30 ANOS DEPOIS…
… o q ficou?
Scott Burns
ENCARTE: CANNIBAL CORPSE [3]
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]
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
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.
***
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: CANNIBAL CORPSE
Histórico da banda até o momento e bastidores de gravação por Alex Webster, na versão remasterizada (2002) de “Tomb Of the Mutilated” (1992):
“We recorded the album ‘Tomb Of the Mutilated’ at Morrisound Studios in 1992. It was our 3rd album, and we were becoming more comfortable recording. We also had more experience writing music, and as musicians in general. I think when you listen to the album, and compare it with the first two, you can hear the progression. The songs on ‘Tomb…’ were the fastest and most technical we had done at that time. This more technical direction made the recording session for ‘Tomb’ our most challenging up to that point. For me personally, for example, ‘Beyond the Cemetery’ was one of the tougher songs to track, and I’m sure the other guys each had their own songs that challenged them on this album. But it was this technical push and the challenging music it created that made ‘Tomb’ a fan favorite (‘Hammer Smashed Face’ is still our most popular song).
Another point that should be mentioned is Scott Burns’ contribution to the development of our band, as this was the first record where we had the budget to work a little longer in the studio. Scott used this extra time to get the best sounds he could for us, and to get the best performances he could from us. Many fans have told me that ‘Tomb…’ is their favorite album because the production is so heavy. There is no doubt that Scott helped Cannibal Corpse a great deal with the excellent production work he did on this album.
The things we learned writing and recording ‘Tomb of the Mutilated’ set the stage for future improvements in our band. It was a big step forward on our mission to be the best death metal we could be“.
ENCARTE: PESTILENCE [2]
Miolo de uma “Pestilence Bio”, assinada por um certo Robert Haagsma e contida em “Presence Of the Past” (2015):
“‘Consuming Impulse’ made Pestilence Hollands’ leading metal band and one of the prime players in the international death metal scene. A position that was cemented with a European tour with Autopsy and a series of concerts in America with Death. After that last tour Martin van Drunen left the band and joined Asphyx. Undeterred Pestilence returned to the US to record the third album in the famous Morrisound Studio in Tampa, Florida with the almighty Scott Burns himself. Patrick Mameli took over the vocal duties and American Tony Choy – known for his work with Cynic and later Atheist – was recruited for the bass parts. ‘Testimony Of the Ancients’ was another step forward. By adding melodic interludes Patrick Mameli pushed the boundaries of death metal in a way that was rarely heard before.
In May 1992 Pestilence played Europe with support act Monstrosity as part of the ‘Presence Of the Pest’ tour. It was the perfect preparation for what turned out to be the highlight of Pestilence’s existence. The band was asked to perform at the Dynamo Open Air festival in Eindhoven, Holland – at that time the most prestigious metal festival in Europe. It wasn’t an easy ride. Tony Choy wasn’t available due to his commitments back home. He was replaced by session player Jack Dodd. Patrick Mameli was still recovering from a motorcycle accident. And in the day itself Patrick Uterwijk had problems with his guitar and had to play on an instrument borrowed from his Monstrosity tour mates.
‘It was all quite nerve wrecking’, recalls Patrick Mameli. ‘Off course we knew this was going to be the one of the most important gigs of our life. It was pretty unique, a Dutch death metal band on this huge stage – I think we were one of the first. My parents and my sister were there. All the people from the record company. And a crowd of 40,000 metal heads. I remember I had a weird feeling in my stomach all day. Once we hit the stage it took a few songs to get rid of all the nerves. It turned out to be a fantastic gig. We made very little mistakes. Patrick Uterwijk played great on his borrowed guitar and the temporary bass player did and excellent job. The crowd was great that day – although it was hot as hell. I even requested water to be sprayed out over the first rows to cool things down a bit. The way that the crowd roared when we played ‘Out Of the Body’, our final song of that day, is something that I will never forget. As far as I could see people were totally into it. I remember walking off the stage soaking wet and thinking: what could possibly come after this?'”
ENCARTE: OBITUARY
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
ESCOCÊS LEGÍTIMO, UM SÓ
OS ‘SCOTT’ MAIS ADMIRÁVEIS PRA MIM:
- Scott Travis – Fight/Judas Priest/Racer X/Thin Lizzy
- Scott Burns
- Scott Gorham – Thin Lizzy/Black Star Riders
- Bon Scott – AC/DC
- Scott Ian – Anthrax/S.O.D.
- Scott Lewis – Brutal Truth
- Scott Thunes – Frank Zappa
- Scott Rockenfield – Queensrÿche/Slave to the System
- Dave Scott Davis – Annihilator
- Scott Weiland – Velvet Revolver/STP
NAPALM DEVE
Papo meio antigo q tive com o amigo märZiano no Facebook certa vez, q ñ havia transformado ainda em post.
Memória é um negócio traiçoeiro. E ainda mais traiçoeiro quando (des)acompanhada de alguns dos 5 sentidos vagamente específicos. Explicando:
“Harmony Corruption” sempre foi o meu disco preferido do Napalm Death. Lembrava de ouvir a fita em q o tinha gravado – faz tempo – em ñ muito alto volume (ñ precisava), sempre impressionado com a podreira e, ao mesmo tempo, limpeza do trabalho. É o trampo mais técnico (sim!) dos caras. E aí tem já uns anos q desisti das fitas: embora as tenha, ñ mais as ouço e as abandono conforme adquiro os cd’s: coisa q deveria ter feito há uns 20 anos, mas foda-se.
Em junho último, comprei o “Harmony Corruption” em cd. E o som é fraquinho… sem volume. O peso é longínquo. Parece uma fita, mas ñ a q eu tinha, bem gravada e no talo. Uma fita mal gravada. Tenho q erguer o som pra cacete, e aquele peso podre e lindo ñ vem. Fora q a bateria parece mais “alta” q o resto.
Dúvidas a respeito disso:
1. pode ser q o lançamento, pelo selo argentino Del Imaginario, tenha estragado a coisa. Sei de histórias de versões argentinas de cd’s q soam como fitas ruins, outras aparentemente passadas de mp3 pra cd (né, märZ?), inclusive. Será o caso?
2. a outra dúvida/lembrança imperfeita q tenho do petardo é q a banda teria ficado envergonhada do som “limpo” dele (culpa de Scott Burns, q o deixou bem death metal) e o entregou a Colin Richardson (produtor de Carcass e Fear Factory, entre outros) para “remixá-lo”: sujá-lo devidamente. Tvz o meu cd seja a versão “limpa” do artefato e minha fita fosse a versão “estragada”. Sei lá.
Alguém conhece e confirma, ou desmente, alguma dessas dúvidas a respeito?
PRODUZIDOS POR SCOTT BURNS
MELHORES ÁLBUNS PRODUZIDOS PELO TOTEM:
- “Beneath the Remains”, Sepultura
- “Once Upon the Cross”, Deicide
- “Harmony Corruption”, Napalm Death
- “The Bleeding”, Cannibal Corpse
- “Individual Thought Patterns”, Death
- “Arise”, Sepultura
- “Piece Of Time”, Atheist
- “World Demise”, Obituary
- “Vile”, Cannibal Corpse
- “Unquestionable Presence”, Atheist
Página sobre o sujeito no Metal Archieves revela bandas em q ele tocou – nem sabia q tb tocava…
E na parte específica das produções, ñ listei álbuns os quais masterizou ou apenas mixou. Só os q produziu.