Sunday, December 22, 2013
Dream Theater 4/6
My brother bought us tix for Dream Theater at the Riverside in Milwaukee on 4/6. Strangely, DT isn't really his kind of music, but after seeing the Winery Dogs & their talent, he figures DT is gonna be equally impressive.
I love his thought process. And, no, he won't be disappointed.
I love his thought process. And, no, he won't be disappointed.
Saturday, October 19, 2013
The Winery Dogs at Northern Lights Theater in Milwaukee, WI 10/17/13
Thursday saw The Winery Dogs take over the Northern Lights Casino on their Midwest tour swing and from the reaction during the show, no one left feeling disappointed. Talking to a few attendees made it clear that the band members were pulling in fans of their respective pasts to see what this present endeavor had to offer.
The history of the band dates back to the pairing of Mike Portnoy (Dream Theater) & Billy Sheehan (Talas, DLR, Mr. Big) and their search for a singer/guitar player. On the recommendation of legendary radio host Eddie Trunk, the rhythm section was hooked up with Richie Kotzen, whom Sheehan had previously been in Mr. Big with. Kotzen is maybe best known for the song "Stand" on Poison's Native Tongue album, though he has been highly active for many years as a solo artist.
The album was released in mid-summer and has seen the band travel the globe in support, which brings us to this fall night in southern Wisconsin. The band kicked off with album opener & first single "Elevate". It was clear from the first verse that Kotzen would be in fine voice this night. Sheehan & Kotzen were spot on during the dual-tapped main riff.
Portnoy provided much energy from behind the kit, pointing out fans in the crowd & banging on imaginary drums not present in his stripped-down, non-prog drum setup. I've seen Portnoy get some heat for "scaling down" & not doing prog anymore, but I will say this: he had perma-grin all night. He is clearly enjoying the music & energy this band brings. No one in rock can pull that much double bass from a single bass drum.
Sheehan was, well, Sheehan, with a little more attitude than I remember. He made his bass growl all night long, providing a lot of freedom for Kotzen to create on the fly. "Time Machine", with it's grunge leaning opening riff allowed Sheehan to really dig into the fretboard & build a nasty bottom end. I will never cease to be amazed by Billy's gymnastics & unorthodox style, that allows for such creativity while still holding the song together. His bass solo, which had the room standing in anticipation, segued nicely into the Portnoy-penned "You Saved Me", built around an absolutely beautiful cross-handed bass line.
Richie Kotzen. Richie Kotzen, in all honesty, should own the musical world. His natural ability to play, sing, & emote is criminally underrated. For a man known for shredding in the late '80's, he's a hell of an impressive vocalist; equal parts Hagar, Prince, a little Cornell, some Coverdale, a hint of Daryl Hall... there's a little something there for everyone. What isn't debatable is this is one talented musician who may have found a vehicle to launch him in the US, albeit a little late.
There were several highlights throughout, including some excellent prog-influenced Sheehan/Kotzen tapping on "Not Hopeless". Gritty non-US bonus track "Criminal" could easily be given to rock radio right now. Ethereal ballad "The Dying", with it's haunting chorus, really allowed the band to show their ability to transition styles.
Personally, the highlight of the show was Kotzen's solo spot. Pulling out an acoustic guitar, Kotzen eschewed "Stand" from earlier shows & inserted the seminal "Doin' What The Devil Says To Do" from Into The Black. That let into the angry "You Can't Save Me" from the same album & the upbeat Mr. Big song "Shine".
The encore consisted of Elvin Bishop's "Fooled Around And Fell In Love". A strange cover, but somehow it seemed to fit in the show. Set closer "Desire" allowed for a fun breakdown and a nice closing.
Overall, the crowd was very engaged, cheering the efforts of three phenomenal musicians blending their talents into a cohesive, song-oriented excursion. I must give kudos to Northern Lights for their sound mix. Excellent clarity & power, allowing all the band members to shine through.
The Winery Dogs offer up something not around much currently: great musicianship & professionalism, melded with solid songwriting, married to just the right amount of fun. This band could really become a force in rock music given the chance and from the power & energy of this show, I don't see how they won't be.
The history of the band dates back to the pairing of Mike Portnoy (Dream Theater) & Billy Sheehan (Talas, DLR, Mr. Big) and their search for a singer/guitar player. On the recommendation of legendary radio host Eddie Trunk, the rhythm section was hooked up with Richie Kotzen, whom Sheehan had previously been in Mr. Big with. Kotzen is maybe best known for the song "Stand" on Poison's Native Tongue album, though he has been highly active for many years as a solo artist.
The album was released in mid-summer and has seen the band travel the globe in support, which brings us to this fall night in southern Wisconsin. The band kicked off with album opener & first single "Elevate". It was clear from the first verse that Kotzen would be in fine voice this night. Sheehan & Kotzen were spot on during the dual-tapped main riff.
Portnoy provided much energy from behind the kit, pointing out fans in the crowd & banging on imaginary drums not present in his stripped-down, non-prog drum setup. I've seen Portnoy get some heat for "scaling down" & not doing prog anymore, but I will say this: he had perma-grin all night. He is clearly enjoying the music & energy this band brings. No one in rock can pull that much double bass from a single bass drum.
Sheehan was, well, Sheehan, with a little more attitude than I remember. He made his bass growl all night long, providing a lot of freedom for Kotzen to create on the fly. "Time Machine", with it's grunge leaning opening riff allowed Sheehan to really dig into the fretboard & build a nasty bottom end. I will never cease to be amazed by Billy's gymnastics & unorthodox style, that allows for such creativity while still holding the song together. His bass solo, which had the room standing in anticipation, segued nicely into the Portnoy-penned "You Saved Me", built around an absolutely beautiful cross-handed bass line.
Richie Kotzen. Richie Kotzen, in all honesty, should own the musical world. His natural ability to play, sing, & emote is criminally underrated. For a man known for shredding in the late '80's, he's a hell of an impressive vocalist; equal parts Hagar, Prince, a little Cornell, some Coverdale, a hint of Daryl Hall... there's a little something there for everyone. What isn't debatable is this is one talented musician who may have found a vehicle to launch him in the US, albeit a little late.
There were several highlights throughout, including some excellent prog-influenced Sheehan/Kotzen tapping on "Not Hopeless". Gritty non-US bonus track "Criminal" could easily be given to rock radio right now. Ethereal ballad "The Dying", with it's haunting chorus, really allowed the band to show their ability to transition styles.
Personally, the highlight of the show was Kotzen's solo spot. Pulling out an acoustic guitar, Kotzen eschewed "Stand" from earlier shows & inserted the seminal "Doin' What The Devil Says To Do" from Into The Black. That let into the angry "You Can't Save Me" from the same album & the upbeat Mr. Big song "Shine".
The encore consisted of Elvin Bishop's "Fooled Around And Fell In Love". A strange cover, but somehow it seemed to fit in the show. Set closer "Desire" allowed for a fun breakdown and a nice closing.
Overall, the crowd was very engaged, cheering the efforts of three phenomenal musicians blending their talents into a cohesive, song-oriented excursion. I must give kudos to Northern Lights for their sound mix. Excellent clarity & power, allowing all the band members to shine through.
The Winery Dogs offer up something not around much currently: great musicianship & professionalism, melded with solid songwriting, married to just the right amount of fun. This band could really become a force in rock music given the chance and from the power & energy of this show, I don't see how they won't be.
Thursday, October 3, 2013
Friday, September 13, 2013
Good gracious, this is a phenomenal performance by Richie Kotzen
I'm so happy the Winery Dogs is taking off & more people are becoming aware of RK.
I'm so happy the Winery Dogs is taking off & more people are becoming aware of RK.
Thursday, September 12, 2013
Watching the BMW on Golf Channel... has there ever been another golfer more disparaged than Tiger Woods for shooting a 5-under 66 because they missed a few other putts?
Feel how you want about the man's attitude, adultery, or whatever. He's THE best golfer to ever grace the Earth... and he's black in a traditionally white man's game. If I could have the ability in his pinky finger in my whole body for a day, I'd feel like a sports god.
Love him or hate him, history is exciting.
Feel how you want about the man's attitude, adultery, or whatever. He's THE best golfer to ever grace the Earth... and he's black in a traditionally white man's game. If I could have the ability in his pinky finger in my whole body for a day, I'd feel like a sports god.
Love him or hate him, history is exciting.
Took the day off tomorrow:
The wife wants to play some golf in the morning
I offered to accompany her to the Birds In Art exhibit at the Leigh Yawkey Woodson Art Museum (she's an accomplished & published birder, btw)
Then I thought we'd dine at our favorite restaurant
All in all, I would say a wonderfully full day of wedded bliss.
The wife wants to play some golf in the morning
I offered to accompany her to the Birds In Art exhibit at the Leigh Yawkey Woodson Art Museum (she's an accomplished & published birder, btw)
Then I thought we'd dine at our favorite restaurant
All in all, I would say a wonderfully full day of wedded bliss.
Turned on Palladium earlier & ran across REO Speedwagon live from 2010. Fortuitously, I landed on a performance of "Golden Country", which for my money is the best and most epic of the REO catalogue. Just a wonderful amalgamation of keyboard subtlety & grandiose guitar.
Driller: The Final Deal review
One day earlier this week I opened my email & found a message from a band named Driller asking if I would review their just released full length disc, The Final Deal. Formed in 2009 by Brazilian brothers Alex & KK Rech, they hail from Edinburgh in the UK and evidently became familiar with me from a previous review. Being passionate about music (and obviously flattered that my opinion was sought, much less merited), I said sure, I'd be honored.
I clicked on the link for the lead single "Heaven's Far" and was immediately struck by the European metal influence, particularly Edguy. Then the main riff shifted and it almost took on the feel of an old school Savatage tune, with a synchopated, yet fluid riff. Overall, the song is well-crafted and features several interesting time changes & solo spots. As the lead single, the details were clearly poured over: the verses are tight, the bridge is excellent, and the chorus is highly melodic. The solo in particular features some impressive fretboard gymnastics without sounding like notes for notes' sake. An impressive introduction from an independent band.
"Mad Science" features one of the best chorus melodies on the record. I really enjoy how this song FLOWS... the galloping riffs meld with the vocals very well, creating some nice tension/release moments. And by song #2, I can tell KK is as big a fan of double bass as I am, using it to great effect throughout.
Title track "The Final Deal" may as well be a leftover Savatage riff from the Mountain King era: beautiful tone, with some embellished hammer-ons thrown in. One thing is clear already: Alex is a budding riffologist. This tune features some nice back & forth vocals in the verse section. Yet another melodic chorus that keeps the listener's attention.
"Wild Dream"... the riff John Sykes forgot to write for Whitesnake. The opening of this song is pure attitude and adrenaline. Throw in a couple pinch harmonics & you've got a metal tune. Good energy fueled by the driving double bass in the chorus. The middle section breakdown is an excellent departure, bringing the energy down until it explodes again into yet another tasteful, melodic solo.
Next up is "Holding On", opening with an extended amalgamation of riffs before settling into a mid-tempo slice of pure 80's brilliance. The chugging riff allows the vocals to take center stage and drive the song. The solo features some impressive Megadeth-infused phrases & note choices. A good example of the recent European melodic rock sensibilities of the last 5-10 years.
"No Tomorrow" has a Pretty Maids feel to it, starting out with a heavy riff and ending up with a beautifully crafted bridge before ripping back into an aggressive chorus. The band throws in some more call & response vocals, which I always enjoy for the tension it creates. This tune, in particular, seems to have been crafted for that purpose: create tension, then release it.
At this point I would be remiss if I didn't mention the musicianship of this band. Alex seems to be able to morph into whoever he wants. At times I hear Nuno, then I'll get some Harem Scarem, string-skipping like Paul Gilbert, squeals that would make Zakk proud. He clearly has an impressive understanding of his instrument. KK is an absolute beast. He never seems to overplay or add fills where they don't need to be. He consistently delivers a driving bottom end that seems to give the songs some pace & life.
Anyway, back to the reason we're all here. "Raise The Cape" is reminiscent of driving, slithery tunes from the likes of Kingdom Come or Pink Cream 69. This song is more guitar-driven than some others on the disc and features a beautiful string-skipping extravaganza in the solo.
When this song first started I sat straight up in the chair and was literally speechless. A song about one of my favorite childhood racers, Ayrton Senna?! A second later I realized the obvious Brazilian connection, but from there I was intrigued. "The Magic Runner" features my favorite opening riff on the album. It almost sounds majestic in delivery. "His head colours remind us where he's from"... If you're not familiar, Senna wore the Brazilian colors on his helmet and it became his calling card, of sorts. Uptempo and driving tune, with a wonderfully crafted bridge section that bounces into another well-crafted chorus. I absolutely love the solo in this song as it seems to "become" the speed and turns of a racetrack. There's some early-era Extreme to the guitar sound that makes this song sound more raw than some of the others. The song ends with Senna's in-car during his victory in the 1991 Brazilian Grand Prix.
"City Of Lights" is another Maiden-influenced tune. By that, I mean not Maiden-sounding, but the attitude, the melody, the chugging feel. This song grew on me a lot through each listen. There's an epic feel to the song structure and the melodies are more intricate, but they're there in spades. The solo is pure brilliance from a metal guitar perspective. Alex just keeps delivering time after time.
The only ballad, "Coming Home", starts off with some beautifully crafted piano, before moving into an uplifting guitar melody. I haven't mentioned him yet, but bassist Thomas Silk really shines on this track. His bass lines are a beautiful counterpoint to the laid back guitar chords, creating depth throughout the track. I love the simplicity of the solo here, as it really pulls the melody from all facets of the song. The best compliment I can give this song is it's a ballad that doesn't sound cheesy. There's some definite substance here, especially the melody change after the solo.
"You And My Way", while it has an impressive opening riff, is probably the weakest song on the album. There's promise there, but it feels as if the song is a little out of Alex's range. It needs someone of the Dickinson ilk to really bring it alive, maybe not so much in the chorus but in the verses. Here again, though, this band is impressive as musicians & songwriters. Near the midsection, there's a distinct Extreme III Sides To Every Story influence, as if Cupid's Dead had a baby.
Final track: "Daredevil Blues"... now this is a bouncy track. Right from the get-go it just seems like dirty fun. Frolicking riff, chugging bass, solid downbeats. Reminds me of deep album tracks from the likes of Tora Tora or House Of Lords. A solid, fun way to end an album.
So there you have it... Did I really like it you ask? Yes, I did. Truth be told it took a few listens. Musically, they are spot on, or as Austin Powers would say "A little bit of alright". The vocals were predominantly okay. I thought they could've used some more depth and fullness, maybe some richness to take the "in a box" sound out of them. Think Boston: the more voices, the better. The band is clearly talented, and I think with a producer that can focus some of that talent, Driller has a lot of promise in the melodic rock world. But trust me, there's enough there to make yourself a fan. As in, get on board before it's full.
In closing, I would like to thank the band Driller personally for allowing me to be a part of what you created. You can't possibly know what it feels like to be at least a little part of "the family". Keep doing what you're doing, because I think there's a future there.
I clicked on the link for the lead single "Heaven's Far" and was immediately struck by the European metal influence, particularly Edguy. Then the main riff shifted and it almost took on the feel of an old school Savatage tune, with a synchopated, yet fluid riff. Overall, the song is well-crafted and features several interesting time changes & solo spots. As the lead single, the details were clearly poured over: the verses are tight, the bridge is excellent, and the chorus is highly melodic. The solo in particular features some impressive fretboard gymnastics without sounding like notes for notes' sake. An impressive introduction from an independent band.
"Mad Science" features one of the best chorus melodies on the record. I really enjoy how this song FLOWS... the galloping riffs meld with the vocals very well, creating some nice tension/release moments. And by song #2, I can tell KK is as big a fan of double bass as I am, using it to great effect throughout.
Title track "The Final Deal" may as well be a leftover Savatage riff from the Mountain King era: beautiful tone, with some embellished hammer-ons thrown in. One thing is clear already: Alex is a budding riffologist. This tune features some nice back & forth vocals in the verse section. Yet another melodic chorus that keeps the listener's attention.
"Wild Dream"... the riff John Sykes forgot to write for Whitesnake. The opening of this song is pure attitude and adrenaline. Throw in a couple pinch harmonics & you've got a metal tune. Good energy fueled by the driving double bass in the chorus. The middle section breakdown is an excellent departure, bringing the energy down until it explodes again into yet another tasteful, melodic solo.
Next up is "Holding On", opening with an extended amalgamation of riffs before settling into a mid-tempo slice of pure 80's brilliance. The chugging riff allows the vocals to take center stage and drive the song. The solo features some impressive Megadeth-infused phrases & note choices. A good example of the recent European melodic rock sensibilities of the last 5-10 years.
"No Tomorrow" has a Pretty Maids feel to it, starting out with a heavy riff and ending up with a beautifully crafted bridge before ripping back into an aggressive chorus. The band throws in some more call & response vocals, which I always enjoy for the tension it creates. This tune, in particular, seems to have been crafted for that purpose: create tension, then release it.
At this point I would be remiss if I didn't mention the musicianship of this band. Alex seems to be able to morph into whoever he wants. At times I hear Nuno, then I'll get some Harem Scarem, string-skipping like Paul Gilbert, squeals that would make Zakk proud. He clearly has an impressive understanding of his instrument. KK is an absolute beast. He never seems to overplay or add fills where they don't need to be. He consistently delivers a driving bottom end that seems to give the songs some pace & life.
Anyway, back to the reason we're all here. "Raise The Cape" is reminiscent of driving, slithery tunes from the likes of Kingdom Come or Pink Cream 69. This song is more guitar-driven than some others on the disc and features a beautiful string-skipping extravaganza in the solo.
When this song first started I sat straight up in the chair and was literally speechless. A song about one of my favorite childhood racers, Ayrton Senna?! A second later I realized the obvious Brazilian connection, but from there I was intrigued. "The Magic Runner" features my favorite opening riff on the album. It almost sounds majestic in delivery. "His head colours remind us where he's from"... If you're not familiar, Senna wore the Brazilian colors on his helmet and it became his calling card, of sorts. Uptempo and driving tune, with a wonderfully crafted bridge section that bounces into another well-crafted chorus. I absolutely love the solo in this song as it seems to "become" the speed and turns of a racetrack. There's some early-era Extreme to the guitar sound that makes this song sound more raw than some of the others. The song ends with Senna's in-car during his victory in the 1991 Brazilian Grand Prix.
"City Of Lights" is another Maiden-influenced tune. By that, I mean not Maiden-sounding, but the attitude, the melody, the chugging feel. This song grew on me a lot through each listen. There's an epic feel to the song structure and the melodies are more intricate, but they're there in spades. The solo is pure brilliance from a metal guitar perspective. Alex just keeps delivering time after time.
The only ballad, "Coming Home", starts off with some beautifully crafted piano, before moving into an uplifting guitar melody. I haven't mentioned him yet, but bassist Thomas Silk really shines on this track. His bass lines are a beautiful counterpoint to the laid back guitar chords, creating depth throughout the track. I love the simplicity of the solo here, as it really pulls the melody from all facets of the song. The best compliment I can give this song is it's a ballad that doesn't sound cheesy. There's some definite substance here, especially the melody change after the solo.
"You And My Way", while it has an impressive opening riff, is probably the weakest song on the album. There's promise there, but it feels as if the song is a little out of Alex's range. It needs someone of the Dickinson ilk to really bring it alive, maybe not so much in the chorus but in the verses. Here again, though, this band is impressive as musicians & songwriters. Near the midsection, there's a distinct Extreme III Sides To Every Story influence, as if Cupid's Dead had a baby.
Final track: "Daredevil Blues"... now this is a bouncy track. Right from the get-go it just seems like dirty fun. Frolicking riff, chugging bass, solid downbeats. Reminds me of deep album tracks from the likes of Tora Tora or House Of Lords. A solid, fun way to end an album.
So there you have it... Did I really like it you ask? Yes, I did. Truth be told it took a few listens. Musically, they are spot on, or as Austin Powers would say "A little bit of alright". The vocals were predominantly okay. I thought they could've used some more depth and fullness, maybe some richness to take the "in a box" sound out of them. Think Boston: the more voices, the better. The band is clearly talented, and I think with a producer that can focus some of that talent, Driller has a lot of promise in the melodic rock world. But trust me, there's enough there to make yourself a fan. As in, get on board before it's full.
In closing, I would like to thank the band Driller personally for allowing me to be a part of what you created. You can't possibly know what it feels like to be at least a little part of "the family". Keep doing what you're doing, because I think there's a future there.
Sunday, August 11, 2013
CVS needing ID to buy... nail polish. To vote... nah, you don't need a form of identification to engage in the single biggest action a citizen can participate in.
Asking for ID to vote is not an infringement or hindrance on your rights. It's a necessary step to ensure honesty in elections. The only reason one would be opposed to this is someone who plans to cheat the system.
Asking for ID to vote is not an infringement or hindrance on your rights. It's a necessary step to ensure honesty in elections. The only reason one would be opposed to this is someone who plans to cheat the system.
Saturday, August 10, 2013
Griffey Celebration
Just saw some of the Ken Griffey, Jr. celebration ceremony. Very heartfelt, with some light moments thrown in. Favorite part was when Griffey addressed Jay Buehner and said if anything ever happened to him or his wife, he would be honored to have Jay raise his children. Buehner, in the midst of wiping his eyes with a hankerchief, raised a subtle middle finger in jest. Wonderful moment.
Friday, August 9, 2013
The Winery Dogs - The Winery Dogs
Throughout rock history there have been several notable trios. Obviously, there's the first real hard rock trio, Cream,, followed by recent R&RHOF inductee Rush. In more modern times, there's the criminally underrated King's X. Well, the baton was just handed to a new group of players and their name is The Winery Dogs.
Born from the pairing of prog-rock drumming legend Mike Portnoy & 4-string maestro Billy Sheehan, the duo reached out to little known, but equally talented guitarist/vocalist Richie Kotzen on the suggestion of radio legend Eddie Trunk. What resulted is a band that has captured the energy of modern rock, melded it with the attitude of classic rock, yet somehow infused it with melody & soul.
The first thing one without previous knowledge will realize is that Kotzen is a hidden jewel of a singer. Equal parts Chris Cornell, Sammy Hagar, & Paul Rodgers, with hints of Darryl Hall & Prince, he is truly hard to pin down, but eminently listenable. He has such a distinct command of his vocal range one has to wonder how this talent has been missed by the mainstream rock world, even though Kotzen was a driving force in the only mature sounding record in Poison's catalogue, Native Tongue.
I would expound more on the rhythm section if said section wasn't comprised of two of the greatest musicians the genre has ever seen. Portnoy scales down his set to epic proportions, yet seems to squeeze drum sounds from thin air. One thing he doesn't scale down is the double bass & exotic rhythms. Sheehan is, well, Sheehan, except for one thing: Billy's tone is, how should I describe this... slippery & evil on this album. Listening to the bass weave throughout the songs just solidifies that these three gentlemen are creating something special and this may be just the beginning.
So without further dudes (as Peter Griffin would say), here's my review of the 2013 album of the year, hands down: The Winery Dogs.
"Elevate" begins with what most people would expect from such accomplished players: some string gymnastics. But, strangely, the verses create some tension & texture by using ringing chords, before tearing into an incredibly huge melodic chorus. This tune, being the lead single, does a nice job of giving the players some chances to shine & announce their intentions.
"Desire" is a prime example of the SONGWRITING abilities of the Winery Dogs. Sheehan's bass is absolutely nasty on this song, taking the lead on the verse sections. The groove laid down for this song is impossible not to move to. The breakdown section alone is worth the cost of this CD.
"We Are One" rips into a moody verse vocal, with a more modern rhythm. Again, the chorus is extremely melodic. These three guys can all sing & they'll let you know throughout.
"I'm No Angel" is the first ballad and contains some of the most tasteful playing you'll hear. Just a wonderfully melodic piece of music from start to finish. The melancholy pace fits perfectly with the lyrics lament that "I'm no good so why are you with me?" message. It contains possibly the weakest & strongest lyrics on the entire album: "Can you make me feel like my mojo is rising" & "You can't put your faith in the Devil when you wanna see God".
If you're still with me, by this time you should be wondering where Richie Kotzen has been hiding all your music-loving life. We continue...
"The Other Side" starts off with an aggressive bass line, doubled by the vocal & guitars moving in unison. This could actually be compared to some of the latter day Mr. Big tunes Richie was a part of. The obvious chemistry with Sheehan allows both men to play both inside & outside of each other comfortably. Stellar contemporary composition, showcasing some serious solo chops from Kotzen.
"You Saved Me"... I heard Portnoy in an interview lament that he's written about his parents, his kids, his alcoholism & recovery, but never his wife. Well, Mrs. Portnoy, that's over, because Mike has now written you one beautiful thank you note. Anyone familiar with Portnoy's writing style in Dream Theater will recognize nearly everything in this song. From the tapped beginning, to the subtle drum fills, to the arpeggio rhythm guitar lines, this song is one long exercise in strength through subtlety. The verses are so laid back, they allow the instruments to breathe and create an uplifting tension that is resolved by the huge chorus.
"Not Hopeless" comes out of the blocks with a driving double beat, leading into yet another melodic chorus (making one wonder, do these guys write anything but). Clearly an album cut, but also clearly not a filler. Check out the insane breakdown starting around 2:25. Sheehan waxes solo before Kotzen joins him in a Dream Theater-worthy duet. Kotzen takes his turn at 3:30, announcing his own musical presence.
"One More Time" starts off with a Bad Company/Lynyrd Skynyrd influence syncopated riff. This tune is interesting in that it's really the only such song on the record. Much more airy spaces for the groove to breathe, obviously meant to showcase Kotzen's love for R&B.
"Damaged" is one of two songs that were pretty much penned by Kotzen alone, and listening to the Hall & Oates influence present, it's obvious Richie's a student of the Soul genre. Really a beautifully crafted slow jam, that also showcases some tasteful solo licks & is somewhat reminiscent of something from Audioslave's catalogue. It's interesting listening to Portnoy play a more laid back style of support percussion. Of course he mixes in some nice fills, but he also lays down a solid beat for the others to create a song.
"Six Feet Deeper" was written at the first as-yet-unnamed Winery Dogs session, according to a recent interview on Eddie Trunk Live. Here again is a showcase for some exceptional hard rock music, wrapped inside a pretty damn good song. And that, I believe, is the secret to this holy trinity: the songs came first, the music was secondary.
"Time Machine" and its obvious Alice In Chains influence is, I think, the most impressive example of the versatility of the Winery Dogs. Who would've thought Billy Sheehan could pull off the sinister bottom end needed for this song. It is truly a sound to experience. The chorus melody is a nice complement to the down-tuned verses.
"The Dying" is perhaps the most ambitious tune on the album. It is, in its essence, carried by Kotzen's vocals, as the music takes a support role early on. The chorus, with its sad falsetto, is easily the biggest on the album, creating a beautifully haunting experience. This is a finely constructed piece of music that really should get some recognition. It's just too good to not be heard.
The last song "Regret" is a piano-heavy ballad, allowing Richie to slip into his familiar R&B/Soul shoes, asking a question many of us do "How did I let myself go?". This song features what sounds like a very large choir after the solo, creating a perfect denouement to the debut album of The Winery Dogs.
Well, if you're still with me on this journey & have been listening along, there's not much more I need to say. Richie Kotzen, Billy Sheehan, & Mike Portnoy have created something very special here & by all accounts, this is just the first step. As a fan of Kotzen for the last 25 years, it's great that this band is exposing him to scores of future admirers. By all accounts, the band's shows have been well-received & well-attended, giving one hope that this isn't a one-off. In fact, Portnoy stated to Eddie Trunk on Monday that he views The Winery Dogs as "his new home". I, for one, hope so. And come October 17th, I'll be witnessing their greatness firsthand in Milwaukee.
Born from the pairing of prog-rock drumming legend Mike Portnoy & 4-string maestro Billy Sheehan, the duo reached out to little known, but equally talented guitarist/vocalist Richie Kotzen on the suggestion of radio legend Eddie Trunk. What resulted is a band that has captured the energy of modern rock, melded it with the attitude of classic rock, yet somehow infused it with melody & soul.
The first thing one without previous knowledge will realize is that Kotzen is a hidden jewel of a singer. Equal parts Chris Cornell, Sammy Hagar, & Paul Rodgers, with hints of Darryl Hall & Prince, he is truly hard to pin down, but eminently listenable. He has such a distinct command of his vocal range one has to wonder how this talent has been missed by the mainstream rock world, even though Kotzen was a driving force in the only mature sounding record in Poison's catalogue, Native Tongue.
I would expound more on the rhythm section if said section wasn't comprised of two of the greatest musicians the genre has ever seen. Portnoy scales down his set to epic proportions, yet seems to squeeze drum sounds from thin air. One thing he doesn't scale down is the double bass & exotic rhythms. Sheehan is, well, Sheehan, except for one thing: Billy's tone is, how should I describe this... slippery & evil on this album. Listening to the bass weave throughout the songs just solidifies that these three gentlemen are creating something special and this may be just the beginning.
So without further dudes (as Peter Griffin would say), here's my review of the 2013 album of the year, hands down: The Winery Dogs.
"Elevate" begins with what most people would expect from such accomplished players: some string gymnastics. But, strangely, the verses create some tension & texture by using ringing chords, before tearing into an incredibly huge melodic chorus. This tune, being the lead single, does a nice job of giving the players some chances to shine & announce their intentions.
"Desire" is a prime example of the SONGWRITING abilities of the Winery Dogs. Sheehan's bass is absolutely nasty on this song, taking the lead on the verse sections. The groove laid down for this song is impossible not to move to. The breakdown section alone is worth the cost of this CD.
"We Are One" rips into a moody verse vocal, with a more modern rhythm. Again, the chorus is extremely melodic. These three guys can all sing & they'll let you know throughout.
"I'm No Angel" is the first ballad and contains some of the most tasteful playing you'll hear. Just a wonderfully melodic piece of music from start to finish. The melancholy pace fits perfectly with the lyrics lament that "I'm no good so why are you with me?" message. It contains possibly the weakest & strongest lyrics on the entire album: "Can you make me feel like my mojo is rising" & "You can't put your faith in the Devil when you wanna see God".
If you're still with me, by this time you should be wondering where Richie Kotzen has been hiding all your music-loving life. We continue...
"The Other Side" starts off with an aggressive bass line, doubled by the vocal & guitars moving in unison. This could actually be compared to some of the latter day Mr. Big tunes Richie was a part of. The obvious chemistry with Sheehan allows both men to play both inside & outside of each other comfortably. Stellar contemporary composition, showcasing some serious solo chops from Kotzen.
"You Saved Me"... I heard Portnoy in an interview lament that he's written about his parents, his kids, his alcoholism & recovery, but never his wife. Well, Mrs. Portnoy, that's over, because Mike has now written you one beautiful thank you note. Anyone familiar with Portnoy's writing style in Dream Theater will recognize nearly everything in this song. From the tapped beginning, to the subtle drum fills, to the arpeggio rhythm guitar lines, this song is one long exercise in strength through subtlety. The verses are so laid back, they allow the instruments to breathe and create an uplifting tension that is resolved by the huge chorus.
"Not Hopeless" comes out of the blocks with a driving double beat, leading into yet another melodic chorus (making one wonder, do these guys write anything but). Clearly an album cut, but also clearly not a filler. Check out the insane breakdown starting around 2:25. Sheehan waxes solo before Kotzen joins him in a Dream Theater-worthy duet. Kotzen takes his turn at 3:30, announcing his own musical presence.
"One More Time" starts off with a Bad Company/Lynyrd Skynyrd influence syncopated riff. This tune is interesting in that it's really the only such song on the record. Much more airy spaces for the groove to breathe, obviously meant to showcase Kotzen's love for R&B.
"Damaged" is one of two songs that were pretty much penned by Kotzen alone, and listening to the Hall & Oates influence present, it's obvious Richie's a student of the Soul genre. Really a beautifully crafted slow jam, that also showcases some tasteful solo licks & is somewhat reminiscent of something from Audioslave's catalogue. It's interesting listening to Portnoy play a more laid back style of support percussion. Of course he mixes in some nice fills, but he also lays down a solid beat for the others to create a song.
"Six Feet Deeper" was written at the first as-yet-unnamed Winery Dogs session, according to a recent interview on Eddie Trunk Live. Here again is a showcase for some exceptional hard rock music, wrapped inside a pretty damn good song. And that, I believe, is the secret to this holy trinity: the songs came first, the music was secondary.
"Time Machine" and its obvious Alice In Chains influence is, I think, the most impressive example of the versatility of the Winery Dogs. Who would've thought Billy Sheehan could pull off the sinister bottom end needed for this song. It is truly a sound to experience. The chorus melody is a nice complement to the down-tuned verses.
"The Dying" is perhaps the most ambitious tune on the album. It is, in its essence, carried by Kotzen's vocals, as the music takes a support role early on. The chorus, with its sad falsetto, is easily the biggest on the album, creating a beautifully haunting experience. This is a finely constructed piece of music that really should get some recognition. It's just too good to not be heard.
The last song "Regret" is a piano-heavy ballad, allowing Richie to slip into his familiar R&B/Soul shoes, asking a question many of us do "How did I let myself go?". This song features what sounds like a very large choir after the solo, creating a perfect denouement to the debut album of The Winery Dogs.
Well, if you're still with me on this journey & have been listening along, there's not much more I need to say. Richie Kotzen, Billy Sheehan, & Mike Portnoy have created something very special here & by all accounts, this is just the first step. As a fan of Kotzen for the last 25 years, it's great that this band is exposing him to scores of future admirers. By all accounts, the band's shows have been well-received & well-attended, giving one hope that this isn't a one-off. In fact, Portnoy stated to Eddie Trunk on Monday that he views The Winery Dogs as "his new home". I, for one, hope so. And come October 17th, I'll be witnessing their greatness firsthand in Milwaukee.
Wednesday, July 3, 2013
Rock Book Sneak Peek
Decided to finally put some of my musical thoughts down in book form... here's an excerpt from the initial writing. I'd be interested in what you may think: should I continue or just leave it alone.
FORWARD:
There’s been a glut of music books recently that focus on rock & heavy metal. This will obviously be one of those, but I’d like to take a slightly different angle on the subject. Admittedly, that angle will be rather personal, somewhat opinionated, but hopefully relatable. You see, the purpose of this tome will ultimately be to inspire you, the reader, to seek out a deeper meaning in a genre that is often dismissed for having no meaning. Yet, the dismissively-titled “hair metal” & metal genres are a constant staple of athletic venues, car commercials, & nostalgia that keeps many bands on the tour circuit long after their last hit record. So without further ado, here’s the rock music world according to me. It may not be all-encompassing, but it’s honest.
CHAPTER ONE: A VERY EARLY KISS-MAS
So what is YOUR earliest memory? A bedtime story? First day of school? Playing in the sandbox? I remember none of those. What I do remember is in 1976 my three-year-old self opening that vinyl record shaped present & seeing four painted devils, dancing demonstratively on a pile of rocks while Detroit presumably burned in the distance. KISS Destoyer was like my bible, and being reared in a Lutheran school, we had our share of bibles. At that age, I’ll readily admit that the look pulled me in, but the thought of these painted dudes actually playing music as some ethereal force was intoxicating.
The backstory of the characters was elaborate, yet believable. Gene, the bloody demon; Paul, the shining star; Peter, the wily feline; and my favorite, Ace, the Jendell-born axeman. I remember being at my uncle’s house sifting through his records: early Priest, imported Maiden, then seeing the cover of KISS Alive! & being enthralled by the gatefold cover and what was revealed inside. My cousin & I were the DJ’s for many of our parents “card” nights, making sure the Foghat, Ram Jam, and April Wine was always spinning. Yet, somehow, the growling strains of “Deuce” would find its way onto the turntable before the night was over.
In the interest of full disclosure, I must admit to being a KISS fan for the majority of my life, whether it was cool or not. In fact, one of the best friends I met after high school remembers me IN high school before we met… simply because I was wearing an “I went crazy with KISS” t-shirt. Sure, there’s the occasional “I’m needin’ some lovin’, I’m hot like an oven” lyrics, but there’s also the sheer brilliance of the entire Revenge album to balance it out. That being said, if there’s such a thing as meat & potatoes rock, KISS is the fat lunch lady, making you a mountain of ready-whips covered in Salisbury steak gravy.
FORWARD:
There’s been a glut of music books recently that focus on rock & heavy metal. This will obviously be one of those, but I’d like to take a slightly different angle on the subject. Admittedly, that angle will be rather personal, somewhat opinionated, but hopefully relatable. You see, the purpose of this tome will ultimately be to inspire you, the reader, to seek out a deeper meaning in a genre that is often dismissed for having no meaning. Yet, the dismissively-titled “hair metal” & metal genres are a constant staple of athletic venues, car commercials, & nostalgia that keeps many bands on the tour circuit long after their last hit record. So without further ado, here’s the rock music world according to me. It may not be all-encompassing, but it’s honest.
CHAPTER ONE: A VERY EARLY KISS-MAS
So what is YOUR earliest memory? A bedtime story? First day of school? Playing in the sandbox? I remember none of those. What I do remember is in 1976 my three-year-old self opening that vinyl record shaped present & seeing four painted devils, dancing demonstratively on a pile of rocks while Detroit presumably burned in the distance. KISS Destoyer was like my bible, and being reared in a Lutheran school, we had our share of bibles. At that age, I’ll readily admit that the look pulled me in, but the thought of these painted dudes actually playing music as some ethereal force was intoxicating.
The backstory of the characters was elaborate, yet believable. Gene, the bloody demon; Paul, the shining star; Peter, the wily feline; and my favorite, Ace, the Jendell-born axeman. I remember being at my uncle’s house sifting through his records: early Priest, imported Maiden, then seeing the cover of KISS Alive! & being enthralled by the gatefold cover and what was revealed inside. My cousin & I were the DJ’s for many of our parents “card” nights, making sure the Foghat, Ram Jam, and April Wine was always spinning. Yet, somehow, the growling strains of “Deuce” would find its way onto the turntable before the night was over.
In the interest of full disclosure, I must admit to being a KISS fan for the majority of my life, whether it was cool or not. In fact, one of the best friends I met after high school remembers me IN high school before we met… simply because I was wearing an “I went crazy with KISS” t-shirt. Sure, there’s the occasional “I’m needin’ some lovin’, I’m hot like an oven” lyrics, but there’s also the sheer brilliance of the entire Revenge album to balance it out. That being said, if there’s such a thing as meat & potatoes rock, KISS is the fat lunch lady, making you a mountain of ready-whips covered in Salisbury steak gravy.
Wednesday, April 24, 2013
Thursday, March 14, 2013
Got a Whitesnake bug tonight... and not the 1987-era. Going back to the late '70's/early'80's stuff. The triumvant of Ready An' Willing, Come An' Get It, & Saints & Sinners is impressive. The lineup is just amazing:
David Coverdale - Vocals
Bernie Marsden - Guitar
Mickie Moody - Guitar
Neil Murray - Bass
Ian Paice - Drums
Jon Lord - Keys
And to think on the next album, they added John Sykes & Cozy Powell... that's some serious family tree there.
David Coverdale - Vocals
Bernie Marsden - Guitar
Mickie Moody - Guitar
Neil Murray - Bass
Ian Paice - Drums
Jon Lord - Keys
And to think on the next album, they added John Sykes & Cozy Powell... that's some serious family tree there.
Wednesday, March 13, 2013
Thursday, March 7, 2013
W.E.T. "Rise Up" Review
Has it really been 4 years since the debut recording of W.E.T.? It's a rare feat that a first album can stay that fresh, regardless of genre. So to see the band reunite for a sophomore effort makes one excited and anxious. Well, anxiety be damned, because this group of gentlemen aren't the best of the best for no reason. Jeff, Erik, Robert, et al deliver nothing but what you would expect from their collective union: soaring vocals, powerful hooks, driving rhythms, and some of the best songwriting on the globe.
So without further ado, let's dive in to the lead track "Walk Away", which starts off the way any album should: energy, fire, and a pronouncement of what is coming for the next 60 or so minutes. A massive driving beat brings an urgency to the verse section, transitioning to a Journey-esque chorus. JSS is in his best AOR throat, pushing the upper limits of his versatile range. One thing I really like about Erik Martensson's songwriting is the tightness, keeping the listener wanting more.
Track two & lead single, "Learn To Love Again" is reminiscent of "One Love" from the debut. The difference is Erik & Jeff trade off vocals in the verse, providing a wonderful contrast of melodic styles. This track also features some driving guitar riffs. I defy anyone to not hum this melody after first listen. A nice one-two punch to open the disc.
Up next is the album's namesake "Rise Up". I'll be honest here, I was into this tune up until the chorus which just didn't grab me like the two previous tracks. Now don't get me wrong, it's a good song, but maybe could've been dropped lower in the order. Again, not a lot of wasted energy here: concise, galloping melodic rock.
Ballad #1 & second single: "Love Heals" at first listen sounds like another cookie-cutter of the genre. I just can't help getting lost in JSS at the top of his range, pushing for every ounce of emotion written on the page. The emoting continues through the solo & into the wonderful, arm-raising, "Whoa-oh" sing-along immediately following. If I need to sum up this song in one word, it would be "soaring".
"What You Want"... well, more of this wouldn't suck. A haunting single guitar riff starts everything off, before moving into a driving mid-tempo verse featuring some beautiful band vocals. The chorus is pure melodic rock heaven, huge and flowing. It really almost grabs you into the rest of the song. Another example of this group of players coming together to form a BAND, not just a gimmick.
We've come to "The Moment", which almost sounds like something Khymera would write. I would imagine JSS had a big hand in this song considering the driving beat & Journey undertones. While it's nothing special, there's something about this song that I just can't deny. Maybe it's the sun-roof-open, cranking-on-a-summer-day feel. Whatever it is, it's just a perfect place for an upbeat rocker.
"Bad Boy", the purported album opener... there seems to be some backlash on this song, though I don't see why. It's a great, upbeat rock song, almost in the spirit of Sammy Hagar melded with Rick Springfield, if that makes any sense whatsoever. Bottom line, it's FUN & fun is fun. Well... this is fun.
Track #8, "On The Run", hits the ears & hits it like a hammer. There's a little Talisman feel to the intro, proving once again these guys are taking the best of each & creating something special. Driving, driving groove in the verses gives way to a chorus more in line with their debut: laid back, melodic, multi-layered.
"Broken Wings" starts with a flurry of instruments creating a lush waterfall for a Mr Big "Take Cover"-like verse riff. The chorus is pure, unadulterated full & huge. I could see this song ending the album as it really brings a calm to the listener. Stick around for the outro guitar... stunning.
Now we come to what, for me at least, is the shining jewel of the disc, "Shot". There are so many elements of the respective bands involved, I simply cannot decide what part of this song is the best: verse, bridge, chorus. Some see this as a throwaway, but there's more there than meets the ear, shall we say. Dark, tension, driving beat, the genius of one Jeff Scott Soto... "You've gone and broke another promise, you think I should've known the truth from the start". There's so much emotion in the vocal and urgency in the music, I find myself coming back to this song the most.
Ballad #2, "Still Believe In Us". Here's a challenge: find another rock ballad written, performed, and emoted this well. What an incredible chorus. JSS at his underrated finest. You would never know these guys were thrown together and haven't been a band for a decade. Simply beautiful from note one to note one-hundred.
We've come to the closer, "Still Unbroken" and while it seems the ride hasn't been long enough, everything good must end. And end in sparkling fashion it does. Just another example of the many talents of Erik Martensson. This doesn't have the soaring chorus of previous album closer "If I Fall", but more the power of Soto's latest solo finisher "Afraid To Die". Metal muscle delivered by all involved: galloping groove, massive solo, and towards the end, JSS throws a little gravel on the voice for the final lines. A fitting end to a more than capable sophomore disc.
Whew! I'm spent... Obviously, the first disc, written mainly by Martensson, was a massive hit worldwide and re-energized the genre, but this is a wonderful follow-up, chock full of everything you would expect from the boys. I've always loved JSS versatility vocally and I think he's brought some nice elements into the songwriting. Erik Martensson is without a doubt at the forefront of the melodic rock genre & can seemingly do no wrong, as evidenced by Eclipse's new disc "Bleed & Scream".
Bottom line here, if you don't come away whistling these songs you may need to check your heartbeat. This isn't throwaway, formulaic crap... this is talent writ large on all fronts. Stellar production, concise songwriting, epic performances.
So without further ado, let's dive in to the lead track "Walk Away", which starts off the way any album should: energy, fire, and a pronouncement of what is coming for the next 60 or so minutes. A massive driving beat brings an urgency to the verse section, transitioning to a Journey-esque chorus. JSS is in his best AOR throat, pushing the upper limits of his versatile range. One thing I really like about Erik Martensson's songwriting is the tightness, keeping the listener wanting more.
Track two & lead single, "Learn To Love Again" is reminiscent of "One Love" from the debut. The difference is Erik & Jeff trade off vocals in the verse, providing a wonderful contrast of melodic styles. This track also features some driving guitar riffs. I defy anyone to not hum this melody after first listen. A nice one-two punch to open the disc.
Up next is the album's namesake "Rise Up". I'll be honest here, I was into this tune up until the chorus which just didn't grab me like the two previous tracks. Now don't get me wrong, it's a good song, but maybe could've been dropped lower in the order. Again, not a lot of wasted energy here: concise, galloping melodic rock.
Ballad #1 & second single: "Love Heals" at first listen sounds like another cookie-cutter of the genre. I just can't help getting lost in JSS at the top of his range, pushing for every ounce of emotion written on the page. The emoting continues through the solo & into the wonderful, arm-raising, "Whoa-oh" sing-along immediately following. If I need to sum up this song in one word, it would be "soaring".
"What You Want"... well, more of this wouldn't suck. A haunting single guitar riff starts everything off, before moving into a driving mid-tempo verse featuring some beautiful band vocals. The chorus is pure melodic rock heaven, huge and flowing. It really almost grabs you into the rest of the song. Another example of this group of players coming together to form a BAND, not just a gimmick.
We've come to "The Moment", which almost sounds like something Khymera would write. I would imagine JSS had a big hand in this song considering the driving beat & Journey undertones. While it's nothing special, there's something about this song that I just can't deny. Maybe it's the sun-roof-open, cranking-on-a-summer-day feel. Whatever it is, it's just a perfect place for an upbeat rocker.
"Bad Boy", the purported album opener... there seems to be some backlash on this song, though I don't see why. It's a great, upbeat rock song, almost in the spirit of Sammy Hagar melded with Rick Springfield, if that makes any sense whatsoever. Bottom line, it's FUN & fun is fun. Well... this is fun.
Track #8, "On The Run", hits the ears & hits it like a hammer. There's a little Talisman feel to the intro, proving once again these guys are taking the best of each & creating something special. Driving, driving groove in the verses gives way to a chorus more in line with their debut: laid back, melodic, multi-layered.
"Broken Wings" starts with a flurry of instruments creating a lush waterfall for a Mr Big "Take Cover"-like verse riff. The chorus is pure, unadulterated full & huge. I could see this song ending the album as it really brings a calm to the listener. Stick around for the outro guitar... stunning.
Now we come to what, for me at least, is the shining jewel of the disc, "Shot". There are so many elements of the respective bands involved, I simply cannot decide what part of this song is the best: verse, bridge, chorus. Some see this as a throwaway, but there's more there than meets the ear, shall we say. Dark, tension, driving beat, the genius of one Jeff Scott Soto... "You've gone and broke another promise, you think I should've known the truth from the start". There's so much emotion in the vocal and urgency in the music, I find myself coming back to this song the most.
Ballad #2, "Still Believe In Us". Here's a challenge: find another rock ballad written, performed, and emoted this well. What an incredible chorus. JSS at his underrated finest. You would never know these guys were thrown together and haven't been a band for a decade. Simply beautiful from note one to note one-hundred.
We've come to the closer, "Still Unbroken" and while it seems the ride hasn't been long enough, everything good must end. And end in sparkling fashion it does. Just another example of the many talents of Erik Martensson. This doesn't have the soaring chorus of previous album closer "If I Fall", but more the power of Soto's latest solo finisher "Afraid To Die". Metal muscle delivered by all involved: galloping groove, massive solo, and towards the end, JSS throws a little gravel on the voice for the final lines. A fitting end to a more than capable sophomore disc.
Whew! I'm spent... Obviously, the first disc, written mainly by Martensson, was a massive hit worldwide and re-energized the genre, but this is a wonderful follow-up, chock full of everything you would expect from the boys. I've always loved JSS versatility vocally and I think he's brought some nice elements into the songwriting. Erik Martensson is without a doubt at the forefront of the melodic rock genre & can seemingly do no wrong, as evidenced by Eclipse's new disc "Bleed & Scream".
Bottom line here, if you don't come away whistling these songs you may need to check your heartbeat. This isn't throwaway, formulaic crap... this is talent writ large on all fronts. Stellar production, concise songwriting, epic performances.
Monday, February 11, 2013
The rebuilding of my golf arsenal is complete. It took a fraction of the dollars it could have thanks to sites like Hurricane Golf:
Driver: Nike SQ Machspeed 10.5 Str8-fit
Fairway woods: Callaway Octane Diablo 3 & 5
Irons: Nike SQ Machspeed 4-AW
Putter: Ping Scottsdale Wolverine
Now if this damn snow would just go away...
Driver: Nike SQ Machspeed 10.5 Str8-fit
Fairway woods: Callaway Octane Diablo 3 & 5
Irons: Nike SQ Machspeed 4-AW
Putter: Ping Scottsdale Wolverine
Now if this damn snow would just go away...
Michael Bourn gets 4/$48... goodness, the going rate for light-hitting, fast CF is a tad overpriced & overyeared. Speed guy on the wrong side of 30? No thanks.
I'll take Carlos Gomez every day & twice on bobblehead Sundays.
I'll take Carlos Gomez every day & twice on bobblehead Sundays.
Sunday, February 3, 2013
Saturday, February 2, 2013
I love KISS... but, it's changed
I've spent most of my life defending KISS. In fact, I remember one of my best friends commenting a few years ago "Slick, I remember seeing you in the library wearing an "I went crazy with KISS" shirt & thinking 'Damn, I respect that dude for wearing that'" That incident happened in 1988 at the height of the "KISS is a bunch of hack followers" time. Long-winded story short, I think my fandom has now changed to loving the image more than the band. At least, the last 15 years of the band, that is.
The douche-ness of Paul & Gene is well documented. The ridiculousness of new players impersonating Ace & Peter is also. And while I love many moments from '82 on, my KISS fandom is really embedded in the original 5 years, '74-'79. The rawness & sense of danger inherent in those first few years is clearly superior to the formulaic decades to follow.
Obviously, I can't be a true fan without showing proper respect to the latter years. The entire Creatures Of The Night disc is monstrous. Highlights from future albums include "A Million To One" & "Not For The Innocent" from Lick It Up. Gene was in full bitch-mode on that album, as evidenced on "Young & Wasted".
Animalize was a mostly Paul vision as Gene was emersed in Hollywood. Still, there were some choice tracks: "I've Had Enough(Into The Fire)" slammed, and "Thrills In The Night" may be the shining moment of any 80's KISS song selection.
Asylum saw the band veer off into a more melodic area. Highlights included "Who Wants To Be Lonely" & "Tears Are Falling", simple yet so effective.
Last from the non-makeup 80's is Hot In The Shade. Certainly, it was a major stepping stone to the brilliant Revenge. Paul & Gene chose to produce it themselves, most likely to save dollars. However, there were several strong moments in a 15 song disc that would've been just as tight at 11 or 12. The single shining moment would have to be "Forever". It's acoustic/electric intermingling is damn near genius & emphasizes how KISS does not get nearly the credit they should as musicians.
The douche-ness of Paul & Gene is well documented. The ridiculousness of new players impersonating Ace & Peter is also. And while I love many moments from '82 on, my KISS fandom is really embedded in the original 5 years, '74-'79. The rawness & sense of danger inherent in those first few years is clearly superior to the formulaic decades to follow.
Obviously, I can't be a true fan without showing proper respect to the latter years. The entire Creatures Of The Night disc is monstrous. Highlights from future albums include "A Million To One" & "Not For The Innocent" from Lick It Up. Gene was in full bitch-mode on that album, as evidenced on "Young & Wasted".
Animalize was a mostly Paul vision as Gene was emersed in Hollywood. Still, there were some choice tracks: "I've Had Enough(Into The Fire)" slammed, and "Thrills In The Night" may be the shining moment of any 80's KISS song selection.
Asylum saw the band veer off into a more melodic area. Highlights included "Who Wants To Be Lonely" & "Tears Are Falling", simple yet so effective.
Last from the non-makeup 80's is Hot In The Shade. Certainly, it was a major stepping stone to the brilliant Revenge. Paul & Gene chose to produce it themselves, most likely to save dollars. However, there were several strong moments in a 15 song disc that would've been just as tight at 11 or 12. The single shining moment would have to be "Forever". It's acoustic/electric intermingling is damn near genius & emphasizes how KISS does not get nearly the credit they should as musicians.
Friday, January 25, 2013
Thursday, January 24, 2013
The answer, Mrs. Clinton, is it makes ALL the difference... 4 Americans were killed, the administration claimed it was due to a YouTube video & arrested the filmmaker, then for two weeks this line was thrown around before being changed, then ignored. Help asked for, none given, none even remotely offered.
The absence of answers should be damning for a president who promised to be "the most transparent" ever... that is, unless, the media is simply a shill for the con man aimlessly shuffling the shells around on the street corner.
The absence of answers should be damning for a president who promised to be "the most transparent" ever... that is, unless, the media is simply a shill for the con man aimlessly shuffling the shells around on the street corner.
The Bucks go without an All-Star representative again, though Brandon Jennings was certainly deserving. To add to the lack of Bucks knowledge, or awareness even, Larry Sanders is receiving ZERO consideration for Most Improved. I am by no means a basketball aficianado, but I can tell when a dude elevates his game. Side by side, there is no one in the NBA affecting games with a newfound talent level than the long arm of Larry.
The non-partisan Legislative Fiscal Bureau released estimates today that [show] that our surplus is up to $419.7 million.--Governor Walker
I fail to see how anyone could argue with a $3B deficit being turned into almost a half-billion surplus... but then again, I must hate kids since it's all about them, right? We should ALL thank our lucky stars there is strong leadership in WI, as the states surrounding us are floundering in fiscal irresponsibility.
I always hear about everyone paying "their fair share"... well, that's what is happening. No longer can the cadillac benefits be strapped solely to the backs of the taxpayer. If I have to save for all my retirement AND part of yours, you can shoulder some of the burden too.
EDIT: Ann can be pretty funny
I fail to see how anyone could argue with a $3B deficit being turned into almost a half-billion surplus... but then again, I must hate kids since it's all about them, right? We should ALL thank our lucky stars there is strong leadership in WI, as the states surrounding us are floundering in fiscal irresponsibility.
I always hear about everyone paying "their fair share"... well, that's what is happening. No longer can the cadillac benefits be strapped solely to the backs of the taxpayer. If I have to save for all my retirement AND part of yours, you can shoulder some of the burden too.
EDIT: Ann can be pretty funny
Wow. Just Wow. I don't get how these people can be the voice of information read by millions when they clearly are disconnected from right & wrong. This fool should be, at the very least, suspended.
Honestly, fella, a couple degrees above zero when you can comfortably stay inside your four walls isn't a tragedy of historical proportions... it's a couple days of sub-freezing temps. That's all. Assbag.
Honestly, fella, a couple degrees above zero when you can comfortably stay inside your four walls isn't a tragedy of historical proportions... it's a couple days of sub-freezing temps. That's all. Assbag.
Saturday, January 19, 2013
Friday, January 18, 2013
No reason for posting this other than I think it's criminal that Jeff Scott Soto is not a bonafide star... absolutely insane versatile voice.
Thursday, January 17, 2013
If you have not heard Heart's rendition of Stairway To Heaven from the Kennedy Center Honors, run, do not walk, to iTunes & grab the full version. (Here's a link to the shorter version from the broadcast, which, while good, does not do the entire performance justice)
Now anyone who follows Heart knows that the ladies worship at the altar of Zep, from their beautiful acoustics to chugging riffs. Just listening to "Barracuda" & "Mistral Wind" back to back will essentially tell you everything you need to know about this talented sisterhood: Epic, intense, driven.
This tribute is one of those rare performances that somehow transcends mere music. There is an ethereal presence at play here, whether it be the gospel choir, Jason Bonham sitting in his father's chair, and the otherworldly vocals of Ann Wilson. In a time when Jon Bon Jovi has gone country, Eddie Money is doing commercials, & most other bands are tuning down to play their hits, Ann's voice seems to be getting stronger & more vibrant.
I would be remiss if I did not mention the lush acoustic talents of Nancy Wilson. If you listen closely, there are subtle additions, yet you never get the feeling that the song has gone off course from the original. Once the electric comes in, the fullness of the mix is brought to the forefront. None of the individual pieces intrudes on each other. They are separate, yet melded together, foreshadowing the power yet to come.
I thought the solo was an impressive amalgimation of one of the most recognizable guitar vocals in recorded history. It had just the right amount of familiarity & homage that it did not distract from the entirety of the song.
Where this recording truly hits the stratosphere is after the solo, when Ann winds on down the road. The sheer FORCE of this woman's voice is unmatched by anyone making music on this planet. I did enjoy the addition of the gospel choir, which added a certain immediacy to the crescendo. The true star of this single, however, is and will always be Ann's delicate handling of an iconic vocal delivery. Notice the ability to deliver lines like " There walks a LADY we all know" with every bit of power as Robert Plant ever did.
Then there is the defining moment, for me, when the goosebumps literally jump out of my skin & I feel a little closer to forces I cannot verbalize... "To be a rock and not to roll". Ann Wilson holds that last note a FULL 8 SECONDS, wringing every last emotion left in this performance. The penultimate tribute to a band that should top all lists, given by a pair of sisters that really don't get their due for changing the musical landscape in their own right.
My only summation is that I lived long enough to enjoy the Wilson sisters paying homage to their own heroes. I would like to thank them for allowing me to come along on this journey. You didn't need the R&RHOF to validate your impact and this performance proves that.
Clearly the performance of the year in any category, any day, any time, and twice on Sunday.
Now anyone who follows Heart knows that the ladies worship at the altar of Zep, from their beautiful acoustics to chugging riffs. Just listening to "Barracuda" & "Mistral Wind" back to back will essentially tell you everything you need to know about this talented sisterhood: Epic, intense, driven.
This tribute is one of those rare performances that somehow transcends mere music. There is an ethereal presence at play here, whether it be the gospel choir, Jason Bonham sitting in his father's chair, and the otherworldly vocals of Ann Wilson. In a time when Jon Bon Jovi has gone country, Eddie Money is doing commercials, & most other bands are tuning down to play their hits, Ann's voice seems to be getting stronger & more vibrant.
I would be remiss if I did not mention the lush acoustic talents of Nancy Wilson. If you listen closely, there are subtle additions, yet you never get the feeling that the song has gone off course from the original. Once the electric comes in, the fullness of the mix is brought to the forefront. None of the individual pieces intrudes on each other. They are separate, yet melded together, foreshadowing the power yet to come.
I thought the solo was an impressive amalgimation of one of the most recognizable guitar vocals in recorded history. It had just the right amount of familiarity & homage that it did not distract from the entirety of the song.
Where this recording truly hits the stratosphere is after the solo, when Ann winds on down the road. The sheer FORCE of this woman's voice is unmatched by anyone making music on this planet. I did enjoy the addition of the gospel choir, which added a certain immediacy to the crescendo. The true star of this single, however, is and will always be Ann's delicate handling of an iconic vocal delivery. Notice the ability to deliver lines like " There walks a LADY we all know" with every bit of power as Robert Plant ever did.
Then there is the defining moment, for me, when the goosebumps literally jump out of my skin & I feel a little closer to forces I cannot verbalize... "To be a rock and not to roll". Ann Wilson holds that last note a FULL 8 SECONDS, wringing every last emotion left in this performance. The penultimate tribute to a band that should top all lists, given by a pair of sisters that really don't get their due for changing the musical landscape in their own right.
My only summation is that I lived long enough to enjoy the Wilson sisters paying homage to their own heroes. I would like to thank them for allowing me to come along on this journey. You didn't need the R&RHOF to validate your impact and this performance proves that.
Clearly the performance of the year in any category, any day, any time, and twice on Sunday.
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