“Metal Fatigue:” Allan Holdsworth’s Fusion Masterpiece

Introduction:

The world of jazz fusion is vast and often complex, populated by musicians who push the boundaries of genre and technique. Among these innovators, Allan Holdsworth stands out as a true pioneer. His 1985 album “Metal Fatigue” is widely regarded as one of the most significant fusion records of the 1980s, a testament to his extraordinary skills and creative vision. This album not only showcases Holdsworth’s technical prowess but also his ability to compose deeply engaging and memorable music.

The Making of “Metal Fatigue:”

“Metal Fatigue” is the third studio album by Allan Holdsworth, released in 1985 through Enigma Records in the United States and JMS–Cream Records in Europe. The album was recorded at Music Grinder Studios and Mad Hatter Studios in Los Angeles, as well as Front Page Recorders in Costa Mesa, California. Allan Holdsworth took on the roles of both guitarist and producer, ensuring that his unique vision was realized in every track.

Track Listing and Key Highlights:

The album features six tracks, each distinct yet cohesive in the broader context of the album:

1. “Metal Fatigue” – 4:56
2. “Home” – 5:33
3. “Devil Take the Hindmost” – 5:36
4. “Panic Station” – 3:36
5. “The Un-Merry-Go-Round” – 14:10
6. “In the Mystery” – 3:49

Personnel:

The personnel on “Metal Fatigue” includes some of the finest musicians in the jazz fusion genre:

• Allan Holdsworth – Guitar, Engineering, Producer
• Paul Williams – Vocals (Tracks 1, 4)
• Paul Korda – Vocals (Track 6)
• Alan Pasqua – Keyboards
• Chad Wackerman – Drums (Tracks 1–4)
• Gary Husband – Drums (Track 5)
• “Mac Hine” – Drum Machine (Track 6)
• Jimmy Johnson – Bass (Tracks 1–4, 6)
• Gary Willis – Bass (Track 5)

The technical team behind the album included engineers Robert Feist, Dan Humann, Dennis McKay, Biff Vincent, and Gary Wagner, with cover art by Francois Bardol.

A Closer Look at the Music:

• “Metal Fatigue:” The title track sets the tone for the album with its intricate guitar work and dynamic structure. Holdsworth’s signature legato phrasing and rich harmonic vocabulary are on full display. The song features Paul Williams on vocals, adding a layer of melodic depth to the piece. Holdsworth’s use of the whammy bar is particularly noteworthy, creating bends and slurs that add a unique texture to the music.
• “Home:” “Home” showcases Jimmy Johnson’s virtuosity on bass, providing a solid foundation for Holdsworth’s explorative guitar lines. The interplay between Johnson and Holdsworth is mesmerizing, creating a rich tapestry of sound that is both complex and accessible.
• “Devil Take the Hindmost:” Arguably one of Holdsworth’s greatest moments, “Devil Take the Hindmost” is a tour de force of technical brilliance. The instrumental track features a series of catchy and complex chord progressions that set the stage for an awe-inspiring guitar solo. Holdsworth’s use of legato and the whammy bar creates an almost otherworldly sound, pushing the boundaries of what is possible on the guitar.
• “Panic Station:” “Panic Station” features a memorable bass solo by Jimmy Johnson, highlighting his melodic execution and command of the instrument. The track is a testament to the tightness of the rhythm section, with Chad Wackerman’s drumming providing a steady yet dynamic backdrop.
• “The Un-Merry-Go-Round:” At over 14 minutes, “The Un-Merry-Go-Round” is the album’s epic centerpiece. The track takes the listener on a journey through various musical landscapes, showcasing Holdsworth’s ability to craft extended compositions that remain engaging throughout. Gary Husband’s drumming on this track is particularly noteworthy, adding a layer of complexity to the rhythm section.
• “In the Mystery:” The album closes with “In the Mystery,” featuring Paul Korda on vocals. The track is a departure from the instrumental focus of the rest of the album, adding a lyrical dimension to the music. While the vocals may not be to everyone’s taste, they add a unique flavor to the album’s overall sound.

Critical Reception:

“Metal Fatigue” received widespread acclaim upon its release, with many critics praising Holdsworth’s innovative approach to guitar playing and composition. Daniel Gioffre of AllMusic awarded the album 4.5 stars out of 5, calling it “one of the most important fusion records of the ’80s” and “Holdsworth’s best work”. He highlighted the contributions of drummer Chad Wackerman and bassist Jimmy Johnson, describing them as “virtuosos in their own right.”

Spin magazine also praised the album, noting that “each extended jam has a purpose, and it’s not music only those with a lifetime subscription to Guitar Player can appreciate”.

Influence and Legacy:

Despite being relatively unknown to the mainstream audience, Allan Holdsworth’s influence on guitar playing is profound. His innovative techniques and harmonic approach have inspired countless musicians across various genres. Notable guitarists such as Eddie Van Halen and Alex Lifeson have cited Holdsworth as a significant influence on their playing.

Holdsworth’s use of legato phrasing, complex chord voicings, and the whammy bar has set a new standard for what is possible on the electric guitar. His work on “Metal Fatigue” is a shining example of his technical prowess and creative genius, making it a must-listen for anyone interested in jazz fusion and guitar music.

“Metal Fatigue” is more than just an album; it is a landmark in the history of jazz fusion. Allan Holdsworth’s innovative approach to guitar playing, combined with the contributions of his talented bandmates, has resulted in a record that is both technically impressive and deeply engaging. For those who appreciate music that pushes the boundaries of genre and technique, “Metal Fatigue” is an essential listen.

References:

1. Chang, E. (2020). Devil Take the Hindmost, The Otherworldly Music of Allan Holdsworth.
2. “Metal Fatigue” album cover art. Retrieved from https://en.wikipedia.org/wiki/File:Allan_Holdsworth_-_1985_-_Metal_Fatigue_(original).jpg