Racer X
Superheroes

THE REVIEW

Champions of a certain way of playing heavy metal in the second half of the 1980s, that is, a very technical speed metal filled with "all-shred" solos by Paul Gilbert's guitar (later assisted by Bruce Bouillet for the second album) and also John Alderete's bass, Racer X disbanded in 1989 due to a lack of support from the record label on one hand and Paul’s involvement in a project put together by Billy Sheehan (namely Mr. Big...) on the other. 

After about a decade, the four (along with Gilbert and Alderete, there are Jeff Martin on vocals and Scott Travis on drums, while Bouillet is not part of it) reunite and release the excellent "Technical Difficulties," followed just a year later by the present "Superheroes."

Encased in a cover somewhere between gaudy and unwatchable (and you should see the entire booklet once opened in all its "magnificence," truly a rare sight...), the album features 11 tracks that mark a slight step back from the raw and powerful heavy metal of the preceding "Technical...," to sounds closer to what made the band famous in the '80s.

The opener and title-track is a declaration of intent: fast riff, double pedal, speed well over 200bpm of metronome, and vocals reaching sky-high notes, besides the unmissable acrobatic solo by Gilbert; it really feels like being back in the "Street Lethal" era. This impression is reinforced by a highly noisy production, full of overdubs and various effects, with intentionally exaggerated screams, whistles, and distortions permeating every single track.

 The songs indeed: they range from the robust heavy metal of "Let the Spirit Fly" or "Dead Man's Shoes," to the boisterous and loud hard rock of the concluding "O.H.B.," with even a foray into rather unconventional territories for the band, represented by the seven minutes plus of "Time Before the Sun" which alternates verses accompanied solely by acoustic guitar and percussion with a heavier chorus, ending with a long instrumental tail; all seasoned with an excellent interpretation by Martin, finally in perfect control of his voice along its entire range. But what would a Racer X album be without an instrumental song? Don't worry, here there are two: the first is the lightning-fast "King of the Monsters," where as usual it's the back-and-forth between guitar and bass that dominate; the second is "Viking Kong," where Gilbert really throws everything into the mix (listen from 2:30 onwards to believe it...). Small curiosities: among the tracks, there are also a very personal and successful cover of the classic "Godzilla" by Blue Öyster Cult, and a ballad, "Mad at the World," with a bit of a puzzled genesis; it's a song often played live by the band in concerts held in the '80s but never recorded before this album, whose main guitar riff will be picked up by Mr. Big and turned into "My Kinda Woman" (included in "Lean into It" of 1991).

In conclusion, the Los Angeles band is back to doing what they knew: playing powerful metal filled with virtuosity, without these coming at the expense of the songs, burdening them or turning them into mere technical exercises (on the contrary: every single piece is a perfect balance between instrumental skill and catchily melodic solutions); all without taking themselves too seriously; just look at the identities the four have chosen (Motor Man-Martin, The Electric Bat-Gilbert, The X-Tinguisher-Alderete, and The Cowboy Axe-Travis) with attached tasteless costumes to prove it. Another good work, perhaps inferior to the previous one due to an occasionally really excessive presence of various effects and overdubs I mentioned a little above (including sampling of a prank call in the background of "Evil Joe"), but which feel so strongly '80s, that period of neon lights and that desire for speed and excesses...