Get Out of Yard Review

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(More customer reviews)Reviewgium - Volume I, issue XIV

Paul Gilbert is a busy man. Always busy. But surprisingly, this album is a first for him: his first fully instrumental album. And of course, it rocketh. Paul Gilbert has pretty much established that fact that he can do anything on the guitar. Anything. From Led Zeppelin to Joni Mitchell, from Slayer to the Spice Girls. Not to mention he has put out over two dozen albums of original material, including his work with Mr. Big, Racer X, and his solo band(s). He can play eye-moistening love songs, and he can high-speed-shred with the best of them (and often do a much better job at it). Paul is a very liberal guy, and he holds nothing back. Get Out of My Yard is a great, fun album...you can tell he is having fun playing, and you will have fun listening.

Right from the start, with the self-titled track, Gilbert starts showing off his shredding skills. But this album is not all about shredding, as is obvious at the beginning of the second song "Hurry Up," a relatively conservative, almost Rush-like rock song. You really get the best of both worlds on this album, plus some other worlds that Gilbert makes up. Speaking of travelling to other worlds, listen to my favorite track, "The Echo Song" with its techno echo, and imagine yourself careening through space at high speed in your one-man Buck-Rogers-style rocketship, bouncing off planets and flinging exuberantly amidst twinkling stars and comets. Songs like "Straight Through the Telephone Pole" and "Rusty Old Boat" further the subtle vibe of classic rock and retro charm you get throughout the album, as well as Gilbert's obvious sense of humor that can be detected even with the lack of vocals. Other stand-out tracks are "Three E's for Edward," which, from the liners, I assume is a tribute to Eddie van Halen, in which Gilbert plays an acoustic with only three strings, all tuned to E; and then there is the splendid, all-guitar rendition of "Haydn Symphony No. 88 Finale." Someone should tell the Great Kat, that this immaculate masterpiece is how true neo-classical SHOULD sound, not that muddled and nearly incomprehensible twaddling she shamelessly churns out.

Repeating what I said earlier: Get Out of My Yard is a great, fun album...you can tell he is having fun playing, and you will have fun listening. Take that as my recommendation. Paul Gilbert is so diverse and omnipotent, you really never know exactly what he is going to do. Therefore anything he releases is worth checking out, and this album is no exception to that rule. It definitely rivals--and I would even say surpasses--recent releases from guitar greats such as Vai and Satriani, not only in innovation and imagination, but also in technical prowess.

And congratulate the guy. He just got married. Cheers, Mr. Gilbert.

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Product Description:
"Get Out Of My Yard" is the first all-instrumental CD by guitarist Paul Gilbert, regarded internationally as one of the greatest players in the industry. Gilbert's sales draw from nearly 20 albums and 20 years as a recording artist and touring musician. There has been a resurgent interest in musician oriented records, the Shrapnel back catalog and Racer X/Paul Gilbert. The release of this record is perfectly timed with a legion of young players who are just now discovering the origins of high performance shred guitar of which Paul Gilbert is one of the true innovators.

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Iolanthe, or the Peer & the Peri: Vocal Score with Dialogue Review

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(More customer reviews)Few opera/operetta librettos read very well on their own (of course, they weren't intended to).In the case of Gilbert and Sullivan, the exercise is not only sheer pleasure, but almost a necessity; such is the speed of the monologues and intricacy of the ensembles that much of Gilbert's brilliant verbal wit gets lost.
'Iolanthe' is one of his most enrapturing confections, the story of a shepherd, Strephon, half-fairy half-mortal, whose mother, Iolanthe, is a disgraced sprite (it is forbidden for fairies to marry mortals), and whose father (unbeknownst to either) is the Lord Chancellor who won't let him marry his ward, Phyllis, darling of the Lords.
The material may be fantastic, the setting pastoral, but the satire in this 1882 work is spot-on contemporary, with jibes at the Irish problem, the uselessness of the House of Lords (who as a caste are as close to fantasy as the fairies, so it is no surprise they exchange the House of Peers for the House of Peris), and the ruling class' fear of democracy and universal suffrage.A most delightful fancy has the fairies take over Parliament in the shape of Strephon, whose every whim unites the notoriously factional Liberal and Conservative in his favour.
this is Gilbert at his funniest - the verbal contortions he undergoes in the search for rhymes break all linguistic boundaries, and his view of the fragility of centuries-old English institutions prescient.There is an extraordinary patter song by the Lord Chancellor which shows the man embodying Law and Constitution plunging into nightmare, the culmination of a libretto in which identities and forms, as well as seemingly irrevocable laws and customs, are repeatedly broken down or metamorphosed.

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English Only. Comes with dialogue.

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