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.
