John 5 Announces Dates For Next Leg Of “Invasion Tour”

Courtesy: Adrenaline PR/60 cycle hum Records

John 5 and The Creatures will launch the second leg of their “Invasion Tour” Wednesday.

The next leg of the tour, which is in support of the group’s latest album Invasion, is scheduled to launch Wednesday in Battle Creek, MI.  It is set to run through Nov. 24 in Rochester, NY and to feature performances in cities, such as Charlotte, NC; Omaha, NE and Atlanta, GA.

The tour’s schedule is noted below.  Tickets and VIP packages are available here.

JOHN 5 and The Creatures tour dates:
Invasion Tour w/Jared James Nichols and Reverend Jack
10/30 – Music Factory @ Battle Creek, MI
10/31 – Cleveland, OH @ The Winchester 
11/1 – Detroit, MI @ Token Lounge
11/2 – Chicago, IL @ Reggie’s
11/3 – Ringle, WI @ Q&Z Expo Center
11/5 – Kansasville, WI @ 1175
11/6 – Minneapolis, MN @ Turf Club
11/7 – Des Moines, IA @ Lefty’s
11/8 – Omaha, NE @ Sokol Underground
11/9 – Lawrence, KS @ The Bottleneck
11/11 – St. Louis, MO @ Fubar
11/12 – Memphis, TN @ Growlers
11/14 – Atlanta, GA @ Smith’s Old Bar
11/15 – New Orleans, LA @ The Parish at the House of Blues
11/16 – Miramar Beach, FL @ Village Door Music Hall
11/17 – Nashville, TN @ The Basement East
11/18 – Charlotte, NC @ Amos Southend
11/20 – Greensboro, NC @ Blind Tiger
11/21 – Annapolis, MD @ Ram’s Head on Stage
11/22 – Philadelphia, PA @ Voltage Lounge
11/23 – Lancaster, PA @ Chameleon Club
11/24 – Rochester, NY @ Montage Music Hall

John 5 (a.k.a. John William Lowery) talked about the upcoming stretch of live dates in a recent interview.

“I’m excited to get back out on the road with The Creatures and play music from the new album,” he said.  “The response to the first leg of the Invasion Tour earlier this year was amazing and I can’t wait to hit even more cities.  Jared James Nichols was phenomenal last time around and we are happy to have him join us again.”

More information on John 5 and The Creatures’ upcoming live dates is available online now along with all of the group’s latest news and more at:

 

Website: http://john-5.com

Facebook: http://www.facebook.com/John5official

Twitter: http://twitter.com/john5guitarist

 

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Charm City Devils’ New EP Will “Charm” Listeners

Courtesy: Broken World Records

Charm City Devils will returns next month with its first new music in five years.  The independent Baltimore, MD-based band will release its new EP 1904 Nov. 22 through Broken World Records.  The five-song, 17-minute record is a welcome return for band, after such a long hiatus, and longtime fans of the band will agree to that statement, too.  The acoustic take of the EP’s lead single ‘Skipping Stone’ serves well to show why the record is such a positive presentation.  Much the same can be said of ‘Broken Hearts Broken Bones,’ the record’s penultimate song, and ‘Dollar Signs,’ the record’s second song.  Each of the noted songs does its own part in making 1904 a powerful new offering from Charm City Devils.  When they are considered along with the EP’s full, electric take of ‘Skipping Stone’ and ‘Tides Are Changin,’ the whole of the EP proves to be a positive testing of the waters for Charm City Devils after having been away for such a long time.

Charm City Devils’ forthcoming EP 1904 is a positive return for the band, especially considering the band’s activity and lack thereof over the course of the past five years.  That is proven in part through the EP’s closer, the acoustic take of its opener, ‘Skipping Stone.  The song’s acoustic take stands out in part because of its arrangement.  It is difficult to fully put into words, but the full-on acoustic presentation and the “airy” nature of front man John Allen’s vocal delivery gives the song even more power than they do collectively in the song’s full-on plugged in take.  That especially becomes the case in the song’s chorus.  Whereas the plugged-in take of the song offers its own power in the choruses, the choruses in the acoustic take are just as strong because of the minimalist approach in the instrumentation.  The arrangement in whole does a lot to make the song and take appealing, and is just one part of the noted appeal.  The song’s lyrical content adds its own engagement and entertainment to the song.

The lyrical content featured in the song comes across as a statement about the need for people to be better than they are.  In other words, it comes across as a certain kind of social commentary.  This is inferred as Allen sings in the song’s lead verse, “Facing the mirror/These lines are getting clearer/Seeing a stranger that I hardly know/I know it’s only a fleeting reflection/That will bend no matter which way we go/Where we go nobody knows/But the river’s gonna take you home.”  He continues in the song’s second verse, “We should be living/Like tomorrow may not be given to us/Every day is not guaranteed/Only accepting it’s a blessing/Your presence, till you discover what it is you need.”  There may be some slight inconsistencies in the lyrics, having interpreted this without a lyrics sheet.  That aside, enough is understood to know that the song’s message of living the best one can.  That is inferred even more in the song’s final verse, in which Allen sings, “If you don’t listen, you’ll be missin’ the vision/You won’t be ready when the river bends/Every day cannot be taken for granted/So when you fall you gotta get back up again/But the river’s gonna take you home.”  Yet again, here listeners get a seeming message about doing the best that they can in life, adding that doing so important so as to be ready for when unexpected situations come along.  It is full-on metaphorical language, but seems relatively easy to translate.  When this seeming message is joined with the song’s musical arrangement, the whole of the two elements makes this song a strong statement from the band, both in terms of its general content and in terms of the band’s overall return on record.  The band is to be commended here, considering all of that.  Of course this song is just one of the EP’s most notable works.  ‘Broken Hearts Broken Bones does just as much as ‘Skipping Stone’ to make this EP stand out in whole.

The arrangement at the heart of ‘Broken Hearts Broken Bones,’ with its fuzzed guitar approach and hand-clapping effect almost immediately lends itself to comparisons to songs from the likes of Royal Blood, Queens of the Stone Age and other similar acts.  That is especially the case as Allen’s vocal delivery is added to the mix.  The airy, echoing effect in his delivery presented through the song’s production is the source of the effect.  When all the noted elements are joined, the make the song’s 2:54 run time actually feel longer in the best way possible.  What that means is that the arrangement by itself does a lot to leave listeners feeling fulfilled from this song.  That is a strong statement in itself.  The song’s lyrical content provides its own strong statement here.

The lyrics here are slightly difficult to decipher without lyrics.  What can be understood just enough, is the lyrical content in the song’s chorus in which Allen sings, “Round and round we go/Take it fast/Take it slow/Where we stop, nobody knows/Broken hearts broken bones/Round and round we go.”  The immediate thought here is that Allen is referencing the old adage about sticks and stones and words.  The broken hearts could perhaps be a reference to the words while the broken bones could be a reference to the sticks and stones portion of the old saying.  He even mentions in the end of the song’s second verse, “The only thing to keep me up now, who will take my place.”  In other words, the song’s subject is wondering who that significant other will choose after the breakup.  From there, he returns to the chorus, reiterating its statement again.  Tackling the topic of broken relationships is nothing new for the music industry by any means.  And the song’s lyrical approach is familiar, too.  What is so notable here is that the song’s musical arrangement is less familiar considering the song’s seeming topic.  Most breakup songs are either sad or angry.  There is little to no middle ground out there within that realm.  To that end, that slightly unfamiliar musical/emotional tone coupled with the noted content makes for quite the interesting listen.  It is not the last of the EP’s most notable tracks, either.  ‘Dollar Signs,’ the EP’s second track is noteworthy in its own right.

‘Dollar Signs’ presents an arrangement that any blues-rock fan will appreciate.  Right from the song’s outset, that familiar sound comes right out and hits listeners’ ears loud and clear.  Allen’s occasional screams conjure thoughts of Sammy Hagar, adding even more interest to the song’s musical side.  The whole of the elements within the song’s musical arrangement makes for an infectious sound that is certain to get stuck in listeners’ heads.  The song’s musical arrangement is only one of the song’s important elements.  The song’s lyrical content is just as certain as its musical content to get stuck in listeners’ heads.

Allen sings in the song’s chorus, “Tell me/where does the time go/Tell me where it goes/We’ve been working all our lives/But I can’t spare a dime…when it’s all about the dollar signs.”  He goes on to mention in the song’s second verse, having trouble making ends meet and not caring if he has anything to eat before returning to the song’s chorus, in which he continues singing about working throughout life and just trying to make ends meet.  This is another topic to which listeners can relate.  Set against the infectious, blues rock groove of the song’s musical arrangement, the whole of the song is yet another example of the EP’s strength.  When it is considered alongside the acoustic take of ‘Skipping Stone,’ ‘Broken Hearts Broken Bones’ and the rest of the EP’s offerings, the whole of the record proves to be a positive return for Charm City Devils.

Charm City Devils’ first new record in five years is a positive offering from the band.  That is because it presents easily accessible musical arrangements from start to finish for listeners.  It is also due to the equally accessible and relatable lyrical content featured within each of the record’s original songs.  That has been evidenced through three of the record’s songs in this review.  When those songs are considered along with the EP’s one other original – ‘Tides Are Changin’ – the whole of the record becomes a work that is one more of this year’s top new EPs.  More information on 1904 is available online now along with all of the band’s latest news and more at:

 

 

 

Website: http://www.charmcitydevils.com

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

Twitter: http://twitter.com/charmcitydevils

 

 

 

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Adults Will Enjoy ‘Jazz For Kids’ As Much As Children

Courtesy: Blue Engine Records/Jazz AT Lincoln Center

The Jazz At Lincoln Center Orchestra with Wynton Marsalis has been in the headlines quite a bit this year, having released two new compilation albums – one a group of songs that interpret well-known paintings and the other a collection of holiday music performances.  Just last week, the group displayed its wide-ranging talents even more when it released its new family music album Jazz For Kids.  The 10-song record is yet another enjoyable offering from the musical collective in that it shows jazz and family music may not be as far from one another as one might think and that in fact both genres can be enjoyed just as much by one age group as the other.  The compilation’s opener, ‘Baa Baa Black Sheep’ goes a long way to support that statement.  The beloved Muppets tune ‘Mah Na Mah Na’ does just as much as the album’s opener to achieve that success.  The same can be said of ‘I Like To Take My Time.’  All three songs exemplify in their own way why this record is such an enjoyable work for listeners of all ages.  When they are considered alongside the rest of the record’s offerings, the whole becomes a record that is one more of this year’s top new Jazz & Blues albums as well as one more of the year’s top new Family Music albums.

The Jazz At Lincoln Center Orchestra With Wynton Marsalis has produced in its new compilation Jazz For Kids, a record that is an enjoyable work not just for kids, but for older listeners as well.  It shows that the worlds of family music and jazz may not be as far from one another as many listeners might think.  The record’s opener, ‘Baa Baa Black Sheep’ is just one of the songs featured in this record that supports the noted statements.  The song opens with members of the group using muted trumpets to mimic – almost perfectly – the sound of sheep calling.  That brief introduction gives way to a catchy, bluesy arrangement featuring a walking bass line that forms the arrangement’s backbone, which is itself complimented by a piano line, trumpet, occasional saxophone solo and drums.  What is so interesting in this simple grouping of musicians is that while the song is meant to be a new take on a classic children’s tune, the song develops its very own identity through its arrangement.  The end result is a song that stands just as strongly on its own musical merits as it does on the fact that it is a cover of a kids’ tune.  This kind of approach, is of course nothing new for the Jazz At Lincoln Center Jazz Orchestra.  The group has prided itself on using this approach many times before.  It proved successful every time previously and just as much here as in the past.  While the group’s take on ‘Baa Baa Black Sheep’ proves a strong opener for Jazz For Kids, it is just one of the songs that serves to show what makes this record such a joy.  The group’s arrangement of ‘Mah Na Mah Na’ does just as much as its take on ‘Baa Baa Black Sheep’ to make that case.

The presentation of ‘Mah Na Mah Na’ here pays such wonderful tribute to its source material in its arrangement, even going so far as to include one member of the group singing the monster’s part early on.  That brief moment is the song’s only moment that features any vocals.  The rest of the song is presented musically, and so well at that.  What makes the arrangement so really enjoyable is the music diversity displayed throughout the arrangement.  The drums, brass and woodwinds present a distinct jazz swing while the violin incorporated into the song adds a touch of bluegrass with its own jazz tinge.  The whole of the arrangement is what is – in this critic’s ears – the record’s most notable song.  It is just a nice, bouncy, fun song that will bring out the nostalgia in older listeners while introducing a whole new generation of listeners to a great, timeless work.  It is just one more of the album’s most notable moments.  ‘I Like To Take My Time’ is yet another song that shows what makes Jazz For Kids a work that will appeal just as much to kids as t will adults.

‘I Like To Take My Time’ is a cover of the song from the beloved PBS series Mister Rogers Neighborhood.  That song in itself had its own light, jazzy feel, as did many songs featured in the timeless, irreplaceable series.  So it should come as no surprise that it would be featured in this record.  The arrangement here is more upbeat than that featured in Mister Rogers Neighborhood.  It does retain some of the reserved nature of its source material, but by and large, it develops its own identity with its brass flourishes, drum fills and woodwind melodies.  Fred Rogers’ original composition barely topped the one-minute mark, but this arrangement, with all of its elements, clocks in at almost four-and-a-half-minutes.  The result is a work that is an enjoyable work in its own right that is also a fitting tribute to the memory and legacy of Fred Rogers.  When it is considered alongside the other songs discussed here and the rest of the album’s works, the whole of the songs makes Jazz For Kids a work that is aimed at kids, but is just as appealing for grown-ups as their younger counterparts.

The Jazz At Lincoln Center With Wynton Marsalis’ new family music album Jazz For Kids is a work that may be aimed at kids, but will appeal just as much to adults as it will to children.  That is due to arrangements which take the children’s classics and give them a whole new jazz identity.  All three of the songs examined serve to prove that statement.  The other songs that make up the rest of the record could just as easily be cited in making that statement.  When those songs and the songs discussed here are considered together, the whole of the songs presents Jazz For Kids to be a record that is one of the best new family music albums of this year and one of the year’s top new jazz & blues records.  It is available now.  More information on this and other titles from the Jazz At Lincoln Center Orchestra With Wynton Marsalis is available online now at:

 

 

 

Website: http://www.jazzatlincolncenterorchestra.org

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

Twitter: http://twitter.com/jazzdotorg

 

 

 

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Phil Campbell Debuts ‘Straight Up’ Lyric Video; New LP Available Now

Courtesy: Nuclear Blast Records

Motorhead guitarist Phil Campbell released his latest album Friday, and in celebration, also released the lyric video for the album’s latest single.

Campbell debuted the single for his new single ‘Straight Up‘ Friday.  The song, featured on his new album Old Lions Still Roar, features vocals by legendary Judas Priest front man Rob Halford alongside Campbell’s solid, driving guitar work.  The video presents the song’s lyrics, which seem to make a statement of wanting a person to just be honest with another person, are presented on a large weaponized machine.

Campbell discussed bringing Halford on-board for the song in a recent interview, offering high praise for him in the process.

“‘The Metal’ God Rob Halford has always been an artist I admire,” he said.  “His distinctive vocals and stage presence have rocked millions of fans all over the world, so I count myself blessed to have written a rockin’ song together with him.”

‘Straight Up’ is just the latest song that Old Lions Still Roar has spawned.  Most recently, Campbell debuted the video for ‘These Old Boots‘ — which features guest appearances by Dee Snider (Twisted Sister), Mick Mars (Motley Crue) and Chris Fehn (ex-Slipknot) — ‘Swing It [ft. Alice Cooper]‘ led the way for the album.

Campbell also released a series of in-studio discussions on topics, such as the album’s mixing, how the album came together and the matter of the album’s singles.  The links to those discussions is noted below.

Trailer #1 – About “These Old Boots”: www.youtube.com/watch?v=5w7LAwBkz2Q
Trailer #2 – How The Album Came Together: www.youtube.com/watch?v=X1oILmXbHbM
Trailer #3 – Mixing The Album: www.youtube.com/watch?v=8F8aiYu6olU
Trailer #4 – About “Swing It”: www.youtube.com/watch?v=GufCt1L0_0A

Old Lions Still Roar is available now.  The album’s track listing is noted below.

Old Lions Still Roar tracklist
01. Rocking Chair feat. Leon Stanford
02. Straight Up feat. Rob Halford
03. Faith In Fire feat. Ben Ward
04. Swing It feat. Alice Cooper
05. Left For Dead feat. Nev MacDonald
06. Walk The Talk feat. Danko Jones & Nick Oliveri
07. These Old Boots feat. Dee Snider
08. Dancing Dogs (Love Survives) feat. Whitfield Crane
09. Dead Roses feat. Benji Webbe
10. Tears From A Glass Eye feat. Joe Satriani

Campbell is in the midst of a tour in support of his new album along with his band mates “The Bastard Sons.”  The group’s tour schedule is noted below.

PHIL CAMPBELL AND THE BASTARD SONS live:

»Old Lions Still Tour«
w/ KING CREATURE

29.10. UK Stoke – The Sugarmill
30.10. UK Glasgow – Classic Grand
01.11. UK Manchester – Rebellion *SOLD OUT*
02.11. UK London – The Dome
03.11. UK Norwich – Epic Studios
04.11. UK Nottingham – Rescue Rooms
06.11. UK Southampton – Engine Rooms
07.11. UK Wolverhampton – KK’s Steel Mill
08.11. UK Exeter – Phoenix
09.11. UK Cardiff – Tramshed

w/ LEADER OF DOWN
29.11. D Cologne – Gebäude 9
30.11. D Hamburg – Logo *SOLD OUT*
01.12. D Berlin – Bi Nuu
02.12. D Nuremberg – Hirsch
04.12. D Dresden – Beatpol
05.12. D Munich – Backstage (Halle)
06.12. D Frankfurt – Das Bett
07.12. D Oberhausen – Nikolaut Winterfestival*
*PCATBS only

2020:
29. – 31.05. D  Gelsenkirchen – Rock Hard Festival (MOTÖRHEAD Set)
29. – 31.05. UK Lincolnshire – Call Of The Wild
02./03.10. D Geiselwind – Monster Festival

More information on Old Lions Still Roar is available online now along with all of Campbell and company’s latest news at:

 

Website: http://www.philcampbell.net

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

Twitter: http://twitter.com/MotorheadPhil

 

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Entertainment One Re-Issues Pride & Glory’s Self-Titled Album; Debuts Video For ‘Machine Gun Man’ Acoustic Take

Courtesy: entertainment One

Before Black Label Society, there was Pride & Glory.

That band only released one album before its now famous front man Zakk Wylde went on to do his own thing and become one of the most respected figures in the rock community.

Entertainment One re-issued that album Friday, and in celebration of its release, debuted the video Thursday, for the exclusive acoustic take of the album’s song ‘Machine Gun Man.’  The video features Wylde and his then band mates performing live through lots of vintage footage.

Pride & Glory‘s re-issue features an acoustic take of ‘Mother Mary’ along with the acoustic take of ‘Machine Gun Man.’  The album’s picture disc re-issue also features five more more bonus songs that can be downloaded through a download card available with the album.

The album’s full track listing is noted below.

Tracklist:
1. Losin’ Your Mind
2. Horse Called War
3. Shine On
4. Lovin’ Woman
5. Harvester Of Pain
6. The Chosen One
7. Sweet Jesus
8. Troubled Wine
9. Machine Gun Man 10. Cry Me a River
11. Toe’n The Line
12. Found A Friend
13. Fadin’ Away
14. Hate Your Guts
15. Machine Gun Man (acoustic bonus)
16. Mother Mary (alternate version)

These 5 additional tracks will be included on the DL Cards for a total of 21 tracks
1. The Wizard (Black Sabbath cover)
2. Torn and Tattered
3. In My Time of Dyin’ (Led Zeppelin cover)
4. The Hammer & the Nail
5. Come Together (The Beatles cover)

More information on this and other releases from entertainment One is available online at:

 

Website: http://www.entertainmentone.com

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

Twitter: http://twitter.com/entonegroup

 

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New ‘Mr. Rogers’ Neighborhood’ Music Compilation Available Now

Courtesy: Sugar Mountain PR

Fred Rogers, a.k.a. Mr. Rogers, composed more than 200 songs during his many years on PBS’ beloved series Mr. Rogers’ Neighborhood.  A new musical tribute to Rogers and his work was released Friday in the form of the new compilation record Thank You, Mr. Rogers.

The 13-song record features performances of beloved songs from Mr. Rogers’ Neighborhood, such as its theme song, ‘Many Ways To Say I Love You’ and ‘Podemos Ser Amigos?’  The songs are performed by the likes of Vanessa Williams, Tom Bergeron and Kellie Pickler.

Williams offered her own kind words about Rogers and his work in a recent interview, saying, “As a child, you appreciated the songs, but as an adult, you really appreciate the music.”

David Newell, who played McFeely in the series expanded on Williams’ comments in a separate interview.

“Each song in this collection is different from the other…and each singer has made it their own,” he said.  “Fred would be delighted to know that his music lives on to new generations.”

Actress Rita Wilson — wife of fellow actor Tom Hanks, who will portray Rogers in a new biopic of the beloved celebrity — also offers her talents to the compilation on a performance of ‘Sometimes People Are Good.’  She offered a thought similar to those of Newell and Williams in another interview.

“Mister Rogers’ melody and lyrics are beautifully integrated together,” she said.  “his words of kindness, acceptance and peace are a classic message.”

Videos of many of the compilation’s songs being recorded in studio are streaming now at the record’s official YouTube Channel.  The record is available to download and stream through various outlets here.

More information on Thank You, Mister Rogers is available online now at:

 

Website: http://thankyoumisterrogers.com

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

 

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Arrow Video To Re-Issue ‘Robocop’ Next Month

Courtesy: Arrow Video

Arrow Video will re-issue Orion Pictures’ classic science fiction crime thriller Robocop next month.

The movie, which made its theatrical debut in 1987, follows Detroit Police Officer Alex Murphy (Peter Weller — Robocop 2Longmire24) as he becomes the future of law enforcement after being gunned down by a group of criminals.  Murphy is turned into a half-human/half-machine crime fighter and ends up uncovering corruption at the city’s highest levels as he combats crime throughout the city.

The movie’s upcoming re-issue will feature the original theatrical version and its director’s cut.  They are accompanied by a variety of bonus features,  such as archived commentary by the movie’s director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier; newly filmed interviews with the movie’s casting director and second unit director Julie Selzer and Mark Goldblatt, and retrospective on the movie’s soundtrack composer Basil Poledouris.

The bonus content featured in the Blu-ray presentation and steelbook presentation is the same.  The complete list of the movie’s bonus content is featured below.

Bonus Materials

  • 4K restoration of the film from the original camera negative by MGM, transferred in 2013 and approved by director Paul Verhoeven
  • Newly commissioned artwork by Paul Shipper
  • Director’s Cut and Theatrical Cut of the film on two High Definition (1080p) Blu-ray™ discs
  • Original lossless stereo and four-channel mixes plus DTS-HD MA 5.1 surround sound option on both cuts
  • Optional English subtitles for the deaf and hard of hearing on both cuts
  • Six collector’s postcards (Limited Edition exclusive)
  • Double-sided, fold-out poster (Limited Edition exclusive)
  • Reversible sleeve featuring original and newly commissioned artwork
  • Limited edition collector’s booklet featuring new writing on the film by Omar Ahmed, Christopher Griffiths and Henry Blyth, a 1987 Fangoria interview with Rob Bottin, and archive publicity materials (some contents exclusive to Limited Edition)
  • Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for the Theatrical Cut and re-edited in 2014 for the Director’s Cut)
  • New commentary by film historian Paul M. Sammon
  • New commentary by fans Christopher Griffiths, Gary Smart and Eastwood Allen
  • The Future of Law Enforcement: Creating RoboCop, a newly filmed interview with co-writer Michael Miner
  • RoboTalk, a newly filmed conversation between co-writer Ed Neumeier and filmmakers David Birke (writer of Elle) and Nick McCarthy (director of Orion Pictures’ The Prodigy)
  • Truth of Character, a newly filmed interview with star Nancy Allen on her role as Lewis
  • Casting Old Detroit, a newly filmed interview with casting director Julie Selzer on how the film’s ensemble cast was assembled
  • Connecting the Shots, a newly filmed interview with second unit director and frequent Verhoeven collaborator Mark Goldblatt
  • Composing RoboCop, a new tribute to composer Basil Poledouris featuring film music experts Jeff Bond, Lukas Kendall, Daniel Schweiger and Robert Townson
  • RoboProps, a newly filmed tour of super-fan Julien Dumont’s collection of original props and memorabilia
  • 2012 Q&A with the Filmmakers, a panel discussion featuring Verhoeven, Davison, Neumeier, Miner, Allen, star Peter Weller and animator Phil Tippett
  • RoboCop: Creating a Legend, Villains of Old Detroit and Special Effects: Then & Now, three archive featurettes from 2007 featuring interviews with cast and crew
  • Paul Verhoeven Easter Egg
  • Four deleted scenes
  • The Boardroom: Storyboard with Commentary by Phil Tippett
  • Director’s Cut Production Footage, raw dailies from the filming of the unrated gore scenes
  • Two theatrical trailers and three TV spots
  • Extensive image galleries
  • Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for Theatrical version of the film)
  • Two Isolated Score tracks (Composer’s Original Mix and Final Theatrical Mix) in lossless stereo
  • Edited-for-television version of the film, featuring alternate dubs, takes and edits of several scenes (95 mins, SD only)
  • Split screen comparison of Theatrical and Director’s Cuts
  • RoboCop: Edited For Television, a compilation of alternate scenes from two edited-for-television versions, newly transferred in HD from recently-unearthed 35mm elements

The steelbook and Blu-ray presentation of Robocop will retail for $49.95.  More information on this and other titles from Arrow Video is available online now at:

 

Website: http://www,arrowfilms.com

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

Twitter: http://twitter.com/ArrowFilmsVideo

 

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.