This nice early November weather has created a weekend anomaly: Bowling tournament tomorrow, 18 holes of golf Sunday.
That's right, I'm forgoing watching the Packers to hit the links for possibly the last time until the cruel, bleak WI winter. I'm never quite so "zen" as when I'm on the golf course. I can now see where Steinbeck may have gotten that most eloquent of quips...
Thursday, November 5, 2015
The Underappreciated Greatness of Jeff Scott Soto
I could begin by throwing out a career-spanning overview of Jeff Scott Soto, but I may just be here for a fortnight. Extolling the vast catalogue and genre-jumping of one JSS was covered quite well in The Authorised Biography. Needless to say, JSS career spans thirty years, several styles, and, unfortunately, a lifetime in relative obscurity. Soto has, among others, been involved in the first incarnation of Yngwie Malmsteen (See "I'll See The Light Tonight"), Eyes, Journey (live I'll Be Alright Without You on one hour of rehearsal, mind you), W.E.T., Talisman, Human Clay, Trans-Siberian Orchestra (This Christmas Day - just watch that stage presence!), and, of course, as a solo artist.
Known by many as the "Voice of Hard Rock", Soto has displayed an innate talent to deliver a vocal that fits within many genres. He can easily transition from Prince-like falsetto (4 U) to Soul (Lonely Shade of Blue) to Disco (Lady Marmalade)to metal (End Of Days)to bombastic melodic rock (Look Inside Your Heart).
Next to Mike Portnoy, he may have his hands in more projects than anyone in the hard rock business. After a successful stint with the boys from Work Of Art & Eclipse that culminated in two phenomenal studio albums under the moniker W.E.T., Soto has recently waged war on his metal roots, creating a stand alone metal band called SOTO. His stated current plans are to record three albums successively with SOTO and re-establish his harder side, leaving behind the more melodic overtones of Lost In The Translation and Damage Control.
As a JSS fan, it's quite exciting to have such a breadth of material to listen to. JSS is certainly not one to rest on laurels, much less churn out music for the sake of offering new product. Love Parade & Beautiful Mess were solid adventures that explored the softer, R&B-tinged side of JSS. While LITT & Prism worshipped at the altar of big guitars & bigger vocals. Damage Control, at times, hinted at the SOTO direction, with such rockers as "Damage Control" & "Afraid To Die"
How many have seen the movie "Rock Star" with Mark Wahlberg? What most of you may not know is JSS was the voice of Steel Dragon's original singer Bobby Beers. Here's a taste of the Sammy Hagar-penned "Stand Up And Shout" via Soto. Powerful shit, right? How about that stage presence? A true showman that truly enjoys what he's doing. Based on notoriety, obviously not for accolades, but for the love of delivering great songs time & time again.
At this point, hopefully I've piqued your interest in learning a little bit about Jeff Scott Soto. Aside from the links above, here's a quick top 10 JSS tunes to begin with. I'll trust that you'll take the initiative to explore further... you'll only have yourself to blame if you don't.
Top 10 JSS Tunes (minus above links)in no particular order:
Our Song
If I Fall
Soul Divine
Eyes Of Love
Break Your Chains
Colour My XTC
Love Will Come Again
Frozen & Crazy
Believe In Me
Comes Down Like Rain
This was a quick ode to JSS and my hope is that you, as an avid reader, gives the music contained here within more than a cursory glance. This man could sing the phone book & it would sound like a glorious hymn.
Known by many as the "Voice of Hard Rock", Soto has displayed an innate talent to deliver a vocal that fits within many genres. He can easily transition from Prince-like falsetto (4 U) to Soul (Lonely Shade of Blue) to Disco (Lady Marmalade)to metal (End Of Days)to bombastic melodic rock (Look Inside Your Heart).
Next to Mike Portnoy, he may have his hands in more projects than anyone in the hard rock business. After a successful stint with the boys from Work Of Art & Eclipse that culminated in two phenomenal studio albums under the moniker W.E.T., Soto has recently waged war on his metal roots, creating a stand alone metal band called SOTO. His stated current plans are to record three albums successively with SOTO and re-establish his harder side, leaving behind the more melodic overtones of Lost In The Translation and Damage Control.
As a JSS fan, it's quite exciting to have such a breadth of material to listen to. JSS is certainly not one to rest on laurels, much less churn out music for the sake of offering new product. Love Parade & Beautiful Mess were solid adventures that explored the softer, R&B-tinged side of JSS. While LITT & Prism worshipped at the altar of big guitars & bigger vocals. Damage Control, at times, hinted at the SOTO direction, with such rockers as "Damage Control" & "Afraid To Die"
How many have seen the movie "Rock Star" with Mark Wahlberg? What most of you may not know is JSS was the voice of Steel Dragon's original singer Bobby Beers. Here's a taste of the Sammy Hagar-penned "Stand Up And Shout" via Soto. Powerful shit, right? How about that stage presence? A true showman that truly enjoys what he's doing. Based on notoriety, obviously not for accolades, but for the love of delivering great songs time & time again.
At this point, hopefully I've piqued your interest in learning a little bit about Jeff Scott Soto. Aside from the links above, here's a quick top 10 JSS tunes to begin with. I'll trust that you'll take the initiative to explore further... you'll only have yourself to blame if you don't.
Top 10 JSS Tunes (minus above links)in no particular order:
Our Song
If I Fall
Soul Divine
Eyes Of Love
Break Your Chains
Colour My XTC
Love Will Come Again
Frozen & Crazy
Believe In Me
Comes Down Like Rain
This was a quick ode to JSS and my hope is that you, as an avid reader, gives the music contained here within more than a cursory glance. This man could sing the phone book & it would sound like a glorious hymn.
Thursday, October 8, 2015
The Winery Dogs "Hot Streak" Review: A Winning Hand
Has it been two years already? When word got out that Richie Kotzen, Billy Sheehan, and Mike Portnoy formed The Winery Dogs and started recording, many ears turned wondering what kind of music these three incomparable musicians would produce. The resulting debut album, eponymously titled “The Winery Dogs”, shot up the rock charts, enjoying a lifespan that saw the group tour behind it for a year.
Released in America on October 2nd, “Hot Streak” proves this dog has plenty of room to grow. While the debut was a mix of Kotzen compositions and band writes, “Hot Streak” was a complete band endeavor, with most of the writing undertaken by the three musicians sitting down and creating. What results is a powerful, yet eclectic mix of styles, sounds, and pure musicianship that simultaneously excites and challenges.
"Oblivion" was written while on tour and creates an inviting bridge from the debut to the follow-up. While an expected introduction, it is also aggressive and allows each member room to shine, kind of like the little brother of previous opener "Elevate". It's immediately apparent that the months spent touring has tightened the band. A melodic chorus should translate well to the live experience. The solo section sees Sheehan & Kotzen performing some outlandish harmony riffs. Keep your arms and legs inside the ride, kids.
"Captain Love" starts off with a Deep Purple "Perfect Strangers"-like riff, featuring a slow and in-the-pocket laid back groove. It's a slinky, mid-tempo rocker with hints of Coverdale/Whitesnake/ACDC mixed in. Lest anyone think the Dogs can't settle in and rock, this track will lay those fears to rest. The guitar tone is tailor made for headphones, with a crunchy, yet clean sound. Billy gets a little breakdown section before the wah-drenched solo. Portnoy's simple, solid groove is the foundation this tune is built on. Lyrical highlight here with the Kotzen-penned gem "I'm 45, but I'm 18 in the clutch".
Album moniker "Hot Streak" is a musical tour de force. This solid shuffle/R&B rocker allows the players to display the mastery of their instruments. It's simultaneously loose, yet tight, featuring a cool start and stop rhythm. One can hear the chemistry between Kotzen and Sheehan from their Mr. Big days. Clearly the band is having fun and this track gives each a chance to stretch out.
"How Long" is the most Kotzen-solo like song on the album: the verse lyrics follow the guitar runs and segues into a melancholy chorus. In fact, the song is a test for the listener until the chorus, which is more straight forward. A very bass-driven track, similar to "The Other Side" off the debut. Overall, a solid tune, but not a standout for me.
"Empire" is the song that almost wasn't as Portnoy encouraged Kotzen to finish the composition. And thank goodness he did. The song features a healthy dose of slide work and a driving beat that takes a couple listens to reconcile. The sparse verses, featuring a call and response motif, really let the music breathe. Richie's solo tone and phrasing is quite reminiscent of Clapton's "Badge", especially during the outro. Should be another great tune to see performed live. Sheehan takes a backseat here to really hold the groove down, while Kotzen and Portnoy drive the music; reminding most that Billy is a BASS player first and is quite capable of playing that role when called upon.
Here we have the first ballad, "Fire", with its heavily flamenco-influenced guitar. A wonderfully crafted sad lyric and melody, it may be the most solo-Kotzen track contained within and should be a great solo showcase live. Beautifully sung and played, the melody isn't as apparent on early listens, but it creates a timely break in the track listing. Almost Springsteen-esque in places, this song is a welcome addition.
Drum & drive I call this song: "Ghost Town" is a percussion track all the way, with a galloping, driving beat set against a heavy riff. Portnoy really shines on this track, laying down a beautiful drum sequence as evidenced by the link; much more going on than the listener is led to believe. Very moody, haunting vocal.
Let's cross "The Bridge", with its drum/bass intro that leads to a rather aggressive guitar riff. The melodic, lower register verses perfectly lead into the layered, uplifting chorus: "Step with me 'cross the bridge", reminding one of "The Dying". A very mood-oriented song, made special by the phenomenal soaring vocal delivery of Richie.
Album standout "War Machine" is next and, Jesus H Christ, what does one say about this tune? From the tension-filled bass riff that creates the basis for the song to the almost spoken vocal delivery, there's no doubt this band is making music that should turn rock on its ear. The funky double snare melds perfectly with the mood of the song. There's so much space created that the listener almost feels they want more. The solo section features some wonderful doubled guitar licks along with a solid Sheehan bass break. Curiously, the song never actually reconciles itself from the immediate tension, which only adds to its uniqueness. Well crafted.
And here is the wild card: "Spiral"... I almost feel that explaining this tune won't do it justice. A rocking amalgamation of disco, '80's electronica, Radiohead, and U2, there is a lot to process here. There are definite elements of Kotzen's interpretation of "Electric Feel" (which one should seek out anyway). The guitar takes a back seat here and lets the rhythm section drive the car. The bridge section is an exciting transition to the chorus. Exhibit A that this band will not rest on its laurels, nor follow any pre-conceived rules.
"Devil You Know" brings us back to the straight forward rock sound. Nicely placed in the running order, the chorus is the star here; aggressive drum beat, powerful vocal delivery, driving bass. In some ways, its a more vocally-driven song, featuring some nice double tracked singing. This track would not have been out of place on the debut.
A phenomenal organ intro introduces "Think It Over", this disc's "Regret". Featuring a '70's soft rock/Hall & Oates/ Marshall Tucker feel, it's another well-placed track, recalling a church revival vibe. Nothing out of the ordinary for Kotzen, but easily accessible and sing along.
"The Lamb" completes this magnus opus with a little church intro. The snare drum keeps the song rolling, moving it along at a behind-the-beat pace. The solo lifts this song to another level, as Kotzen's talents come to the forefront for a melodic, aggressive goodbye denouement.
Some discussion has been made that this disc is more reflective of a Kotzen solo release, but that's to be expected of an artist with such a defined vocal/musical delivery. From the outset, the members have extolled the notion that this band would stress SONGS over all else. And, with this release, they have held true to that mantra.
Having been a fan of these guys individually for the better part of two decades, I'm obviously a little biased, but any lover of good rock music cannot deny that this disc is superb. There's more than enough to challenge even the most cynical listener, and truth be told, they'll probably admit to humming a few of these melodies in the shower.
I, for one, am thankful the Dogs reconvened to deliver an album that should be at, or near, the top of most "Best Of" lists by year's end.
Released in America on October 2nd, “Hot Streak” proves this dog has plenty of room to grow. While the debut was a mix of Kotzen compositions and band writes, “Hot Streak” was a complete band endeavor, with most of the writing undertaken by the three musicians sitting down and creating. What results is a powerful, yet eclectic mix of styles, sounds, and pure musicianship that simultaneously excites and challenges.
"Oblivion" was written while on tour and creates an inviting bridge from the debut to the follow-up. While an expected introduction, it is also aggressive and allows each member room to shine, kind of like the little brother of previous opener "Elevate". It's immediately apparent that the months spent touring has tightened the band. A melodic chorus should translate well to the live experience. The solo section sees Sheehan & Kotzen performing some outlandish harmony riffs. Keep your arms and legs inside the ride, kids.
"Captain Love" starts off with a Deep Purple "Perfect Strangers"-like riff, featuring a slow and in-the-pocket laid back groove. It's a slinky, mid-tempo rocker with hints of Coverdale/Whitesnake/ACDC mixed in. Lest anyone think the Dogs can't settle in and rock, this track will lay those fears to rest. The guitar tone is tailor made for headphones, with a crunchy, yet clean sound. Billy gets a little breakdown section before the wah-drenched solo. Portnoy's simple, solid groove is the foundation this tune is built on. Lyrical highlight here with the Kotzen-penned gem "I'm 45, but I'm 18 in the clutch".
Album moniker "Hot Streak" is a musical tour de force. This solid shuffle/R&B rocker allows the players to display the mastery of their instruments. It's simultaneously loose, yet tight, featuring a cool start and stop rhythm. One can hear the chemistry between Kotzen and Sheehan from their Mr. Big days. Clearly the band is having fun and this track gives each a chance to stretch out.
"How Long" is the most Kotzen-solo like song on the album: the verse lyrics follow the guitar runs and segues into a melancholy chorus. In fact, the song is a test for the listener until the chorus, which is more straight forward. A very bass-driven track, similar to "The Other Side" off the debut. Overall, a solid tune, but not a standout for me.
"Empire" is the song that almost wasn't as Portnoy encouraged Kotzen to finish the composition. And thank goodness he did. The song features a healthy dose of slide work and a driving beat that takes a couple listens to reconcile. The sparse verses, featuring a call and response motif, really let the music breathe. Richie's solo tone and phrasing is quite reminiscent of Clapton's "Badge", especially during the outro. Should be another great tune to see performed live. Sheehan takes a backseat here to really hold the groove down, while Kotzen and Portnoy drive the music; reminding most that Billy is a BASS player first and is quite capable of playing that role when called upon.
Here we have the first ballad, "Fire", with its heavily flamenco-influenced guitar. A wonderfully crafted sad lyric and melody, it may be the most solo-Kotzen track contained within and should be a great solo showcase live. Beautifully sung and played, the melody isn't as apparent on early listens, but it creates a timely break in the track listing. Almost Springsteen-esque in places, this song is a welcome addition.
Drum & drive I call this song: "Ghost Town" is a percussion track all the way, with a galloping, driving beat set against a heavy riff. Portnoy really shines on this track, laying down a beautiful drum sequence as evidenced by the link; much more going on than the listener is led to believe. Very moody, haunting vocal.
Let's cross "The Bridge", with its drum/bass intro that leads to a rather aggressive guitar riff. The melodic, lower register verses perfectly lead into the layered, uplifting chorus: "Step with me 'cross the bridge", reminding one of "The Dying". A very mood-oriented song, made special by the phenomenal soaring vocal delivery of Richie.
Album standout "War Machine" is next and, Jesus H Christ, what does one say about this tune? From the tension-filled bass riff that creates the basis for the song to the almost spoken vocal delivery, there's no doubt this band is making music that should turn rock on its ear. The funky double snare melds perfectly with the mood of the song. There's so much space created that the listener almost feels they want more. The solo section features some wonderful doubled guitar licks along with a solid Sheehan bass break. Curiously, the song never actually reconciles itself from the immediate tension, which only adds to its uniqueness. Well crafted.
And here is the wild card: "Spiral"... I almost feel that explaining this tune won't do it justice. A rocking amalgamation of disco, '80's electronica, Radiohead, and U2, there is a lot to process here. There are definite elements of Kotzen's interpretation of "Electric Feel" (which one should seek out anyway). The guitar takes a back seat here and lets the rhythm section drive the car. The bridge section is an exciting transition to the chorus. Exhibit A that this band will not rest on its laurels, nor follow any pre-conceived rules.
"Devil You Know" brings us back to the straight forward rock sound. Nicely placed in the running order, the chorus is the star here; aggressive drum beat, powerful vocal delivery, driving bass. In some ways, its a more vocally-driven song, featuring some nice double tracked singing. This track would not have been out of place on the debut.
A phenomenal organ intro introduces "Think It Over", this disc's "Regret". Featuring a '70's soft rock/Hall & Oates/ Marshall Tucker feel, it's another well-placed track, recalling a church revival vibe. Nothing out of the ordinary for Kotzen, but easily accessible and sing along.
"The Lamb" completes this magnus opus with a little church intro. The snare drum keeps the song rolling, moving it along at a behind-the-beat pace. The solo lifts this song to another level, as Kotzen's talents come to the forefront for a melodic, aggressive goodbye denouement.
Some discussion has been made that this disc is more reflective of a Kotzen solo release, but that's to be expected of an artist with such a defined vocal/musical delivery. From the outset, the members have extolled the notion that this band would stress SONGS over all else. And, with this release, they have held true to that mantra.
Having been a fan of these guys individually for the better part of two decades, I'm obviously a little biased, but any lover of good rock music cannot deny that this disc is superb. There's more than enough to challenge even the most cynical listener, and truth be told, they'll probably admit to humming a few of these melodies in the shower.
I, for one, am thankful the Dogs reconvened to deliver an album that should be at, or near, the top of most "Best Of" lists by year's end.
Wednesday, June 17, 2015
Alex Rech "My Way Is The Highway" EP Review
Working out of Edinburgh by way of Brazil, Driller lead guitarist/vocalist Alex Rech delivers his first solo effort, entitled "My Way Is The Highway". The six song EP boasts a variety of styles, ranging from 70's to European melodic rock. Having reviewed Driller's debut "The New Deal", I was intrigued to see what Rech would do outside the confines of the more progressive metal style of Driller.
After a starting car foretells the rollicking vibe of "Heading East", I was immediately struck by the vocal improvement. Obviously, the many live gigs Driller played had strengthened Alex's voice. Musically, I was reminded of southern-tinged 70's rock, most notably Foghat. The songwriting also showed signs of growth, as the melodies were tighter and better defined. Panning the rhythm to the left and the solo to the right added a nice, classic sparseness. The outro features the chorus fading into the sound of an old AM radio, adding some playfulness to an already playful song. In a nod to heading East to Brazil's coast, Rech succeeded in creating an energetic tune made for top-down cruising.
"Stranger" is up next, beginning with an arpeggiated, brooding intro in the vein of Pink Cream 69, before jumping into an easily recognizable Alex Rech driving riff. Again, the songwriting and vocal improvement is immediate. Much like in Driller, Rech shows an impressive ability to integrate interesting chord voicings throughout the track. The improved production qualities, courtesy of Rikki Beran and Rech himself, highlight vocals and guitar without sacrificing the bottom end. The wah-infused solo is energetic and tight. This song is single-ready for the European melodic rock scene.
Kicking off with a one minute Steve Vai-inspired soaring guitar intro over piano, "The Bridges to the Isles of the Sea" gives way to a mid-tempo sparse verse riff, again highlighting Rech's ability to incorporate flavorful chord voicings. The vocal phrasing and delivery reminds one of Phil Lynott in the early Lizzy days. The spoken section quoting Black Elk of the Oglala Lakota is presumably an homage to Vai's "Passion and Warfare" and adds a touch of levity. The solo section has the feel of rolling waves, building and falling throughout. As a reference to the Garvellachs off the Scottish coast, Bridges shows maturing songwriting, both in musicality and content.
"You Know" is an impressive ballad, much in the Richie Kotzen solo vein. An impressive vocal performance from Alex, as he shows the ability to restrain and deliver a heartfelt vocal reminiscent of a Gotthard ballad. The melodic, understated southern rock style solo is a perfect complement to the overall vibe. Another obvious single choice that, with the right push, could help break Alex into the States.
"Warriors of the Light" features a rawer vocal performance, again highlighting the Lynott influence. A solid mid-tempo rocker made for cruising. The solo section employs a panned call and response with some interesting phrases.
The acoustic "Live On", a Driller single from 2011, closes out the EP in grand fashion. Easily the best vocal, Rech somehow manages to keep the energy of the original while making it sound intimate, much the same way Harem Scarem seems so adept at. In this acoustic setting, it is clear that Alex has put considerable effort into strengthening his voice. The bridge section is wonderfully written, building to the melodic chorus. Simply a well-crafted song performed masterfully.
It was interesting to hear such different styles from Alex, sans Driller. In many ways, I think this collection is a better representation of the type of artist Rech is and wants to be. The material is more accessible, tightly structured, and shows a much matured songwriting style. Not to mention how impressively Rech's vocals have improved over the past two years. He was already an accomplished guitar player, but is also showing signs of growing into his voice. As a whole, "My Way Is The Highway" is an impressive debut, giving the listener several musical morsels to savor.
After a starting car foretells the rollicking vibe of "Heading East", I was immediately struck by the vocal improvement. Obviously, the many live gigs Driller played had strengthened Alex's voice. Musically, I was reminded of southern-tinged 70's rock, most notably Foghat. The songwriting also showed signs of growth, as the melodies were tighter and better defined. Panning the rhythm to the left and the solo to the right added a nice, classic sparseness. The outro features the chorus fading into the sound of an old AM radio, adding some playfulness to an already playful song. In a nod to heading East to Brazil's coast, Rech succeeded in creating an energetic tune made for top-down cruising.
"Stranger" is up next, beginning with an arpeggiated, brooding intro in the vein of Pink Cream 69, before jumping into an easily recognizable Alex Rech driving riff. Again, the songwriting and vocal improvement is immediate. Much like in Driller, Rech shows an impressive ability to integrate interesting chord voicings throughout the track. The improved production qualities, courtesy of Rikki Beran and Rech himself, highlight vocals and guitar without sacrificing the bottom end. The wah-infused solo is energetic and tight. This song is single-ready for the European melodic rock scene.
Kicking off with a one minute Steve Vai-inspired soaring guitar intro over piano, "The Bridges to the Isles of the Sea" gives way to a mid-tempo sparse verse riff, again highlighting Rech's ability to incorporate flavorful chord voicings. The vocal phrasing and delivery reminds one of Phil Lynott in the early Lizzy days. The spoken section quoting Black Elk of the Oglala Lakota is presumably an homage to Vai's "Passion and Warfare" and adds a touch of levity. The solo section has the feel of rolling waves, building and falling throughout. As a reference to the Garvellachs off the Scottish coast, Bridges shows maturing songwriting, both in musicality and content.
"You Know" is an impressive ballad, much in the Richie Kotzen solo vein. An impressive vocal performance from Alex, as he shows the ability to restrain and deliver a heartfelt vocal reminiscent of a Gotthard ballad. The melodic, understated southern rock style solo is a perfect complement to the overall vibe. Another obvious single choice that, with the right push, could help break Alex into the States.
"Warriors of the Light" features a rawer vocal performance, again highlighting the Lynott influence. A solid mid-tempo rocker made for cruising. The solo section employs a panned call and response with some interesting phrases.
The acoustic "Live On", a Driller single from 2011, closes out the EP in grand fashion. Easily the best vocal, Rech somehow manages to keep the energy of the original while making it sound intimate, much the same way Harem Scarem seems so adept at. In this acoustic setting, it is clear that Alex has put considerable effort into strengthening his voice. The bridge section is wonderfully written, building to the melodic chorus. Simply a well-crafted song performed masterfully.
It was interesting to hear such different styles from Alex, sans Driller. In many ways, I think this collection is a better representation of the type of artist Rech is and wants to be. The material is more accessible, tightly structured, and shows a much matured songwriting style. Not to mention how impressively Rech's vocals have improved over the past two years. He was already an accomplished guitar player, but is also showing signs of growing into his voice. As a whole, "My Way Is The Highway" is an impressive debut, giving the listener several musical morsels to savor.
Tuesday, January 13, 2015
Richie Kotzen "Cannibals" Review
This being Richie Kotzen's first solo offering since 2011's "24 Hours", I came in with high hopes. Coming off the surprisingly well-received Winery Dogs and Essential Richie Kotzen, it occurred to me that I had no idea where RK would go with this release. Throughout his career, he has rarely done the same thing twice, more often choosing to expand into other areas of his immense talent. With this release, Kotzen has turned inward, creating a wonderful tapestry of influences mixed with introspective lyrics.
The first single, "Cannibals", seems out of place when listening to the album as a whole. It is a blend of funky, dirty, racing guitar and bass riffs. There are shades of '70's R&B/funk, before the chorus jumps into a more modern snare-driven groove. The slinky bass lines in the verses are especially memorable. Lyrically, it delves into the tendencies of human nature.
"In An Instant" may well be the song Hall & Oates never wrote. In fact, Richie outdoes H&O at their own game. Driven by some of the best melodies of recent years, the chorus is a wonderful blend of voices, giving it an almost choir-like feel. Richie employs a laid-back, lower register spoken vocal that enhances the late '70's soft rock feel.
"The Enemy" is a perfect example of power by way of restraint. There's hints of latter day Toby Keith/country grooves, especially in the verse sections. Another quite introspective lyric, dealing with one's demons and recognizing the effect those demons have on one's choices.
"Shake It Off" starts with an almost Stones "Sympathy For The Devil" conga beat, before jumping into a riff reminiscent of "Fooled Again" from Richie's 2007 Go Faster disc. I also detect a heavy dose of influence of Lady Marmalade in the verse sections. The guitar is heavily distorted, with the keyboards taking a major role in the groove. The solo is classic Kotzen, sans pick, with sinewy note runs up and down the neck, which also makes a welcome return in the outro section.
Up next is the standout "Come On Free", with Kotzen's ability to write memorable hooks in full swing. The intro has more bounce than a rubber ball thrown off the Empire State Building, referencing some of the best from Michael Jackson to Justin Timberlake. The bass is the real star here, slinking and sliding throughout the entire track, before taking center stage in the outro. This song is made for dancing and grooving, offering the listener a chance to let loose. The solo is pure magic, with just the right amount of dirty crunch. Coming in late in the track is a surprising nod to hip-hop, most notably reminiscent of "Whoomp! There It Is", yet somehow it works within the confines of the track. Overall a fun, enjoyable tune that exemplifies Kotzen's ability to cross several genres simultaneously.
"I'm All In" features additional vocals by renowned King's X vocalist/bassist Doug Pinnick. The vocal similarities between the two highlight the subtle differences in their deliveries. Pinnick sounds like a vocalist having fun, while Kotzen is clearly enjoying the collaboration. Again, another excellent blend of funk, rock, and R&B that Kotzen has always shown an ability to throw in the bowl and mix into something original.
"Stand Tall" starts with some heavily processed guitar riffs, akin to some of Lenny Kravitz' biggest hits. A bouncy, mid-tempo rocker, Kotzen again employs a choir-like entourage of background vocals that gives the song more weight than the sparse instrumentation would suggest. Once again, the groove is decidedly funk & R&B, with tinges of rock interspersed, making the track sound simultaneously retro, yet modern.
"Up (You Turn Me)" is another example of how well Kotzen can move from genre to genre. There's elements of smooth pop and adult contemporary, and a dash of jazz mixed in. The groove is driven by an airy organ that allows Richie to bust out some incredible falsetto runs. Another wonderful track that defies the listener NOT to dance to it's rhythms.
The mood turns down at this point, with a very introspective cut based on an old piano piece from Kotzen's daughter, August. "You" is a brooding, almost baroque song, that highlights Kotzen's ability to hold a song on voice alone. The Theramin makes a welcome appearance, adding just the right levity to the music.
Completing the album is "Time For The Payment", which starts off with some subdued nylon string guitar plucking and emotive singing. Maybe the only song on the album that could've been on the next Winery Dogs offering. It almost has a flamenco feel, with the guitar weaving riffs throughout the melody. I would've preferred a more upbeat conclusion to the album, but the back to back ballads are polar opposites and, taken individually, show another side of Kotzen as an underappreciated artist.
Overall, this is an album that draws on many of Kotzen's influences, from rock, to R&B, to funk, to jazz, to '70's crooners. In many ways, it makes a nod to the stellar "24 Hours" and Wilson Hawk songs that stressed groove and melody. His singing has never been more emotive and varied. There's a fair amount of danceable material here, mixed with enough guitar wizardry to make all fans happy. A strong showing in the long pantheon of Richie Kotzen's discography, ahead of what is a highly anticipated follow up to The Winery Dogs debut album.
The first single, "Cannibals", seems out of place when listening to the album as a whole. It is a blend of funky, dirty, racing guitar and bass riffs. There are shades of '70's R&B/funk, before the chorus jumps into a more modern snare-driven groove. The slinky bass lines in the verses are especially memorable. Lyrically, it delves into the tendencies of human nature.
"In An Instant" may well be the song Hall & Oates never wrote. In fact, Richie outdoes H&O at their own game. Driven by some of the best melodies of recent years, the chorus is a wonderful blend of voices, giving it an almost choir-like feel. Richie employs a laid-back, lower register spoken vocal that enhances the late '70's soft rock feel.
"The Enemy" is a perfect example of power by way of restraint. There's hints of latter day Toby Keith/country grooves, especially in the verse sections. Another quite introspective lyric, dealing with one's demons and recognizing the effect those demons have on one's choices.
"Shake It Off" starts with an almost Stones "Sympathy For The Devil" conga beat, before jumping into a riff reminiscent of "Fooled Again" from Richie's 2007 Go Faster disc. I also detect a heavy dose of influence of Lady Marmalade in the verse sections. The guitar is heavily distorted, with the keyboards taking a major role in the groove. The solo is classic Kotzen, sans pick, with sinewy note runs up and down the neck, which also makes a welcome return in the outro section.
Up next is the standout "Come On Free", with Kotzen's ability to write memorable hooks in full swing. The intro has more bounce than a rubber ball thrown off the Empire State Building, referencing some of the best from Michael Jackson to Justin Timberlake. The bass is the real star here, slinking and sliding throughout the entire track, before taking center stage in the outro. This song is made for dancing and grooving, offering the listener a chance to let loose. The solo is pure magic, with just the right amount of dirty crunch. Coming in late in the track is a surprising nod to hip-hop, most notably reminiscent of "Whoomp! There It Is", yet somehow it works within the confines of the track. Overall a fun, enjoyable tune that exemplifies Kotzen's ability to cross several genres simultaneously.
"I'm All In" features additional vocals by renowned King's X vocalist/bassist Doug Pinnick. The vocal similarities between the two highlight the subtle differences in their deliveries. Pinnick sounds like a vocalist having fun, while Kotzen is clearly enjoying the collaboration. Again, another excellent blend of funk, rock, and R&B that Kotzen has always shown an ability to throw in the bowl and mix into something original.
"Stand Tall" starts with some heavily processed guitar riffs, akin to some of Lenny Kravitz' biggest hits. A bouncy, mid-tempo rocker, Kotzen again employs a choir-like entourage of background vocals that gives the song more weight than the sparse instrumentation would suggest. Once again, the groove is decidedly funk & R&B, with tinges of rock interspersed, making the track sound simultaneously retro, yet modern.
"Up (You Turn Me)" is another example of how well Kotzen can move from genre to genre. There's elements of smooth pop and adult contemporary, and a dash of jazz mixed in. The groove is driven by an airy organ that allows Richie to bust out some incredible falsetto runs. Another wonderful track that defies the listener NOT to dance to it's rhythms.
The mood turns down at this point, with a very introspective cut based on an old piano piece from Kotzen's daughter, August. "You" is a brooding, almost baroque song, that highlights Kotzen's ability to hold a song on voice alone. The Theramin makes a welcome appearance, adding just the right levity to the music.
Completing the album is "Time For The Payment", which starts off with some subdued nylon string guitar plucking and emotive singing. Maybe the only song on the album that could've been on the next Winery Dogs offering. It almost has a flamenco feel, with the guitar weaving riffs throughout the melody. I would've preferred a more upbeat conclusion to the album, but the back to back ballads are polar opposites and, taken individually, show another side of Kotzen as an underappreciated artist.
Overall, this is an album that draws on many of Kotzen's influences, from rock, to R&B, to funk, to jazz, to '70's crooners. In many ways, it makes a nod to the stellar "24 Hours" and Wilson Hawk songs that stressed groove and melody. His singing has never been more emotive and varied. There's a fair amount of danceable material here, mixed with enough guitar wizardry to make all fans happy. A strong showing in the long pantheon of Richie Kotzen's discography, ahead of what is a highly anticipated follow up to The Winery Dogs debut album.
Saturday, December 13, 2014
Harem Scarem "Thirteen" review - A Triumphant Return
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.
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.
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.
Subscribe to:
Posts (Atom)