At the beginning of the chain there were just a few, and Chuck Schuldiner certainly was one of them. Now the living legend became a real legend. Especially painful is the fact that the battle that took more than two years, was lost in the end. Somehow everyone was hoping, and perhaps believing, that our Chuck was going to make it. All the fundraising, all the benefit concerts, all the auctions, have they all been for nothing? Or is fate just being fate in the end? I believe that nobody needs to be convicted, because it will neither make the pain less, nor change the fact that Chuck's eyes are shut forever since December 13, 2001. Each and every one of you is going to honor Chuck in your own way and give him a place in your heart. Even though Chuck certainly still had a lot more in store for us, we're not left empty handed, his music will live on, even after we have reunited with Chuck.

Until then it will be all our little stories, that will keep Chuck alive. Like the chaotic grill party together with friends and an old cassette player, blasting away on 'Evil Dead' and growling along with 'Zombie Ritual' long enough to get half a dozen of neighbours on our backs. Or the endless air-guitar solo's in our rooms. The overwhelming feeling when Chuck stood right in front of you on stage, and all the open mouths of those that were not banging but were trying to follow his fingers with their eyes. The maxims 'sound magician' and 'philosopher' definitely apply for this extraordinary human being. The more startling it is that Chuck already gave us many answers to our questions and hopelessness.

To comprehensively unlock Death, to understand the complete magic, without knowledge of Chuck's brilliant lyrics, is almost impossible. The time, to discover new things of Chuck and Death, has not ended on December 13. Even the possession of all 8 studio albums won't do it. To hear, feel and understand Death we can only do by ourselves. The capability of Mr. Schuldiner to let the same album, the same song, make us feel sad one day, and give us infinite power the next, who's capable of doing that? Death is magic, and the magic is Death. Below we gathered some little things, recent and past stuff, cheerful and sad stuff. We hope, despite our subjectiveness, to speak on behalf of many of you. Our sympathies especially go out to Chuck's mom Jane Schuldiner and all his family members. Thank you Chuck, for all that you gave us. We will never forget you.

Volkmar & the Legacy team.

The consequences of this farce didn't take long. Chuck fired his band members and for the next album hired high calibre substitutes. And the effect it all had on this sensitive musician was greatly to be read from then on up till the last album in his lyrics. And of course in the liner notes on the albums. For some of you the saying 'Support Music Not Rumors!' certainly is legendary.

It comes as no surprise that many old Death fans would rather fly to the USA to hand over their gift to Chuck's family in person than to participate in one of the fundraisings that are being organized by the same press who treated him so bad back then. Considering all, one has to think what the former labels contributed to Chuck's recovery. There will always be re-releases, and there will always be money for all sorts of nonsense. However, when the artist who filled their wallets needs something in return, they maintain a stony silence.

Supplementary statement from Götz Kühnemund - Rock Hard
The trouble with Chuck at the beginning of the '90's was based on several cancelled European Death tours that we (Rock Hard) presented. Because lots of fans started complaining to us, we had to give out some kind of explanation (once his band even toured without him-I'm sure you remember). We were not able to induce Chuck to make a statement himself, therefore we asked his former manager. He stated in an open letter to Rock Hard that Chuck has a disturbed behaviour and was being paranoid. Therefore he cancelled several European tours, just being in a bad mood. This was confirmed by his band at the time (Terry Butler, Bill Andrews & co.) who came to Europe very aggravated. Because we published the management statement, several statements from his band and some comments of annoyed fans, Chuck threatened us a few weeks later with his lawyer. As a response to that we offered him to tell us his version in an exclusive interview, which he accepted. Somewhat later I talked with Chuck myself, because since the early Mantas-demo-days we had a good relationship. We 'officially' reconciled with each other and after that we interviewed Chuck several times. So it's absolutely ridiculous when people try to play nasty tricks on us still. After all, back then we only tried to explain to our irritated readers why Chuck quit or cancelled 4, (as presented by Rock Hard), Death tours, without giving an explanation. Neither can nobody accuse us of giving Chuck bad publicity, because despite our temporary troubles, for which Chuck made his excuses to me personally, his albums always got the best reviews from us. Our current fundraiser almost gathered 6.000 Euro's. We are awaiting the profits of the 'In Death We Trust'-benefit concert (organized by both Rock Hard and Legacy) so hopefully we can transfer even more to Chuck's mom.

Götz-Rock Hard

LEGACY: How long did you stay in America? Was this your first encounter with Chuck?
GUIDO: Yes, it was in October 2000. We met at our US office and spent 5 very memorable days together. It was the first time I met Chuck personally and unfortunately the last.

L: How did you feel to sit with a human being like Chuck?
G: I was totally excited when we went to pick him up at the Boston airport. Chuck really was totally cool, very relaxed, not arrogant at all. I felt very good that day, we talked a lot about metal, it was great.

L: How did Chuck look? Was he showing that he was severely ill?
G: No, not at all. Back then his prospects were very good, he was almost better. He had physiotherapy to strengthen his muscles. He was walking and talking normally, and he could even play the guitar. He even had long hair, which was very surprising to me. There still was some of the tumor left in his head, but it was disappearing. Until March 2001 this was the case, unfortunately things changed after that.

L: What do you remember especially?
G: Oh, actually everything was wonderful. We really had some beautiful days. We mostly went shopping in CD stores, had great diners and at night went to bars.

L: What kind of person was Chuck, how did you get to know him? About what did you talk?
G: He was very friendly and very calm. We talked almost all the time about music, Chuck was a real music-freak. I remember very well, sitting in a bar, both drunk and screaming along with Judas Priests 'Painkiller'.

L: Was he funny, did he have a sense of humor?
G: Absolutely. I mean, he did not just sit and tell old jokes, he had a fine sense of humor.

L: So you did meet in Boston, why not in Florida? Did you also meet the other guys of Control Denied?
G: Well our office is in Boston. Chuck was alone and brought a tape with 4 brand new Control Denied songs, really unbelievable stuff. The other guys unfortunately weren't there. At the moment I'm in touch with Steve DiGiorgio.

L: What meant Chuck for you?
G: A musical genius and a true fan of the music he played.

L: What are you missing the most?
G: The feeling, never to hear anything new from him again. Hopefully we get to release the new Control Denied album, but that will be the last what we will ever hear from him.

Scream Bloody Gore (1987) by Björn Thorsten Jaschinski

At the end of '87/beginning of '88 it were mainly the underground magazines on this side of the Atlantic (like the Danish Blackthorn, or Ronny Eides (Norway) in the debut issue of Morbid Magazine), that tried to put down in words their enthusiasm about the dark output of two thin US guys. While Mr. Hand only would go into the Death annals as a model, guitarist/singer Chuck Schuldiner (out of necessity also playing the bass on this album) under the watchful eye of producer Randy Burns (back then the talk of town because of Dark Angel's release 'Darkness Descends) was at least assisted by drummer Chris Reifert (later on the founder of Autopsy). After selecting 10 qualitatively equal classics from the stock of 4 Death/Mantas demos, and the title track at the conclusion, the collection was found worthy enough to be recorded in the Music Grinder studio. On the re-release of this CD two more demo's 'Beyond The Unholy Grave' and 'Land Of No Return' as well as two Leprosy-tracks, live versions from the Ultimate Revenge II soundtrack, are to be found. The later by Atrocity covered 'Archangel' wasn't considered.

Although speed was one aspect, they never wanted to be compared with the most extreme representatives of the core-scene (hard- like grind), but always put clear structured songs above all. Blasting was taboo; fundamental fast songs were often opened with catchy mid-tempo riffs, and even Reifert's simple style allowed outstanding rhythm changes between verse and chorus.

In the passing, also in this stage of his career, Schuldiner's bizarre feel for melody and his love for precisely puzzled out solo's showed through. Not only Nile cashed in on the declared mystical bombast intro of 'Zombie Ritual'.

Leprosy (1988) by Björn Thorsten Jaschinski

Although his thoughts are dedicated to the physical illness, it shows through how much the writer linguistically has developed, his ability to imagine himself into something that's even being appreciated by muscle-machine Mathiass Herr (German critic), the graphical translation of the title (again thought out by E.J. Repka) also satifies the gorehounds.

Out of the 8 new tracks becomes clear how much Chuck's guitar playing has developed, without, at this point, being able to use the label 'techinical' death metal. The breaks are more complex, the frequency rises and the melodic parts are being extended. Yet there's no sign of giving up on brutality.

Dan Swanö underlines: " Personally I take 'Leprosy" for the only real perfect death metal album, which I place on the same level as 'normal' music, because it opened dimensions. Cannibal Corpse has really complex riffs, yet Death uses simple structures, their riffs almost sound like a horror soundtrack."

Spiritual Healing (1990) by Volkmar Weber

'Living Monstrosity' represents all the primitive and grown power that Death, anno 1990, covers. What Chuck accomplishes here, destroys al lrivals. Really killer, deadly singing meeting a rolling wall of steel, chivalrously lead by his excellent personally, and provided with the perfect cover on the side. Andrews and Butler, who even managed to play on two Death albums in a row, deliver a pumping, heavy rhythm. So bold, so deep. Chuck and newbee James Murphy produce guitar-duels in this melting pot, that are unequalled even today. Because Death was, despite their real revolutionary ideas, like before also 'easy listening', and didn't need 10 run-ups (as on later releases) to really kill. Andrews certainly was traditional behind his kitt, seldom using breaks, no sign of fiddling. Not since this album has there been such a heavy and powerfull rolling rhythm machine. One thing remains clear, whenever there has to be drawn a line with Death, from which moment the battleship would weigh its anchor to explore new horizons, than it would obviously be after Spiritual Healing. Not few inveterate Death freaks refused consequently, even today, to acknowledge albums from their favorites outside the deadly trio 'Scream Bloody Gore', 'Leprosy' and this one. On this there are only hits. Perfect tempo changes, catchy strophes and choruses and above all the titlesong 'Spiritual Healing'. Chuck sounds almost demonically swearing, possesed, passionate. A real killer album. (VW)

Individual Thought Patterns (1993) by Björn Thorsten Jaschinski

In 1993 it was like before, despite brilliant music from bands like Morbid Angel or Atheist, the acceptation of death metal as a demanding variation on the classical virtues mattered bad. The collaberation of, unfortunatelly only one time participant, Andy LaRocque (Kind Diamond's right hand outside of Mercyful Fate) as a second lead guitarist at Chuck's side was also an important sign for the whole scene.

Symbolic (1995) by Volkmar Weber

But to classify Symbolic solely by the top songs would not be just, because without being a concept album, it's the sequence of the songs that let Symbolic swell to a real, top-notch album. To be heard clearly when played with the shuffle key on. Masterly!!

The Sound Of Perseverance (1998) by Volkmar Weber

Mr. Christy (Burning Inside, Iced Earth) plays things on his kit, that appear to be unimaginable as well as inimitable. In between, an intruding bass playing counters melodies and decorates Chuck's excessively complicated riffs and melodies. This is all pushed to the limit. The sail are full in the wind and the pointers at the ready.

Several songs are being thought out into detail, provided with a lush decoration, with a scream put dramatically into scene. Certainly, a powerful piece of music wants to get heard, and without a doubt very rewarding because of the unremitting surprises that lie dormant in The Sound Of Perseverance. A record for the headphone, for a daring fusion of Mr. Band and Mrs. Olufsen. A 'Spirit Crusher', a 'Moment Of Clarity' and of course a 'Painkiller'. The last in memory of the surpreme Judas Priest, that made his respect in Metalistan and was received delighted.

With the genius 'Voice Of The Soul' it's hard to control emotions, especially with Chuck's death in mind. Unfortunately it's sure that this became the last legacy of Death. But it's a decisive departure, perfect and spotless, although it's questionable whether this is a right way to put it in this context. I would be glad if I could tell you now that somebody would continue Chuck's work.

It is totally inconceivable that Chuck won't present us with a surprising successor. And there is, besides my own pain for this loss, the actual tragedy. What did Chuck take with him, about which we haven't got the slightest notion?

The Fragile Art Of Existence (1999) by Volkmar Weber

Chuck's most important work the last two years was arranging a successor for this record. Like is to be read in a recent statement of Steve DiGiorgio, Control Denied will try to record this album without Chuck, because the compositions of all songs is almost finished. So there's some hope left that not all the ideas of Mr. Schuldiner get lost forever with his departure.