Sometimes the people with the biggest hearts find those organs in trouble. Rigor Mortis/Wizards of Gore vocalist Bruce Corbitt has undergone a series of medical procedures to correct a misfiring heart, and has embarked on a grueling schedule of benefits to fund these costly undertakings.
But last week, two heart complications in less than five days changed Corbitt’s reasoning. At the ER, Corbitt found that his heart was misfiring, which caused his blood pressure to skyrocket. The doctors told him that he would need heart surgery. After months of living healthy, even changing his diet, he finally agreed. He couldn’t take the chance of dying on stage like his late guitarist and friend Mike Scaccia, who died playing at Corbitt’s 50th birthday bash at the Rail Club in Fort Worth.
“It became very evident that I can’t live a normal life anymore without doing the surgery, without fixing the problems,” Coribtt says. “It’s not fair to me, my wife, my family and my band to have to worry. It’s no way to live: ‘Oh we can’t go out of town without worrying about his heart messing up.’ Nah, it’s worth the risk of surgery to live a normal life again. I feel like a walking time bomb.”
This may be the coolest job title ever: Heavy Metal Consultant. Vocalist Bruce Corbitt, of Rigor Mortis and Warbeast fame, has been appointed by the Texas Musicians Museum as its expert on all things heavy metal. The Museum, which is awaiting construction of its new facility at 222 E. Irving Blvd in Irving/Dallas metroplex, issued the following statement:
The Texas Musicians Museum is proud to announce that the talented Texas musician Bruce Corbitt will be assisting us as our Heavy Metal consultant.
Since the early/mid eighties, vocalist Bruce Corbitt has been in the midst of creating Texas Metal music that won’t be forgotten anytime soon. From his days in the legendary Rigor Mortis to his current band Warbeast, he has truly given us his all and made his mark on the history of Texas music. The self-titled debut Rigor Mortis album was inducted into the Decibel Magazine “Metal Album Hall Of Fame” in 2013. Both Warbeast full-length albums “Krush The Enemy” and “Destroy” have also received end-of-the-year honors by numerous metal magazines and metal news websites. Bruce also has the distinguished honor of being the only vocalist to win a Dallas Observer Award in the category for “Best Metal Band” with two different bands… twice with Rigor Mortis and once with Warbeast.
Corbitt sent out a request to all metal fans for Texas Metal Memorabilia and contact information as follows:
My first step is assembling my own panel of Texas Metal Legends and Gurus. To help me make sure we do this the way it should be done. I am very familiar with the history of Texas Metal since the beginning. But I obviously don’t know the entire history of every region as good as I do D/FW. So I have already reached out to many Texas Metal historians that I want to be part of this team/panel. Such as Jason McMaster, John Perez, Rick Perry, Rodney Dunsmore, Carcass John Fossum… and I will reach out to more for other areas. Between us all… we will brainstorm and come up with the best gameplan to do this the way it should be done.
The Museum itself will be 8,500 square feet and it will have an outdoor event area that can also have live music. Yes we will have some Texas Metal bands playing on some of these events too.
Ok… so obviously one of our main goals is to start collecting actual donations for the museum itself. So we will be starting a huge Texas Metal Memorabilia hunt for the bands and musicians that we want to include. I’m sure that I will be listing the bands as musicians soon enough that we want to induct into the museum… but it is common sense to many of you who some our legendary Texas Metal Bands are… but just to name a few Pantera, Rigor Mortis, Helstar, WatchTower, Devastation, Absu, Big Iron, Drowning Pool, The Sword, Gammacide, Deadhorse, Angkor Wat, Aska, Warlock, Militia, Solitude Aeturnus, Prophecy, Sedition, Devourment, Rotting Corpse and we are just getting started on the possibilities.
So for now… until we get further along and I make more announcements. If you have anything like historic Texas Metal memorabilia… or any ideas for bands or musicians you think should be included, or any other suggestions you think would be beneficial to our cause…
please contact me at email@example.com
This now gives Texas two metal archives for the history and theory behind heavy metal and associated genres. The other, to which users of this site have been mailing metal artifacts for over eight years, is at the University of Texas at Austin:
Dr. David Hunter
Music Librarian and Curator, Historical Music Recordings Collection
Fine Arts Library (DFA 3.200)
University of Texas Libraries
1 University Station (S5437)
Austin, TX 78712
It is great to see metal ignored by the Rock and Roll Hall of Fame and accepted by these independent but reputable authorities who are studying metal through its personalities and source documents like recordings, flyers, zines, letters and posters.
The job of a record reviewer embraces nihilism in a way most people will never experience. Much must be removed — nostalgia for the musicians who shaped much of your teen years, sympathy for a musician who died far too young, desire for metal to awaken from its slumber — in order to clearly analyze the music and answer the basic question all reviewers should ask themselves: if I were a casual to moderately involved fan, on a limited budget, would I buy this record?
With Slaves to the Grave, Rigor Mortis returns after a challenging history. The only speed metal band with death metal influences to get signed to a major label, the band unleashed Rigor Mortis after which band politics forced out the vocalist almost all sources agree was their best, Bruce Corbitt. The band surged forward and released its instrumentally most exciting material on the Freaks EP, but completely lost direction with Rigor Mortis vs. The Earth, which reflected the band members pursuing their individual directions and losing a cohesive sound.
Now after band members have spent time in Ministry, Warbeast, and Gwar, Rigor Mortis re-form to re-take the stage and carry on where they might have picked up after that first album. Stunned by the lugubrious death of guitarist Mike Scaccia, the band soldiered on with this crowd-funded album release, still facing its greatest struggle which is that “its strength is its weakness,” and having many strong individual performers means finding direction and balance is a challenge. Slaves to the Grave takes the fast tremolo speed metal approach of Rigor Mortis and slows it down to give it the rhythmic approach of bands like Kreator, Sodom and Destruction which makes it very catchy. Into this, the band members drop varied influences from other music of the period and contemporary metal. This is not really a followup to the first album; more likely, it is an attempt to do what Rigor Mortis vs. The Earth tried to — modernize its sound and find balance between technicality and rhythmic hook choruses — but with the original lineup.
The problem with Rigor Mortis vs. The Earth is that, while it contained some of the greatest songwriting to emerge from this band, it was completely disordered, both as an album and as individual songs. Band members seemed to wander on stage to contribute their specialties, then vanish into the background as the band zeroed to a mean in order to preserve the integration of each song. With Slaves to the Grave, Rigor Mortis assert much more control over their work, but try hard to include all of their strengths. Vocalist Bruce Corbitt writes hook-heavy choruses that are highly motivational, where Mike Scaccia specializes in melodic guitar. Those two are in tension because guitar jams like to expand, where rhythmic hooks require keeping flying speed and then hitting it with dramatic tempo changes. On this new work, the band separate the instrumental bits from the song itself, creating a kind of “oasis” within the song arrangement where the guitar can unleash itself.
Slaves to the Grave takes on a number of influences. From modern metal, it inherits the trope vocals that chant in cadence with the guitars and drums in the style that Pantera (nice guys, but the death of speed metal through norming) picked up on and metalcore really took to the wall, but luckily this does not happen at full intensity very frequently. The band uses its classic technique of overloading verses so that they have two parts, a simple placeholder and a texturally more intense second half that prepares for the chorus. This gives the music more of a theater and lets the hook of the chorus integrate more with the song as a whole. Unfortunately, someone decided that mid-1980s German speed metal drums would be essential here, so most of the percussion emulates this style which not only becomes overbearing but is too simple for this music. A little Dave Lombardo influence here would improve things quite a bit. These songs fit together tightly like ancient walls and there are no random, rambling or irrelevant discursive bits, which shows the professionalism of this band.
If we went searching for a spirit animal for this album, it would probably be mid-1980s Iron Maiden. Many of these chord progressions and the general rhythms used resemble those from the speed metal years of Iron Maiden, but also, the arrangements of these songs mirror the tendencies that the NWOBHM band developed. Songs blast through verse-chorus pairs, work themselves up to a break, reprise their main theme and then launch into instrumental cool-downs. This balance allowed Iron Maiden to stay hookish but also work in the depth they knew would keep their albums from being essentially aggro-pop, and it worked for them for many years, so it is intelligent of Rigor Mortis to pick up this vein. Other influences are Testament and earlier Rigor Mortis itself, which is cited through similar but distinctively altered chord progressions and melodies. “The Infected” for example shadows “Die in Pain,” “Poltergeist” shadows the break return in “Revelations” by Iron Maiden, and other fragments show up repurposed as new riffs. Unlike earlier works, the melody in Slaves to the Grave is built into the chord progressions, giving the songs more harmonic space. Scaccia takes advantage of this with numerous instrumental passages. These show a greater study of tone than earlier works, but lack the frenetic architectures of his lead guitar on Freaks and drifts closer to the rock, metal and jazz influences of Rigor Mortis vs. The Earth. This allows songs to slow down, expand a bit, and become more distinctive because they release less on pure rhythm and more on melody.
This album offers well-composed songs that straddle the line between the raw fury of early Rigor Mortis and the instrumentally-advanced but compositionally disintegrated material of its later works. The most death metal track, “Curse of the Draugr,” and the first half the album deliver the greatest punch. The concluding ten-minute instrumental on the topic of Roman gladiators could perhaps be left off without damaging the album at all, since it is sparse in context and driven by vocals instead of guitar composition. The instrumental track sounds like the instrumentals from the later years of Death, but with less focus on pure theory and more on an emotional side to the music; metal fans will be lucky if future metal-jazz hybrids heed this direction. On the whole, Slaves to the Grave shows Rigor Mortis at its healthiest point in two and a half decades. For those who want the first album done again, it will not satisfy, but this will be more of a hit with melodic speed metal and technical metal fans.
Before the untimely passing of Rigor Mortis guitarist Mike Scaccia, the band recorded what will become its final album. Featuring the same lineup as 1980s Rigor Mortis, Slaves to the Grave emphasizes the unique approach of this groundbreaking speed/death metal band as rendered with contemporary production.
To spur interest in the album, Rigor Mortis released a preview track entitled “Flesh for Flies” which demonstrates the new style. The same frenetic high-speed rhythm guitar makes its presence known, but with more of the melodic depth seen on later Rigor Mortis works like Freaks and Rigor Mortis vs. The Earth. Bruce Corbitt elevates his frantic vocals with death metal technique mixed in with his urgent shouts, and provides the kind of engaging rhythmic chorus that will ensnare any metalhead with a love for 1980s style speed metal. In addition, Scaccia injects a solo that attacks with a blitzkrieg undulation of notes that creates a texture from which a melody slowly arises. Gone are the longer song structures of Freaks, replaced by a verse-chorus approach that hammers home the powerful transition between the more death metal verse riff and the elegant melody of the chorus.
The song consciously targets the self-titled Rigor Mortis album that floored the metal community with its gore lyrics but powerful instrumentalism and abundant energy. For those who are looking for a re-creation of that first album, Slaves to the Grave looks to be both in that vein and enhanced with the more immediately impacting approach that band members picked up from subsequent projects. The strength of this track comes from its simplicity and directness which allows its viral payload to intrude directly in the consciousness of the listener, leading wayward brains to a dark and morbid place undergirded with the trademark Rigor Mortis absurdism and musicality.