Ahh, the start of it all. This was pretty much a staple of my listening pool way back in high school. Never mind that with a walkman glued to your head, someone was bound to ask you what you were listening to. To be able to look at them straightfaced and reply "Death", the reactions were priceless. Well, as good as it was back then, it does indeed sound a little dated now. The drumming just kinda plods things along, and the simplistic riffing (NOTHING like the Death of today!) leaves something to be desired. But, along with Jeff Becerra of Possessed, "Evil" Chuck is pretty much to thank for the razor throat vocals which are so prevalent today. In fact, Chuck has managed to single-handedly invent and re-invent the genre over his lengthy career. So, while this disc may not be choice for the 90's, it's a definite history lesson, worth the 15 bucks just to hear where most people got their inspiration, whether they admit it or not! Unfortuantely for me, this left my possession as part of my post undergraduate vinyl liquidation.
Rating: Musically a 6; Historically a 10.

Beginning the trend of renewing the band members on every release, Chuck bring us the best of the first three Death releases. Drawing 3/4 of the Florida band Massacre (sorry Kam Lee) Chuck molds the new crew nicely into a molten mess. Guitar work is ten times better than the first album, with some hints into the creative genius which would unfold. Vocals are still as rough as ever, and lyrics, well, they're there. An attempt to be political is made, but "Choke On It" is about the Mexicans who died in a cattle car train catastrophe back in the eighties. Ouch. Again, good for the time, this one holds up a little better, and Death began to get more publicity after this release. There's video documentation of this on the Ultimate Revenge Vol 2 (Combat, 1989?). I also got to see them on this tour at this tiny place in Millville N.J. with the other 10 people who decided to stay past Blood Feast.
7 out of 10

I don't remember much about this one except I got it when it came out and never really got into it. I won't rate it or say too much more except guitar tart James Murphy is here. Oh boy.

In a brilliant comeback from the tepid Spiritual Healing, "Evil" Chuck again steals most of a band (Paul and Sean are from Cynic, Steve from Sadus) to have his way with us eager metalheads once again. The result: one of the greatest metal records ever released. This is a true landmark, Reinert effortlessly blasting past any percussive competition in one of the most exciting drum performences I've heard. The first of four albums where Chuck has managed to push the envelope successfully. Strong jazz and fusion elements are present here, but make no mistake, this is death metal, and the love 'em or leave 'em vocals remain. I guess I could describe this as a adrenalized Focus if I had to reference... but let's just say that this is the cornerstone of technical death metal, and one for the history books.
10 out of 10

Well, finally picked this up on CD to give it the "quality" review it deserves. Not as great of a leap as the SH/Human one, but further progression is evident here, best noticed on fusion-death showcases Overactive Imagination and the title track. In fact, the whole beast is just another amazing tech fest, Chuck here losing the Cynic guys from Human (Focus being recorded around the same time as this) but picking up legends Andy LaRocque and Gene Hoglan. Having LaRocque around guarentees that the axework is first rate, and anything with Hoglan (outside of Old Man's Child) has got to kick serious butt. The largest change to my ears is due to Hoglan, who, while not as jazz oriented as Sean Reinert, manages to up the ante on both speed and intesity. He does manage to spice things up, Hoglan style, but the boy's talent lies in being able to play smoothly at any tempo, and this is used wisely here. Presence of bass phenom Steve DiGiorgio is also noticed, with some tasty licks hovering back there in the mix. In fact, the only thing lacking, which is something common to all Death albums pre-1998, are the vocals (in my opinion). Although Chuck pretty much pioneered this sound back in the late 80's, it tends to sound a little dated, and with the growth that the music has taken, they almost don't fit anymore. Overall, another progressive metal classic, which, while not as memorable as others, is a worthy entry into the hall of fame. Hey, with Death, you just can't go wrong!
9 out of 10

Crossing the technicality of Human with a more melodious approach, Chuck brings in two newcomers to the Death fold. Both these guys (Koelble and Conlon) are new to me as of the recording (Conlon is on Monstrosity's Millennium release) but they totally shred, matching both Chuck and drum wizard Hoglan. The sound here is technical speed metal, but there is a quasi-emphasis on song structure here. I wore this out when I first got it, but truth be told, there's not that much that's memorable here (outside of the title track and Crystal Mountain). It's a strong release, but it pales in comparison to either Human or TSOP. Call this a transition record, building on the last two and preparing us for the onslaught of Chuck's next achievment.
8 out of 10

I'm not sure as to why, but from day one, it seems as though the majority voice has given Mr. Schuldiner a bum deal. Every interview I read has Chuck defending himself and his music. Enter 1998, and here we have Chuck again stating that this record is a personal vendetta against those who would do him in. Opting for more of a spiritual approach (Human was "revenge") on this release, "Evil" Chuck again proves that he is without a doubt one of the finest explorers of the realm of metal. Hiring three "unknowns", Death may now be a complete band, and if so, we may be luckier than ever. Richard Christy certainly had some big shoes to fill, following two super shredders (Hoglan and Reinert), but nails the critical vote within the first ten seconds of track one. The whole band shreds, and what's nice is that the songs aren't written for this task, instead, they flow, and each band member senses enough to pull back when it's time. No more cross-shredding nightmare tracks (see Gorguts) where you have no idea what's going on. Tracks run a bit longer here as well, allowing the song to unfold, cleansing any riffitis which may have occured. But the biggest change has to be the vocals! Gone are the trademark rasps which were pretty much invented on Scream Bloody Gore. Instead, it's a smoother, more athletic growl which fits so much better with the technical approach. Nuclear Blast was wise to pick this seminal band up, for it seems as though we finally get to hear what Chuck wanted us to for all these years. Unfortunately, the album closes with (to my ears) a truly miserable version of Painkiller that I can hardly listen to. Evidently it was included due to popular demand, so be safe in knowing that I'm in the minority on that opinion! Regardless, we owe thanks to "Evil" Chuck for about 15 years of quality music, all of which is incorporated here.
9 out of 10