There’s always a degree of dichotomy when it comes to the Black Label Society. On the surface guitarist and frontman Zakk Wylde looks pretty much like any biker from hell. Full flowing beard, tree trunk forearms and black leather garb. But if you’ve listened to any of his previous work, you’ll know for sure that there’s more than meets the eye with him.
The law of the jungle states that might is right. The biggest gorilla will always throw his shit around, quite literally, if he wants to. He can pretty much do whatever he wants and people can take it or leave it. I wonder if this was the line of thought that Zakk embraced when he decided to record their latest album, The Song Remains Not The Same. Quite possibly. Was there any ‘need’ to record an acoustic album? Perhaps not. I’ve never claimed to be an expert on human behavior or psyche, but it could be argued that every brute yearns to show his softer side. No, the 300 didn’t tire of war. They didn’t even allow themselves to cry remember? However, maybe Zakk tired of recording blistering, big fat bludgeon guitar music and decided to unplug for a change.
How far was this a good decision? The opening bars of the opening track Overlord harken back to the days of MTV Unplugged, albeit, with the definitive pinch harmonic and vibrato sounds of Wylde’s guitar. You’re left to contemplate how much of an impact Alice in Chains had on the way hard rock tunes were written in their wake. The curtain raiser is essentially a rerecord of the version on 2010’s Order of The Black album. Beautifully engaging without being invasive, the track doesn’t require the listener to have heard the original to enjoy the second outing. Whether he should’ve retained the screaming in the chorus is a matter of opinion. The image-laden metaphoric lyrics, replete with warning, leave no doubt that Wylde is some kind of Christian. But with music as the focus of this piece of art, he avoids being a preachy ‘holier than thou’ sort of person. He may well have been a choirboy or a choral arranger in some past life. If we had arrangements of this quality at our own house of worship, I’d consider attending weekly service.
Parade of the Dead – The second track immediately disarms listeners with its eerily soothing piano and strings, reminiscent of Just Killing Time from 2000’s Stronger than Death album. The drums carry on with steady ambition and drive, synching beautifully with the lush piano tone. Keep an ear out for its perfect finish. A flawless track.
Riders of the Damned –When artists that are best known for their heavier work release something acoustic a section of audiophiles and sound geeks rejoice like Star Wars fans who discover a map to a forgotten back alley of Alderaan. They live in the hope that the new information will reveal something juicy. Those who listen to this track might learn how heavy tracks originally sound before they are beefed up with overdrive, distortion and layers of effects. While the lyrics may come off as slightly mournful, aficionados will forgive the deserving Mr Wylde. He has been through some shit in his time. There are some surprising off-centre turns to this track. Zakk has inadvertently influenced hick rock croon act Three Doors Down as demonstrated in this song’s opening strum pattern.
Darkest Days – No, this isn’t a Stabbing Westward cover. This is quite something else. Images of rural life, donning overalls, growing corn and grazing cattle swarm into frame when this song’s playing. Fans of violins will lick their lips at the fact that some bright spark decided to fiddle around for their benefit on this track. An angelic dual-layered acoustic guitar solo leaves listeners in some kind of hex, unsure of what the hell just happened. Some might imagine themselves listening to some warped version of Tom Petty’s Free Falling.
Darkest Days – No, this isn’t a Stabbing Westward cover. This is quite something else. Images of rural life, donning overalls, growing corn and grazing cattle swarm into frame when this song’s playing. Fans of violins will lick their lips at the fact that some bright spark decided to fiddle around for their benefit on this track. An angelic dual-layered acoustic guitar solo leaves listeners in some kind of hex, unsure of what the hell just happened. Some might imagine themselves listening to some warped version of Tom Petty’s Free Falling.
Junior's Eyes – This has tremendous ringtone appeal. Apparently this is a salute to a lesser known work from the Black Sabbath catalogue while the album title is quite obviously a tribute to the ever-influential Led Zeppelin. Easy Gospel oohing and aaahing underscore some fine guitar work. Meanwhile, Ozzy’s influence on his former guitarist’s approach to vocals manifests itself here.
Helpless- A tad too tender for tearing down the highway to hell. A section of people will undoubtedly argue that Zakk’s delicate vocals maybe should’ve been saved for another album but this is an experimental album isn’t it? It’s one of those song that you think won’t end, but then it does, without warning.
Bridge Over Troubled Waters – A grandiose Gospelesque cover of Simon and Garfunkel’s 1970 track. Again, listeners will wonder what possessed Wylde to record this. To prove that he wasn’t just some booze swilling musical warrior? The pre-chorus line does endear itself to you before the actual chorus kind of shakes you into wondering whether you’ve just found your latest guilty pleasure. Some might find that evident piano bass note delightfully somber.
Can’t Find My Way Home- Yes! A gorgeous piano cover of the Blind Faith masterpiece. With oceans of sing-along appeal listeners can really feel for Wylde when he confesses that he’s wasted. The piano rejuvenates this classic rock tune while the outro solo and piano jam are among the album’s higher points.
Darkest Days version 2- a recording of the track albeit with guest vocals from country singer John Rich who reportedly was part of the group Lonestar that permeated mainstream music with their hyperbolic hit Amazed back in 1999. The track’s guitar tone is what Alkaline Trio aspired to achieve on their 2008 acoustic Agony and Irony sessions.
The First Noel- Irrelevantly relevant, the instrumental album closer might be more appropriate as the background music for a familial yuletide feast. Still, take a wintry walk on the Wylde side. He demonstrates with flair his prowess across the fingerboard, but there’s somehow a danger that this track leaves listeners finger bored. As such, the piece’s final note answers that question: why is it called a GRAND piano?
A couple of talented young musicians who I shared a bottle with last weekend both concurred with my idea that Zakk Wylde and Dimebag Darrell were my generation’s guitar gods. It might be a balanced dichotomy that ensures a band endures in the harsh environment created by certain record companies. The Song Remains Not The Same may not feature tunes that build on Wylde’s reputation as the sickest axe-player in the west. It could be said that it is a collection of songs that remind listeners of past BLS soft moments like the intro to Forever Down, In This River and the heartfelt I Never Dreamed. They are enough to convince you that not every pianist (pronounced peenist) is necessarily a dick. All the same, as a guitar player you’re advised to leave a window open for your self-esteem to escape. Whether heartbroken or hungover, raising hell or having a quiet read, Black Label Society’s The Song Remains Not the Same is well worth getting your hands on.
