![]() On "Wake Up, Dead" and "In My Darkest Hour", some of the nuances that were previously lost in the mix are now audible, enhancing the listener's experience. Some of the thinner production that marred such tracks as "The Conjuring", "Bad Omen", and "502" is replaced with a full, ambient sound that brings these tracks to life. Once acclimated, though, the sound just hits you in the face and doesn't let up. To those who are familiar with this material, the remixes takes a bit of getting used to. Using this formula, Peace Sells.But Who's Buying and So Far So Good So What almost sound like completely different albums, although the same basic tracks were used. To this end, he seemed to use a basic formula: Jack up the bass, make the vocals clearer, and make the guitars sound wider to fill out the mix. The simplest way that I can put it is that he wanted to make his albums more crankworthy. The approach appeared to be closer to what a fan might do rather than that of a lofty artist trying to change his own work with a different inspiration. Unlike Frank Zappa, ZZ Top, or Ozzy Osbourne, Dave Mustaine generally did not try to use these remixes as an opportunity to change Megadeth's music, but, rather, to enhance the sound. After extensive listening and relistening, I must admit that there is more things to like about the new remasters than there is to dislike. Nevertheless, my charge here is to present as objective an opinion as possible. My knee-jerk reaction to these remix/remasters was that I wanted to hate them and, upon first listen, I was fully prepared to do just that. He was so happy with the results that he decided to give Megadeth's other albums the same treatment. Mustaine satisfied that one project? Noooooooo. The remaster, also, boasts new cover art which is considerably better than the original, indie cover and more worthy on inclusion in the Megadeth canon.īut, was Mr. (At least when Queen did it on Live Killers, it was only once and it wasn't in the middle of the damn song.) The three bonus tracks are demos from the album and that's exactly what they sound like. He shouldn't have bothered to include the track at all as the bleeps are both annoying and distracting. Since Mustaine was threatened with legal action for some of the new lyrics being offensive, Mustaine included the track with bleeps in every place where there is an "offensive" word. The only exception is the addition of "These Boots", which was essentially a cover of "These Boots Are Made For Walkin'" with alternate lyrics. It now sounds as menacing as was intended. ![]() The sound is much fuller and more realized. In 2002, the new version was released on the Loud label and the results are positively stunning. The album had a notoriously low-budget mix and needed a complete facelift. ![]() Despite Remaster Hell's stated position, Killing Is My Business really needed a new remix. It all started when Mustaine went in to remix Megadeth's first album, Killing Is My Business.And Business Is Good. ![]() He remixed all of the albums up to and including 1999's Risk. While it is true that some of Megadeth's early albums could have used a fresh remaster with better EQing, Dave Mustaine made a different decision. In one sense, it was completely unnecessary. This is what makes the 2004 Megadeth remasters so maddening. Such remixes are welcome so long as they are used as bonus material and the original mixes are left intact. Remaster Hell generally opposes the remixing of albums for the purpose of replacing the originals. ![]()
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