No band affected the metal world more than Pantera during the early to mid-'90s. Beginning with its 1990 album, Cowboys from Hell, the post-thrash band put to rest any and all remnants of the '80s metal scene, almost single-handedly demolishing any notion that hair metal, speed metal, power metal, et al., were anything but passé. Sure, a lot of... [+] Read More

No band affected the metal world more than Pantera during the early to mid-'90s. Beginning with its 1990 album, Cowboys from Hell, the post-thrash band put to rest any and all remnants of the '80s metal scene, almost single-handedly demolishing any notion that hair metal, speed metal, power metal, et al., were anything but passé. Sure, a lot of critics point toward Nirvana's "Smells Like Teen Spirit" and the subsequent alternative rock explosion as the death knell of '80s-style metal, but you could just as easily point toward Pantera. In fact, most metalheads do exactly that. Looking back, it wasn't like legions of dyed-in-the-wool headbangers suddenly cut their hair and began listening to Seattle grunge bands. Rather, a great many metalheads were heavily affected by the emergence of Pantera, especially the Vulgar Display of Power album, which was unlike any other metal album of the time, emerging as it did in 1992. That album in particular stood out at the time, slowing down the breakneck tempos of thrash and upping the heaviness quotient, as well as changing the vocal style, pushing it more toward hardcore or even grindcore.

By the time Pantera unleashed Far Beyond Driven in 1994, they were the most popular metal band in the land, as the frenzy surrounding that Billboard chart-topping album testified. However, the band began to self-destruct around this same time as well. Drug abuse certainly played a role, with lead vocalist Phil Anselmo ODing on heroin at one point, for instance, and tensions within the band also playing a role in its ultimate, acrimonious dissolution. The final nail in Pantera's coffin came during the early to mid-2000s, when Anselmo began engaging himself in a multitude of side projects and when, very sadly, guitarist Dimebag Darrell was bizarrely murdered on-stage in late 2004. This much-publicized murder shone the spotlight back on Pantera for a brief moment, and amid all of the emotional outpours and media commentary, a consensus arose: Pantera had indeed been a landmark band, somewhat undervalued during their reign, with practically every contemporary metal band of the time openly paying tribute to their legacy.

Pantera's beginnings date back to the early '80s when the Texas-based band began releasing albums on the Metal Magic label. Originally, the band featured then-teenaged brothers Darrell Abbott (aka Dimebag Darrell and, for a short while, Diamond Darrell) and Vinnie Paul Abbott (aka Vinnie Paul), as well as Rex Brown (aka Rex Rocker) and Terrence Lee (aka Terry Glaze). They debuted in 1983 with Metal Magic, followed by Projects in the Jungle in 1984 and I Am the Night in 1985. Singer Phil Anselmo then replaced Glaze, and the group went on to record Power Metal, an album released in 1988 that eventually scored the group a deal with East West.

While these '80s albums are no doubt curious to hear, it's fairly evident that this was a much different Pantera. For the most part, fans and surely the band treat Cowboys from Hell as Pantera's "official" debut album featuring the group's longtime lineup: Anselmo (vocals), Dimebag (guitar), Vinnie Paul (drums), and Rex Brown (bass). This album put Pantera on the national metal map, particularly thanks to songs like "Cemetery Gates" and the title track. Two years later, Pantera returned with Vulgar Display of Power and solidified their status as an up-and-coming metal band with a unique sound. It took a little while, but Vulgar Display of Power made serious waves among metalheads. MTV certainly played a role, putting the band's videos into relatively heavy rotation, but more than anything, positive word of mouth and explosive live performances did wonders for Pantera, who had a very unique sound for the time. When Far Beyond Driven hit the streets in 1994, Pantera had become the most popular band in the metal land. The album debuted atop the Billboard album charts -- quite a feat for such extreme music! -- and the band continued its seemingly never-ending string of tours, packing sports arenas across America.

When Pantera returned in 1996 with their next album, The Great Southern Trendkill, quite a bit had changed. They'd begun experimenting with their sound, slowing down their tempos and moving away from the relentless heaviness of Far Beyond Driven. The album also featured a very bitter, reactionary tone, with a heavy use of vocal overdubbing. (Anselmo's vocals were notably recorded at Trent Reznor's studio, and are quite demonic at times.) Moreover, Anselmo wrote quite a bit about drug abuse in songs like "Suicide Note" and "Living Through Me (Hells' Wrath)," no doubt alluding to the personal demons and tensions that had begun pulling the band apart. Partly as a result of such experimentation and personal abandon, Trendkill may indeed be Pantera's most curious album. In any event, reactions from fans and critics were mixed, and sales fell.

It would be four years before Pantera released another studio album, releasing a stopgap live album in 1997, the fierce Official Live: 101 Proof. During this long interim, rumors swirled and Anselmo further distanced himself from the band, participating in various side projects, among them Down, with which he experienced quite a bit of success. Pantera did reunite, however -- one last time -- for Reinventing the Steel, which was released in 2000 and, like The Great Southern Trendkill, didn't come close to matching the impact of Far Beyond Driven. By this point the band's following had dwindled, and the metal landscape had undergone serious changes with the emergence of alt-metal bands like Korn and Tool, not to mention the likes of Marilyn Manson and Limp Bizkit.

And that would be the end of Pantera, with the token greatest-hits albums and whatnot appearing now and then. In the years to follow, the bandmembers busied themselves with side projects, most notably the host of bands fronted by Anselmo. His projects included, among other endeavors, Down, Superjoint Ritual, Viking Crown, and Southern Isolation -- none of which bore much resemblance to Pantera. Meanwhile, Dimebag and Vinnie Paul formed Damageplan, a fairly stable band that sought to pick up where Pantera had left off. In fact, they even played some Pantera songs during their live shows.

Following the release of their debut album, New Found Power, and some club shows, Damageplan met a tragic end on December 7, 2004. That night -- 24 years after John Lennon's shooting to the day! -- a homicidal fan shot Dimebag at a small club show in Columbus, OH. The band hadn't gotten more than a song into its show before the murderer breached security, jumped on-stage, and shot the guitarist numerous times at point blank, murdering a few others in the process. The tragedy was big news in the States, grabbing headlines everywhere the day afterward. For a sad moment that day, the spotlight shone once again on Pantera, arguably the greatest metal band of the '90s and, no doubt, one of the greatest and most influential metal bands ever. ~ Jason Birchmeier, All Music Guide [-] Hide

Metallica was easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth. Instead of playing the usual rock star games of metal stars of the early '80s, the band looked and talked like they were from the street. Metallica expanded the limits of thrash, using speed and volume not for their own... [+] Read More

Metallica was easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth. Instead of playing the usual rock star games of metal stars of the early '80s, the band looked and talked like they were from the street. Metallica expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions. The release of 1983's Kill 'Em All marked the beginning of the legitimization of heavy metal's underground, bringing new complexity and depth to thrash metal. With each album, the band's playing and writing improved; James Hetfield developed a signature rhythm playing that matched his growl, while lead guitarist Kirk Hammett became one of the most copied guitarists in metal. Lars Ulrich's thunderous, yet complex, drumming clicked in perfectly with Cliff Burton's innovative bass playing. After releasing their masterpiece Master of Puppets in 1986, tragedy struck the band when their tour bus crashed while traveling in Sweden, killing Burton. When the band decided to continue, Jason Newsted was chosen to replace Burton; two years later, the band released the conceptually ambitious ...And Justice for All, which hit the Top Ten without any radio play and very little support from MTV. But Metallica completely crossed over into the mainstream with 1991's Metallica, which found the band trading in their long compositions for more concise song structures; it resulted in a number one album that sold over seven million copies in the U.S. alone. The band launched a long, long tour which kept them on the road for nearly two years. By the '90s, Metallica had changed the rules for all heavy metal bands; they were the leaders of the genre, respected not only by headbangers, but by mainstream record buyers and critics. No other heavy metal band has ever been able to pull off such a trick. However, the group lost some members of their core audience with their long-awaited follow-up to Metallica, 1996's Load. For Load, the band decided to move toward alternative rock in terms of image -- they cut their hair and had their picture taken by Anton Corbijn. Although the album was a hit upon its summer release -- entering the charts at number one and selling three million copies within two months -- certain members of their audience complained about the shift in image, as well as the group's decision to headline the sixth Lollapalooza. Re-Load, which combined new material with songs left off of the Load record, appeared in 1997; despite poor reviews, it sold at a typically brisk pace through the next year. Garage Inc., a double-disc collection of B-sides, rarities, and newly recorded covers, followed in 1998. In 1999, Metallica continued their flood of product with S&M, documenting a live concert with the San Francisco Symphony; it debuted at number two, reconfirming their immense popularity.

The band spent most of 2000 embroiled in controversy by spearheading a legal assault on Napster, a file-sharing service that allowed users to download music files from each other's computers. Aggressively targeting copyright infringement of their own material, the band notoriously had over 300,000 users kicked off the service, creating a widespread debate over the availability of digital music that raged for most of the year. In January 2001, bassist Jason Newsted announced his amicable departure from the band. Shortly after the band appeared at the ESPN awards in April of the same year, Hetfield, Hammett, and Ulrich entered the recording studio to begin work on their next album, with producer Bob Rock lined up to handle bass duties for the sessions (with rumors of former Ozzy Osbourne/Alice in Chains bassist Mike Inez being considered for the vacated position). In July, Metallica surprisingly dropped their lawsuit against Napster, perhaps sensing that their controversial stance did more bad than good to their "band of the people" image. In late summer 2001, the band's recording sessions (and all other band-related matters) were put on hold as Hetfield entered an undisclosed rehab facility for alcoholism and other addictions. He completed treatment and rejoined the band and they headed back into the studio in 2002 to record St. Anger, released in mid-2003. The recording of St. Anger was capped with the search for a permanent replacement for Newstead. After a long audition process, former Ozzy Osbourne/Suicidal Tendencies bass player Robert Trujillo was selected and joined Metallica for their 2003/2004 world tour. The growing pains the band experienced during the recording process of St. Anger were captured in the celebrated documentary Some Kind of Monster which saw theatrical release in 2004. ~ Stephen Thomas Erlewine & Greg Prato

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Born out of the West Coast Metal scene of the 80's, Metal Church quickly became one of the standout talents of the genre. After signing a deal with Elektra records, they released two critically acclaimed albums. Their self-titled release "Metal Church" postured the band as one of the pioneers of the thrash/metal scene. The All Music Guide had... [+] Read More

Born out of the West Coast Metal scene of the 80's, Metal Church quickly became one of the standout talents of the genre. After signing a deal with Elektra records, they released two critically acclaimed albums. Their self-titled release "Metal Church" postured the band as one of the pioneers of the thrash/metal scene. The All Music Guide had this to say about the debut: "The band's incredibly tight musicianship is a highlight all on it's own. This album remains an overlooked classic of straight-ahead American-bred heavy metal." With the heavy metal scene starting to rise in the U.S., Metal Church set out on a very successful tour with label mates Metallica.

Next came "The Dark," the fury of its opening track, "Ton of Bricks" was championed as one of the premier metal releases of the 80's. The Dark also led to one of a few lineup changes with the departure of vocalist David Wayne. However, more success was yet to come. With the addition of former Heretic vocalist Mike Howe, and Metallica guitar tech extraordinaire John Marshall, the riffing became heavier and the subject matter deeper. They tackled political and social issues of the day with the releases of "Blessing In Disguise" and "The Human Factor." At a time when heavy metal bands moved from the underground and became part of the hair band/pop fad, Metal Church stayed true to their roots.

During the mid 90's, the members of Metal Church headed in their own directions. Kurdt Vanderhoof worked on his namesake project, Vanderhoof, while Kirk Arrington was playing on various sessions including a recording with Sir Mix-A-Lot. 1999 led to a well-received reunion of the original Metal Church lineup with the release of "Masterpeace". The band went back to their classic sound and played several festivals overseas.

2004 saw them back with new vocalist, Ronny Munroe, whose style has been described as "Rob Halford meets Dio", as well as Jay Reynolds (Malice) on guitar and Steve Unger on bass. With a new record "The Weight of the World" and some new blood, heavy metal legends Metal Church picked up where their aptly titled last release "Masterpeace" left off.

In 2006, twenty years after their cult album "The Dark", Metal Church are ready to present their brand new release, "A Light In The Dark", forging a creative arch that skillfully links the band's past with the present. Ten new tracks, (plus a new version of the classic "Watch The Children Pray", a tribute to original frontman David Wayne), document the development of a band that, despite all innovation, has never denied it's typical trademarks. The current lineup consists of Kurdt Vanderhoof, Ronny Munroe, Jay Reynolds, Steve Unger and new addition Jeff Plate on drums. "Jeff is an incredibly dynamic and professional drummer," Vanderhoof points out. "He has propelled us to a musical level that surprised even ourselves." Plate has replaced Kirk Arrington, who left the group for health reasons, and proves a real stroke of luck on "A Light In The Dark".
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Nuclear Assault were among thrash metal's most socially aware groups, making room for serious subject matter (and occasional goofs) in their careening speed metal riffing. They also remained closer to the world of hardcore than most of their peers, and at their late-'80s peak released some of the most uncompromising (albeit, interesting) thrash... [+] Read More

Nuclear Assault were among thrash metal's most socially aware groups, making room for serious subject matter (and occasional goofs) in their careening speed metal riffing. They also remained closer to the world of hardcore than most of their peers, and at their late-'80s peak released some of the most uncompromising (albeit, interesting) thrash metal offerings of the time. Sadly, because they lacked any truly commercial material, Nuclear Assault would never reach the mainstream acceptance of a Metallica, Megadeth, or even Anthrax (of the Joey Belladonna yore. After performing on Anthrax' 1984 debut Fistful of Metal, bass player Danny Lilker decided to jump ship and search for a more aggressive outlet (if you can imagine that) for his music. Subsequent to a brief reunion of sorts with Anthrax pals Scott Ian and Charlie Benante, and ex-Psychos singer Billy Milano for the hugely influential S.O.D. opus Speak English or Die, Lilker formed Nuclear Assault with vocalist and guitarist John Connely (also briefly a member of Anthrax in its formative years) in 1985. Guitarist Mike Bogush and drummer Scott Duboys (who would later join Warrior Soul) only lasted a few months before being replaced by guitarist Anthony Bramante and ex-T.T. Quick powerhouse drummer Glenn Evans. One of the Big Apple's few challengers (along with Anthrax and Overkill) to the Bay Area dominance of all things thrash metal, Nuclear Assault became immediate contenders due to the cumulative sum of its parts -- not to mention, their extreme nature and their ability to back it up with solid musicianship. Produced by metal stalwart Alex Perialas, their first album, 1986's Game Over, was regarded as a breath of fresh air with its potent speed metal tinged with hardcore overtones. In the process, fans and critics alike instantly accepted it and the band was quickly off to the races.

The following year's The Plague E.P. was an even more intense aural experience, but also managed to introduce Nuclear Assault's dark sense of humor with an ode to Mötley Crüe singer Vince Neil (fresh off his vehicular manslaughter rap) on "Butt Fuck" (later retitled "You Figure It Out"). With constant touring making up for their obvious commercial limitations, the band continued to hone their craft in the studio, beginning with 1988's greatly improved Survive and culminating in 1989's outstanding Handle With Care. The latter proved that the group could refine their political speed metal and songwriting without compromising their anti-establishment stance, and was supported by successful Euro tours with thrash titans Exodus, and later U.S. jaunts with Testament and Savatage. 1990s Live at Hammersmith Odeon video celebrated this great phase, and the band came off the road having won a healthy dose of new believers.

But just as they were begin to gather serious momentum, Nuclear Assault seemed to lose interest in the mission at hand. They faltered with 1991's disappointing Out of Order, which lacked the continuity of previous efforts and signaled the beginning of the end for the quartet. Lilker would soon quit to pursue his extreme death metal side project Brutal Truth. Due to inner-band squabbling of Connely and Bramante, the latter would eventually fall out and jump ship as well. A revamped lineup featuring Connely and Evans (rounded out by new guitarist Dave DiPietro and bassist Scott Metaxas) did make it back for one more round, releasing the somewhat more coherent Something Wicked in 1993. Consequently, Wicked's less radical power metal sound did little to rekindle the band's once high-standing presence on the scene and, in fact, ended up alienating most of their remaining hardcore fan base. Nuclear Assault's accelerated demise proved inevitable soon thereafter. Connely and Evans would both go on to form new projects in Nuclear Theory and the guilty pleasure C.I.A., respectively. ~ Ed Rivadavia & John Franck, All Music Guide [-] Hide

New York thrash quartet Overkill was formed in 1984 by vocalist Bobby "Blitz" Ellsworth and guitarist Bobby Gustafson, also including bassist D.D. Verni and drummer Sid Falck. The band garnered a reputation for brutal, pounding speed and technique, but lacked the musical diversity to compete with heavy hitters like Metallica; still, they built... [+] Read More

New York thrash quartet Overkill was formed in 1984 by vocalist Bobby "Blitz" Ellsworth and guitarist Bobby Gustafson, also including bassist D.D. Verni and drummer Sid Falck. The band garnered a reputation for brutal, pounding speed and technique, but lacked the musical diversity to compete with heavy hitters like Metallica; still, they built up a strong following in the metal underground with albums like 1985's Taking Over and 1988's Under the Influence. Gustafson quit in 1989 following the Years of Decay album, and was replaced by Rob Cannavino and Merritt Gant. The band recorded their most effective and varied album, Horrorscope, in 1991; drummer Tim Mallare took over on 1993's I Hear Black. Overkill's final major-label release was 1994's W.F.O, after which the band moved to CMC International. With a new guitar team of Joe Comeau and Sebastian Marino, Overkill recorded albums like 1996's The Killing Kind, 1997's From the Underground...and Below, and 1999's Necroshine. Also issued in 1999, Coverkill celebrated the band's influences with renditions of songs by Black Sabbath, Jethro Tull, the Sex Pistols and others. Overkill soldiered on into the year 2000 with Bloodletting and recorded the following tour for a live album, 2002's Live from Asbury Park. ~ Steve Huey, All Music Guide [-] Hide

On Overkill's most sensible album, Bobby Ellsworth knows how to use his voice well and the revitalized band never sounded better. ~ John Book, All Music Guide

On Overkill's most sensible album, Bobby Ellsworth knows how to use his voice well and the revitalized band never sounded better. ~ John Book, All Music Guide [-] Hide

Manic Impressions is a significant step forward from Anacrusis' first two albums, tightening and focusing the songwriting and honing their instrumental work to a razor-sharp edge. That alone would be enough to make them stand out in the progressive metal subgenre -- often criticized for the same excesses as '70s progressive rock, substituting... [+] Read More

Manic Impressions is a significant step forward from Anacrusis' first two albums, tightening and focusing the songwriting and honing their instrumental work to a razor-sharp edge. That alone would be enough to make them stand out in the progressive metal subgenre -- often criticized for the same excesses as '70s progressive rock, substituting technical flash and aimless "extended" structures for substance and songcraft -- but what's even more impressive is the emotional depth of the album. Manic Impressions is a study in depression and mental instability, its bleak lyrical worldview grounded in everyday reality and enhanced by the icily clear production and the mechanical precision of the complex compositions. Vocalist Kenn Nardi's ability to leap between growling rage and ethereal melodicism -- sometimes in the same lyric line -- is complemented by the band's new-found grasp of dynamic shifts, which heighten the songs' dramatic impact. And, on top of all that, nearly every song has at least one memorable vocal melody to go along with the killer riffs -- Anacrusis has a unique melodic sensibility, taking unpredictable directions but always seeming elegantly constructed and evocatively melancholy. The closest comparison is Voivod (without the sci-fi obsession), but the closer one listens, the more it becomes apparent that Anacrusis' sound is really all its own. Vastly underappreciated upon its initial release, Manic Impressions (like its follow-up, Screams and Whispers) is essential listening for fans of both thrash and progressive metal. [In 1999, Manic Impressions was remastered and reissued.] ~ Steve Huey, All Music Guide [-] Hide

Even though Master of Puppets didn't take as gigantic a leap forward as Ride the Lightning, it was the band's greatest achievement, hailed as a masterpiece by critics far outside heavy metal's core audience. It was also a substantial hit, reaching the Top 30 and selling three million copies despite absolutely nonexistent airplay. Instead of a... [+] Read More

Even though Master of Puppets didn't take as gigantic a leap forward as Ride the Lightning, it was the band's greatest achievement, hailed as a masterpiece by critics far outside heavy metal's core audience. It was also a substantial hit, reaching the Top 30 and selling three million copies despite absolutely nonexistent airplay. Instead of a radical reinvention, Master of Puppets is a refinement of past innovations. In fact, it's possible to compare Ride the Lightning and Master of Puppets song for song and note striking similarities between corresponding track positions on each record (although Lightning's closing instrumental has been bumped up to next-to-last in Master's running order). That hint of conservatism is really the only conceivable flaw here. Though it isn't as startling as Ride the Lightning, Master of Puppets feels more unified, both thematically and musically. Everything about it feels blown up to epic proportions (indeed, the songs are much longer on average), and the band feels more in control of its direction. You'd never know it by the lyrics, though -- in one way or another, nearly every song on Master of Puppets deals with the fear of powerlessness. Sometimes they're about hypocritical authority (military and religious leaders), sometimes primal, uncontrollable human urges (drugs, insanity, rage), and, in true H.P. Lovecraft fashion, sometimes monsters. Yet by bookending the album with two slices of thrash mayhem ("Battery" and "Damage, Inc."), the band reigns triumphant through sheer force -- of sound, of will, of malice. The arrangements are thick and muscular, and the material varies enough in texture and tempo to hold interest through all its twists and turns. Some critics have called Master of Puppets the best heavy metal album ever recorded; if it isn't, it certainly comes close. ~ Steve Huey, All Music Guide [-] Hide

Pantera's breakthrough album, Cowboys From Hell, is largely driven by the band's powerful rhythm section and guitarist Diamond Darrell (as he was then known)'s unbelievably forceful riffing, which skittered around the downbeats to produce unexpected rhythmic phrases and accents, as well as his inventive soloing. Phil Anselmo displayed a vocal... [+] Read More

Pantera's breakthrough album, Cowboys From Hell, is largely driven by the band's powerful rhythm section and guitarist Diamond Darrell (as he was then known)'s unbelievably forceful riffing, which skittered around the downbeats to produce unexpected rhythmic phrases and accents, as well as his inventive soloing. Phil Anselmo displayed a vocal range that could switch from a growling shout to a high falsetto -- listen to him match Darrell's harmonic squeals at the end of "Cemetery Gates." The album gradually becomes more same-sounding as it goes on, but the first half, featuring such brutal slices of thrash as "Psycho Holiday," "Primal Concrete Sledge," and the title track, pretty much carries its momentum all the way through. ~ Steve Huey, All Music Guide [-] Hide

Often cited as the first true death metal record ever released (Florida's Death had been around just as long but would only make their vinyl debut a few years later), Possessed's Seven Churches took thrash metal's intensity to new levels of brutality. With song titles like "Burning in Hell," "Satan's Curse," and "The Exorcist" (featuring the... [+] Read More

Often cited as the first true death metal record ever released (Florida's Death had been around just as long but would only make their vinyl debut a few years later), Possessed's Seven Churches took thrash metal's intensity to new levels of brutality. With song titles like "Burning in Hell," "Satan's Curse," and "The Exorcist" (featuring the famous movie's eerie title theme for an intro), the band definitely displayed a strong Slayer influence; but it was Possessed growler Jeff Becerra who first introduced the barely decipherable grunting vocal style which would epitomize the death metal genre. Among the highlights, "Pentagram," "Twisted Minds," and "Fallen Angel" have best stood the test of time, offering glimpses of the trends to follow with their surprisingly mature songwriting. They then close the proceedings in ferocious fashion with the appropriately titled -- you guessed it -- "Death Metal." In the years that followed, Possessed would continued to improve from a technical perspective, but they never quite equaled the fire of this debut. And though they were gradually overtaken by younger and better bands, for those interested in connecting the dots between thrash and death metal, Seven Churches is the ultimate missing link. ~ Ed Rivadavia, All Music Guide [-] Hide