As one of the most technically dazzling rock guitarists of his generation Paul Gilbert is renowned for knocking out an endless avalanche of top drawer riffs and brilliantly executed solos with damn near superhuman levels of virtuosity and speed. But with 'Vibrato' he doesn't so much break as shatter his own mould, having brewed up a mouth watering concoction of funk, soul, blues, gospel and jazz that seamlessly blends thrilling instrumental tracks, fantastic vocal numbers and a trio of inspired live cover versions. All the while boasting the kind of jaw dropping fretwork that's become his trademark. It's quite simply an artistic tour de force from a maturing musician at the top of his game.
It's obvious Gilbert's having a blast on this record as a palpable sense of enthusiasm leaps from the speakers with the unbridled vivacity of a frisky canine. And whilst his low slung vocals aren't the strongest they work well here, lending an earthy charm that suits the songs perfectly. However, this isn't a one man show and much of 'Vibrato's success is down to the superb band he's assembled. The studio tracks feature his remarkably talented wife, Emi, on keyboards and backing vocals, bassist Kelley LeMieux (Goldfinger) and powerhouse drummer Thomas Lang (who auditioned for the Dream Theater job). The tracks were recorded live in the studio and exude the kind of spontaneous energy that comes when masterful musicians are feeding off each other and loving every minute of it.
Instrumental records can be challenging for anyone who prefers traditional song structures over endless displays of virtuosity. Hence, the limited audience. In contrast, 'Vibrato's strength lies in its cohesive flow; alternating between vocal and instrumental tracks makes the album much more accessible. It also doesn't hurt that the sung tracks are an absolute treat, kicking off with the laughably excellent 'Enemies (In Jail)'. It finds Professor Gilbert donning his lab coat to become a musical mad scientist, filling his sonic test tube with a funked up whammy riff, smooth jazz textures, bluesy grooves and rowdy gospel choir backing vocals, whilst delivering a lyric he wrote when he was four years old “Happiness is when you get to ride in a racing car, and your bad, bad, bad, bad enemies are in jail”! Think Steely Dan meets Flight Of The Conchords with a euphoric cheesy grin.
The title track is even better, as a full fat guitar harmony super charges the coolest 70's funk-rock riff never to have appeared in a Tarantino film. It's a dynamite groove that delivers one of the best solos Gilbert's ever played, beautifully phrased with a spellbinding lyrical feel as it manoeuvres the underlying changes in stunning fashion. Likewise, 'Bivalve Blues', where an emotionally soaked cavalcade of searing Gary Moore licks bleed over a minor bruised blues workout. Last but not least, an uplifting anthem in waiting - 'Atmoshpere On The Moon' - comes on like a Delfonics classic, marrying classic Philadelphia soul with ebullient gospel harmonies as the year's most perspicacious lyric arrives - “I'm asking all the children to quit wasting time on music that's been so auto tuned”. If only.
The instrumental tracks boast the kind of genius that could lead lesser musicians to question their very existence. 'Rain And Thunder And Lightning' pivots a bewitching blitz of guitar and ivory solos around a meaty Deep Purple riff, traversing classic rock, lounge lizard jazz and passages of prog wizardry in the process. Emi's playing is particularly impressive as her and Paul engage in a mesmerising musical coitus, adeptly complimented by Lang's untameable drum fills. A cover of Dave Brubeck's legendary jazz standard 'Blue Rondo A La Turk' is given a boisterous makeover. The vaudeville piano refrain and odd time signatures are set alight as Gilbert weaves in and out, sometimes mirroring Emi's playing, other times letting her take centre stage. Until he pops up and nails the original's saxophone parts on the guitar. Show off! Whilst 'Put It On The Char' is a serious muso's wet dream, stocked to the gills with staccato strut funk and swirling syncopations, 'The Proghorn's crawling riff and tasty soloing can't save it from being the album's one weak spot as it feels a little indistinct and lacking in character.
The live tracks were recorded on Gilbert's 2010 'Fuzz' tour, and for anyone wanting a little more rock & roll these classic cover versions duly oblige. Joined by Tony Spinner (guitar, vocals), Craig Martini (bass, vocals) and Jeff Bowders (drums), storming renditions of Yes' 'Roundabout', Muddy Waters' 'I Want To Be Loved' and AC/DC's 'Go Down' are bashed out with delightful aplomb. There's a great chemistry, particularly between Gilbert and Spinner, who engage in a tasty guitar duel during 'Go Down' and add real fire to Waters' tune, unleashing a rampant adrenalised boogie before Gilbert ends the song with a solo section that'll make aspiring guitarists emerald with envy. Oh, and he also plays Rick Wakeman's keyboard parts during 'Roundabout' on the guitar. Bloody show off!
Full of inventive twists, turns and superb songs it's fair to say that, from the viewpoint of an artist spreading his wings, 'Vibrato' is a resounding success that will surely go down as one of the highlight of Gilbert's illustrious career.
Paul Gilbert releases 'Vibrato' on Monday 15th October on Music Theories Recordings, a division of Mascot Label Group.
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Since cutting his chops in 80's shred metal band Racer X Gilbert's experienced global success with Mr Big, released a stream of solo records and been involved in enough collaborative projects to make Dave Grohl look like a feckless lazy bloke. Whilst always displaying a superlative sense of song and melody, his love for other musical styles has often been overlooked. With 'Vibrato' – Gilbert's 12th solo album - that's certain to change, as his particular set of skills (© Liam Neeson) are sure to be embraced by a wider audience. As he rather modestly told Music Radar “After 35 years of bone-crushing rock guitar playing, I’m finally starting to get my head out of the harmonic sand and learning how to play over chord changes”.
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