This is one of the most dynamic songs in the Pantera catalog, containing Dimebag’s soft and beautiful acoustic playing as well as an intense and soulful solo. What shines the most here, however, is Phil’s vocals. They are extremely dynamic as well and build up to screams whose only rival ends up being Dime’s whammy-bar acrobatics. The lyrics describe a love that ends in tragedy, and the struggle of a man to come to terms with it. A truly well-crafted song–riffs, textures, and solos take the listener through a seven-minute heavy metal journey. An early demo version of this song recorded in the year prior to the recording of Cowboys From Hell is almost identical but is missing the intro and first verse that eventually came to be for the album. Interesting, some of the rhythm guitar is played by Rex on this song.
This song was released as one of two newly-recorded studio tracks on Pantera’s first live album, “Official Live 101 Proof.” These songs showcase Pantera at a high point in their career–Dime’s tone had reached its pinnacle and Phil’s voice was the perfect blend of rough-but-melodic. Rex’s bass kicks the song off, however, and his doesn’t stop until the song’s end. Vinnie’s drumming is as fast and powerful as ever, and the drum mix makes full use of the stereo spectrum. Pantera’s sound is heavily Southern here–the main riff switches back and forth between rock-and-roll notes and Judas Priest style metal. Dime uses a whammy pedal here on his double-tracked solo, recalling a Van Halen sound where the solo is backed by only bass and drums–no rhythm guitar. The lyrics describe not hiding from your past, but the listener can tell they come from a dark time in Phil’s life.
Kicking off the “Trendkill” record with a bang, this is perhaps the most brutal intro of all-time. Dime and Rex’s playing is excruciatingly fast and then extremely grooving, and Vinnie’s drums are spot-on like a metronome. Phil’s lyrics speak about the need to go your own way and not be a part of a trend just for the sake of it, and he shouts them with extreme conviction. His layered screams create a vacuum-type sound sucking the listener into the verses. The song ends with a slow and groovy jam that features some cool slide work from Dime as well as palm-muted and delayed riffing recalling that of GNR’s Welcome to the Jungle intro. Here's the only time Trendkill was played live, still in embryonic form:
A song about Phil’s self-destructive tendencies, this is one recorded during the last era of the band. Mind you, all that means is that they are as lean and mean as ever here, but their years of experience by this point allows them to sound just the way they should. The mix is just about perfect and Dime’s tone is low, crunchy, and mean. Vinnie’s hypnotic ride cymbal backs Dime’s chugging resulting in the most commanding sound known to man. Pantera uses changes in tempo to make sure every part of the song arrives at its full potential, and it does nothing less. Phil’s vocals are tonal but brutal, and a cool rattlesnake-like sound effect is featured throughout beautifully. Interestingly, an early version of this song appears on an episode of Spongebob Squarepants.
Another truly dynamic song, this one is a twisted love story between a selfish man who feels remorse for what he has done. Very much the precursor to Floods, this song features a dynamic range of playing without sacrificing the creepy and uneasy feeling present throughout. With a shouting chorus that Rex and Dime would help Phil with in live situations, this is one of the first trademark Pantera-sounding songs that sounds like no one else. Dime’s riffing is off the charts here, and the song’s breakdown is one of the earliest but most effective examples of such. Phil executes a tasty variety of screams overtop of Dime’s guitar resulting in a logical progression of notes.
The title track off of the album, this kicks things off right. Dime’s studio-manipulated chugs collide with the blistering riff creating one of the most groovy and danceable songs in existence. Phil’s dramatic and comedic vocals describe the story of the band “taking over this town.” Vinnie’s double-bass work is more than impressive following a signature Dimebag solo, and Rex’s bass really solidifies the groove throughout. This song introduced the world to the Pantera we all know and love, and couldn’t have done it in a better way.
Perhaps the most dramatic song in the Pantera catalog, Floods deals with the evil of people. This song is Pantera at its most experimental. Phil’s vocals are tortured and effected, using his layered vocal technique masterfully. Dime’s playing, like on This Love, ranges from soft and foreboding to loud and crushing. This track features arguably Dimebag’s best solo, followed by an inspiring outro that originated in concert as a solo-showcase. Rain sound effects top this one off and add to the gloomy picture Pantera paints here.
An autobiographical song about Phil’s life, this song features one of the greatest riffs of all time following a sludgy and innovating wah-wah pedal pinch harmonic intro. Vinnie’s drums really groove and sound great, while Rex’s bassline complements Dime’s playing fantastically. A middle-eastern sounding riff with trills serves as the prechorus, and Phil’s soulful vocals take over. Dime’s double-tracked solo features some tasty harmony lines, and Rex’s low notes under the solo create the ideal heavy metal sound.
A faced-paced number about counter-culture ideals, this song is a technical masterpiece. Never has the band sounded tighter or more focused on the same goal. A progressive-rock sound is present beneath the heavy metal façade due to its complex arrangement. This song features the most grooving riff of all time, followed by the most ominous. “We’ve grown into a monster”–Phil’s lyrics are confident and inspiring, even if you don’t exactly stand for everything he’s speaking about. Interestingly, there’s no solo here, as I conclude the band felt that would have taken away from the raw and direct punk attitude. Dime does add some cool dissonant harmony textures near the last half of the song, however.
An odd choice for number one, some might say. However, this is Pantera at its peak. A Southern-sounding riff carousels into alternating left and right panned chugs, causing the listener to move and shake about uncontrollably. Yes, this is a Pantera song that you can dance to, and the groove is taken one step further with Phil’s guttural vocals towards the end. Before that though, Dime busts out a truly excellent solo supported by Vince’s and Rex’s backbone.
Although a studio version appears on the Greatest Hits album, this song appeared live only within performances of Cowboys From Hell (as featured on the live album). It features that which is arguably Dimebag’s warmest tone ever. The band channels the vibe of the Ted Nugent original perfectly, and the production leaves nothing to be desired. While Dime sticks close to Uncle Ted’s original solo, he still manages to make it sound distinctly his own. Phil hits the same notes as Nugent, but with screams, which add to the overall brutality.
