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Morrisound Studios

ENCARTE: KREATOR [3]

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Perrengues (ou falta deles?) na produção/gravação de “Renewal” (1992) relatados por Mille Petrozza no encarte da minha versão digipack remasterizada (2018):

“We would have loved to work with someone like Rick Rubin this time, but he was way out of our league as far as budgets were concerned. So, in the end We went for Tom Morris. One of the big reasons for choosing him was that he co-owned Morrisound Studios in Florida, where we were keen to record. Tom’s partner in the studio was his brother Jim. And what we didn’t realise at the time was that Jim was the producer, not Tom.

(…)

“Let’s be fair, Tom was a nice guy and was certainly very cool and enthusiastic. But he had never worked with a band like us before. He had a lot of respect for us, and I suppose in the end he had too much respect. Whereas, we had been used to Randy [Burns, produtor dos 2 discos anteriores] getting involved and coming up with ideas, Tom was very passive. He agreed with everything we suggested, which wasn’t at all helpful. We could have done with him being a lot more pro-active, but he thought we knew what we were doing, and left us to it. He even allowed us to mix the album ourselves“.

ENCARTE: CANNIBAL CORPSE [3]

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Primórdios do Cannibal Corpse e algum bastidor (ñ copiei tudo) das gravações do disco de estréia, “Eaten Back to Life” (1990), contados por Jack Owen, em minha versão remasterizada do mesmo (2002):

“After the December 1988 formation of Cannibal Corpse, the subsequent demo, and signing of the band to Metal Blade Records, it was finally time to record our first album for the label. Being a fan of Scott Burns because of his work on Sepultura‘s Beneath the Remains, we inquired about booking time with him at Morrisound Studios in Tampa, FL. In the meantime, we put the finishing touches on more material to fill the album. Up until then, we wrote songs that were an average of two minutes in lenght. Five of these songs were released on our demo to lure record labels into signing us. The five demo songs were, in order: ‘A Skull Full Of Maggots’, ‘The Undead Will Feast’, ‘Scattered Remains, Splattered Brains’, ‘Put Them to Death’, and ‘Bloody Chunks’. The longest of these songs clocking in at 2:46…

(…)

With an early 1990 studio session booked, we solidified all the material by playing some local shows to try the material out on a live audience. The response was incredible, and our fan base began to grow by leaps and bounds. We packed my van, and Paul’s truck, and headed for Florida…

(…)

The album also began our long relationship with artist Vince Locke, who we idolized for his work in the comic book ‘Dead World’. We couldn’t think of a better match for the band to get our visual perspective across to music fans everywhere, leading us to censorship problems throughout the globe.

The recording sessions was a bit of a blur due to being young and overwhelmed by being thrown under the studio microscope for the first time, but in my opinion, the album is still quite listenable to this day for me. It holds a lot of memories of the early days of the band that are special to all of us…

We loaded up the vehicles and headed north out of Florida only to run in a blizzard before reaching Buffalo. Little did we know that years later we would leave the arctic climate of the north, and realocate to Tampa to continue our quest to become better with each release…“

ENCARTE: CANNIBAL CORPSE [2]

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Depoimento de Paul Mazurkiewicz a respeito das causas, motivos, razões e circunstâncias da composição + gravação de “Butchered At Birth” (1991) em minha versão remasterizada (2002) do artefato:

“We started writing material for our next release pretty much right after we recorded ‘Eaten Back to Life’. With the exception of a few shows here and there it was months of us trying to be the most brutal band on earth. We just practiced our asses off and composed songs which I felt were full of aggression and completely unrelenting. A raw collection of pure death metal! Of course we needed names for these compositions of death and one came to me while driving to band rehearsal. Butchered At Birth. I thought it was an awesome phrase and definitely a song title that had a ring to it. As it turned out we used it for the title of the cd. So we packed our bags and made our way to sunny Florida to record at Morrisound Studios with Scott Burns at the helm once again. We had a killer time recording there and we couldn’t wait to be back. We did our thing. Scott did his thing and Butchered was born. Added with the sick artwork of Vincent Locke, ‘Butchered At Birth’ has become our most notorious release to date. Not for the weak of heart!!“

SOLSTICE

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Seria apenas mais uma pauta cronofágica no boteco, perguntando o protocolar “o q ficou?”, mas aqui ñ.

Nunca tinha ouvido falar.

O pacote completo: death metal (death/thrash, mas tudo bem), Flórida, anos 90, capa de Ed Repka, produzido por Scott Burns no Morrisound Studios.

Guitarrista/vocalista com propriedade: Rob Barrett (aqui “Robert Barrett”), já de tempos no Cannibal Corpse, onde parece q ñ faz 1/3 do apresentado por aqui. E q baterista animalesco é esse?

Alex Marquez, o nome ñ me é estranho.

O guitarrista solo, um tal Dennis Munhoz, tb é outro aloprado.

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Peço desculpas se o pessoal já conhece e conhecia isso de trás pra frente; aí é uma máscara tr00 q deixo cair ahahah

Por outro lado, a quem tá ouvindo pela 1ª vez hoje (dica q peguei na página facebúquica The Metal Realm, q está hoje saudando os 30 anos do petardo) tb… Putz, ficou um clássico realmente underground, hum?

Baita disco de estréia.

ENCARTE: OBITUARY

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Rabeira de release por Don Kaye na versão remasterizada (1998) de meu “World Demise” (1994):

“WORLD DEMISE was also a bittersweet album in a way, since it marked Obituary‘s final effort at Morrisound Studios with producer Scott Burns, who had guided the band’s projects ever since their first full-fledged eight-track recordings became their debut album, SLOWLY WE ROT. Given an increased budget and his own expanding abilities, Burns worked diligently on finding new and unique ways to record the Obies, as they were affectionately known in the UK press. ‘This was Scott’s last, and definiely best, album with us’, reflects Tardy. ‘If I was somebody who had never heard any death metal before and had to compare the first four albuns, I think WORLD DEMISE would be the best-sounding album’.

This new, remastered version of WORLD DEMISE comes complete with a clutch of bonus tracks, including the rare “Killing Victims Found”, recorded during the sessions but only avaiable until now on the limited DON’T CARE ep in the U.S. and the WORLD DEMISE digipack cd in Europe, and three live tracks – “Infected”, “Godly Beings”, and “Body Bag” recorded at the 1992 Dynamo Festival in Holland, Obituary‘s first and, so far, only appearance at the legendary metal event. ‘It was a great show for us, because there were 30,000 people there and the majority of them were death metal fans. The live tracks added to this álbum from that show are straight from the soundboard, kind of dry and not the greatest mix, but that’s what sort of makes it cool’.  

And in keeping with the exploratory nature of WORLD DEMISE, Don Tardy says there’s one final piece of the album’s history that remains in the shadows. ‘Super Brian was really into doing dance remixes of heavy songs, and he did a House mix of “Boiling Point” that was really cool. It was very industrial sounding, with a full-on dance beat. But I never got a copy of it, we never used it, and now I can’t get in touch with Super Brian and get a copy from him. That’s something that I’d like to dig up and release one day, so the kids can hear it and say, ‘what the hell is going on here?” ”

 

PS: o tal Super Brian citado era um assistente de estúdio de Scott Burns