11:11, Rodrigo y Gabriella’s follow-up to their self titled half-million selling 2006 debut, stays true the formula that brought them initial critical and commercial success.  Their sophomore effort plays it safe sticking to the acoustic-classical-metal-flamenco dueling guitar style they’ve developed.  What makes the duo special – their unique approach to classical guitar playing – can also be their greatest fault because it tends to restrict their creativity.  At times it feels like lead guitarist Rodrigo Sanchez is dying to strap on a Fender and really shred, and Gabriella Quintero’s percussive style plants the seed of what a full-on drum kit assault would produce.

The album is a tribute of sorts to eleven of the pair’s greatest influences and mentors.  It is a personal “gracias” to musicians who have inspired their development. They use this to their advantage by including familiar sounding licks that elicit closer attention in anticipation of the next obvious homage.

The most easily recognizable and blatant tribute is their dedication to Jimi Hendrix, “Buster Voodoo” which as the title implies uses the Hendrix staple “Voodoo Child” to provide the song’s theme.  Sanchez works the well-known Hendrix wah-wah intro throughout song, coming ever so close to actually playing it but never really giving it the full treatment.  The consistent teasing of the familiar but not exactly replicated riff commands the listener’s attention by eliciting memories of the guitar legend in a foreign style.

The album was recorded in Ixtapa, Mexico and there is an apparent Mexican flavor to many of the tracks.  The opening “Hanuman,” a dedication to Carlos Santana, is spicy with Sanchez rapidly picking notes and “Master Maqui” dedicated to Paco De Lucia and is one of the albums more classically flamenco tunes – mostly due to the flamenco guitar duo Strunz & Farah sitting in on the track.

“Savitari” mixes in Eastern flavors as a tribute to world renowned guitarist and composer John McLaughlin who himself is no stranger to Indian classical music.  It is a highly percussive song that utilizes studio tricks and samples to develop a mysterious mood.  This is one of the few songs that manages to stand out from the others.  The title track “11:11” also distinguishes itself from the rest of the songs by venturing into a more pop construction.  The melody in this tribute to Pink Floyd is poignant and emotive, and the guitars are restrained and supplemented with stark piano notes culminating with a minimalistic piano solo.  This again makes you wonder what the pair could do if teamed with a traditional band.

The electric guitar gets utilized sparingly but effectively on 11:11.  There is just a hint of it though -- not nearly enough to shape the album into something different from what is expected from the duo.  On the Al Di Meola tribute “Logos” Sanchez brings in a distorted and melancholy electric riff that gives the song a certain mood not present elsewhere on the disc.  Alex Skolnick of Testament adds a layer of fuzzy, screaming electric guitar to “Atman” the tribute to Dimebag Darrell.  “Atman” is easily the most intense and aggressive track on the album with actual hand percussion instruments to accompany Quintero’s banging.  Quintero’s style is so thumping and rhythmic she deserves a drumming credit.

There is a blistering pace to the record with each song ripping notes at a frantic rate.  Only twice is the tempo slowed: on “Logos” which segues from a quite melody into a blast of notes on “Santo Domingo” and on “Chac Mool” a brief interlude featuring quiet picking and tabla drums in dedication to innovative Mexican composer Jorge Reyes.

An example of their more classic classical styling “Triveni” proves they can be traditionalists.  But the Israeli Oud three-piece Le Trio Joubran inspired track fails to stand out from the crowd even with the scratching technique Sanchez dabbles with.  In fact it sounds quite similar to “Santo Domingo” following much of the same basic structure of introduction/tension build/peak/dropout/conclusion.  It makes it difficult to differentiate between tracks when they follow the structure so strictly.

It could be said that Rod & Gab are not just the best at what they do – they are also the only ones who do what they do.  Yet, for them to maintain mainstream success and the public’s attention they must expand on what they have already established and allow themselves to delve into uncharted waters.  Playing it safe, even with all the talent they share, will only get them so far before they become one-trick ponies.
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Catch Rodrigo y Gabriella Friday, October 16, at the Riviera Theatre. Tickets are available right now at Ticketmaster.com for $32.50!
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