When Adrian Smith of Iron Maiden and Richie Kotzen of The Winery Dogs announced their collaborative project a few years back, fans of both players were intrigued by the potential of this partnership. But some may have also viewed it as an unlikely alliance, with Smith often pigeon-holed as a traditional heavy metal purist due to his decades-long tenure in Iron Maiden, and Kotzen frequently perceived as a technical virtuoso focused on instrumental gymnastics and flirtations with non-rock ‘n’ roll styles.
On paper, these two represent different sides of the rock spectrum: Smith, as one half of the dueling guitar team that helped define Iron Maiden and the New Wave of British Heavy Metal, and Kotzen, both a journeyman player and solo artist, with a superior technical prowess and a slew of guitar magazine features under his belt.
The band’s self-titled debut album in 2021 showcased impressive chemistry, with both players trading vocals and solos in a bluesy hard rock framework that felt organic from the first notes. Now, with Black Light / White Noise, the duo returns with a sophomore effort that builds upon that foundation while pushing into more ambitious territory.
Off the top, Black Light / White Noise represents a more cohesive vision than the debut. Where their first album had the energy of two friends hanging out and jamming in a mic’d room, this follow-up feels more deliberate and purposeful.
The opening track, “Muddy Water,” sets the tone with some call-and-response vocals from both players beset against a wall of heavy riffs. The guitar interplay throughout the album is nothing short of masterful, and there’s an obvious musical understanding between these two players in knowing when to complement each other and when to step into the spotlight.
What makes Smith/Kotzen work so well is that neither musician attempts to dominate the proceedings. Both bring their signature styles to the table, but they’ve found a middle ground that honors their respective backgrounds while creating something new. The production is crisp and uncluttered, allowing their instrumental prowess to shine without overwhelming the songwriting.
Other standout tracks include “White Noise,” a bluesy stomper featuring an infectious refrain and some svelte alternating vocals, and “Black Light,” with its choppy riffs and funk-infused soloing courtesy of Kotzen. “Beyond the Pale” is an epic journey spanning seven+ minutes that recalls vintage Ritchie Blackmore’s Rainbow with its atmospheric, mystical feel.
Lyrically, the album explores themes of duality, personal demons, and lost loves — fitting subjects for two musicians who have experienced both the highs and lows of long careers in the business. What could have been merely an interesting side project has evolved into something much more substantial. Black Light / White Noise proves that Smith/Kotzen isn’t just a one-off collaboration but a forged musical partnership.
For fans of classic rock, blues, and traditional heavy metal, this album offers a refreshing take on familiar sounds without relying too heavily on nostalgia. The songwriting is tight, the performances rock solid, and the chemistry undeniable. Unlike many supergroup projects that sound better on paper than in practice, Smith/Kotzen delivers on its promise.
At a time when traditional hard rock often faces challenges in getting exposure, Black Light / White Noise stands as a testament to the continued vitality of the form when placed in the hands of seasoned pros. Smith and Kotzen have crafted an album that pays homage to rock traditions while feeling thoroughly contemporary — no small feat for musicians with decades of history behind them.
Whether this collaboration continues beyond this second record remains to be seen, but with Black Light / White Noise, Smith/Kotzen have cemented their status as one of the most compelling rock duos of recent years.
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Photos by John McMurtrie.
