Station’s Established Audiences Will Have A Positive “Perspective” On The Band’s Latest Album

Courtesy: Station Music, LLC/AWAL

Candy is typically the most common treat that people give out on Halloween, but fans of the independent rock band Station got a special treat early this month in the form of the band’s new album, Perspective.  Release Oct. 8 through Station Music, LLC via AWAL, the 10-song record is certain to appeal to the band’s established audiences and to fans of the rock sounds of the 1980s alike.  That is due to the musical arrangements that make up the record’s body.  They will be examined shortly.  The lyrical themes that accompany the record’s musical content will appeal to even more audiences.  They will be discussed a little later.  The record’s sequencing rounds out its most important elements and will also be examined later.  Each item noted is important in its own way to the whole of Perspective.  All things considered, they make this record a work that the band’s target audiences will agree is worth hearing at least once.

Neo-classic rock band Station’s latest album, Perspective, is a presentation that is certain to appeal to the band’s established audiences and those with an affinity for the 1980s.  That is proven in large part to the album’s featured musical arrangements.  The arrangements in question exhibit their own diversity while also presenting quite a bit of familiarity.  Case in point is the album’s opener and latest single, ‘I Can’t Find My Way.’  The song’s arrangement immediately lends itself to comparison to works from the J. Geils Band with the subtlest touch of Def Leppard.  Immediately after that, the band conjures thoughts of Van Halen circa 1988 (the year that the band released its album, OU812) in ‘See The Light.’  The comparison comes through the overall arrangement.  The song’s production immediately gives the song that same distinct sound.  Meanwhile, front man Patrick Kearney sounds so closely similar to former VH front man Sammy Hagar here.  Again that is thanks in part to the song’s production.  The sound of his vocals here are not fully identical, but certain the similarity is there.  The whole makes the song one of the most engaging and entertaining of the album’s songs.  As if that is not enough, the band even reaches back to Van Halen’s David Lee Roth era through its original song, ‘Don’t Keep Me Waiting.’  Again, the production and the band’s approach to crafting the song play into that comparison.  At the same time, audiences can also hear a not so subtle influence from Def Leppard here.  This is not the only time in the record in which the band exhibits that influence, either.  ‘Do You Really Want To Fall in Love,’ and ‘If You Want Love’ each exhibit Def Leppard’s influence, too.  As if all of this is not enough, the band offers audiences some heavier sounds of the 80s in this record, too, such as in the clearly Ratt-esque closer, ‘All Over Again’ and the Whitesnake-esque closer, ‘You Found Yesterday.’  Between everything noted here and the influences that are evident in the album’s other songs, the collective musical content leaves no doubt that it will appeal to Station’s fans and those of the rock sounds of the 80s.  They build a strong foundation for the record for those audiences.  They are just part of what will ensure the album’s appeal.  The album’s lyrical themes add their own touch to the record’s appeal.

The lyrical themes featured in Perspective are maybe not as diverse as the record’s musical arrangements.  They are however, still accessible.  As the titles of certain songs note, some of the songs center of romantic relationships.  The album’s opener, ‘I Can’t Find My Way’ meanwhile is about taking chances in life so as to reach one’s potential.  Guitarist Chris Lane discussed that theme during a recent interview, noting, “Not wanting to take the chances in life that allow you to follow your own path.  It really speaks to the spirit of the band with how we approached this record and what we wanted to accomplish.”  It gives audiences something a little bit different from the album’s love songs, adding to the ensured appeal.  On a similar note, ‘Believe’ is clearly about believing in one’s own self.  Kearney makes that clear as he sings, “that you shouldn’t need another in the end” in the song’s chorus as he notes that we only need ourselves for reassurance and self confidence.  He points out in the song’s second verse that troubled times will come, but then reminds listeners they can get through those times.  It is a them that is certain to resonate with not just the audiences noted here but with listeners in general with that accessibility.  The theme here is also one more example of what makes the album’s lyrical content stand out.  When the album’s musical and lyrical content is considered together, the whole makes for more than enough reason for the noted audiences to give this album a chance.  They are just a part of what makes the album worth hearing, too.  The record’s sequencing rounds out the most important of the album’s elements.

Perspective’s sequencing is important to note because it is this element that ensures the album moves fluidly from start to end.  Thanks to the time and thought that went into the album’s sequencing, the songs’ energies rise and fall solidly at all of the right points.  It opens on in upbeat fashion in ‘I Can’t Find My Way’ before picking up even more in ‘See The Light.’  From there, things pull back a little bit in ‘Do You Really Want To Fall in Love Again.’  The band doesn’t let the album pull back too much though, as the record picks back up again in the noted Van Halen/DLR-era style song, ‘Don’t Keep Me Waiting.’  The steady mid-tempo work, with its blues rock approach is a distinct change of pace from its predecessor.  ‘Tonight,’ the album’s midpoint, pulls things back again with its clearly contemplative sound and stylistic approach.  From that point on to the album’s end, the songs’ energies continue to rise and fall at all of the right points, too.  The result is that the record’s sequencing keeps the album moving solidly from one song to the next while also keeping the songs’ sounds and styles changing along with their lyrical themes.  The end result is that the sequencing proves just as successful here as the record’s overall content.  All things considered, the album proves a work that, again, any fans of the rock sounds of the 80s will enjoy just as much as those with any affinity for the 80s in general.  To that end, it proves a work that those audiences will agree is a success.

Station’s fourth album, Perspective, is a work on which the band’s audiences will have a positive point of view.  That also applies to those who are still living in that era.  This is proven in large part through the album’s featured musical arrangements.  The arrangements show clear influences from some of the biggest musical acts of the age, from the J. Geils Band, to Def Leppard, to Van Halen, Dokken and even Ratt and others.  The lyrical themes featured in the band’s new album prove just as accessible as the record’s musical arrangements.  They are also diverse in their own right.  The content’s sequencing takes all of that into full account along with the songs’ energies in assembling the songs.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered, they make the album on which the band’s audiences will have a positive perspective.

Perspective is available now through Station Music, LLC through AWAL.  More information on the album is available along with all of Station’s latest news at:

Website: https://www.stationband.com

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

Twitter: https://twitter.com/stationnyc

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

Thomas Thunder’s Debut Album Will Appeal To Most Prog Rock, Metal Fans

Courtesy: O’Donnell Media Group

It goes without saying that Derek Sherinian, Tony Franklin, and Ron “Bumblefoot” Thal  are well respected by their peers in the music community.  The trio’s collective resume reads like a who’s who of rock.  From Sons of Apollo, to Dream Theater, to Alice Cooper, to Guns N’ Roses and more, the trio has worked with many of the industry’s top names.  So for the group to join up-and-coming prog wunderkind Thomas Thunder for his debut album, The Pharaoh’s Temple – released today – was an interesting step for the musicians.  It says a lot that these accomplished individuals would join forces with a 15 year-old (yes, 15 year-old) in his dream for music stardom.  It says that they saw something special in the young drummer.  Needless to say that in listening to Thunder’s work with the famed trio on his debut album, his work is impressive in its own right.  The record’s already released singles have already proven that true.  They are just a sample of what makes his work and that of his more seasoned counterparts so impressive throughout the album, too.  ‘Iridescence,’ which serves technically as part of the album’s midpoint (the record consists of nine songs), is another way in which the collective’s work makes the album worth hearing.  It will be discussed shortly.  ‘King Chronos,’ the record’s penultimate entry, is another key addition to the album and will be discussed a little later.  ‘The Voyage,’ which closes out the album, is one more way in which The Pharaoh’s Temple shows its success.  When it and the other songs noted here are considered along with the rest of the record’s entries, the whole becomes a strong start for Thomas Thunder and another equally impressive outing for Sherinian, Franklin, and Thal that will appeal to most prog fans.

Thomas Thunder’s debut album, The Pharaoh’s Temple is a positive start for the young, up-and-coming drummer.  It is additionally, another enjoyable offering from his more well-known counterparts, Derek Sherinian, Ron “Bumblefoot” Thal, and Tony Franklin.  The record’s current singles make the clear.  So do many of the album’s other songs, not the least of which is ‘Iridescence.  While the album’s current singles are pure prog, showing influence of Dream Theater and Sons of Apollo, ‘Iridescence’ stands out because it incorporates other influences.  The nearly four-minute opus opens with a drum fill by Thunder, brooding keyboard and equally steady bass and guitar from Franklin and Thal that takes audiences back to the 80s.  Speaking of Thunder, at only 15, his talents on the drums are clear.  His fills, his ability to keep time, and add just the right flare at all of the right moments is impressive.  It is enough to put even some older drummers (this drummer included) to shame.  The collective’s work points to a bit of the big hair ballads of that age before taking on more of a pure prog approach as the song progresses.  From there, the group takes another even more dramatic turn, opting instead for a blues-based rock approach a la Deep Purple.  It makes for such a stark contrast to the other influences.  Yet at the same time the contrast is well-balanced.  It makes the song all the more interesting.  By the song’s end, it will leave listeners fulfilled through that display of well-balanced influences.  It is just one of the songs that serves to show the album’s strength.  ‘King Chronos’ does its own part to show the impact of Thunder and company’s work.

‘King Chronos’ presents its own unique arrangement separate from those featured in the rest of the album.  Its opening bars present a solemn sound, anchored by Sherinian’s work on the keyboards.  On a completely random note that likely only some will get, those opening bars are reminiscent of the music bed used for a certain scene from the little-known PC game, “The Journeyman Project 3.”  Audiences who are familiar with that game will immediately catch that clearly unintentional similarity in sound.  It only lasts briefly, though.  It very quickly gives way to a full-on symphonic sound and stylistic approach that to a point, is one part prog and one part vintage Ozzy Osbourne.  The Ozzy comparison (more specifically the Randy Rhoades comparison) comes through Thal’s work on guitar.  The prog eventually wins out, with the more vintage guitar rock sound playing more of a companion role, but a solid role nonetheless.  Again, Thunder’s abilities are on full display here.  He shows with his timekeeping ability and his ability to effectively use his whole kit that he could become one of the next big names in the prog drumming community.  The production that went into this song adds its own touch, as it adds certain aesthetic effects that enhance the song even more.  The eventual chaos that closes out the song is worth its own interest, too.  It makes for its own unique contrast to the whole.  When everything within this song is considered together, the whole makes the song yet another powerful addition to the album and another example of what the record has to offer.  It is just one more example of what the record has to offer, too.  ‘The Voyage,’ the record’s finale, is one more example of the album’s strength.

‘The Voyage’ is important to examine because once again, it offers up a clear 80s-influenced arrangement.  It is an arrangement that is also unlike any of the album’s other works.  In this case, the duality in Sherinian’s performance, alongside that of Thunder, Thal, and Franklin hints ever so lightly at perhaps some Def Leppard leanings.  As with the record’s other works though, that influence also soon becomes more secondary as the group’s prog leanings come more into play as the song progresses.  Thal’s heavy guitars, alongside Sherinian’s work on keyboard and Franklin’s bass work creates such a rich, heavy composition.  Thunder meanwhile adds just the right flare to the whole to complete the rich picture painted by this composition.  The juxtaposition of that heavier prog sound and style to the more 80s hair rock sounds here makes the whole yet another unique addition to the album.  It shows yet again, the variety offered throughout the record.  It also does just as well to put each musician’s talents on display, including those of the young noisemaker himself, Thunder.  When this composition is considered along with the other songs examined here, the album’s current singles and the rest of its entries, the whole proves itself to be another impressive offering from the veterans, Sherinian, Thal, and Franklin.  It additionally proves itself a strong start for Mr. Thunder.

Thomas Thunder’s debut album, The Pharaoh’s Temple is a positive offering from the up-and-coming drummer.  That is due to the talent shown by himself on the drums, and that of his fellow musicians.  The singles that the record has already produced go a long way toward supporting the noted statements.  Much the same can be said of the songs examined here.  All of those songs do their own part to display the group’s talents.  They prove Thunder could easily become one of the next big names in the prog community as he ages.  They also continue to cement the reputation of his more seasoned counterparts from one to the next.  When they are considered with the album’s remaining songs, the whole makes The Pharaoh’s Temple a presentation that will appeal to most prog rock and metal fans. 

The Pharaoh’s Temple is available now. More information on Thomas Thunder’s new album is available along with all of his latest news at https://thomasthundermusic.com.

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

Hard Rock Super Group Unveils Its Debut Single

Courtesy: O’Donnell Media Group

Hard rock super group 7 Pounds of Pressure premiered its debut single last week.

The band — Steve Tobin, Michael J. Romeo (Symphony X), Hollywood How (vocals), Tom Miller (Symphony X) — debuted its first single, ‘Birds of Prey‘ April 6. Mike Orlando (Adrenaline Mob, Sonic Stomp) and Steve Brown (Def Leppard) also contributed their talents to the song.

The musical arrangement featured in the band’s new single presents a sound that will appeal to fans of the hair metal and hard rock that bridged the late 80s and early 90s. That is evidenced through Romeo’s guitar work and How’s soaring, operatic vocals.

According to a comment from Tobin, the song’s lyrical theme follows the album’s overarching theme about his father’s experiences in the military.

“My dad was an Army Paratrooper, an Airborne Ranger in the Korean war out of the 82nd, although the songs can apply to all military personnel and all people’s personal experiences,” he said. “It Isn’t pro war. It’s merely sharing some experiences.”

More information on 7 Pounds of Pressure’s new single is available online at https://www.facebook.com/7-Pounds-Of-Pressure-342570762958866/

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

Hammerfall Drops The Hammer On 2020’s Top New Live Recordings List

Courtesy: Napalm Records

Live music and live music venues took a big hit this year thanks to the global COVID-19 pandemic.  That goes without saying.  Music acts and venues from the independent level all the way up to the big names were force to put their live music plans on hold indefinitely as a result of the pandemic.  However a glimmer of hope rose this week when Live Nation head Joe Berchtold was quoted by major media outlets as saying that he believed live music would return by summer 2021.  One can only hope that Mr. Berchtold is right, and that when it does return, audiences will welcome its return rather than let the germaphobes control their minds.  Until then, audiences do have lots of live music to enjoy on CD, DVD and Blu-ray that was released this year.  Hammerfall released its latest live recording Live! Against The World this year.  Dream Theater also dropped its new live recording Distant Memories: Live in London.  Metallica even celebrated the anniversary of its landmark S&M show with the release of S&M2.  These are just some of the recordings that made Phil’s Picks 2020 Top 10 New Live Recordings.  They were joined by new live material from the likes of Myrath, The Rolling Stones, and Kamelot.

As with each list from Phil’s Picks, this collection features the Top 10 new titles in the given category and five additional honorable mention titles for a total of 15 titles.  Without any further ado, here is Phil’s Picks 2020 Top 10 New Live Recordings.

PHIL’S PICKS 2020 TOP 10 NEW LIVE RECORDINGS

1. Hammerfall – Live! Against The World
2. Jimi Hendrix – Live in Maui
3. Jazz at Lincoln Center Orchestra – A Swingin’ Sesame Street Celebration
4. Def Leppard – London to Vegas
5. The Rolling Stones – Steel Wheels Live
6. Devin Townsend – Order of Magnitude: Empath Live Volume 1
7. John Lee Hooker – Live at Montreux 1983 & 1990
8. Waylon Jennings – The Outlaw Perrformances
9. Myrath – Live in Carthage
10. Kamelot – I Am The Empire Live from the 013
11. Dream Theater – Distant Memories: Live in London
12. Metallica – S&M2
13. Delta Rae – Coming Home To Carolina
14. Bush – Live in Tampa
15. Dee Snider – For The Love of Metal

Up next from Phil’s Picks is one of the last three music categories of the year, Phil’s Picks 2020 Top 10 New Rock Albums.  After that will be the year’s top new hard rock & metal albums, and then last but not least, the year’s top new albums overall.  From there, it’ll be on to the DVDs and Blu-rays in all of their categories.  Stay tuned for all of that.

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

Def Leppard’s ‘London To Vegas’ CD Re-Issues Will Appeal To The Band’s Most Devoted, Casual Fans

Courtesy: Eagle Rock Entertainment

Six months after originally releasing its latest live recording London to Vegas on various platforms, Def Leppard has re-issued the presentation.  This time, the recording — originally released through Eagle Rock Entertainment – has been released exclusively on CD, with an exclusive vinyl pressing to follow in December.  Why Def Leppard and Eagle Rock would go to this length after having already released the recording on separate 2BD/4CD, 2DVD/4CD, 2LP, picture disc, and digital platform is anyone’s guess.  That aside, the separate sets do boast some positives, not the least of which is the presented set lists.  This will be addressed shortly.  The recordings’ packaging proves to be its own positive and will be discussed a little later.  The recordings’ production rounds out their most important elements and will also be addressed later.  Each item noted is important in its own way to the whole of the recordings.  All things considered, the new CD re-issues of Def Leppard’s London to Vegas recording are presentations that will appeal to the band’s most devoted fans.

Def Leppard and Eagle Rock Entertainment’s new CD-exclusive re-issues of the band’s shows from its London To Vegas recording are collectively a presentation that will appeal to the band’s most devoted fan base.  That is proven in part through their set lists.  The set lists in question are the exact same set lists hat were featured that were featured in the recording that was released in April.  They are also featured in the exact same order as they were in the noted presentation.  The first of the featured concerts was recorded in December 2018 at London’s famed O2 Arena.  The performance features the band performing its landmark 1987 album Hysteria in its entirety for audiences.  The band performs more than just Hysteria here, too.  There are some other classic numbers that make up a handful of encores performed by the band after it finishes making its way through the album.  Those encores will be left for audiences to discover for themselves.  The record has gone platinum 10 times since its release more than 30 years ago.  The second show was recorded in June 2019 during Def Leppard’s residency at Zappo’s Theatre in Planet Hollywood in Las Vegas, NV. 

The Las Vegas residency show doesn’t stick to just one album, enhancing the overall experience for audiences that much more.  While Hysteria does get a lot of nods over the course of the 28-song set, which runs almost three hours, the band does lift from some of its other albums.  The band goes as far back as 1981 and is sophomore album High ‘N’ Dry in its set and as recent as its self-titled 2015 record, its most recently released album.  Along the way, the band treats audiences to songs from its equally popular 1983 album Pyromania, its 2002 album X, its 1992 album Adrenalize and even its 1993 rarities & b-sides compilation Retro Active.  Slang (1996) and Euphoria (1999) are even represented in this expansive set list.  The only albums not represented in the concert are the band’s 1980 debut On Through The Night, its 2006 record Yeah! and its follow-up, 2008’s Songs From The Sparkle Lounge.  Sure, those albums are missing from the concert’s set list, but even with that in mind, audiences still get a relatively comprehensive set list from this archived show.  Adding to the interest is that some of the songs performed at the Vegas show are works that the band had never performed live until that point, according to front man Joe Elliot.  He makes the revelation in front of the audience of hundreds if not more.

Between this concert’s extensive and rich set list and that of the band’s O2 show, audiences get here what is some of Def Leppard’s best live material to date.  The total run time of the two shows surpasses the five hour mark, which will help listeners pass the time with ease whether listening to the shows on a long road trip or going to and from work or any other scenario.

As much as the set lists in the CD re-issues of Def Leppard’s London to Vegas do to make this recording appealing, they are collectively just one part of what the noted Def Leppard devotees will appreciate.  The packaging exclusively on CD allows listeners to take the concerts with them in the vehicles rather than being tied to a record player or even a smart phone or television monitor.  To another extent, CD cases are smaller than those for DVDs and Blu-rays, so instead of taking an entire DVD or Blu-ray case in the car, audiences will just have the smaller CD case.  Not that DVD and Blu-ray cases are bulky by any means, but finding space in one’s car for a double CD case versus a DVD/BD/CD package is one less stress for listeners.  What’s more, being concerned about keeping a couple of CDs safe from damage versus being concerned about keeping DVDs/BDs and CDs safe while taking them along on a trip, is less concerning.  That ease of transport and packaging in the recordings’ platform availability shows clearly to be its own positive here.  It is just one more of the most notable aspects of the re-issues.  The production of the recordings rounds out their most important elements.

On a related note, the fact that the concerts are held on separate sets, audiences can choose one concert, the other or both.  Obviously, the most devoted fans will want both concerts, but then there are those who might be more casual fans, leading potentially to wanting one or the other.  To that end, that audiences can choose will save space and money.

The production presented in the new re-issues of Def Leppard’s London to Vegas recording is of its own note in that as with the set lists, audiences get the same values.  That is because the audio featured in the recordings was transferred directly from the DVD/BD presentations to the CD platforms.  In other words, while it may not be the full audiovisual experience, audiences still get a solid experience in the audio thanks to the work put in during and after the concerts were captured.  The sound is expertly balanced in each concert from start to end.  No one performer overpowers his band mates at any point in either concert, showing that those behind the boards took into full account, the acoustics of each venue.  When this is taken into consideration along with the recordings’ set lists and their packaging, the whole of the noted elements makes these re-issues appealing, again, to Def Leppard’s most devoted fans.

Def Leppard and Eagle Rock Entertainment’s new separate CD re-issues of its London to Vegas shows are collectively an interesting presentation.  Considering that the recordings have already seen release in April in complete DVD/CD and BD/CD combo packs, they will appeal mainly to the most devoted Def Leppard fans and perhaps to the more casual fans who do not want to have to pay the full price for the noted sets.  The recordings’ set lists will help with the appeal for those audiences.  That is because they are the same shows featured in the previously released sets.  The packaging of the shows as separate shows will appeal to the devotees in that that will be less cumbersome than carrying around the combo sets.  They will also allow more casual fans to pick and choose which show they want more.  The production of the shows rounds out their most important elements in that it was the same production used in the concerts’ full audiovisual platforms.  To that end, it will appeal to audiences in its own right.  When it is considered along with the other elements noted here, the whole of the recordings proves that it will appeal at least to a point for some Def Leppard and classic rock fans.

More information on London to Vegas is available online now along with all of Def Leppard’s latest news and more at:

Website: http://www.DefLeppard.com

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

Twitter: http://twitter.com/defleppard

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

Def Leppard Splitting Up Recent Live Recording On CD, Vinyl

Courtesy: Eagle Rock Entertainment

Def Leppard will re-issue its recently released live recording London to Vegas next month as two separate releases.

The two concerts that are featured in the original recording will release as limited edition standalone 2CD presentations.  They are scheduled for release Oct. 16.  The band’s Hysteria at the O2 makes up one half of the overall presentation while the band’s Hits Vegas, Live at Planet Hollywood makes up the second half of the recording.

The Hysteria at the O2 concert was originally recorded in December 2018.  The band performed its hit certified 10X Platinum album Hysteria in its entirety during the concert.  Some other fan favorites were also featured as part of the concert.

Hits Vegas, Live at Planet Hollywood was recorded six months after the band’s performance at the O2 Arena in London at Planet Hollywood’s Zappos Theatre.  The concert also took place shortly after the band was inducted into the Rock and Roll Hall of Fame.

Pre-orders are open for the 2CD presentations as well as a limited edition 3LP vinyl pressing of the Las Vegas concert.  That recording is scheduled for release Dec. 11.

Audiences can view the band’s performance of ‘Have You Ever Needed Someone So Bad’ from the band’s Las Vegas performance here.

More information on London to Vegas is available online now along with all of Def Leppard’s latest news and more at:

 

 

 

Website: http://www.DefLeppard.com

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

Twitter: http://twitter.com/defleppard

 

 

 

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

 

Ellefson Debuts New Compilation’s Lead Single; Unveils Initial Track Listing

Courtesy: Combat Records

Audiences got their first preview of Megadeth bassist David Ellefson’s new eponymous rock project this week.

The band — Ellefson (bass), Thom Hazaert (vocals), Andy Martongelli (guitar), Ron “Bumblefoot” Thal (guitar), and Paolo Caridi (drums) — released the song ‘Wasted‘ Friday.  The song, a cover of the Def Leppard song, is the lead single from the group’s debut record, No Cover.

Ellefson’s cover of ‘Wasted’ features guest appearances from Frank Hannon (Tesla), Jacob Bunton (Mick Mars, Lynam), and Dave McClain (Ex-Machine Head, Sacred Reich).

The famed names featured on ‘Wasted’ are just some of well-known musicians and performers who make appearances on this record.  Also lending their talents to the album are equally well-known figures, such as Charlie Benante (Anthrax), Al Jourgensen (Ministry) and Gus G. (Firewind).

Along with debuting its lead single, Ellefson has also unveiled the initial track listing for No Cover.  The initial listing opens with a cover of Judas Priest’s timeless hit song ‘Freewheel Burning’ and also features covers of songs such as AC/DC’s ‘Riff Raff,’ Queen’s ‘Sheer Heart Attack’ and Billy Idol’s ‘Rebel Yell.’

The album’s initial track listing is noted below.  Two tracks are still TBA. Pre-orders are open now.

 

Tracklist:
1. Freewheel Burning (Judas Priest) ft. Jason McMaster, Gus G, Andy James, Dave McClain
2. Tear It Loose (Twisted Sister) ft. Eddie Ojeda, Dave McClain
3. Love Me Like A Reptile (Motorhead) ft. Doro Pesch, Greg Handevidt, Chuck Behler
4. Holiday in Cambodia (Dead Kennedys) ft. Charlie Benante
5. Rebel Yell (Billy Idol)
6. Wasted (Def Leppard) ft. Frank Hannon, Jacob Bunton, Dave McClain, Bumblefoot
7. Riff Raff (AC/DC) ft. Jason McMaster, Dave Lombardo
8. Nailed To The Gun (Fight) ft. Andrew Freeman, Russ Parrish, Jimmy DeGrasso
9. Not Fragile (Bachman-Turner Overdrive) ft. John Aquilino
10. Say What You Will (Fastway) ft. Troy Lucketta, Mark Slaughter
11. LOVE Machine (W.A.S.P.) ft. Dirk Verbeuren, Dave Alvin
12. Love Hurts (Nazareth) ft. Brandon Yeagley, Chuck Behler, Tyson Leslie
13. Sheer Heart Attack (Queen) ft. Bumblefoot, Doro Pesch, Charlie Benante
14. Sweet FA (Sweet) ft. Todd Kerns, Bumblefoot, Shani Kimelman
15. TBA
16. TBA
17. Auf Wiedersehen (Cheap Trick) ft. Al Jourgensen, Brandon Yeagley, Charlie Benante

Bonus Tracks
18. Eat The Rich (Krokus) ft. Dead By Wednesday

 

No Cover was co-produced by Ellefson, Hazaert, and Martongelli.  The record was engineered by Alessio Garavello, Matt LaPlant (Nonpoint, Lil Jon, Skindred) and John Aquilino.  Alessio and Garavello mixed the album alongside Randy Burns and others.

Ellefson talked about the record’s genesis in a recent interview.

“Before any of us started writing our own songs, we all began playing cover songs by our heroes during our formative years as musicians,” said Ellefson.  “So, it’s fun to go back in time and revisit those songs which helped us to become the artists we are today, especially when, ironically, many of those artists have now become peers and friends. During the process of recording some covers for B-Sides and bonus tracks for the upcoming Ellefson solo LP, Thom and I just said, “This is a blast, let’s just do a whole album of covers!” Literally, within 2 weeks, we had the songs recorded, and began calling our friends to join us, many of whom we had just performed with on the MEGA-Cruise back in October. From there, the album just fell into place.”

“A lot of our buddies have been playing covers and quarantine jams on the Internet during the pandemic, so this is really just an extension of that, but we took it the next level and actually recorded a full studio album,” he added.” We’ve been working remotely anyway, as we’re all over the Globe, so it was easy to incorporate some guests jumping in with some outstanding performances of their own. It’s been a really fun nod to making great music with our friends, who are kick-ass players, and many legends in their own right, which is the whole reason we got into this in the first place!”

Hazert expanded on Ellefson’s comments with his own thoughts.

“It’s all songs and artists that really mutually influenced both myself and David, especially a lot of early “Metal” and harder Classic Rock,” he said. “Some stuff I picked, some stuff he picked, but for the most part is was all artists that we both loved. What’s funny, as there’s a bit of an age gap, we were sometimes more influenced by different eras of the same bands. But it was really him saying, “Let’s do this song”, and me saying, “Yes!!! And let’s do this song.” And before we knew it, we had over 15 songs. And it’s a lot of album tracks, deep cuts, early tracks, stuff people might not expect, which was what was so fun.”

“It was also great that we were able to work in a lot of nods to David’s [Ellefson] history, getting Chuck Behler to play with us, bringing in original Megadeth guitarist Greg Handevidt to play on “Love Me Like A Reptile”, a song they used to play in cover bands together before they moved to LA (which we wrote about in More Life With Deth), and Randy Burns is going to mix a track or two,” added Hazert.  “As a singer, these are literally bands I’ve listened to, and covered all my life, and for me, getting to play with Eddie Ojeda, the Tesla guys, Charlie Benante, Jason McMaster, Mark Slaughter, etc, and sing these songs that mean so much to me. I mean, literally, the entire record is my bucket list of people I’d love to play with, and some of my favorite bands. So, it’s truly an honor to put together something so fun, and really as effortless as this was. It truly is a love letter to Rock N’ Roll, an homage to what made us, musically, who we are today.”

Ellefson resurrected Combat Records in 2017 as part of the EMP Label Group family.

Combat Records was a seminal punk and thrash record label in the 1980s.  Its doors closed in the mid-2000s after its catalog was absorbed by Sony Music.  Combat Records’ official relaunch took place in 2018.

Ellefson said in an interview in 2017, Combat Records would handle only new music because Sony has control of the label’s back catalog.

“…And to clarify, we do not own any rights to the Combat Records back catalog,” Ellefson stressed. “That is owned and controlled by Sony, and they have done a great job of curating it through other imprints. Combat Records will solely focus on new releases under the Combat banner. As always, thank you for your support and stay tuned for more details!”

More information on Combat Records, along with its latest news, is available online now

at:

Website: http://www.combatrecs.com

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

Twitter: http://twitter.com/combatrecs

\

Ellefson is scheduled to release its debut full-length studio recording in spring 2021.  More information on Ellefson is available along with all of the group’s latest news at:

 

Website: http://davidellefson.com

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

Twitter: http://twitter.com/ellefsondavid

 

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.

Angeles’ Latest LP Keeps The Flame Burning For Classic Rock Fans

Courtesy: Dark Star Records/Sony

When veteran rock band Angeles released its 12^th full-length studio recording Fire It Up last year, it was the first time in more than 40 years that the band, founded by Dale Lytle, had released any new music to the masses.  Having been away from the limelight for such a long time, one would have thought the band would have had a hard time getting back into the swing of things, but as it turned out, the case was quite the opposite.  Now less than a year after its release, Angeles has returned with a new album in the form of Hell on High Heels and slightly changed lineup, — now former vocalist Gwendolyn Casella parted ways with the band following the album’s release and was subsequently replaced by new front man Louis Collins.  The eight-song record is scheduled for release Friday through Dark Star Records/Sony.  The new forthcoming 30-minute record continues the success that the band enjoyed in Fire It Up and builds on that success with its musical and lyrical content.  That is proven in part through one of the album’s latest singles, ‘Celebrate.’  It will be discussed shortly.  ‘Heal The Wounds,’ which is another of the album’s singles, is another way in which the album shows the band’s continued success on this record.  ‘Start Living’ is yet another example of what make Angeles’ new album another successful effort from the band.  Together with the other two songs noted here and the other five songs not noted here, the whole of Hell on High Heels proves to be another work that will certainly appeal to Angeles’ most devoted fan base as well as the most devoted 80s rock aficionados.

Angeles’ forthcoming album Hell on High Heels is a positive return for the band, especially having come less than a year after the band released the record’s predecessor Fire It Up.  Considering how little time has passed between these two records – unlike Fire It Up and its predecessor – one might think the album might feel rushed, and in turn messy.  However, the exact opposite is the case here.  That is proven in part through one of the album’s latest singles, ‘Celebrate.’  The musical arrangement at the center of ‘Celebrate’ is an upbeat, positive work that lends itself to comparisons to works from the likes of Poison, Ratt, and Motley Crue.  The noted musical arrangement fits the song’s lyrical theme, which touts the joy of just being together with friends and family.  It is that full-on happy, upbeat party rock sound that was so popular during that age of big guitar riffs and even bigger hair.  The positive vibe exuded by the song’s musical arrangement does well to help convey the sense of joy that is exhibited through the song’s lyrical content.

Collins sings in the song’s lead verse, “Slip on my boots/And get my head on right/We’re going to a rock and roll show/meet up with the boys/And we’re heading to the club/We’re fired up and ready to go/Raise a glass tonight and let’s celebrate/It’s only midnight and it’s not too late.”  He continues in the song’s second verse, “The drinks are flowing/And the music’s pumping/We’re having a real good time/the pretty girls are dancing and they’re looking at me/Gonna make one of ‘em mine/Sweet little Susie’s coming home with me/And we’re gonna set the night on fire/We’re back to my place and we have some fun/burnin’ like a funeral pyre.”  From there, the story continues, telling about the morning after that night of celebration with friends and what followed.  Little Suzie stayed the night and left the next afternoon, not to give away too much.  From there, Collins sings about working hard all week and in turn, celebrating on the weekend.  It’s never revealed if the song’s subject saw little Susie again.  That is left to the listener’s imagination.  That aside, the overall…well..celebratory nature of this song musically and lyrically makes it a work that lives up to its name and will assuredly keep listeners engaged and entertained what with that throwback musical and lyrical style.  It is just one of the songs that makes Hell on High Heels another positive offering from Angeles.  ‘Heal The Wounds’ is another way in which the album shows its strength.

Much as is the case with ‘Celebrate,’ this song’s arrangement is another full-on throwback to the guitar-laden rock that made the 80s such a notable musical era.  While the stylistic approach is the same, the sound is anything but.  This song’s musical arrangement is more akin to Poison’s ‘Every Rose Has Its Thorn’ and some older works from Bon Jovi.  It starts off soft and simple before becoming much more bombastic yet still ballad-esque in the same stylistic vein of the noted older works.  That familiar stylistic approach will appeal to the already mentioned audiences just as much as the arrangement featured in ‘Celebrate.’  It goes well with the contemplative nature in the song’s lyrical theme, which serves as a reminder to listeners that “time will heal the wounds,” of a broken relationship, as front man Louis Collins sings in the song’s chorus.

Collins sings sings in the song’s lead verse, “I’m all out of things to say/Out of tears to cry/All out of thoughts…Can barely let out a sigh/the memories and time/All pas me by/See you on the street/Makes me wanna die/Time will heal the wounds/Time will kill the pain.”  He continues in the song’s second verse, “I’m all out of whisky/I’m down to my last cigarette/Trying to get it together/I haven’t figured it out just yet/Sleepless nights, they haunt me/I’m laying down in a cold sweat/It’s time for me to go/It’s time to raise my bet/’Cause time will heal the wounds/Time will kill the pain.”  Following this point, listeners are presented the story of the actual breakup and the subject’s emotional recovery from that breakup.  It would explain the much more uplifting sound that gradually develops through the remainder of the song.  Considering that the song’s subject reminds himself that time will heal the wounds and kill the pain, this is a key to continuing to make sure this song connects just as easily with listeners through its words as much as through its music.  All things considered, the song is just one more way in which Hell on High Heels proves its strength in itself and within the bigger community of new 80s rock style releases put out so far this year.  ‘Start Living’ is yet another way in which the album holds its own alongside its counterparts.

‘Start Living’ is another positive, uplifting (so to speak) work featured in Angeles’ latest album.  That is due in part to its musical arrangement, which is a work that is as energetic and upbeat as ‘Celebrate.’  Its sound and approach is also just as similar to works from Motley Crue and others as that song.  It should be noted that even with that stylistic similarity, the song still bears its own sound, so it is not just ripping off the works from those bands or even itself.  To that end, the song’s arrangement does its own part to keep listeners engaged and entertained in this case.  Its lyrical content builds on that engagement and entertainment.

Much like ‘Celebrate’ is a full-on song that pays homage to being out with friends and just living the rock and roll life, so does this song in its own right.  Collins even sings in the song’s lead verse, “Thirty days in and I’m feeling down…Sick of the walls/I’m tired and bored/I wanna rock the world.But I’m stuck indoors/Let’s get moving/Start living all night long.”  He continues in the song’s second verse, “Look at my guitar/I play real loud/And take the shows to the biggest crowd/Party all night with the pretty girls…getting in the fights with the boys in the band…Patch things p with a whiskey shot/Do it again tomorrow/Ready or not/let’s get moving/Start living all night long.”  Now while some of the lyrics are indecipherable without a lyrics sheet to reference, enough is understood in this case that it is pretty obvious what is being addressed here.  There is a mention of fever making someone feel bad.  It could be interpreted that this has to do something with the impact of COVID-19, considering that the album was being recorded late last year and early this year as COVID-19 started to take over the world.  That mention of getting tired of looking at the walls strengthens that supposition even more.  It comes across as Collins talking about just wanting to get out and live, to get out and hit the road, which is what so many bands, acts and groups want to do, but sadly likely won’t get to do until at least next year.  It makes for its own engagement and entertainment for audiences.  That is because the fans want to be out there just as much as the bands.  Keeping that collective mindset and the energy and sound in the song’s musical arrangement, it becomes increasingly clear why this song is another standout addition to Hell on High Heels.  It is certain to become an anthem in its own right as bands and audiences alike await the return of live music.  Together with the other songs noted here and the rest of its works, Hell on High Heels shows why it is a positive return for Angeles.

Angeles has scored another win with its 13^th full-length studio recording, Hell on High Heels.  That is due in no small part to its musical arrangements and lyrical themes, all of which are sure to engage and entertain audiences in their own way.  That is proven through three of the album’s eight songs addressed here.  When that trio of songs is addressed along with the rest of the album’s works, the album in whole proves, again, why it is another positive return for the band.  Hell on High Heels is scheduled for release Friday through Dark Star Records/Sony.

The album’s track listing and recording information is noted below.

‘Hell On High Heels’ tracklisting:
1. Hell On High Heels – Lytle/Collins – 4:43
2. Celebrate – Lytle/Collins – 3:37
3. Heal The Wounds – Lytle/Collins – 3:52
4. Apocalypse – Lytle/Collins – 4:24
5. Start Living – Lytle/Collins – 2:58
6. Rolling Like Thunder – Lytle/Collins – 3:56
7. Run – Lytle/Collins – 3:06
8. Holly Fenton – Merrit/James – 3:22

Music recorded at Clear Lake Recording Studios N. Hollywood CA – Ara Sarkisian.
Vocals recorded at MT Studios Burbank CA – Matt Thorne.
Produced by Dale Lytle and Matt Thorne
Mixed and mastered by Matt Thorne
Front cover by Jeffrey A. Swanson
Back cover by Connie Lytle
Graphic Design by Monarch Digital Design

More information on Angeles’ new album is available online along with all of the band’s latest news at:

 

Website: http://www.angelesband.com

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

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

Audiences From “London To Las Vegas” And Beyond Will Enjoy Def Leppard’s New Live Recording

Courtesy: Eagle Rock Entertainment

The live music industry has been decimated so far this  year due to the health concerns raised around the world by the COVID-19 outbreak.  Festival shows have either been delayed or rescheduled until next year.  Tours around the world have been delayed with the hopes that what was going to take place in spring and summer would finally be able to happen by fall at the latest.  Articles from some well-known music magazines have quoted a bunch of so-called medical experts who have claimed without evidence that live concerts could be held off until next year.  It should be stressed here that the word “could” is not equal to the word “will.”  That means the statements of the so-called experts should be taken with a grain of salt.  One can only hope that live music will return much sooner than next year, proving the so-called experts who were polled – polls are more often than not used to push specific agendas of media and political personnel – wrong.  In the meantime, Eagle Rock Entertainment has another new live archived show for audiences to enjoy in the form of London To Vegas.  Scheduled for release May 29, the double live recording is a presentation that will appeal equally to Def Leppard’s most devoted fans and to classic rock fans.  That is due primarily to the noted fact that it is a double live show.  This will be discussed shortly.  The bonus content featured with the recording adds slightly to the presentation’s appeal, and will be discussed a little later.  The band’s performance in each recording couples with the shows’ production and mixing to make for the last (but most certainly not least) of the package’s most important elements.  Each noted item is key in its own way to the whole of London to Vegas.  All things considered, they make London To Vegas a presentation that the band’s fans and classic rock buffs around the world will enjoy from beginning to end of each concert.

Def Leppard’s forthcoming live recording London to Vegas is among the best of this year’s new live recordings overall.  It is a presentation whose appeal is certain to be wide.  That is due in part to the general presentation.  Presented here is not one, but two separate concerts from one of the most respected bands in the modern history of rock and roll.  The first of the featured concerts was recorded in December 2018 at London’s famed O2 Arena.  The performance features the band performing its landmark 1987 album Hysteria in its entirety for audiences.  The record has gone platinum 10 times since its release more than 30 years ago.  The performance is just part of what makes this concert pivotal.  The other reason it is such an important performance will be addressed in the discussion about the package’s bonus content.  The second show was recorded in June 2019 during Def Leppard’s residency at Zappo’s Theatre in Planet Hollywood in Las Vegas, NV.  While performing albums in whole has become increasingly commonplace for musical acts from across the musical universe, it still is not so commonplace that it is something that can be written off as cliché for any kind of act.  What’s more, it is widely known and accepted that no two acts perform their songs the same way live as they do in a studio setting, and audiences definitely get an enjoyable performance of Hyseria from Def Leppard in its O2 show.  The band performs more than just Hysteria here, too.  There are some other classic numbers that make up a handful of encores performed by the band after it finishes making its way through the album.  Those encores will be left for audiences to discover for themselves.

The Las Vegas residency show doesn’t stick to just one album, enhancing the overall experience for audiences that much more.  While Hysteria does get a lot of nods over the course of the 28-song set, which runs almost three hours, the band does lift from some of its other albums.  The band goes as far back as 1981 and is sophomore album High ‘N’ Dry in its set and as recent as its self-titled 2015 record, its most recently released album.  Along the way, the band treats audiences to songs from its equally popular 1983 album Pyromania, its 2002 album X, its 1992 album Adrenalize and even its 1993 rarities & b-sides compilation Retro Active.  Slang (1996) and Euphoria (1999) are even represented in this expansive set list.  The only albums not represented in the concert are the band’s 1980 debut On Through The Night, its 2006 record Yeah! and its follow-up, 2008’s Songs From The Sparkle Lounge.  Sure, those albums are missing from the concert’s set list, but even with that in mind, audiences still get a relatively comprehensive set list from this archived show.  Adding to the interest is that some of the songs performed at the Vegas show are works that the band had never performed live until that point, according to front man Joe Elliot.  He makes the revelation in front of the audience of hundreds if not more.  Between this concert’s extensive and rich set list and that of the band’s O2 show, audiences get here what is one of the strongest showings of Def Leppard’s catalog of all time and what is one of the band’s best live recordings to date if only for that reason.  The total run time of the two shows surpasses the five hour mark, which is even better for anyone who is looking to pass the hours cooped up indoors until all those unnecessary lockdowns are lifted across the country, and for anyone who just wants to enjoy a good live show (or two) any time of the year.

It goes without saying that the primary content featured in Def Leppard’s forthcoming new live recording London To Vegas goes a very long way toward keeping audiences engaged and entertained from beginning to end in each concert.  As much as the concert recordings do for this package’s presentation, they are but one part of what makes the presentation in whole so engaging and entertaining.  The bonus content that comes with the recording adds to that appeal.  The bonus content that accompanies the band’s London show features the revelation from the band members that up until that concert, the band had never previously performed at the O2 Arena.  The band members also discuss in the bonus content how the O2 concert came to be.  Not to give away too much, but it has to do with the band’s Las Vegas residency.  Audiences will be left to learn the rest of that story for themselves when they purchase this presentation on any of its many available platforms.  Along with that, there is also a tribute of sorts from the band members to famed producer Robert John “Mutt” Lange for his role in the creation of Hysteria.  The band members credit his work behind the boards for much of the album’s success.  For those unfamiliar with Lange’s work, he also has worked with the likes of AC/DC, Lady Gaga and Maroon 5.  His work with AC/DC is most well-known on the band’s breakout 1981 album Back in Black, which is one of the best selling albums of all time to this day.  His work with Maroon 5 came in 2010 on the band’s album Hands All Over.  Lady Gaga enlisted him to produce her mega-hit single ‘Born This Way’ in 2011.  Along the way, audiences also get to watch Def Leppard “Behind-The Scenes” as the band prepares for its O2 Arena show with brief snippets of the band checking out the arena and handling soundcheck.  That “behind-the-scenes” footage makes up all of the bonus content for the Las Vegas residency.  Audiences get to see the band prep for its residency, experiencing the band members talk about how its live shows will come together, noting where band members will stand, how different acoustic settings work, etc.  There is not much to it, but it is still at least slightly entertaining.  Between the two bonus segments, audiences get almost half an hour of extra content to accompany the primary content.  That extra content is factored into the presentation’s total run time, which again, comes to more than five hours, all things considered.  Considering the actual content featured in the bonus footage, some of it is better than other, but overall, it still does add some engagement and entertainment to the mix.  Coupled with the presentation’s primary content, the two elements give audiences quite a bit to appreciate, whether they are Def Leppard devotees, classic rock buffs or just rock and roll fans in general.  Keeping all of this in mind, the content featured in this recording is of the utmost importance to its presentation.  Of course, the content is only a portion of what will keep audiences engaged and entertained.  The recording’s general aesthetics are also worth noting for their roles in the package’s presentation.

The collective mixing and production of these two shows  joins with the band’s performance in each show to make this presentation even stronger.  The sound is expertly balanced in each concert from start to end.  No one performer overpowers his band mates at any point in either concert, showing that those behind the boards took into full account, the acoustics of each venue.  The camera angles give home viewers so many views that audiences who attended the concerts in person would not have had, enhancing the experience overall that much more for audiences.  The transitions from camera to camera are smooth, making for even more enjoyment.  The band’s performance plays alongside the production and mixing, adding its own share of enjoyment, too.  The band wastes little time stopping and slowing things down with lots of audience interaction.  Rather, the band lets its balanced energy from one song to the next do all of the talking for each member.  That focus from the band also allowed those behind the boards less challenges in terms of adjusting sound levels, and in turn less work for those who handled the concerts’ post production.  Honestly, those straight forward, energy-filled performances, coupled with the enjoyable aesthetics show that it is very possible to have an enjoyable show without a lot of unnecessary elements, such as pyro, fog machines, etc.  It shows that it is possible for a band to entertain audiences just by performing, and that is a very good thing.  When this is taken into consideration with the recording’s primary and secondary content (the performances and their bonus material), the whole of this expansive almost career-defining double concert set proves itself a must have for so many audiences, and without question, one of this year’s top new live recordings overall.

Def Leppard’s forthcoming new double live recording London to Vegas is an impressive new presentation from the veteran rock band. Whether one is a Def Leppard devotee, a rock and roll fan in general, or a classic rock fan, this collection of live material is certain to entertain almost anyone who watches these performances.  That is, as noted, due in large part to the expansive list of songs featured collectively throughout the two performances.  The bonus content that accompanies the concerts enhances the experience a little more for audiences.  The aesthetics of the concerts – the mixing, production and band performances – rounds out the most important of the recording’s presentation.  Between these elements, the wide variety of platforms on which the recording is available and their average price point, this presentation goes a long way toward proving its value to audiences.  It will be available April 24. Pre-orders are open now.  It goes without saying that considering all of this, London to Vegas proves itself a presentation that audiences from London to Vegas to points around the globe will enjoy.  More information on London to Vegas is available online now along with all of Def Leppard’s latest news and more at:

 

 

 

Website: http://www.DefLeppard.com

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

Twitter: http://twitter.com/defleppard

 

 

 

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

Rare Hendrix Archived Live Recording Takes Top Honors On Phil’s Picks 2017 Top 10 Live CDs List

Courtesy: Dagger Records/Experience Hendrix, LLC

Experiencing live concert events is not an easy thing in this day and age.  Between the collective costs of attending (I.E. pricey tickets, gas, souvenirs, possible lodging, food & drink, etc.), perhaps the general lack of time to attend depending on circumstances, or maybe the very fact that audiences’ favorite acts didn’t include certain cities on their tours, there is a lot that plays into the inability to attend live events.  Keeping this in mind, not all hope is lost, thanks to all of the live recordings released each year by so many acts.  Some are released as full bundle packages while others are released just as DVDs or Blu-rays.  Some are even released solely on CD.  Regardless of the platforms, the availability of so many live recordings is unquestionably important for audiences.  Staying on that topic, the live CDs made available are worth noting in their own right.  That is the the case regardless of whether or not said CDs are bundled with DVD or Blu-ray counterparts.  That is because, again, even if the CDs come alongside a live audio visual component, that audio only component can and does oftentimes, translate differently than DVD and Blu-ray recordings.  Keeping this in mind, Phil’s Picks is offering a list of the year’s top new live CDs.

Included in this year’s list are standalone CD recordings and CDs included as part of bundles.  The titles featured in this year’s list include live recordings from Curtis Knight, Jon Cleary, Alter Bridge, The Dead Daisies and many others.  Simply put, they run the gamut from one genre to another across the musical universe.  Topping this year’s list is Dagger Records and Experience Hendrix, LLC’s new Jimi Hendrix recording Curtis Knight featuring Jimi Hendrix Live at George’s Club 20 1965 & 1966.  This live recording features performances by Hendrix well before he became an international superstar — performances that showed his talent even then.  Also included in this year’s list are recordings from Foghat, Alter Bridge, Armored Saint and others.  As is the case with every Phil’s Picks year-ender, this list features the top 10 best new titles plus five additional honorable mention titles for a total of 15 titles.  Staying on that note, here for your consideration is Phil’s Picks 2017 Top 10 New Live CDs.

PHIL’S PICKS 2017 TOP 10 NEW LIVE CDs

1. Curtis Knight feat. Jimi Hendrix — Live at George’s Club 20 1965 & 1966
2. Alter Bridge — Live at The 02 & Rarities
3. Jon Cleary — Live at the Chickie Wah Wah
4. Foghat — Live at The Belly Up
5. Between The Buried and Me — Coma Ecliptic Live
6. Armored Saint — Carpe Noctum
7. Slipknot — Day of the Gusano
8. Black Sabbath — The End
9. The Rolling Stones — Live at The Fonda Theatre 2015
10. The Who — Live at the Isle of Wight 2014
11. Jeff Beck — Live at the Hollywood Bowl
12. The Winery Dogs — Dog Years Live in Santiago & Beyond 2013 – 2016
13. Def Leppard — …And There Will Be A Next Time
14. Joe Bonamassa — Live at Carnegie Hall
15. Fates Warning — Awaken The Guardian Live

That’s it for this list, but not for the live recordings lists.  Still on tap in this category is the year’s top new live DVDs and BDs as well as the year’s top new live recordings overall.  Before getting there though, there is at least one last list in the form of the year’s top new albums overall.  That one’s coming soon, so stay tuned.

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