Capitol Catalog
Release date
27 Jul 2004
Running length
16 tracks
Running time


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    Track     Duration Listeners
1 Reckoning Day (2004 Digital Remaster) 4:33 948
2 Train Of Consequences (2004 Digital Remaster) 3:33 2,248
3 Addicted To Chaos (2004 Digital Remaster) 5:26 742
4 A Tout Le Monde (2004 Digital Remaster) 4:26 3,137
5 Elysian Fields (2004 Digital Remaster) 4:01 606
6 The Killing Road (2004 Digital Remaster) 3:50 823
7 Blood Of Heroes (24-Bit Digitally Remastered 04) 3:49 567
8 Family Tree (2004 Digital Remaster) 4:10 541
9 Youthanasia (2004 Digital Remaster) 4:06 551
10 I Thought I Knew It All (2004 Digital Remaster) 3:41 499
11 Black Curtains (2004 Digital Remaster) 3:37 464
12 Victory (2004 Digital Remaster) 4:28 455
13 Millenium Of The Blind (2004 Digital Remaster) 2:15 372
14 New World Order (Demo) (2004 Digital Remaster) 3:45 363
15 Absolution (Demo) 3:26 1,387
16 A Tout Le Monde (Demo) 6:18 10,312

About this album

Youthanasia is the sixth studio album by American heavy metal band Megadeth, released on November 1, 1994. A remixed and remastered version, featuring several bonus tracks, was released in 2004.

The title is a pun on euthanasia, implying that society is euthanizing its youth, which would be consistent with bandleader and principal songwriter Dave Mustaine’s views.

Youthanasia continued the band’s trend toward slower, more melodic hard rock songs which began with Megadeth’s commercial breakthrough album, Countdown to Extinction.

Lyrically, the album displays a variety of influences: mythology (“Elysian Fields” and “Blood of Heroes”), rape and incest (“Family Tree”), nuclear war (“Black Curtains”), gambling (“Train of Consequences”), and a hit that is about the last moments in life, “À Tout le Monde”.

Megadeth’s previous album, Countdown to Extinction, was tremendously successful and the band was faced with the daunting task of making an album to follow it. It was a time of problems and conflicts for Megadeth, in that every two weeks or so according to Mustaine, there were “outrageous emotional interventions” in order to make the group a democracy. Many band meetings during this period concerned Mustaine’s creative control over a “successful formula”, so that the band could better exercise their creativity.

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