ALBUM REVIEW: Werewolves Of Portland – Paul Gilbert
With 2006’s Get Out Of My Yard, PAUL GILBERT mostly moved on from the vocal-hook driven pop rock of his earlier solo output, focussing instead almost exclusively on guitar instrumental albums. Sure, there have been occasional dalliances with vocals since then (take half of Vibrato), but they have become the exception. Yet, lyrical or not, it’s clear that Gilbert has honed an extremely catchy song-writing style that continues to draw influence from classic rock and pop of decades past. On his latest album, Werewolves Of Portland, Gilbert continues to show his canny ability to write memorable, wordless songs where the guitars simply do all the singing.
From the opening track of Hello! North Dakota!, Gilbert’s penchant for poppy enthral is present in spades. However, perhaps more so than ever before, Gilbert’s groovier affections dominate a lot of the guitar playing; a funk-laden guitar line takes over on the aforementioned Hello! North Dakota!, whereas Professorship At The Leningrad Conservatory kicks off as unabashed 70s cop show music with all the wah-based trimmings. Similarly, the title track itself jumps from spirited pop-rock to a slow, shuffling blues style with just a touch of shred on top. Across the album, Gilbert indulges the blues-ier side of his playing and song-writing, evoking memories of the album he did with his uncle Jimi Kidd, Raw Blues Power. As a result, Werewolves Of Portland retains a shuffling groove throughout which strikes a balance between building momentum and being completely laid back in a way that only PAUL GILBERT can nail.
Indeed, Werewolves Of Portland occupies a relatively unique space in the field of instrumental albums as PAUL GILBERT is far from showy despite his clear virtuosity. For those dubious of guitar instrumental music on the whole, Gilbert’s approach to composition is wholly focussed on memorable songs. His guitar playing is deeply expressive, carrying the nuance and simplicity of vocal melodies rather than noodling for the sake of it – the guitarist admits he often writes lyrics to the songs to get those melodies down pat and it shows. On one of the record’s mellower moments, the aptly titled Meaningful, Gilbert’s lead melody has all the suitably saccharine emotion of a bar-room singer pouring their heart out. Supported by delicate pianos and a light framing of acoustic guitars, the morose number is evocative of a quiet pub on a Sunday afternoon; mellow, with only your thoughts and a drink for company. It’s a surprisingly reflective moment on what is otherwise quite the lively album, perfectly communicated without saying a thing.
It shouldn’t be surprising then that those expecting RACER X-era shred from Werewolves Of Portland will be sorely disappointed, but speed and precision has only ever been one facet of what PAUL GILBERT is about. That’s not to say there isn’t some impressive lightning-fast playing here and there of course; I Wanna Cry (Even Though I Ain’t Sad) sees Gilbert let loose towards the end with an onslaught of speedy licks that’ll make you take notice. However, Gilbert’s technical fluidity is simply there to add flavour and colour to songs, rather than dominate the track. It’s tasteful as it is remarkable.
Guitars aside, PAUL GILBERT has taken the solo album to its logical zenith, playing all instruments himself on Werewolves Of Portland. Impressively, Gilbert is clearly at home supporting himself across bass, drums, keyboards and whatever else is needed to fill out the tracks. While not as show-stopping as his guitar playing, Gilbert is able to add flourishes across all the album’s tracks to provide that all important extra depth to the songs. For instance, Problem-Solving People, Werewolves’ lone heavy track, is all the better for its crunchy riffs being punctuated by Larry Graham-infused bass fills and punchy drum breaks. All of Gilbert’s playing, regardless of instrument, is there to service the song with Problem-Solving People’s hooky, guitar-based chorus elevated thanks to the supporting performances.
With this latest album, PAUL GILBERT continues to meld 60s pop optimism and melodies with 70s rock riffs and blues licks in a way that feels effortless. However, more than that, it’s Gilbert’s song-writing chops that continue to shine. Even by PAUL GILBERT’s normally upbeat standards, Werewolves Of Portland is a disarmingly joyous and fun record through and through, and a testament to how much the artist is able to say without uttering a single word.
Rating: 8/10
Werewolves Of Portland is set for release on June 4th via The Players Club.
Like PAUL GILBERT on Facebook.