<\/p>\n

\"\"#13. Th1rt3en (2011) \u2014 This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine\u2019s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.<\/p>\n

\"\"#12. Cryptic Writings (1997) \u2014 You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don\u2019t let the Mot\u00f6rhead beligerence of \u201cThe Disintegrators,\u201d the Maidenesque harmonies of \u201cShe-Wolf\u201d or the pure thrash bonanza of \u201cFFF\u201d be forgotten amongst the bad of Cryptic Writings.<\/p>\n

\"\"#11. United Abominations (2007) \u2014 If Mustaine wasn\u2019t so utterly miserable all the time, United Abominations could\u2019ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on \u201cUnited Abominations\u201d or \u201cAmerikhastan\u201d make the music better. Turn off the TV, Dave. Take a deep breath.<\/p>\n

\"\"#10. The Sick, the Dying\u2026 and the Dead! (2022) \u2014 Megadeth engenders strong opinions. Love \u2019em or hate \u2019em, you either love \u2019em or hate \u2019em. I have no strong feelings towards The Sick\u2026 I chuckle at the \u201cBring out yer dead!\u201d sampling in the title track. I wince at Ice-T\u2019s narration on \u201cNight Stalkers.\u201d Beyond that, it\u2019s fine.<\/p>\n

\"\"#9. So Far, So Good\u2026 So What! (1988) \u2014 The roughest, crustiest of Megadeth\u2019s early material, So Far\u2026 feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it\u2019s still plenty fun, particularly with the closing three tracks. It\u2019s like Peace Sells after a few beers.<\/p>\n

\"\"#8. Youthanasia (1994) \u2014 The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth\u2019s best lineup. I used \u201cReckoning Day\u201d in a short story I wrote in college one time. It was bad.<\/p>\n

\"\"#7. Dystopia (2016) \u2014 When I heard \u201cFatal Illusion\u201d\u2018s bitchin\u2019 bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.<\/p>\n

\"\"#6. The System Has Failed (2004) \u2014 Why does nobody talk about The System Has Failed? After Megadeth\u2019s most miserable stretch of albums, bangers like \u201cBlackmail the Universe\u201d and \u201cKick the Chair\u201d soar in purest triumph. Some slight duds here and there keep it down, but if you\u2019ve slept on The System then correct that at once!<\/p>\n

\"\"#5. Endgame (2009) \u2014 Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like \u201cHeadcrusher,\u201d \u201cThis Day We Fight!\u201d and \u201c1,320\u2032,\u201d and Megadeth sounds almost as volatile as they did on Killing Is My Business\u2026 with Chris Broderick\u2019s gob-smacking guitar solos. If not for the out-of-place balladry of \u201cThe Hardest Part of Letting Go\u2026Sealed with a Kiss,\u201d this could\u2019ve been a top-three contender. Shred \u2019til yer ded!<\/p>\n

\"\"#4. Peace Sells\u2026 but Who\u2019s Buying? (1986) \u2014 The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells\u2026 feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business\u2026 first. From nasty bruisers like \u201cWake Up Dead\u201d and \u201cDevil\u2019s Island\u201d to dramatically-bent cuts like \u201cThe Conjuring\u201d and \u201cGood Mourning\/Black Friday\u201d to Mustaine\u2019s first awkward steps into political commentary on \u201cPeace Sells,\u201d the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells\u2026 is a huge part of what made \u201986 the year for thrash metal.<\/p>\n

\"\"#3. Countdown to Extinction (1992) \u2014 Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it\u2019s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like \u201cSkin O\u2019 My Teeth,\u201d \u201cArchitecture of Aggression\u201d and \u201cHigh Speed Dirt\u201d are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with \u201cSymphony of Destruction,\u201d \u201cSweating Bullets\u201d and \u201cForeclosure of a Dream\u201d digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could\u2019ve threatened the top spot.<\/p>\n

\"\"#2. Killing Is My Business\u2026 and Business Is Good! (1985) \u2014 The Megadeth we all know began with Peace Sells\u2026 but Killing Is My Business\u2026 is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing \u201cLooking Down the Cross,\u201d \u201cRattlehead\u201d and \u201cMechanix\u201d with so much spite and hostility it\u2019s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business\u2026, while still kinda silly, sounds dangerous in 2026.<\/p>\n

\"\"#1. Rust in Peace (1990) \u2014 I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there\u2019s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth\u2019s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that\u2019s as technical (\u201cLucretia\u201d) as it is emotional (\u201cTornado of Souls\u201d) as it is dreadful (\u201cHoly Wars\u2026The Punishment Due\u201d) as it is fun (\u201cTake No Prisoners\u201d), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that \u201cLess Is More\u201d is the greatest scam of our age, Rust In Peace is Megadeth\u2019s magnum opus and you\u2019d better believe it!<\/p>\n

Tyme<\/p>\n

As contentious as it\u2019s been at times, I wouldn\u2019t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I\u2019ve always been a Dave fan. As we seem to have reached a time when he\u2019s poised to walk away from music on his terms, I\u2019d be lying if I said I\u2019m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I\u2019ll always be thankful for the music that\u2019ll be left behind. Well, maybe not all of it, this is a ranking post after all.<\/p>\n

\"\"#16. Super Collider (2013) \u2014 Especially disappointing since I\u2019d hoped Megadeth\u2019s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave\u2019s riskily unlearned lesson.<\/p>\n

\"\"#15. Risk (1999) \u2014 Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave\u2019s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.<\/p>\n

\"\"#14. The World Needs a Hero (2001) \u2014 Outside of \u201cReturn to Hangar,\u201d which is a decent song even if it\u2019s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.<\/p>\n

\"\"#13. Th1rt3en (2011) \u2014 Beyond the uber-cheesy, ridiculously juvenile \u201913\u2019 puns, there were a few rays of promise on this mostly bloated platter (\u201cSudden Death,\u201d \u201cBlack Swan,\u201d and \u201c13\u201d). Not even Dave Ellefson\u2019s return could elevate the album from its inherent mediocrity, though\u2014the last body in the sub-basement of Megadeth\u2019s discog.<\/p>\n

\"\"#12. United Abominations (2007) \u2014 I saw Megadeth live for the first time during 06\u2019s Gigantour, where I picked up a nifty autographed print of United Abominations\u2019 cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.<\/p>\n

\"\"#11. Cryptic Writings (1997) \u2014 Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth\u2019s dark years (1998 \u2013 2003). Still, there\u2019s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth\u2019s existence.<\/p>\n

\"\"#10. Endgame (2009) \u2014 By far one of the better records to come from the second half of Megadeth\u2019s career, Endgame is full of crispy riffs and Dave\u2019s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don\u2019t return to it very often.<\/p>\n

\"\"#9. Dystopia (2016) \u2014 Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro\u2019s guitar mastery and Chris Adler\u2019s drum magic elevate the material, even bolstering Ellefson\u2019s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.<\/p>\n

\"\"#8. The Sick, the Dying\u2026 and the Dead! (2022) \u2014 With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD\u2026 atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.<\/p>\n

\"\"#7. The System Has Failed (2004) \u2014 After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record. I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave\u2019s best vocals.<\/p>\n

\"\"#6. Youthanasia (1994) \u2014 As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band\u2019s discography. That first warm and crunchy riff on \u201cReckoning Day\u201d still works wonders, while \u201c\u00c0 Tout le Monde,\u201d albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.<\/p>\n

\"\"#5. So Far, So Good\u2026 So What! (1988) \u2014 My appreciation for SF, SG\u2026 SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent \u201cIn My Darkest Hour,\u201d just didn\u2019t land with me. In time, though, I came to love this little gem, from the album\u2019s lethal opening one-two punch to the last couple uppercuts (\u201cLiar,\u201d \u201cHook In Mouth\u201d). It\u2019s the weakest of Megadeth\u2019s first four outings, to be sure, but it\u2019s still a classic and sits deservingly at my number five.<\/p>\n

\"\"#4. Countdown to Extinction (1992) \u2014 Countdown to Extinction is a muther fuckin\u2019 CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (\u201cThis Was My Life,\u201d \u201cPsychotron,\u201d \u201cAshes in Your Mouth\u201d) and, despite its uber-popularity, \u201cSymphony of Destruction\u201d is still a pulse pounder.<\/p>\n

\"\"#3. Killing Is My Business\u2026 and Business Is Good! (1985) \u2014 When Bach\u2019s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave\u2019s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson\u2019s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of \u201cMechanix,\u201d I was fascinated by how fast \u201cThe Four Horsemen\u201d could be played.<\/p>\n

\"\"#2. Rust in Peace (1990) \u2014 Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth\u2019s crown. In fact, there\u2019s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover\u2019s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to\u2014Megadeth perfection.<\/p>\n

\"\"#1. Peace Sells\u2026 but Who\u2019s Buying? (1986) \u2014 If the 80s were the golden age of thrash, 1986 was the platinum year of that age\u2014each of the Big Four releasing, for me at least, the best albums of their careers. Peace Sells took the unhinged craziness of Killing and honed it to a razor\u2019s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger\u2019s Ball, and no video got my blood pumping more than \u201cPeace Sells\u2026 but Who\u2019s Buying?\u201d It\u2019s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.<\/p>\n

MegaDolph<\/p>\n

I\u2019ve been listening to Megadeth for almost as long as I\u2019ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I\u2019m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to\u2026<\/p>\n

The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its \u201cDave writes songs about being angry at women\u201d glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early \u201990s Deth. #12 The Sick, the Dying\u2026 and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium<\/a>, Testament) just for him to be part of the album\u2019s absent low-end; however, Kiko Loureiro (ex-Angra<\/a>), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire\u2014I wish those flames had burned \u201cThe Hardest Part of Letting Go\u2026 Sealed with a Kiss\u201d to ashes. But, as we move to the top 10 of Megadeth\u2019s career, things truly do get better.<\/p>\n

\"\"#10. Th1rt3en (2011) \u2014 Though a cut above the most disposable of Megadeth\u2019s works\u2014and host to their worst album name by a wide margin\u2014Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky\/blues rock attitude.<\/p>\n

\"\"#9. Dystopia (2016) \u2014 Much like the album that comes after it (The Sick, the Dying\u2026 and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he\u2019s allowed to flex\u2014he\u2019s even given one full song to himself to do it (\u201cConquer or Die\u201d)!<\/p>\n

\"\"#8. Youthanasia (1994) \u2014 Though already halfway to the sound they\u2019d explore later in the \u201990s, Megadeth still thinks they\u2019re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.<\/p>\n

\"\"#7. United Abominations (2007) \u2014 The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered \u201csamples.\u201d<\/p>\n

\"\"#6.Countdown to Extinction (1992) \u2014 Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good\u2026 So What! delivered, except that about half the songs disappear under the weight of its best cuts.<\/p>\n

\"\"#5. So Far, So Good\u2026 So What! (1988) \u2014 A lot of people, even my colleagues, I\u2019m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.<\/p>\n

\"\"#4. The System Has Failed (2004) \u2014 System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes\u2014balance and power.<\/p>\n

\"\"#3. Killing Is My Business\u2026 and Business Is Good! (1985) \u2014 Megadeth sounds like they could fall apart at any moment of Killing\u2019s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.<\/p>\n

\"\"#2. Rust in Peace (1990) \u2014 Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts\u2014most of Rust is quite technical and progressive for an American thrash band at that time\u2014like \u201cTake No Prisoners\u201d and \u201cPoison Was the Cure\u201d to rager status.<\/p>\n

#1. Peace Sells\u2026 But Who\u2019s Buying? (1986) \u2014 Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.<\/p>\n

\"\"<\/p>\n

Angry Metal Guy Staff Ranking<\/p>\n

We\u2019ve once again used our tallying magic to use a complex point system based on submitted rankings.<\/p>\n

Risk (1999)
\nSuper Collider (2013)
\nThe World Needs a Hero (2001)
\nTh1rt3en (2011)
\nThe Sick, the Dying\u2026 and the Dead! (2022)
\nCryptic Writings (1997)
\nUnited Abominations (2007)
\nDystopia (2016)
\nEndgame (2009)
\nSo Far, So Good\u2026 So What! (1988)
\nThe System Has Failed (2004)
\nYouthanasia (1994)
\nCountdown to Extinction (1992)
\nKilling Is My Business\u2026 and Business Is Good! (1985)
\nPeace Sells\u2026 but Who\u2019s Buying? (1986)
\nRust in Peace (1990)<\/p>\n

\"\"<\/p>\n

Angry Metal Discord Pile o\u2019 Entitled Opinions<\/p>\n

We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There\u2019s no way they got it more right though\u2026 right? But you asked for more lists<\/p>\n

Super Collider (2013)
\nThe World Needs a Hero (2001)
\nRisk (1999)
\nThe Sick, the Dying\u2026 and the Dead! (2022)
\nTh1rt3en (2011)
\nUnited Abominations (2007)
\nCryptic Writings (1997)
\nDystopia (2016)
\nThe System Has Failed (2004)
\nYouthanasia (1994)
\nEndgame (2009)
\nSo Far, So Good\u2026 So What! (1988)
\nCountdown to Extinction (1992)
\nKilling Is My Business\u2026 and Business Is Good! (1985)
\nPeace Sells\u2026 but Who\u2019s Buying? (1986)
\nRust in Peace (1990)<\/p>\n

\"\"<\/p>\n

Given the wide reach Megadeth\u2019s music has, we thought it would be a good exercise to highlight some of Deth\u2019s lesser-known tracks to let casual listeners know what they\u2019ve been missing.<\/p>\n

\ufeff\ufeff<\/p>\n

\n\tGive in to Your Anger:<\/p>\n","protected":false},"excerpt":{"rendered":"The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG…\n","protected":false},"author":2,"featured_media":383388,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[47816,6447,145181,145182,145183,145184,145185,96,39984,13565,138243,145186,145187,7263,25229,128,145188,145189,15743,145190,65237,145191,145192,145193,20383,145194,56,54,55],"class_list":["post-383387","post","type-post","status-publish","format-standard","has-post-thumbnail","category-music","tag-47816","tag-american-metal","tag-amg-goes-ranking","tag-amg-rankings","tag-angra","tag-dystopia","tag-endgame","tag-entertainment","tag-frank-zappa","tag-iron-maiden","tag-jan26","tag-joe-satriani","tag-johann-sebastian-bach","tag-megadeth","tag-metallica","tag-music","tag-quadvium","tag-savatage","tag-sex-pistols","tag-super-collider","tag-testament","tag-th1rt3en","tag-the-sick-the-dying-and-the-dead","tag-thirteen","tag-thrash-metal","tag-trans-siberian-orchestra","tag-uk","tag-united-kingdom","tag-unitedkingdom"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/383387","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/comments?post=383387"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/383387\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media\/383388"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media?parent=383387"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/categories?post=383387"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/tags?post=383387"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}