Saul Hudson, or Slash as he is more commonly known, has compiled one of the longest résumés of any rock guitarist out there. An original member of Guns N’Roses, Slash played a crucial role in crafting such unforgettable songs such as “Sweet Child O’Mine” and “Paradise City.”

After leaving GN’R because of personal differences with lead singer Axl Rose, Slash formed two bands, Slash’s Snakepit, which disbanded in 2000, and Velvet Revolver with some of his old bandmates from his original group, and Stone Temple Pilots singer Scott Weiland. Unfortunately, Weiland left the group in 2007, just as the band was starting to gel into a cohesive unit. Since Weiland’s departure, Velvet Revolver has been in somewhat of a hiatus, and Slash decided to venture off on his own.

Only trouble was, Slash is not a very talented singer. So he decided to go the route that Santana and other artists have taken and feature a different artist on every track alongside his guitar stylings. The result is his eponymous solo album, featuring many big-name singers.

As an Alter Bridge fanatic, I thought I would be most impressed with the songs that feature Myles Kennedy, but I actually liked “Promise” the best, which features former Soundgarden and Audioslave frontman Chris Cornell. The main riff is somewhat atypical for most of Slash’s material but still works very well. It has a groovy feel, and Cornell’s vocal line fits the guitar part perfectly. The song should please fans of Cornell that were upset by his foray into the pop world with his album Scream.

Kennedy’s tracks are solid, too. “Starlight” was supposed to close the album originally, and I wish it still had. The song has an anthemic quality that showcases Kennedy’s impressive range, especially in the chorus, where he keeps stepping up higher and higher with his vocals. “Back from Cali” reminds me a lot of Kennedy’s tenure with The Mayfield Four, as it has a tightly-produced quality that permeates much of that band’s music.

Other highlights of the album include the instrumental track “Watch This,” with Dave Grohl and former GN’R guitarist Duff McKagan. McKagan’s quarter-note rhythm guitar chords complement Slash’s more delicate finger-picking in the lead guitar part. “Nothing to Say,” with M. Shadows of Avenged Sevenfold, is probably the most creative track, in which Shadows is almost reminiscent of Axl Rose when he sings in his lower register. Slash throws in a syncopated guitar lick at 1:52 that ends up producing an interesting effect. He also slows down the tempo at the end as a nice closing statement.

Slash even shows a willingness to put some pop flavor into his music, with “Beautiful Dangerous,” featuring Fergie. The drums and guitar part have a poppy beat, and Fergie’s sultry vocals in the verses add to this feel. Fergie is able to pull off a rock wail in the choruses with a skill that I frankly did not expect from her.

Slash also has his weaker moments, such as the song “Doctor Alibi,” where Lemmy of Motorhead fame tries to scream while staying in his lower register, resulting in an earsplitting and unappealing sound. The album is fairly cookie-cutter lyrically, with many traditional rock themes. Most of the first half of the album falls into a predictable riff-verse-chorus-verse-chorus-verse-chorus-solo-end pattern.

Overall, the album is somewhat spotty and uneven, which is perhaps to be expected when one employs a different singer for every song. But it definitely has more highlights than lowlights, and fans of any of the vocalists on the album should definitely check it out.