Brian Slagel and Metal Blade Records--why they are cool

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Brian Slagel and Metal Blade Records--why they are cool

by David Gasten

Brian Slagel, founder and CEO of the heavy metal label Metal Blade Records, is a rare example of a record company executive that runs a great business based on virtue and integrity, rather than on taking advantage of others and destroying lives and careers. This lens focuses on the positive pattern that Brian has left in working with the people around him.

In this lens, you will meet Four Metal Blade Bands who are living examples of Metal Blade's care and concern for their artists: Bitch, Flotsam and Jetsam, Galactic Cowboys, and Voivod (Flotsam & Jetsam and Voivod both feature ex-Metallica bass player Jason Newsted, by the way.) You will also see what Metal Blade does to keep an active back catalogue, and learn how Brian is working to protect young metal bands from being ripped off by Metal Blade imposters.

Please Note: this lens is NOT endorsed by or affiliated with Brian Slagel or Metal Blade Records, Inc. It is an honest opinion from an outside party based on two years worth of research. I welcome any corrections or additions, just submit them in the guestbook below.

BRIAN SLAGEL.

If you are a heavy metal fan, you probably know his name. Brian Slagel is the owner, founder, and CEO of METAL BLADE RECORDS, a privately-owned, independent record company who have been responsible for introducing the world to household names like Slayer, Cannibal Corpse, and Metallica; supporting and occasionally rejuvenating the careers of established groups like Anvil, King's X, Legs Diamond, and Mercyful Fate; and hosting the long-term careers of groups like Fates Warning, Lizzy Borden, and Armored Saint.

The record business is notorious for building a business model that routinely uses up artists and throws them away, leaving a trail of broken lives and ruined careers in their wake. Much to the delight of musicians and music fans, the record companies have finally gotten a heavy dose of their own medicine in recent years with the rise of underground virtual distribution systems that work cheaply and more efficiently than the physical distribution systems that the record labels rely upon. But the independently owned and operated Metal Blade Records have remained resilient and robust in the midst of this deserved decline. Why is this? In part, it's because of smart business practices like establishing and maintaining a strong customer base, building something of a cult around the brand name, and responding properly to the wants and needs of the people whom they serve. But another more important reason is that Metal Blade has built a reputation for themselves as a virtuous company. Metal Blade runs a good, strong business model, but not at others' expense or peril. This starts with Brian Slagel on the top, and works its way down.

Taking Care of Business, Taking Care of Bands

Profiles of Four Metal Bands that Brian and Metal Blade have been good to

Probably the area where Brian Slagel's and Metal Blade's pattern of virtue is the most visible is in the way that they treat their artists, past and present. Metal Blade has been fabulously loyal and kind to the performers that they have worked with, and have built a VERY strong track record of this.

What follows is Profiles of Four Metal Bands who are living examples of Brian Slagel's and Metal Blade's belief in and loyalty to the artists who create the great heavy metal that they market and distribute.

The four bands whose stories with Metal Blade we will be profiling here are:

· Bitch
· Flotsam and Jetsam
· Galactic Cowboys
· Voivod

1. Bitch

Metal Blade hasn't forgotten their first band ever

Let's start with Bitch, who is fronted by lady metal pioneer and whip-cracking dominatrix from hell Betsy Bitch. Bitch was the first band to release an album on Metal Blade Records, and is the first lady-fronted American heavy metal band to be signed to a label anywhere.

In the 1980's, female-fronted hard rock and metal bands were not taken seriously on American shores, and were treated like clowns by the record companies and a certain amount of the record-buying populace. Add Bitch's tongue-in-cheek S&M schtick to this "women can't do metal" bias, and you have what could have been an unsignable band and a tragic failure. But thanks to Metal Blade, the band instead kept a constant if somewhat diminutive presence throughout the 1980's, when most lady-fronted heavy groups were being ignored or forced to go pop.

Metal Blade's distributor Enigma Records ran a healthy mail order system, and included mail order circulars in practically every new Enigma release. So when music fans bought albums by everyone from Slayer to The Surf Punks and Poison to Peter Hammill, there was Bitch, subtly reminding the music-buying populace that ladies can rock too. Thanks to Bitch and a few of their contemporaries like Doro Pesch's Warlock and Ann Boleyn's Hellion, this wall finally came down with the success of Lita Ford and Vixen, to the point that Vixen bassist Share Pedersen could play in the 1991 hair metal supergroup Contraband alongside guitar legend Michael Schenker with nobody thinking twice about it.

This is just speculation based on being a guy, but we men do our best work when we have a lady to do it for. And I'm very convinced that Betsy Bitch was Brian Slagel's platonic muse as he was building Metal Blade Records in his mother's garage in the early 1980's. But unlike some guys who throw their muses aside in favor of some trophy bimbo after they've become successful, Brian never forgot Betsy or Bitch as the label grew to mythic proportions. Bitch has appeared on nine different Metal Blade compilation titles over a 21-year span, the most recent being in the massive Metal Blade 20th Anniversary Box Set (2002). And even though Bitch is no longer signed to the label, they continue to hold an alumni status with Metal Blade Records; Betsy has even been spotted as a guest at the label's Christmas parties.

· Check out Betsybitch.com, the unofficial Bitch information site developed by yours truly with the full cooperation of the band.

My favorite Bitch MP3's

A lot of my favorite Bitch songs are ones that have gone under the radar a bit. "Never Come Home", from the first Metal Blade band release EVER, Damnation Alley (1982), has a GREAT punkish energy. "The Bitch is Back" is an Elton John cover with a saxophone solo from Betsy's dad (no kidding!)

"Crashthepartysmashthecake" and "Make it Real" are from the amazing 1989 EP A Rose By Any Other Name. They are both reworked Be My Slave outtakes that kick so much tail it's not even funny; great engineering work from Bill Metoyer on those.

My very favorite Bitch song, "Get Out", is from the Betsy (1988) album, which has been out of print for ages, although it is available in its entirety from Amazon on MP3. "Get Out" is a ridiculously catchy song, and has something of a Slade-type vibe to it.

Betsy Bitch in 2008

Performing "1:45" with Witch

Betsy performing with the band Witch in 2008. She still looks great!
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2. Flotsam & Jetsam

Welcomed back to Metal Blade with open arms

This Phoenix-based thrash metal band are best known today for their ex-bass player Jason Newsted, who would leave them to join Metallica (and later Voivod). The band first came to the attention of metal fans via compilation appearances in Ann Boleyn's Speed Metal Hell series and in Metal Blade's Metal Massacre series. Metal Blade decided to sign the band, and released F&J's debut album Doomsday for the Deceiver in 1986, which is now considered to be a classic release in the pantheon of thrash metal.

Metal Blade has become used to being something of a farm-out label for the majors, so when Elektra Records came knocking and wanted to buy out Flotsam & Jetsam, Metal Blade figured that this was happening again and let the band go. Little did the label or the band know that they were falling for a trick called "Little did the label or the band know that they were falling for a trick called "buying out and then suppressing the competition". Flotsam & Jetsam looked like they were going to give Metallica a run for their money, and Elektra already had a lot of money invested in Metallica. So at the moment when the major label's interest in Metallica looked vulnerable, it was doomsday, but not for the deceivers. Elektra released one Flotsam album entitled No Place For Disgrace, promoted them enough to be a second-tier act but not enough to threaten Metallica, and dumped them when the coast was clear and they knew Metallica was good to go.

Next, MCA signed the Flotsam & Jetsam so that they could upgrade their image with an edgier portfolio of performers. But Flotsam found out the hard way that the "MCA" acronym stood for "Musician's Cemetery of America", as did their labelmates Pretty Boy Floyd, The Dictators (working under the name Manitoba's Wild Kingdom), and the studio musician supergroup Chagall Guevara. The label could promote a movie soundtrack or a shallow, girly performer like Whitney Houston or Tiffany like nobody's business, but when it came to marketing a rock band, they "Couldn't sell a hooker in a brothel" (to steal a Don Arden quote about Disney's Hollywood Records). To MCA's credit, they did keep Flotsam & Jetsam through three albums. They even kept Flotsam through the initial part of Kurt K*Blam's postmodern (postmortem?) Nineties Grunge years before giving them the old heave-ho.

So after being treated like flotsam and jetsam by the majors, guess who took Flotsam & Jetsam back? You guessed it--Metal Blade. Brian was elated to have them back, and in the midst of the nineties when it was verboten to be metal, Metal Blade let Flotsam & Jetsam release a straight-up metal album called High (1997). The album wore its metalness on its sleeve with unashamedly metallic Bill Metoyer production and album tracks spelled out in metal band logos (yes, even Metallica gets the "song title as metal band logo" tribute--talk about guys that can bury the hatchet). The label promoted a single from High called "Monster" (the one that's done like the Metallica logo) with a nice music video, and gave "Hammerhead" from Doomsday for the Deceiver at least three appearances on Metal Blade compilations from the time. Two more albums with Metal Blade followed, along with a three-disc deluxe reissue of Doomsday for the Deceiver that makes some box sets look skimpy in comparison.

· Check out the official Flotsam & Jetsam MySpace at http://www.myspace.com/fandj

Flotsam & Jetsam "High" MP3 sampler

+ "Hammerhead" from "Doomsday for the Deceiver"

F&J's High is an absolutely solid album from start to finish--a lost classic if there ever was one! Here's an opportunity to sample the entire album.

"Hallucinational" and "Your Hands" have GREAT riffs and choruses. "Lucky Day" and "Everything" blend in some bossa nova and acoustic flourishes that add some variety. "Fork-Boy" is a thrash metal cover of Ministry frontman Al Jourgensen's side project Lard. "Monster" was the big single from this album; you can see its music video and hear the song in its entirety below.

I added "Hammerhead" from Doomsday for the Deceiver as a "bonus track" at the end, that way you can buy it on MP3 if you like. "Hammerhead" is also here in its entirety below.

Flotsam & Jetsam "Monster" music video

from the album "High"

This rather fun video shows up on the out-of-print Metalmeister, Vol. 2 VHS tape.
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Flostam & Jetsam "Hammerhead"

from "Doomsday for the Deceiver"

This is from 1986, when Jason Newsted was still in the band.
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Jason Newsted talks about Flotsam & Jetsam

Jason Newsted talking about the recording of the early Flotsam & Jetsam demo Metal Shock while on tour with Voivod.
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3. Galactic Cowboys

Getting a new lease on life from Metal Blade


In the liner notes of the 1997 Metal Blade compilation Taste The Blade, Brian Slagel was asked which of the groups on the compilation we would most like to be in. His response was, "[Probably] the Galactic Cowboys. Because if I was in the Galactic Cowboys, that means I could sing. And that would be cool."

Galactic Cowboys were a progressive/thrash/alternative metal group that had an appeal to "intelligent headbangers" who like hook-laden power pop and Beatles-style vocal harmonies blended with fits of speed metal whiplash. The Houston-based group were essentially a little sister group to King's X, whose manager also managed the Cowboys and affected the group with the same general sonic fingerprints as King's X. In 1989, the Cowboys released an album on Metal Blade with a slightly different lineup under the name The Awful Truth. After that version of the group didn't work out, the band reorganized their musical approach into what would become the Galactic Cowboys as we know them today.

Meanwhile, in the pop music world, the then-dominant genre of heavy metal was running out of ideas. Geffen Records' success with Guns n' Roses gave metal an extra boost, but overall the genre was starting to suffer in quality, and attempts to expand it were sounding pathetic and stupid. ("Funk metal" with Bon Jovi vocals and no funk? No thanks, I just ate...) Then in 1990, Megaforce/Atlantic Records began to have some success with King's X and their fresh, radically reformulated take on heavy metal. Geffen responded by signing the Galactic Cowboys, and readied King's X's more intense little sister band to one-up King's X when the latter band hit paydirt. Instead, it so happened that King's X did not perform as well as anticipated, and the intense band that hit paydirt instead was Geffen's own Nirvana, whom they had bought out from Sub Pop Records. With this unexpected turn of events, the Galactic Cowboys became a superfluous signing for Geffen, so they dropped the band from the label's roster.

The writing appeared to be on the wall for the disappointed band, so they decided to break up. Then, two weeks after the Cowboys called it quits, they received a call from their manager letting them know that they had secured the band a contract with Metal Blade Records. Metal Blade would go on to promote Galactic Cowboys to death, even though the band's back-and-forth mix of tuneful music and speed was something of a specialty market and therefore a bit of a hard sell. The label saw the band through four full-length CD's, and promoted their catchier songs like "Feel the Rage" and "Evil Twin" via appearance after appearance on Metal Blade sampler albums like Taste the Blade and the Metalmeister series. "Feel the Rage" was even released as its own maxi-single style EP with b-sides and live tracks.

· Visit the official Galactic Cowboys website at http://www.galacticcowboys.com

Galactic Cowboys MP3's on Metal Blade

Two of the songs featured here, "Feel the Rage" and "Evil Twin", are the big singles that showed up on scads of Metal Blade compilations. I also added a couple of my personal favorites, the excellent power pop of "T.I.M. (Total Inside Makeover)" and the slower song "Arrow."

You can hear "Feel the Rage" and "Evil Twin" in their entirety below.

Galactic Cowboys "Feel the Rage" Music Video

From the Metal Blade period

"Feel the Rage" is a catchy, angry song that really deserved to be a hit when it came out in 1996. It's also the kind of song that would be perfect for Guitar Hero or Rock Band. The video features singer Ben Huggins sinking to his death in a pool of mud. Is the drowning doll at 1:36 and 1:41 creepy or what?

This video shows up on the DVD included in Metal Blade's 20th Anniversary Box Set, a GREAT item to own if you can track a copy down. The song is also used as background music in the menu of said DVD.
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GC "You Make Me Smile" live 1993

From the Geffen period

Holy cow, this is good! This is a great example of how the Galactic Cowboys would jump back and forth between thrash metal and power pop. VERY intense and tight performance that sounds almost exactly like the studio version on Space In Your Face (1993).
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Galactic Cowboys "Evil Twin"

Back to the Metal Blade period

"Evil Power Pop from the quirkiest Heavy Metal band ever."

From the album The Horse That Bud Bought (1997). The guy in the red is GC's Metal Blade-period guitarist Wally Farkas.
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GC "I'm Not Amused" music video

Back to the Geffen period

The ridiculous amount of expense that went into this 1991 video should give you an idea of how ready Geffen Records was to launch the Galactic Cowboys into the big time should King's X hit the expected home run (which ended up not happening). From the album Galactic Cowboys (1991).
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4. Voivod

Metal Blade takes the high road


We'll end this section with a story were a little more "taking the high road" was required in Metal Blade's label-to-band relations. French-Canadian thrash/progressive/alternative metal group Voivod has built a very unique image and sound around the sci-fi artwork and nuclear war-obsessed stories of drummer Michel "Away" Langevin, combined with the odd guitar sounds of the late Denis "Piggy" D'Amour. D'Amour claimed to have learned guitar from listening to Keith Emerson organ parts, and both members spent hours learning to play whole King Crimson and Rush albums forwards AND backwards!

As with Flotsam & Jetsam, Metal Blade invited the band to participate on one of their Metal Massacre compilations, and then signed them to the label. After Metal Blade released Voivod's debut album War and Pain in 1984, the band and the label had a very bitter dispute, which ended up in the band leaving on bad terms and recording a song dedicated to Metal Blade called "F*** Off and Die".

Voivod ended up building a relatively successful career under the German label Noise International before being bought out by the infamous Musician's Cemetery of America (MCA), where they joined Flotsam & Jetsam in getting the old major-label fork-over. During this period, Voivod contributed to the alternative metal phenomenon alongside Faith No More and Soundgarden (both of whom they toured with in 1990), and recorded amongst other things a rather un-metal alternative/art-rock album called Angel Rat with Rush producer Terry Brown.

Voivod's movement towards alternative should have cleared them from suffering under the Nineties metal backlash, but they didn't get namedropped by any grunge bands, so they ended up declining in the Nineties like any other another metal has-been. The band got dropped from MCA (no, really?), lost their original bass player and singer, and played fewer and fewer gigs to less and less money. Drummer Michel Langevin began taking graphic design jobs to make ends meet. To make matters worse, in 1997 the band was involved in an auto accident while on tour in Germany. Replacement singer/bassist Eric "E-Force" Forrest broke his back in three places, and doctors believed that if he survived he would never walk again (he is walking and completely recovered today).

Meanwhile, Metal Blade was firmly established and doing great with successful acts like Cannibal Corpse and GWAR on the label, and looked to have had the last laugh over Voivod. So what did Metal Blade do in 2000, sixteen years after that terrible falling out? Laugh at them and say, "You deserved it?" Nope, they did the exact opposite. They released a one-off live album for Voivod entitled Voivod Lives. The album was not a great seller, but it kept things moving for the band.

Voivod's true break came in 2003, when Jason "Jasonic" Newsted quit Metallica and joined the band. Newsted gave Voivod an infusion of new blood and fresh perspective, and the ability to foot the bill so the band could finish on top when guitarist Denis D'Amour passed away in 2005. But would Voivod have made it to the finish line without a little help from Metal Blade? Maybe and maybe not, but it certainly didn't hurt anything.

· Visit the official Voivod website at http://www.voivod.com

Voivod "Voivod" music video

The first Metal Blade period, before the great falling-out

The song "Voivod", from the band's 1984 Metal Blade album War and Pain. This video is available on a Voivod compilation DVD called D-V-O-D-1.
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Voivod "Panorama"

MCA period

A great Misfits-like tune from the Terry Brown-produced Angel Rat (1991). The most metal-like song from an album that doesn't really count as metal.
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Voivod "21st Century Schizoid Man"

Eric Forrest period; King Crimson cover

From Phobos (1997). I couldn't find any clips from Voivod Lives, so I'm throwing in a Eric Forrest-period cover of King Crimson's "21st Century Schizoid Man" to give you an idea of what these guys were up to in the period when Metal Blade gave them a helping hand. This is a brutal, hard-hitting cover of one of the bands Voivod grew up listening to and learning from.

I'm a long-time King Crimson fan, so I've heard a lot of versions of "21st Century Schizoid Man". I will have to say that Voivod's version is probably the rawest and most metal version of this song I've heard. The only one that gets this raw and this metal is King Crimson's own version from Earthbound, a budget-priced live LP that came out in 1972. Ozzy Osbourne's version doesn't even come close to these two in heaviness OR quality!
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Voivod "The Getaway" music video

Featuring Jason Newsted on bass

From the album Katorze (2006). Jason Newsted can be seen throughout the video.
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Voivod interview

Jason Newsted and Denis "Snake" Bélanger

Jason "Jasonic" Newsted and Voivod's original singer Denis "Snake" Belanger talk about Jason's joining the band and how it helped revive Voivod. Voivod were heroes to Jason in his early years, and he openly mentions what a dream come true playing with Voivod is for him and how much he looks up to the other guys in the band.

By the way, don't Jason and Snake look like they could be brothers? Actually, if you watch some of the other interviews, you'll see that Jason definitely acts like the little brother of the band.
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Tell us which band you like the best!

Bitch, Flotsam & Jetsam, Galactic Cowboys, or Voivod?

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Farming Out the Back Catalogue

Working with smaller labels to keep the old albums available

Metal Blade is an addictive label to get into, and that is no accident at all. The label wisely fosters and encourages this fanaticism for their label and catalog through keeping a meticulous, easy-to-search discography, releasing special editions and Japanese editions that collectors go gaga over, and releasing regular sampler records that effectively advertise the Metal Blade catalog.

But as the label moves forward, it's not always feasible to keep its back catalog active, so titles by even their favorite bands have to be left behind. But Metal Blade has found a way to keep this back catalogue active that allows them to keep their energies in promoting the newest Goatwhore or As I Lay Dying album. They work with smaller labels that are willing to put the work into mastering, pressing and releasing these older titles. Some of the names of the labels that are taking on the Metal Blade back catalog include Lost and Found Records (Heretic, Intruder), Escapi Music (Trouble), and Old Metal Records (Bloodlust).

Beware the Imposters!

Brian teaches young bands how to spot a real MB employee

One of the problems that Metal Blade has run into is that because they are doing things right and are reaping the rewards of doing so, they have therefore had their share of imposters who claim to represent the label when they do not. These small-time germs have tried everything from Nigeria-style swindling operations to trying to get into shows for free in the name of the Metal Blade. It's become enough of a problem for Metal Blade that they have teamed up with Nuclear Blast, another major player indie label who is experiencing the same problems, to educate small-time metal bands on how to recognize a genuine employee of the label.

When was the last time WEA or Sony/BMG did this? There is an obvious self-preservation interest for Metal Blade to do this, but on the other hand, going out of their way to educate small-time groups as to how to spot counterfeits has an element of kindness in it that benefits people that they don't even know. And this is maybe the farthest-reaching act of kindness represented here, but it is only on par for the course for Metal Blade Records and their CEO Brian Slagel.

The full article is at www.metalinsider.net, but here's the short list:


Staff members at Metal Blade and Nuclear Blast:

· conduct official business via their official office e-mail & telephone number.

· can produce a business card with the label's logo, official office address, and official telephone number.

· NEVER ask unsigned bands for "deposit" money.

Metal Blade Records on the Web

Metal Blade Records Official Site
The name says it all!
Metal Blade "About Us" page
Features a full Metal Blade discography and an interview with Brian Slagel.
Metal Blade 1982-1986 detailed unofficial discography
Goes into much more detail on the first four years of Metal Blade's history, complete with album cover images.
Metal Blade 20th Anniversary Box Set--the ultimate guide
An online browsing companion to Metal Blade's massive 9 CD + 1 DVD anniversary box set from 2002. Features a short interview with Brian Slagel about the box set, and a complete track list with MP3 samples from the CD's and YouTube videos from the DVD.

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davidgasten

Hi, my name is David Gasten. I'm a professional writer, music and old movie fan, sometime entertainer, and preservationist of many things vintage. I a... more »

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