bd Gottfried releases new LP
In
2017 - bd Gottfried is an edgy, uncompromised writer releasing his 8th solo
album entitled: Through The Dog’s Eyes - produced by Juno Winner Siegfried
Meier. With airplay in over a dozen countries he continues to work in an
unrestricted style with lyrical depth that will always take you on a journey.
Having a varied working background as a touring musician and session player.
Working in the past with a vast array of artists such as Pino Palladino (Pete
Townsend, John Mayer Trio). Breen Laboeuf (Celine Dion, April Wine). Greg
Dechert (Bad Company, David Gilmour), to name a few.
The only thing left to say and do is start with “Something You Weren’t” as it does the business in getting right into things on a long-player of an album with some rocking and not so rocking parts. First of-all you can clearly hear where he’s drawing influences from, although it might be newly applied if you know his previous works. But it can’t be denied that he’s been recently inspired by the works of both Iggy Pop and David Bowie. Latter days of both, to be honest, with a few early inflections here and there. But that’s not all I hear, I hear Roxy Music and some others that even creep into the 90s.
The smooth and rough edges continue with “Crosshairs” which is another excellent track, equally as good as the introduction as they both pass with flying colors, but not all do, as there is a low point or two. I won’t mention any of those because it deserves focus on its bright side, as it dominates the production. However, “Blame It On The Money” is not one of them. It rather sits on the top shelf with the best to be found on the CD. If-only every track had the same ingredient power, as this one could be heard on any rock radio station in the world, and not go unnoticed. This is simply a monster track.
The only thing left to say and do is start with “Something You Weren’t” as it does the business in getting right into things on a long-player of an album with some rocking and not so rocking parts. First of-all you can clearly hear where he’s drawing influences from, although it might be newly applied if you know his previous works. But it can’t be denied that he’s been recently inspired by the works of both Iggy Pop and David Bowie. Latter days of both, to be honest, with a few early inflections here and there. But that’s not all I hear, I hear Roxy Music and some others that even creep into the 90s.
The smooth and rough edges continue with “Crosshairs” which is another excellent track, equally as good as the introduction as they both pass with flying colors, but not all do, as there is a low point or two. I won’t mention any of those because it deserves focus on its bright side, as it dominates the production. However, “Blame It On The Money” is not one of them. It rather sits on the top shelf with the best to be found on the CD. If-only every track had the same ingredient power, as this one could be heard on any rock radio station in the world, and not go unnoticed. This is simply a monster track.
It's
not easy to follow such a piece of ear candy, but “Eye Of Time” rivals it for
airing time, although this one wouldn’t go over as well on radio, it still
competes with anything in the set of burning tracks. This could be the more
serious side of the artist, but it’s okay because that is his better side. You
have-to get into this but once you do, you’re hooked. It should be seen for
what it is, and that is one of the ultimate tracks for sure, at least from
where I’m standing, on which it really all depends or why give an opinion. It’s
where the cream of the crop can be found, and the beauty along with it.
“Frequencies” is a track that almost deceives with its lower key being its tricky aspect. You can either play along or not, which I did, and that is why I get it. Nothing is over until it’s over, but if you hit the next track you won’t have the chance to get it. I’d give this song a chance and see for yourself. It’s a melancholy treat of you let it do its magic. You almost feel like it’s attached to one of the previous tracks, and that bodes well on the concept, whatever it may be. “Breakaway” also leaves an impression, and so do “Reformation” and “We Have Love.” These are all points worth catching on what is a cutting-edge release for the masses, as well as fans of this intriguing artist.
“Frequencies” is a track that almost deceives with its lower key being its tricky aspect. You can either play along or not, which I did, and that is why I get it. Nothing is over until it’s over, but if you hit the next track you won’t have the chance to get it. I’d give this song a chance and see for yourself. It’s a melancholy treat of you let it do its magic. You almost feel like it’s attached to one of the previous tracks, and that bodes well on the concept, whatever it may be. “Breakaway” also leaves an impression, and so do “Reformation” and “We Have Love.” These are all points worth catching on what is a cutting-edge release for the masses, as well as fans of this intriguing artist.
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