DAVE MUSTAINE denies his reputation as a control freak, hints that some former members didn’t contribute good riffs –

megadeth Leader Dave Mustaine You may have a reputation as a control freak, but you certainly don’t see it that way. In an interview with guitar.com, mustaine denies that he is too controlling and points to writing credits for both the guitarist kiko loureiro and drummer Dirk Verbeuren in the last two records. For those wondering – loureiro has three co-author credentials in dystopia from 2016 and eight onwards The sick, the dying… and the dead!weather Verbeuren has two in the sick.

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Then how mustaine even get a reputation for being a control freak? He points out that some former bandmates are just “sour” and that their music didn’t make it to the final products because they weren’t that good.

“All you have to do is look at the last record and how much Kiko wrote on it. It completely dispels the lies from the past about not allowing certain band members in the past to write music. Same with Dagger also. So that was just a bunch of bitter ex-members complaining about the ‘quality control’ of riffs that weren’t that great. If they were good, they would have been registered”.

It seems a bit arbitrary that mustaine I’d have to cite the last two records, as they don’t really have more or fewer co-writing credits than any other. megadeth album. Two modern albums that stand out in that regard are system has failedwhich was written entirely by mustaine and it was meant to be mustaine solo album (so that doesn’t count); Y Thirteenwhich featured quite a few written and lyrical contributions from the producer John “Johnny K” Karkazis. So it certainly seems that across the board that mustaine he has given his bandmates the opportunity to contribute ideas.

mustaine he also touched on how he makes a riff a megadeth riff, saying that “he’s just taking a riff that has a melodic idea and making it heavy. Or taking a melodic idea and making it thrash. Sometimes you can do that with existing songs, other times doing things like that just ruins it. So there’s a fine line you walk when sharing each other’s music. There are usually three ways it goes down: It’s your way, our way, my way.”

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“So when I hear stuff, it’s usually ‘their way’, so that’s great: I know we’re on to something good and it just works. Now if it’s really good but you just need something, like maybe it’s played in a different key or maybe it’s played on a different string, instead of playing it high up the neck on the low strings, you play it a little lower on the low strings. the neck on the higher strings, because the strings are lighter or vice versa because you want the strings to be thicker strings to make them sound heavy. Stuff like that, you know, that’s how I would do it.megadeth“I think”.

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