Review Summary: A solid climb in Exodus’ roller-coaster career, but not high enough to rival thrash’s true peaks.
Oh, dear reader. Here we go again.
For me, there is no better analogy to analyze the career of Exodus than a roller coaster: dizzying climbs followed by abrupt drops. The band recorded the first thrash metal album in history (though not the first to be released). It could very well have been the best debut in the genre—if it weren’t for a horrible production and an even worse vocalist (but the songwriting on Bonded by Blood was phenomenal). Then came the sharp descent of Pleasures of the Flesh, an album that not only kept the questionable production but also lacked the songs to compensate.
In that context, Fabulous Disaster clearly represents another climb on the track—one of the high points of this roller coaster. Still, as good as it is, it doesn’t quite reach the absolute peak of the band’s trajectory.
The first thing that jumps out at the listener is the production. Finally, there is a significant improvement in that department. The overall sound is fuller and sharper. Even so, it’s not exactly exemplary. The sound remains relatively dry, rough, and somewhat below what other bands were already achieving during the same period.
And this matters because the historical context is unforgiving. Just look at what the Big Four released between 1988 and 1990:
1988
• ...And Justice for All — Metallica
• South of Heaven — Slayer
• State of Euphoria — Anthrax
1989
• (no Big Four albums)
1990
• Rust in Peace — Megadeth
• Seasons in the Abyss — Slayer
• Persistence of Time — Anthrax
In other words: Fabulous Disaster ended up squeezed—aside from the questionable State of Euphoria—between some of the most influential records in thrash history. Man, that's a tough competion and a lot of pressure, right?
That’s why listening to this album today requires some perspective. After the fiasco of Pleasures of the Flesh, Exodus needed to prove it still had something relevant to say. Fabulous Disaster isn’t a complete redemption, but it at least shows a major step forward and finally comes equipped with a minimally competent production.
Maybe that wasn’t enough to compete directly with the genre’s giants at the time, but it was already considerable progress for a band that, two years earlier, seemed completely lost.
Musically, Fabulous Disaster has the DNA and the classic recipe of a thrash metal album: fast-paced rhythms, plenty of heaviness, and gang vocals everywhere. And we all love that.
And there’s no way to talk about Fabulous Disaster without mentioning The Toxic Waltz, a track that could easily land in any Top 20 of the genre. Slightly goofy, the song works as a kind of anthem to the chaos of the band’s shows. It describes, in an almost humorous way, the violence and energy of the mosh pit as if it were some new trendy “dance.” The idea came about when Gary Holt asked Steve Zetro Souza to write lyrics about what happened at the band’s concerts. The result became one of Exodus’ most popular songs and an almost mandatory presence in their live sets since 1989. Impossible to stand still once it starts.
Another highlight of the album is Cajun Hell, which takes the listener to a setting very different from the typical urban imagery of thrash. The track begins with a harmonica and slowly builds until it explodes into the main riff. The lyrics describe the Louisiana swamps as a dangerous, almost lawless territory where locals live by hunting and their own rules—and where outsiders are not exactly welcome. The result is a kind of horror story, filled with images of alligators, local revenge, and warnings to anyone daring to enter this “Cajun Hell.”
The title track, Fabulous Disaster, is another major highlight. After a heavy intro and devastating double bass, the main riff hits with absurd speed. The riff locks perfectly with the drums (I just love so much when this happens), creating one of the album’s most exciting moments. Souza gives it everything on this track (for better or worse). A classic.
From this point on, however, things aren’t quite as strong. Verbal Razors and Open Season have their moments. The former is a fast and heavy march that doesn’t breathe for even a second; the latter follows a similar path. They’re good songs, without a doubt—but not spectacular.
But one thing I never quite understood, though, is the presence of two covers. Exodus was already on its third album—it wasn’t a beginner band needing to fill time with cover songs. So why make 20% of the album someone else’s material? Low Rider at least starts in an interesting way, with the cowbell and a well-defined heavy riff. But Souza sounds far too restrained. Because of that, the song never seems to reach its full potential; it feels like something is missing. The cover of Overdose, on the other hand, does absolutely nothing for me and feels completely unnecessary. Hate me at will for that.
At the end of the day, Fabulous Disaster is a solid record. It’s far from being an absolute classic (despite Toxic Waltz), but it represents another climb on the roller coaster. But, as with every good roller coaster, the next turn is already preparing another sudden drop: after regaining some momentum, Impact Is Imminent would send the band plunging again with a disastrous release (though not the fabulous kind this time).
