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You've heard better - 85%

McTague97, December 15th, 2014

Every band releases something that doesn't live up to expectations eventually. Some bands do it repeatedly and some bands jump into a downward spiral. Luckily for Megadeth while it didn't live up to expectations this time around it was still pretty solid.

Dave's singing isn't as aggressive as Killing is My Business. Still full of energy and enthusiasm. He's very charismatic with his vocals. He has a limited range in his singing but the vocal parts in the songs don't require anything amazing, this teamed with his charisma still make his vocals a staple for the band.

The guitar work is pretty solid for the most part. Very fast, very calculted, very driving on the riffing, the riffs aren't very memorable though which is odd as I usually remember riffs very well. Its missing the level of melody that was present before however and this doesn't quite live up to expectation. The melody/technical mixture was also very crucial to Megadeth's sound so it doesn't sound quite as strong without it. The solos still pack the melodic/technical shredding punch and remain as highlights of the songs. Into the Lungs of Hell is one of the strongest tracks and is mostly just soloing.

Dave Ellefson is a solid bass player. He keeps up with the other boys really well. Fast and technical and at times throwing in stuff that's more attention grabbing then what his buddies on the guitar are doing. He mostly rounds out the sound though which is a pity compared to his past. The drummer is a new guy I believe, all the jazz elements from KIMB are completely gone now. He also isn't nearly as technical relying more on pure force and pounding, he sure likes his double pedal as many metal drummers do. He plays fast.

Standout tracks: Into the Lungs of Hell, the cover of Anarchy in the U.K. and In My Darkest Hour

Cigarettes & Burgers, Caffeine & Alcohol - 93%

Metal_Thrasher90, October 28th, 2014

So Mustaine’s project was successful and acclaimed among thrash fans, becoming a serious rival for his old Pals, specially once he refined and improved the band’s sound on Peace Sells…But Who’s Buying?, on which their identity and concept was clearly defined, one of the musically strongest records of that splendorous 1986. The competent jazzy line-up broke-up, Poland & Samuelson were replaced by Young & Behler, inevitably affecting the result of the following album for good or bad. Even though these guys made a decent debut and a superior successor, they still had to definitely obtain their own sound and forget about the predictable subgenre topics, an objective which wasn’t accomplished on this release, though very amusing songs can be found here anyway. So Far, So Good…So What! would be their final entirely thrash record, an honest farewell that would contribute to the reach the brilliance of its successor, because there would be no Rust In Peace without a preceding primitive stage they had to go through.

The opening cut is actually spectacular, majestic and more pompous than anything displayed on previous attempts, huge guitar lines and meticulous arrangements create an epic atmosphere, accompanied by that frantic shredding with Dave going wild, what an intro. The following “Set The World Afire”, which is supposed to be the infamous first composition this guy wrote after being kicked out from Metallica, is clearly intended to be relentless and brutal, designed by abrasive sharp riffs and outrageous velocity, adding truly consistent instrumental passages and certain complication. That couple of superb raging thrash cuts achieve a similar level of excellence from the previous record schemes, less melodic, very harsh and devastating, on other hand, without denying technique and precision. “In My Darkest Hour” follows an also ambitious pattern of diverse sections, tempo shifts, skilled instrumental sequences and inspired arrangements, emotional, lyrical, energetic and violent in equal percentages, becoming an instant anthem. However, those 3 numbers are rather an exception among an album that includes straighter formulas. Well, “Mary Jane” has evident sophistication and complexity, with those acoustic lines and versatile structures, in contrast with the chaotic scruffy “502”, which is deprived of control and discipline but plenty of rage and energy. Attitude is certainly what other basic compositions like “Liar” are about, vocally-based and technically humble to let Mustaine’s explicit nasty words take all attention and attack Poland (according to the rumors). Riffs are getting so punkish and simple, revealing no significant progression or variation. The Sex Pistols cover “Anarchy In The U.K.” with the cameo of the guest star Steve Jones, came as no surprise, Megadeth clearly take more notable influence from punk this time, an evident fact their simpler methodology is proving undoubtedly, reducing considerably the difficulty of the music but adding extra ferocity and attitude.

Those who were expecting a sequel of Peace Sells…But Who’s Buying? might be disappointed. Some of these titles are remarkably technical, advanced and executed accurately and clean, though there’s a bigger presence of raw punkish aggression and attitude, which means easier structures, more explicit lyrics and loose riffing, after all that genre was crucial for the development of thrash, yet Mustaine & co. are pushing away that other vital inspiring musical movement for the subgenre this time, the NWOBHM and its sophistication and musicianship. This stuff has a more notable reminiscence of Sex Pistols, instead of reminding of Diamond Head, in fact the lord & master of the band admitted they were listening to lots of punk albums by then, an influence reflected on each composition, even on those complicated ambitious 3 that include as well some punkish essence on both riffing and lyrics. Undoubtedly, So Far, So Good…So What! meant a regression from its predecessor if we refer to complexity and originality, but even though nearly 70% of this material is straight, easy and primitive, consistence, attitude and amusement are guaranteed. The line-up performs this very professionally actually, Chuck is lacking the stunning details and virtuosism of Gar, while Jeff could fit a L.A. glam pop group better and I don’t mean his looks only, but the concept of these numbers doesn’t demand the high skills and abilities of the previous album, so fortunately those guys were competent enough to make something decent. Rumors also say Mustaine recorded this whole stuff drunk, yet his exquisite lines speak for themselves, no matter what studio tricks can do, you can’t deny the admirable creativity, grace and solidity of his incredible riffs, his stunning pickin’ parts and song-writing potential. His voice this time sounds absolutely peculiar, raspier, dirtier and constantly furious, very punkish indeed and uncontrolled, what else could fit this music better? Even that terrible lame mix, surprisingly mediocre by one of the most legendary sound-engineers of 80’s heavy metal, Michael Wagener uninspired sadly, contributes to make this album certainly unique and special with all its imperfection and limitations.

No, this isn’t a record you can put in the same level of Rust In Peace, not as solid as Peace Sells…But Who’s Buying? either naturally, but it includes some of the most entertaining fresh songs this group ever conceived (or should I say “this guy ever conceived”, with a couple of exceptions featuring Ellefson co-writing). Musically inferior and undisciplined, it’s plenty of attitude and rage, the elements that made early Megadeth’s music so refreshing, but don’t forget those immense exceptions among all this chaos. Another successful record by another fine line-up which I’m sure everybody guessed right it wouldn’t last much, as usual. The typical unstable formation and sound problem would be solved in the next record, anyway ignoring that following part of the story, So Far, So Good…So What! provides aggression, speed and fun.

Tired and Inconsistent - 72%

StainedClass95, July 27th, 2014

Production goes a long way in music, regardless of what people say to the contrary. To be honest, the music itself is only slightly superior to that of the debut. Most likely, the technical aspect is actually lower. Having said all of this, the combination of better production and songwriting is enough in the end to give it a twelve point advantage.

The best points of this album would start with the production. I think this is the first Megadeth album where the remaster isn't necessary. Most of what is worth hearing is fairly intelligible the first time around. The next would have to be the songwriting. This isn't brilliant, but the better songs on here are worthy of having been written by Mustaine. I have to say the song 502 has always appealed to me. Coming from a small time where people often act out of boredom, this registers with me on a personal level. I also enjoy the riffing on Lungs. Most metal instrumentals strike me as a waste of time, but this carries itself quite nicely.

The bass is very audible, but he doesn't seem to do as much of interest on this album, as on Peace Sells. The guitar work isn't bad, but it's a step below the previous album, and a little more than that below the succeeding album. Mustaine's rhythms are mostly good, but on songs like the cover and Mary Jane, it goes limp. The soloing is also somewhat below par. Poland and Friedman each brought talent and unique aspects of their talent to bear, while Jeff Young may as well not be there. The same can be said of Chuck, who lacks both Gar's jazzy technique and Nick's power. Set the World Afire is an example of a song that I think could have been a pretty good song with better all-around instrumentation. After a while, it just starts to drag. Friedman's playing, for example, would have sufficed to keep it from drooping so badly. Some people have attributed an angry feel to this album, but I'm unconvinced. Hook in Mouth, good song, is the only really aggressive song on here, and it's the very last one.

A weak point of this album is really how much Mustaine predominates. I'm a person who doesn't enjoy Van Halen, and part of it is just how much one man drives it. Most music, to me, can't function this way. Ellefson isn't contributing as much as he later would, and the others added nothing. Yes, he had driven the previous album, but he still had quality musicians to feed off of. This feels like he drained himself to exhaustion. The cover was a poor idea on Mustaine's part, even if it was to honor a legend. Mary Jane also really goes nowhere. Good Morning turned into Black Friday, this just continued to suck for four minutes.

I'd say I'm looking at Megadeth's fourth best album, yeah I do believe Countdown is better. Compared to the debut, it has a similar number of awful songs, but it has one extra good one. The production also isn't killing the weaker ones like it did on the debut. Similar to my debut suggestion, I'd advise taking the top four songs and just forgetting the rest.

Which is better? - 90%

LordThurisaz, March 23rd, 2013

Between Peace Sells, SFSGSW, and Rust in Peace, it's really difficult to pick which is the best. Peace Sells is extremely punky and has some jazzy elements here and there, while Rust in Peace is quite technical and well-written, composed and played. SFSGSW isn't quite as consistent as those two, but it is incredibly metal and probably the purest form of it Megadeth have ever put to plastic.

Dave Mustaine was really beginning to hit his stride here. His lyrics were much more threatening than Metallica's, his riffs were meaner, and was a complete and total asshole on this album. In particular, Liar and Hook in Mouth show just how venomous his tongue could be, lashing out at Chris Poland for hocking guitars for drug money and the PMRC censorship, respectively. And while he's not as consistent as he usually is on this album, every song is a classic except for Anarchy in the UK, which should not be on the "A side" of this album, and 502, which isn't bad, but hints at things like High Speed Dirt and other later songs about speeding, skydiving, and other things that make your heart race with adrenaline. Into the Lungs of Hell is quite interesting as it's the first [and possibly only] instrumental Megadeth has done. The horn and orchestra drum elements are a lot more emphasized on the reissue, which is a tad of a let down, but doesn't hurt the song any as it's only a minor inconvenience. Dave is finally starting to get a decent lead guitar tone, which wasn't horrible before, but it's inching closer to the awesome lead tone on Rust in Peace, which is a good thing. Oh, and his riffs, like those for the song Set the World Afire, are amazing.

The new lead guitarist, Jeff Young... well, I can't really say much about him. He's not awful, but his style isn't realized as he only appears on one Megadeth record and then he's gone. He's sorta sandwiched in there between Poland and Friedman and doesn't seem to have a style of his own that the listener can discern because of this. While what he plays isn't bad, you just don't get an idea what his playing style is like. That said, his solo prior to Dave Mustaine's second solo under the simplified chorus is quite good as is his solo in Set the World Afire. Also, his first solo in SFSGSW is also quite interesting, though it could be better as it doesn't feel like he's "saying" much as his solos ultimately kinda sound like a can of bees. Perhaps it's the production or gear he's using, though. Same goes for Chuck Behler. He's a great drummer, but pretty much is in and out just as quickly. That might have something to do with why this album isn't a favorite of Megadeth fans, because it's a band in transition from one lineup to another more stable one [as opposed to Countdown to Extinction, being a band in transition from one sound to another].

David Ellefson has a decent bass tone on this album and while it's not as upfront as on Countdown to Extinction, it's definitely an improvement over Killing is my Business and Peace Sells. I believe he also has more songwriting credits than on the two previous albums, which is also good. He gets a little spot in Hook in Mouth where it's just him, very cool, but not as memorable or cool as the intro to Peace Sells. Not really much to say about Ellefson other than the fact he seems to have been the rock over the years no matter how hectic or chaotic everything else in Megadeth got. He and Dave really seem to gel and get along, which is a plus because I think it makes the music better.

The production on this album is decent, but not what it could have been. That said, it's not as inconsistent as the songwriting, which is good, but for some reason feels disjointed from one song to the next. It does have some of my favorite Megadeth songs, though, which is a plus. Set the World Afire, Mary Jane, Liar, and Hook in Mouth are definitely worth the price of the album alone, so I definitely suggest buying it if you like Megadeth and thrash metal in general.

A massively underrated effort - 72%

psychosisholocausto, February 23rd, 2013

So Far So Good is something of an anomaly in the Megadeth discography. This album, unlike much of the rest of their albums, does not either flat out suck nor is it an instant classic. Instead, what we have here is an album sandwiched in between the two undisputed classics Peace Sells and Rust In Peace that got rather over looked when it was first released in 1988. This is a release that is also very mixed, with some fantastic tracks among some real stinkers.

What this album definitely is, without any question whatsoever, is a Megadeth album. All the traits that defined the albums that came before and the album that would follow are there. The frantic lead work scattered throughout the album. The demented vocals that, despite being terrible and hilarious to listen to, somehow manage to fit the music. The technical riff work is there, the sarcastic lyrics, and even the final cover song to be featured on a main album (minus bonus tracks on later releases) in their cover of The Sex Pistols controversial song Anarchy In The U.K.

Kicking things off with the balls out instrumental Into The Lungs Of Hell, we are immediately treated to a Megadeth classic. This is an absolutely amazing instrumental that gives off a completely apocalyptic feel to it that very few instrumental-only songs can ever hope to accomplish. This leads right into Set The World Afire, a song many people seem to really enjoy, but i could never get into. From the atomic bomb dropping through to the end of the song, this is a straight thrash song, that only Megadeth could put out, but just comes off feeling extremely stale. It is apparent here that the ingenious writing present on Peace Sells was just missing from parts of this album, despite some killer drumming throughout this particular song. The first few guitar riffs are just stale and played too many times to the point they become boring, and the bass is as bland as can be. The vocals are nice, the riffs once the verse starts are nice enough, and the lyrics to this song are great, but overall it is one of the weaker songs early Megadeth put out.

The cover song, Anarchy in The U.K. is considerably better than the Sex Pistols version, but still not a great song. Mary Jane, however is one of the better songs on the album, with strong, crushing riffs to it, beautifully written lead work, and a fun feel to it that the rest of the first half of the album is devoid of. The guitars to this songs are perfectly written, being both catchy and heavy enough, with Dave's vocals being surprisingly good throughout this song. This was the perfect song to pick the album back up for the second half of the album.

502 has some extremely fast riffing that brings back memories of Killing Is My Business, but this is merely the tip of the iceberg of the best moments of this album, as it feels somewhat like a filler song, that is just there to speed the album up again. Still a decent enough song, though, and definately worth a listen or two. The two songs that follow, In My Darkest Hour and Liar, are two absolutely incredible songs. The former is a song about Dave's fallen comrade Cliff Burton, often mistaken as a suicide promoting song, and is one of the most moving songs in music history. This is how a song should be written, equal parts heavy and emotional, despite the majority of it moving at a very slow pace. The lyrics to this song are just beyond description, being absolutely heart shattering, and conveying the thoughts of a broken man. This is the absolute definition of perfection.

Liar is one of the more hated songs from this album, and i could never understand why. The lyrics are utterly hilarious, speaking of Megadeth's former lead guitar player, who allegedly stole Dave's guitars. The final verse of this song is essentially just one long rant, culminating with the immortal "to your maker, off you go... your a liar, you fucking liar". This song is one of the most balls to the walls, pissed off thrash songs ever recorded, with intense, fast riffing, crazy vocals, and great drumming. The hate for this song is something i honestly will never understand.

Hook In Mouth is half a great song, being very bland and dull for the first verse, but once it kicks in, it hits the listener with the impact of a freight train, bringing crushing riffs and one of the angriest vocal performances from Dave you will ever hear. This song is a song i never enjoy thoroughly, but always skip to when it kicks in, because that is the only segment of this song worth listening to. It is alright as a way to close the album, although this spot would better suit Liar.

This album is definitely a mixed bag of an album, with the first half of it being rather poor when stacked up against what came before and afterwards. Moments like the first half of Hook In Mouth, and the cover of Anarchy In The U.K. and the intro to Set The World Afire really do drag this album down to the abyss. However, the musicianship throughout much of the album is absolutely perfect, the lyrics are as sarcastic and angry as ever, and Dave is on top of his game, vocally, on this album. This is a solid enough release, and definitely does not deserve the hate it receives, but has a few disappointing moments that keep it away from the upper echelons of the Megadeth discography.

The moment Megadeth became great - 99%

Seducerofsouls85, June 16th, 2011

This is my second favourite Megadeth album falling slightly behind "Rust in peace". For me Dave Mustaine works at his best, when he is firing on all cylinders and just plain out not giving a fuck. "Peace sells..." although good was a fierce attempt at trying to outgun Metallica in every conceivable way, a trend which would repeat itself many times after 1992. Some may consider this Megadeth's great success, but I can only enjoy Megadeth to the full knowing Dave Mustaine wrote the songs soley for himself, not because "Master of puppets" went gold or The Black Album sold a trillion copies, or simply because he has to smile through gritted teeth as Kirk Hammett shot to superstardom and got inducted into the rock and roll hall of fame, and some lesser informed folk are still whispering "...Dave who?" Dave Mustaine is not a refrained creature, he would have destroyed Metallica because he was too volatile for it. Back when this album was recorded Mustaine had more in common with Lemmy, than his previous bandmates and here it shows. This is a cohesive speed metal juggernaut, which is raw and unforgivingly against the grain. A lot of people may see this album as passe, probably because they are gay, but for me this album has outlived and overshadowed much of anything in the metal scene, over the passed twenty years.

I remember at this point, people were beginning to say the German's were coming up with the best thrash riffs. I was starting to believe them, until I heard this. From the opening instrumental "Into the lungs of hell" right up until the final potent notes of "Hook in mouth", Megadeth actually put a lot of people to shame. It's no wonder then that this same year (1988), a lot of other thrash releases like Atrophy's "Socialized hate" or Testament's "The new order", just seem slightly lackluster and a tad stale after hearing this. Not only did Megadeth have technical riffs and solos by the bucket load, they had attitude and lived what they sang about. And the best thing about this album is that, Mustaine was not looking over to the Metallica camp to fuel his hunger for Megadeth to be a superior band in every way. Even the ballad "In my darkest hour" has such a raw, improvised rock and roll feel to it. Dave Mustaine did not try and write epic rhapsody, about his fallen friend Cliff Burton, but instead just lays down raw emotion, where as other thrash bands would have released a ten minute long bore fest, full of semi-acoustic wankery. The only downsides is "502" sounds a little street metal at times, but if you weren't alive in the 80's this may not bother you, because you've been force fed grunge and nu-metal and no doubt starved of entertainment by this point. The solos are hair raising, yet have a scuzzy vibe all over them, like you can imagine Megadeth playing them at your local drinking hole. All in all a must have purchase, hopefully you're not one of those who dismissed this album after hearing "Peace sells..."

Dark, Dirty and Fucking Brilliant - 98%

heavens_coffin, November 9th, 2009

The late 1980’s were thrash heaven. Ground was being broken everywhere; landmark and genre-defining classics were falling out of the sky. Metallica and Slayer were gods, Dark Angel was brutalizing ears and Kreator were pumping out twisted riffs that made your neck ache and your brain explode. It was raining thrash classics and Megadeth’s So Far, So Good, So What! was no exception.

Kicking off with the instrumental intro ‘Into the Lungs of Hell’, So Far, So Good, So What! immediately grabs you by the face and lets you know that Megadeth means business. Once it finishes, you hear the dropping of a nuclear bomb before being kicked in the face by the first riff of the mighty ‘Set the World Afire’. This album is packed with not just Megadeth classics but thrash classics. Even the weaker tracks on this record (and that’s arguable) like ‘Mary Jane’ and ‘502’ will make you bang your head and feel the hairs on the back of your neck stand up as metal pumps through your veins. The most famous song from the album, ‘In My Darkest Hour’, is Megadeth’s answer to Metallica’s ‘Welcome Home (Sanitarium)’. It’s not as good as that song, but it’s really close. A beautiful mid-paced tune that explodes into hyper drive as Mustaine sings “Please God, send me on my way!” The closer—and a personal favorite—‘Hook in Mouth’ is a fist-pumping thrash bash with a main riff that is a perfect example of why thrash metal is so awesome. If you aren’t screaming “YOU SAY YOU’VE GOT THE ANSWERS WELL WHO ASKED YOU ANYWAY!?” and grinning at the signature Mustaine snarl, then I don’t know what to tell you. You might be slipping into a coma and going to a dimension where metal doesn’t want you. The only thing that prevents this album from getting a perfect rating from me is the cover of ‘Anarchy in the U.K.’. It’s not that it’s a terrible cover or anything, but it really should have been included as a bonus track or maybe a b-side to a single as it feels out of place on the record.

One of the biggest appeals of this record for me is that which seems to drive some people away from it: the production. In the 1990’s Megadeth would go on to more crisp, clean and polished productions. But not on this record. Fuck no. This production is dark, dirty, gritty and fits the music perfectly. The production, combined with the attitude of this record and where Mustaine was in his life at this point, makes it the darkest, angriest, most drug-laced and in my opinion best album that Megadeth ever made. Peace Sells…But Who’s Buying? had a gritty production job itself, but not like this. This record makes you think of nights on streets where you really wouldn’t want to be. It also makes helps to make this record the monster that it is.

If you’re a newbie to the metal world and are curious about Megadeth, you’re safe in picking up any of the first four albums but this would be my first recommendation. That’s right. I’ll take this over the overrated Rust in Peace any day. Now, don’t think for a second that I don’t think that album’s awesome, but the production was cleaner and the riffs weren’t as mean. The riffs on So Far, So Good, So What! are fucking mean. I myself have been listening to this album for over 15 years and I’ll never get tired of it. It’s an absolute classic in every sense of the word and deserves way more respect than it’s gotten over the years. You, as a metal fan, are doing yourself a disservice by not having heard it. If you are someone who dismissed it long ago, you’re missing out. Big time.

A big disappointment! - 50%

evermetal, November 2nd, 2009

The years around 1988 were definitely a truly bad period for Megadeth. It was a time of intense uncertainty and instability. Dave Mustaine was subjected to his mistress of white death, surrendered to the grasp of his spiritual wreckage. He seemed to asphyxiate in the arms of his genius so sinful and reckless. To say it in simple words, he was up to his neck into drug use. Therefore, it’s not strange that the main element of this album seems to be confusion. Everything they managed to create so far is on the verge of collapsing.

Poland and Samuelson are out of the band and newcomers Young and Behler have taken their place. It was an unlucky move especially now that the band had began to look so steady and firm. At some parts these two new members seem to be completely out of space and are inferior to their predecessors. Mustaine, no matter how much heroin he has used or how much alcohol he has consumed, he still seems as the penis that masturbates. There are though difficulties, in making the sperm find the target. He has some ideas but they are so dry and colorless. As a result, the songs are clearly minor to those of Peace Sells… balancing between good intention and undoable realization.

All these might sound like poetic but they only state that things are really bad. Megadeth have not sold their ideals and beliefs. They don’t claim that they never were a heavy metal band neither do they play pop music to climb the charts, no. So Far, So Good… is by all means a metal album. It has got heavy guitars and drums and some fast tempos familiar of their style. Bun nothing really sticks to your mind. From all the solos of the album there is not even one that got me with my pants down. There is an obvious lack of inspiration and you may believe that they did this album only because they had to. Let’s put a riff here, a chorus there and a simple solo just to get the work done and go home. Even Dave Ellefson who has always been a serious musician has been drifted by the tide.

There are a few songs that I like very much such as Set The World Afire or Hook in Mouth which are classic Megadeth compositions. They have sharp guitars and catchy riffs and some nice breaks that make them quite interesting and pleasant to hear. They possess this certain feeling and attitude I’m looking for in a Megadeth song and they manage to stand above average. No, in fact they are pretty damn good. But that’s not enough to save the day when they are surrounded by mediocre, dull compositions like 502, Liar or the awful, unacceptable for the band, Mary Jane crap. Yes, I said it before, they are heavy songs that come from a metal band but how can you compare them with the killers they delivered in the previous release and not be disappointed? Well, I was anyway! As for Anarchy In The U.K., the cover they chose this time, I don’t disagree totally since they took a punk song and passed it through a metal filter, turning it for the better.

Maybe I am being kind of strict with this album but it is Megadeth we are talking about, not a common heavy metal band that could get a credit for trying to do something good. When you listen to a Megadeth release you expect metal blasters, dynamic songs that blast you away and not fillers with some good stuff here and there. I’m sorry to say it but this is not what I would suggest for you to buy unless you are a die-hard fan of them and everything they do look like masterpieces to you. Mustaine and co. fell many steps behind with this atrocity.

The quintessential Megadeth album? - 90%

The_Grand_Destructor, April 21st, 2007

Megadeth are a band many of you will be familiar with, and rightly so. Personally, they are my favourite metal band, ever. However, it was only recently I really discovered this little gem. Sandwiched between the legendary Peace Sells and Rust In Peace and, hence, so far before the more radio-friendly sounds of Youthanasia and Cryptic Writings, its quite easy to forget this masterpiece.

However, in my opinion it embodies the raw spirit of Megadeth far better than even my album of preference (the brilliant Rust In Peace). It blasts out brutal riffs, fantastic solos and the usual high standard of lyrics Mustaine spits out, while keeping the listener hanging on every note.

The dramatic, incredible opener "Into The Lungs Of Hell" sets off the album with a level of class most instrumentals can only dream of. I'll admit I'm not usually a fan of instrumentals, but Into The Lungs Of Hell is, put simply, incredible. Setting the tone for an album can be difficult, but it draws the listener into the mood of the album, while not sounding like an overture or medley.

Set The World Afire follows suit with astonishing panache, maintaining the power and drive of the introduction, while not sounding samey or repetitive. However, the next song, a cover of The Sex Pistols' Anarchy In The UK is a source of contention - personally I like it, and covers one of the most important songs in British music history with flare and respect to the original. They really make it their own without leaving the Pistols' version redundant. Sure, its a bit silly for an American metal band in the late '80s to cover a British punk song from the '70s, and many Pistols purists will think it an unthinkable idea. But hey, it works. As does just about every song on this album.

There's no pauses for thought for the simple fact that, with Dave Mustaine at the wheel, you don't need any. There is plenty of lyrical depth and power to be found, without a moment's rest in the assault on the ears. In particular 502 and Hook In Mouth are fine examples of this, with In My Hour Of Need spitting more resentment than just about any other song to an ex-lover could even contemplate. The album encapsulates everything Megadeth was, is and should be about.

However, in saying that, it is by no means flawless. Although each song has its own flavour and power, it lacks the diversity, energy and inventiveness of the two albums they'll be remembered for. Despite all the power of Hook In Mouth, there is no beautifully psychotic rant on a par with Rust In Peace...Polaris or Peace Sells. Furthermore, the album is simply too damn short. Hook In Mouth comes to a close and you're waiting for the next assault on your eardrums. But it, frustratingly, never comes. However, when one of the few floors to an album is it being too short, you know the quality's high. And very high it is - this is head and shoulders above some of Megadeth's other albums and would a fine candidate for legendary album number 3.

All in all So Far, So Good, So What? is a classic that no Megadeth fan should be without, and a damn fine introduction for anyone interested in one of the most important thrash bands in metal history.

Weakest of the first four albums, but still killer - 89%

natrix, April 17th, 2007

This is a pretty underrated classic of Megadeth's catalog, and considering all the turmoil the band was going through at the time, I'm surprised it doesn't sound any worse. It nearly rivals Killing Is My Business in terms of sheer sonic ugliness, but not so when you get the remaster, where all the various layers are revealed rather crisply.

Overall, the sound here is rather progressive. By that, I mean that there are quite a few layered guitar sounds. "Mary Jane" and "In My Darkest Hour" are the best examples of this. In fact, "Mary Jane" has to be the creepiest damn thing Megadeth has ever written, sounding heavily influenced by Mercyful Fate, and Mustaine sounds like he's literally going insane. Excellent! Great solo on this one, too! The opening melody is downright haunting, as is the acoustic sections of "In My Darkest Hour."

Still, there's a lot of straight up shredding on here. "Set the World Afire" is a fercious maelstrom of angry riffs, guaranteed to tear your flesh off like a nuclear explosion...damn, it really evokes images of an apocalypse! "502" and "Liar" are both shredfests with maniacal, threatening vocals to match the voracious riffing. Mustaine's soloing is downright lethal, and Jeff Young is no slouch either. The only weak link is Chuck Behler, who though adequete, really doesn't offer anything of note, especailly when sandwiched between the godly Gar Samuelson and Nick Menza. Even worse, the cymbals were recorded seperately from the drums, leaving an irritating pause that makes them sound like a drum machine...that really kills a lot of the energy of the ablum.

I don't care for the Sex Pistols cover at all. It's punky, jolly feel disturbs the overall dark and threatening atmosphere of the album. Mustaine still sounds nasty in his vocal snarling, though.

If this came out before Peace Sells, it would no doubt enjoy a more esteemed position, but this era and album were a transitional period that didn't last. For the next album, Mustaine honed his agression and remained sober to create the finest piece of thrash ever...

The Unsung Classic. - 94%

hells_unicorn, April 17th, 2007








Kingarty, January 29th, 2007






Favorite Track: In My Darkest Hour

Their Last Gasp - 75%

corviderrant, December 12th, 2006






Classic Megadeth - 94%

GuntherTheUndying, December 11th, 2006

Megadeth became one of the most powerful thrash bands in the 1980's and early 1990's after they released a barrage of successful records including "Peace Sells...But Whose Buying?" and the masterful "Rust In Peace," yet the album placed between these two masterpieces is the most forgotten and underrated of Megadeth's career. Many people forget about "So Far, So Good...So What!" because it followed these two important albums, yet I consider it the best release out of Megadeth's first four records. The year was 1988 and Megadeth's need to make some metal was combined with high dosages of testosterone to create an album that had balls the size of Jupiter; that LP was "So Far, So Good...So What!"

In terms of the music, this is a straight up thrash record with some nice hints of speed metal and melody. If there's one thing that Megadeth did different on this album, it was the added quantity of melody and technicality. "Mary Jane," "Set The World Afire," and "Liar" have some semi-melodic thrash riffs that make them stand out from the standard thrash song. "502" is a relentless burst of technical thrash as Dave Mustaine and Jeff Young hit a storm of notes during the song's chorus. "Mary Jane" also falls under the complex category because of the various riffs Mustaine and Young sway in and out of. Bands that are looking to cover a non-metal song should take Megadeth's cover of "Anarchy In The UK" as a prime model; Megadeth takes the Sex Pistols classic and warps into a tornado of speed and thrash riffs with some incredible leads.

Lyrically and vocally speaking, this is one of Megadeth's best efforts. Mustaine takes a stab at censorship on "Hook In Mouth" by mocking its flaws and procedures, yet he manages to sound both intelligent and angry. Mustaine's suicidal ode to the late Metallica bassist Cliff Burton on "In My Darkest Hour" is one of the most famed metal lyrics because of its dark mood and depressive lyrics. "Mary Jane" appears to be about weed at hindsight, but it's actually a tale about witchcraft. Dave Mustaine certainly isn't the best singer in the metal world, but his voice is perfect for this album. Dave's raspy voice slices right into the heart of these songs with an aggressive and hostile tone. His voice can get rather humorous at times, but he does a great allaround job singing on "So Far, So Good...So What!"

There is some controversy about this LP because it mainly consists of material that was left out of the first Megadeth records. "Set The World Afire" is rumored to be the first song Dave Mustaine wrote after he was ejected from Metallica. "Into The Lungs Of Hell," "Mary Jane" and "Hook In Mouth" were also written well before this recording, yet they are all the strong songs and undisputed Megadeth classics.

I personally think "So Far, So Good...So What!" is one Megadeth's best efforts. Everything that defines Megadeth's musicianship is present and it won't let you down. "So Far, So Good...So What!" may not be the most recognized Megadeth release, but it's certainly one of their best. Pick this one up!

This review was written for: http://www.Thrashpit.com

So Very Good - 98%

DawnoftheShred, November 7th, 2006

I’ve always been very impressed with this album, even from the very first listen. Something about it just makes it instantly accessible, perhaps more so than any other Megadeth release. And while it never garnered the same attention as Peace Sells before it or Rust in Peace after it, it has all the classic elements that let it stand just as tall as those two albums, if not taller.

SFSGSW is my favorite Megadeth album, primarily because of the strength of the individual songs. The album lacks the general consistency of mood on Peace Sells and Rust in Peace, but every track is a classic in its own right. Few Megadeth songs hit as hard as the instrumental opener, “Into the Lungs of Hell.” The overlapping clean and distorted tones for the intro create an otherworldly tone and a great atmosphere, one that soon spirals into the chaos of the driving speed riffing and killer lead guitar. The album doesn’t let up from there. Powerful and technical riffs, Megadeth’s most predominant appeal, are the only riffs to be found here. If you prefer watered down groove rhythms or power chord abuse look elsewhere, as this album won’t cater to your needs. Everything about the guitars kill on this album, especially the lead. Mustaine’s soloing keeps getting better and more technical without losing a sense of melody, evident on just about every song here.

There’s plenty of variety on the album as well. Several songs are straight up thrash numbers, such as “Set the World Afire” and the manic “502.” The Sex Pistols cover “Anarchy in the UK” is a prime example of metalification of classic punk. “In My Darkest Hour” provides a mellower edge reminiscent of “Looking Down the Cross.” “Mary Jane” and “Liar” kick ass in the mid-paced department. Basically, there’s no filler here. It’s all powerful, memorable, thrash fucking metal.

I have no issues with the original release, but Dave Mustaine’s need to re-master all the band’s back catalogue really fucked up the reincarnation of this one. Killing is my Business got the celebrity treatment for the re-master, so why didn’t this one? The new mix erases the raw quality of the original to make room for a cleaner more modern sound. The vocals sound worse for some reason and some minor aspects were changed, most notably the creative car stereo effect in the middle of “502,” for some reason horribly botched on the re-release.

If you can find it, hunt down the original release. It’s free of the problems of the re-issue. Either way, I highly recommend this album to any metal fan willing to hear its glory.


emmitt246, November 25th, 2002


