Believe In Me

DUFF McKAGAN: "Believe In Me" (Geffen)

DUFF McKAGAN, the man Rolling Stone called 'the punk spirit of Guns N' Roses', has released a very good debut solo album, heaving with muscular power and bristling with fine musicianship (notably from Duff himself). The songs, for the most part, are very well written heavyweight rock with a rhythmic thump as their backbone, fleshed out with some refreshing keyboard sounds and a series of short but impressive guitar solos from the likes of Slash, Jeff Back and Gilby Clarke.

After a powerful opening with the excellent title track, the drive does tend to dissipate slightly under the weight of the stadium choruses of 'Could It Be U'. Ironically, it's the bombastic 'Swamp Song' that actually hits home with more confidence. Slightly pompous, vaguely operatic (the powerful vocals and soaring range of Duff being particularly noteworthy) but utterly convincing, this track is more song-orientated than most and would make a worthy single. Interestingly, Jim Mitchell's production definitely exhibits more than the odd trace of an expansive disco feel on the sublime 'Man In The Meadow', capitalising on all the enticing elements of the genre to enhance a rock track whilst leaving all the dross off the turntable.

However, some shoddy lyrics lets Duff down occasionally. Hot on the heels of The Scorpions' diatribe on the same theme, Duff hops onto the taxman-bashing bandwagon with some similarly ineffectual invective. Pouring forth his vituperations over ferocious soloing from guest Beck, unfortunately the only semblance of fun emanating form '(Fucked Up) Beyond Belief' derived from the dawning realisation that McKagan - a co-writer with G N' R, who have sold nearly 50 million albums worldwide - is deadly serious in his addled viewpoint when he spews out lines like "The taxman cometh and he takes all your money away/Tax bracket, what a racket/They spend it like two-bit thieves." Also the rap 'n' rock track 'Fuck You' is no more than a misogynist rant.

But this is mainly a musical adventure. Powerfully produced, well-paced and notwithstanding the odd lyrical cock-ups, Duff delivers some potent vinyl that doesn't substitute feedback and effects for genuine style.

• Johnny Lyons