This nice early November weather has created a weekend anomaly: Bowling tournament tomorrow, 18 holes of golf Sunday.
That's right, I'm forgoing watching the Packers to hit the links for possibly the last time until the cruel, bleak WI winter. I'm never quite so "zen" as when I'm on the golf course. I can now see where Steinbeck may have gotten that most eloquent of quips...
Thursday, November 5, 2015
The Underappreciated Greatness of Jeff Scott Soto
I could begin by throwing out a career-spanning overview of Jeff Scott Soto, but I may just be here for a fortnight. Extolling the vast catalogue and genre-jumping of one JSS was covered quite well in The Authorised Biography. Needless to say, JSS career spans thirty years, several styles, and, unfortunately, a lifetime in relative obscurity. Soto has, among others, been involved in the first incarnation of Yngwie Malmsteen (See "I'll See The Light Tonight"), Eyes, Journey (live I'll Be Alright Without You on one hour of rehearsal, mind you), W.E.T., Talisman, Human Clay, Trans-Siberian Orchestra (This Christmas Day - just watch that stage presence!), and, of course, as a solo artist.
Known by many as the "Voice of Hard Rock", Soto has displayed an innate talent to deliver a vocal that fits within many genres. He can easily transition from Prince-like falsetto (4 U) to Soul (Lonely Shade of Blue) to Disco (Lady Marmalade)to metal (End Of Days)to bombastic melodic rock (Look Inside Your Heart).
Next to Mike Portnoy, he may have his hands in more projects than anyone in the hard rock business. After a successful stint with the boys from Work Of Art & Eclipse that culminated in two phenomenal studio albums under the moniker W.E.T., Soto has recently waged war on his metal roots, creating a stand alone metal band called SOTO. His stated current plans are to record three albums successively with SOTO and re-establish his harder side, leaving behind the more melodic overtones of Lost In The Translation and Damage Control.
As a JSS fan, it's quite exciting to have such a breadth of material to listen to. JSS is certainly not one to rest on laurels, much less churn out music for the sake of offering new product. Love Parade & Beautiful Mess were solid adventures that explored the softer, R&B-tinged side of JSS. While LITT & Prism worshipped at the altar of big guitars & bigger vocals. Damage Control, at times, hinted at the SOTO direction, with such rockers as "Damage Control" & "Afraid To Die"
How many have seen the movie "Rock Star" with Mark Wahlberg? What most of you may not know is JSS was the voice of Steel Dragon's original singer Bobby Beers. Here's a taste of the Sammy Hagar-penned "Stand Up And Shout" via Soto. Powerful shit, right? How about that stage presence? A true showman that truly enjoys what he's doing. Based on notoriety, obviously not for accolades, but for the love of delivering great songs time & time again.
At this point, hopefully I've piqued your interest in learning a little bit about Jeff Scott Soto. Aside from the links above, here's a quick top 10 JSS tunes to begin with. I'll trust that you'll take the initiative to explore further... you'll only have yourself to blame if you don't.
Top 10 JSS Tunes (minus above links)in no particular order:
Our Song
If I Fall
Soul Divine
Eyes Of Love
Break Your Chains
Colour My XTC
Love Will Come Again
Frozen & Crazy
Believe In Me
Comes Down Like Rain
This was a quick ode to JSS and my hope is that you, as an avid reader, gives the music contained here within more than a cursory glance. This man could sing the phone book & it would sound like a glorious hymn.
Known by many as the "Voice of Hard Rock", Soto has displayed an innate talent to deliver a vocal that fits within many genres. He can easily transition from Prince-like falsetto (4 U) to Soul (Lonely Shade of Blue) to Disco (Lady Marmalade)to metal (End Of Days)to bombastic melodic rock (Look Inside Your Heart).
Next to Mike Portnoy, he may have his hands in more projects than anyone in the hard rock business. After a successful stint with the boys from Work Of Art & Eclipse that culminated in two phenomenal studio albums under the moniker W.E.T., Soto has recently waged war on his metal roots, creating a stand alone metal band called SOTO. His stated current plans are to record three albums successively with SOTO and re-establish his harder side, leaving behind the more melodic overtones of Lost In The Translation and Damage Control.
As a JSS fan, it's quite exciting to have such a breadth of material to listen to. JSS is certainly not one to rest on laurels, much less churn out music for the sake of offering new product. Love Parade & Beautiful Mess were solid adventures that explored the softer, R&B-tinged side of JSS. While LITT & Prism worshipped at the altar of big guitars & bigger vocals. Damage Control, at times, hinted at the SOTO direction, with such rockers as "Damage Control" & "Afraid To Die"
How many have seen the movie "Rock Star" with Mark Wahlberg? What most of you may not know is JSS was the voice of Steel Dragon's original singer Bobby Beers. Here's a taste of the Sammy Hagar-penned "Stand Up And Shout" via Soto. Powerful shit, right? How about that stage presence? A true showman that truly enjoys what he's doing. Based on notoriety, obviously not for accolades, but for the love of delivering great songs time & time again.
At this point, hopefully I've piqued your interest in learning a little bit about Jeff Scott Soto. Aside from the links above, here's a quick top 10 JSS tunes to begin with. I'll trust that you'll take the initiative to explore further... you'll only have yourself to blame if you don't.
Top 10 JSS Tunes (minus above links)in no particular order:
Our Song
If I Fall
Soul Divine
Eyes Of Love
Break Your Chains
Colour My XTC
Love Will Come Again
Frozen & Crazy
Believe In Me
Comes Down Like Rain
This was a quick ode to JSS and my hope is that you, as an avid reader, gives the music contained here within more than a cursory glance. This man could sing the phone book & it would sound like a glorious hymn.
Thursday, October 8, 2015
The Winery Dogs "Hot Streak" Review: A Winning Hand
Has it been two years already? When word got out that Richie Kotzen, Billy Sheehan, and Mike Portnoy formed The Winery Dogs and started recording, many ears turned wondering what kind of music these three incomparable musicians would produce. The resulting debut album, eponymously titled “The Winery Dogs”, shot up the rock charts, enjoying a lifespan that saw the group tour behind it for a year.
Released in America on October 2nd, “Hot Streak” proves this dog has plenty of room to grow. While the debut was a mix of Kotzen compositions and band writes, “Hot Streak” was a complete band endeavor, with most of the writing undertaken by the three musicians sitting down and creating. What results is a powerful, yet eclectic mix of styles, sounds, and pure musicianship that simultaneously excites and challenges.
"Oblivion" was written while on tour and creates an inviting bridge from the debut to the follow-up. While an expected introduction, it is also aggressive and allows each member room to shine, kind of like the little brother of previous opener "Elevate". It's immediately apparent that the months spent touring has tightened the band. A melodic chorus should translate well to the live experience. The solo section sees Sheehan & Kotzen performing some outlandish harmony riffs. Keep your arms and legs inside the ride, kids.
"Captain Love" starts off with a Deep Purple "Perfect Strangers"-like riff, featuring a slow and in-the-pocket laid back groove. It's a slinky, mid-tempo rocker with hints of Coverdale/Whitesnake/ACDC mixed in. Lest anyone think the Dogs can't settle in and rock, this track will lay those fears to rest. The guitar tone is tailor made for headphones, with a crunchy, yet clean sound. Billy gets a little breakdown section before the wah-drenched solo. Portnoy's simple, solid groove is the foundation this tune is built on. Lyrical highlight here with the Kotzen-penned gem "I'm 45, but I'm 18 in the clutch".
Album moniker "Hot Streak" is a musical tour de force. This solid shuffle/R&B rocker allows the players to display the mastery of their instruments. It's simultaneously loose, yet tight, featuring a cool start and stop rhythm. One can hear the chemistry between Kotzen and Sheehan from their Mr. Big days. Clearly the band is having fun and this track gives each a chance to stretch out.
"How Long" is the most Kotzen-solo like song on the album: the verse lyrics follow the guitar runs and segues into a melancholy chorus. In fact, the song is a test for the listener until the chorus, which is more straight forward. A very bass-driven track, similar to "The Other Side" off the debut. Overall, a solid tune, but not a standout for me.
"Empire" is the song that almost wasn't as Portnoy encouraged Kotzen to finish the composition. And thank goodness he did. The song features a healthy dose of slide work and a driving beat that takes a couple listens to reconcile. The sparse verses, featuring a call and response motif, really let the music breathe. Richie's solo tone and phrasing is quite reminiscent of Clapton's "Badge", especially during the outro. Should be another great tune to see performed live. Sheehan takes a backseat here to really hold the groove down, while Kotzen and Portnoy drive the music; reminding most that Billy is a BASS player first and is quite capable of playing that role when called upon.
Here we have the first ballad, "Fire", with its heavily flamenco-influenced guitar. A wonderfully crafted sad lyric and melody, it may be the most solo-Kotzen track contained within and should be a great solo showcase live. Beautifully sung and played, the melody isn't as apparent on early listens, but it creates a timely break in the track listing. Almost Springsteen-esque in places, this song is a welcome addition.
Drum & drive I call this song: "Ghost Town" is a percussion track all the way, with a galloping, driving beat set against a heavy riff. Portnoy really shines on this track, laying down a beautiful drum sequence as evidenced by the link; much more going on than the listener is led to believe. Very moody, haunting vocal.
Let's cross "The Bridge", with its drum/bass intro that leads to a rather aggressive guitar riff. The melodic, lower register verses perfectly lead into the layered, uplifting chorus: "Step with me 'cross the bridge", reminding one of "The Dying". A very mood-oriented song, made special by the phenomenal soaring vocal delivery of Richie.
Album standout "War Machine" is next and, Jesus H Christ, what does one say about this tune? From the tension-filled bass riff that creates the basis for the song to the almost spoken vocal delivery, there's no doubt this band is making music that should turn rock on its ear. The funky double snare melds perfectly with the mood of the song. There's so much space created that the listener almost feels they want more. The solo section features some wonderful doubled guitar licks along with a solid Sheehan bass break. Curiously, the song never actually reconciles itself from the immediate tension, which only adds to its uniqueness. Well crafted.
And here is the wild card: "Spiral"... I almost feel that explaining this tune won't do it justice. A rocking amalgamation of disco, '80's electronica, Radiohead, and U2, there is a lot to process here. There are definite elements of Kotzen's interpretation of "Electric Feel" (which one should seek out anyway). The guitar takes a back seat here and lets the rhythm section drive the car. The bridge section is an exciting transition to the chorus. Exhibit A that this band will not rest on its laurels, nor follow any pre-conceived rules.
"Devil You Know" brings us back to the straight forward rock sound. Nicely placed in the running order, the chorus is the star here; aggressive drum beat, powerful vocal delivery, driving bass. In some ways, its a more vocally-driven song, featuring some nice double tracked singing. This track would not have been out of place on the debut.
A phenomenal organ intro introduces "Think It Over", this disc's "Regret". Featuring a '70's soft rock/Hall & Oates/ Marshall Tucker feel, it's another well-placed track, recalling a church revival vibe. Nothing out of the ordinary for Kotzen, but easily accessible and sing along.
"The Lamb" completes this magnus opus with a little church intro. The snare drum keeps the song rolling, moving it along at a behind-the-beat pace. The solo lifts this song to another level, as Kotzen's talents come to the forefront for a melodic, aggressive goodbye denouement.
Some discussion has been made that this disc is more reflective of a Kotzen solo release, but that's to be expected of an artist with such a defined vocal/musical delivery. From the outset, the members have extolled the notion that this band would stress SONGS over all else. And, with this release, they have held true to that mantra.
Having been a fan of these guys individually for the better part of two decades, I'm obviously a little biased, but any lover of good rock music cannot deny that this disc is superb. There's more than enough to challenge even the most cynical listener, and truth be told, they'll probably admit to humming a few of these melodies in the shower.
I, for one, am thankful the Dogs reconvened to deliver an album that should be at, or near, the top of most "Best Of" lists by year's end.
Released in America on October 2nd, “Hot Streak” proves this dog has plenty of room to grow. While the debut was a mix of Kotzen compositions and band writes, “Hot Streak” was a complete band endeavor, with most of the writing undertaken by the three musicians sitting down and creating. What results is a powerful, yet eclectic mix of styles, sounds, and pure musicianship that simultaneously excites and challenges.
"Oblivion" was written while on tour and creates an inviting bridge from the debut to the follow-up. While an expected introduction, it is also aggressive and allows each member room to shine, kind of like the little brother of previous opener "Elevate". It's immediately apparent that the months spent touring has tightened the band. A melodic chorus should translate well to the live experience. The solo section sees Sheehan & Kotzen performing some outlandish harmony riffs. Keep your arms and legs inside the ride, kids.
"Captain Love" starts off with a Deep Purple "Perfect Strangers"-like riff, featuring a slow and in-the-pocket laid back groove. It's a slinky, mid-tempo rocker with hints of Coverdale/Whitesnake/ACDC mixed in. Lest anyone think the Dogs can't settle in and rock, this track will lay those fears to rest. The guitar tone is tailor made for headphones, with a crunchy, yet clean sound. Billy gets a little breakdown section before the wah-drenched solo. Portnoy's simple, solid groove is the foundation this tune is built on. Lyrical highlight here with the Kotzen-penned gem "I'm 45, but I'm 18 in the clutch".
Album moniker "Hot Streak" is a musical tour de force. This solid shuffle/R&B rocker allows the players to display the mastery of their instruments. It's simultaneously loose, yet tight, featuring a cool start and stop rhythm. One can hear the chemistry between Kotzen and Sheehan from their Mr. Big days. Clearly the band is having fun and this track gives each a chance to stretch out.
"How Long" is the most Kotzen-solo like song on the album: the verse lyrics follow the guitar runs and segues into a melancholy chorus. In fact, the song is a test for the listener until the chorus, which is more straight forward. A very bass-driven track, similar to "The Other Side" off the debut. Overall, a solid tune, but not a standout for me.
"Empire" is the song that almost wasn't as Portnoy encouraged Kotzen to finish the composition. And thank goodness he did. The song features a healthy dose of slide work and a driving beat that takes a couple listens to reconcile. The sparse verses, featuring a call and response motif, really let the music breathe. Richie's solo tone and phrasing is quite reminiscent of Clapton's "Badge", especially during the outro. Should be another great tune to see performed live. Sheehan takes a backseat here to really hold the groove down, while Kotzen and Portnoy drive the music; reminding most that Billy is a BASS player first and is quite capable of playing that role when called upon.
Here we have the first ballad, "Fire", with its heavily flamenco-influenced guitar. A wonderfully crafted sad lyric and melody, it may be the most solo-Kotzen track contained within and should be a great solo showcase live. Beautifully sung and played, the melody isn't as apparent on early listens, but it creates a timely break in the track listing. Almost Springsteen-esque in places, this song is a welcome addition.
Drum & drive I call this song: "Ghost Town" is a percussion track all the way, with a galloping, driving beat set against a heavy riff. Portnoy really shines on this track, laying down a beautiful drum sequence as evidenced by the link; much more going on than the listener is led to believe. Very moody, haunting vocal.
Let's cross "The Bridge", with its drum/bass intro that leads to a rather aggressive guitar riff. The melodic, lower register verses perfectly lead into the layered, uplifting chorus: "Step with me 'cross the bridge", reminding one of "The Dying". A very mood-oriented song, made special by the phenomenal soaring vocal delivery of Richie.
Album standout "War Machine" is next and, Jesus H Christ, what does one say about this tune? From the tension-filled bass riff that creates the basis for the song to the almost spoken vocal delivery, there's no doubt this band is making music that should turn rock on its ear. The funky double snare melds perfectly with the mood of the song. There's so much space created that the listener almost feels they want more. The solo section features some wonderful doubled guitar licks along with a solid Sheehan bass break. Curiously, the song never actually reconciles itself from the immediate tension, which only adds to its uniqueness. Well crafted.
And here is the wild card: "Spiral"... I almost feel that explaining this tune won't do it justice. A rocking amalgamation of disco, '80's electronica, Radiohead, and U2, there is a lot to process here. There are definite elements of Kotzen's interpretation of "Electric Feel" (which one should seek out anyway). The guitar takes a back seat here and lets the rhythm section drive the car. The bridge section is an exciting transition to the chorus. Exhibit A that this band will not rest on its laurels, nor follow any pre-conceived rules.
"Devil You Know" brings us back to the straight forward rock sound. Nicely placed in the running order, the chorus is the star here; aggressive drum beat, powerful vocal delivery, driving bass. In some ways, its a more vocally-driven song, featuring some nice double tracked singing. This track would not have been out of place on the debut.
A phenomenal organ intro introduces "Think It Over", this disc's "Regret". Featuring a '70's soft rock/Hall & Oates/ Marshall Tucker feel, it's another well-placed track, recalling a church revival vibe. Nothing out of the ordinary for Kotzen, but easily accessible and sing along.
"The Lamb" completes this magnus opus with a little church intro. The snare drum keeps the song rolling, moving it along at a behind-the-beat pace. The solo lifts this song to another level, as Kotzen's talents come to the forefront for a melodic, aggressive goodbye denouement.
Some discussion has been made that this disc is more reflective of a Kotzen solo release, but that's to be expected of an artist with such a defined vocal/musical delivery. From the outset, the members have extolled the notion that this band would stress SONGS over all else. And, with this release, they have held true to that mantra.
Having been a fan of these guys individually for the better part of two decades, I'm obviously a little biased, but any lover of good rock music cannot deny that this disc is superb. There's more than enough to challenge even the most cynical listener, and truth be told, they'll probably admit to humming a few of these melodies in the shower.
I, for one, am thankful the Dogs reconvened to deliver an album that should be at, or near, the top of most "Best Of" lists by year's end.
Wednesday, June 17, 2015
Alex Rech "My Way Is The Highway" EP Review
Working out of Edinburgh by way of Brazil, Driller lead guitarist/vocalist Alex Rech delivers his first solo effort, entitled "My Way Is The Highway". The six song EP boasts a variety of styles, ranging from 70's to European melodic rock. Having reviewed Driller's debut "The New Deal", I was intrigued to see what Rech would do outside the confines of the more progressive metal style of Driller.
After a starting car foretells the rollicking vibe of "Heading East", I was immediately struck by the vocal improvement. Obviously, the many live gigs Driller played had strengthened Alex's voice. Musically, I was reminded of southern-tinged 70's rock, most notably Foghat. The songwriting also showed signs of growth, as the melodies were tighter and better defined. Panning the rhythm to the left and the solo to the right added a nice, classic sparseness. The outro features the chorus fading into the sound of an old AM radio, adding some playfulness to an already playful song. In a nod to heading East to Brazil's coast, Rech succeeded in creating an energetic tune made for top-down cruising.
"Stranger" is up next, beginning with an arpeggiated, brooding intro in the vein of Pink Cream 69, before jumping into an easily recognizable Alex Rech driving riff. Again, the songwriting and vocal improvement is immediate. Much like in Driller, Rech shows an impressive ability to integrate interesting chord voicings throughout the track. The improved production qualities, courtesy of Rikki Beran and Rech himself, highlight vocals and guitar without sacrificing the bottom end. The wah-infused solo is energetic and tight. This song is single-ready for the European melodic rock scene.
Kicking off with a one minute Steve Vai-inspired soaring guitar intro over piano, "The Bridges to the Isles of the Sea" gives way to a mid-tempo sparse verse riff, again highlighting Rech's ability to incorporate flavorful chord voicings. The vocal phrasing and delivery reminds one of Phil Lynott in the early Lizzy days. The spoken section quoting Black Elk of the Oglala Lakota is presumably an homage to Vai's "Passion and Warfare" and adds a touch of levity. The solo section has the feel of rolling waves, building and falling throughout. As a reference to the Garvellachs off the Scottish coast, Bridges shows maturing songwriting, both in musicality and content.
"You Know" is an impressive ballad, much in the Richie Kotzen solo vein. An impressive vocal performance from Alex, as he shows the ability to restrain and deliver a heartfelt vocal reminiscent of a Gotthard ballad. The melodic, understated southern rock style solo is a perfect complement to the overall vibe. Another obvious single choice that, with the right push, could help break Alex into the States.
"Warriors of the Light" features a rawer vocal performance, again highlighting the Lynott influence. A solid mid-tempo rocker made for cruising. The solo section employs a panned call and response with some interesting phrases.
The acoustic "Live On", a Driller single from 2011, closes out the EP in grand fashion. Easily the best vocal, Rech somehow manages to keep the energy of the original while making it sound intimate, much the same way Harem Scarem seems so adept at. In this acoustic setting, it is clear that Alex has put considerable effort into strengthening his voice. The bridge section is wonderfully written, building to the melodic chorus. Simply a well-crafted song performed masterfully.
It was interesting to hear such different styles from Alex, sans Driller. In many ways, I think this collection is a better representation of the type of artist Rech is and wants to be. The material is more accessible, tightly structured, and shows a much matured songwriting style. Not to mention how impressively Rech's vocals have improved over the past two years. He was already an accomplished guitar player, but is also showing signs of growing into his voice. As a whole, "My Way Is The Highway" is an impressive debut, giving the listener several musical morsels to savor.
After a starting car foretells the rollicking vibe of "Heading East", I was immediately struck by the vocal improvement. Obviously, the many live gigs Driller played had strengthened Alex's voice. Musically, I was reminded of southern-tinged 70's rock, most notably Foghat. The songwriting also showed signs of growth, as the melodies were tighter and better defined. Panning the rhythm to the left and the solo to the right added a nice, classic sparseness. The outro features the chorus fading into the sound of an old AM radio, adding some playfulness to an already playful song. In a nod to heading East to Brazil's coast, Rech succeeded in creating an energetic tune made for top-down cruising.
"Stranger" is up next, beginning with an arpeggiated, brooding intro in the vein of Pink Cream 69, before jumping into an easily recognizable Alex Rech driving riff. Again, the songwriting and vocal improvement is immediate. Much like in Driller, Rech shows an impressive ability to integrate interesting chord voicings throughout the track. The improved production qualities, courtesy of Rikki Beran and Rech himself, highlight vocals and guitar without sacrificing the bottom end. The wah-infused solo is energetic and tight. This song is single-ready for the European melodic rock scene.
Kicking off with a one minute Steve Vai-inspired soaring guitar intro over piano, "The Bridges to the Isles of the Sea" gives way to a mid-tempo sparse verse riff, again highlighting Rech's ability to incorporate flavorful chord voicings. The vocal phrasing and delivery reminds one of Phil Lynott in the early Lizzy days. The spoken section quoting Black Elk of the Oglala Lakota is presumably an homage to Vai's "Passion and Warfare" and adds a touch of levity. The solo section has the feel of rolling waves, building and falling throughout. As a reference to the Garvellachs off the Scottish coast, Bridges shows maturing songwriting, both in musicality and content.
"You Know" is an impressive ballad, much in the Richie Kotzen solo vein. An impressive vocal performance from Alex, as he shows the ability to restrain and deliver a heartfelt vocal reminiscent of a Gotthard ballad. The melodic, understated southern rock style solo is a perfect complement to the overall vibe. Another obvious single choice that, with the right push, could help break Alex into the States.
"Warriors of the Light" features a rawer vocal performance, again highlighting the Lynott influence. A solid mid-tempo rocker made for cruising. The solo section employs a panned call and response with some interesting phrases.
The acoustic "Live On", a Driller single from 2011, closes out the EP in grand fashion. Easily the best vocal, Rech somehow manages to keep the energy of the original while making it sound intimate, much the same way Harem Scarem seems so adept at. In this acoustic setting, it is clear that Alex has put considerable effort into strengthening his voice. The bridge section is wonderfully written, building to the melodic chorus. Simply a well-crafted song performed masterfully.
It was interesting to hear such different styles from Alex, sans Driller. In many ways, I think this collection is a better representation of the type of artist Rech is and wants to be. The material is more accessible, tightly structured, and shows a much matured songwriting style. Not to mention how impressively Rech's vocals have improved over the past two years. He was already an accomplished guitar player, but is also showing signs of growing into his voice. As a whole, "My Way Is The Highway" is an impressive debut, giving the listener several musical morsels to savor.
Tuesday, January 13, 2015
Richie Kotzen "Cannibals" Review
This being Richie Kotzen's first solo offering since 2011's "24 Hours", I came in with high hopes. Coming off the surprisingly well-received Winery Dogs and Essential Richie Kotzen, it occurred to me that I had no idea where RK would go with this release. Throughout his career, he has rarely done the same thing twice, more often choosing to expand into other areas of his immense talent. With this release, Kotzen has turned inward, creating a wonderful tapestry of influences mixed with introspective lyrics.
The first single, "Cannibals", seems out of place when listening to the album as a whole. It is a blend of funky, dirty, racing guitar and bass riffs. There are shades of '70's R&B/funk, before the chorus jumps into a more modern snare-driven groove. The slinky bass lines in the verses are especially memorable. Lyrically, it delves into the tendencies of human nature.
"In An Instant" may well be the song Hall & Oates never wrote. In fact, Richie outdoes H&O at their own game. Driven by some of the best melodies of recent years, the chorus is a wonderful blend of voices, giving it an almost choir-like feel. Richie employs a laid-back, lower register spoken vocal that enhances the late '70's soft rock feel.
"The Enemy" is a perfect example of power by way of restraint. There's hints of latter day Toby Keith/country grooves, especially in the verse sections. Another quite introspective lyric, dealing with one's demons and recognizing the effect those demons have on one's choices.
"Shake It Off" starts with an almost Stones "Sympathy For The Devil" conga beat, before jumping into a riff reminiscent of "Fooled Again" from Richie's 2007 Go Faster disc. I also detect a heavy dose of influence of Lady Marmalade in the verse sections. The guitar is heavily distorted, with the keyboards taking a major role in the groove. The solo is classic Kotzen, sans pick, with sinewy note runs up and down the neck, which also makes a welcome return in the outro section.
Up next is the standout "Come On Free", with Kotzen's ability to write memorable hooks in full swing. The intro has more bounce than a rubber ball thrown off the Empire State Building, referencing some of the best from Michael Jackson to Justin Timberlake. The bass is the real star here, slinking and sliding throughout the entire track, before taking center stage in the outro. This song is made for dancing and grooving, offering the listener a chance to let loose. The solo is pure magic, with just the right amount of dirty crunch. Coming in late in the track is a surprising nod to hip-hop, most notably reminiscent of "Whoomp! There It Is", yet somehow it works within the confines of the track. Overall a fun, enjoyable tune that exemplifies Kotzen's ability to cross several genres simultaneously.
"I'm All In" features additional vocals by renowned King's X vocalist/bassist Doug Pinnick. The vocal similarities between the two highlight the subtle differences in their deliveries. Pinnick sounds like a vocalist having fun, while Kotzen is clearly enjoying the collaboration. Again, another excellent blend of funk, rock, and R&B that Kotzen has always shown an ability to throw in the bowl and mix into something original.
"Stand Tall" starts with some heavily processed guitar riffs, akin to some of Lenny Kravitz' biggest hits. A bouncy, mid-tempo rocker, Kotzen again employs a choir-like entourage of background vocals that gives the song more weight than the sparse instrumentation would suggest. Once again, the groove is decidedly funk & R&B, with tinges of rock interspersed, making the track sound simultaneously retro, yet modern.
"Up (You Turn Me)" is another example of how well Kotzen can move from genre to genre. There's elements of smooth pop and adult contemporary, and a dash of jazz mixed in. The groove is driven by an airy organ that allows Richie to bust out some incredible falsetto runs. Another wonderful track that defies the listener NOT to dance to it's rhythms.
The mood turns down at this point, with a very introspective cut based on an old piano piece from Kotzen's daughter, August. "You" is a brooding, almost baroque song, that highlights Kotzen's ability to hold a song on voice alone. The Theramin makes a welcome appearance, adding just the right levity to the music.
Completing the album is "Time For The Payment", which starts off with some subdued nylon string guitar plucking and emotive singing. Maybe the only song on the album that could've been on the next Winery Dogs offering. It almost has a flamenco feel, with the guitar weaving riffs throughout the melody. I would've preferred a more upbeat conclusion to the album, but the back to back ballads are polar opposites and, taken individually, show another side of Kotzen as an underappreciated artist.
Overall, this is an album that draws on many of Kotzen's influences, from rock, to R&B, to funk, to jazz, to '70's crooners. In many ways, it makes a nod to the stellar "24 Hours" and Wilson Hawk songs that stressed groove and melody. His singing has never been more emotive and varied. There's a fair amount of danceable material here, mixed with enough guitar wizardry to make all fans happy. A strong showing in the long pantheon of Richie Kotzen's discography, ahead of what is a highly anticipated follow up to The Winery Dogs debut album.
The first single, "Cannibals", seems out of place when listening to the album as a whole. It is a blend of funky, dirty, racing guitar and bass riffs. There are shades of '70's R&B/funk, before the chorus jumps into a more modern snare-driven groove. The slinky bass lines in the verses are especially memorable. Lyrically, it delves into the tendencies of human nature.
"In An Instant" may well be the song Hall & Oates never wrote. In fact, Richie outdoes H&O at their own game. Driven by some of the best melodies of recent years, the chorus is a wonderful blend of voices, giving it an almost choir-like feel. Richie employs a laid-back, lower register spoken vocal that enhances the late '70's soft rock feel.
"The Enemy" is a perfect example of power by way of restraint. There's hints of latter day Toby Keith/country grooves, especially in the verse sections. Another quite introspective lyric, dealing with one's demons and recognizing the effect those demons have on one's choices.
"Shake It Off" starts with an almost Stones "Sympathy For The Devil" conga beat, before jumping into a riff reminiscent of "Fooled Again" from Richie's 2007 Go Faster disc. I also detect a heavy dose of influence of Lady Marmalade in the verse sections. The guitar is heavily distorted, with the keyboards taking a major role in the groove. The solo is classic Kotzen, sans pick, with sinewy note runs up and down the neck, which also makes a welcome return in the outro section.
Up next is the standout "Come On Free", with Kotzen's ability to write memorable hooks in full swing. The intro has more bounce than a rubber ball thrown off the Empire State Building, referencing some of the best from Michael Jackson to Justin Timberlake. The bass is the real star here, slinking and sliding throughout the entire track, before taking center stage in the outro. This song is made for dancing and grooving, offering the listener a chance to let loose. The solo is pure magic, with just the right amount of dirty crunch. Coming in late in the track is a surprising nod to hip-hop, most notably reminiscent of "Whoomp! There It Is", yet somehow it works within the confines of the track. Overall a fun, enjoyable tune that exemplifies Kotzen's ability to cross several genres simultaneously.
"I'm All In" features additional vocals by renowned King's X vocalist/bassist Doug Pinnick. The vocal similarities between the two highlight the subtle differences in their deliveries. Pinnick sounds like a vocalist having fun, while Kotzen is clearly enjoying the collaboration. Again, another excellent blend of funk, rock, and R&B that Kotzen has always shown an ability to throw in the bowl and mix into something original.
"Stand Tall" starts with some heavily processed guitar riffs, akin to some of Lenny Kravitz' biggest hits. A bouncy, mid-tempo rocker, Kotzen again employs a choir-like entourage of background vocals that gives the song more weight than the sparse instrumentation would suggest. Once again, the groove is decidedly funk & R&B, with tinges of rock interspersed, making the track sound simultaneously retro, yet modern.
"Up (You Turn Me)" is another example of how well Kotzen can move from genre to genre. There's elements of smooth pop and adult contemporary, and a dash of jazz mixed in. The groove is driven by an airy organ that allows Richie to bust out some incredible falsetto runs. Another wonderful track that defies the listener NOT to dance to it's rhythms.
The mood turns down at this point, with a very introspective cut based on an old piano piece from Kotzen's daughter, August. "You" is a brooding, almost baroque song, that highlights Kotzen's ability to hold a song on voice alone. The Theramin makes a welcome appearance, adding just the right levity to the music.
Completing the album is "Time For The Payment", which starts off with some subdued nylon string guitar plucking and emotive singing. Maybe the only song on the album that could've been on the next Winery Dogs offering. It almost has a flamenco feel, with the guitar weaving riffs throughout the melody. I would've preferred a more upbeat conclusion to the album, but the back to back ballads are polar opposites and, taken individually, show another side of Kotzen as an underappreciated artist.
Overall, this is an album that draws on many of Kotzen's influences, from rock, to R&B, to funk, to jazz, to '70's crooners. In many ways, it makes a nod to the stellar "24 Hours" and Wilson Hawk songs that stressed groove and melody. His singing has never been more emotive and varied. There's a fair amount of danceable material here, mixed with enough guitar wizardry to make all fans happy. A strong showing in the long pantheon of Richie Kotzen's discography, ahead of what is a highly anticipated follow up to The Winery Dogs debut album.
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