Amon Amarth Impresses Once Again On Its 12th Album, ‘The Great Heathen Army’

Posted on July 31, 2022 by philspicks

Veteran Viking metal outfit Amon Amarth is set to release its latest album, The Great Heathen Army very in less than a week through its longtime label home Metal Blade Records. Scheduled for release Aug. 5, the 9-song record will come more than three years after the release of the band’s then latest album, Berserker. The 43-minute presentation is everything that Amon Amarth fans have come to expect from the band both musically and lyrically. At the same time, the record’s musical content actually shows some growth from the band this time out. The record’s musical and lyrical content will each receive their own examinations here. The album’s production rounds out its most important elements and will also be examined here. Each item noted is important in its own way to the whole of the album’s presentation. All things considered they make The Great Heathen Army one more of the greatest of this year’s new hard rock and metal albums.

The Great Heathen Army, the 12^th new album from Amon Amarth, is another largely successful offering from the veteran metal outfit that has made a career of making songs about Vikings. The record’s appeal comes in part through its featured musical arrangements. The very first thing that the band’s established audiences will note through the record’s nine total arrangements is that they are not all the same semi-symphonic/death metal approach that the band has taken in so many of its albums. Right from the record’s outset, its lead single, ‘Get in the Ring,’ the band takes more of a modern hard rock/metal approach. It is a notable change of sound and style for the band considering the compositions that the band has crafted over its decades-long career. It is just one of the songs that shows that branching out, too. Late in the record in ‘Saxons and Vikings,’ the band goes in a vintage hard rock style approach, even bringing in famed Accept/U.D.O. front man Udo Dirkschneider to add to the mix. Just as interesting is that the band does make sure to include some of its more familiar death metal riffs to mix things up a little bit along the way. The pairing of those leanings together, complete with a powerhouse solo, makes this song’s arrangement yet another standout addition to the record that continues to show the band’s musical growth this time out. The band offers up a little more of that vintage hard rock leaning in the record’s closer, ‘The Serpent’s Trail.’ The way in which the guitars are used here almost mimics some string arrangements, and the classical guitar approach here along the way just adds that much more to the record. It is just one more way in which the musical arrangements feature in this record show their value to the album’s presentation. When these arrangements are considered along with the works that lean more in the band’s familiar sounds and styles, the whole makes The Great Heathen Army a presentation that succeeds if only through its musical content.

The musical content that is featured in The Great Heathen Army is just part of what makes the album worth hearing. The lyrical content that accompanies that musical content makes for its own appeal. That is because it is far more familiar to those noted established audiences. From ‘Oden Owns You All’ to Saxons and Vikings’ to ‘The Serpent’s Trail’ and more, the themes featured in the record’s lyrics all center on the familiar topics of all things Norse and Vikings. Now there are a couple of sings – ‘Get In The Ring’ and ‘Find A Way Or Make One’ – that do break that mold. ‘Find A Way Or Make One’ delivers an all too familiar but always welcome message of pushing through life’s difficulties. This is clear as front man Johan Hegg sings here, “Stand tall/And fight/The world will quake/Stand tall/And fight/I will never break.” Some of the lyrics are a little difficult cult decipher fully sans lyrics, but he also makes note here of fighting the battle when all hope is lost and gone. This is, again, a powerful and familiar message, especially as he adds that he will not kneel, no matter what the odds. Yet again, here is more proof of the song’s message of personal strength. The battles and situations do not necessarily have to be warfare, but just personal battles. To that end, again, this familiar message is just as welcome from the band here as from any other band. What’s more, that it is set here alongside so much other more familiar content shows growth, lyrically from the band.

‘Get In The Ring’ meanwhile is actually a song for one of the rising stars of All Elite Wrestling (AEW). It is fitting that it was crafted for a pro wrestler, as its lyrical theme is in fact a fight song. It is an anthem that could and will get anyone pumped up who has ever been done wrong by someone. It is that challenge to those people who would stand in our way metaphorically or lyrically. To that end, it is another familiar lyrical theme in general that shows in its own way, why the lyrical themes in record are just as appealing as the album’s musical content. All things considered the record’s lyrical content pairs with its companion musical content to make the album’s overall content a strong foundation for the presentation. It is just one part of what makes the album so appealing. The record’s production rounds out its most important elements.

The production that went into The Great Heathen Army is important to its presentation because of its role in the record’s general effect. Every song in this record is loud and heavy. Each work is so rich because of the pairing of the instrumentations and vocals. Thanks to the time and effort that went into the production, no one part overpowers the others (including the vocals) at any one point in the album. That is, again, due to the production. Every part of each song is so powerful, leading each work to be fully immersive. The result is that the album proves just as successful in its aesthetic presentation as in its content. When all of this is considered together, the whole of The Great Heathen Army becomes one more of the year’s top new hard rock and metal albums.

The Great Heathen Army, the 12^th new album from veteran metal outfit Amon Amarth, is another strong new offering from the band that will entertain the band’s established audiences just as much as metal fans in general. That is evidenced in part through the record’s musical content. The arrangements featured throughout the album are familiar, but also show a certain level of growth. The band tries its hand at some vintage hard rock and metal styles as well as some more mainstream sounding heavy rock at points throughout the record. That diversity offers audiences something “old” and something “new” which along the way makes for plenty of engagement and entertainment. The lyrical themes featured alongside the album’s musical content is just as important to its presentation. That is because of its overall familiarity, too. There are plenty of Viking themes once again, along with some themes of overcoming diversity, which the band has handled less, but is still familiar in the rock and metal communities. The record’s production puts the finishing touch to the presentation, ensuring that the best of each song is brought out from one work to another. Each item examined is important in its own way to the whole of the record. All things considered they make the album overall another welcome offering from Amon Amarth that belongs among the best of the year’s new hard rock and metal albums.

The Great Heathen Army is scheduled for release Friday through Metal Blade Records. Amon Amarth will hit the road this fall in support of its new, forthcoming album. The band will launch the “The Great Heathen Tour” November 11 in Las Vegas, NV in support of the record.

The tour features support from Carcass, Obituary, and Cattle Decapitation, and is expected to run through Dec. 17 in Los Angeles, CA and also features scheduled performances in cities, such as Charlotte, NC; Cincinnati, OH and Seattle, WA.

The tour’s schedule is noted below.

Amon Amarth
THE GREAT HEATHEN TOUR
US HEADLINE RUN W/ CARCASS, OBITUARY AND CATTLE DECAPITATION
Friday, November 11 – Las Vegas, NV @ Brooklyn Bowl*
Saturday, November 12 – Phoenix, AZ @ Arizona Federal Theater
Monday, November 14 – San Antonio, TX @ Aztec Theater
Tuesday, November 15 – Houston, TX @ Bayou Music Center
Wednesday, November 16 – Dallas, TX @ Southside Ballroom
Friday, November 18 – Atlanta, GA @ The Tabernacle
Saturday, November 19 – Orlando, FL @ Hard Rock Live
Sunday, November 20 – Charlotte, NC @ The Fillmore
Tuesday, November 22 – Philadelphia, PA @ The Fillmore
Wednesday, November 23 – Boston, MA @ MGM Music Hall at Fenway
Friday, November 25 – Detroit, MI @ The Fillmore
Saturday, November 26 – Chicago, IL @ The Aragon Ballroom
Sunday, November 27 – Cincinnati, OH @ The Andrew J Brady Music Center
Wednesday, November 30 – Pittsburgh, PA @ Stage AE**
Thursday, Dec 01 – New York, NY @ Hammerstein Ballroom
Friday, Dec 02 – Toronto, ON @ History
Saturday, Dec 03 – Laval, QC @ Place Bell
Monday, Dec 05 – Madison, WI @ The Sylvee
Tuesday, Dec 06 – Minneapolis, MN @ The Fillmore
Wednesday, Dec 07- Kansas City, MO @ Uptown
Friday, Dec 09 – Denver, CO @ The Fillmore
Saturday, Dec 10 – Salt Lake City, UT @ The Complex
Monday, Dec 12 – Seattle, WA @ Showbox SODO
Tuesday, Dec 13 – Portland, OR @ Roseland Theater
Thursday, Dec 15 – Wheatland, CA @ Hard Rock Live
Friday, Dec 16 – San Diego, CA @ SOMA
Saturday, Dec 17 – Los Angeles, CA @ Kia Forum

*No Carcass
** Non-Live Nation date

The new fall U.S. dates will follow a European run with Machine Head, that is scheduled to run from Sept. 8 in Nottingham, UK to Oct. 22 in Stuttgart, Germany. The Halo Effect is also scheduled to take part in the tour, dubbed the “Vikings and Lionhearts Tour 2022.”

The tour’s schedule is noted below.

SEPTEMBER
Thursday 8 – NOTTINGHAM, UK, Motorpoint Arena
Friday 9 – CARDIFF, UK, Motorpoint Arena
Saturday 10 – LONDON, UK, The SSE Arena, Wembley
Monday 12 – MANCHESTER, Uk AO Arena
Tuesday 13 – DUBLIN, Ireland, 3Arena
Friday 16 – ZURICH, Switzerland, Hallenstadion
Saturday 17 – VIENNA, Austria, Stadthalle
Sunday 18 – KRAKOW, Poland, Tauron Arena
Tuesday 20 – TALLINN, Estonia, Saku Arena
Wednesday 21 – HELSINKI, Finland, Ice Hall
Friday 23 – OSLO, Norway, Spektrum
Saturday 24 – STOCKHOLM, Sweden, Hovet
Monday 26 – COPENHAGEN, Denmark, Forum Black Box
Tuesday 27 – HAMBURG, Germany, Barclays Arena
Wednesday 28 – FRANKFURT, Germany, Festhalle
Friday 30 – OBERHAUSEN, Germany, König Pilsener Arena

OCTOBER
Saturday 01 – BERLIN, Germany Velodrome
Sunday 02 – AMSTERDAM, The Netherlands, Afas Live
Tuesday 04 – MILAN, Italy, Lorenzini District
Thursday 06 – BARCELONA, Spain, Sant Jordi
Friday 07 – MADRID, Spain, Vistalegre
Saturday 08 – LA CORUNA, Spain, Coliseum
Sunday 09 – LISBON, Portugal, Campo Pequeno
Wednesday 12 – PARIS, France, Zenith
Friday 14 – MUNICH, Germany, Olympiahalle
Saturday 15 – LEIPZIG, Germany, Arena
Sunday 16 – PRAGUE, Czech Republic, Tipsport Arena
Tuesday 18 – BUDAPEST, Hungary, Barba Negra
Thursday 20 – ESCH SUR ALZETTE, Luxembourg, Rockhal
Friday 21 – BRUSSELS, Belgium, Forest National
Saturday 22 – STUTTGART, Germant, Schleyerhalle

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

Website: https://www.amonamarth.com

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

Twitter: https://twitter.com/amonamarthband

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

Season 2 of ‘Star Trek: Lower Decks’ Sees Noted Improvement From The Series’ Debut Season

Posted on July 31, 2022 by philspicks

Paramount+’s animated Star Trek series, Lower Decks is set to make its streaming debut Aug. 25. That means that fans of the series will not have to wait but so long to find out what happened to Capt. Freeman after her arrest by the Federation. While audiences wait, they can take in the series’ second season now on DVD and Blu-ray, after it was released July 12 on both platforms. The show’s second season is an improvement on its debut season in terms of its writing. This will be discussed shortly. The bonus content that accompanies Season 2 in its home release is engaging in its own way and will be examined a little later. The packaging for the standalone presentation rounds out its most important elements and will also be discussed later. Each item noted here is important in its own way to the whole of the presentation. All things considered they make the second season of Star Trek: Lower Decks an overall success.

The second season of Paramount+’s Star Trek: Lower Decks is an impressive new addition to the animated series. The season’s success comes in large part through its writing. That is because the writing seems to have more heart in each of its 10 total episodes. Right from the season premiere, “Strange Energies,” the writing improves on what was offered in Season 1. The episode finds a…well…strange energy impacting everyone on board the Cerritos after Mariner “cleans off” a structure on a planet that the Cerritos visits. Commander Ransom becomes an all-powerful interstellar being, leading Capt. Freeman to have to learn to be much nicer to her second-in-command. Along the way, the bridge crew and the lower decks crew alike learn some valuable lessons about friendship and respect for others. Whether that secondary theme was put there intentionally is anyone’s guess, but it is there, and it adds even more to the story.

On another note, the ship’s crew overall learns a valuable lesson about understanding and respecting what the other does in ‘I Excretus.’ A Starfleet trainer is sent to the Cerritos to make the crew take part in some holodeck style training to determine if the ship and its crew should even be in commission. Boimler is the only member of the crew who succeeds in the training, and his neurotic desire for perfection along the way ends up being the saving grace for the ship and its crew, unexpectedly. It is another surprisingly enjoyable story and further exhibits what makes this season’s writing so enjoyable.

‘First First Contact,’ Season 2’s finale, is yet another example of the strength of this season’s writing. That is because it has all of the heart and action of a classic TSO and even TNG episode. This as the Cerritos is forced to save another ship after an asteroid is destroyed by a solar flare. The ship’s crew has to remove all of the Cerritos’ outer hull in order to navigate through the debris field left by the destruction, and to save its fellow Federation ship. What happens following the brave rescue makes for an even bigger surprise. Viewers will find out what happens as a result of the surprise when Season 3 debuts later in August. Between this episode’s story, the stories in the other episodes examined here, and those in the rest of the season’s offerings, the whole makes clear why the writing this season proves so strong this time out. It is just one part of what makes Season 2 so engaging and entertaining. The bonus content that accompanies this season’s home release adds to that engagement.

The bonus content that accompanies Season 2’s home release is notable because of the background that it offers. The “Lower Decktionary” special feature for instance is an in-depth near episode-by-episode examination of this season. The show’s creative heads talk about many of the season’s episodes, explaining the time and thought that went into making each episode warmer and more accessible to audiences. Some of the cast also talk about recording their lines for certain episodes remotely because of the pandemic. In listening to them talk about each story, it is clear that much more time and thought went into bringing this season to life than the stories in the series’ debut season. The discussion on the attempt to tell the stories of the bridge crew just as much as the lower decks crew while also paying homage to fans of Star Trek: TOS and Star Trek: TNG (as well as even those of Voyager, Deep Space Nine, and Enterprise) with certain elements shows that the show’s creative heads better understood the need to connect with as many viewers as possible.

The secondary bonus feature, “A Sound Foundation” is interesting in its own way, too. In this equally in-depth presentation, audiences are presented discussions on the work that went into all of the sound throughout the series’ second season. This seems something minor on the surface, but when audiences listen to the discussion, it is clear that just as much time and work went into making the series’ sounds just as connecting to other Star Trek series as the stories. Taking that into account along with the background offered through this season’s “Lower Decktionary” featurette and even with some of the episode-length audio commentaries, the overall bonus content adds plenty of appeal for the season and enhances the viewing experience even more. That overall bonus content is just one more part of what makes the season’s presentation appealing. Its packaging rounds out its most important content.

This season’s packaging is important to address for a pair of reasons. First and foremost, it ergonomic. The two discs on which the season’s 10 episodes are contained are each placed on their own plate inside the case. This protects the discs from one another, thus increasing their longevity. At the same time, the case itself is the size of a case holding a single disc, so it will save space on any viewer’s DVD/BD rack.

On another note, the episode listing is printed inside the case. Some of the brief but concise episode summaries are a little difficult to read because of their placement, but otherwise are not too problematic. Those brief but concise introductions make it easier for audiences to decide which episode(s) they want to watch. The result is even more positive general effect for the viewing experience since audience do not have to otherwise search through the episodes one by one on the discs. That positive impact of the episode summaries being listed in the case and the season’s space-saving presentation makes fully clear, the positive impact of the packaging overall. When this is considered along with the impact of the season’s writing and its bonus content, the whole makes this season of Star Trek: Lower Decks quite the improvement from the series’ debut season and gives hope for the show’s third season.

The second season of Paramount+’s Star Trek: Lower Decks is a step up from the series’ debut season. That is proven in large part through the writing in its episodes. The writing gives each episode so much more heart and depth than that of the episodes in the series’ debut season. The bonus content that accompanies that writing makes for even more engagement. That is because it allows the series’ creative heads to talk about the work and thought that went into the writing (and the sound engineering and editing). The season’s packaging rounds out its most important elements and puts the finishing touch to the set’s presentation. That is because of the space-saving nature of the packaging and the presentation of the brief but concise episode summaries presented inside the case. Each item examined is important in its own way to the whole of this season’s set. All things considered they make the presentation a welcome improvement overall from the debut season of Star Trek: Lower Decks.

Star Trek: Lower Decks Season 2 is available now on DVD and Blu-ray. More information on this and other titles from CBS DVD and Paramount+ is available at:

Website: https://paramountplus.com

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

Twitter: https://twitter.com/paramountplus

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.

‘The Rough Guide To Jewish Music’ Is A Unique, Mostly Successful World Music Presentation

Posted on July 29, 2022 by philspicks

Late this past May, World Music Network partnered with the German record label, Galileo, to release its latest compilation of music centered on the Jewish community in the form of The Rough Guide to Jewish Music. The 18-song collection is an interesting new offering focused on the music and culture of the Jewish community. That is due in part through its featured arrangements, which will be discussed shortly. While the musical content that makes up the record’s body is important to its presentation, the set is not perfect. That is because there are no English translations for any of the songs that feature lyrics. This will be discussed a little later. While the lack of English translations for the lyrics is problematic, it is not enough of an issue to doom the set. To that end, there is still one other positive in the form of the record’s liner notes. The liner notes that accompany the record’s musical content make for their own interest and will be addressed a little later. Each item noted is important in its own way to the whole of the compilation. All things considered they make the set yet another engaging and entertaining addition to WMN’s ongoing The Rough Guide To… compilation series.

The Rough Guide To Jewish Music is a simply-titled new presentation from World Music Network, but as simple as its title is, the 18-song record is anything but simple. That is proven in part through the record’s musical content. From beginning to end, the arrangements are anything but what audiences would think of when they think of Jewish music. Yes, there are some arrangements featured here that have that familiar violin and clarinet-based instrumentations, but they are few and far between. Rather, the arrangements take listeners on a trip around the world, showing the reach of the Jewish community and its culture. Right from the record’s outset, audiences are treated to what sounds like a Spanish-infused composition in ‘Adio Kerida.’ Roughly translated, the title means ‘Bye, Dear.’ That would make sense, what with the mention of a corazon (or heart in English) and some of the other content that can be translated here. The somber mood of the arrangement adds to the sense that this song is about a broken relationship. The distinct vocal style and the use of the strings are what really bring out the Jewish influence here alongside the more familiar Spanish leaning. It makes for an interesting start to the set, especially being that it gives way to the much more familiar Jewish style composition that is ‘Tornado Albastru’ next. As the record progresses, audiences are eventually taken on a trip to Egypt in ‘El Rey Nimrod.’ The vocal styling and instrumentation here make that influence fully audible. It is one of the compilation’s most notable entries. On yet another note, audiences get a piece that exhibits some perhaps eastern European influence even later in ‘Shalom Aleykhem.’ That is made clear through the use of the string arrangement, accordion and vocals. There is almost a certain Romanian gypsy influence here. Meanwhile the use of what sounds like a recorder alongside it all adds the slightest Renaissance influence to make for an overall composition that is unique in its own right. Right from there, the compilation takes audiences back to the Middle East, in ‘Sien Drahmas Al Dia.’ Translated from Judeo-Spanish, the song’s title means ‘One Hundred Drachmas A Day’. Apparently, the song is another love song of sorts sung from a woman’s standpoint, wanting her love interest to break away from his mother. It is a fiery composition, too, which would make sense considering the noted apparent lyrical theme here. When this arrangement and the others examined here are considered along with the rest of the record’s entries, the overall musical presentation makes for a wonderful examination of the reach of Jewish music around the world.

While the musical content that makes up the body of The Rough Guide to Jewish Music is pivotal to its appeal, the record is not perfect. As noted, there are not English translations for any of the songs featured here with vocals. The end result is that audiences have to hunt down the songs and try to find said translations for themselves in hopes that those translations exist. This can be somewhat time consuming depending on the song and what may or may not be available. To that end, this is unquestionably problematic to the record’s presentation. It is not enough to doom the record but is still enough of an issue to address.

Knowing that the lack of English translations in this collection is problematic but not enough so that it makes the record a failure, there is still one more positive to note. That positive is the background on the songs provided through the record’s liner notes. The liner notes point out right from their outset that the purpose of this compilation was not so much to focus on Jewish music but rather to examine “the value of cross-cultural exchange.” That is done so well by showing the ties of Jewish music with that of so many nations around the world. A very brief but concise introduction is also offered for some of the acts whose work is part of that overall body. It is a start for any listeners who otherwise might not have known who any of them were, coming into the record. As part of those introductions, the liner notes also point out the influences in the arrangements, adding a little bit more depth to the presentation. The end result of that information is a nice accent to the presentation that when paired with the collection’s primary content, makes for even more appeal among audiences. That is even considering the lack of English translations for the songs anywhere in the booklet.

The Rough Guide to Jewish Music is a presentation that is certain to appeal to a wide range of World Music fans. That is proven largely through its featured musical arrangements. The arrangements take traditional Jewish sounds and styles and blends them with influences from the music and culture of so many other nations and their peoples. While the record’s musical content does so much to make the collection engaging and entertaining, the lack of any English lyrical translations for the songs does notably detract from the presentation. It is not enough to make the record a failure, though, but definitely is still problematic. Moving back to the positive, the record’s liner notes work with the musical content here to make for more engagement. That is because of the brief but concise background that the notes offer for the acts whose music is featured throughout. Each item examined is important in its own way to the whole of the compilation’s presentation. All things considered they make the record another interesting and mostly enjoyable offering from World Music Network.

The Rough Guide to Jewish Music is available now. 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.

World Music Network Offers Audiences A Unique Music Trip To China In Its Latest Compilation Record

Posted on July 28, 2022 by philspicks

World Music Network has for years, taken listeners around the world, musically, time and time again, offering up music from so many nations. From the roots of American music to the music of Europe’s various nations and those of Asia. That ongoing worldwide musical trip continues Friday as the label takes audiences to China’s Yunnan province in The Rough Guide to The Music of Yunnan. The 19-song record is yet another interesting addition to the company’s ongoing The Rough Guide To… compilation series that will appeal not only to ethnomusicologists but to anyone who has any interest in the music and cultures of the region (and of other nations in general). That is due in no small part to its featured songs, which will be examined shortly. As much as the record’s primary content does to make it appealing, it is not perfect. The lack of English translations for the songs with lyrical content detracts notably from the record’s presentation. This will be discussed a little later. Even without those translations, the record’s companion booklet still adds to the listening experience through its featured liner notes. This will also be addressed later. Each item noted is important in its own way to the whole of the recording. All things considered they make the record yet another interesting addition to this year’s field of new World Music offerings.

The Rough Guide to The Music of Yunnan is yet another interesting addition to World Music Network’s ongoing The Rough Guide To… compilation series that will appeal to a wide range of audiences. The record’s appeal comes in part through its featured musical arrangements. From beginning to end, the songs featured in this song offer audiences touches of traditional music from China’s Yunnan province and some modern compositions. Audiences get a dose of that traditional music right from the compilation’s outset in the form of ‘Bi Lang Dao Gu Diao.’ According to the liner notes, the song is an ancient traditional song that is played on what is known as a Dai gourd pipe. A Dai gourd pipe is a type of flute that is in fact made in part with a gourd. It is played like a flute, believe it or not. The richness of the sound is so haunting, but in such a beautiful, immersive fashion. The song is a fully instrumental composition that paints such a rich picture of the Yunnan province in listeners’ minds as they take in the tones of the flute. One of the more unique of the record’s modern songs comes less than halfway through its run in the form of ‘Bulang Beauty.’ This song features a musical arrangement that pairs the traditional sounds of the Yunnan province with, of all things, reggae leanings. Yes, it combines two genres that are clearly very distinct from one another, yet somehow this blending of East and West really makes the song work. Sadly, there is no English translation of the song’s lyrical content in the record’s booklet, so audiences are left to assume just from the mood set in the composition and from the title what the song may be about. One more notable traditional composition featured here comes a little more than halfway through its run in the simple ‘Four Seasons of the Lahu.’ The song is such a simple and beautiful work that features its performer, Shi Lei, singing the simple presentation completely by himself. There is no instrumentation. Lei’s breath control and his dynamic control as he sings gives the song so much emotional depth. Even sans any English translations, the presentation is still so immersive. When it is considered along with the other arrangements examined here and with the rest of the record’s featured works, the whole makes the record’s overall musical content fully appealing.

While the musical content that makes up this compilation’s body is fully immersive and appealing, the lack of any English translations for the record’s content detracts notably from the presentation. Considering that this record is being marketed largely to English-speaking audiences as a way to introduce said listeners to music from Asia, having any English translations would have been a very nice way to enhance the listening experience. That it is not part of the record’s presentation definitely hurts the presentation. The damage is not enough to doom the recording, but it certainly does not help that it is lacking here.

Even though the lack of English translations for any of the songs with lyrics is a problem, the record’s liner notes still offer just enough to make the booklet its own positive. The liner notes point out how the Yunnan province has remained a mystery not just for ethnomusicologists but for anthropologists and other social scientists because of its geography and because of the Chinese government. In addition, the notes point out that many of the languages of the Yunnan province are not written down. That might account for the lack of lyrical content in the booklet. The notes even make mention of how the traditional sounds of the Yunnan province have been giving way to more modern sounds that themselves still pay homage to the traditional sounds of the region in their presentations. It is another interesting part of the whole of the background provided in the liner notes that when considered with everything else in the introduction, makes the liner notes just as important to this record as the set’s musical content. When the musical content and liner notes are considered together, they more than make this compilation another interesting addition to WMN’s ongoing The Rough Guide To… compilation series that will appeal to such a wide range of audiences.

The Rough Guide to The Music of Yunnan is a unique addition to World Music Network’s ongoing The Rough Guide To… compilation series that will appeal to a wide range of audiences. That includes not only those with an interest in music from around the world, but even those who study the various social and historical sciences. That is due in no small part to its featured musical content. The musical arrangements featured in this compilation offer audiences a glimpse into the past, present, and future of the Yunnan province’s musical community with a variety of traditional and more modern compositions. The liner notes that accompany that content develop quite the interesting background on the music that enhances the listening experience even more. The two elements together give audiences reason enough to hear this record. That is even considering the lack of any English translations for the songs anywhere in the record’s booklet. Each item examined here is important in its own way to the whole of the compilation’s presentation. All things considered they make this presentation yet another positive addition to this year’s field of new World Music offerings.

The Rough Guide to The Music of Yunnan is scheduled for release Friday through World Music Network. 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

WMN’s New Memphis Minnie Compilation Is A Wonderful Tribute To The Blues Legend

Posted on July 27, 2022 by philspicks

Memphis Minnie is unquestionably one of the most well-known and respected female names in the history of the blues. Over the course of three decades, the singer (a.k.a. Lizzie Douglas) composed and recorded more than 200 songs, so many of which remains favorites among blues purists to this day. A new collection of those songs is scheduled for release Friday through World Music Network and in the form of the new compilation, The Rough Guide to Memphis Minnie – Queen of the Country Blues. The 25-song compilation is yet another enjoyable addition to WMN’s ongoing The Rough Guide To… compilation series. That is due in no small part to its featured songs, which will be discussed shortly. The songs’ audio works directly with the songs to make the listening experience all the more enjoyable. This will be discussed a little later. The record’s companion booklet rounds out the presentation’s most important elements and will also be examined later. Each item noted is important in its own way to the whole of the compilation. All things considered they make the collection not only a welcome addition to WMN’s The Rough Guide To… series, but also to this year’s field of new blues records.

The Rough Guide to Memphis Minnie – Queen of the Country Blues is another enjoyable entry in World Music Network’s ongoing The Rough Guide To… compilation series and a presentation that any blues fan will find appealing. The record’s appeal comes in part through its featured songs. The songs – 25 in all (It seems most WMN compilations are composed of 25 songs, as a side note) – pull from the early days of her career, that formative period when she was really starting to make a name for herself in a musician, composer and lyricist. More specifically, the songs pull from the early days of her career in 1929 all the way up to 1933. So while that is a limited time frame, the songs still serve as a clear snapshot (so to speak) of what made her so respected so early on. Right from the record’s opener, ‘Keep It To Yourself,’ the country influence in the blues is obvious. What’s more, the simplicity of the lyrics, which finds Douglas singing about keeping what you know to yourself, makes the song so accessible. She is singing about keeping certain secrets, not telling others, not so much keeping opinions to one’s self. Later in the record, a song, such as ‘What’s The Matter With The Mill’ does just as much to show the country music influence in her compositions, what with the steady, two chord approach. The blues element comes into play as she and fellow blues performer Kansas Joe sing about a corn mill being broken down. The blues is all about singing about life’s problems, and for this situation, the mill not working is keeping the pair from getting certain food. Again, it is such a simple theme but still there is some thing so accessible about it in that simplicity. Once again, it serves to show Douglas’ ability as a wordsmith just as much as a composer and musician. Her song, ‘Ain’t No Use Trying To Tell On Me (I Know Something On You)’ is another intriguing work. That is because its simple arrangement is so similar to Jesse Fuller’s timeless hit, ‘San Francisco Blues.’ Fuller’s song didn’t come along until 1954, while Douglas’ song debuted decades earlier in 1933. Now whether the similarity in the songs’ sounds and styles is coincidental is anyone’s guess. If Fuller took influence from Douglas however, it further shows the strength of her influence. It is just one more example of the importance of the collection’s musical content.

There is no denying that the musical content that makes up this compilation’s body. It is just one part of what makes the record appealing. The production of the songs is just as important as the songs themselves. The production is so much of note because of its role in their sound in their presentation here. As with so many collection’s of vintage music that World Music Network has released over the years, this collection’s songs are so wonderful in their sound. The static from the original recordings is just as evident here as in their original vinyl releases a century ago. Yes, with many of the songs featured here, a century has passed since they were originally released. It creates such a wonderful sense of nostalgia while once again showing that it is possible to have vintage vinyl recordings on CD and have them sound just as rich as they would on a new vinyl re-issue. Again, that is a tribute to the work that went into the record’s production. The general effect that results from that positive production builds on the appeal established through the songs to make for even more appeal, and in turn engagement and entertainment.

The overall presentation resulting from the collection’s content and production creates a strong general effect. It is just part of what makes the record appealing. The record’s companion booklet rounds out its most important elements. That is because of the background that it offers in its liner notes. The notes in question offer a brief biography of Douglas, as well as a note of the struggle that she faced during her career, as a woman in a male dominated career. This in itself is sure to generate plenty of discussion among audiences. The liner notes also make clear that the songs featured in the set are in fact from her formative years. The liner notes also point out her role in the popularity of country blues as a genre. It is just one more item that make the liner notes so interesting. When it and the other items pointed out here are considered along with the rest of the liner notes, the picture that they collectively paint enhances the listening experience that much more. Staying on that note, when the information provided in the record’s liner notes is considered alongside the record’s musical content and its production, the whole makes The Rough Guide to Memphis Minnie – Queen of the Country Blues yet another overall success from World Music Network.

The Rough Guide to Memphis Minnie – Queen of the Country Blues is another enjoyable, immersive compilation from World Music Network that is also another positive addition to World Music Network’s ongoing The Rough Guide To… series of releases. That is due in part to its featured musical content, as noted. The songs featured in this compilation are a presentation of the famed blues legend’s early days. It was that moment when she was just starting to make a name for herself. The production of those songs proves it is possible to transfer vinyl recordings to CD without any loss. The impact there further shows that all the people who think vinyl will one day replace CDs are clearly wrong. The record’s booklet adds even more to the listening experience. That is because of the history of Douglas that the liner notes therein provide. Each item examined is important in its own way to the whole of this collection. All things considered, they make the set another positive addition to WMN’s The Rough Guide To… series and one more of the year’s top new blues records.

The Rough Guide to Memphis Minnie – Queen of the Country Blues is scheduled for release Friday through World Music Network. 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

‘Putumayo Presents Afro-Cubano’ Is An Enjoyable Tribute To The Musical Roots, Connections Of Africa And Cuba

Posted on July 26, 2022 by philspicks

Music that so many people call Latin and Spanish is neither Latin nor Spanish. It is, at its root, African. The bongos and congas that are so commonplace in “Latin” and “Spanish” music came from Africa. So did drums, such as timbales, and even other so-called Latin percussion. Considering the very close connection between Latin and African music, World Music label Putumayo World Music has assembled a new compilation of songs that celebrates that connection in the form of Putumayo Presents Afro-Cubano. Scheduled for release Friday, the 10-song collection is another enjoyable presentation from the famed World Music label. Its appeal comes in part through its featured musical content, which will be discussed shortly. The liner notes featured with the collection make for their own appeal and will be discussed a little later. The digital download card that comes with the set 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 recording. All things considered they make the collection yet another fully enjoyable offering from Putumayo World Music.

Putumayo Presents Afro-Cubano is hardly the first time that Putumayo World Music has ever released a compilation centered on music from Cuba. It is also hardly the first time that the company has released a record centered on music from Africa. It is something of a rarity though, for the company to release a compilation that bridges the music and cultures of both nations. So to have music from both regions in one setting here is unique and welcome. As pointed out in the liner notes (which will be addressed a little later), the music in this record comes from Cuba, as well as African nations, such as Congo, Angola, and Senegal. That blending of nations’ cultures and music is evident right from the set’s opener, ‘Bessoka.’ Composed by Manu Dibango, the song comes by way of Cameroon. The use of the marimba alongside Dibango’s distinct vocal style and delivery – he sings in his native tongue – alongside the African percussion make that obvious. At the same time, listeners can hear how that instrumentation brings about thoughts of Cuba. It is an interesting connection that is certain to engage and entertain audiences.

On another note, the sounds of Senegalese music are just as clear in ‘Femme Noire.’ Composed by the single-named Meissa, the stringed instrumentation and equally distinct vocal delivery style here immediately take listeners to the West African nation. At the same time, the arrangement also boasts just as much of a clear link to Cuba as to Senegal. That is made clear in the distinct sound of the guitar line. There is a certain tinge (for lack of better wording) to the guitar line that immediately cries Cuba. That blending of culture and music once again makes this another clear example of what makes the compilation’s primary content so important to its presentation. It is hardly the last example of what makes the set’s musical content important. ‘N’dona,’ which closes out the collection, is another way in which African and Cuban influences come together.

‘N’dona’ is an interesting addition to this compilation in that so much traditional music from that nation actually does already have some very close stylistic similarity to music from Cuba. That is evidenced through the use of the percussion and guitars. The similarity is likely due to the fact that for a certain period of time, Angola was colonized by Portugal, which is also connected musically and culturally with Spain and Latin America. To that end, the sounds of those song are that much less of a surprise. To that end, the song is yet another clear example of the importance of the collection’s musical content. When it is considered along with the other songs examined here and with the rest of the set’s other entries, the whole of that primary content makes clear why the record’s musical content is so important.

As important of a role as the record’s musical content plays to its presentation, it is just one part of what makes the record another successful offering from Putumayo World Music. The liner notes featured with the record once again make for their own appeal. As with every other compilation that Putumayo World Music has released to date, the liner notes here give brief but concise histories of the acts featured in the record. The brief bio of Mel Malonga for instance, outlines his talents as a multi-instrumentalist and his experience working with a variety of well-known African acts. It also outlines the meaning behind his song, ‘Requiem De L’Amour,’ noting that the song is about the rise of African musical influence in Cuban music.

The information about Meissa’s ‘Femme Noire’ is apparently a tribute to African women in terms of their physical form. In other words, it is apparently meant to be something of a sensual song. That understanding definitely adds another layer of interest to the song. Further, it continues to show the importance of the collection’s liner notes. It shows just how much the liner notes add to the record.

On yet another note, the brief bio on Los-Angeles-based artist/producer Ricardo Lemvo makes for its own appeal. It is here that audiences learn of his and his family’s roots in Congo-Kinshasa, and how that played into the music that he crafts to this day. The notes point out the blend of Congolese rumba and soukous has on those creations. This revelation is certain to serve as a starting point for many audiences into those genres, just as much as his music. Once again, it means the record’s liner notes play a pivotal role in its presentation, very much to the positive. When the positive impact of this information and the other information addressed is considered with the positive impact of the rest of the record’s liner notes, the whole makes just as clear why the set’s liner notes are just as important to its presentation as its musical content. The two elements together give audiences plenty to appreciate here.

While the primary and secondary content featured in Putumayo Presents Afro-Cubano are unquestionably important to the record’s presentation, they are not all that is worth discussing. The inclusion of a digital download card with the compilation adds even more appeal to the presentation. That is because in having that, audiences can…well…download the collection onto their phones, computers, or other digital devices so that they can have the set in physical and digital form. The digital will allow audiences to have the record on computer, and in turn, potentially burn it to disc with an external drive, or simply carry it with them on their portable streaming devices. So really, the download card allows audiences who buy the compilation to enjoy it anywhere they go. Providing that option once again is yet another win for the company and for audiences alike. The label is to be commended for once again going this route, as it puts that proverbial cherry on top for the record. When this is considered along with the impact and importance of the compilation’s overall content, the whole makes the record yet another enjoyable World Music offering from Putumayo World Music and one more of the year’s top new World Music offerings.

Putumayo Presents Afro-Cubano, the latest World Music compilation from Putumayo World Music, is hardly the first time that the label has taken on the music of Cuba and Africa. It is however, one of only a handful of times that the label has paid tribute to the nations’ music in terms of their connection to one another in one setting. The music that makes up the collection’s body does well to exhibit those links. Whether listeners are casual audiences of either musical genre or more seasoned, those connections are clear throughout, and can in turn serve as a starting point for those casual audiences in discovering even more music from either side of the Atlantic. The liner notes that accompany the record make for their own interest. That is because of the background that they offer on the artists and songs featured throughout the compilation. That background adds to the listening experience, and in turn, the engagement and entertainment. The inclusion once again of a digital download card with the compilation allows audiences to enjoy the set no matter where they go and where they are. It puts the finishing touch to the whole and when considered with the record’s overall content, shows why this collection is yet another successful offering from Putumayo World Music.

Putumayo Presents Afro-Cubano is scheduled for release Friday through Putumayo World Music. More information on this and other titles from Putumayo Music is available at:

Website: https://putumayo.com

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

‘The Color Of Wood’ Makes A Strong Case For Percussionists As Stars

Posted on July 25, 2022 by philspicks

This past April, percussionist Tom Collier released his new album, The Color of Wood through Summit Records. His first studio recording since the release of his 2017 album, Impulsive Illumination, it is a unique addition to this year’s field of new jazz and overall albums. That is because the 15-song record defies classification, as is evidenced through its multitude of arrangements. This will be discussed shortly. While that diversity of sounds and styles forms a solid foundation for the album, the lack of any background on the songs in the liner notes detracts from the record’s presentation to a point. This will be discussed a little later. The record’s production works with the arrangements to make for even more appeal and will be discussed later, too. Each item noted is important in its own way to the whole of the record’s presentation. All things considered they make The Color of Wood one of the most unique overall records to be released so far this year that will appeal to every percussionist out there.

The Color of Wood, percussionist Tom Collier’s latest album is another unique record from the veteran musician. It is a presentation that really defies any real classification from beginning to end. It is not a jazz album, despite being released through a jazz label. It is not necessarily a modern classical work and nor is it even just purely some artsy type of record. It is a presentation that in reality…is a percussionist’s record, point blank. It is just Collier alone on marimba from beginning to end. At times it is clear that his performances are likely layered, because there is no way that he could have done some of the things in some of the faster arrangements completely by himself all at once, even using a traditional grip, holding multiple mallets. This is a rare approach in comparison to the music in his existing catalog. He has done more funky stuff in one album, worked with other musicians in others, etc. So, to have this record feature just Collier performing a group of unique arrangements (including a pair of covers) is something interesting, as are the arrangements themselves.

Speaking of the arrangements, the aptly titled ‘Five Reflections on Wood’ apparently is one of those standout compositions. It was inspired by a group of painters – Ruthi Winter, Cindy Kelsey, Jim and Mary Burdett, and Adelle Hermann Comfort – and by his wife, Cheryl according to the very brief information in the liner notes. Obviously only certain people are likely to know who the noted painters are along with their paintings. At the same time though, not knowing them or their works could lead those other audiences to research them. It could lead to a whole new discovery and appreciation for those artists. The arrangements that were inspired by the noted artists are so strong in their approaches. From one to the next, Collier shows his ability to perform fast, intricate rhythmic patterns just as well as more subdued, contemplative works. The very first movement, ‘Portrait of Cheryl’ (which was the piece inspired by his wife) is one of the movements that shows his ability to handle more upbeat works expertly. He works his way up and down the marimba with so much ease, controlling the dynamics so well. ‘A Sister’s Radiant Painting’ finds Collier moving in a much more subdued fashion, using so much control, including in his dynamic control. The subtleties used throughout the song make it so immersive and its transition in to the opus’ third movement, ‘Portrait of a Scarlet Flower’ is seamless. This is just as certain to keep listeners engaged, as that composition is just as relaxed and subdued. As the composition progresses into its fourth and fifth movements, he continues to put his talents on full display just as much in the equally interesting arrangements, ‘Shelling at Horsehead Bay’ and ‘Ode to a Sunset.’ ‘Ode to a Sunset’ is such a positive yet relaxed composition that even without liner notes, really does paint its own musical picture, that of someone sitting in the warm weather, watching the sun set over a given situation. The whole of the song is such a pleasing, appealing work. It is just one of the works that makes the record unique. Collier’s take of Hank Williams Sr.’s ‘I’m So Lonesome, I Could Cry’ is another presentation that shows the importance of the album’s musical content.

Collier’s cover of ‘I’m So Lonesome, I Could Cry’ is anything but that original composition. Collier gives the song a completely new identity in its presentation here. Instead of the melancholy song of lost love that everyone knows, Collier paints a picture that is more bluesy and upbeat. The chromatic scales that he uses as part of the arrangement and the occasional bluesy runs give the song such an intriguing approach and sound. It really is something that must be heard firsthand to be fully understood and appreciated. Simply put, it is a cover, but in its originality, is original in its own right. It is just one more example of why the record’s musical content is so important to its presentation. ‘The Owls Seem What They Want’ is yet another clear example of what makes the albums’ content so enjoyable.

‘The Owls Seem What They Want’ opens with Collier echoing the sounds of owls calling in the air by using a simple, steady beat on the marimba’s lower end. He maintains the “call” throughout the composition as its base as he then gets slightly more active in the song’s main body. The more energetic side of the song conjures thoughts of, maybe, owls in flight in the forest, all the while that call of the birds serving as the song’s foundation. It is one more unique, fully immersive addition to the album that shows the record’s strength. When it and the other songs examined here are considered alongside the rest of the record’s works, the whole makes for so much musical appeal.

As much as the record’s musical arrangements do to make this album engaging and entertaining, the record is not perfect. The lack of any real substantive background on the songs detracts from the record to a point. Yes, there is a slight background on ‘Five Reflections on Wood.’ The thing of it though, is that said background is minimal at best. All that Collier notes is that the composition was inspired by his wife and by a group of painters of whom most audiences likely do not know. Other than that, there really is no background on any of the songs. To that end, it detracts from the record to a point. It is not enough to doom the record but does detract from the record’s presentation enough to be something of a concern.

Getting back to the positive, the record’s production works with the arrangements to make for its own appeal. As noted, the arrangements show a wide range of sounds and styles from one to the next. From more energetic works to more subdued compositions, Collier gives audiences much to appreciate. Because of that diversity, plenty of attention had to have been paid to the production so as to bring out the best of each opus. That work and attention paid off, too. That is because it results in each song presenting such a positive general effect. The overall general effect works with the arrangements to make the album’s overall aesthetic so appealing that percussionists and music lovers in general will find themselves taking in this record time and again.

The Color of Wood, Tom Collier’s latest studio album, is an impressive new offering from the veteran percussionist. It is a presentation that will appeal just as much to percussionists as it will to any music lover in general. That is evidenced in part through its featured musical arrangements. The arrangements are diverse in their sound and style. The control that Collier shows throughout the album is impressive to say the very least, adding to the songs’ appeal. As much as the album’s main content does to make it appealing, the lack of any background on the songs in the liner notes detracts from the record’s presentation. It is not enough to doom the album, but still does take away from the overall listening experience. The songs’ production works with the arrangements to put one more accent to the presentation, as it brings out the best in each composition. When the production and arrangements are considered together, the aesthetic that they collectively create is just enough to make the album that much more worth hearing time and again. That is even with the lack of liner notes in mind. Each item examined is important in its own way to the whole of the album’s presentation. All things considered the album proves itself to be one of the year’s top new albums overall.

The Color of Wood is available now through Summit Records. More information on the album is available along with all of Tom Collier’s latest news at https://tomcolliervibes.com.

Playing For Change Band’s Debut LP Is Among The Best Of This Year’s New World Music Offerings

Posted on July 24, 2022 by philspicks

For many, the name Playing for Change is a very familiar name. For others maybe not so much. For those people, the organization was launched in 2002 as a global music project by Grammy® Award-winning producer/engineer and award-winning film director Mark Johnson and fellow film producer Whitney Kroenke. The organization went on in 2007 to spawn the Playing For Change Foundation, which helped to create music schools for children around the world. Playing for Change as an organization has also released four studio recordings and a live recording between 2009 and 2018. Some of the organization’s members even formed a smaller group known fittingly as the Playing for Change Band, and on June 24, that collective released its debut album, The Real Revolution. Recorded at Tuff Gong Studio with members of Damian Marley’s band, the 10-song record is a strong first outing for the Playing for Change offshoot. That is proven both through its musical and lyrical arrangements. One of the most notable of the songs that makes that clear comes early in the album’s run in the form of ‘Young People.’ It will be discussed shortly. ’54-46 That’s My Number,’ which comes just past the album’s midpoint, is another notable addition to the album and will be examined a little later. ‘When The Music Comes,’ the record’s closer, is one more (but not the last) of the songs that shows what makes the album’s overall content engaging and entertaining. When it is considered alongside the likes of ‘Right Foot Forward,’ ‘Mi Pierdo,’ ‘Run’ and the rest of the album’s entries, the whole makes The Real Revolution a real enjoyable overall World Music offering.

The Real Revolution, the debut album from the Playing for Change Band, is an impressive first outing from the group, whose members are all involved with the bigger Playing for Change organization. Its appeal comes through its musical and lyrical content alike. This is made clear early on in the song, ‘Young People.’ This song’s musical arrangement opens with a warm, Hammond organ line that pairs nicely with an infectious saxophone line and unique approach to what is an otherwise standard reggae guitar line. The whole of the instrumentation and vocals makes the song a unique reggae and World composition all in one that is fully immersive, engaging and entertaining.

The lyrical theme that accompanies the song’s musical arrangement is just as appealing as that musical content. As the title infers, the song’s lyrical theme centers on today’s youth. It is a call to action for young people today to care for one another and for the planet. From early on, the call to reduce pollution and to respect one another is clear. As the song progresses, it encourages young people to take their education more seriously and to respect their teachers. Young listeners are encouraged here because they are told they are the ones who will inherit the planet. This is such a moving message that will resonate with the young people addressed because it is delivered in such casual, relaxed fashion. It would have been easy for the group to be more preachy in its message here, but thankfully it did not go that route. To that end, the theme, paired with the song’s equally enjoyable musical arrangement, makes the whole just one of the most notable additions to The Real Revolution. ’54-46 That’s My Number’ is another song that shows what makes the album so enjoyable.

’54-46 That’s My Number’ presents a musical arrangement that is the polar opposite of that featured in ‘Young People.’ In the case of this song, the arrangement is a purer, blues-based composition. The reggae leaning is still there but is far more subtle alongside the song’s more present blues influence. The instrumentation – the horns, piano, guitar, and even beat from the drums – lends the song to comparison to works from the likes of Robert Randolph and the Family Band, the Derek Trucks Band, and others of that ilk. It is fully infectious and in turn, engaging and entertaining.

The lyrical theme featured in this song is a little difficult to decipher sans lyrics to reference. That is because it is delivered in full-on reggae style. The mention of “the police man” and the subject wanting the public hear what he says, it comes across as a social commentary, perhaps about what is going on in the world in regards to police relations with the public. Again, this is just this critic’s interpretation. If in fact this song is the social commentary that it seems to be, then that seeming message, the way in which it is delivered, and the musical accompaniment together make the song in whole yet another positive addition to the album, showing even more what makes the overall content worth hearing.

’54-56 That’s My Number’ is just one more of the songs that makes The Real Revolution stand out. ‘When The Music Comes,’ which closes out the album, is one more example of what makes the album so strong. ‘When The Music Comes’ is interesting in that it keeps things varied right to the album’s end, in terms of musical content. In the case of this song’s composition, it blends some vintage country music leanings with the reggae influences that run through the album for yet another unique composition. The subtlety of the pairing, the way in which the two genres are blended, makes the overall laid back work so immersive.

Lyrically, the song comes across as just a happy, relaxed work that celebrates the relaxing nature of music. This is inferred in the song’s lead verse, which states, “I’m so strange in this world/The word is so strange to me/I’m a stranger in this world/I have no place to be/I’m so bored in this world/Ain’t got nothing to eat…Got my feet on the ground/When my ears hear the sound/Then no one can bring me down/When the music comes around.” This is clearly a message about the positive power of the music. It hints at someone feeling alone in the world and who is put at ease by music. The seeming message continues in the song’s second verse, which states, “I’m so cold in this world/The world’s so cold to me/So cold and alone in this world…I’ve got my feet on the ground/When my ears hear the sound/Then no one can bring me down/When the music comes around.” Yet again, here is that affirmation of the power of music. So again, what audiences get in this song is a composition that lyrically is just as uplifting in its lyrical content as its musical arrangement. The whole makes the song just one more of so many engaging and entertaining works featured throughout the album. When it and the other songs examined here are considered along with the rest of the album’s entries, the whole makes the album overall one more of the best of this year’s new World Music offerings.

The Real Revolution, the debut album from The Playing for Change Band, is a strong first outing for the group, which has been performing together for some years. The record’s appeal comes through its musical and lyrical content alike, as is noted through the songs examined here. When those songs are considered along with the rest of the album’s entries, the whole makes The Real Revolution one more of this year’s top new World Music albums.

The Real Revolution is available through Ingrooves. More information on the record is available along with all of the latest Playing for Change news at:

Website: https://playingforchange.com

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

‘Super Wiggles’ Is A Super Addition To This Year’s Field Of New Family Music Albums

Posted on July 22, 2022 by philspicks

Veteran family entertainment act The Wiggles released its latest album this spring in the form of Super Wiggles. Released April 1 through ABC/Universal, the 22-song record is the act’s 57^th (yes, 57^th) studio recording and comes more than 30 years after the release of the band’s self-titled debut in 1991. It is another addition to the group’s expansive catalog that families will find entertaining, too. Its success comes in part through its featured musical arrangements, which will be discussed shortly. The lyrical themes that accompany that musical content is of its own import and will be discussed a little later. The record’s sequencing 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 of the best of this year’s new family music offerings.

Super Wiggles, the latest studio offering from The Wiggles, is another record that the whole family will find entertaining. Its appeal comes in part through its musical arrangements. From beginning to end, the arrangements are diverse in their sounds and styles. ‘The Friendship Song,’ for instance, presents a sort of kindie-ska sound and style. That is evidenced through the use of the horns and drums. That instrumentation pairs with the more familiar kindie vocal styling from the group to make this song’s arrangement overall something that is truly unique from its counterparts in the album. ‘Land of the Missing Socks,’ which comes late in the album’s run, is the polar opposite of ‘The Friendship Song.’ This is a full-on kindie arrangement. The almost Renaissance style and sound here does well to compliment the silly, sort of fairy tale lyrical content featured here about…well…the land of missing socks. ‘Big Strong John,’ on yet another note, is its own unique composition, too. The use of the muted trumpet alongside the piano and the children’s xylophone makes the whole sound like something that one might expect to have heard on Sesame Street early on in the show’s history. That is meant in the most honorable way, too. Such musical content is a big part of what made the show so beloved back in those days. It is just one more way in which the album’s musical content shows its diversity and in turn makes it so engaging and entertaining.

Building on the content itself, the arrangements’ run times are relatively short from beginning to end, too. The longest song in this 42-minute presentation clocks in at two minutes, 55 seconds. It comes more than halfway through the album in the form of the nautical-themed song, ‘Put Your Life Vest On.’ The pirate-style vocal delivery here pairs with the ‘Beach Blanket Bingo’-esque musical arrangement to make for even more engagement and entertainment. The record’s shortest song comes even later in the record’s nearly 45-minute run time in the form of the aforementioned ‘Land of the Missing Socks.’ The song clocks in at a “hefty” 56 seconds. In other words, what audiences get in the record’s musical arrangement is an expansive collection of music that is diverse and that ensures listeners’ attention because of the songs’ run times. All things considered the musical content featured here creates a solid foundation for the album.

As much as the album’s musical content does for its presentation, it is just part of what makes the record appealing to the whole family. The lyrical themes that accompany the record’s musical content make for their own interest. The lyrical themes featured throughout the album are just as diverse as their musical counterparts. From beginning to end, they vary from the serious to the silly. The very early entry, ‘Sing Together’ is one of those more serious lyrical presentations. It is a song that addresses the matter of accepting and appreciating our differences. It is done in a fashion that makes it fully accessible to young listeners, too. The theme is presented clearly in the statement that “Some people like to run around/Some people jump up and down/Other people like to go for a swim/Everyone together/Let’s all sing/Some people like to sweep the floor/Some people like to mow their lawn/Some people like vacuuming/Everyone together, let’s sing.” This is a simple statement that again points out we are all different, but even with those differences, we can all come together. It is a message that will never get old and is just as certain to appeal to grown-ups as children.

As the album progresses, the group pays tribute to the world’s teachers in the equally simple ‘Hooray for Teachers.’ The song only runs one minute, 21 seconds, but in that short time, the group outright celebrates teachers, signing about their happy smiles as children come into the classroom and the safety that they provide on the playground. Considering everything going on around the world in schools, the teaching profession has become somewhat maligned. Teachers are leaving the profession in droves around the world. To that end, reminding listeners of all ages what makes teachers so beloved will hopefully make listeners appreciate teachers, and in turn motivate teachers to stay in their jobs. Again, this message is presented in such simple, accessible fashion. It is yet another example of what makes the record’s lyrical content so important.

The silly comes in the form of ‘Land of the Missing Socks.’ Again, it clocks in at less than a minute, but in that time, the silliness of the theme here will have the whole family laughing. Everyone knows the jokes about socks going missing in the laundry, so one can’t help but wonder if in fact there is a land of missing socks. It’s fantastical, sure, but is still just funny and fully entertaining. When this hilarious concept is considered along with the other themes examined here and with the rest of the record’s lyrical content, the whole makes clear why the album’s overall lyrical content is just as important as its musical content.

The overall content featured throughout Super Wiggles does plenty to keep audiences engaged and entertained. It is just part of what makes the record successful. The sequencing of said content puts the finishing touch to the whole. From the record’s opener to its end, the sequencing ensures the energy remains stable even as the sounds and styles change in the songs, and as the lyrical content changes. At the same time, the sequencing also shows that plenty of time and thought was put into the content itself in terms of changing it up throughout. That time and thought resulted in just as much success as in the stability in the record’s energy. To that end, the sequencing proves even more important to the album’s presentation. When it is considered along with the album’s overall content, the whole makes Super Wiggles a super addition to this year’s field of new family music albums.

Super Wiggles, the latest studio offering from The Wiggles, is a presentation that the group’s established audiences will appreciate just as much as family music fans in general. That is due in large part to the album’s musical content, which provides plenty of diversity throughout. The record’s lyrical themes are just as varied from one to the next, ranging from the silly to the serious. They are presented in a fashion that makes each theme fully accessible to young listeners, too. The sequencing of that content shows that plenty of time and thought was put into that aspect, too. That is because it makes the record’s energy stable from beginning to end and ensures the content remains diverse throughout. Each item examined is important in its own way to the whole of the album’s presentation. All things considered they make Super Wiggles a welcome addition to this year’s field of new family music albums.

Super Wiggles is available now through ABC/Universal. More information on The Wiggles’ new album is available along with all of the group’s latest news and more at:

Website: https://TheWiggles.com.au

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

Twitter: https://twitter.com/TheWiggles

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‘Pirates’ Is A Great Musical Treasure From Visions Of Atlantis

Posted on July 21, 2022 by philspicks

Power metal band Visions of Atlantis released its latest album, Pirates, this year. Released May 13 through Napalm Records, the 12-song offering came three years after the release of its then latest album, Wanderers (2019). The record’s musical and lyrical content offers something to like from beginning to end. That is evidenced in part through one of its early entries, ‘Master The Hurricane.’ One of the album’s singles, it will be discussed shortly. ‘Legion of the Seas,’ another of the record’s singles and one of its later entries, is another example of the record’s strength. It will be discussed a little later. ‘Mercy,’ which comes even later, is yet another notable addition to the album, showing what makes the record’s overall content engaging and entertaining. It will also be discussed later. When it and the other songs noted here are considered together, the whole makes Pirates a record that is full of musical booty. Yes, that awful pun was intended.

Pirates, the latest entry from Visions of Atlantis, is another successful offering from the veteran power metal band that will appeal to the band’s established audiences just as much as any power metal fan. That is evidenced in part through the early entry, ‘Master The Hurricane.’ The song’s musical arrangement immediately grips audiences with its stylistic comparison to works from both Epica and Sabaton. The strings, the choral style vocals, and the rock element all come together to make that clear, engaging, and entertaining approach and sound. The impact of the arrangement works with the song’s lyrical theme to make for even more engagement.

On the surface, the song’s lyrical theme sounds like it fits right in with the album’s title about everyone’s beloved sea-faring favorites. On a deeper level though, the lyrical theme is much more than that. It is a presentation that finds the song’s subject wondering how he/she will get through life’s most difficult times (IE the hurricane). This is made clear right from the song’s lead verse, which finds the song’s subject stating, “Walking the meadows of bliss/And flowers of love/Holding the moments of peace I cherish all of/Forgotten/Forsaken/I lost the way to my creek/Awaken/Enlighten/Where is the home that I seek?/Feeling the rays of sun/They’re fading away/Watching the world come undone/Salvation begins as you pray/Raging storms/Bring the rain/How can I master the hurricane/Solid stone turns to clay/I feel the way to my cove will fade away.” All of the nautical references, again, put the song in the vein of all the sea-faring themes throughout the album, but again, what audiences get here is the story of someone seeing things going from good to far from it and wondering how he or she will get through that storm. The rumination continues in the song’s second verse, which states, “Braving the fires of hate and embers of scorn/Razing the towns where my pain’s engraved in the walls.” From there a voice seemingly speaks to the subject, stating, “What is the trigger for all your fears/There is a secret I need to hear/How can you damage what you hold dear/I think I know/The answer is fear/You find the reason for all your pain/The relentless voice that is waging war in your head/And here you’re alone/Facing the storm/So please let it go.” This is that reminder that the storm we all face is often brought on by us and that the way to navigate it is to let go of what is causing it to happen. This uplifting overall message, paired with the song’s equally infectious musical arrangement makes the whole a strong example of what makes Pirates a welcome new offering from Visions of Atlantis.

‘Master The Hurricane’ is just one of the songs that serves to show Pirates’ strengths. ‘Legion of the Seas’ is another prime example of what the record has to offer. The musical arrangement featured in ‘Legion of the Seas’ is more familiar symphonic power metal for which the band has come to be known through its life. The dual vocals pair with the noted symphonic element and heavier leanings to make the arrangement in whole such an enjoyable presentation. It is just part of what makes this song notable. The song’s lyrical content makes for its own share of interest.

On the surface, the song comes across lyrically as just a story about being at sea, taking the risk of the unknown journey. The picture that the band paints through its lyrical content is o rich and vivid. On a deeper level though (and this is just this critic’s interpretation), the lyrical theme is about so much more than that. Rather, the theme is more of an allegory. That is inferred through the mention in the song’s lead verse, of staying the course and having no remorse. The second verse makes that seeming allegorical message even clearer as it states, “The journey’s now or never/Embrace your soul forever/You feel alive when cresting the waves/Just get yourself together/The crying times are over/And show the world the fine edge of your blade.” That mention of the crying times are over and the journey being now or never comes across as a message of encouragement. It tells listeners that they need to just get out and take risks in life, get past the bad times and just go for it. Again, this is just this critic’s interpretation. If in fact that is somewhere in the proverbial ballpark, then it is a wonderful, creative way for the band to deliver such an uplifting message. That and the song’s musical arrangement collectively make the song overall yet another strong example of what makes Pirates worth hearing. ‘Mercy’ is yet another mark of the album’s strength.

‘Mercy’ is another notable addition to Pirates in part because of its musical arrangement, which offers audiences more of the symphonic power metal that makes up the record’s body. The subtle stylistic variance in the arrangement from its counterparts keep it original and unique from those works. To that end, it does just enough to make it just as enjoyable as the rest of the album’s arrangements.

The lyrical content that accompanies the song’s musical content makes for its own share of engagement. That is because again, it comes across as being so allegorical in nature. On the surface, the content comes across as being a story about a pirate leader learning to lean more on a quality of mercy than just sheer brutality in everything. This as the pirate leader learns of his own crew’s intent to betray him. He sings of sharpening his blade and wanting to bring doom to them. However as the song progresses, the crew prays for mercy and states in the chorus that “There is more power in pity than courage in hate.” That single line is in itself so powerful. It comes across as that reminder that kindness and mercy is more powerful than the hate that we allow to fester in our minds. Again, this is such a creative way to seemingly deliver such a message. The seeming message even continues as the pirate captain sings late in the song, “Sailing across the sea/My heart as deep as the ocean/And the fire inside/has opened my eyes/I mist belong to the wise.” That understanding that he must belong to the wise is that restatement of needing clarity of mind and heart. It makes the song’s theme all the more powerful and resonant. The final verse adds even more as the captain sings, “The day that I give in to mercy/I give up the violence that evil adores/The day that my burden is drowning/Over and over and over/The waves kiss the shores/The day that I let go of struggle/The day I’m completing the cycle.” Once again, here is that realization of the power of wisdom and control versus hatred and anger. It is, overall, such a moving message that the band has incorporated into the song, and in such creative fashion once more. When this unique story and delivery is considered along with the song’s equally enjoyable musical arrangement, the whole makes fully clear why it is another important addition to Pirates’ body. When it and the other songs examined here are considered along with the rest of the album’s entries, the whole becomes a presentation that will appeal equally to the band’s established audiences as it will to power metal and hard rock fans alike.

Pirates, the latest studio offering from Visions of Atlantis, is a successful new offering from the veteran power metal band. That is proven through its musical and lyrical content alike. The songs examined here make that fully clear. Between the unique power metal musical arrangements and the unique lyrical content that delivers messages that will resonate with plenty of audiences, the whole makes for so much that audiences will appreciate. It makes the album a wonderful musical treasure not just for Visions of Atlantis’ fans, but for power metal and hard rock fans alike.

Pirates is available now through Napalm Records. More information on Visions Of Atlantis’ new album is available along with all of the band’s latest news at:

Website: https://www.visionsofatlantis.at

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

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