Armored Saint Fans Will Want To Get Their Hands On ‘Carpe Noctum’

Courtesy: Metal Blade Records

Courtesy: Metal Blade Records

Metal Blade Records had quite a year in 2016, putting out impressive new recordings from Amon Amarth, Wovenwar, Artillery and a number of others.  One of the leading labels in the metal community, Metal Blade has wasted little time in 2017 getting things going.  It will open the new year late next month with the release of Armored Saint’s new live recording Carpe Noctum.  The eight-song, 38-minute recording isn’t necessarily a career-defining collection of songs, but is still impressive in its own right.  It is just one of the elements to note in examining the recording’s overall presentation.  The band’s stage presence is just as important to note in examining the recording’s presentation as its set list.  Considering that the recording will seemingly only be released on CD, its audio mix rounds out its most important elements.  Each element is important in its own right.  All things considered, Carpe Noctum proves to be a recording that Armored Saint fans new and old alike will appreciate.

Armored Saint’s latest live recording Carpe Noctum is a collection of live performances that fans new and old alike will appreciate.  The eight-song, 38-minute recording will be released in stores and online Feb. 24 via Metal Blade Records.  The main element to be examined in this recording is its set list.  The set list takes audiences all the way back to the band’s 1984 debut full-length album March of the Saint and all the way up to the band’s most recent album Win Hands Down (2015).  Along the way, three more of the band’s nine total albums are represented here.  The albums in question are its 1985 sophomore record Delirious Nomad, its 1991 album Symbol of Salvation and its 2010 record La Raza.  According to Metal Blade Records’ summary description of the set list, it appears the set list was pulled from Armored Saint’s set at the 2015 Wacken Open Air Festival and its headlining show at Aschaffenburg, Germany.  In other words, the set list presented here is not one complete concert, but seemingly a collection of performances from two separate concerts.  That would likely account for why the recording features such a limited number of songs in its defense.  This is a good thing in its own right, too.  That is because it provides audiences a more diverse representation of the band’s live show.  Again, fans new and old alike will appreciate this aspect of the recording.

Carpe Noctum’s 8-song, 38-minute set list is an important piece of the recording’s overall presentation.  That is because while not necessarily career-defining, it does at least present some highlights from the band’s extensive span of records.  It also provides audiences a relatively diverse representation of the band’s live show.  That is because it allegedly pulls from not one but two of the band’s live shows.  While the recording’s set list is clearly an important piece of its whole, it is only one of the pieces of the recording that should be considered in examining the recording’s overall presentation.  The band’s performance of said songs is just as important to note as the songs themselves.  Audiences will note in taking in these performances that the band’s members largely let their performances do the talking for them.  Since this recording is only available on CD, it is difficult to know if the songs presented here were presented in the same order as in the original performances.  There could have been some interaction with the audience between songs at those performances.  Again, that can’t be determined here.  That aside, the band members’ performances do plenty to keep listeners’ engaged.  Front man John Bush commands the stage with each performance, his pipes in prime condition.  Drummer Gonzo Sandoval keeps the band moving in each song with his solid time keeping.  The dual guitar approach of Phil Sandoval and Jeff Duncan adds even more depth to the band’s stage presence.  Of course one would be remiss to ignore bassist Joey Vera’s work on the low end.  Each band member’s performance in itself plays its own critical part to the whole of the performances. They cut through solidly throughout the recording, too.  Altogether, the band members’ performances prove to be just as enjoyable here as the concert’s set list itself.  One can’t help but hope Metal Blade Records will release the concert on DVD and/or Blu-ray, though.  One would be safe assuming those performances would hold even more significance when able to be seen and heard, and not just heard.  Even with that in mind, the band’s overall performances throughout the recording still proves to be just as important to the recording’s presentation as the sets’ featured songs.  While the band members’ performances prove to be just as important to the recording’s presentation as the recording’s featured set list, neither element would be worth discussing without mention of the concert’s audio mix.

The set list at the center of Armored Saint’s new live recording and the band’s performance thereof are both key pieces of the recording’s overall presentation.  That has already been discussed.  They are only a pair of the recording’s most important elements.  Its audio mix forms the recording’s foundation, especially considering that the recording is currently available only on CD.  Those responsible for the recording’s audio mix are to be given their due credit here.  That is because they expertly handled the situation presented in each setting.  The Wacken performances were open, outdoor performances.  This critic can’t say for certain if the band’s other featured performance was outdoor, too.  That aside, those behind the recording’s audio engineering expertly balanced each musician’s part.  No one part overpowered the others at any point throughout the recording.  What’s more, inside or out, audiences aren’t left feeling like they’re listening to a bootleg recording, either.  Believe it or not, there are some “professional” live recordings out there that do in fact sound more like bootlegs than professional recordings.  This recording is not in that category.  To that end, the balance of that element and the balance of the musicians’ own parts in each song proves the importance of the recording’s audio mix to its whole, too.  When that element is set alongside the concert’s set list and the band members’ equally entertaining performances, the whole of the recording proves to be a collection of live performances that Armored Saint fans old and new alike will appreciate.

Armored Saint’s upcoming live recording Carpe Noctum is a collection of live performances that fans new and old alike will appreciate.  That is due in part to its 8-song, 38-minute set list.  The set list isn’t necessarily a career-defining collection of performances.  It only pulls from five of the band’s nine total full-length studio recordings.  However, it does go all the way back to the band’s 1984 debut record and up to the band’s most recent album, 2015’s Win Hands Down.  The set list also allegedly pulls from not one but two of the band’s recent live shows.  The band’s performance of the featured songs is just as enjoyable as the songs themselves.  The audio engineering presented in the recording forms its foundation.  It balances each of the band members’ parts and handles the settings in which the performances were held just as expertly.  Each element is important to note in its own right, as has been noted.  All things considered, they show, once again, that this latest live recording from Armored Saint is a collection of live performances that Armed Saint fans old and new alike will appreciate.  It will be released Feb. 24 in stores and online via Metal Blade Records.  More information on Carpe Noctum is available online along with all of the band’s latest news and more at:

 

 

 

Website: http://www.armoredsaint.com

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

Twitter: http://twitter.com/thearmoredsaint

 

 

 

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Pop Evil Launches New Tour In Support Of ‘Up’

Courtesy: eOne Music

Courtesy: eOne Music

Pop Evil is back on the road again.

The band hit the road Tuesday for the “Rock ‘N’ Roll Now Tour: Right Now.”  The Tour is in support of the band’s latest full-length studio recording Up.

The tour launched in Louisville, KY and will see the band perform in Charlotte, NC tonight. It wraps Feb. 26 in Sault Ste Marie, MI.  Red Sun Rising and Bad Flower are serving as support acts throughout the tour.

Along with its tour, the band also recently debuted its latest single ‘If Only For Now’ on radio stations nationwide.  The song is the last single to be released from Up.  Audiences can hear the song now here.

Courtesy: eOne Music

Courtesy: eOne Music

Courtesy:  eOne

Courtesy: eOne

Pop Evil released Up in 2015.  The album debuted at #1 on Billboard’s Indie Chart. It landed at #25 on the magazine’s Top 200 albums chart, #16 overall and #3 on the magazine’s Top Hard Music Albums Chart.

More information on Pop Evil’s latest tour schedule is available online now along with all of the band’s latest news and more at:

 

 

 

Website: http://www.PopEvil.com

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

Twitter: http://twitter.com/popevil

 

 

 

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Green Day Updates Tour Schedule

Photo Credit: Frank Maddocks

Photo Credit: Frank Maddocks

Green Day has changed a pair of dates for the Fall 2017 leg of its Revolution Radio.

The band has flipped the dates for two performances in Texas.  The dates are September 8th and 9th. The band will now perform at the Austin 360 Amphitheatre in Austin, TX on September 8. It will perform at the AT&T Center in San Antonio, TX on September 9.

The dates were changed due to scheduling conflicts. Sources close to the band did not comment on the nature of the scheduling change.  The tour date information is listed in whole below.

 

September

8th Austin, TX Austin360 Amphitheatre
9th San Antonio, TX AT&T Center

 

More information on Green Day’s tour is available online along with all of the band’s latest news and more at:

 

 

 

Website: http://www.greenday.com

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

Twitter: http://twitter.com/greenday

 

 

 

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.

DKM’s Latest LP Will Bring Listeners More Pleasure Than Pain

Courtesy: Dropkick Murphys

Courtesy: Dropkick Murphys

Dropkick Murphys returned this week with its latest full-length studio recording 11 Stories of Pain & Glory.  The band’s ninth full-length studio recording, this latest offering will cause listeners more joy than pain. That is due in part to the songs’ lyrical themes. That will be discussed shortly.  The songs that are featured in the 11-song record are just as important to note as its story.  The record’s sequencing rounds out its most important elements.  Each element is important in its own right.  All things considered, this record reveals itself to be the year’s first great new rock record.

Dropkick Murphys’ ninth new full-length studio recording 11 Stories of Pain & Glory is this year’s first great new rock record.  The veteran Boston, MA-based punk outfit impresses with this latest effort due at least in part to the lyrical themes presented in each of the record’s songs. ‘You’ll Never Walk Alone’ is a prime example of the importance of the songs’ lyrical themes to its overall presentation.  The song is a cover of the composition made famous by Rogers and Hammerstein’s musical Carousel.  As founding member and bassist Ken Casey explains, the inspiration for the song came after he left a wake for fellow band member Al Barr’s brother-in-law, who had died from an overdose.

“Between Al’s loss and all the friends and people who I know, I’d say I’ve been to 50 wakes in the last three years,” Casey said. “I was leaving another overdose wake and the song came on in the car.  My music was on shuffle and ‘You’ll Never Walk Alone’ randomly played.  As I heard the chorus, “Walk on, walk on with hope in your heart, and you’ll never walk alone,” it struck me how powerfully the song related to the struggle and how you don’t have to do it alone.”

Casey made a strong, solid point in his statement.  While the song may not be an original, it shows that a song doesn’t necessarily have to have just one meaning even if it was originally written to address one subject or another.  It can be just as powerful with a latent message than a manifest message.  It’s just one song that exemplifies the importance of the record’s lyrical themes to the album’s presentation.  ‘Paying My Way’ is another example of the importance of the record’s lyrical content.

‘You’ll Never Walk Alone’ is a key example of what makes 11 Songs of Pain & Glory an impressive new effort from Dropkick Murphys.  While it may be a cover of a song from a Rogers & Hammerstein musical, the story behind its inclusion here gives the song’s lyrics a while new meaning; a meaning that makes the song just as powerful as the meaning of its lyrics in its original use if not more so.  It is just one of the songs that so clearly exhibits the importance of the record’s lyrical content.  ‘Paying My Way’ shows just as clearly the importance of the album’s overall lyrical themes to its presentation.  Front man Al Barr sings in the song’s lead verse, “Wake and pray/Work all day/I walk past the places that I used to play/Now I’m paying my way.” He adds in the second verse, “My heart is so much higher/Don’t count me out/I’m a survivor/I’d chase these dreams down city streets/Dead end rows and no one sees/And I am proud to be a fighter/When I look back to see your sign/When I look hard into your eyes/When I take stock of what I’ve done/I think about how far I’ve come.”  These lines provide such a positive message.  It isn’t a coincidence that the message in question is there, either.  As Casey explained in a recent interview, “‘Paying My Way’ is not just about paying your bills.  It’s about doing what you have to do in order to be a good person, but at the end of the day, never losing sight of the fact that doing the next right thing may lead to great things one day.”  That is evident, again, as Barr sings, “Don’t count me out/I’m a survivor…and I am proud to be a fighter.”  This is someone who isn’t willing to just roll over, but rather someone who realizes how far he or she has come, and in appreciating that, only looks forward.  It is a powerful and moving statement that shows even more why the album’s lyrical themes are so important to its overall presentation.  It is hardly the last song that serves to support that statement, too.  ‘Blood,’ the record’s lead single is one more example of the importance of the record’s lyrical themes to its presentation.

Dropkick Murphys’ cover of ‘You’ll Never Walk Alone’ and its own original song ‘Paying My Way’ are both key examples of the importance of the lyrical themes presented in the band’s new album 11 Songs of Pain & Glory.  That is because both songs’ lyrical themes present a positive message at their base.  What’s more they present those positive messages in different ways, rather than focusing on the same subject in each.  They are just two of the songs featured in this record that exhibit the importance of the songs’ lyrical themes.  The album’s lead single ‘Blood’ exhibits the importance of the album’s lyrical themes just as much as ‘You’ll Never Walk Alone’ and ‘Paying My Way.’  Barr sings here, “They beat us down, but we survived/Talked out of school and made up lies/But we don’t listen, we do what we do/We don’t care about them, we care about you.”  He goes on in the song’s closing verse to sing, “We’re coming for you/We’ll kick down the door/Be careful what you ask for, ‘cause you may get more/Gonna keep it loud, we don’t turn down/We’re coming back, we’re taking over this town.”  Barr and his band mates accent the verses as they sing in the song’s chorus, “If you want blood we’ll give you some/Straight from the heart til the job is done/If you want it now, then here it comes.”  Again, what listeners get here is another positive message in another different subject.  The song’s subject come across as saying here he or she and others have endured a lot in life, but still haven’t given up, nor will they give up either.  It comes across as echoing the statement that what doesn’t kill you only makes you stronger.  Once again, it is another prime example of the importance of this record’s lyrical themes to its overall presentation.  The record boasts eight other tracks whose lyrical themes are just as important as those noted here.  When they are combined together, they show undeniably the importance of the record’s lyrical content to its overall presentation.  Of course the record’s lyrical themes are collectively just part of what makes the album stand out.  Its musical arrangements are just as important to note as its lyrical themes.

The lyrical themes presented throughout 11 Songs of Pain & Glory are, collectively, key to the record’s overall presentation because of the positive messages presented in each song.  Each message presents its own original positive message separate from its counterparts.  That in itself gives audiences plenty of reason to pick up this new album.  While the record’s positive lyrical messages clearly show the important part that they play in the record’s presentation, those messages are only part of the equation.  The songs’ musical arrangements are just as important to discuss as their lyrical themes.  Audiences familiar with Dropkick Murphys’ body of work will note that the band has taken a decidedly different path musically on this record than in its past albums.  The upbeat, punk arrangements for which the band has come to be known are present here in ‘Rebels With A Cause,’ ‘Kicked To The Curb,’ and ‘I Had A Hat.’  But they are the only pieces that boast that familiar feel.  The rest of the album’s featured arrangements are either mid-tempo works such as ‘The Lonesome Boatman,’ ‘Blood’ and ‘First Class Loser’ or they are more reserved pieces such as ‘4-15-13,’ and ‘You’ll Never Walk Alone.’  In simple terms, the arrangements presented in this record tend to favor melody more than speed (or quality over quantity).  That’s not to say that the band hasn’t included songs focusing more on melody than speed in its previous albums.  But that focus seems more prevalent on this offering than on the band’s previous releases.  It may not seem that important on the surface, but again, those who are familiar with the band’s body of work will especially take note of this element.  It is interesting to see that change of direction, which in itself is not a bad thing.  It’s just interesting to note, and is not the last of the record’s most important elements.  The record’s sequencing rounds out its most important elements.

The lyrical and musical content presented throughout Dropkick Murphys’ new album are both key to the record’s overall presentation.  The songs’ lyrical themes each share positive messages in original settings.  Their musical arrangements show more focus than ever on melody than speed, and while the band has focused on melody before, it has never done so to the extent that it does here.  As important as these elements are to the record’s presentation, they are but two of the album’s most important elements.  Its overall sequencing, when taking into consideration those messages and arrangements, proves to be important in its own right to the record’s presentation, too.  From one song to the next, the stories presented in this record change constantly.  Each tale is original in its own way, as are the positive messages, but they also vary, and while the band focuses mainly on slower, more melodic arrangements than ever before, it does still include just enough higher energy arrangements throughout alongside mid-tempo arrangements to keep listeners fully engaged.  The album’s energy never gets too fast or slow thanks to the thoughtful sequencing of the songs’ arrangements, in simple terms.  When that is considered alongside the record’s varied lyrical topics and associated positive messages, the record’s presentation proves in whole why it will bring listeners more pleasure than pain.

Dropkick Murphys’ latest full-length LP 11 Stories of Pain & Glory is a work that will bring listeners more pleasure than pain. It shows through its lyrical themes and positive messages, its musical arrangements and its general sequencing that it is also the year’s first great rock record.  The lyrical themes and positive messages will keep listeners engaged in themselves.  The songs’ more melodic arrangements show a blatant change of direction for the band in comparison to the arrangements presented in its previous records.  The record’s sequencing highlights the importance of the songs’ lyrical and musical content even more, completing the record’s presentation in turn.  Each element obviously is important in its own way to the record.  All things considered, they make 11 Stories of Pain & Glory – again – a work that will bring listeners more pleasure than pain, and a record that proves to be the year’s first great rock record.  It is available now in stores and online.  The band will launch a tour in support of its new album beginning Feb. 21 in Bethlehem, PA.  The tour’s current schedule is noted below.

 

11 Short Stories of Pain & Glory Tour dates are as follows with The Interrupters and Blood or Whiskey opening except where noted below.

 

2/21/17 – Bethlehem, PA – Sands Bethlehem Event Center *+

2/22/17 – Columbus, OH – Express Live! *+

2/24/17 – Clive, IA – 7 Flags Event Center *+

2/25/17 – Hinckley, MN – The Grand Minnesota Taste Together *

2/26/17 – Sioux Falls, SD – The District *+

2/28/17 – Kansas City, MO – Uptown Theater *+

3/1/17 – Tulsa, OK – Cain’s Ballroom *+

3/2/17 – Little Rock, AR – Metroplex Live *+

3/3/17 – Robinsonville, MS – Horseshoe Tunica – Bluesville *+

3/4/17 – Birmingham, AL – Iron City *+

3/6/17 – St. Petersburg, FL – Janus Live *

3/7/17 – Ft. Lauderdale, FL – Revolution Live *

3/8/17 – Lake Buena Vista, FL – House of Blues *

3/10/17 – Myrtle Beach, SC – House of Blues *+

3/11/17 – Washington, DC – Shamrockfest Dropkick Murphys ONLY

3/12/17 – Huntington, NY – The Paramount *+

3/15/17 – Boston, MA – TBA

3/16/17 – Boston, MA – TBA

3/17/17 – Boston, MA – TBA

3/18/17 – Boston, MA – Agganis Arena

3/18/17 – Boston, MA – After Party @ House Of Blues with Pro Boxing

3/19/17 – Boston, MA – TBA

* w/ Blood or Whiskey

+ w/ The Interrupters

 

 

More information on 11 Short Stories of Pain and Glory is available online along with all of the band’s latest news and more at:

 

 

 

Websitehttp://www.dropkickmurphys.com

Facebookhttp://www.facebook.com/DropkickMurphys

Twitterhttp://twitter.com/DropkickMurphys

 

 

 

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.

Dead Horse Trauam Signs New Worldwide Distribution Deal

Courtesy: O'Donnell Media Group

Courtesy: O’Donnell Media Group

There’s big news from Dead Horse Trauma’s camp today.

The Des Moines, IA-based band has announced a new distribution deal for its upcoming album Life.  The band has signed a deal with Sony Music Distribution imprint Orchard for the album’s worldwide distribution.

The importance of the new deal was not lost on the band’s front man, Eric Davidson. He said signing with The Orchard is a big step for the band and added the band was deeply appreciative for the support offered by fans and backers alike.

“We’re beyond excited to finally get our debut worldwide release under our belt with one of the largest distribution outlets in the world,” Davidson said. “With our newly-assembled development team and now the means to put Life into ears around the globe, we couldn’t have asked for a better situation. Huge thanks to our team and all our fans for helping us make this happen.”

The band will launch a tour in support of Life beginning Feb. 17 in Madison, WI.  The tour, dubbed “Life Tour [Phase I], currently spans 17 dates and runs through March 18, with its final show currently planned to be a hometown show.

Audiences can see the band’s full tour online now along with the band’s video for its single ‘Left Unsaid’ and all of the band’s latest news and more at:

 

 

 

Website: http://www.DeadHorseTrauma.com

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

Twitter: http://twitter.com/deadhorsetrauma

 

 

 

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.

‘Killer Elite’ Is A “Killer” Hits Collection From Dragonforce

Courtesy: Spinefarm Records

Courtesy: Spinefarm Records

Late this summer Dragonforce released its first-ever hits compilation for the masses in the form of Killer Elite: The Hits, The Highs, The Vids.  The British power metal outfit’s first-ever attempt at a hits compilation is in fact a “killer” collection. That is due in part to its featured songs.  That will be discussed shortly.  Just as important to note as the songs in this compilation is the way in which the songs are presented.  Those who haven’t yet picked up this record don’t understand right now, so it will be discussed later.  Last and most definitely not least of note in this collection’s presentation is its bonus DVD.  It rounds out the collection’s most important elements. Each element is clearly important in its own right to the collection’s overall presentation.  All things considered, Killer Elite: The Hits, The Highs, The Vids proves to in fact be a killer first effort at a hits collection for Dragonforce.

Dragonforce’s first attempt lives up to its title.  It is in fact a killer collection.  That is due in no small part to the record’s featured songs.  The 2-disc, 22-song collection pulls songs from each of its six current full-length studio recordings.  The most heavily represented of those albums is the band’s 2004 sophomore record Sonic Firestorm.  ‘My Spirit Will Go On’ is pulled from that album as are ‘Fury of the Storm,’ ‘Fields of Despair,’ ‘Dawn Over A New World,’ and ‘Soldiers of the Wasteland.’  Valley of the Damned, the band’s 2003 debut album is the next most heavily represented of the band’s albums here.  It is represented by four songs – ‘Black Fire,’ ‘Valley of the Damned,’ ‘Starfire’ and ‘Heart of a Dragon.’  The Power Within (2012) also sees four of its songs included in this collection while Inhuman Rampage (2006), Ultra Beatdown (2008) and Maximum Overload (2014) are each represented by three songs.  What all of this says to the band’s fans is not only is this a thorough collection of Dragonforce’s songs, but it is also a relatively well-balanced collection of songs, too.  This is just one of the collection’s most important elements.  The presentation of the songs themselves is just as important to note as the songs themselves.

The songs that make up the body of Killer Elite: The Hits, The Highs, The Vids are collectively the foundation for the collection’s presentation.  They are pulled from all six of the band’s current full-length studio recordings. What’s more, when one examines them closely, the full sequencing balances the albums’ representations relatively well.  That is just one of the collection’s most important elements.  The songs’ presentation is another key piece of the record’s presentation.  This might sound confusing to some. To clarify it, not all of the songs that are presented in this album are studio tracks, even though they are songs pulled from the band’s albums.  Some of the songs featured in this record are live performances of said songs instead of being purely studio songs and others are remastered versions of said songs, meaning they sound even better than the songs’ original recordings.  In other words, this hits collection isn’t just a random grouping of singles.  That is a breath of fresh air.  It is a career-spanning collection that also takes audiences into the band’s live shows even if only a little bit through its 2-CD set.  This enhances the overall listening experience for fans even more.  Of course, the band goes above and beyond providing not only a listening experience for fans in its first-ever hits collection.  It also included a DVD featuring a handful of music videos in the record’s extended 2-CD/DVD set.  That DVD rounds out the record’s most important elements.

The songs presented in Dragonforce’s first-ever hits collection and the manner in which they are presented are both key elements to this collection’s presentation.  While both elements are clearly important in their own way to the collection’s presentation, they are not its only key elements.  Included along with the record’s 2-disc, 22-song audio collection – which spans two and a half hours – is a bonus DVD featuring eight music videos from the band. It is especially encouraged for fans who might be unfamiliar with the band’s videos as a way to introduce them to the band’s music without having to go through YouTube or other outlets.  For the band’s more seasoned fans, it proves to be just as enjoyable while they wait for the band to release its next album and accompanying videos.  When this is considered along with the collection’s songs and their presentation, the end result is a collection that is, again, a killer first attempt at a hits collection from Dragonforce.

Killer Elite: The Hits, The Highs, The Vids lives up to its title in a manner of speaking.  It is a killer first try at a hits collection from the band.  That is due in part to the collection’s career-spanning sequencing.  The songs’ presentation includes not just studio songs, but live and remastered tracks, too. That enhances the package’s presentation even more.  The bonus DVD included the collection’s exclusive 2-CD/DVD combo pack rounds out its most important elements.  It serves as a solid introduction to the band’s music for new fans that doesn’t require them to go online and an equally enjoyable collection of performances for more seasoned fans, too.  Each element is important in its own right. That goes without saying.  All things considered, they make Killer Elite: The Hits, The Highs, The Vids a truly killer first hits collection from one of power metal’s most outstanding acts.  It is available now in stores and online.  More information on this collection is available online now along with all of the band’s latest news and more at:

 

 

 

Website: http://www.dragonforce.com

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

Twitter: http://twitter.com/dragonforce

 

 

 

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.

“Facing The Music” Is Easy With Townshend’s ‘Face The Face’ Live

pete-townshends-deep-end-face-the-face-live-cover-art

Courtesy: Eagle Rock Entertainment/Universal Music Group

Guitarist Pete Townshend is best known for his role in the legendary rock band The Who.  The British band is one of its country’s greatest rock acts next to The Beatles, Deep Purple, Judas Priest and a select group of others.  While Townshend is best known for his work as a member of The Who, he also had a relatively successful solo career.  This past September Eagle Rock Entertainment released a rare performance from Townshend’s solo career in the form of Face The Face.  This recording is an important artifact of sorts from Townshend’s career, and thus, a piece that fans of The Who will appreciate just as much as Townshend’s fans.  That is due in part to the recording’s companion booklet.  It will be discussed shortly.  The recording’s set list is just as important to note in examining its presentation as its set list.  It will be discussed later.  The concert’s production values round out its most important elements.  Each element is important in its own right to the recording’s overall presentation.  All things considered, Face the Face proves in the end to be, again, a recording that The Who’s fans will appreciate just as much as Townshend’s fans.

Eagle Rock Entertainment’s recently released performance from classic performance from Pete Townshend and Deep End is a recording that fans of The Who will appreciate just as much as Pete Townshend fans.  It is a very rare live recording from the two acts, as audiences will learn in the recording’s companion booklet.  Speaking of the booklet, it sits at the center of the recording’s presentation.  The booklet presents an in-depth history of how Townshend and Deep End came to work together thanks to writer Matt Kent.  It also notes that the concert presented here almost didn’t happen yet somehow miraculously did happen.  That story in itself makes the recording’s companion booklet well worth the read.  As if that isn’t enough, audiences will also learn that Prince’s beloved album Purple Rain was at least one influence behind Townshend’s solo record White City: A Novel.  Townshend was touring in support of that record when this concert was recorded. That, too is noted in the booklet along with a thorough outlining of the concert’s set list, another of the recording’s key elements. Before touching on that subject, one would be remiss to ignore all of the other key information that Kent includes in the recording’s liner notes.  Between the material noted here and that material not noted here, the information Kent provides audiences in the recording’s companion booklet will engage audiences just as much as the concert’s set list.  Speaking, again, of the show’s set list, it is the next most important piece of the recording’s overall presentation to discuss.

The booklet included in Eagle Rock Entertainment’s Pete Townshend/Deep End live recording Face The Face is a key piece of the recording’s overall presentation.  It isn’t the first time that a live recording’s booklet has proven to be the recording’s most important element.  At the same time, though, it is very rare for any recording’s booklet, live or otherwise, to be so critical to its presentation.  Face The Face’s companion booklet is undeniably important to its presentation, but it is also not the recording’s only key element.  The concert’s set list is just as important to note in examining its overall presentation as its companion booklet.  The show’s set list features classics from The Who, songs from White City and hits from other Townshend solo records and even some covers among other songs.  Kent outlines the concert’s set list in relative depth, again, in the recording’s companion booklet.  This, again, shows the importance of the recording’s companion booklet.  That relatively thorough outline also serves as a solid starting point for a musical history lesson of sorts; not just a history lesson on Townshend’s arrangements but in music history overall.  Getting back on the subject at hand, the set list presented in Face to Face presents a wide swath of material and talent on the part of both Townshend and the members of Deep End, among whom included Pink Floyd guitarist David Gilmour.  Considering the breadth of material and talent presented throughout the concert’s set list, it becomes clear why the set list is just as important to Face The Face’s overall presentation as the recording’s companion booklet.  It still is not the last element to note in examining this recording.  The concert’s production values round out its most important elements.

Matt Kent’s liner notes included in Face The Face’s companion booklet and the recording’s set list are both key pieces of the recording’s overall presentation.  The booklet expertly sets up the concert experience, preparing audiences for the concert.  The set list is just as important to the recording as its booklet because of the wide array of sources for the featured songs.  Kent outlines the show’s set list in relative depth in his liner notes, adding even more to the concert’s viewing experience.  Keeping all of that in mind, both elements are clearly important pieces to the recording’s whole.  They are only two-thirds of the recording’s whole that should be noted.  Its production values are just as important to note here as its companion booklet and set list. The concert looks and sounds far different than concerts recorded today.  For lack of better wording, the concert’s video and audio are rough.  The thing is that said rough presentation creates a certain appreciation for how far recording technology has come since 1986 (the year when this concert was originally recorded).  Between the sometimes airy sound in the audio mix and the at times equally uneasy cuts between cameras, watching the concert is an interesting experience, especially for those who grew up in the 1980s.  Again, it reminds audiences of how far recording tech has come since the days when this concert was captured. So really, it presents its own history lesson of sorts, too.  Keeping that in mind, the recording’s production values are just as important to its presentation as its companion booklet and set list.  Each element is important in its own way to the recording’s presentation.  All things considered, Face The Face proves in the end to be a recording that, again, Pete Townshend’s fans will appreciate just as much as fans of The Who.  It supports even more this critic’s statement that Eagle Rock Entertainment is the leading name in live recordings.

Eagle Rock Entertainment’s recently released rare performance from Pete Townshend and Deep End is a rare piece that fans of The Who will appreciate just as much as Pete Townshend’s fans.  It proves once again why Eagle Rock Entertainment is the leading name in live recordings.  Those statements are supported in part through the recording’s companion booklet.  The booklet features in-depth liner notes by Matt Kent that will engage readers just as much as the recording’s featured concert if not more so.  Speaking of the concert, its set list is just as important to the recording’s presentation as its booklet.  The concert’s production values play their own key part in its overall presentation, too.  Each element is important in its own right to the concert’s overall presentation.  All things considered, Face The Face proves, once more, to be a recording that The Who fans will appreciate just as much as Pete Townshend’s fans.  Considering the concert’s rarity and everything else noted here, it proves once again why Eagle Rock Entertainment remains to this day the leading name in live recordings.  Face The Face is available now in stores and online.  More information on this and other titles from Eagle Rock Entertainment is available online now at:

 

 

 

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