Silence Followed By A Deafening Roar - Paul Gilbert

Greatest Paul's album ever!!!

This is a great album, all the songs have the creativity, expression and feeling that make you listen to it over and over again. It's quite different than his other albums, I find this one more expressive than technical, even the Elvis Costello's cover is great! he makes it so no a cheesy song but a great instrumental ballad. It's a must have for any guitarist or anyone who likes great music and great composition.

Better Than 'Get Out Of My Yard'

Paul's one of my favourite guitarists but i did find myself disappointed with his fist instrumental release. It certainly seemed a little incoherent and after a dazzingly complicated opening minute or two it all seemed a little messy.

The new album certainly improves on the first and is a lot more listenable to boot. On first impressions it seemed a little 'shred lite' but with repeated listens you realise there's plenty going on, but its all underpinned by better songs, and for once you don't find yourself wondering when the next finger twisting lick will appear.

I have to admit i do miss the heavy and flashy playing on his earlier songs like 'Scarified', 'Viking Kong', 'Technical Difficulties', 'Let The Computer Decide' etc, but overall this is a solid release with some well crafted tunes. Its not Racer X or Joe Satriani but its a well balanced testament to Paul's musical abilities that should keep his existing fans happy.

Return to Form for the Pablo!

I wrote a rather slating review of Paul's earlier release 'Get Out Of My Yard', his instrumental debut (its on Amazon, 2/5). As such, I was rather nervous when it came around to listening to yet another Gilbert solo album... without him singing.

Two tracks in and my heart was sinking fast. The songs sounded complicated and were hard to follow. The title track was far more tame than I was expecting (having having my face ripped off by the Get Out Of My Yard into) and the second Eudaimonia Overture made me think Bach might be spinning in his grave.

However, things quickly changed for the better. By the time 'Norwegian Cowbell' arrived, I had a grin on my face. This was good. VERY good. There was what the previous album had lacked. A melody. Something to remember. It was as if Paul had read my earlier comments and taken them on board whilst maintaining all what was good about GOOMY.

The result is a much tamer, but infinately superior album. Make no mistake, this isn't an album to expect to play learn any songs from without losing your job and your girlfriend. However, its not boring shred either. Its actually remarkably tasteful considering the genre. In particular, lush balled 'I cannot tell a lie' has paul playing some wonderfully well played notes with his guitar abolutely screaming with sincerity. By the time the song is coming to a climax, things are getting more tricky in a similar way to Vai classic 'For the Love of God', but unlike that classic this track never feels like a 'guitar fret-fest'.

There is a metal track on the album called 'The Gargoyle', which so far is my least favourite track. One thing I can criticise is that the guitars could have sounded so much heavier when Paul wanted them to. As a result, 'The Gargoyle' whilst nodding its head to racer X feels a tad tame. Saying that it still wipes the floor off 3/4 off of GOOMY.

On 'Suite Modal' we have a beautiful sound coming from what can only be assumed is a guitar played so delicately he was using his mind power to bend the strings. 'Bronx 1972' is a funky upbeat memorable affair. The quality very consistant throughout making you feel like a serious amount of thought went into how the album would sound as a whole. I should point out that whilst the first two tracks were more confusing, after repeated listens they were far from a chore to listen to. The album definately truly blossoms after the start however.

The album climax 'Paul vs. Godzilla', is nothing short of brilliance. Its almost as if David Gilmour and Paul Gilbert had a love child and the spawn is playing the guitar. The outro is sublime 'Floyd'-esque soloing similar to that found on 'Echoes', helped with the lush chord sequence. One of, if not the best, instrumentals Paul has ever made (And yes, Scarified is included with that statement too).

So I can only urge you to buy this album. My faith in Gilberto is now restored and all is well. However, as much as I love this album... I'll be waiting for another with Paul's voice.

...guitararoonie widdly party pieces...

And here comes Paul Gilbert, guitararoonie extraordinaire with another high kicking example of his widdly party pieces. It's been out for a wee while in Japan, but now over here in UKland we too can marvel and prepare ourselves for his upcoming UK tour with Joe Satriani.

I was rather taken with his first instrumental album "Get Out Of My Yard", and bar a couple of misfires, this is another gem.

Let's get the major faux pas over and done with, sharpish. There is no excuse EVER for covering an Elvis Costello tune. None. Bad Paul Gilbert, bad. So we need to programme out 'I Still Have That Other Girl' and start over. Better. He's still a jaw droppingly good guitarist and there's plenty of room for showing off here, none more so than on 'Eudaimonia Overture' where he goes all rock opera on yer ass before throwing in a bit of Bach. Or Mach. Like Bach but faster. The old ones are the best.

'Norwegian Cowbell', as the name suggests has a cowbell. It also has a classic seventies rock riff that gets you punching the air. Definitely a lack of Norwegians, though. There's also a nice bit of blacksploitation soundtrack work on 'Bronx 1971', some metal on 'The Gargoyle' as well as on 'Paul Vs. Godzilla', and some blubbing into the hankerchief moments on Ernest Blochs nineteen fifties classical piece, 'Suite Modale'.

I played this to a guitaring acquaintance who started muttering things like "pentatonic", all the while fidgeting and sweating profusely. Let's just say it's another cracking release from Mr Gilbert, and one that should stir you from slumber for his live shows.