‘Dog Years’ Ensures Engagement, Entertainment With Simplicity, Song Balance

Courtesy: Loud & Proud Records

Early next month, rock super group The Winery Dogs will release its latest live recording Dog Years to the masses. The recording, which includes both a live 15-song (17 if one counts drummer Mike Portnoy and bassist Billy Sheehan’s solos) set and a bonus 5-song studio EP is an impressive new live effort from The Winery Dogs.  That is due in part to both of the noted elements and the trio’s performance of the noted set list.  Each element is important in its own right to the recording’s overall presentation.  All things considered, they make Dog Years a work that proves to be one more of this year’s top new live recordings.

The Winery Dogs’ latest new live recording Dog Years is an enjoyable new offering from the rock super group, and easily a candidate for a spot on any critic’s list of the year’s top new live recordings.  That is due in part to its 15-song (again, 17 if one counts the two solo segments) set list.  The set list, which runs approximately 98-minutes, pulls almost equally from both of the band’s current albums.  The band’s self-titled debut is represented with seven songs while Hot Streak gets eight nods.  Considering the fact that The Winery Dogs boasts a total of 13 songs, that representation means that the band treated it Chilean audiences with more than half of that album in the concert presented in this recording.  That in itself is well worthy of its own share of applause.  The same applies to the band’s latest full-length studio recording.  Eight of its 13 total songs are represented in this live recording.  As with The Winery Dogs, that selection means that once again the band pulls from more than half of Hot Streak, too.  The result of that set list is a show that gives audiences a very healthy representation of the band’s body of work today.  This is more than worth its share of applause.

On a related note, the sequencing of the show’s rich set list is just as important to note as the set list itself.  Audiences will note in the set list that the band never sticks to one album or the other for far too long at one time.  The longest span that each album sees in this set list is two songs.  In other words, the band ensures audiences engagement not just with the set list but also with its sequencing.  The pairing of these factors does plenty to keep the concert entertaining and engaging.  The pairing makes the elements collectively just one of the key elements to discuss in examining this recording.  The band’s performance of the set list is just as important to note as the set list and its sequencing.

The band’s performance of the concert’s set list is so important to note because without a solid performance, there would be little to talk about here.  Audiences will be happy to know that the band’s performance of the concert’s set list is just as solid as the set list itself and its sequencing showing that it is possible to have an enjoyable live experience without unnecessary pyro and other elements.  Front man Richie Kotzen and company waste little time between songs with any idle rambling opting instead to keep the show’s energy flowing from one song to the next.  There are some brief interludes between songs, but for the most part, the band keeps things moving swiftly, explaining why the show’s run time comes in at just under two hours.  Add to the concert’s constant transitions the energy in each musician’s performance, and audiences get a show that will completely enthrall them.  From Kotzen’s own energy to Mike Portnoy’s driving tempos that barely let up to Sheehan’s own solid low-end and fiery performance, audiences get plenty to applaud even from the comfort of their own homes.  The entertainment and engagement ensured through the band’s performance couples with the show’s set list in all of its aspects to strengthen the concert’s presentation even more.  They are not the recording’s only key elements either.  The bonus five-song Dog Years EP is just as important to note in examining the recording’s presentation as the show’s set list and the band’s performance.

The bonus give-song Dog Years EP that comes with The Winery God’s new live recording is just as important to note in examining this recording’s presentation as the concert’s set list and the band’s performance thereof.  The EP is important to discuss because none of the songs featured on the disc are included in the concert or on either of the band’s current albums.  Odds are the blues-based songs are works that didn’t make the final cut for one of both of those records.  That is a positive to note because if that is indeed the case, then the inclusion of the songs here completes even more the listening experience for both records.  Regardless of whether or not that is the case, their inclusion still adds plenty to the overall experience of this live recording.  That is because one could easily argue that they present a sense of additional encores from the concert, despite being studio tracks.  Keeping this in mind, the bonus EP that comes with Live In Santiago more than proves itself as an important piece of the recording’s overall presentation.  When it is considered along with the concert’s set list and the band’s performance thereof, the whole of these elements gives audiences plenty to bark about. No, this review could not be completed without that intentionally awful pun or a variant thereof.  That aside, the whole of the noted elements makes Dog Years in whole an easy candidate for a slot on any critic’s list of the year’s top new live recordings.

The Winery Dogs’ latest live recording Dog Years is a work that any critic should have on his or her list of the year’s top new live recordings come December.  That is due, as already noted, in part due to the concert’s set list.  The set list pulls relatively equally from both of the band’s current albums and never sticks to one album or the other for too long. The band’s performance of the set list adds just as much entertainment to the concert thanks to the energy put into the performance by each band member.  The bonus five-song EP that is included with the recording is a virtual multi-song encore for fans who didn’t’ get enough from the extensive audio-visual experience presented in the live recording.  Each element clearly plays its own important part in the overall presentation of Dog Years.  All things considered, this recording proves fully deserving of a spot on any critic’s list of the year’s top new live recordings.  More information on Dog Years is available online now along with all The Winery Dogs’ latest news and more at:

 

 

 

Websitehttp://www.thewinerydogs.com

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

Twitter: http://twitter.com/thewinerydogs

 

 

 

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Jackyl Announces New Album, Tour Dates

Courtesy: Mighty Loud Records

Jackyl is taking audiences back in time…sort of.

The veteran rock act announced this week that it will release a new compilation album later this month.  The 18-track record, simply titled 25, will be released via Mighty Loud Records, and features a number of Jackyl’s greatest hits including, but not limited to ‘Down On Me,’ ‘the Lumberjack,’ ‘Push Comes to Shove,’ and ‘Favorite Sin.’  It also features two previously unreleased tracks – a live performance of ‘Redneck Punk’ and a cover of Black Oak Arkansas’ ‘Hot and Nasty.’

The record’s release is a celebration of the 25th anniversary of the release of the band’s self-titled debut album, released in 1992. That album went on to be certified platinum soon after.

The 25 track listing is noted in whole below.

‘25’ Tracklisting:

Down on Me
When Will It Rain
The Lumberjack
Push Comes to Shove
Secret of the Bottle
Dumb Ass Country Boy
Cut the Crap
Kill the Sunshine
My Moonshine Kicks Your Cocaine’s Ass
Just Like a Negro (featuring DMC)
Screwdriver
Encore
Favorite Sin
Rally
Just Because I’m Drunk
Redneck Punk (Live) – previously unreleased
Hot and Nasty – previously unreleased

Along with the release of its new compilation, Jackyl will hit the road this summer in support of the record beginning Aug. 10 in Sturgis, NDat the Full Throttle Saloon.  From there, the band will make its way to Heath, Ohio; Savannah, Georgia; Sioux City, Iowa, and a number of other cities across the country.  The band’s tour schedule is noted below.

TOUR DATES:

Thursday, August 10, 2017 in Sturgis, SD  Full @ Throttle Saloon
Friday, August 25, 2017 in Sterling Heights, MI @ Michigan Lottery Amphitheatre @ Freedom Hill
Saturday, August 26, 2017 in Franklin, OH @ J.D. Legends
Saturday, September 2, 2017 in Milwaukee, WI @ National H.O.G. Rally/Milwaukee Rally
Friday, September 8, 2017 in Hinckley, MN @ Grand Rocktember V Music Festival
Thursday, September 14, 2017 in Ocean City, MD @ Cowboy Coast Country Saloon
Friday, September 15, 2017 in Heath, OH @ Muddy Creek Saloon
Saturday, September 16, 2017 in Sunrise Beach, MO @ Pickleheads Roadhouse (Lake of the Ozarks Bikefest)
Thursday, September 21, 2017 in Augusta, GA @ The Country Club
Friday, September 22, 2017 in Savannah, GA @ The Stage on Bay
Saturday, September 23, 2017 in Cocoa Beach, FL @ 80’s in the Park
Friday, November 17, 2017 in Sioux City, IA @ Anthem at Hard Rock
Saturday, November 18, 2017 in Watseka, IL @ Watseka Theatre
Tuesday, November 21, 2017 in Cincinnati, OH @ Bogart’s
Friday, November 24, 2017 in Indianapolis, IN @ 8 Seconds Saloon
Saturday, November 25, 2017 in Green Bay, WI @ The Green Bay Distillery
Sunday, November 26, 2017 in Dubuque, IA @ Q Casino
Friday, December 1, 2017 in Flint, MI @ The Machine Shop

More information on Jackyl’s new compilation, tour dates and more is available online now at:

 

 

 

Website: http://www.jackyl.com

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

Twitter: http://twitter.com/jackyljesse

 

 

 

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Industrial Metal Purists Will Appreciate Pig’s New EP

Courtesy: Metropolis Records

Late last month, Raymond Watts, the mastermind behind pioneering industrial act <Pig> returned with his latest opus in the form of the 6-song EP Prey & Obey.  The record came roughly a month after the release of Pig’s latest re-mix record Swine & Punishment.  Needless to say going such a short time between records is a big gamble since it doesn’t give audiences much time to digest one record before the next.  That aside, Watts’ latest effort under the <Pig> proves over the course of its six songs to be a work that any industrial metal purist will appreciate.  That is due in part to the record’s songs (including their arrangements), which will be discussed shortly.  The songs’ lyrical content plays another pivotal part in the record’s presentation, too.  It will be discussed later.  The record’s sequencing rounds out its most important elements.  When it is joined with the previously noted elements, the whole of those items makes Prey & Obey a record that any industrial metal fan will be glad to own.

Raymond Watts’ latest <Pig> offering Prey & Obey is a record that any industrial metal purist will be glad to own.  Released June 16 via Metropolis Records, the 6-song EP’s foundation is formed through those songs in question.  Technically speaking, only three of those songs – its first three – are original.  The last three songs are re-mixes of the record’s title track and its follow-up, ‘Revelation.’  While the second half of the record is composed of re-worked versions of the originals, those re-mixes could easily be argued to be original in their own right, showing the importance of the songs’ arrangements.

The arrangements presented in each of Prey & Obey’s six tracks are critical to the record’s presentation because not one of the arrangements directly mirrors the others.  That is clearly evident, for instance, when comparing the title track’s original arrangement to those of its re-mixes.  The song’s original arrangement (or rather the final arrangement presented here vs. the demos), bears an easy comparison to works from Rammstein, which is one of so many bands worldwide that has gained its popularity by aping ’s sound.  At the same time, the song’s Leether Strip re-mix comes across more as something one might expect to hear from Juno Reactor (yet another act that rose to fame using ’s sound as an influence) with its EDM-centered arrangement.  Going even deeper, the song’s En Esh re-mix stands out just as much, establishing its own identity separate from the original mix and the Leether Strip re-mix.  That is because the arrangement presented here conjures thoughts (at least in this critic’s mind) of works that made Marilyn Manson a household name in the late 90s and early 2000s.  Simply put, the arrangement presented in this re-mix is completely different from that of the arrangement in the Leether Strip re-mix and that of the song’s original mix.  Keeping that in mind, it should be clear why the arrangements presented in this EP are so important to the record’s presentation.

As an additional explanation, the arrangements presented in ‘The Revelation’s’ original mix and its Z.Marr Electronic Mix are completely separate from one another.  Yet at the same time, one can easily make a comparison to works from Ministry in each arrangement.  This is even as the arrangements sound completely apart from one another.  One could even take the second arrangement and compare it to works from KMFDM, with whom Watts’ also worked early in his career, so it is only natural to hear that comparison.

If this is not enough of a comparison, one could easily compare the arrangement presented in ‘The Cult of Chaos’ to works presented in Nine Inch Nails’ landmark 1994 album The Downward Spiral, again showing the influence that Watts has had on the industrial realm throughout his career.  Keeping all of this in mind, it should be crystal clear why the songs presented in Prey & Obey are so critical to its overall presentation.  While only three of the record’s six songs may be technically originals, the re-mixes deserve their own attention, as they completely re-imagine their counterparts.  Even ‘the Cult of Chaos,’ the one song that did not receive a re-mix here, boasts its own original sound separate from those presented in each of the record’s other songs.  Keeping this in mind, the importance of the songs in this record and their arrangements is undeniable.  The songs and their arrangements are, collectively, not the record’s only important element.  The songs’ lyrical content is just as important to note as the songs and their arrangements.

The lyrical content presented in Prey & Obey is so critical to the record’s presentation because it comes across as being rather blatant.  The album’s very title track is solid proof of that with its clear commentary on organized religion.  Watts starts the song with a chorus yelling “Prey/Obey” as would a church’s congregation, before writing, “Look at the size of that monkey/Up on your back/Like a Jesus jerkin junky/I am the fly s*** will attract…wars/w****s/Apocalypse/Scores to settle/Fights to face.”  He continues on in the song’s second verse in similar fashion, expressing what come across as his own thoughts on the institution.

‘The Revelation’ is just as powerful as the record’s title track in its lyrical content with Watts writing, “We’ve got a social suicide/It’s comin’ tonight/With the germ of genocide…I had a vision of an afterlife/But I’ve seen it before/With the gift from the magic man/before he took it all/Now rise up for the revelation/Rise.”  He goes on to write in the song’s second verse, “A new apocalypse, a revelation/Bet youre doing it right…Jumpin’ Jesus is ***********.”  One need not go on from here.  It is clear that Watts has some very interesting commentary to share needless to say.  Of course, what he writes should be taken with a grain of salt, much like the songs crafted by Marilyn Manson for his 1996 album Antichrist Superstar.  Lyrically speaking, this shock rock record comes across in very similar fashion.  Keeping that in mind, the record’s lyrical content is certain to cause some stir, needless to say.  That attention that it is certain to bring plenty of discussion.  That certain discussion proves why the record’s lyrical content is so critical to the record’s whole.  It should be noted here that this critic does not endorse this record’s lyrical content by any means.  Its musical arrangements yes, but its lyrical content no.  Keeping that in mind, it would be wise to move on to the last of the record’s most important elements, its sequencing.

The sequencing of the songs featured in Prey & Obey is critical to the record’s whole because it keeps the record’s energy flowing from start to finish.  From the guitar-driven opening of the record’s title song and its ensuing solid time keeping to the thrash sound of ‘The Revelation’ to the much more brooding, guitar-driven arrangement of ‘the Cult of Chaos,’ the first half of this record easily ensures listeners’ engagement.  While the last of that trio is brooding in nature, it still is a forward-driving arrangement that keeps the record’s energy flowing in its own right.  The re-mixes that make up the record’s second half keep that energy flowing just as much with their arrangements.  That is the case even as the arrangements stand on their own merits separate from those presented in their counterparts.  Considering this, it is clear that much thought and time was put into the record’s sequencing.  That thought and time paid off, as it ensures just as much audiences’ continued engagement.  When joined with the thought put into the record’s chosen songs and their arrangements, the whole of the record’s presentation ensures it to be a work overall that, once again industrial metal purists will appreciate.

<Pig>’s latest studio effort Prey & Obey is a work that any industrial metal purist will appreciate.  That is due in part to its six-song body and their arrangements, each of which stand separate from one another, ensuring listeners’ enjoyment.  While three of the songs featured are re-mixes, the fact that the re-mixes give the originals their own new identity makes arguing them as their own original that much easier.  The songs’ lyrical content definitely is certain to create quite a bit of discussion among listeners.  Whether one agrees or disagrees with that content, the discussions that are certain to be generated from that content proves its importance just as much as the songs and their arrangements. The songs’ sequencing rounds out the most important of the record’s elements.  The energy exuded in each song shows that much time and thought was put into the record’s sequencing, ensuring even more that previously noted maintained engagement. When all three elements are joined, they make the record in whole, once again, a whole that any industrial metal purist will appreciate.  It is available now online and in stores.  More information on Prey & Obey is available online now along with all of <Pig>’s latest news and more at:

 

 

 

Website: http://www.pigindustries.com

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

Twitter: http://twitter.com/raymondwatts

 

 

 

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Adrenaline Mob’s New LP Will Unite The Metal Nation Worldwide

Courtesy: Century Media Records

Early last month, hard rock outfit Adrenaline Mob returned with its latest full-length album We the People.  The band’s third full-length studio recording, it was released June 2 via Century Media Records. Listening to this 13-song record, it can be said that the band is back with a purpose, providing listeners 63 minutes of pure hard rock compositions that will appeal to fans of Five Finger Death Punch, Sevendust, Drowning Pool and other similar acts.  The record’s lyrical content hits just as hard as its musical arrangements.  The whole of those elements makes We The People a record that definitely will unite members of the metal nation worldwide.  That is evident right from the album’s outset in the form of the record’s lead song and single, ‘King of the Ring.’  The album’s anti-drug anthem ‘Chasing The Dragon,’ which comes later in the record’s run supports that statement just as much as ‘King of the Ring.’  The same can be said of ‘Violent State of Mind,’ which comes even later in the record’s run.  Between the songs noted here and the other ten songs that make up the rest of the record, the whole of those songs proves the record to be a work that will not only unite the metal nation but also proves to be one of this year’s best new hard rock and metal albums.

Adrenaline Mob’s latest full-length studio recording We The People is one of this year’s top new hard rock and metal offerings.  It is a record that will unite members of the metal nation worldwide.  That is due both to its musical arrangements and its lyrical themes, as is evidenced early on in the record’s lead song and single ‘King of the Ring.’  In terms of its musical arrangement, it easily lends itself to comparisons to Saliva’s hit 2006 song ‘Ladies & Gentlemen’ with its heavy, guitar-driven sound.  Obviously the comparison is not identical.  But at least in this critic’s own view it is enough to be notable.  Others might disagree, and that is perfectly fine.  Either way, the fire that burns bright in this arrangement makes it a solid start for the band’s latest album.  It is only one part of what makes the song such an enjoyable first impression for this record.  The song’s lyrical content couples with that arrangement to show even more why the song in whole is a clear example of what makes the album in whole an equally strong return for the band.

The lyrical content presented in ‘King of the Ring’ is important to note because it boasts the same fire that is exhibited in the song’s musical arrangement.  Examining the song’s lyrical content, it comes across as a defiant, fist-pumping anthem that preaches standing tall and proud, and having confidence in one’s own self.  That is inferred as front man Russell Allen sings in the song’s lead verse, “Walking tall/toward the ring/Tell yourself to get ready/Clinch your fists/Take a breath/S***’s about to get heavy/Keep running your mouth/You don’t’ know what you just started/Keep running your mouth/You don’t know just what you’re in for.”  He goes on to sing in the song’s second verse, “Here we go/Blow by blow/Get ‘em up and get ready/Feel the sting/Hit by hit/I will make you crawl.”  The defiance continues in the song’s third verse as Russell’s subject sings to the unseen antagonist that he is standing tall and better than any naysayers, haters and the like.  The boxing/wrestling metaphor that is used here is nothing new to the rock realm.  Again, Saliva’s ‘Ladies & Gentlemen’ used a similar approach as did songs from Sevendust and Nonpoint just to name a couple more. That aside, it still doesn’t get old in this scenario.  Rather, the fire in the song’s lyrical content present their own fire; a fire that when coupled with the fire in the song’s musical arrangement, strengthens the song even more, showing in whole why this song is so important in showing what makes We The People a strong return for Adrenaline Mob.  It is not the only song included in this record that serves to support that statement.  ‘Chasing Dragons’ supports that statement just as much as ‘King of the Ring.’

‘Chasing Dragons’ shows what makes We The People a solid new effort from Adrenaline Mob because it doesn’t try to just rehash any of its predecessors in this album musically or lyrically.  Musically speaking, the song’s guitar-driven arrangement presents a certain urgency throughout that interestingly mirrors what drug addicts might feel after getting that first high.  It starts off slow and brooding, but picks up from there, only getting more urgent as it progresses.  In one sense, that potentially mirrors what an addict might feel.  On another level, it could also mirror the urgency of those around the addict in trying to get the addict off of his or her addiction.  It definitely is an interesting approach to say the very least, and is not the only part of the song that makes it stand out.  The song’s lyrical content presents just as much urgency as its musical arrangement.

The urgency in ‘Chasing Dragons’’ lyrical content is exhibited clearly as Allen sings, “Look at yourself/Face to face/Through the cracks/And you want to chase the dragon/Want to taste that drug/And feel that rush again/Wide awake/Staring at the ceiling/Another drink should get you through the night/And you’re praying for a savior/And I’m knocking/Knocking at your door/you look surprised as hell/To see this ugly face/Well, did you think I would greet you with a smile?/Now tell me friend/Did you think I wouldn’t find you/Oh, and by the way/I’ve been here all the while.”  This is a pretty straight forward, no-nonsense statement that leaves little to be guessed.  Allen is singing about what is going on in the addict’s mind as the high wears off and he or she starts feeling the need for that next high, and the stark reality check that addicts are forced to eventually make.  It is a powerful statement that when coupled with the song’s musical arrangement shows just as much as ‘King of the Ring,’ why it is such an important part of We The People’s whole.  It still is not the last example of what makes this record stand out in this year’s field of new hard rock and metal albums.  ‘Violent State of Mind,’ which comes later in the album’s run shows in its own unique way what makes the album stand out, too.

‘Violent State of Mind’ sounds like a foreboding title for a song, but in reality, the song should not be mistaken.  It is yet another defiant musical and lyrical statement that will benefit any listener who has ever dealt with someone difficult.  That could be a difficult family member, significant other or even a bully boss.  Who hasn’t dealt with any of these situations at one point or another?  In regards to its musical content, it is a full-on, adrenaline fueled, guitar-driven work that will instantly have listeners’ fists and horns pumping proudly in the air.  Lyrically speaking, it will help listeners release the concentrated anger and aggression that builds up from a difficult day in any of the noted settings because of the defiance exhibited throughout. That defiance is evident in the song’s verse in which Allen sings, “You tell me to walk, then you tell me to run/You tell me to swallow and follow everyone/You give me a choice but won’t let me choose/You won’t let me win, but you’ll never let me lose/And I am done trying to get through to you/I have turned to a violent state of mind/Come on and tell me/What more do you really want/What more do you want from me/Tell me what you really want/My head is spinning and you’re driving me crazy.”  Again, who out there has never been in such a frustrating position emotionally?  Anyone who hasn’t is either living under a rock or in some utopia that no one else knows about.  The frustration from the song’s subject continues in the song’s second verse as Allen’s subject continues to address the unseen person, saying, “You’re trying to teach/But you don’t understand.”  This is a statement that, along with the rest of the second verse – and the song – will resonate with so many people.  Keeping this in mind, the fire in these lyrics couples with the fire in the song’s musical arrangement to show in whole why this song is yet another important addition to We The People.  When this song is joined with the previously discussed works and the album’s other ten compositions, the whole proves to be a work that, once again, will unite members of the metal nation worldwide and that proves to be one of the year’s top new hard rock and metal albums.

We The People is a solid return for Adrenaline Mob.  Being that three years passed between this record and its predecessor, 2014’s Men of Honor, that is especially the case.  That statement is supported from start to finish in this record due to its combination of solid musical arrangements and equally powerful lyrical themes, as has been exemplified in the songs noted above.  When those songs are joined with the record’s remaining ten tracks, the end result is an album that will unite the members of the metal nation not just in America but around the world.  It also proves the record to be one of this year’s top new hard rock and metal offerings.  More information on We The People is available online now along with all of Adrenaline Mob’s latest tour dates, news and more at:

 

 

 

Website: http://adrenalinemob.com

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

Twitter: http://twitter.com/adrenalinemob

 

 

 

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

Live Celebrating Debut Album’s 25th Anniversary With Record’s Re-Issue

Courtesy: MSO PR

Veteran rock act Live will re-issue its debut album this summer.

The band, which recently re-united with its original front man Ed Kowalczyk, announced this week that it will re-issue its debut album Mental Jewelry on Aug. 11.  The release coincides with the 25th anniversary of the album’s original release, and will also feature album in an expanded 2 CD deluxe edition to mark the occasion along with two separate vinyl presentations of the record and even a cassette recording of the album.

The liner notes for the album’s upcoming re-issue, which include stories about the band’s early days before it become a hit worldwide, were written by Kowalczyk. He wrote at one point in the notes of the band’s days playing at CBGB during its infancy, noting the band’s meager wages for the shows at the famed club.

“Hilly [Kristal, the club’s owner] typically didn’t pay bands for showcase-type gigs, but he would give us $100 for gas for the three-hour-plus commute from old York [PA},” Kowalczyk wrote.”

The album’s new re-issue features not just new liner notes, but a handful of rarities to boot, including the previously unreleased song ‘Born Branded’ – which was recorded during the album’s original sessions, but never made it to the record’s final cut – a club remix of ‘Pain Lies on the Riverside,’ from famed Public Enemy producer Hank Shocklee, a pair of tracks from the band’s 1991 EP Four Songs and a full-length, previously unreleased 1992 live show from the band recorded at The Roxy in Los Angeles.

Pre-orders for the album’s re-issue are open now with the instant grat track ‘Pain Lies on the Riverside,’ which was taken from that 1992 show at The Roxy. The song is streaming now for free online via Rolling Stone.

The full track listing for the album’s re-issue is noted below.

TRACKLISTING FOR 25TH ANNIVERSARY DELUXE REISSUE MENTAL JEWELRY:
 
DISC ONE:
Pain Lies on the Riverside
Operation Spirit (The Tyranny of Tradition)
The Beauty of Gray
Brothers Unaware
Tired of “Me”
Mirror Song
Waterboy
Take My Anthem
You Are the World
Good Pain
Mother Earth Is a Vicious Crowd
10,000 Years (Peace Is Now)
^Born Branded
* Pain Lies On The Riverside
< Negation
< Heaven Wore A Shirt
 
^ = previously unreleased
* = Hank Shocklee club remix
< = from 4 Songs EP (September 24, 1991)
 
DISC TWO (Live At The Roxy July 16, 1992):
Show Intro
Waterboy
Take My Anthem
Pain Lies On The Riverside
Susquehanna
Negation
You Are The World
Tired of “Me”
Heaven Wore A Shirt
Operation Spirit (The Tyranny of Tradition)
Good Pain
The Beauty of Gray
10,000 Years (Peace Is Now)

The band is also touring worldwide in support of the album’s re-issue.  Its current tour scheduled can be viewed online now here.

More information on Live’s upcoming re-issue, its tour schedule latest news and more is available online now at:

 

 

 

Website: http://freaks4live.com

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

Twitter: http://twitter.com/freaks4live

 

 

 

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

MVD Entertainment Group Re-Issuing Sonny Rollins Live Concert Documentary

Courtesy: MVD Entertainment Group

MVD Entertainment Group will re-issue another one of documentarian Robert Mugge’s music-based docs this summer.

The independent entertainment company will re-issue Sonny Rollins: Saxophone Colossus Aug. 4 on DVD and Blu-ray.  The program, which has been released at least twice already on DVD since 1999 by two other independent companies, focuses on two key performances by Rollins – May 18, 1986 performance at Tokyo Koseinenken Hall and Aug. 24, 1986 at Opus 40 Sculpture Park in New York.

The first performance was actually the second performance by Rollins and the Yomiuri Nippon Symphony Orchestra at the famed Tokyo concert hall on the same day.  The first concert on the day was recorded by a local Japanese television station.  A local Japanese radio station recorded the second concert alongside Mugge and his limited film crew.

The second performance was recorded in a more laid back setting with Rollins joined by a much smaller group of musicians—Bob Crenshaw (bass), Clifton Anderson (saxophone), Mark Soskin (piano) and Marvin “Smitty” Smith (drums)—in the public park.  Mugge’s film crew for this concert was larger than that used to record his performance earlier in the year in Japan.

Four 16-mm cameras were used for Rollins’ New York performance along with a 24-track recording truck.  The sound recorded at the Tokyo performance was taken from the Japanese radio station that recorded that concert alongside Mugge and company, while the show was captured on film by only two camera operators.

Along with the primary concert footage, Saxophone Colossus also features in-depth discussions by Rollins himself on a variety of topics including his own development as an artist and his wife Lucille’s role as his manager, producer and wife among many other topics.

Audiences can view a trailer for the upcoming re-issue online now here and can pre-order the program online via the MVD Shop and Amazon.  Both the DVD and Blu-ray are listed as retailing for MSRP of $19.95 on both sites.

More information on this and other titles from MVD Entertainment Group is available online now at:

 

 

 

Website: http://mvdentertainment.com

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

Twitter: http://twitter.com/mvdentgroup

 

 

 

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Eyes Set To Kill To Join Alesana For Upcoming Tour

Courtesy: Century Media Records

Things are picking up again for Eyes Set To Kill.

The Arizona-based hard rock outfit announced Friday a new string of live dates with Alesana for its “Hero With A Thousand Faces” U.S. tour.  Eyes Set To Kill, which released its new single ‘Break’ in March, will serve as support on the tour alongside Lakeshore, Alteras and The Amatory Murder.

Eyes Set To Kill front woman Alexia Rodriguez spoke on behalf of the band, saying the band is looking forward to the tour, which begins Aug. 3 in Raleigh, N.C. and runs through Aug. 19 in Atlanta, GA.

“We’re very excited to finally tour with our friends in Alesana!,” Rodriguez said.  “This will be a great time, so be sure to come out and have fun with us if you live near any of these cities.”

Eyes Set To Kill will join the tour on its second date on Aug. 4 in Lancaster, PA.  The current schedule for the “Hero With A Thousand Faces” U.S. Tour is noted below.

 

EYES SET TO KILL – US Dates w/ Alesana

August 4th – Lancaster, PA @ Chameleon Club
August 5th – Easton, PA @ One Center Studio
August 6th – New York, NY @ Webster Hall (Studio)
August 7th – Pittsburgh, PA @ Rex Theater
August 8th – Cleveland, OH @ Agora Ballroom
August 10th – Joliet, IL @ The Forge
August 11th – Iowa City, IA @ Gabe’s
August 12th – Oklahoma City, OK @ 89th Street
August 13th – Dallas, TX @ Trees
August 14th – Lubbock, TX  @ Jake’s
August 15th – San Antonio, TX @ The Rock Box
August 16th – Houston, TX @ Scout Bar
August 18th – Louisville, KY @ Trixie’s
August 19th – Atlanta, GA @ The Masquerade

More information on Eyes Set To Kill’s upcoming live dates is available online now along with all of the band’s latest news and more at:

 

 

 

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

Twitter: http://twitter.com/eyessettokill

 

 

 

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