#Myles Kennedy Review

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Slash anastasia

Slash anastasia professional#

The whole album was recorded with analog equipment only.( February 2021) ( Learn how and when to remove this template message) Unsourced material may be challenged and removed. Please help improve this section by adding citations to reliable sources. He criticises the album for containing "absolutely no surprises" but adds that it "never tries too hard, so it winds up satisfying on its own limited scale." Īnother 3/5 rating came from Johan Wippsson, writing for, who wrote that the album "is far better" than Slash's debut, praising the decision to have Kennedy perform on all tracks, though admitting that he "had expected better songs". He observes that performing with Kennedy "clearly is easier on Slash's soul" compared to the vocalists in Slash's previous bands, and that the music on the album "reflects this ease". Stephen Thomas Erlewine gave a more mixed opinion of the album in his review for AllMusic, awarding it 3 out of 5 stars. He concludes that the album is "a collection of lean, high-octane rock-and-roll tunes". Geist compares the album to Slash's solo début, which he criticised for sometimes seeming "strained under the weight of its creator’s own grand ambition", whereas on Apocalyptic Love, Slash's band "let the riffs and hooks fly freely". īrandon Geist of Revolver also gave a positive review of the album, giving it a 4 out of 5 rating. He also praises Myles Kennedy's vocals and cites "Anastastia" and "Far and Away" as standout tracks, praising their orchestral and cinematic elements. Writing for Artistdirect, Rick Florino gave an enthusiastic review, awarding the album 5 out of 5 stars and stating that it "embodies every side of Slash", featuring "some of the man's most incendiary and infectious playing yet". On Metacritic, it has a score of 62 out of 100, based on 13 reviews. The album received mixed reviews from critics. The number one album for the week was John Mayer's Born and Raised, with 17,800 copies. The album debuted at number two on the Canadian Albums Chart, selling 7,500 copies.

Slash anastasia professional#

Release and reception Professional ratings Aggregate scores It is an "internet rumor" according to Slash that the lead intro riff for "Anastasia" takes inspiration from Johann Sebastian Bach's Toccata and Fugue in D minor, which Slash interpolates live in his version of " Speak Softly Love". On March 26, 30 second samples from "Apocalyptic Love" were made available on. Kennedy, who wrote the lyrics, has said that some of the lyrics on the album are about his past negative experiences with drugs. Slash released the track listing for the album on March 5, 2012. The first single, "You're a Lie", was released to rock radio on Februa 30-second preview of the song was released online with this announcement. The album was finished in February 2012 and was given a May 22, 2012, release date. Slash described the new material as "very heavy". Slash began working on his second solo album in June 2011, and that December, three songs-"Halo", "Standing in the Sun" and "Bad Rain"-had been recorded. Slash later said that his second album would be more of a collaboration album with Kennedy, and said he was unsure whether it would be released under his own name or a new name entirely. Kennedy had previously appeared on two songs from Slash's first album, and was later the vocalist of Slash's band on tour. Shadows, and Kid Rock, he said his second album would feature Alter Bridge vocalist Myles Kennedy as the sole singer. Unlike his self-titled debut solo album, which featured a variety of singers including Chris Cornell, Ozzy Osbourne, M. During his first solo world tour, Slash announced his second studio album.

[themusicenthusiast]

Saturday, December 8th, 2018 – Myles Kennedy and Co. Treat Fans to an Expansive Set as the Year of the Tiger Tour Rolls Through Dallas

Photos by Jordan Buford Photography 2018 has been a banner year for Myles Kennedy, who has continued to build upon the illustrious career he has had by getting back in touch with his roots. Best known as the lead vocalist of Alter Bridge and his collaborations with Slash in the form of Slash feat. Myles Kennedy and The Conspirators as well as some other projects Kennedy has positioned himself as arguably one of the most respected vocalists currently in the business. However, solo artist had never really officially been added to that juggling act – despite a planned album a few years ago that was ultimately shelved. It wasn’t until earlier in the year with the release of Year of the Tiger that Kennedy finally made his foray into that territory, an undertaking that was highly praised by fans and critics alike. His tour earlier in the year was a largely sold-out endeavor, loyal fans proving how much they enjoyed Kennedy and his works as they attended concerts that saw him performing his most intimate collection of songs to date in a bare-bones fashion, just he and  a guitar. For a while it seemed as if that might be the only run supporting the album, at least until the announcement of another round of the Year of the Tiger Tour, this one performed by Myles Kennedy and Co. Enlisting the help of a couple musicians (including percussionist Zia Uddin, an old band mate from The Mayfield Four era), Kennedy planned to amp things up significantly from his previous tour, providing everyone with a different experience from what they had previously gotten; and the fact that this outing was taking place in more sizable venues meant everyone who wanted the opportunity to see it would have the chance. The Dallas show on this Saturday night was taking place at Canton Hall, a mid-size venue that boasts around a thousand person capacity and was pretty full even before the lone opening act, Walking Papers, took the stage. The Seattle-based outfit made quite the impression on the spectators, their blues inspired brand of rock ‘n’ roll piquing everyone’s interest and they left having won over plenty of new fans in North Texas. There was no doubt about who everyone was there for, though. Many concertgoers sported Alter Bridge shirts, some even already having picked up a Year of the Tiger tour shirt, and all were anxiously waiting for the time that Kennedy and company would take the stage. By the time that happened the place was roughly three-quarters of the way full. The setup was a unique one for Kennedy, a stand with the sheet music placed directly to the left of the center microphone highlighting how out of his element these shows put him. It was used only for reference and even that appeared to be just occasionally, though it was clear many of these songs weren’t second nature to him like those of his longer running projects. Flanked by a bass player and Uddin, the trio hit the stage at 9:16 and promptly set to work on the 80-minute long set that they had planned.

The power trio made quick work of the first handful of songs, the format being more in line with what’s heard on Year of the Tiger, yet they still sounded different in a way. What Kennedy and everyone else accomplished in the studio with that is a remarkable blend of singer-songwriter and rock ‘n’ roll, with a host of other influences seeping in to the tracks as well. Something that is rather bare-bones but still packs a punch. Live, they were supercharged as the delicate nature and in-your-face approach collided with one another, yielding something that was heartfelt and sentimental but also energetic and commanding. “Devil on the Wall” demonstrated that well as it kicked things off. One of the most candid tracks on the album, it at first fit with the searching that it depicts (perhaps best summed up by the final line of the first verse, “…If there is a God, why did he take my father’s soul?”) before exploding into a massive rock number that affirmed that they meant business. Kennedy was as masterful as ever as he launched into the sizzling solo, earning some excited cheers as fans got a solid idea of the wide-ranging set that they were in for.

“Ghost of Shangri La” further proved that, specifically due to the intro it was given, Kennedy reaching for a slide before initiating it. By doing so Kennedy was able to showcase a side of his that’s seldom seen, his prowess as a guitarist growing even more impressive; and what resulted was undeniably country thanks to the twangy sound, yet it was also fused with a compelling mix of blues and soul, subtle as it may have been. It was absolutely gorgeous, that blend sounding more prominent than how it comes across on the recording, adding a new layer of depth to the highly emotional track. Afterwards, the more laid-back demeanor of this set became apparent. Don’t misinterpret that, the trio gave it their all, constantly, however, Kennedy did engage and banter with the onlookers more than is usually seen with his other projects, seeming to relish the more intimate setting. “Give it up…” he began, getting no further before fanfare filled Canton Hall. “Not yet,” he said with smile and chuckling at the strong reaction. It was Walking Papers he was asking everyone to make some noise for; and he chatted a little more with everyone as his band mates disappeared from sight.

Anything that was a cover from his other projects was done solo and acoustic; Kennedy treating the fans to a rendition of Slash feat. Myles Kennedy & The Conspirators’ “Standing in the Sun”. His stripped-down, more tender rendition placed the emphasis squarely on the lyrics, presenting the song in a new light. One of the best songs of the night was “Haunted by Design”. It received a total makeover from what is found on Year of the Tiger, the twangy tones ever present, though it was electrified considerably. “Come on,” Kennedy requested as they hit the bridge, proceeding to clap his hands, successfully getting the bulk of the crowd to join along. It was in the final minutes that the three of them let loose, the track concluding with a soaring guitar solo that was nothing short of epic. “How you guys holding up?! Is everybody good?!” Kennedy asked afterwards as he checked in on everyone, genuinely hoping everyone was enjoying what they were hearing. The cheers that answered his question clearly expressed they were.

Another special moment came when Uddin left his kit, but settled in at the forefront of the stage with a smaller percussive instrument in hand. The drummer remarked how awesome that Deep Ellum was, saying he loved that area of Dallas. That affinity quickly shifted to his band mates, whom he said surprised him by flying his son in from Argentina so he could spend some time with him and see the show. “We go way back. Decades; when dinosaurs roamed,” Kennedy quipped, mentioning The Mayfield Four. The pair briefly revisited those days with a more restrained version of “Eden (Turn the Page)”. For the audience it was just fun to hear something from Kennedy’s past, while he and Uddin reveled in that fleeting nostalgia, savoring those few minutes where it was just them reconnecting with something they had created together. That was the first in a string of covers, which included the lone song of the night that Kennedy had no hand in writing. Iron Maiden’s “The Trooper” brought things back up several notches, the three-piece outfit pulling off that classic heavy metal sound quite well before things were toned back down for some Alter Bridge.

“Watch Over You” was almost expected. At the very least the balled-esque number fit with this format, and it allowed for a quintessential concert moment when Kennedy turned the final chorus over to the audience. “And who is gonna save you when I'm gone? And who'll watch over you when I'm gone?” Their collective voice was loud enough that it was audible; that entire piece being gorgeous beyond words. However, what was really unexpected was the inclusion of “Addicted to Pain”. That former song definitely translates into an acoustic setting. But “Addicted to Pain”, one of the most ferocious tracks in Alter Bridge’s arsenal, not so much. Yet there stood Kennedy performing the song all by himself, portraying another song in a different light as he adjusted the tempo accordingly, and it was stunning. Much of what was left drew from Year of the Tiger – the album being played nearly in its entirety. That included a rousing rendition of “Turning Stones”, which ended by conveying an overwhelmingly triumphant feeling; while the catchy title track of the record ultimately wrapped up the performance. As they hit the interlude Kennedy strolled up towards the edge of the stage, taking it all in as he surveyed the audience, extending one last thank you once it was all said and done and even throwing out a couple of picks to some people. The musicians weren’t gone but a minute or two before returning, answering the chant for an encore that had begun to build.

The most emotionally powerful songs of the night had been saved for last, “Mother” being a blistering number, the passion it exuded meant to portray that the matriarch of a family embodies and the selfless actions they often take. The 10-minute long encore then finished with the longest song from Year of the Tiger, “Love Can Only Heal” offering an inspiring message to patrons. The title says it all, the song practically imploring anyone who might need to hear it to not shut others out, that love is imperative; Kennedy putting every fiber of his being into that one, the sentiment resonating strongly with him and he was more impassioned than he had been all night as they finished what had been a spectacular night. Any fan of Myles Kennedy needs to see one of these shows. In some respects, it took the acclaimed singer and guitarist out of his element. The songs he penned for Year of the Tiger are his most diverse yet, and that was best appreciated in the live environment, where the intricacies are most noticeable. Sure, many of the songs do still possess that rock flare that is frequently associated with Kennedy; and his signature belting – which constantly sounds epic – is a hallmark of these tracks as well, but beyond that there’s so much more depth to them. He approached this solo venture the right way, choosing to explore a new path, his artistry benefitting from the unique material he crafted, standing out from his other projects.

Sonically, the music is utterly compelling, every single track providing something different. The twangy sounding songs may sound out of character but they’re not out of place, instead allowing Kennedy to break out of the mold most see him in and showcase the versatility he’s capable of. That was thoroughly on display this night as he and his band mates tweaked some of this original material, fleshing it out so that it worked even better for the live setting, or the different reinterpretations that Kennedy had prepared for some of the more well-known songs from his career. In the end all of that worked to make him even more impressive, the patrons seeming to be more enamored with Kennedy than they were when they stepped in to Canton Hall this night. Indeed, everyone stuck around until the end, remaining steadfast even as Myles Kennedy and Co. took a gracious final bow, wild cheering and applause letting them know how they had done and ushering the musicians off the stage. It was something special. Something that got more to the core of who Kennedy is as a person; and along with that insight was a legitimate, enthralling show. This leg of the Year of the Tiger tour is nearly over, with dates in Helena, MT, Spokane, WA and Seattle WA on December 13th, 14th and 16th, respectively, being all that’s left. More info on those events can be found HERE. Make a point to see one if you’re in the area, as you’ll be glad you did. And for anyone who doesn’t yet have Year of the Tiger, preview or purchase it in iTUNES or GOOGLE PLAY. Set List: Full Band 1) “Devil on the Wall” 2) “The Great Beyond” 3) “Ghost of Shangri La” Solo 4) “Standing in the Sun” (Slash feat. Myles Kennedy & The Conspirators cover) Full Band 5) “Blind Faith” 6) “Haunted by Design” 7) “Nothing but a Name” Duo 8) “Eden (Turn the Page)” (The Mayfield Four cover) Full Band 9) “The Trooper” (Iron Maiden cover) Solo 10) “Watch Over You” (Alter Bridge cover) 11) “Addicted To Pain” (Alter Bridge cover) Full Band 12) “Turning Stones” Solo 13) “World On Fire” Slash feat. Myles Kennedy & The Conspirators cover) Full Band 14) “One Fine Day” 15) “Year of the Tiger” Encore 16) “Mother” 17) “Love Can Only Heal”

[thegreeneroommagazine]

Slash Ft. Myles Kennedy & The Conspirators at YouTube Theater, Inglewood, California

Slash Ft. Myles Kennedy & The Conspirators at YouTube Theater, Inglewood, California

[do-androids-dream-ao3acc]

Disturbed ft. Myles Kennedy "The Sound of Silence" REACTION & ANALYSIS b...

Myles Kennedy *sighs*

[elizabeth-owens]

Brand-Spanking-New PHOTOSET/REVIEW:

ALTER BRIDGE, SKILLET, and DIRTY HONEY at MECU Pavilion, September 22nd, 2019

The Victorious Sky Tour, featuring a fresh co-headlining team-up of Alter Bridge and Skillet, took flight at Baltimore’s MECU Pavilion, with radio darlings Dirty Honey as support.

Want more? Go read the full review and see more photos at Concert Crap!

[cjostrander]

Creed: Human Clay

Well; i am back to another anniversary review and have decided to tackle Creed’s most well known album. It turns 20 years old this year and is something that is better to have off the list sooner than later. Let’s begin and see how well this album has stood the test of time!

Are You Ready? (Single): We begin with the first single and it begins with a middle eastern type melody to ease the listener in with some wonder before shifting into some standard mainstream rock riffs. The bass has a prominence presence in the mix and works with the drums to keep things moving in a pretty easygoing note. Scott produces a pretty strong delivery that is straightforward but infuses a good deal of relaxed rage in his vocals. The lyrics prove to be straightforward in a simplistic manner but retain ample catchiness to follow along to pleasantly. The chorus helps to push things along smoothly and will shape this up to be a safe pick for them to play live. So you know; i have seen this album played in its entirety before they ended their reunion era tours. As you guys can expect with this song and album in general; you are looking into mainstream rock n roll that won’t favors accessibility over complexity. 8/10

What If (Single): This next single is one of my favorites from the band and it begins with a sinister guitar melody that brings forth a pleasing sense of darkness and lurking tension. It sets itself up nice and easy before guitar riffs roar into one of the most powerful rockers on the album. Scott arrives with a full dose of fury in his vocals to grasp the listener’s attention. The lyrics are some of the album’s catchiest and provides ample sing along moments during the chorus. It moves along nice and steady with aggressively powerful drum bashing and focused guitar blasts. This track is a must see for during a live performance and showcases Scott’s vocals at the top of their game. The prominent presence of the bass in their music is a good move because it helps to prevent the band from feeling empty anywhere. 9/10

Beautiful: This track begins with a low but soothing guitar melody underneath Scott's casual opening. The guitars infuse a clever balance between cultural melodies and more muscular riffs to keep a steady balance for the listener to encounter. The drums deliver a decent show of aggression in the background to add to the muscle of the guitars without trying to absorb too much of the spotlight. The lyrics aren’t bad but do focus more heavily on a spoken word style and as such may risk leading the listener to some boredom due to its lower level of catchiness than on the last couple songs. The guitar solo produces a nicely melodic atmosphere and showcases some of Mark Tremonti’s early technicality without really venturing too far into it. 8/10

Say I: Guitars immediately begin this one off with a nice level of muscular force for the listener to feel engaged by. It still showcases those echoed middle eastern tinged guitar riffs that Tremonti was very prominent with during his early career. Scott takes on a more risky vocal style that is very firm and focused but ventures on with a lighter show of musical prominence than on the previous tracks. Because of that while; instrumentally it is an interesting piece to pick apart; it does progress rather slowly and risks leading the listener to a state of boredom. This is mainly due to a near absent focus on making the vocals or lyrics display a sense of catchiness to move along to. Still not a bad piece but more suited to being background music to set a rhythm; as opposed to deserving heavy focus. 7/10

Wrong Way: Echoed guitar melodies begin the song on a worldly yet gloomy tone that fits with a title of the track. Scott arrives with a lecturing style of vocals that gradually displays some interesting melodies without feeling the need to bring out the muscle from the guitars and drums. Despite feeling like a straightforward filler track it moves by pretty quickly and doesn’t do much to offend as it does to really be memorable to the listener. Hopefully the next couple tracks bring a little more magic into the album. This and the last track do a decent job of prolonging the listening experience for what it’s worth. 7/10

Faceless Man: More of the middle eastern riffs arrive to create the worldly feeling of a journey underway. Scott delivers some pretty melodic verses and the inclusion of acoustic riffs helps to give his vocals a nice texture that would showcase a solid live performance for the band. It stays nice and melodic and the lyrics should do well to keep the listener focused while the instrumentals maintain a soothing sense of relaxation that would be properly appreciated in this album. They do still bring some of their signature muscle later on in the song that will help it to be more well rounded track for mainstream rock fans.  This one definitely will also be a highlight for Scott's vocals due to the level of convincingly emotional power he develops as the song reaches its gradual ending. Definitely one of the stronger tracks that isn’t a hit. 8.5/10

Never Die: Guitars begin with an odd yet interesting echo melody that feels like waking up on a rough morning with a hangover. I mean that in a positive manner since i could see a humorous music video centered on that type of excess scenario. The vocals are good and deliver a good show of force while the drum bash around a bit more this time of some slightly angrier riffs. It keeps that chime like guitar melody running consistent throughout the song and even though it’s not bad; i could see a half engaged listener growing gradually annoyed due to its persistence. The lyrics on this one are decent and will deliver a decent focal point for a listener that is interested in it; Though i don’t envision many listeners in this genre that will really give the music that level of analysis. They do have some decent near-jam segments that will fluff its live appeal and shape this up to be another of the more well-rounded non hit tracks. 8/10

With Arms Wide Open (Single): Now these next two singles are signatures for the band and begin with a highly memorable guitar melody; which immediately lulls the listener into a deep state of ease. Scott arrives with a calm and assuring vocal presence that is full of reflection and growth. This can probably be easily viewed as containing some of the Scott’s most memorable lyrics of his career. That will be a major focal point in this track but the instrumentals do a pretty good job of emphasizing the emotion in Scott’s voice. I would definitely suggest checking this track and the next one out if just discovering the band or browsing the album; because it is a staple track that has endured pretty firmly throughout the years 9/10

Higher (Single): This next staple for the band as a whole begins with a reassuringly theraputic guitar melody but with a bit more power guitar wise than the last song. Scott enters pretty smoothly and provides it with a decent level of melody and power for the listener to be soothed by. The lyrics are decently strong and will be a good focal point for the listener and help to cement it as one of the band’s consistent live staples. As with the last track it is a pretty straightforward track that is honestly simplistic but emotionally compelling. It is surely to be around for another 20 years on the radio as long as 90′s era music remains played. But if Nickelback’s older work is still played then this band is a given; since both play to the same market for better or for worse depending on your personal taste preference. 8.5/10

Wash Away Those Tears: This is the longest track on the album at roughly 6 minutes long. It shifts the album back towards a more somber note verses the last two tracks. Scott arrives with a more echoed and angsty style in comparison to the previous material. As a result he is much less supported instrumentally and can leave this track feeling somewhat empty as a result. Instrumentals gradually do pick up in activity and help Scott to achieve some level of melody in his lyrics. It does gradually grow to hit the listener with a nicely climatic level of power and vocal emotion. It does help to make the long build up worth it even if its not screaming for attention. It would make for a good live piece to come across as long as the setlist flow is solid. As for the album flow its lengthy but keeps you occupied in a positive manner. 8/10

Inside Us All: This finale track starts off with a stronger sense of melodic urgency in the guitar riffs. It is soothing but thought provoking in terms of emotion. Scott arrives with a calming sense of melody that makes effective use of his lyrics to really grasp onto the listener’s need for theraputic release. As a result it has a decently fitting atmosphere for a finale track for this album. It keeps things straightforward as is typical but a continued ability to get you thinking whether its about the music itself or your own personal conflicts. 8/10

Overall album rating: 8.1/10

Well it got a fairly decent score and actually stood out as a much more well rounded album than i expected it to be. It is still what you would label as mainstream generic radio rock; but it is the better of the lot. It is lengthy but flows pretty smoothly as an overall album and does provide you with ample opportunity for reflection; which is hard to find in this type of music. I would rate it as being very mood oriented in terms of appreciation and is best suited for an easygoing day in which you want something with energy and some attempt at complexity without throwing the kitchen sink at you. I would suggest that you give it a listen when the mood feels right but play it in album sequence.

*Reviewer’s Pick*

[dylanreviewsthings]

Mark Morton - Anesthetic (Album Review)

Lamb Of God guitarist Mark Morton has slowly but surely been cooking up his debut solo record for a few years now, making sure it was as massive as fans would want. The day has come, and his solo album is defying all boundaries. Mark Morton’s debut solo album Anesthetic brings together some of rock and metal’s finest to deliver a powerful, diverse, and jamming listen.

Morton only settles for the best in Anesthetic, and that’s evident right from the start. The massive ‘Cross Off‘ introduces the record, with the late Linkin Park vocalist Chester Bennington manning the vocals. Endless riffs and blistering rhythm help carry Bennington’s powerful performance as he casually switches between styles throughout the track, from more alternative rock verses to fully screamed rap vocals during the bridge. Papa Roach‘s Jacoby continues to deliver some strong vocals in the following track ‘Sworn Apart,’ with big choruses contrasting subtler verses. Other tracks throughout the record continue to push things forward with their momentous drive, including ‘Save Defiance‘ with Myles Kennedy and ‘Imaginary Days.’

Anesthetic is more than a straightforward metal record. There’s lots of things going in the record on to provide variety as it goes. The first track that really shakes up the album’s sound is ‘Axis,’ where Mark Lanegan sounds wonderful over the folkier, cooler instrumental. Also on the softer side of things is ‘Reveal,’ a weirdly cheesy track where Naeemah Z. Maddox sings upliftingly. On the opposite side of things, Morton gets truly heavy at some points throughout the record. Closing track ‘The Truth Is Dead‘ sees Randy Blythe and Alissa White-Gluz close the album on a huge note, with deathly roars and massive riffs driving the album out. Massive riffs embody ‘The Never‘ with Chuck Billy and Jake Oni as well, while the aggressive and threatening drives of ‘Blur‘ with Mike Moralez and ‘Back From The Dead‘ with Josh Todd keep the album alive and powerful.

Mark Morton teams up with some of rock and metal’s best musicians in his genre-encapsuling debut record Anesthetic, bringing power, energy, and variety all at once. Few metal records see such an impressive amount of talent coming together, and it’s awesome to see what can happen when they do.

Favorite Track: Cross Off

Least Favorite Track: Reveal

Rating: 75 / 100

Stream or buy Anesthetic on Apple Music, and follow our 2019 Playlist on Spotify:

[myremains]

Slash - Living the Dream

Tracklist:

Call of the WIld

Serves You Right

My Antidote

Mind Your Manners

Love Inside The Girl

Read Between The Lines

Slow Grind

The One You Loved Is Gone

Driving Rain

Sugar Cane

The Great Pretender

Boulevard Of Broken Hearts

The mighty top hatted one has thrown us another album to add to his gloriously impressive career as one of rocks most famous guitarists. The way he has gone about putting together this particular project is extremely impressive, starting off with an album filled with a range of different very famous guests and coming out with a collection of truly remarkable songs. Following from this he chose to stick with the particular band featuring Myles Kennedy of Alter Bridge to put out the second release. Now the problem here was is that I wasn’t overly fond of that album and did slate (much to my sheer displeasure due to my love for him) Myles’ vocals. With that in mind all the guys have dispersed and have since explored their projects most notable of which being the Guns N’ Roses reunion.

It’s quite easy to see why after album one Slash chose to stick with Myles Kennedy for the rest of the records. The combination of his writing with Kennedy’s vocals is just a perfect combination which is a tremendous relief after feeling that Apocalyptic Love failed to really light the fire under me so much as the first album had. Straight out of the gate “”Call of the Wild” shows off just why kennedy’s voice gels with Slash’s signature style of playing, the smoothe melody overlapping the partially distorted backing flavoured with technical fast paced clean lines. Nobody can put together a rock track quite like the top hatted one throwing those enchanting melodies and overlays at us with “Serves You Right”, “My Antidote” and “Driving Rain”, all of which have phenomenal lyrics to match the playful riffs. You’ve got your heavier tracks like “Mind Your Manners” , then you’ve got the trademark softer styling of “The Great Pretender”, “Lost Inside The Girl” and “The One You Loved Is Gone”.

I’m fully on board the hype train right now, I’m really excited to see this stuff added to the live set in the near future, I believe it will go down live so much better than some of the older stuff that they play. Roll on Download Festival now! I am beyond stoked for that!

[9/10]

[howaminotinthestrokesyet]

Where Have They Gone Now: Slash

Slash was born Saul Hudson in London, England in 1965. He was named after the cartoonist Saul Steinberg by his African American fashion designer mother, Olivia Hudson. Her client’s included some very famous rock stars including Ringo Starr, Janis Joplin, and David Bowie, whom she dated. His father, Arthur was a British artist, who designed album covers for artists such as Neil Young and Joni Mitchell. He would say this later about his unique background.

“As a musician, I've always been amused that I'm both British and black; particularly because so many American musicians seem to aspire to be British while so many British musicians, in the 'Sixties in particular, went to such great pains to be black." Around the age of five, he would move to Los Angeles eventually living off and on with his mother and grandparents after his parents separated in 1974. He was given the nickname Slash by one of his mother’s friends, actor Seymour Cassel, who would say that the young Saul was always darting around from place to place. With classmate, Steven Adler, Slash decided to form a band in 1979. Although the high school band never happened, he did learn an instrument at this time. The future Guns N’ Roses member began to take music lessons to learn bass guitar , but he soon switched to lead guitar after the first lesson. The two friends would finally put together a band with Duff McKagan called Road Crew in 1983. The band’s name originated from a popular song by Motörhead. The band was quickly disbanded by Slash himself due to a variety of reasons including no lead singer and Adler did not want to be there sometimes. One other thing to be noted was the fact that Slash had been a champion BMX rider as a teen, but when music came along he gave it up to concentrate on the guitar. He would sometimes practice his instrument as much as 12 hours a day.

The next band that Slash joined was Hollywood Rose, which featured future GNR members Izzy Stradlin and Axl Rose. The band was very short lived, so he moved on to a group called Black Sheep, as well as an audition for Poison. He was not chosen because he did not fit the image, but after the group became well known Slash did not hesitate to disparage the band every chance that he got. In the summer of 1985, Slash formally joined Guns N’ Roses. Before one of the shows in late 1985, he shoplifted a black felt top hat and a silver belt, which became his trademark headwear for the rest of his career. The guitarist wrapped the belt around the brim of the hat as a buckle. In 1993, upon the release of the cover album, The Spaghetti Incident, Slash wrote several songs that he hoped would be part of the follow up album to Use Your Illusion I and II. Both Axl Rose and Duff McKagan rejected all of his songs for any new album. The tensions in the band were at an all time high despite the unbelievable success of the group. By the fall of 1996, things had become obvious to Slash that any collaboration with Axl Rose was going to be pretty much impossible. He officially announced that he was leaving the band that same year. In his statement he would write, “Axl and I have not been capable of seeing eye to eye on Guns N' Roses for some time. We tried to collaborate, but at this point, I'm no longer in the band." Over the next 20 years, he would go into further detail on his reasons for leaving the band, which included the departures of Stradlin and Adler, Axl Rose’s chronic lateness to everything, and his desire to manipulate through legal channels control of the band.

In 1994, the guitarist had created Slash’s Snake Pit, which included Guns N’ Roses future ex-members Matt Sorum and Gilby Clark, as well as Mike Inez from Alice in Chains and Eric Dover from Jellyfish. In 1995, the group released its debut album, It’s 5 o’clock Somewhere, which received positive reviews and sold fairly well. The major quality pointed out was the fact that it did not follow the alternative music trend of the time. In 1996, he disbanded the group after a lengthy tour only to reform the group 3 years later in 1999 with new members. This album did not perform as well in sales nor with critics. The album received very mixed reviews, which led the band to opening for AC/DC during their 2000 tour instead of a bigger headlining tour. The group eventually did a theater tour, but they broke up in 2002. That same year, Matt Sorum and Duff McKagan, and Slash reunited for a tribute concert to Randy Castillo. This led to the creation of the band Velvet Revolver, which also included singer Scott Weiland. Izzy Stradlin had initially joined as well, but he soon quit because of the inclusion of a lead singer. They would go on to release the album Contraband in 2004, which debuted at number one on the US charts and sold 2 million copies. The song “Slither” would go on to win the band a Grammy for Best Rock Song. In the summer of 2007, they released their second album Libertad, which did not achieve the same kind of success as their debut. A year later the band fired Scott Weiland from the group due to his personal drug issues. The late singer had said that the band was officially broken up, but this was not the case. In 2010, the group began to record new material for a third album as they looked for a new singer. They could not agree upon one, so they went on hiatus again despite recording nine new demos. The band is still on hiatus to this day.

In September 2008, Slash began working on his debut solo album, which may sound strange because he had these other side projects as well. The guitarist would talk about doing his own album and the freedom that provided. It’s nice to “take a little bit of a break from all the politics and the democracy that is a band and just sort of do my own thing for a little bit.” The use of the word democracy might seem strange knowing his history with GNR. The album included a large roster of musical guests as well including Ozzy Osbourne, Fergie of The Black Eyed Peas, Adam Levine of Maroon 5, M. Shadows of Avenged Sevenfold, Lemmy Kilmister of Motörhead, Dave Grohl, Chris Cornell and Iggy Pop. Former Guns N’ Roses members Izzy Stradlin, Duff McKagan, and Stephen Adler also collaborated on the album. Their continuing work together throughout the years speaks volumes to the fact that Axl Rose was probably the problem in Guns N’ Roses. The album would go onto reach number three on the Billboard charts in the US, which actually led to a follow up album with his new backing band called the Conspirators and singer, Myles Kennedy. He would release Apocalyptic Love in 2012 followed by a tour in 2014 opening for Aerosmith. In 2018, a third album was released by the band entitled Living the Dream. In 2016, something happened that some fans thought would never happen again. Slash reunited with Axl Rose for Guns N’ Roses. The first show was during the 2016 Coachella music festival in California. The subsequent tour was quite aptly named Not In This Lifetime.

[theseventhhex]

Alter Bridge Live Review

Scott Phillips, Myles Kennedy, Mark Tremonti & Brian Marshall

Performer: Alter Bridge

Date: 29th April 2017

Venue: Fort Rock Music Fest JetBlue Park, Fort Myers, Florida

Review by: Wayne Finnan

With an exceptional line-up consisting of the likes of Soundgarden, A Perfect Circle and Def Leppard, the Fort Rock Music Festival is constantly home to performances from some of the finest past and present hard rock names. Speaking of fine hard rockers, Alter Bridge fits the title aptly - with years of unswerving music and hard-hitting live shows... And, so, basking in the sunshine, the wait is over – Alter Bridge is met with a helluva load pop as a sea of ardent fans clamour in unison to let loose and have a joyful time…

Instantly creating hysteria and movement, Myles Kennedy and company conjure up the frenetic ‘Come to Life’, swiftly followed by a rousing version of ‘Addicted to Pain’. All the while, Kennedy’s ability to stretch his vocals is on full display as the magnetic frontman howls and belts out within his dynamic range.

With the crowd becoming even more determined to join in, it’s time for an Alter Bridge classic in the form of ‘Ties That Bind’ - a song that rapidly builds up with vigour, as each member displays enthralling vitality and determination. Next up, it’s ‘Metalingus’, cue the thunderous response - the pace continues to electrify, as does Mark Tremonti – utterly mesmerising with his wizardry guitar skills.

With constants nods of approval from Myles towards the crowd, the pleasant lead singer continues to ooze laid back authenticity and a real sense of being engrossed within such a passionate atmosphere. Finally, the set is brought to a close with ‘Blackbird’ and a new live favourite ‘Show Me a Leader’.

Even with a shorter allocated slot, there’s no denying the strength and ability that these guys have. Simply put, Alter Bridge can switch it up in a number of ways and relentlessly deliver. Today, they chose precision dexterity alongside fierce speed to transfix a crowd thoroughly. It’s always a delight to witness a truly extraordinary band that commands attention and triumphs each time you see them live.

Alter Bridge - “Show Me A Leader”

The Last Hero

[eildotcom]

THE MAYFIELD FOUR Fallout. Rare 1998 Japanese 13-track promo sample CD, issued to radio stations and reviewers ahead of the actual release date. The debut album from the American rock group, featuring Myles Kennedy before he joined Alter Bridge, including the singles Always and Don't Walk Away, along with the exclusive bonus recording 10k; with a custom stamped inner rim on the disc and promo stickered back insert, complete with picture sleeve, lyrics & obi-strip. This copy remains factory sealed from new Available from https://eil.com/shop/moreinfo.asp?catalogid=719255 #eildotcom #eil #records #vinyl #rarerecords #rarelps #rock #classicrock #cratedigging #vinyljunkie #vinylcollection #recordcollection #vinylporn #instavinyl #cds #Promocd #japanese #themayfieldfour #myleskennedy #alterbridge https://www.instagram.com/eildotcom/p/BwukUL5hiFl/?utm_source=ig_tumblr_share&igshid=1q2bewlcj7ff4

[gottaenjoythelittlethingzz]

Tag, I Guess I’m It

Another tag game! Thanks for the tag @katherinescribbles. Tags are always appreciated, so do keep them coming!

☆ what song would you use to describe your mc?

Schuler (Sky) – Automatic Overdrive, by Slash ft. Myles Kennedy

Jesse – Family, by Noah Gunderson

☆ we won’t tell your characters but who’s your favorite?

Absolutely, without question, Schuyler.  I’ve never put more thought into a character name or design.

☆ what’s your process or routine for getting ready to sit down and write? Trying to convince myself for about 20 minutes to get to my computer.  Open about 20 different tabs (I’ve started keeping different tabs specifically for “define” and “synonyms for” because I was tired of typing them over and over again). Gather journals in case I need them to reference or add in new stuff (I’ve also started writing character dialogue in scenes from  tv shows for reference, so I can learn a character’s voice for FFs and just to learn how to write for different character’s and develop my own original character’s voices.)  Then open the word doc. 

☆ what’s your favorite trope/cliché? Found family! Ask me about my WIP to find out more!

☆ which one of your WIPs most/least want to be transported in to? Least: I suppose Strega.  As a human, I wouldn’t last long…  Most: I’m so biased its not even funny anymore. SOA has quickly taken over as my number #1 Fandom with the steady decline of interesting plots and characters in TWD.  With TROD being a remake of it I’d say I definitely wouldn’t mind spending some time with those boys!

☆ what’s the hardest part about writing to you? Sticking with an idea long enough to finish it. 

☆ have you ever based a character on a person you know in real life? Most characters are inspired by my favorite aspects of other characters in popular media.  Some may share similarities to celebrities I follow.  That being said, most characters I’ve written for up to this point are also canon characters. 

☆ what book would you love to see a turned into a movie or TV series Most books I’ve read have movie adaptations (I know, I’m working on reading more, sorry.  But look forward to book reviews in the future if Tumblr doesn’t explode!).  I think Hunger Games and Twilight could have done better with casting though.

☆ how much research do you tend to do for your WIPs  Enough to where it slows and effects my writing.  Nearly everything outside of canon within a story I work on has been googled at least once if not a few times because I miss interpreted it the first time or gathered the info from several different sources.

I tag: @marrader21, @focusdumbass, @shrugs-are-kinky, @purpleshoes1981, @lostboywaitingtobefound, @akingsleywriter, as well as anyone else who sees this and wants to participate. Of course, no pressure to do so. I’m just saying hi!

[rockyoushow]

Review Of Aussie Rockers DEAD CITY RUINS 'Shockwave'

Review Of Aussie Rockers DEAD CITY RUINS ‘Shockwave’

There have been some rock bands that have really worked to bring back a “classic rock” swagger in the past decade or so, Rival Sons, The Answer, Blackberry Smoke come to mind. After hearing “Shockwave” from Aussie Rockers DEAD CITY RUINES, you have to add them to the list if they keep this kind of work up. This is what I wanted from Slash and Myles Kennedy but never really got. Hard Modern Rock…

[popentertainmentmusic]

HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG (2022)

Featuring Brandi Carlile, Eric Church, Judy Collins, Sharon Robinson, Regina Spektor, Rufus Wainwright, Nancy Bacal, Steve Berkowitz, Adrienne Clarkson, Clive Davis, Shayne Doyle, Susan Feldman, Rabbi Mordecai Finley, Glen Hansard, Dominique Issermann, Vicky Jenson, Myles Kennedy, John Lissauer, Janine Dreyer Nichols, Amanda Palmer, Larry 'Ratso' Sloman, Joan Wasser, Hal Willner and archival footage of Leonard Cohen, John Cale, Bob Dylan and Jeff Buckley.

Directed by Daniel Geller and Dayna Goldfine.

Distributed by Sony Pictures Classics. 115 minutes. Rated PG-13.

“It was [the] trajectory that made me interested in exploring the song. I cannot think of another song that had a comparable experience. Anything that's up in that altitude, songs like ‘Bridge Over Troubled Water’ or ‘Imagine,’ people got right away that those were important songs. They were big hits. Obviously, their meaning changed over time, but there was this huge splash and then everybody was aware of them. ‘Hallelujah,’ when Leonard turned in the album the song was on, his label rejected it. Columbia didn't put the album out. Then when it came out on an indie label a little later, nobody noticed the song. The review in Rolling Stone was a nice review, but it didn't mention ‘Hallelujah.’ So this song starts not just under the radar, but way off the radar. No one knew it was there. It's the fact that it [appeared] slowly but surely. It was never a hit. It was never one thing where everybody discovers this song. It was a gradual build of momentum that kind of snowballed, in fact, from different covers and different versions and different uses.”

This was the explanation that music journalist Alan Light gave me in 2013 when we were discussing his then-new book The Holy or the Broken: Leonard Cohen, Jeff Buckley & the Unlikely Ascent of "Hallelujah," which was an in-depth examination of the slow rise of the song to iconic status.

The new documentary Hallelujah: Leonard Cohen, A Journey, A Song was inspired by that book (Light is one of the producers of the film as well as one of the consultants about the subject), although it takes a slightly different tack than the tome. Light made a point to make the narrative about the strange journey of the song, not spending more than a chapter or two of its time specifically on the creator. (“The book could have gotten too top-heavy as a Leonard and Jeff [Buckley] co-biography,” Light explained to me at the time.)

While the film does explore the strange path that the song took to becoming a musical standard, the film is more of a straight biography of singer-songwriter Cohen which periodically swerves into different directions about other uses of the tune.

And you know what? That’s okay. Leonard Cohen’s life is endlessly fascinating. I’m all in, either way.

Which is not to say that there is not enough just in the one song. “Hallelujah” was an ongoing work in progress for years, with the songwriter tinkering with the lyrics long after he had originally recorded the song. In fact, he supposedly had written 180-some verses of the song over the years.

It seeped into the public consciousness slowly. First off, Bob Dylan took to occasionally covering the song in concert. Then former Velvet Underground member John Cale did a reworked version on a Leonard Cohen tribute album. It was that version that led to the recording which may have opened the floodgates – singer Jeff Buckley’s recording of the song on his debut album Grace was based on Cale’s version, he had never heard the Cohen original.

Since then, the song has been used in multiple different ways. Anytime there is a huge celebration someone sings it. Anytime there is a great tragedy, someone sings it. It has been used at sporting events, at weddings, at funerals. It is a staple on TV music reality competition shows. It has been recorded in dozens of holiday albums – even though other than the title and some religious imagery there is nothing even the least bit “Christmas-y” about it. It was even used in Shrek.

While it is undoubtedly Leonard Cohen’s best-known song, it is not necessarily Leonard Cohen’s best song. (And this is coming from someone who loves the song.) Therefore, the film Hallelujah does the public service of opening up significantly more of Cohen’s body of work to fans who may know only the one song.

It also gives us a fascinating ride-along on the very unusual pathway of Cohen’s career. He started as a poet and acclaimed novelist who didn’t even start in music until his 30s, at which point he was probably a little old, a little rich, and a little well-dressed for the hippy summer of love lifestyle he was entering. Still, Cohen was an unusually thoughtful and philosophical man with a sterling sense of language, a man who was able to sustain a career for over 40 years without once having a real hit single.

He was the type of man who would put his life on hold for six years just to take a spiritual retreat at a Buddhist monastery. He was a man who lived in the same home for decades, even when he could afford to move someplace much nicer. He was the kind of man who was so unworried about the material that he didn’t even notice that his manager had stolen all of his money. And he was the kind of man who when that happened, he just hit the road for the first time in decades, touring for years and not only making back all the money he lost, but also revitalizing his career to the point that when he died in 2016, he was probably more respected as an artist than he ever had been.

“Hallelujah” was a big part of the story, but it was not the whole thing. The movie Hallelujah: Leonard Cohen, A Journey, A Song tells even more of that story. After all, as the guy himself said in his song “Anthem,” “There is a crack in everything. That’s how the light gets in.” The world is a better place because this movie is letting in the light.

Jay S. Jacobs

Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: July 1, 2022.

[elizabeth-owens]

Brand-Spanking-New PHOTOSET:

SLASH feat. MYLES KENNEDY & THE CONSPIRATORS (Living the Dream Tour) at The Fillmore Silver Spring, October 2nd, 2018

Right before publishing these photos from that SPECTACULAR night at The Fillmore Silver Spring, I thought long and hard about what to write about in my review. I then re-read this lovely review from AntiHero Magazine about the gig from the night before in Montclair, NJ by concert photographer extraordinaire and my good friend, Niwy Kováčová… and realized that she covered everything I wanted to talk about!

If you enjoy my gig reviews (or even if you don’t, I don’t mind), go and check out Niwy’s review to see what this latest tour cycle from SMKC has in store! (Spoiler: if you haven’t heard anything from Living the Dream live, you have NO IDEA what you’re missing!)

If you want to see all 33 of my photos from the Silver Spring stop on the Living the Dream Tour, visit my Flickr!

[thisaintascenereviews]

Slash - 4 Slash is one of the best guitarists of all time. There’s no debating that. His work with Guns ‘N Roses is delicious. It’s top tier. If you haven’t, go check out Appetite For Destruction from 1987 and tell me that it’s not one of the best albums ever made. In a way, it’s kind of a shame that they got lumped in with the hair-metal bands, even though I understand why (they had the big hair, huge hooks, flashy solos, and the sleazy lyricism that was associated with most of those bands, Motley Crue especially), because they were a lot better than almost all of those bands put together. The instrumentation is tight, slick, and catchy as all hell, and Axl Rose is a top notch vocalist, one of the best in the hard-rock scene of that era. Even all of these years later, he’s still got it. I listened to their new songs, “Hard Skool” and “Absurd” earlier this week that I’m writing this, and I love those songs. They’re really good, and they have no right to be. I didn’t want to write a single review on those, but I did want to talk about them in some way, and because I listened to those songs, I remembered that Slash released a new solo album a couple of months back. Entitled 4, which is both somehow very clever and mundane at the same time, this is his fourth album, but it’s the third with Myles Kennedy & The Conspirators. Myles Kennedy is known for being in Alter Bridge, a band that I think is just okay. I never got into that, despite Kennedy being talented as a songwriter, vocalist, and guitarist, but I’ve always wanted to listen to Slash’s solo material, especially with Kennedy at the helm. A lot of these new projects from elder statesmen aren’t very good, kind of because they employ not very good musicians, even if they themselves are good. Slash is great, but Myles Kennedy is good, too, so I’ve been really curious to listen to one of these albums. I had nothing else to listen to this week, so I thought I’d check out 4, and honestly, it’s pretty damn good. It’s not my favorite album of this year, but I very much enjoy it. It’s a solid hard-rock album, but that’s all it needs to be. This isn’t a bloated or pretentious affair, they get in, do their thing, and then get out. At 44 minutes, it’s a little lengthy, but the album’s got enough energy to keep it going for awhile. Kennedy sounds awesome on this album, and while the main sound of this album shares a lot with Guns ‘N Roses, especially on a few key cuts, he holds his own. He doesn’t do his best Axl Rose impression, thankfully. I really like that it shares a lot with GNR, but there are some grungier touches here and there, as well as some southern rock and folk-rock sounds, it’s not so cut and dry. With that said, Slash is the best part of this album, even though Myles Kennedy is very good, too. His solos and guitarwork is great, but nothing else really comes close to being as good as he is, unfortunately. I just found myself being more into the guitarwork, and being excited when a solo showed up, versus being excited to hear anything else. Kennedy gets some good hooks in, don’t get me wrong, but it’s nothing to write home about, either. If you love Slash, you’ll probably like this album, especially where his guitarwork is very prominent and very good. Alter Bridge fans might get something out of it, too, where Myles Kennedy is singing. It’s not an Alter Bridge album, though, since it’s way more straightforward hard-rock, but it’s still pretty good, nonetheless. For being a relatively slow week, I’m glad that I decided to check this out.