Let There Be Megadeth

I think the new (and supposedly final) Megadeth album is the best they’ve released since Countdown to Extinction.

It could just be my own nostalgia, but I find myself drawn back to listen to the full album—a fully fleshed out love letter to the thrash genre and to its fans, and though I admit being touched by the idea that this is Dave’s last hurrah, it matters little if this is truly the case.

(The first time I got to see Ozzy, I was 17, and it was the Retirement Sucks tour. If the Ozzman had stuck to his guns after the No More Tours tour, I would have missed out on all the great music I saw at Ozzfests over the years and never would have seen the original lineup of Black Sabbath. So I’m not perturbed by the idea that Dave’s retirement might be prematurely announced, or some cynical marketing ploy, though I suspect it is sincere.)

Songs like I Don’t Care and Let There Be Shred are examples of classic tropes explored through the flying fingers and lyrical wordplay of a master who lived them, while introspective pieces like Hey, God?! and The Last Note remind us that the underlying essence of Heavy Metal—the heavy—isn’t just a result of screeching guitar solos and chunky riffs, but also of the depth of the subject matter which the artist is willing to tackle.

Metal and Horror go hand in hand. One thing I’ve always loved about Megadeth (and Thrash in general) is the willingness to turn people’s heads and minds toward real life horrors.

Rust in Peace, for instance, was not only a technical masterpiece but also a deeply philosophical album, exploring where we were as a species at the end of a global cold war, and asking why the hell we even do this to ourselves.

Dave was never praised for his vocals, and after his battle with throat cancer (which you can learn about in this touching and hilarious interview), he’s noticeably worse for the wear; but what I’ve always loved about Dave’s vocal delivery (as with the great and dearly departed David Bowie), is that he’s so uniquely himself that his words and his voice are just right for his music.

As for the “cover” of Ride the Lightning—which Dave cowrote with Metallica back when he was a founding member—it has its merits. It’s quicker and meaner than the original, but doesn’t quite live up to it, nor should we expect or require such to enjoy it for what it is.

However, I saved the best for last.

If you don’t wanna take my word for it, but you’re willing to check out one song that might invite you in and tempt you, I highly suggest Tipping Point. From the opening sally it absolutely rips your face off in the best way and is exemplary of everything that I’ve ever loved about Megadeth.

It’s fitting as an opening track for the album too, in so many ways.

Dave admits he’s at a tipping point in his life, and he wants to go out, after an illustrious career, on his own terms.

Our nation is tipping over the edge too, which also makes other tracks highly relevant (Made to Kill, I Am War).

Megadeth wasn’t just an influence on my musical tastes. I love Heavy Metal and the Thrash subgenre most of all. But what’s really special about Megadeth is that Dave always points right to the problem and calls it what it is. (Reference: Hook in Mouth from So Far, So Good, So What?)

So a tip of my hat to you, Dave, for all the good memories, and a magnificent final act.

Maybe I’ll see you on tour!