T.R.O.Y. Takes On America’s Media Machine In New Single, Video

Independent hard rock band The Reality of Yourself (T.R.O.Y. for short) debuted the video for its latest single this week.

The Springfield, MO-based band unveiled the video for its new single ‘Wicked World’ on Friday.  The video illustrates the song’s message about the way in which the media — on both sides of the aisle — spins the news and the effect of that spin from both sides.  The band discussed that message in a collective statement about the song.

“Truth is, good news doesn’t sell,” the band said.  “We have all been fed a lie or two.  ‘Wicked World’ just talks about how poisoned the spring really is.  #WickedWorld #Unplugged #FalseMedia #TallTales #Newspeak #Orwellian #MediaSensationalism #TheRealityOfYourself”

Courtesy: TAG Publicity

Audiences can hear ‘Wicked World’ and more of T.R.O.Y.’s music live as the band is performing this weekend at the annual Rocklahoma festival.  The band also has live dates scheduled with Red Sun Rising, P.O.D., Alien Ant Farm, Buckcherry and Lit through the summer.  The band’s current live schedule is noted below.

Catch T.R.O.Y. Live:
05/26 @ Rocklahoma – Pryor, OK
05/27 @ Rocklahoma – Pryor, OK
05/28 @ Rocklahoma – Pryor, OK
05/29 @ Old Rock House w/ Red Sun Rising – St. Louis, MO
06/01 @ The Riff – Springfield, MO
06/23 @ TBA
08/12 @ Gen X Tour w/ Buck Cherry, POD, Alien Ant Farm, Lit – Nixa, MO
09/22 @ Uno Rios TX Rally & Music Festival- New Braunfels, TX

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

 

Website: http://www.therealityofyourself.com

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

Twitter: http://twitter.com/RealityofTROY

 

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Just 6 Hours Debuts ‘One Way Doors’ Lyric Video

Courtesy: Moto Records

Indie alt-rock band Just 6 Hours has unveiled the lyric video for its latest single.

The Asbury Park, New Jersey-based band debuted the lyric video for its latest single ‘One Way Doors‘ on May 6.’  The song is lifted from the band’s latest EP Sober, which is available now via Moto Records.

The band said in a collective statement that its new song is centered on the dangers of drug abuse.

“‘One Way Doors’ is about drug use and not being able to become sober, like going through a door and not being able to open it back up, hence the title, ‘One Way Doors,’ the band said.  “The lyrics use quotes from real drug addicts.”

More information on ‘One Way Doors’ is available online now along with all of Just 6 Hours’ latest news and more is available online now at:

 

Website: http://www.just6hours.com

Facebook: http://www.facebook.com/Just6Hours

 

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Burn The Priest/LOG’s New Covers Record Will Appeal To Rock, Metal Fans Everywhere

Courtesy: Epic Records

Lamb of God has, over the course of some two decades, made quite the name for itself within the metal community.  It has, in fact, made such an impact that it has come to be considered in some circles as one of the metal world’s elite acts.  Before rising to such fame, the Richmond, Virginia-based band went by another name and was working just as hard to make a name for itself.  It went by the name Burn the Priest, which obviously makes it a good thing that the band decided to change names.  Of course while the band changed its names, it never has forgotten its roots, as is evidenced in its new tribute/covers collection LegionXX.  Released just this past Friday, the 10-song compilation pays tribute to the bands that inspired Lamb of God, Nee Burn The Priest while also using the band’s former name to put emphasis on that former name to show where Lamb of God is and has been.  It is definitely a record that is aimed at Lamb of God’s most devout fans that ironically serves as its own music history lesson at the same time for audiences in general.  That shows a dual purpose here that adds even more to the record’s value.  The arrangements presented in each song play their own collective role in the album’s presentation that deserves attention, so it will be discussed later.  The record’s sequencing puts the final touch to its presentation and will also be discussed later.  Each element is important in its own right to the album’s whole.  All things considered, LegionXX proves to be a record that will appeal both to Lamb of God’s most devout fans and to the rock and metal “legions” around the world.

Burn The Priest/Lamb of God’s new tribute to its roots LegionXX is an interesting new offering from the band.  On the surface, it does come across as one of those obligatory contract satisfying space fillers.  On another level though, it is a little bit more than that.  First, it is a tribute in itself to the bands that inspirited Lamb of God’s members.  Second, it is a music history lesson for the rock and metal masses who otherwise might not have been overly familiar with those same bands.  Case in point, the cover of Cro-Mags’ ‘We Gotta Know.’  The band itself started way back in the 1980s, so while some of LOG’s fans might be familiar with that band, odds are the majority are not so familiar with the band, let alone the song.  That is even with ‘We Gotta Know’ getting attention on MTV.  The song was included in Cro-Mags’ 1986 debut album The Age of Quarrel, so again, likely only a certain cross-section of LOG’s fans today are that familiar with this record.  Bad Brains is another relatively well-known band in its own right because of its punk and hard rock leanings.  Yet today it is, again, likely not as well-known as the bands that it influenced.  So having this forebear included in the mix – with one of its biggest hits no less – is important to note.  Considering Bad Brains’ overall sound and that of Burn The Priest/Lamb of God, one can definitely hear the influence on the latter by the prior.  Sliang Laos is probably the absolute least known of the bands included in this compilation.  Fellow Richmond, Virginians, this band was known to a very limited audience, and has until now remained so incognito – for lack of better wording.  So, having that band included here with its more well-known counterparts can only serve a positive purpose for the band’s legacy.  What’s more, the other bands featured in this compilation are just as positively served because of the rejuvenated attention on their histories and music.  Keeping that in mind, the bands and songs featured in this collection may make it a contractually obligated space filler, but it’s one that still at least serves some purpose.  Keeping this in mind, while the songs and bands featured form a strong foundation for this record, they are not, collectively, its only important element.  The arrangements of said songs are just as important to discuss as the songs themselves.

The arrangements presented here are so important to discuss because they stay so close to their source material and because of the variety in their sounds.  BTP/LOG cover of The Melvins’ ‘Honey Bucket’ supports that statement.  The cover included in LegionXX sticks almost exactly to the original, with the only difference being between Randy Blythe’s scathing vocal delivery and that of Roger Osborne.  Osborne sounds on the Melvins’ original more akin to Metallica front man James Hetfield in his youth while Blythe’s vocal delivery is far more brutal.  That is not a comparison of who’s better.  Rather it is merely an objective notice.  Keeping that in mind, BTP/LOG’s take on this thrash classic will definitely appease those who are familiar with the original.  The same can be said of the cover of Ministry’s ‘Jesus Built My Hot Rod.’  Though in the case of this one, the major difference comes in the song’s spoken word intro.  Whereas Al Jourgensen made a rather blasphemous statement about Jesus in the original song’s introduction, Blythe was smart enough not to go that route.  Instead, he jokingly said Jerry Lee Lewis was the devil and that “Jesus was an architect previous to his career as a prophet.”  That goes in line with the story that Burn The Priest became Lamb of God in order to keep itself from being mislabeled as a Satanic band.  It shows a certain thought on the part of Lamb of God’s members (especially Randy Blythe) to go that route instead of Al Jourgensen’s more blasphemous route.  Other than that, the two takes are virtually identical.  The same can be said of the cover of Sliang Laos’ ‘Axis Riot.’  The cover featured here sticks almost entirely to its source material, right down to Blythe’s vocal delivery.  Yes, Blythe actually opts for a clean delivery here just as was done with the original instead of his trademark cookie monster growl.  It’s a nice change of pace, and also serves to show Blythe’s true range.  It’s something hopefully he will consider utilizing more in Lamb of God’s future albums.  Keeping this in mind, this is just one more way in which the arrangements in this record prove to be so important to its overall presentation.  The band doesn’t try to go over the top, nor does the band try to go in any different route, opting instead to stick to their source material.  When that is considered along with the value of the musical history lesson provided by the songs themselves, those two elements together make this record all the more worthwhile for the most devout BTP/LOG fans.  Even as important as they are to the record’s whole, they are not its only important elements.  The record’s sequencing is the last touch to note in examining its whole.

Audiences who have yet to pick up LegionXX will be pleased to know that the sequencing of this record is just as applause-worthy as its songs and their arrangements.  The record starts off full-throttle with the cover of The Accused’s ‘Inherit The Earth.’  From there, the energy doesn’t let up for even a moment.  That is even as the varied styles change from one song to the next.  The change of that song to the full on hard rock assault of ‘Honey Bucket’ to the more brooding ‘Kerosene’ in the record’s first trio of works clearly exemplifies this statement.  The band keeps things moving solidly with the equally solid hard rock arrangement of ‘I Against I’ before moving into the semi-punk vibe of ‘Axis Riot.’  The variance in the songs’ energies is just as slight from here on right to the record’s end.  The end result is a record whose energies from start to finish are just as certain to keep listeners engaged and entertained as its songs and their arrangements.  All three elements play together to make the album overall a record that is certain to appeal to a wide range of rock “legions.”  Yes, that pun was intended.

Lamb of God’s tribute/covers album, which pays tribute to its own past and the bands that influenced its members, is a record that even being another covers record, is certain to appeal to a wide range of rock and metal fans.  This is proven in part through the record’s featured songs.  The songs’ arrangements are just as important as the songs themselves in keeping listeners’ ears.  That is because while staying true to their source material, these arrangements keep still add their own touch to make the originals just as hard-hitting as ever.  The energies in the arrangements put the final touch to the album, ensuring once and for all, listeners’ engagement throughout.  At this point, it should be clear why all three noted elements are so critical to LegionXX both alone and collectively.  All things considered, they make LegionXX a record that will appeal just as much to LOG/BTP’s most devout fans as it will to rock and metal audiences in general.  It is available now in stores and online.  More information on LegionXX is available online now along with all of Lamb of God’s latest news and more at:

 

Websitehttp://www.lamb-of-god.com

Facebookhttp://www.facebook.com/lambofgod

Twitterhttp://twitter.com/lambofgod

 

 

 

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3 Years Hollow Returns With Hard Rocking New Single

Midwest melodic hard rock act 3 Years Hollow is back.

The independent act released its first new music in…well…three years on May 15.  It came in the form of the song ‘You And I.’  That single was accompanied by a lyric video that is streaming online now.  Front man Jose Urquiza explained in a recent interview, that the song is a tribute of sorts to the band’s fans.

“For us, ‘You And I’ was more of a thank you to our fans that have supported us over the years,” Urquiza said.  “This band has a new attitude, and our past experiences have become the writing fuel for a new album that will break all the previous molds of what 3YH was.  the break we took the last few years was much needed, but we’re incredibly excited to be writing together again.”

Courtesy: TAG Publicity

More information on ‘You And I’ is available online along with all of the latest news from 3 Years Hollow at:

 

Website: http://www.3yearshollow.com

Facebook: http://www.facebook.com/3yearshollow

Twitter: http://twitter.com/3yearshollow

 

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.

David Michael George Announces Album Release Party For ‘1,000 Yard Stare’

Courtesy: Hand Drawn Records

Independent musician David Michael George released his new album 1,000 Yard Stare late this past March, and in celebration of its release, the funk-rocker has announced a new performance.

George will hold an album release party May 26 at Three Links Deep Ellum in Dallas, Texas.  George debuted the lyric video for the record’s latest single ‘Find My Way Home‘ in March 19.  Musically, it is a work that will appeal to fans of Marc Brussard, Tedeschi Trucks Band, Joe Bonamassa and other similar acts.  The soulful song’s lyrical theme comes across as someone saying he is just trying to do the best that he can in life.

The lyric video for ‘Find My Way Home’ came only two weeks after he premiered the video for the equally soulful, bluesy ‘Just Aint’ The Same,’ which shows even more the reach of George’s talents (and those of his fellow musicians).  Both musically and lyrically, this song so clearly hints at great works from the likes of Etta James, Ray Charles and so many other similar acts.  It is a stunning work to say the least that adds to 1,000 Yard Stare.

More information on both singles is available online now along with more information on 1,000 Yard Stare and all of George’s latest news at:

 

Website: http://davidmichaelgeorge.com

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

 

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Listeners Of All Ages Will Clap Their Hands Together For Shelton’s ‘Hand In Hand’

Courtesy: Suzimusic, LLC

Early this month, family entertainer Suzi Shelton finally ended a nearly four-year wait for some new music when she released her new album Hand in Hand.  Her fourth full-length studio recording (her 2016 holiday covers record only boasts 5 songs, so it clearly is not a full album), this nine-song, 29-minute record succeeds in part because of its varied musical arrangements.  This will be discussed shortly.  The lyrical themes presented throughout the record are just as varied.  They will be discussed later.  The album’s sequencing puts the final touch to the album’s presentation.  When all three elements are joined, they make Hand in Hand a record that is sure to leave listeners joining their hands in united applause.

Suzi Shelton’s latest full-length studio recording Hand in Hand is another successful entry from the veteran family entertainer.  That is proven in part through the varied musical arrangements that make up the album’s body.  Case in point the juxtaposition of the pop-centered arrangement at the core of ‘Can You Feel The Power’ to the gentle, almost tropical vibe of ‘River Come Down.  The two songs present two wholly different genre specific sounds.  The same can be said of every other song on this record.  ‘Put Your Hands in the Air,’ the album’s opener, boast a certain pop sensibility that might conjure thoughts of certain Christian bands.  Of course that might be in part because of Shelton’s refrain of “make a joyful sound.”  Odds are she wasn’t going for a Christian comparison, but that line and the song’s musical arrangement together lead at least this critic to make that comparison.  That’s not a bad thing.  It’s just an observation.  The song’s lyrical content will be discussed later.  Staying on the topic at hand, Shelton doesn’t stick to that one style.  ‘Ladybugs’ is a fun, light-hearted bluesy piece that will appeal to listeners of any age.  The keyboard and ukulele at the center of ‘Never Let You Go’ is more kid-friendly, but still fun in its own right.  Much the same can be said of the arrangement at the center of ‘The Grass Is Always Greener.’  ‘Raindrop’ boasts a keyboard-centric arrangement that will easily appeal to any grown-up who grew up a fan of similar sounds from the 1980s.  Yes, Shelton even jumps back to the 80s in this album’s musical side.  ‘Blue Fin’ an n easygoing jazz arrangement that will appeal to the fans of that noted genre while ‘We Shall Walk’ – the album’s finale – goes back to the album’s more kid-friendly leanings.  Considering the constant change in the album’s musical arrangements, as shown here, it should be clear why the record’s arrangements are so critical to its presentation.  They offer music that while maybe not for everyone per se, will appeal easily to a wide range of audiences.  Keeping that in mind, it does more than enough to make the album worth hearing.  They collectively are only one way in which this record proves itself worth the listen.  The lyrical themes presented throughout the record vary just as much as its arrangements.

Since we ended with the record’s finale in discussing its musical arrangements, we will start there in the discussion of its lyrical themes.  Shelton has composed here, a song that focuses on the importance of community and unity.  It’s a statement that is easily accessible and thankfully doesn’t feel preachy, either.  She sings here that “we shall love/One another/Everyday/Deep in my soul/I dream/That we shall walk/Hand in hand/Everyday.  In a certain sense, it harkens back to the words of The Rev. Dr. Martin Luther King, Jr. as she sings about “no racism, no judging anymore”.  What’s really sad here is that this is a message that today’s adults need to hear just as much as children, as is evidenced on the news every single day.  ‘Can You Feel The Power’ is another positive piece in regards to its lyrical content.  This song is one that works to instill a sense of peace and love in her listeners.  She sings here, “It’s your choice/To be yourself/To  be great, to be fine/To grow from inside/Let’s go/Now is the time to spread your wings and reach up high for you/And the new generation of movers and shakers/Let’s stop with the haters/Be kind/Show all the world the greatest can start when you lead with your heart/Can you feel the power/The power that’s inside you/Let the power take you/Where you want to go.”  She goes on to sing about spreading love and hope while continuing to present her message of self-confidence.  It’s a wonderful message that again, adults could benefit from hearing just as much as children, which again is such a sad statement.  Adults shouldn’t need these reminders, yet apparently they do need said reminders, so kudos to Shelton again for presenting this message for every listener.  ‘The Grass Is Always Greener’ presents its own important message that once again, older listeners could benefit from hearing just as much as children.  That message is a reminder that we should be happy with who and where we are and not always want to be something and somewhere else.  That’s because…well…the grass isn’t always greener.  Shelton doesn’t go into a full on speech about that, but adults especially will understand.  That being the case, this song makes for a great starting point for a discussion between parents and kids about being happy with themselves.  Who knows, even adults might walk away from said discussion with some enlightenment of their own in the end.  It’s just one more way in which the album’s lyrical content proves to be just as important to its presentation as its musical arrangements.  While both elements are undeniably key to the album’s whole, they still are not its only important elements.  The record’s sequencing rounds out the most important of its elements.

The sequencing at the center of Hand in Hand is critical to note because it is just as important as the album’s songs and its lyrical themes in ensuring listeners’ engagement and entertainment as the album’s songs and lyrical themes.  From start to end, the album balances its energy just enough to in fact keep listeners engaged and entertained.  It starts gentle and flowing in ‘Put Your Hands in the Air’ before changing things up but still making them easy on the ears with ‘Ladybugs.’  The genres are totally different, yet both have a certain smooth vibe and energy that will definitely keep listeners’ ears.  ‘Can You Feel The Power’ continues that light energy, before the album eases off even more with the soft yet still happy ‘Never Let You Go.’  ‘The Grass Is Always Greener’ brings the energy levels back up a little bit without going too far in the process.  ‘Raindrop,’ with its 80s-keyboard infused sound pulls things back just a little bit again while ‘River Come Down’ changes things up again with its light tropical sound.  What’s interesting here is that the album’s energy stays stable through it all even here.  The light, jazzy arrangement of ‘Blue Fin’ continues the happy feeling established in ‘River Come Down’ before moving into the slightly more energetic album finale that is ‘We Shall Walk.’  What’s interesting here is the song feels almost like it wants to throw back to the days of the civil rights era with its overall approach.  That adds even more depth to that energy.  It has that vibe without being full-on like the songs that were made so famous from that era.  Rather, it is far lighter, but still boasts its own energy thanks to its horns, clapping, choruses and bass.  Keeping this in mind, and the obvious balance of energies present throughout the album, it should be clear why the sequencing of Hand in Hand is so important to its whole.  As with any album from any genre, without proper sequencing, it would be so easy to just skip through an album, and in turn perhaps miss certain high points.  Thanks to the time and thought put into this album’s sequencing though, it’s clear that listeners are far less likely to skip any of its songs.  To that end, the album’s sequencing proves just as pivotal (and positive here) as the album’s songs and their companion lyrical content.  When all three elements are considered together, they prove Hand in Hand to be a record that will leave listeners raising their hands in applause all together.

Suzi Shelton’s latest full-length studio recording Hand in Hand is another successful effort from the veteran family entertainer.  That is especially the case considering that four years have passed since the release of her last album, Smile in my Heart.  It boasts a variety of musical styles that in themselves are sure to keep listeners engaged.  The same can be said of its lyrical themes, which adults will hopefully take to heart just as much as their younger counterparts.  The album’s sequencing puts the finishing touch to its presentation.  Each element plays its own integral part to this record, as has been pointed out here.  All things considered, they make Hand in Hand, in the bigger picture, one more record to add to this year’s list of the top new family music albums.  It is available now in stores and online.  More information on Hand in Hand is available online now along with all of Suzy Shelton’s latest news and more at:

 

 

 

Website: http://www.suzishelton.com

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

 

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.

‘Gate 13’ Will Appeal To Any Hip-Hop, Rap Fan

Courtesy: Iot Records

Veteran rapper Del The Funky Homosapien has made quite the name for himself throughout the years working on projects such as Gorillaz, Handsome Boy Modeling School and others.  Two weeks ago, Del (a.k.a. Teren Delvon Jones) released another new LP that is certain to cement his place in the hip-hip community even more in the form of Gate 13.  Joined by producer Amp Live (who is also one half of the hip-hop duo Zion I) this time out, Jones has crafted another interesting record that stands easily on its own merits.  One of the most notable of those merits comes almost halfway through the album in the form of ‘Help.’  It will be discussed shortly.  The intense ‘Humble Pie,’ which immediately follows ‘Help’ is another of those merits that deserves discussion.  It will be addressed later.  ‘On The Ball,’ which comes even later in the album’s run, is one more of the album’s most notable merits.  It will also be discussed later.  Each song noted here is in its own right, a good example of what makes Gate 13 a solid effort from Del The Funky Homosapien and Amp Live.  When they are considered along with everything else that this record has to offer listeners, the end result is a record that is easily one more of this year’s top new rap/hip-hop albums.

Gate 13, the new full-length album from Del The Funky Homosapien and Amp Live, is a record that rap and hip-hop fans across the board will appreciate.  That is proven time and again throughout the course of the album’s 16-song body.  From start to finish, its merits prove to be many.  ‘Help’ is one of the album’s most notable merits.  The song stands out in part because of its musical arrangement.  At its core, it is an old school hip-hop arrangement, as is evidenced in the combination of the song’s beats and sampling.  It is something that is certain to impress hip-hop purists.  At the same time, the subtle inclusion of the operatic vocals and electronics add a slight modern touch to the arrangement, too.  The combination of the two elements creates a strong, solid foundation for the song.  The song’s lyrical content builds on that foundation, strengthening it even more.  Del makes more than enough Star Wars references in the song’s lyrical side which seems to address his contemporaries who, in his eyes, are not entirely real.  In other words, it comes across as a battle rap to a point.  This is inferred as Del writes, “I strike the enemy back/Give the enemy action/The force ain’t with you, is against you/We hit ‘em with blasters/But my hand solo, fly like Millenium Falcon/they defenses is what’s crackin’, really what’s crackin’/I make it happen tonight, whoop an a**/Then they want to shake hands after the fight, Rappers act too good for rap because they ain’t actually nice/Believe in they own hype, act like they practically nine/Too simplistic/You see we futuristic, we introduce the system/Got the computer trippin’, confuse the ******/They don’t know what to do, bring ‘em down to earth/Ain’t no one lookin’ up to you, ain’t nothing new.”  Again, the reference to other rappers here leads one to infer a certain message here.  He continues in similar fashion in the song’s second verse, seemingly accusing those other rappers of “Thinkin’ they blazin’ train/Smellin’ like burning trash, so they should fry in hell.”  That’s a pretty strong statement.  He tells those rappers, “Take a number, be patient, don’t blame the line/Don’t’ blame the game, ain’t nothin’ wrong with the game/Acting like you anybody, somebody wantin’ the game…you don’t belong in the game.”  Again, this continues to come across as a battle rap of sorts, and one that is certain to have an impact on other rappers just as much as listeners.  When one adds the song’s musical arrangement to the mix, it adds even more to the song’s impact, proving easily why this is one of the most notable of the album’s many merits.  It certainly is not the only of the album’s most notable merits.  ‘Humble Pie,’ which immediately follows ‘Help,’ is another of those truly notable merits.

‘Humble Pie’ stands out in part because unlike ‘Help,’ boasts more of a modern arrangement.  The use of the keyboards and electronics alongside the solid, driving beats makes for an infectious arrangement that is sure to keep listeners engaged.  That maintained engagement also ensures listeners will be pulled in just as much by the song’s lyrical theme, which presents an impacting anti-bullying message as its base.  Jones writes in this song about a bully who pushed so many people around until one day when he ran into a would-be victim who stood up to him and put the bully in his place.  He notes in the song’s end, “The moral of the story, so they don’t forget/Don’t get too big for your britches.”  The bully got too big for his britches, and in turn got what was coming to him.  Now given, the manifest function here likely was not to present an anti-bullying message, but presenting that message was a great way to get across the ultimate message of keeping sight of things and staying humble.  Kudos are in order for Jones and for Amp for taking that approach here.  It was wise to say the least, and in turn shows even more why the song is another notable addition to Gate 13.  It is not the last of the album’s most notable compositions, either.  ‘On The Ball’ is one more of the album’s most notable entries.

‘On The Ball’ stands out more than the previously noted songs because of its arrangement.  This song’s arrangement is completely unlike anything that any other hip-hp or rap artist or act is doing and has done.  This mid-tempo composition relies heavily on electronics and bass for its foundation.  That’s not to say it’s some attempt at EDM.  That’s hardly the case.  What it is though, is work that must be heard to be fully appreciated in its original approach.  Of course its lyrical content is just part of what makes the song stand out.  Del writes here, “Let’s play a game called Simon Says/Let’s see if you can find some bread/Like you found the steps/Find out I’m five steps ahead…the foot soldiers/Missed some steps/Looks like they gotta retrace their steps/then face what’s in my missile, whack/Zoom, boom, erase they past/This the future, we made our path/We thought about it, we made our plan/they can’t catch that with a radar scan…” It goes on in similar fashion, putting out a positive, confident statement along the way, with Del noting “they be actin’, they wont’ admit it…My word is bond/Know they heard that part before…they think they right/Couldn’t be more wrong…they think too small/Thinking they big shots/If they got the combination, why they gotta pick the lock?”  long story short, there is a lot of confidence here.  It’s in similar fashion as ‘Help,’ just not a direct battle rap.  Rather it’s that self-confident statement.  Keeping that in mind, that statement – coupled with the song’s original musical arrangement – easily makes it another standout addition to Gate 13.  When it is considered along with ‘Help,’ ‘Humble Pie’ and the rest of the album’s entries, the strength of each song makes the album in whole a record that is certain to stick with hip-hop and rap fans across the board.  To that end, it becomes a record that deserves consideration for a spot on any critic’s list of the year’s top new albums within that realm.

Del & Amp Live’s new album Gate 13 is one of the best surprises of this year so far in the rap and hip-hop realm.  It is proof, just as in the rock realm, that independent releases can and often are just as good as the bigger name releases.  It offers such a wide variety of arrangements throughout and equally wide array of lyrical themes.  That variety, as noted briefly here (and hopefully clearly) makes this record an easy and enjoyable listen for any hip-hop and rap purist.  From old school arrangements to modern compositions that no one else is doing to lyrical themes that are direct at times and more fun at others, this record just offers so much to listeners.  Keeping that in mind, Gate 13 proves to be deserving of a spot on any critic’s list of the year’s top new hip-hop and rap albums.  It is available now.  More information on Gate 13 is available online along with all of Del The Funky Homosapien’s latest news at:

 

 

 

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Amp Live’s latest news and more is available online at:

 

 

 

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