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.
Friday, August 9, 2013
Wednesday, July 3, 2013
Rock Book Sneak Peek
Decided to finally put some of my musical thoughts down in book form... here's an excerpt from the initial writing. I'd be interested in what you may think: should I continue or just leave it alone.
FORWARD:
There’s been a glut of music books recently that focus on rock & heavy metal. This will obviously be one of those, but I’d like to take a slightly different angle on the subject. Admittedly, that angle will be rather personal, somewhat opinionated, but hopefully relatable. You see, the purpose of this tome will ultimately be to inspire you, the reader, to seek out a deeper meaning in a genre that is often dismissed for having no meaning. Yet, the dismissively-titled “hair metal” & metal genres are a constant staple of athletic venues, car commercials, & nostalgia that keeps many bands on the tour circuit long after their last hit record. So without further ado, here’s the rock music world according to me. It may not be all-encompassing, but it’s honest.
CHAPTER ONE: A VERY EARLY KISS-MAS
So what is YOUR earliest memory? A bedtime story? First day of school? Playing in the sandbox? I remember none of those. What I do remember is in 1976 my three-year-old self opening that vinyl record shaped present & seeing four painted devils, dancing demonstratively on a pile of rocks while Detroit presumably burned in the distance. KISS Destoyer was like my bible, and being reared in a Lutheran school, we had our share of bibles. At that age, I’ll readily admit that the look pulled me in, but the thought of these painted dudes actually playing music as some ethereal force was intoxicating.
The backstory of the characters was elaborate, yet believable. Gene, the bloody demon; Paul, the shining star; Peter, the wily feline; and my favorite, Ace, the Jendell-born axeman. I remember being at my uncle’s house sifting through his records: early Priest, imported Maiden, then seeing the cover of KISS Alive! & being enthralled by the gatefold cover and what was revealed inside. My cousin & I were the DJ’s for many of our parents “card” nights, making sure the Foghat, Ram Jam, and April Wine was always spinning. Yet, somehow, the growling strains of “Deuce” would find its way onto the turntable before the night was over.
In the interest of full disclosure, I must admit to being a KISS fan for the majority of my life, whether it was cool or not. In fact, one of the best friends I met after high school remembers me IN high school before we met… simply because I was wearing an “I went crazy with KISS” t-shirt. Sure, there’s the occasional “I’m needin’ some lovin’, I’m hot like an oven” lyrics, but there’s also the sheer brilliance of the entire Revenge album to balance it out. That being said, if there’s such a thing as meat & potatoes rock, KISS is the fat lunch lady, making you a mountain of ready-whips covered in Salisbury steak gravy.
FORWARD:
There’s been a glut of music books recently that focus on rock & heavy metal. This will obviously be one of those, but I’d like to take a slightly different angle on the subject. Admittedly, that angle will be rather personal, somewhat opinionated, but hopefully relatable. You see, the purpose of this tome will ultimately be to inspire you, the reader, to seek out a deeper meaning in a genre that is often dismissed for having no meaning. Yet, the dismissively-titled “hair metal” & metal genres are a constant staple of athletic venues, car commercials, & nostalgia that keeps many bands on the tour circuit long after their last hit record. So without further ado, here’s the rock music world according to me. It may not be all-encompassing, but it’s honest.
CHAPTER ONE: A VERY EARLY KISS-MAS
So what is YOUR earliest memory? A bedtime story? First day of school? Playing in the sandbox? I remember none of those. What I do remember is in 1976 my three-year-old self opening that vinyl record shaped present & seeing four painted devils, dancing demonstratively on a pile of rocks while Detroit presumably burned in the distance. KISS Destoyer was like my bible, and being reared in a Lutheran school, we had our share of bibles. At that age, I’ll readily admit that the look pulled me in, but the thought of these painted dudes actually playing music as some ethereal force was intoxicating.
The backstory of the characters was elaborate, yet believable. Gene, the bloody demon; Paul, the shining star; Peter, the wily feline; and my favorite, Ace, the Jendell-born axeman. I remember being at my uncle’s house sifting through his records: early Priest, imported Maiden, then seeing the cover of KISS Alive! & being enthralled by the gatefold cover and what was revealed inside. My cousin & I were the DJ’s for many of our parents “card” nights, making sure the Foghat, Ram Jam, and April Wine was always spinning. Yet, somehow, the growling strains of “Deuce” would find its way onto the turntable before the night was over.
In the interest of full disclosure, I must admit to being a KISS fan for the majority of my life, whether it was cool or not. In fact, one of the best friends I met after high school remembers me IN high school before we met… simply because I was wearing an “I went crazy with KISS” t-shirt. Sure, there’s the occasional “I’m needin’ some lovin’, I’m hot like an oven” lyrics, but there’s also the sheer brilliance of the entire Revenge album to balance it out. That being said, if there’s such a thing as meat & potatoes rock, KISS is the fat lunch lady, making you a mountain of ready-whips covered in Salisbury steak gravy.
Wednesday, April 24, 2013
Thursday, March 14, 2013
Got a Whitesnake bug tonight... and not the 1987-era. Going back to the late '70's/early'80's stuff. The triumvant of Ready An' Willing, Come An' Get It, & Saints & Sinners is impressive. The lineup is just amazing:
David Coverdale - Vocals
Bernie Marsden - Guitar
Mickie Moody - Guitar
Neil Murray - Bass
Ian Paice - Drums
Jon Lord - Keys
And to think on the next album, they added John Sykes & Cozy Powell... that's some serious family tree there.
David Coverdale - Vocals
Bernie Marsden - Guitar
Mickie Moody - Guitar
Neil Murray - Bass
Ian Paice - Drums
Jon Lord - Keys
And to think on the next album, they added John Sykes & Cozy Powell... that's some serious family tree there.
Wednesday, March 13, 2013
Thursday, March 7, 2013
W.E.T. "Rise Up" Review
Has it really been 4 years since the debut recording of W.E.T.? It's a rare feat that a first album can stay that fresh, regardless of genre. So to see the band reunite for a sophomore effort makes one excited and anxious. Well, anxiety be damned, because this group of gentlemen aren't the best of the best for no reason. Jeff, Erik, Robert, et al deliver nothing but what you would expect from their collective union: soaring vocals, powerful hooks, driving rhythms, and some of the best songwriting on the globe.
So without further ado, let's dive in to the lead track "Walk Away", which starts off the way any album should: energy, fire, and a pronouncement of what is coming for the next 60 or so minutes. A massive driving beat brings an urgency to the verse section, transitioning to a Journey-esque chorus. JSS is in his best AOR throat, pushing the upper limits of his versatile range. One thing I really like about Erik Martensson's songwriting is the tightness, keeping the listener wanting more.
Track two & lead single, "Learn To Love Again" is reminiscent of "One Love" from the debut. The difference is Erik & Jeff trade off vocals in the verse, providing a wonderful contrast of melodic styles. This track also features some driving guitar riffs. I defy anyone to not hum this melody after first listen. A nice one-two punch to open the disc.
Up next is the album's namesake "Rise Up". I'll be honest here, I was into this tune up until the chorus which just didn't grab me like the two previous tracks. Now don't get me wrong, it's a good song, but maybe could've been dropped lower in the order. Again, not a lot of wasted energy here: concise, galloping melodic rock.
Ballad #1 & second single: "Love Heals" at first listen sounds like another cookie-cutter of the genre. I just can't help getting lost in JSS at the top of his range, pushing for every ounce of emotion written on the page. The emoting continues through the solo & into the wonderful, arm-raising, "Whoa-oh" sing-along immediately following. If I need to sum up this song in one word, it would be "soaring".
"What You Want"... well, more of this wouldn't suck. A haunting single guitar riff starts everything off, before moving into a driving mid-tempo verse featuring some beautiful band vocals. The chorus is pure melodic rock heaven, huge and flowing. It really almost grabs you into the rest of the song. Another example of this group of players coming together to form a BAND, not just a gimmick.
We've come to "The Moment", which almost sounds like something Khymera would write. I would imagine JSS had a big hand in this song considering the driving beat & Journey undertones. While it's nothing special, there's something about this song that I just can't deny. Maybe it's the sun-roof-open, cranking-on-a-summer-day feel. Whatever it is, it's just a perfect place for an upbeat rocker.
"Bad Boy", the purported album opener... there seems to be some backlash on this song, though I don't see why. It's a great, upbeat rock song, almost in the spirit of Sammy Hagar melded with Rick Springfield, if that makes any sense whatsoever. Bottom line, it's FUN & fun is fun. Well... this is fun.
Track #8, "On The Run", hits the ears & hits it like a hammer. There's a little Talisman feel to the intro, proving once again these guys are taking the best of each & creating something special. Driving, driving groove in the verses gives way to a chorus more in line with their debut: laid back, melodic, multi-layered.
"Broken Wings" starts with a flurry of instruments creating a lush waterfall for a Mr Big "Take Cover"-like verse riff. The chorus is pure, unadulterated full & huge. I could see this song ending the album as it really brings a calm to the listener. Stick around for the outro guitar... stunning.
Now we come to what, for me at least, is the shining jewel of the disc, "Shot". There are so many elements of the respective bands involved, I simply cannot decide what part of this song is the best: verse, bridge, chorus. Some see this as a throwaway, but there's more there than meets the ear, shall we say. Dark, tension, driving beat, the genius of one Jeff Scott Soto... "You've gone and broke another promise, you think I should've known the truth from the start". There's so much emotion in the vocal and urgency in the music, I find myself coming back to this song the most.
Ballad #2, "Still Believe In Us". Here's a challenge: find another rock ballad written, performed, and emoted this well. What an incredible chorus. JSS at his underrated finest. You would never know these guys were thrown together and haven't been a band for a decade. Simply beautiful from note one to note one-hundred.
We've come to the closer, "Still Unbroken" and while it seems the ride hasn't been long enough, everything good must end. And end in sparkling fashion it does. Just another example of the many talents of Erik Martensson. This doesn't have the soaring chorus of previous album closer "If I Fall", but more the power of Soto's latest solo finisher "Afraid To Die". Metal muscle delivered by all involved: galloping groove, massive solo, and towards the end, JSS throws a little gravel on the voice for the final lines. A fitting end to a more than capable sophomore disc.
Whew! I'm spent... Obviously, the first disc, written mainly by Martensson, was a massive hit worldwide and re-energized the genre, but this is a wonderful follow-up, chock full of everything you would expect from the boys. I've always loved JSS versatility vocally and I think he's brought some nice elements into the songwriting. Erik Martensson is without a doubt at the forefront of the melodic rock genre & can seemingly do no wrong, as evidenced by Eclipse's new disc "Bleed & Scream".
Bottom line here, if you don't come away whistling these songs you may need to check your heartbeat. This isn't throwaway, formulaic crap... this is talent writ large on all fronts. Stellar production, concise songwriting, epic performances.
So without further ado, let's dive in to the lead track "Walk Away", which starts off the way any album should: energy, fire, and a pronouncement of what is coming for the next 60 or so minutes. A massive driving beat brings an urgency to the verse section, transitioning to a Journey-esque chorus. JSS is in his best AOR throat, pushing the upper limits of his versatile range. One thing I really like about Erik Martensson's songwriting is the tightness, keeping the listener wanting more.
Track two & lead single, "Learn To Love Again" is reminiscent of "One Love" from the debut. The difference is Erik & Jeff trade off vocals in the verse, providing a wonderful contrast of melodic styles. This track also features some driving guitar riffs. I defy anyone to not hum this melody after first listen. A nice one-two punch to open the disc.
Up next is the album's namesake "Rise Up". I'll be honest here, I was into this tune up until the chorus which just didn't grab me like the two previous tracks. Now don't get me wrong, it's a good song, but maybe could've been dropped lower in the order. Again, not a lot of wasted energy here: concise, galloping melodic rock.
Ballad #1 & second single: "Love Heals" at first listen sounds like another cookie-cutter of the genre. I just can't help getting lost in JSS at the top of his range, pushing for every ounce of emotion written on the page. The emoting continues through the solo & into the wonderful, arm-raising, "Whoa-oh" sing-along immediately following. If I need to sum up this song in one word, it would be "soaring".
"What You Want"... well, more of this wouldn't suck. A haunting single guitar riff starts everything off, before moving into a driving mid-tempo verse featuring some beautiful band vocals. The chorus is pure melodic rock heaven, huge and flowing. It really almost grabs you into the rest of the song. Another example of this group of players coming together to form a BAND, not just a gimmick.
We've come to "The Moment", which almost sounds like something Khymera would write. I would imagine JSS had a big hand in this song considering the driving beat & Journey undertones. While it's nothing special, there's something about this song that I just can't deny. Maybe it's the sun-roof-open, cranking-on-a-summer-day feel. Whatever it is, it's just a perfect place for an upbeat rocker.
"Bad Boy", the purported album opener... there seems to be some backlash on this song, though I don't see why. It's a great, upbeat rock song, almost in the spirit of Sammy Hagar melded with Rick Springfield, if that makes any sense whatsoever. Bottom line, it's FUN & fun is fun. Well... this is fun.
Track #8, "On The Run", hits the ears & hits it like a hammer. There's a little Talisman feel to the intro, proving once again these guys are taking the best of each & creating something special. Driving, driving groove in the verses gives way to a chorus more in line with their debut: laid back, melodic, multi-layered.
"Broken Wings" starts with a flurry of instruments creating a lush waterfall for a Mr Big "Take Cover"-like verse riff. The chorus is pure, unadulterated full & huge. I could see this song ending the album as it really brings a calm to the listener. Stick around for the outro guitar... stunning.
Now we come to what, for me at least, is the shining jewel of the disc, "Shot". There are so many elements of the respective bands involved, I simply cannot decide what part of this song is the best: verse, bridge, chorus. Some see this as a throwaway, but there's more there than meets the ear, shall we say. Dark, tension, driving beat, the genius of one Jeff Scott Soto... "You've gone and broke another promise, you think I should've known the truth from the start". There's so much emotion in the vocal and urgency in the music, I find myself coming back to this song the most.
Ballad #2, "Still Believe In Us". Here's a challenge: find another rock ballad written, performed, and emoted this well. What an incredible chorus. JSS at his underrated finest. You would never know these guys were thrown together and haven't been a band for a decade. Simply beautiful from note one to note one-hundred.
We've come to the closer, "Still Unbroken" and while it seems the ride hasn't been long enough, everything good must end. And end in sparkling fashion it does. Just another example of the many talents of Erik Martensson. This doesn't have the soaring chorus of previous album closer "If I Fall", but more the power of Soto's latest solo finisher "Afraid To Die". Metal muscle delivered by all involved: galloping groove, massive solo, and towards the end, JSS throws a little gravel on the voice for the final lines. A fitting end to a more than capable sophomore disc.
Whew! I'm spent... Obviously, the first disc, written mainly by Martensson, was a massive hit worldwide and re-energized the genre, but this is a wonderful follow-up, chock full of everything you would expect from the boys. I've always loved JSS versatility vocally and I think he's brought some nice elements into the songwriting. Erik Martensson is without a doubt at the forefront of the melodic rock genre & can seemingly do no wrong, as evidenced by Eclipse's new disc "Bleed & Scream".
Bottom line here, if you don't come away whistling these songs you may need to check your heartbeat. This isn't throwaway, formulaic crap... this is talent writ large on all fronts. Stellar production, concise songwriting, epic performances.
Monday, February 11, 2013
The rebuilding of my golf arsenal is complete. It took a fraction of the dollars it could have thanks to sites like Hurricane Golf:
Driver: Nike SQ Machspeed 10.5 Str8-fit
Fairway woods: Callaway Octane Diablo 3 & 5
Irons: Nike SQ Machspeed 4-AW
Putter: Ping Scottsdale Wolverine
Now if this damn snow would just go away...
Driver: Nike SQ Machspeed 10.5 Str8-fit
Fairway woods: Callaway Octane Diablo 3 & 5
Irons: Nike SQ Machspeed 4-AW
Putter: Ping Scottsdale Wolverine
Now if this damn snow would just go away...
Michael Bourn gets 4/$48... goodness, the going rate for light-hitting, fast CF is a tad overpriced & overyeared. Speed guy on the wrong side of 30? No thanks.
I'll take Carlos Gomez every day & twice on bobblehead Sundays.
I'll take Carlos Gomez every day & twice on bobblehead Sundays.
Sunday, February 3, 2013
Saturday, February 2, 2013
I love KISS... but, it's changed
I've spent most of my life defending KISS. In fact, I remember one of my best friends commenting a few years ago "Slick, I remember seeing you in the library wearing an "I went crazy with KISS" shirt & thinking 'Damn, I respect that dude for wearing that'" That incident happened in 1988 at the height of the "KISS is a bunch of hack followers" time. Long-winded story short, I think my fandom has now changed to loving the image more than the band. At least, the last 15 years of the band, that is.
The douche-ness of Paul & Gene is well documented. The ridiculousness of new players impersonating Ace & Peter is also. And while I love many moments from '82 on, my KISS fandom is really embedded in the original 5 years, '74-'79. The rawness & sense of danger inherent in those first few years is clearly superior to the formulaic decades to follow.
Obviously, I can't be a true fan without showing proper respect to the latter years. The entire Creatures Of The Night disc is monstrous. Highlights from future albums include "A Million To One" & "Not For The Innocent" from Lick It Up. Gene was in full bitch-mode on that album, as evidenced on "Young & Wasted".
Animalize was a mostly Paul vision as Gene was emersed in Hollywood. Still, there were some choice tracks: "I've Had Enough(Into The Fire)" slammed, and "Thrills In The Night" may be the shining moment of any 80's KISS song selection.
Asylum saw the band veer off into a more melodic area. Highlights included "Who Wants To Be Lonely" & "Tears Are Falling", simple yet so effective.
Last from the non-makeup 80's is Hot In The Shade. Certainly, it was a major stepping stone to the brilliant Revenge. Paul & Gene chose to produce it themselves, most likely to save dollars. However, there were several strong moments in a 15 song disc that would've been just as tight at 11 or 12. The single shining moment would have to be "Forever". It's acoustic/electric intermingling is damn near genius & emphasizes how KISS does not get nearly the credit they should as musicians.
The douche-ness of Paul & Gene is well documented. The ridiculousness of new players impersonating Ace & Peter is also. And while I love many moments from '82 on, my KISS fandom is really embedded in the original 5 years, '74-'79. The rawness & sense of danger inherent in those first few years is clearly superior to the formulaic decades to follow.
Obviously, I can't be a true fan without showing proper respect to the latter years. The entire Creatures Of The Night disc is monstrous. Highlights from future albums include "A Million To One" & "Not For The Innocent" from Lick It Up. Gene was in full bitch-mode on that album, as evidenced on "Young & Wasted".
Animalize was a mostly Paul vision as Gene was emersed in Hollywood. Still, there were some choice tracks: "I've Had Enough(Into The Fire)" slammed, and "Thrills In The Night" may be the shining moment of any 80's KISS song selection.
Asylum saw the band veer off into a more melodic area. Highlights included "Who Wants To Be Lonely" & "Tears Are Falling", simple yet so effective.
Last from the non-makeup 80's is Hot In The Shade. Certainly, it was a major stepping stone to the brilliant Revenge. Paul & Gene chose to produce it themselves, most likely to save dollars. However, there were several strong moments in a 15 song disc that would've been just as tight at 11 or 12. The single shining moment would have to be "Forever". It's acoustic/electric intermingling is damn near genius & emphasizes how KISS does not get nearly the credit they should as musicians.
Friday, January 25, 2013
Thursday, January 24, 2013
The answer, Mrs. Clinton, is it makes ALL the difference... 4 Americans were killed, the administration claimed it was due to a YouTube video & arrested the filmmaker, then for two weeks this line was thrown around before being changed, then ignored. Help asked for, none given, none even remotely offered.
The absence of answers should be damning for a president who promised to be "the most transparent" ever... that is, unless, the media is simply a shill for the con man aimlessly shuffling the shells around on the street corner.
The absence of answers should be damning for a president who promised to be "the most transparent" ever... that is, unless, the media is simply a shill for the con man aimlessly shuffling the shells around on the street corner.
The Bucks go without an All-Star representative again, though Brandon Jennings was certainly deserving. To add to the lack of Bucks knowledge, or awareness even, Larry Sanders is receiving ZERO consideration for Most Improved. I am by no means a basketball aficianado, but I can tell when a dude elevates his game. Side by side, there is no one in the NBA affecting games with a newfound talent level than the long arm of Larry.
The non-partisan Legislative Fiscal Bureau released estimates today that [show] that our surplus is up to $419.7 million.--Governor Walker
I fail to see how anyone could argue with a $3B deficit being turned into almost a half-billion surplus... but then again, I must hate kids since it's all about them, right? We should ALL thank our lucky stars there is strong leadership in WI, as the states surrounding us are floundering in fiscal irresponsibility.
I always hear about everyone paying "their fair share"... well, that's what is happening. No longer can the cadillac benefits be strapped solely to the backs of the taxpayer. If I have to save for all my retirement AND part of yours, you can shoulder some of the burden too.
EDIT: Ann can be pretty funny
I fail to see how anyone could argue with a $3B deficit being turned into almost a half-billion surplus... but then again, I must hate kids since it's all about them, right? We should ALL thank our lucky stars there is strong leadership in WI, as the states surrounding us are floundering in fiscal irresponsibility.
I always hear about everyone paying "their fair share"... well, that's what is happening. No longer can the cadillac benefits be strapped solely to the backs of the taxpayer. If I have to save for all my retirement AND part of yours, you can shoulder some of the burden too.
EDIT: Ann can be pretty funny
Wow. Just Wow. I don't get how these people can be the voice of information read by millions when they clearly are disconnected from right & wrong. This fool should be, at the very least, suspended.
Honestly, fella, a couple degrees above zero when you can comfortably stay inside your four walls isn't a tragedy of historical proportions... it's a couple days of sub-freezing temps. That's all. Assbag.
Honestly, fella, a couple degrees above zero when you can comfortably stay inside your four walls isn't a tragedy of historical proportions... it's a couple days of sub-freezing temps. That's all. Assbag.
Saturday, January 19, 2013
Friday, January 18, 2013
No reason for posting this other than I think it's criminal that Jeff Scott Soto is not a bonafide star... absolutely insane versatile voice.
Thursday, January 17, 2013
If you have not heard Heart's rendition of Stairway To Heaven from the Kennedy Center Honors, run, do not walk, to iTunes & grab the full version. (Here's a link to the shorter version from the broadcast, which, while good, does not do the entire performance justice)
Now anyone who follows Heart knows that the ladies worship at the altar of Zep, from their beautiful acoustics to chugging riffs. Just listening to "Barracuda" & "Mistral Wind" back to back will essentially tell you everything you need to know about this talented sisterhood: Epic, intense, driven.
This tribute is one of those rare performances that somehow transcends mere music. There is an ethereal presence at play here, whether it be the gospel choir, Jason Bonham sitting in his father's chair, and the otherworldly vocals of Ann Wilson. In a time when Jon Bon Jovi has gone country, Eddie Money is doing commercials, & most other bands are tuning down to play their hits, Ann's voice seems to be getting stronger & more vibrant.
I would be remiss if I did not mention the lush acoustic talents of Nancy Wilson. If you listen closely, there are subtle additions, yet you never get the feeling that the song has gone off course from the original. Once the electric comes in, the fullness of the mix is brought to the forefront. None of the individual pieces intrudes on each other. They are separate, yet melded together, foreshadowing the power yet to come.
I thought the solo was an impressive amalgimation of one of the most recognizable guitar vocals in recorded history. It had just the right amount of familiarity & homage that it did not distract from the entirety of the song.
Where this recording truly hits the stratosphere is after the solo, when Ann winds on down the road. The sheer FORCE of this woman's voice is unmatched by anyone making music on this planet. I did enjoy the addition of the gospel choir, which added a certain immediacy to the crescendo. The true star of this single, however, is and will always be Ann's delicate handling of an iconic vocal delivery. Notice the ability to deliver lines like " There walks a LADY we all know" with every bit of power as Robert Plant ever did.
Then there is the defining moment, for me, when the goosebumps literally jump out of my skin & I feel a little closer to forces I cannot verbalize... "To be a rock and not to roll". Ann Wilson holds that last note a FULL 8 SECONDS, wringing every last emotion left in this performance. The penultimate tribute to a band that should top all lists, given by a pair of sisters that really don't get their due for changing the musical landscape in their own right.
My only summation is that I lived long enough to enjoy the Wilson sisters paying homage to their own heroes. I would like to thank them for allowing me to come along on this journey. You didn't need the R&RHOF to validate your impact and this performance proves that.
Clearly the performance of the year in any category, any day, any time, and twice on Sunday.
Now anyone who follows Heart knows that the ladies worship at the altar of Zep, from their beautiful acoustics to chugging riffs. Just listening to "Barracuda" & "Mistral Wind" back to back will essentially tell you everything you need to know about this talented sisterhood: Epic, intense, driven.
This tribute is one of those rare performances that somehow transcends mere music. There is an ethereal presence at play here, whether it be the gospel choir, Jason Bonham sitting in his father's chair, and the otherworldly vocals of Ann Wilson. In a time when Jon Bon Jovi has gone country, Eddie Money is doing commercials, & most other bands are tuning down to play their hits, Ann's voice seems to be getting stronger & more vibrant.
I would be remiss if I did not mention the lush acoustic talents of Nancy Wilson. If you listen closely, there are subtle additions, yet you never get the feeling that the song has gone off course from the original. Once the electric comes in, the fullness of the mix is brought to the forefront. None of the individual pieces intrudes on each other. They are separate, yet melded together, foreshadowing the power yet to come.
I thought the solo was an impressive amalgimation of one of the most recognizable guitar vocals in recorded history. It had just the right amount of familiarity & homage that it did not distract from the entirety of the song.
Where this recording truly hits the stratosphere is after the solo, when Ann winds on down the road. The sheer FORCE of this woman's voice is unmatched by anyone making music on this planet. I did enjoy the addition of the gospel choir, which added a certain immediacy to the crescendo. The true star of this single, however, is and will always be Ann's delicate handling of an iconic vocal delivery. Notice the ability to deliver lines like " There walks a LADY we all know" with every bit of power as Robert Plant ever did.
Then there is the defining moment, for me, when the goosebumps literally jump out of my skin & I feel a little closer to forces I cannot verbalize... "To be a rock and not to roll". Ann Wilson holds that last note a FULL 8 SECONDS, wringing every last emotion left in this performance. The penultimate tribute to a band that should top all lists, given by a pair of sisters that really don't get their due for changing the musical landscape in their own right.
My only summation is that I lived long enough to enjoy the Wilson sisters paying homage to their own heroes. I would like to thank them for allowing me to come along on this journey. You didn't need the R&RHOF to validate your impact and this performance proves that.
Clearly the performance of the year in any category, any day, any time, and twice on Sunday.
Thursday, December 20, 2012
Wow, Suzy Favor Hamilton... so I get the "favor" part now, but the real question is "Who was the fastest out of the blocks?"
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