INXS’ ‘Live Baby Live’ Getting Re-Issue Treatment

Courtesy: Eagle Rock Entertainment/ Petrol

Eagle Rock Entertainment and Petrol are partnering to re-issue INXS’ Live Baby Live.

The recording, scheduled for release June 26, features the band’s landmark 1991 concert filmed at Wembley Stadium in London, England.  The 22-song concert was the next to last performance by the band as pat of its tour in support of its then most recent album, X, its seventh album.

The concert has gone on to be re-issued multiple times in the nearly 30 years since it originally took place, most recently getting a full theatrical release in November.  Its forthcoming re-issue will be on a 4K-UHD/Blu-ray package.  It also marks the first time that the concert will be presented in a widescreen format.

The forthcoming re-issue will be available on a variety of platforms, all of which are noted below.

 

INXS ‘LIVE BABY LIVE’’ Technical Specs

— BD & 4K BD Audio: LPCM Stereo, DTS-HD 5.1 Master Audio, Dolby Atmos
— BD & 4K Region: ABC (All Regions)
— 4K BD Format: UHD-66
— BD Format: BD-50
— DVD Audio: Dolby Digital Stereo, Dolby Digital 5.1 Surround Sound, DTS 5.1    Surround Sound
— DVD Region: 0 (All Regions)
— DVD Format: DVD-9
— DVD, BD & 4K BD Aspect Ratio: 16:9
Total running time: 98 mins approx.

 

As an added bonus, broadcaster and INXS fan Jamie East, who was in attendance at the concert, has penned new liner notes for the upcoming re-issue.  Also of note with the upcoming re-issue is that the audio will be presented in Dolby Atmos and DTS-HD Master Audio (Blu-ray only) DTS 5.1 Surround and Dolby 5.1 Surround, so not only will it get an update, but so does the video quality.  Giles Martin, INXS’ Executive Music Director, handled the recording’s audio updates.

The Live Baby Live track listing is noted below.

 

INXS LIVE BABY LIVE
AUDIOVISUAL TRACKLISTING

1.) Guns in the Sky
2.) New Sensation
3.) I Send a Message
4.) The Stairs
5.) Know the Difference
6.) Disappear
7.) By My Side
8.) Hear That Sound
9.) Lately*
10.) The Loved One
11.) Wild Life
12.) Mystify
13.) Bitter Tears
14.) Suicide Blonde
15.) What You Need
16.) Kick
17.) Need You Tonight
18.) Mediate
19.) Never Tear Us Apart
20.) Who Pays the Price
21.) Devil Inside
22.) Shining Star
* Previously unseen/unheard performance

 

 

Pre-orders are open now for Live Baby Live.  A trailer for the re-issue is streaming here.

More information on the upcoming re-issue of Live Baby Live is available along with all of INXS’ latest news at:

 

Website: http://inxs.com

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

Twitter: http://twitter.com/INXS

 

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

 

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

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

Twitter: http://twitter.com/EagleRockNews

 

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 ActiveSlang (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.

New ‘Up From The Streets’ Q&A Session Scheduled

Courtesy: Eagle Rock Entertainment/New Orleans Jazz & Heritage Foundation

Eagle Rock Entertainment is hosting another Q&A session with the creative heads of the documentary Up From The Streets.

The company will host a second free Q&A session May 26 with the documentary’s host/executive producer Terence Blanchard and producer/director Michael Murphy.  The pair will be joined by Preservation Hall Creative Director Ben Jaffe, who is also a member of the Preservation Hall Jazz Band, for the live video session.

The session is scheduled to start at 9 p.m. EST/6 p.m. PST.  In anticipation of the upcoming session, Eagle Rock Entertainment debuted a clip of Jaffe discussing the early days of jazz.  The clip is streaming here.

Blanchard and Murphy took part in another live Q&A session May 15 following the home cinematic premiere of Up From The Streets.  More than 90 theaters  and record stores nationwide took part in the documentary’s premiere.

Audiences can still watch the documentary by purchasing a virtual ticket. “Tickets” to watch the documentary are available at a price of $12 each, and can be purchased from viewers’ local theaters to watch the documentary in the comfort of their own homes.  Tickets are available here.  Viewers will have three days to finish the documentary once they have started watching.

Proceeds from the “ticket” sales from the documentary’s premiere went to benefit the New Orleans Jazz & Heritage Foundation fund, which assists musicians who live and work in New Orleans who have been negatively impacted by the COVID-19 outbreak.

The New Orleans Jazz & Heritage Foundation is a nonprofit organization that owns the New Orleans Jazz & Heritage Festival presented by Shell.  The agency has created the Jazz & Heritage Music Relief Fund to assist musicians and residents in New Orleans who have been negatively impacted by the COVID-19 outbreak.

Up From The StreetsNew Orleans — The City of Music originally debuted in October at the 30th annual New Orleans Film Festival.  It examines the city’s musical roots.  Oscar-nominated and six-time Grammy Award-winning trumpet player Terence Blanchard serves as the documentary’s host.  The program features archived footage from performances and interviews conducted by artists, such as Louis Armstrong, Fats Domino and Allen Toussaint among others to help tell the story of the city’s musical history.  Michael Murphy directed and produced the presentation.

In anticipation of the debut of Up From The StreetsNew Orleans — The City of Music, a playlist of songs from the documentary was curated and is streaming now here.

More information about the New Orleans Jazz & Heritage Foundation and its latest effort is available online at:

 

Websitehttp://jazzandheritage.org

Facebookhttp://www.facebook.com/jazznheritage

Twitterhttp://twitter.com/jazznheritage

 

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.

 

Jeff Healey Fans Will Appreciate Eagle Rock Entertainment’s ‘Heal My Soul’ Re-Issue

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment is bringing two of Jeff Healey’s albums out of the vault this week.  The company is scheduled to release Heal My Soul and its companion record Holding On  Friday in the new expanded release Heal My Soul Deluxe Edition.  The 27-song record unites the two albums, which were previously released separately in 2016 following Healey’s death from cancer for the first time.  That aspect of the recording forms the foundation for this presentation, and will be discussed shortly.  The collection’s companion liner notes add their own share of interest to the presentation, and will be discussed a little later.  The songs themselves round out the double album set, and will also be discussed later.  When they are considered along with the set’s liner notes and its very presentation, the whole of said presentation shows itself to be a work that will appeal to any Jeff Healey fans who do not already own either of the noted recordings.

Eagle Rock Entertainment’s new Jeff Healy recording Heal My Soul Deluxe Edition is a work that audiences who do not already own the 2016 release of said album and its companion record Holding On will happily welcome into their music libraries.  That is due in large part to the fact that this presentation features both records together for the first time.  The last time the records were released was in 2016, following Healey’s untimely passing from cancer.  Given, only four years have passed since their release, but even in that time, neither recording has been readily accessible to audiences.  A check of major retailers Walmart, Target, Best Buy, Barnes & Noble Booksellers and Books-A-Million showed very limited availability for either presentation.  Best Buy and Amazon were the only outlets that carried Heal My Soul as of May 18, but the record was only listed as being available on vinyl, and even in that case in limited quantities.  Best Buy also was the only outlet of those noted that carried Holding On, and as with Heal My Soul, its availability was only listed on vinyl, rather than CD, and in limited quantities.  Books-A-Million did not list either recording, nor did Target, Walmart and Barnes & Noble Booksellers.  Barnes & Noble Booksellers did, however list this new re-issue of the recordings, as did Amazon.  Simply put, this new presentation of Heal My Soul and Holding On proves important because of how rare the original recordings are even now four years after their original release.  Whether one is a longtime Jeff Healey fan or someone new to the famed guitarist’s catalog, the availability of these two recordings in one package is a positive in its own right.  The liner notes that accompany the set add to the engagement and entertainment offered through the set’s presentation, strengthening the foundation formed by the set’s presentation even more.

The liner notes that accompany Heal My Soul Deluxe Edition are important to note because of the background that they offer audiences on each recording.  Written largely by the Estate of Jeff Healey representative Roger Costa – he is joined by fellow Estate of Jeff Healey Representative Cristie Healey (Healey’s second wife) – the liner notes open with Costa pointing out that the genesis of these two records started approximately 20 years ago in Healey’s then apartment as a group of rough mixes.  As Costa continues his discussion, he points out that the songs were the product of what was at the time, a very difficult point in Healey’s life and career.  Additionally, Costa makes note of Healy owning  his own studio played into the creative process for the recordings, while also addressing some of the records’ high points.  Cristie Healey adds to Costa’s comments with her own statements in the liner notes.  She states in part in her comments, “I see these recordings as something very different from any other rock releases of Jeff’s…I couldn’t be happier with the outcome of this project and I think Jeff would feel the same.”  Between her brief statements and the richer picture painted by Costa, the statements and information featured in the recording’s liner notes enriches the set’s presentation even more and ensures audiences’ engagement and entertainment that much more, too.  Taking into consideration the liner notes and their value along with the set’s very presentation, those two elements collectively make for plenty reason to applaud the recording.  They are just two of the most notable of the set’s elements.  The songs themselves are not to be ignored in examining this “new” collection.

The songs that make up the body of Heal My Soul and Holding On are distinct in their presentation.  As Costa and Healey noted in their comments, they are very much unlike much of what he had composed up to that point.  Case in point is ‘Dancing With the Monsters.’  This upbeat work is anchored by Healey’s guitar work and the time keeping of Dean Glover.  It is a funky work that lends itself slightly to works from the likes of The Black Crowes.  The whole of the song is such an infectious work that was a distinct stylistic change for Healey and company at that point in time.  ‘Please’ is another example of the importance of the set’s songs.  This song is infectious in its own right and boasts clear influence from the likes of Jimi Hendrix and other guitarists who came before him.  It is a solid opus that will keep listeners from start to end.  It is starkly different from anything else on the set, showing even more here Healey’s creative growth as an artist.  ‘It’s The Last Time’ is one more example of the importance of the album’s songs.  This contemplative work is clearly a work whose lyrical theme is one that centers on the familiar topic of a broken relationship.  The lyrics’ companion musical arrangement actually may lead some to make a comparison to work from Alice in Chains, with its minor chord tuning and Healey’s vocal delivery style.  Again, Healey had rarely taken on such a stylistic approach in the past.  Considering that and the stylistic approaches to the other songs noted here, the whole of the two records, which also includes some live performances, makes for even more appreciation for the whole of the set.  When one takes into account the impact that the collection’s songs have on its presentation along with the impact of the set’s liner notes and its overall presentation, the collection in whole shows wholly, its value for those audiences who might not already own Healing My Soul, Holding On or both records.

Eagle Rock Entertainment’s forthcoming Jeff Healey collection Healing My Soul Deluxe Edition is a presentation that Jeff Healey fans who do not already own the record and its companion piece will appreciate.  That is proven in part through the set’s very  presentation which combines Heal My Soul and Holding On in one set for the first time ever.  The liner notes that come with this presentation of Heal My Soul and Holding On add even more appreciation to the set.  The songs themselves put the finishing touch to the set’s presentation, especially considering the background offered on some of the song’s by Costa.  Thy really do exhibited the change that Healey was going through personally and professionally at the time that he recorded the songs.  All three noted items are important in their own way to the whole of this recording.  All things considered, they make Heal My Soul Deluxe Edition a work that will be welcome by any Jeff Healey fans who do not already own either of this set’s records.  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 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.

Eagle Rock Entertainment’s New Waylon Jennings Concert is A “Performance” That Every Country Music Fan Should See

Courtesy: Eagle Rock Entertainment

Waylon Jennings is one of the greatest and most revered names in the history of country music.  That goes without saying, and Eagle Rock Entertainment is going to remind audiences just why he remains such a respected figure within the country music (and music in general) world Friday with a new archived recording, The Outlaw Performance.  Recorded in 1978 at a sold out show at the Opry House in Nashville, TN, the 16-song performance is a deep dive into what is the most important era in his career, the 1970s.  That was the era that saw Jennings break away from the so-called “Nashville Sound” and grow more into his own artist, thus earning him the title of an “outlaw” country artist.  That set list forms the foundation for this recording and will be addressed shortly.  The performance of the set list by Jennings and company adds to the recording’s presentation even more and will be addressed a little later.  The audio and video quality of the recording rounds out its most important elements.  Each noted item is important in its own way to the whole of this presentation.  All things considered, they make The Outlaw Performance a welcome addition to any country music purist’s live music library and one of the year’s best new live DVDs and BDs.

Eagle Rock Entertainment’s new archived live Waylon Jennings recording The Outlaw Performance is a fitting tribute to a man who is one of the most respected and revered names in country music.  That is proven in part through the concert’s set list.  Composed of 16 songs, the set list pulls from many of the albums that Jennings released during the 1970s.  That was the era during which Jennings broke away from the so-called “Nashville Sound” and became his own artist.  That is what led his music to become dubbed “outlaw country.”  While not every one of the 16 albums that he released between 1970 and 1979 is represented here, a healthy cross section of that catalog is represented.  In all, 11 of those albums are represented, including Jennings’ “duets” album that he recorded with longtime friend Willie Nelson.  That album, Waylon & Willie, was released in 1978.  The set list reaches as far back as Jennings’ 1972 album Good Hearted Woman and as recently as the aforementioned duets record with Nelson and another 1978 album, I’ve Always Been Crazy.  That album gets the most nods in this performance, with four of its songs featured in the set.  That makes sense, considering the performance itself would have been part of a tour in support of said album.  Honky Tonk Heroes (1973), Dreaming My Dreams (1975) and Are You Ready For The Country? (1976) each get two nods in this set list while Good Hearted Woman (1972), Lonesome, Onry and Mean (1973), The Ramblin’ Man (1974), This Time (1974), OlWaylon (1977) and Waylon & Willie (1978) each get one nod.  Again, this is not a representation of Jennings’ full 1970s catalog, but is still a rich picture of where he was in his life and career at the time.  One of the featured songs, ‘Don’t You Think This Outlaw Bit’s Done Got Out Of Hand?’ was a discussion on Jennings’ battle with drug use at the time.  ‘Good Hearted Woman’ was, in Jennings’ own words, about his wife Jessi Colter.

Staying on the note of the set list, audiences are treated to audio commentary from the late great musician in each of the set’s featured songs.  That adds even more enjoyment to the set.  As Jennings and his fellow musicians make their way through ‘This Time’ audiences hear from Jennings as he discusses how the song, which became a #1 hit, almost didn’t happen.  What led the song to be completed will be left for audiences to discover for themselves.  In discussing ‘Good Hearted Woman,’ Jennings was quoted as saying, “It describes her [Colter] better than anything” and as saying that if not for Nelson, the song might not have been completed.  ‘Are You Sure Hank Done It This Way’ closes out the set, which runs just under an hour.  Jenning is heard saying as the song nears its finale that, “In music, there has to be a freedom…If you don’t have that freedom, then you’re dead going in.”  This is a direct reference to Jennings’ professional growth at the time, and how it led him to grow away from the so-called “Nashville Sound.”  There is more commentary from Jennings as the end credits roll, and said commentary adds even more engagement to the presentation.  Audiences will be left to take in that commentary for themselves.  Taking all of the noted commentary into mind along with the set list, these two elements go a long way toward making The outlaw Performance quite engaging and entertaining just on their merits.  Of course, the set list and its accompanying commentary is just a portion of what stands out about the performance.  The performance put on by Jennings and company in the concert adds to the performance’s engagement and entertainment even more.

The performance by Jennings and company throughout the performance is important to examine because in the bigger picture of the show because of what the band does and doesn’t do here.  What the band doesn’t do is waste a lot of time between songs with unnecessary rambling.  Rather, the band maximizes its time on stage, letting the music do the talking for the group.  Given, there are a few very brief moments of monologue through the course of the roughly 50-minute-plus performance, but in large part, the music is the star.  That is not to say that audience interaction is a bad thing.  Don’t misinterpret that.  But depending on venues, acts only have a certain amount of time to perform, so that can limit that audience interaction.  Likelihood here is that the band’s time was greatly limited, so the band made the most of the situation, and still managed to entertain the audience in house in the process.  Because of how the group handled the situation, audiences at home will be just as entertained as those who were in attendance.  Staying on that note,  the band keeps the energy flowing throughout, with Waylon’s subtle yet expert riffs and his vocal delivery.  The bass and drums add their own share of enjoyment in each song, enriching each performance with just enough low end and flares from the cymbals, floor toms and snares.  Between the expert musicianship and the maximizing of the allotted time, the band’s performance clearly strengthens even more, the foundation formed through the recording’s set list.  It still is not the last of the recording’s most notable elements.  The collective audio and video quality of the recording rounds out its most important elements.

The audio and video quality of The Outlaw Performance is important to note because it is impressive in its own right.  Considering that the footage is more than four decades old, it has obviously stood the test of time.  Either that or those behind the concert’s presentation did one heck of a job remastering everything.  Interestingly it doesn’t look like anyone touched the video, as the video still has that look that so much old school video recording has.  It’s grainy rather than clear and sharp, but not overly so.  It shows the marks of having been recorded to film through older cameras, yet still somehow looks so good in its original presentation.  So again, the only thing that can be assumed here is that the footage was just that well preserved.  Taking into consideration the audio, it is possible that some of that might have been remastered.  That’s not to say that the audio was remastered, but if not, then it certainly stood the test of time just as well as its visual counterpart.  Seeing and hearing the concert in whole is like taking a wonderful trip back in time right on screen.  That is the simplest way to explain the quality of the audio and video. The collective audio and video will grab at audiences’ nostalgia greatly, and together with the concert’s songs and the performance of those songs, will make audiences forget the worries of everything going on around for at least an hour and in the process prove itself a must have for country music fans everywhere.

Eagle Rock Entertainment’s new archived Waylon Jennings concert The Outlaw Performance is a work that country music fans and Waylon Jennings fans alike will appreciate.  That is due in part to the songs that make up the show’s set list.  They are a statement of where Jennings was personally and professionally at the time of the 1978 concert.  The audio commentary that comes from Jennings himself adds even more to the set list as it gives a little extra background to each song.  The overall performance of the set by Jennings and company adds even more engagement and enjoyment for audiences in its own right, as has been pointed out here.  The overall audio and video quality of the recording puts the finishing touch to the recording’s presentation.  Each item noted here is important in its own right to the whole of the recording.  All things considered, they make The Outlaw Performance one more of this year’s top new live DVDs and Blu-rays.  It will be available Friday.  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

 

 

 

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Free Live Q&A Session Added To ‘Up From The Streets Premiere’

Courtesy: Eagle Rock Entertainment/New Orleans Jazz & Heritage Foundation

A new feature has been added to this week’s premiere of the documentary Up From The Streets.

The documentary’s Executive Producer, Terence Blanchard and its Producer/Director, Michael Murphy, will hold a free live question and answer session following Friday’s premiere of the presentation.  The announcement of the session’s addition to the premiere was made Tuesday through a news release.

The event is planned to start at 7 p.m. EST.  Since this portion of the presentation is free to the public, anyone who wants to take part can pre-book in advance here or just present questions during the event.  The session will be available to view at 8 p.m. for those unable to take part in the meeting.

Up From The StreetsNew Orleans — The City of Music will be presented Friday thought a partnership between Eagle Rock Entertainment and the New Orleans Jazz & Heritage Foundation.  More than 90 theaters  and record stores nationwide are scheduled to take part in the documentary’s premiere.

“Tickets” to watch the documentary are available at a price of $12 each, and can be purchased from viewers’ local theaters to watch the documentary in the comfort of their own homes.  Tickets are available here.  Viewers will have three days to finish the documentary once they have started watching.

Proceeds from the “ticket” sales will go to benefit the fund, which assists musicians who live and work in New Orleans who have been negatively impacted by the COVID-19 outbreak.

The New Orleans Jazz & Heritage Foundation is a nonprofit organization that owns the New Orleans Jazz & Heritage Festival presented by Shell.  The agency has created the Jazz & Heritage Music Relief Fund to assist musicians and residents in New Orleans who have been negatively impacted by the COVID-19 outbreak.

Up From The StreetsNew Orleans — The City of Music originally debuted in October at the 30th annual New Orleans Film Festival.  It examines the city’s musical roots.  Oscar-nominated and six-time Grammy Award-winning trumpet player Terence Blanchard serves as the documentary’s host.  The program features archived footage from performances and interviews conducted by artists, such as Louis Armstrong, Fats Domino and Allen Toussaint among others to help tell the story of the city’s musical history.  Michael Murphy directed and produced the presentation.

In anticipation of the debut of Up From The StreetsNew Orleans — The City of Music, a playlist of songs from the documentary has been curated and is streaming now here.

More information about the New Orleans Jazz & Heritage Foundation and its latest effort is available online at:

 

Websitehttp://jazzandheritage.org

Facebookhttp://www.facebook.com/jazznheritage

Twitterhttp://twitter.com/jazznheritage

 

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.

 

Justin Hayward’s New EP Proves Big Things Can Come From Small Packages

Courtesy: Eagle Rock Entertainment

The Moody Blues front man Justin Hayward has a new musical treat for his fans.

Hayward released his new EP One Summer Day / My Juliette March 27 through Eagle Rock Entertainment through all digital platforms.  The two-song record is brief, clearly, but still is entertaining even in its brevity.  That is proven through the musical and lyrical content featured in each of the songs featured in this recording, beginning with the gentle, flowing arrangement at the center of the record’s first song, ‘One Summer Day.’

The musical arrangement at the center of ‘One Summer Day’ is a very simple composition that features Hayward singing and playing his guitar.  The soft, acoustic performance also features what might be a second musician using a cajon drum alongside a very subtle string arrangement.  The overall opus is a composition that, especially with summer right around the corner, elicits such positive thoughts in listeners’ minds.  Together with the song’s lyrical content, the song becomes even more engaging and entertaining.

According to information presented in a news release about Hayward’s new EP, the lyrical theme of ‘One Summer Day’ tells “the story of unexpected events taking place one day in the summer.”  Those unexpected events are not exactly explained away as Hayward sings, but from what he does sing, it can be inferred that it has something to do with those unexpected events have to do with two people perhaps meeting unexpectedly.  That is inferred as Hayward sings in what is apparently the song’s lone verse and chorus, “Maybe it’s just time for us/To treat each other well/I hope it’s not just fantasy/Only time will tell/I loved you from the very start/Deep inside of me/But sometimes it’s impossible/That three-part harmony/Even though the songbird had to leave us for a while/And the summer sun is tempting you away/here you are before me/Like a presence in my dreams/You put your hand upon my face/Say ‘Darling, hold me please’/Well don’t you worry/It’s okay/I’ll be here for you/No more tears from yesterday/Tomorrow’s coming soon/So let’s be lovers one more time/The years will melt away/’Cause if not now, then when for us/There’s no day like today.” Looking back over this, those “unexpected events” would seem to be the meeting of two people who perhaps were in a relationship at one time, but who grew apart over time.  The pair apparently ran into one another one summer day, and the flame that was once there was ever so gently reignited between the pair.  The gentility in the song’s musical arrangement does well to illustrate the happy, but reserved emotions expressed through the song’s lyrical theme.  Together, each element makes the song its own work worth hearing.

While ‘One Summer Day’ is undeniably worth the listen, its companion work here, ‘My Juliette’ proves itself worth hearing, too, through its musical and lyrical content.  The song’s musical arrangement is more upbeat than that featured in ‘One Summer Day.’  It is slightly more upbeat in its tempo, but just as simple in its approach.  Hayward sings here alongside a guitar line, that sounds like perhaps it was layered to add to the composition’s depth.  It sounds like Hayward’s own vocals were layered, too, to create a nice, rich harmony.  It sounds as if a string arrangement was added ever so slightly to add to the general effect.  It could be argued that the arrangement in whole lends itself to some of the works from The Beatles’ landmark album Sgt. Peppers Lonely Hearts Club Band.  That is meant in the most positive fashion possible.  Together with its accompanying lyrical content, the song proves even more, its value to the EP’s presentation.

The news release distributed about Hayward’s new EP states that the lyrical inspiration for the song came from his own childhood.  The release points out that Hayward’s mother played piano for a theater group when he was young, and that he played guitar for the group.  “I was entranced and I still treasure every moment of that theater life,” he said.  “I had the song for years before I was sure I wanted to actually finish or record it because I enjoyed just playing around with it.”  In other words, this is essentially a rarity of sorts from Hayward that his most devoted fans will appreciate both for its musical and lyrical content.  Hayward sings in the song’s lead verse, “Tell me a story of lands far away/Where princes and maidens lived/Show me the forest where lovers would stray/their hearts to each other give/It’s so clear/It’s so bright/It’s so true/It’s in your voice tonight.”  He continues in the song’s second verse, “Just when you thought your chances were gone/You’re out in the world and free/Remember the words that sweet…once sang/It’s such a lot of world to see/It’s so clear/It’s so bright/It’s so true/It’s in your smile tonight/Seems our changing stage is set/Please be our Juliette/We’ll make our entrance bold and strong…”  the last line of the second verse is difficult to decipher sans lyrics (even sites, such as azlyrics.com, metrolyrics.com and genius.com do not have the lyrics available), but that is beside the point.  This is just a good, fun song that, as noted, pays tribute to Hayward’s upbringing in the theater environment.  The song boasts a third and final verse, but these two verses alone are more than enough proof of why this song will engage and entertain audiences.  Keeping that in mind, the combination of this enjoyable tribute to Hayward’s own childhood, and the musical accompaniment, which itself does throw back to music from that age ever so slightly, makes the song in whole its own positive mark for Hayward’s new EP.  When this song is considered alongside the whole of ‘One Summer Day,’ the two works together make Hayward’s new EP a presentation that despite its brevity is still a work that Moody Blues fans will appreciate just as much as Hayward’s fans.

Justin Hayward’s new EP One Summer Day / My Juliette is a rather short presentation, boasting just two songs whose total run time is approximately six minutes.  Despite that shortness of content, it is still a positive work that will appeal equally to Hayward’s fans and those of The Moody Blues.  The EP is available now on all digital platforms.  More information on the EP is available online along with all of Hayward’s latest news at:

 

 

 

Website: http://www.justinhayward.com

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

Twitter: http://twitter.com/haywardmusic

 

 

 

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.