When somebody defines a "lost classic," they might give a big list of albums that unfortunately never really enjoyed the desserts of commercial success or platinum success, and all kidding aside, the success of an album really never has anything to do with how good it is. Despite any recognition "lost classics" are always tight and solid albums and
Damn The Machine is no exception to that.
The numero uno record by the band that featured ex-Megadeth axeman Chris Poland and vocalist David Clemmons, as well as Poland's brother Mark on drums and David Randi on bass, was well received in a time aligning itself with Savatage, Fates Warning, and
Dream Theater (although there are no keyboards), placing Poland's improvisational skills and his thrash metal stance in a record that let the music do the talking without any need for any flashy production, proof that the chops and songs spoke for themselves on the only record to grace this lineup.
All the tracks feature the same technical endurance and progressive stamina, but yet mix that with a more subdued approach to songwriting without the lengthy jamming that might otherwise be involved, which was a departure from Poland's past with Mustaine. Key tracks include
"The Mission" with it's odd key changes within the catchy riff lines punching holes within the normal pace the song carries;
"On with the Dream," carrying the thrash endurance against the eased back bridges within the song; and the sub funk-thrash of
"Russians." The record does have it's more eased back moments of tranquil material such as the lush technicalities of
"Silence" and the glistening guitar driven
"Honor" which changes the pace from time to time on the album.
Regardless of the positive reception, radio airplay, videos, and large promotion from A & M Records, the guys quickly called it quits, and like bands such as 21 Guns, Banshee, and Union, Damn the Machine's lifespan was short. Poland would go on to play with Ohm among other projects and Clemmons would front Jud, life would go on for these guys in a different form. Hands down it is one of the strongest lost classics of all time, and one of Chris Poland's finest moments.
Written by
Hashman Saturday, December 4, 2004
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