The first Smith/Kotzen record was unexpected in more ways than one. For starters, the partnership between Adrian Smith and Richie Kotzen was not something anyone had on their bingo card. Then again, those cards were thoroughly reshuffled by the pandemic, and unlikely collaborations and surprise releases became one of the many byproducts of those strange times. The music itself was another revelation. With two guitar heroes involved, one could reasonably have expected a virtuoso wankfest, where technique overshadows songwriting. Instead, the album was firmly rooted in classic hard rock traditions and anchored by Kotzen’s soulful voice. The solos were, of course, exquisite, but they served the songs rather than dominating them. They were the icing on the cake.
Black Light/White Noise picks up exactly where its predecessor left off, with even tighter songwriting and sharper focus. Rollicking riffs, catchy melodies, driving choruses, expressive vocals, and tasteful guitar work define the record from start to finish. Stylistically, it sits closer to Kotzen’s solo output than to Smith’s work with Iron Maiden, yet it remains a true collaboration. Smith’s songs for Maiden were always more melodic and rock-oriented than the galloping epics of his bandmates, and the chemistry between his instincts and Kotzen’s style is this album’s greatest strength. The first record established the formula. Here, with time to gel and consolidate, the duo refine it with confidence and precision.
As a result, a palpable sense of fun runs through these recordings. Two masters of their craft clearly enjoying the process of shaping a song, sanding down rough edges, and adding just the right touches in the form of a guitar fill, a counter-melody, a riff, or a solo. Nowhere is this playfulness more evident than on opener "Muddy Water," which doubles as a statement of intent. Fast, melodic, flashy yet restrained, it feels purpose-built to kick off their live shows. It also has a slightly modern feel that should squash any notion that these players are stuck in their ways.
The flip side of having such a firmly established style is that most of the songs fit neatly within that framework, which is both a strength and a limitation. On one hand, there are few surprises, and very little jumps out as truly unexpected. On the other, this consistency makes for a cohesive album and a fluid listening experience. After all, no one is waiting to hear these two experiment with hip-hop beats, death metal vocals, or folk-rock guitar voicings.
Still, there is plenty of room within that established structure to introduce subtle variations and keep things fresh. “Darkside” and “Heavy Weather” bring a touch of Southern rock to the mix, while “Beyond The Pale” even flirts with Wishbone Ash-style progressive rock. It is a fantastic closer and this reviewer’s favorite track. Another highlight is “White Noise,” a heavy, mid-tempo cut with a contemporary Thin Lizzy feel and, unsurprisingly, some excellent guitar work.
One of the album’s real pleasures lies in how Kotzen’s and Smith’s voices intertwine, whether they are trading lines, singing in unison, or locking into harmony. Combined with the restrained yet incendiary guitar interplay and consistently sharp songwriting, this vocal chemistry gives the project its own distinct personality and confirms that the first album was no fluke.
You never quite know what collaborations of this caliber will yield. While many so-called supergroups produce competent but disposable records, often little more than one-off experiments or contractual side projects, this partnership feels genuine and fully invested, organic and purposeful. Few would have expected these seasoned players to deliver something this vital at this stage of their careers, and fewer still would have predicted that they would do it twice in a row. If Black Light/White Noise this is only the second statement in a longer discography, music will be better for it.
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