- A furious slice of 80s thrash where riffs snarl, nightmares bleed, and vinyl grooves scream louder than the dead
This slab of wax is a séance, man, a shriek from the crypt dressed up in Capitol’s shiny sleeves. “Mary Jane” isn’t just a song, it’s Mustaine carving his teenage nightmares into the grooves with a buzzsaw, sneering at you from behind walls of amp-fire and double-kick thunder.
Flip it and you’re ambushed by “Hook in Mouth” and “My Last Words,” two grenades lobbed at complacency, detonating in your skull long after the stylus lifts. This isn’t just thrash—it’s black coffee for the damned, served at 45 RPM.
The MEGADETH - "Mary Jane" 12" Vinyl MAXI-SINGLE - USA Release is an iconic musical piece that showcases the talent and creativity of the American thrash metal band, Megadeth. Released in 1988, this maxi-single offers a unique perspective on the concept of "Mary Jane", which is often associated with marijuana. Contrary to popular belief, the song delves into the dark tale of a girl who embraces witchcraft and ultimately faces a tragic fate.
Megadeth, formed in 1983 by guitarist and vocalist Dave Mustaine, quickly rose to prominence within the thrash metal scene. Known for their aggressive sound, intricate guitar work, and thought-provoking lyrics, the band's discography has left an indelible mark on the heavy metal genre. "Mary Jane" stands as a prime example of Megadeth's ability to explore unconventional themes while maintaining their signature style.
Although the title "Mary Jane" might initially evoke thoughts of marijuana, the song takes a different path. It tells the story of a girl who becomes entangled in the world of witchcraft, seeking solace and forgiveness from her father. However, her pursuit of dark magic ultimately leads to dire consequences. As a form of punishment, she is buried alive, trapped in a coffin with no escape.
This narrative is a departure from the usual lyrical themes associated with Megadeth's music. Instead of focusing on political or social issues, the band delves into the realm of the occult, exploring the consequences of dabbling in forbidden practices. The song showcases Megadeth's versatility as songwriters, proving their ability to tackle a wide range of topics while maintaining their distinct musical identity.
The maxi-single format of the release offers fans a comprehensive package, featuring not only the original studio version of "Mary Jane", but also additional tracks that complement the main song. These extra tracks can provide further insight into the band's musical evolution and creative experimentation during that period. In addition, the 12" vinyl format enhances the listening experience, allowing for a more immersive and dynamic sound.
The USA release of the "Mary Jane" maxi-single is a testament to Megadeth's popularity and impact within the American music scene during the late 1980s. Thrash metal was reaching its peak, and Megadeth stood at the forefront of the movement, pushing boundaries and defying expectations. The release of this maxi-single demonstrates the band's commitment to delivering quality music and engaging their audience in a thought-provoking manner.
Heavy / Thrash Metal
Capitol Records – 12CL 489
12" Vinyl Stereo Maxi-Single
Total Weight: 230g
1988 – USA
Mark Wilkinson, born in 1952 in Windsor, England, is one of Britain’s most prolific and versatile album cover artists. His name appears on everything from the polished rock of Status Quo’s “In The Army Now” (1986) to the fierce thrash of Megadeth’s “Mary Jane” (1988). Known for his surreal, detailed, and conceptually rich imagery, Wilkinson became a visual storyteller for generations of rock and metal fans — his art defining eras as vividly as the music itself.
Wilkinson’s work on Status Quo’s “In The Army Now” showcased his ability to adapt his style for a mainstream British rock audience. The sleeve’s clean, militaristic design reflected the band’s shift into a polished 1980s sound — yet behind that restraint was an artist known for painting elaborate fantasy and conceptual worlds. It demonstrated his finesse in merging visual storytelling with commercial clarity, marking one of his rare ventures outside the progressive and heavy metal realms.
Just two years later, Wilkinson’s name appeared on the U.S. release of Megadeth’s “Mary Jane” — a surprise for collectors who associated him with European prog and metal acts. His credit on this 12" maxi-single signaled a rare crossover into American thrash. While stylistically distinct from his more ornate British works, the artwork shared his hallmarks of precision and atmosphere. Multiple sources, including Metal Archives and Discogs, confirm the credit, cementing his global reach in the rock and metal visual landscape.
Whether crafting the conceptual tension of In The Army Now or the darker energy of Mary Jane, Wilkinson’s work demonstrates a rare adaptability — one artist fluent in both boogie rock’s grounded realism and heavy metal’s mythic grandeur. His designs remain a visual bridge between worlds: hand-painted, symbolic, and unmistakably analog in an era that prized imagination over pixels.
The front cover of Megadeth’s Mary Jane 12" maxi-single (USA, 1988) is dominated by the band’s skeletal mascot, Vic Rattlehead, clawing his way up from the ground. He wears a ragged business suit, his metallic skull-face glinting under moonlight, while skeletal hands tear through the soil as if escaping the grave.
Behind him stands a tombstone inscribed with “RIP Mary Jane” and a haunting epitaph: “From the earth / Up through the trees / I can hear her calling me.” The letters glow as if illuminated by an otherworldly light, intensifying the supernatural theme of the artwork.
A pale full moon casts a ghostly aura over a barren tree on the right side, amplifying the eerie mood with stark silhouettes. At the bottom, the iconic Megadeth logo blazes in fiery gold and red, a bold reminder of the band’s ferocity in the thrash metal movement of the late 1980s.
The back cover of Megadeth’s Mary Jane 12" Maxi-Single (USA, 1988) is presented on a dark maroon background with the bold Megadeth logo emblazoned at the top in gold and red.
Track details are prominently listed: A-side Mary Jane, and B-side Hook in Mouth plus My Last Words, with credits naming Dave Mustaine, David Ellefson, Paul Lani, and Randy Burns. Below, creative contributors are noted, including illustrator Mark Wilkinson, photographer Pete Cronin, and artwork team The Artful Dodgers Ltd.
Centered near the bottom is a color photo of the band in the late 1980s, showing four members with long hair and piercing gazes, embodying the thrash metal attitude. In the lower right corner, the Capitol Records logo confirms the release’s label.
Close-up of the Mary Jane Side One label from Megadeth’s 12" Maxi-Single (USA, 1988). The label is dominated by the Capitol Records dome logo in white against a black background.
The text displays catalog number 12CL 489, speed at 45 r.p.m., and stereo designation. Song title Mary Jane is credited to D. Mustaine and D. Ellefson, with production by Dave Mustaine and Paul Lani.
Additional details include publishing by EMI Music Publishers Ltd/Theory Music, copyright ©1988 EMI Records Ltd, and a note that the track appears on the Capitol album So Far, So Good… So What! Perimeter text warns against unauthorized copying, hiring, renting, or broadcasting.
"Anarchy in the U.K." is originally a song by the English punk rock band "The Sex Pistols" . It was released as the band's debut single on 26 November 1976 and was featured on their only album, Never Mind the Bollocks, This is Megadeth's cover of it, originally released on the album: "So far, so good, so what?"
Anarchy in the UK 12" Laser Etched Vinyl LPCountdown to Extinction was a critical and commercial success, reaching number two on the Billboard 200 chart in the United States and selling over 10 million copies worldwide. The album was certified double platinum
Countdown to Extinction 12" Vinyl LP"Death in the Fire" 180g White Label Transparent Vinyl 12" Vinyl LP Album offers a thrilling glimpse into the raw intensity of Megadeth's live performances during their early years. While an unofficial release, this limited edition LP
Death in the Fire 12" Transparent Vinyl LP <This is the Picture Disc version "Killing Is My Business... and Business Is Good!" the debut album by American thrash metal band Megadeth. It was originally released in 1985 on Combat Records.
Killing is my Business and Business is Good 12" Vinyl Picture Disc"Killing Is My Business... and Business Is Good!" is the debut album by American thrash metal band Megadeth. It was originally released in 1985 on Combat Records. Mustaine wanted a picture of Megadeth mascot Vic Rattlehead
- Killing is my Business and Business is Good (1985, Canada) - Killing is my Business and Business is Good (1985, Holland)This isn’t just a thrash metal maxi-single, it’s a coffin lid slammed shut at 45 r.p.m. Mary Jane crawls from the grooves with banshee wails and bone-splintering riffs, a teenage séance pressed in black vinyl. Flip it, and the B-side detonates with Megadeth’s trademark venom, each track a Molotov cocktail hurled at silence itself.
Megadeth's "Mary Jane" / "Hook in Mouth" picture disc is a fascinating slice of thrash metal history. While often sought for its collectible artwork, the songs themselves pack a powerful thematic punch.
Mary Jane b/w Hook in Mouth 7" Picture Disc"No More Mr. Nice Guy" was originally a song by Alice Cooper, released in 1973. It became a popular hit and was covered by various artists over the years. In 1989, Megadeth decided to cover the song and release it as a single.
- No More Mr Nice Guy (1989, EEC Europe) - No More Mr Nice Guy (1989, USA)Formed in 1983 by former Metallica guitarist Dave Mustaine, Megadeth quickly gained recognition for aggressive sound, complex guitar work, and conscious lyrics. "Peace Sells... But Who's Buying?" became their second studio album
- Peace Sells But Who's Buying (1986, Canada) - Peace Sells But Who's Buying (1986, Germany) - Peace Sells But Who's Buying (1986, USA)Megadeth's "So Far, So Good, So What" 12" vinyl LP album was released on 19 January 1988, on Combat Records. The Canadian release of the album features a slightly different track listing than the US version
- So Far So Good So What (1988, Canada) - So Far So Good So What (1988, Germany) - So Far So Good So What (1988, USA)