No Place for Disgrace is a nice piece of old-school thrash which tends to remind me of classic Metallica more than anything else. But these guys certainly had their own vision which comes out well on this long, finely-produced album. Tracks such as ‘I Live, You Die’ and the title track are worthy metal songs, with some impressive riffing and solos. ‘Escape From Within’ is the ballad, and the tense cover of Elton John’s ‘Saturday Night’s Alright For Fighting’ is a highlight. Overall, a standout thrash metal release.
No Description AvailableNo Track Information AvailableMedia Type: CDArtist: FLOTSAM & JETSAMTitle: NO PLACE FOR DISCRACEStreet Release Date: 05/31/1988<Domestic or Import: DomesticGenre: HEAVY METAL
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No Place For Disgrace is a classic thrash album by Jason Newstead’s former band.(At least no one ever accused Flotsom of selling out.) I am not sure if he played on this album, though. This is old -school, rapid fire thrash album with great songs. I recommend this album to those who enjoy old albums by Exodus, Anthrax, Death Angel ect. The only reason I rate this so low is due to the horrible guitar tone. Yuck. Very fuzzy and sounds like a Sears guitar and a ten dolloar pedal,plugged directly into the board. 3.5 Stars
This is a thrash classic that let you know FloJet was for real. The title track alone is worth the disc with some seriously fast riffage. “Escape From Within” is the most moving track on the disc, and a real treat to see live while the next three “Saturday Night” (Elton John cover), “Hard on You” & “I Live You Die” are FloJet showing their thrash excellence. Living in Phoenix, I get to see these guys on a semi-regular basis; I just saw them perform on 7/13/01, and let me tell ya, they still got it!!
I wore the cassette version of this album out and replaced it with the CD so I could play it over and over again. I can’t imagine how any reviewer on this page that actually loves thrash metal could give this anything less than a four. I personally can’t give it anything less than a five. This is one of the more perfect thrash metal albums from the hey-day of thrash metal in the late 80s, and I still listen to it to this day.Sears? Dude, what are you thinking? That’s their sound on this albume, and it really worked for it, too. Kept from overpowering everything else going on the mix. Man, those vocals. If only their later albums (while occasionally cool) had the operatic power of “No Place for Disgrace.” At least they tried new things.
Flotsam and Jetsam will be eternally remembered as the band that supplied Metallica with a bass player. They should really be remembered for their music. This is the band’s magnum opus, never to be approached even distantly ever again.Flotsam and Jetsam were magnificent songwriters. The title track is a moving account of a disgraced samurai’s final moments before absolving himself through suicide. It shows an empathy with the thoughts of such a character. The riffs, from the introduction to the finale, are original and memorable. Some of the subject matter for the remaining tracks on the album is a little lame (“I Live, You Die”, “Misguided Fortune”), but even some of the thrash elite at the time were dealing in cheese of the stinkiest vintage at the time (anyone want crackers with Megadeth’s “502″ and Slayer’s “Mandatory Suicide”?). Newstead was one of the main songwriters for the band before his departure, and his creativity, long stifled by the rampant egos in Metallica, shines through here, as he co-wrote the best tracks on the album.Lyrics aside, the music is near faultless- the Egyptian sounding guitars and bass run on “N.E. Terror” are particularly impressive, the transition from the acoustic introduction to the power ballad-ish feel to the high velocity thrash out of “Escape From Within”, the soloing throughout. The twin instrumental tracks, “P.A.A.B” and “The Jones” showcase some stunning riffs and solos without getting self-indulgent. As with many bands of the time, the drummer had a thing for showing his double kick drum prowess. In every song. Constantly. I like it! The production is sharp, clear and heavy.What put many people off the band were Eric AK’s seemingly helium fuelled shrieks. Even Candlemass’ Messiah Marcolin would have been hard pressed to hit some of those high notes. Eric AK had strong mid-range vocals, but seemed obsessed with hitting the stratosphere as often as possible.A definite highlight of the album is a beefed up rendition of Elton John’s “Saturday Night’s Alright For Fighting”, complete with shouted backing vocals, a double kick drum barrage, and even a piano!As a demonstration of the heights thrash could reach at its best, this album is a must own for all dedicated fans of the genre. Unfortunately, the band could never escape from the shadow of a past member.