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Black Label Society preaches to choir |
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Written by IAN PALMER
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Saturday, 12 November 2005 |
For the sake of the uninitiated, Zakk Wylde on Saturday graciously outlined the principles driving his band/personal philosophy, Black Label Society: Motorcycles are cool, beer is to be consumed in mass, and family values are of utmost importance.
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Black Label Society |
 Entertainment
 Art
Congress Theater
Chicago, Ill.
November 12, 2005 |
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The iron-livered former-and-current Ozzy Osbourne guitarist delivered his creed to a nearly-full Congress Theatre over the course of a 90-minute set of hard rock. Though full of crunching, low-tuned guitar riffs, Black Label Society’s music bears little resemblance to the likes of modern metal acts like Slipknot, Sevendust and Korn. The extended, flamboyant guitar solos (this is, after all, Wylde’s project) and absence of hip-hop influence or electronica place the group’s sound squarely in the realm of “classic metal,” steeped in Judas Priest and Black Sabbath.Wylde’s voice is strikingly similar to that of a more-youthful Osbourne, with a hefty dose of Layne Staley (“Oh yeah-ah-ah”) and the stratospheric wail of Rob Halford mixed in. While the blazing fretwork was no surprise from a musician who’s spent most of his career on Guitar World covers, Wylde’s powerful singing was the night’s unexpected gem. This was not the voice of a lifelong heavy metal sideman indulging himself at the audience’s expense; Wylde’s vocals were downright flawless. Touring in support of their most recent release, “Mafia,” Black Label Society took the stage as the theme from “The Godfather” played over the PA system. References to the late, ex-Pantera guitarist and Wylde buddy Dimebag Darrell were abundant, including a performance of the Dimebag-inspired ballad “In this River.” Wylde played the song on piano, showcasing some classically trained flourishes. The song, while heartfelt and displaying Wylde’s versatility, isn’t particularly remarkable on its own merits, though it elicited lighter salutes from the audience. The unabashedly sleazy metal chug of “Fire It Up,” the show’s opening salvo, was a highlight as Wylde used a talk box to give the guitar melody an Alice in Chains “Man In The Box” vibe. “Suicide Messiah” also hit hard, with Wylde introducing the song’s bending riff by playing it while holding his guitar high above his head, as if a sacrifice to the Gods of Rock. Wylde stood on onstage monitors while playing many of his solos, making the Viking-esque guitarist’s already hulking stature loom even larger.Although it would have been nice to hear second guitarist Nick Catanese get a chance to take the spotlight, Wylde’s supporting cast provided an ample sonic backbone to Wylde’s trademark, squeal-heavy six-string solos. Wylde and Co. may have been preaching to the choir, as nearly all of the Congress Theatre audience arrived in BLS-emblazoned clothes, but they didn’t disappoint their faithful, and Wylde doesn’t appear inclined to cater to anyone else. Powered by AkoComment 2.0! |
