I Am The Night

As I mentioned in my Axe Dragger review (don’t miss that one, old-school metal fans), a recent interview with Terry Glaze encouraged Pantera and Darrell Abbott fans to revisit the band’s first three albums: Metal Magic, Projects in the Jungle, and I Am the Night. To his credit, Glaze acknowledged his own glam-leaning vocal style and urged listeners to focus instead on the undeniable musical talent already present—particularly that of guitarist Darrell Abbott, still billed here as “Diamond,” well before the “Dimebag” era.

This brings us to I Am the Night, the third and final Glaze-fronted Pantera album. Of the early records, this is clearly the heaviest and most focused effort—an album that not only refines the band’s songwriting, but also hints at a future far beyond the lipstick-and-hairspray confines of mid-’80s glam metal. While still very much a product of its time, and a far cry from the genre-shifting impact of Cowboys From Hell—this is the point where Pantera begin to separate themselves from the pack.

That distinction is important, because the tendency to dismiss these early albums outright—something Rex Brown and others in the band have done over the years—misses what’s actually happening here. I Am the Night is not just another disposable hair metal release built around a couple of catchy singles and forgettable musicianship. There’s real substance beneath the surface.

Much of that comes from Darrell Abbott. His well-documented influences—Eddie Van Halen and Randy Rhoads—are front and center throughout the album. His playing carries a true guitar-hero presence, with solos that are both flashy and memorable. In an era where many glam bands leaned on style over substance, Abbott’s work stands out. Outside of players like Vito Bratta (White Lion) or George Lynch (Dokken), that level of technical ability and personality wasn’t always the norm.

Tracks like the title cut, “Onward We Rock,” and “Valhalla” are where things really get interesting. The rhythm section locks into a driving, riff-forward approach that leans closer to the emerging U.S. power metal scene than the Sunset Strip. These songs feel like a genuine bridge between embryonic Pantera and the band that would later emerge with Phil Anselmo. Elsewhere, the album stays rooted in glam, but with a tougher edge—closer in spirit to W.A.S.P. or Lizzy Borden than the lighter, more commercial "butt-rock" fare of bands like Poison.

Of course, Terry Glaze’s vocals will be a sticking point for some listeners. His high-pitched, over-the-top delivery can feel excessive by modern standards, but within the context of the era, it fits the material. For those already familiar with ’80s glam, it’s less a flaw than a stylistic marker of the time.

Taken on its own terms, I Am the Night is a surprisingly strong album—derivative, yes, but far from disposable. It captures a band on the verge of outgrowing its influences, with the Abbott brothers’ talent already beginning to rise above the scene around them. While Pantera would go on to redefine heavy metal in the ’90s, this album offers a compelling look at where that journey began.

For fans of the era—or anyone curious about the band’s underappreciated early days, I Am the Night is well worth revisiting.