John 5 played at Ripper’s Rock House in Akron, OH a couple of days ago for John 5 and The Creatures. Check out this fantastic 5 STAR review from examiner.com where not only did the reviewer love the show, but also some great chicken wings…..
Read the review by clicking >>> (more…)
Last week John 5 and The Creatures stopped at 210 Kapones for the latest date of their February/March shows. Our friends at axs.com were there and noted that “For a guy who didn’t sing a single word during his hour-long set, John 5’s hands performed all the verbalization necessary Tuesday night at 210 Kapone’s.”
Read more of this review and find out how to see some amazing images from the night, by clicking >>>
John 5 and The Creatures played recently at Click’s Live, in Tyler TX.
On Tour Monthly were there to watch the show and gave a blistering hot review. Commenting on the show OTM write about John 5; “The absolute mastery of his instruments made the evening a success for both the audience that came to watch the virtuoso, and the maestro, who wielded the axe like no one I have seen in quite some time“
To read the review, and find out where to see some awesome shots of the show, click >>> (more…)
Check out this review from our friends at Screamer Magazine, for John 5 and The Creatures at The Coach House on 12 Feb.
For anyone still wanting to know what a Creatures show is like, Screamer describe it as thus; “J5 can make that guitar talk, walk and sit up and beg. Go check ‘em out, you won’t be disappointed!“
Read the review by clicking >>> (more…)
JOhn 5 “has brought the musicianship of rock to the forefront and has slayed each one of us in the process”
Why It Matters reviews John 5 and The Creatures as they passed through LA in the early dates of their tour.
Their review not only praises the way John 5 leaves you “spellbound” during the show but also talks about the “thundering” drum playing of Rodger Carter and the “flawless bass” of Ian Ross.
Check out the fantastic review by clicking here >>> (more…)
Check out this AMAZING review from our friends at ZRockr Magazine, who went to see John 5 and The Creatures at Vamp’d in Las Vegas. ZRockr note that “the sheer diversity of everything played that night” blew them away.
Check out the review for yourself and don’t forget to let John 5 and The Creatures know about your experience here at the site or on John 5’s Facebook or via Twitter – the feedback has been FANTASTIC!
Read ZRockr’s review for yourself, by clicking >>> (more…)
Another review of the brand new John 5 album, ‘Careful With That Axe’, this time from Amps and Green Screens.
I’m pretty picky about a lot of things which should come as a shock to none of you. And one of the things I’m extremely picky about is guitar albums. Maybe it’s because I can barely play myself, but more often than not it’s just too much: too much noodling, too many over the top solos screaming, “Look what I can do!”, and too much jacking off all over the fret board. Which brings me to JOHN 5 (you know who the fuck he is, stop it!) and his new album Careful with That Axe, out August 12 via 60 Cycle Hum. Now I was a YUUUGE fan of his last one God Told Me To, and it landed pretty high up on my Top 10 albums of 2012; an absolute masterpiece that was. So yeah, I was dying to see how this record turned out. (more…)
With just two days to go until John 5’s eight studio album, ‘Careful With That Axe‘ is released on digital music sites (with a physical release expected in the next couple of months), you may want to get a taste of what others are now saying, having had a chance to review the album.
Bloody Good Horror are one of the first to submit their review and here is is for you to read – incase you’re still trying to make your mind up; “The virtuosity and versatility of John 5 is the subtext of the record and the decision to put melody first is a great one. “Careful With That Axe” is a guitar album, yes, but a highly enjoyable one and an easy recommendation for fans of just about anything.”
Pre-order your copy of Careful With That Axe here: http://smarturl.it/CarefulWithThatAxe
To read the review in full, click >>> (more…)
Following on from their interview with John 5, Bare Bones Music have also reviewed his new album God Told Me To giving it a four and a half skulls out of 5 rating.
God Told Me To By: Johnny Price
JOHN 5 has just released his newest solo album and as always, he is keeping his fans on their toes. This is a musician who continues to peel away creative layer after creative layer, almost re-inventing himself each time. (more…)
Yet another review in for John 5’s new album God Told Me To which was released today officially. This time from SputnickMusic.
Review by insomniac15.
Summary: John 5’s most accessible and interesting work.
God Told Me To is a departure from the usual John 5 albums, bringing a much needed change to his solo career. This time he traded all the bluegrass with lovely acoustic numbers, thus marking John’s not only one of his most interesting albums, but also one of his most accessible work, if not the most. (more…)
Read this fantastic review from TargetAudience Magazine for John 5’s new album ‘God Told Me To‘.
Review by Russell Eldridge
Half of God Told Me To will appease even the pickiest of shred fans and the other half will soothe the souls of those more into the wooden tones of delta acoustic, highland melodies, and acoustic shredders
John5′s new CD God Told Me To is an exciting, scary, sexy, and twisted shred masterpiece. (more…)
Read this stunning 9 out of 10 review of John 5’s forthcoming ‘God Told Me To’ from Spanish webzine La Estadea. Thank you to Mike from the site for providing the translation. You can read the original Spanish review by clicking HERE
‘God told me to‘ is the sixth solitary studio album from the Rob Zombie and ex-Marilyn Manson guitar player, John William Lowery, AKA John 5. The first and remarkable impression, is the aggressive cover artwork (painted by Rob Zombie itself) (more…)
‘The Don’ at CirclePit has reviewed ‘God Told Me To‘
Read this fantatsic review from Gigseen for the new album ‘God Told Me To’
Album Review: John 5 ‘God Told Me To’ Review by Kate Fletcher
Ex-Marilyn Manson guitarist and member in Rob Zombie, John 5’s God Told Me To is his sixth solo album. Taking elements from his past material as well as moving in new directions, this record really defies any genre, and showcases one of the most talented and underrated modern guitarists.
The follow-on from 2010’s The Art Of Malice, this ten track, instrumental album shifts between John 5’s well-known and loved blend of electric guitar, speed metal style, and his newly found acoustic guitar sensibility. (more…)
John 5’s eagerly awaited studio album God Told Me To will hit shelves on May 8 2012. But if you are looking for a review on what to expect, then here is the first review from HardrockHaven.net.
We’ll post more as we get them.
John 5 | God Told Me To
March 5, 2012 by Alissa Ordabai Staff Writer: Read the full review here: hardrockhaven.net/john-5-god-told-me-to/
Torn in two – between the past and the future, between the old formulas and an emerging new perception – is how John 5 sounds on his new album. To highlight the clash between his familiar tried-and-tested electric guitar methods and the newly found acoustic guitar sensibility, the track list intentionally alternates acoustic and electric cuts, contrasting tenderness against violence, contemplation against recklessness, elegance against brutality. (more…)
John 5 “The Art of Malice” CD Review: Ben Hosking: http://lifemusicmedia.com/?p=10104
While ‘The Art of Malice’ is an instrumental album; you probably don’t need to be a guitarist to know who John 5 is. John 5 has played guitar for Marilyn Manson and is the current axeman in Rob Zombie’sband. Rubbing shoulders with two of the freakiest dudes in modern rock/metal surely goes some way to explaining John 5’s compulsion to shave his eyebrows and apply the face paint.
The Art of Malice is John 5’s third solo effort and shows the country-infused chicken-pickin’ shredder continuing to expand his chops and grow as a songwriter. Where ‘Requiem’ and Songs for Sanity affirmed his place in the pantheon of interesting and intense guitar instrumentalists, ‘The Art…” will go a long way to securing his position as an equally interesting songwriter as well.
For newcomers to the crazy world of John 5, it’d be all too easy to pass him off on the strength of his visual appearance. Don’t judge a book by its cover. John 5 is well known within guitar circles for his different take on what shred is meant to be with skills like string bending behind the nut and his choice of the Fender Telecaster isn’t exactly the norm’ for creating killer licks.
No, John 5 is not all about metal. He’s not all about rock, shock or anything else. The Art of Malicecontains moments of countrified quirkiness like the hybrid-picked mayhem of ‘JW’ and the steel guitar meanderings of, well… ‘Steel Guitar Rag’. Country even finds its way into more conventional-sounding rock tunes like ‘The Nightmare Unravels’ through his use of hybrid picking – a style that when used correctly can greatly increase the number of notes you can play per minute.
The Art of Malice is a dynamic record that peaks and troughs well throughout its 12 tracks. Just as you get comfy immersing yourself within the drama of slower tracks like ‘Can I live Again’ and the tension of ‘Fractured Mirror’, you’re beaten over the head by thrashy outbursts and millions of notes in tracks like ‘Portrayed as Unremorseful’.
John 5’s new disc even offers some cool guest spots, like Billy Sheehan (Mr. Big, Steve Vai, David Lee Roth, et al) playing bass on ‘Ya Dig?’ and Tommy Clufetos (Ozzy Osbourne, Rob Zombie, Ted Nugent and Alice Cooper) playing drums throughout.
Whether you’re new to John 5’s idiosyncratic style or an existing fan, The Art of Malice is one you’re going to want in your collection or on your playlist. In a world of ‘same same’ solo guitarists,John 5 stands out as an unrepentant individualist. He has more talent in his one eyebrow than most players have in their whole bodies. Try him out.
Fucking Metal Album Reviews: John 5 – The Art Of Malice: fucking-metal-album-reviews-john-5-the-art-of-malice/
June 4th, 2010. By groverXIII
John 5 is, for the uninitiated, best known for his guitarwork with Marilyn Manson and, more recently, Rob Zombie. Those two names might be enough to make you skeptical when I tell you that the man is an absurdly talented guitarist with a number of impressive solo albums under his belt. However, I assure you that this is indeed the case. The Art Of Malice brings this total to five, not counting an additional remix album; like his previous solo albums, The Art Of Malice features instrumental, guitar-driven tracks mixing metal and bluegrass in varying measures.
The album art may be enough to turn your stomach; between the loud colors, odd makeup, and questionable clothing choice, it’s fair to say that this is a pretty unappealing introduction to Senor Cinco’s music. However, I urge you to resist the temptation to judge this particular book by its cover. Once you dive in, you may be surprised at what you find.
The album starts off with a blast with ‘The Nightmare Unravels’, as atmospheric guitar sounds give way to an explosive riff and lightning-fast soloing. This track truly exhibits what John 5 does best, pairing lead pyrotechnics with catchy melodies. ‘The Art Of Malice’ is a shorter track of bluegrass picking, another of John 5′s calling cards, and features no additional instruments beyond the guitar. As the album continues on, the tracks almost seem to be divided between heavy and mellow, occasionally crossing paths as some bluegrass picking finds its way into the heavier tracks, but the album almost seems to alternate between the two styles.
There are some curveballs in here, though; ‘Ya Dig’ features a fast, heavy vibe and a guest bass performance from Billy Sheehan. ‘Can I Live Again’ is a slow, mournful tune, full of sadness and emotion. And ‘Fractured Mirror’ is a version of the Ace Frehley song, which would explain why it feels out of place. Still, all of these tracks are oozing with 5′s style; most of these cuts wouldn’t be out of place on his earlier stuff.
And in the end, that’s the part that trips me up somewhat. Perhaps it’s because of my level of familiarity with his older albums, but there something about The Art Of Malice that feels a bit stale. The heavier songs don’t seem to grab me quite the way that his previous work has, and it seems as though there are less heavy songs on this album than usual. I’ve always felt that the heavy stuff was his bread and butter, with occasional bluegrass interludes, and it feels as though the slower moments here start to disrupt the flow of the album a bit.
Still, The Art Of Malice is a really good album, packed to the gills with flashy guitar playing and catchy melodies. The slower moments are more than made up for by the stronger parts of the album, and as a whole the album is a worthy entry into John 5′s solo catalog. It’s certainly better than the last couple of Rob Zombie albums.
My score: 4.5 out of 6
John 5 – The Art of Malice released May 11, 2010 on 60 Cycle Hum Records/Rocket Science Ventures: mindovermetal.org/review-john-5-the-art-of-malice/
Rating : 3.5/5
John 5 is a jack-of-many-trades when it comes to guitar. We just heard some of his work on Rob Zombie‘s Hellbilly Deluxe 2 earlier this year, although that album wrapped up recording in 2008 (the year his fourth solo effort, Requiem, was released). I was apprehensive approaching The Art of Malice because I have not seen a color scheme like this since Jack Johnson‘s Curious George soundtrack. Thankfully, it is virtuosic yet listenable, humorous and heavy, with a unique stamp that is nearly complete.
Opener and lead single “The Nightmare Unravels” is the best, biggest, and flashiest original number here, where he pulls out all the stops to better slacken your jaw. The closest competitor is “Ya Dig?” (in sly salute to“Diamond” Dave), which features none other than Billy Sheehan (they both played with DLR, albeit a decade apart). But the obvious tribute is found in “Fractured Mirror” from Ace Frehley‘s eponymous solo album, which receives loving treatment on The Art of Malice. I never noticed how much that song reminds me of Ozzy‘s “You Can’t Kill Rock and Roll” before now.
John 5 will surprise you, too. He reminds us that one of his toes always dips into country, as he demonstrates in “J.W.” (his first two initials, John William). And the slide guitar twang of “Can I Live Again” can wrench a tear from the driest eye. But my favorite smash into left field was certainly “Steel Guitar Rag”, which effectively transports the listener a century back.
“Portrayed as Unremorseful” gives more than one nod to Mr. Joe Satriani for the duration, and sidesteps intoLed Zeppelin‘s “Heartbreaker” for half a minute in the middle. I also like the feral cat yowls he elicits from his instrument throughout “Wayne County Killer” (named after murderer Chad Campbell). After revving up one last time in “The S-Lot”, “The Last Page Turned” lets you down easy with beautifully intricate acoustic work.
John 5 is an artist determined to flourish in the music world. By continuously challenging himself, he has shared the stage with musicians as disparate as Marilyn Manson and k.d. lang. On The Art of Malice, his signature sound (by way of Fender Telecaster) becomes all the more recognizable.
Try 1, 5, 7, 9
Review: John 5, “The Art of Malice”: http://www.mountainkingmusic.com/2010/05/review-john-5-art-of-malice.html
To be honest, I’ve been over the guitar god shred instrumental album for a long time now, but in recent years, I’ve become more and more impressed with the work of John 5 every time he pops up somewhere. That interest was enough to get me to give his new record “The Art of Malice” a shot.
Granted, there’s a lot of showy shredding here, as on any instrumental guitar record, but by and large the songs here are actual songs, not just a conveyance for John 5 to pack as many notes as possible into. Like any good tune, the songs here follow progressions and have solid hooks, albeit musical ones rather than vocal ones.
Another thing that strikes me about this record is the great variety of moods and styles that clash here. There are rhythms and grooves on the record that just put a smile on your face, and there are reflective, melancholy moments. The genres represented pretty much run the gamut from old-fashioned down-home country to charging, bashing metal. Of course, what else would you expect from a guy that’s played for both Marilyn Manson and K.D. Lang?
“The Art of Malice” rocks straight out of the box with the catchy “The Nightmare Unravels,” which features the expected fast sweeping lead work. Then, the title track pulls in a little Spanish influence and the country twang from his Telecaster. It sounds a little like Roy Clark dabbling in Latin sounds. There’s definitely influence of guitar virtuosos who came before, particularly Joe Satriani on the high energy “Ill Will or Spite” and the crazy groove of “Ya Dig,” which blends elements of blues rock and country in a driving, high-octane shuffle.
There are plenty of those heavy rocking numbers here, including the big traditional metal riffing of “Wayne County Killer,” a personal favorite of mine. But, despite the cliché of the phrase, there really is something here for everyone. “J.W.” delivers a rockabilly boogie. “Can I Live Again” begins with a dark southern rock feel, reminiscent of “Floyd,” which he wrote with Lynyrd Skynyrd, and then moves into some soaring movie soundtrack-ish leads. “Steel Guitar Rag” is pretty much what the title says, with some wild old school country picking at the end. “Portrayed as Unremorseful” brings funk rock into the picture. “Fractured Mirror” is a trippy progressive number.
Album closer “The Last Page Turned” wows with an acoustic. It’s particularly striking coming at the end of a record that’s been all about shred, but John 5 proves with it that he’s just as good without electricity.
It’s almost insane how quickly this record goes from crushingly heavy to groove to twang, yet somehow it all flows. “The Art of Malice” proves John 5 to be as much a shredder as any of the guys that came out of the style’s 1980s heyday, but also a bit of a mad scientist, stitching together seemingly incongruous elements into an imposing Frankenstein monster.