Slayer
Live Undead

THE REVIEW

Everything has already been said about Slayer; their enormous contribution to the birth of extreme metal has become a dogma. The drumming of Mr. Dave Lombardo gave rise to various musicians like Pete Sandoval (Morbid Angel), Gene Hoglan (Dark Angel, Strapping Young Lad), Jan Axel Blomberg (Mayhem), Nick Barker (Cradle of Filth, Dimmu Borgir), and even drummers with a style very different from his, such as Raymond Herrera (Fear Factory) and Joey Jordison (Slipknot).

However, Slayer are not the most technical musicians in the world, TRUE. Slayer are not the greatest entertainers in metal music, TRUE. Slayer have never sold as much as their peers Metallica, Anthrax, and Megadeth, TRUE. But the band is unbeatable in one thing, their sonic fury. In my opinion, no one can translate violence into music like they do and many bands that came after, many of which showcase a much more incisive sound, fail to match King and his associates in expressing anger with a song.

But now let's talk about this "Live Undead", released back in 1984 (the new versions of the product are attached to the EP "Haunting the Chapel"). There are many urban legends surrounding this live. Many say it’s fake, recorded in the studio with added audience sound effects, while others label it a true live but produced by Brian Slagel without the band’s consultation. Regardless of whether these rumors are true or false, we are now more interested in knowing the quality of this product. Honestly, I don't consider it a good work, the recording is somewhat sparse (perhaps showing signs of age), the drums have a rather confused sound (I can hardly distinguish Dave's snare from the double bass).

What saves this "Live Undead" from falling short is the cover (gorgeous, very reminiscent of Iron Maiden's) and its content, i.e., classics like "Black Magic", "Die by the Sword", "The Antichrist", and "Evil Has No Boundaries" (all from the debut "Show No Mercy"). Tom Araya's performance on vocals is commendable; back then, he could really unleash some crazy screams and had a vocal expressiveness like a true "Demon", whereas today he sounds very off-key (well, he is also approaching his fifty-year mark). King and Hanneman display their usual style, with lightning solos and technically modest rhythms, while Dave Lombardo hits like a madman, but like a true "Timekeeper" with the utmost rhythmic precision.

In conclusion, an album that doesn’t shine on its own and there are better live performances out there, yet it is a piece of history of the Californian combo and I’d recommend it only to the band's die-hard fans (like myself).