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.
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