A supergroup like they used to make,
the union between Adrian Smith (and I’m damned if I’m going to conform to the journalistic adage of “never assume knowledge” and tell you who he is) and Richie Kotzen might have initially seemed unlikely, but it produced a couple of wonderful records a little while ago.
They revealed something in Smith—a bluesy sensibility, perhaps—that might not have been evident before, even though he’s always spoken of his love for those kinds of records. And they allowed the supreme talent of Kotzen to burst forth, as it so often does.
Indeed, the opening to “Muddy Water” encapsulates that. Possibly a little more metal than the debut, but when Kotzen sings, nothing else matters. His soul-drenched voice is simply incredible.
And the solo? The interplay? Perfect. But it’s not just for the sake of it. Always the song matters.
The “White Noise” part of the title track moves into groovier territory, but it’s exquisitely done. Then comes the “Black Light” section—more urgent, something akin to UFO. And, appropriately for two such gunslingers, the intro to “Darkside” plays guitar like it’s got a loaded six-string on its back.
What’s interesting is how they push themselves. I can’t recall ever hearing anything quite like “Life Unchained” on anything they’ve done before—and not for nothing is it right in the middle of the album.
It’s also noticeable that they’ve worked on the choruses and hooks this time. Stone Temple Pilots at their peak would be proud of “Blindsided.”
Smith’s voice is way better than he’s ever been given credit for, and his work on “Wealth” is wonderful. When they tap into something more primal on “Heavy Weather,” it’s mighty. And even here, they can’t resist that thing where the music soars. It’s natural.
They come together in true Lizzy style for “Outlaw Man,” and the closing solo on this mid-paced rocker is a thing of beauty.
And then there’s the closer, “Beyond The Pale.” It ties up loose ends and adds an epic, soulful quality. It’s the longest track at over seven minutes, but this is still an album with little excess fat despite all the stylings.
They’ve spoken about Smith/Kotzen being a compromise—finding the middle ground. And if political coalitions are an awful idea (ask Nick Clegg and his mates), then musically, this one works incredibly well.
“Black Light/White Noise” is a beauty of a thing.
Rating: 8.5/10
