Re: Now the good news (for me anyway) - the classic 60's/70's rock music is back! (I think)
posted at 2/5/2013 11:24 AM EST
In response to Hfxsoxnut's comment:
In the hard rock category, we have Slash's self-titled 2010 album, which featued guest singers like Ozzy, Lemmy, Iggy, Ian Astbury from The Cult and Chris Cornell. The best stuff on this album is 70's hard rock to the core, with stick-in-your-noggin riffs and smokin' solos up the middle.
I haven't heard much of the followup, Apocalyptic Love, which Myles Kennedy on vocals, but what I've heard sounds good. Fellow poster WDYWN is our resident Slash expert.
I'm not implying that Slash is just playing the 'same old stuff' either. He's playing that kind of music, yes, but there's a reasonable effort to be original. And his musicianship is not in question. The man can play. That is one of the prime requirements of the music I'm talking about - it's written and played by serious musicians.
Apocalyptic Love is a bit hit or miss, I think, mainly because of Myles Kennedy and the other guy who sometimes does vocals with him.
Basically, when Myles is singing in his upper range, I tend to like him. "Anastasia" for example. He does a good job with the old G n' R tunes (although I tend to think Axl's unique voice, that is, in '88 when he still had one live, is still the best fit for those songs - it's got that a55hole sneer that was the sound of every instrument and vocal in Appetite).
But something seriously rubs me the wrong way when Myles sings in his lower range particularly when the other guy joins in and tries to harmonize. I don't know. Ruins some of the songs for me.
The 2010 album is also somewhat hit or miss since as you note he was pulling singers from all over the place. For example there's one song with Fergie. I don't particularly like the sound of the song overall, and definitely do not like her singing (or lyrics).
As for the man himself? I might differ somewhat. On most of the songs, I think he's playing an amplified version of his G n' R sound: more "metal" and downright mean. More body to it. Like that part of Estranged where his guitar just plain explodes out of the fading piano bit...
For example, "Watch this (live)" from the 2nd CD in the 2010 'deluxe' release. Or "Nothing to Say".
(Of course, that's not to say I wouldn't mind if he came up with more November Rain style awesomeness)
I have to give special mention tothe "Godfather solo," on the "Made in Stoke" live album, which was really just a riff he started screwing around with between songs and ended up being over 10 minutes long. (And in which he came up with the riff that was to become the explosive lead-in to Anastasia...after it's acoustic intro.). The style varies from minute to minute, even including a little bit of shredding where I swear the pick must be hitting the strings upwards of 20 times a second - the thwacking sound almost becoms a low hum.
Finally, his band seriously tears it up live.
Anyway, there are definitely small pockets of great new stuff.
I agree on the Black Keys.
And of course, Joe Bonamassa continues to grow on me.