A to Z of Making It, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

1996 – Part 5.7: Sepultura – Roots

Sepultura means grave in Portuguese. It all came to Max Cavalera when he was translating the lyrics from the song “Dancing On Your Grave” by Motorhead. It doesn’t matter where you look, Lemmy’s influence is everywhere.

I met the brothers, Max and Igor Cavalera at a Utopia Record Store Signing in Sydney. My cousin Mega is a huge fan. Mega turned up with his bashed in snare skin which the guys gladly signed and Mega also gave me a poster which they signed for me and I then gave the poster back to Mega.

Sepultura built up to this moment with their three previous releases in “Beneath The Remains” released in 1989, “Arise” released in 1991 and “Chaos A.D” released in 1993.

“Roots” is their sixth studio album released at the start of 1996. It’s also their biggest. The line-up is the classic line up as I know it. Max Cavalera is on lead vocals and he plays a 4 and 6-string guitar. Andreas Kisser is on lead guitar. Paulo Jr. is on bass guitar and Igor Cavalera is on drums and all things percussion related.

Produced by Ross Robinson, so don’t expect to hear any guitar leads as Robinson has openly stated how much he hates guitar leads.

Roots Bloody Roots

The groove metal riff is so much fun to play. There is this dissonance section in the middle which is chaotic and unsettling before the groove riff kicks in.

It carries the message to believe in yourself, be proud of your heritage and be proud of where you come from.

Attitude

There is a syncopated riff in the intro which is cool. The rest is run of the mill, Pantera like groove riffs.

The lyrics to “Attitude” were co-written by Dana Wells, Max Cavalera’s stepson, whose death (in part) led to the events which caused Max to leave the band.

Cut-Throat

“Cut Throat” is about Epic Records who gave the band no love during their previous album “Chaos A.D.” The last words in the song are “Enslavement, Pathetic, Ignorant, Corporations”.

Ratamahatta

It features David Silveria on drums and Carlinhos Brown on vocals, percussion and a lot of other unique native Brazilian instruments.

The song is a celebration of life in Brazil’s favela slums, which tells the stories of people like Coffin Joe and Lampiao, the leader of an early 1900s outlaw gang from north Brazil, whose head was put on public display after he was captured.

Breed Apart

Written by Andreas Kisser and Max Cavalera, it starts off with a military like snare which morphs into a Tool like breakdown before Tool was known to do these kind of breakdowns.

I have no idea what Max is singing, but I don’t really care as the music gets me interested to pick up the guitar.

Straighthate

There is no way you can’t listen to the start and say that doesn’t sound like Tool on the “Aenima” album, which came after.

I also hear a lot of the Nu-Metal like riffs from acts like Slipknot, Spineshank and Mudvayne on this album. Then again Korn was doing something similar as well.

Spit

The riff has a hard rock like swagger, something that bands like Buckcherry and Orgy would do in a few years’ time.

Lookaway

It features guest appearances by Korn vocalist Jonathan Davis, then-Korn drummer David Silveria, House of Pain/Limp Bizkit turntablist DJ Lethal, and Faith No More/Mr. Bungle vocalist Mike Patton. The track alone could appear on a Korn or Mr Bungle album. It’s chaotic.

Dusted

Written solely by Andreas Kisser, it’s more of that Korn and Deftones vibe.

Born Stubborn

It’s got this industrial like vibe. Like all the songs, I have no idea what Max is singing.

It features an Xavante Tribe chant which also appears on the song “Itsari”.

Jasco

An instrumental by Andreas Kisser which feels like a tribute to someone.

Itsári

An instrumental with the Xavante Tribe chants and an acoustic guitar riff that reminds me of Led Zeppelin’s “III” album.

Ambush

I like the intro on this. It reminds me of stuff that Machine Head would do. It’s “a tribute to murdered South American rain-forest activist Chico Mendes”.

Endangered Species

It addresses environmental destruction. Musically it is brutal.

Dictatorshit

It’s about the 1964 Brazilian coup d’état. It’s fast, punk like and angry.

I would say that “People = Shit” from Slipknot is similar.

Canyon Jam

A hidden track on the album. It’s a 14 minute native drum instrumental.

The album was massive in Australia, reaching number 3 on our ARIA charts and a Gold certification to go. In Austria it reached number and a Gold certification. Gold certifications followed in Canada, France, Netherlands, the U.K and the U.S.

On top of that it charted in the Top 10 in Belgium, Finland, Germany, New Zealand, Norway and Sweden.

The small subtle change from fast speed metal to groove nu-metal worked. It is the bands biggest album and the last studio album to feature founding member, main songwriter and vocalist/rhythm guitarist Max Cavalera. The offers rolled in for Max to do something on his own. Soulfly would be the answer.

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A to Z of Making It, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

The Changing Times and The Record Label Business Model of STEALING From The Artist.

I remember waiting in line for an in store appearance of the band Sepultura at Utopia Records back when Utopia Records were situated on Clarence Street, Sydney. It was the early nineties and the in-store had the classic Sepultura line up. My cousin at that time (who was a drummer) had a real bashed in snare skin for Igor to sign, I had a couple of CD’s and a poster and the others all had various forms of music (LP’s or CD’s or drumsticks or guitar cases and so forth).

Sepultura was cult like popular then. They sat in an area that satisfied a few different markets. You had the “betrayed” original Metallica fans. You had fans of the original “thrash” movement. You had fans of the “Death Metal” market. You had fans of the “Extreme Metal Market”. And you had fans of the new “Groove Metal” market. Shredders appreciated them.

I remember asking one of the Utopia guys who was doing line management outside the building, why so many people came to Utopia on a daily basis just for chit-chat. He replied that they come to buy CD’s and I disagreed with him. I told him that nobody wakes up in the morning and says to themselves I need to spend $30 on a CD. We wake up in the morning and we say to ourselves, we want to hear the new Sepultura album, the new Motley Crue album and we want to hear it right now. And in order to hear that song, we HAD to buy a CD or an LP. Because radio sure wouldn’t play it.

So a bit of talking goes back and forth and the Utopia dude goes on to tell me I have no idea what I am talking about as Utopia sell hundreds of thousands CD’s a year.

The recording industry failed to realize that it existed not to sell records or CDs but simply to find the fastest, easiest way to let fans hear the song we wanted to hear. If they realised that, then they would have invented the iPod and iTunes. Instead history shows that a company not even in the music industry, did that instead. And now Apple makes billions of dollars selling music. So going back to my Utopia example, they are nowhere near the force it was back in the early to mid nineties and I wouldn’t be surprised if it shuts its doors eventually (which I hope never happens \:::/).

Apple has been selling tracks at the iTunes store since 2003. Apps, books, movies and TV shows came after. Yet, no one complained about the accounting and to my knowledge no one has sued Apple for unpaid royalties. Artists may complain about Apple taking a 30% cut, however that was the deal.

YouTube and Spotify have been streaming songs from about 2006 and 2008 respectively. Of course there are others on the market as well that offer streaming services like Pandora, Google, Deezer and so on. However, one thing these companies have done is they pay. They honour their deal. Which is the reverse of what the record labels did.

You know, those record labels that got sued by artists for their accounting practices, claiming they’ve been screwed over by the label. You know those record labels famous for paying late or paying at all. You know those record labels for never honouring a deal. You know those record labels that threatened to derail your career and you end up settling for less than you deserve.

What pisses me off is that while people complain about Spotify stream payments and YouTube stream payments and Pandora royalties,  at least these techies are honest in their deals at this point in time. It just seems that the record labels who are the majority rights holders are not passing on the monies.

Because a deal is never a simple deal to the recording business. The labels don’t want simple. The labels don’t want royalties to be computerised because that would mean there is transparency and with transparency, profits would disappear. The major label business model is based on STEALING from the artist. That is why you have artists like Eminem, Dave Coverdale and others suing their labels for unpaid iTunes royalties. That is why you have artists suing their labels for unpaid monies due to creative accounting practices.

Believe me, if an CEO’s pay packet was suddenly short, he’d drop everything and do his best to get it right if the problem wasn’t immediately rectified. But if it’s the artist?

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