Racer X
Technical Difficulties

I start by greeting the De-Baserians!

As my first review, I would like to propose an album by a completely underrated and perhaps little-known band, but in my opinion, worthy of earning its place in rock history, thanks in particular to the immense technical skill of each of its members.

Jeff Martin (a singer with a vitriolic voice, and also a drummer for Gilbert himself), Scott Travis (drummer, also in Judas Priest), John Alderete (talented bassist), and (most importantly) Paul Gilbert on guitar... these are the names behind the Racer X project; and here is 'Technical Difficulties,' an album dated 2000 and the band's third studio album, which hit the market after a long absence of 12 years (or 7 if considering the live albums Extreme Volume I and II). During these years, Gilbert had various experiences both in bands (how can we forget his time with Mr. Big?) and as a solo artist, experiences that were certainly complex and varied, but what he never lost was his unstoppable hard rock fervor.

So, after a too-prolonged absence from the market, he decided to reunite with his three bandmates and release this album of pure and simple heavy-metal; the album is indeed a burst of energy and power from start to finish. Play... and we're off with "Phallic Tractor", a song of just a minute that serves as an intro to the album's first real hit: "Fire of Rock", composed by Gilbert himself in the early years of his tenure with Racer X and often played live but never before recorded in the studio, it opens with a riff that shoots out at full throttle; Martin's voice immediately makes its presence felt with its powerful and crystal-clear impact. This version of the song gains additional strength and energy.

After this initial burst, we move on to "Snakebite", opened by a guitar-drum intro that leads into a song in pure speed-metal, a characteristic of the California-based group since their debut. Impressionable in this song is the acrobatic solo by Gilbert and Martin's voice, which reaches unattainable heights (worthy of the best Halford!). Then comes the first instrumental of the CD, "Technical Difficulties", which gives the entire CD its name: here too, amid various keyboard inserts, one can appreciate the great skill of the musicians; especially Gilbert and Alderete, who are the authors of excellent guitar-bass dialogues. Then "Miss Mistreater" arrives, revealing the more jolly side of the group, with lyrics that are a bit "provocative" but always supported by the great instrumental mastery of the members. A rumble of an engine introduces us to "Bolt in my Heart", a song with a driving groove interpreted by an inspired Martin, at ease singing about engines, speed, and American highways.

After these lighter songs, if they can be called that, we return to heavy sounds with "17th moon", an aggressive and steady-paced song narrating space adventures... and it's precisely a background of noises and effects from the deepest cosmos that introduces us to the CD's only slow song: "Waiting", a moment of intimate calm, as in most of the songs written by Martin alone; excellent solos by Gilbert, capable of blending technique with the melody essential to create the atmosphere of this ballad. The pace returns to more determined and pressing tempos with "Poison Eyes", and indeed we also go back in time: this song was already proposed years earlier by the band and indeed credits its authorship to Bruce Bouillet, who unfortunately is no longer part of the band's lineup. No complaints here either: a song with an excellent rhythm section and a chorus with more ethereal atmospheres.

It's time for "B.R.O.", another instrumental but with a peculiarity, as this is an experiment dear to Gilbert: it is in fact "Prelude in D minor" by J.S. Bach rearranged and performed entirely on guitar! The piece takes on a whole new light when performed with such a modern instrument as an electric guitar can be, and it might raise some eyebrows, but the skill and preparation of Gilbert in performing it, and also in practically proposing one of these "revisited" classical music gems in every CD he appears on, is undeniable. Then comes "God of the Sun": a mid-tempo whose lyrics quite visibly nod to "Run to the Hills" by Iron Maiden ("the white eyes came across the sea, bringing pain and misery"....). A track not as immediate as the previous ones and possibly requiring more listens to be appreciated, given the special vocal and instrumental lines aimed at evoking atmospheres and rituals of Native Americans.

We return to more "easy-listening" paths and make another leap back in time with "Give it to me", a song with very explicit lyrics and references, but with an irresistibly catchy rhythm. Also noteworthy is the mini bass solo by Alderete that closes the song. Then comes "The Executioner's Song", a slow and heavy song, obsessive in its progression and in its evoking gloomy atmospheres and macabre thoughts from the mind of a ruthless executioner. We reach the end, and the album closes with an excellent cover of "Children of the Grave" by Black Sabbath, also performed masterfully by the four "metal superheroes": particularly notable is Travis's performance on drums and the instrumental conclusion entrusted to Gilbert's creativity.

In short, in conclusion, it's an excellent album, performed by capable and passionate people who make music not so much for money, but for inspiration and fun; certainly, you won't hear about this band on MTV or similar, but that's only a good thing.

Personally, I recommend it to all fans of hard rock and classic heavy metal (particularly evident are some influences from "colleagues" Judas Priest), who will not regret listening to this little gem. I personally consider it even superior to its successor, the much more famous "Superheroes": perhaps fewer modern sounds and distortion effects and sampling on the voice and instruments, but just a more raw, powerful, and direct sound as good old Heavy-metal should be!