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. This is an album that will satisfy you if you’re already familiar with Gottfried, and send you after his previous works if not. That is one thing any self-respecting music lover should conclude, but not before some pointers that can help. And it doesn’t mean everything about it and he are perfect, but that’s up to each their own as well. “Something You Weren’t” is about your mind being right for someone else and vice versa. It’s a great way to open the album but the best track, which is sometimes the case and sometimes not. But it works in every way to kick things off, as it also gets into discussion of current events. The excitement continues with “Crosshairs” going a step further but more lyrically-driven and less rhythmic. He gets the point across and the track never lets you down anyway. This one is heavy but nothing too overbearing in that area. It comes before things get mainstream on “Blame It On The Money” as it was starting to sound like a lecture, and gets whisked away by a more generally acceptable track in every way. It’s still all progressive up to this point, with some of it of the light and some of it the heavy order. The latter track really getting inside the head with something that sticks to the brain.
After such a lovely track, you wonder what can follow, and “Eye Of The Time” both delivers and does not at the same time, because while it is an over the top effort of the more is more type, it has its moments of less inspiring factors. It’s about protecting yourself, and I get that but I also like the simplicity of the former and usually get more mileage out of those type of songs. They both get their due, but the most I get from this track is the significant role the drums play in it as a tune, regardless of what it’s about or anything. Maybe it’s asking too much, but it’s just how I compute the situation. Now that I have heard this album it’s off to anywhere I can go to find more of his music, and tracks like “Frequencies” and “Breakaway” seal fate with me, just as much as “Blame It On The Money” already impressed with. They’re all three the most commercially-driven songs that seem to have the most attention paid to bring something memorable to the table on this release. The rest of the tracks satisfy with every listen and they don’t tire easily, and that’s a testament to the album’s lasting ability, but you’ll have to get a taste for him yourself and get this album to get him as much as I do after hearing it.