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Slash - R&Fn'R [Album]

Roadrunner Records

March 23, 2010, 09:39 PM
Views: 1008   Comments: 4
by danreviewer [More from this Author]

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After spending quite a while trying to get this darn CD to play, it finally kicked in after the fifth try. I think it was waiting for me to try a stereo with a decent set of speakers, which later proved the best decision I made.

Now, we all know who Slash is and if you don'™t, you need to crawl out from under your rock and wake up. Scanning down the list of guest artists on this album, some names include: Ozzy, Chris Cornell, Lemmy, Dave Grohl, Duff McKagan, Myles Kennedy and a number of others. Perhaps, like me, you'™ve always been put out by those frustratingly out of place songs which appear on every compilation (e.g. Chumbawamba'™s - 'Tubthumping') which quite frankly plagued much of the 90'™s '˜hits albums'™. Anyway, my worry returns when I see a collaboration by Fergie from the Black Eyed Peas. When you are planning to release the ultimate rock album, even Andrew Stockdale (Wolfmother) and Kid Rock seem to have been having a lucky day when that phone call came through. With that apprehension looming over the record, I had fingers and toes crossed that the song writing would be strong enough to overcome this.

Ian Astbury (The Cult) does a great job in opening the album and the all important guitar work by Slash is kept relatively simple without overshadowing the guest vocalist. This is well suited for Astbury, seemingly well within his vocal range without pushing the envelope. Slash dives in with a brief solo before the final chorus arrives, complete with harmonies and overlayed vocals. This moves into '˜Crucify The Dead'™ featuring none other than Ozzy Osbourne. Already I question if the title is far too '˜Ozzy'™, although I was fully expectant of this and more so of the old Sabbath inspired guitar riffs. Surprisingly this goes down the route of a rock-ballad, with the heaviest sections during the choruses and verse needed simple clean guitar, allowing Ozzy to shine through. There is no denying this song was written with one man in mind, from the extended words on the end of individual sentences, giving that Ozzy tone. Again, a refined solo is featured and this gives some indication that Slash didn'™t want this to be an album solely focused on him. We'™re certainly off to a promising start with the two vocal performances so far and with Fergie up to take the helm next, I'm sat in place, ready to loathe it.

OK, so this actually sounds like Garbage at first (the band, not my opinion... yet). With over-excitable, quickly spoken lyrics, it is genuinely difficult to make out many of the words. I am fully aware that Fergie has some pipes on her, however these are not truly explored within '˜Beautiful Dangerous'™ and it is at this point I now question how relevant it was to feature her. I think we needed a female rock singer at this point, which sadly Fergie gives a good crack, but she feels out of her comfort zone in my opinion. Which does prove also that a great solo can'™t save a track.

With Chris Cornell I am more inclined to approach this with less anxiety. I was hoping for a Soundgarden-esque onslaught, but it took the direction of latter Cornell solo work, not really showing off his vocal ability and this falls into the category of being very average, with nothing exciting arising for any of the four minutes and forty one seconds. Probably the biggest disappointment for me, being a long time Cornell fan. It has a similar to vocal to his James Bond '˜You Know My Name'™ '“ although that was actually better.

'˜By The Sword'™ from Andrew Stockdale has already had sneak peeks available on YouTube posted by fans. The response has been rather mediocre, much the same as the new Wolfmother effort funnily enough. At least he is being consistent there. Yet again, I find myself questioning the thought process of getting this vocalist on board, if anything, this is closer to Raconteurs material and so Jack White should have been called in. Just when I hoped things might take a more positive turn, we get Adam Levine making his input. Remember him? No, me either. After a Google of his name I was even more disappointed to read he fronted Maroon 5. This album is becoming more of a tribute album to forgotten individuals than a genuinely hard-hitting rock album. The best part of this song, other than when it stops, is the guitar work of Slash. Some nice, clean electric guitar work does meet the vocal perfectly, despite it being far too centred around the failed sound of Maroon 5, than the heavier vibe I was previously expecting from this album.

Placing all my hopes on Lemmy to regain some quality, it was re-assuring to hear his voice bellowing over the distorted, although very simple power chords of Slash. I will say at this point that the guitar playing seems to have taken a back seat and although I mentioned this gives vocalists space to breathe, I still like to hear the iconic wails of Mr. Slash. I listened to this track twice to get the full benefit and it sounds better on the second time round, once I had become accustomed to the vocal and instrumental work. There is no denying that this album started strong and is now teetering on the edge of disappointing. Ever reliable Grohl and McKagan produce a throaty riff-hungry rocker which builds on the basics we all love and quite frankly expect. A little factor I must make clear, this is a purely instrumental track and although for a moment I was intrigued what this might sound like with the growl of Grohl, I was more than content with the arrangements on offer from the mighty threesome of Slash, McKagan and Grohl. It sounded a bit Led Zeppelin in places, which was cool to hear.

Over to Kid Rock to keep up the positivity now regained. Yeah, it'™s OK, but nothing more than that. One of those safe album tracks which you would skip if it featured on a Kid Rock album. Sorry I can'™t really go into more detail as there really isn'™t much else to say. You have no idea how much I was praying for this release to really open up and give me something to rock out to. '˜Nothing to Say'™ featuring M Shadows has the best music by far and I can only put that down to the Avenged Sevenfold influence. There was no way Shadows was planning on singing some naff acoustic junk '“ he came for metal and that is what he delivered. Head and shoulders above the rest, reflecting the kind of album this '˜could'™ have been if Slash had chosen vocalists of a similar ilk. Don'™t get me wrong, I am a big fan of Slash, but for that reason alone I had huge expectations of this being an iconic CD for years to come.

Boosted from the previous track, I was pumped for my man from Alter Bridge, Mr. Myles Kennedy. One of those Lynyrd Skynyrd, deep down West country songs which keeps vocal and guitar minimalistic through verses, with a partial step up for chorus. Kennedy does some overly high-pitched bits and pieces that are slightly misplaced at time. I can'™t help but feel let down by people who should know better. Obviously the songwriter(s) have a hand to play in this release, but some really needed screening again by an impartial producer first, because Slash could have done far greater things with this album.

I never planned to write this review with a negative spin, however I can already tell I'm in muddy waters and it seems unlikely that this album will pull back into epic territories. The Rocco De Luca song is most definitely the most forgettable song I have heard and I'm finding it a struggle to even concentrate whilst listening, given the odd musical styles on offer. I can only place all my eggs into one basket in extreme hope that Iggy Pop is going to end this release with a monster tune. Yeah, he does a pretty good job actually, certainly in keeping with my expectations of Iggy'™s vocal work and this keeps it familiar and enjoyable.

So, what is the verdict? In all honesty "R&Fn'R" doesn'™t have enough strong songs on it to warrant it becoming a highly acclaimed release. There were moments which I have cited as being above the rest, however it isn'™t the type of album you will return to time and time again. There were many vocalists who no doubt would have jumped at the opportunity to appear on this and it seems a real shame that the ones chosen didn'™t truly step up to the mark (expect those praised above).

I am sure that many people will say this is flawless and that Slash is God, but in all honesty there are multiple flaws and disappointments here. A genuine shame.

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