Paul Gilbert
Get Out Of My Yard

Our dear Paul Gilbert has done it all. A versatile, eclectic, brilliant, and wacky guitarist, sometimes incredibly original and astonishing, with an incredible and inimitable technique but also possessing a unique taste and a truly admirable melodic attitude, as well as a truly unlimited stylistic versatility: he sings, plays, jumps, does the blues, mimics metal or the most classic rock, in short, a true artist.

But, it might seem strange, this is the first time he embarks on a completely instrumental work: "Get out of my yard" represents a work and a study light-years away from his good solo but sung works (like "Flying Dog", "Alligator Farm" or the more recent "Acoustic Samurai"). Everything is conceived on speed and melody, on energy and emotional impact, and frankly, in this endeavor, he succeeds quite well.

Attention: we are not talking about a guitar masterpiece. In fact, after all, the Gilbertian licks or the scales that the Pennsylvania guitarist uses are not much different from what we have already heard in his countless works, but the listening is pleasant and without style falls or moments of slight boredom. As Gilbert himself says, in an excess of modesty: "the first 38 seconds of get out of my yard are impossible to play, but I played them...".
What to say... the statement is the most truthful: "Get out of my yard" begins with the title track, and it is an incredible triumph of technique and speed, which, however, should not deceive, because already with the following "Hurry Up" the rhythms relax and territories devoted to a more classic rock are crossed, adorned by very original riffs. The next "The curse of Castle Dragon" is more elaborate, scattered with solos that bring classical melodies to mind, only to then flow into guitar speed.

"Radiator" brings me back to tranquility, containing licks that have a lot of blues over a bed of flanger and soft distortions. "Straight through the telephone" is instead the classic rock track, with some quite strong country hues. So far the album is truly enjoyable, although I must say, there is always the impression that Gilbert's voice peeks through! The happiest part stops with the seductive piano and the sweet acoustics of "Marine Layer", a sweet and romantic ballad, anything but clichéd, but rather, reflective and calm. A few minutes and another slow track approaches us: "Twelve twelve" is distorted, with Gilbert's classic licks, used well, intelligently, in a very calm atmosphere.
"Rusty Old Boat" plays a lot with funk while "The Echo song" presents an unpublished Gilbert who plays with effects creating almost dancehall atmospheres. "Full Tank" has the pentatonic stride of many blues-like pieces, or I would rather say Satriani-like. Instead, smiles return with "My teeth are a drum set". Pure rock. A classical music track could not be missing: "Haydn Symphony No. 88 Finale" is as usual exquisite in execution. Gilbert delights us again with the acoustic with "Three Es for Edward" and closes with the energetic "You Kids".

Good album, good technical but also compositional test from a guitarist who apparently has a lot to say to the musical world. I repeat: we are not facing the ultimate guitar masterpiece: it is not comparable to a "Passion & Warfare", because, in fact, it is not innovative neither for the guitar nor for the artist himself, but it reinforces in everyone the idea that Gilbert is still a reference point for music and that he is still capable of creating something truly worthy of applause.