17 friggin’ albums. More hits than misses in the Megadeth discography. Megadeth is the final album by Dave Mustaine, the sole remaining original member. Throughout his career, he’s rarely had a consistent line-up, and I liken him to Chuck Schuldiner (RIP) from Death. With the ever-changing live and full-time musicians. However, both individuals knew how to get some of the best players in the game to complement their writing style and vision.

While it is sad to see such a legendary band call it a day, Dave has given us a heads up that the Megadeth retirement tour will, in fact, span the globe and last several years. I have reviewed the last several Megadeth albums, and the band has been on fire with their last two, 2016’s Dystopia and The Sick, the Dying… and the Dead! from 2022. That album was sans Dave Ellefson, but Steve DiGiorgio laid down some great bass guitar on that album, as if anyone should be surprised. The introduction of maniacal death metal/grindcore superstar drummer – Dirk Verbeuren (ex-Aborted, ex-Scarve, The Project Hate)  injected a ferocity to the band’s sound as Dirk went to Dave and asked if he could toss in a few blast beats here and there, and Dave said yes. Dirk’s drumming continues to be impeccable on this self-titled affair, however no blast beats this time around, so I am bummed about that. Finnish guitarist Teemu Mäntysaari is added to the mix, as is returning bassist James LoMenzo, who you may not realize is 67 years old, a full 3 years older than Mr. Mustaine.

So how does this FINAL Megadeth album stand up to past releases?? For me, it’s not as good as the last one, better than Dystopia, and a mish-mash of all their eras. If you were expecting a full-on speedy thrash metal assault, as their final hurrah, well, it’s best to temper such expectations. A few things to mention before I delve into the specifics: the musicianship is flawless. Dave’s guitar solos are not only on full display throughout the album but, honestly, are some of the best solos he has ever done. All instruments and vocals sound outstanding, even with the overly compressed pristine mix and production.

11 songs in 47 minutes, and if you get the Japanese edition, you get the instrumental version (big whoop) of the last song, and if you get the Target exclusive edition (mine is on the way), you get an extra true song called “Bloodlust”. “Tipping Point” begins with a signature, melodic, isolated guitar riff erupting with a perfect guitar solo. Then the true speedy isolated guitar riff comes in, signifying the tempo shift to a faster tempo. Great riffing and some brutally heavy drum rolls. The rhythm section, on the speed metal parts are terrific, with Mustaine’s ever-so-present snarl, to punch home his very personal lyrics, which are all over this album. These lyrics were very cathartic for him to write. Around the 3-minute mark, we are greeted with a powerful groove, which, dare I say, has a bit of a slam influence to it – that is all, Dirk folks – I am telling you. As a farewell album opener, this is a smart choice, especially with the quick, brutal thrash metal speed, ending the song.

“I Don’t Care” is a guitarist’s wet dream, as this song has solo after solo after solo. The repetitive nature of the mid-paced song, as well as the chorus, makes this song most likely to be added to their live set. It’s a fun song. After a rather dull song, “Hey, God?!”, “Let There Be Shred” returns with the thrash metal assault, however, more speed metal oriented with guitar solos all over the place, with the song title perfectly enunciated, at the right time, then right into the speed. The guitar solos continue in breathtaking fashion. A most excellent song and the strongest on the album.

After a bunch of mid-paced, dull to ok, not bad groovy numbers, “Made to Kill” erupts with a drum solo and biting guitar riff. Groove moments, kick ass thrash metal parts, wild guitar solos, and the best moment on the entire album is at the 3.46 section. This fast-paced moment is amazing. “The Last Note” may, in fact, be Mustaine’s most emotive song he has written. From the spoken word moments and entire lyrics, he talks about his accomplishments and says goodbye to us all. Being a fan of the band since the early days, seeing them live many times, to say it sparked emotion in me, is an understatement.

Am I missing anything??? Hmmm. Yeah, I was not going to mention the cover of Metallica’s “Ride the Lightning” (Dave helped write this song, when he was in Metallica), at the beginning, because some of you bastids would have just read that part..lol. Staying true to the original classic song and sound, Megadeth has made this song their own. Now Dave is 64 years old..Does he keep the rhythm of Hetfield’s voice? He most certainly does; however, Hetfield did the vocals in 1984, so the vim and vigor of those original vocals are just not there on this cover. Dave does sound very good; that said, if it recorded years earlier, when Dave was more aggressive, it would have packed more of a punch. The solos are top-notch, capturing the original solos perfectly, and the tempo of this cover is a tad speedier than the original when it comes to the guitar riffing. Boy, is Mustaine shredding on this song, and Dirk’s drumming is godly on this. Overall, a terrific cover.

Yo Mustaine…..Metallica called and asked ‘how can a band write a damn good farewell album rooted in its thrash origins, encompassing a decades-old career?’ I gave Metallica your phone number!! Honestly, as a Megadeth album, this is damn good. Yes, a bit uneven, with some of the more melodic doldrum, ho-hum slower numbers, but overall Dave and Co. bring it on this final album. Dave – thank you for your legendary impact on thrash metal as well as your impeccable guitar work.

Hey, I never met the man…Always something going on in the media with Dave….but again, I have never met him, and so without paying attention to the Blabbermouth water cooler talk, I can only comment on him as a musician, songwriter, and performer, and for that, the dude fucking rocks. As Megadeth albums go, this would be placed in their upper tier, of good – great albums with enough speedy moments to satisfy even some of the old school curmudgeons.

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