Pantera was popular in Australia. Once they broke into our market, they stayed until they remained as a band.
“The Great Southern Trendkill” came out in May, 1996. It went to number 2 on our ARIA charts and it reached number 4 on the Billboard 200 chart.
It’s listed as their eighth album, however for the Phil Anselmo, Dimebag Darrell, Rex Brown and Vinnie Paul version of Pantera its album number 5 as their first album begins with “Power Metal” but it’s number four from their major label debut “Cowboys From Hell”. And that’s when the Pantera I know really started.
Terry Date and Vinnie Paul are producing, recording and mixing the album.
Coming in to the album, even a band like Pantera was on the outer. The marketing machines of the labels had put their dollars in Grunge and Industrial Metal acts like NIN and Ministry.
Internally, the Abbott brothers were not too impressed when Anselmo took time out to do the “Down” project and then do a 13 date tour with the group. And to top it off, Anselmo moved out of Texas and back home to New Orleans so his vocals were done on his own.
Anyway to the music.
The Great Southern Trendkill
It’s like Death Metal.
I like the riffs and the guitar solo, but the song doesn’t really resonate with me.
It’s very Black Sabbath like, doom sludge metal.
Drag the Waters
The main riff is bone crunching.
Iommi would be proud of this riff. Actually Zakk Wylde in Black Label Society would be proud of this riff. Vocally, Anselmo is strong here.
But press play on this to hear the acoustic arpeggio passages and Dimebag’s unbelievable solo over em.
13 Steps to Nowhere
It’s weird to explain this song. It’s experimental, a mixture of blues like grooves with a lot of distortion and Sabbath like doom breakdowns.
Suicide Note Pt. I
Synths and backwards effects and then the acoustic guitar kicks in. It’s almost Led Zeppelin like, with a bit of Southern Rock and I like it.
Suicide Note Pt. II
And then what happened. It’s death metal like, with blast beats and fast riffing, with some heavy metal like riffs chucked in here and there.
Living Through Me (Hells’ Wrath)
The riffs on this are “fists in the air, head banging” riffs.
Vocally I’m not a huge fan and halfway through it goes into a weird spoken interlude with weird industrial like effects.
Then a cathartic scream from Anselmo and the head banging riffs are back in.
The clean tone intro with the acoustic guitar under it, grabs my attention immediately. It’s almost Alice In Chains like, even though the band was critical of the Grunge movement.
Then again, Pantera songs like “Cemetery Gates” and “This Love” come to mind.
The whole “Die” section is heavy and demented but there is no denying the power of Dimebag and his bro Vinnie. These dudes nail every syncopated beat and lick down.
It’s been written extensively that the solo on this song is Dimebag’s best. And it is. If you need to press play on a track, then make this the one.
It’s composed of all these little guitar solo ideas he used for his live guitar spot, while Brown and Paul are simple in their foundations, letting Dimebag fill up the space with his leads.
The Underground in America
Musically, I like it. Vocally I hate it.
(Reprise) Sandblasted Skin
Dimebag brings the riffs again.
In the end it was certified Platinum in the U.S and it charted well in a lot of other countries.
And while the relationships were strained during the recording, things got even more estranged when Brown decided to leave the tour bus he was sharing with the Abbott brothers to share a tour bus with Anselmo. Brown described it as a way to feel comfortable, because Dimebag would be up early and start cranking the guitar, which upset Brown who wanted to sleep.
During the tour, Anselmo overdosed on heroin and was legally dead for four to five minutes. According to Anselmo, he started using heroin for relief of his chronic back pain. Mick Mars has a degenerative spine issue and never turned to heroin, but then again, he did turn to alcohol and lots of it.
For the record, I hate the hardcore death metal vocals that Anselmo resorted to. His clean tone voice is one of the best. He could move between James Hetfield and Tom Araya style vocals to Rob Halford and Bruce Dickinson siren wails. It’s why I became a fan of the “Cowboys From Hell” album.
And I don’t know the exact specifics of what happened with Anselmo and the white power salute he gave at a gig he did about 5/6 years ago. Robb Flynn from Machine Head called him out on it. Which led to a lot of issues for Robb Flynn, receiving death threats and venue owners who supported Anselmo refused to book Machine Head.
One more album would come from Pantera and that would be the end. The air is thin at the top of the mountain, which means that you are not meant to hang around at the summit for long. Anselmo would put the band on hold because he wanted to deal with the back pain and then went on to record and tour with his side projects with the band officially finished in 2003.
Dimebag recently had a 17th Anniversary from when he was tragically shot dead at a gig on Dec 8, 2004. And it’s been three and bit years since Vinnie Paul died from heart disease.
While Anselmo wanted to reconnect, Vinnie Paul didn’t. And that’s how it ended.
2 thoughts on “1996 – Part 4.4: Pantera – The Great Southern Trendkill”
That is one hell of an album. It was kind of weird in parts but also impressive that they went off the beaten path a bit, given how big of a name they were at the time. It does also kinda betray that Phil couldn’t quite hold a tune like he did before.
I did like how they didn’t rewrite the previous albums in style and experimented. It felt like those Sabbath records like IV and Sabotage