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.
