12/4/10
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It’s always hard to move on from high times in music. As the guitarist in arguably
the biggest band of its time, Guns N’ Roses, Slash eventually (and not without reason) left to join Velvet Revolver. Still without hitting those heights, he goes solo
with a host of guests to recapture that high.
Opener, ‘Ghosts’ features some trademark-epic guitar work from the main man, alongside The Cult
vocalist, Ian Astbury, who does his best Axl-impression. It’s very much like the classic days and could have been on any GNR record. ‘Crucify the Dead’ adds the drowning vocal talents of Ozzy Osbourne. There’s a mellow and likeable laid back melody amongst Ozzy’s typically off-beat input. It could actually be a subtle jibe at Rose about
putting out a faithful old friend to pasture. Fergie does her best Alanis
impression on ‘Beautiful Dangerous’ and she does a good job being the rock songstress.
Much-travelled rasper, Myles Kennedy appears twice, on ‘Back from Cali’ and ‘Starlight’. The former is an absolute powder keg of offbeat rock, that has a little too
much; the latter a more laid-back and reminiscent progressive rock tune with
some impressive falsetto. Chris Cornell guests on ‘Promise’, his voice holding up well against the noise assault. You wonder if his own
solo album would have been better served by efforts like this and it’s a good tune.
Former Wolfmother front-man, Andrew Stockdale pops up on ‘By the Sword’. Of course, it directly references the proverb before dropping into a
progressive-rock effort. It’s OK, but to be honest, it drags on a little. Maroon 5 frontman and serial
guester, Adam Levine’s on board for ‘Gotten’. As expected, it’s more of a ballad and proves Slash can do subtle just as well – a high point. If any man can match Slash’s energy, it’s Lemmy from Motörhead and he certainly does on the epic, ‘Doctor Alibi’ and it’s yet another pulsating effort.
Unsurprisingly with the artist being a guitarist, ‘Watch This/Watch This Dave’ is an instrumental track featuring the drumming talents of Grohl and former GNR
bassist, Duff McKagan. A crashing beat, it holds up well of its own accord.
There are some authentic southern stylings, courtesy of Kid Rock on ‘I Hold On’ which work nicely. Things get noticeably heavier with M. Shadows involved on the
crashing noise epic, ‘Nothing to Say’. It’s a punishing tune but actually quite catchy if you like hard rock – which I always will.
Rocco DeLuca’s melodic Jeff Beck-stylings feature on ‘Saint is a Sinner Too’. It’s rather out of place amongst these tunes and doesn’t quite catch the attention. No such worries on, ‘We’re All Gonna Die’ with Iggy Pop – a booming beat with the immortal lyric: “we’re all gonna die/so let’s get high.”
Released - 31/3/10
Label - EMI
Debut solo album (10th) overall
- Gotten
- Promise
- Beautiful Dangerous
- Ghost
- I Hold On
- Doctor Alibi
- I Hold On
- Starlight
- Saint is a Sinner Too
- Back from Cali
Pretty much what was expected occurred in what is quite a heavy record. The
authenticity wins the day though and this is an enjoyable record, if lacking a
stand-out.
7.5
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Laura Marling has been releasing records since she was just 17 – her debut – ‘Alas, I Cannot Swim’ was a resounding commercial success. So can she maintain expectation with this follow-up?
Opener, ‘Devil’s Spoke’ is an incredibly powerful opening. Booming acoustic guitars are joined by
crashing drums and an overall atmosphere, not unlike a thunderstorm, is
created. It’s a great opener and Marling’s voice does well to pass the noise wall.
‘Made by Maid’ is rather more laid back and has some seriously country-influenced beats.
Speaking of a relationship of blame towards the maid it’s a mellow affair that won’t have you jumping out of your seat onto the dancefloor but it’s OK.
Marling’s voice takes a more adventurous route on ‘Rambling Man’. Again the acoustic guitar leads the way creating some thunderous atmosphere
and some nice lines: “the weak need to be led/let it always be known that I was who I am.” I think the most obvious thing about Marling, certainly apparent here is that
she can create much more musically when there is more life to the tracks and
this is another enjoyable example.
Things go back to the chilled-out drawing board on the mellow tale of ‘Blackberry Stone’. Marling’s voice is sweet and smooth. The actual subject of the song seems to be
something that Marling is trying to please and that has quite an opinion on
her. It’s exactly that – a tale, and a classically presented one at that.
‘Alpha Shallows’ has everything a good song should have – inquisitive lyrics, a puzzling beat and some mighty vocals, complemented nicely
by monk-like backing. This is one of the crown jewels of the record - you just
have to hear it. ‘Goodbye England’ is probably the first song addressing England’s random snow visits. It’s more auto-biographical and has some nice pitch changes that take it down
unexpected routes – a nice effort.
‘Hope in the Air’ is much more darker that what we’ve heard, speaking of Judgement Day and all sorts of pessimistic views on life.
There’s more powerful atmosphere building employed with some thoughtful lyrics, making
it a standout. ‘What He Wrote’ is a tale of forbidden love and I think a strange admiration of someone who may
not necessarily be right for her. Mellow in delivery, it adds to the album.
Things get a bit more upbeat, ironically, on ‘Darkness Descends’. It’s actually quite likable and certainly more mainstream with its commercial
bridges. The title track is your end and speaks of a revitalized wife telling
what’s on her mind after her husband has left her. There’s male backing here, which isn’t strictly necessary and I don’t think it’s as good as some of the other efforts.
Released - 22/3/10
Label - Virgin
2nd studio album
All in all, this record is a success. Whilst the heavy atmosphere building does
become a little formulaic by the close, there are some wonderful lyrics and
intelligent melodies.
7.5
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