Pantera formed in Arlington, Texas in 1981 as a glam-metal outfit led by brothers Vinnie Paul (drums) and Dimebag Darrell (guitar), but the band that mattered arrived once Phil Anselmo joined on vocals in 1987 and the group shed its spandex for something rawer. 1990's 'Cowboys from Hell' recast them as thrash-adjacent groove-metal architects, and 1992's 'Vulgar Display of Power' turned that sound into a genre unto itself: downtuned, syncopated riffing under Anselmo's shredded-throat bark, built for headbanging rather than headbanging's usual double-time blur. Through 'Far Beyond Driven' and 'The Great Southern Trendkill' they stayed heavy metal's most imitated band of the decade before splintering acrimoniously in 2003; Dimebag was murdered onstage in 2004, and a touring lineup honoring the band's catalogue re-formed in 2022.
Wikipedia's account of 'Cowboys from Hell' names Black Sabbath among the album's key touchstones, crediting the record's 'groove' specifically to Sabbath and Judas Priest. Dimebag repeatedly pointed to Tony Iommi as the source of his riff-writing — including Iommi's habit of downtuning the guitar, a technique Dimebag adopted and pushed further to get Pantera's crushing low end.
listen forSet 'Sweet Leaf' beside 'This Love' — both hang a whole song off one heavy, unhurried central riff that repeats and mutates rather than racing forward, prioritizing weight and space over speed.
The same Wikipedia account of 'Cowboys from Hell' states the band drew directly on 'the thrash of Slayer and Metallica' in shaping the album, and Phil Anselmo has said that hearing Slayer pushed him away from Rob Halford-style clean power and toward a more aggressive, hardcore-inflected bark, since 'that's not what Slayer was about; it was more about aggression, especially vocally.'
listen forCompare 'Angel of Death' with 'A New Level' — both open with a barked, staccato vocal delivery riding a relentless, palm-muted riff, the tempo and the throat both pushed toward the edge of control.
Wikipedia's rundown of 'Cowboys from Hell' credits ZZ Top specifically with the album's 'southern blues' streak, alongside the metal touchstones — a strand of Pantera's DNA that has nothing to do with thrash and everything to do with growing up in Arlington, Texas on Billy Gibbons' boogie. It surfaces as swagger: a bluesy, behind-the-beat strut underneath the aggression, most audible in Pantera's slower, groove-first material.
listen forLine up 'La Grange' with the title track 'Cowboys from Hell' — both ride a loping, hip-shaking groove built from a simple repeating figure, letting the pocket do the work instead of speed, with a vocal that swaggers rather than shouts through the verses.