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Spiritual Healing marks Death’s third full-length album, issued on February 16, 1990, via Combat Records. It stands as the sole Death release boasting both guitarist James Murphy and bassist Terry Butler, while serving as the final one with drummer Bill Andrews. This record signaled a stylistic pivot for the group, with lyrics zeroing in on societal vices and music ramping up technical complexity—departing from the gore-obsessed, direct death metal of their first two efforts. Dropped amid Chuck Schuldiner’s unyielding drive for evolution, it links raw old-school death metal aggression with early glimpses of the progressive brilliance ahead.
Arriving as Death’s third LP after the raw Scream Bloody Gore (1987) and Leprosy (1988), Spiritual Healing was helmed by producer Scott Burns at Morrisound Recording. Schuldiner handled vocals, guitars, and bass, joined by Murphy on guitar, Andrews on drums, and Butler on bass. The lineup crafted sharper compositions, with songs extending past three minutes to weave in melody and form without sacrificing ferocity.
Lyrically, it veers from earlier blood-soaked themes, confronting real-world problems like The album’s opening track “Living Monstrosity” explores drug addiction during pregnancy, and is written about an infant “born without eyes, hands, and a half a brain” and sham religion (the title song). These evolved subjects highlight Schuldiner’s emerging philosophical outlook, shaping his future output. Dubbed Death’s “most word-driven” LP and a loose concept on psychological torment and bodily frailties, it kicked off Schuldiner’s shift from guts-and-monsters to “everyday terrors” like spree killers, dope scourge, abortions, gene tinkering (sparked by a That’s Incredible! tale), and phony healers. The album’s third track “Defensive Personalities” explores bipolar disorder and schizophrenia.
Songs highlight guitar exchanges between Schuldiner and Murphy—their back-and-forth in “Low Life” and leads in “Altering the Future” shine as virtuoso highlights. “Defensive Personalities” crescendos into a haunting chorus plunge, and the kickoff “Living Monstrosity” assails dependency via relentless riffs.
The mix prioritizes transparency: Schuldiner’s guttural, clearest roars mesh with sharp percussion and prominent low-end, despite some flak for synthetic vocal tweaks. Blasts of pace and aggression endure, softened by progressive flourishes foreshadowing Human (1991).
Spiritual Healing blends vintage roughness with intricate tunes, hailed as a gem for its human touch and timeliness. Gems like the opener foreshadow the band’s death metal zenith prior to bolder prog turns. Its enduring appeal stems from profound words and axe sorcery, inviting scrutiny from headbangers.
Recording unfolded at Morrisound in Tampa, Florida, under Scott Burns. Death’s crew and manager Eric Greif crammed into one room at the Safari Inn motel by Busch Gardens for the full six-week tracking and mixing stint—though local Butler and Andrews often headed home. Butler remembers Burns fixing a botched cymbal crash by razor-slicing and rejoining the tape. He also noted Murphy, sans tremolo arm, nailing the title-track solo with a screwdriver.
The reissue’s “joke & jam” bonuses stemmed from sweltering heatstroke; the band rehearsed in a stifling, AC-less mini-warehouse during summer, halting after tunes to avoid blacking out.
It is also remarkable as Ed Repka delivered his last Death cover art here.
This era sparked drama: Butler and Andrews hit Europe sans Schuldiner (who skipped the shoddily planned trek), subbing vocalist Louis Carrisalez and guitarist Walter Traschler. Schuldiner fired back with lawsuits, ditching them for session players going forward.
Out of print for years, Relapse revived it in November 2012.
