Yep Roc Records To Celebrate 20th Anniversary With 3-Night Festival This Fall

Courtesy: Yep Roc Records

Yep Roc Records will celebrate its 20th anniversary this fall in North Carolina.

The little label that could will celebrate its 20th anniversary with a three night celebration that will run from Oct. 19 – 21 in Carrboro, N.C. and its new hometown of Hillsborough, N.C. The celebration will be highlighted with performances from the likes of Nick Lowe, Dave Alvin and Phil Alvin with The Guilty Ones, Tony Joe White, Los Straitjackets, The Stray Birds and more.

Tickets for the three-day anniversary celebration are on sale now.  They can be purchased online now here.  Ticketing options include single-night, two-night and three-night access.  The label has also made available early bird VIP Premium Packages that include three-night access to the celebration, artist reception and dinner on Oct. 20, Yep Rock 20 gear including T-shirt, pin and festival blanket.  More VIP events will be announced soon.

The first night of the upcoming celebration will be headlined by Nick Lowe.  The festival’s second and third nights will feature performances by all of the noted bands and others at the Cat’s Cradle in Carrboro.

More information on Yep Roc Records’ upcoming 20th anniversary celebration is available online now along with all of the label’s latest news and more at:

 

 

 

Website: http://www.yeproc.com

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

Twitter: http://twitter.com/yeproc

 

 

 

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The Dead Daisies Announce More New Live Dates

The Dead Daisies has confirmed three new live American dates for this summer.

A news released distributed Friday revealed the band will perform live August 9, 2017 at The Full Throttle Saloon in Sturgis, SD at the saloon’s famed motorcycle rally.

On Sept. 1, the band will perform at the The Easyriders Rodeo in Chillicothe, OH and at The National Harley Owners Group (H.O.G.) Rally on Sept. 2 at the Harley-Davison Museum in Milwaukee, WI.

The third of the band’s upcoming dates is scheduled for Sept. 2

“Riding gives you a sense of freedom,” Corabi said in a recent interview.  “When your job, family and daily pressures of life are weighing you down, you can fire up a bike, get on it and ride, and free yourself of everything.  Plus, I think all men have an inner “bad boy” in them, and all women (deep inside) WANT a bad boy, as well.  I have to admit, I’ve felt a bit “tougher” while I’m riding…that is, until I chipped a nail,” he said with a laugh.

The Dead Daisies’ upcoming summer dates are not the only good news for the band’s fans.  The band is also working with 12 of the largest Harley-Davidson dealers in America as part of its current Rock N Ride promotion for its current Dirty Dozen tour.  The promotion allows Harley-Davidson owners in the key markets the chance to win tickets to shows in those markets and to meet the band.

Courtesy: Spitfire Music/SPV

The announcement of the band’s new dates are not a surprise.  It comes a little more than a month after the band released its debut live recording Live & Louder, which was released May 19 as a standard 2-disc CD/DVD combo pack and as an extended box set.  The recording is available in stores and online now.

More information on The Dead Daises’ new live dates and live recording is available online now at:

 

 

 

Website: http://thedeaddaisies.com

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

Twitter: http://twitter.com/TheDeadDaisies

 

 

 

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Vyces Debut New Video; Announces New Live Dates

Courtesy: O’Donnell Media Group

Vyces unveiled the video for its latest single ‘Nocturnal’ this week.

The song, which is taken from the band’s forthcoming EP Angels, features Carla Harvey, of Butcher Babies, making a guest appearance.  The video was directed by Ron Thunderwood at Tiger Lab Studios. Thunderwood called working on the video a memorable experience.

“I feel really lucky to have worked on this,” Thunderwood said of the shoot.  “It’s been the coolest challenge I’ve met as a director…mixing practical and CG effects, we really got to create another world.”

‘Nocturnal’ debuted online via Bravewords, a little more than two weeks after the band debuted the song alone online to all digital outlets.  The video is also streaming online via the band’s official YouTube channel.

In anticipation of Angels’ upcoming release and the debut of the EP’s lead single, the band has also announced new live dates with Shallow Side and Dead Horse Trauma.  The band’s dates with Shallow side begin June 27 in Fardo, ND and run through July 12.  The venue for that date is still being scheduled.

The band’s tour with Dead Horse Trauma begins July 13 and runs through July 22 in Des Moines, IA.  Both tour schedules are noted below.

Look for VYCES on their summer and fall tour.

6/23 – Keokuk, IA – w/ Boboflex, Shallow Side
6/24 – Praire du Chien, WI – Music Fights Back Fest w/ Boboflex, Shallow Side, and Never Say Die

w/ Shallow Side

6/27 – Fargo, ND – Nestor
6/28 – Mankato, MN – Red Rocks
6/29 – Dubuque, IA – The Venue
6/30 – TBA
7/1 – North Platte, NE – Sculley’s Shooters
7/6 – Spokane, WA – The Pinnacle
7/7 – Seattle, WA – Funhouse
7/8 – Portland, OR – Rock Hard PDX
7/9 – Lewiston, ID – 3rd Wheel
7/11 – Jerome, ID – Diamondz
7/12 – TBA

w/ Dead Horse Trauma/ The Life Tour

7/13 – TBA
7/14 – Danville, IL – Vintage Villains
7/15 – Peoria, IL – Rail II
7/16 – Merriam, KS – Aftershock
7/18 – Chicago, IL – Reggies
7/19 – TBA
7/20 – TBA
7/21 – Waterloo, IA – Spicoli’s
7/22 – Des Moines – Wooly’s

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

 

 

 

Website: http://vycesofficial.com

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

Twitter: http://twitter.com/vycesofficial

 

 

 

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TesseracT Debuts New Single, Video; Launches New Live Schedule

Tesseract is back.

The U.K.-based progressive metal outfit unveiled its new single ‘Smile’ and its companion lyric video this week.  The previously unreleased song was recorded at 4D Studios in Brighton and Celestial Sound Studios in Notts, UK, and produed by Acle Kahney early this spring.

Tesseract Smile Video Grab

The band described the new song as “its most collaborative track in recent years,” with its vocals playing an integral part in bringing it to life. The band’s members added the song’s bass line strengthened the song even more by serving as the backbone for its chorus.

Vocalist Daniel Tompkins explained the lyrical concept behind the song is somewhat metaphysical.

“Lyrically, ‘Smile’ carries a strong and forward sense of irony as we explore the darkest side of the human condition,” Tompkins said.  “The song will witness the manifestation of an ‘entity.’ Consciousness survives through constant manipulation only to propagate pessimism and hopelessness.  Our entity observes, consumes and evolves, bearing witness to human existence, mimicking our presence in colossal form.”

Bassist Amos Williams expanded on Tompkins’ thoughts, saying the song, in its current form, is just one example of what audiences can expect from the band’s next, in-the-works album.

“We chose this track as although it is part of a greater theme, and is in fact toward the end of a story arc, it stands alone very well,” Williams said.  “We have a solid idea of where we would like to take this track on the next album as it is no way finished.  It is merely one step in a journey.”

Williams went on to discuss his own part in the song’s creation, saying a lot of time and thought was put into the bass’ line as it worked with the rest of the song.

“The verses and choruses stand very far apart from each other,” Williams said.  “There is a tension we wished to build through a minimalist approach, with small phrases that repeat against accompanying parts of different lengths.  These undulate, seemingly getting lost against the non-conventional phrasing of the drums.  All this is nothing new to TesseracT fans, but this time we have really looked to align the lyrical and musical messages.”

Courtesy: Atom Splitter PR

The band’s release this week of ‘Smile’ and its companion video was intentionally timed, as the band has hit the road on a new string of live dates with Megadeth and Meshuggah.  The bands’ tour launched June 23 in Big Flats, NY, and currently runs through July 11 in Pittsburg, PA.  TesseracT also has its own string of headlining dates lined up from July 1 to July 13.  TesseracT’s current live schedule is noted below.

WITH MEGADETH + MESHUGGAH
6/23 Big Flats, NY – Tags Summerstage
6/25 Boston, MA – House Of Blues
6/27 Philadelphia, PA – The Fillmore
6/28 Portsmouth, VA – Portsmouth Pavillion
6/29 Silver Spring, MD – The Fillmore
6/30 Columbus, OH – Express Live
7/07 Saint Charles, MO – Family Arena
7/08 Oklahoma City, OK – The Zoo Amphitheatre
7/09 Houston, TX – Revention Music Centre
7/11 Pittsburgh, PA – Stage AEHEADLINE:
7/01/17 – Indianapolis IN – The Emerson Theater
7/05/17 – Nashville, TN – Exit / In
7/06/17 – Memphis, TN – Hi Tone
7/12/17 – Buffalo, NY – The Waiting Room

7/13/17 – Amityville, NY – Revolution Bar & Grill

‘Smile’ can be purchased or streamed online now here.  More information on ‘Smile’ is available online now along with all of TesseracT’s latest news and more at:

 

 

 

Website: http://www.tesseractband.co.uk

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

Twitter: http://twitter.com/tesseractband

 

 

 

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Killset’s Sophomore Album Will Leave Aggro-Rock Fans Making Plenty Of Noise

Courtesy: Scratched Records

The wait is almost over.

After nearly two years of touring and crafting new songs, Killset will soon release its sophomore album S.T.F.U.  The ten-song, 43-minute record is a solid new effort from the independent Southern California-based band.  That is evidenced through arrangements that will appeal to fans of Limp Bizkit, Taproot, Staind and other agro-rock acts from the late 90s and early 2000s and through lyrical content that will move listeners just as much as the songs’ musical arrangements.  The album’s lead single ‘Killers in the Pit’ is just one of the songs included in this record that supports that statement.  The brooding yet uplifting ‘Broken Angel’ supports that statement in its own way, too.  ‘Animal,’ with its fiery arrangement and equally powerful lyrical content, also supports that statement, and is hardly the last song to support that statement, too.  The album’s proudly defiant opener ‘Get Up’ and its follow-up ‘Bully’ are two more examples of what makes this album a success for its targeted audiences along with the rather interesting cover of Kris Kross’ ‘Jump’ and the brooding ‘Not A Love Song,’ which comes late in the record’s sequence.  Between these songs and the pieces not noted here, the whole of this record is sure to have its target audiences *ahem* making plenty of noise.  Yes, that awful pun was fully intended.

Killset’s sophomore album S.T.F.U. is a work that is certain to leave its target audiences making plenty of noise.  That is due to musical arrangements and lyrical content that echo influences of so many of its aggro-rock ancestors.  This is evidenced in part through the album’s lead single ‘Killers in the Pit.’  This song’s musical arrangement is full on aggro-rock and will appeal directly to Limp Bizkit fans from start to finish.  That is thanks to a guitar and drum line that clearly echo influences from Wes Borland and John Otto and a vocal delivery from front man Luca that just as quickly conjures thoughts of Limp Bizkit front man Fred Durst.  Bassist Mark Baker can’t be ignored here either as he provides an equally infectious low-end line, adding even more impact to the song’s musical arrangement.  Whether one openly admits to being a Limp Bizkit fan or keeps the band as a guilty pleasure, that overall infectious arrangement is in itself proof of what makes the song and the album a success for Killset’s key audiences.  The same can be said of the song’s lyrical content, which delivers a boldly defiant message about music’s power to heal.

The lyrical content of ‘Killers in the Pit’ delivers a powerful 1-2 punch that hits listeners just as hard as the song’s musical arrangement.  That is because it stands up against the stereotypical statements about anger management, showing that the power of aggressive music is just as pivotal in mental health as so many other outlets, if not more so.  Luca sings in the song’s opener, “So first they say to count to 10/Now f*** that/Then they say just take a breath/F*** that/Oh, you can be happy/just take these pills/Now f*** that/We’re done with your pills and your chemi-kills/F*** that/They will no longer control the way we choose to find our peace/We’ll show the world how we get down.”  He goes on to say in the song’s second verse, “If you love standing up for what you believe, say hell yeah/If you love being part of this beautiful scene, say hell yeah/We do what we do/We say what we mean/If you believe/That God believes, say hell yeah.”  Don’t mistake that statement for the band being some Christian rap/rock outfit.  But it is one more positive statement from the band.  When that statement is joined with the rest of the song’s lyrical material, the whole is a statement that will resonate with any listener.  The addition of the song’s musical arrangement adds to that impact even more, showing why this song helps to solidify S.T.F.U.’s appeal with Killset’s fans.  The combination of those two elements makes ‘Killers in the Pit’ just one example of what makes S.T.F.U. in whole a work that will appeal to Killset’s fans.  The brooding yet uplifting ‘Broken Angel’ is another example of what makes this record a work that will appeal to the band’s key demographic.

‘Killers in the Pit’ is a work that shows clearly both musically and lyrically why S.T.F.U. will resonate with Killset’s key fanbase.  That is evidenced through the combination of the song’s infectious, aggro-rock arrangement and its proudly defiant lyrical content.  Even with this in mind, it is not the only song included in this record that serves to show what makes this record appealing to certain audiences.  ‘Broken Angel,’ with its brooding yet powerful musical arrangement and lyrical content, strengthens the album even more.  The song’s piano-centered arrangement starts off gently, eventually building until it reaches its climax in the song’s bridge.  Opinions may vary in comparisons, but this critic’s own comparison leans toward similar works from the likes of Staind, Linkin Park and other (again) aggro-rock acts from the late 90s and early 2000s.  That is not a bad thing, though.  Once more, it shows a very directed aim from the band in crafting the song’s arrangement.  As with ‘Killers in the Pit,’ it is just one part of what makes the song important to discuss.  The song’s lyrical content is just as important to note here.

The lyrical content at the heart of ‘Broken Angel’ is just as important to discuss as its musical arrangement not just because of its content, but the depth that it adds to the song when set alongside that brooding arrangement.  The song’s subject sings through Luca here, “All your perfect imperfections/The chaos in your mind/You’re tortured/Neglected/Beautiful inside/Your heart has a melody/It only speaks to me/Your smile so perfectly hides the pain…I can see your suffering/Your eyes/Angel/Unto me you are the blessing that I would never change…don’t give up/Don’t give into the pain/Before you’ve had the chance to truly spread those wings/So pure/You’re broken just right for me.”  This song is full on teen angst, with one person saying to the emotionally scarred love interest, “I understand you, etc. etc.”  It’s uplifting.  There’s no denying that, but the almost goth style angst expressed lyrically is the kind of thing that will definitely appeal to a very directed audience, especially when it is joined with the song’s equally brooding musical arrangement. The pairing of the two elements makes clear why this song is one more way in which S.T.F.U. will appeal to Killset’s key fans, and is still not the last of the songs included in the record to do so.  ‘Animal’ is yet another of the record’s songs that shows what makes this record appealing to Killset’s key collective fans.

‘Killers in the Pit’ and ‘Broken Angel’ are both key examples of what makes S.T.F.U. a record that will certainly resonate with Killet’s key audiences.  That is thanks to the songs’ musical arrangements and lyrical content.  While both songs are clear highlights in this, the band’s sophomore album, they are not it’s only standout songs.  ‘Animal’ is yet another example of what makes this album another success for Killset.  As with the previously noted songs, that is due in part to the song’s musical arrangement.  The song’s musical arrangement is a straight-forward composition that is driven jointly through the work of guitarist Dave Comer and drummer Jason “Jas” Dillon.  Dillon solidly keeps the song’s up-tempo 4/4 time signature moving even as he works his musical magic.  Comer’s guitar line helps keep the song moving just as much with its straight forward approach.  That partnership creates a solid foundation for the song’s arrangement that is strengthened even more through Luca’s vocal delivery and Baker’s bass line.  All things considered here, the straight forward rock arrangement presented here easily could hold its own with so many arrangements from the band’s mainstream counterparts.  It is only one part of what makes the song stand out.  The song’s lyrical content is just as important to note as its musical arrangement.

The lyrical content presented in ‘Animal’ is just as important to note as the song’s musical arrangement because it comes across as taking on one’s inner proverbial demons.  That is inferred as Luca sings in the song’s lead verse, “All these voices/Play in my head/So much noise/I’m coming unglued/Just ignore them/That’s what they said/But if only they could hear them, too/I’m so sick I’m about to freak out…can’t get ‘em out now.”  This contemplation continues in similar fashion in the song’s second verse with the subject admitting seemingly to a love interest that he has some serious issues to deal with.  It almost comes across as a song that, in its own way, takes on the issue of domestic violence.  That is, of course, just this critic’s own interpretation, so it should not be taken as the only interpretation.  When this is set against the song’s driving arrangement, it shows even more why this song is another important addition to S.T.F.U.’s body.  When the whole of the song is joined with the previously discussed works and the other songs not noted here, the whole of the album proves to be a solid new effort that is certain to leave listeners making their own noise.

Killset’s sophomore album is a very directed effort, with musical arrangements and lyrical content that is certain to resonate with the band’s targeted audiences.  That is evident  in the defiant, fist-pumping anthem ‘Killers in the Pit,’ the more brooding yet uplifting ‘Broken Angel’ and the powerful seeming commentary on domestic violence of ‘Animal.’  All three songs show three very distinct arrangements separate of one another but that are still very much within a specific musical continuum. That is evidenced just as much in the likes of the album’s defiant opener ‘Get Up’ and its equally powerful anti-bullying follow-up, ‘Bully.’  Even in the band’s playful take on Kris Kross’ classic hit ‘Jump.’ The band sticks to a certain musical era and audience here and in the rest of the songs not noted here.  Each work shows in its own way to be important to the record’s whole.  All things considered, they show, once more, that S.T.F.U. is certain to leave listeners making plenty of noise beginning July 7.  More information on S.T.F.U. is available online now along with all of the band’s latest news and more at:

 

 

 

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

Twitter: http://twitter.com/_KillSET_

 

 

 

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Every Listener Should “Dive Into” Jenny And The Mexicats’ New LP

Courtesy: Mexicat Records

Early this spring, Barcelona,Spain-based outfit Jenny & The Mexicats released its latest full-length studio recording to the masses.  The album, Open Sea, is the band’s third full-length studio effort and was released independently via the band’s own Mexicat Records.  Full discretion moving forward, this record is this critic’s first introduction to the group and its music.  Coming from that vantage point, it proves to be a record worth the listen.  That is due in part to the songs’ arrangements.  This will be discussed shortly.  The record’s companion booklet plays its own pivotal part in the record’s overall presentation, too.  It will be discussed later.  The record’s sequencing rounds out its most important elements.  Each element is important in its own right to the record’s whole.  Altogether, they make Open Sea a record into which any listener will want to dive.

Jenny and the Mexicats’ latest full-length studio recording Open Sea is a record into which any World Music aficionado will want to dive.  That is because it stands out so much from its counterparts in that genre.  It stands out in part thanks to the musical arrangements exhibited over the course of its 13 songs.  From start to finish, the arrangements are never repeated.  From the album’s opener ‘La Primera Despidida’ to its follow-up ‘Boxes’ to ‘Amplifire’ and beyond, the songs’ arrangements display a wide range of musical styles that are sure to entertain audiences in any corner of the globe.  The record’s opener presents an upbeat, pop-rock style arrangement while ‘Boxes’’ acoustic, guitar-driven arrangement presents an arrangement that is clearly more regionally-influenced.  Though, at the same time, that arrangement couples with singer Jenny Ball Volz’s vocal delivery is likely to conjure thoughts of similar works from Shakira.  The group doesn’t stop there.  ‘Amplifire,’ with its laid back arrangement, could be argued to be infused, to a point, with a reggae influence.  As if that is not enough, ‘Under My Skin’ boasts an arrangement that can best be compared to so many R&B works.  ‘Born in the City’ is another key example of the musical diversity displayed throughout this album.  Its guitar-driven arrangement is a light, jazzy composition that will easily have listeners on their feet in no time.  One could easily prattle on about the rest of the songs exhibited here.  The fact of the matter is that, as already noted, no two arrangements in this record are the same.  Each song presents its own musical identity, making the record enjoyable if only for its arrangements.  Of course the arrangements are not the only collective positive point to this album.  Its companion booklet is critical to its overall presentation, too.

The diversity in Open Seas’ musical arrangements is a critical piece of the album’s overall presentation.  That is because none of the arrangements repeat from start to finish.  From one song to the next, each arrangement gives the song its own musical identity that is distinct from its counterparts.  Keeping that in mind, that diversity is just one of the album’s key elements.  The companion booklet that comes with the album is just as important to discuss in examining the album’s overall presentation as the songs’ arrangements.  The booklet is so important because it presents lyrics for each of the album’s featured songs.  Some of the songs are thankfully sung in English, and their lyrics printed in English, too.  In the same vein, the songs sung in Spanish are complimented with clearly printed Spanish lyrics in the booklet.  On the surface, that might not seem overly important.  In the bigger picture of the album’s presentation though, it is highly critical, especially in trying to expand the album’s reach in the Western, English-speaking world.  Having the lyrics printed out to every song will allow audiences who don’t speak Spanish to type up said lyrics in one of any online translator services to learn what is being sung.  Case in point ‘Ausencia,’ which translates to ‘Absence’ in English.  Volz sings in this song, ‘I got carried away/I still decided to jump/By a precipice/And clash with this reality/So that to endure all lusts/to wait if everything/And it is said so that/if we do not last more/so that since…”  This is obviously a rough translation from one of those many translators.  Hopefully it is a close translation.  Regardless, it is a starting point.  Without the lyrics printed (even in Spanish), even beginning to try to translate the lyrics would have been a proverbial wild goose chase, making for far less reason to give the album even one chance.  Having those and other lyrics presented throughout the booklet though, gives reason to give the record a chance.  That chance might even lead to an appreciation for the album by some.  Keeping this in mind, the lyrics provided in the booklet are not the last of the record’s most important elements.  The album’s sequencing rounds out its most important elements.

The musical arrangements at the center of Open Sea and the lyrics printed in the record’s companion booklet are both pivotal pieces of the record’s overall presentation.  That has already been noted.  They are not, though, the record’s only important elements.  Its overall sequencing is important to its whole, too.  As has already been noted, Open Sea presents a wide range of styles throughout its collective body.  The energies in those arrangements clearly were taken into consideration in the record’s sequencing.  The up-tempo arrangements presented in the album’s first three arrangements makes for a solid start before the group pulls back a little bit in ‘Aprendimos.’  The record’s energy picks back up immediately after in the full-throttle dance work ‘La Diabla.’  ‘Lion’ really changes the pace with its bluesy, mid-tempo arrangement.  The record’s energy moves up and down just as much as the record progresses through its second half, with equal amounts of upbeat and reserved material right to the end.  The mood changes just enough from one song to the next to keep things interesting right to the record’s end.  The end result is a 13-song sequence that will keep listeners engaged and entertained.  That is especially the case when considering the songs’ arrangements alongside the sequencing.  The addition of the songs’ lyrics printed in the record’s companion booklet solidifies the album’s presentation, ensuring even more its place among this year’s field of new World Music offerings.  All three elements combine together to make Open Sea a record into which any listener will want to dive.

Jenny & The Mexicats’ latest full-length studio recording Open Sea is a recording into which any listener will want to dive.  That is regardless of listeners’ familiarity with the group and its body of work, including this critic.  That statement is supported by the varied arrangements presented throughout the record’s 13 songs and their equally varied energies.  The record’s sequencing clearly takes into consideration those arrangements and energies.  Add in the availability of the songs’ lyrics in the record’s companion booklet, and the whole of this album proves to be worth the listen.  Considering all of this, Open Sea proves to be a record to which every listener should be open.  It is available online now.  More information on Open Sea is available online now along with all of the group’s latest news at:

 

 

 

Website: http://www.jennyandthemexicats/store

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

Twitter: http://twitter.com/jennyandmexicat

 

 

 

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Eagle Rock, The Who Shine Again With Band’s Latest Live Recording

Courtesy: Eagle Rock Entertainment

Veteran rock band The Who’s latest live recording Live at the Isle of Wight Festival 2004 is one of this year’s top new live recordings.  The concert, originally recorded June 11, 2004 during the band’s headlining performance of the festivals’ second night, this recording is yet another standout performance from one of the greatest names in the musical universe today.  That is evidenced in part through the concert’s 23-song set list.  This will be discussed shortly.  The band’s performance of said set list is just as important to discuss in examining this recording’s overall presentation, as the set list itself.  It will be discussed later.  The recording’s companion booklet rounds out its most important elements.  Each element is important in its own way to the recording’s overall presentation.  All things considered, this latest live offering from The Who proves, once again, to be one of this year’s top new live recordings.

The Who’s latest live recording Live at the Isle of Wight Festival 2004 is one of this year’s top new live recordings.  That is due in part to the recording’s extensive set list.  The 23-song set list is important to note for a variety of reasons beginning with its featured songs.  The songs featured in this concert’s set list set it distinctly apart from the band’s 2015 live recording Live at Hyde Park (which like this recording, was also released via Eagle Rock Entertainment).  Some of the songs in the two concerts’ set lists are the same.  However, almost half of the songs featured in the Isle of Wight concert recording (nine songs in total), are not featured in the band’s Hyde Park concert recording.  This is important to note because it gives the Isle of Wight Festival’s set list its own identity separate from that of the Hyde Park Show.  More simply put, it means that this set list isn’t just a carbon copy of that previous set list, which will make any audience happy.

On a secondary level, the concert’s set list is important to note due to its sequencing.  Thanks to the thought put into the set’s sequencing, the music’s energy rises and falls at all of the right points from start to finish.  That is evident early on in the concert’s two-hour-plus (132 minutes total) run time.  The concert starts off with full-on fire and energy, with that energy flowing through the set’s first four songs.  Things slow down a little bit from there as the band moves into ‘Behind Blue Eyes’ before picking back up again in ‘Bargain.’  The song’s finale gradually slows down just enough to let audiences rest before the band launches into the much higher-energy ‘Baba O’Reily.’  The set’s energy stays relatively high from there as the band works through ‘The Punk and the Godfather’ and ‘5:15’ before pulling back for a little while in ‘Love Reign O’er Me,’ ‘Eminence Front,’ ‘Drowned’ and ‘Naked Eye.’  The solid sequencing and energy continues from there throughout the second half of the show, ensuring audiences’ continued engagement and entertainment.

On yet another level, audiences will be pleased to note that the set list presented in this concert is exactly the same both on DVD/BD as on CD.  This is important to note because it was not the case in the Hyde Park performance recording.  In the case of that recording, the set lists were slightly different between the DVD/BD side and CD side.  Some of the songs included in the set list in that concert’s BD/DVD side were set aside in the CD side as “bonus tracks,” essentially breaking up the set for whatever reason.  Luckily that wasn’t the case with this presentation.  The set list for the Isle of Wight Festival concert is the same on both sides, maintaining a certain sense of continuity between the two sides.  Considering this, it is one more way in which the recording’s set list proves to be integral to the recording’s overall presentation. Together with the songs themselves and their sequencing the three elements show in full why the concert’s set list is so important to the recording’s overall presentation.  Even with this in mind, it should be noted that the set list is not the only important piece of the recording’s whole.  The band’s performance thereof is just as important to note as the set list.

The set list featured in Live at the Isle of Wight Festival 2004 is clearly an important piece of this recording’s overall presentation, as has already been pointed out.  It is not the recording’s only important element, though.  The band’s performance of the set list is just as important to discuss in examining the recording’s overall presentation as the set list.  Watching this concert, it is obvious that founding members Roger Daltry and Pete Townshend were both at least in their 50s if not their 60s.  Yet neither man showed his age by any means.  Rather both men performed with the fire that made them fan favorites in their youth.  That includes not only the men’s performances of the songs but their interactions with the audience between songs.  At one point, Townshend makes a joke about the sound not being turned up loud enough, referencing the old adage that if it’s too loud, you’re too old.  At another point, he makes a joke about the age of the band’s audience, and how many were probably conceived at the band’s last Isle of Wight performance in 1970.  Apparently Townshend, for whatever reason, served as the band’s mouthpiece between songs, saving the singing largely for Daltry, even though Townshend does get his moments in the spotlight. Staying on that train of thought, it should be noted that there is a little bit of foul language used between some of the songs, so viewer discretion is advised.  Even with that in mind, the foul language is kept to a minimum, so it isn’t too bad.  That being the case, the performances by Townshend and Daltry couples with those of their fellow musicians—Simon Townshend (guitars,vocals), Pino Palladino (bass), Zak Starkey (drums) and John Bundrick (keyboards)—to make for a performance from start to finish that will keep audiences completely entertained and engaged thanks to their collective energies.  Considering that, it becomes clear why the band’s performance of the set list is so critical to the recording’s overall presentation.  It is still not the last of the elements to be noted.  The recording’s companion booklet rounds out its most important elements.

The set list featured in The Who’s latest live recording and the band’s performance of that set list are both critical to the recording’s overall presentation, as has already been noted.  While both elements are clearly important to the recording’s whole, they are not its only important elements.  The recording’s companion booklet rounds out its most important elements.  The booklet is so important to discuss because of the history that it provides audiences.  Audiences learn through Matt Kent’s liner notes that this festival performance marked the band’s first festival performance since it performed at Live Aid in 1985.  They also discover that only two years prior, the band had lost fellow founding member, bassist John Entwhistle, and what followed.  Other highlights are noted in those liner notes, setting the stage (no pun intended) for the performance contained within this set, along with lots more history that audiences will enjoy learning.  Keeping this in mind, the information provided within the pages of the recording’s companion booklet proves to be just as integral to the concert’s overall experience as the concert’s set list and the band’s performance thereof.  Considering all of this, it becomes fully clear that each element is critical to the recording.  Of course there is still far more that could be noted including the recording’s production values (which are impressive in their own right), editing and more to evaluate the recording’s whole.  Those elements solidify even more the recording’s place in this year’s list of top new live recordings, and a piece that any fan of The Who should have in his or her own music library.

The Who: Live at the Isle of Wight Festival 2004, is one of this year’s top new live recordings.  That is evident through so many elements.  From the set list to the band’s performance thereof to the recording’s companion booklet and even the concert’s production values and editing, so many elements serve to support that statement.  Considering this (and even the concert’s availability on so many platforms and its average price point), this recording proves in whole that it deserves a spot on any critic’s list of the year’s top new live recordings and why it deserves that spot.  It proves, too, to be a recording that any fan of The Who should have in his or her music library.  It is available now in stores and online.  More information on Live at the Isle of Wight Festival 2004 is available online now along with all of the band’s latest news and more at:

 

 

 

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