This is the best album in all of fucking music. Rob Mckillop certainly knew how to cause havoc with his chunky basslines that give the songs some oomph. Because Anthrax got the fame for their ''humour'' and introduction of rap into thrash metal. Deliver Us To Evil. The guitars are very stripped down in terms of tone, they do sound thin, but once again, the performance from Gary Holt and Rick Hunolt more than makes up for it. There are times you can hear it louder and clearer, but this just teases. Gary Holt and Rick Hunolt are very talented guitarists, but rather than create a complex musical masterpiece worthy of making the band the next Iron Maiden, they decided to cut some corners in order to make the songs more aggressive. Give me a break... Thrash is genre that lately seems to be giving people some trouble, for reasons I cannot fathom. There isn’t much of a riff on this song that isn’t generic. Those who don’t like this album still hold respect for the weight of influence it had on metal, but they’re ignorant and can’t understand it. This is just the start however... What can I say is that 1980's paved the way for what new metal bands are today. "This song ain't about no goldfish, and it ain't about no tuna fish, and it ain't about no trout! To be fair though, he does have some okay technical fills himself. The screeching "Metal Command" and the similar, slightly less aggressive title track come at ya with a flurry of guitars and drumming, truly commanding the listener to bang until nothing but blood and teeth remain. Gimme that! The thrash classic title track opens the record. The band’s undeniable way with tasty riffs is accentuated by the dynamic opportunities the variation in tempos provides. Paul Baloff sounds like a drunken punter who improbably found his way to the stage and made it his own. The later two are arguably the most evil sounding songs on the album (with strong competition from pretty much all the other songs on here...), and the vicious riffs will certainly have you headbanging shortly. No ballads, not even the occasional silly midpaced moment, this is balls-out brutal thrash metal. It’s in the Hall, in the foundations of grim ol’ Mt. The bass is also very notable, as it presents itself as the backbone of the album's production, it is especially prominent on tracks like "Exodus" and "No Love". Other amazing tracks include the mid tempo crusher "No Love", which starts with a classical acoustic bit, before going into a kickass riff written by the master Gary Holt, the hellish shrieks by Paul Baloff, and technical drumming. The last similarity between these two seminal albums is the solos. "Piranha" has 3000 crushing riffs that fucking grind everything to the fucking bone, along with the uncontrollable screaming of Paul Baloff, and some chaotic soloing at the end. Rob McKillop’s bass gets buried, and while it still provides the rhythmic backbone that it’s supposed to be, it’s not a feature. The simplicity of that riff and the chorus cannot be forgotten because you can remember them very well from the first listening, as the sudden speed restart with lots of solos. But in reality, he followed a clear line, at least on the here presented work. The guitars never sound muddy, the drums are clear and coherent, and the vocals aren’t drowned out and they don’t over power everything else. That's exactly y I ordered the original alongside this one, Reviewed in the United States on December 1, 2017. My Picks: “And Then There Were None,” “Piranha,” “Strike of the Beast”. Okay, let me get this out of the way: If you don't own this and call yourself a thrash fan, Satan will come down for your soul and drink your blood and have his demons rape you until you die. It's easy to make a conclusion that Exodus would've been rightfully regarded as one of ''the big four'' of thrash had this album been released in 1984. You can’t ask for much more from a bands first release. Other than great songs, this album also has almost perfect production.