When the boys in Harem Scarem announced they were dissolving the band in 2008, many in the melodic rock world were stunned. The band had, at that point, risen to the height of royalty in their genre and were in the stages of recording the very strong "Hope" offering. The members went on to other projects, most notably singer Harry Hess with First Signal and guitarist Pete Lesperance with the solo "Fade Into Stars".
Come 2013, Harem made a triumphant return, playing the entire Mood Swings record at Melodic Rock Fest . Then in September 2014, it was announced that they were returning with the aptly titled "Thirteen", with preorders and special offers made through Pledge Music, along with exclusive videos from inside the studio. Needless to say, many, including this writer, were interested to see what direction this would take.
Well, clearly the time apart has done nothing to diminish the skills or abilities of Harem Scarem to deliver the same magic they've employed for over 20 years. "Thirteen" is a slice of massive hooks and the melodies the band is most known for.
"Garden Of Eden" opens with a driving, energetic guitar riff that lopes along like a hilly, twisting highway. Harry has not lost any ability over the years to hit those high, powerful notes. Another great album opener in the spirit of "Human Nature".
"Live It" is something I've never really heard from the guys before. There's a distinct rocked-up country feel to the verses, with a huge nod to the poppier sensibilities of Queen, especially in Pete's guitar tone and phrasing. In fact, one would swear that Brian May actually guested on the solo. Again, another mulit-layered chorus the band has always delivered.
"Early Warning Signs" turns harder with a galloping opening riff, more in tune with something off "Hope", before resolving itself in an upbeat tone in the chorus. Once again, the band tips a cap to their Queen influence, inflected with a little of the Rubber era of the band.
Next up, "The Midnight Hours" really brings the first part of the album to a stunning conclusion. The moody, reggae-reminiscent verses create just the right tension for the imminent explosion that the chorus provides. This is one of the best melodies Harry and Pete have put on record in quite some time, maybe since the nearly perfect "Weight Of The World". This song deserves to be pushed to all media and pushed hard.
The first ballad shows up at the mid-point and it was well worth the wait. "Whatever It Takes" starts with vocal/piano/acoustic before lifting into a classic Harem Scarem chorus. Having Darren Smith and Harry together really gives the vocals an epic feel. Their voices are the perfect blend, delivering a passionate, emotional performance. Harry and Pete's ability to write pop-infused rock is on full display. Another track that I anticipate being released as a single.
The opening riff of "Saints And Sinners" is heavily reminiscent of "Baby With A Nail Gun" from the "Believe" album. A good uptempo rocker that showcases Lesperance's 6-string abilities. Here, Pete throws out some love for another of his influences Nuno Bettencourt from Extreme. So far, the band is doing a great job of melding personalities as this song has verse nods to "Believe", but the chorus harkens to "Hope".
What should be tapped as another strong single possibility, "All I Need" is tailor made for the current music scene. A modern sounding midtempo rocker with a catchy, stripped down chorus, this song has several elements present throughout the bands history. The post-solo breakdown section showcases the exquisite vocal work of Harry Hess. A quite uplifting tune with a good message. The standout of the album for me.
"Troubled Times" starts out with a driving riff that moves throughout the verses, giving way to a yet another very melodic chorus. Hess/Lesperance has always reminded me of the Canadian equivalent of Bon Jovi/Sambora and up to this point, they have done nothing to diminish that opinion.
"Never Say Never" begins with a darker, brooding riff/verse, much harder than the previous tracks. Still, the layered vocals are prominent throughout. The chorus slowly builds before releasing the tension at the end. A deep album cut that has its place.
The album concludes with "Stardust", another midtempo track in the verses. Lighter shades come out in the melody-heavy chorus, giving this closer a certain melancholy feel. Maybe the least accessible track on the album, it will take a couple listens for the arrangement to fully reveal itself.
Overall, fans of Harem Scarem should be pleased with this product, as it touches on several eras of the band's history, while newcomers will find the melodies and production new and exciting. The strengths of this disc are evident in the first 2/3rd's, displaying the songwriting of Hess/Lesperance and showcasing the soaring choruses that bands such as Eclipse and W.E.T. are currently enjoying success with. One thing is clear after several listens: Harem Scarem are back with a vengeance and prove they can do the legacy proud no matter how much time it takes to produce a follow up.
Saturday, December 13, 2014
Thursday, October 2, 2014
Mr. Big ...The Stories We Could Tell review
Three years after the solid "What If..." offering, Mr. Big returns this week with "...The Stories We Could Tell", a natural continuation of its predecessor blending equal amounts of 70's groove with classic Mr. Big attitude. It took a few listens to flesh out some of the melodies, many of which lend themselves to some digestion before becoming apparent.
Immediately, I was struck by the rich, full tone Paul Gilbert employs throughout. I've always felt his sound was a little metallic and tinny, but here, he reaches for a more rotund, bottom end tone that really fits the overall mood.
The second thing that stands out is the excellent vocals of Eric Martin. While age has sapped him of some of the screechy high end from the 90's, EM none the less can still belt out a solid vocal.
Out of the gate we get the opening heavy, brooding riff of "Gotta Love The Ride", that rips into a galloping verse riff before hitting a nice mid-tempo chorus. Overall, a fine way to introduce the listener to a band that still sounds hungry after 25 years. Right away, listeners will recognize the patented Gilbert string-skipping in the solo section, but, again, that tone is so full it's hard to believe it's PG's.
"I Forget To Breathe" employs a machine gun kick drum throughout the verses that may turn some off. This was one of those chorus melodies that I needed some time with. I'm not sure if it's the intonation or the flow that makes this one a little less accessible. A good rocker, with some amazing playing, which isn't surprising as the entire band played a part in it's creation.
Next up is "Fragile", a grooving mid-tempo rocker, reminiscent of some of Eric Martin's solo material. He penned this one with long time collaborator Andre Pessis (Huey Lewis, Journey). Lyrically, about the deception of outside appearances and how they differ from what one feels inside. So far the rhythm section of Billy Sheehan and Pat Torpey has laid a solid foundation for the others to shine. Fans who haven't heard Mr. Big in years will enjoy this song immediately.
"Satisfied" has an immediate brother in "Alive & Kicking" from Lean Into It. Light, fun, and with some excellent guitar work doing some call & answer with the vocals. Sheehan finally makes an announced appearance with his legendary walking bass lines. Solid start to the album. The band really seems to be in the pocket.
Ballad time... in "The Man Who Has Everything" the band steps aside somewhat to really let Martin's emotive voice take center stage. Additional orchestration gives the chorus a nice soaring quality. Perfect placement in the track listing.
"The Monster In Me" is quite reminiscent of "Take Cover" in the verses. I really enjoyed the attitude in this song, especially the syncopated rhythms in the chorus. This one allowed for an excellent outro jam that PG really takes home. One has to start wondering if the success Billy is currently enjoying in The Winery Dogs has given the band an additional spark. They are really firing on all musical cylinders.
"What If We Were New?" recalls the days of Foghat, Bad Company, and Free, all well-known influences of the band members. Good time, groove rock really driven by the drumming of Torpey. PG, again, playing some of the most tasteful licks of his career here. This tune slithers through the headphones.
When "East/West"first started I sat up instantly: That's the start of "Here's To Everything", the B-side of Shine. Just an outstanding reworking of the latter. EM sings his behind off here, in front of some beautiful acoustic passages. It's here that I really feel the difference in Paul Gilbert's playing. Always known as a shredder, he throws out some amazing licks that almost become part of the vocals and really bring the emotions of the lyric together. Easily a song worth buying the whole disc for, it's that good.
"The Light of Day" could be the twin of "Wind Me Up", with its driving snare and cleaner guitar tone. Uptempo rocker that should be familiar to Mr. Big fans of old. Solid breakdown section, but, again, Sheehan is really keeping his playing in the background. He's still his usual busy self, but he's really playing for the songs.
Ballad time part deux... and this one should go right up there with their best. "Just Let Your Heart Decide" is a very well written song, done up by James Dotson & Pat Torpey. The melody is immediate and doesn't let go throughout. Paul really goes all out here to create some special moments. And, again, that warm, rich, soaring tone comes shining through. Very impressed with what he's done to his sound the last two records.
Next up "It's Always About That Girl" starts off with some nice choppy riffs, before settling quickly into that Free groove again. Once again, the band sounds like they're confident, hungry, and really into the material. Stripped down tune that lets the instruments shine through.
"Cinderella Smile" doesn't immediately jump off the record, but with a few listens, the mid 70's influence really comes out. Laid back verse riffs that are reconciled nicely into the chorus. They certainly own the land that mid-tempo rockers were built on.
We finish the journey with "The Stories We Could Tell", fittingly, as they've certainly told one to me. Plodding, moody verse riffs, with a hint of April Wine influence. Some very solid guitar work highlights this song, especially the epic solo section. Great way to finish up the album.
...The Stories We Could Tell is a fine addition to the Mr. Big catalogue, featuring a little bit from each era, a little bit for each taste. Again the highlights included the strength and power of Eric Martin's voice and Paul Gilbert's stunning axe work. Now I've rarely mentioned Sheehan and Torpey throughout, but their contributions are not to be dismissed. It sounds like there was a concerted effort to feature the songs and maximize the vocal/guitar relationship. But the bottom end is still there in all its glory, creating a solid foundation for the songs to really shine through. I highly recommend making this an addition to your collection and listen from beginning to end. Multiple listens will reveal new and exciting avenues to enjoy.
Immediately, I was struck by the rich, full tone Paul Gilbert employs throughout. I've always felt his sound was a little metallic and tinny, but here, he reaches for a more rotund, bottom end tone that really fits the overall mood.
The second thing that stands out is the excellent vocals of Eric Martin. While age has sapped him of some of the screechy high end from the 90's, EM none the less can still belt out a solid vocal.
Out of the gate we get the opening heavy, brooding riff of "Gotta Love The Ride", that rips into a galloping verse riff before hitting a nice mid-tempo chorus. Overall, a fine way to introduce the listener to a band that still sounds hungry after 25 years. Right away, listeners will recognize the patented Gilbert string-skipping in the solo section, but, again, that tone is so full it's hard to believe it's PG's.
"I Forget To Breathe" employs a machine gun kick drum throughout the verses that may turn some off. This was one of those chorus melodies that I needed some time with. I'm not sure if it's the intonation or the flow that makes this one a little less accessible. A good rocker, with some amazing playing, which isn't surprising as the entire band played a part in it's creation.
Next up is "Fragile", a grooving mid-tempo rocker, reminiscent of some of Eric Martin's solo material. He penned this one with long time collaborator Andre Pessis (Huey Lewis, Journey). Lyrically, about the deception of outside appearances and how they differ from what one feels inside. So far the rhythm section of Billy Sheehan and Pat Torpey has laid a solid foundation for the others to shine. Fans who haven't heard Mr. Big in years will enjoy this song immediately.
"Satisfied" has an immediate brother in "Alive & Kicking" from Lean Into It. Light, fun, and with some excellent guitar work doing some call & answer with the vocals. Sheehan finally makes an announced appearance with his legendary walking bass lines. Solid start to the album. The band really seems to be in the pocket.
Ballad time... in "The Man Who Has Everything" the band steps aside somewhat to really let Martin's emotive voice take center stage. Additional orchestration gives the chorus a nice soaring quality. Perfect placement in the track listing.
"The Monster In Me" is quite reminiscent of "Take Cover" in the verses. I really enjoyed the attitude in this song, especially the syncopated rhythms in the chorus. This one allowed for an excellent outro jam that PG really takes home. One has to start wondering if the success Billy is currently enjoying in The Winery Dogs has given the band an additional spark. They are really firing on all musical cylinders.
"What If We Were New?" recalls the days of Foghat, Bad Company, and Free, all well-known influences of the band members. Good time, groove rock really driven by the drumming of Torpey. PG, again, playing some of the most tasteful licks of his career here. This tune slithers through the headphones.
When "East/West"first started I sat up instantly: That's the start of "Here's To Everything", the B-side of Shine. Just an outstanding reworking of the latter. EM sings his behind off here, in front of some beautiful acoustic passages. It's here that I really feel the difference in Paul Gilbert's playing. Always known as a shredder, he throws out some amazing licks that almost become part of the vocals and really bring the emotions of the lyric together. Easily a song worth buying the whole disc for, it's that good.
"The Light of Day" could be the twin of "Wind Me Up", with its driving snare and cleaner guitar tone. Uptempo rocker that should be familiar to Mr. Big fans of old. Solid breakdown section, but, again, Sheehan is really keeping his playing in the background. He's still his usual busy self, but he's really playing for the songs.
Ballad time part deux... and this one should go right up there with their best. "Just Let Your Heart Decide" is a very well written song, done up by James Dotson & Pat Torpey. The melody is immediate and doesn't let go throughout. Paul really goes all out here to create some special moments. And, again, that warm, rich, soaring tone comes shining through. Very impressed with what he's done to his sound the last two records.
Next up "It's Always About That Girl" starts off with some nice choppy riffs, before settling quickly into that Free groove again. Once again, the band sounds like they're confident, hungry, and really into the material. Stripped down tune that lets the instruments shine through.
"Cinderella Smile" doesn't immediately jump off the record, but with a few listens, the mid 70's influence really comes out. Laid back verse riffs that are reconciled nicely into the chorus. They certainly own the land that mid-tempo rockers were built on.
We finish the journey with "The Stories We Could Tell", fittingly, as they've certainly told one to me. Plodding, moody verse riffs, with a hint of April Wine influence. Some very solid guitar work highlights this song, especially the epic solo section. Great way to finish up the album.
...The Stories We Could Tell is a fine addition to the Mr. Big catalogue, featuring a little bit from each era, a little bit for each taste. Again the highlights included the strength and power of Eric Martin's voice and Paul Gilbert's stunning axe work. Now I've rarely mentioned Sheehan and Torpey throughout, but their contributions are not to be dismissed. It sounds like there was a concerted effort to feature the songs and maximize the vocal/guitar relationship. But the bottom end is still there in all its glory, creating a solid foundation for the songs to really shine through. I highly recommend making this an addition to your collection and listen from beginning to end. Multiple listens will reveal new and exciting avenues to enjoy.
Monday, September 29, 2014
Friday/Saturday golf times all booked up. Kind of a "brothers birthday weekend" as we're only 5 days apart. Very excited that my brother has gotten the golf itch. The only problem is I think he's gonna pass me by in this sport like he has in all the others. For a guy who rarely plays, his short game touch is most impressive.
Now if I could just find a place with Milwaukee Bucks club head covers in stock...
Now if I could just find a place with Milwaukee Bucks club head covers in stock...
Sunday, September 28, 2014
Ryder Cup 2014
Very disappointed by the USA Ryder Cup showing. Granted, I already felt the assembled team had many weaknesses when stacked up against the Europeans. A healthy dose of solid players, but very few next-level types.
And, yes, I know the Euro team held 4 of the top 6 ranked players in the world. All the more reason to be a little more selective in the process. I do think that the US team found a future stud in Patrick Reed.
Kudos to Phil Mickelson for being open, honest, and pretty blunt in his assessment of the recent US failings. That's the stuff of locker room leaders so let's hope the message was received by all.
And, yes, I know the Euro team held 4 of the top 6 ranked players in the world. All the more reason to be a little more selective in the process. I do think that the US team found a future stud in Patrick Reed.
Kudos to Phil Mickelson for being open, honest, and pretty blunt in his assessment of the recent US failings. That's the stuff of locker room leaders so let's hope the message was received by all.
Sat front row by the dugout for the final Brewer game today. Snapped this pic of dugout reporter Sophia Minnaert. Later she walked by me about two feet away... boy, if you don't believe there's a God, I think seeing her in person could change your mind. Goodness...
Caught her at an odd moment, but she is absolutely mesmerizing in real life.
Caught her at an odd moment, but she is absolutely mesmerizing in real life.
Thursday, September 25, 2014
The Essential Richie Kotzen review... or "Why In The Sam Hell Isn't This Guy Huge?"
First off, let me preface this entire review by saying I am a Kotzenatic. Along with Jeff Scott Soto, this guy is criminally underrated and, I believe, the world is worse off for not feeling the same way. I will, however, attack this review as I attack all others: open, honest, truthful, and intelligently. That being said, Richie Kotzen wears so many hats and seamlessly blends into so many genres, he can only be described as those that once described Nikola Tesla... A Man Out Of Time.
This collection, in its entirety, was culled together by its namesake. So while many of his fan's favorites may not be represented, the author's affections are. For those not familiar with Richie Kotzen, here's the short and tidy version: he started as a shredder, knew that wasn't his calling, fought for control of his vision, joined Poison (and while his superior talents were wasted, he did pen several popular songs), struck out on his own, joined Mr. Big (which was much more in his wheelhouse and foreshadowed future successes), again struck out on his own, growing with each record, only to recently strike gold as part of The Winery Dogs trio. He is, by all intents and purposes, a musical chameleon, moving effortlessly from funk to jazz to R&B, to rock, to... well, genres that still have no name.
This collection begins in similar territory as his last solo outing, 24 Hours. "War Paint" starts with, dare I say, a country tinged groove, before busting into a very modern-sounding chorus. The breakdown section could easily have been pulled from early 90's grunge.
The next new offering, "Walk With Me", is Kotzen at his songwriting best: simple, hook-laden, and memorable. There are two "stars" in this song: Kotzen's ability to deliver an intimate vocal and the inspired use of a theremin. I find it impressive that a man known for fretboard gymnastics made a conscious effort to learn and incorporate such an obscure instrument. AND make it work.
I could wax poetic on every track here, but who wants to listen to a joe schmo ramble on for pages so I'll grab a few highlights. "Fooled Again", strangely enough, has a hint of Lady Marmalade groove in the verses, making way for a wonderful melody in the bridge. The real highlight of this track is the incredible guitar work, especially the extended outro.
A couple tracks from Richie's 2011 offering 24 Hours are also included and really showcase his ability to cross into other genres. "OMG (What's Your Name)" is a funky, Kool & The Gang romp that's just plain fun. The other, "Bad Situation", is just a straight up, slamming '70's jam, complete with falsetto vocals. Honestly, if you can't dance badly in your kitchen to these two songs, check your pulse.
"Lie To Me" is the kind of mid-tempo jam that Bon Jovi wishes he could write. Laid back, yet with an edge, Lie To Me shows a singer/songwriter comfortable in his skin.
"You Can't Save Me"... First of all, WOW. Obviously, his middle finger to the music business that continually messes with artists. The brooding, deliberate riff/vocal of the opening explodes into a driven chorus, and immediately drops back into the tension of verse two. A superbly crafted offering that showcases the depth of Kotzen's vocal range. And one in which he plays all the instruments, further cementing the underrated status he currently swims in. When I need release, I no longer reach for Metallica. I go to this song and sing loudly and poorly as I cruise down the highway.
I'm embarrassed to say that I came to "Doin' What The Devil Says To Do" later in my Kotzen-mania. And what a mistake THAT was. Another brooding groove, that amazingly, is uplifting at the same time. Phenomenal vocal acrobatics that emotion just oozes from. Check out the live version from Brazil and you'll see what I mean.
One of my favorite Kotzen tracks is "Special" from the Get Up disc. Why, you may ask? I enjoy the Hall & Oates feel & the guitar work is stellar. On this collection, Kotzen adds it as one of the many acoustic cuts and it really showcases his vocal abilities.
"Until You Suffer Some (Fire & Ice)" makes a welcome appearance, with what I believe is the vocal it SHOULD have had on the Poison Native Tongue disc. The intimate nature of the guitar/vocal is almost essential to the message.
I like that Richie chose to make a nod to the incredible Wilson Hawk project he did with Richie Zito. "The Road" not only wrapped up that album nicely, it puts a beautiful bow on the Richie portion of this collection. Honestly, if you've never heard it, look up Wilson Hawk. Damn near perfect side project that can't help but put a spring in your step. Think Al Green, Stevie Wonder, and Elton John-like piano.
The last two songs on this disc should be familiar to any Kotzen fan, or Portnoy/Sheehan fan for that matter. "Damaged" was one of the more obvious Kotzen-penned cuts off The Winery Dogs. The version on this disc is essentially what ended up on the Dogs disc, sans some prime additions from Portnoy & Sheehan. I actually prefer the Dogs' version for the melancholy it exudes.
"Regret" may be my favorite song off The Winery Dogs (aside from the exquisite "I'm No Angel") and it really shines in this stripped down format. Open, honest, exposed, this song gained something with the entire band and the gospel tints, but it also shines in this format.
Give The Essentials a try based off this or not, the bottom line is Richie Kotzen is the epitome of an artist: Flexible, talented, expressionist. I don't often leak into hyperbole, but Kotzen is truly a magician. Songs full of heart, feeling, emotion, talent... throw out a word & it probably applies. THIS is greatness and it deserves to be heard. Any emotion you feel, there's a Richie Kotzen song that applies and heals. Bottom line: Do yourself a favor and discover Richie Kotzen.
This collection, in its entirety, was culled together by its namesake. So while many of his fan's favorites may not be represented, the author's affections are. For those not familiar with Richie Kotzen, here's the short and tidy version: he started as a shredder, knew that wasn't his calling, fought for control of his vision, joined Poison (and while his superior talents were wasted, he did pen several popular songs), struck out on his own, joined Mr. Big (which was much more in his wheelhouse and foreshadowed future successes), again struck out on his own, growing with each record, only to recently strike gold as part of The Winery Dogs trio. He is, by all intents and purposes, a musical chameleon, moving effortlessly from funk to jazz to R&B, to rock, to... well, genres that still have no name.
This collection begins in similar territory as his last solo outing, 24 Hours. "War Paint" starts with, dare I say, a country tinged groove, before busting into a very modern-sounding chorus. The breakdown section could easily have been pulled from early 90's grunge.
The next new offering, "Walk With Me", is Kotzen at his songwriting best: simple, hook-laden, and memorable. There are two "stars" in this song: Kotzen's ability to deliver an intimate vocal and the inspired use of a theremin. I find it impressive that a man known for fretboard gymnastics made a conscious effort to learn and incorporate such an obscure instrument. AND make it work.
I could wax poetic on every track here, but who wants to listen to a joe schmo ramble on for pages so I'll grab a few highlights. "Fooled Again", strangely enough, has a hint of Lady Marmalade groove in the verses, making way for a wonderful melody in the bridge. The real highlight of this track is the incredible guitar work, especially the extended outro.
A couple tracks from Richie's 2011 offering 24 Hours are also included and really showcase his ability to cross into other genres. "OMG (What's Your Name)" is a funky, Kool & The Gang romp that's just plain fun. The other, "Bad Situation", is just a straight up, slamming '70's jam, complete with falsetto vocals. Honestly, if you can't dance badly in your kitchen to these two songs, check your pulse.
"Lie To Me" is the kind of mid-tempo jam that Bon Jovi wishes he could write. Laid back, yet with an edge, Lie To Me shows a singer/songwriter comfortable in his skin.
"You Can't Save Me"... First of all, WOW. Obviously, his middle finger to the music business that continually messes with artists. The brooding, deliberate riff/vocal of the opening explodes into a driven chorus, and immediately drops back into the tension of verse two. A superbly crafted offering that showcases the depth of Kotzen's vocal range. And one in which he plays all the instruments, further cementing the underrated status he currently swims in. When I need release, I no longer reach for Metallica. I go to this song and sing loudly and poorly as I cruise down the highway.
I'm embarrassed to say that I came to "Doin' What The Devil Says To Do" later in my Kotzen-mania. And what a mistake THAT was. Another brooding groove, that amazingly, is uplifting at the same time. Phenomenal vocal acrobatics that emotion just oozes from. Check out the live version from Brazil and you'll see what I mean.
One of my favorite Kotzen tracks is "Special" from the Get Up disc. Why, you may ask? I enjoy the Hall & Oates feel & the guitar work is stellar. On this collection, Kotzen adds it as one of the many acoustic cuts and it really showcases his vocal abilities.
"Until You Suffer Some (Fire & Ice)" makes a welcome appearance, with what I believe is the vocal it SHOULD have had on the Poison Native Tongue disc. The intimate nature of the guitar/vocal is almost essential to the message.
I like that Richie chose to make a nod to the incredible Wilson Hawk project he did with Richie Zito. "The Road" not only wrapped up that album nicely, it puts a beautiful bow on the Richie portion of this collection. Honestly, if you've never heard it, look up Wilson Hawk. Damn near perfect side project that can't help but put a spring in your step. Think Al Green, Stevie Wonder, and Elton John-like piano.
The last two songs on this disc should be familiar to any Kotzen fan, or Portnoy/Sheehan fan for that matter. "Damaged" was one of the more obvious Kotzen-penned cuts off The Winery Dogs. The version on this disc is essentially what ended up on the Dogs disc, sans some prime additions from Portnoy & Sheehan. I actually prefer the Dogs' version for the melancholy it exudes.
"Regret" may be my favorite song off The Winery Dogs (aside from the exquisite "I'm No Angel") and it really shines in this stripped down format. Open, honest, exposed, this song gained something with the entire band and the gospel tints, but it also shines in this format.
Give The Essentials a try based off this or not, the bottom line is Richie Kotzen is the epitome of an artist: Flexible, talented, expressionist. I don't often leak into hyperbole, but Kotzen is truly a magician. Songs full of heart, feeling, emotion, talent... throw out a word & it probably applies. THIS is greatness and it deserves to be heard. Any emotion you feel, there's a Richie Kotzen song that applies and heals. Bottom line: Do yourself a favor and discover Richie Kotzen.
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