Michael Lee Firkins
Michael Lee Firkins

THE REVIEW

We are in 1990, musically it's the era of Grunge, especially as a youth phenomenon. The Guitar Heroes, however, are not faring badly: Steve Vai releases the renowned “Passion and Warfare”(July 90'); the likes of Satriani, Malmsteen, Gilbert, Petrucci are idols for thousands of guitarists, who in every way try to imitate their heroes. The guitar has reached its peak, its maximum evolution: alternate picking, sweeping, tapping, neoclassical arpeggios are performed at hyperbolic speed and with perfect mastery; extraordinary technique seems to matter more than peculiar and original arrangements, form and spectacular image (scales played at absurd speeds but on a bare base, on the usual “power chords”) prevail more than substance, the content, that is, the originality of the piece, the musical harmonization, the dynamics.

One of the few exceptions is represented by the young guitarist born in Omaha (Nebraska): Michael Lee Firkins. His album is the emblem of how modernity and musical taste can blend, of how a very high technique can perfectly harmonize with melody. In fact, the artist never shuns the techniques of his time; on the contrary, he executes them with unparalleled precision but never gives them the upper hand or the role of leading lady; he integrates them extraordinarily into the piece as a whole: the importance therefore -as it should be- lies in the single piece, in all its completeness, and not in the boastful display of his immense technical baggage. He adds to the technical notes others from different musical genres: this shows the great “open-mindedness” of the musician, who is not reluctant to mix with other genres and techniques apparently distant from instrumental rock-metal: Hybrid picking, chicken picking, pentatonic cascade, banjo rolls - typical country and western music guitar techniques, unusual in rock language- are included in this new musical landscape made of modernized country-blues reminiscence within the shredder context.

The whole album is enjoyable to listen to and never tires: it starts off strong with “Laughing Stacks”: a classic instrumental, but played in the unique way of MLF: never banal passages, and everything is “under control”, meaning that everything is executed perfectly in the smallest details.

Then comes “24 Grand Avenue”, of which I am unaware of any remote meaning, I only know that it is a piece of great emotions, not the usual ballad, one of those pieces that stay in your heart and to carry within yourself throughout your existence.

“Runaway train”: it really makes you imagine a crazy, derailed train! It is a powerful song, vaguely metal, both for its speed and for the use of the drummer's double pedal, but a country echo in the style of Albert Lee can be heard in certain passages...

“Cactus Cruz”: gives the idea of playing in the desert with only a cactus ahead... a particular piece, with strong blues-country amalgamations and a strange harmonization. (the title of this song will give the name to his 96' album)

“Deja blues”: this is a blues! But in MLF style... many bluesmen sound the same, this one is unique, rare: perfect dynamics, pauses, “effects”, masterful use of the lever, singular as it perfectly simulates the slide, like few can and have been able to do...

“Space Crickets”: let's say it can be defined as a launch piece: irresistible chorus with that interlude at 2min,16 sec that so much recalls that of “"Welcome to the Jungle”...

“Rain in the Tunnel”: fantastic piece: every note is suggestive, a classic song that manages to make us daydream... it would be reductive to define it a metal ballad.

Hula Hoops: a piece similar in structure to “Cactus Cruz”, every single passage is a pearl of musical wisdom, the ending vaguely similar to Vaughan, with the necessary distances in terms of tone and sound.

The Sargasso Sea: I believe this piece cannot even be commented on, just listen to it, sublime is an understatement.

This album is a real gem for music lovers... I didn't give it the highest marks only because it can't be considered an album that changed the history of music.

I still tried with this modest review to give recognition to this great artist who has been too underrated, too little recognized... perhaps too talented, perhaps he is just an artist for the few, one of those who appeal only to those who do not find Beethoven, Wagner, Bach boring; only for those who know how to enjoy art whether it is a painting, a book, a film or indeed an album.

I hope I haven't bored you and that I wasn't excessively verbose. I just wanted to give, in my small way, a rightful recognition to this immense musician, now retired in the countryside playing “Popular”, American folk music made of lap steel, dobro, banjo, and slide (the classic one), far from any commercial interest.

Today he looks more like a truck driver than a musician... but we know appearances are often deceiving, and he still plays really well.

The only thing I can finally say is: if you don't know him, get to know him -with the little information there is online about him- but above all listen to him, listen to him a lot.

Technical Information about the album:

Label: Shrapnel

Producer: Mike Varney (Malmsteen, Kotzen, Cacaphony etc)

Trio:

Michael Lee Firkins – Guitars

Jeff Pilson (Dokken, Dio, Michael Schenker Group) – Bass

James Kottak (Scorpions) – Drums