Late Megadeth Drummer Gar Samuelson (R.I.P.) By Jesse Striewski

I’ve made no secret over the years how I was the stereotypical, Beavis and Butt-Head watching metal head type growing up in the ’90s. Yet by the time the late ’90s had arrived and I had relocated to Volusia County, FL, I had no idea at the time that I was neighboring at that point with legendary metal drummer Gar Samuelson of Megadeth, who was now residing right next door to me in nearby Orange City.

After performing on the first two, now-classic Megadeth albums – 1985’s Killing Is My Business…and Business Is Good! and 1986’s Peace Sells…but Who’s Buying?, Samuelson was abruptly dismissed from the group along with guitarist Chris Poland for substance abuse issues in 1987. Yet his playing on each of these records was enough to earn him a rightful spot alongside the the greats within the thrash metal world.

Samuelson briefly played in an act called Metalist prior to relocating to central, FL and forming Fatal Opera in 1990, alongside his brother Stew Samuelson on guitar, Dave Inman on vocals (and later Andy Freeman), Travis Karcher on bass, and guitarist Jeff Bloom (and later, Billy Brehme). The band released two albums throughout the ’90s – 1995’s Self-Titled effort, and 1997’s The Eleventh Hour, before Samuelson’s untimely passing from liver failure in 1999 at the age of just 41. (Former Megadeth bandmate Dave Mustaine would later announce Gar’s death at the Woodstock festival that same year, and the reissue of the first album in 2002 would ultimately be dedicated to him). A belated third effort titled Fatal Opera 3 was also released years later in 2022.

Needless to say when I first heard about all of this sometime later in the 2000’s, I was intrigued, and eventually started slowly but surely checking out his work with Fatal Opera, which was all fairly solid enough in its own right. Fast forward to 2020, I started retracing of sorts some of Gar’s steps, visiting the area (as best as I could anyway – see photo below) where Gar turned a former barn in Orange City into a recording studio, and opening communication with bassist and former Fatal Opera bandmate Travis Karcher.

For whatever reason, life got in the way though, and the project more or less just fizzled out. But alas, I’m not one to let things go by the wayside no matter how much time might’ve passed, and it was finally time to pay tribute to Samuelson the only way I knew how (and in time for what would’ve been his 68th birthday on February 18th no less, too), and began talking to Karcher once more about resurrecting the project.

When I initially spoke with him nearly six years ago now, we of course discussed that previously-mentioned recording studio, to which Karcher said; “I think the band would be flattered to hear it called it a studio, since we built it out of an old tractor barn/metal shed. (Laughs) Gar called it Headstone Heavy Recorders, and most of the experience was self-taught. I’d be surprised if the building is still there, although it may be, but I doubt it’d still be in the condition it was when we used it.”

Location of the former Headstone Heavy Recorders in Orange City, FL, built and utilized by the metal band Fatal Opera in the 1990’s. (Photo by Jesse Striewski, October 2020)

Once I started talking with Travis again recently in late 2025, I wanted to go back even further, and hear how he and Gar had originally met. He informed me; “I met both Gar and Stew through a friend of mine, John, who was a rock memorabilia collector, specifically guitar pics. He was thumbing through the Volusia County phone book one day and found Gar and called him, and was surprised when he actually answered. Gar said he didn’t have anything for him, but that he was looking for a bass player for a band he was starting with his brother. I went and auditioned on a Tuesday, and came back again two days later for another rehearsal. After that, my equipment didn’t leave Gar’s house for ten years. I was nineteen at the time and fresh out of high school, and Gar and Stew were in their 30’s.”

He continued; “In that time there were a lot of lineup changes, but the core of Gar, Stew, and myself always stayed the same. We also had a record contract with the German label Massacre Records (which also had King Diamond on it), and put out two albums on their label.” He continued further; “I still talk to (guitarist) Bill Brehme, and actually asked him to play leads on some of the current material I’m working on. Bill and I were involved in a minimal role in Fatal Opera 3, but it was mostly Andy’s show. I really haven’t spoken to Andy in a few years. Most of us are not too thrilled with the way that project came out.”

Still unsure if I had ever caught the band live during their ’90s run, I was also wondering what venues the band had played “back in the day.” Karcher stated; “We played a lot of shows around Florida. We started at a small bar near the Naval training center in Orlando called the Sunburst Pub. We also played at the Fairbanks Inn, The Beacham Theater, The Fern Park Station, and probably a few more I’m forgetting about. And we also played a lot of Daytona gigs, a few shows in Tampa and Jacksonville, and some road trips down south to Melbourne, Fort Lauderdale, and Fort Myers.”

Fatal Opera flyer from the personal collection of bassist Travis Karcher.

A few more things I was definitely curious about was whether or not Fatal Opera ever played any Megadeth covers in their set lists or not, as well as what Gar’s thoughts were on the band’s material released after his tenure with them. Karcher explained; “We never played any of the Megadeth stuff, nor was it ever talked or thought about. I think we all understood that Fatal Opera was its own project.”

He continued; “Of course Gar thought So Far, So Good…So What! would’ve been better with him playing on it, but I think he liked Rust in Peace since we heard it before it came out via a demo and listened to it around the studio. I also remember him saying Countdown to Extinction was a little too commercial, though I know Gar really liked and respected Nick Menza.” And as far as what Gar might’ve (hypothetically) thought on Megadeth’s latest, final studio album if he were still here with us today? Karcher stated; “I think he would’ve thought that it was more or less Dave solo with hired guns?”

And last but not least, regarding what Travis has been up to himself these days musically that we touched upon earlier? He informed me; “I’ve been working with an electronic music producer friend of mine who comes from the EDM world. We are working on some crossover style music in the same vein as Nine Inch Nails or Stabbing Westward. I don’t really know what to call it at the moment, but it’s loud and aggressive, just the way I like it!”

We’ll definitely keep an eye out for any and all upcoming music from Travis (and be sure to do the same!), and happy heavenly birthday, Gar!

Album Review: Megadeth – Self Titled (BLKIIBLK/Frontiers Music s.r.l.)

By: Jesse Striewski

To be perfectly honest, several recent personal factors have made the writing process just a tad on the difficult side for me as of late, to say the least (call it what the old-timers used to if you like – writer’s block). But I had hoped that a showing of the limited-release film Megadeth: Behind The Mask, in which the band’s history is chronicled in full and their seventeenth and final studio album, simply titled Megadeth, is revealed, would be enough to snap me out of it, if only for a short time. Thankfully I was right.

I had been following the singles leading up to the release of their historic last magnus opus as best as I could. “Tipping Point” and “Let There Be Shred” were likable enough, while “I Don’t Care” felt a little too juvenile and forced (though the video is on the fun side).

But once you dive in, there’s way more to discover and like, albeit still the occasional filler track or two. Highlights include “Obey The Call,” the extremely relatable “Another Bad Day,”and possibly my favorite of the bunch, “I Am War,” which reaches anthem-like epic proportions. “The Last Note” makes for a fitting grand finale, while a bonus track cover of Metallica’s “Ride The Lightning” is frontman Dave Mustaine’s ode to his own past.

I could feel a wave of sadness coming over me as I knew the end was approaching though; not only at the thought of saying goodbye to a band that has been there throughout so many fond memories during my lifetime, but at the thought of an old friend and fellow fan of mine, whose recent passing not even two weeks ago hit me like a ton of bricks (remember those “personal factors” I had alluded to earlier?) Still, I’ll forever be grateful for the time I’ve had with both. Thanks for everything Dave, and see you on the other side, Daniel.

Rating: 3.5/5 Stars

Kings of Thrash, Deth FX, and more at The Brass Mug in Tampa, FL on 10/11/25 By Jesse Striewski/Photos By Brooke Striewski

Those who know me well, know what a pivotal role Megadeth have played in my developing years as a young musician/bass player. First jumping on board around the Countdown to Extinction era (middle school days for me), I instantly gravitated towards bassist David Ellefson’s style the same way I had the likes of Steve Harris and Geezer Butler.

It would take several years before I would finally see the band live for the first of several times (in 2006), and a few more years until it would actually be with Ellefson back on stage with them finally by 2010. But it would be worth the wait indeed – not only was I able to meet him that very same day at a bass clinic in Orlando, FL, but just one year later I would find myself face-to-face (well, over the phone anyway) with Ellefson yet again, interviewing one of my bass idols for a nationally-published magazine at the time in 2011.

Fourteen years since that last encounter, I knew as soon as I heard Ellefson would be coming to The Brass Mug in Tampa, FL with his latest band, Kings of Thrash (which also features former Megadeth guitarist Jeff Young from the So Far, So Good…So What! era) that it was a show for Rewind It Magazine through and through.

What I did not know upon originally setting up coverage, however, is that I’d once again be put back on IV medications shortly before it thanks to the never-ending bone infection I’m still fighting right now (always a blast!), so it came as a bit of a surprise to find out after arriving at the Mug (with my usual photography crew/wife and son Brooke and Jacob Striewski in tow) this past Saturday, October 11 (each their first time hearing any Megadeth performed live), that there would be a whooping six bands to endure prior to the headliners (a lot for an old dog like me to take in right now indeed!).

The first act of the night, Killproof, were already mid-set upon entering the venue, and no doubt held their own on the stage. The follow-up group, The Hand of Reason, had their own unique indie-influenced sound that I did my best to watch all of. But for most of their set, as well as the following two bands Love Pit and Kalas, I found myself trying to stay off of my leg on the back porch area.

I paid a little more attention to Gravel from Colorado Springs, whose down-and-dirty style found them covering not only Airbourne’s “Runnin’ Wild,” but also an amped-up version of “I Think We’re Alone Now,” the pop hit originally from the ’60s before Tiffany got her hands on it in the late ’80s.

Local Florida rockers Deth FX (sometimes stylized DETHFX) were up next, and finally started scratching that thrash metal itch with tracks like “War Morality” and “Unnatural Reign” from their debut album. The guys truly gave it their all with each and every note that night, showcasing their talents for surely many a new follower.

Deth FX performing at The Brass Mug in Tampa, FL this past Saturday, October 11 (Photo by Brooke Striewski).

And last but not least, the Kings of Thrash (which is rounded out by vocalist/guitarist Chaz Leon of Black Daze, and Fred Aching, who has served some time with BulletBoys) finally took the stage just before midnight, instantly living up to their name with the intro to the said So Far… album, “Into the Lungs of Hell.” Not one member of the crowd was sitting down at this point, and rightfully so.

“Rattlehead” from the band’s 1985 debut Killing Is My Business…and Business Is Good! was up next before “Hook in Mouth,” “Train of Consequences,” “Victory,” “The Skull Beneath the Skin,” and “502” all kept the momentum going.

A brief drum solo segued into “In My Darkest Hour” and the haunting “Bad Omen” before the band started with their original track, “Lockdown,” which by then felt like the perfect stopping point for the night.

But not before briefly meeting legendary music producer/recording engineer Max Norman, who was there in the crowd that night. Not only has Norman worked with Megadeth on several of their ’90s-era releases ranging from Rust in Peace to the Hidden Treasures EP, he also had a hand in several of the late Ozzy Osbourne’s early solo albums, but also efforts from the likes of Y&T, Grim Reaper, and Armored Saint (among many others), so it was an absolute honor to actually shake his hand!

The author Jesse Striewski (right) with said recording engineer/producer Max Norman at The Brass Mug in Tampa, FL this past Saturday night, 10/11. (Photo by Brooke Striewski)

Of the numerous times I’ve seen Megadeth live over the years, not once can I recall them performing the majority of the songs heard this past Saturday night (sans of course the likes of “In My Darkest Hour”), especially any of the extremely earlier material from that first album. The Kings of Thrash show brought things back to exactly how I’d imagine a Megadeth club show to be “back in the day,” celebrating the music the way it indeed should be; I’m forever grateful to have witnessed it firsthand.

Album Review: Megadeth – The Sick, the Dying…and the Dead! (Tradecraft/Universal)

By: Jesse Striewski

I found myself actually excited for a Megadeth album for the first time in a long time upon first glimpse of Vic Rattlehead on the cover. But I must admit, their eager dismissal (again) of original bassist David Ellefson last year left a sour taste in my mouth (and that’s no disrespect to returning bassist James LoMenzo – I’ve seen the band live with each bass player in the past, and both are masters of their crafts).

But I digress; The Sick, the Dying…and the Dead – the band’s sixteenth full studio release – is an admirable effort from Dave Mustaine and company nonetheless, filled with the typical crunching riffs and intricate guitar solos that’s come to be expected on a Megadeth album, with the epic title track charging the way and setting the tone right off the bat.

Sure, the lyrics at times can be a bit on the generic side (another common trait with Megadeth records), but overall, tracks like “Life in Hell,” “Night Stalkers” (featuring a brief appearance by Ice-T) “Dogs of Chernobyl,” “Killing Time,” and “Soldier On!” can easily fit alongside any of the band’s previous material up until now.

I may have lost touch with Megadeth in more recent times as previously alluded to, but The Sick…may just be the album that gains the interest of many older fans such as myself again. Check it out for yourself and see if you agree.

Rating: 4/5 Stars

Metallica and More at Welcome to Rockville 2021 in Daytona Beach, FL By Jesse Striewski/Photos By Brooke Striewski

For the first time in its ten-year history, the massive Welcome to Rockville music festival came to the International Speedway in Daytona Beach, FL for four straight days and nights from November 11-14. And with press credentials extremely limited for the event, it did not look likely that Rewind It Magazine would be able to make it. But as luck would have it, our very own photographer Brooke Striewski managed to pull off winning four day passes from local rock station WJRR.

Each night featured an array of different bands on the stage (and to anyone that was able to make it all four days and survive, I applaud you), and having just acquired wristbands the day of the first show and having numerous prior engagements, there was no way we would be able to make much more than the headlining acts. But photo passes be damned, we were still determined to get in as much as possible, and see as many friends of the extended family also attending as possible (including Mike Jones, Josh Kelly, and Rewind It Magazine contributor Shawn McKee).

Although I’m ninety-nine percent sure the first band we saw onstage upon entering that first night on Thursday, November 11 was indeed Brass Against, we did not witness the now-infamous “peeing” incident from lead singer Sophia Urista (shame, I know). Our first “real” introduction to the music was via A Day to Remember, a band I first saw back in 2011. Can’t say I was ever a huge fan of theirs, but songs like “Mind Reader,” “Resentment,” “All Signs Point to Lauderdale,” “Brick Wall,” and “All I Want” were all decent enough live numbers.

From there it was on to catch hip hop icons Cypress Hill, who just about any middle/high school misfit in the ’90s will remember as the go-to stoner group. Along with Public Enemy’s DJ Lord in tow, the group actually started off somewhat promising with tracks like “I Ain’t Goin’ Out Like That,” “When the Shit Goes Down,” “A to the K,” and “Hand on the Pump.” But as soon as they did “Pigs” and started preaching their hypocritical anti-law enforcement rhetoric from their oh-so protected stage (From what again? That’s right, law enforcement!), they began to lose us. More stunning achievements in songwriting followed, such as “Bilingual,” “I Wanna Get High” (where a nearby fan became falsely excited, mistaking it for another, similar sounding song), “Dr. Greenthumb,” and “Hits From the Bong.” By the time they reached their biggest hit “Insane in the Brain,” we were already making our way over to the main act of the night.

Slipknot are one of those rare exception, nu metal acts that I can actually tolerate. and having previously photographed frontman Corey Taylor and guitarist Jim Root on stage with Stone Sour for another magazine at Earthday Birthday back in 2013, I was actually intrigued to finally see them behind their “other” faces. They were also our fifteen year old son’s favorite act of the entire festival, so to be able to watch them alongside him was no doubt a special moment for me. They definitely did not disappoint, coming out strong with somewhat newer track “Unsainted” before finally launching into the likes of “Before I Forget,” “The Heretic Anthem,” “Psychosocial,” “The Chapeltown Rag,” “Wait and Bleed,” “Vermilion,” “All Out Lie,” and “Duality.” At some point during the night, Taylor also took a minute to address the recent tragedy at Astroworld, forging a moment of honest solidarity between band and audience.

Slipknot headlining the first night of Welcome to Rockville on Thursday, November 11, 2021.

Night two was definitely a step up, and one to remember. By the time our crew arrived this time around, Chevelle (another band I once photographed at EDBD, but in 2012) were mid-way through their set. Although more up my son’s alley once again, hearing tracks like “The Clincher,” “Send the Pain Below,” and “The Red” took me back to another, more simple time.

Social Distortion has been a band on my list for some time now, and although I’ve had close calls of seeing them in the past, I was finally able to catch them this past Friday night. Tracks like The Rolling Stones’ “Under My Thumb,” “Ready For Love,” “California (Hustle and Flow),” “Far Side of Nowhere,” “Lude Boy,” “She’s a Knockout,” “The Way Things Were,” “Story of my Life,” “I Was Wrong,” “Ball and Chain,” “Don’t Drag Me Down,” and Johnny Cash’s “Ring of Fire” were all powerful in a live setting (although I would have liked to have heard just a little more older stuff, like maybe “Mommy’s Little Monster” at the very least). The laid back demeanor of founder and lone original member, frontman Mike Ness (now joined by former U.S. Bombs/Youth Brigade guitarist Johnny Wickersham in place of the late Dennis Danell since 2000) was a stark contrast to Cypress Hill’s set the previous night around the same time frame, and just echoed an overall coolness.

Former White Zombie frontman Rob Zombie was up next, and like Slipknot, was playing his final show of 2021. Although there’s still plenty of visuals to behold throughout his shows via videos of everything from clips of his films, to half naked go go dancers, I remembered not being all that impressed the last time I caught him live in 2006, either. Now joined by not one, but two former members of Marilyn Manson (guitarist John 5 and drummer Ginger Fish), Zombie and his crew made plenty of noise with tracks like “The Triumph of King Freak (A Crypt of Preservation and Superstition),” “Dead City Radio and the New Gods of Supertown,” “Superbeast,” “Living dead Girl,” “The Eternal Struggles of The Howling Man,” “Well, Everybody’s Fucking in a UFO,” “More Human Than Human,” “House of 1000 Corpses,” and “Thunder Kiss ’65.” A quick solo from John 5 followed before closing things out with “Dragula,” but overall, it was not much more than simply a pretty “meh” performance.

And finally, after waiting forty years (the age of both myself, and the band themselves), I was able to come full circle and complete seeing the last missing piece of the “Big Four” of thrash metal that also includes Megadeth, Anthrax, and Slayer. It was truly surreal to hear Metallica tear through “Whiplash” off of 1983’s Kill ’em All album, before going into “Ride the Lightning” from the album of the same name. More classics new and old followed, including “Harvester of Sorrow,” “Cyanide,” “The Memory Remains,” “One,” “Frantic” (yes, from 2003’s St. Anger album, which lead singer/guitarist James Hetfield even poked a bit of fun at), and “Moth Into Flame.” More classics like “No Leaf Clover,” “For Whom the Bell Tolls,” “Whiskey in the Jar,” “Fade to Black,” “Master of Puppets,” “Fight Fire with Fire,” “Fuel,” and “Seek and Destroy” followed. But I also noted how, curiously, nothing from The Black Album was performed, and I would indeed find out why soon enough (stay tuned). Although packed in like sardines in one of the largest crowds any of us have ever been in, it was truly an unforgettable experience to have together.

Having already seen the majority of bands on Saturday night’s roster – including The Offspring, Staind, Lamb of God, and Gwar – and having previously committed to the third annual Stogies and Spirits event at Henry’s Depot in Sanford, FL (where we watched local cover act Skin Deep perform instead) we wisely took a night off from Rockville and waited until Sunday to return, which was a gamble that paid off perfectly. Upon arrival on Sunday afternoon, the weather had cooled down considerably, and the all-female trio The Warning were well into their set. Not only were some pretty faces a welcomed addition after staring at nothing but dudes for days now, the girls actually rocked pretty damn hard, too…

…Yet not as hard as the mighty Anthrax. The last time I saw them back in 2010 (where I photographed them at Hard Rock Live along with Megadeth and Slayer), they were full of energy, and absolutely tore up the stage. And despite a member change since (Shadows Fall guitarist Jonathan Donais has since taken over for Volbeat’s Rob Caggiano), the band still had it. Staple tracks like “Among the Living,” “Got the Time,” “Caught in a Mosh,” “Madhouse,” “Finale,” “I am the Law,” “Anti-Social,” and “Indians” still all sounded crushing live, making Anthrax easily one of my favorite bands of not only the night, but the entire weekend as well.

Former Escape the Fate frontman Ronnie Radke’s band Falling in Reverse were next up. Although another of the many bands I photographed at the three consecutive Earthday Birthdays I covered (I believe it was 2012 this time around), the appeal has definitely worn off for me, and is once again something more appreciated by my teenager. Still, it was interesting hearing “The Drug in Me is You” again alongside newer tracks like “Believe in Me,” “Drugs,” “Just Like You,” and “Popular Monster.”

Mastodon were up next, and admittedly, we only caught a glimpse of their set due to it being time to find some grub. But we filled our bellies just in time to catch a reunited Mudvayne, who, despite their laughable costumes and makeup, did not cause anyone to lose said dinner. I can’t say I was ever a fan of Mudvayne, or vocalist Chad Gray and guitarist Greg Tribbett’s other band HellYeah, who once again I photographed at – you guessed it – Earthday Birthday! The only songs I even recognized in their set were the early 2000’s hits “Not Falling” and “World So Cold,” and after listening to Gray struggle to hit the right notes (to be fair, I understand he may have recently recovered from a case of Covid), we began making our way to the next stage.

Legendary southern rockers Lynyrd Skynyrd have somehow also managed to escape from my radar until now, but it was totally worth the wait, even with virtually no original member present at the time (sole surviving member Gary Rossington was out due to recent medical issues, leaving long time vocalist/younger brother to late original vocalist Ronnie Van Zant, Johnny, and guitarist Ricky Medlocke, who played briefly with the band in the early ’70s and has been back with them for a good twenty five years now, as close as it gets). Still, this did not stop them from bringing the house down.

Lynyrd Skynyrd performing the final night of Welcome to Rockville on Sunday, November 14, 2021.

Thin Lizzy/former Brother Cane guitarist Damon Johnson took over duties for Rossington with ease and enthusiasm, and the band opened their set admirably enough with “Workin’ For MCA.” More classics like “I Ain’t the One,” “Saturday Night Special,” “That Smell,” “Gimme Back My Bullets,” “The Needle and the Spoon,” “Simple Man,” “Gimme Three Steps,” and “Sweet Home Alabama” followed before ending with an epic, ten-plus minute rendition of “Free Bird” (all these years of hearing it yelled at concerts, and we finally heard it live). Skynyrd’s set was undoubtedly one of the highlights of the night, and the entire weekend.

Things could have easily ended there and been just fine. But instead, Metallica had to play a second show of the weekend, and it was immediately apparent the energy of Friday night’s show just wasn’t quite there this time (from both band and audience), and opening with the semi-newer track in the form of “Hardwired” was a clue of what was to come. Things did actually pick up briefly though, as the guys dove through a couple of classics (and two personal favorites of mine) “The Four Horsemen” and “Welcome Home (Sanitarium).”

But then, the unexpected happened; they started playing The Black Album (remember what I had said about Friday night’s set?), and to top it off, backwards. That’s right, the most boring album in Metallica’s “classic” era catalog, was played from “The Struggle Within,” all the way to “Enter Sandman.” I get that it’s a milestone for the band and recently just turned thirty years old, but I could have easily lived without hearing every moment from it (and judging by the crowd’s reaction, I wasn’t the only one who felt this way). The Black Album was actually the first Metallica album I ever owned, and it did little to nothing to win me over as a fan; it took going back to their earlier efforts to finally win me over.

Although the band did briefly redeem themselves afterwards by ending with “Damage Inc.” and “Creeping Death,” it still did not measure up by any means to their Friday night set. But I think it’s safe to say that all those who attended and lived through the incredible, exhausting experience that was Welcome to Rockville 2021 will surely have many a story to tell for a long, long time.