‘RGE: Live’ Gives Audiences An Eclectic, One-Of-A-Kind Experience

Courtesy: Eagle Vision/Eagle Rock Entertainment

Robert Glasper Experiment is, without doubt, one of the most key acts in the music industry today. His work on both sides of the glass has made him a household name in countless circles within the music industry. Late last month, Glasper showed even more why he has become such a respected figure throughout the industry with the release of his latest live recording, Robert Glasper Experiment: Live. This 11-song, 81-minute performance compilation takes audiences around the world, showing the literal reach of his (and his band’s) influence while also giving audiences a relatively healthy cross-section of the group’s body of work. Those two elements alone do plenty to make this recording worth seeing. The editing puts the finishing touch to the whole of the recording. It will also be discussed later. All things considered, Robert Glasper Experiment : Live proves in the end to be a live recording that will appeal to fans of Glasper’s jazz side as much as it will to modern jazz fans.

Robert Glasper Experiment’s latest live recording, simply titled Live, is an interesting new offering from the famed producer/musician and his fellow musicians. It is a work that is certain to appeal to fans of Glasper’s jazz work as much as modern jazz fans in general. That is due in part to the compositions that make up the body of the recording. The songs, by and large come from Glasper’s more jazz oriented albums, Black Radio and Black Radio 2. There is a throwback to his 2005 sophomore album Canvas in ‘Rise and Shine.’ There is also a nod to his 2009 album Double Booked right off the top in a performance of ‘All Matters’ and a cover of Radiohead’s ‘Packt Like Sardines In A Crushed Tin Box’ included in the sequence. This composition is such a stunning work in the way that it balances its R&B elements with equal parts modern jazz. It is a great start to the recording’s presentation, whose foundation is strengthened even more as the recording progresses. That is thanks both to the work of vocalist Bilal Oliver and the Metropole Orchestra. Wayne Brady’s freestyle rap (yes, the same Wayne Brady who currently hosts CBS’ hit game show Let’s Make A Deal, and yes, he raps) is one of the high points that really serves to build on that foundation. That’s because he shows he has real flow. Lalah (pronounced Layla) Hathaway’s performances add their own touch to the presentation, too. Between her performances, those of Glasper and his band mates, the performances, and the very directed nature of the song selections, the song selections chosen for this recording are themselves more than enough reason for audiences to watch this offering. It is only one part of what makes the recording an interesting viewing experience. The very range of the performance venues in itself is its own statement.

From start to finish, Eagle Rock Entertainment takes audiences around the world with Glasper and company for their performances, starting with a performance in The Netherlands. From there, audiences go along with the group to Shanghai, China before coming back to the U.S. and a performance at the Troubador in West Hollywood, California. From there, it’s off to Harlem, New York, back to the Troubador again before going back to the Netherlands yet again and then back once more to Harlem. Now, on the surface, this back and forth seems like something of a head scratcher. Those questions are valid. On a deeper level though, presenting performances from basically four major regions from such major nations shows the reach of the group’s stardom. It is, in itself, quite a statement here. It says without saying that Robert Glasper Experiment appeals to a much wider range of audience than one might think. It’s a telling statement, too. From the U.S. to Europe and even to the far East, it shows this Robert Glasper Experiment’s music truly is a universal language. Of course, it is just one more of the elements that makes this recording such an interesting watch. The recording’s editing puts the final touch to the presentation’s whole.

The editing incorporated into RGE: Live is critical because of its general effect impact. This includes the audio and video editing. The transitions from one performance to the next create a fluid progression throughout the course of the program’s nearly 90-minute run time. This fluid progression in itself insures viewers’ engagement. At the same time, the editing of the footage itself gives viewers the best seat in the house in each performance. That is due to the time and effort put into the video and sound editing. Some of the performances actually sound like one is right there, without losing the quality of the sound, and look like it, too. That’s important to note because in essence, what this does is actually make viewers feel like they are there, rather than presenting a spit-shined, finished product. It’s more raw, for lack of better wording, but in a good way. It shows that it is possible for a concert recording to be enjoyable without that perfect finish. At the same time, other performances included in the recording are much more streamlined, yet are just as enjoyable as the more raw clips. Again, that is thanks to the time and effort put into the video and sound editing. Their work makes the final product a positive visual and auditory experience just as much as the featured songs create their own interest along with the featured venues. All three elements together make RGE: Live a presentation that, again, will appeal just as much to fans of Glasper’s jazz work as modern jazz fans in general.

Robert Glasper Experiment: Live is an intriguing new live offering from Glasper and his fellow musicians. It is a work that because of its clearly directed and focused set list, will appeal to a very specific audience. That audience in question is those people who are more appealed to his jazz work than his R&B compositions. Keeping this in mind, it is certain to appeal to modern jazz fans, too. Those same fans are clearly not limited only to American audiences, as the chosen performance sites shows, another important part of the recording’s whole. The program’s editing puts the finishing touch to its presentation, giving home audiences the best seat in the house. Each element noted is important in its own right to the whole of this recording. All things considered, they make it a program that modern jazz fans and fans of Glasper’s jazz work will agree is worth at least one watch. It is available now in stores and online. More information on Robert Glasper Experiment: Live is available online now along with all of Robert Glasper’s latest news and more at:

Website: http://www.robertglasper.com

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

Twitter: http://twitter.com/robertglasper

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.

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Eagle Rock Entertainment To Release New Jeff Beck Profile Next Month

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment has a new profile of a music master on the way.

Still on the RunThe Jeff Beck Story is currently scheduled to be released May 18 in stores and online.  It will be released on separate DVD and Blu-ray platforms.  Pre-orders are open now here.

Still on the RunThe Jeff Beck Story presents guitar virtuoso and 8-time Grammy Award-winning artist Jeff Beck’s story, showing what has made him become such a respected figure throughout the course of his career.  This includes a profile of Beck from his childhood up through his adult years.

The story is told through interviews with Beck and with his counterparts.  That includes fellow famed musicians such as: Jimmy Page, Eric Clapton, Rod Stewart, David Gilmour, Ronnie Wood, Slash, Jan Hammer, Joe Perry, Beth Hart and many others.

Jeff Beck is currently scheduled to hit the road this summer for the “Stars Align Tour” alongside Paul Rodgers and Ann Wilson of Heart.  The tour is currently scheduled to start July 18 and run through August 25 with Beck headlining many of the dates.

More information on the Stars Align Tour” is available online now along with more information on Still on the RunThe Jeff Beck Story at:

 

Website: http://www.jeffbeck.com

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

Twitter: http://twitter.com/jeffbeckmusic

 

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.

 

‘Live In South Africa’ Will Join OneRepublic’s Fans As One

Courtesy: Eagle Rock Entertainment

Pop rock group OneRepublic has come quite a long way since its initial formation 16 years ago. Over the course of now 16 years in existence, this Colorado-based band has seen the highest of highs and the lowest of lows and in the process, has gone on to become one of the most popular acts in the world, garnering millions of records and tickets sold. The band’s fame is certain to grow even more next Friday when its new live recording Live in South Africa is released in stores and online. Originally recorded June 19, 2015 at the Coca-Cola Dome in Johannesburg, South Africa, this 18-song, roughly 90-minute performance is one that will easily appeal to every one of the band’s fans, regardless of their familiarity with the band. That is due in no small part to the concert’s set list, which will be discussed shortly. The band’s performance will definitely do just as much to make the concert enjoyable to fans. It will be discussed later. The bonus material included with the recording also plays into that appeal. It will also be discussed later. Each element is important in its own right as will be discussed in this analysis. All things considered, they make the recording, again, one that will appeal to every one of OneRepublic’s fans.

Live in South Africa, OneRepublic’s latest (and second) live recording, is a presentation that is certain to appeal to every one of the band’s fans. For that matter, it is a work that is likely to keep this superstar act’s fame rise even more upon its release. That is due in no small part to the concert’s 18-song, roughly 90-minute body. Originally recorded June 19, 2015 in Johannesburg, South Africa as part of the band’s “Native” tour, the set list lifts very liberally from the band’s 2013 album Native. More specifically, 12 of that record’s 13 total songs are included in this set list while the band’s 2007 debut album Dreaming Out Loud only gets two nods. Waking Up, the band’s 2009 sophomore album gets three nods. The 18th song is the band’s cover of Louis Armstrong’s timeless classic ‘Wonderful World.’ Given, it would have been nice to have seen more balance between the band’s then three albums. But the band cannot be faulted for trying to put as much attention as possible on its then most recent album. That is especially the case since the band’s breakthrough hit ‘Apologize’ (from the band’s debut album) is included here along with three other hit singles from the band’s sophomore record. To that end, the band is to be commended for giving audiences music from the early portion of its life while also pushing forward with such a heavy representation of its then most recent album.

While the set list is important because of the album representation, that is only one part of what makes the set list important. The actual ordering of the songs is just as important to its whole as the songs themselves. The balance of energy from one song to the next is impressive, smoothly moving up and down from one song to the next. The almost ethereal feel of the concert’s opener ‘Don’t Look Down’ is so powerful in its own right. In the same breath, the controlled, yet driving energy of its follow-up, ‘Light It Up’ makes for a solid transition that easily keeps audiences engaged and entertained. The more reserved energy of the concert’s third entry, ‘Secrets’ makes for another strong change that keeps the set list moving fluidly and interestingly, too. This is just the beginning of the varying energies exhibited throughout the set list. It rises and falls just as smoothly throughout the rest of the concert, ensuring just as much, audiences’ engagement. When this obviously well-thought out organization is considered alongside the thought put into the concert’s very set list, it becomes clear why the concert’s st list plays so strongly into making this concert appealing for OneRepublic’s fans. It is only one part of what makes the recording in whole so appealing for fans. The band’s performance of said set list is also key to the concert’s appeal.

As already noted, the fluidity of the energies in this concert’s set list are pivotal to its overall presentation. That is because of how much they do collectively for the concert’s viewing experience. On a directly related note, the band’s performance plays hand in hand with those energies. Front man Ryan Tedder easily keeps audiences engaged as he makes his way around the stage and even into the crowd at one point while his band mates — drummer Eddie Fisher, guitarists Zach Filkins and Drew Brown, and bassist/cellist Brent Kutzle — keep the energy moving with their own performances. Fisher’s time keeping is spotless throughout the show, keeping the band in time with ease while Filkins and Brown put on their own displays of talent. At one point, audiences even get an extended, awe-inspiring flamenco performance from one of the pair. Kutzle’s work on the cello adds so much emotion whenever it is added to the songs, making them that much more engaging and entertaining. When each man’s part is joined with those of his band mates, the end result is a performance from all involved that will certainly entertain audiences. It is not the last of the recording’s most vital elements either. The bonus material included with the recording’s home release is important in its own way, too.

The bonus material included in Live in South Africa’s presentation is so important because it truly is bonus material. the half-hour mini-documentary ‘Don’t Look Down’ takes audiences all the way back to the bands earliest roots. Those roots reach back to Tedder’s youth in Oklahoma and include winning a singing contest on MTV’s Total Request Live, the band being dropped from Columbia Records and rising from those ashes to be signed to a new deal that has gone on to help make the band a superstar act. Simply put, the documentary that comes with this recording presents OneRepublic as the proverbial “working man” band made up of everyday people who worked hard and persevered through so many ups and downs to get where they are today. It creates a whole new appreciation for the band that again, audiences overall will appreciate. The bonus performance of the song ‘Wherever I Go’ from Sydney, Australia adds even more enjoyment, though the documentary is really the key bonus included here. The history that it provides audiences, again, generates a new appreciation for the band. When that new appreciation is considered along with the concert’s Native-rich set list and the band’s performance thereof, the whole of the recording proves to be a work that OneRepublics fans in South Africa and other parts of the world will appreciate. It will be available next Friday, February 23 in stores and online. More information on Live in South Africa is available online now along with all of OneRepublic’s latest news and more at:

Website: http://www.onerepublic.com

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

Twitter: http://twitter.com/OneRepublic

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.

Eagle Rock’s New Mingus Montreux 1975 2CD Set Is A Solid Audio Companion To Concert’s ’04 DVD Release

Courtesy: Eagle Rock Entertainment

Jazz great Charles Mingus is considered by most critics and aficionados alike to be one of the most important names within the jazz world. From Mingus Ah Um to Cumbia & Jazz Fusion to The Black Saint and the Sinner Lady and beyond, the impact and importance of Mingus’ works both as a composer and band leader have been felt throughout the ages. Sadly, the world lost the greatness that was Charles Mingus what seemed too early in 1979 as a result of Lou Gehrig’s disease, otherwise known as ALS. Luckily, his legacy has since lived on through a variety of re-issues and archived live recordings through various labels. This Friday, Feb. 2, Eagle Rock Entertainment will release the latest of those archived concert recordings when it releases Live at Montreux 1975 on a new 2CD set. The companion piece to the concert’s previously released DVD presentation –released via Eagle Rock Entertainment in 2004 — this recording is such a critical piece of Mingus’ history because it would be one of his final live performances before being diagnosed with the disease, playing one of its most pivotal roles. The concert’s set list is just as important to the recording’s presentation as its back story. Last but most definitely not least of note to examine here is the band’s performance throughout the concert. It will be discussed later. Each element noted here is important in its own right. All things considered, Live at Montreux 1975 proves to be a recording that belongs in the home library of Mingus’ fans and jazz aficionados alike.

Eagle Rock Entertainment’s mew 2CD presentation of Charles Mingus Live at Montreux 1975 is a critical piece of Mingus’ history. Even having been previously released on DVD in 2004, it doesn’t lose that importance. As a matter of fact, the very fact that 13 years have passed since that initial release renews that importance. It proves to be such an important recording in no small part because it would be one of his last live performances before ALS would eventually take away his ability to perform or even record. The 85-minute concert presents Mingus and his band mates (at the time) at the top of their game, often times seemingly untamed and at others so smooth yet throughout. This will be discussed later. What’s more, it presents the band performing two of Mingus’ critical albums in whole along with a pair of equally important covers. This will be discussed shortly. All things considered here, the concert itself proves to be a concert that presents Mingus and company at the top of their collective games. With any luck, it will eventually be complimented with a new Blu-ray re-issue that makes up for the concert’s previous DVD re-issue.

The new 2CD presentation of Charles Mingus Live at Montreux 1975 is an important piece of Mingus’ history in part because of its very background, which has been pointed out. That back story is only one element that makes it such an important recording. Its set list is important in its own way. The concert’s set list is its own important part of its presentation. Audiences will note that the 5-song, 85-minute performance lifts from two of Mingus’ most talked about albums — Changes One and Changes Two, both of which were recorded together in 1974 for Atlantic Records — while also adding in a take on Duke Ellington’s hit song ‘Take The A Train’ and Mingus’ own 1959 classic ‘Goodbye Pork Pie Hat.’ Given, it doesn’t encompass the whole of those two albums, but it does present at least three of the albums’ best works. Even more interesting is that while ‘Take The A Train’ is not included on either record, there is a cover of Ellington’s ‘Sound of Love’ included in Changes Two. That cover is replaced here with ‘Take The A Train.’ The inclusion of the Ellington cover — both on and off record — is important to note because during his life and career, Mingus was called the heir apparent to Ellington. Getting back on track, the songs pulled from Changes One and Changes Two get quite the extended takes — takes that are certain to keep listeners’ attention. That is thanks to the group’s performances, the last of the recording’s most important elements.

The performances put on by Mingus and company throughout the course of the concert definitely stand out, as was noted earlier. At times, the performances feel wild and untamed such as in ‘Cell Block F, ‘Tis Nazi U.S.A.,’ and ‘Sue’s Changes.’ At other times, such as in ‘Goodbye Pork Pie Hat’ and ‘Devil’s Blues,’ is so much calmer. Mingus’ calm, cool work on the bass on ‘Goodbye Pork Pie Hat’ couples expertly with drummer Dannie Richmond and pianist Don Pullen in this song to give it such an enjoyable, relaxed vibe. Saxophonist and trumpeter George Adams and Jack Walrath add their own touch to the song, making it even more smooth. Pullen’s wildly outrageous work on ‘Cell Block F, ‘Tis Nazi U.S.A.’ illustrates quite well the events of the Attica riots. The easygoing vibe of ‘Take The A Train’ from the group in whole stands out just as much. From the playful improved piano line to the time keeping to Mingus’ own work on the bass, listeners can close their eyes and so vividly see passengers getting on and off the train thanks to the group’s work here. It is just one more way in which the group’s performance proves its importance to the concert. Every one of the songs featured in this performance could just as easily. That being the case, it becomes obvious in listening through each performance, why taking in the musicians’ talents, why their performances are so important to this presentation. When they are joined with the recording’s set list and its back story, the end result is a recording that will appeal to jazz fans in general just as much as it will to Mingus’ most devout fans.

Eagle Rock Entertainment’s new Charles Mingus Montreux ’75 2CD set is a presentation that is certain to appeal to any of the famed jazz bassist’s fans and to jazz aficionados in general. The companion piece to Eagle Rock’s 2004 release of the concert recording on DVD, it offers plenty for audiences to appreciate. That is especially considering it is the first time that the recording has been released on CD. The back story behind this concert, and Mingus’ eventual health decline not too long after, adds plenty of interest to the concert. The set list, while not wholly representative of Changes One and Changes Two, presents a rich picture of the albums. The group’s performance over the course of the show’s nearly 90-minute run puts the finishing touch to the recording. Each element, as has been made clear in the discussions here, is important in its own right to the recording’s whole. All things considered, Eagle Rock Entertainment’s new 2CD presentation of Charles Mingus Live at Montreux 1975 proves to be a great companion piece to the concert’s previously released DVD and another piece that Mingus’ fans will appreciate just as much as jazz fans in general. It will be available in stores and online Feb. 2. 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 new in the Phil’s Picks blog at https://philspicks.wordpress.com.

OneRepublic Partners With Eagle Rock Entertainment For New Live Recording

Courtesy: Eagle Rock Entertainment

OneRepublic  has a new live recording on the way.

The band announced Wednesday that it has partnered with Eagle Rock Entertainment to release its next live recording Live in South Africa on Saturday, Feb. 23.  The recording will be available on Blu-ray and digital platforms.

Blu-ray pre-orders are open now here.  The recording’s teaser trailer is streaming online now here.

Live in South Africa was recorded at The Ticketpro Dome (formerly the Coca-Cola Dome) during the final leg of the band’s Native World Tour, which was in support of the band’s third full-length studio recording Native.  The concert includes a number of the band’s fan favorite songs including, but not limited to ‘Counting Stars,’ ‘Apologize,’ ‘All The Right Moves’ and ‘If I Lose Myself’ among many others.

Along with its main feature, Live in South Africa also offers audiences an all-access documentary that follows the band’s rise to worldwide fame and thoughts from the band’s members as they contemplate their futures and that of the band.  Also included as a bonus is a performance of ‘Wherever I Go,’ which was performed live at Sydney Harbour in Sydney, Australia.

More information on Live in South Africa is available online along with all of OneRepublic’s latest news and more at:

Website: http://www.onerepublic.com

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

Twitter: http://twitter.com/OneRepublic

 

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.

 

‘Sticky Fingers Live at The Fonda Theatre 2015’ Is Sure To “Stick” In Any Rock Aficionado’s Music Library

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment opened its “vaults” again this past September and pulled another archived concert from The Rolling Stones for audiences. The concert in question is the band’s landmark performance of its seminal 1971 album Sticky Fingers at the Fonda Theatre. Originally recorded May 20, 2015, this concert marked the first time that the band had performed the album live in its entirety. Needless to say, the concert, held in what feels like such an intimate setting, is a memorable experience. That is especially the case with its recent home release considering how much extra audiences get with the concert’s home release. That will be discussed shortly. The band’s performance of its set strengthens the recording’s presentation even more. The liner notes that come with the recording put the finishing touch to its presentation. Each noted element plays its own important part to the recording’s presentation. All things considered, they make this recording another gem from the band’s (and Eagle Rock’s) vaults.

The Rolling Stones’ Sticky Fingers Live at the Fonda Theatre 2015 is yet another welcome gem from the band’s vaults and those of Eagle Rock Entertainment, who included this concert as part of its ongoing “From The Vault” Rolling Stones concert series. The series has already seen the release of at least five previous live recordings — L.A. Forum 1975, London Marquee Club 1971, Hampton Coliseum 1981, Leeds Roundhay Park 1982 and Tokyo Dome 1990. This sixth addition to the series offers just as much to appreciate as its predecessors beginning with its very presentation. The concert, as its title implies, features the band performing Sticky Fingers in its entirety live for the first time. That in itself is enough reason for the band’s most devout fans to add this recording to their collections. Of course it is only one part of what makes the presentation so enjoyable. Along with the album’s full live presentation, audiences also get performances of two other Stones’ fan favorites, ‘Start Me Up’ and ‘Jumpin’ Jack Flash’ alongside takes of B.B. King’s ‘Rock Me Baby’ and Otis Redding’s ‘Can’t Turn You Loose’ (which was made famous by Universal Pictures’ hit 1980 movie The Blues Brothers). In all, audiences get here a 16-song, 79-minute set that is certainly one of its most memorable. It should be noted that while Sticky Fingers is presented in whole here, the album is not presented in the same chronological order as the album itself. Nor are the set’s orders on its Blu-ray/DVD and CD platform. Why this is the case is anyone’s guess. Regardless, audiences still get the same concert on each platform. That being the case, the set list alone does plenty to make this concert a joy. It is only one part of the recording’s presentation that is to be noted. The one-on-on interviews that are interwoven into the concert are just as worth noting as the set.

There are those who have criticized this recording because it weaves the band’s one-on-one interviews, arguing that they take away from the concert’s continuity. That could not be farther from the truth. If anything, they add to that fluidity. Audiences gain quite a bit of insight through the interviews, including the realization that front man Mick Jagger being “uptight” about so many of Sticky Fingers‘ songs being so slow and brooding while guitarist Ron Wood welcomes that vibe. Ironically, Wood also jokes about his nervousness about putting forth the best possible content for audiences, saying he gets nervous about “every riff…every solo.” There’s even a discussion on who modeled for famed artist Andy Warhol *yes, that Andy Warhol) as he developed the album’s cover art. The discussion on ‘I Got The Blues’ that is certain to get audiences talking plenty themselves as each of the band’s members discuss the song’s extremely slow tempo. Wood says of its tempo that it is “a lesson in control” while drummer Charlie Watts said the tempo is “a bugger to hold down.” Lead guitarist Keith Richards said of the song’s tempo that it is “a charm,” adding he especially appreciated the song’s horn part. There is also a slight tribute to the band’s former saxophone player Bobby Keys, who passed away in 2014 in the interviews. These are just some examples of the insight offered through the concert’s companion interviews. In all honesty, one struggles to see how the interviews would come across in their own standalone presentation. Considering this, the interviews work much better in conjunction with the concert than so many would have people believe. Keeping all of this in mind, the concert presented here and its companion interviews go a long way toward making the recording in whole so enjoyable. They are collectively only one part of what makes the recording’s presentation so enjoyable. The band’s performance throughout the concert adds even more to that presentation.

The band’s performance throughout the course of its concert adds just as much to its presentation as the show’s set list and the band’s interviews. From start to finish, Jagger’s trademark charisma and swagger is on full display. He works the crowd nonstop like a ringmaster. This is especially notable as the band works its way through ‘Brown Sugar.’ Watts meanwhile solidly keeps the band in time with his work behind the kit. Bassist Darryl Jones continues to deliver a solid low-end while working expertly alongside Watts to keep each song moving. Sax player Karl Denson puts on his own inspiring performance as he blasts out his solo on ‘Can’t You Hear Me Knocking.’ He just lets his part flow so naturally there. On the exact opposite end, his flute part in ‘Moonlight Mile’ is just as impressive in its subtlety. Richards puts on his own show, keeping audiences entertained with his own guitar work, too. Between their performances and those of the other performers, the whole of the group puts on a show that home viewers will enjoy just as much as those who were in attendance at the concert’s recording. Keeping this in mind, the group’s performance is still not the last of the recording’s most important elements. The liner notes crafted in the recording put the final touch on its presentation.

The recording’s liner notes, crafted by Richard Havers, offer plenty of insight in their own right to the concert. Havers notes in his notes the importance of Sticky Fingers to The Rolling Stones’ history alongside a near song-by song summary of the show’s set list with history behind the songs. He spends ample time discussing ‘Sister Morphine, which because of its history, led it to become one of the band’s most rarely performed songs in a live setting. There is even a discussion on Bobby Key’s place in rock history and the band’s own history in Havers’ notes. Havers states in his notes that Denson expertly recreates Keys’ original sax line from ‘Can’t You Hear Me Knocking’ on his own performance in the song. Between these and so many other discussions included throughout the recording’s companion booklet, the insight offered throughout does more than enough to make them critical in their own right to the recording’s whole. When that importance is considered along with the importance of the band’s performance, the concert’s set list and its companion band interviews, the whole of the noted elements makes Sticky Fingers Live at The Fonda Theatre 2015 a work that Rolling Stones fans and rock fans alike will appreciate.

The Rolling Stones’ Sticky Fingers Live at The Fonda Theatre 2015, which is also the latest addition to Eagle Rock’s ongoing “From The Vault” live recording series, is yet another shining gem from that series that will shine just as brightly in any Rolling Stones’ collection. The same can be said of its place in rock aficionados’ collections. The combination of its set list and its bonus one-on-one interviews about each song with the band’s members joins with the band’s performance of said songs to offer audiences a truly memorable performance. The liner notes included in the recording’s companion booklet add their own touch to the whole of the recording’s presentation. Each element is important in its own right, as has been noted already. All things considered, they make Sticky Fingers Live at The Fonda Theatre 2015 a recording that is certain to “stick” in audiences’ music libraries for a long time. More information on this recording is available along with all of the band’s latest news and more at:

Website: http://www.rollingstones.com

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

Twitter: http://twitter.com/RollingStones

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.

Black Sabbath’s Final Concert Proves Its Legacy Will Never “End”

Courtesy: Eagle Rock Entertainment

Black Sabbath is easily one of the most important and influential acts in the modern history of rock. For almost half a century, the British hard rock outfit entertained audiences the world over and influenced countless other acts. That is even with the band’s numerous lineup change throughout the years. This past February, the band — with 3/4 of its original lineup sans drummer BIll Ward — brought that hugely successful decades-long career to an end when it performed its last live concert ever. Recorded Feb. 4, 2017 in Birmingham, England, the city where the band originally formed in 1968, this concert insures that while Black Sabbath may have finally reached its end, its legacy will never end. Now thanks to Eagle Rock Entertainment, that concert has been made available to the masses on a number of platforms in the form of Black Sabbath: The End. Released Nov. 17, 2017 — a little more than nine months after the concert was originally recorded (yes, there’s a bad joke there) — this final recording from one of rock’s most important names is a lasting statement from the band. That is due in part to the concert’s set list, which will be discussed shortly. The concert’s collective cinematography and editing play into that statement just as much as the concert’s set list. They will be discussed later. The concert’s bonus material rounds out its most important elements. Each element is important in its own right to the recording’s whole. All things considered, Black Sabbath: The End proves to be a powerful and enjoyable final statement from Black Sabbath should it in fact mark the true final end for this landmark band.

Black Sabbath’s last ever concert together (or so the band claims, considering that it has broken up and re-formed so many times over nearly 50 years) is an important piece of music history for Black Sabbath fans and rock fans alike. That is especially the case if in fact it truly does mark “the end” for what is one of the most important and influential acts in rock’s modern history. The recording offers audiences plenty to appreciate beginning with its extensive set list. The 19-song set list pulls from the band’s first seven albums. Paranoid, the band’s sophomore album, gets the most nods in this set with six of its songs included in the show. The band’s fourth album, the fittingly titled Vol. 4, gets the second most nods with four songs while Master of Reality and its self-titled 1970 debut are represented with three songs each. Sabbath Bloody Sabbath, Sabotage and Technical Ecstasy each got one nod in this set, again totaling the set list at 19 songs. It’s interesting to note that the band didn’t reach back into its eighth studio album Never Say Die for this set considering it was the last time that the original lineup recorded together and the last time that Ozzy would record with the band until 2013’s 13. That album was iconic if only for those elements, not to mention the songs themselves. Regardless, the set list that is presented here is a solid representation of the original Black Sabbath’s initial run together and is certain to impress audiences of all ages due to that fact alone.

Just as important to note of the set as the songs is their sequencing. Audiences will note in examining the set list a little bit deeper that the band never stays on one album for too long throughout the show. The set list opens by reaching back to the band’s debut album before moving into its second and fourth album for its first four songs. That fourth album (Vol. 4) makes up the set’s third and fourth song. The band goes backward to its third album, Master of Reality for a couple of songs from there before moving back to Vol. 4 again and then back again to Paranoid and Black Sabbath again. The band’s later albums don’t come along until later in the set. Simply put, throughout the course of the show’s set list, the band does an admirable job of keeping things moving instead of just sticking to one album. That constant variety in the songs strengthens the set list even more, and showing even more in turn the importance of the concert’s set list. Of course the set list is only one part of what makes this recording so impressive. The recording’s collective cinematography and editing add another touch to its presentation.

The collective cinematography and editing displayed throughout The End are so important to note in examining the concert’s overall presentation because of how much they add to the experience. Thanks to the work of those behind the cameras and computers, audiences get an experience that is not just another run-of-the-mill concert experience. It truly is a cinematic concert experience complete with triple monitor shots, impressive visual effects — including mix effects that take viewers from one camera to another — and camera angles that take audiences on stage with the band and deep into the crowd. The crowd shots let home viewers see what those in attendance saw, making the experience feel even more real while the on-stage shots take audiences up close and personal with the band. The cuts are handled expertly throughout the show, serving even more to illustrate the songs’ varied energies and in turn, heighten the experience even more. Given, those cuts are at time dizzying in their speed and angles, but they still go a long way toward enhancing the experience even more.

The result of the concert’s editing in post is an audio mix that that sounds just as great with a standard monitor set to “music” as with a home theater system. No one part ever overpowers the other at any point. That includes even the crowd noise. That attention to balance does so much to fully capture the immensity of the venue while also capturing just as well the concert’s sound. As has been noted so many times before, understanding and appreciating that work can only happen when audiences buy this recording and experiencing it for themselves. Audiences who see the show for themselves will agree in noting these elements that the concert’s cinematography and editing go a long way toward making it such an impressive presentation along with the set list. Even as important as both elements are to the concert, they still are not the last of its most important elements. The bonus in-studio footage included in the recording rounds out its most important elements.

The in-studio footage included in the recording’s presentation takes audiences into the intimate setting as Ozzy and company re-record some of the band’s most well-known hits, including the rare b-side ‘Wicked World’ and the beautifully pained ballad ‘Changes,’ which allegedly was about former drummer Bill Ward’s divorce from his first wife. ‘Wicked World’ was a b-side from the band’s 1970 eponymous debut that was only included in the album’s American edition, but not European edition. European fans would eventually get that song though, when the album was re-issued in 1996 and again in 2009. ‘Sweet Leaf,’ which is a pretty self-explanatory song, ‘The Wizard’ and ‘Tomorrow’s Dream’ are all enjoyable to experience in-studio, too. When these performances are coupled with the recording’s main feature, they bring the recording’s total song count to 24. So not only do audiences get two dozen Black Sabbath songs in this recording, but they get an extensive live experience (the band’s possibly last ever) and a more intimate in-studio experience. That duality coupled with the extensive overall set list, makes for an experience overall that is a powerful final statement from Black Sabbath. Add in the expert cinematography and editing, and audiences get in this recording, a work that will make certain while Black Sabbath has met its end, it will never fully be the end for this band’s legacy.

Black Sabbath’s last-ever live performance recorded this past February in Birmingham, England marked the end of an era for the rock and music community in whole. The concert’s home release via Eagle Rock Entertainment makes certain though, that the band’s legacy will never end. That is proven through an extensive set list that covers nearly every one of the original Black Sabbath’s original albums. The concert’s expert cinematography and editing strengthen its presentation even more. The bonus in-studio recordings expand the recording’s set list even more while also giving audiences an in-studio experience that is enjoyable in its own right alongside the recording’s live side. One really would be remiss to ignore the recording’s liner notes, written by Rolling Stone magazine writer Kory Grow as the recording’s presentation. Grow’s liner notes add their own special touch to the whole of the recording, too. When all of these items are set alongside one another, the end result is a powerful new recording from Black Sabbath and an equally powerful possibly last statement from one of the music community’s most important acts. It is available now in stores and online. More information on The End is available along with all of the band’s latest news and more at:

Website: http://www.blacksabbath.com

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

Twitter: http://twitter.com/officialsabbath

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

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