‘Sundowners’ Will Appeal Widely To The Answer’s Most Devoted Audiences, Guitar Rock Purists

Courtesy: Golden Robot Records

Late last month, veteran rock band The Answer released its latest album, Sundowners, through Golden Robot Records.  The band’s seventh full-length studio offering, it came more than six years after the release of its then latest album, 2016’s Solas, which was released through Napalm Records.  The new, 11-song record is sure to appeal to the band’s established audiences and to most guitar purists.  That is due in part to its featured musical arrangements, which will be discussed shortly.  The lyrical themes that accompany the album’s musical arrangements make for their own appeal and will be discussed a little later.  The record’s sequencing rounds out its most important elements, adding its own touch to the whole and will also be discussed a little later.  Each item noted is important in its own way to the whole of the album’s 43-minute presentation.  When they are considered collectively the whole makes Sundowners another mostly welcome addition to this year’s field of new rock albums.

Sundowners, the new album from The Answer, is a record that will find easy appeal among audiences, established and otherwise.  That is due in large part to its featured musical arrangements.  From beginning to end, the album’s featured musical arrangements directly exhibit influences of classic rock and pure guitar rock.  ‘Blood Brother,’ the album’s second track (and its first full track following the instrumental opener/title track) to the clearly Black Crowes-esque ‘California Rust’ to the classic/southern tinge of ‘No Salvation’ to the funky sound and style of ‘All Together’ and more, the arrangements exhibited throughout the album each present distinct classic rock and guitar rock leanings.  At the same time, each song presents its ow unique identity separate from its counterparts and of course from the works of the bands that have so clearly influenced these works.  That the songs largely throw back to the works that made up the band’s existing catalog (especially its earlier albums) will appeal to the more open-minded of the band’s established audiences.  That is because, again, these works don’t try to reinvent the wheel so to speak.  They are just straight forward, fully accessible works that make the album just as strong a return for those audiences and a jumping on point for new audiences.

The musical arrangements exhibited throughout Sundowners are collectively just one part of what makes the album worth hearing.  The lyrical themes that accompany that musical content makes for its own appeal.  Right from the record’s outset, the band delivers a seeming message of unity in ‘Blood Brother’ as front man Cormac Neeson sings in the song’s chorus, “I can’t breathe till the air disappears at night/I can’t feel till we’re free from the hate that we got.”  That he calls for help from his “blood brother” and “blood sister” throughout the song adds to that sense of wanting that unity.  That call for unity is repeated in different fashion later in the album’s run in ‘All Together.’  Neeson sings here, “Unity is power/And power’s what you got” in the song’s lead verse, coming right out and putting that out there.  In the song’s chorus, he calls for everybody to come together because “Things are better all together” before adding in the song’s second verse, “Sometimes it might be easy/Just to walk away/But then you don’t got nothin’/Nothing left to say.”  These messages of unity are just as welcome and needed today as in any period in the world’s history.

The mandatory song about a relationship is also included in this record in the form of ‘Want You To Love Me.’  The message is clear right from the outset as Neeson sings in the song’s chorus, “I want you to love me/Like I’m a slave to your light/And I need you to love me/Just like a wave on the beach/Whispering something outta reach/How come you know just how to roll me every time.”

Similar themes of relationships are spread across the rest of the album.  When they are paired with the record’s fully accessible musical arrangements, that whole makes each song accessible in its own right to the whole of the album.  The result is a record whose content makes for reason enough for audiences to hear this record at least once.

As much as the content featured in this record does to make the album interesting, it is just part of what makes the record engaging and entertaining.  The sequencing of said content makes for even more interest.  For the most part, the sequencing ensures that the record’s energy remains high throughout the album in each composition.  There are two points however, — ‘No Salvation’ and ‘Always Right’ – at which slow things down.  Those two songs are perfectly placed.  That is because they serve so well to break up the record and give audiences a moment to catch their collective breaths by changing things up just enough to make things interesting.  That sequencing shows clearly that some thought was put into the aesthetic element.  When the positive general effect that results from the sequencing is considered along with the album’s content, the whole leaves Sundowners a mostly enjoyable record for the most devoted of The Answer’s fans.

Sundowners, the latest album from The Answer, is a presentation that the band’s most devoted fans will find appealing.  That is due in part to its featured musical arrangements.  The arrangements, which throw back to a point, to the works featured in the band’s earlier records.  They do this as they present a blend of classic rock and pure guitar rock-influenced compositions from one to the next.  Each work is equally infectious, engaging and entertaining because it establishes its own identity separate from one another and from the works in those albums.  The lyrical content featured with the musical content is just as accessible in its topics and how the topics are addressed.  That makes for its own share of engagement and entertainment.  When the overall content is considered, it gives those noted audiences reason enough to take in the album.  The sequencing of that overall content puts the finishing touch to the album’s presentation.  That is because the clear thought and time that went into the sequencing results in a positive general effect.  When the sequencing of the record’s overall content is considered along with the album’s content, the whole makes for all the more reason to hear the album.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered they make Sundowners one more mostly welcome addition to this year’s field of new rock albums.

Sundowners is available now.  More information on the album is available along with all of The Answer’s latest news at:

Website: https://theanswerrock.com

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

Twitter: https://twitter.com/theanswerrocks

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The Answer Debuts New Album’s Latest Single

Courtesy: Golden Robot Records

Rock band The Answer took audiences back to the future this week with its latest single.

The band debuted its new single, ‘Livin’ On the Line’ Monday. The premiere came a week after the band debuted the song’s video.

‘Livin’ On The Line’ is the third single from the band’s forthcoming album, Sundowners, which is scheduled for release March 17 through Golden Robot Records. The band premiered the album’s second single, ‘Want You To Love Me‘ last month. It released the record’s lead single, ‘Blood Brother‘ in November.

The musical arrangement featured in ‘Livin’ On The Line’ is an infectious composition that will appeal easily to any guitar rock purist. That is due to the obvious influence of bands, such as KISS, Black Crowes, and just so many others. It is such a fun song for any real rock fan.

No information was provided about the song’s lyrical theme in the news release announcing the song’s debut. No lyrics are provided with the video, either. In listening to the song though, it can be inferred that the song’s lyrical theme is one of someone just trying to get through life day to day. That is just this critic’s interpretation.

In other news, The Answer has a handful of UK and European dates scheduled in support of its new album this spring, starting March 16 in Blackpool, England. The UK leg of the tour is scheduled to run through March 23 in Belfast, Ireland.

The European leg of the tour is scheduled to launch March 25 in Haarlem, Holland and to run through April 6 in Vorselaar, Belgium.

The tour’s schedule is noted below. Tickets for the UK leg are available here. Tickets for the European leg are available here.

TOUR DATES

UK March 2023

Mar 16^th  Blackpool, Waterloo Bar
Mar 17^th  Birmingham O2 Institute.
Mar 19^th  Bristol Thekla
Mar 20^th  London 100 Club
Mar 21^st  Leeds Key Club
Mar 23^rd  Belfast Limelight 2

EUROPE March & April 2023
Mar 25^th  Haarlem, Patronaat – Holland
Mar 26^th  Den Bosch, Willem Twee –  Holland
Mar 28^th  Essen,  Turock – Germany
Mar 29^th  Hamburg, Logo – Germany
Mar 30^th  Berlin, Franz Club – Germany
Mar 31^st  Munich, Strom – Germany
Apr 1^st    Dornbirn, Conrad-Sohm, Austria
Apr 2^nd    Zurich, Plaza – Switzerland
Apr 4^th    Strasbourg, La Laiterie – France
Apr 5^th    Savigny, L’Empreinte – France
Apr 6^th.    Vorselaar, De Dreef – Belgium

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

Website: https://theanswerrock.com

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

Twitter: https://twitter.com/theanswerrocks

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.

Gill Brothers Band’s Debut LP Is A Strong Start For The Band

Courtesy: Slang Church

Up-and-coming southern rock act Gill Brothers Band released its self-titled debut Tuesday through Slang Church. The record is an interesting presentation that fans of said genre will find worth hearing at least once. This is proven in part through its featured musical arrangements, which will be discussed shortly. The lyrical content that accompanies the album’s musical arrangements adds to the record’s appeal in its own right and will be discussed a little later. The record’s production rounds out its most important elements and will also be examined later. Each item noted plays into the album’s engagement and entertainment in its own way. All things considered, they make the album a new addition to this year’s field of independent and rock albums that is worth hearing at least once.

Gill Brothers Band, the debut record from its namesake act, is a presentation that will appeal to fans of the southern rock realm. That is due in large part to its featured musical arrangements. From start to end, the 35-minute album, the arrangements exhibit influences from a wide range of southern rock acts whose own music also shows clear blues influence. Speaking more specifically, a song, such as ‘Small Block’ (which comes late in the album’s run) presents not only a southern rock sound, but a stylistic similarity to AC/DC and Lynyrd Skynyrd, what with the chromatic riffs and the distinct vocal style in the verses. Interestingly enough, the song’s choruses lend themselves to comparison to works from Foo Fighters, making for quite the intriguing duality. Even with that being the case, the overall arrangement is well-balanced and makes itself stand out among the rest of the record’s arrangements.

On another note, ‘Rest In Piece’ actually has a very subtle tribute to a well-known Metallica song in its secondary guitar line and steady bass drum beat. Whether that similarity was intentional is known only by the band. Regardless, that great tribute (subtle as it is) alongside the arrangement’s more southern rock leanings gives this arrangement its own unique identity separate from that in ‘Small Block’ and from the rest of the album’s arrangements. It further shows the importance of the record’s overall musical arrangements to the album’s overall presentation.

As if everything noted is not enough, the arrangement featured in ‘Nobody’s Fool’ does its own share to continue showing the variety in the record’s arrangements. In the case of this arrangement, one cannot help but make the slightest comparison to works from the J. Geils Band in the song’s verses. The choruses meanwhile lean more in the noted familiar southern rock sense. Maybe the J. Geils Band comparison is just in this critic’s ears and mind, but even if that is the case, then so be it. This critic does hear it. The blend of those two distinctly different styles and sounds once again makes clear the variety of the musical content featured throughout the album, and the importance thereof. When it and the other arrangements examined here are considered along with the rest of the album’s arrangements (which exhibit influences of Black Crowes, Zac Brown Band, and Lynyrd Skynyrd) the whole makes clear just how important the album’s overall musical content is to the record’s presentation.

While the musical arrangements featured throughout Gill Brothers Band unquestionably do a lot to make the record worth hearing, they are just part of what makes the record work as well as it does. The lyrical themes that accompany the album’s musical content add to the noted appeal. Case in point is the lyrical theme featured in ‘By Your Side.’ In the case of this song, it is another ode to a former romantic interest. That is made clear in the song’s lead verse, which states, “If I had the money/I’d buy you a boat/We’d take it out on the clear lake/Oh how we’d float/But money isn’t the answer/At least that’s the way it should be/I swear we used to laugh/So easily/Is it wrong/To mourn for love/Makes me sick/To sing this song I’m thinking of/Now the memory/It stays with me/And the feeling passes by/Down that highway/If I’d had it my way/I’d still be by your side/Would it be alright/Could I stay by your side?” The song’s second verse continues in similar fashion, with mentions of wishing for closure along the way. It is a familiar topic that is made more interesting when it is considered alongside the song’s musical arrangement. That is because the mood set through the Reckless Kelly style musical arrangement is not as melancholy as one might think. Rather it is more semi celebratory as it recalls the happier times.

‘Rock and Roll,’ which is one of the album’s singles, is yet another example of the importance of its lyrical content. In the case of this song, it finds the song’s subject wondering if the path that he took in life was the right choice. This is inferred in the song’s lead verse and chorus, which state, “The property is going to s***/It’s a hit/Do you think you’ll stick around next time you’re down/I tell you what, buddy/I’m short on your money/Hold up/Get down/I’m turning licks into honey/I just can’t decide/Did rock and ruin ruin or save my life?/And I just can’t decide/Did rock and roll ruin or save my life?” The second verse adds to that sense as it states, “I’m running out of steam/I can’t remember the dream/The Gisbon’s in the case/And I’m watching TV/Pick up the slack/Could you please run it back?/I’m riding alone/I’m riding right off the tracks.” In other words, this is someone who is headed in the wrong direction. It’s a familiar topic, though not overly familiar anywhere in the music industry. Again, considering the song’s musical arrangement, this theme becomes even more interesting, considering the theme’s contemplative nature. Keeping all of this in mind, the song’s lyrical theme continues to show, in its own way, the importance of the album’s lyrical content. It is its own theme that stands apart from the others featured throughout the album that will engage and entertain audiences in its own way.

‘Nobody’s Fool’ is yet another example of the important role that Gill Brothers Band‘s lyrical content plays in its overall picture. In the case of this song, its lyrics come across as a statement of someone who is looking forward as he looks to the past, determined to make changes. This is inferred in the song’s chorus, which states, “When I get off this mountain/Tell you what I’m going to do/Take the things that made me stronger/And give them all right back to you/When I get up off my a**/And do the things that I should do/I’ll see the things around me changing/Seeing me and you change, too.” The mountain is a metaphor for life, and how the song’s subject is having to “climb” it. It is another familiar topic presented in a unique fashion that is also accessible to audiences. When it is considered along with the equally relatable themes examined here and with the rest of the album’s themes, the whole leaves no question about the importance of the album’s lyrical themes. When the album’s musical and lyrical content is collectively considered, that whole makes the album all the more engaging and entertaining. It is collectively just part of what makes the album stand out. The record’s production rounds out its most important elements.

The production that went into the album’s presentation is important to note because of its role in the album’s general effect. The production ensures that the best is brought out of each song, expertly balancing the instrumentation and vocals within each track. That balance makes the listening experience that much more enjoyable, too. In turn, it ensures listeners will find themselves paying more attention to each arrangement and each lyrical theme, thus immersing themselves into the record that much more. Keeping all of this in mind, Gill Brothers Band proves itself a positive start for the up-and-coming country/southern rock act.

Gill Brothers Band’s self-titled debut album is a mostly successful offering from the up-and-coming country/southern rock band. That is proven in part through its featured musical arrangements. The arrangements are each familiar in their approach and sound, but still boast unique minutiae that makes them all the more engaging and entertaining. The album’s lyrical themes are just as accessible as its musical arrangements. Audiences will connect with that aspect of the album as much as the record’s musical content. The album’s production produces a welcoming general effect that ensures audiences’ engagement and entertainment just as much as the record’s content. Each item examined is important in its own way to the whole of the album’s presentation. All things considered, they make the album an overall welcome addition to this year’s field of new independent albums.

Gill Brothers Band is available now through Slang Church. More information on the album is available along with all of the band’s latest news at https://www.facebook.com/gillbrosband.

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.

Filmspeed debuts new single, ‘Brain Dead’

Courtesy: AGR Publicity

Independent rock band Filmspeed debuted its latest single this week.

The band debuted its single ‘Brain Dead’ Friday.  The upbeat tune presents a musical arrangement that mixes old school and modern guitar rock sounds whose whole makes it instantly infectious.  A close listen leads to comparisons in part to works from Black Crowes, Buckcherry and to a lesser extent Led Zeppelin.  The important thing to note here is that even with those noted influences in mind, the song’s arrangement still manages to maintain its own identity.

‘Brain Dead’ is available too stream and download here.

More information on Filmspeed’s new single is available online now along with all of the band’s latest news and more at http://www.facebook.com/Filmspeed.

To keep up with the latest entertainment news and reviews, go online to http://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.

The Magpie Salute’s ‘High Water II’ Is A Flawless Follow-Up To 2018’s ‘High Water’

Courtesy: Eagle Rock Entertainment/Mascot Label Group/Sony

Roots rock band The Magpie Salute released its third full-length studio recording Friday, and the 12-song record is an enjoyable follow-up to the band’s 2018 album High Water.  Throughout the course of the record, audiences get musical arrangements that easily liken themselves to works from the likes of The Allman Brothers Band and its offshoot acts – The Derek Trucks Band and Tedeschi Trucks Band – as well as hints of Black Crowes.  The Black Crowes comparison should come as no surprise, considering the fact The Magpie Salute members Chris Robinson, Marc Ford and Sven Pipien also performed and recorded together as part of Black Crowes.  The album’s lyrical content offers audiences just as much to enjoy as its familiar roots tock sound.  ‘Gimme Something,’ which comes early in the album’s run is just one of the songs featured in the album that supports the noted statements.  It will be discussed shortly.  The same applies to ‘Lost Boy,’ which is featured later in the album’s run, and ‘You And I,’ which comes just ahead of the album’s midway point.  Each song shows in its own way why the band’s continued familiar roots rock sound and its respective lyrical content is so important to the album’s whole.  When each of the songs is considered with the rest of the album’s works, the whole of High Water II proves to be another record from The Magpie Salute into which listeners will enjoy “diving.”  Yes, that terrible pun was intended.

The Magpie Salute’s second High Water album and third overall album is another impressive recording from the roots rock super group, which features members of Black Crowes and the Chris Robinson Band.  That is thanks to its musical and lyrical content.  That is proven early on in the 47-minute record’s run in the form of ‘Gimme Something.’  This song’s musical arrangement is driven largely by the time keeping of drummer Joe Magistro and keyboardist Matt Slocum.  Pipien’s work on the bass joins with the work of Magistro and Slocum to make the song even more infectious while Robinson’s gravelly vocal delivery adds even more of a unique touch to the song.  Those lines, joined with the mtulti-guitar approach to the song, makes the arrangement in whole a work that is certain to become a fan favorite both on disc and in live settings.  It is just one part of what makes the song stand out, of course.  The song’s lyrical content sits against that catchy, mid-tempo arrangement to add to the song’s interest.

Robinson sings in the song’s lead verse, “I wanna see summer skies around me/To hit my soul when that beam of light comes shining down (Only you can see this)/Ph, the pressure fills me/The clouds, they light up the night sky/The moon, it hangs like a portrait of me facing upside down (You don’t believe it)/The ground is shifting/Gimme something/To take me far away from here/Gimme something/To lift this cloud/Gimme something/Got to take me higher/Gimme something/Deliver me now.”  He continues in the song’s second verse, “This world could be such a beautiful baby/But the politik disease keeps driving us underground (I don’t believe it)/We cannot accept it/Long is the day and Long is the night/I light the way ‘cause I feel like it’s gonna be alright (No, you don’t believe it)/Never can accept it.”  He returns to the chorus again from here before launching into the song’s third verse, in which he sings, “Peace comes your way (ah, well)/When you live by love and harmony (oh, harmony)/And I’ll show you today/these cards I deal/And bring you to my game.”  He comes across here as saying that he wants something better than what the world is right now and ho bad things are because of forces such as the people in Washington D.C. for starters.  He ends by reminding listeners that things can be better if people would just come together.  Sure, this is hardly the first time that any band has presented such message of frustration and the desire for people to unite.  The thing is though, it is still a message that everyone needs to hear, considering where the world sits today.  Considering this and the overall positive vibe in the song’s lyrical and musical content, the end result is a song that is easily one of High Water II’s most notable works and one that shows so well, why the album is another hit from TMS.  It is just one of the album’s notable works, too.  ‘Lost Boy’ is another entry featured in the album that shows why the album’s musical and lyrical content makes the record so appealing.

Whereas ‘Gimme Something’ presents an upbeat, positive vibe through its combined musical and lyrical content, ‘Lost Boy’ is a much more reserved piece in the exact same way.  The song, which features famed singer Alison Krauss making a guest vocal performance, is a deeply emotional work that will tug at listeners’ heartstrings through its very country blues approach.  Even more interesting here is that Robinson’s vocal delivery here actually sounds just like the late great Tom Petty.  The addition of Krauss’ gentle backing vocals enriches the song even more, making its emotional impact even more powerful.  Even more interesting is that while the song is far more reserved than much of what is featured in High Water II, that reserved nature is key because this song really is a ballad of sorts; almost a lullaby of sorts.  It is actually a very positive piece in its own right.  That is made clear through the lyrical content that accompanies the song’s musical arrangement.

Robinson sings in the song’s lead verse, “Young man, how you’ve grown/You’re soon to be on your own/And I’ll miss you like I’ve missed most of my life/I see you once again/Much more than a friend/Much more than someone to pass the time/Lost boy, in-between/Seldom heard, rarely seen/Lost boy, let me tell you what you mean to me/It’s okay/to get a little lonely/In no way let it get you down/There’s more than one way/Come on, get to know me/Lost boy, let me tell you what you mean to me.”  He continues in the song’s second verse, “Not so long ago/I had come to know/The long, dark night/It put me to the test/Nothing I can say/To change the time of day/And you’ll shine a little brighter than the mist/Lost boy, turn around/Lift your head, hear the sond/Lost boy, let me tell you what you mean to me/It’s okay/If you get a little lonely/In no way, let it keep you down/There’s more than one way/Come on, get to know me/Lost boy, let me tell you what you mean to me.”  This is an extremely touching work, needless to say.  The song’s subject seems to be trying to comfort someone, perhaps a son or maybe even a runaway.  There is no booklet with any notes to explain the story behind this song,  That aside, it is clear that this song is meant to be a soothing lullaby type work that will put at ease, someone who is going through a lot of emotional strain.  That gentle approach, both musically and lyrically makes this song its own unique and important addition to High Water II.  As unique as the song is, it is just one more of the album’s most notable works.  ‘You And I’ is just as notable as ‘Lonely Boy’ and ‘Gimme Something.’

‘You And I’ conjures thoughts of Country Joe McDonald and to The Allman Brothers through its musical arrangement.  The song’s verses are more gentle and laid back, and do indeed conjure thoughts of Country Joe McDonald.  The song’s stronger chorus sections are more akin to The Allman Brothers Band’s works.  The song’s lyrical content is just as interesting as its musical content because it leaves listeners wondering and talking.  On the one hand, it comes across as a love song, but on another hand, it also comes across as possibly a break-up song.  This is inferred as Robinson sings in the song’s chorus, “The feeling is over.”  This after he also sings, “You and I overcome/Others block our way.”  He does also note, in the choruses, “But this feeling keeps on falling over me.  When this is considered against the mentions of two people walking under the clouds at night and so much more, one can’t help but assume that this is a breakup song.  What is interesting is that while it comes across as a breakup song, it does not come across as the standard breakup song.  It comes across in a hopeful tone rather than the typical sad note.  It is a good change of pace for such a matter.  To that end, that change of pace both lyrically and musically makes this song worthy of its own attention.  When it is considered alongside ‘Gimme Something’ and ‘Lonely Boy,’ the trio goes a long way to showing why High Water II is such a positive new offering from The Magpie Salute.  When they are considered alongside the rest of the album’s entries, the end result is a record that is a wonderful salute in its own right to classic and roots rock fans.

The Magpie Salute’s third full-length studio recording High Water II, the follow-up to last year’s High Water is a strong new offering from the roots rock super group.  That is due to its musical and lyrical content throughout, as has been evidenced through the three songs examined here.  When they are considered alongside the rest of the album’s entries, the end result is an album that roots rock fans will enjoy just as much as The Magpie Salute’s most devoted audiences.  High Water II is available now through Eagle Rock Entertainment and Universal Music.  More information on High Water II is available along with all of The Magpie Salute’s latest news and more at:

 

 

 

Website: http://themagpiesalute.com

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

Twitter: http://twitter.com/themagpiesalute

 

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

 

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

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

Twitter: http://twitter.com/EagleRockNews

 

More information on this and other titles from Universal Music is available online now at:

 

Website: http://www.universalmusic.com

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

Twitter: http://twitter.com/UMG

 

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.

‘Give Up The Ghost’ Is A Solid Start For Paul Johnson & The About Last Nights

 

Courtesy: High Road Publicity

A little more than a month ago, a little band by the name of Paul Johnson & The About Last Nights released its debut EP Give Up The Ghost. The five track record is the type of presentation that shows how easily today’s unsigned band could be tomorrow’s next big mainstream hit.  It shows this through the diversity in its musical arrangements and the depth of its collective lyrical content.  From the infectious southern rock riffs and happy-go-lucky lyrics of ‘Hollywood’ to the Foo Fighters-esque arrangement and equally playful lyrics of ‘American Story (Adrenaline)’ to the Jimmy Eat World style arrangement and thoughtful lyrics of ‘Burn It Down’ and beyond, this record is a solid start for Paul Johnson & The About Last Nights.  It is a record that leaves listeners hoping this band won’t give up the ghost any time soon.

Robinson’s ‘Flux’ Could Be One Of 2016’s Top New Records

Courtesy: Eagle Records/Eagle Rock Entertainment/Universal Music Group/Circle Sound Records

Rich Robinson has been quite busy ever since he and his now former Black Crowes band mates parted ways last year.  He re-issued a number of his previous recordings this year.  And just last week he released his latest full-length studio recording Flux.  His fourth full-length studio recording it is yet another offering that both Black Crowes fans and Robinson’s fans will appreciate.  That is thanks to the variety of sounds presented in the album’s musical arrangements and its equally ear-catching lyrical content.  Both elements are important within the course of each song.  Collectively though, they make the whole of this 13-song set an experience that is another impressive effort from Robinson.

Rich Robinson’s new full-length studio recording Flux is yet another offering that his own fans will appreciate just as much the Black Crowes fans out there.  It is a record that, in whole, is another impressive effort from Robinson.  One example of what makes the record such an impressive new effort from Robinson is the record’s fourth entry ‘Everything’s Alright.’  In examining the song’s musical content, drummer Joe Magistro’s steady, pulsing four-on-the-floor rhythm serves as the song’s foundation.  Matt Slocum strengthens that foundation even more with his work on the keys.  Robinson’s vocal delivery is the finishing touch to the song’s musical arrangement.  It really stands out here both with and without the added distortion in the song’s verses.  The combination of those elements gives the song in whole a sound that Black Keys fans will appreciate.  It is a sound that even with that roots rock sound, really stands out from the rest of the songs on this record.  Of course the song’s musical content is just one layer of the song.  It also boasts lyrical content that will catch listeners’ ears just as much.  He sings in the song’s lead verse, “Yeah, darling my constellation/Do you bring hope for oppression/I can see my midnight sky/What is this you’re bringing/What is this you’re meaning?/I guess it’s not for me to know/Either way you’re a sight to see/Either way you’re beautiful/But what is this you’re bringing/What is this you’re meaning?”  He goes on to sing in the song’s second verse of great, positive vibes with mentions of mythical ships and reeds beneath the trees (or so this critic seemed to interpret without a lyrics booklet).  Through it all the underlying message of positive energy flowing from person to person is ever-present.  This includes the song’s chorus in which Robinson sings along the equally talented Daniella Cotton, “And I feel/I can feel/The stars are aligning for to bring me life/And I/I can feel your head on me/Moving closer to mine/And I/I can feel the love that grows and will give me sight/And I/I can feel it’s alright/Everything is alright.”  Simply put the song’s lyrical content is one of optimism.  It is a message that the world needs more than ever today.  That message couples with the song’s equally upbeat musical arrangement to make it a clear example of what makes Flux such an impressive new offering from Robinson.  It also reveals the song to be one of the album’s best compositions.  It isn’t the album’s only standout song, though.  ‘Which Way Your Wind Blows’ is another one of this record’s truly standout compositions.

‘Everything’s Alright’ is a clear example of what makes Flux such an impressive new offering from Rich Robinson.  That is due to the song’s upbeat musical arrangement, which stands out in its own right from the rest of the album’s compositions, and the song’s equally optimistic lyrical content.  Each element is important in its own right to the song in whole.  Collectively though, the pair make this song a clear example of what makes Flux stand out.  They also combine to make the song itself stand out as on of the album’s best songs.  It isn’t the album’s only standout composition, though.  There are plenty of other notable compositions featured in this album including ‘Which Way Your Wind Blows.’  This song stands out just as much from ‘Everything’s Alright’ just as much as it does from everything else featured in this record.  That is due in part to the song’s bluesy musical arrangement.  Listeners will be interested to learn that Robinson handled not only the guitars and vocals on this song but also bass and some of the song’s percussion.  Magistro handled the remainder of the song’s duties on drums and percussion.  The duo gels smoothly throughout the song.  Of course the fact that Robinson himself manned the boards for this record didn’t hurt either.  While the duo’s work (and that of Matt Slocum on keys) does plenty to make this song another example of what makes the song (and Flux in the bigger picture) stand out, it isn’t all that makes it stand out.  The song’s lyrical content is just as worth noting as its musical arrangement.  Robinson sings here, “Hey you/Runnin’ down that wall/Who ya’ sneaking’ from/Who ya’ scared of/The Captain thought you showed/You showed it all/Are you aware my friend/Are you feeling tall/There’s no one that will tell you/What you need to see/You understand my sound/Get your burden out/Fly….the only way you leave/Call it destiny.”  He goes on to sing in the song’s second verse, “And I will be standing/Right beside you/And walk away from/We’ll walk away from/And I know/That you don’t really want to/Stop the tear down/Stop the tear down.”  From there, the song repeats its chorus before finishing off in full musical fashion sans lyrics.  Keeping this in mind Robinson leaves plenty of room for discussion in regards to this song’s lyrical content.  That isn’t a bad thing, though.  It just means that it gives even more reason for listeners to hear the song.  In hearing the song listeners might not agree fully on the story or message behind the song’s lyrics, but they will agree that its musical arrangement truly stands out in its own right.  The two elements together make this song stand out just as much as ‘Everything’s Alright’ and any of the album’s other songs.  It also shows just as much why Flux is such an impressive new offering from Rich Robinson.  It is still not the only remaining example of what makes Flux such an impressive return for Robinson, either.  The album’s closer ‘Sleepwalker’ stands out just as much as ‘Everything’s Alright’ and ‘Which Way Your Wind Blows’ if not more.

‘Everything’s Alright’ and ‘Which Way Your Wind Blows’ are both key examples of what makes Flux an impressive new offering from Rich Robinson.  That is because both songs stand out from each other and from the rest of the songs included in this record.  This is due to both the songs’ musical arrangements and their lyrical content.  They are just two examples of what makes Flux such an impressive new effort from Robinson.  The album’s closer ‘Sleepwalker’ stands out just as much as those songs if not more so.  As with those songs the main reason for that is the song’s musical arrangement.  It starts out in very surprising fashion with a massive wall of sound from Robinson and his fellow musicians.  That wall of sound ultimately proves deceptive, though as it then leads to a much more mellow sound that is akin to an arrangement that one might expect from King’s X.  King’s X in the same mention of Rich Robinson?  Believe it or not.  Robinson himself even conjures thoughts of King’s X guitarist Ty Tabor both with his own work on guitar and his vocal delivery.  His work on the song’s bass line compliments the guitar line quite well, too.  The song’s musical arrangement is just one part of its whole.  The song’s lyrical content hints at encouraging listeners to think for themselves. This theme seems to run through the course of the song’s second verse, too.  It is a perfect fit with the song’s musical arrangement.  Together, the two elements make this song a proper finale for Flux and one more prime example of what makes Flux such a welcome return for Robinson.  One would be remiss to ignore the other songs featured in this record.  ‘Music That Will Lift Me’ bears something of a country vibe in its arrangement.  And its lyrical content is just as uplifting as the song’s title hints.  The album’s opener ‘The Upstairs Land’ boasts a roots rock style’ that fans of Robinson’s work with his Black Crowes band mates will enjoy.  And ‘Eclipse The Night’ will take listeners right back to the golden era of the 1960s with its sound.  That still isn’t all of the album’s featured songs either.  There are seven other songs not noted here.  Those songs, when partnered with the rest of the songs noted here, make an album that is potentially one of the year’s top new rock records if not overall records.

Flux, Rich Robinson’s fourth full-length solo record, is potentially of the year’s top new rock records if not overall records.  That is due to the variety of musical styles exhibited over the course of its thirteen compositions.  The songs’ lyrical content is just as important to its presentation as its musical arrangements.  The two elements join together in this record to make it a presentation that both Black Crowes fans and Rich Robinson fans alike will appreciate.  They join together to make the record, again, potentially one of the year’s top new rock records and if not overall records.  It is available now in stores and online.  More information on Flux is available online now along with Robinson’s latest news and more at:

 

 

Website: http://www.richrobinson.net

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

Twitter: http://twitter.com/richsrobinson

 

 

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Robinson’s ‘Through A Crooked Sun’ Is A Straight Hit

Courtesy: Eagle Rock Entertainment

Veteran musician/performer Rich Robinson will release his latest album this summer.  The album, Flux, will be his fourth full length studio recording and eighth overall recording.  It will be released Friday, June 24^th in stores and online.  While audiences wait for its release, Robinson has given them more than a little something to pass the time in the form of four re-issues.  Robinson teamed up with Eagle Rock Entertainment this year to re-issue four of his previous recordings.  Two of those recordings—Paper and Llama Blues—were released this past February.  The other two—Woodstock Sessions Vol. 3 and Through a Crooked Sun—were released earlier this month.  Each of the recordings stands out in its own special way and in turn serves as its own welcome introduction to Robinson the solo artist versus Robinson the former Black Crowes member.  This is just as evident in Robinson’s 2011 album Through A Crooked Sun as in his other recent re-issues.  Robinson even notes in the liner notes of the album’s new re-issue that it shows a completely different side of him than what he was able to show as a member of Black Crowes.  That is clear right from the album’s opener ‘Gone Away.’  The song, driven largely by drummer Joe Magistro’s four-on-the-floor, exhibits a number of influences.  That will be discussed shortly.  ‘Hey Fear’ is another of the album’s offerings that stands out in this album.  Its reserved sound and equally introspective lyrics team up to make it one of the album’s most poignant and powerful moments.  The southern ground sound of ‘Falling Again’ makes that song stand out in its own way, too.  What listeners will note about each of these songs is just how much each song stands out from the other in terms of Robinson and company’s stylistic approach to each composition.  That applies just as much in the album’s other compositions as with the pieces noted here.  All things considered Eagle Rock Entertainment’s re-issue of Rich Robinson’s Through A Crooked Sun is not only a great listen for Robinson’s fans and fans of Black Crowes but also another good addition to any critic’s list of the year’s top new CD re-issues.

Eagle Rock Entertainment’s re-issue of Rich Robinson’s 2011 album Through A Crooked Sun is not the only of his records to be re-issued lately.  As a matter of fact it is the fourth of his recordings to be re-issued in recent months.  It is just as welcome as those other re-issues in any of his fans’ music libraries.  Not only that but it is also yet another of this year’s top new CD re-issues.  The reason being that the album in whole does in fact reflect a side of Robinson that was rarely ever heard in his work with Black Crowes.  That is evident right off the top in the album’s opener ‘Gone Away.’  This song is a clear example of what makes Through A Crooked Sun stand out in large part due to its musical arrangement.  It could just be this critic’s own take but at least to this critic it hints at a Beatles influence circa Sgt. Pepper’s Lonely Hearts Club Band with its guitar line and solid, driving four-on-the-floor drum line.  At the same time one could also argue that that same sound hints at an influence from the likes of Phish and Widespread Panic.  Its lyrical content makes it just as intriguing.  Robinson sings here, “I fell the distance of the deepest canyon/It took me years to climb back to the top/And now I see the plains right in front of me/I hope to take it all the way to the sea.”  He goes on to sing in the song’s chorus, “It seems like everything’s gone away now.”  This statement seems to be in regards to what the song’s subject sees as he traverses the once familiar landscape.  He goes on to sing in the song’s second verse, “ I feel the comet coming/To take us to a new world/Like a child/Walk a cliff at noon/With new ways unlike this world’s never seen/I hope to last to see it viewed pristine.”  Now, if that is indeed the proper interpretation of the verse without lyrics to go by, then it is just as thought-provoking as the song’s opening verse.  And again he proceeds to repeat the song’s chorus again, noting that everything familiar has gone away.  Again that response to the song’s verse comes across as a commentary of how much things have changed in the world.  Except in this case the reference comes across as being more of a social commentary than just in general.  That is, again, just this critic’s own take on Robinson’s lyrical content here.  The song’s final verse is just as likely to catch listeners’ ears and get them thinking.  Together with the song’s other lyrical content and its musical content, the whole of the composition shows why it is one of the album’s most notable offerings.  It is not the only piece that stands out on this record.  ‘Hey Fear’ stands out just as much.

‘Gone Away’ is an interesting addition to Rich Robinson’s first full-length solo studio recording.  It is not the only notable offering. ‘Hey Fear’ is another of the album’s most notable inclusions.  As with ‘Gone Away’ this song is worth noting because of its own musical and lyrical content.  In regards to its musical content, said content is so notable because it is the polar opposite of that in the album’s opener.  Whereas that song had a more classic rock-oriented sound, this piece boasts more of a folksy, Americana sort of sound.  That’s just the tip of the song’s proverbial musical iceberg.  A close listen reveals elements within the song’s instrumentation that stand out in each part.  For instance, the drums here don’t sound nearly as open as in ‘Gone Away.’  That is the case even as the song builds into its final minutes.  They cut through in those final minutes.  But they never have that more airy sound that is evident in the album’s opener.  Just as interesting to note here is the prominence of the song’s bass line.  There are sections within the song in which Robinson’s bass line (Robinson covers both the guitar and bass line in this song)presents its own surprise melody.  It’s subtle, too;  so subtle in fact that it will take listeners a few times to fully realize what they are hearing.  When they do, they will most assuredly appreciate its balance with the rest of the song’s instrumentation.  Even the manner in which the song gradually builds from its acoustic to its more bombastic electric side stands out.  Whether through these elements or any of the others within the song’s musical content, it can be said of the song’s musical content in whole that it does more than its part in making this song stand out.  The song’s musical arrangement and instrumentation is just one part of what makes the song stand out.  Its lyrical content is just as notable.  In regards to its lyrical content Robinson sings here of overcoming the fear that so easily cripples so many people, possibly including himself.  That is clear as he sings, “Hey there, fear/You’re always in tow/Never too far behind/Your presence is always known/Will you live to carry on/Living underneath my wing/Will you finally move along/Watch the distance come between/Hey fear/Hey fear/Time to finally move along/Watching distance grow between.”  This is the song’s subject (or Robinson himself) addressing the fears that have crippled himself (or herself) and saying in no uncertain terms that he/she will not let it control him/her anymore.  The victory over that fear is illustrated especially well as Robinson, [Joe] Magistro, and [Steve] Molitz build the song to the wide open, bombastic sound presented in its ending minutes.  It’s one more way in which this song stands out.  Together with the song’s musical content, both elements combine to make it one more of the album’s most notable inclusions because it is also one of the album’s most emotionally powerful and engaging opuses.  It still is not the last of the album’s most notable tracks.  ‘Falling Again’ is another piece that proves the overall importance of this album.

‘Gone Away’ and ‘Hey Fear’ are both important inclusions to Through A Crooked Sun in their own right.  One mixes elements of rock’s golden era with a more modern classic sound and crosses it with some rather insightful lyrics.  The other offers its own insightful lyrics and matches said lyrics with some notably powerful musical content.  The two songs together form their own solid foundation for the re-issue of Rich Robinson’s debut solo record.  As important as they are to this record they are not its only notable compositions.  ‘Falling Again’ is just as important to the album as the noted songs and those not noted here.  It stands out because once again it presents Robinson’s broad musical talents and influences.  This song is pure southern rock with elements of Lynyrd Skynyrd, Molly Hatchet, and others of that ilk in terms of its musical content.  That sound, which differs from anything else on this record is only pat of what makes the song stand out.  Its lyrical content is just as important to note as its music.  Robinson sings in the song’s lead verse, “I hear you falling again/And you’re brining me down/But that’s not where I’m going/There’s no one around you this time/But you haven’t noticed yet/When you do/Will you speak softly/It’s time that I’m rollin’/No bringin’ me down/The news I’ve been hearin’/It’s all over town/Tales of a sad man/Who doesn’t know he’s out/Spend his time a’ reelin’/In a world of doubt.”  This, again, is only this critic’s interpretation of this song.  But it comes across as if Robinson is commenting on all of the world’s negativity both in the things people say every day to one another and to the news in today’s 24/7 news cycle.  He comes across as saying he’s so tired of it and doesn’t want to fall down with all of that negativity.  If indeed that is the case then it’s a deep statement made in a very small amount of space.  To that extent, Richardson deserves a round of applause.  He goes on to sing in the song’s second verse, “Back when you told me a lie/Do you realize/You were lookin’ straight in the mirror/Far be it from me to explain/What you’re doing now/Go on and on forever.”  From here he returns to the song’s chorus.   That second verse seems rather self explanatory.  It is a commentary about people lying to themselves when they attempt to lie to others.  An again, the song’s chorus drives home the message of the song’s subject trying to get away from all of that because it is only serving to make a person’s world fall down around him/her.  It is yet another topic to which any listener can relate.  And Robinson’s gentle delivery of these lines—believe it or not—actually heightens the impact of the song’s lyrical subject matter that much more.  Keeping this in mind the combination of that vocal delivery, the song’s thoughtful lyrics, and its equally enjoyable musical foundation makes clear why this song stands out as one more of the album’s most notable compositions.  When the song is set against the other pieces noted here, and the pieces not noted, the record in whole shows with full clarity just why it is another welcome addition to the personal music libraries of Robinson’s fans and also why it is one more of this year’s top new CD re-issues.

Eagle Rock Entertainment’s new re-issue of Rich Robinson’s debut solo album Through A Crooked Sun is not the only one of his records to be re-issued this year.  It is however, one of the year’s top new CD re-issues along with the other three records that have been re-issued from his catalogue.  From its wide variety of musical styles to its equally broad spectrum of lyrical themes, it offers plenty for audiences to appreciate regardless of their familiarity with Robinson’s solo work.  Altogether, the mix of the album’s musical and lyrical content makes this record one more great addition to the home music library of any of Robinson’s fans and an equally enjoyable listen for fans while they wait for his next new album, which is, again due out this summer.  Richardson will hit the road in May in support of all of these albums.  His upcoming tour begins May 12^th in Dallas, TX and also includes a performance in North Carolina on June 30^th.  That performance will be at the PNC Music Pavilion in Charlotte, NC alongside Bad Company and Joe Walsh.  Robinson’s complete, current tour schedule is available online now along with more information on his new re-issues, his upcoming album Flux and all of his latest news at:

 

 

Website: http://www.richrobinson.net

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

Twitter: http://twitter.com/richsrobinson

 

 

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.

Robinson’s Re-Issues Are Must Haves For His Fans And Black Crowes Fans

Courtesy: Eagle Rock Entertainment/UMG

Early last year the Black Crowes announced that after more than two decades making music together the seminal Georgia-based rock band was calling it quits.  For some the split came as a surprise.  For others it was less of a surprise.  That is because brothers Chris and Rich—the band’s core—had been busy with their own projects in the years leading up to the band’s breakup.  There had also been some not so hidden tensions between members of the band in the years leading up to its finale.  Considering all of those factors, the band’s split becomes even less of a shock.     Even with the Black Crowes officially rock history the brothers Robinson are anything but done making and releasing music.  Just last year Chris released his latest album under the Chris Robinson Brotherhood moniker Betty’s Blends Volume 2.  And last month Rich Robinson re-issued two of his classic recordings in the form of Paper and Llama Blues.  Whether one is a fan of the Black Crowes or of Rich both of these vinyl re-issues prove to be items that audiophiles on both sides of specific aisle will appreciate.  That is thanks in large part to the recordings’ featured songs.  That will be discussed at more length shortly.  The recordings’ sound and packaging are just as important to their presentations as their featured songs.  Each recording comes complete with a card for a digital download of the recordings.  That element rounds out the recordings and brings everything full circle.  All things considered Rich Robinson’s new vinyl re-issues are great pieces for any Black Crowes fan.

Courtesy: Eagle Rock Entertainment/UMG+

Rich Robinson’s new vinyl re-issues of Paper and Llama Blues are both great pieces for any Black Crowes fan.  This is thanks in large part to the songs featured on each of the recordings.  This is especially the case with Robinson’s double-LP recording Paper.  Richardson notes in the album’s liner notes the full story behind Paper’s creation and near loss thanks to Hurricane Sandy.  Luckily, as he goes on to note, he was able to save the album’s basic tracks, thus allowing them to be re-recorded last year along with some bonus songs that went on to be included here.  The end result is a seventeen-song, double-LP album full of great songs for Black Crowes fans and classic rock fans alike.  That is because the songs mix both elements together from start to finish in this record for an experience that will keep listeners engaged all the way through.  The very story behind the songs is in itself more than enough reason to note the importance of the album’s songs.  The songs, when coupled with the story, make them all the more important.  In regards to Llama Blues this recording is a re-issue in a purer sense of the term.  This four-song EP was originally released on December 5^th, 2011.  Its songs are another great collection of compositions for audiences with their blues-infused sound.  They are exactly the same numbers included in the EP’s original release.  While there are only four songs here, their total run time tops the sixteen minute mark.  Sixteen minutes of classic twelve-bar blues-infused rock is sixteen minutes worth of music that is well worth having regardless of whether or not listeners already own this EP.  Keeping all of this in mind, the songs that are featured throughout Rich Robinson’s new vinyl recordings show in their own way why they are important to the overall presentation of these vinyl re-issues.  Whether one is experiencing them for the first time (as most will be in the case of Paper) or for the fiftieth (or more) audiences will agree that the records’ songs are an extremely important part of the records.  They are just one part of what makes them such a joy for fans of the Black Crowes and the Robinson brothers.  The records’ collective sound and packaging are just as important to their presentation as their songs.

The songs that are featured on both of Rich Robinson’s new vinyl recordings are important in themselves to the records’ overall presentation.  In the case of Paper that is especially the case because the album almost never even got released after the events of Superstorm Sandy.  That vinyl’s release marks the first time that any of Robinson’s fans and fans of the Black Crowes have ever gotten to hear the songs in question.  In the case of Llama Blues the songs are just as enjoyable for fans that already own the EP as for those that might be less familiar with Robinson’s solo work or even that of the Black Crowes.  As important as the records’ songs are to their presentation they are not the only important element of the records.  The records’ collective packaging and sound are just as important to their presentation as the records’ songs.  The records sound great on vinyl; especially Llama Blues.  There is something magical about hearing that classic blues-infused sound and the static sound of the vinyl especially considering how recently the EP was released.  The record’s packaging adds even positive vibes to the listening experience here with the picture of the mixing board on the cover and the picture of Rich recording the EP on the back of the package.  It may not seem all that important.  But there is something about the two elements that enhances the overall listening experience with the songs’ vintage sound.  Paper’s single gatefold packaging is highlighted by an original painting created by Robinson.  There is no notation inside the album’s package in regards to its title.  But there is something about the painting’s rich, warm colors and the fluidity of the picture’s brush strokes that works quite well with this album’s songs.  There are even elements of his painting inside the gatefold package.  They are combined with pictures of Robinson performing.  It continues that fluidity, which again flows into the album’s songs.  Listeners will hear and feel that fluidity for themselves when they listen to this double-LP vinyl set.  It is just one more way in which the packaging for these vinyl re-issues proves to be just as important to their presentation as their featured songs.  Of course the packaging and songs are only a collective portion of what makes Robinson’s new re-issues so important for his fans and fans of the Black Crowes.  Each re-issue comes with a card for a digital download of said records.  That rounds out their overall presentations.

The songs featured in each of Rich Robinson’s new re-issues and the records’ packaging are both equally important to their overall presentations.  While they play directly into one another they are only a portion of what makes these re-issues so important for Robinson’s fans and those of the Black Crowes.  Both re-issues come complete with a card for a digital download of said recording.  The downloads are provided courtesy of soundtrax.com and Noiseland.  This inclusion means that whether one is more a fan of vinyl or of CDs or even digital fans can now own both recordings in all three formats thanks to the noted companies and to Eagle Rock Entertainment and Universal Music Group.  It also means that audiences can take the recordings with them wherever they go whether it be at home or out and about.  So for all intents and purposes it could be argued that that download cards are in fact bonuses for fans that purchase the re-issues.  Keeping that in mind, the bonus download cards come together with the records’ songs and their packaging to complete their presentations and show in whole why they are pieces that Robinson’s fans and fans of the Black Crowes should have in their own home music libraries.

Rich Robinson’s re-released recordings of Llama Blues and Paper are both available now in their new vinyl presentations.  They are both pieces that Robinson’s fans should have in their music libraries just as much as fans of the Black Crowes.  This is proven primarily through the recordings’ songs and their packaging, which ties directly into the music.  The download cards that come with each record serve as great bonuses for fans.  They allow fans to enjoy the recordings not just in their new vinyl presentations but in digital form and even on CD when they burn the files to disc.  They round out the re-issues’ presentations.  Keeping this in mind both re-issues prove, once again, why they are pieces that fans of both Rich Robinson and the Black Crowes will want to have in their own home music libraries.  They are available now in stores and online and can b ordered online direct via Rich Robinson’s online store at http://richrobinson.net/store.  More information on these and other recordings from Rich Robinson is available online along with all of Robinson’s latest news at:

 

Website: http://richrobinson.net

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

Twitter: http://twitter.com/richrobinson

 

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.

Blackberry Smoke Holds All The Roses Among So Many Other Albums With Its Latest LP

Courtesy: Rounder Records

Atlanta, Georgia has been known for decades as one of America’s major hotbeds for musical talent. Much like Austin, Seattle, and Los Angeles it has produced some of the biggest names in the industry over the years. Those names come from nearly every genre of the music world. They include the likes of: Sevendust, Stuck Mojo, Collective Soul, Zac Brown Band, Black Crowes, and so many others. The list goes on and on. It could take days or even weeks to name them all. For the case of this review, the focus is set on the Southern Rock Band Blackberry Smoke. For roughly fifteen years now, the members of Blackberry Smoke–Charlie Starr (vocals/guitar), Richard Turner (bass/vocals), Brit Turner (drums), Paul Jackson (guitar/vocals), and Brandon Still (keyboards)–have been making music and touring. Of those roughly fifteen years together, Blackberry Smoke has released three full-length albums, the most recent of which–The Whippoorwill–was released on Zac Brown Band’s own Southern Ground Records in 2012. This past February, the band released its fourth full length album titled Holding All The Roses. The album was released via Rounder Records. For those that might not be so familiar with the band’s body of work, Holding All The Roses serves as a good introduction to the band. And it is just as enjoyable for those that are more familiar with its work up to this point. The sound spread across the album’s dozen tracks shows influences from some of the greatest southern rock bands of the 20th Century including: The Marshall Tucker Band, Lynyrd Skynyrd, Black Crowes, Doobie Brothers, and others of that ilk. While the influence of said bands is there from start to finish on this record, Blackberry Smoke still maintains its own identity in each song. That is evident right from the album’s opener ‘Let Me Help You (Find The Door).’ The same can be said of the album’s title track and the somewhat sexually charged ‘Rock and Roll Again.’ These three works in themselves more than exemplify what makes Holding All The Roses such a joy. By themselves they are just a minute fraction of what makes it such an enjoyable record, too. There are nine other tracks from which audiences will find their own favorite(s) on this record. Those songs, coupled with the trio noted here, prove Holding All The Roses in the end to be one of the best new rock and country records of 2015.

Blackberry Smoke’s fourth full length album Holding All The Roses is one of this year’s best new rock and country records. There are some issues here and there throughout the record in terms of its production values. But they are not enough to make HATR unworthy of being heard. From the album’s opener to its end, the songs that make up this album make it one of those rare records that audiences will actually want to listen to without skipping even one song. That is evident right from the album’s opener ‘Let Me Help You (Find The Door).’ On the song’s musical side, audiences will hear a clear influence from famed classic rock band Black Crowes throughout the song. It could even be argued that the song’s bridge, which features quite the guitar solo, bears a rather noticeable Lynyrd Skynyrd influence. Lyrically, it offers audiences just as much of a punch with front man Charlie Starr seemingly addressing certain types who simply don’t want to change their ways. Whether it be those musical acts that refuse to change and those that push said albums or the sheep that give in to everything that is fed to them whether in terms of music, politics, etc.–as front man Charlie Starr sings about in both the song’s first and second verse– it is a clear statement that hits quite a few chords, no pun intended. One could even argue that it even indirectly addresses those audiences that expected this album to be just like the band’s previous released. As Starr sings in the song’s opening verse, “Why’s it got to be the same damn thing/Same damn song and everybody wants to sing/Same sons of b****** still riggin’ the game/They sell the same old faces with brand new names/No matter if I’m wrong or right/I ain’t losin’ sleep tonight/I’ve heard it all before/I can’t take it anymore/If that’s all you got/Let me help you find the door.” The song’s second verse seems to address those sheep that believe everything that is fed to them, from music to news, to politics and more with Starr singing, “Here we go diggin’ the same damn ditch/Just line ’em up/Can’t tell you which one’s which/Standin’ in the back with a s***-eating grin/They were buyin’ it once/I bet they’ll buy it again.” Starr hits on so many subjects with so few words in this song. And he hits the nail right on the head, too. It’s a sharp, yet in an odd way, slightly lighthearted indictment of said subjects that ironically will in fact have Blackberry Smoke’s own fans singing along. One can only hope that in singing along, the band’s own fans will catch the message being presented by Starr and his band mates here rather than just taking the song for its musical side. Those that take both the song’s musical and lyrical side into full consideration will agree just how important it is both in itself and to the album in whole.

‘Let Me Help You (Find The Door) is a solid opener for Blackberry Smoke’s latest full-length record. Its statement urging people and bands who refuse to change to go away is sharp yet witty at the same time. And it ironically will have the band’s own fans singing along every time. One can only hope that said fans will catch the message embedded within the song and take it to heart in catching it. Those fans that do catch the message in question, coupled with the song’s infectious musical side will agree that it is just one part of the whole that makes HATR one of this year’s best new rock and country records. The album’s title track is just as important to the whole of the record. Much like the album’s opener, it boasts its own classic rock influences yet still continues to maintain the band’s own identity, too. The song’s driving, 2/4 tempo will instantly have audiences dancing and clapping along. Having hooked audiences with it musical side, Starr and company–Richard Turner (bass, vocals), Brit Turner (drums), Paul Jackson (guitar, vocals), and Brandon Still (keyboards) make just as powerful a statement with the song’s lyrical side. Starr sings in the song’s first verse about a subject overcoming all of his or her odds and coming out on top, fittingly “holding all the roses” just as a winner would. Starr Sings, “You look like you’ve seen a ghost/I don’t think it’s even gonna be close/Your rabbit’s foot and your four-leaf clover/Throw them all away and start all over/Here I am see me coming around/Swinging out wide with the hammer down/There I go watch me leave you behind/Holding all the roses on the other side.” The subject here is addressing those that called the odds against him or her, proving all those people wrong as he or she holds the proverbial roses of a winner. Speaking of those odds, Starr goes on to sing of overcoming the odds as he sings, “The odds against me were 20 to 1/Carry that weight like it weighs a ton/Ain’t no luck in a gasoline rainbow/Come on, drop that rag/Away we go.” He comes across as saying his subject is using the weight of those odds as motivation to keep pushing on to the very end. Such lyrics are words that will reach so many listeners and potentially have quite the impact. It will leave listeners saying if Starr’s subject can press on against all odds then so can the band’s fans. The song’s driving musical side added to the mix, the song in whole shows once more exactly why it is one more enjoyable and equally important part of the whole that leaves Holding All The Roses in fact holding all the roses on any critic’s list come year’s end.

For all of the seriousness of HATR’s opener and its title track, Blackberry Smoke isn’t all work and no play on its new album. It also boasts some fun moments, too. One example of that lies in the song ‘Rock and Roll Again.’ The song’s musical side shows obvious influence from The Marshall Tucker Band, The Allman Brothers Band and others of that ilk yet once again maintain’s Blackberry Smoke’s own identity along the way. Lyrically, it will put just as much of a smile on listeners’ faces as the music alone. Starr sings about a woman who definitely gets the subject going in all the right ways so to speak. He writes of said woman, “She knows me well and never fails/She knows just how to put the wind back in my sails/She’s got the key to set me free/It’s just so easy to see/The way she makes me rock and roll again/Put the dirty in my mind again/Ain’t nothin’ to it/But she pulls me back in/My baby made me rock and roll again/Yes, she made me rock and roll again.” The rest of the song goes on in much the same fashion, lyrically speaking, with Starr noting of that same woman putting a swagger back in the subject’s step, and gets him moving. The song’s musical side boasts its own swagger, which perfectly complements Starr’s lyrics. Both sides of the song taken into full consideration, they show that Blackberry Smoke can be just as fun as it can be serious. Because of this, it proves to be one more example of what makes HATR such an enjoyable work for every rock and country fan. Taken into consideration with the likes of the album’s title track, its opener, and those pieces not noted here, it proves to be one more piece of an album that again, holds all of its own roses among the masses so far this year.

Blackberry Smoke is currently touring in support of HATR. It is in the last leg of the North American leg of its tour, which wraps up May 24th in Monteagle, Tennessee. The band will take a few days off to rest and recharge after before heading overseas for the European leg of its tour, which kicks off May 29th in Munchen, Germany. After finishing off that leg, the band will return stateside again on June 19th in Alpharetta, Georgia. Fans will be able to pick up HATR at any of the band’s upcoming live dates. In hearing the band live and on its new album, audiences that haven’t yet heard the band’s music will agree, too that HATR more than deserves a spot on any critic’s list of the year’s best new rock and country albums come December. Fans can check out Blackberry Smoke’s latest tour dates online now, along with all of the band’s latest news at:

Website: http://blackberrysmoke.com

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

Twitter: http://twitter.com/blackberrysmoke

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