The Winery Dogs
The Winery Dogs
Audio CD | MP3
Loud & Proud Records
Release Date: July 23, 2013

In this era of Katy Perry pop music and gritty alternative metal there isn’t as clear a place for bands that play straight ahead hard rock and metal. This is the new alternative in many ways as it was when the genre was first born of punk music in the ’70s. Many of the best musicians from the ’80s and early ’90s still have a lot of creative energy but there just isn’t the call for the bands that they were once a part of; or these musicians are older and more experimental.

What’s more and more popular are the super bands, new groups made up of strong musicians from a variety of bands from that era. An example, and possibly the most successful super band currently playing music today, is Chickenfoot, which features Sammy Hagar (Van Halen) on vocals Joe Satriani on guitar, Michael Anthony (Van Halen) on bass, and Chad Smith (Red Hot Chili Peppers). Another example of one of these super bands touring and releasing music is Black Country Communion. The Winery Dogs features Richie Kotzen (Poison), Billy Sheehan (Mr. Big), and Mike Portnoy (Dream Theatre) on drums. While Kotzen was a member of Mr. Big for a time in the ’80s he was just as well known as a solo artist and guitar virtuoso.

The Redwoods Bar and Grill in downtown Los Angeles hosted a bevy of great bands last Saturday night, capped by the magnetic, eclectic performance of the man with the van with the bass in his hand, Mike Watt, who did a set with his Missingmen, and which absolutely blew the roof off the place with its sheer and raw energy.

Downtown LA, mind you, is rather desolate, even during the peak hours of a Saturday night. Unlike New York City, which pulses to its own beat and snakelike charm 24/7, downtown Los Angeles is a still, solemn, quiet area at night, the atmosphere swirling around the eerie silence of the surrounding skyscrapers, which look dark and dormant. If you don’t have a car, and are caught walking its streets at night, there’s almost a sense of paranoia and emptiness abounding, as the more salacious nightcrawlers seem to be the denizens of the timeframes.

Amidst all the hype about the fact that Iggy and the Stooges have gotten together recently, pretty much as a live unit born from the death of original lead guitarist Ron Asheton, and containing the musical unearthing of guitarist James Williamson, another influential game player who helped carve certain niches in the pre and post punk sounds and circles, finally comes the album Ready to Die.

The album, whose members have a median age around 60-66, is the first with the Raw Power lineup for the most part since that jolting sonic aneurysm of a release was released 40 years ago this year. Now think about that for a second. A 40-year gap between musical sounds done by the same artists. Reunions of that type in 1973 when Raw Power first hit record bins would have been of the Glenn Miller, Cab Calloway and Sidney Bechet variety. In 1933, Frank Sinatra wasn’t even on the charts yet. The point of that is, that music of that ilk around in 1973, 40 years after their inceptions, were as antiquated as they come, as out of place as a man in a three piece suit in a steambath. That kind of music wasn’t dated, it was double, even triple dated, and mainly reserved for a small contingent of fans who grew up with those sounds who still harked for those “good ol’ days” which were in full manifest by physical flesh and blood actualities of those artists they grew up with.

The heart of Hollywood hosted an exclusive invite-only press listening party last night for the new, highly anticipated upcoming Black Sabbath album, entitled 13. The album marks the first time in 35 years that original members Ozzy Osbourne, Geezer Butler, and Tony Iommi have created and recorded original music on a studio release.

The definitely not black tie affair was held at the Ricardo Montalban Theater on Vine Street just off Hollywood Boulevard in the late afternoon on April 10, 2013. Limited to about only 40 journalists, yours truly was fortunate enough to be one of the members of an audience primed and ready to be in essence the first people to listen to the new album, aside from those involved in its recording (such as people like producer Rick Rubin and drummer Brad Wilk, who is playing in Sabbath in place of original Sabbath drummer Bill Ward, a move that has been rather polarizing to many die hard Sabbath fanatics). In a year marked by new musical releases by legendary rock artists like David Bowie and Iggy and The Stooges, Black Sabbath’s 13 also has created that same kind of neon electric buzz among the rock and music community.

The Next Day
David Bowie
CD | MP3
Columbia Records
Release Date: March 12, 2013

For some inexplicable reason, newly released albums by longtime beloved rock stars are judged on a harsher curve than most. Is it because many of these artists have released decades’ worth of quality work, so critics think they are due for a miss? Is it because we as a society love to watch the high and mighty fall from grace? Perhaps it is because at a certain point, we all get set in our ways. We have an artist stowed away neatly in a certain place in our lives, and that’s where they belong. Anything outside of that comfort zone is immediately regarded as dangerous and a threat to their legacy, so it is rejected outright. Especially when, in the case of David Bowie, the artist has spent a considerable amount of time away from the spotlight, why try a “comeback” now?

Well folks, the good news is this: David Bowie has long-defied convention, and he continues to buck the aforementioned trends on his new record, The Next Day. The record is high energy, hard rocking, poetic, and an exhilarating listening experience. If you were to separate it from all of the back story (as interesting as it is) and examine Bowie’s discography to this point, you would never have guessed that a decade has passed since his last foray into the music world. In fact, despite his long-term absence and the vocalization of many detractors, it is arguable that he is more relevant now than ever before.