PAUL GILBERT

Nobody sensible would argue with Paul Gilbert's credentials, or indeed his enormous talent. Whether raising the bar for heavy metal with the perennially underrated RACER-X, conquering soft rock radio with MR. BIG or simply being one of the most technically gifted and creative guitarists on the planet, he is a certified walking benchmark for six-string artistry. He is also still more than capable of a surprise or two. Rather than paying tribute to another legendary guitarist from the past, as is so often the case with projects like this, Gilbert has made the laudable move of exploring the greatest hits of Ronnie James Dio, thus revealing both excellent taste and a gently subversive streak. On "The Dio Album", he casually becomes the late vocalist, albeit playing those glorious melody lines on the guitar, with his customary virtuoso flair and an often-startling amount of aggression. In truth, it's a slightly bizarre idea that sits somewhere between outright genius and goofy novelty, but Gilbert plays with such joy that only the most insular and petulant DIO fans could possibly take exception to it.

It definitely helps the whole project that Gilbert has picked the best of the best of Ronnie's glittering catalogue to toy with. The glaring but forgivable absence of immortal epics "Stargazer" and "The Gates Of Babylon" (possibly being saved for volume two?),this really is the cream of prime DIO, from a driving, dexterous "Neon Knights" right through to the closing drama of "The Last In Line". Throughout it all, Gilbert is a punchy, overdriven presence, dominating and honoring the songs in true Dio style. Instrumental guitar albums are generally aimed at other guitarists, but this one celebrates its source material from a true fan's perspective, something that is most audible in the countless blistering and immaculate solos that Gilbert peels off at will. As a result, "The Dio Album" is enjoyable for reasons beyond its creator's obvious mastery of his instrument.

Versions of "Stand Up And Shout" and "Kill The King" echo the breakneck fire of the originals, but with plenty of the guitarist's effervescent musical identity erupting at tasteful intervals. "Man On The Silver Mountain" is treated with the respect it deserves, but still sounds like it's receiving a generous kick in the pants. "Holy Diver" perfectly mimics the original, with Gilbert's fluid, electrified howl coming miraculously close to aping the texture of Ronnie's voice. "Heaven And Hell" is such a great song that it would still work on a ukulele played by a chimp with broken fingers, and Gilbert is clearly having the time of his life playing it. A swaggering, mischievous strut through "Lady Evil" and an uproarious take on "The Last In Line" are arguably even more righteously entertaining.

The only slight drawback to this whole thing, at least for Gilbert himself, is that listening to "The Dio Album" will almost certainly make you want to listen to those ageless originals again. But how can that ever be a bad thing? This music is unassailable, and Paul Gilbert can play a bit too.