{"id":427433,"date":"2026-01-24T17:15:09","date_gmt":"2026-01-24T17:15:09","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/427433\/"},"modified":"2026-01-24T17:15:09","modified_gmt":"2026-01-24T17:15:09","slug":"the-graying-of-dave-the-red-taking-megadeths-last-stand-to-the-rodeo","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/427433\/","title":{"rendered":"The Graying of Dave the Red: Taking Megadeth’s Last Stand to the Rode\u00f6"},"content":{"rendered":"

\"\"Megadeth is the obstinate offspring of a legendarily difficult and divisive individual who rarely worked well with others or even himself. You can expend buckets of printer ink applauding Dave Mustaine\u2019s skills as a musician and songwriter and pour out just as much on his shortcomings, mistakes, and disappointments. One thing is indisputable: the man left a sizeable impact on metal over multiple decades while helping to define a whole new genre.<\/p>\n

But we didn\u2019t come here to praise Dave or Megadeth, we came to bury them (the latter anyway). Megadeth is allegedly the last album we\u2019ll get from Dave\u2019s passion project, and after 16 albums and a career of loud public living rife with infamously endless beefs, this finale will be both mourned and welcomed depending on where you sit on the spectrum of Megaopinions. Personally, I loved all the early days material, but I\u2019ve run warm and cold on much of what came after Youthanasia. Even though I haven\u2019t spent much time with Megadeth\u2019s post-2000 output, I admit to feeling bittersweet emotions as their career arc finally comes to a close. I\u2019ve even found myself going back through their discography and reminding myself what I loved, what I didn\u2019t, and discovering several of their albums are better than remembered. I suspect I won\u2019t be alone in doing so these next few weeks either.<\/p>\n

Though I had planned to cover Megadeth myself, it began to feel like too big a moment in metal history to hoard for myself, so I reluctantly opened things up to a rowdy Rode\u00f6 of unwashed opinions from the filthy AMG staffers. Dave deserves his special day, and now it will be spent ringside at this cock and bully show. Brace for the full Mustaine experience: hot takes, bad taste, and tiny kernels of wisdom. Rode\u00f6s sell, but who\u2019s buying?<\/p>\n

\u2013Steel Druhm<\/p>\n

\u00a0<\/p>\n

\"\"<\/p>\n

\u00a0<\/p>\n

AMG Himself: It just seems so fitting that Dave Mustaine would want to get in the last word before retiring. My impression of the man has always been that of a cantankerous, moody, and ultimately difficult guy blessed with golden picking discipline and riffs coming out the wazoo. The mythology of Megadeth is, in a sense, told by the joke Steel Druhm has been making behind the scenes by referring to the band as Megadave. Yet, my jaundiced eye sees in Megadeth a story made up of the personnel Mustaine has worked with. It\u2019s no surprise that when the band reached its initial peak of global acclaim, Dave was working with a genuine guitar virtuoso. Again, when Endgame exploded unexpectedly onto the scene\u2014resulting in my youthful 4.5 rating<\/a>\u2014it was Chris Broderick who really made the record shine. Yes, of course, Dave has always had riffs, but Broderick executed with a flex and a grin. So, too, does Megadeth draw its real strength from Teemu M\u00e4ntysaari, whose genuine chops have carved him a niche as a professional second fiddle<\/a> to crabby, unpredictable frontmen. Between Dave\u2019s riffs and Teemu\u2019s execution, Megadeth lands on its feet. With only one song I dislike (\u201cI Don\u2019t Care,\u201d which is truly a stinker), the tone throughout Mustaine\u2019s last dance is mid-paced, strongly melodic, surprisingly hooky, and has just enough swagger to remind you who you\u2019re dealing with. Still, plodders like \u201cHey God!\u201d and \u201cAnother Bad Day\u201d are saved by great solos and interesting countermelodies. And when tracks do peak into thrashy Megadeth fare (\u201cMade to Kill,\u201d or the delightful \u201cLet There Be Shred\u201d), Hevisaurus\u2019 shining light adds brilliance and creativity, raising the level across the board. That may seem like a backhanded compliment, but I think, rather, that it\u2019s just fitting. Dave gets one last go-round on his own terms\u2014a thing he may well have thought would never happen\u2014and we get to talk about the legacy of this legendary thrash pioneer. That\u2019s a good outcome. \u2013 3.0\/5.0<\/p>\n

Steel Druhm: Megadeth have been a semi-loyal companion since 1985. Over the decades, I loved, hated, and forgave them more than once. Now, after 41 years and 16 albums, Dave\u2019s winding down his flying circus with the eponymously titled Megadeth. So where does the road end for the band that helped define thrash and gave metal its most mercurial leading man? Megadeth is an entertaining tour through the various eras of the band, with Dave being MegaDave. He\u2019s older and wiser now, though, and smartly sticks to what he does well here. Opener \u201cTipping Point\u201d is the best Megadeth song in years, with the band rediscovering the beefy thrash sound that\u2019s been missing since Peace Sells. From there, Megadeth takes you through the many faces of Deth, from the annoyingly catchy cheeseball anthems like \u201cI Don\u2019t Care\u201d and \u201cHey, God,\u201d to the solo-heavy speed bombing of \u201cLet There Be Shred.\u201d There are some really good songs here, with only a few that don\u2019t completely work. The album hits a stride late from \u201cMade to Kill\u201d onward. \u201cMade\u201d approaches vintage thrash levels, evoking a badass, nostalgic energy. \u201cI Am the War\u201d is blunt, burly shit, and closer \u201cThe Last Note\u201d delivers Dave\u2019s sneering signoff in grand form. It\u2019s an appropriate exit for a pioneer and legend. Dave\u2019s renewed focus on what he does best pays dividends as he crafts an album\u2019s worth of decent to very good songs with moments that remind me, oddly enough, of classic Metallica. Speaking of which, I even like the bonus cover of \u201cRide the Lightning\u201d more than expected. The fretboard pyrotechnics between Dave and Wintersun\u2018s Teemu M\u00e4ntysaari are hot and noodly, with scads of smoking riffs and solos in every nook and cranny. As his killing business is shuttered for good, Dave leaves behind a legitimately good album, and it\u2019s nice to see him go out on a high note. Goodbye to Vic Rattlehead and company. Thanks for the memories and the music. I can\u2019t wait for the project with Jason Newsted called Fuck You, Lars! 3.0\/5.0 <\/p>\n

Saunders: I\u2019m saddling up for this high-profile rodeo special as a rank Megadeth novice. Due to cutting my teeth as a metalhead on other influential old school thrash bands of the era, Megadeth\u2019s blockbuster career largely slipped by me. I gradually developed a strong appreciation of their selected early albums, largely overlooking much of MegaDave\u2019s tumultuous career path of the past couple of decades. Megadeth\u2019s seventeenth and final album, a fittingly self-titled effort, finds Mustaine rallying his troops for one last go-around. Mustaine and his accomplished brigade of hired guns get back to basics, peeling off a warts-and-all, weathered, yet undeniably energetic swansong. Minus the bonus track, Megadeth clocks a refreshingly lean 41 minutes and comes packed with a decent grab bag of catchy anthems, crunchy riffs and often inspired shredding from Mustaine and co-axeman Teemu M\u00e4ntysaari. However, expectations should be tempered; this is not exactly a callback to their classic era, but rather a fun romp as feisty geezer thrash and anthemic hard rock collide. Featuring punchy, high-octane thrashers (\u201cTipping Point,\u201d \u201cMade to Kill\u201d), big dumb fretboard frying jams (\u201cLet there Be Shred,\u201d \u201cObey the Call\u201d), hooky mid-paced rockers (\u201cPuppet Parade,\u201d \u201cI Am War\u201d), and an unsubtle sentimental farewell (\u2018The Last Note\u201d), enough fuel burns in the tank to offset the album\u2019s weaker moments and missteps. Dave\u2019s trademark punkish snarl sounds in good form, albeit crippled by simplistic and often hamfisted lyrics, including the worst offenders, \u201cI Don\u2019t Care\u201d and \u201cAnother Bad Day.\u201d Regardless, Megadeth could have wound up an overcooked, indulgent mess, rife with questionable ideas and ill-advised risk. Although lyrically, it\u2019s often clunky, leave your brain at the door fare, Mustaine and co. sign off with a respectable collection of infectious, no-frills tunes, providing reasonably satisfying closure for longtime fans. 3.0\/5.0. <\/p>\n

Holdeneye: As long as I\u2019ve liked metal, I\u2019ve had a soft spot for Dave Mustaine and Megadeth. I mean, can you have a more comic-book-villain-origin-story beginning than this band? Yeah, Dave has routinely proven himself to be a megadick, but maybe it\u2019s his unabashed commitment to being nothing other than himself that brings a smile to my face whenever I see him (it was fun to see him play the role of Max Mayfield in Stranger Things). Megadeth was one of my first deep discography dives when I\u2019d officially sworn my vow of un-silence to metal, and the punky swagger into which Dave dipped his thrash has always hit the spot for me. I consider Endgame to be one of the band\u2019s finest moments, but I\u2019ve been rather disappointed with much of Megadeth\u2019s most recent output. In fact, I don\u2019t think I ever even listened to 2022\u2019s The Sick, The Dying\u2026 and the Dead!. So imagine my surprise upon hearing the band\u2019s self-titled swan song for the first time. As soon as the first real thrash riff hit on opener \u201cTipping Point,\u201d I was sold. There\u2019s not a bad song on Megadeth, and there are even a couple of great ones. I don\u2019t even mind Dave\u2019s version of \u201cRide the Lightning,\u201d but I wish he\u2019d recorded it 40 years ago\u2014I can only imagine how the piss and vinegar would have flowed! Overall, Megadeth is a worthy sendoff for Megadeth. I didn\u2019t realize how hard it would be to say goodbye to one of metal\u2019s favorite heels, but here I am. Thanks, Dave, for giving us some killer records and for meting out the punishment we\u2019ve all been due. 3.0\/5.0<\/p>\n

\"\"<\/p>\n

Dolphin Whisperer: I don\u2019t care about Dave writing rock licks. I don\u2019t care about a new guitarist. I don\u2019t care about Megadeth playing old tricks. I don\u2019t care\u2014I just want some thrash hits! That\u2019s been my mantra for a new Megadeth album since I can remember, as I didn\u2019t come of age in the glory days of thrash. Post the release of Endgame<\/a>, I\u2019ve been wondering, with caution, whether each successive album would bookend in lacking the style of the Megadeth catalog. For better or worse, Megadeth gives about as fitting a farewell as Mustaine can manage at this juncture. Between flaccid-mic spats of straight-to-VHS quality camp (\u201cI Don\u2019t Care,\u201d \u201cLet There Be Shred\u201d), Honest Dave emerges in both an aching humility (\u201cHey God!\u201d) and tattered bravado (\u201cPuppet Parade,\u201d \u201cThe Last Note\u201d). Over forty years, seventeen albums, and an undeniable mark on metal history<\/a>, it can be hard to view Mustaine as the working-class underdog that he continues to wear across character pieces (\u201cPuppet Parade,\u201d \u201cAnother Bad Day\u201d). But at least Megadeth doesn\u2019t hammer heavy any ham-fisted conspiracies or stay in any one place too long. Yet, for every moment that Hevisaurus wunderkind Teemu M\u00e4ntysaari saves with an interjecting, slippery neoclassical lead, Mustaine sputters in\u2014no nuance, all withered-face exasperation\u2014about how upset he is, how much he doesn\u2019t care, or how life has worn him down. Much of the riff-base, in similar slogging fashion, feels caught in middling churn of not-quite-thrash but heavier-than-rock pomp of Youthanasia or Cryptic Writings-era works, though an aged punkiness presents itself in refreshing ways, if not always enjoyable (\u201cTipping Point,\u201d \u201cI Don\u2019t Care,\u201d \u201cObey the Call\u201d). In his determination to disappear from the limelight, Mustaine\u2019s cobbled comfort sells Megadeth as Megadeth in a manner that will leave fans not upset, not enthralled, but at an expected ease with the curtain drawn to a close. 2.5\/5.0.<\/p>\n

Thyme: Megadeth has been an integral part of my metal upbringing, so to say it was easy gathering my thoughts on their eponymous last album, let alone the band itself, would be a lie. At times insufferable, yet ever unapologetic, Dave Mustaine has always seemed like the Frank Sinatra of heavy metal to me. Why? Because he has always done shit his way. And, as the man prepares to shutter a chapter of his life over four decades in the making, I\u2019m happy to report Megadeth is going out on a high note. Megadeth has a little bit of everything: the straight-up thrashers (\u201cTipping Point,\u201d \u201cLet There Be Shred,\u201d \u201cMade to Kill\u201d), the bruisers (\u201cObey the Call\u201d), the melodious (\u201cPuppet Parade\u201d), the introspective (\u201cHey God!), and the reflective (\u201cThe Last Note\u201d), which I\u2019d be lying again if I said that last track didn\u2019t have me a little misty-eyed. Even \u201cRide the Lightning,\u201d though no \u201cMechanix,\u201d works well as a bonus track. Further illustrating Dave\u2019s knack for great guitarist collabs, Teemu M\u00e4ntysaari (Wintersun) is a breath of fresh air, masterfully shredding and noodling his way across Megadeth\u2019s very digestible forty-seven minutes. I\u2019m a little sad we won\u2019t get more Teemu-deth, to be honest. Verbeuren\u2019s skinwork shines again, while a trio of bassists (LoMenzo, DiGiorgio, and Rakestraw) capably fill the low end of this Mustaine\/Rakestraw production, which sounds great, landing sonically between Countdown and Youthanasia. It\u2019s no Peace Sells, but it doesn\u2019t have to be. For a man who\u2019s survived addiction, a potential career-ending injury, and cancer(!), I think Dave\u2019s earned the right to lay down his guitar. Time, as we know, waits for no man. While it will be weird living in a world without Megadeth, I\u2019ll cherish the music and memories. Thanks, Dave. I can\u2019t wait to catch you on the road one\u2026 last\u2026 time\u2026 3.0\/5.0<\/p>\n

ClarkKent: After 43 years in the biz, Megadeth is sadly calling it quits, but at least they\u2019re going out with a bang. Megadeth is fresh, energetic, and disciplined in ways the big four haven\u2019t sounded in some time. The thrash cuts \u201cTipping Point\u201d and \u201cLet There Be Shred\u201d don\u2019t sound like a decades-old band trying to stay relevant. They sound like a vigorous young band carrying a swagger and a chip on their shoulder. Megadeth provides equal measures of pure thrash and melodic heavy metal, but keeps everything to a tight 3-4 minutes (at least until the final two tracks). Dave Mustaine proves a capable storyteller, with lyrics that feel personal and autobiographical. There\u2019s the confessional \u201cHey God!\u201d turning to his relationship with religion; \u201cPuppet Parade,\u201d my personal favorite, looking back at his struggles with alcoholism; the tongue-in-cheek \u201cLet There Be Shred\u201d building up a heavy metal mythos around Dave; and finally \u201cThe Last Note\u201d giving fans a fond farewell. The latter also provides a rather poignant summary of his career: \u201cI came, I saw, now I disappear.\u201d It\u2019s true that not all songs land, such as \u201cI Don\u2019t Care,\u201d with lyrics that sound like a defiant adolescent wrote them, and the middling \u201cObey the Call,\u201d which lacks any memorable hooks. \u201cRide the Lightning\u201d also sounds too similar to its source, but at least it provides Dave with closure over his feud with Metallica. As sad as I am to see Dave hang it up, thankfully, he provides one final thrill in the Megadeth discography. 3.5\/5.0<\/p>\n

\"\"<\/p>\n

Owlswald: As Dave Mustaine closes the book on his legendary career, Megadeth\u2019s swan song makes it clear that Mustaine intends to leave the same way he entered: loud and unmistakably himself. The self-titled record starts hot with \u201cTipping Point,\u201d a fast, grinding riff assault that recalls Megadeth\u2019s classic openers. \u201cLet There Be Shred\u201d leans into old-school speed metal while \u201cI Don\u2019t Care\u201d delivers its punk-ish energy despite terrible lyrics. New guitarist Teemu M\u00e4ntysaari steps seamlessly into the void left by Kiko Loureiro, immediately asserting himself with playful solos, sweeping leads, and fretboard fireworks that stretch his guitar to the limit. Dirk Verbeuren remains rock\u2011solid, delivering galloping rhythms with sharp tom rolls and double-bass that echo Nick Menza\u2019s punishing style. \u201cPuppet Parade\u201d nods to both Cryptic Writings and Countdown to Extinction, evoking \u201cAlmost Honest\u201d in its opening and \u201cForeclosure of a Dream\u201d in its clean bridge. Mustaine\u2019s gruff, sneering delivery is classic Megadeth here\u2014very \u201cSweating Bullets\u201d\u2014even though the chorus doesn\u2019t land. The record stumbles temporarily with \u201cAnother Bad Day,\u201d a forgettable rocker dragged down by weak songwriting and more bad lyrics, and \u201cI Am War,\u201d which feels generic and overly reliant on thin vocal hooks. But \u201cObey the Call\u201d and \u201cMade to Kill\u201d fare better, with Mustaine returning to his lower register that fits more naturally within the outstanding instrumental performances. The finale turns somber. \u201cThe Last Note\u201d finds Mustaine confronting his legacy and the approaching end of his career, followed by an unnecessary cover of \u201cRide the Lightning\u201d\u2014a final smirkat his long history with Metallica. Flawed but unexpectedly solid, Megadeth\u2019s final album plays like an autobiographical reflection from a metal legend. It\u2019s hard to ask for much more at this point and is a worthy send-off. Good. <\/p>\n

Grin Reaper: Going out on your own terms is not a decision every band gets to make, and when the news broke that Megadeth would hang up the ol\u2019 guitar strap, the news struck bittersweet. Dave Mustaine and his revolving cast of support have been steady companions through my major milestones, providing a symphony for construction as I assembled my adult life. But what can you expect from Megadeth\u2019s last words? Megadeth is, most of all, a celebration. Seventeen albums over forty years deserve a bit of revelry, especially considering the heights of Megadeth\u2019s career. Though Megadeth doesn\u2019t threaten to dethrone their best material, it\u2019s a major success for latter-day Deth and boasts concise track lengths and carefree fun. Most importantly, the mantra of \u201cLet There Be Shred\u201d isn\u2019t limited to just that song as Dave and Teemu M\u00e4ntysaari (Wintersun) trade fiery leads throughout (\u201cTipping Point,\u201d \u201cMade to Kill\u201d). Dirk Verbeuren once again avails himself behind the kit, effortlessly pummeling with mechanized precision (\u201cTipping Point\u201d) and snappy punk rolls (\u201cI Don\u2019t Care\u201d). Though I would prefer another technical smorgasbord \u00e0 la Rust in Peace, there\u2019s a fair offering of mid-paced tracks more in line with the Youthanasia and Cryptic Writings school of radio-friendly jams (\u201cHey God!,\u201d \u201cAnother Bad Day,\u201d \u201cObey the Call\u201d). Songs like these are among my least favorite on Megadeth, but credit to Dave\u2014they\u2019re short and feel genuine. The honesty of Megadeth\u2019s curtain call is a final triumph, a fist raised in the air signifying that after a career of proving to listeners and himself that he earned his place in the pantheon of metal, Dave Mustaine gets to end his game his way. May he retire in peace\u2014now go rattle your goddamn head! So Far, So Good!<\/p>\n

Baguette of Bodom: After the massive disappointment that was The Sick\u2026 and the embarrassing hilarity of \u201cI Don\u2019t Care\u201d earning meme status<\/a>, I was prepared for a real stinker. But it was not meant to be, for Megadeth\u2019s self-titled swan song surprised shockingly. Do not expect a fast-paced thrasher, though; this last hurrah harkens back to various eras of the band, mostly the better ones even! While there\u2019s a bit of Killing\u2026 and Rust in Peace in \u201cMade to Kill,\u201d many songs here resemble the simpler but effective ethos of Countdown. Tasty, melodic \u201990s lead guitar hooks (\u201cAnother Bad Day,\u201d \u201cI Am War\u201d) result in Mustaine occasionally sounding the best he has since Thirteen, and Dirk Verbeuren\u2019s drums deliver plenty of fun fills throughout (\u201cMade to Kill,\u201d \u201cHey God!\u201d). Teemu M\u00e4ntysaari is clearly the star of the show. He complements Dave\u2019s playing with classic \u2018Deth tones, and I\u2019m glad his tasteful riff and shred craft have a place to truly shine front and center (\u201cPuppet Parade,\u201d \u201cLet There Be Shred\u201d). Despite a rough opening duo, the record recovers quickly, with the back half being particularly impressive for a band I had largely given up on. Overall, Megadeth is a solid Dystopia-tier album in a tight 41-minute package. It won\u2019t make any respectable year-end lists, but I\u2019m glad this long and mightily uneven career ends on a positive note, except for the tacked-on \u201cRide the Lightning\u201d bonus. It\u2019s a decent enough rendition of a decent enough song, but why hold a grudge over young and stupid egos for 40 years? It\u2019s not even faster or angrier, which used to be the selling point. \u201cMechanix\u201d made \u201cThe Four Horsemen\u201d better; this one makes a great opening riff worse. Take relationship counseling notes from Helloween<\/a>. \u2013 3.0\/5.0<\/p>\n

\"\"<\/p>\n

Double Bonus Megaopinions from Infamous Former Staffers:<\/p>\n

Doc Fisting: In an era where no band ever truly stops, I approach Megadeth\u2019s impending retirement with an apprehensive sense of closure. If Dave Mustaine feels that this album is his last, he\u2019ll get no argument from me whatsoever. The songwriting is weak throughout Megadeth, often feeling like mismatched parts forced together on some producer\u2019s laptop. The lyrics aren\u2019t much better, ranging from good ideas executed poorly (\u201cPuppet Parade\u201d) to steaming hot garbage (\u201cI Don\u2019t Care,\u201d \u201dLet There Be Shred\u201d). A few tracks approach classic Megadeth\u2019s speed, if not its quality, but much of the record goes by at a Cryptic Writings-esque midtempo pace. Even compared to Megadeth\u2019s last couple of albums, this one feels especially low-effort and low-energy. Mustaine\u2019s ability to craft memorable guitar parts seems to have departed, as nothing here shows a trace of the creativity or technical skill he was once known for. Time has sandblasted his vocal range down to almost nothing, and he relies heavily on his \u201chello me, it\u2019s me again\u201d shtick as a result. Closing track \u201cThe Last Note\u201d crosses the line into self-parody, closing the band\u2019s career on a low note.* New guitarist Teemu M\u00e4ntysaari attempts to patch the holes, delivering ripping solos where riffs or vocal hooks belong. Drummer Dirk Verbueren similarly tries to inject some Gar Samuelson-style energy. Unfortunately, the material here doesn\u2019t give them much to work with. Make no mistake \u2014 Dave Mustaine is one of the architects of thrash metal, and deserves credit for it (just ask him). His contributions to the genre from 1983 through 1991 are essential, and nothing can take that away. But Megadeth feels less like a triumphant farewell and more like a necessary one. 1.5\/5.0<\/p>\n

Ferrous Beuller: The end is nigh. Time to Ragnarockoutwithyour\u201dGlock\u201dout for that final full stop in the Apocellipsis. After 40-plus years, Megadeth have bowed out with a final self-titled trip down the riff river. What does this mean? It means another release that is indistinguishable from every post-Youthanasia Megadeth album. For decades, Mustaine has released self-derivative records whose highlights might occasionally tickle a playlist. Megadeth does not deviate from this formula. If you\u2019re hoping for a grab bag of sanitised thrash riffs and intangible mid-pacers, then you\u2019re in luck. But make no mistake, this is not Risk. Those particularly fond of albums like Cryptic Warnings or even Th1rt3en will find something to like here. Dave can surely write this kind of material with his eyes closed by now, and it shows. It feels rote because, by this point, that\u2019s exactly what Mustaine\u2019s creativity has become. As just another Megadeth album, this is as redundant as the irrelevant marketing strategy Metallica cover. As a goodbye, Mustaine has always done things his way, so I guess this, too, is by design. Decades of treading tepid water can never change the fact that Megadeth embodies a foundation of metal. This swan song won\u2019t sully that reputation. But, given the finality of it all, I can\u2019t help but wonder what might have been. Well, Megadeth, thanks for the memories. Someday, other bands will know your pain, but few will smile that once-black-toothed grin. May you rust in peace disgracefully. If anyone needs me, I\u2019ll be busy pretending they split after 1994. 2.0\/5.0<\/p>\n

\ufeff<\/p>\n

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