Temple University Jazz Faculty’s Covers Set Will Appeal To Jazz Audiences

Courtesy: BCM+D Records

Late this past April, Temple University’s jazz faculty, which includes famed trumpet player Terrell Stafford, released a new compilation record through BCM+D Records titled Fly With The Wind.  The four-song collection is, according to its liner notes – penned by Philadelphia Inquirer freelance journalist Shaun Brady – a tribute of sorts to four of the greatest musical names to come from the city of Philadelphia.  Those artists in question are pianist McCoy Tyner, trumpet player Dizzie Gillespie, saxophonist John Coltrane, and Stafford himself.  Clocking in at just under 40 minutes, the compilation is a presentation that offers plenty for audiences to enjoy, beginning with Brady’s liner notes, which will be examined shortly.  The liner notes set the stage for the featured covers, which will be discussed a little later.  The record’s production puts the finishing touch to its presentation and will also be examined later.  Each item noted is important in its own way to the whole of the record’s presentation.  All things considered they make the compilation a presentation that plenty of jazz fans are sure to appreciate.

Fly With The Wind, the new compilation record from the Temple University jazz faculty – Terrell Stafford, Dick Oatts, Bruce Barth, Tim Warfield, Mike Boone, and Justin Faulkner – is a presentation that fans and aficionados of jazz alike will find largely appealing.  That is due in part to its liner notes.  Penned by Philadelphia Enquirer freelance journalist Shaun Brady, the liner notes set the stage for the songs before audiences even start listening to the record.  Case in point, Brady calls the record’s title track, which is a cover of McCoy Tyner’s song, the collection’s centerpiece.  He writes of the energy that Stafford and company put into their performance here, adding their performance is meant to be in itself, a tribute to Tyner and his legacy.  The group’s performance lives up to Brady’s words here, too.  As an added note, Brady points out that the group’s performance is just one of a handful of songs composed by Tyner that has been covered at least in part by Barth.  The other songs on which Barth has worked will be left for listeners to discover for themselves.

On another note, Brady points out of ‘Yes I Can, No You Can’t,’ it is a song originally composed by Lee Morgan and that Stafford had already recorded a cover of the song in 2015.  He notes Barth and Warfield also contributed to that cover.  Barth speaks highly of Morgan and of the song in question in Brady’s notes.  His comments will be left for listeners to read themselves.  The importance of understanding that a large portion of this collective had previously recorded Morgan’s composition is that it can lead listeners to compare that rendition to the version presented in this collection.  That can and likely will deepen the appreciation for both takes, further showing the importance of Brady’s notes.

In writing of the group’s take of Coltrane’s timeless song, ‘Naima’ Brady really gets listeners interested as he writes of Warfield’s “breathy” solo and how it will leave listeners breathless themselves.  Such writing is certain to generate curiosity among audiences and in turn get them to fully immerse themselves in the recording.  It is on more way in which Brady’s talents as a wordsmith add to the overall listening experience here and really as the foundation for the compilation.

While the liner notes composed for Fly With The Wind clearly build a strong foundation for the collection, they are only a part of what makes the record worth hearing.  The songs themselves are at the center of its presentation.  Each song’s arrangement fully lives up to the comments made by Brady, too.  Stafford and company stay largely true to the source material that is Jimmy Heath and company’s work on ‘All Members,’ taking the originally six-and-a-half-minute opus only thirty seconds longer to seven minutes.  Brady writes of the group’s take on the song that the collective slows things down slightly from the original.  In listening to the original, the reduction in tempo certainly is very little.  In fact, if it is there, then it is so minute that it is nearly impossible to discern.  From Barth’s light touch on the piano to the saxophone solo (supposedly from Oatts), to Faulkner’s steady timekeeping and the rich sound from Boone on the bass, the whole makes this song a great opener for the record and equally fitting tribute to Heath and the musicians who helped craft this song.

Oatts and Barth shine just as much in the cover of ‘Naima’ through the simplicity of their approaches.  That is proven through the precision in Oatts’ dynamic control as he takes on Coltrane’s iconic composition.  He creates such a rich, lush soundscape through his performance, and Faulkner’s barely there playing on the drums adds so much in its own right to the whole.  Even Boone, in the equally subtle moments that he shines, adds to the whole, putting so much forward through his simple presentation.  While Brady states the record’s title track is the centerpiece, the fact of the matter is that the less is more approach taken by all involved here really makes this composition the true centerpiece.

Speaking of the record’s title track, the 13-minute-plus composition is still engaging and entertaining in its own right.  Right from the song’s outset, the flourishes that the group presents throw right back to those of Tyner, and Faulkner’s work on the drums is just as tight as that of Tyner in its frenetic approach.  The one main difference between the two renditions is that Tyner’s take is enhanced by a string arrangement that flows just as fluidly as the rest of the controlled chaos in the arrangement.  That string arrangement is not featured in the updated featured in Fly With The Wind.  Even without the strings, the collective’s take here is just as fiery in its energy and overall presentation even as it stays true to the original as much as it can.  It is just on more example of how much the covers that make up the set’s body have to offer audiences.  When they are considered along with the background that Brady offers through his liner notes, that collective content goes to make the set all the more engaging and entertaining.

The content that makes up the body of Fly With The Wind does much to make the collection worth hearing at least once, and it is not all that makes the record worth hearing.  The production puts the finishing touch to the record, bringing everything full circle.  The production is important because its impact is audible throughout the record.  Whether in the more energetic work of the record’s title track, the subtleties of ‘Naima’ or points in-between in the record’s other songs, the utmost work clearly went into bringing each song to its fullest.  The result is a collection that generates a positive general effect from beginning to end.  That positive general effect pairs with the appeal ensured through the content to make the record in whole a presentation that jazz fans and aficionados will find mostly enjoyable.

Fly With The Wind, the new compilation record from the Temple University jazz faculty, is a presentation from the musicians that will find appeal among plenty of jazz audiences.  That is proven in part through its liner notes.  The liner notes are important to note because of the groundwork that they lay for the listening experience.  The songs themselves provide their own positive because they live up to everything noted in the liner notes.  The record’s production ensures a positive general effect from beginning to end because of the attention clearly paid to each aspect of each song and balancing each item within each work.  Each item examined here is important in its own way to the whole of the recording.  All things considered they make Fly With The Wind another positive addition to this year’s field of new compilations.

Fly With The Wind is available now.  More information on this and other titles from BCM+D Records is available at:

Website: https://boyer.temple.edu/about/bcmd-records

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

Twitter: https://twitter.com/boyercollege

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Motorhead Debuts Second Live Clip From Upcoming Montreux Jazz Concert

Courtesy: BMG

For the second time in as many months, Motorhead is giving audiences a preview of its forthcoming live recording, Live at the Montreux Jazz Festival 2007.

The band debuted its performance of ‘I Got Mine‘ Thursday. The performance is the second clip released from the recording so far. The band premiered the recording’s first live clip — that of Thin Lizzy’s ‘Rosalie,’ — in April.

‘I Got Mine’ was originally featured in Motorhead’s 1983 album, Another Perfect Day, making this year the 40th anniversary of that record’s release.

Live at the Montreux Jazz Festival 2007 is scheduled for release Jun 16 through BMG.

The concert featured in the recording was captured July 7, 2007 during Motorhead’s “Kiss Of Death Tour.” It featured the lineup of its legendary front man/bassist Lemmy Kilmister, drummer Mikkey Dee, and guitarist Phil “Wizzo” Campbell.

The band’s 19-song set list includes not only ‘I Got Mine’ and its cover of Thin Lizzy’s ‘Rosalie,’ but also songs, such as ‘Ace of Spades,’ ‘Over The Top’ and ‘Stay Clean.’ The set list is noted below:

Tracklist :

1. Snaggletooth

2. Stay Clean

3. Be My Baby

4. Killers

5. Metropolis

6. Over The Top

7. One Night Stand

8. I Got Mine

9. In The Name Of Tragedy

10. Sword Of Glory

11. Rosalie

12. Sacrifice

13. Just ‘Cos You Got The Power

14. Going To Brazil

15. Killed By Death

16. Iron Fist

17. Whorehouse Blues

18. Ace Of Spades

19. Overkill

Live at the Montreux Jazz Festival 2007 will release on separate 2 LP and 2 CD platforms and digitally. Full details of the recording and its platforms is available here.

Live at the Montreux Jazz Festival 2007 is just the latest Motorhead recording released through BMG. The company most recently re-issued Motorhead’s 1982 album, Iron Fist in September 2022.

Silver Lining Music followed up its release with the re-issue of the band’s 2015 album Bad Magic (the band’s 23rd and final record) in February in the form of Bad MagicSeriously Bad Magic.

Early in April, veteran power metal band Sabaton took on Motorhead’s classic song, ‘1916‘ with its own take of the tune. The song is included in Sabaton’s new EP, Stories from the Western Front.

More information on Live at the Montreux Jazz Festival 2007 is available along with all of the latest Motorhead news at:




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Metallica Announces Details For Upcoming Theatrical Concert Event

Courtesy: Nasty Little Man PR

Fans of Metallica will get to see the band in theaters around the world this summer.

The band announced Thursday, it will hold a two-night event, dubbed “Metallica: M72 World Tour Live From Arlington, TX” Aug. 18 and 20 in theaters around the world. Tickets for the two-night event are available now here.

According to information at the provided site, tickets must be bought separately for each night. There are no ticket bundles to cover both nights. Each night’s set will be different from the other, so audiences will not get the same songs in the second night from the first.

The trailer for the upcoming cinematic concert even is streaming here.

The upcoming concert event is part of the band’s support for its latest album, 72 Seasons, which the band recently released through its own label, Blackened Recordings.

More information on Metallica’s upcoming concert event is available along with all of the band’s latest news at:

Website: https://metallica.com

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

Twitter: https://twitter.com/metallica

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

Yellowcard Announces New Record Deal; Debuts New Single, Video; Tour Launches July 1

Courtesy: Equal Vision Records

Yellowcard is keeping its name in the headlines a lot this year.

The band recently announced a tour set to launch July 1 in Milwaukee, WI and to run through Aug. 18 in Portland, OR. The tour, which will run roughly a month and a half, will take the band from the East Coast to the West with a handful of stops in the heartland along the way.

Now Thursday, the band made another announcement, revealing it has signed a new record deal with Equal Vision Records. The band’s first release with the label is a forthcoming EP titled Childhood Eyes, which is scheduled for release July 7.

Front man Ryan Key said in a prepared statement, he was happy about joining the Equal Vision artist roster.

“I just wanted to let you know how excited we are to be releasing our new EP Childhood Eyes on Equal Vision Records,” Key said. “I still remember in 1999, driving to a little store in Jacksonville Beach where I grew up called CD Connection and purchasing my copy of Saves the Day Through Being Cool. The fact that we’re going to have a record on the same imprint as Saves the Day is so so cool for all of us.  Thank you so much to the Equal Vision family for having us and working so hard to make this EP for you all. We’re looking forward to getting on tour this summer as well.”

Matthew Gordner, Equal Vision Records representative, shared Keys’ enthusiasm about the two sides’ coming together.

“Equal Vision Records holds great admiration for Yellowcard’s exceptional artistic creativity and profound originality; we are thrilled to be afforded the opportunity to contribute to their success during this exciting new chapter,” Gordner said.

In anticipation of the release of the band’s new EP, the group premiered the record’s lead single/title track Wednesday, along with the song’s video. The musical arrangement featured in the band’s new single is a poppy, upbeat composition that is easily comparable to the pop punk sounds of so many of Yellowcard’s contemporaries past and present.

No information was provided about the exact theme in the new single’s lyrical content but the lyrics provided with the video hint at someone who is trying his or her hardest to stay as positive as possible despite so much negativity around that person. That is jus this critic’s interpretation.

It is an interpretation that would sit somewhat in line with Key’s brief discussion on writing the lyrics for each of the EP’s new songs.

“I’ve always enjoyed writing songs where the verses explore the struggle or the pain of an experience, and the chorus tries to find a way out of it,” Key said of the writing process. “That’s a pretty classic Yellowcard thing to do. But I’m particularly proud of these lyrics, because they’re 43 year-old Ryan writing, not 23 year-old Ryan writing. Because although we knew we were trying to capture the spirit of Paper Walls [the band’s 2007 album], we didn’t want to literally recreate it. So instead I got to write from where I am right now. And that’s kind of the mission statement of this whole thing—I found this again and I’m not going to give up.”

The video for ‘Childhood Eyes’ finds Key having to save his band mates from the clutches of a group of very young mercenary types who are torturing the men through means of music, cartoons (yes, cartoons) and water. The group manages to escape in the end, not to give away too much. The band’s new single plays over the visualization as the story plays out.

‘Childhood Eyes’ is on of five songs featured in Yellowcard’s forthcoming EP. The record’s track listing is noted below:

(hi-res EP art)

  1. Three Minutes More (feat. Vic Fuentes of Pierce The Veil)
  2. Childhood Eyes
  3. Hiding In The Light
  4. Honest From The Jump
  5. The Places We’ll Go (feat. Chris Carrabba of Dashboard Confessional)

The dates for the band’s upcoming tour are noted below. Tickets are available here.

^ signifies dates with Mayday Parade
* signifies dates with Story of the Year
# signifies dates with Anberlin
+ signifies dates with Emo Night Brooklyn DJ set
All dates with This Wild Life

~ Not a Live Nation date

New dates in bold
Tickets On Sale HERE
Jul 01        Milwaukee, WI          Summerfest
Jul 05        Baltimore, MD          Pier Six Pavilion ^*
Jul 06        Asbury Park, NJ       Stone Pony Summer Stage *
Jul 08        New York, NY           The Rooftop at Pier 17 *
Jul 09        Boston, MA               MGM Music Hall at Fenway ^*
Jul 11         Philadelphia, PA       Skyline Stage at the Mann *+
Jul 12        Cuyahoga Falls, OH  Blossom Music Center ^*
Jul 13        Detroit, MI                  Michigan Lottery Amphitheatre at Freedom Hill ^*+
Jul 15        Minneapolis, MN      The Armory ^*
Jul 16        Chicago, IL                 Huntington Bank Pavilion at Northerly Island ^*+
Jul 18        Charlotte, NC             Skyla Credit Union Amphitheatre ^*
Jul 20        Atlanta, GA                Cadence Bank Amphitheater at Chastain Park ^*
Jul 21        Jacksonville, FL         Daily’s Place ^*+
Jul 22       Jacksonville, FL         Daily’s Place ^*+
Jul 23        Tampa, FL                  Yuengling Center ^*+
Jul 25        Houston, TX               713 Music Hall ^*
Jul 26      Austin, TX                Stubbs Waller Creek Amphitheater +
Jul 27        Irving, TX                     The Pavilion at Toyota Music Factory ^#
Jul 29        Phoenix, AZ                 Arizona Financial Theatre ^#+
Jul 30        Los Angeles, CA          YouTube Theater ^#+
Aug 01       San Diego, CA              Petco Park – Gallagher Square ^#
Aug 02      San Francisco, CA       Bill Graham Civic Auditorium ^#+
Aug 04      Seattle, WA                   WAMU Theater ^#
Aug 05    Garden City, ID       Revolution Concert House & Event Center +
Aug 06      Salt Lake City, UT        USANA Amphitheatre #+
Aug 08      Denver, CO                   Levitt Pavilion Denver #+
Aug 10     Indianapolis, IN     TCU Amphitheater at White River State Park ^*+
Aug 12     Pittsburgh, PA         Four Chord Music Festival ~
Aug 13     Worcester, MA        Palladium Outdoors ^*+
Aug 15     Hershey, PA              GIANT Center ^*+
Aug 17     Syracuse, NY            St. Joseph’s Health Amphitheater at Lakeview  ^*+
Aug 18    Portland, ME            Cross Insurance Arena  ^*+

The band’s upcoming tour is in support of its 2003 album, Ocean Avenue. Mayday Parade, Story of the Year, Anberlin, and This Wild Life will share time as support for the tour.

Key recently said he and his band mates — Sean Mackin (violin), Josh Portman (bass), and Ryan Mendez (guitar) — are all looking forward to getting back together on the road again.

“Announcing a Yellowcard tour is something I never thought we would get to do again, much less, a tour with bands of this caliber made up of such amazing people and good friends,” Key said. “Being given the opportunity to play music together again is truly a gift that we are not taking for granted. We are going to make these shows extremely special for all of the fans who we have missed so much these last six years.”

More information on Yellowcard’s upcoming tour is available along with all of the band’s latest news at:



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Extreme Debuts New Album’s Latest Single, Video

Courtesy: earMusic

Extreme unveiled another new single and video from its forthcoming album, Six, this week.

The band premiered its new single, ‘Other Side of the Rainbow‘ and its video Wednesday. The single and its companion video are the fourth from the album behind the album’s other three singles, ‘Rise,’ ‘Banshee,’ and ‘Rebel.’

The album’s track listing is noted below:

SIX Track listing:

1. Rise

2. #Rebel

3. Banshee

4. Other Side of the Rainbow

5. Small Town Beautiful

6. The Mask

7. Thicker Than Blood

8. Save Me

9. Hurricane

10. X Out

11. Beautiful Girls

12. Here’s to the Losers

The song’s musical arrangement is a steady, mid-tempo rocker that honestly harkens back to some of the light rock sounds and styles of the 1990s a la Gin Blossoms and others of that ilk. It establishes a positive mood through its arrangement, and that mood is enhanced through the song’s lyrical theme, which focuses on the message that love can be found and is possible.

The theme is illustrated through the song’s video, which features the story of a young couple in love going out and about. The couple goes to the beach and on a road trip before the young man returns his love interest to her house at day’s end. Meanwhile the band performs its new single in a sunlit field as the song plays over the collective visualization.

In other news, Extreme recently announced a tour in support of Six. The tour, which will see Living Colour and The Last Internationale serve as support, is scheduled to launch Friday in Sao Paulo, Brazil at the Best of Blues and Rock festival. After the performance at the festival before fully jumping into the tour Aug. Aug. 2 in Portland, ME. The North American leg of the tour is scheduled to run though Aug. 29 in Seattle, WA.

After wrapping the North American leg of the tour, Extreme will head down under for the Australian leg of the tour, starting Sept. 6 in Perth, Australia. The Australian leg of the tour runs through Sept. 13 in Brisbane, AU.

A brief run through Japan from Sept. 19-26 will follow the Australian dates. Two of the band’s dates in Japan are already sold out. A run through Europe and the United Kingdom will wrap the band’s global tour from Nov. 27 to Dec. 16.

Tickets for the band’s tour go on sale Friday here. The tour’s schedule is noted below:


6/2     Sao Paul, BR – Best of Blues and Rock Festival

8/2     Portland, ME – State Theatre #

8/3     Hampton Beach, NH – Hampton Beach Casino Ballroom # **SOLD OUT**

8/5     Boston, MA – Roadrunner #

8/6     Huntington, NY – The Paramount #

8/8     Reading, PA – Santander Performing Arts Center #

8/10   Sayreville, NJ – Starland Ballroom #

8/11   Hartford, CT – Webster Theater #

8/12   Glenside, PA – Keswick Theater #

8/14   Detroit, MI – St. Andrews Hall # **SOLD OUT**

8/15   Milwaukee, WI – Pabst Theater #

8/17   Gary, IN – Hard Rock Live #

8/18   Minneapolis, MN – Skyway Theatre #

8/19   Cedar Rapids, IA – The Paramount #

8/21   Denver, CO – The Ogden #

8/22   Albuquerque, NM – Revel Entertainment Center #

8/24   Anaheim, CA – House of Blues #

8/25   Reno, NV – Silver Legacy Resort Casino #

8/26   San Francisco, CA – The Regency #

8/28   Portland, OR – TBD #

8/29   Seattle, WA – The Showbox #

9/6     Perth, AU – Regal Theatre #

9/8     Adelaide, AU – Hindley Street Music Hall #

9/10   Melbourne, AU – Forum #

9/12   Sydney, AU – Enmore Theatre #

9/13   Brisbane, AU – Fortitude Music Hall #

9/17   Sendai, JP – Sendai Gigs

9/19   Yokohama, JP – KT Zepp Yokohama **SOLD OUT**

9/21   Tokyo, JP – Hitomi Memorial Hall **SOLD OUT**

9/22   Tokyo, JP – Hitomi Memorial Hall

9/25   Nagoya, JP – Shimin Kaikan Hall

9/26   Osaka, JP – Zepp Namba

11/27 Newcastle, UK – O2 City Hall #

11/28 Glasgow, UK – O2 Academy #

11/30 Manchester, UK – O2 Academy #

12/1   Wolverhampton, UK – Civic Hall #

12/3   Bristol, UK – O2 Academy #

12/4   London, UK – O2 Forum #

12/8   Pratteln, CH – Z7 Konzertfabrik *

12/10 Berlin, DE – Huxleys *

12/11 Cologne, DE – Live Music Hall *

12/12 Amsterdam, NL – Melkweg Max *

12/14 Antwerp, BE – Trix *

12/16 Milan, IT – Alcatraz *          

# with Living Colour

* with The Last Internationale

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

Website: https://extreme-band.com

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

Twitter: https://twitter.com/ExtremeBand

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

Primal Fear Announces New Album Details; Premieres Album’s Lead Single, Video; Announces New Live Dates

Courtesy: Atomic Fire Records

Primal Fear will tentatively release its latest album this summer.

Code Red is scheduled for release Sept. 1 through Atomic Fire Records. In anticipation of the album’s release, the band premiered the album’s lead single, ‘Another Hero‘ and its companion video Wednesday.

The musical arrangement featured in Primal Fear’s new single is everything that audiences have come to expect from the band throughout its catalog, opening with a solid power metal style guitar riff that very quickly leads into front man Ralf Scheepers’ building operatic power metal vocal delivery style. It is a work that will appeal just as much to the band’s established audiences as to power metal fans in general.

The song’s lyrical theme is meant to address the need for something optimistic in this world so to speak, and Scheepers addressed the theme in a brief statement.

“Sometimes I wish there would be ‘Another Hero’ who shows mankind how to get along with each other in peace and harmony,” Scheepers said.

The video for the new single is a relatively straight forward presentation in its own right. It features the band on a sound stage dressed to look like a live stage setting and crosses that with images of statues that look to be ancient Greek and/or Roman figures as the song plays over the collective visualization.

Speaking of a live setting, the band is scheduled to launch a tour in support of Code Red Sept. 1 in Stuttgart, Germany. The tour’s official launch will follow a planned festival performance June 24 at Koba Live in Abadino, Spain. The tour is scheduled to run through Sept. 10 in Pratteln, Switzerland.

The tour’s schedule is noted below:

Primal Fear Live:

6/24/2023 Koba Live – Abadiño, ES

w/ The Unity – Code Red European Tour – Part 1:

9/01/2023 Im Wizemann (Halle) – Stuttgart, DE

9/02/2023 Kaminwerk – Memmingen, DE

9/03/2023 Frankenhalle – Naila , DE

9/05/2023 Backstage (Werk) – Munich, DE

9/06/2023 Zeche – Bochum, DE

9/07/2023 Batschkapp – Frankfurt, DE

9/09/2023 Le Port Franc – Sion, CH

9/10/2023 Z7 – Pratteln, CH

The full track listing for Code Red is noted below

Code Red Track Listing:

1. Another Hero

2. Bring That Noise

3. Deep In The Night

4. Cancel Culture

5. Play A Song

6. The World Is On Fire

7. Their Gods Have Failed

8. Steelmelter

9. Raged By Pain

10. Forever

11. Fearless

More information on Primal Fear’s new album, single, video, and tour is available along with all of the band’s latest news at:

Website: https://www.primalfear.de

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

Twitter: https://twitter.com/Matsinner1

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

Mercury Studios Announces Re-Issues From The Stranglers

Courtesy: Mercury Studios

The Stranglers will see four of its albums get the re-issue treatment this summer.

Mercury Studios officials announced Wednesday, the company is scheduled to release the band’s 1990s albums, — About Time (1995), Written in Red (1997), Coup de Grace (1998) and the band’s live 1997 recording, Friday The Thirteenth: Live at The Royal Albert Hall — July 7 on a four-CD set. Pre-orders are open.

All four albums were previously released in the 1990s by Mercury Studios when it was known as Eagle Rock Entertainment.

The records feature the lineup of Paul Roberts (vocals), Jean-Jacques Burnel (bass, vocals), John Ellis (guitar), Dave Greenfield (keyboards) and Jet Black (drums). The band’s live recording finds its members performing songs, such as ‘Golden Brown,’ ‘Skin Deep,’ and ‘No More Heroes’ along with a cover of The Kinks’ ‘All Day and All Of The Night.’

More information on the box set is available along with other titles from Mercury Studios at:




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Queens Of The Stone Age Premieres New Album’s Second Single, Lyric Video

Courtesy: Matador Records

Queens of the Stone Age is giving audiences another preview of its new album, In Times New Roman.

The band premiered the album’s new single, ‘Carnavoyeur‘ and its lyric video Wednesday. The song’s arrangement is a stark contrast to that of the album’s lead single, ‘Emotion Sickness,‘ which the band premiered early this month. Where that song is a lively, upbeat familiar style stoner/fuzz work from the band, the group’s new single is more contemplative in its mid-tempo approach. There is something about the song — perhaps the guitars, or the keyboard line or maybe even both — that make the song comparable in its sound and style to works from the likes of Depeche Mode. It really is an interesting departure of style for the band but fully engaging and entertaining because of that surprising approach.

No information was provided about the song’s lyrical theme in the news release announcing the premiere of the new single and video. The lyrics provided in the video hint at a message of perseverance, of not giving up in life. That is just this critic’s interpretation.

Speaking of the song’s lyric video, it features the song’s lyrics mixed into a decidedly psychedelic background as the song plays over the unique visualization.

Both of the singles premiered so far from Queens of the Stone Age are featured in the band’s forth coming album, In Times New Roman, which is scheduled for release June 16 through Matador Records.

More information on Queens of the Stone Age’s new album, single, and lyric video is available along with all of the band’s latest news at:




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

Jazz Fans Will All Find Something To Enjoy About Matt Barber’s New Covers Set

Courtesy: MB Records

Late last month, jazz vocalist Matt Barber released his latest record, The Song Is You, through his independent label, MB Records.  The 12-song record is one more of so many covers compilations released so far this year and while its featured songs do not necessarily break any new ground in terms of the arrangements themselves or in the bigger picture of the year’s new covers sets, it does prove itself worth hearing at least once.  One of the most notable of the covers featured in this collection is that of ‘East of the Sun (and West of the Moon).’  This cover will be examined shortly.  The set’s penultimate entry, the Barber’s cover of the timeless ‘Moon River,’ is another piece worth examining.  It will be discussed a little later.  Barber’s take of ‘I Remember You’ is another piece worth examining and will also be discussed later.  Each composition noted here does its own part to make The Song Is You interesting.  When they are considered alongside the rest of the record’s entries, the whole makes the collection in whole worth hearing at least once.

The Song Is You, the recently released covers compilation from jazz vocalist Matt Barber, is not a groundbreaker among this year’s field of covers sets but is still worth hearing at least once.  Each of its featured covers makes that clear in its own way.  One of the songs that makes that clear is the early entry, ‘East of the Sun (and West of the Moon).’  Originally recorded in 1934 by Brooks Bowman and popularized by Hal Kemp, it has also been covered by the likes of Tommy Dorsey, Benny Goodman and Stan Getz.  The original composition recorded by Kemp and his orchestra is a wonderfully warm big band work from the earliest era of big band.  The trombone and muted trumpet work alongside what sounds like either a guitar or piano and clarinets to make the whole so rich and immersive even though it tops off at barely more than a minute in length.  Barber’s rendition meanwhile stretches out that run time to nearly six minutes and turns it on its ear with a much more symphonic approach in a gentler bossa nova style arrangement.  It is a stark contrast to the song made so popular all those decades ago by Kemp and company.  Barber’s vocals are so gentle and flowing here but thankfully never to the level of some schmaltzy lounge lizard.  The warmth and richness exhibited throughout the song — thanks to the string arrangement at its heart, and the flugelhorn that compliments the strings – makes the song just as immersive, engaging and entertaining as in the original composition.  It points out in its own way why the record is worth hearing.

Another song that shows what this collection has to offer comes much later in the record’s 47-minute run time in the form of the cover of ‘Moon River.’  Perhaps most well-known for its inclusion in the soundtrack to the 1961 Audrey Hepburn classic, Breakfast at Tiffany’s, it was originally recorded a year prior by Henry Mancini and Johnny Mercer.  Their rendition of the timeless song helped to revive Hepburn’s career at the time as she was the one who actually performed the song in the noted movie.  There was no lip synching involved.  The almost call and response of the strings against the other instruments and the choral style vocals was something that was so commonplace among movies of the era.  That included standard movies and musicals.  It’s that saccharine sweet style approach that is schmaltzy in its own right yet so endearing.  Barber’s rendition meanwhile is much more stripped down by comparison.  It is just the quartet of him, pianist Bradley Young (who also produced the compilation), bassist Brian Ward and drummer Greg Sadler.  Sadler’s gentle use of the brushes on the snare as he keeps time and Ward’s steady bass line works so fluidly with Young’s work on the keys to make the whole actually something of an improvement on the original, believe it or not.  The whole really lives up to the old adage that less truly is more.  What’s more it is just one more example of what makes this collection worth hearing, even if only once.  The cover of ‘I Remember You’ is yet another example of what makes the set worth hearing.

Originally composed in 1941 by Victor Schertzinger and Johnny Mercer, it was popularized the same year by Tommy Dorsey and featured shortly after in the hit 1942 movie, The Fleet’s In (which starred screen legend William Holden).  Since its premiere more than eight decades ago, it has gone on to be covered multiple times over by the likes of Ella Fitzgerald, Glen Campbell, and Tony Bennett just to name a handful of well-known figures.  The rendition made famous by Dorsey and his orchestra is a light, bouncy composition yet so controlled at its heart.  Listeners could argue there is something of a slight samba approach to the song even with its light ballroom swing fully audible.  It is a song that is sure to engage and entertain listeners.  Barber and company stay largely true to the source material in their take on the song, just in a much more minimalist approach once again.  Instead of the full big band presentation from Dorsey and his orchestra, Barber is accompanied here by Ward and Sadler once again on bass and drums respectively.  Tony Guerrero and Don Amarillo join the group on flugelhorn and guitar respectively to make the group a septet this time.  Even in their performances, the musicians are controlled in their presentations even as they make the most of their time in the proverbial limelight.  The result of each musician’s work is a composition that creates something of an easy listening style song yet is still engaging and entertaining in its own right as it creates its own identity.  It really is an interesting presentation in its own right even in comparison to other covers of the classic song.  It is just one more example of what makes The Song Is You listenable.  When it is considered along with the other songs examined here and with the rest of the record’s entries, the whole makes the set a compilation that is worth hearing at least once.

The Song Is You, the new compilation from Matt Barber, does not break any new ground within this year’s field of new covers compilations.  That aside, it is still a presentation that most audiences will find interesting.  That is proven from the beginning to the end of the collection with each cover.  While the covers do not necessarily break a lot of new ground from their source material (or in comparison to other covers of the songs) they are still engaging and entertaining.  The songs examined here make that clear.  When they are considered along with the rest of the album’s entries, the whole of the record makes the set a presentation that jazz fans will find worth hearing at least once.

The Song is You is available now through Barber’s own independent label, MB Records.  More information on the compilation is available along with all of Barber’s latest news at:

Website: https://www.MattBarberExperience.com

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

Twitter: https://twitter.com/mattbarbermusic

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

Gorillaz Announces New Live Dates

Courtesy: Warner Brothers Records/Parlophone

Gorillaz will wrap up the North American tour in support of its latest album this fall.

The group announced Tuesday, four new live North American dates in support of its latest album, Cracker Island, which was released in February through Warner Brothers Records/Parlophone. The four-date tour is scheduled to launch Sept. 10 in Los Angeles, CA and to run through Sept. 19 in Boston, MA.

Ticket pre-sales are set to open at 10 a.m. Wednesday. General ticket sales open at 10 a.m. local time June 2. The tour’s schedule is noted below:

‘The Getaway’ Shows
Fall 2023

Sun Sep 10 – Los Angeles, CA – BMO Stadium
Wed Sep 13 – Austin, TX – Q2 Stadium
Sat Sep 16 – Chicago, IL​– Credit Union 1 Amphitheatre
Tue Sep 19 – Boston, MA – Fenway Park

KAYTRANADA, Lil Yachty and Remi Wolf to support on all dates.

More information on Gorillaz’s upcoming live dates is available along with all of the group’s latest news at:

Website: https://gorillaz.com

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

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