Good friendly violent fun? Yeah, the perfect call to arms for Exodus. The band was good, very good. Friendly? Most of the time, as long as you weren’t a poseur. The violence is unquestionable. And it is fun, head banging, stage diving, mosh inducing Thrash till death fun.Thrash fans will recognise the opening line as a lyric from “The Toxic Waltz”, Exodus’ tribute to their fans, back from the days when a mosh pit was a swirling maelstrom of bodies colliding chaotically in a ballet of controlled aggression. (OK, so “ballet” may not be the most appropriate word, but it beats the “Simon says jump up and down on the spot” deal which passes for moshing now.) If you can imagine the pit, it is the perfect visual representation of Exodus’ music.While many rave about Exodus’ incendiary debut ‘Bonded By Blood’ as being their finest hour, I far prefer ‘Fabulous Disaster’. This album shows the band at the peak of their powers. They had perfected their own distinctive sound. Forget Hanneman and King, Gary Holt and Rick Hunolt were the perfect Thrash guitar duo. Their guitar tone here borders on Death Metal at times, using dual rhythm and dual leads to amazing effect. At times, it is so heavy as to be percussive. Check the title track, “The Toxic Waltz” and the unlisted cover of AC/DC’s “Overdose” for evidence.That’s not to say all the band could do was heavy. Far from it. There is a cover of “Low Rider”, a little out of place, but far superior to the mangling Korn gave it. “Cajun Hell” is a real surprise. It starts with a zydeco flavoured introduction, and mixes a little Southern boogie with crushing metal, in a style Down would be proud of.However, swamp rock isn’t what you listen to Exodus for primarily. No, heads down, heavy duty Thrash is the main reason for listening to Exodus. It is here by the truckload. Basically, any track here will have you banging your head and shouting along with Steve Souza. You get Hardcore style massed backing vocals, lyrics ranging from political satire to social comment, to silly metal fun.There have always been two songs on this album I have never liked. Musically, there is nothing wrong with them, it is the lyrics, and it is not necessarily a bad thing either. “The Last Act Of Defiance” and “Like Father, Like Son” are both incredibly dark, violent songs, one about a prison riot, the other about child abuse. Imagining the carnage described on the first track and Souza screaming “please Daddy, no more!” on the second have always chilled me to the bone. Powerful.