Cleopatra Entertainment’s Foghat Concert Re-Issue Will Appeal To Band’s Core Audience Base

Featured

Posted on April 5, 2024 by philspicks

Veteran rock band Foghat has been quite busy as of late, releasing its lates album, Sonic Mojo late last year (independently through is own label, Foghat Records) and now touring in support of that enjoyable offering. Speaking of live, the band has partnered with independent film company, Cleopatra Entertainment, to release a new live recording, Slow Ride—Live in Concert. Released today on separate CD/DVD and Blu-ray platforms, it was released roughly three years after the band’s then most recent live recording, 8 Days on the Road, and will find the majority of its appeal among the band’s core audience. Those people who have been fans since the band’s inception so many decades ago. That is due in large part to its set list, which will be discussed shortly. The bonus content that accompanies the recording adds to that targeted appeal and will be discussed a little later. The general production rounds out the recording’s most important elements and will also be discussed later. Each item noted is important in its own way to the whole of the recording. All things considered Slow Ride – Live in Concert proves itself a presentation that the most devoted Foghat fans will enjoy.

Slow Ride—Live in Concert, the “new” live recording from Foghat, is an intriguing new offering from the veteran rock band. Being essentially a re-issue of Rhino Records’ 2005 DVD presentation, Millennium Tour, it is a presentation that will find the majority of its appeal among the band’s core audience base. That is due in large part to its featured set list. Spanning 10 songs performed at two separate venues in Houston, Texas in 1999 – The Plaza and The Hangar – the set list pulls largely from the band’s earliest years, reaching all the way back to the band’s self-titled 1972 debut album and up to its 1979 album, Boogie Motel. It also pulls two studio tracks from the band’s 1998 live recording, Road Cases. Not every one of the albums in that span is represented here, either. The band’s sophomore album, which was also self-titled, is not represented here, nor are its third album, Energized and its follow-up, Rock and Roll Outlaws (both of which were released in 1974). In other words, the set list featured here is far from being career-spanning. Considering that the two performances captured here were recorded in 1999 – just before the untimely death of the band’s original front man, Dave Peverett, who died in February 2000, it is surprising that the set list was not more extensive. This especially as the recording is being marketed as being something iconic since the peformances came only months prior to Prevett’s passing. Yes, Peverett and company (fellow founding members Tony Stevens (bass) and Roger Earl (drums) and then current guitarist Bryan Bassett) put on quite the engaging and enjoyable performance of that set list (even being so minimalist in its overall presentation), but it just would have been nice to have seen more of the band’s catalog represented here. Again, it is not a failure, but clearly being so limited in its reach, it will appeal to that noted core audience base.

The set list featured in this recording is just part of what makes it appealing to the noted audience base. The bonus content included with the recording adds to the appeal for that viewer group. The bonus content in question is the bonus interview content that is incorporated into the concert between performances. Held at the Hard Rock Café in Houston, Texas by Alan Ames (supposedly of Houston-based radio station KKRW Arrow Radio), the very brief interview segments reveal to audiences, information, such as how Foghat got its name, its link to The Rolling Stones and how that link led the band to create so much blues-based rock, and a few other interesting items. The interview segments, which were also part of Rhino Records’ 2005 Foghat recording, Millennium Tour are few and far between but do help to break up the concert and keep things interesting.

The “supposedly” used here in regard to whether Ames was employed by KKRW is used because there are no liner notes to accompany the recording and point out the full details of the interviews. To that end, one can only suppose Ames was a personality employed by the station at the time. There is nothing to specify this information internally or externally, so apologies are due for any possible inaccuracies in information here.

That lack of any bonus liner notes to help set the stage and provide proper background on the recording is the recording’s one glaring negative. It would have been nice to have at least something other than what is printed on the back of the recording’s box, which is minimal in itself, to say the least. The lack of any liner notes is not enough to doom the recording considering what little the interviews add to the whole, but it certainly would have been nice to have had more than the little that is printed on the recording’s box.

Knowing that the little information audiences get from the interviews and very limited information printed on the recording’s case just does make up for the lack of any liner notes, there is one more positive to note here. That positive is the recording’s production. As previously noted, this concert is a minimalist presentation. There is no pryo. There are no big aspects to the band’s presentation. It is just the band on stage, performing its biggest vintage hits. Those responsible for capturing the two performances and those responsible for the post-production (finalizing the video and sound editing) are to be applauded for their efforts to resurrect this footage. Of course, it likely was not too difficult considering that the performances (which were part of the band’s Millennium Tour”) were already released in 2005 via Rhino Records in its presentation of its DVD, Millennium Tour. That recording also presented the band’s September 1999 performance in Houston, TX. So, while it cannot be proven here, but odds are it would have been very easy for all involved to simply transfer that footage to this recording and call it “new.” Keeping that in mind, it leaves little doubt as to why the production is as positive as it is in this case. To that end, the production aligns with the recording’s featured set list and the bonus interview segments to make the whole an intriguing presentation that again, will appeal primarily to Foghat’s core audience base.

Cleopatra Entertainment’s brand-new Foghat live recording, Slow Ride—Live in Concert, is an intriguing offering from the company. While apparently little more than a re-issue of Rhino Records’ 2005 recording, Millennium Tour, it proves itself worth watching at least once among those core fans who do not already own the aforementioned Rhino Records presentation. That is because said presentation may or may not be available anymore. Add in that the recording here is presented separately on CD/DVD combo pack and Blu-ray, it is a step up from that previous release since that recording was available only on DVD. Slow Ride—Live in Concert is available now. More information on the recording is available along with all of the latest Foghat news at:

Website: http://www.foghat.net

Facebook: http://www.facebook.com/foghat

Twitter: http://twitter.com/foghat

More information on this and other titles from Cleopatra Entertainment is available at:

Website: https://cleopatra-entertainment.com

Facebook: https://www.facebook.com/CleopatraEntertainmentEnt

Twitter: https://twitter.com/Cleopatra_Ent

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Bunn And Company Keep Readers Engaged, Entertained In Latest “Phase” Of ‘Ghostlore’

Posted on April 21, 2024 by philspicks

A storm is coming…but what is the storm? That is the question at the center of the newly released second volume of stories in Boom! Studios’ new paranormal thriller story, Ghostlore. Released Tuesday through Boom! Studios, Ghostlore: Volume Two picks up where the story left off in its inaugural collection of stories, which culled its first four issues. Covering the story’s next four issues, Volume Two bears worth reading in part because of its story, which maintains the tension and intrigue of the first four issues. The artwork incorporated into these four issues builds on the appeal of the collection, making for more entertainment. The bonus content that accompanies Volume Two rounds out its most important elements, completing its “construction.” Each item noted does its own key part to make this brand-new continuation of Ghostlore just as enthralling. All things considered they make Ghostlore: Volume Two another powerful entry in what is sure to become even more moving as it moves into its next phase.

The newly released second volume of stories from Boom! Studios’ paranormal thriller franchise, Ghostlore is a strong continuation of the story that does quite well to keep readers engaged and entertained. That is due in no small part to the story that spanks the four issues that make up its body. The story in this volume opens with troubled minister Lucas continuing his search for his daughter Harmony, who left home at the end of the story’s first “phase.” She left because of the emotional and psychological impact of the revelation that she and her father were both able to see dead people; people who, only want to tell their stories so they could cross over. At the same time, they can also see some rather evil entities who have nothing but bad intentions. As it turns out, those negative entities are searching for Lucas and Harmony, so obviously word has gotten out about them and their intent there is anything but good. Audiences find out just how bad their intentions are when confrontations take place between them and both Lucas and Harmony separately.

As the story reaches its peak in this volume, Lucas’ own tensions reach a dangerous point in his own confrontation. It turns out that he has not been helping the spirits he meets cross over. Rather he has been doing something even darker that leaves one wondering about his own future as he tries to come to terms with his gift. This alone is certain to leave readers waiting and wondering what will happen in the third collection of Ghostlore’s bigger story. Meanwhile, Harmony’s future is also left in question after she and her new friends’ confrontation with Cyril forces them from their home. The whole herein makes for a fully immersive new phase in the overall story of Ghostlore. It is reason enough in itself for audiences to check out this anthology.

Ghostlore: Volume Two’s story builds a strong foundation for the collection. It is just part of what makes this new presentation so engaging and entertaining. The artwork that is presented throughout builds on the foundation formed by the story. As with the first four chapters of this chilling paranormal thriller, the trio of Illustrator Leomacs, Colorer Jason Wordie and Letterer Ed Dukeshire handles the artwork in these four issues. The distinctive edge that Leomacs and Wordie give each scene is once again presented from frame to frame as are the rich colors. At the same time, there are certain minute moments, such as when Harmony first meets her new friends, that have a subtle cartoonish look. It is an interesting subtle contrast to the overall style once again featured here.

On a similar note, the moments when the spirits share their stories with Harmony develop their own unique identity once again. The darkness in color and the distinct look really helps to set the mood in each tale. The duo’s work gives those stories so much emotional depth thanks to that attention to the impact of color and style. The lettering work ensures the dialogue is easy to read in each frame, and the distinct font used when the spirits cross over and when the demons attack adds so much in its own right. The trio’s overall work throughout each chapter in this collection makes the story once more as visually engaging and entertaining as series creator Cullen Bunn does make it engaging and entertaining through his writing.

The primary content featured throughout Ghostlore’s second collection (the writing and the artwork) is just part of what makes it so engaging and entertaining. The bonus content (the secondary content) that accompanies the volume’s primary content rounds out Volume Two’s most important elements. As with Volume One, the bonus content consists primarily of the variant covers used in each issue that makes up Volume Two. So not only do readers get the whole of the story’s next four chapters, but they get all those variants in one housing. In other words they don’t have to spend money over and over for the same story just to get the different covers. They are all here in one collection at a price that will not break anyone’s budget. The price in question is $16.99, less than $20.

That collection of variant covers is just part of the bonus content. Readers also get a preview of another new title from Bunn. This time, the preview is for the story, The Empty Man, which would seem to center on what looks to be the negative impact of a cult. As with Basilisk, it comes across as another dark, gothic style thriller for fans of that genre. When all of that secondary content is considered along with the whole of the collection’s primary content, the entirety thereof makes Ghostlore: Volume Two another presentation that fans of Ghostlore are sure to enjoy.

Ghostlore: Volume Two, the newly released collection of issues from Boom! Studios’ paranormal/horror thriller series, is another powerful entry to the ongoing franchise. Its power comes in large part through its writing, which continues to see the development of father and daughter Lucas and Harmony as characters and their respective stories. No doubt the pair will eventually reunite in the issues to come. Seeing Lucas’ potentially dark turn developing is certain to grip readers in itself while audiences will be just as sure to be immersed in Harmony’s own journey. The artwork and letting used in this collection will be found familiar among readers since it is all handled by the same team that handled the series’ first four issues. The bonus content that comes with this collection puts the finishing touch to its whole, making for its own appeal, too, because of the pleasure readers will find financially. Each item examined here is important in its own way to the whole of the collection. All things considered they make Ghostlore: Volume Two a strong continuation of Boom! Studios’ developing series.

Ghostlore: Volume Two is available now. More information on this and other titles from Boom! Studios is available at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

DDMG’s New Rosetta Tharpe Live Recording Is A Wonderful Tribute To The Gospel/Blues Legend

Posted on April 21, 2024 by philspicks

Courtesy: Deep Digs Music Group/Elemental Music/ina

Record Store Day 2024 has officially come and gone, and with it came this year, many interesting new releases, including re-issues. From re-visitings of music from The Beatles to music from EDM duo Daft Punk to even a never-before-released live recording from blues-gospel legend Sister Rosetta Tharpe and more, Record Store Day this year offered audiences so much to appreciate. Speaking of the new live recording from Tharpe – Live in France: The 1966 Concert in Limoges — that recording is a presentation that Tharpe’s fans will appreciate just as much as aficionados of blues and gospel in general. Its appeal comes in part through the liner notes featured throughout the recording’s companion booklet. They set the stage for the recording before audiences hear even the first song featured here. Speaking of the songs, Tharpe’s performance of said songs builds on the foundation formed by the liner notes. It is fully immersive, as audiences will discover for themselves. The recording’s production, considering the age of the recording, puts the finishing touch to the presentation, completing its appeal. That is because of the positive aesthetic that it creates for the recording. Each item noted here is important in its own way to the whole of this recording. All things considered they make Live in France: The 1966 Concert in Limoges a surprisingly welcome addition to this year’s field of new live CDs (and vinyls).

Live in France: The 1966 Concert in Limoges, the new live Sister Rosetta Tharpe concert recording from fledgling record label Deep Digs, is among the most notable presentations released during this year’s Record Store Day celebrations. Its appeal begins with the liner notes presented throughout the recording’s booklet. The notes literally and figuratively set the stage for the concert, beginning with discussion by Deep Digs founder Zev Feldman. Feldman points out in his brief notes, the recording is previously unreleased and that its unearthing came as a result of research he was doing in 2017 and that the delay in getting it released was due to him trying to find a label that was truly devoted to giving the recording its proper attention. As he points out, that search led him to found Deep Digs and release this recording as its first offering.

Professor Gayle Wald and author Jean Buzelin continue the story with their own insights. Wald offers audiences the first portion of the story, outlining Tharpe’s roots in the Great Migration of African-Americans from the American south to Chicago in the early 20^th century and her musical roots in the Church of God in Christ. Wald points out that it was Tharpe’s attempt to escape an abusive marriage in her early 20s that led her to leave the church and branch out, leading to the beginning of her fame nationally and internationally. Her growing fame especially in Europe receives plenty of focus by Wald.

Buzelin continues the story, pointing out that at the time Tharpe started touring Europe, gospel was not necessarily a popular genre overseas, but thanks to her abilities as a musician and the appeal of her personality on stage, she and the genre really started gaining acclaim. In addition, Buzelin makes sure to point out Tharpe’s moniker of “Sister” had nothing to do with religion, despite her background, but rather a nickname she received years prior when she was much younger. That revelation will make for plenty of entertainment. She goes on to point out the concert recording featured here was not Tharpe’s first performance in France; that in fact she had performed and recorded a concert two years prior in 1964. That revelation, the other items raised by Buzelin and Wald, and so much more that the pair note, do so much to help illustrate what made Tharpe so beloved.

Speaking of being beloved, the testimonials from the likes of Susan Tedeschi and Henry Rollins (of all people) add even more to that understanding. All things considered, those testimonials and all of the information provided in the liner notes does an impressive job of setting the stage for the recording.

Knowing the engagement that the liner notes create as a starting point, they ensure plenty of engagement and entertainment from the concert itself, and the concert lives up to expectations, too. The way in which Tharpe blends blues and gospel in each performance makes it so easy to overlook that at their core, each composition is still gospel. There is also something in the way in which she collectively sings and plays that creates such a unique air. Her performances give thought at points, to Bessie Smith when she really gets powerful, and at others to Mavis Staples when she is a little softer. To that end, her ability to balance her vocals and performance on guitar makes for such an immersive presentation.

As if her performance alone is not enough (and it isn’t), the subjects she tackles are just as interesting. Case in point is her taking on the very divisive nature of the different religious denominations in Washington Phillips’ ‘Denomination Blues.’ To this day, America (and the world) continues to be separated by denominational differences, even within the Christian faith. This despite the reality that in their roots, all protestant faiths preach essentially the same message. It was a message then that was so ahead of its time and that today still rings sadly so true.

Tharpe also takes on the negative impacts of alcohol in the aptly titled ‘Moonshine’ in which she points out the impact that it has on loosening people’s tongues, causing them to show their true selves. What’s really great here is that she brings the message about the dangers of alcohol in a way that is somewhat preachy but is still appealing despite this. That is because of the soul that she puts into her performance as she highlights what alcohol can and does do to many people. Like the message delivered in ‘Denomination Bles,’ it is one that resonates to this day.

Her performance of the traditional ‘Give Me That Old Time Religion’ is yet another standout note of what makes her performances so notable. The soul is her voice as she sings here is just so powerful in its own right. It really pulls listeners in. When it is considered alongside the other performances noted here and with the rest of the record’s performances, the whole therein gives listeners just as much to appreciate as the liner notes that lay the groundwork for the recording.

The performances featured here are so immersive not just for themselves and their content but also because of the production that went into bringing the recording back to life. Considering this first-time release was originally captured way back in 1966, the work put in to restore the audio is impressive. It is a testament to those who took the time to restore the masters. It is so clear that audiences will be left feeling like they are right there with Tharpe’s audience at that October 1966 concert in Limoges, France. The result is an impressive aesthetic impact that audiences will appreciate just as much as the concert itself. All things considered they make the recording in whole such a surprisingly enjoyable offering whether one is a fan of Tharpe, of gospel or even of blues. It is a presentation that, in other words, is among the best of this year’s new live CD offerings.

Dig Deep and Elemental Music’s brand-new presentation of the 1966 Rosetta Tharpe concert recording, Live in France: The 1966 Concert in Limoges, is a fully immersive presentation that transcends musical boundaries so to speak. It will find appeal among so many audiences, in other words. The liner notes that fill the recording’s booklet form its foundation, offering audiences plenty of appeal in their own right. The performances presented by Tharpe throughout add even more to that appeal, building on that foundation and strengthening it even more. The recording’s production puts the finishing touch to its presentation, ensuring a welcome aesthetic to the whole, completing the concert. Each item examined does its own key part to make this recording enjoyable for so many audiences. All things considered they make Live in France: The 1966 Concert in Limoges a work that is among the best of this year’s Record Store Day offerings and new live CD offerings.

Live in France; The 1966 Concert in Limoges is available now no CD and vinyl. More information on this and other titles from Deep Digs Music Group is available at:

Website: https://deepdigsmusic.com

Facebook: https://www.facebook.com/thejazzdetective

Twitter: https://twitter.com/JazzDet

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Disney’s ‘Wish’ Will Leave Audiences Wishing It Was A Better Celebration Of Studio’s 100th Anniversary

Posted on April 5, 2024 by philspicks

Late last month, Walt Disney Studios released its latest animated feature, Wish, to 4K UHD, Blu-ray, and DVD. The movie, meant to be a celebration of the studio’s 100^th anniversary, is, sadly anything but a proper celebration of the legacy made by what was once one of Hollywood’s powerhouse studios. That is shown largely through its featured story, which at its heart is anything but what is discussed in the movie’s bonus content. That bonus content is actually the saving grace to this otherwise lackluster attempt to celebrate the legacy of the studio’s namesake so many decades ago. It will be discussed shortly. The movie’s animation style rounds out its saving graces and will also be addressed later. Each item noted here plays its own important part in the whole of Wish. All things considered, Wish proves itself to be anything but a wish granted for audiences hoping for a much more fitting birthday bang for what used to be one of Hollywood’s most respected names.

Wish, Walt Disney Studios’ latest animated cinematic offering was said to be by some in the bonus content that accompanies the movie in its home release , a celebration of the company’s 100^th anniversary. If that really is the case then it was certainly not the best way for the studio to mark the occasion. The movie is not a complete failure, though. The bonus content that accompanies the movie in its recently released home presentation serves to help it survive at least to a point. One of the most interesting of the bonus features is in fact the very discussion on how it was used to celebrate Disney reaching the century mark. The discussion in question is titled “The Story of Wish.” The movie’s creative heads talk about how the movie came to be as a result of various round tables. One topic that came about was the discussion on how Disney movie heroes were ordinary figures facing great odds, and how that made them relatable. That led to a further discussion on the topic of so many Disney characters wishing on a star. That topic became the center of Wish. On the surface, that comes across as a great topic, tying all of Disney’s movies to this story. The thing is that the story is more than that. It is also an allegory about authoritarianism. This is never directly noted in the bonus content, but the group does discuss briefly how the main theme of wishing on a star plays into another theme, that of who has the right to control our wishes and our dreams. The authoritarian allegory comes into play as the story’s main character, Magnifico (Christopher Pike – Star Trek, Star Trek: Into Darkness, Star Trek: Beyond) has his authority questioned by Asha (Ariana DeBose – West Side Story, Hamilton, Argylle). Magnifico starts out as an already somewhat power hungry figure, but gets pushed over the edge by that questioning. This approach is one of the few saving graces of the story, which is otherwise forgettable.

That the writing team behind Wish is to be commended for making Magnifico a figure who was sort of a villain to begin with but not the overt villain that so many Disney movies have come up with in its existing, expansive catalog. Far too often audiences have been presented with the typical megalomaniacal villain in every Disney movie. This time out, audiences get to see someone who was already conflicted become the total villain all because of one person. It is that theme of absolute power corrupting absolutely because of its addictive nature. At the same time, the preachy message of authoritarianism (which is typical of every Disney movie villain) becomes just too much because it is so commonplace. The nonstop musical numbers, which are so prominent throughout the movie tend to offset that otherwise watchable presentation. It seems like there is a musical number once every few minutes, with the number reaching something around eight to nine songs. It just all seems so run of the mill save for that one aspect of the story surrounding Magnifico. Other than that, the story really does not do much of anything to make itself a big, bombastic celebration of Disney’s 100^th anniversary.

While the story featured in this movie is otherwise forgettable, save for one aspect of the presentation, there is one other item that helps to save it. That aspect is its animation. As is mentioned in the separate bonus feature focused on the animation, this is thankfully not just another cookie cutter offering from Disney in regard to its animation. Audiences will note that the animation incorporates vintage hand-drawn art as well as digital art. The blending of that vintage and modern art style gives the movie an identity all its own. It really is the core of what makes the movie bearable. When the unique artistic approach taken to this movie is considered alongside its companion bonus discussion and the other bonuses, the movie becomes at least worth watching once despite not being the best anniversary celebration for Disney.

Wish, the latest animated feature from Walt Disney Studios, is far from being the best movie that the once legendary studio has ever produced in its now century-long history. It is also not the studio’s worst offering. If anything, it is worth watching at least once, but that is primarily due to the bonus content featured with the movie’s home release. The background information that the bonus content provides audiences on the movie helps make it at least somewhat more bearable. The animation that is used in the movie helps make it bearable in its own right. That is because it actually takes a different approach for once, avoiding the cookie cutter look of so many Disney (and even Pixar) movies that the studio has released. When each element is considered along with the story, which is weighed down by the preachy allegory of authoritarianism (that likely will go over most younger viewers’ heads) and the unnecessary number of musical numbers, the whole proves a presentation that deserves to be seen at least once but sadly is anything but a proper celebration of a studio that has crafted far better fare in its heyday.

Wish is available now on DVD, Blu-ray and 4K UHD as well as through Disney+. More information on this and other titles from Walt Disney Studios is available at:

Website: https://waltdisneystudios.com

Facebook: https://www.facebook.com/WaltDisneyStudios

Twitter: https://twitter.com/disneystudios

CMG’s British WWII Movie Set Will Appeal To Many Movie Buffs, Historians

Posted on April 5, 2024 by philspicks

Late this winter as the new year opened and the cold winds of winter blew so hard, Cohen Media Group gave audiences a new reason to stay indoors and warm while they counted the days until spring when the company released its new World War II double feature, The Sea Shall Not Have Them/Albert R.N. The two British imports are interesting presentations in regard to their stories. This will be addressed shortly. While the stories give audiences reason enough to watch the movies, the lack of any bonus content addressing them (and other related matters) definitely detracts from the collection’s presentation. This will be factored a little later. Knowing that lack, while concerning, is not enough to doom the set, there is at least one more positive to note. That positive is in how the stories were presented. This will be discussed later, too. Keeping all of this in mind, this recently released double feature proves itself a collection that true film buffs on either side of “the pond” will find worth watching at least once.

Cohen Media Group’s recently released double feature of British World War II period pieces, The Sea Shall Not Have Them/Albert R.N., is an offering that most true film buffs and historians will find worth watching. That is due in part to the stories featured in each movie. In the case of The Sea Shall Not Have Them, the story at the center of the movie, which made its theatrical debut in 1954, follows the crew of a downed British warplane as it struggles to survive against the elements in a tiny life raft in the North Atlantic Ocean. What is interesting here is that while the story centers on the plane’s crew, the men are not the only focus. The story, which is based on the novel penned by John Harris only a year prior, opens on the crew of a British patrol boat that plays a pivotal role in finding the crew of the downed plane. As the story progresses, it goes back and forth between each crew, slowly building the tension over the course of the movie’s 92-minute run time. How that tension is built plays into the way in which the story was constructed here. This will be addressed later. Suffice it to say the story has a happy ending.

In the case of Albert R.N., the story centers on a group of British prisoners of war that is being held in a German camp in the waning days of the war. Originally released in 1953, the movie’s story finds the men designing a dummy that it uses to try and help its ranks escape the camp, naming the dummy Albert. Unlike The Sea Shall Not Have Them, this movie is not based on a novel but rather on actual events. Yes, it is one of those movies. They even existed even that far back in the history of film, and over in Great Britain just as much as in the United States. While there is no seeming connection between this story at that of The Great Escape, which American audiences received a decade later in 1963 and the CBS sitcom, Hogan’s Heroes, which first debuted on television the same year as The Great Escape, it is interesting to see the apparent popularity of such a story line at that time in cinema. Maybe it was coincidence that all three productions debuted in such a short time, but that again goes back to that discussion.

Speaking of said discussion, while the stories at the center of the movies make for some interest, there is zero bonus content focusing on that noted close release of all three productions in such short time. Was it coincidence or was it part of some larger trend? Again, there is no bonus material to address this matter. For that matter, there is no bonus content at all. So viewers do not even get any insight into the continued popularity of WWII stories even 10-20 years after the war’s end (at that time). What’s more there is not even discussion on what keeps WWII-era stories at least moderately popular even now in the 21^st century.

On yet another note, there is no discussion on the approach taken to the stories. That aspect – the approach taken – plays directly with the stories themselves to make for even more interest. As previously noted, the story at the center of The Sea Shall Not Have Them is unique in how it is constructed. Its title hints at it focusing on the group of downed airmen yet focuses just as much on the group of British seamen who find the airmen as the airmen themselves. The scene transitions used to go back and forth between the two groups is intriguing because they feel like something that one might see play out on stage, not necessarily on screen. It is something that must be seen to be fully appreciated. It is actually something unique in a good way. This applies even as the story turns to focus on the men at the headquarters who are using maps to try to trace the signal being sent out by the airmen.

What is even more interesting in all of this is the minimalist approach taken throughout the story. In today’s moviemaking industry, such a movie would be so unnecessarily over the top. There would be tense music, all kind of melodrama and other elements that are so commonplace in today’s dramas and blockbusters. Those behind the lens of this movie did not do any of that. They simply used story telling to play out the tale and it makes the story all the more gripping. To that end, the approach taken here serves as a key example of how far the movie industry has strayed from its roots and how much better movies were so many ages ago.

The same applies in the approach taken to Albert R.N. Just as The Sea Shall Not Have Them, the approach taken here is minimalist, too. Most of the story takes place in the one primary prisoner barracks building. There is a secondary scene – a bath house. But other than that, the interior set and the camp exterior set are the main focus. The plan and house it was executed makes for some light hearted moments among the otherwise tense tale. The work of the cast (especially those playing the Nazi officers) succeeds because it makes it easy to hate especially Schulz and have so many mixed feelings about the camp’s lead officer (played by Frederick Valk – Dead of Night, Thunder Rock, Night Train to Munich). That is because while he is a Nazi, he is far more human and humane than Schulz (Anton Diffring – Victory, The Blue Max, Where Eagles Dare). Diffring’s col nature makes his wonderfully despicable, and in turn audiences will cheer when he receives his fate in the finale. The thing is that even with that in mind, that finale leaves too much room for closure, but that is a discussion for another time (maybe even for bonus content that could have and should have been included with the collection). The simple, straight forward approach to everything here makes for plenty of engagement and serves in its own right to show that simplicity works just as well as the over-the-top approach that far too many moviemakers take today if not better. Keeping in mind the positive impact that the stories’ simple approaches take alongside the stories themselves, these two aspects combine with the work of the movies’ cast to make the movies worth watching at least once. To that end, the set in whole proves itself worth watching at least once among true movie buffs and historians on either side of the Atlantic.

Cohen Media Group’s recently released WWII period movie collection, The Sea Shall Not Have Them/Albert R.N., the recently released WWII-era double feature collection from the well-known cinema studio. It is a collection that offers some interest through its movies’ stories and through the approach taken to each story. The lack of any bonus content to accompany the collection definitely detracts from the collection’s overall engagement and entertainment. It is not enough to doom the set but certainly would have helped to really enhance the presentation. Keeping all of this in mind, the collection is an interesting addition to this year’s field of movie re-issues.

The Sea Shall Not Have Them/Albert R.N. is available now from Cohen Media Group. More information on this collection and other titles from Cohen Media Group is available at:

Website: http://www.cohenmedia.net

Facebook: http://www.facebook.com/CohenMediaGroup

Twitter: http://twitter.com/cohenmediagroup

Mercury Studios’ 4K UHD Re-Issue Of Motley Crue’s ‘The End: Live in Los Angeles’ Is A Mostly Positive New Look At The Iconic Concert

Posted on March 31, 2024 by philspicks

Almost 10 years ago, the members of Motley Crue told audiences they were calling it a career. The band wrapped what was at that time its farewell tour with a huge hometown bang in Los Angeles, CA. Of course, now everyone knows that retirement of sorts would end up being only temporary, but to mark the occasion in case it really would have been the end, the band released that concert in November 2016 in the form of The End: Live in Los Angeles. Now more than seven years after its release, Mercury Studios (nee Eagle Rock Entertainment) will revisit that recording with a first-ever 4K UHD release of the concert. Set for release April 5 through Mercury Studios, the forthcoming re-issue is just as entertaining as its predecessor despite one glaring negative. That negative – its packaging – will be addressed a little later. It is not enough to doom the recording’s re-issue. To that end, there are at least two positives, not the least of which is the general presentation, which will be addressed shortly. Knowing that the general presentation is so positive, the production therein pairs with the production to put the finishing touch to this presentation. It will be examined later, too. Each item noted here is key in its own way to the whole of the recording’s presentation. All things considered they make the forthcoming re-issue of The End: Live in Los Angeles a mostly positive new presentation of said recording.

Mercury Studios’ forthcoming re-issue of Motley Crue’s 2016 live recording, The End: Live in Los Angeles is a mostly positive revisiting of the iconic concert from the equally iconic band. That is due in large part to the recording’s general presentation. More specifically, the presentation that audiences get here is the exact same concert that they got in the recording’s previous Blu-ray/CD presentation. Every song from the nearly career-spanning set list (which reaches all the way back to the band’s 1981 debut record, Too Fast For Love all the way up to its 2008 album, Saints of Los Angeles) is here just as in the previous recording. The bonus content from that original recording was carried over, too, making for even more engagement and entertainment.

The band’s collective performance of the expansive set list and its stage show are just as important to discuss as the songs that the band performs. From front man Vince Neil’s nonstop energy and rapport with the audience and his band mates is incredible to see. He makes it clear that he is putting his heart into every single song as do his band mates. Tommy Lee is just as enjoyable to watch as he keeps time. Audiences will enjoy seeing Lee’s reaction as his drum rig gets stuck at the end of its run across the Staples Arena. Rather than get angry and react negatively, he just goes with the flow and makes plenty of proverbial lemonade out of the lemon that was that situation. Bassist Nikki Sixx captures everything that has always made Motley Crue a fan favorite both as he works his way through each song and as he discusses chasing one’s dreams with the audience in an equally powerful moment. Then there’s guitarist Mick Mars. Mars looks like he could play Dracula, the way that the light hits him throughout the show. Yet even as unassuming as he seems throughout the show, he still presents so much power in his playing. It is quite the juxtaposition to note. Neil’s tears at the show’s end (not to give away too much, by the way) are real. Those are not crocodile tears. The passion that he presents as the band’s last-ever show comes to an end is a beautiful and powerful final statement. It’s one more way in which the band shows the importance of its performance throughout this concert and hardly the last way in which said performance proves important, too. Considering that, the band’s stage show should not be ignored here. It is just as important to the concert as the band’s performance.

While the band gives its all to its audience (and vice versa) its performance only goes so far for audiences. The band’s stage show works hand-in-hand with the group’s performance to make the concert even more outstanding and memorable. There’s pyro. There are lights. There is Tommy Lee’s arena-spanning drum rig and so much more. Each element of the band’s stage show plays its own important part to the band’s stage show. What makes them really stand out is the timing of their use. Audiences will note the timing in the use of each element. The pyro isn’t used in every song nor are the fast-paced flashing lights or other elements. It is obvious that a lot of thought and time was put into each element’s use. Because so much time and thought was put into each element’s use, those elements couple with the band’s performance to give the concert experience in whole a very positive aesthetic. Keeping all of this in mind, the band’s performance and stage show–while clearly just as important to this recording’s presentation as the songs that are performed–are collectively only part of the recording’s presentation. The editing that was used in the program’s presentation is just as important to note as the previously discussed elements.

While the show’s set list and bonus content is directly pulled over here from the original recording and the band’s performance thereof is something great in its own way, there is still at least one notable issue with this recording’s presentation. That issue is in the recording’s packaging. Where the original Blu-ray/CD package is the familiar gatefold packaging that Mercury Studios has used for so many of its live recordings over the years (which is really great packaging despite its somewhat bulky look), the new, single-disc 4K UHD packaging places the disc very tightly inside a very thin cardboard “case” of sorts. It forces audiences to have to risk ripping the packaging in order to slide the disc in and out of its “sleeve” inside the package. Meanwhile the companion booklet is placed in the much easier to access outer “sleeve” of the “case.” The easy rebuttal here would be to switch the disc and booklet. That is easier said than done. If the disc were to be placed into the booklet’s “sleeve” it would easily slide out and fall, increasing its odds of being damaged. The discs in the BD/CD combo package much more safely housed in the set by comparison. By having to go to the lengths that they will have to go with the new 4K UHD package, audiences will constantly find themselves having to wipe off fingerprints and hope they do not unwittingly mar the disc with scratches as they slide it out. It is just a very disappointing aspect of the presentation.

As disappointing as the packaging for this new 4K UHD presentation of The End: Live in Los Angeles is, it is not enough to doom the recording. It cannot be ignored, though. To that end, there is one more positive to note. That positive is the recording’s production. That includes the work of the crew that captured the concert on stage and those responsible for its post-production. There are moments throughout the show where the cameras’ frame rates are slowed to fully capture the emotion of the moments. The editing of the camera crew’s shots fully captures the immensity of the moment. From the close up shots of the band on-stage to the views from high above the arena to all the shots in-between, the end result of the editing gives viewers at home the best seat in the house. The sound editing is just as important to note here as the video editing. Those behind the mixing boards are to be commended for fully capturing the size of the Staples Center. The sound is not some spit-shined production here. Audiences actually feel, in watching the concert’s 4K UHD recording that they are actually there without it sounding like some bootleg recorded on a smartphone. There is a lot to be said of that. When the overall editing of this concert is joined with the band’s performance and stage show, and the show’s set list, those collective items make the overall presentation such a joy even despite the one notable issue of the recording’s less than stellar packaging. All things considered they make the new 4K UHD re-issue of The End: Live in Los Angeles a mostly positive revisiting of this iconic concert recording.

Mercury Studios’ 4K UHD re-issue of Motley Crue’s The End: Live in Los Angeles is a mostly positive new presentation of the concert event originally released in late 2016. The Re-issue works in large part to its general presentation. The general presentation is important to note because it is the exact same presentation offered to audiences in the concert’s initial Blu-ray/CD combo pack. That includes the same set list and bonus content from that presentation. As much as this does for the recording, its packaging detracts notably from the presentation. That is because of the risk of marring that it poses to the disc. Audiences risk not only marring the disc but damaging the packaging itself in order to remove and replace the disc from its very thin “case.” Thankfully as much of an issue as this is, it is not the do all end all for the recording. The concert’s overall production puts the finishing touch to the whole, giving audiences the best seat in the house once again. That includes the work done to capture the concert in house and in post. Each item examined here is important in its own way to the whole of this re-issue. All things considered they make the re-issue of The End: Live in Los Angeles a presentation that is imperfect but still mostly positive.

The new 4K UHD re-issue of The End: Live in Los Angeles is scheduled for release Friday, April 5 through Mercury Studios. More information on the concert’s re-issue is available along with all of Motley Crue’s news at:

Website: https://motley.com

Facebook: https://www.facebook.com/MotleyCrue

Twitter: https://twitter.com/MotleyCrue

More information on this and other titles from Mercury Studios is available at:

Website: https://mercurystudios.com

Facebook: https://www.facebook.com/MercuryStudiosCo

Twitter: https://twitter.com/mercurystudios

Priest Premieres New Album’s Latest Single; Kicks Off The Neon Chronicles Tour

Posted on March 26, 2024 by philspicks

Dark synth-wave act Priest offered audiences another preview of its forthcoming album, Dark Pulse over the weekend.

The preview came Friday in the form of the album’s new single, ‘Just A Game.’ Its debut follows that of the album’s lead single, ‘Burning Love.’ The use of the keyboards as the arrangement’s foundation and the stylistic approach therein gives it something of an EDM lean while also something of a lighter industrial approach. It makes the arrangement comparable to works from the likes of Orgy, Gravity Kills, to a slightly lesser extent, Master Boot Record.

Audiences can even go so far as to argue early Nine Inch Nails influenced this latest single as much as the album’s lead single.

No direct explanation of the song’s lyrical theme was provided in the news release announcing the premiere of the new single; only that it “it’s a reminder that it’s all just a game–but the excitement feels anything but ordinary.” That minimal explanation further encourages audiences to get on the dance floor and dance to the music.

In other news, Priest kicks off “The Neon Chronicles Tour” tonight in Portland, OR. The tour is scheduled to run through April 16 in Salt Lake City, UT and takes the band primarily through the Southwest and West Coast. A trio of Northeast dates wraps the tour. Julien-K and September Mourning will serve as support for the tour.

The tour’s schedule is noted below:

THE NEON CHRONICLES TOUR 2024

PRIEST // JULIEN-K // SEPTEMBER MOURNING

3/26/24 – BOSSANOVA BALLROOM, PORTLAND OR

3/27/24 – FUNHOUSE @ EL CORAZON, SEATTLE WA

3/29/24 – DNA LOUNGE, SAN FRANCISCO CA

3/30/24 – FULL CIRCLE BREWING, FRESNO CA

3/31/24 – GOLDFIELD, SACRAMENTO CA

4/03/24 – BRICK BY BRICK, SAN DIEGO CA

4/04/24 – PARISH ROOM @ HOB, ANAHEIM CA

4/05/24 – WHISKEY A GO GO, W. HOLLYWOOD CA

4/06/24 – SIN WAVE, LAS VEGAS NV

4/07/24 – PUB ROCK LIVE, SCOTTSDALE AZ

4/09/24 – THE ROCK, TUCSON AZ

4/11/24 – SCOUT BAR, HOUSTON TX

4/12/24 – SUNDOWN AT GRANADA, DALLAS TX

4/13/24 – 89TH STREET, OKLAHOMA CITY OK

PRIEST & JULIEN-K

4/15/24 – HQ, DENVER CO

4/16/24 – LIQUID JOES, SALT LAKE CITY UT

4/18/24 – LOVEDRAFT’S BREWING, MECHANICSBURG PA

4/20/24- HALFTIME SPORTSBAR AND MUSIC VENUE, NEWARK DE

4/21/24 – DARK FORCE FEST 2024, NEW JERSEY, NJ

More information on Priest’s new single, album and tour is available along with all of the band’s latest news at:

Website: https://priestnexus.com

Facebook: https://www.facebook.com/priestofficial

No Guidance Unveils New Album’s Lead Single

Posted on March 26, 2024 by philspicks

Punk rock outfit No Guidance gave audience their first taste of the group’s new album this week.

The band premiered its new single, ‘Oh Hell‘ Monday. The song is featured in the band’s forthcoming third album, Late to the Party. According to information provided in a news release announcing the debut of the new single, the release date for the album (which will come through Thousand Islands Records) is under consideration.

The musical arrangement featured in the band’s new single is a fiery composition driven equally by its instrumentation and its vocals. The whole will appeal to fans of works from the likes of No Use For A Name, Rise Against, and Ignite.

No information was provided about the song’s lyrical theme in the news release announcing the debut of the new single but an explanation of the band’s drive to deliver sociopolitical commentary in its songs gives an idea as to the theme in this song; this especially as one can hear the question in the song’s chorus, “How did we get here?”

More information on No Guidance’s new single and album is available along with all of the band’s latest news at https://www.facebook.com/NoGuidanceOfficial.

The Lonely Ones Gets Theological In New Single, ‘My God’; Announces New Tour Dates

Posted on March 26, 2024 by philspicks

The Lonely Ones premiered its latest single this week.

The band unveiled its new contemplative single, ‘My God‘ Tuesday. The song is the band’s fist new music since the premiere of its then latest single, ‘Don’t Cry For Me‘ in December. The musical arrangement featured in this latest offering from The Lonely Ones is a heavy, stoner rock-infused style composition that also blends expertly, some obvious hard rock leaning. It is a much more contemplative composition than ‘Don’t Cry For Me but still has some of the same stoner rock influence as that song in its arrangement.

Front man Marty McCoy talked about the song’s somewhat theological lyrical theme in a prepared statement.

“I wrestle with faith and spirituality everyday after watching the news for 20 minutes,” McCoy said. If there is a God, he doesn’t want anything to do with us anymore.”

In other news, The Lonely Ones has also announced a new string of live dates for this spring and summer. The tour’s schedule is noted below: Tickets are available now.

The Lonely Ones Tour Dates:

April 6@ Fat Daddy’s in Mansfield, TX w/ Saving Abel
April 7@ Acadia Bar & Grill in Houston, TX w/ Saving Abel
April 8@ Ground Zero Music Festival in Bandera, TX w/ Saving Abel
April 10 @ The Will in Woodway, TX
April 11 @ The Carousel Lounge in Austin, TX
April 13 @ The Iron Horse Pub in Witchita Falls, TX
May 25 @ BRATFEST in Madison, WI
June 13 @ Stadium Bar & Grill in Springfield, IL
June 14 @ Knuckleheads in Kansas City, MO
June 15 @ Rawk the River in Tahlequah, OK
July 5@ JD Legends in Franklin, OH w/ REHAB and Saving Abel
July 6@ The Nook in Danville, KY w/ REHAB and Saving Abel
July 7@ Park Hills Underground in Park Hills, MO w/ REHAB and Saving Abel
July 12@ Country Corner Inn in Conneautville, PA w/ REHAB and Saving Abel
July 13 @ Morseberger’s Tavern in Cantonsville, MD
July 18@ Black Creek Tavern in Fultondale, AL w/ REHAB and Saving Abel
July 19@ Silverados in Black Mountain, NC w/ REHAB and Saving Abel
July 20@ TOONEYS Music Venue in McCaysville, GA w/ REHAB and Saving Abel

More information on The Lonely Ones’ new tour schedule and single is available along with all of the band’s latest news at The Lonely Ones’ official Facebook page.

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/phispicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Creed Hits Collection To Get Vinyl Re-Issue

Posted on March 26, 2024 by philspicks

Craft Recordings is set to re-issue Creed’s Greatest Hits compilation this spring.

The singles collection, originally released in 2004 through Wind-Up, the 13-song collection is scheduled for re-issue on vinyl May 24 through Craft Recordings. It will release on at least five separate pressings: Green Smoke, Orange Smoke, Red Smoke, Gray Smoke, and Blue Smoke. The singles that make p the record’s body were pulled from the band’s first three albums, My Own Prison (1997), Human Clay (1999), and Weathered (2001).

The record’s track listing is noted below:

CREED’s Greatest Hits Track Listing:

Side A:

1. Torn

2. My Own Prison

3. What’s This Life For

4. One

Side B:

1. Are You Ready?

2. Higher

3. With Arms Wide Open

4. What If

Side C:

1. One Last Breath

2. Don’t Stop Dancing

3. Bullets

4. My Sacrifice

5. Weathered

In other news, Creed has an extensive summer tour planned. The dates for the tour are noted below:

CREED 2004 Tour Dates

4/18 – 4/21 – Summer of ’99 Cruise

4/27 – 5/1 – Summer of ’99 Cruise

7/17 – Green Bay, WI (Resch Center)

7/19 – Monticello, IA (Great Jones County Fair)

7/20 – Walker, MN (Moondance Events)

7/23 – Simpsonville, SC (CCNB Amphitheatre at Heritage Park)

7/24 – Charlotte, NC (PNC Music Pavilion)

7/26 – Bristow, VA (Jiffy Lube Live)

7/27 – Virginia Beach, VA (Veterans United Home Loans Amphitheater at Virginia Beach)

7/30 – Toronto, ON (Budweiser Stage)

7/31 – Detroit, MI (Pine Knob Music Theatre)

8/2 – Cincinnati, OH (Riverbend Music Center)

8/3 – Burgettstown, PA (The Pavilion at Star Lake)

8/6 – Bridgeport, CT (Hartford HealthCare Amphitheater)

8/7 – Holmdel, NJ (PNC Bank Arts Center)

8/9 – Maryland Heights, MO (Hollywood Casino Amphitheatre – St. Louis)

8/10 – Noblesville, IN (Ruoff Music Center – Indianapolis)

8/13 – Nashville, TN (Ascend Amphitheater)

8/14 – Pelham, AL (Oak Mountain Amphitheatre)

8/16 – Tinley Park, IL (Credit Union 1 Amphitheatre)

8/17 – Welch, MN (Treasure Island Amphitheater)

8/20 – Gilford, NH (BankNH Pavilion)

8/21 – Mansfield, MA (Xfinity Center)

8/23 – Hershey, PA (Hersheypark Stadium)

8/24 – Saratoga Springs, NY (Saratoga Performing Arts Center)

8/31 – San Bernardino, CA (Glen Helen Amphitheater)

9/1 – Wheatland, CA (Toyota Amphitheatre)

9/4 – Phoenix, AZ (Talking Stick Resort Amphitheatre)

9/6 – West Valley City, UT (Utah First Credit Union Amphitheatre (formerly USANA))

9/7 – Greenwood Village, CO (Fiddler’s Green Amphitheatre)

9/10 – Rogers, AR (Walmart AMP)

9/11 – Dallas, TX (Dos Equis Pavilion)

9/13 – San Antonio, TX (Frost Bank Center)

9/14 – Houston, TX (The Cynthia Woods Mitchell Pavilion – Houston)

9/16 – Brandon, MS (Brandon Amphitheater)

9/18 – Raleigh, NC (Coastal Credit Union Music Park at Walnut Creek)

9/20 – Tampa, FL (MIDFLORIDA Credit Union Amphitheatre)

9/21 – Palm Beach County, FL (iTHINK Financial Amphitheatre)

9/24 – Jacksonville, FL (Daily’s Place)

9/25 – Alpharetta, GA (Ameris Bank Amphitheatre)

9/27 – Corfu, NY (Darien Lake Amphitheater)

9/28 – Atlantic City, NJ (Hard Rock Live at Etess Arena)

11/2 – Oklahoma City, OK (Paycom Center)

11/3 – North Little Rock, AR (Simmons Bank Arena)

11/6 – Kansas City, MO (T-Mobile Center)

11/8 – Nashville, TN (Bridgestone Arena)

11/9 – Biloxi, MS (Mississippi Coast Coliseum)

11/12 – Corpus Christi, TX (American Bank Center Arena)

11/13 – Fort Worth, TX (Dickies Arena)

11/15 – Austin, TX (Moody Center)

11/16 – Bossier City, LA (Brookshire Grocery Arena)

11/19 – Grand Rapids, MI (Van Andel Arena)

11/20 – Detroit, MI (Little Caesars Arena)

11/22 – Cleveland, OH (Rocket Mortgage FieldHouse)

11/23 – Baltimore, MD (CFG Bank Arena)

11/25 – Montréal, QC (Bell Centre)

11/27 – Toronto, ON (Scotiabank Arena)

11/29 – New York City, NY (Madison Square Garden)

11/30 – Bangor, ME (Cross Insurance Center)

12/2 – Allentown, PA (PPL Center)

12/4 – Atlanta, GA (State Farm Arena)

12/5 – Orlando, FL (Kia Center)

More information on Creed’s forthcoming Greatest Hits vinyl re-issue and the band’s tour is available along with all of the band’s latest news at:

Website: https://creed.com

Facebook: https://www.facebook.com/Creed

Twitter: https://twitter.com/Creed

More information on this and other upcoming vinyl releases from Craft Recordings is available at:

Website: https://craftrecordings.com

Facebook: https://www.facebook.com/craftrecordingsofficial

Twitter: https://twitter.com/craftrecordings

To keep up with the latest entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.