EROTIC CAKES

1. "Waves" (5:09) opening with a fully-fleshed out motif in which Guthrie introduces the main melodies over a fairly straightforward rock rhythm track but then begins to dance around the fretboard in wildly unpredictable ways from 0:50 to 1:15 when he settles back in among the band to reinforce the opening melody. Another foray into solo expression begins at 1:50 but this time evolves rather protractedly and more within the domains of previously- heard/attempted rock guitar solos (using his own unusual scales to perform his runs). A doubled-up flourish at the three-minute mark signals a bridge to a more blues-rock/classic rock solo. This man has so many faces! And such amazing dexterity! Impressive but also enjoyable. And I love the unusual ending: it feels like an homage to Roy Buchanan. (9.125/10)

2. "Erotic Cakes" (3:51) stoccato chugging music displaying some very odd time signatures and polyrhythms between the three musicians. Guthrie never really seems to be traveling in the same universe and Seth and Pete: it's more like he's rocketing around the rhythmists as if looking for an entrance, looking for a way to join into the groove they're in. His maneouvering makes me think of a heat-seeking predatory bird like a crow (or trio of crows) with hummingbird- like quickness. Interesting and rather enjoyable. (9/10)

3. "Wonderful Slippery Thing" (3:21) another solid rock/blues-rock motif over which Guthrie takes Wes Montgomery and Django Reinhardt to The School of Rock. Uber-impressive and almost humorously-creative but not my favorite, the song had existed since the early 1990s when Guthrie used it to compete in a guitar-playing competition for Guitar magazine in 1993--which he won. (9/10)

4. "Ner Ner" (8:05) another fairly straightforward (and familiar) (Southern) rock motif that presents engaging/alluring melodies over which Guthrie impresses with more flash and fireworks on both electric and acoustic guitars (one of which might very well be the guest guitar soloist Richie Kotzen). This song reminds me a lot of the solo work of STEVE VAI. Nice accessible music. (13.5/15)

5. "Fives" (4:36) sounding very much like a cross between the work of ALLAN HOLDSWORTH, STEVE VAI, and KING CRIMSON, this song starts out heavy-technical but then starts to cruise and fly in the third minute as Steve flits and spits over the top. At 4:00 the music cuts down to bare bones for the quiet support of a nice bass guitar solo from brother Seth Govan. (8.875/10)

6. "Uncle Skunk" (5:29) an interesting song that seems to draw inspiration from a combination of the old blues masters (like Buddy Guy and Roy Buchanan) and modern sound-technicians like Adrian Belew and Robert Fripp. I like the creative energy, engaging (almost "Yacht Rock") melodies, and laid back feel of this one. A top three song for me. (9.3333/10)

7. "Sevens" (5:57) this one opens sounding very much like the palette, construct, and melodies of the SCORPIONS' "Rock You Like a Hurricane," but then things change. A ChapmanStick-like bass chord playing style provides much of the foundation beneath Guthrie's amazing SATRIANI-VAI-like shredding runs. The intermittent softer flying arpeggio sections feel a lot like some of Devin Townsend's more amazing beauty passages whereas the ramped up fourth minute feels more like the work of 1980s heavy metal bands like I love the return to the more melodic and then more delicate stuff for the song's final 90 seconds. (9.125/10)

8. "Eric" (5:06) opening with a slow, spacious, more delicate and melody-rich motif over which Guthrie solos with a slide-like sound not unlike something from Roy Buchanan or even a more blues-oriented Adrian Belew. Nice. Interesting weave of micro-fast arpeggi in the fifth minute. Overall, there is a very comforting, connectable feel to this song that helps render it among my three favorites on the album. (9.125/10)

9. "Slidey Boy" (4:35) a brooding jazz flavor opens this song as Seth solos over Pete's mostly-cymbals and snare drumming for the first minute. His impressive bass play continues as Guthrie joins in with some low end piccolo-bass- like note play that intertwines with his brother's bass play but then separates and begins occupying the middle and upper ranges in a very AL DI MEOLA-like sound and style. As a matter of fact, the music and performances on this song could easily fit on Al's 2002 release, Flesh on Flesh: sounds just like Al and Anthony Jackson working together. My other top three song. (9.375/10)

10. "Rhode Island Shred" (2:18) just like Guthrie's project The Aristocrats, he must feel a need to represent as many separate styles as possible: here the Country-Western Bluegrass scene--with the help of fellow guitar wiz Bumblefoot. Impressive but neither the prog rock or Jazz-Rock Fusion that I'm seeking. (4.5/5)

11. "Hangover" (6:32) a slow, plodding blues-rock bass over which a wide variety of STEVE VAI and JOHN PETRUCCI-like guitar solos flourish--and within which brother Seth shines once again in his Anthony Jackson-like way. Solid if not my favorite. (9/10)

Total Time: 53:39

My only beef with the music on this album is the non-proggyness of a lot of it; the music here belongs more in the realm of Rock Power Trio stuff--most of it quite anchored in blues-rock traditions (very much like the music of The Aristocrats' album releases).

A-/five stars; a minor masterpiece of post-graduate-level blues-rock based Guitar School expression. There may not be a guitarist as talented as Guthrie, it's just a little disappointing to me how much of his music is firmly founded in the blues and blues-rock traditions.

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