Whenever a new album comes out that features the guitar work of Paul Gilbert, it's anyone's guess as to what it'll sound like – it could either be over-the-top shredding (à la Racer X) or melodic rock with an emphasis on pop hooks (à la Mr. Big). On his 2005 solo release, Spaceship One, Gilbert manages to somehow combine the two different musical worlds and also adds a splash of power pop to the proceedings as well. But this shouldn't come as much of a surprise to longtime fans, as Gilbert has voiced his appreciation of pop eccentric Todd Rundgren over the years (even appearing as part of the choir/chorus on Rundgren's 1989 release Nearly Human)…
Paul Gilbert , is an American hard rock/heavy metal guitarist. He is best known for being the co-founder of the band Mr. Big. He was also a member of Racer X, with whom he released several albums. Following Mr. Big's disbandment in 1996, Gilbert launched a solo career, for which he has released numerous solo albums, and featured in numerous collaborations and guest appearances on other musicians' albums. Gilbert has been voted fourth-best on GuitarOne magazine's "Top 10 Greatest Guitar Shredders of All Time". He has also ranked in Guitar World's "50 Fastest Guitarists of All Time" list.
Vocalion favourite Paul Mauriat makes a welcome return with a further two albums, Penelope (1972) and Holidays (1973), which presented quadraphonic remixes of 24 titles culled from his back catalogue. Originally produced for the Japanese 4DX series, this reissue makes them widely available for the first time.
America 2.0 is an extraordinary album that attempts to examine the very concept of what America is in the Trump era and what it means to be part of the great American melting pot. It is massive in its ambition and scope and it very nearly pulls it off. Messinger is patently a very savvy and politicised observer who use his lyrics and devastating harmonica skills to lead his band through a range of styles and tropes encompassing gospel, dustbowl blues, reggae and straight ahead rock n roll.
This is the second album emanating from celebrated British saxophonist, Paul Dunmall's 2012 visit to New York City, performing at the Vision Festival, and follows his initial 2013 appearance for New Atlantis Records on a date led by guitarist Edward Ricart, titled Chameleon. Hence, top New York City-based improvisers, drummer Andrew Barker and bassist Tim Dahl—the latter appearing on three tracks, lend their faculties for a set that poses a myriad of irregular rhythmic explorations. And while Dunmall's explosive tenor sax lines emphasize the group's power-packed tactics, the musicians' remain agile amid a host of changeable motifs, including areas where gruff, microtonal idiosyncrasies alter the flows and perspectives.