STRUTTER'ZINE http://www.strutter.8m.com/
(Points: 8.3 out of 10)
by Gabor Kleinbloesem
Florida based multi-instrumentalist GARY SCHUTT returns with a new solo-CD, his 8th already I believe. Once again he did everything on his own and musically he is updating his classic Melodic Rocksound with some of today's modern rock and even a little progrock riffs here and there. However, each of the included 11 songs features a strong Melodic Rock chorus. JAMES LABRIEish vocals/melodies can be heard sometimes, just listen to "Nowhere fast" and you will understand what I mean. Gary started with pure Melodic Hardrock way back when he was doing recordings with JEFF SCOTT SOTO in the early-mid 1990s. He even toured with Jeff for quite some time now (as the bassist), but left in 2005 to concentrate on his solo career. He does everything on his own, even the singing and the production, so this CD is all done by one man and I have to say it sounds pretty good. Actually it reminds me a lot of PHIL VINCENT, who is doing the same kind of Melodic Rock, sounding modern and catchy and also does everything on his own. There's some great stuff here, such as the uptempo "Good enough" that has a very catchy chorus. As much as I like Gary's work with JEFF SCOTT SOTO from the past, even counting his first solo-record and the TAKARA ('Eternal faith') stuff among his best work, this new solo-CD 'Contigency plan' is also very
nice to listen to.
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http://www.revelationz.net/index.asp?ID=3394
Written by Brian
Saturday, January 29, 2011
Ratings : Brian 6/10
Gary Schutt - Contingency Plan
Jef Scott Soto cohort Schutt has been releasing quality solo material for some time now. We reviewed his 'Loss 4 Words' release back in 2008. But this new recording left me dazed and confused. Surprisingly, it's all vocal tracks, whereas 'L4W' was basically an instrumental album, and a classy affair it was. Here, Schutt has aimed to capture the mood of modern alt rock with punchy, zingy melodies, sharp, taut riffs and buzzing guitars. 'Nobody Special' and 'Better' are fun, frantic poprock, full of energy and punky undertones.
There's no argument it's well crafted and well intentioned. Sometimes you need to change direction when success proves elusive. But occasionally, on (the aptly named) 'Contingency Plan', when he reaches for that something more, that hard-to-pin-down, chord-striking moment, his vocals let a good song down. The metallised 'Love Me For Me' is not a great track but is a good example. The vocals lack the passion and depth the song needs, conversely (and indeed, tellingly), when Schutt's axe solo intervenes, the track takes wing and flies. The moral of the story is . . . well, you fill in the blanks.
Having said all that, a couple of tracks, maybe three, allow for some form of redemption. The progmetal-ish 'Bitch' is a cracker, with Schutt's vocal snarl a neat fit for the narrative, while the more conventional melodic rock track 'Wait Till Sunday' shows just how strong Schutt is at this kind of material. It's a powerful, memorably melodic piece, cleanly structured, ascending to an addictive hook. Elsewhere, there's little variation in the style and pace of the album and a sense of sameness creeps in. It's not until he pulls out heavy hitter, 'Tenfold' - a gritty slice of industrial rock lite - that we are hauled back onto the edge of our seats again.
No question, Schutt's a talented guy - he wrote, produced, mixed and played everything here, but not everyone will be enthusiastic about this change of direction, especially those who are fans of his undoubted prowess as an axeman.
But, then again, what do I know.
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