Showing posts with label Thrashtober. Show all posts
Showing posts with label Thrashtober. Show all posts

Saturday, October 28, 2017

Archive Review: Testament's The Spitfire Collection (2007)

Testament's The Spitfire Collection
One of the most influential and enduring bands in heavy metal, Testament may not be as well-known as Anthrax, as controversial as Slayer, or as commercially-successful as Metallica. Due to the band member’s instrumental virtuosity and the band’s unique blend of technical proficiency, raw power and thinly-veiled lyrical malevolence, however, Testament’s original brand of thrash-metal has withstood the test of time.

Originally forming in San Francisco in 1983 as “Legacy,” the band’s earliest line-up included vocalist Steve Souza, guitarist Eric Peterson, bassist Greg Christian, and drummer Louie Clemente. It was with the addition of lead guitarist Alex Skolnik two years later that the band changed its name to Testament and rapidly became one of the top names in a local metal scene dominated by Metallica.

With several major labels sniffing around the Bay Area for thrash bands in the wake of Metallica’s success with their Ride The Lightning and Master of Puppets albums, Testament was receiving their share of label attention when Souza left the band to form Exodus. The loss, although significant at first, proved to be beneficial when the band recruited vocalist Chuck Billy to take over the lead position. Billy’s dark-hued vocals and wider melodic range paired well with the band’s instrumental prowess and the table was set for Testament’s future.

Testament's The Spitfire Collection


With Billy at the mike, Testament signed with Megaforce Records, the indie label already a well-known brand in heavy metal households. The band released its powerhouse debut, The Legacy, in 1987, the album’s fortunes benefiting from Megaforce’s recent distribution deal with Atlantic. The album shook up the metal hierarchy; The Legacy was deemed an overnight classic and Testament found themselves thrust into the upper stratosphere of thrash-metal, rarified heights that included hometown rivals Metallica, Anthrax, Slayer, and Megadeth.

Testament followed their debut with an equally-powerful offering, The New Order, in 1987, and would subsequently record a couple more albums for Megaforce before the label was absorbed by Atlantic altogether. By the time of the band’s fifth album, 1992’s The Ritual, Testament had been on the verge of Platinum™ sales level stardom for a half-decade. The rigors of constant touring and borderline superstardom took its toll, and when the otherwise solid album was overlooked in favor of grunge bands like Nirvana and Soundgarden, Testament began to fall apart. Guitarist extraordinaire Skolnik was the first defection, leading to a revolving door of various members circling around mainstays Chuck Billy and Eric Peterson.

The band soldiered on during the difficult ‘90s, recording albums both bad (Return To the Apocalyptic City is pretty dodgy) and extremely good (Demonic is industrial-strength scary). Testament signed with notable hard rock/metal label Spitfire at the end of the century, and the band’s best-known and beloved line-up (Billy, Skolnik, Peterson, Christian, and Clemente) even reunited for a lengthy world tour in 2005, reasserting the Testament brand name in heavy metal for years to come.

All of which brings us, in a roundabout way, to The Spitfire Collection, a heady fourteen-song compilation that documents Testament’s tenure with Spitfire Records. After the band signed with the label in 1999, Spitfire reissued albums such as Live At the Fillmore and Demonic that Testament had previously released independently. Along with newer albums such as The Gathering, Spitfire has amassed a large chunk of the Testament catalog, easily enough material to assemble a top-notch collection.

First Strike Still Deadly


True believers will not be disappointed by The Spitfire Collection. The album kicks off with a trio of red-hot tracks culled from Live At the Fillmore, an overlooked gem in the Testament catalog in this humble scribe’s opinion. Although Skolnick had been gone for a couple of years by the time of the album’s original 1995 release, metal journeyman James Murphy (Death, Obituary) picks up most of the slack on scorched-earth jams like “The New Order,” “Souls Of Black” and “Practice What You Preach.” The choice of three vintage live tracks to kick off this comp was sheer genius on somebody’s part.

From Live At the Fillmore, the collection jumps to a flurry of cuts from 1997’s Demonic, including the truly HEAVY “John Doe” and the equally-frightening “Hatreds Rise.” With Demonic the band had pursued a heavier sound that bordered on the industrial darkness of Ministry or My Life With The Thrill Kill Kult, only with chainsaw guitars replacing any wimpy dancefloor rhythms. The album retained all of the thrashy goodness that fans had come to expect from Testament, however, piling on layer-after-layer of threatening vocals and heavy riffing.

Three takes from 1999’s The Gathering come next, building upon Demonic’s newfound aggression with an even greater sense of insane urgency. With Chuck Billy’s extreme vocals, chaotic slashing guitar interplay between Peterson and Murphy, and tribal drumwork courtesy of Slayer skinman Dave Lombardo, much of The Gathering sounds like a cross between Norwegian death metal and Killing Joke’s worst nightmares.

For 2001’s First Strike Still Deadly, the band ventured into the studio with former members Souza, Skolnik, and drummer John Tempestra to re-record a disc’s worth of the band’s best songs. The gimmick received lukewarm response from the fans, and a fair degree of venom from critics, cuts like the driving “Over The Wall” and “The Preacher,” while benefiting from better production, nevertheless not adding anything essential to the original versions of the songs. The Spitfire Collection tops off with three songs from Live In London, the aforementioned reunion of the band’s classic line-up throwing out caustic live versions of ‘80s-era songs like “Into The Pit” and “Trial By Fire.”

The Reverend’s Bottom Line


And there you have it…The Spitfire Collection in a nutshell or two. The album does a fine job of documenting Testament’s later years, collecting material from each of the band’s vital works over the last decade onto a single disc. The chosen material also does a strong job of displaying the talents of the individual bandmembers: Chuck Billy’s awe-inspiring metallic vocals, Eric Peterson’s rock-solid riff-and-rhythm-fretwork and, on the few modern-era tracks that he appears, Alex Skolnick’s fluid, still-shocking-and-shockingly-electric leads.

Sure, rabid fans already have all of this stuff on other discs, but The Spitfire Collection provides an intriguing introductory sampler for young metalheads to discover this legendary band. It also includes some of the band’s better recent material on a single easy-listening disc. What more could you ask for? (Spitfire Records, released March 13, 2007)

Review originally published on the Trademark of Quality music blog

Buy the CD from Amazon.com: Testament’s The Spitfire Collection

Wednesday, October 11, 2017

Archive Review: Metallica's Garage Inc.

Metallica's Garage, Inc.
A large part of the reason for Metallica's longevity as a band and their continuously growing popularity is that they provide their audience what they want: aggressive, no frills, ass-kicking, hard-edged rock 'n' roll. Flying in the face of both conventional wisdom and industry tradition, Metallica have thrust themselves into the rarified heights of multi-platinum bands with little or no radio airplay or video presence. Relying instead on constant touring and a very deliberate recording process that produces the kind of album that the band themselves would want to buy, the not-so-secret key to Metallica's success is that they are, at their very core, music fans themselves.

Because they are fans, Metallica's collective musical closet is filled with cover tunes, B-sides and obscure songs by bands that only the hardcore are familiar with. Garage Inc. is the foursome's tribute to their influences, a two-CD collection of songs that they themselves are quite fond of. Some of the material on Garage Inc. will be familiar to Metallica fans – the band's legendary and long out-of-print 1984 The $5.98 EP: Garage Days Re-Revisited is included here on the second disc, as are numerous B-sides, many of them songs performed live on a regular basis by the band. Even at this stage of the game, releasing an album of covers – much less a two disc set – is a bit risky even for a chart-topping fan's band like Metallica. But they seem to have pulled it off, as shown by initial sales figures (which is all that matters to the label), mostly because they bring such joy, sincerity and energy to the songs on Garage Inc.

Metallica's Garage Inc.


Like most affairs of this nature, Garage Inc. has its share of hits and misses. What matters here is that the band hits the bull's eye more often than not. Many of the covers here are derived from what is called the “New Wave of British Heavy Metal” (NWOBHM), a late '70s/early '80s musical phenomenon that was to have a striking affect on the various members of Metallica. So strong an influence was NWOBHM band Diamond Head that their “It's Electric,” with its soaring vocals and roaring guitars, sounds like it could very well be a Metallica original. Garage Inc. offers four of the English band's songs spread across its two discs – it seems that every time Metallica starts cranking out the covers, it's Diamond Head they turn to for inspiration. Other NWOBHM bands represented on Garage Inc. include Holocaust, Blitzkrieg, and Sweet Savage.

There are takes – some odd and some not so odd – to be found on the discs here. Black Sabbath's “Sabbra Cadabra” receives an appropriately eerie reading, Thin Lizzy's version of the traditional Irish “Whiskey In The Jar” is provided a particularly inspired performance while the Misfits' “Die, Die My Darling” is just the sort of metal-tinged punk horror story that Mr. Danzig envisioned all those years ago. Lynyrd Skynyrd, another band that had more in common with their fans than their critics or label executives, is revisited here with a somber rendering of “Tuesday's Gone” that includes guests like Blues Traveler's John Popper, Alice In Chain's Jerry Cantrell, Les Claypool of Primus, and Gary Rossington of Skynyrd, among others.

The Reverend's Bottom Line


I personally prefer the songs found on the first disc, which are the newest of the batch, above the more trashy, early Metallica covers of the Garage Days Re-Revisited era. The “Motorheadache” performances from Lemmy's fiftieth birthday party, closing the second disc, provide a thunderous good time, as Metallica pays homage to one of heavy metal's godfathers. Whether it's punk (Discharge, Anti-Nowhere League, the Misfits), metal (the aforementioned Motorhead, Mercyful Fate, various NWOBHM bands), classic '70s rock (Blue Oyster Cult, Queen, Bob Seger), or the truly obscure (Budgie, Nick Cave, Killing Joke), all receive a proper “metallicizing.”

Garage Inc. is a hell of a lot of fun, and if this collection of 27 well-chosen covers inspires just one young rocker as much as the original tunes influenced Metallica, then the band has done their job well. (Elektra Records, released November 24, 1998)

Review originally published by Alt.Culture.Guide™ music zine, 1999

Buy the CD from Amazon.com: Metallica's Garage Inc.