Delta Rae’s Debut Live Recording Is An Intriguing Presentation

Courtesy: Cleopatra Records

Late last month, Delta Rae released its debut live recording Coming Home To Carolina to the masses through Cleopatra Records.  The recording, captured in December 2019 at the Lincoln Theater in Raleigh, NC was a homecoming for the band following its big move “out of the nest” some years ago from its home town of Durham, NC to Nashville, TN.  The recording is an intriguing first live outing for the band.  That is due in part to the concert’s set list, which will be addressed shortly.  The band’s performance of its set list plays well into the overall presentation and will be discussed a little later.  The recording’s overall production is interesting in its own right.  It will also be discussed later.  Each item noted here is important in its own way to the whole of the recording’s presentation.  All things considered, the record is enjoyable, but does leave audiences wanting for more.

Delta Rae’s debut live recording Coming Home To Carolina is an intriguing new offering from the neo-folk-americana-pop act. That is proven in part through its featured set list. While not necessarily a career-defining performance, the 65-minute set list does do well to highlight the band’s albums past, present, and future.  It reaches all the way back to the band’s 2010 self-titled EP – its very first studio recording – and as recent as the band’s while also lifting from its then forthcoming album The Light and its then latest album Carry The Fire.  There is even at least one song from the band’s now forthcoming album The Dark featured in the set list.  The band’s 2017 EPs A Long and Happy Life and The Blackbird Sessions are omitted, as is its 2015 EP Chasing Twisters.  What’s more, a close look at the concert’s set list shows that the majority of the set’s featured songs – six to be exact – are from Carry The Fire, the band’s debut album.  The Light got three nods in this set while After It All was represented by just one song, along with the band’s noted 2010 debut EP.  All things considered, the set list gives audiences a good picture of where the band was at that time and where it was going.

The set list featured in Delta Rae’s new live recording is just one of the elements that deems examination.  The band’s performance thereof makes for its own enjoyment.  The band’s performance of its featured set list feels wholly natural throughout its hour-plus run time.  The energy exuded by the band members in each of the songs – some of which are light and others slightly more energetic – ensures audiences’ engagement and entertainment.  The band really makes it feel like it is working to give audiences something memorable in that performance, between the moments when the group is together on center stage and separated into its respective spots across the stage in the intimate venue.  If for no other reason than the performance, audiences will find the concert worth watching at least once.

For all that the performance put on by Delta Rae’s members does for the band’s debut live recording, it is just one more of the aspects worth noting in examining the recording.  The overall production of the recording is also important to address.

The production of Coming Home To Carolina is important to discuss because it is definitely unique.  There is no other way to put it here.  The production put into Coming Home To Carolina makes the concert look like a live concert that was used to look like a music video more than a normal live recording.  The grainy look throughout and the added video effects really do detract from the look.  Adding to the issue here is the lighting in the presentation.  The lighting was clearly not taken into account, as the picture overall was decidedly dark.  This could have been addressed in post production, but clearly was not.  It’s as if it was used to play into the concert’s overly artistic approach in terms of the production.

The audio is of its own concern along with the video.  Early on, there is a moment in which the audio level fluctuates.  It cannot be ignored.  From there, there are moments in which the audio seems a bit “airy” like the mic levels were not fully addressed in post, either.  Luckily, this does not happen enough to make the concert a failure, but it is just as audible when it does happen as the video issues are throughout. Keeping all this in mind, the production presented in Coming Home To Carolina proves to be interesting as the record’s set list and the band’s performance thereof.  All things considered, this first live offering from Delta Rae is a good try, but ultimately leaves audiences wanting for something more.

Delta Rae’s debut live recording Coming Home To Carolina is a good first try from the band.  It is a presentation that is worth watching at least occasionally.  That is due in part to the concert’s set list.  The 14-soong, hour-plus concert does pull from each of the band’s three albums, but it focuses largely on the band’s debut album.  The band’s performance of the set list actually is the strongest aspect of this presentation, as the group’s performance feels so natural and organic.  The production of the concert detracts from its presentation what with its artsy music video style presentation and audio concerns, but thankfully not enough to make the concert unwatchable.  Each item noted here is important in its own way to the whole of the recording.  All things considered, they make Coming Home To Carolina a presentation that is worth watching at least occasionally.  It is available now.

More information on Coming Home to Carolina is available along with all of Delta Rae’s latest news at:

Website: http://www.deltarae.com

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

Twitter: http://twitter.com/deltarae

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Bush’s Most Devoted Fans Will Appreciate Its Latest Live Recording

Courtesy: Cleopatra Records/MVD Visual/MVD Entertainment Group

When veteran alt-rock band Bush performed live last August in Tampa, Florida few if any thought at the time that the concert in question would go on to become the band’s latest live recording.  The performance was part of the band’s “ALT-imate Tour,” which was in support of its then forthcoming album The Kingdom.  That album was released late last month through independent label Zuma Rock.  Only three months prior to its release, Cleopatra Records released the noted Tampa, Florida performance on a deluxe three-disc package simply titled Live in Tampa.  The 12-song performance is a presentation that audiences will find is worth experiencing at least once.  That is due in part to the noted set list, which is a positive and negative.  The only other negative to the recording is its editing.  This will be discussed a little later.  Making up for the minor concern raised through the editing is the recording’s overall production.  It will also be discussed later.  Each item discussed here is important in its own way to the whole of the recording.  All things considered, they make Live in Tampa a presentation that gives hope for future live recordings from Bush.

Bush’s latest live recording Live in Tampa is an interesting new offering from the band.  It is a presentation that audiences will agree is worth hearing at least once.  That is due in part to the recording’s set list.  The 12-song list features works from more than half of the band’s catalog.  Specifically speaking the set list pulls from six of the band’s eight albums.  This comes across as a positive on the surface, and to a certain extent, it is just that.  It could be argued to be a career-spanning work to a point.  A deeper examination of the set list paints a slightly different picture though.  While more than half of the band’s albums are represented here, half of the set list is composed of songs from the band’s 1994 debut album Sixteen StoneThe Kingdom, the band’s most recent album, is represented by only one (yes, one) song.  Considering the fact that the band’s ALT-imate Tour was at least in part in support of The Kingdom, audiences may find it a bit disconcerting that the band’s latest album is so minimally represented here.  The band’s 1999 album The Science of Things meanwhile received two nods.  The Sea of Memories (2011) and Black and White Rainbows (2017) each received one nod respectively.  Golden State (2001) and Man on the Run (2014) were both ignored in this set list.  So in the bigger picture, the concert’s set list does pull from a wide range of the band’s catalog, but is in reality not as in-depth as it could be.  In the band’s defense, Live did join Bush for the tour, so maybe each band’s set time was limited.  To that end, it might account for the lack of real depth to the set list.  It could in turn make that aspect forgivable.  Adding to the set list’s positives is that the set list is presented in the same order on its Blu-ray, DVD and CD platform.  That is important in that it means audiences will get exactly the same concert from one platform to the other. Keeping that in mind, the set list the set’s only real negative is its editing.

The editing is a problem specifically in the matter of the interweaving of the interview segments into the concert.  This approach is nothing new for live recordings from Cleopatra Records (or for recordings from other companies). The same approach was taken in Cleopatra Records’ 2017 live recording from Jane’s Addiction, Ritual De La Habitual Live.  Unlike that recording, the audio balance between the live and interview segments is worthy of applause.  The problem is that it would have made more sense for the interview segments to have been included as bonus content separate from the concert.  Given, they do serve to break up the concert, but some audiences might find those breaks unwelcome.  Those audiences will agree that they starkly change the concert’s energy, which can be detrimental to the recording.  Adding to that is that the fact that the interview segments are also interwoven into the set’s CD platform.  It would have been easier to feature the interview segments after the concert on the CD.  By just transferring the concert’s audio to CD, audiences are just getting the exact same result on that platform as on the DVD and Blu-ray, resulting in the same end.  While this is clearly a detriment to the set’s presentation, it is not such that it defeats the recording.  It is just something that hopefully the people at Cleopatra Records will take into account with its next live recording (which apparently is that of “hippie metal” band Boyhitscar).

While the editing of Live in Tampa is at least somewhat of a detriment to its presentation, it is the recording’s only concern.  What’s more, only some audiences will find it problematic, as some might even appreciate this aspect.  To that end, it could be just as easily considered a positive as a negative, depending on the viewer.  Adding to the recording’s interest is its production.  As already noted, the sound mix in the recording is actually relatively stable, despite what some have said as to the surround sound mix.  The video quality and general cinematography play into the production, too.  Thanks to those behind the cameras and the boards, audiences watching at home get the best seat in the house.  There are even little effects tossed in that enhance the experience even more.  The work put in by those who handled the video and audio during and post concert are to be commended for their work, as it really serves as the recording’s foundation.  When it is taken into consideration along with everything else noted here, the whole of the elements makes the concert recording worth experiencing at least once among Bush’s most devoted fans.

Bush’s new live recording is a presentation that the band’s most devoted audiences will find worth experiencing at least once.  That is due in large part to its overall production.  The work of those behind the boards and cameras collectively put audiences in the best seat in the house.  The recording’s set list, while problematic in that it does not necessarily richly represent the band’s catalog, still does at least make an effort to represent the band’s body of work.  It deserves that much credit.  The editing is also a toss-up in its own right.  The interweaving of the interview segments into the bigger concert presentation breaks up the concert’s energy considerably and abruptly.  Some viewers will find this a positive, others will find this a negative.  There is nothing wrong with the information in the interview segments, but it would have made more sense to have featured the interviews as bonus content.  Regardless of pro or con, every viewer will agree that taking this course is the right course.  When this aspect is considered along with the concert’s set list and its production, the whole of said content makes this presentation one that Bush’s most devoted audiences will find worth experiencing at least once.  Live in Tampa is available now.  More information is available on the recording along with all of Bush’s news at :

 

 

 

Website: http://www.BushOfficial.com

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

Twitter: http://twitter.com/bushofficial

 

 

 

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The Guess Who Announces New LP Release, Tour Dates; Debut Lead Single’s Video

Courtesy: Cleopatra Records

Veteran rock band The Guess Who has a brand new album on the way.

The band announced this week that it will release its new album The Future IS What It Used To Be on September 14 via Cleopatra Records.  It will be made available on CD, digital and vinyl platforms, and in anticipation of its release, the band — currently made up of Garry Peterson (drums, vocals), D# (lead vocals, guitar, piano), Will E. (guitar, harp, vocals), Leonard Shaw (keyboards, flute, sax, vocals) and Rudy Sarzo (bass, vocals) — debuted the video on July 17 for the album’s lead single, ‘Playin’ on the Radio.’

The video places the band’s current lineup in what looks like a train yard of sorts as it performs the light, new single.  Directed by Nigel Dick, the video was shot in Las Vegas.  Dick explained in a recent interview that the video’s shoot in a train yard was from his own interests.

“I love what I do and I love trains and I love rock ‘n roll,” Dick said.  “So I was honored to be asked to shoot The Guess Who, and when they told me they were available for a day in Vegas and by chance I stumbled on this wonderful rail-yard full of old engines just up the road from the strip, I was in Heaven and up to my axles in dust!  It was a perfect day.”

Guitarist Will E. shared Dick’s enthusiasm for the video shoot.

“Having the privilege of working with the legendary Nigel Dick took me back to growing up in an era where music videos told a creative story that I always looked forward to seeing by my favorite artists,” Will E. said.  This track was no exception, adding a colorful, action packed sequence to a great story.”

Along with the debut of its new video, this lineup of The Guess Who launched a new tour in support of both its new single and album July 27 in Sarnia, ON.  The tour is currently scheduled to run through Dec. 11 in The Villages, Florida. After that, the band will take some time off to rest and recharge before performing another live date on March 9, 2019 in Waterbury, CT.

The tour’s current schedule is noted below.

Tour Dates:
Fri, Jul 27, 2018 Centennial Park Sarnia, ON
Sat, Jul 28, 2018 Medicine Hat Ex & Stampede   Medicine Hat, AB
Fri, Aug 24, 2018 Foellinger Theatre Ft. Wayne, IN
Sat, Aug 25, 2018 Lincoln Amphitheatre Lincoln City, IN
Fri, Aug 31, 2018 Oregon State Fair Salem, OR
Sat, Sep 1, 2018 Fort Randall Casino Lake Andes, SD
Sat, Sep 15, 2018 Twin River Casino Lincoln, RI
Sun, Sep 16, 2018 Music Hall of Williamsburg New York, NY
Sat, Sep 29, 2018 Helwig Winery Plymouth, CA
Sun, Sep 30, 2018 Yoshi’s Oakland, CA
Fri, Oct 5, 2018 The Golden Nugget  Las Vegas, NV
Sat, Oct 20, 2018 Robinson Grand Perf. Arts Center Clarksburg, WV
Sun, Nov 11, 2018 Magic City Casino Amphitheater Miami, FL
Fri Nov 23, 2018 Boomtown Casino Hotel Reno, NV
Fri, Nov 30, 2018 One World Theatre Austin, TX
Sat, Dec 1, 2018 Arlington Music Hall Arlington, TX
Tue, Dec 11, 2018 Savannah Center The Villages, FL
Sat, Mar 9, 2019 Palace Theatre Wataerbury, CT

The Future IS What It Used To Be can be pre-ordered now on CD, vinyl and iTunes.  ‘Playin’ on the Radio’ is streaming now via YouTube and Spotify.  More information on the band’s new single, album, tour and more is available online now at:

 

Website: http://www.theguesswho.com

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

Twitter: http://twitter.com/theguesswho

 

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‘Alive At 25’ Is Enjoyable For Its Visual, Not Audio, Experience

Courtesy: MVD Entertainment Group

This past August, veteran rock act Jane’s Addiction marked a major milestone with the 25th anniversary of the release of its seminal 1990 studio recording Ritual de lo Habitual.  Originally released Aug. 21, 1990, the album has gone on to become one of its most important albums if not its most important album.  In celebration of its release, the band released Alive at 25 Aug. 4 of this year.  The recording captures the band performing Ritual de lo Habitual in its entirety at Irvine, CA during its 2016 Silver Spoon Anniversary Tour.  There is plenty to say good about this recording.  As much as there is to say to the positive about the recording, it is not without at least one major flaw.  That flaw – the recording’s audio – will be discussed later.  Getting back to the positives, the very fact that the band is performing one of its most important albums in whole in one set is obviously the most important of the recording’s elements.  This will be discussed shortly.  The recording’s other positive is, interestingly enough, its collective cinematography and video editing.  Each of the elements noted here is important in its own right to the recording’s whole.  All things considered, they make Alive at 25 a concert that is okay, but sadly could have been better.

Jane’s Addiction’s latest live recording Alive at 25 is an enjoyable recording, but only to a point.  The recording’s audio is a factor that cannot be ignored.  It would of course, be unfair to focus only on that negative in examining the recording in whole.  Keeping that in mind, the recording does have its positives as well as its negatives, not the least of which being the fact that the concert presents the band performing Ritual de lo Habitual in whole in one set.  From start to finish, audiences get the band’s landmark album in whole plus some of the band’s more recent works to boot.  What’s really interesting to note in the concert is that front man Perry Farrell makes more than one mention of the band playing at Irvine “one last time.”  Considering that the band is still touring, such statement leaves one wondering what that statement might have meant since there is currently no word on any new music from the band on the way.  Regardless of whether or not that means anything for the future, the very fact that the band has presented here one of its most important albums in whole is still undeniably critical to the recording’s whole.

What’s more, audiences will enjoy the stage presence of guitarist Dave Navarro, bassist Chris Chaney and drummer Stephen Perkins throughout the show.  The trio puts on quite a performance, thankfully making up for Farrell’s seemingly blasé demeanor as he sways around the stage almost listlessly throughout the show.  Their collective work, coupled with the recording’s set list, cinematography and editing serves to give the concert what energy it does have and in turn giving reason to watch the recording at least once.  Of course even with the noted positives, the recording does suffer from the previously noted negative of its audio.

From start to finish, it is clear that this recording was recorded at an extremely low level.  Audiences are forced to nearly max out the volume on their televisions in order to be able to hear the concert.  This is the case even with the pre-show interviews with the band members and applies regardless of the sound setting on viewers’ televisions and whether or not they have home surround sound systems.  Audiences should not be forced to nearly blow out their televisions’ speakers in order to enjoy a concert and then push that volume all the way back down before switching the television back to regular settings.  This may not seem overly important on the surface.  But when examining the recording’s overall presentation, it is just as important to note as the recording’s cinematography and editing, which proves far more impressive.  It is part of the recording’s overall production values, and should have been addressed far more seriously than it apparently was here.  Keeping that in mind, it is the one element that could potentially keep this recording from being named among the year’s top new live recordings by critics next month.  Despite this, the recording is still not a total loss. The aforementioned cinematography and video editing make up for the problems caused by the recording’s audio issues.

The cinematography and video editing exhibited throughout the course of Alive at 25 serves as one of the recording’s cornerstones.  Thanks to the work of those behind the cameras, audiences are presented with a concert experience that visually is not just another run-of-the-mill recording.  Certain fades and visual effects are used throughout the concert to keep audiences engaged and entertained — effects such as black and white shots, slow fades and dissolves, and even the use of slower shutter speeds.  The editing mixes those elements and shots, which are largely presented around the stage, to make the concert here not just a concert, but a standout visual cinematic concert experience. When that is considered along with the previously discussed stage presence of Farrell’s band mates, the two elements together make even more important the concert’s visual elements.  It is that overall visual experience that, when coupled with the show’s set list, makes this recording worth at least one watch.  If the audio had been better, it would have been worth far more.  Ultimately though, that one negative keeps the concert from being worth more than that much.  Keeping all of this in mind, Alive at 25 likely won’t be alive in audiences’ minds far beyond that one watch.

Jane’s Addiction’s latest live recording Alive at 25 is a valiant effort from one of the rock community’s most pivotal bands.  It offers a set list that presents one of the band’s most important albums in whole in one setting, and a performance of that album by most of the band, that is certain to entertain audiences.  The concert’s video work is just as certain to entertain audiences.  Even with all of this in mind, it still is almost not enough to make up for the problems raised by the recording’s audio issues.  If audiences have to nearly max out the audio on their televisions in order to hear the concert, there is not a lot of point to even take in the show. At the same time, audiences should not have to push the volume on their televisions way back down after the concert ends in that continued effort to not blow out their televisions’ speakers.  Keeping all of this in mind, Alive at 25 sadly likely won’t be alive in audiences minds after just one watch.  That is painful to say considering the quality of the band’s past live recordings.  Hopefully the band will take all of this as a learning experience for its next live recording, when and if there will be another live recording from the band.  Alive at 25 is available now in stores and online.  More information on Alive at 25 is available online along with all of the band’s latest news and more at:

 

 

 

Website: http://www.janesaddiction.com

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

Twitter: http://twitter.com/janesaddiction

 

 

 

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Jane’s Addiction Announces Release Date For New Live Recording

Jane’s Addiction has a new live recording on the way.

The band will release its latest live recording Alive At twenty-Five: Ritual de lo Habitual this summer.  The recording features the band’s Sept. 23, 2016 concert filmed at the famed Irvine Meadows Amphitheatre, the last stop on the band’s 2016, 20-city worldwide “Sterling Spoon Anniversary Tour.”

The 90-minute recording is the product of a partnership between MVD Visual, Cleopatra Records, Rock Fuel Media and Sonic Films.  It featured the band’s original lineup of Perry Farrell, Dave Navarro, Stephen Perkins and Chris Chaney performing its classic 1990 album Ritual de lo Habitual in its entirety as well as a number of other Jane’s Addiction hits.

The recording was captured using 20 cameras throughout the arena and mixed in 5.1 Surround Sound.  Audiences can check out a trailer for the new recording online now here.

Courtesy: MVD Entertainment Group

The recording will be available on a DVD/CD combo pack and exclusive Blu-ray/DVD/CD combo pack.  The DVD/CD combo pack will retail for MSRP of $24.95 and the Blu-ray/DVD/CD combo pack for $29.95.  Both can be pre-ordered online now here.

More information on Alive at Twenty-Five: Ritual de lo Habitual is available online now along with all of Jane’s Addiction’s latest news and more at:

 

 

 

Website: http://www.janesaddiction.com

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

Twitter: http://twitter.com/janesaddiction

 

 

 

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