Paul Gilbert is an absolute Heavy Metal force of nature, and if he decided to change his given middle name, Brandon, to anything else, it would likely be ‘unpredictable.’ Because if one word would ever describe his musical directions, that’s it. No more so than his latest album, Washington’s Rules Of Civility (WROC), a concept-ish album based on an etiquette manual written by Jesuits in 1595, which was then adopted by George Washington, a hundred and fifty-ish years later. That’s a long way from Seventh Son of a Seventh Son.
Paul Gilbert – WROC
Release Date: 27 February 2026
Words: Mark Rotherham
The album kicks off with Keep Your Feet Firm And Even. A super-shreddy intro fires the starter’s gun, followed by a melodic riff. Taking care of the vocals as well as the guitar, Paul Gilbert gives us a smooth, deep voice in the verse, which then rises an octave for the chorus.
As a singer, he is competent, more than stellar, but let’s face it, the guitar work is what this guy is known for, and he does not disappoint. This song is extolling the virtues of good posture when both sitting and standing, although, being Paul Gilbert, there may well be a deeper meaning.
Next up is Show Not Yourself Glad (At The Misfortune Of Another), and Gilbert stamps on the gas pedal with an almost punky intro, before it slows down and delivers antiquated, founding father-type lyrics. It has some of the weirdest harmonies as well, but you know what, it works. The whole song flips from slow to super-fast, all the time exhorting the listener to basically be nice to others and not to gloat. Definitely not your typical Metal lyrics.
Atypical lyrical delivery continues with Maintain A Sweet And Cheerful Countenance. It is also another super-fast start, with an added, almost ’70s, boogie-disco feel to it. This is definitely an album of complete curve balls. The song you are listening to here is all about keeping cheerful when you really might not want to. Certainly words to live by. The formula, if there is one, is a couple of verses, followed by a blistering solo which replicates the lyrical delivery.
Go Not Thither starts with a lovely boogie riff that quickly heads into full-on Metal riffing. Each of the songs on this album have their own message, and this one, unsurprisingly, is all about not straying where you should not go. It has a lovely, tight chorus and several solos dripping right through everything like honey. Nick D’Virgilio’s drumming is the secret star of this song, holding everything together tighter than a pair of shrink-wrap spandex trousers.
The pace then drops a bit for Orderly And Distinctly, a slow-paced song that is vocal-led. It is the first one where the guitar takes a back seat. The lyrics, unsurprisingly, mirror the centuries-old manual on behaviour that the album is based on. But even when you are knee-deep into it, it is still such an unusual thing for a Metal album, and probably any album.
This is certainly quirky, but no less enjoyable because of it. Paul Gilbert clearly knew exactly how he wanted this album to sound, and it is utterly uncompromising in his vision, establishing himself as Metal’s greatest musical chameleon.
Within a whole album of unusual, there then comes If You Soak Bread In The Sauce, which has a fabulous melodic intro, but really, what does this title even mean? I think it is something about everything turning out equal, no matter how much you adjust the same ingredients, but hey, it could mean anything.
There is definitely a danger of trying to analyse the lyrics too much as opposed to just enjoying the music, and this song is really not to be taken too seriously. Just sit back with a beer and let its sublime riff wash over you.
’70s influences abound with Let Thy Carriage. There is a very lightweight feel, reminding me of Thin Lizzy’s riffing, although of course the lyrics, like the rest of the album, are in a world of their own. And of course, Paul Gilbert is not talking about an actual carriage, but about how one’s own carriage, presentation, deportment, etc., maketh the man (I think).
But if you prefer the ‘glory days’ ’80s Metal, then look no further. Speak Not Evil Of The Absent has an amazing For Those About To Rock type intro, and then it shifts into another boogie-type sound. Thankfully, the message in this one is easy enough to figure out: do not bad-talk people if they are not around to defend themselves. Paul Gilbert really lets rip with the chorus, finding his inner scream on vocals. I can see this one really hitting the roof when it gets played live.
The totally weird mix of Metal and morality continues with Turn Not Your Back (To Others). The short and sharp song builds on the theme of Washington’s idea of what a good chap should be doing. It is easy enough to see the message contained in this song, with good manners and restraint being the lyrical sermon of this song.
Outrageous optimism in today’s world clashes with old-world certainty in Conscience Is The Most Certain Judge. This is a hugely rose-tinted take on the world, either now or in Washington’s time, and roughly equates to a ballad on a standard rock/Metal album, with sedate harmonies, clean guitar tones, and a much slower solo. Paul Gilbert remains in character, if that is the right way to describe the lyrics. If Heavy Metal was a thing three hundred years ago, this is probably what it might have sounded like.
My personal favourite song is Every Action Done In Company. “Ought to be done with some sign of respect,” intones Mr Gilbert, followed by a fabulous drum solo and an even better rolling riff. Paul Gilbert’s voice goes an octave deeper on this song, and it really suits him.
Sure, we all know he is a real shred-meister on guitar, but as a singer, he could really find himself as a mean and dirty blues singer, which, coincidentally, is exactly where the solo on this song takes you.
And if your musical tastes veer towards the epic, then look no further than Spark Of Celestial Fire. At eight minutes, it is the album’s longest song, a slow-burn tome that exhorts us to keep hold of our conscience. This song makes the absolute most of being twice as long as the other songs on the album, taking its time to make its point, unrushed and sedate.
And then, the album ends with George Washington Rules, and it is played as rock ‘n’ roll. I mean, really. The last song is sung in good old rock ‘n’ roll. Paul Gilbert rips it up just like the late Mr Berry in a totally unexpected, and utterly brilliant end to the album.
You listen to the whole album up to this point, you think you have it figured out, and then the curveball ending leaves the album finishing on an absolute high.
So there it is, the most unexpected and outright weirdest Metal concept album you have ever heard in your life. It’s very focused, very specific in its appeal.
But that said, it does have its moments of surprises, and there is no denying Mr Gilbert’s towering talents and abilities. Approach this album with an open mind, and you will not be disappointed.
Paul Gilbert releases WROC on 27 February via Music Theories Recordings. Pre-orders are available from lnk.to/PaulGilbert.
