Izzy Stradlin Albums (6)
What The Critics Say
As the world waited with bated breath for Axl Rose to unleash Chinese Democracy in 2008, Izzy Stradlin quietly slipped out Concrete, his fourth download-only release (it was only available via iTunes) and his ninth album since Use Your Illusion, the last time Guns N' Roses released original material. Izzy left GNR because he didn't like the spotlight but surely the inactivity would have eventually driven him crazy, too, as he wanted nothing more than to be a working rock & roller, working according to his own schedule, recording simply whenever he wanted. There's a lot of merit to Stradlin's methods -- he's every bit the recluse as Axl, but he can actually bring a project to conclusion -- although listening to Concrete is a little frustrating given its self-conscious limitations. Stradlin's old-fashioned rock & roll -- not so much proud as simply matter of fact -- isn't a limitation but the very casualness of Concrete is, as the tunes can feel tossed-off and the production is thin and gray, needing a bit of grit or wallop that it never gets. Even if Concrete winds up too modest for its own good, its modesty is charming, especially when he's revving up a messy rocker like "Knuckleheads" or laying into an easy acoustic groove on "I Know," effortlessly evoking the ghost of Ronnie Lane. These are reminiscent of what Izzy did best in the heydays of Guns N' Roses, and while Concrete as a whole is a little uneven, it's nice to know that he still has it in him to create songs as humbly terrific as this. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
There were few bands in the history of rock that sought and craved the limelight as much as Guns N' Roses did circa Appetite for Destruction through their Use Your Illusion releases. Interestingly, after rhythm guitarist Izzy Stradlin went sayonara and exited the band in 1991, he kept an extremely low profile. But unlike a certain former member of his, Stradlin has subsequently solely let the music do the talking -- not numerous in-concert costume changes nor arena riot-inducing poor behavior -- as he issued a string of low-profile solo outings over the years. And all were modeled after Stradlin's main influence, Keith Richards, as heard on his 2002 release, On Down the Road. His fifth studio album overall, On Down the Road comes off more like a bar band rather than a former stadium headliner, especially on such blues rockers as "You Betcha," "Monkeys," and "On Down the Road." On Down the Road certainly won't get any awards for the most original-sounding or stylistically groundbreaking rock release of 2002, but creating familiar vintage rock sounds appears to be Stradlin's modus operandi nowadays. So from that standpoint, On Down the Road certainly accomplishes its goal. ~ Greg Prato, All Music Guide
What The Critics Say
Despite keeping a fairly low profile since exiting the Guns N' Roses hype machine in 1991, guitarist Izzy Stradlin has issued solo releases on a sporadic basis -- including 2001's River. A long devotee of such rock & roll outlaws as Keith Richards, Stradlin still possesses a similar vocal style to the aforementioned Rolling Stones co-founder, while River musically contains a heavy roots rock vibe -- especially the organ-laced title track and "Get Away." That said, the album-opener, "Jump in Now," wouldn't sound out of place on modern-day mainstream rock radio. Not a lot of surprises here, but judging from Stradlin's solo albums thus far, that's exactly the way he and his fans like it. ~ Greg Prato, All Music Guide
What The Critics Say
Well, Izzy Stradlin sure didn't spend the five and a half years between his first two solo records rethinking his music. 117 Degrees picks up right where The Ju Ju Hounds left off, offering a set of 14 bluesy hard rockers in the vein of Chuck Berry, the Stones, the Faces, Aerosmith and, yes, Guns N' Roses. There are no surprises, in other words. There also isn't anything quite as good as his underappreciated classic-in-waiting "Shuffle It All," but 117 Degrees rocks harder than most roots-rock albums of the late '90s. And Stradlin is a roots-rocker by this point. None of his contemporaries are even trying for this kind of unassuming, straightforward, well-crafted hard rock, and by pursuing this direction so doggedly (he even covers Berry's "Memphis"), he sounds like a throwback to another era, much like all the Americana bands of the late '90s. His music sounds fresher than many of those roots-rockers because he just wants to play, not preserve heritage, but the ironic thing is when he's on, he's a better songwriter than almost any of them. He has his down moments on the album, but songs like "Ain't It a Bitch" and "Here Before You" make up for the weaknesses. Ultimately, there's no good reason why it took Stradlin so long to deliver a follow-up other than that he really seems to have no contact with the outside world, but that's part of his charm and part of the reason why 117 Degrees is endearing despite its faults. ~ Stephen Thomas Erlewine, All Music Guide
'Izzy Stradlin & the Ju Ju Hounds'
Release Date 1/1/1992
Tracks 10
Label David Geffen Co.
See Album Tracklist and Review
What The Critics Say
Izzy Stradlin was always the most gifted member of Guns N' Roses, able to put a modern spin on the classic rock of Chuck Berry, the Stones, and the Faces, as well as the New York Dolls and Sex Pistols. Axl may have had the angst and Slash may have had the chops, but Izzy had the smarts and the heart. On his debut album, the traditional elements that had always formed the backbone of Stradlin's music with Guns N' Roses comes to the forefront -- it's Stones and Faces all the way, but it is done well. Izzy Stradlin & the Ju Ju Hounds is terrific only half of the time, which is good enough for a debut album. ~ Stephen Thomas Erlewine, All Music Guide
