Mista Savona’s Second Melding Of Cuban, Jamaican Music Is Worth Hearing At Least Once

Courtesy: Cumbancha

This coming Friday, World music label Cumbancha will release Mista Savona’s new album, Havana Meets Kingston Part 2.  The follow-up to his 2018 album, Havana Meets Kingston, the new 15-song record is an intriguing presentation.  That is because while the record’s title is Havana Meets Kingston, the songs featured throughout the record rarely actually find their reggae and Afro-Latin leanings meeting from one to the next.  One of the rare moments in which the two worlds do collide comes almost halfway through the album in the form of ‘Lagrimas Negras.’  Roughly translated, the song’s title means “Black Tears.’  This song will be discussed shortly.  ‘Destiny,’ which comes later in the record’s 74-minute run time, is another rare moment in the record in which the two genres join, and successfully so at that.  It will be discussed a little later.  ‘Juramento,’ the record’s penultimate entry,’ is one more rare moment in this presentation in which Africa and Cuba come together in one setting.  It will be discussed later, too.  When it is considered along with the other songs noted here and with the rest of the record’s entries (many of which conjure thoughts more of Ozomatli than anything else), the whole makes the album a presentation that audiences will find worth hearing at least once.

Havana Meets Cuba Part 2, Mista Savona’s forthcoming follow-up to his 2018 album, Havana Meets Cuba, is a work that will appeal at least somewhat to audiences.  That is because while Cuba and Africa do not necessarily meet a whole lot throughout the course of the record’s hour-plus run time, the separate songs do boast a certain level of enjoyment in themselves.  In the rare moments when the two worlds do collide, that engagement and entertainment is almost as prevalent.  Case in point is the late entry, ‘Lagrimas Negras,’ which is grounded in its piano line and hip-hop style beats.  The piano line featured creates a clear Cuban style melody that pairs with a three-note chord and style that is all too common and familiar to reggae fans.  There is something about the subtle way in which this element is incorporated into the arrangement that makes it work so well alongside the more Latin-tinged sound and style right at its side.  The use of the hip-hop style arrangement meanwhile adds its own unique touch to the whole, as does the horn line, which enters the mix roughly halfway through the five-and-a-half-minute composition.

As much as the song’s arrangement does to make it engaging and entertaining, it does suffer from one issue.  That issue comes through its lyrical content.  The lyrics featured in the song are presented entirely in Spanish.  No Spanish or even English lyrics are presented anywhere in the album’s companion booklet.  To that end, it does detract from the song, and is not the only point at which the album suffers, either.  This will be expanded on later.  Now considering the somewhat melancholy mood set through the song’s musical arrangement and the song’s very title, one has to assume that the song’s lyrics are sociopolitical.  Again, that is only an inference, considering that no lyrics – Spanish or English – are presented with the album for any interpretation at all.  To that end, hopefully the noted inference is at least somewhere in the proverbial ballpark.  That is because if it is, it definitely makes the song overall all the more engaging and entertaining.

‘Destiny,’ which comes later in the record’s 74-minute run time, is another rare moment in the record in which the two genres join, and successfully so at that.  ‘Destiny’ stands out because its reggae influence is more on display through the use of the guitar and piano line, as well as the percussion.  At the same time, the piano line once again incorporates a certain Latin leaning along with the Jamaican influence.  The whole gives the arrangement an identity all its own that blends the two musical worlds so well.

The upbeat nature in the song’s mood and stylistic approach presents a positive, uplifting message that asks a very specific group of people, “Where is your destiny?” before answering that question, pushing the African roots of that audience.  It also promotes a message of unity, making for even more engagement and entertainment.  Simply put, the overall positive, uplifting lyrical message presented here along the equally uplifting musical arrangement that expertly balances the musical cultures of Africa and Cuba, the whole makes this one of the album’s highest points as well as another example of the seamless blending of two musical worlds.

‘Juramento,’ the album’s penultimate entry, is one more of the rare points in this record in which Cuban and African influence blend together.  Roughly translated, the song’s title means ‘Oath.’  As is the case with ‘Lagrimas Negras,’ no lyrics are provided in English or Spanish.  As a matter of fact, no lyrics are provided in the record’s booklet for any of the record’s songs, including those that are sung in English.  This is really problematic, but even more so with songs that are sung in another language.  That is because there is no starting point unless audiences speak the given language.  Now keeping that in mind, the piano once again serves as the guitar reggae line as well as the more Latin-leaning side of things.  The use of the horns enhances the arrangement’s Latin leanings.  One can only wonder how the arrangement’s mood plays into the song’s lyrical theme sans lyrics.  Either way, at least audiences will have the music to enjoy.  To that end, it still makes for at least some enjoyment.  When it is considered along with the other songs examined here and with the rest of the album’s entries, the whole makes Havana Meets Kingston Part 2 worth hearing at least once.

Havana Meets Kingston Part 2 is an intriguing new offering from Mista Savona.  Its interest comes in the fact that despite the album’s title, the two musical worlds only unite a handful of times throughout the album.  In those few rare moments, the combination of styles and sounds makes for some interesting musical presentations.  While the songs’ musical arrangements do much to make for enjoyment, the lack of any lyrics in English and Spanish lessens that enjoyment, but thankfully not enough to doom the album.  Keeping all of this in mind, Havana Meets Kingston Part 2 proves itself worth hearing at least once.

Havana Meets Kingston Part 2 is scheduled for release Friday through Cumbancha.  More information on this and other titles from Cumbancha is available at:

Website: https://www.cumbancha.com

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

Twitter: https://twitter.com/cumbancha

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

‘Live At The Palladium’ Is A Successful New Offering from Killswitch Engage

Courtesy: Metal Blade Records

Live music is finally back in full swing as it seems like the COVID-19 pandemic is finally nearing its end.  Festivals are planned and happening, as are live shows in general.  A year ago this time though, things were still a little bit in the air.  Because of that, a lot of acts out there were still tentative about playing live, leading them to still hold some livestream performances instead of live stage shows.  Killswitch Engage was one of those many acts that took to the virtual stage instead of a full live setting.  The band performed a full two-album set Aug. 6 at the Palladium Theater in the band’s hometown of Worcester, MA.  This Friday, the band will release that performance on separate 2 CD/BD, 2 LP, and digital platforms in the form of Live at the Palladium.  While it is not necessarily a full, true live recording in the purest sense of the term, the recording is still a presentation that will appeal to any of the band’s most devoted fans and those of the metalcore genre.  That is due in no small part to the show’s set list.  This item will be addressed shortly.  The band’s performance of the extensive set list is just as notable as the set list itself and will be examined a little later.  The show’s production round out its most important elements and will also be discussed later.  Each item noted is important in its own way to the whole of the recording.  All things considered they make Live at the Palladium a successful new live offering from Killswitch Engage.

Live at the Palladium, Killswitch Engage’s forthcoming “live” recording, is a mostly successful offering from the band.  That is the case even though it is not necessarily a full live show in the purest sense of the term.  The recording’s success comes in large part through its featured set list.  The set list, composed of 20 songs, covers two of the band’s albums – the band’s self-titled 2000 debut album, and its 2019 album, Atonement.  Bands performing full performances of one album is increasingly commonplace.  To that end, it makes the set list seem less impacting.  The thing is, again though, the band takes on not just one of its albums, but two of its works.  Those works offer audiences a look at the band’s early days and its more recent era.  Given, Atonement was followed up in 2020 with the EP, Atonement II, but Atonement is in fact the band’s most recent album.  To that end, the band presents here, a look at its past and present in these two albums.  Keeping that in mind, the set list gives audiences not just two full albums but two albums that display the band’s past and present together in one setting.  That in itself forms a strong foundation for the record.  It is just part of what makes the record worth experiencing.  The band’s performance of the extensive set list adds its own share of engagement and entertainment to the mix.

The band’s performance of its set list is powerful to say the least.  Even being in a semi-live environment, is engaging and entertaining in its own right.  The band gives its all, using the situation just as if it was a full live performance, even though the audiences were digital instead of in person.  Front man Jesse Leach is just as imposing as he makes his way back and forth across the stage, half screaming, half singing. His vocals are as powerful as ever.  Meanwhile his band mates each perform their respective parts just as impressively.  Justin Foley is so intense as he provides the rhythm to each song along with bassist Mike D’Antonio.  Meanwhile the duel guitar approach of Adam Dutkiewicz and Joel Stroetzel adds its own share of power throughout.  Even being only a semi-live setting, the collective treats each song as if it was in front of a live audience, making the experience all the more engaging and entertaining.  When the group’s performance is considered collectively from one song to the next, it makes the record all the more memorable.  Together with the set list, the two elements make the overall presentation all the more engaging and entertaining, too.  They are just part of what makes the recording worth experiencing.  The concert’s production rounds out its most important elements.

The production that went into the concert is important because again, even being semi-live, the sound and video are fully immersive.  The crowd noise is not there to work through, but the band’s own performance is still there. The acoustics of the venue still have to be taken into account in their own right since there is no crowd there to absorb the sound.  The work that went into balancing all of the sound paid off, as every performance sounds so rich.  No one part overpowers the others at any point throughout the concert.  The end result is that the recording proves fully immersive, and in turn engaging and entertaining.  When this aspect of Live at the Palladium is considered along with the show’s set list and the band’s performance thereof, the whole makes the performance one more of the year’s top new live recordings.

Killswitch Engage’s new live recording, Live at the Palladium, is a strong new offering from the veteran metalcore band.  It will impress the band’s established audience base as well as casual metalcore fans alike.  That is due in part to its featured set list.  The set list is composed of not one but two full albums, the band’s 2000 self-titled debut record and the band’s latest album, Atonement.  The presentation is that of the band’s past and present in one.  The band’s performance of the set list makes for its own appeal.  That is because the band in whole takes the entire concert as seriously as if it was a full live performance.  The recording’s production rounds out its most important elements, ensuring that the best is brough out of each song’s performance.  Each item examined is important in its own way to the whole of the record’s presentation.  All things considered they make the recording one of the year’s top new live recordings overall.

Live at the Palladium is scheduled for release Friday through Metal Blade Records.  More information on the recording is available along with all of the band’s latest news at:

Website: http://www.illswitchengage.com

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

Twitter: http://twitter.com/kseofficial

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.

Riverboat Records, World Music Network’s Ongoing “Rough Guide To…” Series Gets Another Welcome Addition With Slide Guitar Blues Collection

Courtesy: World Music Network/Riverbaot Records

For those who may not be overly familiar with how the music industry works, every year from about early April until about late October, there’s a little something that happens that this critic has come to call the “annual Summer music push.”  It is during this time frame that it seems like every record label and act under the sun releases new music, from singles, to EPs, to full albums.  It starts as a slow boil in mid-late March and then really picks up in early April.  In the movement that is the annual summer music push, it gets easy for so many records to get lost in the mix along the way.  One record that will not get lost in the blues realm is World Music Network’s latest compilation record, The Rough Guide to Slide Guitar Blues.  Released Friday, this 25-song record is yet another enjoyable addition to WMN’s ongoing The Rough Guide To… compilation series.  Its success comes in no small part through its liner notes, which in this case really serve as the record’s foundation.  They will be discussed shortly.  The songs that make up the collection’s body work in direct partner with the liner notes and make for more engagement and entertainment.  They will be discussed a little later.  The record’s production puts the finishing touch to its presentation and will also be examined later.  Each item noted is important in its own way to the whole of the collection.  All things considered they make The Rough Guide to Slide Guitar Blues a presentation that any blues fan will enjoy.

The Rough Guide to Slide Guitar Blues, the latest release in World Music Network’s ongoing The Rough Guide To… compilation series, is a mostly successful new offering from the label.  It is a welcome companion to so many of the various blues compilations that have come from the label ahead of its release.  The collection’s success comes in part through its featured liner notes.  The notes are important to note because of the foundation that they form for the record.  From early on, audiences learn through the liner notes that while the blues is a distinctly American form of music, the use of a slide on a stringed instrument is in fact African at its roots.  Many audiences will be surprised to learn not only this, but that the African instrument that essentially gave rise to slide guitar blues was a children’s instrument.  The whole story there will be left for audiences to discover for themselves.  This is just one of the interesting items presented in the liner notes.  Audiences also learn through the liner notes that the use of a slide on a guitar, at least in the continental United States was first documented in 1903 by W.C. Handy while waiting for a train.  Yet, even before that time, the use of a slide on a guitar had also been well-known in Hawaii (before it became a state) and was becoming even more popular in the continental United States.  Yet again, this is an intriguing item that blues fans and music fans in general will find intriguing, and potentially even get them to do their own research into both genres’ histories.  It is just one more example of the foundation that the liner notes form and is certainly not all that makes them interesting.  The liner notes also point out the various kinds of slides used in the blues and the ways in which they were used, both in slower 12-bar blues and more upbeat music of the genre.  This item plays directly into the songs that make up the record’s body.

The songs that compose the body of The Rough Guide to Slide Guitar Blues offer audiences slide guitar blues recorded by blues musicians from the Mississippi Delta, Texas and the East Coast.  They are also up-tempo compositions and more reserved compositions.  In other words, audiences get quite the variety of slide blues compositions throughout the course of the record’s 77-minute run time.  The ability of the slide to sustain notes (going back to the liner notes) in slower songs is on wonderful display in Lemuel Turner’s ‘Way Down Yonder Blues.’  Easily one of Turner’s most well-known compositions, it is a full-on instrumental composition that features Turner playing his guitar by himself.  Nothing else is there.  The vibrato in so many of the song’s notes cuts through so clearly and really enriches the arrangement all the more.  On a completely opposite note, there is the country blues style composition that is ‘Somebody Changed The Lock On My Door,’ from Casey Bill Weldon.  In the case of this song, the notes are sustained in their own unique way as the contemplative composition progresses.  What’s more, the arrangement itself shows just another blues subgenre and how slides are used to enhance the music therein.  Kokomo Arnold’s ‘Feels So Good,’ which comes early in the set, is a prime example of more upbeat, energetic slide guitar blues.  The use of the slide in a case, such as this shows how a slide is used in direct contrast to slower, more reserved blues songs.  In slower blues compositions, the slide provides more of a vibrato, in almost a classical music style.  In the case of a song like this, the slide shortens the notes and really changes the overall sound of the recording.  It is just one more example of how the various compositions show so much variety in how slides are used in the blues.  When it is considered with the other compositions examined here and with the rest of the record’s songs, the whole of that content builds on the collection’s foundation and makes the presentation all the more enjoyable.

The liner notes featured in The Rough Guide to Slide Guitar Blues and the songs that directly partner with them do much to make the record.  They are just a part of what makes the set another enjoyable offering from WMN.  The production that went into the record’s presentation rounds out its most important elements.  The production is important because once again, what audiences get in this collection is another grouping of recordings that reaches back to the early 20^th century.  The sound of the static is still there, more so in some recordings than others, but it is there.  At the same time, there is clearly no loss in any of the featured songs.  What this means is that those responsible for the transfers clearly went to painstaking efforts once again to ensure the songs sounded just as good decades later as they did in their original presentations.  The result is a wonderful general effect that puts the finishing touch to the record.  When the expert production is considered along with the impact of the liner notes and the songs, the whole makes this presentation overall yet another successful addition to WMN’s ongoing series of Rough Guide To… releases.

The Rough Guide to Slide Guitar Blues, the latest addition to World Music Network’s ongoing series of Rough Guide To…compilations, is another positive offering from the company in that series.  Its success comes in part through its liner notes.  The notes are important because of the rich background that they offer on the history of slide guitar blues.  The history that they provide is sure to educate and surprise plenty of audiences, and hopefully in turn, get those audiences interested in starting their own research into the genre.  The music that accompanies the liner notes does well to take audiences even deeper into that history, as they hear exactly what the liner notes point out, in terms of stylistic differences in each style of slide guitar blues.  The production that went into the compilation puts the finishing touch to the presentation.  That is because it ensures the featured vintage presentations sound just as good in their new presentations as they did decades ago.  Each item examined here is important in its own way to the whole of the presentation.  All things considered, they make The Rough Guide to Slide Guitar Blues yet another enjoyable addition to WMN’s Rough Guide To… series of releases.

The Rough Guide to Slide Guitar Blues is available now through World Music Network and Riverboat Records. 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.

Pretty Killer Debuts New Single, ‘Blossom’

Courtesy: Earshot Media

Independent pop act Pretty Killer premiered its latest single this week.

The band debuted its new single, ‘Blossom‘ Friday. The single is a light, pop style composition that will appeal to fans of acts, such as Kulick, Machine Gun Kelly, and Set It Off. It features a guest appearance from Kellin Quinn (Sleeping With Sirens) and Monty Xon.

No information was provided about the song’s lyrical theme.

‘Blossom’ is available to stream and download through YouTube and Apple Music, as well as Spotify.

More information on Pretty Killer’s new single is available along with all of the act’s latest news at https://instagram.com/prettykillermusic.

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

Half Past Two Debuts ‘Top Gun’ Video

Courtesy: Pay Attention Records/Jump Up Records

Ska band Half Past Two premiered the video for its latest single this week.

The band debuted the video for its new single, ‘Top Gun’ Friday. The song is featured in the band’s self-titled 2021 album. The album is available to stream here.

The musical arrangement featured in ‘Top Gun’ is unique in that it stands out in its sound and style from the album’s other works. In the case of this song, it starts out with a light, bouncy familiar ska sound, but then gradually switches to something notable heavier as the song progresses.

Guitarist/keyboardist and song co-writer David Parris talked about the song’s musical arrangement in a prepared statement.

“We tried to hit two opposite ends of the musical spectrum while still exploring some sounds that were new and interesting in Half Past Two,” Parris said. “What ended up happening is the hardest breakdown we’ve ever done, which is pretty cool.”

Vocalist Tara Hahn talked about the song’s lyrical theme in her own comments.

“I was sick of the dribble that people were telling me about how mask mandates and vaccines were infringing on their personal freedoms when in my own home, their ignorance was a major concern to my loved ones’ health and well being,” Hahn said. “I really felt angry and glossed over, I was quickly learning that people I was close to weren’t going to even hear me out about why these things were so important.”

Hahn continued, “Half Past Two isn’t known for angry songs, so this one seemed out of pocket, but I was HAPPY to tell these people off in “Top Gun.” Even the music is different from the other songs on the record, feels more serious just like what we were saying with the lyrics. We really love the story Rae established in the video. The dancers really show how a deep relationship can be irreparable.”

The video for ‘Top Gun’ features Danielle Adams and Natalie Sepulveda performing together, illustrating director Rae Mystic’s vision for the treatment.

“‘Top Gun’ demanded a dance number,” Mystic said. “I envisioned ‘turning an argument into a dance.’ While I wanted the video to be dark in the sense of the subject, I saw the dance taking place in a vivid living room. Once I landed on Danielle Adams to choreograph the dance, she knew exactly what I was requesting even though I have no previous dance experience.”

In other news, Half Past Two has a new live date scheduled. The information is noted below.

Wet Hot Skamerican Summer – July 23 at Hangar 24 Brewing in Irvine, CA w/ The Guilty Parties, Chris Murray, Hooray For Our Side, The B Sharps, and The Step Daughters.

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

Website: https://halfpasttwoska.com

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

Twitter: https://twitter.com/halfpasttwoska

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

Michael Schenker Group Premieres ‘Under Attack’ Lyric Video

Courtesy: Atomic Fire Records

Michael Schenker Group debuted the video for its latest single this week.

The band unveiled the lyric video for its new single, ‘Under Attack’ Friday, the same day that the band released its new album, Universal. The song’s musical arrangement is a solid composition that expertly blends elements of vintage rock and hard rock with a modern leaning for a whole that will certainly keep audiences engaged and entertained.

No information was provided about the song’s lyrical theme. In listening to the song’s lyrics and reading them on screen, one is left to assume it is about an alien attack, of all things. At the same time, that approach could well also be an allegory of sorts about the conflict constantly going on in the world, hinting that there are greater things to worry about and that because of that, we need to stop fighting. That is all just this critic’s interpretation.

The lyric video for ‘Under Attack’ features the song’s lyrics on what is meant to look like a video display on an alien spacecraft. Various alien spaceships are also presented as part of the whole.

‘Under Attack’ is the third single from Universal. The record also produced the singles, ‘Emergency‘ and ‘A King Has Gone.’ The latter of the songs featured a guest appearance by Helloween front man Michael Kiske.

Courtesy: Atomic Fire Records

Michael Schenker Group announced last month, a tour in support of Universal is scheduled to launch Sept. 27 in San Juan Capistrano, CA. The tour is scheduled to run through Nov. 6 in Tulsa, OK and to feature performances in cities, such as Milwaukee, WI; Cincinnati, OH and Ft. Wayne, IN.

The tour’s schedule is noted below.

MSG US Tour 2022 w/ Eric Martin, Images Of Eden:

9/27/2022 The Coach House – San Juan Capistrano, CA

9/28/2022 Goldfield Trading Post – Roseville, CA

9/29/2022 Great American Music Hall – San Francisco, CA

10/01/2022 Saban Theater – Los Angeles, CA    

10/02/2022 Count’s Vamp’d – Las Vegas, NV

10/04/2022 Oriental Theater – Denver, CO

10/06/2022 Pop’s – Sauget, IL

10/07/2022 Des Plaines Theater – Des Plaines, IL

10/08/2022 Arcada Theater – St. Charles, IL

10/09/2022 Pabst Theater – Milwaukee, WI

10/11/2022 The Art Theater – Hobart, IN

10/12/2022 Piere’s – Ft. Wayne, IN

10/14/2022 The King Of Clubs – Columbus, OH

10/15/2022 Agora Theater – Cleveland, OH

10/16/2022 Harpo’s – Detroit, MI

10/17/2022 Jergels – Pittsburgh, PA

10/19/2022 The Vault – New Bedford, MA * MSG only

10/20/2022 Flying Monkey – Plymouth, NH

10/21/2022 Cabot Theater – Beverly, MA

10/22/2022 Sony Hall – New York, NY

10/23/2022 Newton Theater – Newton, NJ

10/25/2022 Keswick Theater – Glenside, PA

10/26/2022 Tally Ho – Leesburg, VA

10/27/2022 Sherman Theater – Stroudsburg, PA

w/ Damon Johnson & The Get Ready, Images Of Eden:

10/29/2022 Bogarts – Cincinnati, OH

10/30/2022 Brooklyn Bowl – Nashville, TN

w/ W.A.S.P., Armored Saint:

11/02/2022 White Oak Music Hall – Houston, TX

11/03/2022 Concrete Street Pavilion – Corpus Christi TX

11/04/2022 Eaton Arena – San Antonio, TX

11/05/2022 Amplified Live – Dallas, TX

11/06/2022 Tulsa Theater – Tulsa, OK

Universal came Friday, less than two years after the release of MSG’s latest album, Immortal, which was released last year through Nuclear Blast Records.

More information on MSG’s upcoming album release and tour is available along with all of Michael Schenker’s latest news at:

Website: https://www.michaelschenkerhimself.com

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

Twitter: https://twitter.com/MW_Schenker

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

The Dead Daisies Announce New Album Details; New Single Coming

Courtesy: Chipster PR

The Dead Daisies is scheduled to release its new album this summer, and in anticipation of its release, will officially debut the album’s lead single next week.

The band will officially premiere the album’s lead single, ‘Radiance’ June 2 through blabbermouth.net. ‘Radiance’ is available to stream and download here. Its musical arrangement is a heavy, plodding work whose guitar line immediately lends itself to comparison to works from the likes of Black Label Society.

The song’s lyrical theme is meant to deliver a socially conscious message according to the band.

Drummer Brian Tichy has rejoined The Dead Daisies for its new record. Tichy, who was a founding member of The Dead Daisies left the band in 2014, but returned in 2015, remaining with the band in his second stint until 2017. He was replaced with a rotating cast of drummers along the way, such as John Tempesta (Rob Zombie, The Cult, Testament), Charley Drayton (The Cult, The Rolling Stones, Neil Young) and most recently Tommy Clufetos (Black Sabbath, L.A. Rats, Alice Cooper).

“I’m excited for everyone to hear ‘Radiance’, a little slab of new Daisies rock!,” Tichy said. “It’s been a lot of fun recording with Doug, Glenn and David, and now I’m psyched to throw down live with the guys! Hope to see you all out there on tour this year!”

In other news, The Dead Daisies is scheduled to launch a summer-long tour in support of its new forthcoming album. The European tour is scheduled to start June 3 in Hamburg, Germany and to run through Aug. 5 in Knislinge, Sweden.

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

JUNE
03 – Stadtpark Freilichtbühne Hamburg, Germany (with Foreigner)
04 – Spardawelt Freilichtbühne Killesberg Stuttgart, Germany (with Foreigner)
05 – Buderus Arena Wetzlar, Germany (with Foreigner)
08 – Zitadelle Spandau Berlin, Germany (with Foreigner)
10 – Freilichtbühne Peißnitzinsel Halle (Saale), Germany (with Foreigner)
11 – Muziekcentrum De Bosuil Weert, Netherlands
13 – Matrix Bochum, Germany
14 – Hirsch Nuremberg, Germany
16 – Schlossgarten / Schloss Bruchsal, Germany (with Foreigner)
18 – Hellfest Clisson, France
19 – Graspop Festival Dessel, Belgium
22 – Rockhal Esch-Sur-Alzette, Luxembourg (with Judas Priest)
23 – Garage Saarbrucken, Germany
25 – God Save The Kouign Fest Penmarch, France
27 – Zenith Munich, Germany (with Judas Priest)
29 – Conrad Sohm Dornbirn, Austria
30 – Komma Woergl, Austria
 
JULY
02 – Fabrique Milan, Italy 
03 – Castello Di San Giusto Trieste, Italy
06 – SRC Tasmajdan Belgrade, Serbia (with Whitesnake)
08 – Masters Of Rock Vizovice, Czech Republic
09 – Hype Park Krakow, Poland 
11 – Budapest Arena Budapest, Hungary, (with Judas Priest)
12 – Dvorana Stozice Ljubljana, Slovenia (with Judas Priest)
15 – Faliro Olympic Indoor Hall Athens, Greece (with Judas Priest)
17 – Midalidare Rock Mogilovo, Bulgaria (with Judas Priest)
18 – Arenele Romane Bucharest, Romania (with Judas Priest)
19 – Skenderija Sarajevo, Bosnia (with Whitesnake)
26 – Theatre Antique Vienne, France (with Judas Priest)
27 – Z7 Pratteln, Switzerland
28 – Substage Karlsruhe, Germany
30 – Freilichtbuhne Peißnitzinsel Halle (Saale), Germany (with Judas Priest)
31 – Rudolf Weber Arena Oberhausen, Germany (with Judas Priest)
 
AUGUST
 
02 – Brose Arena Bamberg, Germany (with Judas Priest)
05 – Time To Rock Festival Knislinge, Sweden

More information on The Dead Daisies’ new single and album is available along with all of The Dead Daisies’ news at:

Website: https://thedeaddaisies.com

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

Twitter: https://twitter.com/TheDeadDaisies

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

Sweet Teeth Debuts New Single, ‘No Me’

Courtesy: Lovely Records

Punk rock act Sweet Teeth debuted its new single, ‘No Me‘ this week.

The band premiered the song Friday through Lovely Records. It is featured in the band’s album, High Anxiety, which is expected for release this year. The album’s release date and other information is under consideration.

‘No Me’ is Sweet Teeth’s first new music since the premiere of its then latest single, ‘Shattered Glass Face‘ and its companion video last July. The song is featured in the band’s debut EP, Acid Rain.

The musical arrangement featured in ‘No Me’ is a driving composition. It barely tops the 90-second mark, but still ensures audiences’ engagement and entertainment throughout that short run time. It is comparable to works from the likes of Husker Du and Dinosaur Jr. In the same vein, audiences can also argue that the song boasts a similarity in its sound and style to works from Foo Fighters. To that end, one could argue that Foo Fighters may have gotten much of its influence from those bands, too.

The lyrical theme featured in ‘No Me’ is a familiar rock theme, according to a statement from the band.

“Lyrically, it handles the most overtly punk stance you can have, namely ”I don’t care what anyone thinks about me and I’ll do what the f* I want,” the statement reads. “Childish? Well maybe.. but does it ever get old? Never!”

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

Website: https://sweetteeth1.bandcamp.com

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

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

Twenty2 Debuts New Single, ‘Grudge,’ Lyric Video

Courtesy: Thousand Islands Records

Punk rock outfit Twenty2 debuted its new single and video this week.

The band premiered its new single, ‘Grudge‘ and its companion lyric video Wednesday. The song is featured in the band’s forthcoming album, Dismissed, which is scheduled for release July 22 through Thousand Islands Records.

The musical arrangement featured in ‘Grudge’ is a fully accessible punk rock composition. From its driving guitar and drum performances, to the equally urgent sense in the vocals, the whole of the arrangement creates a powerful sense of tension that will engage any listener.

The tension in the arrangement works well with the song’s lyrical content, which seems to deliver a theme of someone who is in fact holding a grudge against someone who has wronged that person.

The lyric video for Twenty2’s new single places the song’s lyrics over the image of a person holding what looks like an emergency smoke flare. The single’s art is also incorporated into the video.

The track listing for Dismissed is noted below.

Tracklist:

1. PRE-CONDITIONED

2. CONDITIONED

3. UNDERNEATH

4. SETUP FROM THE START

5. GRUDGE

6. ERASE YOUR FEAR

7. FUCK YOUR RULES

8. BEFORE YOU SAVE US

9. I’M (NOT) DONE

10. ADULTEEN

11. I KNOW IT’S YOU

12. WHAT SHE DID

13. OUT OF MY HEAD

More information on Twenty2’s new single and album is available along with all of the band’s latest news at https://www.facebook.com/Twenty2PunkRock.

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

Michael Schenker Group’s Latest LP Will Appeal To Rock, Metal Fans Across The Musical “Universe”

Courtesy: Atomic Fire Records

Michael Schenker is clearly one of those individuals who does not rest easily on his own laurels.  Between working with Scorpions, UFO, and his own projects, Temple of Rock, Michael Schenker Fest, and Michael Schenker Group, Schenker has constantly had something new on his proverbial plate throughout his career.  Most recently, his Michael Schenker Group project has kept him most busy.  That project released its second album in less than two years Friday in the form of Universal.  It released Friday through Atomic Fire Records, not even a year and a half after the release of the group’s then latest album, Immortal.  Which released in February 2021 through Nuclear Blast Records.  Schenker’s latest MSG album is a presentation that most audiences will agree is a welcome follow-up to Immortal, too.  That is proven in part through its featured musical arrangements, which will be discussed shortly.  The lyrical themes that accompany that musical content makes for its own interest and will be examined a little later.  The record’s production rounds out its most important elements and will also be examined later.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered they make the album another strong new MSG offering that will appeal to a wide range of audiences.

 Universal, the latest album from Michael Schenker Group, is another positive offering from the group and its namesake founder.  Its success comes in part through its featured musical arrangements.  From beginning to end, the arrangements each take audiences back to the days of big riffs and even bigger hair and beyond.  The comparisons to works from the likes of Judas Priest, UFO, and so many other bands abound throughout the record.  At the same time, there is something about the arrangements that gives them just as much of a modern feel as a classic sense.  Case in point is the album’s opener, ‘Emergency.’  The richness and heaviness of the guitar line alongside the vocals here gives the arrangement such a modern hard rock sound.  At the same time, there is a subtle touch to that pairing (and the rest of the instrumentation and approach) that gives the arrangement a vintage hard rock sense.  That balance works so well here and makes the song a solid first impression for this outing.  On a completely different note, a song, such as ‘Wrecking Ball’ is full on vintage rock.  The whole of the vocals and instrumentation gives this arrangement a full-on sleaze rock sense.  It is hair metal to the nth degree.  That is not a bad thing, either.  In fact, it is quite infectious from beginning to end.  ‘London Calling,’ which comes later in the album’s run, is another example of the importance of the album’s musical content.  This is another vintage style composition.  The thing is that it is more of a melodic rock style composition.  The pairing of the organ with the bass and guitar makes for a rich three-part harmony that will keep audiences engaged and entertained throughout the song.  The addition of the specific vocal approach adds even more interest to this arrangement.  All things considered here, they make this arrangement its own unique presentation that audiences will enjoy just as much as any of the album’s other works.  When all of the record’s musical content is considered together, it leaves no doubt as to the importance of said content to the album’s overall presentation.

The musical content featured in Universal is just on part of what makes the album engaging and entertaining.  The lyrical themes that accompany that musical content are just as important to the overall presentation as the record’s musical arrangements.  That is because they present their own diversity.  ‘A King Has Gone,’ which is the album’s latest single, — for instance – is a tribute to legendary singer Ronnie James Dio.  It does this through mentions within the song of his work with Heaven & Hell, Rainbow, and even Black Sabbath, as well as his own solo work, while also stating that “you gave us rock/You made us roll.”  The song is a wonderful tribute to the life and legacy of a man who while short in stature, was a huge personality on record and on stage.

On a separate note, the bonus track, ‘Turn Off the World’ is a socially conscious statement.  It is that familiar commentary on the state of the world.  The role that politicians play in everything happening is there, as are the call to action and unity among the people.  The song begs people to “Find the answers/Before it’s too late” along the way before Schenker uses his guitar to sound like an alarm going off, accenting that statement.

‘Long, Long Road’ is yet another example of the diversity in the record’s lyrical themes.  The theme here is just as familiar as those in the other songs examined here, and in the record’s other tracks.  The theme comes across as one of pushing on through life’s obstacles.  It even reminds audiences that there will be a happy ending and that a broken heart will mend in no uncertain terms.  The simple, straight forward way in which the theme is delivered is certain to engage and entertain audiences just as much as the message itself.  When this theme and the others examined here are considered with the rest of the album’s themes, the whole makes clear why the album’s lyrical themes are just as important to its whole as its musical content.

As much as the album’s lyrical themes and musical arrangements do to make the record appealing, they are just part of what makes the album worth hearing.  Its production rounds out its most important elements.  The production is important because it plays directly into the album’s general effect.  As noted, the arrangements featured in this record blend vintage rock and hair metal elements with just as much modern rock influence from one to the next.  The ability of those leanings to all come through and balance as well as they do is due to the record’s production.  What’s more, the ability of the musicians’ performances to each be displayed equally from one to the next shows even more, the time and work that went into balancing each performance.  The end result of the painstaking efforts taken to balance all of the performances and at the same time balance the vintage and modern sounds and styles creates an aesthetic that is just as certain to keep audiences engaged and entertained as the record’s content.  When that content is considered along with the album’s production, the whole therein makes Universal a record that will appeal to rock and metal fans across the musical universe.

Universal, the latest album from Michael Schenker Group, is a certified successful offering from the band.  That is due in part through its musical arrangements.  The arrangements are of note because of the way in which they balance vintage rock and metal influences with more modern leanings.  From one song to the next, they give listeners the best of the past and present, making each song fully engaging and entertaining.  At the same time, they each also boast identities separate from one another along the way.  All of this together ensures the important role of the album’s arrangements.  The lyrical content featured throughout the album are also of import because they are so accessible and unique from one another, too.  The record’s production rounds out its most important elements.  It ensures the record’s aesthetic is just as positive as its content.  Each item examined here is important in its own way to the whole of the record.  All things considered they make the album in general another successful new entry from Michael Schenker Group.

Universal is available now through Atomic Fire Records.  More information on the album is available along with all of Michael Schenker Group’s latest news at:

Website: https://www.michaelschenkerhimself.com

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

Twitter: https://twitter.com/MW_Schenker

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