Examining Pantera’s Legacy: 1983-2008

Classic Era

1. Metal Magic (1983)

Pantera’s first, and definitely chalk full of classic heavy metal. “Ride My Rocket” is clearly very KISS influenced, but still has a bunch of NWOBHM backbone. “I’ll Be Alright” is a perfect classic heavy metal track with NO glam influences.. Realistically, back then, this would have been viewed as a straight up metal record. I keep listening to it and really still don’t consider it a glam album. You could easily ship this record overseas to England, and they would eat it up as one of their own. How can bands like Samson and Diamond Head be viewed as traditional British heavy metal while Metal Magic is merely written off as some glam schlock? Yes, its true, Pantera was not into heavier metal at the time, but they did have roadies and fans who were into thrash and later death metal, and it was these people who would eventually change their opinions on what it means to make heavy music. GOOD

2. Projects in the Jungle (1984)

While the world was raving about Motley Crue around this time, there was a small time Texas band that was rocking harder and louder and contained way more talent than the Crue did in California. Truth be told, despite their image during this time, Pantera was a heavy metal band through and through, creating some mad riffs alongside a kick ass double bass (listen to “Out For Blood” and “Projects in the Jungle” for a perfect case in point). Hell, was there really anyone implementing double bass the way this band was during this time? Also, if there was any doubt about Dimebag’s majesty on guitar, listen to “Blue Lite Turnin Red” which is a fun effects ridden track of wankery that, while not completely showcasing his later groove influenced style, shows he has some major chops even in 1984. Can you imagine what another decade of playing would bring to this man? Phew. Overall, alot of people give this album shit, but unlike its predecessor, the KISS influences and 70’s era rock is not as prevalent with the band’s trademarked bass line coming into play. Still, there are a few glam showcase moments scattered throughout, but none of which ever strays from metal. Never. GOOD

3. I Am the Night (1985)

This is the band’s first and only real foray into glam metal in my opinion, with the songs “Hot and Heavy” and even worse, “Forever Tonight” containing more fluff than substance. Also, many of the other tracks that are straight ahead metal like “Come-On Eyes,” contain vocals that are much more reminiscent of glam era metal and rock. In fact, if it weren’t for lackluster vocals, this album would contain some of the best songs of Pantera’s career, especially with the song “Down Below” which contains one of the best, thrashiest riffs the band has ever written. Hell, just about every song on this album has some sick riffs and drum work in it, including “I Am the Night” which is definitely a Judas Priest homage if I have ever heard one (and a good one at that). This is a very frustrating album, because if I were to introduce this album to unsuspecting metal fans, I can guarantee you they would immediately look past the great riffs and focus on how bad the vocals are. Perhaps if this album was produced better it would have had better results, but in its current state, it’s probably one of the weakest of the band’s early era despite containing some of their best songwriting. GOOD

4. Power Metal (1988)

Those who state that the “real” Pantera started with Cowboys From Hell, obviously hasn’t listened to Power Metal. This was the first album featuring Phil Anselmo, and is all about the speed metal influences along with their classic heavy metal base. The groovy riffs, while not outright thrash metal at this point, were getting pretty fucking close. This is NOT a glam era album and contains some amazing pre-CFH era stuff, especially in the song “Over and Out,” which could have easily found it’s way onto the Cowboys From Hell album. Power Metal is clearly a preview of what was to come. VERY GOOD

Modern Era

5. Cowboys From Hell (1990)

While the glam era died out, and thrash beginning to see its final days as an underground powerhouse with exhausted bands beginning to call it quits and fall like flies under the weight of the music industry which had begun to turn away talent, and constant touring in order to make a living, there was one band who stood alone amongst a changing landscape. Pantera, largely unknown outside of their native land, California and the tape trading circuit, had begun work on their greatest achievement as a band, Cowboys From Hell, which literally re-wrote the book on how thrash would be played from that point forth in metal. With solos that would make Van Halen blush, and original aggression that would make any thrash or death metal band envious, Pantera had reached their peak at what many consider to be the beginning of their career despite having almost a full decade behind them of writing leading up to this atom bomb! Nirvana and Soundgarden have been said to have invigorated the rock scene at the time with a new age of minimalism, but for heavy metal, no one could tell the righteous fans that anything but Pantera were the new breadwinners of the scene. MANDATORY OWNAGE

6. Vulgar Display of Power (1992)

The second, and very anticipated release of Pantera was heavier, cruder and featured a vocal style of Phil that abandoned melodic singing in favor of the leather lunged style that would eventually become his trademark. I’d say that Vulgar DIsplay of Power represents the pinnacle of the band’s popularity. With people now getting their hands on their first record, this was the first album that people were able to really take in as newfound fans of the band. This is a very good record with a greater influence on groove instead of traditional thrash, and while it doesn’t have the same quality tracks that Cowboys From Hell contained, it’s still a worthy record, especially during the time period when good, mainstream metal was basically null and void. VERY GOOD

7. Far Beyond Driven (1994)

If you thought Vulgar Display of Power was heavy, then wait until you get a load of this behemoth! Not only is this a groove based album, but it turns into a borderline stoner doom metal album with its, at times, slow raunchy riffs that really ring out every last drop of emphasis. Yet, besides maybe The Great Southern Trendkill, I think the intent of this album was to make it simply heavier using the same formula they had used since CFH, however, the original riffing and catchiness is definitely not as crisp and apparent. I can’t end this though, without mentioning the excellent Black Sabbath cover of “Planet Caravan” which is a noteable exception to the uncompromising brutality contained in the rest of the record. GOOD

8. The Great Southern Trendkill (1996)

If the song The Great Southern Trendkill wasn’t an obvious example of the band’s new focus on anger and heaviness, I don’t know what is. Overall, this album is just a big mess and really exemplifies perhaps the unsettling relationship the guys in the band were going through at the time. Still though, despite how over the top this album is, it is still not bad, in fact, it’s pretty good. Dimebag’s southern riff style is back in full force with solos, and the drumwork is quite decent. But, it’s still painfully obvious that this wasn’t just your ordinary Pantera record, it was obvious to fans that something was happening with the band, and it wasn’t good. The good natured, albeit violent vibes of the band were no longer there, instead, their groove oriented style had evolved into a darker, almost borderline death metal sound that was really distancing itself from the good time approach and originality the band had with Cowboys From Hell. This is actually kind of a depressing album to listen to, because it was really the beginning of the end for the band’s stability. GOOD

9. Reinventing the Steel (2000)

The final effort from Pantera. There had been rumors floating around after this was written about inner turmoil finally causing the band to part ways, and when the band di finally break up, it was never definitively decided if this was permanent or not. I, like many fans hoped it was only a temporary break up in order to allow time for everyone to get their heads straight. However, soon Phil started working on his projects, and the Abbott brothers would go on to form Damageplan. To me, I think Reinventing the Steel represents a kind of comeback of sorts after their abysmal live album and the lackluster Great Southern Trendkill which was a bit too harsh and unkempt, even by Pantera standards. This album contains track after track of metal that spit in the face of the naysayers who said they were washed up and not the same band. The riff giants were still writing amazing groove oriented riffs that no one else in the world could do quite like them, despite the climate at the time in heavy music being well entrenched in nu-metal and hip hip. It’s sad to know that songs like “Yesterday Don’t Mean Shit” and “Revolution Is My Name” will be the last we are likely to hear from Pantera. VERY GOOD

Lasting affects of Pantera

Clearly, groove metal as perfected by Pantera, is probably the greatest influence we have on the modern generation of heavy metallers. What the early thrashers had with NWOBHM and KISS, and the bands from the 90’s having the thrash movement, we as the latest batch of 20 somethings, have Pantera as our real metal flag bearer through years when our very own generation succumbed to the easy access of nu-metal and Ozzfest. Pantera survived the 90’s by staying true to their sound and giving the fans exactly what they wanted to hear; pure aggression and intricacy on the part of every musician, including Phil’s voice. Towards their twilight days, the Texas groove masters began to wallow in self torment, which in turn affected the band’s priorities and creativity.

Still though, despite the band’s tumultuous break up and eventual death of Dimebag, Pantera created metal that bands of virtually every genre have been largely influenced by. Thrash metal had found its phoenix in Pantera, which unfortunately wasn’t really appreciated until it’s demise, but because of their legacy, intricate thrash and groove metal has lived on through dark times to truly find its reawakening in 2008.

Written by CODY