James Byrd - Crimes Of Virtuosity

1. PRELUDE IN SEA [0.27]
A short opener full of bizarre sound effects.

2. METATRON [5.45]
A very powerful uptempo rocker with great riffing and general virtuoso performances all around. Kendall Torey voice is particularly strong and calls to mind that of Jeff Scott Soto and Dio. I think ‘Metatron’ is meant to symbolise a rising force from below and the music and lyrics certainly reflect this ‘Watch how the serpent takes life when its time to kill… Rocks are falling- the mountains step aside, Fortress of the man of sins reveals and opens wide’. There are several lengthy solos that are as intense as anything that Yngwie has ever put his stamp on and build the intensity of this track to fever pitch. A really exciting opening track, and possibly the best rocker on the album.

3. HEAVEN ON THEIR MINDS [5.20]
This track is a cover of the Andrew Lloyd Webber/Tim Rice track from the musical ‘Jesus Christ Superstar’ and pretty amazing it is too!!! Opening with what sounds like Indian instrument, 30 seconds in it kicks into a heavier-than -thou detuned riff overlapped by Hendrix-esque Wah blues licks. This track works perfectly as a Rock tune and shows Byrd’s skill at arranging. Torrey again sounds huge [singing about Betrayal], the chorus has a sing-along quality but never sells out. Scattered all over the track is Byrd’s unmistakable Strat sound which is quite amazing. A lengthy solo brings to mind a modern day Blackmore with fast precise runs. A classic cover version.

4. IN MY DARKEST HOUR [5.16]
An acoustic ballad. Starting with gentle chords played on a classical guitar. This track reminds me of YJM’s ‘Dreaming’ but is not quite so commercial. The lyrics for this track focus on wisdom ‘Will the madness ever end…Have I lost my way? What hurts you makes you stronger - still waiting for the day’. Kendall voice is full of emotion which helps the subject matter sound more thoughtful. A short solo fits perfectly and the track comes to a mellow ending.

5. THE HUNTED HERETIC [WHEN I WAS YOUNG] [5.16]
Hendrix type chordal flurries open this mid paced track. Again some beautiful guitar histrionics weave between the verses. The lyrics centre on someone commenting on life from the grave ‘But now that I’m dead - I can speak my mind, The blind see the dead - but they don’t know our kind’. Some more great wah solo work blends perfectly with Kendall’s soaring voice. James’ solos here remind me of the sonic tapestries Uli Jon Roth laced throught his ‘Electric Sun’ albums.

6. JANE [4.39]
The only true instrumental on the album opens with some medieval acoustic, this is then followed by soaring electric, this track is like a cross between Blackmore’s Night, YJM instrumentals ala ‘Marching Out’ and Michael Schenkers more melodic moments. The notes James chooses are all exactly what’s needed, their is no real fretburning on this track but that is not missed at all and his sound sings. A great 4 ½ minutes.

7. GET FREE [4.50]
Another uptempo track which breaks down nicely. Anyone who has heard James last instrumental album ‘Son Of Man’ will recognise his style here, only this time with lyrics. It shifts style nicely from the laid back verse to the stomping chorus. The lyrics centre on religion and the seven deadly sins. Some great Hendrix inspired wah blues lines with demonic dive-bombs. The chorus is a bit repetitive chorus which does distract a little but all in all a solid track.

8. STORM KING [6.56]
Opening with some great organ work ala ‘Child In Time’ played by James, this breaks down into a blues verse, the lyrics centre on the ‘Storm King’ who is someone that is great at almost everything but has no luck in love . There are several solos throughout this track ranging from jazzy to blues to classical to rock, this gives the track great shifts in mood. The pre-chorus is quite catchy and makes you think the chorus is going to be different to what it actually is. A good track with some great playing - again.

9. GOODBYE MY LOVE [7.55]
Opening with James’ signature sound played over some synth patches give the intro to this track a Pink Floyd feel. It then changes in velocity to another heavy riff, which brings comparisons to early Rising Force. From the title I was expecting this track to be a ballad which just shows how wrong you can be!!! It is a great neo-classical track. The lyrics are basically a poem and to be fully appreciated need to be read in full, they touch on the matter of how people lead their lives after they have split with a long time friend/lover. This makes them sound a bit cliché’d but they are not. At over 7 minutes, the track has the chance to tell a story in full without condensing it. The track ends with more synth sounds.

10. GOING HOME [4.37].
Another up-tempo track which makes me think it is like an extension of the first track ‘Metatron’. James really lets fly on this solo and makes you realise he really should be better known than he is -a shame. The lyrics centre around losing your love to another due to working too hard at the office, quite bizarre but it works. A good track to end the album.

This album contains great playing throughout and is an enjoyable record. The latter tracks take a few listens to really get into but are worth the effort. I feel the production lets the album down slightly [particularly the drums] and as a result weakens its impact a little. However, the Japanese version of this album is meant to have a better mix and an extra track so this would probably amend this small concern. James has got a solid band behind him and it is his strongest band project to date, at times the lyrics are a little weak but Kendall Torey’s delivery hides this minor flaw. Fans of good rock music should check out this album and help raise James Byrds profile. I also recommend fans of instrumental releases to get ‘Son Of Man’ a.s.a.p. as it is a masterpiece. A good solid and at times exceptional album.

RATINGS
Production : 7.0 Songs : 8.5 Lyrics : 7.5 Performance : 8.5
Overall : 7.5
by Andy Craven

I originally gave this album a 7.5 rating, mainly down to the production but in hindsight the album is worthy of much higher praise as the main body of text proves. This is in my opinion the strongest of Byrd's released output so far and the new rating reflects this. 'Metatron' still has some of the best guitar work ever committed to tape while the songs have a depth which shows itself on each subsequent spin. Highly recommended.

New Rating : 9.0
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