Smith/Kotzen's 'Smith/Kotzen' - Album Review

It is always something of a treat when an album is released that was unexpected, and the treat is even greater when the album is from a new band or project - which in itself was also unexpected. Many bands can be relied upon to release a new album every two or three years, meaning that the release calendar can seem rather cyclical - but every so often something new rears its head, and music fans are forced to take notice. With that in mind, one of the unexpected treats of 2021 so far is the self-titled debut album from Smith/Kotzen - which was released last month. Smith/Kotzen, unsurprisingly, is a collaboration between Adrian Smith (Iron Maiden; A.S.A.P.; Psycho Motel; Primal Rock Rebellion) and Richie Kotzen (Poison; Mr. Big; The Winery Dogs) - two multi-instrumentalists who are both well-respected in the hard rock and metal worlds. As a long-time member of Iron Maiden, Smith needs no introduction. His melodic songwriting style and guitar partnership with Dave Murray (and, later, also Janick Gers) has made him one of the best-loved metal guitarists of all time. He has been involved in a handful of projects outside of Iron Maiden over the years, but all have been relatively low-key affairs. All have been quite different to Iron Maiden however, which have allowed him to occasionally show off different sides of his musical personality. Kotzen, while perhaps not quite as well-known, is a real musician's musician. He released his first album in 1989, and has been at it ever since. He has released a tonne of solo albums over the years, covering a number of styles, and helped to rejuvenate both Poison and Mr. Big after each of their talismanic lead guitarists left (only to both return). More recently he has become known as the frontman of The Winery Dogs - with whom he has released two albums of hard-hitting bluesy rock. It is perhaps The Winery Dogs that best influences the sound of Smith/Kotzen too - as that band's groove-based bluesy hard rock sound informs the album's nine songs. The album is certainly more Kotzen than Smith in style, but Smith excels in Kotzen's natural environment - and both share the lead vocals throughout, alongside the guitar and bass duties. Smith has not been featured as a lead singer since his 1989 A.S.A.P. album (the closest thing to a solo album he has ever released), but he is in fine form here. Vocally, Smith and Kotzen compliment each other nicely. Smith has more of a tough, bluesy approach to singing, while Kotzen's more soulful, slightly grungy sound acts a great contrast. The two constantly trade vocals lines and sing in harmony throughout the album, which helps the songs here to stand out from the rest of Kotzen's extensive catalogue. The drums throughout are handled by a mix of Kotzen (who is indeed a true multi-instrumentalist), Nicko McBrain (Pat Travers Band; Trust; Iron Maiden), and Tal Bergman (Simranking; Rock Candy Funk Party; Joe Bonamassa); while the album's raw sound is courtesy of a self-production, along with a mix from Kevin Shirley.

The album kicks off with its lead single Taking My Chances, a hard-hitting riff-based rocker that anyone familiar with The Winery Dogs' sound will instantly latch onto. Some of the songs here have a slightly more atmospheric and soulful approach - but Taking My Chances shows the duo rocking from the off. The song also does a great job at showcasing the album's raw sound. Kotzen's work is often quite raw sounding, and it is fitting that the same approach is taken here. Smith is used to being part of a much grander ensemble, but he thrives in this stripped-back environment. In fact, it is Smith that perhaps shines the most throughout Taking My Chances - as his tough vocal approach dominates the riffy verses. Kotzen shines during the smoother choruses however, and in truth neither Smith or Kotzen ever truly dominates any song for too long. I perhaps identify this song more with Smith as it is a real treat to hear him singing again, but the individual novelty soon wears off as the partnership instantly sounds like a natural fit. Running is a bit less riff-based, but there is a strong blues groove throughout thanks to Kotzen's bass and drum work. The chorus has a strong hook that is sure to stick in the brain, but this is not a song that rocks as hard as Taking My Chances. It is probably a better representation of the album's overall sound as a result however, as the soulful vocal interplay between the duo, and the overall grooves, really dominate. Kotzen's off-kilter guitar style is put to the test with a frenetic solo however - in a moment that breaks from the groove and goes all out - but on the whole the song is a tight affair, with plenty of soul and a strong atmosphere throughout. Scars builds on the more atmospheric approach of Running, with more of a slow-burning arrangement that features plenty of acoustic guitars in the mix early on - and an early solo that echoes the tone of Slash to a certain extent. Smith sings the early parts of the song, his tougher vocal approach contrasting nicely with the atmospheric backing, but Kotzen soon takes over - his soulful delivery perfect for the more expansive choruses that feature chiming guitar arpeggios and a hollow drum sound. Of the opening three tracks, Scars possibly is the most layered and complex. There is a lot going on in the song from a guitar perspective, with lots of layers that weave together to create the song's dense, atmospheric sound. There are no keyboards used here, with guitars instead used to a similar effect throughout. Kotzen is known for his slightly left-of-centre approach to the guitar at times, and that is a big part of what makes Scars such a powerful, smouldering piece.

Some People returns to the heavier vibes of Taking My Chances, but mixes it with a strong dose of funk. While Kotzen and Smith are best-known for their guitar playing, it is perhaps the bass that really shines here. Kotzen plays the bass throughout the track, and the grooves that he has come up with for the verses really make them tick. Despite the heavier riffing used throughout, the song is a relatively slow-paced one. There is a deliberateness to the guitar riffing throughout, with the bass instead providing some of the main melodies and grooves throughout. This helps to set the song apart from the rest of the album, but it still fits nicely within the album's core sound. Groove is a big part of Smith/Kotzen, and Some People has it in spades. It might be a bit less bluesy than much of the album as a result of the approach taken, but there is still plenty of soul - as well as a lengthy guitar solo section that features some excellent playing from the duo. Glory Road, to me, has a bit of an old-school Free feel to it - with an old-fashioned blues rock vibe that really harks back to the early 1970s. The song is less groove-based than many of the pieces here, with the track instead sounding like the duo paying tribute to some of the bands that influenced them. As a result the song is perhaps a little less interesting than some of the cuts here, but it is still a very enjoyable piece. It is great to hear Smith singing a bluesy track like this, and the chorus certainly has something of a Paul Rodgers-esque strut to it - with plenty of soulful melodies for Kotzen to sink his teeth into. Solar Fire gets back to the album's early hard rocking sound - with the Taking My Chances sound back in a big way. McBrain adds his drumming talents to the track, so the pace is a bit punchier as a result, and his more direct approach to the drums is a big part of what makes the song such a rocking good time. As much as I like Kotzen's grooves, this song needed a more direct approach - and it is one of the album's highlights for me a result. Kotzen sings the chorus in such a powerful way, his soulful voice pushed to the limit, while the guitar playing during the solo section features some of the fastest phrases found on the album. This really is the album's 'let your hair down' moment, and it is a great cut as a result. You Don't Know Me marks the start of the album's home straight, and is the first of three songs to feature Bergman on drums (as well as Smith replacing Kotzen on bass duty). The song opens with a lumbering, powerful riff that could have a strong Black Sabbath vibe if it was not for the raw production and the almost laid-back way that it is played - and this slightly strange approach dominates the rest of the song. It is a song that sounds like it should be heavier than it is, but the grooves and the overall approach to guitar playing taken helps to ground the song within the album's core sound. There is a fair amount of chugging here, as well as some tough rhythms, but nothing about the song ever feels remotely metal. It features another excellent chorus too, which has something of a Soundgarden vibe. Kotzen has sometimes been compared to the late Chris Cornell vocally, but the harmonies here hark back to the 1990s grunge scene a little - which works surprisingly well against the song's blues backdrop. The song is another highlight for me - with the lengthy guitar improvisation closing segment elevating it further.

I Wanna Stay is more typical of the album's core sound than the esoteric You Don't Know Me, but with a slightly more ballad-esque approach with a slower pace and some gentle Smith vocals throughout. Aching guitar leads help to set the tone of the song early on, and it is one of those tracks that is really elevated by the occasional simple few notes - with the odd phrase perfectly complimenting the emotional vocal approach taken. Much of the album has something of an atmospheric quality to it, but this is the only real ballad here - with the atmospheric approach dominating and a lack of any big riffs. The sound feels very natural for the duo however, and the song is right at home on the album. 'Til Tomorrow, the album's closing number, builds on the atmosphere of the previous song, but reintroduces many of the bluesy rock elements used throughout the album. In many ways then, the song is another strong example of the album's core sound - but with perhaps a slightly more epic approach throughout. There is certainly a bit of a Led Zeppelin-esque scope here, with a similar raw sound, and it is the longest of the album's nine songs. It is not massively dissimilar to many of the other songs here however, it perhaps just really runs with the overall formula rather than merely operating within it. As a result, 'Til Tomorrow has the feel of a true album closer. The chorus has a slightly more anthemic feel than the album as a whole pushes, while plenty of time throughout is given to guitar soloing. Both Smith and Kotzen take the chance for multiple final solos here, and the song is a real lead guitarist's feast as a whole - bringing the album to a technical and virtuosic close. It is a perfect way to round out the album, and it ensures that the quality on Smith/Kotzen remains high to the end. The album as a whole is a fantastic collection of songs that feature plenty of excellent guitar moments - but it is also well-crafted in its own right. Luckily the album avoids the potential trap of being purely about the solos, but the melodies and soul featured throughout ensures that the songs themselves stand up. It is unclear at the moment whether Smith/Kotzen will just be a one-off collaboration, but if the pair do decide to work together again in the future then I will certainly look forward to hearing the results.

The album was released on 26th March 2021 via BMG Rights Management (UK) Ltd. Below is the duo's promotional video for Taking My Chances.