Book of Shadows II
Originally Posted on S&R Website
Back in 1996, heavy metal guitarist, Zakk Wylde (whom you probably know from Black Label Society or Pride & Glory) released an all-acoustic folk rock album titled Book of Shadows. Now 20 years later, Zakk released the long awaited follow up album, Book of Shadows II. The album was released on April 8, and we have enjoyed the past two weeks jamming out to the mellower side of the BLS guitarist.
The opening track Autumn Changes, starts out in a similar fashion to that of a Pearl Jam song. The song relates the changing of the season to watch a friend change and the difficulties that lie within. The solo of the song is a tasteful blues number that gives a nod to Duane Allman and Dickey Betts of the Allman Brothers Band. The song returns to the chorus one more time to bring the song together. The somber sounds are not what one normally expects from Zakk Wylde.
Up next is the song Tears of December. The song has a feel of a Van Morrison hit. However, the chorus is a bit of a word-force in which Zakk tries to fit a long sentence in a short measure. The opening notes of the solo save the song and expand the sonic texture into a bluesy rock number. From the first two songs, especially during the lead breaks, I notice a heavy blues-rock sound very similar to the Allman Brothers Band. Though on this track, it is Warren Haynes who Zakk is cheerfully paying tribute too. I have never heard Zakk claiming that The Brothers were an influence on his playing, but then I have never heard him say they weren’t an influence so the jury is out on that one. Though Wylde did play with The Allmans in 1993, so it is likely that the Allman-y sound we are hearing on this record is influenced by the legendary band.
Lay Me Down is a somber number that expresses the desire to lay down (in sacrificial form) in front of someone’s (probably a lover) shadows and darkness. As I listen to this number and write my thoughts, I think “hmm it sounds like Jesus music’… so there is that. Which is humorous as the next song title Lost Prayer. Lost Prayer starts out with a Jimi Hendrix chord progression then leads to vocals that are brighter and livelier than the previous songs on the album. The song is definitely a Jimi Hendrix song which becomes more apparent after the first chorus. The solo first holds a sustained note and merges into a blissful solo with a neck slide that Hendrix popularized. I really enjoy the chorus line: “I may be blind but I’ll find my way / like a lost prayer on a stormy day”. The next solo is unique thus far on the album in that it sounds like a Zakk Wylde solo. Overall, my favorite track thus far.
Darkest Hour is up next and it reverts back to the same vocal somberness with a double track that adds the extra chorus-y like effect to his vocals. Now I am starting to think this is a Gospel (the album is titled Book of Shadows which shows the creative brilliance of Zakk Wylde) record as one of the verse lines sing out “As the Doubts of Thomas whisper in your ear” referring to Biblical story of Jesus’s return and his disciple not believing what he sees. The solo is soaring and tasteful that uplift this song.
The Levee is the first true acoustic number on this album and the intro riff add as a bluesy feel that moves this song forward. It encompasses a power ballad of the Lynyrd Skynyrd/southern rock nature; another album favorite thus far. Up next Eyes of Burden continue with the gospel theme, of an organ intro. Though another true acoustic song is ensured by a simple chord progression. I know Zakk is known for a certain vocal tone, but the repeated double tracked, compressed touch of chorus vocals becomes stale for an entire record. I would like to hear more raw lively vocals instead of the digitally enhanced ones. Overall a good track, nothing truly stands out but the solo is enjoyable.
Up next is Forgotten Memory, it is as simple as the previous songs. Nothing really stands out. It is good but it is not wow! There is some usage of the Hendrix chord but nothing spectacular. But maybe that is the message of this album: Zakk is showing his gentler more poetic side. Now as I write this, I feel obliged to say that I truly do enjoy this record, there is just a bit of repetitiveness. Yesterday’s Tears is up next is follows the similar cookie-cutter song formation.
Harbors of Pity starts out with a chorus of vocals in the intro that is new and perks up the ears of the listener. Unfortunately, it continues in the same fashion as the majority of the previous songs. The next track, Sorrowed Regrets has an enjoy intro with acoustic arpeggiated chords when it transitions to a full chord progression giving way to a bluesy electric intro. While this song is similar to the majority of this record, the verse includes a diminished chord that spotlights this number on the record.
Useless Apologies is as simple as a folk song. Majority of the song is just Zakk singing and on acoustic, and an occasional lead guitar. No bass and no drums. While it uses the same format, the simplicity of the song adds to the soulfulness. Up next is Sleeping Dogs. The first time I listened to the record I paused it within 10 seconds and said, now there is something different. The lead guitar work sounds similar to that of a Johnny Greenwood of Radiohead. While the acoustic lays down a joyful hammer-on chordal rhythm track that is very curious. The solo drives the song and makes way to believe you are listening to Muse or Radiohead until the second half and you think instantly of Black Label Society. This is the defining track of this album. Even better, if you purchase the deluxe-bonus track edition, your ears will enjoy Corey Taylor of Slipknot and Stone Sour singing vocals of Sleeping Dog. Well worth the extra cash!
Last on the album is The King. The song is Zakk on vocals and an organ and piano for the first minute when a cello and violin are added beautifully. Zakk’s vocals are raw and refrain from digital enhancement and it sounds amazing! This is the sound I was hoping the album would sound like. The second verse reverts back to the piano, organ, and vocals. This song is the soul of the record. It is such a beautiful song. Shortly after the 3-minute mark brings the best solo on the record yet. Each note is perfectly selected for the emotions this song portrays. It definitely has an 80’s overdriven-delayed hair metal tone, but the notes have so much soul and much depth to the words unspoken. It is the pinnacle of the album.
I know many folks have waited 20 years for this record. It is a good record, there are some good songs. However, many of songs use the same formula. While that formula is not necessarily bad, it becomes stale when used over and over. Zakk’s singing voice isn’t nearly as suited for folk rock as his heavier material, it is refreshing to see artists step out of their comfort zones to give a unique take on other genres that go back to his southern roots. It isn’t a ground breaking record, but it is a good listen. I thoroughly enjoyed this record, while many of the songs sounded the same, there are a good number of songs that are unique in each their own right. Go check it out!
Until next time, let the music play!
-S&R