Mister G’s ‘Green World’ Gets The Gold

Courtesy: Coil Records

Children’s entertainer Mister G has made quite the name for himself throughout his career, turning out album after album of family-friendly music that successfully bridges cultural and musical boundaries  That success was continued late this month when the Latin Grammy® Award-winning musician released his latest album Mundo Verde/Green World.  The 11-song record, his eighth offering, is a success due in part to its overall theme.  That will be discussed shortly.  The variety presented throughout the record’s musical arrangements is just as important to discuss in examining the album’s presentation as its central theme.  The record’s sequencing rounds out its most important elements.  Each element is important in its own right to the album’s whole.  All things considered, they make Mundo Verde / Green World yet another successful offering from Mister G and potentially one of this year’s top new children’s albums.

Mister G’s eighth studio recording Mundo Verde / Green World is yet another successful offering from the veteran children’s entertainer. That is thanks in no small part to the album’s central theme, which promotes environmental awareness.  Right from the album’s outset, Mister G sings to his listeners, “We’ve got to protect this planet of ours…I want to live in a green world.”  That emphasis on environmental awareness continues throughout the rest of the album’s run, too, in various ways.  From a song about recycling (which is in fact simply titled ‘Recycling’) to a song promoting the huge importance of the tiny honey bee (yes, that song is called ‘Bee’) to the encouraging ‘Yes We Can’ and more, this record’s songs focus in their own way on that one central theme of caring for the planet.  Obvious, Mister G is not the first artist from any genre to focus on the plight of the planet.  But this album marks the first of his albums to focus so wholly on that one subject.  It is one more way in which he continues to keep his albums varied from one to the next—his previous albums have paid tribute to the Jewish people and culture, general education and on animals among other topics—making that central theme all the more important to the album, even if the theme is not uncommon to the music industry in whole.  It is only one of the elements that makes this record so enjoyable.  The album’s musical styles exhibit their own variety throughout its run.

The variety presented throughout Mister G’s latest album is so important because it shows just as much as the album’s theme, Mister G’s continued conscious effort to keep things fresh for his listeners.  ‘Agua’ takes the Latin sounds for which Mister G has come to be known throughout his career and crosses them with an arrangement that conjures thoughts of the Hawaiin-islands.  With the recent success of Disney’s Moana, some might even start getting images of the Polynesian islands of the Pacific in listening to this song’s arrangement.  ‘How Many Fish’ is yet another surprise as its musical arrangement lends itself easily to comparisons to certain works from John Mayer.  The easygoing arrangement presented in ‘Paws in the Air’ stands out in its own way with its easy comparison to works from Jason Mraz, Jack Johnson and other similar acts.  Even the more Latin-leaning arrangements featured in this record show their own identity from one another.  Considering the variety exhibited throughout the course of this record’s arrangements, it becomes clear why the record’s musical variety is so important to its overall presentation.  It still is not the last of the album’s most important elements.  The record’s sequencing rounds out its most important elements.

Mundo Verde / Green World’s sequencing is an important piece of the record’s whole because it is puts the finishing touch on the already solid foundation created through the record’s theme and musical variety.  The finishing touch in question is a continued energy from one song to the next, with the variations in that energy being just enough from one to the next to ensure listeners’ engagement.  The sequencing also involved variations, just slight enough, in the arrangements to ensure even more listeners’ engagement.  Keeping this in mind, the album’s sequencing proves to be just as critical to its overall presentation as its central theme and its musical variants.  When all three elements are joined, they make the album in whole yet another successful offering from Mister G and potentially one of this year’s top new children’s albums.

Mister G’s latest full-length studio album Mundo Verde / Green World is yet another successful offering from the veteran children’s entertainer.  It is also potentially one of the year’s top new children’s albums, as is evidenced in the focus of the album’s central theme and musical variations.  The album’s sequencing shows just as much focus.  Keeping that in mind, all three elements collectively make this album enjoyable from start to finish.  It is available now in stores and online.  More information on Mundo Verde / Green World is available online now along with all of Mister G’s latest news and more at:

 

 

 

Website: http://www.mistergsongs.com

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

Twitter: http://twitter.com/mistergsongs

 

 

 

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Cohen Media Group To Give Audiences A Special Scary Treat This Halloween

Courtesy: Cohen Media Group

Cohen Media Group has a very special treat for classic movie buffs and horror movie fans this Halloween.

The independent movie studio will re-issue director the classic 1932 James Whale-directed thriller The Old Dark House Oct. 24 in stores and online. The vintage thriller, which runs 72 minutes and is based on author J.B. Priestley’s book Benighted, it follows a group of wayward travelers seeking shelter from a storm in a forbidding old mansion in the Welsh countryside.

Boris Karloff (Frankenstein, Bride of Frankenstein, The Mummy) as a creepy mute butler living and working in the mansion. He is not the only creepy figure living in the house. An elderly woman living in the house presents her own scares for the unlikely guests.  Audiences can view a trailer for the movie online now here.

Also starring in the movie are Gloria Stuart (The Invisible Man, The Prisoner of Shark Island, Titanic), Melvyn Douglas (Ninotchka, The Changeling, Hud), Charles Laughton (in his Hollwood debut here, later known for his work on Jamaica Inn, Spartacus, Mutiny on the Bounty), Raymond Massey (East of Eden, Abe Lincoln in Illinois, Arsenic & Old Lace) and Ernest Thesiger (Bride of Frankenstein, A Christmas Carol, The Man in the White Suit).

Along with the movie itself, Cohen Media Group’s forthcoming re-issue of the movie will also include bonus interview with Sara Karloff, Boris Karloff’s daughter.  It will also include a feature-length audio commentary track with insights from Stuart, a separate feature-length commentary from James Whale biographer James Curtis and a featurette on the work to restore the classic 1932 flick’s footage.

The Old Dark House will be released on DVD, Blu-ray and digital platforms in 4K digital restoration. It will retail for MSRP of $19.99 (DVD) and $25.99 (Blu-ray).  More information on this and other titles from Cohen Media Group is available online now at:

 

 

 

Website: http://www.cohenmedia.net

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

Twitter: http://twitter.com/cohenmediagroup

 

 

 

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PBS Announces New ‘Wild Kratts’ DVD Release Date, Specs

Courtesy: PBS Distribution/PBS Kids

PBS Distribution will get a little “Wild” this October.

The company will release a brand new Wild Kratts DVD Oct. 10 in stores and online titled Wild Kratts: Wild Winter Creatures.  The four-episode collection will retail for MSRP of $14.99 and can be pre-ordered online now via PBS’ online store.

The brothers Kratt have to deal with the vile Zach Varmitech in “Polar Bears Don’t Dance”, one of the disc’s featured episodes, after they find out he has kidnapped a walrus calf and Polar Bear cub.  In “Journey to the Subnivean Zone,” Martin and Chris get miniaturized and discover the world of the meadow vole.

A search for Chris’ Creature souvenir leads the Kratts and their friends back to the Arctic and a lesson about the Musk Ox in “Musk Ox Mania.”  In “Mystery of the Weird Looking Walrus,” Chris and Martin have to deal with Zack Varmitech again after Zach and Donita Donata partner to kidnap a herd of walrus for evil purposes.

More information on Wild Kratts: Wild Winter Creatures is available online along with plenty of Wild Kratts games, activities, printables and more at:

 

 

 

Website: http://pbskids.org/wildkratts

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

 

 

 

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PBS Announces Release Date, Specs For New ‘Super Why!’ DVD

Courtesy: Public Media Distribution, PBS, PBS Kids

PBS Distribution and PBS Kids will soon release a new collection of episodes from the hit animated series Super Why!

Super Why!: Sleeping Beauty and other Fairytale Adventures will be released in stores and online Tuesday, Oct. 31.  The collection, which will retail for MSRP of $9.99, can be pre-ordered now via PBS’ online store. It features four more episodes taken from the long-running vocabulary-building series that all focus on famous fairytales.

The disc’s title episode follows Whyatt and his friends as they have to keep waking up Sleeping Beauty in order to convince her not to let life pass her by.  It is a fun new twist on a classic story that is sure to put a smile on any viewer’s face.  “The Frog Prince” takes another classic tale and gives it a fun twist that also teaches a valuable lesson about compromise (a lesson from which even adults could learn).

“The Twelve Dancing Princesses” follows Whyatt and his friends as they try to find out why Whyat’s family is being secretive while “Princess Gwennie Saves The Day” teaches an invaluable lesson about finding one’s own special gifs and talents.

More information on Super Why!: Sleeping Beauty and other Fairytale Adventures is available online along with lots of Super Why! games, activities, printables and more at:

 

 

 

Website: http://pbskids.org/superwhy

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

 

 

 

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POJ’s Latest LP Is Another Must Have For Diehard Funk Fans

Courtesy: Sugar Road Records

Late this past March, Brooklyn, NY-based funk outfit Pimps of Joytime released its latest full-length studio recording Third Wall Chronicles to the world.  The group’s fourth full-length studio recording, this 10-song 38-minute record is itself a joy that will break more walls than build them.  In a time when the world is suffering from so much strife and division, that is important to note.  The mix of the album’s musical arrangements and its equally uplifting lyrics can so easily break down those walls and unite people, showing in whole that this is easily one of the year’s top new albums.

Pimps of Joytime’s latest full-length studio recording Third Wall Chronicles is a powerful new effort from the group.  That is proven throughout the album thanks to its music and lyrics that can so easily break down walls and unite listeners.  The album’s upbeat opener ‘This Funk (Give Me A Hand)’ supports that statement right off the top.  The song’s musical arrangement is an infectious, upbeat composition laden with horns, keyboards, drums, bass and vocals that instantly implant themselves in listeners’ minds in the best way possible.  It instantly conjures thoughts of Parliament Funkadelic, Sly & The Family Stone, Kool & The Gang and so many others of that ilk.  It’s just one part of what makes this song so powerful.  Its fun, simple lyrical content does just as much to make it so powerful.  Front man Brian J and company sing in the song’s lead verse, “Somebody give me a hand with this fun/I’ve been holding it all day long/Walking around with it/Trying to find the right party for this song/Just gotta get fired up.”  The positive vibes keep flowing from here on through the rest of the song without letting up.  When those positive vibes are coupled with the song’s equally positive musical vibes, the end result is a song that is not only proof of TWC’s impressive presentation, but a solid start for the record, too.  It is just one of the songs that serves to show what makes TWC so enjoyable overall.  ‘Little Bit of Something,’ which comes midway through the record’s run, serves as another example of what makes this album so enjoyable.

‘Little Bit of Something’ is one of TWC’s most notable songs due both to its musical arrangement and its lyrical content.  Musically speaking, the song is a light, flowing composition that lends itself easily to comparisons to works from Jack Johnson, Bob Marley and other similar acts.  That is evident in the song’s guitar line and horns, which form the song’s musical foundation. Drummer John Staten’s timekeeping strengthens that foundation even more with his work behind the kit.  When all of this is joined with the rest of the song’s musical elements, the whole of those elements makes this work yet another composition that will put a smile on any listeners’ face.  The song’s lyrical content, which is just as laid back as its musical arrangement is just as certain to keep those smiles beaming.

Brian J sings here, “Before I let you slip away/There’s just oen more thing honey/That I’ve gotta say/I got a little bit of something/And a whole lot of nothing/A little of your love/Over whole lot of my suffering/So baby please/Can I get a bit of your tenderness/Baby that’s all I’m asking for.”  He goes on to sing, “It’s all I’m asking for.”  J goes on to sing in the song’s second verse of his feelings for the woman, trying to win her over.  What’s really interesting here is that in listening through the song’s lyrical content, this song is one of those songs that is centered on a broken relationship, yet it isn’t one of those oh-woe-is-me works.  It is a man pleading to that woman for her to come back, yet it is done in such a positive fashion.  It’s something to which so many people can relate; that person trying to win the other person back with sensitivity and romance.  When this is considered along with the song’s musical arrangement, it adds even more to the song’s interest and makes it that much more relatable and enjoyable.  Keeping that in mind, the song in whole is just one more example of what makes TWC another enjoyable offering from Pimps of Joytime.  ‘Mud’ shows just as much as ‘Little Bit of Something’ and ‘This Funk (Give Me A Hand) why TWC is such an enjoyable effort.

‘Mud’ is another example of what makes TWC stand out thanks to its musical and lyrical content, just as with the previously discussed songs.  Musically speaking, this song is just as infectious as those songs (and the album’s other offerings) because of the manner in which it mixes the group’s trademark funk sound with more bluesy and gospel-based sounds.  It stands out completely from the its counterparts, showing once more, the musical variety exhibited throughout the album’s 38-minute run time.  Lyrically speaking, it is yet another simple work, too.  Brian J sings in the song’s lead verse, “I’m doing alright/Despite the dark entities that are seeing me/Don’t need a doctor/Maybe a shaman…doing alright/Despite the static and degradation…I’m traveling through the muddy water/Muddy water.”  What this seems to hint at is the song’s subject saying he is working through so much negativity and not getting up.  The muddy water is a metaphor that is used along with the rest of the lyrics to present that seeming message.  The argument for that seeming message is made even stronger as he sings in the song’s second verse, “I’m doing alright/Despite the pretty deep and shady tactics….I’m still doing my damn thing/Travelling through the muddy water.”  If this is indeed the message that is being sent through the song, then it is a very positive one that, along with the song’s musical arrangement, is made even more positive and enjoyable to take in.  It’s a message that so many people need today and every day reminding listeners that while there’s plenty of muddy water to trudge through, it can be done.  Considering this, that positive musical and lyrical message shows clearly why this song is another important addition to TWC and most certainly not the last.

The keyboard-driven arrangement of ‘Everywhere I Go’ is an easy fit for any Top 40 Pop radio station, and lends itself just as easily to any number of re-mixes while its positive lyrical content adds just as much to its enjoyment.  ‘Jack Stackin’’ presents its own musical and lyrical enjoyment with its hip-hop-infused arrangement and its fun lyrical content.  ‘Play,’ with its pop sensibilities both musically and lyrically, is enjoyable in its own right as it throws back to the golden age of funk, even incorporating some disco influence, too.  Lyrically, it only presents positivity, too.  Keeping all of this in mind, it should be clear by now why Third Wall Chronicles is such an enjoyable new effort from Pimps of Joytime.  The record, from start to finish, tells plenty of fun musical and lyrical stories that easily break down walls and unite listeners in that fun.  Keeping that in mind, the whole of the album proves without a doubt that it is one of this year’s top new albums overall.  It is available now.  More information on third Wall Chronicles is available online now along with all of Pimps of Joytime’s latest news and more at:

 

 

 

Website: http://www.pimpsofjoytime.com

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

Twitter: http://twitter.com/pimpsofjoytime

 

 

 

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.

Southern Rock/Country Artist Andrew Carter Impresses On His Self-Titled Debut LP

Courtesy: Dog Song Records

Singer/songwriter Andrew Carter is on the verge of becoming one of the next big names in the country/southern rock arena.  That is thanks to Carter’s latest studio recording, his new self-titled, eight-song EP.  Released via Dog Songs Records, this record gives southern rock and country fans plenty to appreciate both musically and lyrically—two of its most important elements.  The record’s sequencing rounds out its most important elements.  Each element is key in its own way to this record’s whole.  Collectively, they make Andrew Carter the first step in a potentially big career for Carter.

Andrew Carter’s self-titled debut recording is a solid start for this up-and-coming, Tennesee-based southern rock/country artist.  That is proven in part through the musical arrangements that serve as the record’s foundation.  From start to finish, the musical arrangements presented in this record conjure thoughts of Lynyrd Skynyrd, Tom Petty & The Heartbreakers, The Black Crowes and even Hank Williams Sr. among so many other top name acts from the southern rock and country realms.  The album’s opener, ‘Tear This Motha’ Down’ even conjures thoughts of Shooter Jennings with its arrangement.  As if that is not interesting enough, the record’s second offering, ‘The Weekend’ conjures thoughts of Bob Dylan while the rest of the song lends itself musically to thoughts of more modern southern rock and country works.  The reference to Lynyrd Skynyrd applies to the album’s fourth song, ‘Six Thousand Miles.’  Instantly lends itself to comparisons to the aforementioned band’s megahit ‘Tuesday’s Gone.’  Considering this and the equally easy comparisons that can be made through the record’s other compositions, it can be said easily that the album’s musical arrangements do plenty to make this record enjoyable for any southern rock and country fan.  It is only one part of what makes Andrew Carter an enjoyable listen for those noted audiences.  The record’s lyrical themes are just as important to its presentation as its musical arrangements.

The lyrical themes presented throughout Andrew Carter’s debut recording are collectively an important part of the album’s whole because while maybe not as diverse as the musical influences, they are still interesting in their own right. Carter sings in the EP’s opener about a woman who clearly made quite a difference in his life (or that of the song’s subject).  ‘The Weekend’ is also about a woman, yet, it’s also about the joys of two people spending the weekend together; no stresses of work, just the two people.  It’s a fun, light song that is sure to put a smile on any listener’s face.  There is even a tribute to all things southern in the simply titled ‘My Favorite Thing (about the South)’ that is also a tribute (no surprise) to a woman.   ‘Ghost Of Me’ offers up a fun, light-hearted introspective on Carter’s life that will entertain listeners just as much lyrically as it will musically.  It’s just one more way in which the lyrical content presented in Andrew Carter proves to be so important It shows alongside the album’s other lyrical themes, Carter’s ability to be lyrically diverse without being overly so.  That being the case, it becomes clear why the lyrical themes presented in Carter’s debut album is so important to the album’s whole.  Even with its importance, it still is not the last of the album’s most important elements.  The album’s sequencing rounds out its most important elements.

Andrew Carter’s sequencing is important to discuss here because it determines the album’s ability to keep listeners engaged and entertained just as much as the album’s musical and lyrical content.  Obviously plenty of time and thought was put into making sure this record would keep listeners engaged and entertained, too.  From start to finish, the album’s energy never lets up too much.  Even in the case of the Tom Petty-esque ‘Same Old Song’ (which is one of the album’s slower songs and sounds eerily like Petty’s ‘Last Dance With Mary Jane’ musically speaking), the energy still maintains itself in its own way.  Simply put, the album’s energy never lets up or gets too much at one point or another at any one point throughout its run.  Keeping this in mind, the album’s sequencing definitely ensures just as much its musical and lyrical content, listeners’ engagement and entertainment.  When all three elements are joined together, they make the album in whole a solid start for Andrew Carter, giving hope for a long career to come.

Andrew Carter’s self-titled debut album is a solid start for the southern rock/country musician. It is a record that gives hope for the future of his career thanks not only to its musical arrangements but also its lyrical content and its sequencing.  Each element plays its own critical part to the whole of the album.  All things considered, they make Andrew Carter a record that is sure to make his name very well-known very soon.  It is available now.  More information on Carter’s debut album is available online now along with all of his latest news and more at:

 

 

 

Website: http://www.andrewcartermusic.com

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

 

 

 

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Nuclear Blast To Re-Issue Testament Recordings

Courtesy: Nuclear Blast Records

Veteran thrash outfit Testament will see a handful of its classic albums re-issued on vinyl this fall.

Nuclear Blast Records will re-issue five of the band’s records, including two live recordings, on Nov. 17, 2017. The recordings — Live at the Fillmore (1995), Demonic (1997), The Gathering (1999) [re-mastered by Andy Sneap), First Strike Still Deadly (2001) and Live at Eindhoven ’87 (2009) — will be re-issued on vinyl and as digi-packs. They will also feature new artwork.

Testament guitarist Eric Peterson said in a recent interview that he was looking forward to the recordings’ re-issues.

“I’m super stoked that Nuclear Blast, the best metal label on Earth, is re-releasing the re-birth of Testament era featuring Demonic and The Gathering,” Peterson said.  “These two albums brought us back to life with ultra heavy and unrelenting fury and melody.  Also, ‘87’s live classic in full Live in Eindhoven and re-recordings of our classic First Strike Still Deadly.  These classic records feature revamped art to boot that are unapologetic to their themes as they were.”

Front man Chuck Billy agreed.

“I am more than excited to have Nuclear Blast re-release part of our catalogue that has been in need of a good home,” Billy said.  “Nuclear Blast has taken these albums in and will help Testament bring something killer to our fans.”

Pre-orders are available now for each re-issue.  An associated merchandise collection will soon launch.

More information on Testament’s forthcoming re-issues is available online now along with all of the band’s latest news at:

 

 

 

Website: http://www.testamentlegions.com

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

Twitter: http://twitter.com/testament

 

 

 

More information on these and other titles from Nuclear Blast Records is available online now at:

 

 

 

Website: http://www.nuclearblast.de/en

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

 

 

Twitter: http://twitter.com/nuclearblasteu

 

 

 

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

Royal Blood’s Sophomore LP Is A “Shining” New Effort

Courtesy: Warner Brothers Records

Late this past June, British rock duo Royal Blood releases its sophomore album How Did We Get So Dark to the world.  The album’s title may not reference its overall content, but in listening through the record’s 10 song body, it seems fitting.  That is because it is a direct contrast to how bright this record proves to be in the end thanks in part to its musical arrangements, which will be discussed shortly.  The album’s lyrical content makes this record shine just as much as its musical arrangements.  It will be discussed later.  The album’s sequencing rounds out the most notable elements that make it such a bright new effort for the fledgling rock duo.  Each element, by itself is critical to the album’s success. All things considered, they make How Did We Get So Dark a bright new effort from Royal Blood.

Royal Blood’s second full-length studio recording How Did We Get So Dark is anything but a dark new effort from the British rock duo.  This 10-song record is a shining new collection of songs that listeners will agree offers plenty to appreciate beginning with its musical arrangements.  The album’s arrangements are critical to the album’s success because of the growth that they exhibit from the pair’s self-titled debut.  From start to finish, listeners get plenty of songs that stylistically sound very similar to that 2014 full-length record thanks to so many driving, blues-based, almost Clutch-esque compositions.  At the same time, the band doesn’t stick to what it knows here.  Case in point is the stylistic change audible late in the album’s run in ‘Don’t Tell.’  This slow, grinding song’s stoner-sludge rock styling is, while not stark, still a noticeable departure from the songs included in the band’s debut.  It clearly shows the band growing and taking a new risk; a risk that works quite well.  ‘Hole in your Heart’ is another obvious sign of Royal Blood’s musical growth in this record. That is evident in the juxtaposition of the song’s softer, keyboard-driven verses and its heavier choruses.  This crossing (and the general sound of the song) is something that was hardly as present in the band’s debut.  It makes this record all the more entertaining, too.  If that is still not enough example of the growth evident in this album, ‘She’s Creeping’ shows that growth, too.  Stylistically speaking, the song comes across in a slightly easy-going fashion without losing the sound that has made the band so beloved.  It is just one more way in which the album shows the band’s willingness to take risks and grow.  Keeping that in mind, the record’s musical arrangements do plenty to make this album entertaining.  They are, collectively, just one part of what makes the record entertaining.  The album’s lyrical content is just as important to its overall presentation as its musical arrangements.

Throughout the course of HDWGSD’s 34-minute run time, it offers listeners just as much to appreciate lyrically as it does musically.  By and large, this record seems dominated lyrically by themes of relationships both good and bad.  While that doesn’t seem like much to discuss, the different ways in which the subjects are approached in each song is what makes the album so lyrically interesting. ‘Don’t Tell’ is a prime example of how the variance in that familiar theme stands out.  Vocalist Michael Kerr sings here, “Everybody saw you get your coat/And everybody heard your bad excuse for leaving/Say “I’m going out for a smoke”/No one has to know about our little secret/Meet you there in the dark/I won’t say anything/If you don’t.”  This presents a little bit of a naughty vibe, and that vibe doesn’t end there.  Kerr goes on to sing in the song’s second verse, “used to have a heart of gold/Now I’m staying up at night/Your dirty little dreamer/Always ready to reload/At your command/Wish I could keep you synchronized on demand/As we fantasize what they can’t know.”  Whether or not the seeming double entendres included here were intended here, there’s no denying they seem to be there.  This message of a naughty secret, combined with the song’s musical arrangement—which expertly catches the lyrics’ energy—makes the song even more engaging.  It is just one of the songs that lyrically proves to be so interesting.  The album’s opener/title track offers its own lyrical interest.

‘How Did We Get So Dark’ comes across as a song about a broken relationship through its lyrical content.  But the catch is that it does not come across as one of those standard oh-woe-is-me style works that are far too prevalent in the music industry.  Rather, it comes across in a more contemplative fashion as Kerr sings in the song’s lead verse, “I saw it coming/Like the shadow on the wall/You started running/When everything turned cold/How did I/Become a lookalike of someone you used to love/Someone you used to love?”  He goes on to sing in the song’s chorus, “How did something so sweet tear us apart/On a sinking ship with a heavy heart/How did we get so dark?”  Little doubt is left to mind about this song’s message. What’s really interesting here is how that theme rests alongside the song’s high-energy musical arrangement. The combination of the pair gives the song a sort of aha moment, especially as Kerr sings later in the song, “Nobody warned you/The tables would turn/I could have told you/Everything you’ve learned/Would burn to dust/Now there’s no one you can trust/Just someone you used to love/Someone you used to love.” This seems like someone who, instead of feeling sorry for himself or herself, is speaking almost sarcastically in retrospect about that broken relationship.  It is a welcome turn for such a common lyrical theme and just one more way in which the album’s lyrical content proves to be so interesting.  ‘Where Are You Now’ is one more example of what makes this record’s lyrical content stand out.

‘Where Are You Now’ comes across lyrically as yet another song about a broken relationship considering Kerr singing, “I’ve tasted every potion/They don’t taste like you/You’re a teardrop in an ocean/I’m still drinking though/And I still wonder where you are/And who you’re talking to/When I think about it I get blue.”  The rest of the song is very similar, lyrically speaking.  Once again, it sounds like a very certain style song, yet the energy in the song’s musical energy keeps it from being one of those songs.  Considering this, it becomes clear why this song is yet another example of what makes the album’s lyrical content overall so important to its presentation.  Lyrically, the record tackles some very familiar theme, but it does so in ways that don’t just repeat themselves from one to the next.  When those themes are set alongside the album’s musical arrangements, that music gives the songs’ lyrical content a whole new meaning and feeling.  Even with all of this in mind, the songs’ lyrical content is still not its last important element.  The album’s sequencing rounds out its most important elements.

The sequencing of HDWGSD is so pivotal to the album’s presentation because of the thought and time that was put into this element.  Thanks to that thought, the album keeps the album’s energy well-balanced throughout its run.  It starts out with a solid driving energy in its first trio of songs before pulling back a little in ‘She’s Creeping.’  Even as the energy pulls back, the power in the song’s energy is not lost.  The energy varies just as much over the course of the album’s next three songs with two more high-energy songs and another slower, but still strong, solid effort in ‘Don’t Tell.’  That same pattern is followed in the album’s final three group of songs, too, with the album’s closer being another strong effort, just not as fiery as its predecessors. Considering the stability and balance in the songs’ energies the album ensures even more here listeners’ engagement.  When this is set alongside the interest of the album’s lyrical themes and musical arrangements, the whole of those elements makes this record a record that is anything that is dark.  Rather, they prove it to be a shining new offering from Royal Blood.

Royal Blood’s second full-length studio recording How Did We Get So Dark is a bright, shining new offering from the band.  That is proven through musical arrangements that at times show growth from vocalist/bassist Michael Kerr and drummer Ben Thatcher while also giving audiences some familiar sounds in others.  The seemingly consistent lyrical themes that populate the record add to its interest, and its sequencing adds to that interest.  Each element is important in its own way to the album’s whole.  Collectively, they make How Did We Get So Dark a shining new effort from Royal Blood.  It is available now in stores and online.  More information on the album is available online now along with all of the band’s latest news and more at:

 

 

 

Website: http://www.royalbloodband.com

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

Twitter: http://twitter.com/royalblooduk

 

 

 

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‘Green Acres: The Complete Series’ Is A Must Have For Any Classic TV Fan

Courtesy: Shout! Factory

Shout! Factory is going “Green” next month.  That is because for the first time ever, the renowned home entertainment company will release to the masses Green Acres: The Complete Series.  The six-season set is currently expected to be released in stores and online Tuesday, Oct. 17.  Those fans who have waited for so long for its release will be happy to know that with this forthcoming release, the wait was well worth it.  That is due in no small part to the episodes.  This will be discussed shortly.  The set’s packaging is another important part of its presentation that cannot and should not be ignored, and will be discussed later.  The bonus material included in this package rounds out its most important elements. Each element is important in its own right to the set’s presentation.  All things considered, the first-ever run of Green Acres: The Complete Series proves, again, to have been well worth the wait and one that is easily one of this year’s best new box sets for grown-ups.

Shout! Factory’s forthcoming release of Green Acres: The Complete Series is a set that fans of the classic sitcom will find was well worth the wait.  That is especially the case considering that its release next month will mark the first time that the show has ever received a full-series treatment.  That is due in part to the episodes presented here.  From start to finish, audiences get all 170 episodes of the classic series, including the series’ rare pilot episode, which even has its own audio commentary track featuring thoughts from pop culture historian Russell Dyball.  That commentary is just one of the bonuses included in the set that will be discussed later.  Getting back on the subject, this set marks the first time that all 170 episodes of the largely family friendly series have ever been released together or otherwise.  What’s more, each episode looks and sounds just as good as they did in their original broadcasts if not better.  This is a real tribute to the series’ fans on the part of Shout! Factory and MGM, and both companies are to be commended for those efforts.  That is just one of the reasons that both companies should be commended here.  The set’s packaging is deserving of just as much praise as the episodes and their presentation.

The packaging used for Green Acres: The Complete Series is once more everything that audiences have come to expect from box sets released via Shout! Factory.  All six seasons of the classic sitcom are set in their own cases with the discs themselves being placed on their own plates inside the boxes.  Even with four discs being placed inside each case (for a total of 24 discs), the cases are still standard single-disc DVD size cases, showing once again how much thought was obviously put into the set’s packaging.  While separating the seasons out into separate cases might have expanded the set’s overall packaging, it is a sacrifice worth having to make in order to preserve the discs, and in turn, the series.  What’s more, even while this method might expand the packaging, it still in essence doesn’t expand it too much.

The physical aspect of the set’s packaging is only one part of what makes this element stand out.  Once again, Shout! Factory has included inside each season’s case, a chronological episode listing for audiences that includes a short but concise summary for each episode, the episode’s original air date and title.  The result here is two-fold.  One on level, the episode title and summary helps audiences decide which episode(s) they want to watch at one point or another.  On another level, the air date serves as its own starting point for perhaps a history lesson on the episode and even the series.  In other words, the set’s packaging is pleasing not just for its physical aspect but for its aesthetic aspect, too.  Keeping all of this in mind, it becomes clear why this collection’s packaging is just as important as its episodes, if not more important.  Of course it is not the last of the set’s most important elements.  The set’s bonus material forms the set’s cornerstone.

The bonus material included with Green Acres: The Complete Series offers just as much entertainment as the series’ episodes if not more.  That is because of its quantity and quality.  As previously noted, the series’ pilot episode can be viewed both by itself and with an isolated audio commentary track from pop culture historian Russell Dyball.  Dyball’s commentary both entertains and informs audiences of all ages with his insight.  The Granby’s Green Acres radio broadcasts, which are also briefly discussed in the bonus featurette Green Acres Is The Place To Be.  Audiences get to experience for themselves here just some of the episodes from the short-lived radio broadcast series, which was the foundation for Green Acres.  After taking in those broadcasts and learning about them through the aforementioned bonus discussion with author Stephen Cox, audiences gain a whole new respect and appreciation for the series in both incarnations.  Speaking of Cox’s discussion, his discussion about Green Acres’ radio roots is just one of so many topics that he covers in his featurette. Along with that discussion, he also touches on the series’ connections to I Love Lucy, The Beverly Hillbillies, Petticoat Junction and other series through casting, production and other topics.  That is just the tip of the iceberg, too.  He also goes into depth about the off-screen friendship between the series’ stars, Eddie Albert and Eva Gabor—there was nothing romantic there, so no one should get their hopes up for any gossip—the fact that Albert and Gabor were not the original picks for the show’s leads and why, the series’ animal stars and their training and even the importance of the series’ theme song as a scene setter for the show among so much more.  Between his in-depth discussions and those from Dyball, audiences get more than they could have hoped for in terms of engagement and entertainment.  The radio broadcasts and Merv Griffin Show appearances starring Albert and Gabor collectively add even more entertainment.  From one item to the next, it is clear that the bonus material included with Green Acres: The Complete Series is pivotal to this set’s presentation.  It collectively succeeds, too.  When it is considered alongside the series’ full 170-episode presentation and the continued standard-setting packaging, all three elements join to make this first-time release one that was well worth the wait and the money.  They join to make the set one of the year’s top new box sets for grown-ups.

Shout! Factory’s upcoming release of Green Acres: The Complete Series is definitely one that was well worth the wait.  It is also one of the year’s top new box sets for grown-ups (and maybe even families in whole, which the world needs more of in this day and age).  From the presentation of its full 170-episode run to its continued bar-setting packaging to its equally entertaining and engaging bonus material, it offers plenty for audiences to appreciate.  Considering that, audiences will agree when they experience it for themselves–once more-that it was well worth the wait and the cost.  It can be pre-ordered online now via Shout! Factory’s online store.  More information on this and other titles from Shout! Factory is available online now at:

 

 

 

Website: http://www.shoutfactory.com

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

Twitter: http://twitter.com/ShoutFactory

 

 

 

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‘Under Cover’ Will Appeal To Motorhead, Rock Fans Alike

Courtesy: Motorhead Music

Almost two years ago, the rock world lost one of its great icons when Motorhead front man Lemmy Kilmister died from cancer.  When he died, that effectively put an end to one of the musical universe’s greatest acts.  That meant no more new Motorhead music.  Earlier this month though, Motorhead Music–the band’s own label–released a new collection of covers from the band to satiate audiences in the form of Under Cover. The 11-song record presents a rarely heard side of Motorhead that itself is certain to entertain listeners.  This is just one of the compilation’s key elements and will be discussed later.  The acts whose songs are featured here are collectively just as important to discuss as the songs themselves and will be discussed later.  The album’s sequencing rounds out its most important elements.  Each element is important in its own right to this compilation’s overall presentation.  All things considered, Under Cover proves to be a record that is an entertaining new offering for Motorhead’s most devout fans.

Motorhead, with the passing of front man Lemmy Kilmister almost two years ago, may not be actively recording new music anymore.  With the release earlier this month of the band’s new covers compilation Under Cover, the band’s most devout fans were given an entertaining new release from Motorhead even if it is not a collection of new Motorhead music.  That statement is supported in part through the songs that make up the collection.  Considering that Motorhead, throughout the course of its life, was known for up-tempo blues-based rock that was tinged with some punk elements, the songs featured in this compilation show that the band was just as talented handling other styles of rock as its own brand.  That is proven clearly in the band’s cover of David Bowie’s hit song ‘Heroes,’ which comes early in the record’s run. Bowie’s original work bears more similarity to works from perhaps Paul McCartmey than Motorhead.  Yet, even in its slightly amped up take on the classic tune, Motorhead does Bowie’s classic justice while adding its own rock touch that is certain to get praise even from Bowie’s most devout fans.  The band’s take on The Rolling Stones’ ‘Jumpin’ Jack Flash’ is yet another song featured in this record that shows the real reach of the band’s abilities.  Once again, the band largely stays true to its source material, while also adding its own respectable hard rock elements.  The expert balance of those two elements here will put a smile on any longtime Rolling Stones fan just as much as any Motorhead fan.  Much the same can also be said in examining the band’s take of another Rolling Stones standard, ‘Sympathy For The Devil.’  Those three songs alone show clearly the band’s reach.  Of course that is not to discount the band’s covers of Ted Nugent’s ‘Cat Scratch Fever,’ Rainbow’s ‘Starstruck,’ and The Ramones’ ‘Rockaway Beach’ as well as the album’s other songs.  Those covers show in their own way the band’s reach, though they are much closer to Motorhead’s style than the previously noted works.  Keeping this in mind, the bands whose works are featured here are just as important to note as the songs themselves.

Listeners will note that of the album’s 11 total songs, seven were crafted by British acts—Judas Priest, The Sex Pistols, The Rolling Stones, David Bowie, Rainbow and Ozzy Osbourne.  The other four songs come from American acts—Ted Nugent, Metallica, Twisted Sister and The Ramones.  That in itself is certain to create its own share of discussion.  Obviously Motorhead was itself a British outfit, but it could easily be argued that such an emphasis on its counterparts presents its own history lesson to listeners.  It shows the reach of the British hard rock scene between the 1960s and 1990s versus that of the American hard rock scene.  To that end, the acts featured here in themselves serve as a starting point on rock’s history on both sides of the Atlantic.  That might not have been the manifest intent with such a lineup, but it definitely will create those discussions.  On another level, it shows the band’s interest in so many different parts of the rock community at the time. Judas Priest was hard rock while the Sex Pistols were more punk (again, showing Motorhead’s roots). Rainbow was more of a progressive style hard rock while The Rolling Stones were that blues-based influence that Motorhead always added to its own music, too.  In the same breath, Metallica’s Whiplash shows where Motorhead perhaps got its harder almost thrash elements.  When this is all taken into account along with the influences from the other featured bands, Motorhead’s roots become even more evident.  In other words, the bands and songs featured in this compilation form a solid foundation for the record.  They collectively serve as a starting point for discussions about music history and about Motorhead’s history.  Both by themselves and together, they do plenty to make this record enjoyable and are not the record’s only key elements.  The album’s sequencing adds its own enjoyment to its presentation.

Under Cover’s sequencing is an important to note in examining this record because of its ability to maintain the album’s energy from beginning to end.  The album starts out full throttle with the band’s cover of Judas Priest’s ‘Breakin’ The Law’ and keeps the energy flowing just as highly as it launches into its cover of The Sex Pistols’ ‘God Save The Queen.’  Even as the album progresses into the band’s cover of ‘Heroes,’ the energy still maintains itself even here.  Given, it isn’t as high as in the album’s first two entries, but still keeps moving.  The energy picks right back up as the album takes listeners through the band’s covers of Rainbow’s Starstruck’ and Ted Nugent’s ‘Cat Scratch Fever’ before pulling back again with two straight Rolling Stones covers.  From there on out, the energy picks right back and stays stable right to the album’s end even with the change in the songs’ styles.  Keeping this in mind, it is clear that plenty of time and thought was put into the record’s sequencing.  That time and thought ensures listeners’ engagement from beginning to end here.  That is because the record’s energy never lets up too much at any one point or even gets too high.  When this is taken into account along with the collective value of the record’s songs and their associated bands, it adds that much more depth to the collection.  That being the case, the whole of those elements make Under Cover a collection that will appeal not only to Motorhead’s fans from start to finish but to rock fans in general.

Motrhead’s recently released compilation record Under Cover is a collection of songs that will appeal both to Motorhead’s fans and to rock fans in general.  This is the case even though being a compilation record, it does not necessarily break any new ground in the way of compilation records.  The songs and bands featured on this record serve collectively as a solid starting point for plenty of discussions both on Motorhead’s history and on rock history.  They also do plenty to ensure listeners’ maintained engagement and entertainment.  The record’s sequencing does much the same.  All things considered, these elements make Under Cover a collection that while not exactly new to the compilation realm, is still entertaining in its own right.  It is available now in stores and online.  More information on Under Cover is available online now along with all of the latest Motorhead news at:

 

 

 

Website: http://www.motorhead.com

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

Twitter: http://twitter.com/myMotorhead

 

 

 

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.