I heard “Dance of the Dead” on the radio this week — that’s right, FM radio; thanks WSOU — and it prompted this revisit. Corrosion of Conformity‘s Blind came out in 1991 on Relativity Records with a follow-up release in 1995 through Columbia during the Raleigh, North Carolina-based outfit’s major label era, and to this day, it occupies a singular place in their history and discography. Running a ’90s-style 52 minutes and 13 songs, it was the first time they worked with producer John Custer, who has helmed everything they’ve done since, the only album they’ve ever done as a five-piece, the first that featured guitarist Pepper Keenan, who after this record would take over as their primary singer, and to my knowledge the only studio release they’ve had without founding bassist/sometimes-vocalist Mike Dean in the lineup.

Dean would be back in the band in time for 1994’s Deliverance (discussed here) as part of the definitive lineup with Keenan and fellow founders Woody Weatherman (guitar) and Reed Mullin (drums; R.I.P. 2020), but for Blind, bass was handled by Phil Swisher, while Karl Agell served as standalone frontman. Those two would play together in Leadfoot afterward, and Agell currently sings for both Lie Heavy and Legions of Doom, the latter of which is the post-Eric Wagner offshoot of The Skull, but during their time in C.O.C., they were part of the transitional moment between the raw punk and hardcore that defined their first two LPs, 1984’s Eye for an Eye, 1985’s Animosity, as well as 1987’s Technocracy EP, etc., and the Southern heavy rock they would in no small part help to shape over the rest of the 1990s.

You should know this isn’t an album I can pretend to be impartial about, let alone the band or the fact that human objectivity is a myth to begin with. Blind was one of the first CDs I ever owned, having unceremoniously swiped my older sister’s copy along with Master of Puppets, Rollins Band‘s Weight, Suicidal Tendencies‘ The Art of Rebellion, Alice in Chains‘ Sap and a couple others at around 10 years old, probably sometime in 1992 if I had to guess. “Damned for All Time” and the aforementioned “Dance of the Dead” — the one-two punch of charged riffing and crunching groove that follows the creeper-feedback-into-march of the intro “These Shrouded Temples…” — were on just about every mixtape I made for probably the next three years, the metal band connecting the over-ear headphones of my off-brand Walkman from the Caldor on Rt. 10 pulling my disaffected pubescent sadboy hair out with every tiny adjustment. I remember plotzing through the neighborhood on long walks with nowhere to put myself, sitting by the pond down the road, doing what I’d already been warned was irreparable damage to my hearing.

I’ll admit it’s been years since I actively engaged with it, but it’s always been there. The sinewy delivery of Agell in the chorus of “Mine Are the Eyes of God,” or the swaggering riff in “Painted Smiling Face,” the MTV-ready hooks and a sound that was in conversation with a classic heavy rock I’d yet to encounter; it was all new for me at that point, and I won’t say it’s the dragon of heavy I’ve been chasing all along for the last three-plus decades, but it spoke to me in a way that ‘regular’ rock and roll didn’t and helped me find my path into heavier and more metallic listening. Put simply, it changed my life.

Hearing it now, Blind is striking in its political theme. Even aside from “Vote with a Bullet,” which brought Keenan to lead vocals for the first time and is still a staple of C.O.C. live sets, its declarations of intended violence landing in something of a different context than when it first came out, cuts like the anti-white-supremacist “White Noise,” the envisioning a new world in “Great Purification” and more general anti-authority lines like “If the system had one neck/You know I’d gladly break it” in “Dance of the Dead,” and so on, land with a disaffection to coincide with the conversant-with-metal thrust behind the shred in “Painted Smiling Face,” and do so with a directness that one rarely if ever encounters in heavy rock now. It wasn’t the first or last time C.O.C. talked about social issues — lest we forget that the 2018 return LP from the Keenan, Dean, Weatherman and Mullin lineup was called No Cross No Crown (review here), or, you know, that the band’s name is Corrosion of Conformity — but while the language used and rhetoric have changed in the last 30 years, Blind taps American-style anti-governmentalism in a way that, coming off the Reagan years and as George Bush took the country to war in the Middle East in a preface to decades of moral and fiscal bankrupting, still resonates from its place in time.

Obviously, these weren’t cues I was picking up at 11 years old, but I understood wanting to break out, to not be told what to do, and internalized a lot of that from these songs, especially the singles. What I didn’t appreciate at the time was the connection via riffing to Black Sabbath in the starts and stops of “Buried” or the brooding, slower-rolling finale “Echoes in the Well” before the bookending outro “…Remain,” but that’s all over Blind in a way that not much I would’ve heard on the radio at the time would have captured. The idea of ‘heavy rock’ as something separate from metal didn’t really exist in the commercial sphere, but it’s inarguably here, and with the backdrop of what Corrosion of Conformity would accomplish in Deliverance, 1996’s Wiseblood (discussed here) and 2000’s more smoothly produced and undervalued America’s Volume Dealer, it feels both like the sore thumb standing out of their catalog and the root from which they grew into the band they wanted to be.

As noted, Agell is now in Lie Heavy and Legions of Doom, both of which one might consider actively active. Meanwhile, C.O.C. were last year beginning the process of putting together their next LP to follow No Cross No Crown, with Dean, Keenan and Weatherman collaborating with Galactic drummer Stanton Moore, who’d previously appeared on 2005’s In the Arms of God. I don’t know if that’ll be out this year, next year, or ever, but here’s hoping. In the meantime, I hope you enjoy, and thanks for reading.

—

I don’t have much time here. It’s coming on eight in the morning and The Patient Mrs. and The Pecan will soon be finished playing games on the iPad and ready to start a morning that, whatever shape it takes, will require direct participation from me. Off-laptop, in other words.

This week was my daughter’s spring break from school. It started last Friday ahead of Easter, and she goes back Monday unless we decide to abscond to Pittsburgh to watch the solar eclipse. Depends on the weather, partially. It hasn’t been the easiest of weeks — it rained and was cold and miserable from Monday through yesterday morning — but she had a half-day camp thing and ice skating lessons to keep her busy. But stuck-in-the-house, tv-off boredom might be a piece of why there’s been an uptick in attitude and more punches thrown. The other day I ended up carrying her screaming and kicking from the rink after she unloaded on The Patient Mrs. for trying to stop her from skating through the next lesson taking place on the ice. I held her down to get her skates off because I didn’t think she was in control enough to stop herself from hurting either of us. It was an especially shitty moment to be alive.

I got hit last night too, for missing a button combo in Super Mario RPG and some other infraction I can’t remember. It’s a lot of “you can’t tell me what to do” and “you have to do what I say” from her as she, I guess, works on figuring out her place in the world. It has not been pleasant, but neither was the week unipolar in awfulness. We snuggled and watched Bluey yesterday evening as The Patient Mrs. was out at dinner with a friend. Last weekend we went to Connecticut with family to color eggs. She had a nice Easter, kept it together well at brunch, and we beat Link’s Awakening on the Switch. The lows are low, but the lows aren’t everything, is what I’m saying.

We’ll see how today goes. As regards the arguments, the opposition, the way I think of it is like this: It’s never everything, but it could be anything, and it’s almost always something. I just remembered that the other thing I got hit for last night was that I didn’t anticipate she’d want the Chromecast (which hadn’t been used in a year before The Patient Mrs. and I moved it to our bedroom) to watch the “Dad Baby” episode of Bluey, which isn’t on Disney-Plus. So yeah. I’ll be honest and say I’ve had a hard time looking forward to the last couple days. Another mantra, “things will not always be as they are now.”

Two sides to that, of course. Like everything.

Next week is slammed front-to-back and I’m already behind on news, so whatever. I’ll do my best to write as much as I can and that’s that. I hope you have a great and safe weekend, whatever you’re up to. If you get to see the eclipse, don’t look at it. Otherwise, hydrate, move your body a bit, watch your head, and I’ll be back on Monday with more of whatever you call this at this point.

FRM.

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Tags: Blind, Corrosion of Conformity, Corrosion of Conformity Blind, North Carolina, Raleigh, Relativity Records

This entry was posted on Friday, April 5th, 2024 at 11:12 am and is filed under Bootleg Theater. You can follow any responses to this entry through the RSS 2.0 feed.