Review by Andy Boden Chickenfoot follow in the (chicken)footsteps of previous super-groups who have succeeded in producing less than super music. Whilst the 2009 debut caused little more than a ripple in the hard rock pond, disappointing given the CV’s on show, good things were expected from their second release. Entitled Chickenfoot III – named ‘3’ to avoid the dreaded second album curse suffered by so many bands over the years – proceedings are kicked off with Last Temptation, a hard rocking dance-along stormer that’s lifted by Joe Satriani’s fret mangling solos and grinding rhythm guitar work. Although the change in pace part way through comes across as a little unnecessary, it is nonetheless a great album opener. Alright Alright could almost be The Who, not necessarily a bad thing, but wholly unexpected. The bass is dropped to barely audible as the drums take over, shame really as a funkier, (louder!) intricate bassline would have made this one of the stand out songs of the album. Different Devil is an upbeat radio friendly sing-along track that reins in Sammys voice in favour of an even paced vocal. In fact, everything is reined in here, laying it easy on the riffs and drums in favour of melody and backing vocals. Expect to hear this on rock radio soon. Up next is Up Next, a hard rocking anthemic track that is sure to be a live favourite. Whilst Sammy has never been known for producing deep and meaningful lyrics, he at least feels as though he is having fun here. Satriani’s searing, effects laden solos form a perfect backdrop for a somewhat jovial Hagar vocal. Lighten Up again opens up like an old Who song, but that’s where the similarity ends. Driving rhythm section and throbbing, if not a little subdued, bass, and of course an intricate, soaring, whirlwind of a guitar solo move the track on at a cracking pace. Come Closer flirts with power ballad status, and as with Different Devil, there is a definite commercial feel. Three And A Half Letters is a Living On A Prayer-type-social commentary opus that finally allows Satriani to unleash the beast, breaking up the song with no less than three fret-shredding solos which, along with his trademark tapping style, show that, despite the muzzle being on for pretty much the whole of the first album, and most of this one, the boy can actually play! Big Foot is, curiously, set to be the first single to be released from the album. It’s an inoffensive little number but instantly forgettable. Dubai Blues is a bluesier, groovier number, which allows Sammy to get up and down the scales a little more. This suits the style of the album more than, say, Come Closer, as it gives all of the members a chance to shine. And shine it does, an instantly recognisable vocal and funky bassline, this works at every level. Something Going Wrong, a bluesy, Country rock song very much in the vein of Bon Jovi’s Wanted Dead or Alive (albeit without the mention of steel horses), closes the album. Featuring almost Santana-esque guitar from Satriani, it oozes emotion from every pore, every ounce of passion is wrung from every note. Controlled, but equisite. Overall, Chickenfoot III leaves us pretty much where the first album left off. Sammy Hagar is rapidly approaching bus-pass-collecting age but shows no sign of slowing down. Whilst this album is probably a little more vocally restrained than we have become accustomed to from Mr Hagar, he continues to prove that he can still mix it up, from the Daltrey-esque chirp of Alright Alright to the more commercially accessible Different Devil. Where I feel that the album falls short is in not exploiting the extensive talents of Mark Anthony on bass and Chad Smith on drums. By definition, a super-group should consist of super musicians who are there for that very reason. Mr Anthony and Mr Smith are reduced to almost session musicians here, restrained on virtually every track. Not a bad album. Sadly, not a great one either. Track listing:
7/10 |






