Reflections on Jani Lane: The Unreleased Edition

Many don't realize that Jani was working on an interesting project with Dito Godwin in the early 90's called Jabberwocky.  A completed version of these songs was pressed, but never released since Jani reconvened with Warrant.  Anyways, I thought it served as a reminder that he was unappreciated for his lyrics & sense of melodies.  So take the journey with me & remember just how talented John Kennedy Oswald was...

All You Had To Say - What a wonderful mid-tempo feel to this tune.  The verse melody elicits the dichotomy of uplifting, yet melancholy.  Considering this was written in the mid 90's, one can draw a comparison to many top 40 songs of that period.  I've always been a fan of Jani's mellow vocal side and this song fits in that pocket perfectly.

Private Blue World - My favorite of the unreleased Jani catalogue.  Just listen to the sentiment of that chorus: "Stand in line and be the next heart that she breaks..." Masterful.  This song, along with Stronger Now, epitomizes the legacy of Jani Lane: great lyrics, memorable melody, heartfelt delivery. This one never gets skipped when it comes on...

One More For The Road - Love the bridge on this tune.  Mostly unfinished, but the mood is there.

Unrealistic - Another classic "story" song in the vein of "Bed of Roses".  Features the 90's double snare staple.  Obviously an early demo, but there's some left to flesh out.  Many Beatles elements present in this, from the solo section to the melody.

Washington Square - Amazing melody throughout.  For me there's just something about Jani's vocal phrasing that hits my ear the right way.  Just listen to the flow of those verses.

Comfortable With Sad - If you listen close, you can hear his personal struggles played out in the songs.  Analyzing the more introspective Jani Lane compositions, the signs were there that he struggled with acceptance and realizing he was appreciated.

This Town - RUN this song to some country artist and you have your next hit.  Just a perfect slice of mid tempo pop excellence.

Pretty On The Inside - Obviously not in the Warrant vein, but upon inspection Jani always wrote outside of the rock world, just fitting songs into that genre.  This song has a real Matchbox 20 groove to it.

The Deeper End - Love the acoustic/electric opening.  I'm having trouble understanding where this song would fit musically; maybe adult contemporary.

Stained - I like how the beginning creates such tension, just waiting for the release in the bridge.  "The first time I don't have any stains..."  shows you where his head was at.

House Of Cards - Just listen to that verse melody!  Just a moving groove.  Very underappreciated talent for vocal phrasing.

Changes - Impressive mid tempo rocker, with a great melodic verse section.  I know he was doing a lot of writing for other artists.  Unfortunately, he died before many of those connections could be realized, but there's a good deal of songs here that would be worthy of another look.

I Can't Help Myself - Probably top 2 of my favorite unreleased Jani demos.  From the verse to the bridge to the chorus, there's so many wonderfully melodic moments.  This song, along with a very select few, really deserve to be heard on a larger scale.  It really captures his unique songwriting abilities.

Yeah… SO much more than the "Cherry Pie Guy".  I miss him...

MY Top 20 KISS Songs

Inspired by the Eddie Trunk Volume show top 20 KISS songs, I thought I'd throw mine out.  I left out the solo albums, but included live ones.

20. Nothin' To Lose - I think this song is vaguely about anal sex, but I'll defer to ignorance in my old age.  Swinging groove, trade off vox; Peter is fine form in the chorus.
19. Forever - 2nd highest charting single after Beth.  Great melody, outstanding acoustic solo, solid drums for a ballad.
18. C'mon and Love Me (Alive I) - How can one argue with poetry like "I'm a Capricorn and she's a Cancer"?  The energy and pace of this song live is excellent, and Ace's solo is, like usual, a song within the song.
17. God of Thunder (Alive II) - Yes, you need to sit through the horrid drum solo, but just listen to Gene's voice after that: cracking, powerful, demonic.  Also, the tempo is so much better than the dirge of the album version.
16. Got To Choose - Another prime example of an Ace solo being a song within a song.  Love the group vox in the chorus
15. Rock Bottom (live) - Great pinch harmonics from Ace on the live version, plus he takes an extended solo after the 1st verse.
14. Psycho Circus - Going recent... if 20 years is considered recent.  Powerful tune, great riff, Paul is in fine voice on this one.
13. Nowhere To Run - Off the Killers disc, Paul wails on this one.  Bob Kulick plays some excellent guitar fills.  Hidden gem.
12. Love Her All I Can - Something for every band member on this one.  Jaunty little diddy, showing their southern influence, even being a NY band.  Great solo by Ace, as per usual.
11. Mr. Speed - Another one that could easily be a Skynyrd outtake.  Sing along melody and Ace busts out a phenomenal solo on this.
10. A Million To One - 2nd non-makeup tune & it's a doozy.  Paul lets out some raw emotion on this one.  Great melody with the help of Vinnie Vincent.
9. Sure Know Something (Unplugged) - So powerful in its acoustic form.  The band really shines on vocals & Paul was SO good back then (lyric screw up non-withstanding).
8. Goin' Blind (Unplugged) - Take the creepy factor out of the lyrics (I'm 93, you're 16), this is a truly melodious tune.  Gene sings his ass off on this one.
7. Thrills In The Night - Always loved the palm muted verse riff, leading into the gang chorus.  Extremely underrated tune and often forgotten.
6. Deuce - Linked to a live show in '75, just to remind everyone that KISS was "dangerous" way back when.  The song Ace auditioned on, with much of the off-the-cuff solo making its way to the final version.
5. Turn on the Night - Call me cheesy if you want, but I just LOVE the pick harmonics in the bridge.  And Bruce's outro solo is pretty badass.
4. King of the Nighttime World - Driven by a great chord riff & Peter's staccato drumming, the melody is so outstanding.  Written by Kim Fowley about some adult "actions" in an alley by the light of a car, KISS made it about getting away from commandeering parents & having a good time.
3. Who Wants To Be Lonely - Great riff, huge Eric Carr drums, what's not to like?  Too high?  Maybe, but it's my list...
2. Comin' Home (Unplugged) - I went unplugged here for the energy.  Many might think this is too high, but I based this list on KISS songs I wouldn't turn off for fatigue factor, so this stays at #2.
1. Black Diamond (Alive I) - No brainer for me: Outstanding arpeggio opening, Paul's soft vocal leading into a bombastic riff, followed by Peter Criss' pure raspiness... Add to that the Ace guitar wizardry on the outro, you have yourself a classic EPIC tune.

I can literally guarantee this list will change by morning, possibly several times.

MY Top 10 Favorite Harem Scarem Songs (A.K.A. Who??)

And we're back with another exciting edition of Slicky's Favorite Tunes.  Today we venture off to explore a heretofore unknown AOR Canadian export, Harem Scarem.  To those that know me well, this band came on my radar in the early 2000's and has ascended to top 5 status since.  They are a masterful mix of powerful melodies, amazing guitar riffs, and hooks that would make a seasoned fisherman jealous.  If these catch your attention, I highly recommend diving deeper into their catalogue where you'll find a blend of several genres represented.  So come on in, the water's fine...

10. Here Today, Gone Tomorrow - I place this one here simply due to perspective I've gleaned over the last year & a half; about life, opportunity, self... We're here today, gone tomorrow, searching for some higher meaning.  Something I struggle with on occasion, but the sentiment is universal, I think.
9. All I Need - I continue to insist if this song was done by a current pop star it would be unstoppable.  A solid slice of mid-tempo excellence from note one.  That chorus is simply exquisite; powerful, memorable, simple, yet effective.
     "The walls are there to hide
       The scars and hurt that's on the other side..."
The post-solo breakdown with only vox & drums is so perfectly executed.
8. The Midnight Hours -  I've included the live version here to highlight just how impressive it is when a band can replicate recorded vocals.  The main riff/verse is extremely challenging, with almost a reggae feel, but once that bridge hits, the song really takes off into AOR heaven.  Written as an "F U" to past record companies, it features some thinly veiled biting lyrics in the bridge section:
     "But the silence wakes a guilty mind
       And you lie awake as your conscience tries to run and hide"
This is how melodic AOR should sound...
7. Empty Promises - Just an angry tune... "I'll be prying those words from your mouth, cuz I always think you're lying...".  Aggressive main riff, interesting slides in the bridge, helping to create the tension needed to convey the message in the chorus: "I would be alright if I could live on empty promises".  Not to mention a phenomenal dive bomb, whammy-bar release at the end of the solo that gets me every time.
6. Whatever It Takes - This song takes me back to my younger years, when a lost love felt like your heart would forever be empty.  That first verse is just a killer... These guys have an uncanny ability to create uplifting melodies from the saddest messages.
    "Tell me what you want, tell me what you need
      So I can stop this heart racing out of me..."
5. One of Life's Mysteries - Another song rooted in yearning for love one can never quite grasp.  Just a HUGE chorus that drives the song to new emotional heights.
     "You're one of life's mysteries, a wall of secrecy
       Maybe I was never meant to know
       You're one of life's mysteries that I can't seem to solve yet"
Add that to the phenomenal bridge lyrics: "If love is a healer, then I'm living wounded...".  Again, the message is of hurt and pain, yet the melody is so positive the song becomes something other than what the lyrics suggest it should be.
4. If There Was A Time - After a beautiful piano/vocal intro, Harry Hess bursts into a Steelheart-worthy scream, launching this song into a perfect mid-tempo ballad.
     "Last time I checked I'm at 34 sins
      Another won't matter cuz I'm never gonna win
      Hoping now I'm on a road that I can change..."
A sentiment many of us have felt at some point in life.  It's a song of hope, one of self-reflection that no matter what is happening now, tomorrow is, in fact, a tomorrow.  Today doesn't need to define you (ok, enough from the Dr. Phil pulpit... onward we go).
3. No Justice - First tune I ever heard from HS, and wondered "Who is this guitarist channeling his inner Nuno?".  The strength of this song is in the driving beat laid down by Darren Smith allowing the band to shine in their respective areas.  The solo is damn near a song within itself, as Pete Lesperance lays all his influences out in just under a minute of tasteful note choices.
2. Die Off Hard - After a solid driving opening riff, I enjoy how the verses morph into more of a bouncy, rollicking groove.  Then when that bridge hits, the song changes into a more aggressive approach.
     "It's been a long time coming
      I'm tired of failing you
      It's been a long time coming
      It's time to face the truth of old habits
      That die off hard..."
There are so many melody changes in here, I never get tired of hearing this tune.  The solo also shines in this one.
1. Weight of the World - The start of this one will need to grow on many, as it's relatively dissonant until the acoustic gives way to the absolutely monstrous opening riff.  The verse is a master class in how to use space to create tension, while the chorus delivers the release of that tension in spades.  Pete's use of pinch harmonics and string sliding in the solo matches up so perfectly to the tone of the song, it's almost a song within itself.

I hope you give these songs an open minded listen.  There's SO much more out there like Rain, In My State of Mind, Higher, Staying Away, Victim of Fate... Another band that "Should've been huge".

MY Top 10 Favorite Mr. Big Songs

What the heck, let's do another tonight... this time in the wake of drummer Pat Torpey's passing, I'll tackle some Mr. Big.  When this lineup was announced in late '88 I remember being very excited.  I'd known Eric Martin from his solo albums, Sheehan from Talis & DLR Band and Paul Gilbert from Racer X.  With Eric's R&B influence, coupled with the chops of Billy & Paul, this had the makings of some phenomenal songs. Luckily, there is a laundry list of memorable tunes to choose from, but here is MY list of favorites.  A good helping of these will be outside what most will know, so here's a chance to broaden your understanding of this impressive quartet.

Honorable Mention: Next Time Around - Recorded as they reformed after several years, it was a castoff from Lean Into It... castoff... this was a hit!  Oh well, it's always nice to find the hidden gems years later.  What a chorus!

10. I Don't Want To Be Happy - Such a perfect tongue-in-cheek offering.  "I married my high school drama queen..." LOL!  C'mon, that's just gold.  "I don't want to be happy, that's why I'm with you"... hilarious!
9. Wake Up - Written by Richie Kotzen along with Richie Zito, this song just flows.  Excellent energy throughout and a memorable chorus.
8. A Rose Alone - I just love the melodies on this whole thing.  The verses are so understated until exploding into the chorus.  Kotzen does some tasty slide on this.  Very southern rock feel.
7. Nothing But Love - For the record, those strings at the beginning are actually a guitar being played through a Paul Gilbert designed synthesizer.  The solo is really the star of this song as much as the heartfelt singing of Eric Martin.
6. Forever and Back - Off the new Defying Gravity, it takes some listens to really understand the nuances, but that chorus is so LARGE!  I particularly enjoy the background "Ah, ah, ah".  I marvel at the vocal prowess of Eric Martin at 57.
5. Shine - Straight up mid-tempo rocker written by Kotzen that Eric Martin-izes.  Just a perfect blend of melody and music.  Hummable, memorable, and, sadly, lost in the wash.  Should've been huge...
4. Take Cover - Simplistic, yet quite reliant on percussion and precise guitar acumen.  The music really lets Eric's vox shine, letting the vocal melody become a secondary driver of the song.  Not the usual Mr. Big fare, but still a song I never skip on the iPod.
3. Just Take My Heart - That opening sounds heartbreaking, which just reinforces the sentiment that comes after.  Eric Martin's finest Mr. Big vocal performance, IMO; subtle, pained, understated.  Again, the solo really adds to the emotion contained within the composition.  I love the chorus modulation after the solo, almost makes it end on a optimistic note.
2. Stay Together - I often call this the best written arrangement ever.  Here's why: Just listen to each player independently within the song... EM is on his game.  PG plays a solid chord-filled melodic progression.  Billy does some amazing Motown bass runs in the chorus.  And Pat Torpey throws in some of the tastiest, simple drum fills.  I especially enjoy the understated solo section; it really adds some tension to a sad, yet upbeat tune.  I contend this is their most "band oriented" song as each player shines within the song.
1. Green-Tinted Sixties Mind - NO BRAINER!  Even Mau can't argue with this one... From the finger-tapped opening to the simplistic, melodic main riff into the verse/chorus, it really is a fine song.  The sheer lush melody of the chorus makes this far and away their best song.  Eric is in fine voice throughout and when Paul launches into that solo, it really takes off.

So germinating from a sad day in Mr. Big land, I thought I'd throw this out there so we never forget that music is really the base of our lives.  It has the power to inspire, uplift, upset, and everywhere in between.  I hope this challenges you, Interested Listener, into seeking out some more of Mr. Big's impressive musical offerings.

MY Top 10 Favorite Def Leppard Songs

Anyone who knows me understands I am very much NOT a "Greatest Hits" type fan.  Yes, I understand the hits are The Hits for a reason.  But I also believe focusing too much on the familiar leaves one susceptible to missing out a lot of other, better songs.  My dad introduced me to Def Lep in '80 as a wee 7-year-old.  "Rock Brigade", "Wasted", "Hello America", these were all raw, heavy introductions to English rock, continuing on from Zep, Priest, and the like. 

It wasn't until their second offering, High 'N' Dry, that I really understood just how good this band could be.  Sure, I was only 8 at the time, but for a kid that got KISS: Destroyer at age 4, I was a music expert, right?  Well, I could go on all day with the history lesson... OR, I could just throw out my top 10 and wait for the rebuttals.  So let's strap on the stirrups and take a Ride Into The Sun:

10. Love and Affection - Could've been yet another hit off this monster.  I've always been drawn to the lyrics: "Don't give me love and affection... or what you think it should be".  Great melody, great solo.
9. Ride Into The Sun - Gotta love the doo-wop piano intro, kicking into the full chord opening riff.  I think part of the intrigue is the guitar tone: bright, yet crunchy.
8. Lady Strange - High 'N' Dry, still their best album, front to back.  Just listen to that staccato opening, leading into the melodic second.  I can see why they fell into the NWOBHM early on.  The solo also sheds some light on where Tesla's influence came from on songs such as "Freedom Slaves".
7. Torn To Shreds - Newer song, yet lost in today's landscape.  This chorus is HUGE!  What a melodic bridge, leading into a quite memorable chorus.  This comes off the X album and I highly suggest it.
6. When Love & Hate Collide - I attached the lyric vid as this song is all about the lyrics and vocals.  I think what really grabbed me about this song is near the end,  The lyric changes from "...do you have a heart of stone" to "...if you have a heart at all"... I think we can all apply this song to our lives at some point.
5. Long, Long Way To Go - Also off the X disc, is so soft, yet bombastic vocally.  "We always were the better part of me"... what a lyric, delivered so well.  The pre-solo bridge has some of the most universal heartbreak lyrics I can remember.  This is arguably one of their best "lost" songs, ignored by radio.  One listen just isn't enough.
4. Let It Go - That opening riff is savage, with a hint of AC/DC attitude.  Joe's vox are so silky, yet raw throughout.  As Gene Simmons once said "It has more balls than the World Series".  The guitar is so crunchy and melds with the vocals so well.  The middle breakdown is classic English metal.
3. Stagefright - I SAID WELCOME TO MY SHOW!!!! Listen to that chugging riff to open this Pyromania classic... hard, heavy, and inviting.  I just love this chorus, with the melody and gang vox.  One of the first solos done by Phil Collen upon joining the band.
2. Mirror, Mirror (Look Into My Eyes) - Such a heavy riff to open, leading into a very sparse verse section, building tension... Then the gang vocals again "Take a look into my eyes...".  A very well arranged song by Mutt Lange.  A veiled ode to cocaine use, yet one could read a love lost into it also.
1. Photograph - One of the first licks I learned to play on guitar; simple, yet memorable.  Slightly based on an unhealthy obsession with Marilyn Monroe, there's more hooks here than on a deep see fishing expedition.  Hints of Duran Duran in the chorus guitar, pop influence galore, they were masters of blending genres into rock.

So there it is... feel free to disagree, or not.  In any case, thanx for listening for awhile.

RIP Pat Torpey - Mr. Big

Tonight we crank some Mr. Big: RIP Pat Torpey. I'll never forget seeing in RIP magazine that this guys were putting out an album & counting the days. Eric Martin's R&B-rooted vox, Billy's bass-dancing, Mr. Paul Gilbert's fretboard histrionics, & PT's chameleon drumming on American Bandstand... I KNEW these guys would write some killer tunes. Look beyond "To Be With You"... there's a treasure trove of songwriting & musicianship that, sadly, will now come to an end. I'll leave you with a Torpey/Cordola composition from "The Stories We Could Tell"

     Sitting astride in a chair, watching as the ice slowly melts in a somewhat cheap blended whiskey, it occurs to him that much of one’s life can be seen within that glass: a watered-down version of what an older man envisioned for his younger self.   Can he pinpoint exactly when the road forked, or did the worm glacially turn over in its grave?

     

     It’s an odd feeling, trying to measure mortality against the successes and failures of a life not quite led to its fullest.  Not quite healthy, not quite happy; mostly just… being.  Which, truth be told, isn’t exactly the worst place to find yourself.  There’s a certain comfort afforded by being just what you are at this moment, good, bad or indifferent.

                

     The problem becomes finding the want to be better, or at the very least, a better version of whatever this is.  Presumably, it’s there.  The ambition to match the realization.  The actualization, however, takes a certain commitment that isn’t so easy to identify. 

                

     We now see a man worn by his perceived frivolity and indifference slowly place the glass on the countertop, realizing that it was indeed a simple metaphor.  He has come to understand the glass, empty of its sweetly distilled contents, is exactly what the mirror sees.  It is in the fading daylight the epiphany emerges, not as a punch, but as a delicate touch. 

                

     I can be better… I can be much better… I can be the best parts of what I should’ve wanted for myself all those years ago.  There’s still time on the clock and I have downs to go.  No need for a timeout, I know exactly what play to call…

               

     Well, then run it and let’s get the hell out of here… 

Help me out please, since I only got an A in Econ 101... How is allowing citizens to keep more of their own money "stealing" from the government?  I'm convinced a liberal wants the tax rate to start at 100% and anything below that they're nice enough to throw our way.  No one is taking away from low income people since they don't actually pay any taxes, so, of course, a tax cut helps "the rich", as their percentage of earnings is larger than, say, mine.  As a percentage, the middle class will get a sizeable amount more based on earnings.  As for "giving deals to corporations", let me ask you in all seriousness: How many jobs have you gotten from a poor guy?  I'll wait... that's right.  Exactly zero.  Businesses actually HIRE people, so in a sane person's reasoning, they will invest to grow their business.  It's a little thing we rubes call Jobs.

A PTBNL Guest Post: The Day Star Wars Died by Brad Weiland

Editor's Note: Since I post on here about as often as Boston releases a new album, I decided to give the floor to a good friend, who passionately shared his impression on Star Wars VIII: The Last Jedi.  These are his thoughts...

February 3rd 1959 was the day the music died: the night Buddy Holly, The Big Bopper and Ritchie Valens died in a plane crash in Clear Lake Iowa. The Day Star Wars died for me was December 18th, 2017, in Wausau Wisconsin.

Just to give some background on this, I have been what you would call a Star Wars Nerd since I was very young. Episode IV was released in 1977 and I was born into this world in 1974; and even in my youngest years, I can still recall the absolute ground swell that George Lucas thrust upon us back then. The two absolute loves of my childhood, and to this day, have always been baseball and Star Wars. So you can imagine my excitement level was pretty high as I experienced a whole new cinematic experience last night in a heated barkalounger with an anxiousness that only a new Kiss record, Brewer pennant chase or Star Wars canon can produce.

Two years ago I walked out of Episode VII very unsatisfied as I felt J.J. Abrams and Lucasfilm Ltd. just bilked me out of my 10 bucks with an all over the place knock off of Episode IV; plus they killed off Han Solo. I was really disgruntled about that! This leads me back to last night.

The Last Jedi was an OK movie when it comes to movies. But this isn't just another movie.. this is a frickin' Star Wars movie! Anything less than excellence just will not do. And then it happened about two hours and fifteen minutes in: after a really awesome scene where Luke sticks it to Kylo, projecting himself onto Crait so what is left of the Resistance can get away, he dies. I was beside myself inside, trying not to be dramatic to the folks I was attending with.

I was not a fan at all with the direction they took with Luke's character the whole movie, expecting that he would be back for a pivotal role in Episode IX. They made my childhood hero into a paranoid and despondent recluse/coward. The same guy who oozed confidence in Jedi and willingly risked it all on a hunch, sensing conflict in Vader. This coupled with him dying made me really unhappy as I left. I honestly was mourning.

Today as I regurgitated the movie in my mind it dawned on me that Star Wars, and in turn part of my childhood, died. It's time for the kids today to latch onto Finn or Rey and have their lifetime hero. Perhaps Rian Johnson was right to "let the past die". This reminds me a lot of Rocky IV when Tony says "When Apollo died, a part of me died". Well last night, when Luke died, a part of me died. And now I suddenly feel about twenty five years older... - Brad Weiland

Sons Of Apollo: Psychotic Symphony review

Have you ever felt like you've run a marathon, yet never left your favorite easy chair?... well, that's the sensation I got after delving into Psychotic Symphony from the tour de force known as Sons Of Apollo.
Consisting of Mike Portnoy (Dream Theater, Winery Dogs), Derek Sherinian (Dream Theater, all world...), Billy Sheehan (DLR, Mr. Big, Winery Dogs), Ron "Bumblefoot" Thal (GNR, That Metal Show theme), and Jeff Scott Soto (Yngwie, Journey, W.E.T., Talisman), Sons Of Apollo display a unique amalgamation of progressive leanings coupled with solid melodies. A good portion of those melodic leanings can be attributed to the inclusion of Jeff Scott Soto as vocalist. Long ignored by mainstream listeners, JSS has proven to be quite the vocal chameleon in his 30+ years in the rock scene.
"God Of The Sun" starts off with an interesting middle-eastern theme, before kicking into a double-bass, staccato guitar/keyboard main riff.  After a healthy progressive leaning introduction, the song turns into an interesting Deep Purple influenced verse section.  The chorus is quite catchy, given weight by the grounded Soto vocals his fans will remember from early Yngwie albums.   The slow middle section adds a fascinating change that seques into what many will term the "Dream Theater" portion.  I hesitate to label anything this band does as derivative of their past endeavors simply because I expect them to.  It's Portnoy & Sherinian for Christ's sake! If anyone can do it, they've earned the right.
2nd single "Coming Home" is basically a straight ahead rock track, with an amazing keyboard intro.  The main riff is loose & fluid.  What this song does is let Jeff shine, showcasing his forceful, anthemic vocals..  Interestingly, it's really on this song when long time Sheehan fans will hear that he's changed his signature sound & given it a beefier, spacious bottom end.
We've reached the first single "Signs Of The Time", and it's here we really get a complete vision of what SOA is: Progressive leanings, heavy melodies, virtuosic musicianship.  There's much here to digest between the classic metal vocals & odd time signatures.  Sherinian, especially, shines on this track, weaving keyboard lines in & out of the various sections.  Thal's guitar breakdown around the 4 minute mark shows an impressive use of notes & space, a hallmark of modern prog rock.  This was a solid choice for the initial release as it houses nearly all the elements the separate players bring.
"Labyrinth"... Wow, what does one say?... From the opening ethereal keyboard passage, through the verse & chorus, there's a clear epic feeling that this song will be a journey.  Again, it's interesting to note how Portnoy's choice of Jeff Scott Soto as vocalist somehow changes how one would think these songs would be presented otherwise.  There's a foundation that Soto brings in his metal register that separates this prog from some of the others; It's clearly not in the Marillion/DT/Porcupine Tree milieu, but those MUSICAL elements are there.  It makes for an interesting dichotomy that keeps the songs grounded in classic hard rock.
"Alive" begins with a riff lush with chords many would equate to mid-90's grunge, until JSS starts to sing a classic hard rock vocal in his lower register.  This track would most closely resemble something off JSS' solo band SOTO material.  Slick, spacious arrangement, letting the melody control the song.  A nice mid-tempo change after Labyrinth & the cacophony of craziness to follow...
The opening riff just got finished & I'm already exhausted... "Lost In Oblivion" is a frenetic tour de force.  There's Nu-Metal nods, progressive elements, happy fun time signature craziness... It isn't until the chorus when one feels there's a direction to the song, and I think that's by design considering the title.  I always feel a little on edge when this track comes on, as it's hard to reconcile many of the parts as whole.
"Figaro's Whore" is a sweet little Sherinian diddy that leads into one of my personal standout tracks.
This song is literally my "Divine Addiction"... From the distorted opening keyboard, to the guitar doubled main riff, one can't help to feel a Deep Purple/Kashmir connection.  What really makes this track stand out is the vocal prowess of JSS.  One listen to that chorus not only sets the toes a tappin', but if you're not air drumming, you may want to check your pulse!  When Soto heeds all that "It's begging you, begging you to stay" there's SO much power in the delivery you wonder if maybe you wronged him personally at some point.  I would call this the song that Blackmore forgot to write.  Exquisite, memorable, and certainly one I will come back to often.
Finishing off this excursion is a 10+ minute instrumental "Opus Maximus".  Now those familiar with Dream Theater will see an obvious parallel here, as the two main forces in SOA are Mike Portnoy & Derek Sherinian,  That being said, Bumblefoot more than holds his own on the guitar front & I challenge any Billy Sheehan fan to realize this is actually him on these tracks without knowing.  The Ron Thal/Billy Sheehan duo musically will be the ones scrutinized on this release & I can tell you they both play amazing.  In fact, it almost seems as if they play off each other quite a bit, which in turn lets Portnoy & Sherinian shine in their places.
As a listening experience, Psychotic Symphony challenges, yet rarely strays from the melodic/progressive genre they surely are targeting,  There are enough metal elements to satiate those that need a fix of double bass & down stroke picking.  I know the guys are dedicated to this as a BAND & not a project, with a full 2018 planned on the tour front.  I, for one, will be supporting them in that conquest, because, dammit, how often does one get to see world class musical gods together at their finest?!

Female Golfer Denied Trophy Over Rule

I will preface this post by saying I watch the LPGA at least twice as much as the PGA. I feel what's lost in this "outrage" is that she also has the option to golf the women's side in the spring. I have no problem with her winning the trophy on the boy's side. Zero. None. But then she shouldn't be eligible on the women's side. Easy solution. Of course it's a ridiculous rule, but I assume it's in place so the women's side doesn't get diminished. Regardless, it was handled very poorly, and showed an immense lack of foresight (as if the powers that be didn't believe a girl could win from the same tee boxes). Believe me, in my bowling life I've been whooped by many a female and while it sucks to get beat by anyone, hats off to the many fine women bowlers that knocked me down a notch.

Harem Scarem "United" Review

26 years and 14 albums... and no end in sight for the boys in Harem Scarem. Here they return with a strong offering covering all aspects of what makes this band such a hidden treasure. There's everything you want from Hess & Lesperance et al, along with some inspired curveballs that somehow don't seem to be outside the Harem norm. I've long championed this Canadian band for their refusal to do what is expected, while still staying true to their guitar-driven, massive vocal MO. And they certainly don't disappoint on "United".

Speaking of "United", the album moniker kicks off this slice of AOR in prime fashion. Following a heavy opening riff, Lesperance dives into a wonderfully jaunty diad leading into the main riff. The verses play over some sparse open chords, creating space to breathe before the classic HS chorus. A solid opening.

"Here Today, Gone Tomorrow"... this would have fit perfectly on the "Higher" disc. I hear songs like this and wonder how this band has been ignored for so long. A perfect representation of what melodic AOR should be. On a personal note, it features background vox from another of my favorite artists, Jeff Scott Soto. Song two and we're already being deluged with some of the best melodies in the genre.

With "Gravity" we get our first taste of the eccentricities that make HS so versatile. There's a good bit of Queen influence in the background vocals here. After the straight-forward melodies of the first two tracks, Gravity is a welcome departure, slightly challenging the listener to come along for the ride.

"Sinking Ship". Wow. Just wow. This song personifies just how GOOD Harem Scarem can be at any given moment. I really enjoyed the nuances in Lesperance's guitar lines, especially the slight string bend before the second verse. Great lyrics: "I'm gonna stand my ground on a sinking ship". It's amazing that the chorus vocals are done by two people: Harry Hess and Darren Smith. Notice the Nuno Bettencourt/Brian May influence in the guitar solo. Even after all these years, Pete Lesperance still pays tribute to his heroes.

We've reached the power ballad portion of the program and what a portion it is. In "One Of Life's Mysteries", Hess works a beautiful melody over a simple piano progression before the song takes off into an unmatched melodic masterpiece. I am convinced, much like 13's "All I Need", that if this song was done by a current pop/rock artist, it would be huge. This is instantly up there with some of the best ballads HS has penned.

"No Regrets" really feels like a song that Def Leppard hasn't written yet. Very uptempo, with a rollicking verse section, this song again features the BIG background vocals we've come to expect from HS over the years. A perfect transition from a ballad to introduce the second half of the disc.

"Bite The Bullet" starts out with a silky guitar line that plays great into the melodic verses. The chorus carries that feel throughout, creating a catchy sing-along melody. If there's one over-arching theme here, it's the ability of Harem Scarem to consistently deliver memorable choruses. Jeff Scott Soto is featured more prominently on this track, especially at the end, creating a nice counter-point to the Hess/Smith vocals.

Straight out of Overload, "Things I Know" is a modern mid-tempo rocker that takes no prisoners. Trust me, this chorus is a Monster. Harry Hess is so severely underrated as a singer, songwriter, and musician. The dynamics of this song are document #1 on how to create tension and release within a composition.

Another song that would've been perfect for Hope or Overload, "The Sky Is Falling" is solid modern rocker. This one, I think, would take a little longer to digest for the uninitiated, but once the chorus kicks in, the melody is there. The Harem Scarem boys do nothing if not challenge the listener. Again, there is quite a bit of Queen influence here, especially during the solo.

The penultimate track, "Heaven And Earth", may well be the biggest track on the album. The main guitar riff is so catchy, it's hard not to rewind just to hear it again. If you can't sing along to this chorus, you may want to check your pulse. This thing is so beyond badass it'd drop Apollo Creed with just a look. If you listen to the chords played underneath the solo, you can just hear majestic perfection.

Closing out this delicious slice of AOR brilliance, "Indestructible" begins as almost a melancholy country song. 1:45 in, it suddenly changes to a chugging riff before veering off into a massive chorus that Harry nails at the top of his register. I can't overstate just how moving the vocals are on this song. You can just hear the emotion pouring out with every word.

People, this is THE BEST BAND no one has heard of. I can't implore you to search out their catalogue enough. Harem Scarem has just added yet another master class of AOR to their history. World class vocals and songwriting, along with virtuoso guitar riffs, make this a must own for anyone that calls themselves a fan of rock music. After disbanding in '08 & reconvening in '13, Harem Scarem have proven that absence cannot only make the heart grow fonder, it can grow into a bigger and better version of what it was.

4.5 of 5 stars. Easily.

That's life...

What a month of September for Shawny.

First, I find out I have colon cancer on the 8th (at only age 42). Post-surgery is going well. I find out about chemo on Monday. Am I scared? Not as much as one would think. It was Stage 3, N1, meaning it was outside the large intestine, but didn't reach any other organs.

Second, I became a grandpa to the lovely little Rosalie Lynn. Finally earned those grey hairs!

Third, we had to put down our beloved Benson. He was a 16 year old purebred Beagle and one helluva dude. I'll miss him every day.

This is a Scott Von Holzen original painting of Purple Rain done at my suggestion a couple weeks before Prince died. It depicts the last two "Purple Rain" lines before the solo begins, along with several color/pattern combos taken from outfits throughout his career, including the unmatched Super Bowl halftime show. My wife purchased the piece for our anniversary and it hangs in my office proudly. Note the use of 2,4, & U hidden in the corners. The entire work is hand-painted wood pieces and includes several shades of "purple" raindrops.

May U Live 2 C The Dawn - The Genius of Prince Rogers Nelson

1979... I was but 6 years old when I heard the guitar solo in "Why You Wanna Treat Me So Bad" and was mesmerized by the notes & tones. Yes, 6 is a little young 2 b jamming to "Soft and Wet" or "Sexy Dancer", but thankfully my parents were children of the 60's & allowed me 2 examine that which moved me. I was obviously 2 young 2 understand the statements being made in androgyny and sexuality, but I was not 2 young 2 understand that a dude who could play 27 instruments and deliver vocal acrobatics was something special.

The genius of the artist was his unending desire 2 get music 2 the people, get the ideas on tape, so he could move on 2 the next set of epiphanies that haunted his creative spirit. 2nite I hurt. I've lost a member of my family. His music has helped me thru longing and heartbreak, happiness and sadness, confusion and clarity.

Just last week I dove headlong in2 the Prince Rogers Nelson catalogue, starting at album one "For You" all the way through "Art Official Age".

Here I'd like 2 delve in2 some of the songs that continue 2 move me 2 this day. Some U know, some I suggest searching out.

Prince was different from contemporaries such as Michael Jackson, in that his voice was dirty, powerful yet angelic, dangerous yet inviting. NO ONE had the falsetto of Prince, NO ONE had that ability to project raw emotion, NO ONE could switch it on and off within the song. "The Beautiful Ones" is a prime example of this talent: A sweet, piano-driven ballad dripping in falsetto devolves in2 a primal scream of want and need, as Prince pleads "Do U want him? Or do U want me? Cuz I want U!" Stripped of the longing for acceptance and starting a family, the song becomes a strained, powerful lament 4 his lover 2 give herself 2 him fully, or risk destroying him. There isn't a soul among us that hasn't wanted 2 scream out 4 some1 we couldn't have until it left us broken.

"Do Me, Baby", again, shows his absolute mastery of the falsetto. Delivered in his higher register, Prince reminds his lover that he is a man while not being afraid to b submissive 2 her desires. It is a song dripping in seduction and sexuality, a playful episode not far from reality, I'm sure.

He revisits this falsetto in my personal Prince favorite "If I Was Your Girlfriend", a stunning examination of a man wanting 2 b anything and everything 2 his lover. Built on a melancholy, bass-driven groove, Prince presumably asks Susannah Melvoin what he needs 2 do 2 b as close 2 her as her sister, Wendy. Almost kismet, the soundboard had blown a fuse, creating the overdriven, somewhat distorted vocal recording, underscoring the emotion of a heart pleading 2 b accepted. His response 2 the soundboard malfunction? "Leave it. Maybe it was meant 2 b." Again, he shows a complete mastery of fusing the feminine with the masculine. It's no wonder there r college courses dedicated 2 dissecting his lyrics.

Arguably his most popular song, "When Doves Cry" is almost a character study set 2 music. The decision to pop the bass out in the final mix fundamentally changed the direction of the message. No longer was it a funky, rocked up jam; it became a cold, sterile environment set underneath some of the most personal lyrics Prince had penned. "Dig if u will the picture of U and I engaged in a kiss..." sets the stage for what sounds like another sexually-charged examination, until the chorus radically changes what came b4: "How can u just leave me standing alone in a world so cold...". The song then becomes a story of loss and heartbreak. Interestingly, the original lyric was "when love dies", pretty straight-forward and obvious. The change 2 "when doves cry" brings interpretation in2 the mix; now, the listener is left 2 wonder what that means 2 them, which is the driving emotion of the song.

"When 2 R In Love" from Lovesexy follows the path set by "Do Me, Baby", although from a more spiritual angle. Take the chorus, for example:
"Come bathe with me, let's drown each other in each other's emotion
Bathe with me, let's cover each other with perfume and lotion
Bathe with me, let me touch your body till ur river's an ocean
Bathe with me, let's kiss with 1 synonymous notion
That nothing's forbidden and nothing's taboo, when the 2 r in love"
Somewhat graphic? Sure, but it is here Prince suggests the idea that sex and God may not b 2 different things. Maybe they r meant 2 coexist within this world, one fueling the other thru the connection of souls. If one looks closely, this viewpoint can b found in several compositions: I Would Die 4 U, Let's Go Crazy, even Darling Nikki ends with the backwards message "Hello, how are you? Fine, fine, 'cause I know that the Lord is coming soon. Coming, coming soon>"

Spirituality has always been a theme in Prince's work, with none more indicative of this presence than "I Would Die 4 U". Here Prince tackles God from God's perspective using some of the most provocative lyrics of his career:
"I'm not a woman, I'm not a man, I am something that U'll never understand"
"No need 2 worry, no need 2 cry, I'm your Messiah and U're the reason why"
"I am not human, I am a dove, I am conscience, I am love, all I really need is 2 know that U believe"
It is an amazing composition, deftly presenting himself as God 2 deliver a deeply religious point of view. 4 such a straight forward dance song, the lyrical depth is challenging the listener 2 interpret the message put 4th.

"Still Would Stand All Time" certainly fits in the spiritual category. Essentially a slow piano ballad 2 begin with, the song evolves in2 a full blown church rave up. There's a certain maturity in the call and response with the choir and some of Prince's most spirited vocal delivery. "You better run to the light, leave your past behind, all things will be fine, still would stand all time" is Prince continuing his transition from shockadelic funk rocker 2 searching 4 a higher meaning in the world around him.

So when Eric Clapton earnestly defers 2 ur 6-string prowess when asked how it feels 2 b the best guitarist in the world, U've entered heady territory. Was Prince the "best"? Probably not, but one cannot doubt that pure emotion simply drenched off the neck. The 1st signs of what was 2 come could be heard on "Prince" in the outro 2 "Why U Wanna Treat Me So Bad" and the grunge-rock "Bambi", the latter featuring that all-familiar dirty tone in its infancy.

It wasn't until "Purple Rain" that the signature sound was officially born, exploding from the vinyl grooves in an epic, bombastic solo finishing off "Let's Go Crazy". Melodically, few Prince solos compare 2 the breakdown in "Computer Blue", written by his father on piano and transposed 4 guitar. In fact, the sheet music in the movie adorned with the name Francis L. is from his father's personal collection.

That brings us 2 the seminal "Purple Rain", maybe the apex of his creative expression. From the opening chords, embellished by Wendy Melvoin 2 create that shimmering lushness, there was something different about 2 happen. The lyrics deal with the process of letting go, whether a friend, lover, or otherwise:
"I never wanted to be your weekend lover
I only wanted to be some kind of friend
Baby, I could never steal you from another
It's such a shame our friendship had to end"
Where the true magic of this song is showcased is in the guitar and his use of melody as expression. The soaring notes r almost ethereal, as if the heavens actually opened up. I've always felt this was as close 2 church as a rock song could get. The sheer emotion involved in creating something that could touch so many can b difficult 2 put in2 words. Combine that with the falsetto runs after the solo and the song becomes as close 2 a religious experience as one can have musically. Even today, I often find myself overcome with emotion when hearing "Purple Rain". It never ceases 2 amaze and surprise me how wonderfully crafted and delivered the recording is.

By now, I'm sure U, the astute reader, can sense the reverence I feel 4 the late Prince Rogers Nelson. He will forever b a part of who I am and who I think I could b. In many cases, his music has shaped me, comforted me, excited me, and amazed me. He was very much the soundtrack throughout my life. I fondly remember my mom letting me stay home "sick" just so I could watch Purple Rain all day and play air guitar on my homemade "Cloud Guitar".

Several years ago, I asked my friend Karin 2 craft me the purple jacket and frilly shirt 4 a karaoke contest. I brought my Telecaster as a prop, complete with amp, and sang the hell out of "Purple Rain", again doing the best air guitar on planet Earth. I didn't win (even after going full Peter Criss with a lighted KISS backdrop for "Beth"), but damned if that wasn't the closest I felt 2 being a 5'2" superstar.

I guess I don't know how 2 process this other than time waits 4 no 1. I like 2 think he gave all of us what God gave him: an unmatched artistry that was able to transcend ages, genders, and colors. I will miss U, Prince... thank U 4 sharing urself with the rest of us mortals. U will live on.

I'll leave U with some of my favorite lyrics. Take them as U wish; some r personal 2 me, some r simply great songwriting. I hope 2 U they r a means of remembrance 4 1 of the outstanding musicians of any lifetime:

"I guess I should've known by the way U parked Ur car sideways that it wouldn't last" - Little Red Corvette. Seriously, sit back and visualize being able to read compatibility based on how a motor vehicle is parked. It's so ludicrous, it's become iconic. This one line sums up the humorous aspects of Prince's personality.

"I guess I must b dumb, she had a pocket full of horses, Trojans, some of them used" - Little Red Corvette

"If I was ur one and only friend, would U run 2 me if somebody hurt U, even if that somebody was me?" - If I Was Your Girlfriend

"My pants were wet, they came off. But she didn't see the movie cuz she hadn't read the book 1st. Instead she pretended she was blind, an affliction brought on by a witch's curse" - The Ballad of Dorothy Parker

"Thunder drowns out what the lightning sees and U feel like a movie star" - Raspberry Beret

"I guess U know me well, I don't like winter. But I seem 2 get a kick outta doing U cold" - Strange Relationship

"If he poured his heart in2 a glass and offered it like wine, she could drink and b back in time 4 the morning paper" - The Morning Papers

"Loving U in silence, knowing that it's right. Under your gaze I ponder this love 2night" - Soul Sanctuary

"If Ur the 1 who's always lonely, then I'm the 1 who's always alone" - 17 Days

"I play the fool when we're together, but I cry when we're apart" - Why You Wanna Treat Me So Bad

"U must become a Prince b4 Ur King anyway" - My Name Is Prince

"My luck's gonna change 2nite, there's gotta b a better life. Take a picture, sweetie, I ain't got time 2 waste" - Baby I'm A Star

"These r the days when U wish Ur bed was already made" - Manic Monday

"Excuse me, but is this really goodbye" - Goodbye

"Shut up already. Damn." - Housequake

SOMETIMES IT SNOWS IN APRIL

Tracy died soon after a long fought civil war,
just after I'd wiped away his last tear
I guess he's better off than he was be4,
A whole lot better off than the fools he left here
I used 2 cry 4 Tracy because he was my only friend
Those kind of cars don't pass u every day
I used 2 cry 4 Tracy because I wanted to see him again,
But sometimes, sometimes life ain't always the way...

Sometimes it snows in April
Sometimes I feel so bad, so bad
Sometimes I wish life was never ending,
and all good things, they say, never last

Springtime was always my favorite time of year,
A time 4 lovers holding hands in the rain
Now springtime only reminds me of Tracy's tears
Always cry 4 love, never cry 4 pain
He used 2 say so strong unafraid to die
Unafraid of the death that left me hypnotized
No, staring at his picture I realized
No one could cry the way my Tracy cried

Sometimes it snows in April
Sometimes I feel so bad
Sometimes, sometimes I wish that life was never ending,
And all good things, they say, never last

I often dream of heaven and I know that Tracy's there
I know that he has found another friend
Maybe he's found the answer 2 all the April snow
Maybe one day I'll see my Tracy again

Sometimes it snows in April
Sometimes I feel so bad, so bad
Sometimes I wish that life was never ending,
But all good things, they say, never last

All good things that say, never last
And love, it isn't love until it's past

Lemmy, then Bowie, now Glenn Frey, and to a lesser extent Dale Griffin (Mott the Hoople) & Gary Loizzo (American Breed, Engineer for Styx). That old saying is getting true: the older you get, the less birthdays one attends and the more funerals.

I was never a big Motorhead fan, but I understood Lemmy's place in the pecking order.

Friday I sat down & listened to some Bowie and realized there was a lot more that I loved than not. It's true: one never appreciates what one has until it's gone.

Glenn Frey. Glenn f'n Frey. I can't express words that do his legacy justice. Thank you for The Eagles, Glenn. Timeless. Each and every composition.

The older I get, the more the soundtrack of my youth leaves me...

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...

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.

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.

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.