James Byrd - Son of Man

There’s something about James Byrd’s playing which is I guess ‘uplifting’! Pretentious statement? Probably, but no less true for it. On paper, an instrumentalist’s album from a guitarist who shreds as if the world supply of shredding were about to disappear like the rainforests is generally unattractive stuff, yet James Byrd is an entirely different entity.

‘Son Of Man’ suggests that James Byrd has hidden powers that most other guitarists lack. In the hands of this virtuoso the mundane physicality of wood and metal is transformed into something beautiful and moving, something capable of transmitting the deepest emotions. Only true greats posses this ability - James Byrd has this quality. Each of the nine songs on ‘Son Of Man’ is a consummate vehicle of expression with Byrd's soul right at the forefront. The guitars swoop, moan, cry and howl in such a way that the vocalist is completely forgotten for the entire 44 minutes running time.

Byrd obviously knows restraint and the power that space has. That is not to say that 'Son Of Man' doesn't have its quota of pure guitar madness, it does, only the many moments of calm and shade do a superb job of making you take in the fast passages and appreciate them. However, its the melodies that make this album a complete winner in my book.

1. 'In The Beginning' kicks off the album with a powerful explosion and various sound effects that create a huge sonic soundscape, guitars then enter and swirl around the stereo frame and your brain. The backing track has the same sort of feel as Uli Jon Roth's 'Lilac' until the chorus kicks in with a super majestic melody that is simple but so perfect. James throws in some glorious runs and phrases before soloing over the chorus with suitable aplomb. Heavy Hendrix-ian wah work kicks in towards the end throwing the track into overdrive, a funky motif comes in briefly before another anthemic theme that slows the tempo down a notch or two. Byrd uses the wah to great effect again creating a very vocal quality, a superb opener.

2. 'Adam' is up next, this time with a darker sounding theme. Superb melodies over a quite dramatic backing, you can feel tension in the air. The counterpoints between lead guitar and rhythm is quite glorious, with the solos throwing all kinds of nuances and inflections in. A Jeff Beck like phrase comes in near the end and here Byrds tone really shines. Another explosion segues the track into...

3.'The World Requiem' has another massively majestic theme that gets right under you're skin. Here Byrd's guitar really takes the place of the vocalist over the quite busy backing. I must throw in here that Chase Culp's snare drum sounds HUGE, smacking you in the face with every pound of the skin!! One and half minutes in a climbing weaving run comes in before Yngwie style pedal points - glorious. The melodies soar ever higher here after and Byrd plays around with it to perfection - One of my favourites.

4. 'Ezekiel (Son Of Man)' Some shredding opens the piece before settling into calmer pastures with Byrd using a super clean Strat tone to the full. Again Uli Jon Roth comparisons spring to mind but their is very much supreme individuality in the piece that makes it Byrd's own. The tempo picks up a little and Byrd's tone becomes dirtier again for some glorious pyrotechnics, before the clean tone re-enters with some very attractive runs. The main chorus figure at 2.58 is pure heaven intertwined between the solo guitar and backing. Another superb track.

5. 'Yeshua - Adonai Elohim' is a gentle atmospheric classical keyboard driven piece with some truly meaningful classical guitar scattered here and there. Similar in mood to Yngwie's 'Prelude To April' and this comparison sums tells you the quality.

6. 'Out Of The Temple' has a neo-classical feel to it. Byrd plays with a delay pedal creating lush counterpoints. The track builds as layer upon layer of guitar makes this one heavy piece. James throws in suitable attired soloing that will have you reaching for the repeat button on your CD machine. Many great arpeggios intertwine with glorious vibrato and its all pulled off with such apparent ease!

7. 'The Teacher / Beatitude' starts off with dreamy chords made even more 'trance' like with inflections from the tremolo bar. A minute and a half later more Hendrix style rhythms come in ala 'Little Wing' or 'Hey Baby - New Rising Sun'. Over this is smooth distorted lead guitar which throws in all the melody you could wish for, I even detect a few Uli lines ala 'I'll Be There' - a very good thing indeed, another highlight.

8. 'Golgotha / The Right Hand Of Power' The title perfectly sums up this one. A power chord progression opens where you can really hear those tubes in the Marshall's being slammed, before some more 'flying' lead lines that make this everything you hoped it would be and more. There are several key changes throughout and again great use of the wah pedal is brought into play. Half way in the tone cleans up for some more superb arpeggios that will inspire every guitarist out there. The track goes through many different areas towards the end throwing a great slant on the track.

9. 'In My Fathers House' returns to the more melodic anthemic areas of the first few tracks and rounds up the album superbly. Here James' tone is extra glassy and quite spectacular making every one of the perfectly placed notes, licks and runs clearly audible. The track sees a few variations of earlier themes and gives a good sense of continuity. Altogether a perfect ending to this album.