Tracer - Spaces In Between

Homegrown rock out of the land down under, Spaces In Between, the new album by Tracer promises to become the biggest Aussie rock export since the Young brothers paraded AC/DC out for the world to see. Not too surprisingly, Tracer is fronted by the two brothers Brown, Leigh and Michael, who have been knocking out the rock together since early in this century. These fellows certainly do sound as thick as thieves - as if they've carved out a chunk of granite and made it home.

Everything I've heard concerning the band seems slightly off the mark - many comparisons to the desert fueled fires of Kyuss, Queens of the Stone Age, and then jumping to nineties grunge - I hear much more primal metal, a slight nod to Budgie styled boogie, and classic 80s crotch rock. They exhibit none of the tentative sloppiness that hounded every band that emerged from America's Northwest in the 90s, and damned little of the ADD inspired structure changes and forced complexity that has left me scratching my head at many of the Stoner ilk. Tracer are as tight as tight can be - an even cursory listen will have you humming, nodding, and seeing quite clearly where these guys are coming from, and where they're going. They're going on tour, they're going to rock the world, and they are going to get laid. Let's just hope that along the way, they sell some records, sell out some shows, and get paid.

Too Much is a great lead track, firing off with an insistent riff, and a vocal that is mixed perfectly to punch through the dense drums, and the Brown brothers' riffery. Reminds me a bit of the effect Def Leppard's first album on me, many years ago -  it's instantly obvious that these guys came to play. The track jumps out of the speakers, and takes you exactly where the band wants you to go. Michael Brown's wah soaked solo will have the guitar fans' attention - these guys can play. No, this isn't the depressed, pissed off nineties, nor the vagueness of most stoner rock - Tracer goes directly and effectively for the target.

Smart boogie? You bet. It happens every so often that a band will inject a dose of danceable boogie onto a track, and not come off sounding hokey, or unintelligent. Foghat did it in the seventies by whipping out dual slide guitars that proved slides were not the sole property of the American South, and throughout the nineties, Raging Slab did it with ferociously cool guitars, and some seriously good songwriting. Tracer bring some serious swing to the album's second cut, Push, but they transcend the pitfalls of the genre, and move it on from the southern funk to some silky metal moves in time for the chorus, which features a killer riff that moves under the vocals fantastically. I'm guessing the Brown's are big fans of the King of The Riff, Black Sabbath's Tony Iommi. They've learned their lessons well.

Walk Alone is a huge riffer that will have audiences loving these guys live. It tromps along quite nicely before it slows down into a thoughtful psychedelic break that is filled with great tones, notes and fills from both of the Browns. Michael's guitar drives the band through most of the turns, but his brother Leah's bass is never far away, adding interest and a ton of muscular support. Andre Wise provides a rock solid foundation on the drums - he's flashy and  hard hitting, but always right for the song.

The vocal on Louder Than This will have you thinking Ian Gillan, but the Browns avoid further comparisons as the tune itself is just more inventive rock writing - the art of writing a riff is one of rock's toughest tasks, make no mistake about it, and these fellows write great riffs. The changes here aren't jarring or a surprise, instead they are subtle and at times almost subliminal in their transparency. They just sneak up on you, and you smile. There are myriad examples of the bands' creativity on every track - they never play it dumb, and they keep it interesting and stimulating all the way through.

Devil's Ride is a fairly standard sounding chunk of hard rock, made more interesting by some clever background vocals.

Powerful, straight ahead rock continues with The Bitch. They have the decency to never say "the bitch" anywhere on the tune, which redeems the weak title. The song is the one place on the record in which I'm reminded of the Seattle sound, as the vocal has a definite Chris Cornell vibe, but the Northwest kids were never this succinct, or as competent with their instruments. Leigh Brown's background vocals on this tune are awesome - he sings very well, and maybe even more importantly, he's very creative with the parts he chooses to add. I would have turned him up a bit in the mix, in fact. He always brings something interesting to the party, and it should be heard!

Voices In The Rain sees Tracer slowing things down, and again the band's chops and arranging skills do much to prop up what is a rather straight ahead rock radio sort of song. The rhythm section move things around nicely, and the refrain from The Rolling Stones Gimme Shelter keeps easing into my brain, though they suggest it more than they parrot it.

The album's title track gets things back on track, beginning with a whip-snap riff that is razor sharp, which then is replaced by a wonderfully fuzzed out bassline that drives the verses. Michael Brown's strong vocal moves things along briskly as the band adds horsepower at every turn. There's more instrumental discourse on this than any track yet, and here the band shines as the tune breaks into a Mid-Easterm motif before returning with a brutal dose of noise rock. The Spaces In Between is exactly where this band shines. Their excellent use of background vocals, great guitar layering, and inspired ensemble playing keeps them a head above the herd.

Leigh Brown's bass line rings in Dead Inside, as brother Michael weaves a tale of deception with no redemption in sight. The band builds loudly alongside the singer's anger until he brings it back down with a more pensive guitar solo, then returns with a final anthemic verse and chorus to wrap things up.

Tracer makes a lot of noise for a three piece, that is for sure. They clearly have put their all into writing a record that avoids the traps that haunt three piece rock bands - boredom and repetition. Never more so than on Save My Breath, which sees the band doing what they do best, taking basic riff rock and making it both interesting and compelling.

All In My Head is a great track - kind of a rock bolero thing, with a slinky, sophisticated guitar melody that underpins the verses nicely before the big chords come back in for the chorus. Michael Brown's guitar playing on this one is exceptional, as he changes tones, styles, and tempos without ever sounding forced. This is Tracer at their most melodic, and their most creative - greatness lives on this track.

The album wraps up with a strong rocker, Won't Let It Die (Run Mary). The band pulls out every trick they've turned, and after a slight dip through the mid-section, they're solidly back on track, and you're again thinking that this is a damned fine band which just could become a great one.

Spaces In Between is a winner, of that there is no doubt. These guys are doing it right, and I'm guessing they're about another year of touring and writing to land themselves in the bigs. In the meantime, if you like you're rock on the classic heavy side, you can't go wrong here.  

Thanks to Peter Noble and Tracer.

Spaces In Between - Out October 3rd on Cool Green Recordings/Mascot Group
To Pre-Order - http://mascotlabelgroup.com/mlg/releases/spaces-in-between/?reload

The London Souls - Sensational Synergy

The London Souls are a much needed breath of fresh air. For much of the last few years, most everything I've been writing has been in regards to bands and artists that have been around for nearly as long as I have. This New York City three piece writes cool songs, sing well, play the hell out of their instruments, and sound as if they spent a great deal of time diligently working out arrangements for their excellent debut release.

Led by guitarist/vocalist Tash Neal, the band plays like they've not left the rehearsal studio since they met. Joined by the incredible Christ Saint on drums, and bassist/vocalist Kiyoshi Matsuyama, The Souls are a tight, and exceptionally dynamic aggregation. They spent three years gigging before they laid down their first long player, and it shows. Recorded at Abbey Road Studios by Ethan Johns (yes, that would be Glyn Johns' son - yes, Glyn Johns, who recorded and engineered The Who's Who's Next), the record is a wonderful reminder of the studio's grand history, yet is completely contemporary in tone and mood.

The London Souls - what an appropriate moniker for a bunch of upstarts that sound as if they were nourished and nurtured by the voice of Stevies Marriott and Winwood, the guitars of the James -  Hendrix and Page, and the rhythm section of the aforementioned Who.These boys destroy the faux posturing of so much fake reverence for vintage rock that appears these days, and show how to properly pay homage, without being some mass marketer's transparent puppet. This is no phony fantasy, this is real rock.

She's So Mad opens the record with a holy communion of Zep-like riffery married to little Stevie Winwood's childhood glory, I'm A Man. They push and pull the beat around as if they defy it to get out of control, with bassist Kiyoshi, and drummer Saint jousting to see who can do a better job of keeping Tash on his game. It's a glorious mash of classic rock that suggests what The Yardbirds may have accomplished with decent sonic capabilities. Tash Neal doesn't have amazing chops, but what he brings to the table as a guitarist is an incredible knowledge of rock history, and taste. You'll find yourself smiling and happily agreeing with the choices he makes throughout the record.

A swaggering rock intro rings is Someday, before Christ Saint arrests the beat and slides into a ska-scape that has Neal loping through the first verse, only to return smartly to straight swagger for the pre-chorus and refrain - these guys play it as smart as a Brooks Brothers suit on Wall Street. These arrangements are so good they piss me off. So young, so good. I bow in gracious appreciation.

If Curtis Mayfield had ever written a song with Sir Paul, the result surely would not have been far from She's In Control. The walls of Abbey Road surely shuddered with a nod to the past when this bassline was laid down. Did the studio bring on this Taxman re-write, or did these guys bring it with them? Either way, it sounds great, as they obviously borrow, but without being crass - they do it right, and add lots of their own artistry - Christ Saint is the best new drummer I've heard in ages, and he excites me tremendously. He is a fabulous dervish of energy and creativity.

This bunch clearly have worked their collective asses off to keep things interesting, and moving. Parts and song sections combine elegantly and sympathetically - Future Life winds through change after change without ever tripping, or sounding stilted - it breathes as it strolls by, including some wonderfully complex vocal sections and harmonies.

Old Country Road comes out choogling, with a loving nod to Fogerty's CCR, but they only suggest the past, never quoting, only paraphrasing. This song swings and struts like crazy as again the rhythm section is once more magical - these guys play with time like they own it. They manage to sound casual as they display musicality far beyond the reach of normal mortals.

The ghost of McCartney past again raises its head on the wistful acoustic number, Six Feet. From the fingerpicked underpinning to the loping bass line, this wouldn't sound at all out of place on an early solo Paul outing, with a happy dose of Ronnie Lane's days in The Faces thrown in. Even here, Saint and Kiyoshi never let down their guard for even a single verse. You won't find a single tune on this disc with a static, staid rhythm.

A great mixture of Southern soul and 70s stadium rock is up next. Stand Up shows signs of the righteous soul poetry of James Brown and the grandstand antics of Grand Funk Railroad. Cool twists and turns have this one whipping around like an amusement park ride. Tash Neal rips off some really greasy leads and fills as he keeps abreast of Saint's stop and go drum display - this sounds like a lot of fun was had in the recording of this romp. Nothing tentative to be found here, The London Souls strut.

Sequencing an album is hard work. When to speed up, when to slow down, when to not break a mood, when to break up a mood. Between producer Johns and the band, they pretty much nailed it. This record flows so easily that if you told me that this was a band that had been making records for twenty years, I would not doubt it for a second, or bat an eye. I truly love being this jazzed by a new band - great stuff.

Tash Neal is an incredibly musical individual. As a guitarist he relies on smart changes, slick double stop fills, and an admirably encyclopedic knowledge of rock guitar history. He's learned all the lessons and assimilated them into a unique style which never sees him succumb to overindulgence. His vocal prowess is equally skilled - he is melodic and clever with his phrasing - he's no belter, never gonna be a Plant, or a Daltrey, but he's a great songwriter who delivers his message with creativity and confidence.

His playing and singing on Easier Said Than Done is a grand example, as he plays killer rhythm and sings a melody that is both catchy, and intelligent. When he gets to the bridge, he introduces an change in tempo and interesting melodic chord changes that suggest he's listened to his share of XTC and Cheap Trick - this is good, good songwriting. He breaks it all down with a reprise of the chorus that becomes pianistic and choral before he whips the tune back into his rhythmic intro and a stutter stop ending.

I Think I Like It brings the band back to bombastic rock before slowing down for an impassioned verse with call and response vocals that are instantly endearing and will have you singing along whether you intend to or not. Nash tears it up with a brief, slashing solo, then the band rejoins with a refrain that rides out the tune. This is certainly to be sang by audiences for a long time to come.

Abbey Roads raises its history again as some Sgt. Peppery keyboard flourishes appear on Dizzy, another slice of pop/rock that sees Christ Saint worship at the alter of Keith Moon - this guy is the coolest rock drummer to come down the pike in a while, and is alone worth the price of admission.

The album wraps up with a couple of arena rockers, Under Control, and The Sound. The latter may just be the coolest track on the record, with more call and response vocals from Tash, and Matsuyama, and some stunningly sweet and clever harmonies. I can't say enough about how impressed I am with the time they have taken to put together an album that could have easily ridden on the strength of the songs alone -  but this crew went way above and beyond what has become acceptable, and have delivered an album worthy of the grand room in which it was recorded.

A stunningly good debut, and a band that is going to be one to watch. Buy this today! 

Chickenfoot III - Keeping Carter Happy

When I first heard that Sammy Hagar and Joe Satriani had formed a band, I had this notion of what I hoped it would sound like. Quite selfishly, I had Hagar singing in a lower, more resonant register, and Satch boogieing in a less technical, more song oriented style. What I wasn't prepared for was a second studio outing (Chickenfoot III being released September 27 in the US) that delivered my dream in spades and far transcended my hopes for this group.

Chickenfoot III is a great band album - filled with satisfying songs that speak directly to our times, and ensemble playing that finds everyone in the band contributing not just equally, but sympathetically. Maturity is a beautiful thing, especially when applied to virtuosos who have been historically very heavy on the gas. Hagar has transformed his persona into that of a gracefully aging superstar who has turned his attention from the high life to the realities of 21st century America. I never thought that I would hear myself say that Sammy has written a lyrically important record, but he's done just that.

If the idea of Sammy Hagar singing vitally crucial and world weary rock in a soulful, smoky voice is a surprise, wait until you hear perhaps the most sophisticated guitarist in rock ease off the accelerator  and deliver spare, muscular riffs, and melodic and often brief (but wonderfully exciting and melodic) solos. Without question, Satriani is a remarkable musician - he's been consistently pumping out incredibly complex, and original instrumental rock since arriving on the scene with Not of This Earth in 1986. His playing on III is still filled with surprising turns, and stunning solos, but for all his amazing technical prowess, here he sounds like simply a great guitarist, playing great songs on a great record.

Before I get into the songs, I have to speak about the rhythm section of Chili Pepper Chad Smith, and the soul of Van Halen, bassist/vocalist Michael Anthony. Michael Anthony sings with the voice of an angel, and his high pitched background vocals are as distinctive a sonic signature as exists in all of rock history. They are completely unique and he's a master of placement and style - he somehow manages to never wear out his welcome, nor appear cliched. His partner in the pit, Chad Smith supplies a powerful engine that keeps things roped in and rock steady. He's super solid, plays what is needed with great energy and enthusiasm, yet none of the over playing that too often has become a fixture in heavy rock drumming. Their performance throughout the disc is superlative - perfect for the task.

The hard charging Last Temptation jumpstarts the album, as Satriani manages to channel everything that was cool about guitar playing in the early 80s - this isn't Free-styled simplicity, and it steers away from any sense of overindulgence.This mid tempo stomper will immediately have you hooked. Hagar could easily have over-sang this. He could easily have turned to his trademark over the top wailing, but his strong tenor sounds superb - no shortage of lung power or range, and a more controlled, both feet on the ground, kind of performance. Producer Mike Fraser's mix is a thing of beauty - great presence, separation, and superb tones. He got the absolute best out of the band on this record.

Alright sees Satch channeling himself from 1988, when he toured with Stone alone Mick Jagger. Smith counts it off, and who would have ever thought there would be a brilliantly Stonesy Chickenfoot number? Hagar and Anthony nail the chorus with vocals that remind me of Mick and Keith doing Motown. Come solo time, Satriani sounds like he spent some serious time wood-shedding the Band of Gypsies catalog, and he abuses his wah pedal superbly before he cuts loose with some melodic sizzling that leads beautifully into an elegant and majestic bridge that sees Sammy rapping out a little Jagger-esque commentary to his resisting lover. The writing far transcends the first Chickenfoot album, and sounds like these guys are now living in the same neighborhood in terms of marrying lyrics to riffs and melodies.

Chickenfoot music emerges. Different Devil sounds like Chickenfoot, and nothing else. It's a lovely, commercial piece of rock that has Hagar and Satriani sounding completely in sync, and then Sammy and Michael Anthony deliver a chorus that sounds both new and familiar - you know the sounds, but the melody is new - sincere, and synergistic. Satriani turns the composition around with a new set of sweet chord changes for his fuzz drenched solo, which actually leaves you wanting more. Different Devil is unapologetic commercial pop, but it is well written, well played, sung beautifully, and produced perfectly.

This is Chickenfoot as I had envisioned, and hoped for when I heard they were throwing in their collective lots. They have combined all of their obvious benefits, tempered their histrionic tendencies, and surrendered none of the fire that gave their past's such passion and acclaim.

I'm calling this review, Keeping Carter Happy. John Carter was Chickenfoots' founding manager, and he passed away in May of this year at 65. He assisted Hagar in originally putting this band together, but before that he had been an industry legend for over forty years. Carter’s career began in 1967, when he wrote the lyrics to Incense and Peppermints by the Strawberry Alarm Clock – a group he renamed by picking words from song titles on the week’s Hot 100 chart. He later went on to be integrally involved in the careers of Bob Seger and Steve Miller when they were at their biggest. He produced much of Tina Turner's huge comeback, including the mega-hit Private Dancer.

Up Next is Hagar's tribute to Carter, and it marks a return to big rock. Featuring a great purplish, hazy, modulating riff by Satriani, the rhythm section stomps hard on this one, as Sammy proselytizes on marching to the beat of your own drummer, and being your own man. Hagar is convinced that he is taking his act right on up to heaven, and checking in. True to the intent of Hagar's lyrics, Joe Satch tears off a solo that reminds you that he is Joe Satch - whammy bar wizardry and heavily effected hammering, combined with some fantastically imaginative mixing that will have you grabbing your headphones and listening to this repeatedly, wondering how he does it. Carter is smiling....

For all their firepower, you wouldn't expect Chickenfoot to do a number that would not sound a bit out of place on a mid 70s UFO album, and yet Lighten Up would indeed not be out of place as a long lost Schenker/Mogg track. I've a huge love for the creative team that made UFO one of the greatly undervalued hard rock bands of all time, so to say this is not to damn with faint praise, but rather to sing some glories. Satriani sounds like a combination guitarist/organist throughout, and Sammy is singing in a strong, confident tenor that makes it sound much more impressive when he does choose to go to a higher register. Satriani riffs like a classic Brit-rocker, and Smith and Anthony make like a Panzer tearing through the desert. Just goddamned good rock.

A troubled love song for our times is next on the queue, and while walking a difficult path in difficult times is not what we have come to expect as Hagar's forte, Sammy has stepped squarely on the American Zeitgeist with Come Closer. Singing in a smoky, soulful baritone, the red rocker turns troubadour, and he wears it like a crown. A poignant bridge again has Anthony singing amazing harmonies, and it all leads to a Satriani solo that has the six stringer beautifully arpeggiating synth-like lines. Michael Anthony's bass work is languid and loping, a magnificently sizzling and sexy underpinning.

Sammy Hagar constructed the verses of Three and a Half Letters from actual correspondences he has received from downtrodden and suffering fans, who did their part for a country that chose not to return the favor. If this doesn't move you, you are one cold mother. I have not been able to hear it without choking up as of yet. The song ends with Hagar singing, "The last letter said, 'I'm nine years old and I'm homeless.' Fuck!" Satriani's solo is perfectly angst ridden and angry, and again the band nails the vibe beautifully. This should become an anthem of our times.

Sammy Hagar has never sounded better, or written with anywhere near the emotion and empathy that he delivers throughout this record. In an interview with Music Radar (http://www.musicradar.com/news/guitars/joe-satriani-on-chickenfoot-iii-new-album-preview-493500), the issue of both Hagar's vocals and Stariani's guitar playing were discussed:

"During the initial stages of writing, Satriani issued a directive to Hagar - sing differently: 'I had my reasons,' the guitarist says. 'It struck me that, whenever we would work together on songs, just the two of us, Sam would sing in a lower register. It was intimate, so full of soul. I thought, Wow, nobody has ever heard this quality in his voice before. He and I agreed that the new material would allow him to explore those other sides to his range.'"

At the same time, Hagar turned things around to Satch and told him that he wanted the guitar virtuoso to play his instrument in a new way. 'He wasn't as specific as I was,' says Satriani. 'But we did agree to take our creativity somewhere else. For me, it was something of an open canvas. It was hard at times, but ultimately it was very rewarding.'"

Big Foot began as a working title of one of Joe Satriani's demos for the record, but Hagar kept it, and built his lyrics to fit the concept. For me, this is the track that borrows the most from the band's past glories, and will keep longstanding fans in line for tickets. It's the one song on the record in which the singer can still not drive 55, and he's in fine classic red rocker form here.

Sophisticated, simmering blues is on tap with Dubai Blues. Driven by Chad Smith's super solid back beat, and Anthony's pumping bassline, the tune features Hagar singing a classic tale of the blues, that has the protagonist singing that he has everything in the world that he could want, but not the love that he needs. I absolutely love to hear this band groove with such muscle, and skill. Mike Fraser is a master in the realms of record production, and he makes this sound like an instant blues rock classic. A fabulous display of the incredible skills at play on this one.

Acoustic guitars, banjos....what do these have to do with Chickenfoot? I'll tell you. They wrap up an album that solidifies the fact that Chickenfoot is a band, not just a super-group project. The title is Somethings Gone Wrong, but the song is all right. If harkens back to the days when Paul Rodgers would own a room with his soulful pipes, and here the band have embraced that tradition, and added a few tricks of their own. Satriani plays against character here, but I believe that it may be just another facet of the same rock, one that has taken some time to ripen.

To say this album shocked me is an understatement. I read the interview on Music Radar, and Satch made it sound so interesting and good that I had to give it a whirl. These guys have made a great record, and have become a great band. They are now all they hoped to become when they joined forces. Indeed, Carter would be pleased....


You can pre-order Chickenfoot III at iTunes now.

Leslie West – Unusual Suspects – West’s Best?

The fact that Slash, Billy Gibbons, Joe Bonamassa, Zakk Wylde, and Steve Lukather all showed up and turned in outstanding performances says a lot about this record, but it is not what the hoopla is all about. It’s not even the fact that shortly after the completion of the album, Leslie West suffered a tremendous, life changing tragedy of having his right leg amputated just above the knee, and is staging a brave comeback. The hoopla is that at 65 years of age, Leslie West has made what may be the best record of a career that has spanned 45 years.

West doesn’t want to be called a legend, but that’s exactly what he has spent these many decades becoming. The good part is that he’s not nearly finished.

Unusual Suspects is the guitarist’s first long player since Masters of War, his excellent collection of Bob Dylan covers from 2007. At the time, I called the album one of the best rock records I had heard in a long time, West had retorted, “Man, Tony, that blows my mind. You just made my day. I’m really so happy to hear you say that. I worked my ass off for two years on that record.” I can only imagine that West also worked his ass off on this one as well.

Many guitar heroes these days are relying on past glories to keep the fans coming out to shows. Too many albums are pasted together Pro Tools productions that often mean that the players aren’t even on the same continent, let alone standing toe to toe, as West is here with the fellows I mentioned previously. The production and bass playing of Fabrizio Grossi is perfect. He and drummer Kenny Aronoff and provide a stellar frame for the Mountain man’s performance.

Leslie West is most famous for being an incredibly soulful, and strong guitarist – he’s been named as a major influence by some of rock’s greatest players (Eddie Van Halen, Slash, and Michael Schenker, to name a few). He has never sounded better than he does on Unusual Suspects. His tone is more massive than it has ever been, as notes jump out of his signature Dean Guitar and scream through his Budda Amps. If anyone needs an electric guitar tone 101 class, start here. Thick chords slam about, and single notes ring for days with rich tube saturation, but the fact is that West would sound pretty much the same playing through any rig. The man is his tone, and it is bigger than life, as Leslie has always been.

One More Drink For The Road kicks off the record, and it’s a piano driven tune that has West slinging single note guitar lines that rip through the mix with fiery emotion, cascading around and between a great set of lyrics that tell a tale of woes on the road. When West, Grossi, and Aronoff slide into the song’s solos, the sound is rock and roll bliss as the rhythm section drives the guitarist into gritty overdrive. The use of the piano as the main accompaniment is a brilliant strategy for showcasing the snarling beauty of West’s stock in trade lead playing.

I find it amazing that I dig the vocals on this album as much as I do the guitar work, and the fantastic rhythm section. West sounded great on his 2007 release with Mountain, Masters of War, and, if anything, his vocalizing is even stronger and more passionate now. Soulful, gritty, and powerful, the axe slinger’s voice is now as strong and poignant as his guitar playing. Much of this is down to his choice to lead a sober life, and a work ethic that has him striving to be seen as relevant and not just legendary. He succeeds boldly.

Slash shows up on the powerhouse rocker, Mudflap Mama, a tale that expands on the tune that brought Mountain to every radio in the country in 1970, Mississippi Queen. West updates the tale, and the two guitarists go at it like they’re jousting for the queen’s favors. West says that Slash didn’t think he was necessary on this track, but Mr. Hudson’s licks mesh perfectly with Leslie’s. Was Slash necessary? Probably not. Does he make a great track even greater? Most definitely.  In any case, I’m hoping that the biggest guitar hero of the last couple of decades shows up for a cameo somewhere on West’s fall tour, The 3 Guitar Heroes Tour, featuring West, Michael Schenker, and Uli Jon Roth, which may be the year’s most highly anticipated road show for fans of rock guitar playing.

Going toe to toe and guitar to guitar with Billy Gibbons is a tall order. The ZZ Top kingpin brought a song of his own to the studio, Standing On A Higher Ground, and it had some finishing touches applied by West and producer Grossi. The result is a Texas sized slice of straight up rock that features an intro, of which West says, “Only Billy Gibbons can come up with an intro that sounds like Hendrix and ZZ Top joined at the hip.”

West makes you wish that there were two guitarists in ZZ Top – the pair take this tune, which is classic Gibbons-esque rock, and drive it ever higher. There is nothing about this that doesn’t just smoke. This is Billy Gibbon’s greatest moment outside of his home base. I thought I had perhaps never heard two guitarists sounding better together, until I heard the next track.

Joe Bonamassa is roughly half Leslie West’s age, but when these two stand face to face and sing the blues, they are truly brothers. The tune is the Willie Dixon classic, Third Degree, and once again a pairing of musical giants creates something greater than the sum of their individual efforts. There’s a definite Zeppelin flavor going on here, as drummer Aronoff, and bassist Grossi tromp out a slab of rhythm that creates a superhighway of sound for West and Bonamassa to shine like hard rock diamonds. Their guitar dual is an incendiary exhibition of blues rock chops galore, as each eight bars seem to drive the next to a higher plain at every turn. This transcends the usual cameo type appearance by miles, as these two giants sound like they are in this together to the very end. There is nothing that sounds even remotely mailed in, rather it sounds like these two are loving every second that they are sharing, as I am sure they did.- as I am sure you will.

Legend is another piano based track with Phil Parlapiano on the keys, this time a ballad that has Leslie West proclaiming, “Don’t call me Legend, I came here to play….” This may be true, and West has definitely come to play, but the fact is that the man is a legend. This is another track that features the singer as an awesome vocalist. He sounds like he’s spent the last decade devouring every soul record that ever mattered, and learned every nuance and every twist.

The next star turn is provided by West’s erstwhile son, Zakk Wylde, who turns in a predictable amount of sizzling shred licks that post up well next to West’s more tempered slabs of classic rock lead guitar. Nothing Changes is the title, and true enough, nothing does. Out of the gate the duo complement one another as they deliver the kind of lockstep rocking rhythms that have been a West hallmark since the days of Mountain’s Never In My Life. The senior partner takes the first solo, then Wylde steps in with a harmonic popping tirade of molten rock, the like have which has served him so well for so long. The minute he starts, there is no question as to who is playing, and it suits the song magnificently.

With all these amazing guitars and all this amazing singing, with all the great ensemble playing and the fine production, you could almost be excused for not noticing the quality of song-craft and lyricism at work here. West tells a lot of stories alongside his musical muscle flexing, and if you listen closely, you may well learn a bit about love, life, redemption, and regrets. He is a man who turned his life around a great many years ago, and still works at being a better man, a better lover, and friend. His tales are based on human relationships, and he’s done his time on the subject and seen his way through to the other side.

There’s a lot of great material on this album that features West, Grossi, and Aronoff without the aid of star cameos – and they are a more than sufficient rock and roll machine. From beginning to end they consistently deliver the goods - as I said earlier, the rhythm section is not pedestrian, these guys didn’t just show up and lay it down, they create excellent arrangements and there are a great many moments to treasure, in terms of ensemble playing, on every song. West and producer Fabrizio Grossi made sure that the record sounds like a full-on band that means every note and every beat.

“As far as my voice goes,” West says, “when I open my mouth, that’s what comes out. I’ve always loved the great soul and blues singers, so that is how I instinctively got my phrasing. When it comes to the guitar, I could never play fast, so I learned how to make every note count – to be sure that every lick has something to say. I believe in having a big sound and leaving space between the notes, and that space is like the point where the music stops in an Alfred Hitchcock movie. It builds tension and raises the question, ‘What’s gonna happen now?’ Plus, I love to feel the speakers move the air. The heavy sound it takes to make that happen really does it for me.”

Unusual Suspects may be Leslie West’s best work yet. It compares favorably with any album from the early days of Mountain, and to his later solo work. It achieves all it set out to do, and covers a tremendous amount of territory. It easily moves from ballads to blues, from metal to the Willie Nelson cover, Turn Out The Lights, that closes out the album and sees Slash and Zakk Wylde returning for one more go around with the master, the legend (yeah, I said it), Leslie West.

Unusual Suspects is out September 19^th on Provogue/Mascot Records.

Thanks to Peter Noble, Noble PR Consultancy

My Dream Guitars (15 Favorites)

A few nights ago I had the pleasure of meeting, and spending a few hours with Gary Dick, founder and owner of Gary's Classic Guitars. For those not familiar with Gary's legendary two page ads in Vintage Guitar Magazine, I would direct you there, and then straight to his website (www.garysguitars.com) to see maybe the most amazing collection of top shelf vintage guitars in the world. Regardless of the aged wonder you seek, Gary most likely has one, and in the best condition available. When Tom Petty pulls his tour bus up to your door, you know you are doing something right.

After spending a couple of hours comparing notes, sharing stories and telling tales of six string worship and fervor, Gary asked me to name my five favorite guitars. I whipped out a short list in pretty fast fashion, but quickly realized that for quite some time I had had a list of dream instruments that would make up my desert isle collection. The guitars I considered personally essential for me is a list that probably would be duplicated by no one. That is part of the beauty of the world of the guitar - everyone has a different outlook, and would choose a different list for themselves, based on myriad factors.

My list is dictated by a wide assortment of factors, such as - favorite players, classic tones, sheer aesthetics, and nostalgia for instruments strummed, picked or played in my personal past. Some would have longer lists, some would land on perhaps one guitar. I am fairly certain though, that no two would be identical.

I somewhat surprised myself with a list that included just one guitar from the last 25 years. I do not consider myself a Luddite, but sure enough, my tastes were for the most part as old as I am. I don't consider this a negative statement about the new, just an appreciation of the classic.

I did not seek a precise order, this is simply the order in which they left my pen - I do, however, think that it may speak to preference to a great degree.

1) 1959 Gibson Les Paul Standard - I have never owned a '59. I have played perhaps ten, sold two while in retail, and once owned a fabulous replica that was built for me by a well known luthier. The last 'Burst I held was that belonging to blues rocker Joe Bonamassa. Joe's 'burst is a relative plain-top that is very light, incredibly resonant, and in great condition. The neck is thick - I believe that is one of the biggest reasons for the guitar's amazing tone. A good Les Paul is a very clean sounding instrument. From Page's to The Reverend Billy Gibbons', the classic Les Paul will clean up as nicely as a Telecaster. On a great Les Paul, it is the clean tones, and the amazing separation and clarity that impresses me most of all. There is a world full of great Les Pauls, but once you have felt the resonance of the strings through the back of that fat neck, you will realize why this is perhaps the holy grail of electric guitars.

2) 1968 Gibson Les Paul Standard Gold Top – This model was the first great Les Paul I ever played, and while I had no idea why I liked it so much at the time, I have long since figured out a few things that had me so enamored. The first thing was the guitar’s sheer beauty - the gold top had already by 1979, had begun to turn a cool tint of green on the upper bout where the owner's arm had perspired and worn through the finish. To my eyes this was very cool as it looked so well played. The guitar's P-90 pickups were another alluring feature, though I can't say that I knew exactly what they were at that point in my development. I did notice that that sounded both a little dirtier when played clean, and a little cleaner when played dirty! The fat neck profile also felt better to my hand than did the thin profiles of newer Gibson guitars I had previously played. This guitar had a wonderful chunkiness and grit when playing chords with a bit of overdrive, and a thick, corpulent tone not dissimilar to those I had heard from great guitarists such as Joe Walsh and Leslie West. I may not have exactly known why I dug it, but I sure knew that I dug it. And I still do.

3) 1954 Fender Stratocaster Sunburst - For almost 60 years Fender has been reconfiguring the Stratocaster in a thousand different ways, and they have yet to find a significant improvement in Leo Fender's original design. Leo Fender, George Fullerton, and Freddie Tavares truly got it right the first time, back in 1954. I've played several '54s and each had the magical mojo that comes built into a great Stratocaster. The sexy contours of the body are instantly apparent the minute you first hold a Strat, and that is a feeling that has never changed. To this moment I do not know of a more comfortable guitar. The tones the guitar produces are incredibly varied, and sound like they were made to be molded by whatever sound tools the guitarist chooses to place between the guitar and the speaker it finally sings through. Whether it  is the classic clean tones of Mark Knopfler plucking his way through the Dire Straits classic, Sultans of Swing, or David Gilmour's multi-effect approach to Pink Floyd's catalog, there are a million ways to make the Stratocaster work for you, and many more still to be discovered.

4) 1959 Gibson Les Paul Junior Tobacco Sunburst - My first real guitar teacher played a Les Paul Junior. He could play anything, in any style, and make it sound right. From bop, country, blues, to blazing rock - he nailed the tones and instilled in me the basic truism that it is the player, not the guitar. The guitar's 24.75 inch scale length made it a beauty to play, and once again, my hand was totally comfortable with its baseball bat neck. I have always preferred tone to technique, so the thickness of the necks were never a negative, but a blissfully toneful positive.

5) 1964 Gibson Firebird VII Sunburst - This one is all about the look. Never a comfortable guitar to play, whether you are sitting or standing, the Firebird is, however, a grand looker. Not exactly sexy in the female form of the Les Paul or Strat, the Firebird is handsome - having an almost militaristic elegance and bearing. I first fell in love with Johnny Winter's white Firebird V that he played so brilliantly on his great live record, Johnny Winter And, which saw Winter dueling with a Les Paul toting Rick Derringer. The albino guitarist blazed through the set with an incendiary tone that cut through the mix, and truly made me understand why they called them axes. The Firebird VII has the gold hardware, three mini-humbucking pickups, and the frustrating banjo tuners, but it is a beauty of a beast that is worth the taming.

6) 1964 Rickenbacker 360/12 Fireglo - There are a few 1963 models of this classic, but they are prototypes and promo guitars that went to an elite few, most notably, of course, The Beatles' George Harrison. George's deft use of the electric twelve string got noticed by Byrds founder Roger McGuinn (who favored a 370/12), and McGuinn's use led logically to the new wave chime of Tom Petty, and REM's Peter Buck. It says an awful lot that no other guitar manufacturer has ever come close to the popularity of the Rickenbacker twelve string electric. This another guitar that is notoriously unwieldy (mostly due to a thin neck, and very narrow string spacing), yet nothing approaches its unique jangle. This guitar will have you writing songs immediately, and they will be unlike any you have written before.

7) 1957 Gibson ES-295 Gold - The Scotty Moore model is how this glorious piece of rock-a-billy music magic maker is most commonly referred, and it is as stunningly beautiful as any instrument on the planet. Not satisfied with a gold top, the 295 is gold all over, with a Florentine cutaway, and two sizzling P-90 pickups. No less an expert than that Stray Cat Brian Setzer calls it, "The ultimate rock-a-billy guitar." I think I prefer it for prog-rock, but rockers such as Ted Nugent, Andy Summers, and Yes man Steve Howe have long since proven that the wide body ES series can certainly rock.

8) 1958 Gibson Flying V Korina - I have long been a big fan of the German rockers Rudolf and Michael Schenker, and, as a result, have had a long and lusty affair with the Gibson Flying V. While both of the brothers prefer later models, I am a friend of the korina. I have always found that the Flying V sounds distinctively different than other Gibson solid-body guitars - a brighter and punchier midrange that cuts through dense and distorted mixes better than the girthy tones of a distorted Les Paul. They also have a nice clean tone that I attribute to the thin body. '58 Vs are in very short supply (only 81 were produced), and tend to cost several hundred thousand dollars, but for the average player, Gibson reintroduced korina models in the early 80s that are a bit less pricey, and retain the same tone and vibe.

9) 1959 Fender Esquire Custom Sunburst - This is the one that got away. Early in my guitar playing days, I happened upon this rare version of the Telecaster at a local music store. I believe that I paid the fellow $350 and another $30 for some fresh strings, and a set-up. The same guitar is now valued at just a pinch under $20,000 - but what makes me sad is missing the way the Esquire Custom felt, played, and sounded. It felt like melted butter, as soft and supple as any action I have ever felt, and it sounded absolutely divine. It had a warm, round low end, a distinctive midrange honk, and a bright top end that contained no detectible harshness. I learned more about good tone from that guitar than any other instrument. I could not make it sound bad. But...like many youthful players, I could not afford to own more than one guitar at a time, and the band I was playing with required a tone that necessitated a couple of powerful humbuckers, so back I went to that local music store, and traded that beauty in on another.

10) 1977 Ibanez Artist Sunburst - Not being able to quite afford a new Gibson Les Paul, the cool fellow at the local music store directed me straight to this Japanese guitar. It was beautiful, it sounded good, and it had great action, so I proceeded to hand him back his Fender Esquire Custom (which, to his decency, he took back with some reluctance, asking me if I was sure I wanted to do this trade), and then instructed him to add what was to become the first of probably a thousand guitar modifications. I had them install two DiMarzio Super Distortion humbucking pickups, and I was up and rocking. The Artist, while not the best long range choice I could have made, was a great guitar. I have just remembered that I also had Larry install a phase switch that gave me the option of having the humbuckers out of phase when used together in the middle position - this was my first experience with this hallowed tone (think Gary Moore/Peter Green clean tones), and it is one I have utilized ever since. The Ibanez Artist is still an exceptional value, when one can be found - a great tone machine.

11) 2007 Campbell Nelsonic Transitone - The only relatively new guitar on my list is the result of a collaboration between guitar builder Dean Campbell, and legendary guitarist Bill Nelson (Be Bop Deluxe). The Transitone is a model that Campbell designed that combines a Jetson's like futurism with smart lines that recall some classic guitar designs. The first time I played a Nelsonic Transitone, I thought I had died and gone to guitar heaven. The smooth neck felt amazing - the fret work was perfect, and the action comfortably low. Tonally, I could coax almost any sound I could think of, from jazzy silkiness, to country rock chime, and it rocked fabulously. It somehow managed to satisfy my vintage beginnings, and still feel and sound completely new. A marvelous instrument from a great builder.

12) 1964 Gibson Thunderbird Bass Sunburst - This one is all Pete Way's fault. Pete, of course, played bass and wrote some of legendary British rock band UFO's greatest songs. Way was all fashion and fun, with his bass slung low, down near his knees, and busting out solid and melodic bassline for German guitar whiz Michael Schenker to play over and around. John Entwhistle also played a Thunderbird for many years, most notably perhaps on the band's second rock opera, Quadrophenia. With its long scale neck and two powerful Gibson humbuckers, the Thunderbird is absolutely thunderous. This is a rocker, pure and easy, there will be no jazz, no country played upon this low end weapon. It is, however, a handsome devil.

13) Rickenbacker 4001S Mapleglo - The Rickenbacker 4001S bass is the tone of some of my favorite bassists. Paul McCartney revolutionized rock bass playing when he switched to a Rick from his famous Hofner back in 1965, when The Beatles recorded Rubber Soul. The first tune McCartney recorded with the 4001S was the Motown influenced Drive My Car, and the change in tone is immediate. All of a sudden Paul could utilize the full neck, as opposed to the first few positions that were possible with the shaky intonation of the Hofner. Beyond The Beatles, Rickenbacker basses found their way into the hands of Yes's Chris Squire, Deep Purple's Roger Glover, Geddy Lee of Rush, and the famous chainsaw buzz tone of Motorhead's Lemmy Kilmister. When combined with an Ampeg SVT, the 4001S is one of the most recognizable bass tones to be found.

14) 1939 Martin D-45 Natural - A pre-war Martin D-45 is the king of kings in the world of acoustic guitars. It has no true competitors when it comes right down to it. It looks right (Martin's most decorative dreadnaught), it sounds perfect, and it is the most sought after acoustic guitar on the planet. Martin made only 91, so they are extremely rare. I would gladly have a newer edition D-45, but since we're talking absolute favorites here, why not shoot high? If I come across one soon, I'll let you know.

15) Guild F512 Natural - I call this one the Pete Townshend Guild. Pete has been playing his since 1971's Who's Next. Its jumbo body is double bound, and the guitar is as handsome as it is toneful - it is exceptionally clear voiced for an acoustic twelve string (many are a bit muddy in the mids), and they play like a dream.

So, there you have it, a list of guitars that I would consider sufficient were I to be exiled to a desert island. As I said, it's my list, and I'm quite sure that no one else's would be the same. They all are great tone machines, and they are all attractive, but most importantly, they all occupy a place in my heart for all the right reasons.

John Wetton On Being Raised In Captivity

"Raised In Captivity is really about me growing up, and being born into the post-war England. We still had rationing, and we still had the Victorian morality hanging over us, hung over from the previous century. So everything was...you weren't allowed to do this, you can't do that, and if you did anything wrong, you were beaten - everybody's running scared, I mean, what chance did they have? That is the general theme of Raised In Captivity, except that, the flip side is the joy of freedom for me now. It's just unbelievable to actually come full circle. I went through two life threatening illnesses in the last ten years, so I really do feel blessed, and every day is to be lived to the fullest. I've got no idea where I'll be tomorrow, and no power over yesterday, so now is all I've got - this moment. All I'm able to do is make the most of what I've got. That's the flip side of being Raised In Captivity." John Wetton

John Wetton is making the most of the moment, of that there can be no question, of that, there can be no doubt. Raised In Captivity is Wetton's sixth solo album, and one of nearly sixty albums that he has sung and played upon, including his multi-platinum super-group Asia, prog legends King Crimson, UK, Uriah Heep, Roxy Music, and his recent three album collaboration with Asia/Yes-man Geoff Downes, under the moniker Icon. It's been a storied, and incredibly varied career, and now Wetton has made perhaps his finest record - a recording that seamlessly combines many aspects of his great career.

Raised In Captivity was recorded over a three and a half week period in Los Angeles, with Wetton collaborating with Billy Sherwood, who produced the album, and played the lion's share of the instruments. Sherwood also co-wrote many of the arrangements, and is, in Wetton's estimation, the reason the record sounds so much like a functioning band as opposed to two fellows. The album also features great cameos from some notable luminaries from Wetton's past. King Crimson founder Robert Fripp contributes some heady atmospherics, and his usual intensity to the album's title track, Steve Hackett lays down a melodic solo on Goodbye Elsinore, Uriah Heepster Mick Box brings the rock to New Star Rising, Tony Kaye tickles the ivories on Don't Misunderstand Me, and Eddie Jobson appears as the violin wielding Devil on The Devil and The Opera House.

John had this to say when I asked about their sterling contributions: "The people that played their solos - I had decided all that before I left England. I knew I wanted Steve Hackett to play a melodic solo on Goodbye Elsinore, and there's a song called The Devil and The Opera House, which has Eddie Jobson on it. The instrument I automatically associate with the Devil is the violin, and Eddie said to me, 'Do you want ME to be the Devil?,' and I said, yeah, be my guest - it makes me smile.

"All the people who play on the record sound like they were born to it. I wanted Allan Holdsworth for the solo on The Last Night Of My Life, and Allan said, 'Yeah, I'll do it, but I've a solo album to work out, my first in 11 years, so it won't be my priority.' I said, fine, if you've the time to do it. Two days before the end of recording I called and asked if he had done it, and he said he hadn't. I thought, I'll call Alex Machacek - he'd fit the bill as he's going to be playing in the UK band with me, and he played a great solo. I didn't say anything about Allan Holdsworth, I just said, please play a noble solo."

Steve Morse (Deep Purple, Dixie Dregs, Kansas) is featured on the album's opener, Lost For Words, and he brings to the table his usual collection of speed, melody, and jagged unpredictability that has been his signature for many decades. This solo would be at home anywhere in his discography, and the song is better for his six string musings. The song itself is as close as Wetton comes to his platinum hit making days of the 80s with Asia. The song aches for the era of melodic rock radio, and will more than satisfy any fan seeking a bit of the command the singer/bassist brings to this genre. Billy Sherwood brought this tune to the table, and you can hear the multi-instrumentalist at his best. This record never succumbs to Pro Tools proclivity for sterility.

John had this to say on the album's production, and the record's rockier side:

"It's all very edgy and it's great! I come to California, and it's all helicopters, police sirens, and I'm working with a guy who drinks too much coffee....it's a bit more rock and roll. Billy Sherwood is a good man. I had a creeping suspicion that he was the guy to do the job. He's very musical, we both work very quickly, and the main thing is that he's a very nice guy - we share a similar sense of humor.

"It does sound live, and I give Billy credit for that. He said on our first meeting that we need to make this sound like a real band, not just the two of us. We didn't analyze every kick drum beat - there have been certain records I've made where we did analyze every detail, every sound, and it sounds like it! It sounds a bit anal, and so kind of clean that it loses some of its core personality.

"If I'd been left to my own devices, I'd be sitting at home with my acoustic guitar and my piano, writing dreary folk songs - if I had given that to my record company, they would have said, 'Very nice, but where's the rock?'"

Rock the record does, especially out of the gate with Lost For Words (a bit of a misnomer, as Wetton is surely not in any way lost for words) and the album's title track, which finds Wetton in top form. His voice sounds fantastic, and his bass playing is aggressive and melodic as ever. He has called the album, "an Anglo-American music document, a true autobiographical journey," which indeed it is. Lyrically the album sees the singer with his heart upon his sleeve and well ready to expose a darker side than one may be used to finding on his albums with Asia:

"It's very much a statement of how I am today. It's a lot more personal than I would get with Asia - the reason being that I can get kind of personal with an Asia record, but I can't drag the guys into the corner that I go to sometimes. Where, with my more personal stuff, you know they don't deserve it, they don't need to go there.

"If I'm acting as a spokesman for the group, I don't believe it should be just my stuff - on a solo album I can do whatever the hell I like, and it is a great barometer of where I am, right now. It's often moody, and it's very honest."

Alongside the broadside rockers sit some of Wetton's most melodic moments, and his most poignant poetry. As I sat and chatted with John, I realized that I saw the man as being quite professorial - he's equal parts bard, troubadour, and rock star. While he is obviously best known for his tremendous ability to craft a three minute piece of pop melody, he cannot avoid his sense of equally impressive harmonic sophistry. His lyrical prowess has also never been in short supply, and he reckons it certainly is on display throughout Raised In Captivity:

"It's verbal dysentery, is what it is," he laughs. "Lyrics to me, are just as important as the music - it is, after all, what I'm saying!"

Amongst the more melodic and poetic to be found is the folkish ballad, Steffi's Ring, a tune that largely features Wetton's voice, acoustic guitar, and the keyboard embellishments of fellow Asia member Geoff Downes. This sounds like Twenty First Century Shakespeare Man. A beautiful, and too brief ( a mere 2:35 - I could have stood at least twice that) ballad that is sure to be a fan favorite.

Goodbye Elsinore is another lovely ballad that starts with just Wetton, and an acoustic guitar. The song then builds from verse to verse, leading to a soaring chorus of harmony expounding the song's title, only to be lifted even further by a perfect solo from ex-Genesis guitarist Steve Hackett.

Throughout the entire recording, Wetton successfully straddles the genres he has embraced over his career and he has succeeded tremendously in giving nod to all, but being a slave to none. Mighty Rivers, which closes the album, is sure to become a modern prog-rock classic - a duet with Anneke Van Giersbergen, formerly of Dutch proggers The Gathering - the song is a bit over five minutes of brutal beauty. Wetton is doing some of the best singing of his career on this cut, and when he and Anneke join together, the result is gorgeous. This cut alone is worth the price of the album. It is truly breathtaking in its majesty. Wetton hits astounding notes for a gentleman of 62 years, in both pitch and duration. If you've ever enjoyed a note of his singing, you need to hear this.

"I'm glad that my voice is still intact! If it goes, I am absolutely screwed," Wetton grins, "I figure that's God's way of telling me that this is what I should be concentrating on.

"I can't see myself ever, you know, Tony, playing golf or anything like that, so I can never see an end to that, in terms of music. There will not be a day when I would say, right - I'm not gonna do that anymore, I can't see that."

Wetton has truly escaped being raised in captivity, having withstood the tortures of an empire, alcoholism, open heart surgery, and carpal tunnel syndrome. He has not merely escaped, but has risen above all this, and made an album as good as any of his career. And while he claims to not be excited by the thought of jumping right out on the road after a busy year of touring with both Asia and UK, I would not be shocked to see him take this one to the stage. As he said, it would be nothing to throw together a band and take it to some select cities to play this record live. The man is a worker, not one to rest on his laurels, perhaps not to rest, period:

"Well, I am still of the opinion that if I am not working on a Saturday night, something is terribly wrong. If I'm not playing on Saturday night, I'm not doing my job. That's the work ethic I've had since I was 16 - I suppose that's why I have always stayed so busy."

That is what being Raised In Captivity will do for you. We're very lucky that that is what it has done for John Wetton. He has not rested, and he has made one of the best records of a career filled with great music.

There are some cuts and cameos I didn't cover here, that I will leave it to you, the reader, to discover.


Raised In Captivity is being released July 1st in Europe, and July 12th in North America, by Frontiers Records.

Thanks to John Wetton, Dustin Hardman of Frontiers Records, and Libby Sokolowski.