|
|
21 of 21 people found the following review helpful:
5.0 out of 5 stars
Outstanding and heavy - and Vai makes things interesting ;-), May 21, 2004
Of all Whitesnake's albums, this is the heaviest one. Sure, 1987 had a bunch of killer radio hits and they where back then at the top of their songwriting skills (I think that John Sykes played a main role on that), but "Slip of the tongue" showcases a darker (well, a grayer ;-)) and heavier side of the band, and I personally welcome the change with wide open ears.My preferred track on this album is "Judgement Day", which has a powerful riff that reminds me the style of Dio (or something in that mood). I also like the explosive "Slip of the tongue" (in where Steve Vai perfectly fits in), "Sailing Ships" (in spite of Vai's solo: I'm sure that for this one Sykes or Campbell would have done a better job) and "Wings of the Storm" (in which Vai really shines with his energetic playing and a flashy solo). There's no doubt about the good job that Sarzo and Aldrige did here. And of course, the powerful voice of David Coverdale is the main ingredient of the entire recipe - well, love lyrics are a tad kitschy, but who cares after all? :-) But again, Steve Vai on guitar duties seems to be the most controversial subject about this album, isn't it? My thoughts about that: It is true that he is one of the best players in the world (and perhaps the most "musical" of all rock axemen ever), but it is also true that he has few (if something) to do with Whitesnake. The problem with Vai is that he always tries to sound like himself, because he's a very authentic player. In doing this, he tries to avoid using blues and pentatonic-based licks. Instead of playing standard metal clichés, he overplays with his killer (but rather progressive) chops, going for unexplored avenues. The result is that, in a band like Whitesnake, he frequently moves away from the main song's focus, so the (average or uneducated) listener suddenly finds himself lost in a bunch of notes, weird whammy-bar abuses, "screams" and harmonies that are atypical in radio-friendly hits. This is almost a disaster. Nevertheless, still in some songs on this album ("The deeper the love", "Sailing ships", "Now you're gone" and "Slow poke music") Vai stays discrete enough to sound "right" for the band. But the guy is not a filler. He is a star on his own and can't help "going for it" almost all the time - and that's not always a very good idea, as this album witnesses in several places. Given these facts, some people point to Vai as the main responsible of the lack of deep emotion all along this release. However (and to be fair), note that Steve Vai was just hired as a player for "Slip of the tongue". These songs were all written by Coverdale and Vanderberg, so I don't think that Vai is to blame for the overall lack of "bluesy" feeling. Instead of that, Vai is rather another victim of John Sykes' departure, as Sykes' talent to write wonderful songs is undeniable (Coverdale and Vanderberg together couldn't match Sykes' pen, sad but true). Producers could also be guilty, as they could have said to Vai: "stay yourself playing the blues and forget about those weird things!" But well... :-) To conclude, this is a very good album that differs from the others Whitesnake did before. Its production is excellent, and Vai surely overplays, but the final delivery doesn't sound bad neither. I spite of its defects, this album remains one of the bests from the band, and still has soul and enchanting power. That's why I give to it four stars and two thirds (so five stars here :-)). Enjoy!
Help other customers find the most helpful reviews
Was this review helpful to you?
 
|
|
|
|
is Whitesnake's 
