The Winery Dogs in Germany Richie Kotzen Billy Sheehan Mike Portnoy

The Winery Dogs 19 September 2013 im Substage Karlsruhe  

Durlacher Allee 62 Alte Schlachthalle 76131 Karlsruhe Germany www.thewinerydogs.com

www.substage.de

The Winery Dogs * Billy Sheehan Mike Portnoy (DREAM THEATER) 

Richie Kotzen @ Substage Karlsruhe Germany 

The Winery Dogs *Richie Kotzen @ Substage Karlsruhe

 The Winery Dogs * Mike Portnoy @ Substage Karlsruhe Germany

  The Winery Dogs * Billy Sheehan @ Substage Karlsruhe Germany

  The Winery Dogs * Richie Kotzen - Stand @ Substage Karlsruhe

Hier die Tracklist zu "The Winery Dogs"

  01. Elevate
02. Desire
03. We Are One
04. I'm No Angel
05. The Other Side
06. You Saved Me
07. Not Hopeless
08. One More Time
09. Damaged
10. Six Feet Deeper
11. Criminal
12. The Dying
13. Regret

 

 

Die neue Band von Mike Portnoy (ex DREAM THEATER, AVENGED SEVENFOLD, ADRENALINE MOB), MR BIG’s Billy Sheehan (und ex David Lee Roth) und Ritchie Kotzen (ebenfalls MR BIG und ex POISON) haben soeben ihr gleichnamiges Debütalbum beim amerikanischen Label 

Loud & Proud Records veröffentlicht.
Erstklassiger Hardrock mit einer sehr schönen Prise 90er Anleihen wie den Black Crowes und Soundgarden, wer sollte das aus dem ff können, wenn nicht diese Herrschaften! Dieses Kraftwerk an musikalischem Know How läßt keine Fragen und Wünsche offen.

Zwei Videos „Elevate“ und „Desire“ vom neuen Album gibt es auf dem Youtube-Kanal der Künstler schon zu sehen. Mike Portnoy äusserte sich zur Band folgendermassen: “Ich bin so begeistert von den Winery Dogs und fühle mich sehr stolz und geehrt, mit zwei der besten Musiker dieses Planeten arbeiten zu dürfen! Richie Kotzen ist ein so unglaubliches Talent, als Sänger, Gitarrist und Songwriter.
Ich denke, durch die Winery Dogs wird er die Aufmerksamkeit und Beachtung bekommen, die er verdient hat. Und was kann man über Billy Sheehan noch sagen, was nicht schon gesagt wurde? Er ist ein Pionier auf seinem Gebiet und eine Legende schlechthin.
Mike Portnoy ist ein Gründungsmitglied von DREAM THEATER, für die er 25 Jahre am Schlagzeug saß. Der Mann hat soviele Preise eingesackt, man kann es nicht mehr zählen und wurde in die Modern Drummer Hall Of Fame schon mit 37 Jahren aufgenommen.

Billy Sheehan hatte mit MR BIG zahllose Erfolge und war mit „To Be With You“ als Billboard Hot 100 Single in 15 Ländern vertreten und als Bassist Preisträger in mehreren Kategorien.
 ticketmaster.de 

The Winery Dogs	Garage Saarbrücken, Deutschland	Sa, 07.09.2013 19:30	Tickets
The Winery Dogs	Colos-Saal Aschaffenburg, Deutschland	Mo, 09.09.2013 20:00	Tickets
The Winery Dogs	Knust Hamburg, Deutschland	Di, 10.09.2013 21:00	Tickets
The Winery Dogs	Lido Berlin, Deutschland	Mi, 11.09.2013 20:00	Tickets
The Winery Dogs	Theaterfabrik München, Deutschland	Fr, 13.09.2013 20:30	Tickets
The Winery Dogs	Gloria Theater Köln, Deutschland	Sa, 14.09.2013 19:30	Tickets
The Winery Dogs	Substage Karlsruhe, Deutschland	Do, 19.09.2013 20:00

Juke And The Blue Joint Blues in Germany

JUKE & THE BLUE JOINT * Blues Rock Soul aus Deutschland 

 

Juke & The Blue Joint @ Spotify

Discography:

Wrong Tool To Get Paid * 2008

 

 

Rough And Ready feat. Andy Just * 1997

 

Into The Blues feat. Ron Williams * 1997

 

Blue Moods feat. Louisiana Red  * 1994

 JUKE & THE BLUE JOINT das ist in erster Linie eine erfahrene Live- und Studioband. Seit fast 20 Jahren im Geschäft, mit unzähligen Konzerten (bundesweit, sowie BeNeLux, Italien, CH, A), u.a. mit B.B. King, Lucky Peterson, Blood Sweat & Tears, Inga Rumpf u.v.a., arbeitete außerdem als jangjährige backing-band mit US-Entertainer Ron Williams, dem US-Sänger/Harpisten Andy Just (Ford Blues Band), sowie der US-Blues-Legende Louisiana Red.

Entstanden als Bluesband moderner Prägung hat die fast 20-jährige Bandarbeit und die persönliche Weiterentwicklung der einzelnen Musiker die stilistische Bandbreite der Band deutlich ausgedehnt, zwangsläufig. JUKE & THE BLUE JOINT 2010 ist in erster Linie musikalische Umsetzung von Lebensgefühl: Spaß, Tanzlust, Übermut, aber auch (Trennungs-) Schmerz und Niedergeschlagenheit. Diese Umsetzung ist eng verbunden mit einer Zeitreise durch die Geschichte der „black american music“. Vom Blues ausgehend, versteht es die Band immer wieder geschickt Einflüsse aus unterschiedlichsten Stilistiken wie Funk, HipHop, Pop, teilw. sogar Country mit dem pulsierenden groove des Jazz, Soul und „oldschool Funk“ (Motown) zu verbinden. Der Clou an der Sache: Trotz extrem weitem Stilspektrum klingt dieser Mix niemals konstruiert, sondern immer organisch, authentisch, … selbstverständlich!

Statements of outstanding musicians:

B.B.King (nach dem Concert in seiner Garderobe, am 1.12.1994):

„I´m no critic. I never would say this music is bad - this music is good. I listen to all kind of music. I listen to jazz of famous jazz musicians and it doesn´t move me. I listen to blues of famous players and it doesn´t moves me. But, yeah, this music does! This music really moves me. You have a unusual sound, … really, a unusual sound. I love this kind of modern blues!

You can count on me, if you like you can use what I said in your papers - I mean what I say. What you are doing is very good. You have a good beat, good arrangements, good horns, good musicians - everybody, it´s well done, the harp is great - what you want more ?

Gentlemen, I’m really sorry that I only could listen to your music for a short time. But I tell you - what I heard was really excellent! Absolutely“

Lucky Peterson:

„That’s it! Excellent Performance!“

Louisiana Red:

„Hey, this is a fantastic band! I really enjoyed to play with them! Damn - what a gig!“

Chris Farlow:

„This band is excellent, definitly!“

Luther Allison:

„This band is really on the way. Great band - and the harp player is incredible!“

Ralph Pennland:

„I heard this music and thought: Damn, what a band is this ? A few weeks ago I had recordings with Koko Taylor and Albert Collins and I tell you this band is good too ! Call me, Frank, if you are sick - I would love to sit in“

Peter Erskine:

„Wow, good fat beat - I like it!“

Bill Dickons, MCA Producer, USA:

„The best blues crossover since Robert Cray“

Sterling W. Reaveley, Promoter, Colombus/USA:

„The best German blues band I ever heard!“

Dennis Chambers / Gary Grainger:

„Pretty good, …pretty good!! Please send me this CD. It sounds great, good played and it’s modern. Fucking good.“

‘Toscho’ Todorovic, Blues Company:

„Sehr gute Produktion. Gerade für ein CD-Debüt ein unglaublich hohes Niveau.“

Dieter Kropp, Radio Bremen:

„Sehr gute Band. Erstaunlich modern und vielseitig. Wirklich eine CD, die sich positiv aus der Masse hervorhebt.“

Detlev Hoegen, Crosscut Rec./Radio Bremen:

„Gefällt mir ausgesprochen gut. Für unsere Breitengrade ungewohnt kalifornisch; sprich laid back, virtuos und perfekt im Klang.“

Winfried Dulisch, Musikjournalist und Mitglied in der Jury für den ‘Preis der deutschen Schallplattenkritik’:

„In den letzten 12 Monaten habe ich einfach nichts besseres gehört!“
*
JUKE AND THE BLUE JOINT from Cologne, NRW was founded in November 1990. After playing appr. 1000 gigs in GERMANY, ITALY, NETHERLANDS, AUSTRIA, Great Britain (London) the band is recommended as one of the most interesting performing acts of the german blues scene.
• B.B. KING - JEAN SHY - BLOOD SWEAT & TEARS
• LUCKY PETERSON - ANGELA BROWN - CHRIS FARLOW
• INGA RUMPF - LUTHER ALLISON - ERROL DIXON
• BLUES COMPANY - MITCHEL FORMAN & CHUCK LOEB BAND
• DAS DRITTE OHR - DIE ZÖLLNER – RAUSCH
• JOACHIM KÜHN QUARTETT - ALEX ORIENTAL EXPERIENCE
• PAUL LAMB & THE KINGSNAKES - PAUL FIELD
• ABI WALLENSTEIN & STEVE BAKER - JOHN HAMMOND
A definite highlight was a concert with the great B.B. KING, in december ´94, which J&TBJ has been the opening act for. B.B. KING was really impressed and invited the band after the show in his dressing room.
*
Walter “Mojo” Freter (Udo Freter *28. September 1958 in Betzdorf, Sieg * Cologne, NRW)
known as the lead guitar player for The BRC Blues Band, the early JUKE & THE BLUE JOINT
allboutGuitar Lessons & Workshops * Karlsruhe

Blues Rock Radio Germany Michael Bloomfield

Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects -- most notably Bob Dylan's earliest electric forays -- and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981.

Michael Bloomfield

Gitarrist

Michael Bernard „Mike“ Bloomfield war ein US-amerikanischer Blues-Gitarrist. Wikipedia

Geboren: 28. Juli 1943, Chicago, Illinois, Vereinigte Staaten

Gestorben: 15. Februar 1981, San Francisco, Kalifornien, Vereinigte Staaten

Letztes Album: I'm with You Always

Alben: Super Session, The Live Adventures of Mike Bloomfield and Al Kooper, It's Not Killing Me, Analine, I'm with You Always, Live at the Old Waldorf, Essential Blues: 1964-1969, The Best of Michael Bloomfield, Living in the Fast Lane, Cruisin' for a Bruisin', Knockin' Myself Out, Fillmore East: The Lost Concert Tapes 12/13/68, Analine / Michael Bloomfield, Live at Bill Graham's Fillmore West, Blues, Gospel and Ragtime Guitar Instrumentals, The Root of Blues, The Gospel of Blues, Between the Hard Place & The Ground / Cruisin' for a Bruisin', Between A Hard Place And The Ground, American Hero

Born in Chicago	1994	Essential Blues: 1964-1969
Stop	1968	Super Session
Dear Mr. Fantasy	1968	The Live Adventures of Mike Bloomfield and Al Kooper
The Sky Is Cryin'	1998	Live at the Old Waldorf
Sonny Boy Williamson	1968	The Live Adventures of Mike Bloomfield and Al Kooper
Killing Floor	1994	Essential Blues: 1964-1969
The Train Is Gone	1994	The Root of Blues
It Takes a Lot to Laugh, It Takes a Train to Cry	1989	The Songs of Bob Dylan
Winter Moon	1980	Cruisin' for a Bruisin'
Together Till the End of Time	1997	The Live Adventures of Mike Bloomfield and Al Kooper
Mathilda	1980	Cruisin' for a Bruisin'
Big Chief From New Orleans	2008	Between the Hard Place & The Ground / Cruisin' for a Bruisin'
Saturday Night
If You See My Baby	1969	It's Not Killing Me
That's All Right	1968	The Live Adventures of Mike Bloomfield

Artist Biography by Steve Huey * Special Thanx To AllMusic

Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects -- most notably Bob Dylan's earliest electric forays -- and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981.
Michael Bernard Bloomfield was born July 28, 1943, into a well-off Jewish family on Chicago's North Side. A shy, awkward loner as a child, he became interested in music through the Southern radio stations he was able to pick up at night, which gave him a regular source for rockabilly, R&B, and blues. He received his first guitar at his bar mitzvah and he and his friends began sneaking out to hear electric blues on the South Side's fertile club scene (with the help of their families' maids). The young Bloomfield sometimes jumped on-stage to jam with the musicians and the novelty of such a spectacle soon made him a prominent scenester. Dismayed with the turn his education was taking, his parents sent him to a private boarding school on the East Coast in 1958 and he eventually graduated from a Chicago school for troubled youth. By this time, he'd embraced the beatnik subculture, frequenting hangout spots near the University of Chicago. He got a job managing a folk club and frequently booked veteran acoustic bluesmen; in the meantime, he was also playing guitar as a session man and around the Chicago club scene with several different bands.

In 1964, Bloomfield was discovered through his session work by the legendary John Hammond, who signed him to CBS; however, several recordings from 1964 went unreleased as the label wasn't sure how to market a white American blues guitarist. In early 1965, Bloomfield joined several associates in the Paul Butterfield Blues Band, a racially integrated outfit with a storming, rock-tinged take on Chicago's urban electric blues sound. The group's self-titled debut for Elektra, released later that year, made them a sensation in the blues community and helped introduce white audiences to a less watered-down version of the blues. Individually, Bloomfield's lead guitar work was acclaimed as a perfectly logical bridge between Chicago blues and contemporary rock. Later, in 1965, Bloomfield was recruited for Bob Dylan's new electrified backing band; he was a prominent presence on the groundbreaking classic Highway 61 Revisited and he was also part of Dylan's epochal plugged-in performance at the 1965 Newport Folk Festival. In the meantime, Bloomfield was developing an interest in Eastern music, particularly the Indian raga form, and his preoccupation exerted a major influence on the next Butterfield album, 1966's East-West. Driven by Bloomfield's jaw-dropping extended solos on his instrumental title cut, East-West merged blues, jazz, world music, and psychedelic rock in an unprecedented fashion. The Butterfield band became a favorite live act on the emerging San Francisco music scene and in 1967, Bloomfield quit the group to permanently relocate there and pursue new projects.

Bloomfield quickly formed a new band called the Electric Flag with longtime Chicago cohort Nick Gravenites on vocals. The Electric Flag was supposed to build on the innovations of East-West and accordingly featured an expanded lineup complete with a horn section, which allowed the group to add soul music to their laundry list of influences. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued a proper debut album, A Long Time Comin', in 1968. Critics complimented the group's distinctive, intriguing sound, but found the record itself somewhat uneven. Unfortunately, the band was already disintegrating; rivalries between members and shortsighted management -- not to mention heroin abuse -- all took their toll. Bloomfield himself left the band he'd formed before their album was even released. He next hooked up with organist Al Kooper, whom he'd played with in the Dylan band, and cut Super Session, a jam-oriented record that spotlighted his own guitar skills on one half and those of Stephen Stills on the other. Issued in 1968, it received excellent reviews and moreover became the best-selling album of Bloomfield's career. Super Session's success led to a sequel, The Live Adventures of Mike Bloomfield and Al Kooper, which was recorded over three shows at the Fillmore West in 1968 and released the following year; it featured Bloomfield's on-record singing debut.

Bloomfield, however, was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks (including some pornographic films by the Mitchell Brothers). He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, Triumvirate, was released on Columbia, but didn't make much of a splash. Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived supergroup with Barry Goldberg, Rik Grech (Traffic), and Carmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings; through Guitar Player magazine, he also put out an instructional album with a vast array of blues guitar styles, titled If You Love These Blues, Play 'Em as You Please. Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical associations (as well as his marriage). By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37.