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In Defence of Pantera’s Power Metal

If Pantera had their way their debut album would no doubt have been Cowboys from Hell. Their 1990 breakthrough classic first introduced the four-piece to the mainstream metal community and helped to usher in a new type of music as the hair metal scene of the 1980s slowly begun to die out. But Pantera themselves had been a part of that same genre, rubbing shoulders with the likes of Dokken and Stryper during their early days, despite the melodies often having more in common with Judas Priest than Ratt.

Yet during this era Pantera would also perm their long hair and wear tight leather for their album sleeves, an image that other acts like Vixen and Lita Ford had also adopted. The 1980s was, after all, a flamboyant and extravagant decade and public tastes leaned towards men in make-up and spandex. Even other emerging metal acts like Sepultura boasted a similar image to Pantera during their rise to stardom but as the so-called hair metal genre became a victim of its own success, metal fans were ready for something new and exciting.

Pantera had first come together in 1981 by a group of high school students who desperately wanted to emulate their heroes; KISS, Van Halen and Iron Maiden. The initial line-up consisted of Terry Glaze and Darrell Abbott on guitar, his older brother Vince (Vinnie Paul) on drums, Tommy Bradford on bass and Donny Hart on vocals, yet within a year they had been reduced to a four-piece, with Glaze replacing Hart as the frontman and bass being filled by Rex Brown. The Abbott brothers had been raised in a music-orientated household due to their father, Jerry, who had strong associations with the country scene. Sensing his sons’ potential, he helped to form an independent label called Magic Metal Records and produced the band’s first three albums – Magic Metal, Projects in the Jungle and I Am the Night – at a small studio in Pantego, Texas.

Following the release of the latter it became clear that Glaze had different ideas surrounding the future of the group than his three bandmates, who wanted to move further away from the hair metal scene and into darker and heavier territories. Glaze eventually left the group in the spring of 1986 and soon the Abbotts began auditioning for a new singer. Among the hopefuls was Matt L’Amour, who would instead go on to work with Diamond and David Peacock, while both Hart and Glaze tried once again to join the band. Enter Philip Anselmo who, despite having only recently turned eighteen, had already performed in two local groups, Samhain and Razor White. After an evening at the Abbotts over a bottle of Tequila, Anselmo was offered to join the band and the final line-up of Pantera commenced work on their fourth album.

Anselmo had first discovered the group during their numerous performances in his hometown of New Orleans. ‘I did a very similar circuit. Their reputation was somewhat legendary,’ he told Billboard in 2014. ‘Their reputation was somewhat legendary. They were considered the band that would be signed to a major label and they would be the next big act to come out of the South. But things didn’t really get interesting for me personally until Terry quit and they were searching for ‘that guy’ to take his place. Then I started to check out the records.’ The immediate respect between the group and young singer was mutual. ‘From the first time the guy walked in the door, we could just tell he had this aura,’ Brown told Livewire. ‘There was testosterone just fucking flying. When he came in the fold, we rehearsed in Dime’s mom’s front living room with amps on twelve and there it was.’

The singer also recalls that moment when he was accepted by his new bandmates. ‘The first day I met the guys, we ended up back at Dime and Vinnie’s house, when they lived with their mom. We listened to some new demos that they were doing and it was pretty obvious that it was very, very aggressive compared to the other records. So people might look at the Power Metal record and snicker under their breath, but I pretty much defy any guitar player out there to this day to play the Power Metal riff correctly and with as much vigor as Dime. It’s an insane riff, man. But either way, we had a conversation that first night about the direction we were going in, and what they were looking for. And they were all aboard the heavy metal express and the idea of moving in a heavier direction.’

Pantera

A year earlier, Darrell – who by this point was known professionally as Diamond Darrell – and Vinnie Paul had made the acquaintance of Marc Ferrari, lead guitarist of Los Angeles-based hair metallers Keel, who had arrived in Texas to promote their second album, The Right to Rock. The brothers had given him tapes of their first two records and he immediately sensed the potential, despite the crude production and lack of direction.

‘I started working with Pantera back in 1985. They came out to a Keel show in Texas and it was evident back then just how talented these guys were,’ recalled Ferrari in an interview with Sleaze Roxx. ‘They recorded the song Proud to Be Loud which was originally intended for Keel. I went down there to produce the vocal on that track and I wound up playing rhythm guitar on that and also lead on We’ll Meet Again, which is also on the record. I happen to be lucky to have cross paths with those guys. Like I said, even then you knew great things were to come for them.’

Ferrari soon became close friends with the band and often partied with them, while also attempting to bring them to the attention of the metal press, eventually suggesting the group to Gold Mountain Records, who had signed Keel in 1984. Yet creative differences between the band and label became an immediate issue, with the executives insisting that Pantera try to re-brand themselves as a group similar to Poison, Bon Jovi and the countless other hair metal bands that were earning Platinum status during this time. Despite the deal falling apart, Ferrari agreed to help in any way he could and offered to produce their next album, Power Metal.

One important element that would inspire the heavier sound than the band would take would be Anselmo’s obsession with Slayer and meeting guitarist Kerry King,’ he confessed to Talking Metal. ‘Kerry would call all the time and when he would have downtime, off time from the road, he would fly in and come hang out with us and this was around the time where I was beating my head against the wall desperately trying to turn the guys in Pantera on to heavier music and Slayer was the paramount band. I was saying please give them a chance and sure enough Dimebag and I would listen to Hell Awaits and he started to get it and feel it…I positively know that Dimebag and Kerry King sitting down with each other opened up Dimebag’s eyes and really eventually the rest of the guys eyes to the power of the thrash rift and the magic of it and really influenced us to push our own music over the edge and all props to Kerry King there.’

The material that would be recorded during these sessions at Pantego Studio in Texas had already been written before Anselmo had joined Pantera and so Glaze’s influence could still be felt after his departure. Once again Jerry Abbott was on hand to help, working as the engineer alongside Vinnie, while Ferrari oversaw the production aspect, adding a more developed and professional sound compared to the band’s earlier releases. While the group had distanced themselves from their roots, they had yet to fully realise their potential and so the songwriting and performing was somewhat reminiscent of Judas Priest, while elements of Queensrÿche, who had recently released their acclaimed concept album, Operation: Mindcrime, could also be felt.

Another clear influence was W.A.S.P., particularly on the track Hard Ride, which opened with a guitar riff somewhat reminiscent of Wild Child, the opening number from W.A.S.P.‘s 1985 classic The Last Command. As a show of appreciation for all of Ferrari’s help, both inside the studio and as a friend, the band agreed to include one of his songs, Proud to be Loud, which he had written during the sessions for Keel‘s self-titled fourth album but had not been included on the final release. Despite the comparisons made to hair metal due to the band’s image, the music on Power Metal owed a debt to thrash, most notably the title track which felt closer to the sound of Anthrax than Ratt.

‘Our first album with Phil on vocals and although a lot of people like to say that we were playing a glam-style of music, I think that’s a total misconception,’ stated Brown in his memoir Official Truth, 101 Proof. ‘Although the image we portrayed may have looked like other hair bands, the music we were playing was much heavier and showed more of a thrash metal influence from bands like Slayer and Metallica. It was still funded by us – we paid for all the studio time at Pantego Studio produced by the old man. We all felt this need to move our career up to the next step because we were still selling records and merchandise from the back of the car, which was very DIY non-professional.’

Phil Anselmo and Dimebag Darrell

Despite the focus of Pantera in the media mainly focusing on their ’90s output, in recent years members have been asked about the possibility of Power Metal receiving a remastered and expanded re-release. ‘Honestly if people got passed the image and what not of the bar band hair bullshit that was going on in the late 80’s you would pretty much realise that it’s a pretty solid m etal record all around in the vein of Judas Priest and really Dimebag, some of the riffs on that record are brutal and I say to any guitar player out there good fucking luck trying to play those riffs,’ Anselmo told Metal-Rules. During his discussion with Billboard, the frontman also discussed the band’s approach to recording, ‘All those guys were insane perfectionists. You gotta remember, those were the days of actual tape. There was no Pro Tools or anything like that. So them being very meticulous in the studio could be almost maddening to a certain degree.’

Power Metal was released in 1988, the same year that produced Open Up and Say…Ahh! by Poison and New Jersey by Bon Jovi, but it would mark not only Pantera‘s last hair metal record but also their final album on an independent label. The following year they were finally ‘discovered’ and signed to Atco Records, a division of the Atlantic Recording Corporation and in 1990 their first true classic album, Cowboys from Hell, was released. As the band gained momentum and enjoyed both commercial and critical success, they tried to distance themselves from their hair metal beginnings, with Power Metal often disregarded as an inferior earlier offering. ‘The record would go on to sell a hard-to-ignore forty-thousand copies on Metal Magic Records – our own independent label,’ beamed Brown, ‘and it was no surprise when the major labels started looking closely after that.’

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