For about two years, I was hoping that Matt Hires' album Take Us To The Start was going to follow a similar trajectory as John Mayer's Room For Squares, steadily building a story then finally breaking after good word of mouth, reviews and critics' endorsements.
At this point in his career, Peter Frampton could have tossed out a second instrumental album and won another Grammy. Thankfully, this time out, he played his heart in addition to his axe, creating what could be the best album of his career.
Slash's first solo album shows continuity and expert songwriting despite all of the musical influences involved. But despite its being a solid release, the old school rock 'n' roll can sometimes get a little too reliable.