Stylistically "C.O.V" saw Byrd pay tribute to his influences through a collection of original songs which all bear the distinctive Byrd sound yet show glimpses of the classic rock music of the 1970's. Those expecting an orchestrated release ala Byrd's Flying Beyond The 9 or Anthem may well be a little surprised to hear a more straightforward rock sound with just some odd touches of keyboard to round out the sound. Of all Byrd's band albums Crimes Of Virtuosity is arguably his most guitar intensive, however, Byrd's skill at arranging and creating engaging music never allow the guitar to overshadow the song. Crimes Of Virtuosity is home to some of the finest guitar work committed to analogue tape - yes analogue - COV was recorded pre digital and has a superb warmth to the sound, it may not be as super clear as Anthem but it is no less poorer for it. Listening to the albums with headphones on is a wonderful experience to hear all the warmth on the guitar and the drums of Chase Culp.

Opener Prelude In Sea is a short intro that segues into the blisering Metatron. This track is one of my all time favourite Byrd compositions and home to an almost Rainbow (Rising era) type delivery, the fast paced track gives Byrd plenty of scope to showcase his formidible fretboard skills yet show an equally deft touch in composition. Kendal Torry belts out the lyrics with great power (coming across like a mix of Bruce Dickinson and Ronnie Dio), I defy anyone not to get excited when they hear this track.

A heavy cover of the Andrew Lloyd Webber/Tim Rice classic Heaven On Their Minds (from Jesus Christ Superstar) is an excellent fit for Byrd's skills. Home to some Blackmore inspired lead work the tracks finest moment comes when the band are grooving on the theme - listen to Chase Culp's excellent drum work here - a classic cover.

We then get the first of our bonus tracks with the biting Shot Down In Flames. Arguably the most intense Atlantis Rising composition to date we have some scolding lyrics and blistering lead work from Byrd which follow up an excellent start which sees Byrd play on the Star Spangled Banner theme briefly - A worthy addition to the Byrd catalogue.

The intensity calms down for the delicate ballad In My Darkest Hour, another corker of a track with a good mix of acoustic and electric guitar work, Torry's vocals here are superb. The emotion again is undeniable and this is as good a starting place as any for newcomers to start.

Hendrix type chordal flurries open The Hunted Heretic. Again some beautiful guitar histrionics weave between the verses. The lyrics centre on someone commenting on life from the grave 'But now that I'm dead - I can speak my mind, The blind see the dead - but they don't know our kind'. Some more great wah solo work blends perfectly with Kendall's soaring voice. James' solos here remind me of the sonic tapestries Uli Jon Roth laced throughout his 'Electric Sun' albums.

Jane is up next and its the first instrumental of the album, home to a nice mix of acoustic and electric lead work the track is full of exquisite fretwork with beautiful melodies and phrasing.

Get Free is another slice of Hendrix inspired rock, the track does remind me a little of the direction Byrd took on the Son Of Man album but this time with vocals. The lyrics are equally as deep centring on religion and the seven deadly sins.

Storm King is another highlight with a vintage Deep Purple feel thanks to its bluesy meets classical direction. Kendal Torry's vocals run the range of expression and which merge well with Byrd's inspired guitar lines which showcase a great jazzy feel.

Next up in Bolero No.46 Mvt.1, perhaps better known in the neo-classical rumour mill as Byrd's Bolero. This is the second bonus track on the album and is a movement from a guitar concerto Byrd was working on but ran out of funding for during the COV sessions. Essentially you have a slice of stunning classical music with the electric guitar as the prime soloist - sound familiar? Well this actually predates Malmsteen's Concerto by a few years. Those that have heard Avianti Suite from Flying Beyond The 9 will have some idea of what to expect, but as the name suggests Bolero serves up a more Mediterranean vibe, the playing and composition are both flawless making this a more than worthy addition to the album.

Goodbye My Love opens with Byrd's perfect vibrato over some Pink Floyd-ish keyboard strains before changing direction into a heavy rocker. Clocking in at over 7 minutes the track gets plenty of time to tell its tale musically and lyrically and after a few spins really hits home as another highlight.

The frantic Going Home closes the album with full metal glory, lyrically and vocally the track also delivers the goods whilst Byrd's solo is as good as you hoped it would be with Hames really letting fly. A great way to end great album.

Crimes Of Virtuosity was a very strong album when it was originally released and I am pleased to report that 8 years on it sounds as good as ever and lyrically even more relevant. The two bonus tracks and new artwork (done by Byrd btw) make this is an essential purchase even if the album is already owned. COV is quite different in places to Byrd's work both and pre and post COV but that unmistakeable Byrd trademark is there on every track in spades, the album is very varied and really none of the tracks sounds like a 2nd hand Malmsteen as some less then enlightened critics saw fit to pin Byrd down as earlier in his career. Fans of classic rock will find a lot to enjoy here as will the guitar enthusiast.

Overall Crimes Of Virtuosity is a must have addition for any rock/metal fans collection.

Hot Spots : Metatron, Heaven On Their Minds, Shot Down In Flames, Jane, Storm King, Bolero No. 46 Mvt.1, Goodbye My Love.

Rating : 97%