Steep Canyon Rangers’ Latest LP Will Appeal To Country, Bluegrass Fans As Much As Band’s Fans

Courtesy: Yep Roc Records

Country-bluegrass band Steep Canyon Rangers has been making headlines quite a bit lately.  The band announced last week, that it had received a Grammy® nomination for its 2019 live recording North Carolina Songbook.  The nomination comes on the heels of the release of its most recent studio recording, Arm in Arm, which it released Oct. 16 through Yep Roc Records.  The band’s 16^th overall recording (counting its live recordings), its release came only seven months after the release of its then latest recording, Be Still Moses, and is a work that the band’s longtime fans will find just as engaging and entertaining as Be Still Moses and the rest of the band’s offerings.  That is proven through the record’s musical and lyrical content alike.  This is shown in part early on in ‘Everything You Know.’  This song will be discussed shortly.  ‘Take My Mind’ is another interesting addition to the band’s new album.  It will be discussed a little later.  Much the same can be said of ‘In The Next Life,’ which serves as part of the 11-song record’s midpoint.  When it is considered along with the other songs addressed here and the rest of the record’s entries, the album in whole becomes a work that Steep Canyon Rangers’ established fan base will enjoy just as much as country and bluegrass fans in general.

Steep Canyon Rangers’ latest album (and second this year) Arm in Arm is a positive new offering from the band that will find a far reaching appeal among audiences.  That is due to its musical and lyrical content, as proven in part early on by the song ‘Everything You Know.’  The song’s musical arrangement boasts a gentle, relaxed sense through its banjo, fiddle, and vocals.  The whole of those elements and the equally gentle brush strokes on the snare drum creates such a casual sense throughout the composition.  One could actually argue that the pairing especially of the vocals with the banjo and fiddle lends itself to a comparison to Darius Rucker’s cover of Bob Dylan’s ‘Wagon Wheel.’  On a similar note, comparisons are just as easy to works from Reckless Kelly.  That relaxed sense from the song’s musical arrangement helps to translate the lyrics and mindset exhibited in the song’s lyrical content.

The lyrical content featured in this song comes across as taking on a familiar topic – that of encouraging audiences to live life for themselves and not letting others determine who and what we are and do.  That is just this critic’s interpretation.  The inference is made in the song’s chorus, which states, “Don’t tell ‘em everything thing you know/Let the whole world wonder/When the time is right to give up the gold/Hold a little back for the folks back home.”  The song’s second verse adds even more to that seeming topic as it states, Checked out of my room, walked down to the Rio Grande/Fortune teller on the sidewalk/Laughing at the way I talk/He drew a map upon my hand/Said what’s to be and what might have been/So I pulled up these chains/Set a course for the Spanish Main/And I’ll be coming back someday, baby, but I don’t know when.”  Again, here is a statement of someone not letting his fate be determined by someone else.  It is his own decision.  The fortune teller is just a metaphor.  Considering the positive message that seems to be delivered here and its companion musical arrangement, the song in whole proves to be a work that will certainly resonate with listeners.  It is just one of the album’s most notable positives.  ‘Take My Mind’ is another notable addition to the album.

‘Take My Mind’ presents a vintage style arrangement with its vocal harmonies and banjo line.  At the same time, there is a touch of modern bluegrass added to the mix that will appeal to fans of Steep Canyon Rangers’ bluegrass contemporaries Old Crow Medicine Show.  It is an upbeat work that pairs well with the song’s lyrical content, which seems to paint a picture of someone who is dealing with a lot.

The noted inference is made right from the song’s lead verse, which finds the song’s subject stating, “Give me nothing to hold that you don’t mind breaking/My nerves are on fire, my fingers are shaking/I’ve been taking the news pretty good ‘til now/Never did any good anyhow/I’ve been racking my brain for a simple solution/A little peace to replace my shattered illusion/‘Cause I’m losing the stories that I once believed/Reality won’t let me be.”  He adds in the song’s second verse, “I could walk out in the rain, find me a rainbow/Instead I sit in my room and pull the shade on the window/But the shadow I cast never fades away/It covers up my brightest days.”  The song’s chorus, which states, “Take my mind/Send it on the next thing flying/On down the line/Take my mind,” adds even more to the argument that this is someone who is dealing with a lot.  What is so interesting here is the fact that the song’s musical arrangement does not take the route that it could have and been so much more moody and brooding.  Instead the band took a different route, and instead offered something more energetic, which completely changes the song’s mood, especially when it is considered with the song’s lyrical content.  Keeping all of this in mind, the song leaves no doubt as to what makes it another important addition to Steep Canyon Rangers’ latest album.  It is not the last of the record’s most notable works, either.  ‘In The Next Life’ is one more way in which Arm in Arm proves its success.

‘In The Next Life’ is a gentle, flowing country western style composition whose arrangement whose guitar, vocals, simple percussion and fiddle lines collectively create a sound that lends itself to comparisons to works from Reckless Kelly.  The relaxed sense established through the song’s musical arrangement pairs with the song’s seemingly thoughtful lyrical content to make for even more engagement and entertainment. 

The lyrical theme featured in ‘In The Next Life’ comes across as presenting a statement of being aware of their actions.  That is inferred throughout the song’s run, beginning with its lead verse and chorus, which state, “Once I had a lover who never held back/Once I had another who wanted all I had/It took a few years to remember them well/To leave my tears right where they fell/Maybe in the next life/Maybe I’ll get it right/Maybe in the next life/Baby, give me one more try/And I’ll wait my turn/I’ve still got karma to burn.”  The song’s second and third verses support the seemingly noted statement even more, stating, “Somewhere in a past life I must’ve been a real saint/Hey, lucky me, born with money in the bank/And to my future self, I’m sorry in advance/But I’m feeling too good now/To worry ‘bout a second chance/It’s too early to call, it’s too late to call sober/When you were out in the woods, did you hear me fall over/Falling on your quiet place, wrecking the scene/Turning all your time away into some strange dream.”  When this contemplative whole is considered with the song’s relaxed musical arrangement, the whole of the song ensures listeners will be left thinking and talking.  When it is considered along with the other songs examined here and the rest of the album’s entries, the whole of the record proves itself to be a work that will appeal easily to any longtime fan of Steep Canyon Rangers. 

Steep Canyon Rangers’ latest album Arm in Arm is a positive new offering from the bluegrass/country music act.  That is proven through the record’s musical arrangements and lyrical content alike.  Each of the three songs addressed here serve well to support the noted statement.  When they are considered alongside the rest of the album’s works, the whole makes the album a presentation that will the band’s established fan base will enjoy just as much as more casual country and bluegrass fans.  The album is available now. 

More information on Steep Canyon Rangers’ new album is available along with the band’s latest news at:

Website: http://www.steepcanyon.com

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

Twitter: http://twitter.com/SteepCanyon

To keep up with the latest entertainment news and reviews, go online to http://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 http://philspicks.wordpress.com.

WMN Closes Out 2021 On A High Note With ‘The Rough Guide To Cape Jazz’

Courtesy: World Music Network

World Music Network has done quite a bit this year to take audiences into America’s rich musical history and culture.  That is thanks to successful compilations that present rich histories of the blues, gospel, and even country music.  Now as 2020 winds down, the label is presenting one more rich musical lesson in its brand new compilation, The Rough Guide to Cape Jazz.  The eight-song record is a presentation that will appeal widely to jazz aficionados and world music fans alike.  That is due in part to the compilation’s companion booklet, which will be discussed shortly.  The songs that make up the record’s body build on the foundation formed by the record’s companion booklet and add to the record’s appeal.  They will be discussed a little later.  The record’s sequencing rounds out its most important elements and will be addressed later, too.  Each item noted here is key in its own way to the whole of the compilation’s presentation.  All things considered, the record proves itself an enjoyable way for World music Network to close out the year.

World Music Network’s latest compilation record The Rough Guide to Cape Jazz is a work that will appeal just as much to jazz lovers as much as it will to world music fans.  That is thanks in part to the booklet that accompanies the record.  More specifically, the liner notes featured in the booklet are to thank for its appeal.  The notes lay the groundwork for the compilation, explaining the history behind Cape Jazz as a genre.  The notes point out that “Cape Jazz” as a genre is relatively young, having really gotten its start in 1993.  It is essentially popular folk and blues music paired with influences of the South Africa region of the African continent, according to the booklet’s featured liner notes.  This is just part of what is pointed out in the booklet’s liner notes.  The liner notes also the genre’s ties to South Africa’s own social and political culture, which adds even more interest to the genre’s story.  Between that, everything else noted here and the remainder of the booklet’s information, the whole of the information more than shows its importance to the whole of the compilation’s presentation.  It is just one part of what makes the compilation engaging and entertaining.  The record’s featured songs add their own value to the record.

The songs that make up the body of The Rough Guide to Cape Jazz are of note because while the genre allegedly is said to pair with South African musical elements for its presentation, none of the songs featured here would seem to reflect that pairing of influences.  Now ‘Liberation,’ which comes early in the 39-minute record’s run does seem to hint at the connection between the genre and region’s sociopolitical history and culture.  The energy in the arrangement hints at the emotion perhaps felt by the people of the region when apartheid came to its end in the early 1990s.  ‘The Dance of Our Fathers’ meanwhile bears quite the Westernized jazz sense a la Yellowjackets in its arrangement.  At the same time, the relaxed vibe that the arrangement exudes presents a sense of happiness that, considering the song’s title, seemingly reflects the upbeat tribute to the region’s history.  ‘Cape Joy’ come the closest of all of the compilation’s songs to featuring the noted combined South African and American jazz influences what with the use of the shakers, cowbell and other percussion.  Yes, what people call Latin is in fact African at its roots, so to that end, audiences will hear that noted pairing of influences here.  Between that and everything else noted here, along with the rest of the arrangements in all their presentation, the whole of the songs does plenty in their own right to make this record appealing.  They still are collectively just one more aspect of the record’s presentation that deserves attention.  The songs’ sequencing rounds out the compilation’s most important elements. 

The sequencing of The Rough Guide to Cape Jazz is important to address especially because this record is a compilation.  It ensures the record’s energy remains stable from the start to end of the nearly 40-minute record.  The record’s first half maintains a catchy, upbeat vibe thanks to the sequencing.  ‘Give A Little Love,’ the record’s midpoint breaks things up nicely as it slows things down noticeably.  The record’s energy picks back up from there, but never goes over the top.  The most energetic that the record gets from that point is in the funky ‘The Way It Used To Be,’ whose arrangement will appeal to fans of the likes of Weather Report.  As the album closes in ‘Crossroads Crossroads,’ the record’s energy pulls back one more time, landing listeners on a separate show so gently while also leaving them fulfilled.  Simply put, the record’s sequencing wholly ensures that its energy will keep listeners engaged and entertained just as much as the songs themselves and the information behind the songs.  All things considered, the record completely ensures its success and that it succeeds just as much as the other records released by World Music Network this year.

World Music Network’s final new compilation for this year takes the company out on a high note.  That is proven in part through the record’s companion booklet.  The booklet’s liner notes set the groundwork for the record’s presentation.  The songs that are featured in the record do their own part to entertain and engage audiences, as does the sequencing of those songs.  Each noted item examined here is important in its own way to the whole of this recording.  All things considered, they make the compilation a nice finale for World Music Network for 2020.  In the process, it leaves listeners looking forward to the company’s new slate of compilations to come in 2021.

More information on this and other titles from World Music Network is available online at:

Website: http://www.worldmusic.net

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

Twitter: http://twitter.com/WMN_UK

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 entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Dream Theater Fans Will Find Band’s Latest Live Recording More Than A “Distant Memory”

Courtesy: InsideOut Music

As 2020 nears its end, few, if any, bands are announcing any live performance plans.  There are many festivals whose dates are tentatively rescheduled for 2021, but even right now, those dates are just tentative.  That means that there is still just as much need for live recordings as ever as we head into the end of this year and the start of the New Year.  Enter veteran prog-metal band Dream Theater and its latest live recording Distant Memories: Live in London.  Released Friday through InsideOut Music, the band’s ninth live recording offers audiences a set list and performance thereof that is certain to engage and entertain listeners.  It will be discussed shortly.  While the set list does its own share to engage and entertain audiences, its audio production does pose something of a concern.  This will be discussed a little later.  Making up for the concern raised by the concert’s audio production is the video production.  It rounds out the recording’s most important elements and will be discussed later.  Each item noted here is important in its own way to the whole of Distant Memories: Live in London’s presentation.  All things considered, they make the concert worth experiencing at least occasionally. 

Dream Theater’s latest live recording Distant Memories: Live in London is a presentation that the band’s longtime fans will find a mostly enjoyable concert experience.  That is proven in part through the recording’s set list.  The 21-song set list focuses specifically on two of the band’s albums, its most recent recording, Distance Over Time and its classic album Metropolis Part 2: Scenes From A Memory.  Along with those albums, the band also goes back to 2009 and the band’s album Black Clouds and Silver Linings.  Audiences get the band’s performance of Metropolis Part 2: Scenes From A Memory in whole here, as a celebration of the 20^th anniversary of its release while five of the nine songs from Distance Over Time (more than half of its body) are also featured here. 

For those who do not know the band’s history, Metropolis Part 2: Scenes From A Memory was Dream Theater’s first-ever concept album, and a long-awaited record, too.  It is a record for which the band’s fans had until that point, pleaded ever since the band released its landmark 1992 album Images & Words, which featured ‘Metropolis Part 1.’  It was also the debut of the band’s current (and third) keyboardist Jordan Rudess, and a very heavy work, focusing on the concept of past life experiences.  Its story is unique to say the very least.  Not to give away too much for those who have not taken in that record, it does not have a happy ending.  How many musical acts past or present can say they have taken on such a concept for any album or even song?  Exactly. 

The inclusion of a song from Black Clouds and Silver Linings is interesting here, too.  That is because that record was the last on which now former drummer and Dream Theater founding member Mike Portnoy would take part.  He would go on to be replaced by current drummer Mike Mangini on the band’s next album, the aptly titled A Dramatic Turn of Events.  Simply put, between this one song and the featuring of the aforementioned album, audiences are presented with a work that was the first for one member and the last for another member.  Whether that contrast was intentional is anyone’s guess.  Regardless, it’s there, so that adds even more interest to this set list.

Adding to the whole is of course that the band made certain to promote its latest album along with everything else.  That the group focused on a much material as it did here is the virtual icing on the cake here.  Of course, the band’s performance of the noted set list adds even more to the concert experience.  That early moment in which Jordan Rudess breaks away from his stationary position and puts on one of those portable, shoulder-strap keyboards, taking his moment to really get in the limelight is just one of so many highlights of the band’s performance.  Seeing his smile and taking in the energy of his performance will make audiences smile just as much.  The rest of the band members – John Myung (bass), John Petrucci (guitar), Mangini (drums), and James LaBrie (vocals) – were at ease throughout the concert, displaying such mastery of their instruments while putting their full talents on display.  Watching Petrucci rip his way through the solos is just as enjoyable.  His arms and hands barely move, yet the riffs (solos included) are just so heavy and intense.  Watching Myung meanwhile during the concert’s higher energy moments leaves full understanding of why he is nicknamed “the octopus.”  His fingers move like an octopus’ tentacles as he plucks the strings of his bass.  His left hand moves just as fluidly across the strings as he lays down the harmonies in each song.  All the while, his facial gestures never change, even when his hair is not covering his face.  Even LaBrie shines during his moments on stage as he leads the way.  Now while the concert’s set list and the band’s performance thereof does plenty to ensure audience’s engagement and entertainment, the concert is not perfect.  The concert’s audio production does raise some concerns.

Throughout the course of the roughly two-and-a-half-hour concert’s run time, there are many moments in which the audio sounds somewhat unbalanced.  LaBrie’s vocals, at many points, sound washed out in favor of the performance of his band mates.  It does not happen in every single song, but it does happen enough that one cannot ignore the issue.  Those moments are not the only points at which the audio production proves problematic.  The pre-recorded narration in the Metropolis Part 2: Scenes From A Memory also comes across as being rather washed out.  It is audible, but sounds more like it was recorded in the distance by a smart phone than by an actual professional recording device.  It is a minor matter, but still important to the presentation of the album’s story in its own right.  Losing that element detracts from the recording’s presentation in its own right.  There are also moments when the sounds from Rudess’ keyboards echo more than they seemingly should through the concert hall.  As with the sound of the narrator in the Metropolis Part 2 set, the sound just comes across as being too “raw” in those moments.  Thankfully, even with the noted audio concerns in mind, they are so spread out that they do not make the concert experience a failure.  The concerns raised by the concert’s audio issues are countered by the positives of the recording’s video production.

Throughout the course of the concert, audiences are given the best seat in the house.  Forget just looking up at the band from floor level.  At some points in the show, audiences are taken not just on stage but to an up close level with Rudess thanks to a camera mounted on his stationary keyboards.  Additionally, audiences are taken high above the audience at other points, and on stage, showing each member of the band at work.  The shot transitions are smooth and help to amplify the energy in the songs and performances, adding even more enjoyment and engagement to the recording.  When this aspect is considered with everything else noted here, the presentation in whole proves to be a work that Dream Theater’s longtime fans will find an enjoyable occasional concert experience.

Dream Theater’s latest live recording Distant Memories: Live in London is an interesting new addition to its catalog of live presentations.  The band’s ninth live recording, it presents a unique set list that will engage and entertain listeners in its own right.  The audio production used in the recording does present some problems for the concert’s presentation, but not to the point that the concert is not worth experiencing.  The video production featured in the recording gives audiences the best seat in the house, and works with the band’s performance to ensure audiences’ engagement and enjoyment.  Each item noted here is important in its own way to the whole of the band’s new live recording.  All things considered, the band’s new recording proves to be a presentation that in the long run, will be more than just a distant memory for the band’s fans.  It is available now. 

More information on Distant Memories: Live in London is available online now along with all of the band’s latest news and more at:

Website: http://www.dreamtheater.net

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

Twitter: http://twitter.com/dreamtheaternet

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.

Sevendust Drummer’s New EP Shows More Control Than Chaos

Courtesy: Rise Records

Sevendust’s members have been busy this  year maintaining the band’s long-held title of the hardest working band in rock.  Guitarist Clint Lowery released two new solo recordings this year – an album, God Bless The Renegades and an EP, Grief & Distance –and the band as a whole has released a new album, Blood & Stone.  Drummer Morgan Rose added to the band’s new releases Friday with his latest studio recording, his new EP Controlled Chaos.  The six-song record is another positive presentation from Rose, who in fact enlisted his Sevendust band mate Lowery to handle guitars for the EP (again cementing the noted reputation even more for the band).  That is proven in part through the record’s musical arrangements.  They will be discussed shortly. Its lyrical content plays as much into its presentation as its musical content.  This aspect will be addressed a little later.  The record’s production rounds out its most important elements.  Each item noted here is important in its own way to the whole of this new offering from two-fifths of Sevendust.  All things considered, the EP proves itself an offering that every Sevendust fan will enjoy.

Sevendust drummer Morgan Rose’s new EP Controlled Chaos is a work that will appeal to every Sevendust fan.  That is proven in part through the record’s musical content.  While the title of Rose’s new record is Controlled Chaos, there is no sense of chaos by any means throughout the record’s musical arrangements.  Though there is a lot of control.  The information provided about Rose’s new EP states that the record took six days to track.  That in itself could be considered chaotic, being such a short time frame.  Even being such short time frame, the result really was so controlled, precise and powerful in its musical presentation.  So to that end, the EP’s title does fit at least to a point.  Audiences will easily recognize the influence of Rose’s primary gig throughout the record in the powerful melodic hard rock style approach to most of the songs.  The most surprising of the record’s arrangements comes in its closer, ‘Exhale.’  This arrangement does take its own influence from Rose’s time with Sevendust, but is just so powerful in its simplicity.  It is just Rose on vocals along with a piano.  It is a powerful exhibition of Rose’s vocal talent as it shows that ability to really move listeners with his voice alone.  The addition of the other elements, which will be discussed at more length in the examination of the EP’s production, adds even more impact to the minimalist composition.  Between that, the Sevendust influence that is evident in the record’s opener and the rest of the album, and the growth that Rose and company show alongside that influence, the record’s musical content in whole forms a solid foundation for Controlled Chaos.  The lyrical content that accompanies that musical content builds strongly on the record’s presentation.

The lyrical content featured in the record’s lead single is proof of the importance of the EP’s lyrical content.  The song’s lyrical content focuses n “a narcissist,” according to comments from Rose in information provided about the EP.  That is pointed out right from the song’s outset, in which rose sings, “Seething under my skin/Protecting all that I am/Anticipating for the last time/You can be/broken/All that you want/’Cause I won’t give anymore.”  Right from this listeners can infer that the speaker is someone who is very angry in dealing with thoughts and emotions brought about by that person.  The song’s chorus adds to the statement, as Rose sings, “Wish you feel alive inside/But nothing can change your mind/Erase the shadow left/behind/Stop and realize/I’m not the answer.”  When he says, “Stop and realize/I’m not the answer,” that leaves zero doubt as to the noted statement.  This is a matter that has led the main subject to reach a near breaking point.  When all of this is considered with the song’s deeply emotional musical content, the whole of the song gains such impact.  It is just one example of what makes the album’s lyrical content important.  The lyrical content featured in ‘Exhale’ does its own share to prove that importance.

‘Exhale’ is so powerful, lyrically, because it comes across as someone who is letting out so much inner pain.  Rose pointed out in an interview that the song’s lyrical content is biographical about himself.  He noted, I wanted to semi-document how I felt being in a bad place and getting to a good place.”  The larger story that he told had to do with himself going through a lot of personal adversity and coming out better in the end.  This can be inferred even without a lyrics sheet to reference.  What is so interesting here is the reserved nature in the wording of the lyrics.  He sings in part in the song’s lead verse, “Holy angel/Forgive what I’ve become/Became the man who is here/Now the urge controlling my every thought/It’s telling me, “disappear”/All this…has me crippled to my knees…/The worst is done/Now that I believe/I’ll fade into the water/Where I can finally breathe/Where I can finally breathe.”  This is all important to address because Rose noted in his interview, that ““I’ve had semi-documented issues with my own problems. I think a lot of us wonder, ‘How many people will show up at my funeral?’ I was in a pretty good place before I got sick and ended up in the hospital last year, and I was in a great place after getting better. I was able to look and see what the reaction would be if something catastrophic happened to me. I was blown away. I had gotten myself together and made it through a tough time. I was able to see how much everyone around me really cared. It was humbling.”  His statement in this verse about things being better, and being able to breathe” is that recovery and seeing how many people care.  It all comes across as perhaps Rose talking about dealing with depression.  He adds, “the worst is done…” showing even more the story.  This adds even more depth to the song’s lyrical content, and in turn, the impact of the song in whole when the song’s musical content is considered along with this content.  It is just one more way in which the EP’s lyrical content is proven so important.  The lyrical content featured in ‘Clarity’ is one more example of the importance of the EP’s lyrical content.

Rose said of the lyrical content featured in ‘Clarity,’ “It’s the feeling of washing away the day, so you can start fresh tomorrow.  I’m getting rid of the turmoil, stopping my mind, and finding a way to restart.”  Everyone has been at that point in life at least once if not more, where they have had to take a step back and put everything into perspective, which is what Rose seems to be talking about here.  He delivers the message here as he sings in part in the song’s chorus, asking “what’s the meaning of it all…” and that we need to “Turn the page and look inside/To find the reason you’re inside your own world.”  That couple of line is self explanatory, considering Rose’s statement as to the meaning in the song’s lyrics.  Again, it serves to help make the song that much more accessible for audiences.  As a result, it becomes another clear example of what makes the EP’s lyrical content so important to the record’s bigger picture.  When the lyrical and musical aspects of the EP are paired, they make for a presentation that ensures audiences’ engagement and entertainment.  They are just one portion of what makes the record appealing.  Its production rounds out its most important elements.

The production that went into the creation of Controlled Chaos is key in its own way to this record’s presentation.  The production of ‘Exhale,’ as noted earlier, is one clear example of that aspect’s importance.  The mostly minimalist approach to the song, what with Rose singing against a piano is so moving.  The airy, ethereal echo effect that was used in each element makes that simplicity work so well.  The result is that the song sounds so rich and full, even in its simplicity.  The layering of Rose’s vocals and the addition of the extra sound effects enriches the song even more.  It adds to the contemplative nature of the song, in turn, adding even more to the song’s impact.  The balance of the instrumentation and vocals in ‘Faster Man’ ensures here, that every element shines in its own right, ensuring that song’s impact, too.  Much the same can be said of each line within the whole of ‘Come Alive.’  Rose’s screams and his “spoken” lines are so powerful in their own way here while Lowery’s guitar and Jason Christopher’s (Prong, Corey Taylor) bass line flesh out the song so fully.  Taking all of this into account along with the production that went into each of the EP’s other songs, the end result is a presentation that works just as well for its overall sound as for its content.  All things considered, the record proves itself a work that, again, will appeal to every Sevendust fan.

Morgan Rose’s debut EP Controlled Chaos is an impressive offering from the longtime Sevendust drummer.  That is proven in part through the record’s musical arrangements.  The arrangements featured in this record clearly exhibit influences from Rose’s long-running career with his primary band as well as his own influences.  The lyrical content that accompanies the record’s musical content adds its own appeal to the presentation.  That is due to the fact that it is just as accessible as the record’s musical arrangements.  The record’s production rounds out its most important elements.  That is because it is responsible for the record’s content sounding so good.  Each item noted here is important in its own way to the whole of the record.  All things considered, the EP proves to be a record that will appeal to every Sevendust fan.  Controlled Chaos is available now.  More information on the EP is available along with all of Morgan Rose’s latest news at:

Website: http://www.morganfknrose.com

Facebook: http://www.facebook.com/MorganRose7d

Twitter: http://twitter.com/morgan7d

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 entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.  

Don’t Fix What’s Not Broken: Hatebreed Finds Success With Familiar Approach To Its New Album

Courtesy: Nuclear Blast Records

Hatebreed has, for more than 25 years, remained at the forefront of the hardcore community by utilizing a very familiar approach, combining heavy, intense music with lyrical content that constantly promote self determination and perseverance.  It is a formula that the band has used time and again on its albums, to a certain level of success, too.  Considering the success that the band has found on those album, it should come as no surprise that the band used that formula once more on its latest album, Weight of the False Self.  It is just one of the aspects worth examining in this, the band’s eighth album.  Keeping that in mind, the record’s sequencing is worth examining in itself, and will be addressed a little later.  The record’s production rounds out its most important elements and will be discussed later, too.  Each item noted here is important in its own right.  All things considered, they make the album a work that will appeal easily to Hatebreed’s established fan base.

Hatebreed’s brand new, eighth album Weight of the False Self is another offering from the band that will appeal easily to the band’s established fan base.  That is due in part to the fact that it follows the old adage that if something is not broken, it does not need fixed.  Just as with its predecessors, the album features a combination of intense, hardcore-infused musical arrangements with constant lyrical reminders for listeners to look to themselves to overcome their own personal demons and all of life’s obstacles.  Case in point is the album’s lead single and album opener, ‘Instinctive (Slaughterlust).’  The song’s heavy, intense musical arrangement is everything that audiences have come to expect from the band, what with its pummeling guitar line, equally pounding drums and bass, and of course intense screams from front man Jamey Jasta.  Jasta screams right from the song’s outset, “Here kindness ends/Weakness dies/No one else/Never bow/Never break/So I tap into the savagery.”  He adds in the song’s second verse, “Come with me down the abyss/Where shadows spawn from emptiness/I must transform to shed this husk/New urge to fulfill my slaughterlust/I sacrifice to dominate/My savage nature now unleashed/Breath swift and sharp against clenched teeth/Animal intuition empowers me.”  This is clearly someone who is feeling some very powerful thoughts and emotions.  He continues in the song’s chorus, stating, “I have become instinctive/Like an animal/Untamable.”  Again, here is someone who is going through a lot.  In presenting such feelings and thoughts, the heaviness in these lyrics and their musical accompaniment in whole makes the song a clear example of how the song’s combined contents makes it so appealing to the band’s fan base.

The album’s title track and second single is another example of how that combined content serves to make the album so appealing to the noted audiences.  It is heavy in its own right in terms of its musical content.  What’s important to note that the song’s musical arrangement stands out against that of the album’s lead single, but is still familiar to longtime fans.  Where the lead single’s musical arrangement was a direct, forward composition, this song’s arrangement takes listeners back to the slightly more melodic hardcore sound that the band has utilized throughout its life, too.  It’s not just heavy, crunching guitars (though they are there, clearly).  Rather it incorporates that element with a more structured melodic approach here, which again will appeal to the noted audiences.  It couples with the song’s familiar, no nonsense, and uplifting lyrical content to make the song stand out even more.  Right from the song’s outset, Jasta writes, “If you want to make a difference in the world, it means/You have to be different from the world you see/Free yourself from burdens that you know exist/Don’t carry the curse of the fatalist.”  This statement is repeated twice more before the song reaches its core, in which Jasta writes, “Lift the weight of the false self crushing you/Lift yourself up from malevolence/Lift the curse of the fatalist haunting you/Lift yourself out from the death grip/Lift the burden upon your shoulders/There’s a challenge that’s begging to be risen to/There’s a voice and it’s your true self calling you/End the cycle/Kill all the willful self-abuse/Never justify another excuse.”  Point blank, this is another familiar lyrical theme from Jasta.  It is that noted message of self-determination and perseverance. It is encouraging listeners to be the best that they can be, and to rise above their own limitations, as well as those set by people around them.  It is a message that even as many times as it is delivered, is always welcome.  To that end, when it is paired with the song’s equally familiar stylistic approach to the song’s musical arrangement, the whole becomes another example of why this record’s collective musical and lyrical content is so important to its whole. 

Perhaps the most intriguing addition to Hatebreed’s new album, in terms of its musical content, is its closer, ‘Invoking Dominance.’  The song opens with a distinct doom metal style approach, which is something rather unheard of from this band.  Of course, that new approach just under a minute before the band launches into its familiar hardcore approach.  Even with the brief variation, the very fact that the band would branch out even that much is worth noting.  It shows that maybe, just maybe, when and if Hatebreed releases its next album, audiences will get more of that growth from the band.  One can only hope.  Once the band launches into that more familiar musical approach, the equally familiar lyrical content comes into play, with Jasta screaming, “I must reclaim what’s mine/Invoking dominance inside/If it means I put my life on the line/This voice cannot be denied/Now I reclaim what’s mine/test the waters/Sick of the pain/Enter unforgiving domain/Thought this was over….I’m going for the kill/thought you could poke the scorpion’s nest…You thought this was over/It’s not over ‘til you take your final breath.”  The rest of the song follows a similar line from there, with that continued theme of facing great odds and refusing to give up in order to take what is rightfully one’s own.  This is metaphorical language to a point, delivering a message of overcoming those obstacles, “reclaiming what’s mine” or rather reclaiming that self confidence no matter what it means facing.  Yet again it is a familiar topic and theme from Hatebreed that will appeal to the noted audiences.  When it is paired with that noted equally familiar musical arrangement, the whole proves once more why this record will appeal so strongly to Hatebreed’s established fan base.  That assurance is strengthened even more when it is considered alongside the other songs noted here and the rest of the album’s entries.  Of course all of that taken into consideration, the album’s content is just one part of what make it so appealing for audiences.  The sequencing of the album’s songs adds to its appeal.

As has already been noted, the musical arrangements that make up the body of Hatebreed’s new album are familiar for longtime fans.  The stylistic approach presents a constant energy from one song to the next.  The only point at which the album perhaps even begins to pull back is in ‘A Stroke of Red,’ the album’s midpoint.  The stylistic approach here is slightly slower, in terms of tempo, but the heaviness is still there, so even in this case, the song still keeps the record’s energy flowing.  The previously noted doom metal intro to the album’s closer, ‘Invoking Dominance,’ is the only other point at which the record pulls back. Again though, that pullback is only temporary.  Once the song reaches the one minute mark, the energy picks back up, returning the album to its energetic high right to the song’s (and album’s) end.  Simply put, the album’s sequencing ensures listeners’ engagement and entertainment throughout with its maintained high energy.  That aspect, coupled with the album’s content, strengthens the album’s foundation even more, and in turn ensures even more that the band’s established fan base will appreciate the album.  It still is not the last of the album’s most important elements.  Its production rounds out its most important elements.

The production featured in Weight of the False Self is important to address because of everything already examined.  There is so much ferocity exuded throughout the course of the record’s 34 minute run time.  Considering this, it would have been so easy for the vocals, or the guitars, or even drums and bass to get lost in the mix.  Luckily though, that did not happen at any point.  From beginning to end, the instrumentation is expertly balanced.  Additionally, the instrumentation is just as well-balanced with the songs’ vocals.  The result of the work that went into the record’s production is a presentation that is just as heavy and raw as any of Hatebreed’s existing records.  When this is taken into account with the album’s sequencing and its content, the whole of the album leaves the band’s established fans fulfilled, agreeing that this record is just as appealing as any of Hatebreed’s any other albums.

Hatebreed’s latest album Weight of the False Self  is a record that is just as certain to appeal to the band’s established fan base as any of the band’s existing records.  That is proven in part through its combined musical and lyrical content, as evidenced here.  The record’s musical arrangements are just as fiery and intense as those featured in the band’s previous albums, using a familiar stylistic approach from beginning to end.  The lyrical content is meant to uplift listeners just as much as that in the band’s past works, too.  The sequencing of the album’s songs keeps the energy flowing solidly throughout, ensuring even more, listeners’ engagement and entertainment.  The album’s production puts the finishing touch to its presentation, making sure that everything is balanced throughout the album.  Each item examined here is important in its own way to the whole of the album.  All things considered, they make Weight of the False Self another work that will appeal easily to Hatebreed’s fans.  The album is available now.

More information on Hatebreed’s new single is available online along with all of the band’s latest news and more at:

Website: http://www.hatebreed.com

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

Twitter: http://twitter.com/hatebreed

To keep up with the latest entertainment news and reviews, go online to http://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.

Clutch’s New Compilation Record Will Appeal To The Band’s Most Devoted Fans

Courtesy: Weathermaker Music

Veteran rock band Clutch has been quite busy in recent months.  The band recently released a new vinyl box set featuring all of the records that it has released under the Weathermaker Music label.  Additionally, the band has released a handful of re-worked songs and covers.  The release of those re-worked songs will culminate Friday with the release of Clutch’s new compilation record The Weathermaker Vault Series: Volume 1.  Clutch started releasing the songs for its new 10-song compilation last year as exclusive digital-only tracks.  Now audiences can finally have them together in one setting thanks to the band.  What audiences must keep in mind in listening to this record is that it is actually the band’s fifth (yes, fifth) compilation record.  That is in fact the most important aspect of this presentation and will be discussed shortly.  Considering that much of the record’s content is re-worked versions of previously released Clutch songs alongside some covers, the record’s production clearly deserves its own attention, and will a little later.  The 38-minute recording’s sequencing rounds out its most important elements and will also be examined later.  Each item noted here is important in its own way to the whole of the record.  All things considered, they make the compilation a presentation that will appeal to Clutch’s established fan base, as well as newer audiences.

Clutch’s latest compilation record The Weathermaker Vault Series: Volume 1 is an interesting new collection from the veteran rock band.  The band’s fifth compilation record (and second this year, following the release of Monsters, Machines, & Mythological Beasts), it stands out in part because of its track listing.  The only songs featured in this compilation that are repeats are ‘Passive Restraints,’ which originally appeared as part of the band’s 2005 compilation Pitchfork & Lost Needles, and ‘Willie Nelson,’ which featured in the band’s debut compilation, 2003’s Slow Hole To China.  Other than those two songs, what audiences get here is a largely new collection of re-worked songs and covers.  In regards to the re-worked originals, it should be noted that this compilation takes audiences back to Clutch’s earliest days, in 1992 and its sophomore EP Passive Restraints.  That record preceded the band’s debut album, Transnational Speedway League: Anthems, Anecdotes, & Undeniable Truths.  It comes up as recently as he band’s 2014 7” split with Lionize, which itself is a rarity.  The covers of songs from John Fogerty, ZZ Top, and Monster Magnet add even more variety to the presentation.  What’s more, that the band’s most recent compilation was a presentation whose songs focused on songs that were about…well…the fantasy realm, and that this record largely avoids repeating previous songs from its past compilations makes for a solid foundation for its presentation.  It is just one aspect of the compilation that makes it stand out.  The production of the record’s featured songs builds on that foundation and makes the compilation that much more appealing. 

The production of Clutch’s latest compilation is important to note because of it is more than just e-mastering in the case of these songs.  So many of the songs featured here sound so much fuller and richer than the original works thanks to the production.  That is evident right from the record’s outset.  The re-worked take of ‘Passive Restraints’ boasts a sound that is so much fuller and richer than its source material.  That original work presents more of a garage/punk style approach while the new, updated version is more in line with Clutch’s more familiar stoner rock sound.  The addition of Lamb of God front man Randy Blythe to the mix makes for even more punch to the song’s updated presentation.

The production that went into the update of ‘Spacegrass’ is another way in which the record’s production proves its importance.  In the case of this song’s update, the production makes the arrangement in whole sound so much clearer than in its original take.  The whole sounds so much fuller.  The original just had more of that noted garage/DIY style sound and style while the updated take clearly took full advantage of the current recording technology to flesh out the arrangement’s sound so much more.  It takes the original arrangement’s approach and basically takes it to a new, even more enjoyable level.

On a completely different note, the band’s cover of John Fogerty’s timeless hit ‘Fortunate Son’ is another example of the importance of the record’s production.  This “new” song takes Fogerty’s classic – which has been covered countless times by so many acts across the musical universe – and stays true to the original while giving that original the band’s own unique kick in the pants.  It is another full, rich, aggressive song that fully translates the frustration in the song’s lyrical content just as much as the original and so many of the existing covers.  When this is taken into consideration with the production put into the other examined songs and the rest of the compilation’s featured works, the whole leaves no doubt as to the importance of the record’s production and the positive result of that work.  Keeping that in mind, the production is just one more of the important elements of Clutch’s new compilation record.  Its sequencing rounds out its most important elements.

The sequencing of Clutch’s new compilation is important to address because of its role in keeping audiences engaged and entertained.  The whole starts off on an energetic note in ‘Passive Restraints’ and only pulls back slightly as it makes its way into ‘Run, John Barleycorn, Run.’  The record’s energy picks right back up in ‘Evil (Is Going On)’ and stays high until the album reaches the updated take of ‘Spacegrass.’  ;Precious Grace’ maintains the record’s laid back energy before things pick back up again in ‘Smoke Banshee.’  That record continues on through the album’s closer, the updated take of ‘Willie Nelson.’  Simply put, the energy rises and falls just enough throughout the course of the album, ensuring even more, listeners’ engagement and entertainment.  When this aspect is considered along with the record’s production and is featured songs, the whole of the record proves to be another positive compilation from Clutch.

Clutch’s fifth compilation record The Weathermaker Vault Series: Volume 1 is an interesting new offering from the veteran stoner/fuzz rock band.  That is due in part to its featured songs.  Only two of the record’s 10 total songs are repeats from any of the band’s past compilation records.  The rest of the songs are first-time entries and covers.  The production that went into the featured songs adds to the record’s appeal even more.  The sequencing of the featured songs does its own part to the whole of the compilation.  That is because it balances the record’s energy expertly from start to end.  Each item examined here is key in its own way to the whole of this record.  All things considered, they make the presentation a work that despite being just a compilation, is still such that it will be welcomed by Clutch’s most devoted fans.  It is scheduled for release Friday.

More information on Clutch’s new compilation record and more is available online along with all of the band’s latest news and more at:

Website: http://www.pro-rock.com

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

Twitter: http://twitter.com/clutchofficial

To keep up with the latest entertainment news and reviews, go online to http://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.

Catholic Guilt Debuts ‘Life In Three Part Harmony’ Video

Courtesy: Wiretap Records

Catholic Guilt debuted the video for its latest single this week.

The band debuted the video for its new single ‘Life in Three Part Harmony‘ Tuesday. The song and its video are the fourth from the band’s recently released EP This Is What Honesty Sounds Like. T

he band debuted the EP’s third single ‘A Boutique Affair‘ and its video in July. The EP’s second single ‘The Awful Truth‘ debuted June 19 and its lead single ‘Song of the Renter‘ debuted Feb. 10.

The ‘Life in Three Part Harmony’ animated video is meant to reflect a live performance by the band, complete with fans crowd surfing. The single plays over the video as it progresses. The song in question features a ballad style approach in its guitars and vocals that is certain to connect easily with the band’s fan base.

Front man Brehton Harris talked about the video during a recent interview.

“Due to the pandemic, we’d been without live music in Melbourne since March, and to say we missed it a lot is an understatement,” said Harris. “As a band playing live is obviously crucial to our existence, but it’s not just the playing that we missed, it’s all the little connections that come with it. Whether playing or attending a gig, it’s so much more than just a gig. It’s an opportunity to truly connect with other human beings and share a once-in-a-lifetime experience. A chance to catch up with friends or to meet new ones, an excuse to have a few drinks and sing yourself hoarse or mosh away the stress of daily life. It can be an avenue for escape or a safe space where you can be your truest self.”

“The vision for this video was to recreate the experience of a show in a way that would highlight all of those little connections that are currently missing from our lives without live music,” added Harris. “If the FOMO we’ve felt watching it is anything to judge it by, then the animator Jed has absolutely nailed it. We hope you enjoy it.”

The gentle musical approach is used to help translate the message in the song’s lyrical content, which Harris said is meant to celebrate the unity brought by music.

“‘Life in Three Part Harmony’ is a love song to the awesome connective power of live music,” said Harris. “There’s something magical that happens when a music lover is watching their favourite act perform live. They become immersed in music. It takes over their mind, body and soul, and for those precious few minutes or hours, they are connected on a near-spiritual wavelength with the artist.”

“This is a song for anyone who understands that moment when an artist hits the high note and it penetrates your soul, and you look around and notice another human experiencing that special rush too,” added Harris. “That moment has completely changed each of our lives numerous times. On a personal note, this song is a celebration of my happiest place: the front row of a sold-out show, with my partner by my side, singing the words at the top of our lungs like our very existence depends on it.”

‘Life in Three Part Harmony’ and the rest of Catholic Guilt’s new EP is available to stream and download here.

More information on Catholic Guilt’s new single and video is available along with all of the band’s latest news at:

Website: http://www.catholicguiltmusic.com

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

Twitter: http://twitter.com/catholicguiltau

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

The Soviet Machines Maps Out New Album Release; Debut Album’s Lead Single, Video

Courtesy: Earshot Media

The Soviet Machines is set to open the new year with a new album.

The band is scheduled to release its third album on Jan. 1, 2021. In anticipation of the as-yet-untitled album’s release, the band debuted the album’s lead single, ‘Get Your Kicks‘ and its companion videos on Nov. 12 through DC-Jam Records.

The song’s video features the trio out and about having fun, and in the studio with producer Jack Endino (Nirvana, Soundgarden, Afghan Wigs) recording its new record. The song’s musical arrangement is a catchy, garage/stoner rock style work that holds its own against other similar style songs that are more well-known.

The song’s lyrical theme would seem to present an encouragement to just make the most of life. That is inferred as front man Rich Salsbury sings in the song’s chorus, “Get your kicks/While you can, baby.” This coupled with the ruminations on certain situations in the song’s verses, makes it seem even more that this song is, again, just about making the most out of life.

‘Get Your Kicks’ is available to stream and download here.

More information on The Soviet Machines’ new album is available along with all of the band’s latest news at:

Website: http://thesovietmachines.bandcamp.com

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

To keep up with the latest entertainment news and reviews, go online to http://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.

The Tibbs’ Latest LP Is A Powerful New Musical Round From The Tibbs

Courtesy: Record Kicks

Music collective The Tibbs officially released its sophomore album Another Shot Fired Friday.  The 13-song record is a presentation that will appeal to a wide range of listeners.  From fans of vintage soul and R&B to The Tibbs’ own fan base, the 44-minute record proves itself to be an enjoyable record from start to end.  One of the songs that makes the record so enjoyable is its lead single, ‘Damaged Heart.’  It will be discussed shortly.  The album’s midpoint, ‘Mama Says’ does its own share to show what makes The Tibbs’ new album so enjoyable.  It will be addressed a little later.  ‘Circeo,’ which comes late in the record’s run, is yet another positive addition to Another Shot Fired.  It will also be discussed later.  When it is considered alongside the other two songs noted here and the rest of the album’s run, the album in whole finds itself leaving listeners anxious for The Tibbs’ next musical shot in the best way possible.

The Tibbs’ sophomore album Another Shot Fired is some strong musical firepower from the up-and-coming neo-soul/R&B outfit.  That is proven in part early on through the album’s lead single, ‘ Damaged Heart.’  The musical arrangement featured in the song plays its own key part in supporting the noted statement.  It is a throwback to the R&B sounds of the 1960s and 70s with its horns, funky guitar rhythms and drums. Roxanne Hartog’s vocal delivery here adds to that sense, too.  Adding to the arrangement’s appeal is the way in which it was produced.  There is something in the production that is so wonderful.  From the raw sound of the snare drum to the smooth sound of Hartog’s vocal delivery and the richness in the horns makes the overall sound come across as if the whole had been bottled up in a time capsule since the end of the 1970s.  It is such an infectious presentation in itself that will have listeners wanting to hit the dance floor  Ironically, as upbeat as the song is in its musical arrangement, that positive nature is counter to the song’s lyrical theme.

According to a statement from The Tibbs, the song’s lyrical theme is actually very heavy yet accessible to audiences. 

“‘Damaged Heart’ is about the uncertainty that one might bring from past experiences into a new relationship and the fear of not being able to give oneself completely,” the statement reads. “The bright spot being the openness with which this uncertainty is raised. Altogether, Damaged Heart could – despite the irreparable harm that is suggested is in the title – very well be interpreted as a love song …”

The statement is made clear as Hartog sings in the song’s lead verse, “My baby and I/We get by/But oh, sometimes/I can’t describe/This feeling creeps up on me/I wouldn’t say it’s a jealousy/But I can’t deny/I can’t deny/I can’t remember/When I last/Felt so deep longing/For someone in the past/This truth, it haunts me/In the night/Putting my heart…/I can’t deny/Couldn’t tell you why…”  Some of this is a bit difficult to decipher without a lyrics sheet to reference, but what is clearly being mentioned here is someone who wants to have gone past a previous relationship, but can’t help but think of that past situation.  This would seem to work in tandem with the statement about the song’s lyrical theme.  From there, she mentions in the song’s second verse what sounds like she is saying, “My damaged heart/has to learn.”  Again not having a lyrics sheet to reference makes deciphering precisely, the lyrics here difficult.  That aside, the message is relatively clear.  This is in fact someone who is trying to get over a past relationship, but is having some difficulty in doing so.  Going back to the song’s musical arrangement, it is even more evident how stark the contrast is in the song’s musical arrangement and its lyrical content.  It makes for quite the interesting presentation and just one example of what makes the album in whole so interesting.  ‘Mama Says,’ which serves as the album’s midpoint, is another notable entry to this record.

‘Mama Says’ stands out in part because of its musical arrangement.  This song’s arrangement is a catchy, mid-tempo blues-infused work.  It starts off simple with just Hartog’s vocals alongside a simple bluesy guitar line and some clapping.  As the song progresses, drums and a tambourine join in, but only subtly at best.  It is not until more than a minute and a half into the song that the arrangement picks up, including the addition of the horns to add some more flash.  The arrangement in whole lends itself easily to a comparison to works from The Tibbs’ label mates Hannah Williams & The Affirmations.  The energy in the song’s arrangement pairs well with the song’s lyrical theme, which is a tribute to one of the band members’ moms on one level.  On another, it is a song that echoes the appreciation that we all have for our mothers.

Hartog sings in the tribute’s lead verse, “My mama is the strongest girl I know/My mama is the strongest girl I know/She taught how to fly/She taught me how to sing/She taught me how to cry/She taught me everything I know/She said, “Don’t give up on yourself/She’s the strongest/She’s the sweetest/She’s the toughest/She’s the softest/She’s a goddess…”  As the song progresses, Hartog even sings, that the mother told her to “keep your head up high.”  The rest of the song follows much in the same vein, lyrically speaking.  The whole becomes a lyrical presentation that will put a smile on every listener’s face.  That is even more certain when this positive lyrical message is paired with the song’s equally uplifting musical arrangement.  All things considered here, the song shows even more why Another Shot Fired is another power packed musical round from The Tibbs.  It still is not the last of the record’s most notable tracks, either.  ‘Circeo,’ which comes late in the record’s run, is one more of the many enjoyable entries in this record.

‘Circeo’ is a full-on instrumental composition.  There are no vocals here.  It is just the band putting its talents on full display.  This three-minute, 42-second composition is a solid mix of vintage soul and R&B what with its horns, bolstered by the baritone sax, the solid, simple time keeping on the drums and the equally simple but strong guitar line.  The groove that the group establishes in this opus is so infectious.  It takes only a matter of moments for audiences to become wholly engaged in the song and entertained.  The way in which the arrangement was composed, it would be so easy to add any lyrics.  That is evident as the chorus and verse sections are that clear throughout the song’s nearly four-minute run.  Nevermind that the arrangement is not exactly progressive.  It is just so fun and engaging that it is so easy to overlook its simple approach.  Keeping that in mind, it proves itself to be just as welcome an addition to Another Shot Fired as the other songs noted here and the rest of the album’s entries.  When all of the album’s songs are considered together, they make Another Shot Fired a presentation that audiences will hope is not the last musical round to be fired off by The Tibbs.

The Tibbs’ sophomore album Another Shot Fired is an impressive new offering that will appeal to a wide range of listeners.  That is proven from the album’s open to its end through its musical and lyrical content.  That is proven through all three of the songs examined here.  When these songs are considered along with the rest of the album’s entries, the whole of the album becomes a presentation that is without question, one more of this year’s top new independent albums at the very least and a work that vintage soul and R&B purists will enjoy hearing just as much as The Tibbs’ established fan base.  The record is available now.

More information on The Tibbs’ new album is available along with all of the group’s news at:

Website: http://www.thetibbs.nl

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

To keep up with the latest entertainment news and reviews, go online to http://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.

Eagle Rock Entertainment’s New John Lee Hooker Live Recording Is A Welcome Addition To Any Blues Lover’s Library

Courtesy: Eagle Rock Entertainment/Montreux Sounds

Eagle Rock Entertainment is helping audiences get their live music fix once again.  Following the releases of the latest Def Leppard and The Rolling Stones live recordings early this year, the company has teamed with Montreux Sounds to release two more live recordings from the famed Montruex Jazz Festival.  They come in the form of blues legend John Lee Hooker’s 1983 and 1990 performances alongside the Coast to Coast Blues Band.  The very presentation of the two shows together is in itself a clear positive to this presentation in its own right and will be discussed shortly.  The set lists featured in the concerts add even more to the recording’ presentation and will be discussed a little later.  The recording’s  production rounds out its most important elements and will be discussed later, too.  Each item noted here is important in its own way to the whole of the recording’s presentation.  All things considered, they make the recording a welcome addition to any blues aficionado’s music library.

Eagle Rock Entertainment’s new John Lee Hooker live recording Live at Montreux 1983 & 1990 is a presentation that will easily appeal to any blues aficionado.  That is proven in part through its very presentation.  Audiences get here not one but two separate concerts in one vinyl (and digital) presentation.  It would have been easy for Eagle Rock’s officials to split the concerts up (as they shockingly did recently with Def Leppard’s recent London To Vegas recording).  Thankfully, that did not happen here.  Instead, audiences get the two hour-long shows (the 1983 show is actually one hour, five minutes and the second is approximately one hour in length) in one complete package.  Essentially, audiences are getting two shows for the price of one, and not only on vinyl, but also on digital.  The only downside to the presentation is that it was not made available on DVD or Blu-ray, even though official video clips of the performances are streaming online.  Maybe that portion of the recording will come along in the not too distant future.  That aside, audiences who are okay with just owning the concerts’ audio recording will appreciate having the whole of both recordings at least in their existing platforms.  This is just one part of what makes the collective recording so appealing.  Its featured set lists add to its appeal.

As noted, audiences get in Live at Montreux 1983 & 1990, two separate live sets.  One clocks in at an hour in length and the other at an hour and five minutes.  That equals to a total of just over two hours.  That is the length of an average single concert for most acts.  In other words, audiences get overall content that is equal to pretty much every other single live recording here, only spanning two concerts.  Building on that, audiences get at least a healthy representation of Hooker’s catalog at the time.  There are some well-known songs, such as ‘Baby Lee,’ ‘Boom Boom,’ and ‘Boogie Chillen’ as well as covers of songs from Hooker’s blues counterparts, Howlin’ Wolf, Big Maceo, and Tommy Tucker throughout the course of the two set lists.  Hooker takes audiences all the way back to his formative days in his 1948 hit ‘Boogie Chillen’ and as recent as his 1989 album The Healer.  Along the way, songs, such as ‘Crawlin’ King Snake (from 1959’s I’m John Lee Hooker), ‘I’m In The Mood’ (a single from 1951, which was in fact inspired by The Glenn Miller Orchestra’s ‘I’m In The Mood’) and ‘It Serves Me Right To Suffer (from 1966’s It Serves You Right To Suffer) are also featured.  Some of the songs are repeated between the two sets, but audiences will note that the performances of those repeat songs are not themselves repeats.  Rather, they are their own unique performances.  To that end, what audiences get even in this case is still some originality.  When those performances are considered along with the other performances and the set lists overall, what audiences get in this element is content overall that will do just as much as the set’s presentation to keep audiences engaged and entertained.  While the overall content and presentation collectively do plenty to make this recording so appealing, they are just a portion of what makes it so enjoyable.  The recording’s overall production rounds out its most important elements.

Audiences will be pleased to know that the production of Live at Montreux 1983 & 1990 is just as impressive as the recording’s content.  The audio is crystal clear, with the audience noise and music expertly balanced throughout.  Even taking into consideration just the band’s performance, each performer’s part is just as well balanced with those of his band mates.  Hooker’s own vocals are just as clear throughout the course of the concerts.  The result is that audiences will find that very rarely throughout the two hour-plus recording will they ever have to adjust the volume or even strain to hear any part of the performances.  In other words, audiences get the best seat in the house once more thanks to Eagle Rock Entertainment, and will at times feel like they are right there at the concerts because the production resulted in such clear, rich sound throughout.  Between this positive, that of the overall content, and that of the set’s presentation, what audiences get in Live at Montreux 1983 & 1990 is a presentation that every blues lover will welcome in his or her music library whether digitally or on vinyl.  With any luck, fans will be rewarded with a full DVD/BD release of the concert sooner rather than later to make the experience whole.  Until such time though, audiences will still revel in the experience presented by this audio-only release of the noted concerts.

Eagle Rock Entertainment’s new John Lee Hooker double live recording Live at Montreux 1983 & 1990 is a strong new offering from the company in its ongoing partnership with Montreux Sounds.  There is much to appreciate about the recording, not the least of which being that it is a double recording in one complete set.  Audiences get to own both shows in one package rather than being forced to buy them separately.  The overall content – from its set lists to their overall run time – adds even more appeal to the recording.  The recording’s  production puts the finishing touch to its presentation.  Each item noted and discussed here is important in its own way to the whole of this recording’s presentation.  All things considered, they make Live at Montreux 1983 & 1990 a joy for any John Lee Hooker fan and blues aficionado alike to experience.  It is available now.

More information on John Lee Hooker Live at Montreux 1983 & 1990 is available along with all of the latest John Lee Hooker news at:

Website: http://www.johnleehooker.com

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

Twitter: http://twitter.com/johnleehooker

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

Website: http://www.eagle-rock.com

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

Twitter: http://twitter.com/EagleRockNews

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