Silence Followed By A Deafening Roar

Guitar slinger extraordinaire Paul Gilbert is probably best known to most rock and metal fans through his affiliations with Racer X and Mr. Big, two bands that have brilliantly represented that PG has both inhuman chops and a knack for writing infernally catchy tunes. He has released several solo albums throughout the years as well, most of which have been at least partially vocal offerings. Silence Followed By A Defeaning Roar is only his second fully instrumental offering and a damned fine one at that. The opening title track starts off with a beautiful guitar melody that could let one believe the record is going to follow an atmoshperic route, but naaah. Just look at the title of the album - its a very accurate choice for this record. The relaxing notes soon give way to a groovy mid-tempo chug laced with Paul's furious guitar movements that are ego-crushing to lesser players like myself, but otherwise really fun. Eudaimonia Overture starts with manic tapping before loosening into a very energetic, quirky rocker. I dunno, the riffs and melodies have a really weird "summery" feeling in them. An ideal tune for blasting on the beach. I don't know how the average sun-worshipper would handle the ending with Gilbert doing his best Bach-tribute with pain-staking accuracy, but a great song anyhoo. Paul is one of the most refreshingly goofy guitar masters out there, who often wears his influences on his sleeve. Norwegian Cowbell and Paul vs. Godzilla are amped-up tributes to Blue Öyster Cult that have some sweet licks that border on downright funny. Bronx 1971, as the title gives away, has that 1970s soul-vibe in the wicked grooves, and guitar jabs that almost can be imagined acting as the horn section in the tune. The organ works in there marvellously. In the middle the band breaks into a vicious jam that feels a bit like Deep Purple gone mad with heaviness. The Gargoyle is the purest slice of metal on the record with the Maiden-harmonies and chugging tempo. Not to keep the direction too one sided, the album turns to the pop-path with a very emotional cover of Burt Bacharach's and Elvis Costello's I Still Have That Other Girl. Bultaco Saturno brings more of the funk and head-bobbing groove on the table again for all to witness. Works like a charm. The band plays tightly as a tick's ass and Gilbert's production job has everything nicely balanced. The bass could've been slightly chunkier, but that's about all I could want. I also can only admire the man's cincerity and enthusiasm for his work. As he writes in the liner notes, "I dream of walking on stage with my guitar and playing these songs for you. That would be GREAT." Even though he's a virtuoso and well-respected for it, there is no sign of ego or taking things for granted to be found. For fans of well-crafted and diverse instrumental rock, Paul Gilbert's new album is definitely a worthy recommendation. For players of the six-string, this stuff is downright inspirational.