Adrian Belew
Side One

Often the line between madness and genius is almost imperceptible, if not, at least apparently, nonexistent. Adrian Belew fits perfectly into that category of people who stand on both sides; but although it may seem, especially when listening to this album, that it's being played by three random guys who just escaped from the asylum, that's not the case.

Adrian Belew, here on guitar and vocals, is not just anyone: discovered by Frank Zappa, he later played in bands like Talking Heads, King Crimson, and Porcupine Tree, just to name a few; he was also David Bowie's guitarist for years, who might not be to everyone's taste, but he's not just anyone either. For the recording of this album, Adrian chose the most suitable person as bassist, the musician who in my opinion is most similar to him in character and mindset, namely that grand cow (in the good sense) Les Claypool. And I think there's no need for further introductions; if you don't know him, go take a look at the Primus reviews. If you're wondering who plays the drums, I won't go on and on, and I'll just throw the name at you. Danny Carey. Tool.

If you've read this far and you are lovers of prog music, I imagine you're drooling like a rabid dog. Wipe the foam, now let's talk about the album. The first of a trilogy, Side One was released in 2005, and you already know who plays on it. As in all of his solo albums, Belew goes all out to record the most diverse experiments. More than a music album, I see it as a conglomeration of musical experiments, not an album but a real experiment. Adrian, like few others, including Frank Zappa, has the gift of making extremely complex things seem easy, both technically and purely theoretically. What might seem like a silly little song to play for a four-year-old actually hides amazing complications; but Adrian doesn't do it out of arrogance, Adrian does it because that's how it rolls for Adrian. And that's it. In this album, both Belew and the other musicians demonstrate extraordinary technique and compositional ability; from Claypool's wild grooves to Carey's rolls between jazz, prog, and metal to crimsonian arpeggios, funky riffs, and outbursts on the border between psychedelic and noise of Belew, this album shouldn't disappoint, except in part, any proper prog lover.

It's true that it can be boring, but Adrian is a madman, and if you don't understand that, there's nothing wrong with it. At least "Madness" won't give you a headache, you won't go crazy trying to figure out the time signature of "Ampersand," and you won't wonder how a man who's almost sixty can compose, play, and sing a piece like "Writing On The Wall".

Recommended for lovers of prog, lovers of experiments, guitarists, and simply crazy masochists.