Tag Archives: bass

The 12 O’Clock Rule.

Posted on by Standard 8

Bright

⦽

Solid advice.  Dave is my personal guitar Guru, most likely to his chagrin.  Read & learn, fellow axe-slingers:

Dig?

From now on, let’s call this “The 12 O’Clock Rule” so you can remember  it easily.  Next time you’re at a show, running sound, or setting up with your band… a friendly “Dude, ’12 O’Clock Rule'” should suffice to any knob tweaker getting out of hand.

Orange Knobs

⦽

I think the bass & treble cranked with the mids to zero was a Metallica thing, wasn’t it?  I seem to remember that being in a Guitar World or Guitar for the Practicing Musician article in the mid 90’s.  Everyone must have read that one.

On turning the gain back and still rocking hard, I give you Warp Riders by the Sword.  Case closed.  You just found the droids you didn’t know you were looking for.  Move along.

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If it’s too loud, you’re too old!

Posted on by Standard 2

☢ BOOM! ☢

Phallic-Atomic Wall Art

That’s what I used to think, anyway.  Over the years I’ve come to appreciate things like volume & tone… and dialing in a bit of control to the chaos.  Recently the following open letter/plea to local & touring musicians was posted in a semi-private Facebook group for the bands that rock out at the Fallout Shelter.  I asked permission to re-post, as it seems like a cool discussion starter.  As a dude in a band, I’m always up for talking about such things.  Permission was granted, and so we’ve arrived at:

PLEASE READ – An open letter to the bands in our musical community from Rick at the Fallout Shelter –

July 27, 2011:

The Fallout Shelter in Aliquippa is well into its fourth year of providing local bands in Beaver County with a venue where they can hone their skills, develop a following, and join a sincere and optimistic musical community. We are very proud of that. We also are committed to bringing excellent quality sound and professionalism to the music patrons who attend our shows. And we strive to help the bands that perform become more professional and polished as they gain experience in front of the crowds. With all of that in mind, I feel compelled to write this letter to everyone who has contributed so much to our journey.

Rock music is traditionally expected to be performed at loud volumes. Although we welcome all musical genres at the Shelter, we have tended to present rock, punk and metal acts more regularly. As such, volume frequently reaches levels that would severely damage the sensitive ears of small animals. So, the question becomes, can “loud” be too loud? Despite your inner rock god’s rabid denials, the truth is that, yes, it can be too loud. On more than a few occasions, I have witnessed young rock fans leave the Shelter shaking their heads and declaring that “it is too loud down there!” How can loud be too loud?

The Fallout Shelter ☢

The Fallout Shelter ☢

As an old rock musician and former fine arts major who grew up in the 70’s listening to bands such as Zeppelin and the Who, let me offer my view on the matter: When the individual sounds of the instruments become too loud, they tend to meld together into what can essentially be described as a “mush” of sound emanating from the stage. As the on-stage musician, you no longer are providing the sustenance of musical nectar to the fans, but are instead dumping the digested excrement of the combined sounds upon them. Individual sounds are completely lost and thus, so are individual expression and critical accents of each musician which can significantly enhance the musical presentation. Some of you might argue that certain genres are intended to be presented as musical mush – and I cannot disagree because musical taste is indeed individual. But musical mush is not what we desire to showcase. The occasional unusual act that uses noise or volume for musical or artistic effect is welcome, but we do not wish to bombard our patrons with unnecessary volume. By beginning your performance at maximum volume, you lose nuance and dynamics, which eliminates your flexibility in making your performance so much more powerful. Being able to increase volume for that soaring lead, or for that key phrase, and using those skills, will make you better musicians and more polished performers. Dynamics is a natural emotional expression of the music, and its importance cannot be over-emphasized.

As a young bassist, I recall performing many times and falling into the same bad habit of turning up during performances – or leaning over to place my ear near my speaker so I can hear my bass. The sound was essentially blowing past my legs so I could not hear myself well enough. The temptation to turn up in such a case is inescapable. This problem can be solved by either asking the sound man to increase your instrument volume through the monitors, or by raising the speaker to be closer to your ear level. We provide one amp stand that leans back to direct the amp speaker to the performer for this purpose. We also intend to build crates to keep on stage which all amp speakers must be placed on to raise them up. Hopefully, this will solve some of the volume problems. We also provide a drum shield for those drummers who play very loudly. When our sound man asks you to use it, it is because he is trying to make you all, as a band, sound the best that you can. Please do not refuse to use it. Trust our sound man – he is working in a very small venue with a powerful sound system. If you maintain the volume that he requests, he will make you sound spectacular. Doing a sound check to establish an excellent level, and then turning up, just creates a cascade of each musician turning up, one after another, and destroys the effort that went into doing the sound check. When you turn up, he has to fight the instrument and drum volumes to bring vocals up to be heard and the result is often feedback and “mush” coming from the stage.

Please help us present the best local performances to your fans and experiment with volume for maximum effect, not just maximum levels. We will not continue to book bands at the Shelter who cannot realize that learning to use volume properly is as important as learning to master their instruments. Personally, I feel that such bands are either incapable of learning what it takes to perform meaningfully, or are simply fulfilling some narcissistic rock star fantasy.

Once again, thank you to all of the fine musicians and people who make the Shelter such a special venue. Let’s continue to work together to make it, and our bands, the best that they can be.

Rick

Ernie and one of the Berts

Ernie and one of the Berts...

You can pick up on the frustration in Rick’s message.  I get it.  There’s a good discussion already going if you’re part of the group.  Rick, Randy, & everyone at the Fallout Shelter have always been really cool to us.  The sound guys have been great…  I’m absolutely terrible with names or I’d mention them here.

My focus/attention span has been crazy lately, so I think the best way to organize my thoughts on this is a completely random bulleted list.

  • I used to want a wall of Marshall cabinets…  I don’t anymore.  In a stadium?  Sure!  But, the reality is that I play mostly bars…  Bars that are small, and sometimes too small to host bands but do it anyway.  Lately I have been digging using Erin’s little Fender Hot Rod Deluxe amp or Dave’s killer Egnater Rebel head with my 4×12 Mesa Boogie cabinet.  (My Crate Power Block is oddly “OK” live, but absolutely terrible when being recorded.)  Not only do we have to provide entertainment, but we have to carry our own crap in & out.  An amp that’s a quarter of the size & has twice the balls of most other amps?  It’s a win every time in my book.  Try it out!  (Especially if you’re playing a place downstairs like the Fallout Shelter or upstairs at the Smiling Moose.)
  • Let the sound guy do his job.  The sound guy at any given venue has been hired to make you sound good.  Don’t piss him (or her) off.  Don’t insist on turning your stage volume up until you hear the mix from the monitors, or go sit in the house yourself to hear the mix.  Want to have the most rock n’ roll attitude in the room?  Just play, and don’t give a crap what it sounds like.
  • Suck it up.  Shit happens.  Monitors screech, cut out, blow up, sound like mud, or are entirely non-exsitant at times.  There are still people sitting there waiting for you to play.  Play!  Don’t ask the sound guy to adjust a different level after every song.  Once one or two songs in?  No problem.  All night long?  Just deal with it.
  • Use the drum shield.  I think I’ve only ever played at one place where the drummer sits behind a shield.  They asked, so we did it.  I even put a sign on it that says something like “don’t tap on glass” that I think is still there.  It gives the sound guy further control over the room… and the monitors.  As long as you have a monitor in there for the drummer, it shouldn’t be a huge issue.  It might feel & look weird, but if Dave Grohl can do it, you can do it.
Please don't feed the drummer.

Please don't feed the drummer.

That’s all that comes to mind right now.  I’m sure there will be more.  For their part, it looks like the Fallout Shelter is open to suggestions in improving their monitoring system & the overall sound for the room.  I’d suggest some kind of acoustic wall tiles to keep already loud noises from reverberating, but that’s just me.

I’d like this to start a discussion about sound at smaller venues all around Pittsburgh, & well… everywhere.  In the comments section below, post your thoughts!

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Guitarz 2012 Calendar!

Posted on by Standard 5

Some people who read this blog may, like myself, have an appreciation for guitars.  I like the weird, the odd, the strange, & the rare.

Not Enough Batman
Not Enough Batman

Guitarz is putting together a 2012 calendar of such guitars.

These guys put together a great blog, and I’m looking forward to their calendar.  I might take an artful photo of one of my weird axes, but with only 12 months in the year mine won’t be a slam-dunk… and sadly aren’t the weirdest/rarest out there.

Take some photos of your weird/rare/beautiful guitars and send them in!

They probably won’t take this photo.  So, get your axe in gear!  (Get it?)  Submit a photo of your rare/weird/cool guitar, or take a photo of a friend’s to submit.

\m/ Roger Tullgren \m/

Posted on by Standard 1

Roger Tullgren

Roger Tullgren, Metal Lord

So, have you heard about the dude from Sweden who gets a disability check for addiction to heavy metal?

This dude is awesome.

I’m not sure if he really feels that he’s helplessly addicted to metal, or if he’s yanking the Swedish government’s proverbial crank, or what…  but dude is almost as metal as Lemmy for this insanity.

Is it a way to cheat the government?  A publicity ploy for his bands?  Does he really feel that his compulsion to attend shows, dress like a metal-head, and listen to loud music is more than just his preferred lifestyle?

I call shenanigans in that there are plenty of places to work where you can dress like a metal-head & listen to loud music.  If there was such a thing as a record store any more, I’d suggest there…  but what about a guitar store?  Stoner coffee shop?  A concert venue?  A bar?  On a road crew?  The dish-washing thing reminds me of that Poison video…

That being said, if the government is dumb enough to dole out the money… Roger & his employer would be even dumber in not taking it.  The question of their accommodation/compensation being akin to paying an Oxycontin addict for working in a pharmacy still remains, but oh well.  At least we know for sure that Black Sabbath is a powerful & dangerous gateway drug into the heavy metal lifestyle.

\mm/

Too much metal for one hand?

I’d watch a reality show or documentary about this cat.  Even better, I’d like to see it turned into a movie… somewhere between Anvil! The Story of Anvil and Airheads.  Imagine the hilarity that would ensue in 10-years worth of trying to get an addiction to metal recognized as a serious medical condition?  Not to mention, a killer soundtrack!  Are you paying attention Hollywood?  We need this story before we need a Crow or Last Dragon remake.  Sho’ nuff!  If you need a writer, I’m all about it.  I vote for Robert Downey Jr. or Johnny Depp in the lead role.

Also… can I get my money, Uncle Sam?  I’ve been going to concerts for years, buying merchandise, buying merch from small bands on tour, losing money by playing in local bands, ferociously collecting bootlegs, B-sides, & rarities for my favorite bands to satiate that completest appetite.  (Thanks RoadRunner for that US/Japan/UK bonus track crap where I buy the same album 3 times – and thanks Metallica for putting out 30 singles for each song with 17 demo/live b-sides.)  I wear t-shirts with skulls on them, and used to have blue hair.  I not only suffer form heavy metal addiction, but also a general punk rock addiction, spanning everything from horror punk to pop punk to street punk.  There’s also my hard rock addiction, which I seem to be getting over.  The bands with which I seem to have the biggest problem are…

…and all of their related bands; Guns ‘n’ Wankers, Billy No Mates, Hollywood Rose, Slash’s Snakepit, Velvet Revolver, Loaded, Danzig, Graves, Gotham Road, The Undead, …and I deserve some kind of metal for buying a Kryst The Conqueror album, Chinese Democracy, & St. Anger just to have “complete” collections.

Cover of "Airheads"

Cover of Airheads

I’d love to see Roger’s playlist, CD/Record/Cassette Tape/VHS/8-Track/DVD/MiniDisc/BluRay/LaserDisc/Whatever collection… or his ticket-stub book if he’s got one.  Who are his favorites?  I need to know!  I unfortunately am unable to check out that video linked-to from the Blabbermouth article.  I think it may have crashed their site, or it’s a bad link?

So, what do you think?  Is this guy super-awesome or super-lame?  Is he a genius, or a loser?  Is he some combo of all of the above?

Ernie and the Berts needs your votes! (via Ernie and the Berts)

Posted on by Standard 1

Click through to see a shameless plug.

So, Ernie and one Bert decided to crash a Houlihan's open stage last night in Robinson. Apparently it enters us into a contest. We'd like to take the other Bert to round 2, so we'd like you to vote for us. How do you do that? Like Houlihan's Robinson on Facebook. Vote for us here. This is what we sounded like: …sort of.  Imagine that you ca … Read More

via Ernie and the Berts

Epic Metal :: It’s not too late to join the quest!

Posted on by Standard 7

So, the warriors of Dethlehem have dropped a second album, aptly named The Ghorusalem Codex Vol. 2: Of Magick and Tyranny.  (This would be a follow-up to their 2009 disc, The Ghorusalem Codex Vol 1: Enthroned Upon A Spire.)  If you’re a fan of metal, or a fan of chaos involving things like trolls and dragons and wizards… you need this album.

DETHLEHEM | The Ghorusalem Codex, Vol 2: Of Magick & Tyranny

DETHLEHEM | The Ghorusalem Codex, Vol 2: Of Magick & Tyranny

Listen to this and try to tell me I’m wrong:  Dethlehem “Hypergates of Infinitude”  It’s one of my favorite tracks off of the album.

I’m big a fan of their first album, but this one blows it away in terms of recording, production, and overall album cohesiveness.  The interludes in between songs have become a much better over-all narrative to help guide you along the quest.  (The full story is coming soon to their website.)

Bovice and Hildor are the six-string men-at-arms, and the musicianship here makes me sick.  The guitars are ridiculous, it’s almost too over the top… but with what Dethlehem has going on, it needs to be ridiculous.  I’m talking shredding, sweeps, blazing riffs, and all manner of fretboard insanity.  If I didn’t know these guys, I’d hate them… they make a punk rock power chord chump like me almost too embarrassed to pick up a guitar.  Luckily for the Ernie and the Berts fan(s), I have no shame.

A slight lineup change on this album, Davidicus the Black replaces Galagore… not sure what the official story is, if Gallagore was eaten by a dragon or transformed into a toad by an evil witch or what.  Davidicus is a wizard, and adds a dynamic both in story & in playing style.  You can hear less doubling of guitar parts by the bass, more restraint where called-for musically, and stomping all over the place where appropriate.

Overlord Brom bangs on the drums like nobody’s business, and even my untrained ear can tell there’s all manner of math going on here with time-signature changes.  This is not 4/4 rock n’ roll.  Plus, when he plays live… he starts out with a bucket-like Helmet on his head where it must be impossible to see anything.  (By the way, funniest character voice ever in the narratives.)

Lord Bonecrush has developed what I can only call a battle-hardened confidence in his vocals.  While they were strong on Vol. 1, on Vol. 2 they’ve progressed to a point where any shred of vocal uncertainty is gone.  The vocals are honed sharp like any good weapon should be before going into battle… yet there’s a double-edge… clean for slicing backed up with growling with a ferocity akin to aurally ripping you asunder.  The backing vocals also stand out a little clearer on their own on this one… not sure who’s where… but it’s all done sparingly, tastefully, and appropriately.

While not a technical review by any means, I hope to have conveyed the overall feel of the album, and to have piqued your curiosity.

These guys put on an incredible live show… I suggest you buy the album to learn their songs, and then go see them when they come to plunder and pillage a venue near you.  I’m not sure if you can fully appreciate the epic-ness through just a recording or video.  They’re on tour now if you can catch them!

(In the interest of full disclosure, this may not be a completely objective review… I do know the guys, and they awesomely thanked me in the liner-notes of this disc…  But I’d like to think that those who know me know I wouldn’t push crappy music on anyone.)

The Dewey Deceibel FlipOut Guitar

Posted on by Standard 22

FlipOut Guitars

FlipOut Guitars

I have a problem with weird guitars.  I’m drawn to them.  I love the classic Les Paul shape and sound, but something about goofy-looking guitars really speaks to me.  I’ve blogged before about my Galveston B.B. Stone, and drooled over the fanboy/kitsch factor of the Millennium Falcon guitar.  Now, I’d like to blog about my most recent 6-string purchase… the Dewey Decibel FlipOut Guitar.

I was drawn to the goofiness when I saw it somewhere online.  I even saw it hanging in Pittsburgh Guitars once, but I had no play money at the time, and couldn’t justify getting the thing.

I bought it through ebay a while ago, as my last band (Gasoline Dion) was kind of petering itself out of existence.  I hadn’t really gotten the chance to use it on stage until recently.  It always draws out a question or admiration.  I don’t think I’ve drawn ire from anyone yet… except the expressed-yet-repressed hatred that my friend and guitar-guru Dave has toward just the general idea of the thing.

Dewey Decibel FlipOut Models

Dewey Decibel FlipOut Models

Yet despite his disdain for the abomination of an axe, Dave did help me install some GFS pickups to replace the stock ones… since I do like that beefier fat-Strat sound.  They’re some great pickups for the price.  Ernie and the Berts recently recorded a demo, and I’m quite happy with the tone coming from the guitar.  I also like the feel of the frets.  This has become my “it” guitar of the moment.

The weird thing about these guitars other than the backwards body is the color schemes and names.  I oddly enough chose the “Lit Cigarette” color scheme.  I wouldn’t mind  a black pick-guard, but I don’t think you can walk into any guitar shop and just pick one up.

Eric Aixelsyd - Dewey Decibel FlipOut Guitar Lit Cigarette

Fallout Shelter - Oct 30th, 2010

Obviously, I like the whimsical/goofy factor with this thing, and my “stage name” being ERiC AiXeLsyD, I felt that that backwards guitar should certainly fit that quite well.

I’m glad that Dewey Decibel makes this guitar, and I’m glad that I found one… or it found me.  I’d love to see photos of other FlipOuts in action.  I know they even have basses if you want some backwards bottom-end.  They may just be prototypes, their web page hasn’t changed for quite some time… and as it last stands they’re available for pre-order, “to be filled in 2005.”

If you have one of these guitars, or know someone who does… post photos!

Photos | Dethlehem @ The Smiling Moose (Thu. Sept. 9th, 2010 AD)

Posted on by Standard 2

Got some photos last night of one of my favorite local bands… the warriors that call themselves Dethlehem.

  • Lord Bonecrush – War Cry
  • Hildor Anduv – Axe
  • Bovice – Axe
  • Davidicus the Black – Bass Staff
  • Overlord Brom – War Drums

Check ’em out on Photobucket… Grid View or Slideshow View.  They’re also on Facebook, you can check ’em out there and tag people that you know.

Or, just click the thumbnails that you dig below…

Don’t tell me it’s too late… Slash solo album review.

Posted on by Standard 1

Slash“Don’t tell me it’s too late” is a line from my favorite song on the album, I’m reviewing this well after it came out, and it seems like a running theme lyrically through more than a few songs on the album… so I felt that it was appropriate to work into the title of this post.

If you know my musical tastes at all, you know that Guns N’ Roses is near the top of my list in all-time favorites.  So, with some warning, this may be a little biased.  The basic idea for this record was for Slash to pull in session musicians and do the record he wanted to do that wouldn’t necessarily fit into any other mold.  He’s done session & guest work with everyone from ICP to Rihanna, it’s about time to turn it around.  (I’m sure it doesn’t hurt that Velvet Revolver is on “hiatus” and Slash’s Snakepit seems dissolve after each album.)

Since it’s such a diverse record (with and endless number of releases), I’m going to try to throw out my opinions track-by-track, and then wrap it all up.

  1. “Ghost” – Featuring the vocal talents of Ian Astbury and the only other guitarist to appear anywhere on the album, the venerated and underrated Izzy Stradlin.  The song starts the album with a really nice melodic riff and Izzy’s guitar fills in just like it did back in the Appetite days.  Their work back & forth is unmistakable… and I’d love to hear more of it in the future.  While I like the guitar play in Velvet Revolver with Dave Kushner, Izzy and Slash are like a left hand & a right hand when playing guitar… they’re aware of what the other is doing without thinking about it.  Ian Astbury sounds awesome, and really fit well with this song.  I laugh every time I hear him though, as I once spent the better part of a day convincing a former co-worker that Ian Astbury & Glenn Danzig weren’t the same person.  I’ll never forget when The Cult’s “Fire Woman” was on the radio… he was all “You can’t tell me that this isn’t the guy who sings ‘Mother’.  It’s the same guy!”  At any rate… I hope this is picked up as a single, I’d love to see some live performances of this with Ian, or even a video.  It’s a nice unapologetic 80’s-ish rocker of a tune that doesn’t sound ridiculously dated.  Already you can tell that Eric Valentine‘s production on this album blows any Velvet Revolver stuff out of the water, because you can actually hear the guitar.
  2. “Crucify the Dead” – With Ozzy Osbourne on vocals, and somewhat inexplicably Taylor Hawkins on background vocals., this one starts out somewhat somber and ends up rocking.  It could have easily been on any Ozzy album from No More Tears on.  It’s somewhat odd to hear Slash doing the palm-muted power-chord chugging… and just the way that the guitars are layered.  I think that’s the point of this album though, to hear Slash doing stuff that you wouldn’t hear anywhere else.  It sets that right away with this song.  It would have been cool to have Zakk Wylde on this track too.  The one thing that makes it stand out as an Ozzy song is the lack of Zakk’s style of pinch n’ squeal harmonics.  I really love the melodic guitar lines here though.  I can imagine that Taylor was in the studio hanging out with Chris Chaney who plays bass on most tracks of the album (whom with he currently plays in Taylor Hawkins and the Coattail Riders & they both played with Alanis Morissette once upon a time) and/or Dave Grohl and they just needed someone to do Ozzy backing vocals because he was too tired or didn’t know where he was.  This is the first of many incestuous rock n’ roll band relationships that are all over this album.
  3. “Beautiful Dangerous” – This is the song with Fergie.  Yeah, that Fergie.  Slash has done a bunch of live gigs with her, and she slays on some GN’R songs. In the first few seconds, I get an “oh no” because it starts off like a Rob Zombie song… but that’s quickly eaten by the guitars, bass, & drums.  It’s hard to hear a woman sing a rock song and not compare her to a small list of other rock singers…  This song has a Heart vibe.  I can imagine Fergie wouldn’t mind being compared vocally to Ann Wilson.  She’s got a strong beautiful clear voice… and I can totally hear an Axl influence.  You knew the A-word was coming eventually.  It’s not in the sound of her voice, but in the cadence and delivery of some of the lines… I challenge any GN’R fan to not hear it.  There’s a certain way they Axl holds on to & twists notes… Fergie does this also here… not sure if it was prompted or just came naturally with the style of riffs if she’s a GN’R fan at all.  This song is full of some nice solid riffs, and is one of my favorites off of the album.  My wife likes this one too, and she’s not the world’s biggest guitar-rock fan.
  4. “Back From Cali” – Myles Kennedy takes up vocal duties on this song.  The feel of this song reminds me of It’s Five O’ Clock Somewhere, and is definitely a Slash composition out and out.  It’s a pretty straight-up blues rocker, and Axl is again channeled at a mere 30 seconds into the song.  Myles will take vocal duties in Slash’s touring band, he’s probably as notable for being the guy rumored to sing for the Led Zeppelin reunion tour as much as his last band, Alter Bridge.  This guy has the pipes & range to hold it down well, no doubt.
  5. “Promise” – This one starts out a little strange, although this riff could have been on either  of the Illusions albums in a different context.  It really reminds me of Audioslave… maybe that’s why Slash called in Chris Cornell in the first place.  This is the first mellow one… and while it’s not a bad song, I think I have to be in the mood to listen to it.  It’s quite a haunting melody & riff, perhaps it’ll grow on me as time goes on.
  6. “By the Sword” – This is the album’s first US single, I think the video has been shot it’s just waiting for production, and they’ve been doing the late–show circuit with performances.  Andrew Stockdale of Wolfmother takes the vocal helm on this blues rocker.  This could have also easily been another Snakepit song… but I feel Stockdale does it real justice with his oddly whiny vocals.  Slash’s solo here (starting at 2:45 into the song) reminds me of George Harrison on “While My Guitar Gently Weeps” for some reason.  At first, I wondered why on Earth this was the first single as it wasn’t a straight-up rocker, but the more I hear it, the more I really like the song.
  7. “Gotten” – Having Adam Levine of Maroon 5 on the album is probably as shocking as having Fergie, if not more so.  I have to say, I really dig this track too.  The guitar is surprisingly nice & clean for the most part, a very gentle riff… this could be on top 40 radio if there is such a thing left.  It builds in a “Don’t Cry”-like crescendo, although the strings mayJudgement Day.) be a little much.  (Sorry, Again, you most likely have to be in a mellow mood for this one, but it stands as a good track.)
  8. “Doctor Alibi” – Old school metal fans are going to love this one… or at least I do.  Lemmy takes vocal and “distorted bass” (according to the liner notes) duties on this un-apologetically obnoxious rocking beast.  The opening riff jingles with bad-ass and descends into chaos with Lemmy’s story telling of visiting various doctors until he gets the answer that he wants to hear.  I vote for Lemmy as the next frontman to Velvet Revolver, ha ha ha.  This song is full of rock clichés and that’s OK with me.  This solo rips through you, reminiscent of the rambling in “Nightrain”.  It even breaks down to just vocals and drums before the rest of the bands comes back in.  This one is a keeper.
  9. “Watch This Dave” – I have to admit that I couldn’t wait.  I had to jump to this one the first time I popped the album into the CD player.  (Yeah, I bought the CD that came with the T-shirt from Best Buy on the day that it came out.) Why did I jump here?  Because it features Dave Grohl on drums and Duff McKagan on bass.  On some track listings, it’s simply titled “Watch This”… but my CD adds the “Dave”, so I added that here.  This is a timeless instrumental groove that just smacks you in the eardrums.  I miss Duff’s bass playing on the rest of the album.  No offense to Chris Chaney, but Duff has a definite signature that just fits with Slash’s guitar work like hot fudge on vanilla ice cream or ketchup on fries.  You don’t need it, but it’s always a perfect combo.  Dave pounds the drums like a madman, and they seamlessly string together patches of riffs & guitar wanking that swell an undulate into a heart-pounding mess of a ride that ends by just slamming you into a wall.  Parts of it remind me of the feel of Metallica’s “Call of Ktulu” or “Orion”.  Slash does some shredding work here, something you don’t usually think of when you hear his name.  I for one would love to hear a whole album of stuff like this.
  10. “I Hold On” – This track has Kid Rock on vocals.  It could have just as easily been Myles Kennedy… and may have been better if it was.  It plays out like a mellow country/gospel inspired Kid Rock ballad.  I don’t know, I guess I just don’t feel it.  It’s by no means a bad, song, it just doesn’t make me say “wow” or anything.  Slash’s solo is great, but could have gone over anything with these same chord changes.  I would imagine that this would clean up on country radio.
  11. “Nothing to Say” – M. Shadows of Avenged Sevenfold was a surprise guest to me… but I was also really anxious to hear this track.  I must say that i wasn’t disappointed!  I’m an A7X fan, and I remember thinking that they went form a Metallica influence on Sounding the Seventh TrumpetWaking the Fallen to a Guns N’ Roses influence on City of Evil and Avenged Sevenfold.  At first, I didn’t like it, but as time went on, it made sense.  I love both of those bands, why wouldn’t they?  Only AC/DC fans like the same album over & over again.  This was an excellent paring, as the riff is just more evil and menacing than anything  else I’ve ever heard Slash play… and I can’t imagine anyone vocally pulling this off any better. (For reference,  see “Chains and Shackles”.)  I really would have a hard time telling that this wasn’t a straight-up A7X song, and I can typically pick out Slash’s guitar work in just a few notes.  There’s more shredding here, within the blues context that Slash likes to stay in, and within the confines of the song… but again, I would love a whole album of songs like this form Slash.  It’s odd to hear him playing Metallica-styled palm-muted chugging even though I know he’s a big fan of theirs.  Speaking of Metallica… why wasn’t Lars or James on this thing?
  12. “Starlight” – Myles Kennedy is the only one to feature twice vocally on the proper US album release.  This is another bluesy/gospel sort of ballad that could have easily went on either Snakepit
  13. “Saint is a Sinner Too” – Yeah.  I’m wholly unfamiliar with Rocco DeLucca who sings for this one… and really, I think I’m glad.  I mean, the guitar work is beautiful and quiet here… and shows great range… but I really can’t regard the vocals as anything more than annoying.  I’m sorry if it offends you, but I hate this kind of crap, and the crap  thatit reminds me of… like Dave Matthews and Coldplay.
  14. “Were All Gonna Die” – Slash dusts off Iggy Pop for this one which acts as the closer to the regular US release.  Iggy sounds bored, and the song is a little slow.  I’d actually love to hear Duff sing this one… and for the tempo to be upped a little bit.  Duff has a great punk sensibility, and like I said Iggy just sounds bored.  You’d think a song that stars out with the line “Gee I really like your tits” would be a little more raucous.  Maybe I just expected more from this pairing?  “Home” off of Iggy’s Brick by Brick album features Slash & Duff, and it hits a little harder than this one.  Still, it’s not a ad tune, and gets better with every listen.

Well, that’s all the normal tracks.  I’ve managed to hear all of the bonus tracks form the various albums, and I’ll give my run-down here…

  • “Sahara” – This one’s from the Japanese release and the iTunes release.  It features Japanese rocker Koshi Inaba of the Japaneze rock band/duo B’z.  This sounds like a Winger or Poison song.  It’s the closest Slash has ever sounded to that… and I love some Poison… but this is super-cheese.  This was the first single overall, released only in Japan.  I bet they loved this one… it’s #4 on the Japan charts according to Wikipedia.  This one can be found with both English and Japanese lyrics.
  • “Chains and Shackles” – I mentioned this before during the “Nothing to Say” review… basically it’s the the same base, with some slightly different ingredients… provided by Nick Oliveri,  of Kyuss/Mondo Generator/Queens of the Stone Age.  Had I not heard the other first, I may dig this one a little more.  This is a heavy hard-hitting song with some killer structures & vocals… but I just liked what Slash & M. Shadows did with it in “I Hold On” more.  Slash also talked about giving this one to Dave Mustane… I’d love to hear that.  This is on the Australian iTunes edition.
  • “Paradise City” – This is an odd collection:  Cypress Hill, Fergie, and Slash covering Guns N’ Roses.  This was a B0side to the “Sahara” single as well as being on the Australian iTunes, Best Buy Exclusive, Napster, and Brazilian versions.  (This is according to Wikipedia… I bought mine at Best Buy, and this isn’t on it.)  This wasn’t really a surprise, as I’ve seen  Slash, Duff, Dave Kushner & Matt Sorum do this with Cypress Hill before.  Fergie rounds out the vocals nicely imitating Axl.  This is Campy and fun, and really shouldn’t be taken beyond that.  I enjoy it.
  • “Mother Maria” – On this song, Slash teamed up with Beth Hart to help Linkin Park’s Music for Relief charity.  I have no idea who Beth Hart is, but she sure can sing.  This is a country-tinged blues song with a real nice groove.  It rides the mellow/rocking line… and feels like it could spill over in either direction any minute.  This track is available on the iTunes version of the album.
  • “Baby Can’t Drive” – This is apparently what happens when Slash, Alice Cooper, Nicole Scherzinger (of the Pussycat Dolls), Steven Adler (classic GN’R drummer & VH1 reality show train-wreck), and Flea all get together.  I know Alice has always been theatrical… but this seems like a Meatloaf song with all the love & sex taken out.  I can see why this wasn’t included on the album.  Flea is known for being a wild/crazy bass player… and there’s no way you can even tell it’s him here.  It’s good to see that Adler can still play drums.  You can get this on the Best Buy Exclusive, Napster, Brazillian, and “Classic Rock Slashpack” editions.

Well, that’s it track-by-track.  Hope it made you more interested in the album if you’re a Slash fan, and certainly I hope I didn’t deter anyone from listening to a track or two.  I didn’t get to mention that Josh Freese is on drums for most of this album… I think he’s the only guy that does more session work than Slash or maybe Dave Grohl.  If you have a band, check and see if Josh Freese is a member.  I bet you he is, and you just don’t know it yet.  Josh holds it down nice & solid.  Oddly enough, he was also in Guns N’ Roses for a while, and played the title track on Chinese Democracy.  Teddy Andreadis was on it playing the clavient & wurlitzer too.  So that makes 6 past members of GN’R on one album, 4 of them from the classic lineup?  Can we please, someday get our shit together, guys?  Before someone dies?

Conspicuously absent were Slash’s VR band mates Matt Sorum & Dave Kushner, but maybe that’s calculated and why it’s a “solo” project… although you know Duff  had to make it in.  Also, didn’t Sebastian Bach tweet about being in the studio & on this album?  I wonder if he ever recorded a track, or if he went all “Savage Animal” in the studio?  Also… what ever happened to Gilby Clarke?  I would have thought that Nikki Sixx or Tommy Lee would have popped up here too.  I’d also like to have seen some more guitarists.. but this is Slash’s solo record, not mine.

Here’s the album trailer from Slash’s website…

I’m anxious to hear if anyone agrees or disagrees with me on the song analysis… please, let me know what you think!

Nick Oliveri