Wizards Of Winter Founder Scott Kelly Talks ‘The Christmas Dream’ With Phil’s Picks

Courtesy: Adrenaline PR

Wizards of Winter’s tour in support of its new album The Christmas Dream has made headlines nationwide ever since its launch last month. The tour rolls into Roanoke Rapids next Saturday with lots of music planned for the intimate venue.

With the band’s stop in Halifax County, North Carolina’s hub, founding member and Musical Director Scott Kelly took a moment to talk with Phil’s Picks about the band’s upcoming show and the band’s new album Tuesday.  His conversation is transcribed in full below.

PP: Wizards of Winter is an extremely popular band, to say the least. The band has developed fans around the world with just three albums. To that end, the band could have its pick of performance venues, so what was it about the Roanoke Rapids Theatre that attracted the group to the venue?

SK: The Wizards have only performed in North Carolina once before. Despite the large number of venues in the State, few are the right size for a band like ours. They are either arenas or smaller. The RRT provides the exact mix that works best for our show. Intimate, yet large enough to allow us to do our whole production.

PP: Was the writing process for your latest album any different from that of your previous two albums?  If so, what made it different?  Was it easier or harder this time around?

SK: Our writing process usually takes the same path. Scott develops the melodies and lyrics. He then brings them to Fred and Sharon for review and tweaking. Fred provides the powerful guitar components to all the arrangements at the point. Then the rest of the band comes into the studio and we build the actual song that people get to hear.  The recording process was a little different this time having both Greg Smith and John O’Reilly in the band. They are a powerful rhythm section that made things flow very smoothly.

 

PP:All three of the band’s have received critical acclaim from fans and critics alike. Keeping that in mind, what does that support mean to you and to the rest of the band’s members?

SK: The Wizards don’t have a record label or corporate sponsors behind them. The group started as small idea to help others in need and have blossomed from there.  Building what has become a national legion of fans along with acclaim from critics across the globe has been very heartwarming for everyone involved. It just goes to show that if you work hard and keep dreams alive, wonderful things can happen.

PP: Which song from The Christmas Dream is your favorite and why?

SK: There are actually two songs that are most important to me. The first is Secrets of the Snow Globe. I wrote that with Sharon’s voice in mind to totally showcase her magnificent vocal range. She absolutely delivers on it and it makes me proud. Also the guitar work that Fred Gorhau provides is nothing short of stellar.

The second song is A Toast to Time. It is a simple reflection on life, the search for happiness and relationships. It closes our show every evening and always draws a wonderful reaction from the audience.

PP: Was it difficult establishing a set list for the show, what with not only the band’s own catalog, but that of the band’s members, some being from Trans Siberian Orchestra, others from the Irish Tenors and others being from Blue Oyster Cult?

SK: Since the storyline is an original Holiday rock opera defining the set list is relatively easy. We board the Arctic Flyer and journey inside a snow globe in search of the true meaning of Christmas  The story is told through our original compositions.. The story changes a little every year, depending on where the Arctic Flyer journeys but still easy for us to create.

PP:Staying on the note of the set list, can audiences expect to hear mainly music from WOW’s three albums, or perhaps some music from TSO?

SK: There isn’t music from the other mentioned groups in the show other than a small section of one cover song.

PP:What are some of your personal favorite bands/groups?  I know it has to get tiresome to play the same stuff night after night, day after day, so when you’re not on stage, what do you listen to?

SK:  My personal favorite bands of all time are Styx, Queen, ELP , Deep Purple, and Kansas.  Lately I listen to a lot of Nightwish.

 

PP:  What is your personal favorite part of Christmas?

SK:  Christmas at our house has changed over the years as the band and tour have grown. Anyone that follows us knows that our family is very closely knit.  We are always together and truly enjoy it. Spending time relaxing after coming off  the road and just “ being” is my personal favorite part.  As we all know, life is short and it moments like that that mean the most and should be treasured.

Anyone who is interested in coming to the Roanoke Rapids Theatre Dec. 21 to experience Wizards of Winter live can go online to the band’s website wizardsofwinter.com and to rrtlive.com.

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Angeles Announces New Live Dates

Courtesy: Dark Star Records

Rock band Angeles will open the new year with a new slate of live dates.

According to a news release, the band will open 2020 with a performance Jan. 2 at the famed Whisky A Go-Go. Rough Riot will join the band for that show. The band will follow up that performance with a concert Jan. 17 at the Universal Bar & Grill and another Feb. 14 at Sunshine Studio in Colorado Springs, CO.

After taking off some time to rest and recharge, the band will perform live March 7 at Petie’s Place in Los Angeles, CA. A return date March 27 at the Whisky A Go-Go is also scheduled along with a show April 19 at the Rainbow Bar & Grill in Hollywood, CA.

Before it launches its new year’s dates, the band will close out 2019 with performances Dec. 29 and Dec. 31 at the Whisky A Go-Go and Wood Music Studios respectively.

Angeles’ current tour schedule is in support of the band’s latest album Fire It Up. The album is scheduled for release Dec. 13 through Dark Star Records.  More information on Angeles’ upcoming tour dates, news and more at:

 

Website: http://angelesband.com

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

Twitter: http://twitter.com/Angelestheband

 

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Wage War’s Latest LP Proves ‘Pressure’ Can Make Great Things

Courtesy: Fearless Records

Metalcore outfit Wage War released its third full-length studio recording this summer.  The album, Pressure has proven to be divisive among audiences, with some audiences alleging it presents the band straying from its roots, while others praising it for the growth exhibited over the course of its dozen total songs both in its musical and lyrical content.  Those who have taken time to criticize the records are missing the bigger picture, as they clearly have an aversion to change.  The whole of Pressure proves a positive offering from the group, whether it is audiences’ first exposure to the band or the latest.  That is proven in part through a pair of songs featured late in the album’s 41-minute run time – ‘Fury’ and ‘Take The Fight.’  The songs’ heavy musical arrangements and their inspiring, uplifting lyrical content serve to make them two of the record’s strongest entries.  ‘Prison,’ which comes much earlier in the album’s run is another of the album’s most notable additions.  When it is considered along with ‘Fury,’ ‘Take The Fight’ and the rest of the album’s songs, the whole of the album becomes a work that will appeal easily to mot Wage War fans and metalcore fans in general.

Wage War’s third full-length studio recording Pressure is a positive new offering from the up-and-coming Florida-based metalcore outfit.  That is due to musical and lyrical content that collectively offers its own share of entertainment and inspiration all at the same time.  One of the songs featured in the record’s run that supports those statements comes late in the album’s run in the form of ‘Fury.’  Musically speaking, this song’s musical content lends itself to comparisons to works from fellow metalcore bands, such as Of Mice & Men and As I Lay Dying.  At the same time though, it also lends itself to a comparison to the best works of Slipknot.  That is evident in the song’s breakdowns and its pummeling percussion elements.  Front man Briton Bond’s vocal delivery adds to that comparison just as much as the work of his fellow band mates.  The whole of their work makes this adrenaline-fueled fist-pumper a sure-fire hit both on record and on stage.  That fiery, unforgettable musical content couples with the song’s lyrical content to strengthen the song’s standing even more.

The song’s lyrical content is important to discuss because of the confident, defiant stance that it takes against the odds stacked against a person.  Briton writes in the song’s lead verse, “My scars have shown me who to be/Held me down, pushed around, but never buried me/No compromise, no fear of pain/I fight the war when you run the other way/One judgment, no jury/I am, I am the fury/Break free/You have to face the truth/No peace/Where there’s a war in you/One judgment, no jury/I am, I am the fury.”  He continues writing in the song’s second verse, “This is a warning shot/It keeps me honest to God/You could never survive in a world of casualty/Open wounds turned to brick, built my legacy.”  He adds in the song’s brief final verse, “All my enemies hide around me/I am the fury.”  Again, here is that statement of defiance.  This is overall, a statement from someone saying that he is not letting himself be held back or down anymore, but rather is going to stand up against all obstacles.  It is a full-on aggressive statement that, when coupled with the song’s equally aggressive musical content, makes the song in whole a clear example of what makes Pressure such a solid record from Wage War.  It is just one of the album’s most notable entries.  ‘Take The Fight’ is another of the album’s most notable entries.

‘Take The Fight’ stands out among Pressure’s most notable entries because like ‘Fury,’ it is a work that both musically and lyrically presents a sense of self-determination and defiance.  What is important to note here is that even with that in mind, it does not just rehash that noted song.  Rather, it gives listeners something fresh and new.  It musical arrangement actually stands out as something that could just as easily be compared to works featured in Sevendust’s 2007 album Alpha with its heavy, crunching melodic hard rock approach and hybrid screaming/clean vocals.  One could even make a comparison to the best works of The Veer Union in this case.  It is a work that will appeal not just to metalcore fans and the band’s fans, but also hard rock and metal fans in general.  That widely appealing arrangement couples with the song’s equally powerful lyrical content to make the song in whole its own key addition to the album

The song’s lyrical content is powerful in its own right in that it delivers its own message of self-confidence.  That message is most clear in the song’s chorus, in which Briton sings, “I know/I know that I am not alone/When I’m standing on my own/They can say what they say/Say what they say/But it doesn’t change/I know/I know that I am not alone/When there’s nowhere else to go/They can say what they say/Blame who they blame/But they can’t take the fight from me.”  The “they” who are mentioned are those who live to make others’ lives miserable; those people who do everything in their power to bring others down.  The song’s defiant, determined message is almost as evident in th song’s lead verse, during which Briton sings, “Is anybody out there?/Let me know/Feel like you’re over it/Had enough?/Are you afraid to wake up/’Cause it shows/Tell me what it takes to break and let go.”  This moment comes across as Briton asking from the vantage point of the song’s subject if anyone else feels like the song’s subject.  He adds in that verse, “Is anybody out there?/Let me know/feel like you’re over it/Had enough?/Are you afraid to wake up/’Cause it shows/I’m not gonna break and bow to no throne.”  Again, this is that defiance, that certainty that the subject is not going to let certain forces hold him down.  He continues in the song’s second verse, “I’m not gonna stand down/Living like I’m one foot in the grave/I refuse to let you do the same/tell me what it takes to break your own chains/I see pain/I see rage/See the change that you want written on your face/I see pain/I see rage/See the world as a place where we’re all the same.”  This is the song’s subject identifying with others who feel like him.  In relating to those people, the song’s subject strengthens himself emotionally.  Considering this and the song’s equally strong, confident musical arrangement, the whole of the song shows itself to be its own key addition to Pressure.  When it is considered alongside ‘Fury,’ the two songs together go a long way toward showing why Pressure is such a positive new offering from Wage War.  They are just two of the album’s key songs.  ‘Prison,’ which comes early in the album’s run, is important in its own way to the whole of the album.

‘Prison’ stands out because unlike the previously discussed songs, its musical and lyrical content come across as being polar opposites of one another.  The song’s musical arrangement is another driving, up-tempo presentation that will get any listener’s blood flowing.  By contrast, the song’s lyrical content presents a far more introspective story.

The lyrical content featured in ‘Prison’ comes across more as a person who is struggling to come to terms with himself and his place in the world.  Considering that, one would expect the song’s musical arrangement to match.  Even with that contrast in mind, the song in whole still works in its own way.  Briton sings in the song’s lead verse, “Feels like I’m caught in a whirlwind inside my head/I’m my own natural disaster beneath my skin/I can’t explain/And you just won’t get it/I can’t numb the pain/It’s all I think about/I’m too deep to believe I can face myself/It’s hard not to give up when you go through hell/I’m trapped in my skin/This is my prison.”  Again, this comes across as someone having some trouble coming to terms with his identity and his place in the world.  Usually with songs, such as this, the song’s musical arrangement would be more of a slow, melancholic composition.  That proved to not be the case here, though.  It makes for quite the interesting work in whole.  He continues in the song’s second verse, “Behind the bars I create for myself/No one else to blame/Alone and helpless/I’m tied to all this/Living in my chain.”  He returns to the song’s chorus from here.  Once again, this comes across as someone who is going through a difficult point in his life in terms of self-realization.  Considering the song’s musical arrangement, maybe this vantage point is one of someone at the start of that somewhat downward spiral.  The song’s subject is going through the anger stage of self-realization here rather than the more depressing stage.  With that possibility in mind, the song would seem to make more sense with its musical and lyrical content in whole.  To that end, that relatable lyrical content and infectious musical content proves even more crucial to the whole of the album.  Together with ‘Fury,’ ‘Take The Fight’ and the rest of the album’s entries, the whole of the album shows even more why it is such an appealing work for Wage War’s fans and those of the metalcore genre.

Wage War’s latest full-length studio recording Pressure is a strong  new offering from the up-and-coming metalcore outfit.  That is due to the record’s collective musical and lyrical content, as has been evidenced here.  ‘Forget My Name,’ which comes late in the album’s run, ‘Who I Am’ and ‘Grave’ do just as much to support the noted statement as the songs addressed here.  When they are considered along with the rest of the album’s works, the whole of the album becomes its own positive new offering from Wage War.  Pressure is available now.  More information on the album is available now along with all of Wage War’s latest tour dates, news and more at:

 

 

 

Website: http://wagewarband.com

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

Twitter: http://twitter.com/wagewar

 

 

 

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Black Heart Saints Debut ‘Addicted To Love’ Video

Courtesy: Black Heart Saints/TAG Publicity

Black Heart Saints debuted the video for its cover of ‘Addicted To Love‘ last week.

The song is taken from the band’s EP Misery, which was released in September independently by the band.  The song and video pay direct tribute to Robert Palmer, who first composed ‘Addicted to Love.’

The video finds the band in a music store looking for new equipment when front man Josh Ross has what he thinks in the end is a dream sequence.  His “dream” features himself and his band members performing Palmer’s song very much in the vein of Palmer’s original video, complete with female dancers accompanying the group.

The video for ‘Addicted To Love’ is just the latest in what BHS’ fans have come to call the “Misery Quadrilogy.”  The “Quadrilogy” also features videos for the songs ‘Crazy‘ and ‘Lines.’  The video for ‘Addicted to Love’ hints that the group’s fourth video will come soon.

Black Heart Saints recently wrapped its current tour in support of Misery.  The band will head back out on the road next month, starting Dec. 8 in Round Rock, TX.  That tour is scheduled to run through Jan. 25 in Austin, TX.  More information on the band’s tour, videos and more is available online now at:

 

Website: http://www.blackheartsaintsmusic.com

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

Twitter: http://twitter.com/blackheartsts

 

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KB & The Idyllwilde Debuts ‘Madman’ Video

Independent soul rock band KB & The Idyllwilde debuted its latest video last week.

The band debuted the video for its new single ‘Madman’ on Nov. 21.  The minimalist video presents a couple going through the stages of figuring out one another early on in a relationship, but with a twist.  There is plenty of dancing featured in the video that audiences will enjoy along with the video’s overall original treatment.

Courtesy: TAG Publicity

KB & The Idyllwilde singer Katie Burke explained the concept behind the video in a recent interview.

“That pervasive waiting for the other shoe to drop feel was real strong in me at the time,” Burke said.  “The character in this song can’t accept love, They can’t see why anyone would stick around.  They’re covered in their perception that people must be crazy to stand being around them.  So, in the end, the character accepts that both she and this person must both be nuts for it all to work.  Good news, it works!  Bad news…is there bad news?  They’re nuts?  Yes, nuts and happy–Fun fact, I wasn’t satisfied with my vocal performance in the studio, so my producer Evan let me borrow a mic, and I tracked this in one take at home in my closet.”

‘Madman’ is streaming and available for download now at Spotify, Apple Music, Amazon and Google Play.  The song is taken from the band’s forthcoming album I Just Wanna Love YouI Just Wanna Let You, which is scheduled for release Feb. 14, 2020.

KB And The Idyllwilde will hit the road in April to support the album’s release.  A handful of live dates have already been announced.  Those dates are noted below.

Catch KB & THE IDYLLWILDE Live:
04/03 @ Atlanta, GA
04/04 @ Wilmington, NC
04/05 @ Hotel RL – Bethesda/Baltimore, MD
04/08 @ New Paltz, NY
04/09 @ O’Brien’s – Boston, MA
04/10 @ Brooklyn, NY
04/11 @ Big Lick Brewing Company – Roanoke, VA
04/12 @ Nashville, TN

More information on the album, the band’s new single, video and more at:

 

Website: http://www.kbandtheidyllwilde.com

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

 

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Strong Musical, Lyrical Content Makes ‘Atonement’ Appealing For KsE’s Fans, Metalcore Fans Alike

Courtesy: Metal Blade Records

The members of Killswitch Engage received some positive news this week.  The band received a Grammy® Award nomination for “Best Metal Performance” for its single ‘Unleashed,’ which is featured in the band’s latest full-length studio recording Atonement.  The album, the band’s eighth overall album and first for Metal Blade Records, was released Aug. 16.  The band is in the midst of a tour in support of Atonement, which will see the band perform at the Ritz in Raleigh, NC on March 15. It is just one of the performances included in the band’s current tour schedule, during which audiences will get to hear ‘Unleashed’ and many other songs from the recently released 11-song album.  The nomination for ‘Unleashed’ is justified, as it is just one of the songs that puts the album’s overall strength on display.  ‘Know Your Enemy’ also serves to show the strength of KsE’s latest studio recording.  The same can also be said of ‘The Crownless King,’ which comes early in the album’s 39-minute run time.  Each of the songs noted here plays its own crucial part in exhibiting the overall strength of Atonement.  When they are considered with the rest of the album’s entries, the whole of the album proves the record to be an offering from KsE that holds its own with its fellow metalcore counterparts this year.

Metalcore outfit Killswitch Engage’s latest album Atonement is a record that will easily appeal to fans of the band and the genre in whole.  That is because both musically and lyrically, it is everything that audiences have come to expect from the Boston, MA-based band.  The album’s Grammy® Award-nominated single – and album opener – ‘Unleashed’ is just one of the songs that supports the noted statements.  The song’s musical arrangement plays its own part in showing why the song has proven so worthy of an award.  The fire and the energy in the heavy, guitar and bass-driven work wastes little time grabbing listeners’ attention as it builds quickly in its opening crescendo into its steady, familiar metalcore sound with measured guitars and steady time keeping. That full-on approach in the song’s arrangement couples well with the song’s lyrical content to accent the emotion in said content.

The song’s lyrical content is just as fiery as its musical content, with front man Jesse Leach sings/screams in the song’s lead verse, “Deceive me/Release me/Unleash me/You’ve unleashed the wild within/Welcome to the madness/That dwells inside these eyes/Pushed unto the breaking point/You’re running out of time/This innocent blood is on your hands (Deceive me)/Come face to face with the final stand (Release me)/It’s the part of me you can’t comprehend (Unleash me)/You’ve unleashed the wild within/The wild within.”  He continues in the song’s second verse, “You who spoke defiance/You who spoke in jest/The last of all my tolerance/Has left this broken man.” He adds in the song’s third and final verse, “I remind you time and time again/You’ve broken the restraints against your heart/Against the dark/Can you feel the pain of those you’ve betrayed/The promises unmade/Broken hearts that fill with shame/And you’re to blame/Do they call your name?/There’s nothing left to say/Nothing left to say.”  There is little doubt here as to the focus of the song’s lyrical content considering all of this.  This is pure defiance against someone who has brought out the worst in someone else because that antagonist simply would not let up in their wrongdoing.  As Leach notes in the second verse, “The last of all my tolerance/Has left this broken man.”  This is someone who has put up with the noted wrongdoing for far too long and is saying to the antagonist, “no more.”  This is a situation to which so many listeners can relate.  Everyone has been in this point where they want to explode and say the same to certain people in their own lives.  By having this song to which they can relate, the composition will hopefully help listeners who have been or are in that situation so that they can release their own frustrations.  Considering the power in the song’s musical and lyrical content, it is clear why this song earned KsE a Grammy® Award nomination.  It is just one of the songs featured in this record that shows the album’s strength.  ‘Know Your Enemy’ also serves to who what makes the album appealing for audiences.

‘Know Your Enemy’ should not be confused with Rage Against The Machine’s ‘Know Your Enemy.’  The two songs are their own unique works.  KsE did not cover RATM’s work here.  However, it is definitely as defiant as RATM’s work in its lyrical content, which will be addressed momentarily.  The song’s musical arrangement forms its foundation.  This driving, upbeat work boasts its own identity unique from the rest of the album’s compositions, this time featuring a steady, driving guitar line instead of the djent style work of the album’s opener.  Rather, this arrangement boasts more of a melodic metal sort of approach.  That steady, driving arrangement forms a solid foundation for the song, with the noted lyrical content adding even more to the whole.

Leach sings/screams in the song’s lead verse, “Bow down to no one/resist the system/Lost in uncertainty/Divided in our strife/No comprehension of the conflict of our lives/become enslaved in a technological haze/In the crosshairs of a weapon/That dissuades our brains/The target is in site/Mental imprisonment/They’ll take you down from the inside (inside)/Self-destruction on command.”  He continues in the song’s second verse, “Resist – And fight back/Our minds – Under attack/Destroy – Their authority/And know your enemy/Protest – Demonstrate/We must – Retaliate/Bow down – To no one/An know your enemy.”  The song continues on in the same fashion as it progresses, with Leach even noting late in the song, “It runs much deeper than you think/You’ll never see who pulls the strings/You’ve got to know/Know your enemy/Force fed illusions/in this world of confusion/You have to know/Know your enemy.”  There is no doubt this is a sociopolitical commentary from the band that is urging people to be aware of everything going on and to (pardon the term) take the power back..  It definitely does not and will not fall on deaf ears, either.  It is just one more way in which Atonement proves to be another positive offering from KsE.

‘Unleashed’ and ‘Know Your Enemy’ are both key additions to Atonement.  Each song is distinct from the other both musically and lyrically, giving listeners collectively plenty to appreciate.  While they go a long way to show why Atonement will appeal to the aforementioned audiences, they are just a sample of the album’s positives.  ‘The Crownless King’ is another example of what makes this record another work that will appeal to the band’s fans and to metalcore fans alike.  ‘The Crownless King’ stands out in part because of its musical arrangement, which boasts another familiar sound from the band.  There is a certain old school thrash sound coupled with the band’s own metalcore sound and the mix of Leach’s growls and clean vocals to make the whole of the song one of the album’s most notable works.

The song’s musical arrangement goes a long way to make the song stand out among Atonement’s overall body of work.  It is just one important part of the song, though.  The song’s lyrical content is just as important as its musical content.  The song’s lyrical content comes across as another sociopolitical commentary, this time perhaps very intentionally directed.  Leach sings in the song’s lead verse, “Abolition to this illusion/And all the monuments of hypocrisy/Burn them – Burn them to the ground/Destroy them – They’re useless to us now/Tear down the reminders of a crownless king/this imposter claims authority/Indignation is closing in/You choose a war/A war you cannot win/No one – No one can save you now/Cast down – Where no mercy can be found/No willingness to bow to a king without a crown/Where the virtuous can’t be found/Defy you – To the depths you descend/I defy you – To the death we defend/Defy you – Your rule will come to an end/I defy you – You’ve become the crownless king.”  If this is not a song focused on everything going on in Washington, D.C. then it would certainly be interesting to learn of the real focus here.  The song’s second and third verses add even more strength to the argument that this song is focused on the happenings in Washington, D.C., with Leach singing in the song’s second verse, “The penitent pray for the downfall of your/Of your reign/The warrior soul shall break the hold of constraints/In the end you will suffer.”  He adds in verse three, “the storied confusion/Distorted and diluted/Will come undone when the balance shifts/And the framework breaks/The framework breaks.”  Once again, this certainly seems to be addressing the presidency of one Donald trump and what has happened as a result of his false presidency.  If in fact that is truly the focus of the song’s lyrical content, then it has been delivered in a unique fashion.  To that end, the combination of such strong lyrical content and equally strong musical content makes this song yet another important addition to Atonement.  When it is considered alongside the other songs discussed here, the whole of those songs and the rest of the album’s works makes Atonement in whole, yet another work that will appeal tto fans of Killswitch Engage and to fans of the metalcore genre.

Killswitch Engage’s latest full-length studio recording Atonement is another positive offering from the veteran metalcore band.  It is everything that audiences have come to expect from the group both musically and lyrically.  That is evidenced through all three of the songs discussed here and the eight other songs that make up the remainder of the album’s body.  The thoughtful lyrics and pummeling musical content combines from start to end to make the album in whole a work that holds its own in this year’s fild of new hard rock and metal albums.  More information on Atonement is available online now along with all of the band’s tour information at:

 

 

 

Website: http://www.illswitchengage.com

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

Twitter: http://twitter.com/kseofficial

 

 

 

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‘Bridges To Buenos Aires’ Continues To Show Why The Rolling Stones Is One Of Rock’s Elite Acts

Courtesy: Eagle Rock Entertainment

The live recordings keep coming from The Rolling Stones.  Early this month, the band released another concert from its Bridges to Babylon Tour in the form of Bridges To Buenos Aires.  Originally recorded April 5, 1998 at the River Plate Stadium, the 22-song set is yet another enjoyable addition to the home library of any fan of The Rolling Stones.  That is due in part to the show’s set list.  The band’s performance thereof plays its own critical role in the show’s presentation.  The companion booklet that comes with the recording rounds out its most important elements.  Each item noted is key in its own way to the whole of this recording.  All things considered, they make the recording in whole yet another welcome addition to The Rolling Stones’ ongoing series of live recordings.

The Rolling Stones’ latest addition to its ongoing series of live recordings is yet another presentation that audiences will openly welcome into their libraries.  That is due in part to the concert’s set list.  The 22-song set list features many of the same songs featured in the band’s performance from its Bridges To Bremen show, with a handful of changes.  Once again, the band reaches back in its catalog, reaching as far back as 1967.  Fan favorites, such as ‘Start Me Up, ‘It’s Only Rock ‘n’ Roll (But I Like It)’ and ‘Gimme Shelter’ are all featured in this collection.  Others, such as ‘Memory Motel,’ ‘Anybody Seen My Baby’ and ‘Paint It Black’ are replaced here with ‘Sister Morphine,’ ‘When The Whip Comes Down’ and ‘Little Queenie,’ which reaches back to the band’s 1970 album Get Yer Ya-Ya’s Out.  The rest of the show’s set list in this concert is the same as that featured in Bridges To Bremen.  For those audiences who do not already own Bridges To Bremen, the expansive set list presents audiences with a rich presentation of the band’s catalog.  Along with that rarely represented album – Get Yer Ya-Ya’s Out – the set list also gives nods to the band’s 1969 album Let It Bleed, its 1967 album Between The Buttons and its 1968 album Beggar’s Banquet as well as Bridges To Babylon, on the back of which the band was touring at the time.  Simply put, the set list featured in this collection will appeal to audiences who already own any of the band’s previously released live recordings (released through Eagle Rock Entertainment) and those who might not own said recordings.  It is just one of the recording’s positives.  The band’s performance of the set list plays its own important part to the whole of the recording.

The band’s performance of the concert’s set list is notable because it shows the band as a unit, at the time, that was still at the top of its game, even more than three decades into its life.  The band’s performance of ‘Little Queenie’ is one example of that high level of entertainment.  The swagger exhibited by the band as it makes its way across the hydraulic bridge and energy in its performance is commendable to say the least.  Even as something is thrown at him, front man Mick Jagger doesn’t bat even an eyelash.  He just keeps going, not missing a beat or even giving recognition to whichever audience member threw the unidentified item at him.  Drummer Charlie Watts, decked out in his soccer jersey and guitarists Ronnie Wood and Keith Richards make their way around the band’s second stage with the ease of much younger performers, showing they are right in step with their younger counterparts.  The band members’ energy in the show’s opener – ‘(I Can’t Get No) Satisfaction’ — provides just as much show of energy from the band as any other performance from the group.  Jagger struts his way across the stage, giving his full energy and attention to the audience and song at the same time.  Meanwhile Richards and Wood keep such a cool demeanor as they make their way through the song alongside Watts.  Much the same can be said of the band’s performance of ‘Jumpin’ Jack Flash.’  It shows this band even at that point, held its own easily against every one of its younger up-and-coming counterparts, proving once more why it is one of the elite acts in the rock and music community in general.   Between these performances and those of the rest of the shows set, the whole of the band’s performance gives audiences just as much to appreciate here as the set list itself.  It is just one more part of what makes the recording so enjoyable.  The companion booklet that comes with the recording rounds out its most important elements.

The companion booklet that comes with Bridges To Buenos Aires features liner notes composed by Journalist Paul Sexton.  Sexton paints a vivid picture of the concert contained in the presentation’s Blu-ray through his words. He writes in part about the band’s performance of ‘Flip The Switch,’ noting that it “offered the first cameo for now much-missed saxophonist mainstay Bobby Keys.”  He adds later of the performance of ‘Gimme Shelter,’ that vocalist Lisa Fischer’s performance is just as powerful as ever.  There is even mention of Bob Dylan’s surprise guest appearance for the band’s take on his timeless classic ‘Like A Rolling Stone’ in Sexton’s liner notes.  He writes in part here, “Bob’s [Dylan] customarily approximate vocal style certainly kept Mick on on his toes, but the bonhomie of the moment gave further warmth to a set that was growing ever more fierce and forceful.”  Here again is more proof of the power of Sexton’s description of the show, proving even more, the importance of his preview of the concert.  Sexton has much more to add about the concert, but that will be left for audience to discover for themselves.  Between the rest of the notes not discussed here and those items addressed, it goes without saying that Sexton’s notes are recommended to be taken in prior to taking in the concert itself.  Keeping this in mind, the importance of the recording’s liner notes couples with the power of the band’s performance and the importance of the show’s set list to make the recording in whole, yet another positive addition to The Rolling Stones’ ongoing live releases series, and a presentation that any fan of The Rolling Stones will welcome into his or her music library.

The Rolling Stones’ latest addition to its ongoing series of live recordings, Bridges To Buenos Aires is another wonderfully entertaining presentation from the band and Eagle Rock Entertainment.  It is a work that continues to prove why The Rolling Stones remains more than half a century into its existence, one of the rock (and music) community’s elite acts.  That is evidenced partly through the show’s set list.  The band’s performance thereof plays just as much into supporting the noted statements.  The liner notes featured in the recording’s companion booklet does just as much as the set and its performance to show the strength of the recording.  Each item noted here is important in its own way.  All things considered, they make Bridges To Buenos Aires another recording that builds and maintains the band’s bridges to its audiences.  It is available now.  More information on this and other titles from The Rolling Stones is available online now at:

 

 

 

Website: http://www.rollingstones.com

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

Twitter: http://twitter.com/RollingStones

 

 

 

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

 

 

 

Website: http://www.eagle-rock.com

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

Twitter: http://twitter.com/EagleRockNews

 

 

 

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