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.
Sunday, December 22, 2013
Dream Theater 4/6
My brother bought us tix for Dream Theater at the Riverside in Milwaukee on 4/6. Strangely, DT isn't really his kind of music, but after seeing the Winery Dogs & their talent, he figures DT is gonna be equally impressive.
I love his thought process. And, no, he won't be disappointed.
I love his thought process. And, no, he won't be disappointed.
Saturday, October 19, 2013
The Winery Dogs at Northern Lights Theater in Milwaukee, WI 10/17/13
Thursday saw The Winery Dogs take over the Northern Lights Casino on their Midwest tour swing and from the reaction during the show, no one left feeling disappointed. Talking to a few attendees made it clear that the band members were pulling in fans of their respective pasts to see what this present endeavor had to offer.
The history of the band dates back to the pairing of Mike Portnoy (Dream Theater) & Billy Sheehan (Talas, DLR, Mr. Big) and their search for a singer/guitar player. On the recommendation of legendary radio host Eddie Trunk, the rhythm section was hooked up with Richie Kotzen, whom Sheehan had previously been in Mr. Big with. Kotzen is maybe best known for the song "Stand" on Poison's Native Tongue album, though he has been highly active for many years as a solo artist.
The album was released in mid-summer and has seen the band travel the globe in support, which brings us to this fall night in southern Wisconsin. The band kicked off with album opener & first single "Elevate". It was clear from the first verse that Kotzen would be in fine voice this night. Sheehan & Kotzen were spot on during the dual-tapped main riff.
Portnoy provided much energy from behind the kit, pointing out fans in the crowd & banging on imaginary drums not present in his stripped-down, non-prog drum setup. I've seen Portnoy get some heat for "scaling down" & not doing prog anymore, but I will say this: he had perma-grin all night. He is clearly enjoying the music & energy this band brings. No one in rock can pull that much double bass from a single bass drum.
Sheehan was, well, Sheehan, with a little more attitude than I remember. He made his bass growl all night long, providing a lot of freedom for Kotzen to create on the fly. "Time Machine", with it's grunge leaning opening riff allowed Sheehan to really dig into the fretboard & build a nasty bottom end. I will never cease to be amazed by Billy's gymnastics & unorthodox style, that allows for such creativity while still holding the song together. His bass solo, which had the room standing in anticipation, segued nicely into the Portnoy-penned "You Saved Me", built around an absolutely beautiful cross-handed bass line.
Richie Kotzen. Richie Kotzen, in all honesty, should own the musical world. His natural ability to play, sing, & emote is criminally underrated. For a man known for shredding in the late '80's, he's a hell of an impressive vocalist; equal parts Hagar, Prince, a little Cornell, some Coverdale, a hint of Daryl Hall... there's a little something there for everyone. What isn't debatable is this is one talented musician who may have found a vehicle to launch him in the US, albeit a little late.
There were several highlights throughout, including some excellent prog-influenced Sheehan/Kotzen tapping on "Not Hopeless". Gritty non-US bonus track "Criminal" could easily be given to rock radio right now. Ethereal ballad "The Dying", with it's haunting chorus, really allowed the band to show their ability to transition styles.
Personally, the highlight of the show was Kotzen's solo spot. Pulling out an acoustic guitar, Kotzen eschewed "Stand" from earlier shows & inserted the seminal "Doin' What The Devil Says To Do" from Into The Black. That let into the angry "You Can't Save Me" from the same album & the upbeat Mr. Big song "Shine".
The encore consisted of Elvin Bishop's "Fooled Around And Fell In Love". A strange cover, but somehow it seemed to fit in the show. Set closer "Desire" allowed for a fun breakdown and a nice closing.
Overall, the crowd was very engaged, cheering the efforts of three phenomenal musicians blending their talents into a cohesive, song-oriented excursion. I must give kudos to Northern Lights for their sound mix. Excellent clarity & power, allowing all the band members to shine through.
The Winery Dogs offer up something not around much currently: great musicianship & professionalism, melded with solid songwriting, married to just the right amount of fun. This band could really become a force in rock music given the chance and from the power & energy of this show, I don't see how they won't be.
The history of the band dates back to the pairing of Mike Portnoy (Dream Theater) & Billy Sheehan (Talas, DLR, Mr. Big) and their search for a singer/guitar player. On the recommendation of legendary radio host Eddie Trunk, the rhythm section was hooked up with Richie Kotzen, whom Sheehan had previously been in Mr. Big with. Kotzen is maybe best known for the song "Stand" on Poison's Native Tongue album, though he has been highly active for many years as a solo artist.
The album was released in mid-summer and has seen the band travel the globe in support, which brings us to this fall night in southern Wisconsin. The band kicked off with album opener & first single "Elevate". It was clear from the first verse that Kotzen would be in fine voice this night. Sheehan & Kotzen were spot on during the dual-tapped main riff.
Portnoy provided much energy from behind the kit, pointing out fans in the crowd & banging on imaginary drums not present in his stripped-down, non-prog drum setup. I've seen Portnoy get some heat for "scaling down" & not doing prog anymore, but I will say this: he had perma-grin all night. He is clearly enjoying the music & energy this band brings. No one in rock can pull that much double bass from a single bass drum.
Sheehan was, well, Sheehan, with a little more attitude than I remember. He made his bass growl all night long, providing a lot of freedom for Kotzen to create on the fly. "Time Machine", with it's grunge leaning opening riff allowed Sheehan to really dig into the fretboard & build a nasty bottom end. I will never cease to be amazed by Billy's gymnastics & unorthodox style, that allows for such creativity while still holding the song together. His bass solo, which had the room standing in anticipation, segued nicely into the Portnoy-penned "You Saved Me", built around an absolutely beautiful cross-handed bass line.
Richie Kotzen. Richie Kotzen, in all honesty, should own the musical world. His natural ability to play, sing, & emote is criminally underrated. For a man known for shredding in the late '80's, he's a hell of an impressive vocalist; equal parts Hagar, Prince, a little Cornell, some Coverdale, a hint of Daryl Hall... there's a little something there for everyone. What isn't debatable is this is one talented musician who may have found a vehicle to launch him in the US, albeit a little late.
There were several highlights throughout, including some excellent prog-influenced Sheehan/Kotzen tapping on "Not Hopeless". Gritty non-US bonus track "Criminal" could easily be given to rock radio right now. Ethereal ballad "The Dying", with it's haunting chorus, really allowed the band to show their ability to transition styles.
Personally, the highlight of the show was Kotzen's solo spot. Pulling out an acoustic guitar, Kotzen eschewed "Stand" from earlier shows & inserted the seminal "Doin' What The Devil Says To Do" from Into The Black. That let into the angry "You Can't Save Me" from the same album & the upbeat Mr. Big song "Shine".
The encore consisted of Elvin Bishop's "Fooled Around And Fell In Love". A strange cover, but somehow it seemed to fit in the show. Set closer "Desire" allowed for a fun breakdown and a nice closing.
Overall, the crowd was very engaged, cheering the efforts of three phenomenal musicians blending their talents into a cohesive, song-oriented excursion. I must give kudos to Northern Lights for their sound mix. Excellent clarity & power, allowing all the band members to shine through.
The Winery Dogs offer up something not around much currently: great musicianship & professionalism, melded with solid songwriting, married to just the right amount of fun. This band could really become a force in rock music given the chance and from the power & energy of this show, I don't see how they won't be.
Thursday, October 3, 2013
Friday, September 13, 2013
Good gracious, this is a phenomenal performance by Richie Kotzen
I'm so happy the Winery Dogs is taking off & more people are becoming aware of RK.
I'm so happy the Winery Dogs is taking off & more people are becoming aware of RK.
Thursday, September 12, 2013
Watching the BMW on Golf Channel... has there ever been another golfer more disparaged than Tiger Woods for shooting a 5-under 66 because they missed a few other putts?
Feel how you want about the man's attitude, adultery, or whatever. He's THE best golfer to ever grace the Earth... and he's black in a traditionally white man's game. If I could have the ability in his pinky finger in my whole body for a day, I'd feel like a sports god.
Love him or hate him, history is exciting.
Feel how you want about the man's attitude, adultery, or whatever. He's THE best golfer to ever grace the Earth... and he's black in a traditionally white man's game. If I could have the ability in his pinky finger in my whole body for a day, I'd feel like a sports god.
Love him or hate him, history is exciting.
Took the day off tomorrow:
The wife wants to play some golf in the morning
I offered to accompany her to the Birds In Art exhibit at the Leigh Yawkey Woodson Art Museum (she's an accomplished & published birder, btw)
Then I thought we'd dine at our favorite restaurant
All in all, I would say a wonderfully full day of wedded bliss.
The wife wants to play some golf in the morning
I offered to accompany her to the Birds In Art exhibit at the Leigh Yawkey Woodson Art Museum (she's an accomplished & published birder, btw)
Then I thought we'd dine at our favorite restaurant
All in all, I would say a wonderfully full day of wedded bliss.
Turned on Palladium earlier & ran across REO Speedwagon live from 2010. Fortuitously, I landed on a performance of "Golden Country", which for my money is the best and most epic of the REO catalogue. Just a wonderful amalgamation of keyboard subtlety & grandiose guitar.
Driller: The Final Deal review
One day earlier this week I opened my email & found a message from a band named Driller asking if I would review their just released full length disc, The Final Deal. Formed in 2009 by Brazilian brothers Alex & KK Rech, they hail from Edinburgh in the UK and evidently became familiar with me from a previous review. Being passionate about music (and obviously flattered that my opinion was sought, much less merited), I said sure, I'd be honored.
I clicked on the link for the lead single "Heaven's Far" and was immediately struck by the European metal influence, particularly Edguy. Then the main riff shifted and it almost took on the feel of an old school Savatage tune, with a synchopated, yet fluid riff. Overall, the song is well-crafted and features several interesting time changes & solo spots. As the lead single, the details were clearly poured over: the verses are tight, the bridge is excellent, and the chorus is highly melodic. The solo in particular features some impressive fretboard gymnastics without sounding like notes for notes' sake. An impressive introduction from an independent band.
"Mad Science" features one of the best chorus melodies on the record. I really enjoy how this song FLOWS... the galloping riffs meld with the vocals very well, creating some nice tension/release moments. And by song #2, I can tell KK is as big a fan of double bass as I am, using it to great effect throughout.
Title track "The Final Deal" may as well be a leftover Savatage riff from the Mountain King era: beautiful tone, with some embellished hammer-ons thrown in. One thing is clear already: Alex is a budding riffologist. This tune features some nice back & forth vocals in the verse section. Yet another melodic chorus that keeps the listener's attention.
"Wild Dream"... the riff John Sykes forgot to write for Whitesnake. The opening of this song is pure attitude and adrenaline. Throw in a couple pinch harmonics & you've got a metal tune. Good energy fueled by the driving double bass in the chorus. The middle section breakdown is an excellent departure, bringing the energy down until it explodes again into yet another tasteful, melodic solo.
Next up is "Holding On", opening with an extended amalgamation of riffs before settling into a mid-tempo slice of pure 80's brilliance. The chugging riff allows the vocals to take center stage and drive the song. The solo features some impressive Megadeth-infused phrases & note choices. A good example of the recent European melodic rock sensibilities of the last 5-10 years.
"No Tomorrow" has a Pretty Maids feel to it, starting out with a heavy riff and ending up with a beautifully crafted bridge before ripping back into an aggressive chorus. The band throws in some more call & response vocals, which I always enjoy for the tension it creates. This tune, in particular, seems to have been crafted for that purpose: create tension, then release it.
At this point I would be remiss if I didn't mention the musicianship of this band. Alex seems to be able to morph into whoever he wants. At times I hear Nuno, then I'll get some Harem Scarem, string-skipping like Paul Gilbert, squeals that would make Zakk proud. He clearly has an impressive understanding of his instrument. KK is an absolute beast. He never seems to overplay or add fills where they don't need to be. He consistently delivers a driving bottom end that seems to give the songs some pace & life.
Anyway, back to the reason we're all here. "Raise The Cape" is reminiscent of driving, slithery tunes from the likes of Kingdom Come or Pink Cream 69. This song is more guitar-driven than some others on the disc and features a beautiful string-skipping extravaganza in the solo.
When this song first started I sat straight up in the chair and was literally speechless. A song about one of my favorite childhood racers, Ayrton Senna?! A second later I realized the obvious Brazilian connection, but from there I was intrigued. "The Magic Runner" features my favorite opening riff on the album. It almost sounds majestic in delivery. "His head colours remind us where he's from"... If you're not familiar, Senna wore the Brazilian colors on his helmet and it became his calling card, of sorts. Uptempo and driving tune, with a wonderfully crafted bridge section that bounces into another well-crafted chorus. I absolutely love the solo in this song as it seems to "become" the speed and turns of a racetrack. There's some early-era Extreme to the guitar sound that makes this song sound more raw than some of the others. The song ends with Senna's in-car during his victory in the 1991 Brazilian Grand Prix.
"City Of Lights" is another Maiden-influenced tune. By that, I mean not Maiden-sounding, but the attitude, the melody, the chugging feel. This song grew on me a lot through each listen. There's an epic feel to the song structure and the melodies are more intricate, but they're there in spades. The solo is pure brilliance from a metal guitar perspective. Alex just keeps delivering time after time.
The only ballad, "Coming Home", starts off with some beautifully crafted piano, before moving into an uplifting guitar melody. I haven't mentioned him yet, but bassist Thomas Silk really shines on this track. His bass lines are a beautiful counterpoint to the laid back guitar chords, creating depth throughout the track. I love the simplicity of the solo here, as it really pulls the melody from all facets of the song. The best compliment I can give this song is it's a ballad that doesn't sound cheesy. There's some definite substance here, especially the melody change after the solo.
"You And My Way", while it has an impressive opening riff, is probably the weakest song on the album. There's promise there, but it feels as if the song is a little out of Alex's range. It needs someone of the Dickinson ilk to really bring it alive, maybe not so much in the chorus but in the verses. Here again, though, this band is impressive as musicians & songwriters. Near the midsection, there's a distinct Extreme III Sides To Every Story influence, as if Cupid's Dead had a baby.
Final track: "Daredevil Blues"... now this is a bouncy track. Right from the get-go it just seems like dirty fun. Frolicking riff, chugging bass, solid downbeats. Reminds me of deep album tracks from the likes of Tora Tora or House Of Lords. A solid, fun way to end an album.
So there you have it... Did I really like it you ask? Yes, I did. Truth be told it took a few listens. Musically, they are spot on, or as Austin Powers would say "A little bit of alright". The vocals were predominantly okay. I thought they could've used some more depth and fullness, maybe some richness to take the "in a box" sound out of them. Think Boston: the more voices, the better. The band is clearly talented, and I think with a producer that can focus some of that talent, Driller has a lot of promise in the melodic rock world. But trust me, there's enough there to make yourself a fan. As in, get on board before it's full.
In closing, I would like to thank the band Driller personally for allowing me to be a part of what you created. You can't possibly know what it feels like to be at least a little part of "the family". Keep doing what you're doing, because I think there's a future there.
I clicked on the link for the lead single "Heaven's Far" and was immediately struck by the European metal influence, particularly Edguy. Then the main riff shifted and it almost took on the feel of an old school Savatage tune, with a synchopated, yet fluid riff. Overall, the song is well-crafted and features several interesting time changes & solo spots. As the lead single, the details were clearly poured over: the verses are tight, the bridge is excellent, and the chorus is highly melodic. The solo in particular features some impressive fretboard gymnastics without sounding like notes for notes' sake. An impressive introduction from an independent band.
"Mad Science" features one of the best chorus melodies on the record. I really enjoy how this song FLOWS... the galloping riffs meld with the vocals very well, creating some nice tension/release moments. And by song #2, I can tell KK is as big a fan of double bass as I am, using it to great effect throughout.
Title track "The Final Deal" may as well be a leftover Savatage riff from the Mountain King era: beautiful tone, with some embellished hammer-ons thrown in. One thing is clear already: Alex is a budding riffologist. This tune features some nice back & forth vocals in the verse section. Yet another melodic chorus that keeps the listener's attention.
"Wild Dream"... the riff John Sykes forgot to write for Whitesnake. The opening of this song is pure attitude and adrenaline. Throw in a couple pinch harmonics & you've got a metal tune. Good energy fueled by the driving double bass in the chorus. The middle section breakdown is an excellent departure, bringing the energy down until it explodes again into yet another tasteful, melodic solo.
Next up is "Holding On", opening with an extended amalgamation of riffs before settling into a mid-tempo slice of pure 80's brilliance. The chugging riff allows the vocals to take center stage and drive the song. The solo features some impressive Megadeth-infused phrases & note choices. A good example of the recent European melodic rock sensibilities of the last 5-10 years.
"No Tomorrow" has a Pretty Maids feel to it, starting out with a heavy riff and ending up with a beautifully crafted bridge before ripping back into an aggressive chorus. The band throws in some more call & response vocals, which I always enjoy for the tension it creates. This tune, in particular, seems to have been crafted for that purpose: create tension, then release it.
At this point I would be remiss if I didn't mention the musicianship of this band. Alex seems to be able to morph into whoever he wants. At times I hear Nuno, then I'll get some Harem Scarem, string-skipping like Paul Gilbert, squeals that would make Zakk proud. He clearly has an impressive understanding of his instrument. KK is an absolute beast. He never seems to overplay or add fills where they don't need to be. He consistently delivers a driving bottom end that seems to give the songs some pace & life.
Anyway, back to the reason we're all here. "Raise The Cape" is reminiscent of driving, slithery tunes from the likes of Kingdom Come or Pink Cream 69. This song is more guitar-driven than some others on the disc and features a beautiful string-skipping extravaganza in the solo.
When this song first started I sat straight up in the chair and was literally speechless. A song about one of my favorite childhood racers, Ayrton Senna?! A second later I realized the obvious Brazilian connection, but from there I was intrigued. "The Magic Runner" features my favorite opening riff on the album. It almost sounds majestic in delivery. "His head colours remind us where he's from"... If you're not familiar, Senna wore the Brazilian colors on his helmet and it became his calling card, of sorts. Uptempo and driving tune, with a wonderfully crafted bridge section that bounces into another well-crafted chorus. I absolutely love the solo in this song as it seems to "become" the speed and turns of a racetrack. There's some early-era Extreme to the guitar sound that makes this song sound more raw than some of the others. The song ends with Senna's in-car during his victory in the 1991 Brazilian Grand Prix.
"City Of Lights" is another Maiden-influenced tune. By that, I mean not Maiden-sounding, but the attitude, the melody, the chugging feel. This song grew on me a lot through each listen. There's an epic feel to the song structure and the melodies are more intricate, but they're there in spades. The solo is pure brilliance from a metal guitar perspective. Alex just keeps delivering time after time.
The only ballad, "Coming Home", starts off with some beautifully crafted piano, before moving into an uplifting guitar melody. I haven't mentioned him yet, but bassist Thomas Silk really shines on this track. His bass lines are a beautiful counterpoint to the laid back guitar chords, creating depth throughout the track. I love the simplicity of the solo here, as it really pulls the melody from all facets of the song. The best compliment I can give this song is it's a ballad that doesn't sound cheesy. There's some definite substance here, especially the melody change after the solo.
"You And My Way", while it has an impressive opening riff, is probably the weakest song on the album. There's promise there, but it feels as if the song is a little out of Alex's range. It needs someone of the Dickinson ilk to really bring it alive, maybe not so much in the chorus but in the verses. Here again, though, this band is impressive as musicians & songwriters. Near the midsection, there's a distinct Extreme III Sides To Every Story influence, as if Cupid's Dead had a baby.
Final track: "Daredevil Blues"... now this is a bouncy track. Right from the get-go it just seems like dirty fun. Frolicking riff, chugging bass, solid downbeats. Reminds me of deep album tracks from the likes of Tora Tora or House Of Lords. A solid, fun way to end an album.
So there you have it... Did I really like it you ask? Yes, I did. Truth be told it took a few listens. Musically, they are spot on, or as Austin Powers would say "A little bit of alright". The vocals were predominantly okay. I thought they could've used some more depth and fullness, maybe some richness to take the "in a box" sound out of them. Think Boston: the more voices, the better. The band is clearly talented, and I think with a producer that can focus some of that talent, Driller has a lot of promise in the melodic rock world. But trust me, there's enough there to make yourself a fan. As in, get on board before it's full.
In closing, I would like to thank the band Driller personally for allowing me to be a part of what you created. You can't possibly know what it feels like to be at least a little part of "the family". Keep doing what you're doing, because I think there's a future there.
Sunday, August 11, 2013
CVS needing ID to buy... nail polish. To vote... nah, you don't need a form of identification to engage in the single biggest action a citizen can participate in.
Asking for ID to vote is not an infringement or hindrance on your rights. It's a necessary step to ensure honesty in elections. The only reason one would be opposed to this is someone who plans to cheat the system.
Asking for ID to vote is not an infringement or hindrance on your rights. It's a necessary step to ensure honesty in elections. The only reason one would be opposed to this is someone who plans to cheat the system.
Saturday, August 10, 2013
Griffey Celebration
Just saw some of the Ken Griffey, Jr. celebration ceremony. Very heartfelt, with some light moments thrown in. Favorite part was when Griffey addressed Jay Buehner and said if anything ever happened to him or his wife, he would be honored to have Jay raise his children. Buehner, in the midst of wiping his eyes with a hankerchief, raised a subtle middle finger in jest. Wonderful moment.
Friday, August 9, 2013
The Winery Dogs - The Winery Dogs
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.
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.
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.
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