Tag: I Want Blood

Jerry Cantrell – I Want Blood

Posted on by Mike

https://open.spotify.com/embed/episode/57AOabins5CaX3Ro4ctBmC?utm_source=generator

In a very recent interview, Jerry Cantrell, Alice in Chains riff GOD and my Lord and Savior, stated that regardless of who you are, no solo record should ever sound the same. And he certainly is living up to that credo with his latest record, I Want Blood, which was released just last Friday. I Want Blood is a massive departure from Jerry’s previous solo outing, 2021’s Country Rock opus Brighten. Brighten almost could’ve passed as a pre-Take It to the Limit Eagles album! Think of songs like “Take It Easy”.

With the release of the first single for the new album, which I already reviewed, it was clear that Jerry decided to bring more balls back to the music. He also decided to add a few old friends into the mix for these songs. While 95% of the Brighten crew returned, including ex-Dillinger Escape Plan members Greg Puciato (I just vomited in my mouth typing that!) on backing vocals and Gil Sharone on drums, Guns N’ Homos bassist Duff McKagen – Yeah, I said it! Fuck his band and him too! – there are a few additions. While Tyler Bates is the one man missing from the Brighten crew, Lola Collette – who I just found out is Tyler’s daughter! – provides backing vocals along with Greg. Also here, as mentioned in my “Vilified” review is Metallica bassist Rob Trujillo. Faith No More/ex-Ozzy drummer Mike Bordin also makes an appearance on two tracks.

Before I continue, I need to make clear that neither Rob nor Mike Bordin play on any tracks together. Therefore, if you were hoping for some kind of Degradation Trip audio reunion, as I was, you’re going to be disappointed.

As I was.

The opening track is “Vilified”, which again, I already reviewed, and you can read that review in the hyperlink I provided two paragraphs ago. “Off The Rails” makes it clear that “Vilified” is no fluke track, and that the album is to continue in this heavier direction. And for that, I say thank fuck! I really like the pedal tone lick that’s used to fill the empty spaces throughout the main riff before it double times. There’s even a guitar solo here! Next is “Afterglow” which was also the album’s second single to be released. I initially was not a fan of this tune. I understood this was meant to be a slower tune; but I initially saw the song as underwhelming, a tad too middle of the road. But upon hearing it in the context of the album as a whole, I appreciate it at least a little more.

It’s weird to hear the changes in Cantrell’s delivery as a singer and a guitarist as he ages. He remains a standout; you can never NOT recognize him upon hearing his style. But his lead playing style has lost some of its intensity, even if the songs themselves still kick major ass. And his voice is a tad shakier these days. I first noticed it on Brighten. So, I can’t tell if it’s something he’s just using for these solo albums to help them stand apart from his Alice material, or if this is his voice now, a product of much wear and tear. He’s 58 after all, so it’s rather plausible. But let’s not misunderstand – he STILL has a powerful voice when needed.

I chose to wait until now before reviewing the album’s title track as it was released as a single just a week prior to the album release date. I need to get this part out of the way now: The way he says, “I Want Blood!” at the beginning of the song is weird, almost funny. I understand the metaphor behind the title and the song, which is more about swinging for the fences than killing someone (too bad). But he almost sounds like a lazy vampire, if that makes sense. Maybe he can be compared to even the Count. Yes, THAT Count!

(Talks like the Count) I want blood, ha ha ha!

Basically, I’m not convinced Cantrell wants blood here. Put some more gusto into it, fucker!

In all seriousness, the track is fucking awesome! It’s so awesome I forgive him for using a tambourine! It almost reminds me a little bit of the chorus riff from “Dickeye” from Boggy Depot, but with even more beef to the guitar tones. It’s one of the fastest tracks on the entire record, and when I hear Jerry compare himself to a boxer in the track in interviews, I can envision it within the context of the song. “Echoes of Laughter” is next. I love the distorted phase effect used in the verses. It’s a slow one, bringing the pace back down after the faster pace of the previous track. But upon hearing the rest of the track, I personally feel like the production is a tad too slick, that there are far too many instrumental layers. I have zero complaints about vocal harmonies.

Next up is “Throw Me a Line” – my fucking FAVORITE TRACK ON THE ENTIRE ALBUM. It’s PERFECT. It’s got that Black Sabbath-style one-note riff, with the type of syncopation that became Jerry’s trademark via “Man in the Box” 34 years ago. The tempo and groove both allow every instrument and player to breathe. Also here is an important lesson for all musicians. Listen to that slight silence within the syncopated rhythm. Pay close attention. It’s slight but it counts. Why? Because what’s NOT played is equally as important as what is played. Space is still criminally underrated in music to this day.

Speaking of Black Sabbath, do you hear that bend in the main riff to “Let it Lie”? Jerry’s guitar style from Dirt to now is greatly informed by that type of bend, courtesy of his jerking off to “Iron Man” as a kid. That riff alone could’ve absolutely been on an Alice in Chains record. I also love his super thick wah tone in the solo. It’s been that thick even since Rainier Fog and it even reminds me of the solo to “Drone” of that record, even if the solo leaves a little something to be desired.

“No tearful confession, I admit to nothing wrong…” is the acapella line that starts off “Held Your Tongue” before the band kicks in. This along with the previous two tracks are among the heaviest of the entire record. “We belong together”, he sings in a three-part harmony fitting only of God himself. The song as a whole could have fit anywhere on Degradation Trip as far as I’m concerned. The chorus and flange-soaked arpeggio that starts off “It Comes”, the album’s closer, is beyond trippy. I actually envision multicolored, psychedelic swirls each time I play it back. It’s a slow dirge until approximately 3:25 when it picks up some speed and makes way for possibly Jerry’s best solo in the entire alum. It’s infused with wah, soaked in delay, as has become his signature ever since Black Gives Way to Blue was released fifteen years ago. And just like that, it crashes back down. That’s how dynamics are properly executed.

After Brighten, I’m very surprised at Jerry for pivoting back into a heavier style. I feel like that album is a more accurate representation of Jerry and his personality today. But respect goes to him for insisting on pivoting anyway, especially since he of all people could’ve easily kept moving in the same direction. He has NOTHING to prove to anyone, yet he chooses to challenge himself.

Recommended Tracks:

Vilified, I Want Blood, Throw Me A Line, Held Your Tongue, It Comes

I give I Want Blood four out of five middle fingers.

Jerry Cantrell – “Vilified”

Posted on by Mike

I dare you to tell me with a straight face that you saw this coming. I sure didn’t! We knew he was recording…something…and that was made apparent when his iconic 1985 G&L “Blue Dress” Rampage was misplaced for a day after initially being declared as “stolen”. So when “Vilified” dropped about a week ago, it was a pleasant surprise in so many ways.

The opening drum pattern, which establishes off the bat the song is going to be played in 6/8, is rather powerful. A John Bonham-esque triplet is the kickoff point for the rest of band to kick in. Cantrell’s main riff is rather simple, very one-note, seventies-like, but it kicks ass. It wasn’t until after I heard it that I discovered that Gil Sharone is back on drums for “Vilified”. On bass? None other than Robert fucking Trujillo. Degradation Trip reunion!

Before I continue, here’s a bit of context for the clueless out there. Jerry’s rhythm section for Degradation Trip Vol. 1 & 2, released in 2002, were comprised of both Robert on bass and Mike Bordin on drums. Those two were Ozzy’s rhythm section at the time, with Degradation Trip being released the year before Robert left Ozzy to replace Jason Newsted in Metallica. Ok, back to the song!

“Vilified” is very much a hard rock song, a major contrast to anything on his previous solo record, which I will allude to more soon. Keeping in the 70’s style of hard rock, Jerry uses the Talk Box for one guitar track. He’s been using that more in the last six years than he has in a long time! The song breaks with its 6/8 pattern at the 2:10 mark for a break down section, lasting about 25 seconds before the original time signature returns in time for harmonized guitar solo. Between his guitar solos on the last album and here, Jerry’s solos are rather simple, nothing compared to his solos in Alice in Chains and perhaps that’s by design. Who knows. But I liked it, it’s still more than what could be heard on the last record. One last breakdown section appears at 3:45 point and finishes the song. It’s a solid, slow headbanger section and an excellent way to end “Vilified”.

Lyrically, “Vilified” appears to be about the internet, the recent rise of Artificial Intelligence in particular, and society’s tendency to rely on AI, as well as fall for its deceptiveness, via fake pictures, videos with manipulated dialogue where no one sees that the sound doesn’t match the movement of the lips, etc. A word he uses in the first pre-chorus is schadenfreude. Schadenfreude is a German word that means harm-joy. It’s the feeling of joy that someone gets from watching others suffer, which we see a lot on social media, and the most insecure losers living in their mommy’s basements right now are looking for to make themselves feel more validated in life. Bullying. So, when he sings “schadenfreude crescendo/AI, skew the innuendo“, I can only imagine he’s addressing the dopamine increase we as a society get from watching everything on our computers and phones and determining it’s all happening in real time when in reality, a lot of it isn’t even true.

Must feel good to have “something” validate your thoughts.

I’m noticing a lot of people commenting on Jerry’s vocal harmonies when he sings the line “Oh, my savior, our failure“, comparing it to a harmony he easily would’ve performed with the late Layne Staley. Upon repeated listens I hear it. I really do. The only giveaway that it isn’t Layne is Jerry has that Oklahoma twang in his vocals, a product of his childhood growing up there. Overall, however, his voice is fucking STRONG here.

“Vilified” was released a day or so before it was announced that a new album, I Want Blood, will be released in October. And if “Vilified” is any indicator, I Want Blood will probably sound nothing like 2021’s Brighten, as so many people were thinking about with dread. Clearly, you can see that I liked Brighten and found it to be a solid alum if you clicked on that last hyperlink. It might’ve appeared however to be a tad too country rock for some. They can suck my dick.

But I wouldn’t go ahead and assume right off the bat that this upcoming album is going to be another Degradation Trip like I’m seeing some people jerk off to the idea of. “Vilified” is a banger; but Jerry has yet to release a solo album that didn’t have its own character. And since I have DT – and ALL of Jerry’s solo albums for that matter! – I can tell you right now that I Want Blood will probably not sound like DT, nor would I want it to. Get your hands out of your pants and let Jerry continue to give each album its own identity!

In fact, you can even preorder the album here! Now BUY THE FUCKING RECORD!

I give “Vilified” four middle fingers.