Death's "Human": The Fusion Connection

With the re-release of Death's seminal "Human" right around the corner, it's interesting to look back and examine what REALLY made this album stand out.  What was it about Death that set them apart from their Morbid Angel and Cannibal Corpse peers at this time in 1991?  I believe the answer lies solely on the shoulders of drummer extraordinaire Sean Reinert. 

Looking at the liner notes of Death's "Human", we see the thank you's of Death main man Chuck Schuldiner and Steve Digiorgio (killer, killer bassist of Sadus).  Nothing really out of the ordinary.  Next we examine the thank you's of Paul Masvidal and Sean Reinert (both on "loan" at the time from legendary progressive metalers Cynic).  Now, to the untrained eye nothing seems unusual.  But, to someone with a slightly keener eye and a somewhat broader pallet of musical taste, we see some very interesting names. 

Vinnie Colaiuta.  Allan Holdsworth.  Tony Williams.  Jimmy Johnson.  Gary Husband.  All are thanked by Paul and Sean for providing inspiration.  All are giants in the realm of jazz and fusion music (I would say mostly at the "fusion" end of the spectrum.  These players, save Tony Williams, didn't really become famous for their straight-ahead jazz playing).  Sure, we can hear a bit of Allan Holdsworth in Paul's soloing, but we can really, really hear the Vinnie Colaiuta and Gary Husband in Sean Reinert.  Listen to Sean's skittering ghost notes (a note played to be more felt than actually heard) during the intro of "Flattening of Emotions".  I don't believe anyone else was using ghost notes to this degree in death metal at the time.  Sean's cymbal work throughout the course of the album was extremely original and highly dynamic.  I would hasten to say that Sean set the standard, approach, and sound for future Death drummers Gene Hoglan and Richard Christy (both amazing players).  And in doing so, seriously revolutionized extreme metal drumming.

For it's time, and even to this day, it is death metal of the highest order.  It's rhythmic feel and flow are still remarkably original thanks to Sean Reinert's strong fusion influence on the album (and also thanks to Chuck Schuldiner's song writing abilities and open mind.  What if he didn't welcome and embrace the jazzy flow?).  "Human" remains possibly Death's most pivotal album.  Death with finesse.

LOCKJAW: A Treasure Trove of Metal Rarities

You should really do yourself a favor and check out this site:

http://lockjaw-yappy.blogspot.com/

LOCKJAW is an awesome blog with a ton of metal rarities available for download.  There is some super, super obscure stuff on the site as well as demos and live recordings of more established acts like Kreator, Venom, and Morbid Angel.  If your looking for Watchtower rehearsal tapes from the late 80's or looking for Spawn of Possession's "Church of Deviance" demo, you'll find them here.

Through the Myth and the Madness: Weakling's "Dead as Dreams"

Few albums have been spoken about with such a sense of hushed awe as Weakling’s “Dead as Dreams”.  The very utterance of this work is sure to provoke nods of approval from many a metalhead.  “Dead as Dreams” is held in high regard universally it seems, and rightfully so.  It is a masterful work of United States black metal (or, as I’ve seen it called…USBM). 

My interest in Weakling initially started because Josh Smith (the Fucking Champs) played guitar in the group.  Somewhat intrigued, I consulted the youtube to determine if it could possibly be up-to-snuff with Josh’s work in the Champs.  It only took about 36 seconds of listening to the title track to know that I’d stumbled upon something much, much greater than I could have ever anticipated.  You can dig it here:

http://www.youtube.com/watch?v=JxZU-vRbvcg

Weakling was comprised of group masterminds John Gossard (Guitar) and Josh Smith (Guitar), and the brooding, creeping, pummeling rhythm section of Sarah Weiner (Bass) and Sam “Little Sunshine/Blood Eagle” Foster (Drums).  “Dead as Dreams”, recorded in 1998 at Tim Green’s (also of the Fucking Champs) Louder Studios, is their only album.  The album carries a hefty price tag because of its scarcity (I still believe it’s out of print), but seeking it out is well worth the effort.

Below are links to two very informative and often hilarious interviews with Weakling’s John Gossard.  Within these two interviews, John expounds on much of the myth, legend, and lore that surrounds Weakling and their lone masterpiece “Dead as Dreams”, as well as going into a bit about the Bay Area scene in the late 80’s, early 90’s.  Great interviews. 

  

http://hubsterblog.blogspot.com/2007/04/interview-with-john-gossard-weakling.html

http://www.earth-dog.com/lounge/viewtopic.php?p=138893 

Racer X's "Street Lethal" Album Review: A Gem of Shred

<- - - - - Here's a link to amazon.com if you'd like to support Paul Gilbert and the rest of the Racer X gang by picking up a copy of "Street Lethal".

My dad's friend let me borrow this one on cassette.  I plopped it in the cassette player and let the first song, "Frenzy", roll.  It was probably the only time my jaw ever dropped from listening to music.  I had never heard a guitar played like this in all my years.  This was something beyond Eddie Van Halen's "Eruption" (no disrespect to the guitar revolutionizing solo).  This was just an incredible and seemingly inhuman display of cataclysmic sweep-picking fury by Paul Gilbert. 

The rest of the album consists of up-tempo (and some mid-tempo) Judas Priest-ish riffing and unbelievable shred.  The songs are solid (I can definitely see how someone might need some getting used to Jeff Martin's vocals, however).  It is 80's shred metal, and may I place extra emphasis on "80's" and "shred"...but also the "metal".  There are some cheesey lyrics, but I really don't care.  This album still rocks and if you come for the shred, you'll be more than satisfied.  Also, there is some really great bass playing by John Alderete (now a member of the Mars Volta).  John isn't featured all that much on the album (save for the excellent "Y.R.O.", definitely an album highlight)...but keen ears will detect his great lines throughout "Street Lethal".  Other standout tunes include "Blowin' Up the Radio", "Loud and Clear", and the title track, which features one of the greatest intro riffs of all time (in my opinion).

Trivia-ish facts about the album:
"Y.R.O." stands for "Yngwie Rip-Off".  This came about because Shrapnel label head, Mike Varney, thought the song reminded him of Yngwie's "Black Star".  I can see where Mike is coming from for sure, the tempo and groove are very similar...that's about it though.