By now, Saint Vitus’ massive American tour is well underway. Tis their first excursion across their homeland in almost 20 years–since 1993 to be exact. And while there aren’t any Canadian dates on the docket, I will be taking the trip down to Cleveland to see ‘em next weekend. Thus, I’m making my way through their back catalogue over the next 10 days, hoping they’ll include a few of these chestnuts in their live set, and sharing my thoughts on their past releases in the process. Stay tuned…
Saint Vitus (SST, 1984)
And so it began. After kicking around for a couple years as Tyrant, the band would change its name to Saint Vitus in 1980. Cutting their teeth by opening for Black Flag would earn Vitus a spot on SST Records, which dropped their debut in early 1984. And thus, the lineup of Chandler, Adams, Acosta and Reagers was introduced to the world. I’ve long said that Wino was my favourite Vitus vocalist, and I do maintain that to this day, but Scott Reagers has certainly grown on me over time. While the former’s voice was better suited to the slow, doomy dirges heard on Born Too Late and Mournful Cries, the first couple records often offered faster and more upbeat moments, for which the throaty wail of Reagers is better suited. And while I’ve got nothing against Hallow’s Victim or comeback effort Die Healing, I feel it’s the self-titled album that showcases Reagers at his finest.
The band starts off in style with signature song “Saint Vitus,” some Chandler feedback leading into to a solid mid-paced chug, Reagers wailing from the get-go. Hell, you could almost mosh to the instro break on here. The crashing percussive crescendo announces the classic chorus, gang backing-vocals punk-rock style preceding the first of many divebombing Dave Chandler solos on record. This is actually the shortest song on here, at a shade under five minutes, but arguably the most memorable.
The other song that could possibly lay claim to that title is “White Magic/Black Magic,” its fuzzy groove-rock riff transported straight from the 70’s as Reagers offers up more magic with some great vocal hooks. A smidgeon of Sabbath sprinkled in Blue Cheer with those gigantic trash-can drums driving it all home, this is a song for the ages. And then things slow down considerably—starting with the homestretch on this one, Reagers repeating the song title in ominous tones overtop some evil tritones. “Zombie Hunger” offers some more slowed-down Sabbath worship, wrapped in that distinctive lo-fi guitar tone that Chandler would make his trademark. There’s even a shade of early Alice Cooper here, particularly on the part of Reagers. Just listen to those lyrics, maaaan…
It’s perhaps no coincidence that in ’84, Vitus buds Black Flag would release My War, an album whose slowed-down B Side would give birth to sludge and grunge, by several accounts. But while Rollins and co offered up a trifecta of six-minute tunes on Side B, Vitus one-ups them in the downtrodden department, with a mere two tracks each spanning well over eight minutes long. “The Psychopath” starts it off, a slow-crawling ooze gushing outwards like sludge from a lead pipe. This is the type of tune that Wino would work well with, though Reagers’ extended range does add a little extra oomph here. “Burial at Sea” lays heavily on the doom and gloom, a slow-motion knuckle-dragger that grabs you by the neck and forces your head to move in time—before briefly and frantically kicking up the pace to a semi-speed-metal attack. From zombies to pirates, this record runs the gamut, but this isn’t some cheesy Running Wild shtick here. If there was a soundtrack to the The Pequod being sucked into the belly of the beast, ‘twould be “Burial at Sea”. Arrrr matey!
