In an expansive career that dates back to the early ’90s, Myles Kennedy has become a workhorse of modern rock. He’s done just about everything over that time, from fronting bands like Alter Bridge or The Conspirators (along with Slash!) or lending his voice to other bands and artists over a spectrum of genres. It’s not a stretch to say Kennedy is in a constant state of creativity because, well, he always seems to be involved with something. But surprisingly, given his catalog, one of the projects he’s dug into the least is himself. The Ides of March, his latest release, is only the second solo release for the powerhouse vocalist.

Most of Kennedy’s projects are typically positioned firmly in the realm of modern hard rock, which is part of what makes Ides sound so fresh. Longtime fans of Alter Bridge, or really any of Kennedy’s past projects, will find it recognizable. His unique voice and delivery alone are instantly identifiable to the average rock and roll enthusiast. The beauty of a record in Kennedy’s own name is the freedom to tap into the influences that may not necessarily make sense on a collaborative project. On Ides of March, he digs into the Memphis blues and classic southern rock through his own hard rock lens.

The opening track, “Get Along,” comes out of the gate with an expansive layering of acoustic and electric guitars. Kennedy tests his upper vocal register while a slide guitar carries the track, leading into a fiery southern blues solo. “Why can’t we all just get along?” he sings, surely in response to the current state of both the world and popular culture. “A Thousand Words” mixes a southern rock posture with a pinch of blues and country. While most listeners may tend to identify Myles Kennedy through his vocals, it’s easy to forget just how well-rounded a musician he is. When you play in bands with guitar gods like Mark Tremonti and Slash, it’s easy for your own skills to be overlooked. But that’s not the case on this record, as his deftly traverses the fretboard.

“In Stride” is a swinging rocker and structurally wouldn’t sound too foreign as an Alter Bridge song, with a heavy infusion of old-school blues rock. He also dips his toes in progressive rock on the masterful title track that clocks in at nearly eight minutes, taking listeners on a thrilling journey of emotions and genres. The extended guitar solo, just past the halfway mark, is pitch-perfect in both tone and performance, with Kennedy taking as much care in how his guitar sings as he does.

Kennedy serves up the meat and potatoes on “Wake Me When It’s Over,” a fist-pumping rock-and-roller that cooks from start to finish, only to take a 180-degree turn for acoustic ballad “Love Rain Down.” The track is able to show off his lower register vocals more than the singer is usually afforded on heavier material. “Tell It Like It Is” brings back the energy and infuses fun, mixing both rockabilly and classic rock flair, while “Moonshot” brings the heaviness despite being more of a mid-tempo ballad.

Just about every track on the record features an array of interesting riffs, solos, and six-string interludes that show off Kennedy’s versatility as a player. “Wanderlust Begins” introduces a fusion between classic country and modern singer-songwriter fare on the acoustic and percussive track. Kennedy once again offers a misdirection on “Sifting Through the Fire,” a driving and upbeat track that rises and falls yet keeps moving forward with precise and memorable guitar riffs. The record closes with “Worried Mind,” offering up the rawest example of southern blues in the course of the album.

It’s hard to predict the kind of commercial success Ides of March will be able to find, but as a complete creative endeavor, the album is a tremendous masterwork from start to finish. Kennedy excels at bringing his own voice while tapping into the sounds of the past to create a fantastic and must-listen record.

Follow writer Mike DeWald at Twitter.com/mike_dewald.