Slash ft. Myles Kennedy & The Conspirators – World On Fire (2014) Album Review
This summer, the long-awaited third album of the curly-haired guitar wizard with a dropped Les Paul and a black top hat, well-known from the era of his former band Guns N’ Roses and later Velvet Revolver, finally saw the light of day.
Many might initially think it’s just another “solo” release, following the trend of many guitarists who often strive to create something presented as their personal record at some point in their careers. However, this is not the case with Slash and his team. This album is another collaborative effort, a group achievement shaped in the collaboration of Slash, Myles Kennedy, and The Conspirators, namely Todd Kerns and Brent Fritz. In essence, this is a continuation of the well-established story from 2012 and the album titled “Apocalyptic Love” (1). Slash himself acknowledges this in a special edition of the renowned rock magazine Classic Rock, which, like the previous two times, prepared a dedicated Slash special for this occasion: “I am a band guy and I love what this band does. The chemistry between us was instantaneous” (2)! This seems to be a genuine recognition of who Slash feat. Myles Kennedy and The Conspirators truly are and what they represent in today’s music scene. It might sound a bit cumbersome when read on the album cover, but a group that has been together for almost five years, producing three albums’ worth of material (two of which are collaborative), and accumulating miles on the road, cannot be categorized as a “solo artist.” Luckily, we had the chance to witness the workings of the Slash machine in the summer of 2011 at the Arena.
The album “World On Fire” features seventeen songs, including one instrumental, which would have been considered a double album in times past. Simply put, it closely resembles the approach taken with the first “Use Your Illusion” album, which Slash signed with his former band. The reason for such an approach is evidently the significant musical productivity that Slash and the company possess. Additionally, there’s the financial aspect and the desire to cater to fans to avoid confusion between regular and deluxe editions or the release of different album versions in various markets (3). In short, wherever you acquire a copy of “World On Fire,” you won’t go wrong. Clocking in at an hour and fifteen minutes of music, just enough to fit on a single CD, this move is both practical and, for some, a bit burdensome given the number of songs. In an era of fast internet consumption, it’s challenging to expect many people to attentively listen to an album with so many tracks, both on YouTube and in the realm of MP3 music. With such an abundance of content, consumption inevitably declines, but that’s a story for another time. For now, let’s delve into what the album has to offer.
The album opens with the title track, “World On Fire” (working title: “I Wanna Pull Your Hair”), representing a straightforward rock ‘n’ roll anthem or, in Slash’s words, a “let’s do it now song” (4). A fast-paced rock ride without much complexity, delivering a message of “living for the moment.” Accompanied by a highly explicit video, this song sets the tone for the album’s start, and its energetic and galloping rhythm is fitting.
Following is “Shadow Life,” a song that the creators themselves admit should have been titled “You’re A Lie” a few years earlier or included in the previous album (5). Since we’ve already heard the song with that name, this one can be considered its “bastard brother.” It offers a more intricate arrangement with a signature Slash riff, and Myles Kennedy elevates it with captivating melodies and a solo featuring some swift shredding in the middle, distinct from Slash’s usual string-bending. Overall, it’s an excellent song, more serious than the opening track, and smoothly embeds itself in the listener’s ear.
“Automatic Overdrive,” the third track, is simply a “riff song.” The introductory riff that follows the initial chords is the kind found everywhere, flying through the room as it’s being played. The chorus is sung “on it.” In short, it’s a riff that only a genius like Slash can conceive and turn into a song, reminiscent of the classic Slash guitar style. Today, there are few guitarists who can play the guitar like this, undoubtedly!
The fourth track, “Wicked Stone,” follows the classic Slash and Co. style, akin to “Standing In The Sun” and “Halo” from the previous album. Unlike those, this five-minute riff-packed track is interrupted by a slower section in the middle and enriched with an Aerosmith-esque intro, consistent with Slash’s proclaimed admiration for Aerosmith, who are, incidentally, his musical idols.
After a series of fast-paced tracks, we get “30 Years Of Life,” another high-tempo song, with a lively Slash riff that includes nearly every note of the scale. The song’s journey doesn’t stop from the first to the last of its five minutes, breaking through various melodies in verses and choruses. It’s an excellent song that encourages dancing, particularly suitable, it seems, for live performances, making it a likely inclusion in the upcoming tour. It’s, in fact, one of Slash’s favorite songs from the album (7).
After a series of fast songs, the pace slows down with “Bent To Fly,” representing one of the album’s standout moments. It follows the tradition of grandiose songs like “Civil War” and “Fall To Pieces.” The acoustic guitar intro builds up to a killer chorus, showcasing Myles Kennedy’s incredible musical talent. The lyrics tell a lively story from Kennedy.
The seventh track, “Stone Blind,” brings back typical Slash riffs with a somewhat Cult-like intro. It maintains the album’s high quality.
“Too Far Gone,” according to Slash, dates back to the “Apocalyptic Love” era. The song has a melodic and catchy chorus, making it an interesting and enjoyable piece.
The ninth track, “Beneath The Savage Sun,” is a heavy hard rock, almost metal song, surprisingly about elephants. Slash and his band are known for their activism against poaching and animal rights, bringing a unique theme to the album.
The album’s second half starts with “Withered Delilah,” another classic Slash riff turned into a song. The review notes that this part of the album might be perceived as an unnecessary overload, but it reflects the band’s dedication to providing a comprehensive view of their work.
The first ballad, or semi-ballad, is “Battleground.” It is described as slower and softer but not necessarily boring, with interesting musical elements. Together with the previous track, it might be considered one of the weaker moments on the album.
“Dirty Girl,” the twelfth track, is an older song from a few years ago, noticeable in its sound. The use of a six-string bass guitar with lighter strings than usual adds a unique touch.
Following less interesting tracks, “Iris Of The Storm” refreshes the album with catchy melodies, promising a better and more solid conclusion. It’s considered a much more interesting song compared to the previous three.
The fourteenth track, “Avalon,” brings a big surprise, featuring an Irish style reminiscent of Rory Gallagher. Described as a rocking song that encourages lively interactions, it’s a positive revelation toward the end of the album.
“Safari Inn,” the instrumental, is followed by “The Dissident,” which falls into the category of better tracks with its country old-school intro.
The penultimate track is the instrumental “Safari Inn,” and the final song, “The Unholy,” is a nearly seven-minute dark and twisted piece, representing a departure from the band’s typical style.
In terms of production, the review notes the impeccable quality, attributing differences in sound to the use of analog recording and Michael Elvis Baskette as the main producer. The album is recognized for its live feel, despite being recorded in a more layered manner than its predecessor.
The cover art, created by Ron English, who also designed the cover for Slash’s first solo album, is briefly discussed. The review mentions Slash’s use of iPhone (or Samsung) recordings for generating ideas, emphasizing the importance of embracing one’s creative process.
In conclusion, the review highlights the album’s organized and cohesive feel, attributing it to the band’s evolution into a more collaborative and unified unit. It commends the continuity of Slash and his team’s work, noting the album’s success and growth in energy. The importance of distancing expectations from the Guns N’ Roses era is emphasized, acknowledging the band’s evolution and the satisfaction derived from Slash feat. Myles Kennedy and The Conspirators.
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