Carry Me Jesus. Cause Jesus Said Cause Jesus Said So. Celebrate Jesus N Play Celebrate Jesus Name Sample. Celebrate Jesus Name. Play Celebrate Me Home Sample. Celebrate Me Home. Play Chain Breaker Sample. Chain Breaker. Child Of The King. Children Go Where Come And See What Play Come Morning Sample. Come Morning. Play Come On In Sample. Come On In.
Come On Ring Thos Come On Ring Those Bells. Come Sunday Morni Play Come Sunday Morning Sample. Come Sunday Morning. Come To The Well. Cost Of The Cross. Count Your Blessi Play Count Your Blessings Sample. Count Your Blessings. Play Cross Of Grace Sample. Cross Of Grace. Cross Said It All. Play Cross, The Sample. Cross, The. Play Cry No More Sample. Cry No More.
Play Daddy And Son Sample. Daddy And Son. Play Day One Sample. Day One. Play Day Will Come Sample. Day Will Come. Play Days Like This Sample. Days Like This. Play Daystar Sample. Play Dear Yesterday Sample. Dear Yesterday. Traditions exist so we can go beyond them. Orr pauses to take a sip of liqueur, then trades a quiet glance with Elliot Easton.
Originally, Orr explains, he had intended to have me over to his house, which he bought after his downtown Boston apartment was recently gutted by a fire that destroyed nearly everything he owned. But the new place is still in disarray, so he and Easton have showed up at my hotel room. Like everyone else in this group, Orr and Easton make for as unlikely an alliance as one could hope to find in a rock band.
Orr, who recently changed his hair from platinum blond to mousy brown — making him look remarkably like a punk version of William F. Buckley Jr. None of the band members divulges his age voluntarily; Orr and Ocasek sheepishly admit to being somewhere over thirty. Yet, for all their surface dissimilarities, Orr and Easton share some strong sentiments about the purpose and destiny of the Cars.
I never think about things like that. But, I point out, as groups and artists become more successful, their margin for error seems to decrease. For example, a lot was riding on Candy-O ; if it had failed to live up to the commercial standards set by the first album, the Cars could have ended up a one-hit fluke.
Easton fields the question. I mean, look at the Sex Pistols, who swore they would never sell out to the same success scheme, but they were so full of shit. Malcolm McLaren had nothing in mind if not to make them the biggest band he could. The only way you can negate the impact of success is if you want to work for free. And all the Cars ever wanted to do was carry on. The first time Ric played the new songs for us, I thought they sounded plain weird—like inside-out music.
But if a band hopes to make some inroads in radio for new music, then somewhere along the line, you have to reach millions of people. From every wall, vivid, prismatic portraits of nude and near-nude coquettes — painted in painstaking verisimilitude by pulp realists like Gil Elvgren and Alberto Vargas—stare out at visitors like a bevy of voracious tarts.
Standing in front of it, Robinson beams. He turns to lead me back into the living room. I hesitate for a moment, then tell Robinson that the picture did seem to portray the woman as something of a hood ornament. But, like Hawkes and Easton, does he feel that the Cars represent a force for change in rock music? The vocals and lyrics don't carry this sense of aggression alone, for every element of the music conveys the murderous, acidic hatred that the band is trying to put into the music.
From the very first seconds of the title track, with Seth Putnam's R. This sense of anger was never quite there in this band's previous 2 albums. It sounded angry, but it never felt the same way - it felt contrived and marketable to the lowest common denominator. One reason for this, and indeed one of things I hate most about Vulgar Display of Power and to a lesser extent, Far Beyond Driven , is Phil Anselmo's pretty poor vocals.
A certain satanic unicorn once described Phil's voice on their effort as sounding like 'a dying bullfrog'. Though his voice here is superficially similar here, it sounds far more angry and evil. Especially when he layers his voice on tracks like 'Sandblasted Skin', he sounds like a monster. This is a very fitting vocal performance for the sheer hatred that Anselmo is spewing forth. Almost as bone-headed? Yes, it is. Way more effective? Of course it bloody is! Hell, 'War Nerve' literally begins with these words: 'Fuck the world, for all it's worth!
Every inch of planet Earth! Fuck myself, don't leave me out! But don't get involved, don't corner me! This is another thing this album possesses: genuine drive.
The band actually had things to be pissed about now, whether it be Phil's drug addiction 'Living Through Me Hell's Wrath ' and '10's' , the speech 'War Nerve' , or the trends the title track, 'The Underground in America' and ' Reprise Sandblasted Skin'. It is not a marketing tool anymore; this is genuine anger in musical form!
The riffs are notably more 'sludgy' in nature, as well as taking more influence from thrash metal and southern metal, particularly Down. The best examples of this are intense scorchers like 'Suicide Note Pt. II' and the title track. Being Pantera, there are still grooves here, but songs that are predominantly groove metal, like 'Drag the Waters' or 'Living Through Me' are still bolstered by the aforementioned distilled anger and the production, which I shall come onto later.
Dimebag's trademark soloing is as noodly and effect driven as always. Before, he served as a respite from all the boring groove, now he is one of several excellent things about the album. Vinnie's drum work is truly pummelling in nature, hammering away and adding to the overall loudness and vulgarity of the album.
Even Rex Brown makes his contributions here - the album, in particular the guitars, sound goddamn meaty , and that low end can't all be the production, can it?
Another thing that helps the album along is its loudness. Now, I am normally one that favours a sense of dynamics in production, and thus shun just about any album that is loud all the time. Here though, this is a different case. Every instrument has been through a fair amount of filtering, with the loudness turned up a lot in the process. The drums and bass in particular, are exceptionally weighty in sound, and the guitar tone is very distorted and thick. The mix is pretty much spot on, with the low end not consuming everything else in reverb, and Phil's vocals given a good prominence in the mix, where he doesn't obscure the instruments or be consumed by the pummelling fury beneath him.
For an exceptionally angry and 'shouty' album, it does show a sense of variety. There are fucking sledgehammers like 'Suicide Note Pt II' or the title track, which grab the listeners by the neck, and then proceed to cave their skulls in with their barrage of screams and riffs.
Slower, heavier numbers like 'The Underground in America', 'War Nerve' and '13 Steps to Nowhere' are equally sinister and destructive, while beating the listeners to bloody pulps. There is more typical groovy work, but even 'Drag the Waters' and 'Living Through Me' with their somewhat meandering structures and repetitious grooves are forgiven due to the overarching atmosphere and aggression. And then there are the ballads. They go for a subtle, atmospheric approach, immersing the listener in the tortured words of Phil and the oddly calm and in some cases, beautiful acoustics of 'Floods' or 'Suicide Note Pt.
They are all the more poignant due the odd contrast they share with the rest of the album, and serve as rather shocking numbers to first time listeners, having just come off of this album's usual furious groove the transition from ballad to typical track here is almost as shocking. There are also little sonic and atmospheric touches that pepper this album, normally in the form of synthesisers.
Take for instance, that eerie as hell middle section of 'Living Through Me', or the manic guitar effects that lace 'Suicide Note Pt. On a related note, the psychedelic synthesisers on the first part of 'Suicide Note' are highly atmospheric and beautiful. Even the micro-bends that litter '10's', that are normally indicative of nu 'metal', sound like a tortured, demented soul in guitar form, and fit the drug related lyrics perfectly.
The storm sound effect combined with the pummelling grooves of 'Floods' before the end solo, or that obnoxiously loud high pitched synth screech at the end of 'The Underground in America' is fucking sinister, and well, angry. The demonic shrieking pulled off by Phil is highly indicative of black metal, only accentuated by the layered screams he does. They further add to the vitriol of the songs. Even the title of the album is fucking cool!
It warns us all of the potential death a listener could suffer trying to make it through this sonic catharsis! Nothing is cooler than a snake.
I am rambling a bit here, aren't I? In that case, I shall sum this up: Seriously, this is one of the greatest metal albums of all time. Never have I heard the artist's message so well conveyed through factors outside the lyrics, i. When the instruments themselves sound possessed and tortured, you know you have one quality album right here. This is so heavy, so cathartic, so aggressive This isn't really one for the faint of heart Pantera at their worst never were or those who prefer the old school Cowboys From Hell is right up that road.
However, for those that don't mind a little bit of modernity in all the right ways, or as Phil puts it, 'blending the '80s and '90's with hate' , then I highly recommend this. Not to compare this to those - but it is that profound, musically, lyrically and atmospherically. The Great Southern Trendkill is easily Pantera's best album. Its predecessors had both their weak and strong points to them, but this giant amongst them all is Pantera's most solid record to date. The mix of groove and some thrash metal with acoustic parts is just so fantastic.
It's not just one thing that makes this album so good. Every aspect of the album has something good to contribute here. Despite a few bumps here and there, The Great Southern Trendkill will always be my favorite Pantera album. Because there are so many positive attributes that this record possesses, it was hard to pick one.
However, I think what I love most about this album is that there isn't one song that is completely filler. Every single song is original and unique and could stand on its own. Therefore, there was a wonderful mixture of different arrangements, ranging from the mostly acoustic "Floods" to the ballistic and spastic "Suicide Note Pt. There was so much material being produced here that some songs, the "Suicide Note" songs, had to be broken into two desperate pieces of music.
The title track of this record also brought a lot to the table. It's one half pure chaos, and the other half is some southern influenced shredding. Southern influenced?
I think that The Great Southern Trendkill sums up the band's sound, image, and some of their philosophy very well. Pantera has always been shedding its skin and evolving into a different kind of beast on each album. One thing that you will notice here is how wacky the guitar riffing is here. The sound of his six-string beast sounds like it has been used, abused and altered beyond belief.
I will be talking about this later in my review, but this can be off-putting to some. However, you can see right away that this worked to his advantage on a few tracks like the one mentioned above, and "Suicide Note Pt. Just about everything gets a ten out of ten from me on The Great Southern Trendkill, but the production was the loogie in the punch bowl that ruined the party. The most obvious flaw is the lack of bass sound. Rex Brown is almost inaudible throughout the entire album.
Dimebag once again takes center stage with the melodic sound as Brown's sound is choked out. My listening experience was altered as I tried to search for traces of his bass tones within the wave of guitars drums and Anselmo's screams.
Just about all of the instruments here sound very artificial. It seems as if they have been put through filter after filter to point where you can't even hear the original sound anymore. Even Paul's kit sounds altered beyond belief. The snare hits and kick tones sounded exactly alike. Although I don't think it happened, it sounded as if every last beat Paul played was recorded by itself and looped.
Despite this disappointment The Great Southern Trendkill was an instant classic. It was extremely heavy, caustic, and wonderfully atrocious. Phil Anselmo as a singer and screamer had reached his peak here, as well as the rest of his legendary band. With only one more album to come, I still think of this as the last true Pantera record that still draws the attention of seasoned listeners and those new to metal alike.
So it turns out Pantera wouldn't release any albums I like front to back maybe their glam stuff but I'm really not interested to track that stuff down and sadly their legacy in my eyes comes down to a very mixed bag career of solid tracks and songs that aren't worth the amount of space they occupy on the internet. The other half of their legacy comes down to their heavy influences on nu-metal, metalcore and groove metal, which as genres are as hit and miss as Pantera themselves.
I think this would have been a better way to end their career then Reinventing the Steel or that Piss single that came out recently. First off the guitar work is better. It actually has substance and the band was still cohesive enough to pump out some solid songs. The guitar work is closest to Far Beyond Driven but slower. His sound is deeper and heavier then ever before or after which of course leads to a sound that is more naturally heavy and less forced.
His soloing sounds very emotive on 10's which fits the track well but on the other hand in The Great Southern Trendkill its breakneck shredding. His riffing actually has melody now which actually works beautifully with the rhythmic groove style and shows growth in his style, this is the first album his guitar work has kept me interested and entertained from front to back.
He even gets an acoustic section on Suicide Note that is probably the best bit of compositional work he's ever done. He shows a lot of versatility on this album and I would consider it to be the highlight of his career. Phil manages to make his vocals the best they've been since CFH which was his highlight. He's very emotive 10's and Suicide Note Pt. His range hasn't returned but he makes his way just fine without it. His lyrical content has expanded and the amount of substance in the music has skyrocketed.
The rhythm section is tight. The drummer knows when to use speed and when to lay off a bit. Still simplistic but far more forgivable. The bass player can actually clearly be heard for the most part and the rumors were right, this man is the perfect match for Dimebag, there parts intertwine almost seamlessly. For all its ups though there are also downs.
Suicide Note Pt. In fact the two softest most balladic songs here Suicide Note Pt. Standout Tracks: Suicide Note Pt. If you're going to talk about the 90's, it's worth mentioning the sorry state of metal at the time. Now I know that groups like Alice in Chains and Soundgarden played some of the heaviest mainstream rock at the time, but the fact of the matter is that history remembers them as grunge bands, and grunge fans were known not to pay lip service.
The heyday of thrash was gone, and we didn't even have nu-metal to at least put people in the right direction. So as you can imagine, the good ol' boys in Pantera had quite a responsibility with the torch they were carrying. If metal bands were to maintain any sort of credibility with the masses, Pantera was the best they had. However, like with Slayer, "intelligent" was probably not how the average listener described their music; a lot of it had a down-and-dirty "don't fuck with us" attitude, which in this case was arguably as famous as the music itself.
But like with all artists, Pantera was destined to put out something more complex, and this is what fans got in The Great Southern Trendkill, the way I listen to it, is a unique release in that it really sounds like the band has been fucked with.
In its monster title track and opener, the first words out of Philip Anselmo's mouth are, "It's wearing on my mind, I'm speaking all my doubts aloud. It only gets darker from there. Meanwhile, the "Suicide Note" songs probably scrape the bottom of Anselmo's desperate mind. Part 1 solemnly reflects upon the self-destructive path he followed, while Part 2 is him preparing for the "obvious" solution. Cathartic stuff. And then what to say about "Floods? It's what I can only call an apocalypse ballad.
Pantera is a Southern band, so there's no hiding the religious aspect of their identity. They took their hatred and put it on a spiritual level. Theirs is a vengeful God, and for a mankind "playing with grenades," with "deaf ears sleeping," what else but a flood of Biblical proportions could be over the horizon?
Obviously, Pantera was a groove metal band, but I think even the music is full of surprises. Fans of their usual style won't be disappointed, because "War Nerve" and the single "Drag the Waters" are rock-solid and all about the riffs.
The progression on "Floods" and "10's" is just exquisite, and they include some of Dimebag Darrell's finest and most melodic solos. So overall, this is easily one of the most diverse metal records I've heard. It's groove, sludge, thrash, death, and Southern metal all rolled into one, yet Pantera made it all their own. It didn't have as many singles as earlier releases, but the fact it had any is a credit to the band, because they were breaking new ground here.
In the end, The Great Southern Trendkill ironically a 90's release stands as one of my all-time favorite albums, metal or otherwise. The Great Southern Trendkill is groovey, raw, in-your-face, varied and angry. It's metal done with a lot of style, filled to the brim with great riffs. Some of them are pure groove, highly reminiscent of Pantera's earlier career.
Great drumming and interesting hooks make those really fun. However, most of the riffs have a certain rock vibe to them. Sometimes they sound like something Black Sabbath would have done, other times they may remind you of Kiss, combined with Pantera's characteristic raw groove.
Drag the Waters and Hell's Wrath are both good examples. Then, there are some fast, extreme metal moments - Suicide Note Pt. All in all, most of the tracks are very catchy, bursting with energy. It's a great album to listen to when you're pissed off. Mind you, it's not mindless - the energy isn't the only thing that's good about it. It's the rockish riffage that grants this album its cool factor. It's not very dark. It's not about Satan, dragons, dead lovers etc.
It's straightforward, self-confident anger. It's probably as "intelligent" as metal gets. I'm not referring to the language used, but to the content and style. The mood corresponds to that. My biggest complaint goes to the slower, psychedelic "ballads" - Floods, 10s and Suicide Note Pt. They're pretty uninspired. There's a great Sabbathy riff and a very good solo, both found on Floods, but otherwise, these songs seem to go nowhere. They're not bad per se, they're just not very interesting.
The sound on this album is amazing. Dime's guitar is very ballsy. It feels sharp as knife when he's playing higher tones and very chuggy when he's playing heavier riffs. The same goes for Anselmo - he compliments his usual tough singing style with a lot of screams and shrieks.
It's very varied, catchy and fun. Combined with great riffs, it makes one hell of a record. Family is in the details, and to capture those details we have to listen to each other and accept the joy, the pain and the differences. Your purchase helps support NPR programming. Accessibility links Skip to main content Keyboard shortcuts for audio player.
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