Corrosion of Conformity Albums (9)
What The Critics Say
Prior to Corrosion of Conformity's 2005 release, In the Arms of God, many fans wondered if the group was over. After all, it had been a long time since the band had issued a studio set (2000's America's Volume Dealer). During this extended break, singer/guitarist Pepper Keenan did double duty in Down (2002's Down II: A Bustle in Your Hedgerow), and of course, had a much publicized tryout for the vacated bass position in Metallica (as seen in the indulgent Some Kind of Monster docu-film). But now COC is ready to roar once more, and the group does so on their eighth studio album overall. Joining Keenan once more are other mainstays Woody Weatherman (guitar) and Mike Dean (bass), as well as a big surprise on drums -- Galactic timekeeper Stanton Moore. To prime themselves for the sessions, the group immersed themselves in old hardcore and metal albums they hadn't listened to in years, and the approach worked, as In the Arms of God is a straight-ahead and raw set. The beginning of the album opener "Stone Breakers" closely resembles a Tony Iommi-led Sabbath jam, while such other ragers as "Paranoid Opioid" and "Never Turns to More" are classic COC. Along with Black Label Society, COC continue to wave the biker metal flag high. ~ Greg Prato, All Music Guide
What The Critics Say
Recorded April 20, 2001, in Detroit, MI, this CD is the first live album by COC (also known as Corrosion of Conformity). Although the group began with strong punk leanings, indeed they were one of the first groups to merge punk and metal, the selections on this album eschew the material from that era. Instead all of the songs presented here are from the later, more metallic era. Indeed, there is nothing here that comes from any album older than 1991's Blind. The group (Pepper Keenan on guitar and vocals; Woody Weatherman on guitar and vocals; Mike Dean on bass, keys and vocals; and Jimmy Bower on drums) do serve up a solid helping of their flavor of metal, though. COC's particular style is strongly influenced by Black Sabbath. In fact, there is at least one full-on musical nod to that group here in the form of a direct musical quote from Sabbath's self-titled disc. COC add to that a Southern rock sort of texture, no doubt owing to their North Carolina roots. They also show leanings to such groups as Rob Zombie and Led Zeppelin, and they manage to infuse the entire package with a real jam band sort of feel. The actual recording presented here is a very nice balance, feeling at once somewhat raw and (appropriately enough) live, while still maintaining a very clean sound. In other words, the recording itself does what it should do: it makes you forget that this is a recording. It almost feels as if you are really in the audience. The disc should certainly please the fans of the later era of this band, and those who are fans of such groups as Black Sabbath. The spunkier part of COC's audience was most likely disappointed years ago, so this one probably will leave them behind as well. You can't please everyone, it would seem. ~ Gary Hill, All Music Guide
'America's Volume Dealer'
Release Date 9/26/2000
Tracks 11
Label Sanctuary
See Album Tracklist and Review
What The Critics Say
After making headway into the '90s alternative metal scene with a grungy, slowed-down version of their trademark punk-metal, COC (now the band's official name, instead of just a widely accepted nickname) moved into the new millennium looking to keep up their momentum. Since their last album, 1996's Wiseblood, the rap-metal subgenre had taken over the mainstream spotlight, so the band decided to take a slightly different direction on 2000's America's Volume Dealer -- namely, playing up the Southern and classic rock tendencies in their more recent work. Metallica had moved into similar territory during the '90s, but the transition was more natural for COC, who are not only from the South, but flavored some of their '90s output with swinging boogie rhythms filtered through Black Sabbath. That sound is a little more funked-up here, and the band's Southern tinge is more pronounced than ever -- Warren Haynes (Allman Brothers, Gov't Mule) lends his slide guitar to the Skynyrd-ish acoustic-driven ballad (!) "Stare Too Long." What's most immediately obvious, though, is that this is COC's most radio-friendly record yet -- the production is more polished, and while the guitars are still high-voltage, the sludgy murk of their most inspiringly heavy records is largely absent. Even if some fans might be disappointed that they have left the garage, the songs hold up well -- they're melodic and well-crafted, and there's enough variety in the album's pacing to keep it an engaging listen the whole way through. If there is a flaw, it's that the added polish doesn't really do COC justice. Word has it that the band conceives America's Volume Dealer as their equivalent to Metallica's so-called Black Album (indeed, a few songs like "Sleeping Martyr" are very reminiscent of that band's later period), and it is definitely a logical way for COC to move toward greater commercial accessibility. However, even if it accomplishes that goal, it isn't quite the radical departure or reinvention (as Metallica was) that will result in a hugely expanded audience; plus, the somewhat tamer, smoother-edged sound might make longtime fans uneasy. For the time being, though, it's interesting to hear the band trying new directions and keeping their sound fresh. ~ Steve Huey, All Music Guide
What The Critics Say
Wiseblood is the closest Corrosion of Conformity have gotten to old-school heavy metal, yet their fondness for industrial soundbites and thrash-metal keeps the group sounding contemporary, while their scathing sonic assault remains brutal. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
With guitarist Pepper Keenan now at the helm as lead singer and principal songwriter, COC abandoned most of the punk influences of their crossover past and turned into a full-fledged Sabbath-inspired metal band with 1994's Deliverance. Most of the songs on the album are built on monolithic power chords which range from ferocious speed on "Heaven's Not Overflowing" and "Senor Limpio" to slower, groovier numbers such as "Broken Man" and leadoff single "Albatross." Second single "Clean My Wounds" also struck gold at rock radio with its staccato riffing, and "Seven Days" adds eerie guitar melodies to the mix. On the downside, the plodding title track (featuring vocals from returning founding bassist Mike Dean) gets a little tedious around the sixth minute, and a number of faceless guitar instrumentals are interspersed through the album, really breaking up its rhythm. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
By the time they released 1991's Blind, crossover pioneers Corrosion of Conformity were pursuing a decidedly metallic direction, but this in no way compromised their punk ethic, overtly political lyrical themes, and incredible sonic aggression. The wicked melodies of "These Shrouded Temples...Remain" bookend the album, and excellent tracks like "Damned for All Time" and "Mine Are the Eyes of God" manage to be both utterly heavy and surprisingly catchy. "Dance of the Dead" and "Echoes in the Well" are about as straightforward metal as C.O.C. gets, but their politically militant roots are fully displayed on "White Noise" and "Great Purification" -- both scathing attacks on racism. The gentle, meandering chords of the instrumental "Shallow Ground" offer a brief respite from the onslaught, but then lead into the album's fiercest moment, "Vote with a Bullet." Constructed on an extremely distorted riff and featuring equally fuzzy, computer-processed vocals from guitarist Pepper Keenan, the song is a sonic precedent for the countless aggro-thrash bands (Korn, Fear Factory, Limp Bizkit, etc.) which dominated the late '90s. Years ahead of its time, Blind is simply one of the most important heavy rock albums of the decade. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Released in 1985, this second full-length Corrosion of Conformity offering features Mike Dean (bass and vocals,) Reed Mullin (drums), and Woody Weatherman on guitar. Just as the N.C. group's lineup constantly shifted, so did their music. While still plenty hyper, Animosity has a bit more metal mixed in with the hardcore punk of the band's debut, Eye for an Eye. Weatherman's guitars and Mullin's drums get a more sophisticated studio treatment, creating a thicker sound that reflects a mid-80s thrash influence. C.O.C. weren't following any trends, they just incorporated all the things they liked about thrash, punk and '70s metal originators Black Sabbath into their constantly evolving brand of down-home hardcore. The politically charged lyrics that marked the group's early-career progressive outspokenness are very evident on tracks like "Mad World" and "Intervention." With its thematic and sonic improvements to their successfully established punk, Animosity secured Corrosion of Conformity's artistic and commercial credibility. ~ Vincent Jeffries, All Music Guide
What The Critics Say
There's a numb look at the realities of the world on this great set of music. ~ John Book, All Music Guide
What The Critics Say
Kicking off a recording career covering three decades, this aggressive debut from Raleigh North Carolina's legendary Corrosion of Conformity announced the group's destructive musical intentions. The original lineup of Eric Eycke on vocals, bassist Mike Dean, and co-founders Woody Weatherman (guitars) and Reed Mullin (bass), plows through 20 tracks of leftist hardcore on Eye for an Eye. More punk sounding than early '80s thrash-metal contemporaries Metallica, from the west coast, and Anthrax, from the East, C.O.C. claimed the title of hardcore's southern ambassadors with this release. Being somewhat isolated from the coastal hardcore movements worked heavily in the band's favor. Unbound by the edicts of punk fashion, Corrosion of Conformity forged a unique sound that generated a loyal fan base, and critical recognition. The group maintained their continuity, and surprisingly expanded their audience despite the fact that they featured a new lead singer in each of their first five full-length releases. On Eye for an Eye Eycke's hyperventilating sounds appropriate enough as the vocalist keeps pace with the rapid-fire guitar and drum exchanges. Fans of the band's Pepper Keenan-era sludgy-'70s-groove might not quite comprehend this 1983 release, but forward-thinking metalheads and punkers alike should enjoy and appreciate Eye for an Eye. ~ Vincent Jeffries, All Music Guide
