JERRY CANTRELL, 'BOGGY DEPOT'
by Adem Tepedelen
From The Rocket Magazine • March 25, 1998
The fate of Alice In Chains remains a mystery and guitarist and primary songwriter Jerry Cantrell's first solo album, 'Boggy Depot', has only added to the intrigue. Though the group hasn't officially disbanded, the four members haven't performed together in well over a year and rumors persist that lead vocalist Layne Staley is fighting a losing battle with drug addiction.
However, there have been signs since the 'Sap' EP, where Cantrell provided most of the lead vocals, that all was not well in Alice's Wonderland. Their last self-titled studio album also saw Cantrell stepping forward to cover more lead vocals and edge their sound away from the Sabbathy grunge-goes-metal sound of 'Facelift' and 'Dirt'. It's no surprise then that 'Boggy Depot' continues that trend.
Were it not for Staley's complete absence (as opposed to 'Alice In Chains' where he appeared in some capacity on most of the songs), this could very well be studio album number four for AIC. Drummer Sean Kinney plays on all but two tracks, bassist Mike Inez sits in on a few and Cantrell (except for some guest appearances by Primus' Les Claypool, Fishbone's Norwood Fisher and Angelo Moore and Pantera's Rex Brown) takes care of the rest - guitars, piano, songwriting and all vocals. Even recent AIC producer Toby Wright was tapped to man the board, thus furthering the sonic comparisons.
If it's not completely obvious already, 'Boggy Depot' doesn't stray too far from home. Compared to the crushing heaviness of 'Facelift' it is vastly different, but spun after either of the band's acoustic records - 'Sap' or 'Jar Of Flies' - or the more melodic 'Alice In Chains', it sounds like a rather easy and natural progression. Whether or not this is a good thing really depends on the listener's expectations for Cantrell's solo debut.
The leadoff track, Dickeye, with its fat distorted chords, propulsive, thudding beat and AIC-like harmony vocals, gives something of a false impression as to what's in store for the rest of 'Boggy Depot's' 11 tracks, much in the same way the heavyweight Grind from 'AIC' belied that record's softer, wistful side. That's not to say that there is any lack of heavy-handed rock here (such as Jesus Hands and Keep The Light On), but it mostly avoids the oppressive, crunching darkness that was AIC's trademark, and it is frequently intermingled with slower, moody, piano-laced numbers such as Settling Down. In fact, the only real nod to Sabbath here is on Breaks My Back, where Cantrell runs his voice through an effect like the one used by Ozzy Osbourne on the Sabbath gem, Planet Caravan.
Ironically, though, Cantrell's voice sounds best unadorned and is one of the strengths of this record. Where his clear, confident croon was a perfect complement to Staley's edgy, nasal howl in AIC, here it shines brightly on its own. On Jesus Hands he shows his versatility and range as he reaches for the higher register in the quiet verses and then adds some deeper harmonies in the rumbling choruses. He even pulls off the country-rock Hurt A Long Time and Between with aplomb.
Even more impressive than his singing, though, are his songwriting and guitar playing. Cantrell's always had a reputation as a top-notch guitarist, but on 'Boggy Depot' he truly shows his versatility and never gives into mere self-centered wankery. Any guitarists hoping Cantrell's solo album would be a showcase for some of the fretboard pyrotechnics he's capable of will be sorely disappointed (with perhaps the exception of the noisy closer Cold Piece, where he duels with Moore's saxophone).
Cantrell seems eager to showcase his songwriting skills as much as anything else. Though the majority of the songs lean toward hard rock, he does branch out a bit into areas that Alice In Chains probably wouldn't have touched earlier in their career. Most of the songs clock in at more than four minutes, but rarely become monotonous. His arrangements are solid and keep the tension constantly flowing and simmering, sometimes rising to a churning boil. It's only lyrically where he suffers a bit. Though he has used this solo album to expand his boundaries musically, he's not covering much lyrically that he hasn't already done to death in AIC. The song titles themselves give a pretty good indication of the depressing tone the words weave throughout the record.
What becomes readily apparent by the end of 'Boggy Depot' is that Cantrell is a very talented musician and songwriter. And more than anything, one can more fully appreciate and understand how he was really the core of Alice In Chains. Cantrell's first stab at a solo album is a comfortable transition from 'Alice In Chains', but due to its striking similarity to that record it's a little too comfortable at times.
Perhaps when Alice In Chains have thrown in the towel once and for all Cantrell can fully explore new musical terrain and work with musicians other than his bandmates. Until then, 'Boggy Depot' stands as a solid first outing, as well as a tantalizing morsel for AIC fans anxiously hoping for one more record.
