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Mark Lanegan



Mark Morton (Lamb of God’s guitarist) has released his first solo album. Titled ANESTHETIC, it is far from something to make you fall asleep. This album truly has something for everyone. It has dark, grooving, fast paced metal, soft rock, vocal focused ballads and just about everything in between.

The record starts with “Cross Off,” an absolutely thumping track from Morton and Chester Bennington (Linkin Park, Stone Temple Pilots). The groove heavy track begins with a scream from Bennington reminiscent of HYBRID THEORY (Linkin Park’s first album) as the late singer delivers searing metal vocals throughout, leading into a breakdown that’s impossible not to move to. From “Cross Off,” the album storms into “Sworn Apart,” with Papa Roach vocalist Jacoby Shaddix delivering a solid performance. Once again, Morton offers a filthy groove. “Axis” features Mark Lanegan (Screaming Trees, Queens of the Stone Age) and Slash’s favorite singer, Myles Kennedy. Lanegan sounds like he has been gargling gravel for five years. The track slows things down and forces you to listen. And, so, away we go again with “The Never,” featuring Testament’s Chuck Billy. The tune takes off like a rocket launch 2 inches from your head. More filthy grooves and barking vocals littered throughout this track force you to bang that head. The album slows down a bit from here, with tracks featuring Kennedy (“Save Defiance”) and Mark Morales from Sons of Texas (“Blur”). Both are solid efforts, with Morton and bassist Mike Inez delivering solid performances.


The record moves on to “Back From the Dead,” a track with Buckcherry’s Josh Todd. A solid, hard punk/metal thing, this is the best vocal performance Todd has given in years. Another highlight is the hard left turn of “Reveal,” featuring Naeemah Z Maddox. This track really shows Morton’s ability with a guitar. He slows it down and delivers a soulful and sweet guitar solo that works seamlessly with Maddox’s vocals. The album moves on to a hard rock track featuring Morton on vocals. He does a really solid job putting the vocals down in “Imaginary Days.” Very surprising, indeed. And, on to the finish… My favorite track of the year so far is “The Truth Is Dead,” featuring Randy Blythe (Lamb Of God) and Alyssa White-Gluz (The Agonist, Arch Enemy). You can already guess what happens here. White-Gluz opens the track with a beautiful singing intro which breaks into Blythe hitting his signature growl. Lows, highs, everything you could want from Blythe. Alyssa comes in at the perfect time to deliver the chorus, with Blythe throwing some clean vocals behind her. They both show off their growls through the breakdown. The album finishes STRONG. You can definitely tell Morton put a lot of time into this and chose carefully who he wanted performing each track. It’s obvious this is a labor of love and respect for the music. ANESTHETIC is highly recommended, as I think the album is killer… absolutely worth a listen.




By 1972, the Stooges were collapsing in upon themselves; the band were two years removed from their second album, FUNHOUSE; they were dropped by their record label, Elektra, and bassist Dave Alexander and guitarist Ron Asheton were gone. James Williamson was the new hot-shot guitar-slinger but, without a record company to back them, Iggy Stooge (now Iggy Pop), drummer Scott Asheton and Williamson were on the verge of packing it in. Then, David Bowie stepped in, convincing his management team, MainMan, to take a flyer on the down-and-nearly-out Detroit bad boys and securing a record deal with Columbia; with Bowie taking a hand in the studio and Ron back in the fold (as a rather disgruntled bass player), the group gave us the seminal 1973 album, RAW POWER. Iggy and Williamson had been writing and demoing material for their next record but, not seeing the kind of return they were expecting, Columbia dropped the band. Williamson and Pop released the KILL CITY album, a live record (METALLIC KO), as well as a couple of EPs of demos before Iggy, with Bowie’s help, went on to a long and erratic solo career. Over the years, other demos have cropped up on various bootlegs. Williamson was said to have been in retirement when the Stooges came calling again, in 2009, after the death of Ron Asheton; in 2014, with the band on hiatus following Scott Asheton’s death, Williamson decided it was time to give those now-ancient songs a proper unveiling. Though Iggy declined to participate on the project, he did give James his approval to re-record the tunes, utilizing a core group of Cat Power’s Gregg Foreman on keyboards, Primal Scream’s Simone Marie Butler on bass and uber-drummer Michael Urbano, as well as the Stooges’ touring band and a string of punk and alt-rock heavy-hitters to bring Iggy’s lyrics to life. Forty years in the making, RE-LICKED is the result.

James Williamson; Alison Mosshart; James Williamson (photo credits: HEATHER HARRIS)
James Williamson; Alison Mosshart; James Williamson (photo credits: HEATHER HARRIS)

If I were going to fire an opening salvo across the bow of the enemy, I think that shot would probably be loaded with the demented warble of activist and former Dead Kennedys vocalist, Jello Biafra; apparently Williamson thought the same thing with Biafra’s frantic howl leading the charge on “Head On the Curve.” The tune kinda has a “Stooges meets the MC5 at a mixer hosted by the New York Dolls” vibe, with Foreman’s barely-controlled tack piano coda, massive fuzzed-out bass from Simone (with additional low-end from Mark Culbertson’s contra bass) and – of course – Williamson’s typical slash-and-burn guitar. “Open Up and Bleed” is a sweltering, stormy Blues track. It features an inventive lead from Williamson, alongside another nice solo, as well as some minor key piano from Stooges drummer Toby Dammit; the real highlight comes from the throat of under-rated Blues wailer, Carolyn Wonderland, who also adds a dose of her unique guitar sound. Primal Scream vocalist (and former Jesus and Mary Chain drummer) Bobby Gillespie offers his usual ragged, snotty voice to “Scene of the Crime,” a loud, sloppy piece of raunch with the tack piano (provided by Butler) and lo-fi rhythm section (Butler again, with Urbano banging away on the drums) that was the hallmark of RAW POWER. Steve Mackay offers some sludgy sax work, while James adds a stinging solo. While the majority of the songs here are Pop/Williamson compositions, “She Creatures of the Hollywood Hills” was co-written by Iggy and original Stooges guitarist, Ron Asheton. The tune is a jazzy blast of swampy Doors Style rock and roll, with Manzarek-like keyboards from Foreman and Ariel Pink, ably abetted by Petra Haden, offers up a weird James Brown meets Jim Morrison vocal scat, as Dammit and bassist Mike Watt add a perverse rhythmic swing to the proceedings. There’s also a skronking kind of sax solo from Mackay that is of a variety that wouldn’t sound out of place on an early Mothers album. On what is probably the best track on the album, “’Til the End of the Night,” Alison Mosshart’s (of the Kills and the Dead Weather) atmospheric moaning is delivered over Williamson’s sparse acoustic and Urbano’s heavy, orchestral percussion. The tension builds to about the 3:15 mark when everything explodes, collapsing into a jagged electric solo before reverting back to form for the final minute or so.

James Williamson (photo credit: HEATHER HARRIS)
James Williamson (photo credit: HEATHER HARRIS)

Iggy’s “I Got a Right” crashes Stooges punk into Mother’s Finest rockin’ soul with vocals from the wildly talented Lisa Kekaula (of the Bellrays) wailing away over the Dammit/Watt rhythm section, Petra Haden’s oddly non-verbal backing vocals and a full horn section that includes Allison Gomer, Steffan Kuehn and Aaron Lington. Of course, the master of ceremony holds court with another dose of raunchy rock guitar on a song that woulda made Wendy O and the Plasmatics smile. “Pin Point Eyes” has a dirty, 1920s bawdy house feel, with Foreman’s ragtimey piano and the same horn section as “I Got a Right” dominating the rhythm. The Icarus Line’s Joe Cardamone’s vocals fall somewhere between Berlin-era Iggy and Johnny Thunders’ drugged-addled slurs. All of this, along with a rather restrained solo from James makes the track one of my favorites… this is the type of thing that I think Stiv Bator would be doing if he’d stuck around. The magnificent Alison Mosshart returns for “Wild Love” and she brings Mark Lanegan (Screaming Trees, Mad Season, Queens of the Stone Age… you get the idea… the guy’s got quite a pedigree!) along for the ride. With a butt-load of snarling guitars and the retro sound of Urbano’s drums and Butler’s bass, it’s a love song, Stooges style, and may just be the closest approximation to the band’s first Williamson era. There’s kind of an abstract Bowie-ness to “Rubber Leg.” The stomping rocker features a nifty, gravelly vocal from Little Caesar’s Ron Young amid a miasma of sound with Rolling Stones-like backing vocals and a weird, distorted sax from Steve Mackay that’s buried deep in the mix, coming up for air on an odd Farfisa run from Foreman; the whole thing is very noisy and quite disjointed and… I like it! “I’m Sick of You” is an archaic, American Gothic tune for the first half, with moody guitars and keyboards oozing underneath atmospheric vocals from the Orwells’ Mario Cuomo. It turns into a classic Stooges blast of intensity, with Williamson’s massive power-riffing tolling the death-knell of a broken relationship.

Lisa Kekaula; James Williamson; Mark Lanegan (photo credits: HEATHER HARRIS)
Lisa Kekaula; James Williamson; Mark Lanegan (photo credits: HEATHER HARRIS)

Now… with apologies to the Chairman of the Board (c’mon… you all know who Im talking about) and lyricist Paul Anka, there’s this: “And now, the end is near. Bonus tracks? We’ve got a few, but then again too few not to mention.” Carolyn Wonderland returns on vocals and guitar a funky blast of punk (or, is that a punky blast of funk?) called “Gimme Some Skin,” the first of six CD bonus cuts. Buoying Carolyn’s soulful voice are ragged, frenzied guitar blasts from both she and Williamson, as well as a wicked harmonica run from Walter Daniels and some James Chance post-punk sax bleats from Mackay. The first of two takes of “Cock In My Pocket” features typically raunchy Iggy lyrics, delivered with throat-throttling fervor by former Hellacoptors and current Imperial State Electric singer Nicke Andersson. The track also highlights some brilliant baritone sax from Aaron Lington. Another welcome return is featured on “Heavy Liquid.” Lisa Kekaula’s Paul Stanley-like howls carry the wicked Detroit-centric melding of the Stooges with the MC5, Death, Alice Cooper and Mitch Ryder over a muddy RAW POWER sound, with trashy horns from Kuehn, Lington and Gomer. Expanding the rock and roll pool to more of a world stage, the underlying riff is quite reminiscent of Budgie’s “Nude Disintegrating Parachutist Woman” and about half-a-dozen other hard rock classics, not to mention a bit of Devo and a sniff of Talking Heads. Other than lead singer Shea Roberts and guitarist Jesse Nichols, the Richmond Sluts (Chris B, Justin Lynn, John Tyree) seem to be relegated to the role of vocal support on “Wet My Bed,” with James, Simone, Gregg and Michael doing all of the heavy lifting, instrumentally. The arrangement works really well, with a shambolic free-for-all that sounds like the Dolls channeling Chuck Berry at a ROCKY HORROR SHOW revival; Williamson does his best Johnny Thunders doing his best Chuck and Foreman offers up a great tribute to the late, great Johnnie Johnson (the TRUE King of Rock and Roll)… this one’s a lot of fun. There’s not a lot difference between the first and second versions of “Cock In My Pocket,” other than the punkier voice of Gary Floyd, giving this version a Handsome Dick Manitoba/Dictators vibe. An alternate version of “Rubber Leg” sounds closer to RAW POWER than the regular album version, especially with the Iggy-cum-Joey Ramone yelps of JG Thirlwell, the alter-ego of the extreme artist known as Foetus. RE-LICKED is essential listening for rockers the world over, reminding us all why we started listening to rock and roll in the first place. The album is available in two physical formats: The first is a vinyl version with the first ten cuts… no bonus tracks, but it does come with a CD version that does feature all sixteen tunes; the second version is a standard release of the sixteen track CD. Both versions feature a cool “Making of… ” feature on a bonus DVD, a very nice addition to the entire experience.