Bob Marley And The Wailers: The Capitol Session ’73’ Is An Important Part Of The Group’s History That Reggae, Marley Fans Alike Will Welcome

Courtesy: Tuff Gong/Mercury Studios

This coming October marks an important mark in the history of Bob Marley and the Wailers.  Approximately 48 years will have passed this year since the group performed a live, closed-door performance at Capitol Records’ offices following what was a rough tour in support of its then latest album, Catch a Fire.  The “concert” in question is a rare recording from the group.  It took years of searching and research to even locate the footage, assemble and edit everything.  Now this Friday, that painstaking time and effort will come to fruition when Tuff Gong and Mercury Studios (formerly Eagle Rock Entertainment) release the intimate performance.  The recording proves an entertaining presentation thanks in part to its featured liner notes.  Those liner notes set the stage (so to speak) for the recording and will be discussed shortly.  Adding to the recording’s appeal is its production, especially considering the amount of time and work that went into restoring the footage.  It will be examined a little later.  The set list rounds out the recording’s most important elements and will also be examined later.  Each item noted here is important in its own way to the whole of the recording.  All things considered, they make the recording a presentation that reggae fans and those specifically of Bob Marley and the Wailers will appreciate.

Tuff Gong and Mercury Studios’ forthcoming release of Bob Marley and The Wailers: The Capitol Session ’73 is a presentation that will appeal widely among reggae fans.  Its success comes in part through its featured liner notes.  The liner notes are so important to the recording’s presentation because they establish the setting and story that led to the one-off performance.  The notes come from author John Masouri’s book, Simmer Down: Marley-Tosh-Livingston.  The excerpt featured in the recording’s booklet points out that leading up to the rare performance, Marley and company had not had the best experience.  Masouri even cites then band member Joe Higgs as saying of the experience, “We weren’t happening, our outfits were inappropriate, and we were rebels.”  In other words, the U.S. leg of the band’s “Catch a Fire Tour” (which was what led up to the Capitol Session according to Masouri) was not necessarily a positive experience.  Audiences will be just as enthralled as they learn that the band’s connections at Island Records helped to get the band its performance.  Perhaps most interesting of all that Masouri points out in the featured excerpt is that the Capitol Session performance was one of the very last times that the majority of The Wailers’ initial lineup performed together.  As he states, Bunny Livingston had left the band around the time that the tour’s UK leg launched in April 1973.  He later adds that following the Capitol Session performance, the rest of the initial lineup would perform together two more times before many members went their own way.  Having this understanding, it makes the performance and recording that much more important of a moment in the history of Bob Marley and The Wailers.  Higgs and Tosh each left the band after the band returned to Jamaica following those last two shows together.  They would go on to their own successful careers as solo artists.  So simply put, the information featured in this recording’s liner notes are just a brief excerpt from Masouri’s book, but they offer so much in the way of establishing the setting.  When audiences read those notes first, they will go on to have even more appreciation for the performance.

While the history presented in the recording’s liner notes does a lot to make the recording engaging and entertaining, it is just a portion of what makes the recording successful.  The recording’s production makes for its own appeal.  Going back to the noted time and effort that went into finding and restoring the recording’s footage, that work paid off.  Considering that almost half a century has passed since the footage was initially captured, it looks and sounds quite impressive.  The picture and audio are each surprisingly clear.  What’s more, the mix effects that are used between the four cameras give the performance a feeling that is just as enjoyable as any much bigger concert.  The smooth, gentle transitions from camera to camera do so much to heighten the relaxed sense that the music establishes.  Considering that the band was playing this concert in-studio instead of in front of a live audience, it meant extra attention also had to be paid to the recording’s audio mix.  The attention paid even to this aspect is impressive, as audiences can hear the subtle echo of the band in the studio, but the echo never once overpowers the music.  In fact, it actually adds a subtle positive aesthetic impact to the general effect.  It shows along with the video production that the work that went into recording the performance and even restore it paid off in spades.  That positive result and the story behind the performance join to make for even more engagement and entertainment.  Even with that in mind, there is still one more item to address in examining the recording.  That item in question is the recording’s set list.

The set list featured in the band’s Capitol Session performance is interesting because of its clearly directed focus.  The 12-song set pulls from the band’s then latest album, Catch a Fire behind which the band was touring, and its follow-up, Burn, both of which were released in 1973.  The band had already released four other albums prior to the performance, so to have the focus mainly on those two albums is just very interesting.  As a matter of fact, the band pulled over half of Catch a Fire’s nine tracks for the performance, and approximately half of Burnin’.  So what audiences get in this set list is a very specific look at the band at that moment in its history.  To that end, it is a positive in its own right.  So in other words, not only do audiences get an actual history of the band at that point through the recording’s liner notes, but they also receive a musical history so to speak at the same time.  Keeping that in mind along with the impressive production values in the recording, the whole leaves The Capitol Session ’73 a presentation that will appeal widely among reggae fans and those specifically of Bob Marley and the Wailers.

Tuff Gong and Mercury Studios’ forthcoming “live” Bob Marley and the Wailers recording, The Capitol Session ’73 is a positive new offering for any reggae fan and fan of Bob Marley and the Wailers.  Its success is established early on through the liner notes featured with the recording.  The notes, which are in fact an excerpt from a book about Marley and his fellow musicians, do well to establish the history of the moment.  Audiences are recommended to read those notes before taking in the concert, as it will serve to increase the appreciation for the performance.  The production values presented in the recording add to its appeal.  That is because it shows how ell the footage has stood the test of time.  What’s more, it shows that the time and effort that went into locating and restoring the footage paid off in its own right.  The recording’s set list rounds out the most important of its elements.  It is important because it encapsulates the band in a sense.  It shows the band at a very particular point in its life through the performances of songs from two specific albums.  Each item examined here is important in its own way to the whole of this recording.  All things considered, they make the recording a piece that reggae fans and Bob Marley fans alike will appreciate.

Bob Marley and The Wailers: The Capitol Session ’73 is scheduled for release Friday through Tuff Gong and Mercury Studios. More information on The Capitol Sessions ’73 is available along with all of the latest Bob Marley news at:




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Release Date Announced For Archived Bob Marley And The Wailers Concert

Courtesy: Tuff Gong/Mercury Studios

Mercury Studios (formerly Eagle Rock Entertainment) has partnered with Tuff Gong to resurrect a classic performance by Bob Marley and the Wailers.

The companies are scheduled to release The Capitol Session ’73 Sept. 3 on DVD/CD, CD, 2LP, and digital platforms. Pre-orders are open now.

According to information provided, the performance featured in the forthcoming release was originally captured in October 1973 at Capitol Records by famed producer Denny Cordell. The concert came a decade after the group’s formation, the information states.

The process of locating and restoring the footage for this concert took more than two decades. Archives and storage units the world over were searched for the footage prior to its restoration, showing just how much time and effort was taken to unearth and restore it all.

In anticipation of the concert’s release, Tuff Gong and Mercury Studios have released a trailer of one of the songs performed at the intimate recording. It is streaming here.

More information on The Capitol Sessions ’73 is available along with all of the latest Bob Marley news at:


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Capitol Records, Universal Music To Reissue Jimi Hendrix’s ‘Band Of Gypsys’ Live Recording Next Month

Courtesy: Capitol Records/Universal Music Group

Capitol Records and Universal Music will celebrate a major musical milestone next month.

The companies will celebrate the 50th anniversary of the original release of Jimi Hendrix’s seminal live album Band of Gypsys March 27 with a new vinyl reissue of said album.  The all-analog presentation was mastered from the original analog stereo tapes of the recording.  The mastering work was handled by famed Hendrix engineer Eddie Kramer.

The new vinyl reissue will be available on two different pressings — a black, 180-gram pressing from Quality Record Pressings, and a translucent cream, red, yellow and green swirl 180-gram pressing available exclusively through

Each pressing will feature an eight-page booklet filled with rare images from the Band of Gypsys concert and an essay penned by John McDermott.  They will also feature a 24″ X 36″ reproduction of the original poster used by Capitol Records to promote Band of GypsysPre-orders are open now for the reissue.

Jane Hendrix, Jimi’s sister and Experience Hendrix CEO, spoke highly of the forthcoming reissue in a recent interview.

“This is more than the commemoration of an anniversary that is, of course, something momentous, but it is also the celebration of a cathartic event in Jimi’s life…a sort of changing of the guards,” she said.  “He demonstrated that there was no limit to his musical landscape.  It was broad and beautiful, and like the leader of a true band of gypsies, Jimi could go anywhere on the spectrum of genres and be at home there musically!  This is our way of celebrating that part of Jimi’s journey.”

Hendrix’s Band of Gypsys live show was originally recorded Jan. 1, 1970 at New York’s famed Fillmore East.  His then bassist Billy Cox recalled what led to the release of the concert recording during his own recent interview.

“There had been a lawsuit against him and the only way out of that was to give them something,” he said.  “Jimi came to me and explained what had happened.  Then it was decided to give them an album.  I said let’s go for it.  At the time, Mitch [Mitchell] was in England, but [Buddy [Miles] would frequent the studios with us and he decided the same thing; let’s help our friend in need. Ultimately we became the Band of Gypsys.”

The lawsuit of which Cox referenced reached back to 1965 when Hendrix was still an unknown artist.  He worked at the time on a series of recordings from Curtis Knight & The Squires.  He was signed to Sue Records at the time, but had signed a deal with PPX Industries, binding his services not only for his work with Curtis Knight & The Squires but in general for the next three years.

That contract with PPX Industries led to the release of two 45 rpm singles that were licensed to RSVP Records by PPX Industries in early 1966.  Neither release gained any traction, leading Knight and Hendrix to part ways.  Hendrix’s agreement with PPX Industries was still in effect when Hendrix became famous as his own star.  A series of recordings that Hendrix had done with Knight was released at the time of Hendrix’s fame, competing with Hendrix’s own successful records Are You Experienced and Get That Feeling.

The competing recordings led to litigation, which was settled in 1968.  The settlement required Hendrix to deliver an album of original content to Capitol Records for distribution.  That recording was the now timeless live recording Band of Gypsys.

Band of Gypsys features six then unreleased songs — ‘Machine Gun,’ ‘Message To Love,’ ‘Power of Soul,’ ‘Who Knows,’ ‘Changes’ and ‘We Gotta Live Together.’  The recording’s track listing is noted below.


1) Who Knows
2) Machine Gun
Recorded January 1, 1970 Early Show

1) Changes
2) Power To Love
3) Message To Love
4) We Gotta Live Together
 Recorded January 1, 1970 Late Show

More information on Band of Gypsys and other Jimi Hendrix releases is available online at:






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New Nat King Cole Compilations Set For Release In March

Courtesy: Capitol Records/UMe

Universal Music will mark the 100th anniversary of Nat King Cole’s birth in March with two new compilations.

Ultimate Nat King Cole and International Nat King Cole are scheduled to be released March 15 via Universal Music.  The company has partnered with Capitol Records for each collection’s release.  On the same day, an expanded edition of Marvin Gaye’s classic album A Tribute to the Great Nat King Cole will be released via Universal Music and  Motown.

Ultimate Nat King Cole will be available on CD and digital, with a 2LP release to follow on June 14.  International Nat King Cole will be available on CD.  That record features a new duet of ‘The Girl From Impanema’ that pairs Blue Note Records artist Gregory Porter with Cole’s original vocal line.  Porter’s latest album Nat King Cole and Me has been nominated for an award at this year’s Grammy ceremony.

Porter’s tribute to Cole is just one of the 21 songs featured on Ultimate Nat King Cole.  Also featured in the record’s body are songs, such as ‘Unforgettable,’ ‘Mona Lisa’ and ‘Straighten Up And Fly Right.’

Courtesy: Capitol Records/UMe

International Nat King Cole is a limited edition, 14-song compilation that features Cole’s songs recorded in languages other than English in 1964 at Capitol Studios.

Each record features newly-written essays by actor and award-winning writer James Ritz.

While Cole was largely known for his musical accomplishments, he was just as well-known and respected for his contributions to the civil rights movement.  In 1946, he broadcast a 15-minute program called “King Cole Trio Time,” which was the first of its kind to be hosted by an African-American musician.

He became the first major African-American entertainer to host his own national TV show, Nat King Cole Show, which aired on NBC.  The program aired weekly on NBC from November 1956 to December 1957.  The series was canceled because it lacked enough sponsors to keep it running.  It lacked sponsors because marketers were afraid to upset white audiences at the time by advertising on a program hosted by an African-American.

Along with his work on radio and television, Cole also appeared in a number of movies, such as St. Louis Blues (1958) and Cat Ballou (1965).  Additionally, he received a Special Achievement Award from the Golden Globes in 1963.

The track listing for all three upcoming Nat King Cole collections is noted below.

Ultimate Nat King Cole [CD; digital; 2LP vinyl]

1.  (Get Your Kicks On) Route 66 

2.  Straighten Up And Fly Right 

3.  (I Love You) For Sentimental Reasons 

4.  Sweet Lorraine 

5.  Unforgettable 

6.  Walkin’ My Baby Back Home 

7.  Mona Lisa 

8.  Pretend 

9.  Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps) 

10. Love Me As Though There Were No Tomorrow 

11. Stardust 

12. Orange Colored Sky 

13. When I Fall In Love 

14. The Very Thought Of You 

15. Perfidia 

16. Let There Be Love 

17. Those Lazy-Hazy-Crazy Days Of Summer 

18. L-O-V-E 

19. Smile 

20. Nature Boy 

21. The Girl From Ipanema (with Gregory Porter)


International Nat King Cole [CD]

1.  L-O-V-E (French Version)

2.  Les Feuilles Mortes (Autumn Leaves / French Version)

3.  Crois-Moi Ca Durera (You’ll See / French Version)

4.  Le Bonheur C’est Quand On S’aime 

5.  Vous Qui Passez Sans Me Voir (Passing By / French Version)

6.  L-O-V-E (German Version)

7.  Muetterlein (Answer Me, My Love / German Version)

8.  L-O-V-E (Japanese Version)

9.  I Don’t Want To Be Hurt Anymore (Japanese Version)

10. Kareha (Autumn Leaves / Japanese Version) 

11. L-O-V-E (Spanish Version)

12. Tu Eres Tan Amable 

13. L-O-V-E (Italian Version)

14. Tu Sei Cosi Amabile


Marvin Gaye: A Tribute To The Great Nat King Cole (Expanded Edition) [digital]

1.  Goodbye

2.  I Wish You Love

3.  If I Had To Go

4.  So In Love

5.  The End Of A Love Affair

6.  The More I See You

7.  Violets For Your Furs

8.  You’re All That Matter To Me

9.  Nature Boy / original mono LP mix

10. Ramblin’ Rose / original mono LP mix

11. Too Young / original mono LP mix

12. Pretend / original mono LP mix

13. Straighten Up and Fly Right / original mono LP mix

14. Mona Lisa / original mono LP mix

15. Unforgettable / original mono LP mix

16. To the Ends of the Earth / original mono LP mix

17. Sweet Lorraine / original mono LP mix

18. It’s Only a Paper Moon / original mono LP mix

19. Send for Me / original mono LP mix

20. Calypso Blues / original mono LP mix

21. Unforgettable / original California version, take 2

22. Send for Me / original California version, take 1

23. Send for Me / original California version, take 3

24. Ramblin’ Rose / alternate vocal

25. Too Young / alternate vocal, take 1

26. Send for Me / alternate vocal, take 1

More information on the upcoming releases is available online now at:





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Perry’s Prismatic World Tour Live Shines Brightly For Fans

Courtesy:  Eagle Rock Entertainment/Capitol Records

Courtesy: Eagle Rock Entertainment/Capitol Records

Katy Perry is one of the biggest names in the pop music community today.  Ever since breaking out with her hit song ‘I Kissed a Girl’ in 2008 Perry’s rise to stardom has been meteoric to say the very least.  Now roughly seven years later, she is one of the darlings of the pop world having earned no fewer than five American Music Awards, fourteen People’s Choice Awards, nine number one singles, and much more acclaim.  This is all with Perry having released three albums and one live recording since the release of her 2008 debut album One Of The Boys.  Late last month Perry added yet another live recording to that list, ensuring that her acclaim grows even more.  The recording, Prismatic World Tour Live, was recorded at Perry’s performance in Sydney, Australia during her 2014 Prismatic World Tour.  Whether one is a long-time Katy Perry fan or perhaps just a casual fan, this latest live recording from the pop princess is one every one of her fans will enjoy.  The main reason for that is the show’s set list.  That will be discussed at more length shortly.  Perry’s stage presence and the show’s overall presentation are just as worth noting in this recording.  The show’s production values round out the most important of the recording’s elements.  The camera work and that of those behind the audio boards lies at the center of the recording’s overall viewing experience.  Together with the show’s set list and performance by Perry and company, all three elements combined make Prismatic World Tour Live a recording that any of Perry’s fans will enjoy.

Katy Perry’s new live recording Prismatic World Tour Live is a recording that any of her fans will enjoy.  This applies both to the hardcore fans and even the more casual fan that enjoys her music but might not want to pay the exorbitant price of a ticket to see her live.  The main reason for such high level of enjoyment is the show’s set list.  The twenty-two song set features songs from all three of Perry’s current full-length studio recordings.  Though her two most recent albums—Prism (2013) and Teenage Dream (2010)—are most prominent in the featured set list.  That is not to say that Perry ignored her debut album One Of The Boys (2008).  It is just that the latter pair is more heavily represented.  That is especially the case with Prism.  Nearly the entire album is represented in this performance.  Perry even goes so far as to include the song ‘It Takes Two’ in the show.  That song is only included in the extended edition of Prism.  In all Prism is represented by a grand total of twelve songs.  Teenage Dream is represented by eight songs and One Of The Boys by four.  So since Katy Perry has only been a fixture in the mainstream music community for seven years, it would be improper to call this recording career-defining.  However, considering the fact that all three of her albums so far have been relatively well represented in the concert, it could be argued that one could call it career-spanning.  Of course that term would be used loosely at this point.  But it would still apply.  And that being the case, it can be said that in presenting so much material, the show’s set list shows itself to be a key element to Prismatic World Tour Live’s overall presentation.  It establishes a solid foundation for the recording and in turn is just the beginning of what makes the presentation in whole one that Perry’s fans will enjoy.  Perry’s performance (and that of her dancers) couples with the show’s theatricality in whole to strengthen the concert’s overall presentation.

The set list chosen for Prismatic World Tour Live establishes a solid foundation for the recording.  It is a set that covers all three of Perry’s albums so far.  Two of those albums are even more prominent than the other.  Regardless, Perry’s long-time fans and her more casual fans alike will appreciate that she covered so much ground, musically speaking.  Of course the concert’s set list is just one part of the whole that fans will enjoy.  Perry’s performance (and that of her dancers) couples with the theatricality of the show to add even more depth to the concert.  Perry’s performance throughout the show is within itself important to the whole of this concert in that she really puts on the best possible performance for those in attendance.  From her extensive dance routines to the choreographed routines with her dancers, many hours had to have been spent rehearsing those routines.  Those hours obviously paid off because they are handled with the utmost precision.  To that extent, Perry and company will keep audiences engaged.  On a side note, it should be said that some audiences might find some of the dance featured dance moves….offensive.  That is because there is a fair share of twerking and rump shaking going on throughout the course of the show.  And some of the outfits leave little to the imagination.  Those two factors cannot be ignored even with the precision of the performers’ (Perry included) routines in mind.  On a related note, the theatrical elements of Perry’s show add even more depth to the concert for fans.  There are multiple costume changes and set changes throughout the show.  From an Egyptian set and costumes to something akin to the Broadway musical Cats to a giant balloon-like dress, post-apocalyptic rave-like outfits in the show’s opener, and so much more, Perry and company keep audiences well entertained through the show’s theatricality. All things considered here, the dance routines and overall theatricality of Perry’s live show makes for even more enjoyment for her fans. What’s more it might actually be possible that Perry even used her own vocal talents at different points in the show. Heck, she might have even actually sung her way through the entire show. Though, with her singing over her own vocal track it is at time difficult to tell. It cannot be denied that she did use her own vocals even if it was only at certain points. The fact that she actually did will impress audiences just as much. It is the proverbial cherry on top of the concert’s performance elements that together with said elements makes those elements important in their own right. Together with the show’s set list, they make Prismatic World Tour Live that much more of an entertaining watch for Perry’s fans. As with any other live recording they are hardly the last elements worth noting in examining the concert in whole. The show’s overall production values round out the viewing experience.

The set list and overall performance by Perry and her dancers throughout Prismatic World Tour Live are in their own right hugely important to the concert’s overall viewing experience. The set list covers almost all of her songs to date. The performance and theatricality of the show itself is sure to keep audiences just as engaged. Together, all of those elements make Prismatic World Tour Live a concert experience that any of Katy Perry’s fans will enjoy. Of course they wouldn’t be worth the note if attention wasn’t paid to the show’s production values—its audio and video mix. Of course Eagle Rock Entertainment is not the leading name in live recordings for no reason. It only releases recordings with the highest quality production values. And that holds true here just as much as in any of the label’s vast collection of recordings. The venue at which Perry performed this concert was expansive to say the very least. It was a full-size arena holding any number of her fans. That means that balancing the concert’s audio was of the utmost importance for audiences at home. And that is evident even in the concert’s post production work. That is meant in the most complimentary fashion possible. Audiences can really hear just how expansive the venue was. At the same time, Perry’s vocals are never lost along the way. In simpler terms, audiences can hear as she sings just how far her vocals (and the rest of the show’s audio) spread throughout the arena. But none of those parts ever overpowers the others nor do any of those parts sound airy, as if they are off in the distance. To that extent all involved are deserving of praise for their painstaking efforts to balance the concert’s audio levels. In the same vein, the work of those behind the cameras and editors is just as important to note. Whereas the venue’s size offered its share of challenges for those handling audio duties, it offered just as many opportunities for those behind the lens. And it goes without saying that said individuals used every one of those opportunities. There are shots taken from every possible angle from beginning to end. It gives audiences watching at home quite a view of the show if not the best seat in the house. The work of those charged with assembling said shots in post is just as much to thank for that. It is thanks to their efforts that the shots not only give viewers the best seat in the house and the fullest experience. The zooms, pans, cuts, and angles are used expertly throughout to enhance Perry and company’s performance. They serve to heighten the show’s energy even more and translate said energy to audiences at home. The end product is a concert to which audiences will find themselves singing and dancing because of that expert translation. Together with the equally well-handled audio, that enjoyment is made even more. And together with the performance of Perry and her dancers, and the show’s set list, the recording in whole proves to be one that is well worth the watch by any of Perry’s fans regardless of whether they have ever gotten to see her live or not.

Katy Perry’s new live recording Prismatic World Tour Live is a live recording that any of the pop star’s fans will want to see. This is regardless of whether or not they have ever had the opportunity to see her live. The show’s set list covers all three of the albums that she has released to date, totaling twenty-two songs. Perry’s performance alongside her dancers couples with the show’s theatrical elements to keep fans fully engaged and entertained. The production values give audiences the best seat in the house thanks to the efforts of those that originally recorded the show and those that prepared the show for release. Each element plays its own important part in the whole of this recording’s presentation. Altogether, they make Prismatic World Tour Live a recording that, again, any Katy Perry fan will enjoy. It also serves to show once more why Eagle Rock Entertainment remains to this day the leading name in live recordings. It is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:






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Eagle Rock Entertainment Teaming With Capitol Records To Release Katy Perry’s New Live Recording

Courtesy:  Eagle Rock Entertainment/Capitol Records

Courtesy: Eagle Rock Entertainment/Capitol Records

Eagle Rock Entertainment has for a number of years held the mantle of the leader in live recordings. It has held that title of honor because of the quality of recordings that it has released and for the variety of artists, bands, and groups whose recordings it has handled. Those acts include the likes of: Elton John, Lynyrd Skynyrd, Stone Temple Pilots, and even the intense Slipknot among so many others. There is even a new archived show from Rage Against The Machine due out next month. Now Eagle Rock has announced yet another major surprise addition to its roster of recordings. Next month, Eagle Rock Entertainment will release pop princess Katy Perry’s new live recording The Prismatic World Tour Live.

The Prismatic World Tour Live will be released Friday, October 30th through a partnership between Eagle Rock Entertainment and Capitol Records. It will be available on DVD, Blu-ray and digital download. The performance captured in this recording was originally recorded in Sydney, Australia during Perry’s visit to Australia in December 2014 as part of Perry’s “Prismatic World Tour,” which kicked off in May 2014. It includes some of Perry’s biggest hits to date including: ‘Roar,’ ‘Firework,’ ‘I Kissed a Girl,’ ‘Dark Horse,’ ‘California Gurls,’ and ‘Hot N Cold’ among a number of other hits. The set list, which features a total of twenty songs, is listed below. Fans can check out the trailer for the upcoming recording online now via YouTube at

The Prismatic World Tour Live” – Tracklisting (All Formats)

  1. Roar
  2. Part of Me
  3. Wide Awake
  4. This Moment / Love Me
  5. Dark Horse
  6. E.T.
  7. Legendary Lovers
  8. I Kissed a Girl
  9. Hot N Cold
  10. International Smile
  11. By the Grace of God
  12. The One That Got Away / Thinking of You
  13. Unconditionally
  14. Walking on Air
  15. It Takes Two
  16. This Is How We Do / Last Friday Night (T.G.I.F.)
  17. Teenage Dream
  18. California Gurls
  19. Birthday
  20. Firework


The Prismatic World Tour Live will be available Friday, October 30th on DVD, Blu-ray, and digital download. Pricing information for each platform will be announced soon. More information on this and other titles from Eagle Rock Entertainment is available online now at:




More information on this record is available online now along with all of the latest news from Katy Perry at:




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Dilated Peoples’ Fifth Full Length LP Is The First Great Rap Album Of 2014

Courtesy:  Rhymesayers Entertainment/Expansion Team

Courtesy: Rhymesayers Entertainment/Expansion Team

Seven years.  That is how long fans of hip-hop trio Dilated Peoples waited and wondered if the group would ever release a new album or if the group—DJ Babu, Evidence, and Rakaa—had called it a career after the release of its 2006 album 20/20.  Now after that long wait, Dilated Peoples has triumphantly returned with a record that is a viable candidate to be one of the top new rap and hip-hop albums of 2014 in Directors of Photography.  The album is aptly titled, especially considering the fact that this record is the first for the group with new label Rhymesayers Entertainment.  Before signing with Rhymesayers, Dilated Peoples’ had released its previous four albums through Capitol Records going all the way back to its major label debut the Platform (2000).  The significance of the album’s title is linked to the possibility that while signed with Capitol, Babu, Evidence, and Rakaa likely didn’t have the control that they would have liked over the sound and feel of their work.  So much like the Director of Photography has the final say in the look and feel of a movie, TV show or advertisement, so did the group have that same kind of control upon signing with the indie label Rhymesayers.  The end result is an album that was well worth the wait for any long-time Dilated Peoples fan and just as welcome a first listen for those that might be new to the L.A.-based trio’s music.

Director of Photography’s lead single ‘Good as Gone’ is a fitting opener, especially considering that fans waited for this album for seven years.  The song comes across as a defiant, self-assured piece that lets the critics know that the group is back just as strong as ever.  That argument can be made by looking at the song’s first verse in which Rakaa raps, “I was getting buried alive/Heard the dirt hit the coffin top/I barely survived/But I broke through my grave/Ripped the pine box seal apart/Head first yelling, “maggot brain,funkadelic art/Fear is a dark side/Fair-weather friends flock/Hitchcock/sam birds scatter when the end stop.”  He goes on to make note through so much negativity, he didn’t let those fake friends and other naysayers get him down.  As he notes, “took heavy fire/Survived the crash landing/Smiled to walk away from the wreckage/The last man standing.”  Evidence seems to echo that sentiment as he raps in the song’s second verse, “Devise a plan and I execute it/Till I’m undisputed/If the record never stated/I’ve been showing most improvement/At a time when my peers declined/I used it as a booster/Used the dedication as a plus/I ain’t used to losers.”  It comes across in the grand scheme of things as a defiant statement that shows that Dilated Peoples is anything but Good as Gone.  If anything, this first impression from the veteran hip-hop trio  gives fans hope that the group’s fifth full length album won’t be its last.

Babu, Rakaa, and Evidence followed up the success of ‘Good as Gone’ just recently with the release of the second single from Directors of Photography, ‘Show Me The Way (ft. Aloe Blacc).’  This seemingly introspective song presents yet another positive message to listeners as Evidence and Rakaa go back and forth in a sort of call and response late in the song.  Evidence starts the cycle, rapping, “It’s routine/By the beach I rise/First up/I hit the 8$&%/Then I bleach my eyes/then it’s to the drum machine to speak my mind/Tracks like fitted hats/pick a beat m y size.’  Rakaa responds “Energized/On the darkest streets I shine/Saw the light up on the mountain/To the peak I climb/Breathtaking new perspectives on the life I grind/First tear of joy fell/Looking like I’m crying/For just a moment.”  Evidence’s response to Rakaa’s line, “The feeling of being content/Not needing a dollar or a cent/Smile for my mama/Cause she proud/The studio/My headphones loud.”  Rakaa finishes the cycle, rapping, “Bridge builders will connect these crowds/Dedicated on my honor/You can check these vows/That’s purpose/Power to make the powerful nervous/Hard work ain’t easy/But usually ain’t worth it.”  Evidence and Rakaa work together here to make a song that is a very lyrically uplifting piece, and a piece that illustrates even more what makes Directors of Photography well worth the listen.

Directors of Photography serve is a record that any hip-hop and rap fan should hear.  The two singles that the album has spawned so far solidly back up that argument.  If only one more song could be chosen as an example of what makes this album the worthwhile listen that it is, it would have to be the album’s second track ‘Cut My Teeth.’  This song comes across as a no nonsense piece that pays homage to the days before Dilated Peoples broke through and became a household name.  The song’s very first verse makes that clear, as Evidence raps, “I remember how it all began/I used to switch graffiti tips on cans with both hands/No chance/I knew they couldn’t stop this rush/Our bus bench was a stop/And they ain’t stopping the bus.”  He goes on to rap about when he really got into rap and where it would eventually lead to today.  Rakaa follows suit noting the difficulties that he faced growing up and how he overcame them.  He writes in the verse’s closing lines, “Standing at the crossroads/I saw a different world was mine/It was with me all the time/Appreciative, never satisfied/Inspired to climb/Eyes wide/Mid city lit that fire inside.”  While the stories crafted by Evidence and Rakaa are obviously quite personal, it could be argued that the positive ending to each story could serve as inspiration to so many audiences; inspiration not necessarily that everyone will get into the rap game.  Rather, inspiration to overcome any of life’s difficult situations.  Their stories remind listeners that as difficult as things might be at any time in life, it is always possible to make life better.  Just keep that positive drive.  It is that message of inspiration that makes ‘Cut My Teeth’ one more solid example of what makes Directors of Photography well worth the listen and potentially one of the best new rap and hip-hop albums of the year.

Directors of Photography is available now in stores and online.  It can be downloaded direct from iTunes at  Audiences can hear these songs and plenty more from the group live as it tours in support of its new album.  Dilated Peoples is scheduled to perform live this Saturday, September 13th at Conrad Prebys Aztec Student Union on the campus of San Diego State University.  It will follow up that performance with another live show next Saturday, September 20th at Cervantes’ and The Other Side in Denver, Colorado.  Audiences can check out Dilated Peoples’ current tour schedule online now at and  To keep up with the latest sports and entertainment reviews and news, go online to and “Like” it.  Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at