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Crimes Of Virtuosity Review

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Posted by Andy Craven on August 26, 2000 at 14:46:40:

This is James Byrd’s 5th solo album after leaving the great ‘Fifth Angel’. His solo albums have tended to vary between instrumental and band releases. This his current album is a full blown band affair with dynamic songs and playing. For those of you who have never heard of James Byrd before let me tell you that he is a guitarist with a style that is an amalgamation of Yngwie, Uli Jon Roth, Hendrix and Frank Marino. But he adds his own inflections to this slant giving a very melodic and soulful style. Malmsteen has sung Byrd’s praises in the press with which there must be no higher regard. The album produced/mixed and engineered by Byrd is a classic slice of Classical/Rainbow esque Rock with bags of melody and power.

1. METATRON 444 [5.48]
A very powerful uptempo rocker with great riffing and general virtuoso performances all around. Kendall Torey's voice is particularly strong and calls to mind that of Jeff Scott Soto and Ronnie Dio. I think ‘Metatron’ is meant to symbolise a rising force from below and the music and lyrics certainly reflect this ‘Watch how the serpent takes life when its time to kill… Rocks are falling- the mountains step aside, Fortress of the man of sins reveals and opens wide’. There are several lengthy solos that are as intense as anything that Yngwie has ever put his stamp on and build the intensity of this track to fever pitch. A really exciting opening track, and possibly the best rocker on the album.

2. SHOT DOWN IN FLAMES [4.57]
Starting with a take on 'The Star Spangled Banner' the track quickly resolves into stunning guitar before the track takes hold proper with its pumping riff and powerful/exciting interplay between the band. Superb all round performances and a favourite of mine.

3. GOODBYE MY LOVE [7.55]
Opening with James’ signature sound played over some synth patches give the intro to this track a Pink Floyd feel. It then changes in velocity to another heavy riff, which brings comparisons to early Rising Force. From the title I was expecting this track to be a ballad which just shows how wrong you can be!!! It is a great neo-classical track. The lyrics are basically a poem and to be fully appreciated need to be read in full, they touch on the matter of how people lead their lives after they have split with a long time friend/lover. This makes them sound a bit cliché’d but they are not. At over 7 minutes, the track has the chance to tell a story in full without condensing it. The track ends with more synth sounds.

4. BYRD'S BOLERO [4.38]
Possibly Byrd's most impressive achievement to date. A stunning orchestral piece that showcases Byrd's guitar skills to the fore while managing to sound pefectly placed within the totally classical framework. In the same vein as Yngwie Malmsteen's 'Concerto' opus, but this was recorded a couple of years before that showing that Byrd has the edge. A previously unreleased track that shows Byrd has a promising future if he decides to progress in this field.

5. GET FREE [4.50]
Another uptempo track which breaks down nicely. Anyone who has heard James last instrumental album ‘Son Of Man’ will recognise his style here, only this time with lyrics. It shifts style nicely from the laid back verse to the stomping chorus. The lyrics centre on religion and the seven deadly sins. Some great Hendrix inspired wah blues lines with demonic dive-bombs. The chorus is a bit repetitive but all in all another solid track.

6. IN MY DARKEST HOUR [5.16]
An acoustic ballad. Starting with gentle chords played on a classical guitar give an almost medieval feel and the atmosphere created is enticing. The lyrics for this track focus on wisdom ‘Will the madness ever end…Have I lost my way? What hurts you makes you stronger - still waiting for the day’. Kendall voice is full of emotion which helps the track sound totally convincing. A short solo fits perfectly and the track comes to a mellow ending.

7. STORM KING [6.56]
Opening with some great organ work ala ‘Child In Time’ played by James, this breaks down into a blues verse, the lyrics centre on the ‘Storm King’ who is someone that is great at almost everything but has no luck in love . There are several solos throughout this track ranging from jazzy to blues to classical to rock, this gives the track great shifts in mood. The pre-chorus is quite catchy and makes you think the chorus is going to be different to what it actually is. A good track with some great playing - again.

8. JANE [4.39]
The second instrumental on the album opens with some classical acoustic guitar, this is then followed by soaring electric, this track is like a cross between Blackmore’s Night, YJM instrumentals ala ‘Marching Out’ and Michael Schenkers more melodic moments. The notes James chooses are all exactly what’s needed, their is no real fretburning on this track but that is not missed at all and his sound sings. A great 4 ½ minutes.

9. THE HUNTED HERETIC [WHEN I WAS YOUNG] [5.16]
Hendrix type chordal flurries open this mid paced track. Again some beautiful guitar histrionics weave between the verses. The lyrics centre on someone commenting on life from the grave ‘But now that I’m dead - I can speak my mind, The blind see the dead - but they don’t know our kind’. Some more great wah solo work blends perfectly with Kendall’s soaring voice. James’ solos here remind me of the sonic tapestries Uli Jon Roth laced throught his ‘Electric Sun’ albums and this only goes to illustrate the mastery Byrd commands on the guitar.

10. GOING HOME [4.37].
Another up-tempo track which makes me think it is like an extension of the first track ‘Metatron 444’. James really lets fly on this solo and makes you realise he really should be better known than he is -a shame. The lyrics centre around losing your love to another due to working too hard at the office, quite bizarre but it works. A good track to end the album.

This is in my opinion the strongest of Byrd's released output so far . 'Metatron' still has some of the best guitar work ever committed to tape while the songs have a depth which shows itself on each subsequent spin. If you like well played Rock music with virtuoso guitar and vocals 'Crimes Of Virtuosity' comes highly recommended.

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: This is James Byrd’s 5th solo album after leaving the great ‘Fifth Angel’. His solo albums have tended to vary between instrumental and band releases. This his current album is a full blown band affair with dynamic songs and playing. For those of you who have never heard of James Byrd before let me tell you that he is a guitarist with a style that is an amalgamation of Yngwie, Uli Jon Roth, Hendrix and Frank Marino. But he adds his own inflections to this slant giving a very melodic and soulful style. Malmsteen has sung Byrd’s praises in the press with which there must be no higher regard. The album produced/mixed and engineered by Byrd is a classic slice of Classical/Rainbow esque Rock with bags of melody and power. : 1. METATRON 444 [5.48] : A very powerful uptempo rocker with great riffing and general virtuoso performances all around. Kendall Torey's voice is particularly strong and calls to mind that of Jeff Scott Soto and Ronnie Dio. I think ‘Metatron’ is meant to symbolise a rising force from below and the music and lyrics certainly reflect this ‘Watch how the serpent takes life when its time to kill… Rocks are falling- the mountains step aside, Fortress of the man of sins reveals and opens wide’. There are several lengthy solos that are as intense as anything that Yngwie has ever put his stamp on and build the intensity of this track to fever pitch. A really exciting opening track, and possibly the best rocker on the album. : 2. SHOT DOWN IN FLAMES [4.57] : Starting with a take on 'The Star Spangled Banner' the track quickly resolves into stunning guitar before the track takes hold proper with its pumping riff and powerful/exciting interplay between the band. Superb all round performances and a favourite of mine. : 3. GOODBYE MY LOVE [7.55] : Opening with James’ signature sound played over some synth patches give the intro to this track a Pink Floyd feel. It then changes in velocity to another heavy riff, which brings comparisons to early Rising Force. From the title I was expecting this track to be a ballad which just shows how wrong you can be!!! It is a great neo-classical track. The lyrics are basically a poem and to be fully appreciated need to be read in full, they touch on the matter of how people lead their lives after they have split with a long time friend/lover. This makes them sound a bit cliché’d but they are not. At over 7 minutes, the track has the chance to tell a story in full without condensing it. The track ends with more synth sounds. : 4. BYRD'S BOLERO [4.38] : Possibly Byrd's most impressive achievement to date. A stunning orchestral piece that showcases Byrd's guitar skills to the fore while managing to sound pefectly placed within the totally classical framework. In the same vein as Yngwie Malmsteen's 'Concerto' opus, but this was recorded a couple of years before that showing that Byrd has the edge. A previously unreleased track that shows Byrd has a promising future if he decides to progress in this field. : 5. GET FREE [4.50] : Another uptempo track which breaks down nicely. Anyone who has heard James last instrumental album ‘Son Of Man’ will recognise his style here, only this time with lyrics. It shifts style nicely from the laid back verse to the stomping chorus. The lyrics centre on religion and the seven deadly sins. Some great Hendrix inspired wah blues lines with demonic dive-bombs. The chorus is a bit repetitive but all in all another solid track. : 6. IN MY DARKEST HOUR [5.16] : An acoustic ballad. Starting with gentle chords played on a classical guitar give an almost medieval feel and the atmosphere created is enticing. The lyrics for this track focus on wisdom ‘Will the madness ever end…Have I lost my way? What hurts you makes you stronger - still waiting for the day’. Kendall voice is full of emotion which helps the track sound totally convincing. A short solo fits perfectly and the track comes to a mellow ending. : 7. STORM KING [6.56] : Opening with some great organ work ala ‘Child In Time’ played by James, this breaks down into a blues verse, the lyrics centre on the ‘Storm King’ who is someone that is great at almost everything but has no luck in love . There are several solos throughout this track ranging from jazzy to blues to classical to rock, this gives the track great shifts in mood. The pre-chorus is quite catchy and makes you think the chorus is going to be different to what it actually is. A good track with some great playing - again. : 8. JANE [4.39] : The second instrumental on the album opens with some classical acoustic guitar, this is then followed by soaring electric, this track is like a cross between Blackmore’s Night, YJM instrumentals ala ‘Marching Out’ and Michael Schenkers more melodic moments. The notes James chooses are all exactly what’s needed, their is no real fretburning on this track but that is not missed at all and his sound sings. A great 4 ½ minutes. : 9. THE HUNTED HERETIC [WHEN I WAS YOUNG] [5.16] : Hendrix type chordal flurries open this mid paced track. Again some beautiful guitar histrionics weave between the verses. The lyrics centre on someone commenting on life from the grave ‘But now that I’m dead - I can speak my mind, The blind see the dead - but they don’t know our kind’. Some more great wah solo work blends perfectly with Kendall’s soaring voice. James’ solos here remind me of the sonic tapestries Uli Jon Roth laced throught his ‘Electric Sun’ albums and this only goes to illustrate the mastery Byrd commands on the guitar. : 10. GOING HOME [4.37]. : Another up-tempo track which makes me think it is like an extension of the first track ‘Metatron 444’. James really lets fly on this solo and makes you realise he really should be better known than he is -a shame. The lyrics centre around losing your love to another due to working too hard at the office, quite bizarre but it works. A good track to end the album. : This is in my opinion the strongest of Byrd's released output so far . 'Metatron' still has some of the best guitar work ever committed to tape while the songs have a depth which shows itself on each subsequent spin. If you like well played Rock music with virtuoso guitar and vocals 'Crimes Of Virtuosity' comes highly recommended.

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