In many cases it's really hard to begin to describe this record. Of course, it's not what you might expect from the Flower King's axeman/vocalist. You do have the progressive rock elements in place; but yet
Wall Street Voodoo does not go overboard with typical prog-rock factions. What Stolt has created is an album that applies the technical element to more soulful playing; bringing the factor of "rocking out" to progressive rock. And you might have heard me say this before, the whole " rocking out factor" is missing from a lot of prog rock these days; while we get caught up in the atmospheric vibe, heavy tread way, and concepts, we often easily overlook more simplistic fashions of pop sensibility that is not necessarily missing, but drowned out by all the technical elements. Music is supposed to make you move and move you at the same time, and that is what
Roine Stolt and Friends do on this record.
Originally intended to be a blues album, ala Hendrix or Peter Green-era Fleetwood Mac,
Wall Street Voodoo ended up morphing into a churning rock record with a psychedelic vibe. As usual he can't stay too far from his Flower King's endeavor and those "proggy" elements are well welcome within this record. Opening up with "
The Observer," his blues ambitions are melded with pop receptivity, where he burns his axe through the subdued soulful bleeding of the melodic endurance. Still catering to this vibe with the George Harrison reminiscent "
Dirt," the Zeppelin-esque "
Spirit of the Rebel," as well as the Muddy Waters/Stevie Ray Vaughan inspired tracks "
Dog With A Million Bones" and "
The Unwanted," Stolt really puts his stance for the blues in place.
Nevertheless, he still rides the technical edge in foresight with the Joni Mitchell cover of "
Sex Kills," "
Everyone Wants to Rule the World" (no, not that song), "
Remember," and "
Hotrod" where the sophistication is at the forefront during
Voodoo's more precision minded moments. His guitar playing ranges from bluesy SRV/Hendrix phrasing to his patented shredding, providing the records stripped down musical approach that is occasionally complimented with Rhodes pianos, Hammonds, and Mellotrons. Let's not forget that
Neal Morse guests as a lead vocalist on many of the record's tracks, pushing the envelope higher on the ear candy factor. Even lyrically, the songs express more down to earth context than most of the material that he is known for.
As
Wall Street Voodoo acclaims itself as a highly ambitious project, Stolt is able to express himself in his own manner, where there record could have been recorded in an "anything goes" situation. A double album that is a collection of songs rather than and art piece (
The White Album) or an elaborate concept album (
The Wall);
Voodoo is a snapshot in time, showcasing the more emotional side of a musician that is known more for his meticulousness material.
Written by
Hashman Monday, December 5, 2005
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