When Pantera Took A Final Glam Bow On 'Power Metal'

10/14/2020 When Pantera Took a Final Glam Bow on 'Power Metal'
WHEN PANTERA TOOK A FINAL GLAM BOW ON

‘POWER METAL’
c MICHAEL CHRISTOPHER | Updated: June 25, 2018 Metal Magic Records
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Pantera will go down in history as one of the most powerful heavy metal bands ever, often credited with
keeping the genre a oat when it was out of style in the mid-'90s. It’s a road that wouldn’t have been taken
had the band not evolved from its glam-metal roots, which showed its rst signs of being uprooted with the
release of Power Metal in May 1988, their rst album with New Orleans native Phil Anselmo at the mic.
In the late ‘80s, Pantera were playing the Dallas area to packed rooms on a regular basis, bene ting from a
strong local contingent of fans, sometimes as many as 2,000 a night. Yet when it came to getting a serious
look from the industry, they were striking out; according to bassist Rex Brown they had been “turned down by
major labels 28 different times.”
“Back in those days in Texas, you really couldn't play anywhere unless you had some following and you had to
t in with the trends that were going on,” Brown, then known as “Rex Rocker,” added. “In the '80s Texas club
days, it was all about cover songs.”
For their style of music and dress consisting of bullet belts, bracelets and random bandannas, along with
striped spandex, studs and copious amounts of hairspray, singer Terrence Lee, aka Terry Glaze, was the
perfect t for the time. Guitarist Diamond Darrell (yet to be christened "Dimebag") had a penchant for the
heavier side of music, and it started to creep into Pantera's live shows to the point where it would be at odds
with the singer’s preferences.
https://ultimateclassicrock.com/pantera-power-metal/ 1/32
"With Terry, it had its heavy moments, but he always wanted to be like a David Lee Roth kind of a pop fucking
metal dude," drummer Vinnie Paul said. "It was cool, but it was also at a time when that was kind of on its
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way out. Me and Dime wanted it to be heavy, but when we started doing the covers of Metallica and Slayer
and stuff, Terry didn't want to sing them. He'd just leave the stage. Dime would sing them, and we'd do it as a
three-piece and just fucking crush.”
Lee didn’t disagree.
“We were all listening to Van Halen, Def Leppard and stuff like that, but Darrell and Rex were the ones that Tragic Details
About Van Hale
discovered Metallica and they started going in that direction,” Glaze said. “I kind of followed but I felt with
that kind of music, the guitar was the hook and the vocals were secondary. I liked songs that you could wash
your car to – where the vocals were the hook. But the band direction was going away from that to a place
where the song was driven primarily by guitar hooks.”
That was the goal for the rst three Pantera LPs – Metal Magic (1983), Projects in the Jungle (1984) and I
Am the Night (1985) – all of which came out on their homegrown Metal Magic label and were produced by Billie Eilish's
Transformation
Darrell and Vinnie’s father, Jerry Abbott, who was credited as “The Eldn’.” Then, after meeting and jamming Seriously Turnin
Heads
with Metallica, and the game-changer release of Master of Puppets, a much heavier course was set for
Pantera, leading to a parting of ways with Glaze in mid-1986.
Over the next several months, Pantera would try out a series of singers, with none of them sticking around for
very long. One name that kept popping up was Anselmo, an 18-year-old Rob Halford-like screamer who was GET O
playing many of the same spots in Texas and Louisiana fronting the band Razor White. The singer was asked Email Addre
to try out and then to relocate to Arlington, Texas, where the task was set to reclaim a fan base that had
virtually disappeared as the revolving door of vocalists spun. Not only that, but the newest member of
Pantera had a decidedly different notion of how the group should look and sound.
“I had my idea of what heavy should be, and they had their idea of what heavy was,” Anselmo said. “So, there
was a lot of education between the four of us, and a lot of growing up between the four of us to even get to a
point where we actually did destroy the myth of the club band. And the club band back in the '80s was to
dress and look like Motley Crue or you don't have a gig. So for me, this was one of the toughest times of my
fucking life, because I was playing that part and I fucking hated it, honestly.”
Acquiescing to “play by the rules … because I needed to belong early,” Anselmo walked into a situation where
the melodies on the next record by Pantera were two-thirds completed, with Glaze having laid down some
vocals that were quickly scratched, according to Brown. There was no denying the music began to take on a
harder edge with the singer’s in uence. While they’d be driving from gig to gig, Anselmo would be controlling
the radio, putting on everything from Mercyful Fate to Soundgarden to Venom.
“Phil started turning us on to all kinds of different stuff that we hadn’t listened to before, because he turned
out to be the biggest fucking metal head of all time,” Brown said. “He knew every fucking band there was to
know.”
“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,” Anselmo added.
Thrash metal was entering its peak of popularity at the time, with Metallica, Anthrax and Megadeth at the top
of the list in terms of nding success that was close to crossing over to the mainstream. The album that
would become Power Metal began to take shape with some of those cues, none of which aligned with Gold
Mountain Records, a label with an MCA distribution deal that had been keen to sign the band when Glaze was
singing. Now, with Anselmo in the fold, they were less inclined to invest in what they perceived as a less-
marketable sound.
“They wanted to change our style and make us sound like Bon Jovi, which is not quite up our alley,” Paul told
Metal Forces in 1988.
Pantera’s relationship with Gold Mountain and its head, Danny Goldberg, had come about through the band’s
friendship with Marc Ferrari of the Los Angeles metal group Keel, who were on their third album with the label
(two of them were produced by Gene Simmons). Ferrari would not only play a fade-out solo on the Power
Metal track “We’ll Meet Again,” he also contributed “Proud to Be Loud," a song that would later appear on
Keel’s Back in Action LP a decade later.
Not surprisingly, Power Metal is the epitome of the sound of a band in transition. There are Judas Priest-style
anthems in “Rock the World” and “Death Trap,” and “We’ll Meet Again” was the precursor to the Cowboys
From Hell centerpiece “Cemetery Gates” just two years later. The shredding fretwork of Darrell is what really
stands out – from the outset of the title track to the blazing solo on “Over and Out.”
“It’s a pretty solid metal record all around, in the vein of Judas Priest," Anselmo said. "And really Dimebag,
some of the riffs on that record are brutal. I say to any guitar player out there, good fucking luck trying to play
those riffs. Matter of fact, speci cally the song 'Power Metal' itself, good luck trying to play that riff with
conviction and accuracy, ‘cause that is a fuckin’ hard riff to play.”
The glam holdovers were undeniable. Check ever-so-'80s “Hard Ride” or "P*S*T*88" featuring Darrell on
vocals. There would still be vestiges of their past on Cowboys From Hell too, with Pantera nally coming into
their own completely on Vulgar Display of Power in 1992. Power Metal was where there were more than
mere ashes of what was to be, with fully formed elements of the future.
"To say I'm proud of it, no, I'm not," Anselmo later argued. "But to say that we as a band were still trying
discover who the fuck we were and what we could do, that's very evident. I did the best I could, and I think the
songs were heavier overall, more attacking."

See Pantera in the Top 50 Heavy Metal Albums
'Love at First Sting'

Scorpions (1984): 'Love at First Sting' blurred the lines between heavy metal and hard rock, retaining all of the
hallmarks established by the Scorpions in the ‘70s while adopting the modern ingredients and melodic smarts (see
“Rock You Like a Hurricane,” “Coming Home,” etc.) necessary to attract audiences beyond metal’s domain.
'Vincebus Eruptum'
Blue Cheer (1968): Blue Cheer is the only band with a legitimate case for launching heavy metal prior to 1970. This
project's devastating assault rede ned musical aggression, distortion and deafening volume. TV host Steve Allen
said it best once when he introduced the band: “Ladies and gentlemen, Blue Cheer. Run for your lives!”
'Black Sabbath'
Black Sabbath (1970): Many artists contributed key ingredients to heavy metal's blueprint, but this debut brought it
all together: the crushing power chords, minor key melodies, occult themes, you name it. And to think it was
recorded in just a single, frantic day.
'In Rock'
Deep Purple (1970): Deep Purple simultaneously reinvented their sound and revived their declining career with this
album, ignited by Ritchie Blackmore’s blistering guitar strangling on “Speed King.” Add Ian Gillan’s banshee screams
with Jon Lord’s blazing organ runs and heavy metal’s next powerhouse band had arrived.
'Paranoid'
Black Sabbath (1970): Black Sabbath consolidated their place atop heavy metal’s pyramid with their incomparable
sophomore opus. Quite possibly the ultimate metal album, 'Paranoid' included future standards like “War Pigs,” “Iron
Man,” “Hand of Doom,” and the title cut.
'Very ‘eavy, Very ‘umble'

Uriah Heep (1970): Another British band combining roaring guitars with forceful organs, this quintet arrived a little
after Deep Purple. Simply titled 'Uriah Heep' in the U.S., the album showcased David Byron’s operatic vocals on
dramatic head-bangers like “Gypsy” and “Bird of Prey.”
'Kingdom Come'
Sir Lord Baltimore (1970): These Brooklyn cult heroes arguably recorded America’s rst bona de heavy metal
album. And while they enjoyed precious little recognition in their day, Sir Lord Baltimore have since been
rediscovered and justi ably championed by modern generations of metal-heads and stoner rockers.
'Master of Reality'
Black Sabbath (1971): Black Sabbath came back heavier than ever before on their third LP. Behind the album’s dour,
minimalist cover art, lay a raft of new doom standards in “Children of the Grave” and “Into the Void” – but also a pot
anthem for the ages in “Sweet Leaf,” which many cite as the o cial birth of stoner rock.
'Vol. 4'
Black Sabbath (1972): One of Black Sabbath’s most complete albums. “Tomorrow’s Dream” and “Supernaut” had
riffs and hooks galore; “Snowblind” and “Under the Sun” were deliberate tanks of doom; “Wheels of Confusion”
pushed the experimental envelope; and the aptly named “Changes” was Sabbath’s rst true ballad.
'Machine Head'
Deep Purple (1972): A run of early ‘70s heavy-metal supremacy achieved its commercial zenith with a Deep Purple
album that featured the guitar riff to end all guitar riffs: “Smoke on the Water.” But Purple’s multi-million seller was
no one-trick pony, thanks to other benchmarks like “Highway Star,” “Never Before” and “Space Truckin’.”
'Sabbath Bloody Sabbath'

Black Sabbath (1973): The fth essential heavy metal album in the span of four short years from Black Sabbath
was almost derailed by increasing drug abuse and personal tensions. Luckily, Sabbath duly conquered these
adversities with their most sophisticated production yet, all while losing none of their fearsome power.
'Never Turn Your Back on a Friend'
Budgie (1973): This stellar third LP captured the perfect distillation of the Welsh trio’s tight ensemble playing,
inventive songwriting and quirky sense of humor, as evidenced by the juggernaut named “Breadfan” (made famous
later by Metallica), the dynamically eclectic “Parents,” and the snickering “You're the Biggest Thing Since Powdered
Milk.”
'Secret Treaties'
Blue Oyster Cult (1974): It took them a couple of albums and a few hundred tour dates, but Blue Oyster Cult nally
hit upon the perfect mix of idiosyncratic thinking man’s metal. The Long Island quintet would go on to enjoy even
greater success, but it may not have happened without this career-de ning LP.
'Burn'
Deep Purple (1974): Reinvigorated by the arrival of new frontman David Coverdale and singing bassist Glenn
Hughes, Deep Purple charged back with a vengeance. Proof positive that the greatest bands are more than the sum
of their parts, the album’s impeccable songcraft helped fans get over the departures of Ian Gillan and Roger Glover.
'Sad Wings of Destiny'

Judas Priest (1976): This was the line separating heavy metal’s rst half-decade and what was to follow. 'Sad
Wings of Destiny' also pegged Judas Priest as the style’s next, archetypal band after Black Sabbath. As such, new
standards like “Tyrnat,” “The Ripper” and “Victim of Changes” held the keys to heavy metal’s past and future.
'Rising'
Rainbow (1976): Rainbow reached the peak of their creative powers on this suitably named album, as Ronnie James
Dio and Ritchie Blackmore boosted their lineup with legendary drummer Cozy Powell. Only a handful of ‘70s metal
albums can touch the greatness of such landmark compositions as “Tarot Woman,” “Stargazer” and “A Light in the
Black.”
'Stained Class'
Judas Priest (1978): Another major step in this band's musical evolution and, by extension, heavy metal’s. Here,
Judas Priest foreshadowed speed metal’s rise with “Exciter,” wrote their ultimate power ballad in “Beyond the
Realms of Death,” and courted undreamt of future controversy with “Better by You, Better than Me.”
'Long Live Rock 'n' Roll'

Rainbow (1978): Ritchie Blackmore’s restless soul drove him closer to the mainstream once again, to the frustration
of soon-to-be-ex-singer Ronnie James Dio. But along with the irresistible title track, there were still timeless head-
bangers like the frantic “Kill the King” and majestic “Gates of Babylon.”
'Overkill'
Motorhead (1979): Lemmy Kilmister and company came into their own here, ending years of uncertainty on the
fringes of London’s post-punk scene and silencing scores of critics. The joke was on them: Motorhead were one of
the best, and 'Overkill' is right up there, too.
'Lovedrive'
Scorpions (1979): It was easy to predict disaster when the Scorpions parted ways with Uli Jon Roth. But instead the
band rose to the challenge, releasing an album featured concert staples like “Another Piece of Meat,” “Coast to
Coast,” “Holiday,” and, oh yeah, some cat named Michael Schenker temping on guitar.
'Heaven and Hell'
Black Sabbath (1980): Against all conceivable odds, new frontman Ronnie James Dio had many fans asking “Ozzy
who?” (for a short while, at least), while Tony Iommi’s power chords and Geezer Butler’s bass thunder answered
heavy metal’s call with the utmost authority. Black Sabbath was reborn like a glorious phoenix of doom.
'British Steel'
Judas Priest (1980): As the '80s dawned, Judas Priest astutely revised their sound by dispensing with earlier
songwriting complexities on this amazingly streamlined and direct album. At the same time, powerful new triumphs
like “Breaking the Law,” “Metal Gods” and “Living After Midnight” had lost none of their metallic sharpness.
'Iron Maiden'
Iron Maiden (1980): This inspired and, in retrospect, surprisingly raw eponymous debut led the New Wave of British
Heavy Metal onto the global stage. In fact, today it’s not uncommon to see fan favorites like “Prowler,” “Running
Free” and “Iron Maiden” praised for their latent “punk rock” qualities.
'Wheels of Steel'
Saxon (1980): Saxon readily accepted Iron Maiden’s challenge for N.W.O.B.H.M. supremacy, countering with a best-
selling, hit- lled smash that quickly had audiences singing along to anthems like its title track, “Motorcycle Man,”
and “747 (Strangers in the Night).”
'Lightning to the Nations'

Diamond Head (1980): Diamond Head didn't have the major label backing enjoyed by other N.W.O.B.H.M. peers, so
their self- nanced debut lacked exposure outside critical circles until Metallica championed their cause. But bad
luck and poor timing can do nothing to diminish the unfettered magnitude of this LP’s accomplishments.
'Ace of Spades'
Motorhead (1980): This career-topping project helped Motorhead continue their inexorable assault upon the U.K.
and Europe – only now they were also making major inroads into America, courtesy of the rip-roaring title track and
equivalent stunners like “(We Are) The Road Crew,” “Love Me Like a Reptile” and “The Hammer.”
'Blizzard of Ozz'
Ozzy Osbourne (1980): An extraordinary debut album, 'Blizzard of Oz' saw Ozzy successfully bridge the ‘70s and
‘80s metal aesthetics with his music and wild man antics. It succeeded in no small way thanks to a secret weapon
named Randy Rhoads – and a well-timed bat decapitation or two.
'Killers'
Iron Maiden (1981): Though only some of its songs would become regulars in the band’s live repertoire, this was no
dreaded sophomore slump. In fact, the sonic improvements obtained by rst-time producer Martin Birch brought
Iron Maiden closer to the signature sound that helped de ne ‘80s metal.
'High 'n' Dry'
Def Leppard (1981): After leading the early N.W.O.B.H.M. charge, Def Leppard’s merely decent rst LP lost them
some momentum, but they rebounded here with a vengeance. The catalyst was, of course, producer “Mutt” Lange.
He re ned the young group’s raw songwriting and melodic instincts, with staggering results.
'Diary of a Madman'
Ozzy Osbourne (1981): Though this lacked the career-spanning hits found on Ozzy Osbourne’s debut, discerning
fans know that spectacular tunes like “Over the Mountain,” “S.A.T.O.” and the title cut were cut from the same cloth.
Or rather, the very same sessions, which saw Randy Rhoads’ guitar genius in full ight.
'The Number of the Beast'

Iron Maiden (1982): Their signature release, 'Number of the Beast' is also one of the landmark albums in heavy
metal history. The recruiting of new singer Bruce Dickinson proved to be the nal ingredient bassist Steve Harris
was looking for to realize both his creative vision and his band’s remarkable potential.
'Screaming for Vengeance'

Judas Priest (1982): A Priest LP for all seasons, it was loaded with Grade A steel like “Riding on the Wind” and
“Fever,” one of metal’s all-time best opening tandem in “The Hellion” and “Electric Eye” and a massive hit in “You’ve
Got Another Thing Comin’.”
'Balls to the Wall'
Accept (1983): Germany’s Accept stepped boldly out of the Scorpions’ shadow with this sexually charged
masterpiece. Highlights included “London Leather Boys,” “Lovechild” and a colossal title track.
'Pyromania'
Def Leppard (1983): Their partnership with “Mutt” Lange achieved its zenith here, even if perfectly constructed hits
like “Photograph” boasted none of the group’s early N.W.O.B.H.M. grit. What they ended up with instead was a
transatlantic smash that crossed over into the mainstream like no heavy metal album had ever done.
'Holy Diver'
Dio (1983): No Rainbow and no Black Sabbath? No problem! After years of playing second ddle to heralded guitar
gods, Ronnie James Dio struck out on his own with a stellar debut. This is ‘80s metal at its nest.
'Piece of Mind'
Iron Maiden (1983): With the arrival of drummer Nicko McBrain and the rst songwriting contributions from
charismatic frontman Bruce Dickinson, Iron Maiden’s classic lineup was locked into place. Meanwhile, Steve Harris
remained in top songwriting form, ensuring the delivery of yet another Maiden classic – and an enduring fan
favorite.
'Kill 'Em All'

Metallica (1983): This underground release shifted the thrash metal movement out of neutral and straight into fth
gear. Fast, furious, jagged and uncompromising, Metallica’s debut revolutionized the style, inspired scores of
imitators, and set the San Francisco band’s dynasty into motion.
'Shout at the Devil'
Motley Crue (1983): If there’s a heavy metal equivalent to the Sex Pistols’ punk rock debut, it’s probably Motley
Crue’s sophomore triumph – where quality musicianship takes a backseat to furious energy. It's here where they
begin an inexorable march to stardom.
'Powerslave'
Iron Maiden (1984): A golden streak of essential metal culminates with 'Powerslave,' which ran the full gamut of
Iron Maiden's talents, from galloping head-bangers like “Aces High” and “2 Minutes to Midnight,” to the progressive
aspirations of the title track and “Rime of the Ancient Mariner.”
'Ride the Lightning'
Metallica (1984): A signi cant leap forward for thrash metal’s leading lights, as Metallica somehow managed to get
heavier (“For Whom the Bells Toll”), faster (“Fight Fire with Fire”), more ambitious (“Call of Ktulu”) and more
accessible (“Fade to Black”) in one fell swoop. What’s more, “Creeping Death” alone nearly covered all of those
bases.
'Orgasmatron'
Motorhead (1986): After suffering the collapse of their beloved power trio lineup and spending a couple years on
recording lockdown due to bad business deals, Motorhead returned in a big way. The title track alone stands among
the band’s heaviest creations and boasts some of the greatest heavy metal lyrics ever written.
'Master of Puppets'
Metallica (1986): Thrash crossed over to the metallic masses with 'Master of Puppets,' an album that's a
cornerstone of any respectable heavy metal discography. Highlights include the title track and the devastating
“Disposable Heroes,” on an LP that gained even more signi cance after the death of bassist Cliff Burton, just
months after its release.
'Reign in Blood'
Slayer (1986): The ultimate thrash metal album, 'Reign in Blood' is still the most frantic, satanic and just plain
thrilling half hour of music ever committed to tape. Many bands have since tried to match these impossibly high
standards, without success.
'Peace Sells ... but Who's Buying?'
Megadeth (1986): Dave Mustaine, late of Metallica, puts on an absolute master clinic of technical skill, political
commentary, and undeniable hooks with his new band's platinum-selling sophomore effort.
'Among the Living'
Anthrax (1987): The fourth and nal de nitive title delivered by thrash metal’s vaunted “Big Four,” this may have
been the most cerebral of them all. Still, that distinction couldn’t mask its raging aggression. Instead, “Caught in a
Mosh,” “I am the Law,” and others welcomed countless thrashers into the pit.
'Operation: Mindcrime'
Queensryche (1988): A state-of-the-art conceptual heavy metal album then, 'Operation: Mindcrime' remains the
standard. It's a peerless marriage of cerebral subject matter and songs so infectious commercial radio couldn’t help
but love them, despite their challenging progressive intricacies.
'Painkiller'
Judas Priest (1990): Judas Priest didn’t hesitate to play the pop metal game (see 'Turbo') for the second half of the
'80s. By 1990, however, Priest must have sensed the turning musical tides and wisely reinvented themselves. This
was by far the heaviest album of their career to that point.
'Rust in Peace'
Megadeth (1990): After years spent diluting his talents in Olympian chemical abuse, Dave Mustaine nally got it
together and recruited the ultimate Megadeth lineup. And, at a time when thrash was already running dangerously
low on new ideas, the quartet arguably delivered the last word in technical, yet accessible thrash.
'Metallica'
Metallica (1991): The 'Black Album' was their coronation, signifying Metallica's graduation from world’s biggest
thrash band to world’s biggest heavy metal band, period. Producer Bob Rock helped Metallica hone and simplify
their songwriting, creating instant classics like “Enter Sandman” and “Sad but True.”
'Vulgar Display of Power'
Pantera (1992): Pantera staked their claim as the de nitive American metal band of the '90s with this totally
overpowering release. Having shrugged off a decade of lame pop metal with a stunning turnaround via 'Cowboys
from Hell,' Dimebag Darrell, Phil Anselmo and company de ned groove metal – making themselves uniquely
bulletproof to the ravages of grunge.
NEXT: TOP 10 VINNIE PAUL SONGS
Filed Under: Pantera
Categories: Anniversaries
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PANTERA’S 20TH-ANNIVERSARY ‘REINVENTING THE

STEEL’ SET ANNOUNCED
c DAVE LIFTON | Published: September 10, 2020 Rhino / EastWest
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A special edition of Pantera's nal album, Reinventing the Steel, will arrive on Oct. 30 in honor of its 20th
anniversary. The three-CD set brings together a remastered version of the original LP, a new mix made by
Terry Date, instrumental rough mixes of every song and covers of Black Sabbath (“Electric Funeral” and “Hole
in the Sky") and Ted Nugent ("Cat Scratch Fever") songs.
The track listing, as well as Date's mixes of “Revolution Is My Name,” “Death Rattle,” and “We’ll Grind That Axe
for a Long Time,” can be found below.
The producer, who worked on the band's de nitive early-to-mid-'90s albums, said he didn't want to remix
Reinventing the Steel, because he likes Sterling Win eld’s work on the original, according to a press release.
But he eventually changed his mind because he felt fans wanted to hear his take on the material.
"I’m just trying to remember what we used to do as I’m going through this stuff," he said. "But the riffs and
performances are strong. It’s just classic Pantera.”
A two-LP 180-gram vinyl set, featuring the Date mix and eight of the bonus tracks, will arrive Jan. 8, 2021. It's
limited to 5,000 copies and comes in an embossed foil jacket. Both editions can be pre-ordered at
Pantera's online store.
Released in 2000, Reinventing the Steel was a return to form for the band. Its back-to-basics sound ran
contrary to the nu-metal that was popular at the time. But tensions among guitarist Dimebag Darrell,
drummer Vinnie Paul and singer Phil Anselmo led to Pantera breaking up shortly after the album's release.
Pantera, 'Reinventing the Steel' 20th-Anniversary Edition Track Listing

Disc One: New Terry Date Mix
1. “Hellbound”
2. “Goddamn Electric”
3. “Yesterday Don’t Mean Shit”
4. “You’ve Got to Belong to It”
5. “Revolution Is My Name”
6. “Death Rattle”
7. “We’ll Grind That Axe for a Long Time”
8. “Uplift”
9. “It Makes Them Disappear”
10. “I’ll Cast a Shadow”
Disc Two: Original Album Remastered

1. “Hellbound”
8. “Uplift”
11. “Goddamn Electric” – Radio Mix
12. “Revolution Is My Name” – Radio Edit
13. “I’ll Cast a Shadow” – Radio Edit
14. “Goddamn Electric” – Radio Edit
Disc Three: Bonus Tracks

1. “Avoid the Light”
2. “Immortally Insane”
3. “Cat Scratch Fever”

4. “Hole In the Sky”
5. “Electric Funeral”
6. “Hellbound”
13. “Uplift”
See Pantera and Other Rockers in the Top 50 Heavy Metal Albums
NEXT: LOOKING BACK ON PANTERA'S 'FAR BEYOND DRIVEN'
Filed Under: Pantera
Categories: New Albums, News
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10/14/2020 When Pantera Took a Final Glam Bow on 'Power Metal'

WHEN PANTERA TOOK A FINAL GLAM BOW ON

Lee didn’t disagree.

See Pantera in the Top 50 Heavy Metal Albums

'Love at First Sting'

'Very ‘eavy, Very ‘umble'

'Sabbath Bloody Sabbath'

'Never Turn Your Back on a Friend'

'Sad Wings of Destiny'

'Long Live Rock 'n' Roll'

the best, and 'Overkill' is right up there, too.

'Heaven and Hell'

and “747 (Strangers in the Night).”

'Lightning to the Nations'

named Randy Rhoads – and a well-timed bat decapitation or two.

'High 'n' Dry'

'The Number of the Beast'

'Screaming for Vengeance'

Got Another Thing Comin’.”

'Balls to the Wall'

'Kill 'Em All'

'Shout at the Devil'

begin an inexorable march to stardom.

aspirations of the title track and “Rime of the Ancient Mariner.”

'Ride the Lightning'

months after its release.

standards, without success.

'Peace Sells ... but Who's Buying?'

'Among the Living'

but love them, despite their challenging progressive intricacies.

was by far the heaviest album of their career to that point.

'Vulgar Display of Power'

bulletproof to the ravages of grunge.

NEXT: TOP 10 VINNIE PAUL SONGS

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PANTERA’S 20TH-ANNIVERSARY ‘REINVENTING THE

Pantera, 'Reinventing the Steel' 20th-Anniversary Edition Track Listing

Disc Two: Original Album Remastered

Disc Three: Bonus Tracks

3. “Cat Scratch Fever”

NEXT: LOOKING BACK ON PANTERA'S 'FAR BEYOND DRIVEN'

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