Jackson’s New Live Recording Is As Solid As A “Rock”

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Late last year Alana Jackson released his latest full-length studio recording Angels and Alcohol.  Ahead of its release, the country music legend launched a tour in support of his first album since 2012’s Thirty Miles West.  The “25th Anniversary Keepin’ It Country” tour launched January 8th, 2015 in Fort Meyers, Florida and ran through the better part of the year.  It included a performance at Colorado’s famed Red Rocks Amphitheatre on May 17th, 2015.  That performance serves as the basis for Jackson’s new live recording Keepin’ It CountryLive at Red Rocks.  Keepin’ It CountryLive at Red Rocks will be released in stores and online this Friday, May 6th on DVD and digital.  There is a lot to like about this latest offering from the veteran performer beginning with its set list.  The show’s choice of songs and its ordering are both important to note in regards to its overall presentation.  That’s just the tip of the proverbial iceberg.  Jackson and company’s stage presence throughout the concert is just as important to note.  And as with every one of Eagle Rock Entertainment’s live recordings, the concert’s production values (I.E. its audio and video mix).  This is one of those concerts that looks and sounds just as great on a standard HD monitor as it does with a home theater system.  Together with the concert’s set list and the musicians’ performance of said set list all three elements come together to make the recording in whole one that country fans of all ages will enjoy and that proves yet again why Eagle Rock Entertainment is still to this day the leader in live recordings.

Alan Jackson’s new live recording Keepin’ It CountryLive at Red Rocks is a concert recording that country fans of all ages and tastes will enjoy.  That is thanks in large part to the show’s selected set list and its order.  The show’s extensive twenty-six song set runs a total of an hour and forty-six minutes.  That’s just under the two hour mark.  Though, because of the set’s order and the group’s stage presence, which will be discussed later, that time feels like even more.  That is meant in the best way possible, too. The set list itself pulls from a rather healthy portion of his lengthy career.  It represents no less than ten of his albums and indeed his twenty-five year career.  Given, not every album is represented here.  But a good compliment of his albums is represented.  It goes all the way back to his U.S. debut record, 1990’s Here In The Real World.  There are even some numbers that he recorded with others such as ‘As She’s Walking Away,’ which was included in the Zac Brown Band album You Get What You Give.  Perhaps the only con to the whole set list (to this critic alone) is the omission of ‘Summertime Blues.’  That song is one of this critic’s favorite songs from Alan Jackson.  Of course everybody has his or her favorite song(s).  So in the end, the set list still proves at least in terms of its featured songs, to be an impressive, important part of this recording.  The set list’s order is just as important to note as its featured songs.  Audiences will appreciate the attention to detail in regards to the set list’s order.  It balances the songs’ energy expertly from one song to the next right to the show’s end.  From the show’s up-tempo opener ‘Gone Country’ to the equally playful and energetic ‘I Don’t Even Know Your Name’ to the more laid back ‘Livin’ On Love’ and beyond, the show’s energy will keep home viewers just as entertained and engaged as those that were in attendance at the concert.  Keeping this in mind, both the show’s set list and its order prove to be equally important to the recording’s presentation if not the most important of its elements.

The set list and its order are both key elements in the overall presentation of Alan Jackson’s new live recording.  The set list is itself quite extensive, going back indeed a quarter of a century to his debut album and even up to his latest album.  The set list’s order is just as important as the set itself as it maintains a solid balance of energy from beginning to end.  While both elements are undeniably important to the recording’s presentation, they are not its only important element.  The band’s stage presence (especially that of Jackson) is another pivotal element in the recording’s presentation.  Audiences will be pleased to see and hear how natural the performance feels in experiencing it for themselves.  Considering Jackson’s two decades-plus long career it should come as no surprise that he acts right at home on stage.  What’s more there is still a certain sense of humility from him throughout his performance.  Even despite being considered one of the modern legends of country music, he shows in his performance that he hasn’t let such a label go to his head.  Between songs, he spends ample time interacting with the audience in an almost Storytellers sort of vibe.  He takes time to joke with the audience at some points.  At others, he takes some time to discuss the roots of certain songs.  The laughter and the insight offered in these moments, coupled with the professionalism of Jackson’s fellow musicians makes for a performance that, again, audiences at home will enjoy just as much as those that were there in attendance.  It is not the last of the recording’s most important elements, either.  The recording’s production values round out the whole thing.

The set list and its order are important in their own right to Keepin’ It Country: Live at Red Rocks.  They serve in their own fashion to keep viewers entertained and engaged.  The same can be said of Jackson’s stage presence and that of his fellow musicians.  The talent and professionalism of all involved proves this just as much as the totally natural feel of the performances.  For all of the importance of these elements, they are not the only important elements to note in this recording’s presentation.  The recording’s production values (I.E. its audio and video) are just as important to note as the other mentioned elements.  Just as with so many of its previous live recordings, Eagle Rock Entertainment has given audiences the absolute best seat in the house.  That is even with the fame and notoriety of the Red Rocks Amphitheatre.  The concert’s camera crew and director capture the concert from every one of its best angles.  This includes shots from all around the stage, from the vast sea of fans, and from even other spots that would seem to most impossible to get.  All in all, the shots captured by the camera crew and their director heighten the viewing experience even more for audiences.  As impressive as their work was, the editors charged with assembling the final product are to be applauded just as much.  The combined efforts of all involved results in a visual experience that is just as enjoyable as being there in person, if not more so.  Of course that is not to overlook the work of those manning the audio boards.  This is very important to note.  Thanks to those behind the boards, this concert is one that sounds just as good on a standard high definition monitor as a full home theater system.  This is important to note because believe it or not there are some recordings out there whose audio mix is best experienced on a home theater system.  There are others that are best served on just a standard monitor.  This concert is neither of those.  Its audio is so well balanced that it works just as well on a standard monitor as on a home theater system.  Audiences that listen to it on a standard monitor won’t be losing out on anything.  Both audiences will get the same enjoyable experience.  Considering this, the audio—thanks both to those that manned the boards and those that handled it in post production—proves to be just as important to this recording as its video.  It and the show’s video mix round out the recording, showing one more time exactly why every country music fan and every Alan Jackson fan will enjoy this recording.  They also combine to, again, show why Eagle Rock is still today the leading name in live recordings.

Alan Jackson’s new live recording Keepin’ It Country: Live at Red Rocks is a recording that both country fans and fans of his of all ages will enjoy.  It also shows once more why Eagle Rock Entertainment still stands today as the leader in live recordings.  This is evident in the show’s extensive and obviously well thought out set it.  It is a set list that will keep audiences both entertained and engaged from beginning to end.  The same an be said of the band’s stage presence, including that of Jackson.  The performance in whole feels completely natural.   And Jackson himself even comes across as being so personable as he interacts with the audience between almost every song, sharing both laughs and insight.  The recording’s production values round out its presentation.  Each element is important in its own way to the recording’s presentation.  Altogether, they make this recording, once more, one that country music fans and Alan Jackson fans of all ages will enjoy.  It also serves to show once more why Eagle Rock Entertainment remains today the leading name in live recordings.  It will be available this Friday, May 6th in stores and online.  More information on this and other titles from Eagle Rock Entertainment is available online now at:

 

 

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

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

Twitter: http://twitter.com/EagleRockNews

 

 

More information on this and other recordings from Alan Jackson is available online now along with all of Jackson’s latest news and more at:

 

 

Website: http://www.alanjackson.com

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

Twitter: http://twitter.com/OfficialJackson

 

 

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

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

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

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

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

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

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

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

 

 

Website: http://www.richrobinson.net

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

Twitter: http://twitter.com/richsrobinson

 

 

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

Woodstock Sessions Volume 3 Is Another One Of 2016’s Top New CD Re-Issues

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Former Black Crowes member Rich Robinson has been on something of a tear lately, re-issuing a handful of his previous recordings.  Those recordings include Paper, Llama Blues, Through A Crooked Sun, and Woodstock Sessions: Volume 3.  The prior pair of recordings was recently re-issued back in February of this year.  The latter was released just last Friday, April 15th.  Needless to say the first pair of recordings easily fits on any critic’s list of this year’s crop of CD re-issues (as opposed to CD and DVD/BD re-isses).  Listening through the latter pair the same applies, too.  Woodstock Sessions: Volume 3 shows in its own way why Robinson’s second pair of re-issues fits into this year’s list of top new CD re-issues just as easily as his first pair of re-issues.  It shows first and foremost through the album’s approach.  Yes, it is an actual album.  But Robinson and his band mates actually recorded it in front of a live, in-studio audience.  That’s original to say the least.  And it is just one element of the album that makes the album stand out.  There is no way that the band’s performance of its songs wasn’t tied in to the fact that the album was recorded in a semi-live setting.  Keeping that in mind, the performance of the songs is just as important to this album as the approach taken to the album in whole.  Also keeping in mind the setting for the recording, its audio mix proves to be just as surprising as the album’s setup and its result.  All things considered Woodstock Sessions: Volume 3 shows in the end to be one more great re-issue from the former Black Crowes member as well as one of 2016’s top new CD re-issues.

Rich Robinson’s newly re-issued album Woodstock Sessions: Volume 3 is not the first of his recordings to be re-issued so far this year.  As a matter of fact it is the fourth of his recordings to be re-issued.  Along with those three other recordings, it is one more of this year’s top new CD re-issues.  It shows this in part through its general approach.  Robinson and his fellow musicians—Dan Wistrom (guitar, vocals), Ted Pecchio (bass, vocals), Matt Slocum (keyboards), and Joe Magistro (drums, vocals)—recorded the album in what can only be called a non-standard way.  It was recorded in a studio.  But it was also recorded in front of a small, live audience, too.  Few other bands past or present have ever taken such an approach in recording a studio album.  There are some that have.  But they are so few and far between that it makes the band’s approach in this case not entirely original but still creative in its own right.  The only indication that listeners get to this setup ahead of listening to the album is the full notation of the approach inside the CD’s cover.  Those that don’t typically pay attention to albums’ liner notes will be caught off guard (in a good way) by this in a good way.  That’s because listeners don’t even hear the audience until the end of each song.  It makes the listening experience and the album feel more organic and welcoming for audiences.  Speaking of that organic feel, it had to have been the effect of the band’s reaction to the intimate setting.  That is another important element to consider in this recording.

The approach that Robinson and his fellow musicians took in recording Woodstock Sessions: Volume 3, while perhaps not entirely original, is rather creative considering how few other bands and musical acts have taken the same or similar approaches to recording studio albums.  The live environment created by having a small in-studio audience really gives the record a special feel.  That live environment obviously had just as much of an impact on the band as it will have on listeners.  That is clear in listening to the band’s performance of each of the album’s songs.  So many of the songs featured in this recording are not just standard 3:30 – 5:30 songs.  There are a number of songs that go from being those songs to full on jam sessions.  They include but are not limited to: ‘Laila II,’ ‘Got To Get Better In A Little While,’ and ‘Bye Bye Baby.’  In every case the jam sessions in question feel wholly organic.  It was almost as if Robinson and company knew the audience was there and wanted to present a live setting even though they were recording a studio album.  One would think that holding that knowledge in mind as they recorded each song, it would either prevent the jam sessions in whole or would make them feel far less natural.  But thankfully that wasn’t the case.  Because of this the band’s performance of each of the album’s songs will keep home listeners just as engaged and entertained as the audience that was there during the album’s recording process.  It still is not the last of the album’s notable elements.  The record’s audio mix is just as important to its presentation as the band’s performance and its overall approach to recording the album.

Both the band’s approach to recording Woodstock Sessions: Volume 3 and the band’s performance/recording of each song are key elements to the overall presentation of this record.  As important as each element proves to be to the album they are not its only notable elements.  The album’s audio mix is just as important to the album’s presentation as those noted elements.  Here is why:  Being that the band wanted to give the album its own creative, live setting meant having to hold a certain balance in the album’s audio.  The audience was there to soak up the sound.  And likely there were other sound dampeners.  But what is really important to note of the production is that those involved in the record’s audio mix held the focus more on Richardson and company rather than on the audience.  That meant no “crowd noise” was evident until each song’s end.  Over the course of each song each instrument was expertly balanced with the others and with the various vocal lines.  That means that even the tiniest nuance of each was balanced with the songs’ more prominent features to make each its own standout composition.  There is no distraction from crowd noise for listeners.  That balance of musical elements and ambient sound heightens the listening experience in whole for home audiences.  This includes the experience of hearing the band’s performance and hearing the songs in both a live and studio setting all at once.  Keeping all of this in mind this record proves, once again, to be one of the best of the year’s CD re-issues.

Rich Robinson’s newly re-issued Woodstock Sessions: Volume 3 is one of the year’s best new CD re-issues.  This is in comparison to the year’s new DVD and Blu-ray re-issues.  One of the elements that makes the CD stand out so well is the band’s approach taken to the record.  It is presented both as a live recording and a studio recording all in one.  It gives audiences the experience of both a live show and the in-studio recording process all in one.  The band’s performance of each of the album’s songs adds to that experience even more.  The record’s audio mix rounds out the record’s presentation.  Each element is, as already noted, important in its own way.  Collectively they make the album one of the year’s best new CD re-issues.  It is available now in stores and online.  More information on this and other recordings from Rich Robinson is available online now at:

 

 

Website: http://www.richrobinson.net

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

Twitter: http://twitter.com/richrobinson

 

 

 

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

 

 

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

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

Twitter: http://twitter.com/EagleRockNews

 

 

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.

Jarreau’s ’93 Montreux Show Another Hit For Eagle Rock, Montreux Sounds

Courtesy: Eagle Rock Entertainment/Montreux Sounds

Courtesy: Eagle Rock Entertainment/Montreux Sounds

This Friday, April 15th, Eagle Rock Entertainment will release music legend Al Jarreau’s new live recording Live at Montreux 1993. While it was not his first time ever performing at the famed music festival, the upcoming CD release of the performance marks the first time that the concert has been released in any format.  That is just one part of what makes this new CD recording a welcome addition to the music library of any of Jarreau’s fans.  The concert’s set list is just as important to note in the recording’s presentation.  That will be discussed later.  It is a rather interesting element to note, too.  Last but hardly least important to note of the recording is Jarreau’s stage presence and that of his fellow musicians.  Even with the performance being presented only on CD (so far) the group’s stage presence translates relatively well.  That translation, when set alongside the concert’s set list and its presentation, rounds out the recording’s presentation.  It joins with them to make Al JarreauLive at Montreux 1993 a welcome first offering for this concert.  One can only hope, of course, that from its success a DVD and/or Blu-ray presentation of the concert will follow sooner rather than later.  Regardless of whether or not that happens, it can still be said of this single-disc presentation that it is, again, a welcome addition to any Al Jarreau fan’s music library.

Al Jarreau’s new live recording Live at Montreux 1993 is a welcome addition to any of his fans’ personal music libraries.  The main reason for this is that while the concert contained herein was hardly his first-ever performance at the famed music festival, it is the first time that this particular concert has been presented on any platform (E.g. DVD, Blu-ray, vinyl, etc.)  That means it’s the first time that this particular performance has been available for audiences to enjoy for themselves.  It is interesting that the concert wasn’t also released on any visual or other audio platforms.  That is because that it is not the usual course of action for Eagle Rock Entertainment.  Generally Eagle Rock releases its live recordings across every possible platform unless said recordings have already been released on other platforms.  This recording isn’t one of those cases, though.  Again it is the first time that the recording has been released on any medium.  Nonetheless, having it released on only one platform in its initial release is actually a good thing in its own right.  That is because in doing so none of Jarreau’s fans will feel left out in any sense of the word. Everybody will be on the same playing field so to speak.  To that extent having it released on just the one platform—at least for now—is in fact quite important to its presentation even as minor as it might seem to some.  It’s not the only important element of the recording’s presentation, either.  The set list featured in this recording is just as important as the concert’s overall presentation on CD.

The presentation of Al Jarreau’s 1993 performance at the Montreux Jazz Festival solely on CD is in itself a hugely important part of the recording’s presentation.  On the surface it might not seem all that important.  But the reality of the situation is that it is in fact more important than most audiences will realize.  It’s just one of the recording’s most important elements.  The songs that made up the show’s set list are just as important to it as its general presentation.  The reason for this is that the songs in question largely came from one specific album, Tenderness.  The album in question was originally released on December 6th, 1994.  That was roughly a year and a half after this performance.  Even his 1992 album Heaven and Earth, which was released much closer to this performance, isn’t represented here.  Keeping this in mind one can’t help but wonder why exactly it took so long for Tenderness to be released following this performance.  Regardless the concert’s eleven song set is a near full representation of Tenderness.  Keeping that in mind the wait might have been rather long.  But at least for those in attendance experiencing the songs was like just like hearing Tenderness well ahead of its release.  And even for audiences today the same applies.  It is virtually the same as having Tenderness in their libraries just in live form.  This makes the concert’s set list all the more important in this recording.  Even with the concert’s CD presentation in mind both that and the show’s set list are not the only important elements to consider in examining this recording.  Jarreau’s stage presence and that of his fellow musicians is just as important to note.

Both the CD presentation of All Jarreau’s 1993 Montreux performance and the concert’s set list are important in their own right to the overall presentation of this recording.  They are hardly the recording’s only important elements.  Jarreau’s stage presence throughout, and that of his fellow musicians is just as important to note as the aforementioned elements.  Listening through the concert Jarreau and company come across as being entirely organic in their performance.  That is especially evident as the group makes its way through its rendition of ‘Summmertime.’  For those that might not be familiar with the tune, the original composition, penned by George and Ira Gershwin, boasted a much slower, bluesy vibe.  This take on the classic tune however, is the polar opposite of that work.  It is upbeat and free-flowing.  One could go so far here as to say it felt entirely natural and organic in its presentation.  In the same vein, ‘She’s Leaving Home’ shows in its own way the power of the group’s stage presence.  The song’s title is self-explanatory.  Yet even with the song’s title its energy in its performance here is not what one would expect.  Rather it’s one of those performances that even in such a massive venue, still manages to conjure thoughts of a smoky, dimly lit jazz club.  Jarreau and company are so laid back throughout the song that one wouldn’t even begin to think of the song as a piece about a woman leaving a man.  That shows the power of the group’s performance just as well as its take on ‘Summertime.’  On a completely different note (no pun intended) the power in the band’s performance of ‘Alonzo’ is yet another example of the importance of the band’s stage presence in this concert.  Unlike many of the set’s other featured songs it boasts more of the group’s R&B side than its jazz side.  It does so quite well, too.  The natural progression of the song’s energy over the course of its nearly six minute run time is itself an important part of the song.  The manner in which the group progressed through those changes is just as important.  That is because it once again shows the importance of the group’s stage presence here.  The group’s performance never once feels forced as it gradually builds the song’s energy in its opening minutes and then calms it just as gradually over the course of the song’s final moments.  Again, it all feels entirely organic.  Because it feels so natural it is just as apt to keep audiences engaged as any of the recording’s other offerings.  All things considered the group’s stage presence throughout the course of the concert’s seventy-one minutes proves in the end to be just as important to the concert as its set list and its general presentation on CD.  When it is set against those elements, all three elements combine to show once and for all why Live at Montreux 1993 is a welcome addition to any Al Jarreau fan’s personal music library.

Al Jarreau’s new live recording Live at Montreux 1993 is a welcome addition to the personal music library of any of Jarreau’s fans.  That is thanks in part to its singular presentation.  Whereas so many of Eagle Rock’s live recordings are released on multiple outlets, this fist time release of Jarreau’s ’93 Montreux show has been released only on CD.  Being available exclusively on CD means that none of Jarreau’s fans will feel left out if they purchase or order the recording.  The concert’s set list is just as important to the concert’s presentation.  That is because of the closeness of the concert (or lack thereof) to the release of his 1994 album Tenderness.  The set list presented in this concert almost entirely represents that album.  And being that the album wasn’t officially released until roughly a year and a half after this concert it makes the set list all the more important.  For those that don’t already own Tenderness even today it is just as important because that set list more than fills said void.  The group’s stage presence throughout the course of the concert’s hour-plus run time plays its own important part in the concert’s recording.  That is because of just how organic the group’s performance felt from beginning to end.  That organic vibe makes the show’s songs all the more enjoyable for audiences and in turn assures even more listeners’ maintained engagement.  Each element is important in its own right to this recording.  One could even note the recording’s companion booklet which is its own bonus as an important element. All things considered Live at Montreux 1993 shows in the ed to be a recording that any of Al Jarreau’s fans will want to add to their personal music libraries.  It will be available in stores and online this Friday, April 15th.  More on this and other titles from Eagle Rock Entertainment is available online now at:

 

 

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

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

Twitter: http://twitter.com/EagleRockNews

 

 

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.

The Rolling Stones Are Getting Stripped Again

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

The Rolling Stones recently made headlines around the world when it held a free concert in Cuba.  Now the veteran rock band is making headlines again.  That is because it will release a new collection of classic songs this summer.

Totally Stripped will be Friday, June 3rd in stores and online.  It will be available on a number of formats including: DVD, SD Blu-ray, DVD + CD combo pack, DVD + 2 LP combo pack, and exclusive, limited edition DVD and SD Blu-ray deluxe edition packages.  Each of the recording’s platforms present a handful of classic, stripped down Rolling Stones songs performed at venues throughout Europe in the early 1990s following the band’s Voodoo Lounge tour.  Those performances were also included in the band’s 2009 live compilation Stripped.  What sets this presentation of Stripped apart from its predecessor is the fact that this time around it is being featured on so many more platforms.  It also features a number of songs that were not originally included in that previous recording.  The band’s performance of ‘Honky Tonk Women’ from its Show in Olympia, Paris on May 26th, 1995 was not included in Stripped but is included both in the Totally Stripped CD and DVD presentation.  ‘Faraway Eyes,’ which was part of the band’s set on July 19th, 1995, is also included here where it was originally left off of Stripped.  The same can be said of the band’s performance of ‘I Go Wild’ from the Olympia, Paris show.  But it is included here as well.  These are just a few of the songs included in Totally Stripped that were omitted from Stripped.  There are many others as well as songs that were originally included in that recording.  That is just a drop in the bucket for this new release.  The exclusive limited edition DVD and SD Blu-ray Deluxe Editions include: a sixty-page hard back book and five discs that feature three of those European shows in their entirety for the first time ever.  The complete set list for each of the recording’s platforms is noted below.

 

TRACK LISTING:

 

 

CD

NOT FADE AWAY – AMSTERDAM / HONKY TONK WOMEN – PARIS / DEAD FLOWERS – AMSTERDAM / FARAWAY EYES- LONDON / SHINE A LIGHT – AMSTERDAM / I GO WILD – PARIS / MISS YOU – LONDON / LIKE A ROLLING STONE – AMSTERDAM / BROWN SUGAR – PARIS / MIDNIGHT RAMBLER – LONDON / JUMPIN’ JACK FLASH – PARIS / GIMME SHELTER – AMSTERDAM / RIP THIS JOINT – AMSTERDAM / STREET FIGHTING MAN – AMSTERDAM

 

 

DVD1

‘TOTALLY STRIPPED’ DOCUMENTARY

 

 

DVD2 PARADISO, AMSTERDAM / 26•MAY•95

NOT FADE AWAY / IT’S ALL OVER NOW / LIVE WITH ME / LET IT BLEED / THE SPIDER AND THE FLY / BEAST OF BURDEN / ANGIE / WILD HORSES / SWEET VIRGINIA / DEAD FLOWERS / SHINE A LIGHT / LIKE A ROLLING STONE / CONNECTION / SLIPPING AWAY / THE WORST / GIMME SHELTER / ALL DOWN THE LINE / RESPECTABLE / RIP THIS JOINT / STREET FIGHTING MAN

 

 

DVD3 L’OLYMPIA, PARIS / 03•JUL•95

HONKY TONK WOMEN / TUMBLING DICE / YOU GOT ME ROCKIN’ / ALL DOWN THE LINE / SHATTERED / BEAST OF BURDEN / LET IT BLEED / ANGIE/ WILD HORSES / DOWN IN THE BOTTOM / SHINE A LIGHT / LIKE A ROLLING STONE / I GO WILD / MISS YOU / CONNECTION / SLIPPING AWAY MIDNIGHT RAMBLER / RIP THIS JOINT / START ME UP / IT’S ONLY ROCK ‘N’ ROLL / BROWN SUGAR / JUMPIN’ JACK FLASH

 

 

DVD4 BRIXTON ACADEMY, LONDON / 19•JUL•95

HONKY TONK WOMEN / TUMBLING DICE / YOU GOT ME ROCKIN’ / LIVE WITH ME / BLACK LIMOUSINE / DEAD FLOWERS / SWEET VIRGINIA / FARAWAY EYES / LOVE IN VAIN / DOWN IN THE BOTTOM / SHINE A LIGHT / LIKE A ROLLING STONE / MONKEY MAN / I GO WILD / MISS YOU / CONNECTION / SLIPPING AWAY / MIDNIGHT RAMBLER / RIP THIS JOINT / START ME UP / BROWN SUGAR / JUMPIN’ JACK FLASH

 

The Rolling Stones: Totally Stripped will be available in stores and online Friday, June 3rd.  The DVD +CD combo pack will retail for MSRP of $21.98 while the SD Blu-ray + CD combo pack will go for $29.98.  The exclusive DVD + 2LP combo pack is expected to retail for MSRP of $39.98.  Pricing on the standalone DVD, SD Blu-ray, and CD presentation of Totally Stripped will be announced at a later date.

The DVD Deluxe Edition, which includes 4 DVDs and 1 CD will retail for MSRP of $99.98 while the SD Blu-ray Deluxe Edition (4 SD Blu-ray discs and 1 CD) will retail for MSRP of $109.98.  More information on this and other titles from Eagle Rock Entertainment is available online at:

 

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

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

Twitter: http://twitter.com/EagleRockNews

 

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.

Eagle Rock Entertainment To Release Jarreau’s ’93 Montreux Performance Next Month

Courtesy: Eagle Rock Entertainment/Montreux Sounds

Courtesy: Eagle Rock Entertainment/Montreux Sounds

Eagle Rock Entertainment and Montreux Sounds have teamed up to release yet another classic performance from its rich history.

Eagle Rock Entertainment and Montreux Sounds will release Al Jarreau: Live at Montreux 1993 next month.  The concert, originally recorded July 6th, 1993, will be available in stores and online on Friday, April 15th.  It will be available exclusively on CD.  The concert was the fifth of his now eleven performances at the famed music festival.  The performance was part of Jarreau’s efforts to promote his then upcoming album Tenderness, which would be released nearly a year and a half later on December 6th, 1994. The concert’s complete set list is noted below.

 

Track Listing

  • We’re In This Love Together
  • Try A Little Tenderness
  • Summertime
  • We Got By
  • Mas Que Nada
  • She’s Leaving Home
  • You Don’t See Me
  • Save Your Love For Me
  • Your Song
  • Alonzo
  • Puddit (Put It Where You Want It)

 

Al Jarreau: Live at Montreux 1993 will be available in stores and online Friday, April 15th.  It will be exclusively on CD for MSRP of $13.98.  More information on this and other titles from Eagle Rock Entertainment is available online now at:

 

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

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

Twitter: http://twitter.com/EagleRockNews

 

More information on this and other recordings from Al Jarreau is available online along with all of the Grammy Award®–winning artist’s news at:

 

Website: http://www.aljarreau.com

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

Twitter: http://twitter.com/ALJarreau

 

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.

Melody Gardot’s Debut Live Recording On The Way

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Melody Gardot will release her first-ever full-length live recording this spring.

Gardot, who first came to the fore in 2006 with her debut album Worrisome Heart, will release her first full-length live recording on Friday, May 6th.  The recording, Melody Gardot: Live at the Olympia Paris will be released via Eagle Rock Entertainment.  It was originally recorded in October of 2015.  It will be available on DVD, Blu-ray, and digital formats.  The eleven-song set features songs lifted largely from her most recent album Currency of Man (2015).  Though, her 2009 album My One and Only Thrill is also represented in this concert recording with a trio of songs.  The set list includes the likes of ‘Les Etoiles,’ ‘Preacherman,’ ‘Bad News,’ and others.  The concert’s complete set list is noted below.

 

 

TRACK LISTING

1) Don’t Misunderstand

2) Same To You

3) She Don’t Know

4) Bad News

5) March For Mingus

6) Morning Sun

7) Les Etoiles

8) Baby I’m A Fool

9) Who Will Comfort Me

10) Preacherman

11) It Gonna Come

 

 

Live at the Olympia Paris will be released in stores and online on Friday, May 6th.  It will be available on DVD, Blu-ray, and digital formats.  The DVD presentation will retail for MSRP of $14.98 and the Blu-ray for $19.98.  Pricing information on its digital platforms will be announced soon.  More information on this and other titles from Eagle Rock Entertainment is available online now at:

 

 

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

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

Twitter: http://twitter.com/EagleRockNews

 

 

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.