Artist: Cro-Mags
Album: Best Wishes
Year: 1989
Genre: Hardcore / Crossover
At first I contemplated taking an uncommon approach to writing
about Best Wishes. I was going to
dive into the documented lore, lies and history of this seminal band to examine
“what could have been.” The title of
this review was going to be, “Cro-Mags – How To Squander Pure Potential.” I wanted to delve into their issues and
struggles, and think about what might have been created if the original line up
stayed together and worked cohesively.
My thoughts were that the world would have another album of hardcore
history just like it does with The Age Of Quarrel. Then I considered this thought again and
asked myself “why?” It wouldn’t change
anything. The Age Of Quarrel and that
specific era of Cro-Mags is monumental.
They set the future standards of hardcore with one record. The sound, the look, the demeanor; it’s what
hardcore bands have been striving to imitate since they first bought that album or when they discovered it well after its release. My longing to hear TAOQ part 2 is ridiculous
and unnecessary because what followed was nothing short of classic itself. In 1989, people thought Harley, Doug, Paris
and new drummer Pete had lost their goddamned minds, but what the test of time
has proven is that, although different, Best Wishes is not only every bit as
good as its predecessor, but also would have zero problem contending with the
top crossover / hardcore / thrash records of that year and after.
Best Wishes is blunt force trauma in auricular form. The first thing that needs to be addressed is
the production, because without it, this album would not be capable of doing
the same level of damage. The drum tones
are perfect, the bass tone is perfect, the guitar tones are perfect, the levels
are perfect. “Best Wishes” should be
taught as a Level 100 class on how to capture the quality and aggression
related to heavy bands. From the first
crescendo rumblings of drum ‘n bass in "Death Camps," you see
the punch coming and you know you’re going to get hit hard. Then the guitars come in and finish you
off. It’s a shame that there are
examples of this type of natural production to be emulated, but metal and
hardcore bands still go for a processed sound that, although heavy, sounds
fake.
The stylistic difference between what the Cro-Mags laid down
previous to ’89 is instantly apparent.
The songs have lost almost all of the fantastic punk edge found on The Age Of Quarrel and are honed in and tight.
Each riff is a fucking monster and is accurately paired with
percussion. I obviously cannot speak to
their intention, but it really seems to this avid listener that the band tried
to avoid a single moment of filler. Even the rhythms under the solos sound well
thought out. The riffs are all distinguishable
from one another and set each song apart yet they leave little room to breathe
before you’re bludgeoned by another riff, and another, and…
Then we get to the big controversy. What could the Cro-Mags be like without the
voice that set sail to thousands of hardcore ships? The answer is easy. There is no way John Joseph could’ve sang on
this record. JJ's shoot from the gut
manner would not have matched up well with the heavier and more brutal
direction. Harley’s
vocals did exactly what the music required as he showed unexpected style and
diversity. He's more than just the mean
looking bass player. His delivery is
definitely from the HR school of vocals with a bit of Hetfield snarl thrown
on top. He varies it up throughout the
record and proved he was more than capable of filling the vacated throne.
No jolting words of wisdom will be happening at the end of this
review. This record is every bit as
essential as anything in the Cro-Mags discography. Dare I say, with age, I find myself throwing
this on much more than The Age Of Quarrel.
It could be because I have TAOQ burned in my brain from the countless
listens in the past, or, just maybe, my years of experience have told me this
is just a superior record. Let the
debate begin.
Check out "Age Of Quarrel" here.
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