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Favored Nations Records
This well conceived album ought to draw long-time LP artist Gregg Bissonette critical acclaim and radio play, not that he hasn't enjoyed both with David Lee Roth, Joe Satriani, Gino Vanelli, and Santana.
This time, however, Gregg works with his brother Matt, who produces, sings, and plays bass. The Bissonettes have directed Submarine to two audiences, musicians and pop fans, and have discovered the intersecting point of these two groups. Take the title track, for example. Here we find heavy guitar block chords, courtesy Doug Bossi, and a rousing contemporary melody much closer to, say, Filter than Van Halen. Finally, there is a special drum sound. The snare drum has that elusive ring without clang - the sort of thing older timbaleros discuss about their respective instruments.
Moving on to "No Hay Parqueo", the style is emphatically Cuban, complete with piano montuno (4:36) by David Garfield, against which Bissonette solos. In the liner notes, Gregg cites the influence of Cuban drummer Jimmy Branly. That may be, but Gregg has demonstrated an affinity for Latin in his videos and clinics for a good while now. Here he takes it over the top, bolstered by Garfield's obvious confidence. Gregg's drumset playing is nimble and hints at the fine balance between 6/8 and 4/4 time signatures. He chooses the right spots for percussion: the usual fine Bissonette cowbell work, plus a variety of other LP instruments, including timbales, shakers, and hand drums. Add the raw edges of Gary Hoey's guitar, and we're into Santana territory.
Bissonette comrade Joe Satriani guests on "Lum Lum". His tone is luxurious and jazzy against the dark bell of Gregg's ride cymbal. Based on a stock sixteen-bar form, the song is a good example of the diversity of his brother Matt's song writing. The piece is as convincing as any standard in the Real Book and allows Gregg to reveal yet another side of his repertoire - bebop.
By this point, the only drawback of the disc becomes apparent, namely diversity. Presumably, Steve Vai's label Favored Nations felt that Gregg's fan base, strong song writing, and the guitar guest theme would overcome any diffusion of focus. The strong suit is the pop material - tunes such as "Train to Willoughby". On that one and several others, Gregg's lead vocals display an airy Brit Pop quality. Don't quit his day job just yet, but he's got an attractive voice!
"Cloudy Day" features Robben Ford on an instrumental twelve-bar blues. Then "The Son Man" leads with guitarist Tim Pierce's nod to The Byrds. Then the song leans towards the Beatles, right down to Ringo's loppity tom fills.
"Sasquatch" is another instrumental. Guitarist Michael Landau (James Taylor, Burning Water) takes the lead, turning in a wonderfully schizophrenic solo that resolves into an attractive ascending refrain. It stops abruptly (3:35) for a percussion/drum interlude. When Landau reappears, the interplay with Bissonette reminds of Hendrix/Mitch Mitchell on Cry of Love, complete with the wah wah and fuzz tones of the patriarch.
The last song takes its title from a typical joke that pokes at drummers, "So Many Notes & So Little Time". Yet, in his best fusion imitation, Bissonette plays fewer notes than many of the drumming exponents of that style. And, just maybe, smoother time. Go figure...
For more information on Gregg Bissonette, please log on to: www.favorednations.com.
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