Styx Teams With Eagle Rock For New Live Live Recording

Styx is returning to home video later this summer.

Courtesy: Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

The band’s new live recording Styx: Live at the Orleans Arena Las Vegas will be released in stores and online on Friday, September 2nd.  It will be available on DVD, Blu-ray, and digital formats via Eagle Rock Entertainment, the leading name in live recordings.  The concert presented in the recording was originally recorded in July 2014.  It was originally released on CD in June 2015.  The show’s set list features many of the band’s biggest hits including but not limited to: ‘Too Much Time On My Hands,’ ‘Fooling Yourself (The Angry Man),’ ‘Renegade’ and many other songs.  It features the lineup of Tommy Shaw, James “JY” Young, (vocals, guitar, keyboards), Todd Sucherman (drums), Lawrence Gowan (vocals, keyboards), Ricky Phillips (bass, backing vocals) and Chuck Panozzo.  Eagles guitarist Don Felder also makes a special appearance for a performance of ‘Blue Collar Man (Long Nights).’

Along with its main feature the recording also features interviews with the band’s members, crew members, and photo gallery.  The full track listing for Styx: Live at the Orleans Arena Las Vegas is noted below.

Track Listing:

1.)  Too Much Time On My Hands

2.)  Fooling Yourself (The Angry Young Man)

3.)  Light Up

4.)  Crystal Ball

5.)  Superstars

6.)  Blue Collar Man (Long Nights) – with Don Felder

7.)  Rockin’ The Paradise

8.)  Renegade

 

More information on Styx: Live at the Orleans Arena Las Vegas is available online now along with all of the latest new from the band at:

 

 

 

Website: http://www.styxworld.com

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

Twitter: http://twitter.com/STYXtheband

 

 

 

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.

Robinson’s ‘Flux’ Could Be One Of 2016’s Top New Records

Courtesy: Eagle Records/Universal Music Group/Circle Sound Records

Courtesy: Eagle Records/Eagle Rock Entertainment/Universal Music Group/Circle Sound Records

Rich Robinson has been quite busy ever since he and his now former Black Crowes band mates parted ways last year.  He re-issued a number of his previous recordings this year.  And just last week he released his latest full-length studio recording Flux.  His fourth full-length studio recording it is yet another offering that both Black Crowes fans and Robinson’s fans will appreciate.  That is thanks to the variety of sounds presented in the album’s musical arrangements and its equally ear-catching lyrical content.  Both elements are important within the course of each song.  Collectively though, they make the whole of this 13-song set an experience that is another impressive effort from Robinson.

Rich Robinson’s new full-length studio recording Flux is yet another offering that his own fans will appreciate just as much the Black Crowes fans out there.  It is a record that, in whole, is another impressive effort from Robinson.  One example of what makes the record such an impressive new effort from Robinson is the record’s fourth entry ‘Everything’s Alright.’  In examining the song’s musical content, drummer Joe Magistro’s steady, pulsing four-on-the-floor rhythm serves as the song’s foundation.  Matt Slocum strengthens that foundation even more with his work on the keys.  Robinson’s vocal delivery is the finishing touch to the song’s musical arrangement.  It really stands out here both with and without the added distortion in the song’s verses.  The combination of those elements gives the song in whole a sound that Black Keys fans will appreciate.  It is a sound that even with that roots rock sound, really stands out from the rest of the songs on this record.  Of course the song’s musical content is just one layer of the song.  It also boasts lyrical content that will catch listeners’ ears just as much.  He sings in the song’s lead verse, “Yeah, darling my constellation/Do you bring hope for oppression/I can see my midnight sky/What is this you’re bringing/What is this you’re meaning?/I guess it’s not for me to know/Either way you’re a sight to see/Either way you’re beautiful/But what is this you’re bringing/What is this you’re meaning?”  He goes on to sing in the song’s second verse of great, positive vibes with mentions of mythical ships and reeds beneath the trees (or so this critic seemed to interpret without a lyrics booklet).  Through it all the underlying message of positive energy flowing from person to person is ever-present.  This includes the song’s chorus in which Robinson sings along the equally talented Daniella Cotton, “And I feel/I can feel/The stars are aligning for to bring me life/And I/I can feel your head on me/Moving closer to mine/And I/I can feel the love that grows and will give me sight/And I/I can feel it’s alright/Everything is alright.”  Simply put the song’s lyrical content is one of optimism.  It is a message that the world needs more than ever today.  That message couples with the song’s equally upbeat musical arrangement to make it a clear example of what makes Flux such an impressive new offering from Robinson.  It also reveals the song to be one of the album’s best compositions.  It isn’t the album’s only standout song, though.  ‘Which Way Your Wind Blows’ is another one of this record’s truly standout compositions.

‘Everything’s Alright’ is a clear example of what makes Flux such an impressive new offering from Rich Robinson.  That is due to the song’s upbeat musical arrangement, which stands out in its own right from the rest of the album’s compositions, and the song’s equally optimistic lyrical content.  Each element is important in its own right to the song in whole.  Collectively though, the pair make this song a clear example of what makes Flux stand out.  They also combine to make the song itself stand out as on of the album’s best songs.  It isn’t the album’s only standout composition, though.  There are plenty of other notable compositions featured in this album including ‘Which Way Your Wind Blows.’  This song stands out just as much from ‘Everything’s Alright’ just as much as it does from everything else featured in this record.  That is due in part to the song’s bluesy musical arrangement.  Listeners will be interested to learn that Robinson handled not only the guitars and vocals on this song but also bass and some of the song’s percussion.  Magistro handled the remainder of the song’s duties on drums and percussion.  The duo gels smoothly throughout the song.  Of course the fact that Robinson himself manned the boards for this record didn’t hurt either.  While the duo’s work (and that of Matt Slocum on keys) does plenty to make this song another example of what makes the song (and Flux in the bigger picture) stand out, it isn’t all that makes it stand out.  The song’s lyrical content is just as worth noting as its musical arrangement.  Robinson sings here, “Hey you/Runnin’ down that wall/Who ya’ sneaking’ from/Who ya’ scared of/The Captain thought you showed/You showed it all/Are you aware my friend/Are you feeling tall/There’s no one that will tell you/What you need to see/You understand my sound/Get your burden out/Fly….the only way you leave/Call it destiny.”  He goes on to sing in the song’s second verse, “And I will be standing/Right beside you/And walk away from/We’ll walk away from/And I know/That you don’t really want to/Stop the tear down/Stop the tear down.”  From there, the song repeats its chorus before finishing off in full musical fashion sans lyrics.  Keeping this in mind Robinson leaves plenty of room for discussion in regards to this song’s lyrical content.  That isn’t a bad thing, though.  It just means that it gives even more reason for listeners to hear the song.  In hearing the song listeners might not agree fully on the story or message behind the song’s lyrics, but they will agree that its musical arrangement truly stands out in its own right.  The two elements together make this song stand out just as much as ‘Everything’s Alright’ and any of the album’s other songs.  It also shows just as much why Flux is such an impressive new offering from Rich Robinson.  It is still not the only remaining example of what makes Flux such an impressive return for Robinson, either.  The album’s closer ‘Sleepwalker’ stands out just as much as ‘Everything’s Alright’ and ‘Which Way Your Wind Blows’ if not more.

‘Everything’s Alright’ and ‘Which Way Your Wind Blows’ are both key examples of what makes Flux an impressive new offering from Rich Robinson.  That is because both songs stand out from each other and from the rest of the songs included in this record.  This is due to both the songs’ musical arrangements and their lyrical content.  They are just two examples of what makes Flux such an impressive new effort from Robinson.  The album’s closer ‘Sleepwalker’ stands out just as much as those songs if not more so.  As with those songs the main reason for that is the song’s musical arrangement.  It starts out in very surprising fashion with a massive wall of sound from Robinson and his fellow musicians.  That wall of sound ultimately proves deceptive, though as it then leads to a much more mellow sound that is akin to an arrangement that one might expect from King’s X.  King’s X in the same mention of Rich Robinson?  Believe it or not.  Robinson himself even conjures thoughts of King’s X guitarist Ty Tabor both with his own work on guitar and his vocal delivery.  His work on the song’s bass line compliments the guitar line quite well, too.  The song’s musical arrangement is just one part of its whole.  The song’s lyrical content hints at encouraging listeners to think for themselves. This theme seems to run through the course of the song’s second verse, too.  It is a perfect fit with the song’s musical arrangement.  Together, the two elements make this song a proper finale for Flux and one more prime example of what makes Flux such a welcome return for Robinson.  One would be remiss to ignore the other songs featured in this record.  ‘Music That Will Lift Me’ bears something of a country vibe in its arrangement.  And its lyrical content is just as uplifting as the song’s title hints.  The album’s opener ‘The Upstairs Land’ boasts a roots rock style’ that fans of Robinson’s work with his Black Crowes band mates will enjoy.  And ‘Eclipse The Night’ will take listeners right back to the golden era of the 1960s with its sound.  That still isn’t all of the album’s featured songs either.  There are seven other songs not noted here.  Those songs, when partnered with the rest of the songs noted here, make an album that is potentially one of the year’s top new rock records if not overall records.

Flux, Rich Robinson’s fourth full-length solo record, is potentially of the year’s top new rock records if not overall records.  That is due to the variety of musical styles exhibited over the course of its thirteen compositions.  The songs’ lyrical content is just as important to its presentation as its musical arrangements.  The two elements join together in this record to make it a presentation that both Black Crowes fans and Rich Robinson fans alike will appreciate.  They join together to make the record, again, potentially one of the year’s top new rock records and if not overall records.  It is available now in stores and online.  More information on Flux is available online now along with Robinson’s latest news and more 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 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 reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘Paco And John’ Is Another Impressive Entry In Eagle Rock’s Montreux Live Series

Courtesy:  Eagle Rock Entertainment/Montreux Sounds/Universal Music Group

Courtesy: Eagle Rock Entertainment/Montreux Sounds/Universal Music Group

Fans of John McLaughlin have new reason to be excited this week.  That is because Eagle Rock Entertainment and Montreux Sounds have released a new archived performance by the veteran guitarist.  Paco An John Live at Montreux 1987 was released this Friday, June 24th.  The triple-disc set is not the first of McLaughlin’s Montreux performances to be released by the companies.  Five years ago, they released McLaughlin’s performance alongside fellow guitar virtuoso Carlos Santana at the 2011 Montreux Festival on Blu-ray.  This latest recording takes fans even farther back in time and presents him with another guitarist—Paco de Lucia.  There is plenty for fans of both musicians to appreciate in this new recording beginning with its set list.  This will be discussed shortly.  The duo’s stage presence is just as important to note.  It will be discussed later.  Last and most definitely not least of note in this set’s presentation is its companion booklet.  It brings everything full circle with this presentation and shows together with the previously noted elements why this recording is one more must have for any John McLaughlin fan.

Eagle Rock Entertainment and Montreux Sounds’ new archived concert recording Paco and John Live at Montreux 1987 is a new must have for any fan of Paco de Lucia.  It is just as much of a must have for any fan of John McLaughlin.  It is not the first of McLaughlin’s Montreux performances to be released by Eagle Rock and Montreux Sounds.  But it is unlike his previous released performances.  That is evident in the first of the set’s most important elements—its set list.  This concert’s set list features a mix of Mclaughlin and de Lucia’s own originals, and a number of covers, too.  McLaughlin makes note of this in the set’s companion booklet.  That will be discussed at more length later.  In all, the nine songs (technically ten since the set’s opener is a two-song medley of sorts) that make up the body of the concert total ninety-one minutes.  What’s important to note is that while nine (or ten) songs might not seem like much, each song’s arrangement is so in depth that each one must be truly experienced in order to be fully understood and appreciated.  In other words, the set list presented here is not one that one can just have on in the background when experiencing it.  It is one that requires full attention from one song to the next in order to be fully appreciated.  It is just one of the recording’s most important elements.  McLaughlin and de Lucia’s stage presence is just as important to note here as the show’s set list.

The set list featured in Paco de Lucia and John McLaughlin’s new live recording is an important part of the recording’s presentation in its own right.  That is made clear simply by listening through the entirety of its ninety-one minute run time.  It is just one of the recording’s most important elements.  McLaughlin and de Lucia’s stage presence is just as important to note in this recording as the concert’s set list.  The duo’s stage presence is so important to note because of how little the pair does throughout the course of its performance.  Both men spend the length of their performance sitting down while they perform.  There’s no walking around on stage, pacing back and forth.  Even with this being the case, both men still manage to keep audiences entertained and engaged.  That is done primarily through each musician’s display of musical talents.  The precision and expertise exhibited in each man’s performance is impressive to say the very least.  Actually getting to see that expertise in the set’s DVD reveals just how impressive their talents are.  The pair’s facial gestures do just as much for their stage presence as their performance of the set’s featured songs.  This includes the moments when each is alone on stage and when the pair is performing together.  The sly little smiles that the pair share with one another as they perform speak volumes.  Those motions do just as much to entertain as do those of any performer’s more active behavior on stage.  That is a true testament to the power of the simplicity in the pair’s stage presence.  It shows that just as the old adage states, big things sometimes do indeed come in small packages.  Now, keeping this in mind, it should be clear why de Lucia an McLaughlin’s stage presence is so important to note in the overall presentation of this recording.  Their stage presence is so simple.  Yet it does so much for the experience even in (and perhaps thanks to) its simplicity.  When that simple and so entertaining stage presence is set against the recording’s set list, both elements prove even more their importance to this recording.  They are not its only important elements, either.  The companion booklet that is included in the recording is just as important to its presentation as the recording’s set list and its performers’ stage presence.

The set list featured in Paco and John Live at Montreux 1987 is its own important element in the set’s overall presentation.  The same can be said of de Lucia and McLaughlin’s stage presence.  Both elements are each important in their own way to the recording’s presentation.  They are, however, not its only important elements.  The companion booklet that comes with the set is just as important to the set’s presentation as those other noted elements.  The companion booklet should be noted in large part because of its liner notes.  The notes in question were written by John McLaughlin.  McLaughlin discusses in the notes the show’s set list and his friendship with de Lucia.  There is even a very small music theory lesson of sorts in the liner notes as he discusses Bulerias, which he states are “one of the pillars of the Flamenco musical traditions.”  The liner notes are brief, but also concise.  In the end, it brings the presentation full circle.  It rounds out the recording’s overall experience, proving once and for all why Paco and John Live at Montreux 1987 is one more must have for fans of both de Lucia and McLaughlin.

Paco and John Live at Montreux 1987 is a must have for any fan of Paco de Lucia and John McLaughlin.  It is one of those rare presentations that does so much with so little.  This is evident in the show’s set list, which runs a total of ninety-one minutes.  It features compositions from McLaughlin and de Lucia but from their counterparts, too.  Those that listen closely will note the difference in sound and style between each song, too.  The duo’s performance on stage is so simple throughout.  As odd as it may seem, that simplicity actually makes a big impact on the experience.  The show’s liner notes are just as simple yet add their own depth to the experience, too.  Each element proves in the end to be important in its own right to the whole of this recording.  Altogether they make Paco and John Live at Montreux 1987, again, a live recording (and recording in general) that every one of de Lucia and McLaughlin’s fans should have in their own home music collections.  It is available now 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

 

 

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 news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Mika’s ‘Sinfona Pop’ Is An Orchestral Perfomance Unlike Any Other

Courtesy:  Eagle Rock Entertainment/Universal Music Group

Courtesy: Eagle Rock Entertainment/Universal Music Group

Popular musical acts using string (and sometimes orchestral) arrangements in their songs is nothing new in the music industry today.  It is a practice that has been going on as far back as one can recall.  However the actual performance of a popular musical act with orchestral organization isn’t so new.  It wasn’t until the past twenty years or so that audiences started to see any major musical act join forces with an orchestra for a live performance, let alone a recorded performance.  Elton John has done it.  So have Metallica and KISS.  They are just some of the acts that have added an orchestra to their music for live performances.  It goes without saying that there are quite a few more out there that have.  One of that mass is pop star Mika’s new recording Sinfonia Pop.  Mika (a.k.a. Michael Holbrook Penniman, Jr.) recently released his new live orchestral recording.  The recording is just the latest in a long line of accolades for the British-born singer-songwriter.  Over the course of just four albums, Mika has sold more than 10 million records worldwide, and going Gold or Platinum in 32 countries.  That is quite the resume.  And this recording is sure to add to it as there is plenty to say to its positive beginning with its set list.  That will be discussed shortly.  The actual performance of the songs is just as important to note in this recording and will be discussed later.  The interviews with both Mika and conductor Simon Leclere are equally important to the recording as the performance and its set list.  Each element is important in its own right to the recording’s presentation.  Altogether they make Sinfonia Pop a solid live recording from the internationally known pop star.  They also show collectively why Eagle Rock Entertainment remains today the leading name in live recordings.

Mika’s new live recording Sinfonia Pop is a solid live recording from the internationally renowned pop star.  It is also more proof as to why Eagle Rock Entertainment remains today the leading name in live recordings.  This is due in part to the concert’s featured set list.  The nearly two-hour concert runs twenty-one songs deep and lifts very liberally from all four of his current studio recordings.  The most well represented of his albums is his 2007 debut Life in Cartoon Motion.  It is represented by no fewer than 6 songs—‘Grace Kelly,’ ‘Love Today,’ ‘Relax (Take It Easy),’ ‘Any Other World,’ Happy Ending,’ and ‘Over My Shoulder.’  The Boy Who Knew Too Much is the least represented of Mika’s records here, with only two songs—‘Rain’ and ‘Toy Boy’—being pulled from that album.  The Origin of Love is represented by a total of eight songs.  They are ‘Origin of Love,’ ‘Stardust,’ ‘Make You Happy,’ ‘Underwater,’ ‘Overrated,’ ‘Love You When I’m Drunk,’ ‘Heroes,’ and ‘Elle me dit.’  Most interesting of those tracks is the last of them—‘Elle me dit.’  That is because this song was not included in the album’s standard release.  It was included as a bonus track in the album’s French and Italian release.  In other territories it was only included in the album’s deluxe edition.  No Place In Heaven rounds out the concert’s set list.  It is represented here by ‘Last Party,’ ‘Good Guys,’ ‘Ordinary Man,’ and ‘Boum Boum Boum.’  The latter of those tracks was only included in the album’s French and Italian release.  So for many, getting to experience the song here, much as with ‘Elle me dit’ might actually be the first time hearing the song for many audiences.  The concert’s opening ‘Overture’ is a completely new composition, bringing the total song count up to twenty-one.  While the chosen set list is itself extensive, the process of picking out songs for the concert was just as interesting to learn about.  That is discussed by conductor Simon Leclere n the recording’s bonus interviews.  It will be discussed later.  Staying on the topic at hand, the concert’s set list is extensive to say the very least.  Two of Mika’s albums were obviously far more represented than the other two.  Regardless, he did include some a pair of exclusive songs in his performance here from those two lesser represented.  That and the more represented albums combine to make the show’s set list an important part of the recording’s presentation in its own right.  It is not the only important element of the recording’s presentation, either.  Mika’s performance, and that of the orchestra, are just as important to note here as the show’s set list.

The set list that is featured in Mika’s new live recording is important in its own right to the recording’s presentation.  That is because it lifts from all four of his albums so far.  It even includes a pair of songs that were only made available in exclusive editions of two of those albums, and an original composition in the concert’s opening ‘Overture.’  The end result is a set list that runs nearly two hours (an hour and forty-nine minutes to be exact) and twenty-one songs deep.  It is just on of the recording’s most important elements.  The actual performance by Mika and the orchestra is just as important to note in the recording’s presentation as its set list.  The actual performance is so important to note because it stands out so starkly from the other mainstream/classical mash ups that are out there.  It doesn’t come across as just another mainstream act performing in front of an orchestra.  Instead at times it feels as if one is watching Mika and company performing numbers from some major musical stage production.  Obviously they are not from said productions.  But the arrangements, when coupled with Mika’s own powerhouse performance, makes each song feel (and sound) like it.  That is a testament both to Mika’s own vocal talents and those of the musicians performing with him.  Staying on that train of thought the orchestra members actually exhibit a certain enjoyment in performing just as much as Mika.  That can’t exactly be said of some other orchestral groups who have performed with other well-known acts.  In those cases it is obvious that the musicians in question are just going through the motions.  The fact that the musicians in this orchestra were clearly enjoying themselves just as much as Mika, makes the performance that much more enjoyable to experience even in a home setting.  On a side note, the performance in whole is powerful to say the very least.  It sounds great on any standard hi-def monitor when the monitor is set to “Music” setting.  Those with a home theater system will get an even more powerful experience.  Keeping this in mind, it should be clear why the performance both by Mika and the orchestra is so important to this recording’s presentation.  It still is not the recording’s last notable element.  The bonus interviews with Mika and conductor Simon Leclere is just as important to note here as the performance and the chosen set list.

The set list featured in Sinfonia Pop and the performance put on by Mika and the orchestra are both key in their own right to the recording’s presentation.  The set list is so important to note because all four of Mika’s albums are represented here, even with a pair of exclusive songs.  The performance by all involved comes across like a collection of songs from any number of major musical stage productions.  Considering this, one could even see Mika performing in said musicals considering his vocal talents and the talents of the orchestra’s members.  As important as both elements are to this recording’s presentation they are not its only important elements.  The interviews with Mika and conductor Simon Leclere are just as important to the presentation as those previously noted elements.  Audiences discover in Mika’s interview his incredible sense of humility.  There is no sense of ego from him in listening to him talk.  That’s just one of the interesting tidbits revealed in his interview.  Audiences also learn the improbable way in which the concert came together.  It’s quite the interesting story, too.  It is centered on a simple mealtime discussion with another individual.  The rest of the story will be left for audiences to discover for themselves.  In regards to Leclere’s interview audiences learn that Leclere and Mika didn’t just sit down and pick out a few songs randomly for the concert.  Rather Leclere notes in his interview that he actually went through the entirety of each of Mika’s albums in order to decide which songs would best translate to an orchestral situation.  That attention to detail paid off quite well, too as is clear in the previously noted performance.  It allowed Leclere to fully grasp and appreciate Mika’s music and develop arrangements that would not just compliment Mika’s songs but take them over the top.  And take them over the top they most certainly did.  It’s just one of the interesting items revealed in his interview.  As with Mika’s interview, there is much more for audiences to take in here.  Each interview ultimately proves to be important in its own right to Sinfonia Pop.  Altogether they prove to be just as important to Sinfonia Pop’s presentation as its set list and featured performance.  Collectively speaking, all three elements prove equally important to the recording’s presentation.  They make this recording a solid, new live recording from the internationally acclaimed performer.  Thy also show once more why Eagle Rock Entertainment remains the leading name in live recordings.

Sinfonia Pop is a solid, new live recording from Mika.  It is also more proof of why Eagle Rock Entertainment remains today the leading name in live recordings.  That is due in part to the concert’s featured set list.  Neither Mika nor Eagle Rock’s reps wanted to give audiences just some random performance.  It is a set list that lifts liberally from all four of Mika’s albums, thus giving audiences a rich experience, in terms of its songs.  Mika’s performance of said set list and that of his fellow performers is just as important in showing this.  The performance of all involved is akin to watching a major musical stage production.  In all honesty it is just as entertaining.  The interviews that were included in the recording are definitely deserving of being called bonuses.  That is because of the information revealed in each interview.  Each element is undeniably important to the recording’s presentation.  That goes without saying.  Collectively speaking, they show in whole why, again, Sinfonia Pop is a solid, new live recording from Mika.  They also show why once again Eagle Rock Entertainment remains today the leading name in live recordings.  It is available now 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 Sinfonia Pop is available along with all of Mika’s latest news and more at:

 

 

Website: http://www.mikasounds.com

Facebook: http://www.mikasounds

Twitter: http://twitter.com/mikasounds

 

 

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’ ‘Stripped’ “Sequel” Is A Solid New Live Recording

Courtesy:  Eagle Rock Entertainment/Universal Music Group

Courtesy: Eagle Rock Entertainment/Universal Music Group

Fans of The Rolling Stones have a lot of reason to celebrate this week.  Two of the band’s members—guitarist Ronnie Wood and drummer Charlie Watts—celebrated birthdays this week.  And today the band has released its latest live offering Totally Stripped.  The hybrid tour documentary/live recording is a great gift from the band to its fans and a great way for fans to celebrate not just Watts and Wood but the band in whole.  This is especially true in the case of the recording’s SD Blu-ray/CD combo pack.  At the heart of the set is its packaging.  This will be discussed shortly.  The concert recording that is included in the set is another key element in the set’s presentation.  It will be discussed later.  Last but hardly least notable in this new presentation is the set’s companion booklet.  It rounds out the set’s most notable elements.  Each element is important in its own way to the set’s overall presentation. Altogether they make Totally Stripped a welcome follow-up to the band’s 1995 live recording Stripped and another welcome addition to any Rolling Stones fan’s music library.

The Rolling Stones’ new live recording Totally Stripped is a welcome follow-up to the band’s 1995 live recording Stripped, which was itself re-issued in 2009.  It is just as much of a welcome addition to any Rolling Stones fan’s music library.  This is due in part to the recording’s general presentation.  The focus here will be specifically on the recording’s SD Blu-ray/CD combo pack presentation.  In the case of this presentation, audiences get in the set’s CD a brand new collection of songs that the band performed during its “acoustic” sets included in the band’s 1995 “Voodoo Lounge” Tour.  As is noted on the back of the set’s packaging, only one of the songs included in this set was included as part of Stripped.  That being the case the CD portion of Totally Stripped becomes a brand new live recording rather than just another re-issue.  In examining the set’s SD Blu-ray side, audiences get in this side the band’s Stripped tour documentary.  This documentary isn’t just one of those short 15 – 30 minute pieces.  Rather it is an extensive piece that takes audiences along with the band on the “acoustic” portion of its “Voodoo Lounge Tour.”  The documentary runs roughly an hour.  And it comes complete with performances from the band, behind-the-scenes footage, and interviews with the band and crew.  The interviews provide some interesting insights, too.  One of the most notable of the interview segments features guitarist Keith Richards discussing the misnomer that is “stripped/acoustic” performances.  He laughs as he candidly notes that there’s really no such thing as acoustic anymore.  He has a valid point.  Those that are familiar with, say, MTV’s Unplugged will note that in its original run very few of the acts were ever fully acoustic in their performances.  And a close examination of the performances here backs up Richards’ statement.  [Charlie]Watts’ discussion about his role in the band and what he does is just as interesting to hear.  He notes that he doesn’t play for himself.  Rather he plays as part of the band.  That is a real humble statement from such a revered artists and musician.  Mick offers up his own insights, too along the way.  And his insights aren’t the last.  Even producer Don Was has some shining commentary about the band in his own interview segments.  These sentiments and those of the band’s touring members join together to with the set’s CD presentation and complete the experience for audiences.  The two sides together show clearly why the set’s packaging is key to its presentation.  It isn’t the set’s only key element either.  Looking a little bit deeper at the double-disc set, the set list presented in its CD presentation is important in its own right to the set’s presentation.

The packaging of The Rolling Stones’ new live recording Totally Stripped is in its own right a hugely important part of the set’s presentation.  It divides up the experience, putting the band’s full-length “Voodoo Lounge Tour” documentary on its own disc.  The actual concert recording is presented on another, separate CD.  Speaking of the concert recording, the set list presented in the CD is almost entirely brand new.  Only one of the songs from the band’s 1995 recording Stripped is included in this recording’s set list.  The rest of the songs are taken from the band’s ’95 tour.  But they were not included in that original recording.  Even more impressive is that the songs were not all taken from just one of the acoustic dates included in the band’s ’95 tour.  They were lifted from the band’s performance at Amsterdam, London, and Paris.  The end result is a 78-minute audio experience that while not one full concert is just as good as a complete concert.  In fact it technically could be considered a full concert in its own right, just lifted from a series of different dates, considering its run time.  Keeping this in mind the CD presentation in Totally Stripped shows clearly that it is just as important to the set’s presentation as the set’s packaging.  They are not the set’s only important elements either.  The companion booklet that comes with the set is just as important to its presentation as the set’s packaging and its concert recording.

Totally Stripped’s packaging and its concert recording are both key elements in this set’s overall presentation.  While both elements are of equal importance to the set’s presentation they are not its only key elements.  This critic has noted time and again the importance of live recordings’ companion booklets.  In some cases they are just as useful as they can be useless in others.  This is one of those cases in which the set’s companion booklet proves quite important to its presentation.  The booklet gives ample background on this recording, comparing it early to the band’s very first live recording Got Live If You Want It.  Richard Havers, who has handled the liner notes for many of The Rolling Stones’ recent live recordings handled the liner notes for this recording, too.  He notes here that on Got Live If You Want It was not in fact a wholly live recording.  Rather it included two studio tracks with audience noise overdubbed to make them seem live.  From there, Havers outlines in full depth the course of events that led to the release of Stripped starting with the recording of Stripped in studio and the documentary that rose from those sessions.  From there he outlines the band’s Voodoo Lounge Tour and what made it such a great tour right up to the band’s final show of the tour at the Brixton Aademy.  He even makes special note in the booklet about the songs featured on the new live compilation presented in the set’s CD.  The background that Havers offers in his commentary is a great setup for this recording.  It is like the appetizer to the set’s musical main dish so to speak.  Yes, that’s probably a bad comparison.  But it was the first thing that came to this critic’s mind.  Simply put, the commentary included in Totally Stripped’s  companion booklet proves just as important to the set’s presentation as its packaging and the content presented in each disc.  All things considered, Totally Stripped shows in the end to be a welcome follow-up to Stripped and an equally welcome addition to any Rolling Stones fan’s music library.

The Rolling Stones’ new live recording Totally Stripped is a welcome follow-up to the band’s 1995 live recording Stripped.  It is just as welcome in any Rolling Stones fan’s music library.  That is due in part to the double disc set’s overall packaging.  Eagle Rock Entertainment and Universal Music Group have presented the set with a standalone 90-minute documentary on its own disc.  A separate 78-minute disc contains live recordings from the Stripped shows not previously included in the set.  That “new” collection of songs (save for one) makes the recording’s CD presentation just as important as the set’s overall packaging.  The set’s companion booklet rounds out its overall presentation.  Thanks to Richard Havers, who handled the liner notes for many of the band’s previous live recordings, audiences are presented with a solid introduction to the set ahead of the experience that it provides audiences.  Each element proves equally important in its own right to Totally Stripped’s presentation.  Altogether they make this set, again, a welcome follow-up to Stripped and an equally welcome addition to any Rolling Stones fan’s music library.  It is available now 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 Totally Stripped is available with all of the latest news and more from The Rolling Stones at:

 

 

Website: http://www.rollingstones.com

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

Twitter: http://twitter.com/RollingStones

 

 

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.

No Tricks Here: Imagine Dragons’ New Live Recording Is Musical Magic

Courtesy:  Eagle Rock Entertainment/Universal Music Group

Courtesy: Eagle Rock Entertainment/Universal Music Group

Imagine Dragons is one of the biggest bands in America today if not the world.  That goes without saying.  Ever since its original formation in 2008 the band has sold millions of albums, earned more than its share of awards and nominations, appeared on any number of TV shows, and entertained audiences the world over.  It even has a brand new single out on the soundtrack to the new romantic dramedy Me Before You.  Even in taking some obviously much-needed time off, the band still isn’t showing any sign of stopping.  That is because this summer the band will release its first official live recording in the form of Smoke & Mirrors Live.  It will be released Friday, June 3rd via Eagle Rock Entertainment.  Whether or not a person is a fan of this Las Vegas, NV-based band’s audiences will agree that this record is one more of 2016’s top new live recordings and yet more proof of why Eagle Rock Entertainment is the leading name in live recordings.  This is proven in part by the concert’s set list.  That will be discussed shortly.  The band’s performance and the overall production are just as important to note in the recording’s presentation as the show’s set list.  The concert’s varied platforms and packaging are just as notable in the recording’s presentation as the set list and overall stage show.  They round out the most notable of the recording’s elements.  Each noted element shows in its own way to be of its own importance to the recording.  Altogether they show clearly why Smoke & Mirrors Live is one of this year’s top new live recordings.  They also show once more why Eagle Rock Entertainment stands tall to this day as the leading name in live recordings today.

Imagine Dragons’ new live recording Smoke + Mirrors Live is one of 2016’s top new live recordings.  It is also more proof as to why Eagle Rock Entertainment stands tall to this day as the leading name in live recordings.  This is proven in part through the concert’s set list.  The concert boasts a total of twenty songs.  Some of those songs stand alone and others are part of mini-medleys.  In all the show’s set list pulls almost evenly from both of the band’s albums so far.  No fewer than seven songs were lifted from the band’s 2012 debut record Night Visions and ten others from Smoke & Mirrors.  The band even included some songs that were included only in certain limited editions of Smoke & Mirrors in the set in the form of ‘Warriors’ and ‘Thief’ alongside a cover of the song ‘Forever Young.’  That covers the show’s twenty total songs.  While the set list does an impressive job of covering the band’s body of work so far, there is a slight issue with the set’s presentation.  The concert’s Blu-ray/CD combo pack features the concert in whole on Blu-ray.  However some of the songs included in the concert’s Blu-ray presentation were omitted in its CD presentation.  What’s more, some of the interludes that are included in the Blu-ray presentation were also omitted from the CD presentation. It is problematic to a point that the noted elements have been omitted from the set’s CD presentation.  But thankfully at least in the Blu-ray/CD combo pack audiences do still get the full set list and concert experience regardless.  Not having the DVD presentation this critic cannot comment on that presentation.  Keeping that in mind the set list still proves to be its own important part of S+M Live’s presentation.  It is not the show’s only important element.  The band’s performance couples with its overall production to form another of the recording’s most important elements.

The set list presented in S+M Live (as it will henceforth be known) is its own important part of the recording’s presentation.  That is because it lifts liberally from both of the band’s current albums including songs that were only available in exclusive limited editions of Smoke + Mirrors.  Even with the set list being abridged–so to speak–in the recording’s CD presentation, placing the CD with the Blu-ray in the Blu-ray/CD combo pack makes up for that and for the omission of the interludes, too.  While the set list ultimately proves important in its own right to the recording’s presentation the band’s performance and stage production are collectively just as important to the recording as the set list.  Front man Dan Reynolds keeps audiences completely entertained both in the concert’s more reserved moments and those that are more fiery.  That is because of the emotion and energy that he exuded in each moment.  Simply put he showed that he was completely involved in the performance.  He wasn’t just phoning it in.  Sadly there are performers who do try to phone it in.  In some cases it works.  In others it obviously doesn’t.  Luckily his is neither case.  His band mates—Wayne Sermon (guitar), Daniel Platzman (drums), and Ben McKee (bass)—along with the rest of the band’s touring members mirror that energy in their own performances.  The collective whole of their performances will keep audiences at home just as entertained as those that were in attendance at the concert’s recording.

On a related note to the band’s performance, the concert’s general stage production plays its own role in the recording’s presentation.  There’s no pyro or seizure-inducing strobes at any point through the show.  Rather, the band utilizes a minimalist set for its show.  There are some monitors that utilize lights within their displays.  But they are really the extent of the show’s “special effects.”  This limits the use of the lights which in turn actually makes them a hugely element in illustrating the mood of each song’s mood.  The lights brighten at all of the right moments and dim in the same fashion. They even change colors at just the right moments in order to help illustrate the songs’ mood.  When they do start pulsating, that action is limited even in those moments.  Simply put the minimalist production used in the band’s stage show proves just as important to the band’s performance as the band’s performance itself.  The two work hand in hand in entertaining audiences and keeping them engaged.  They show in whole that they are indeed just as important to the concert’s presentation as its relatively extensive set list.  They are hardly the last of the recording’s most notable elements.  The concert’s platforms and packaging round out its most notable elements.

The set list presented in Smoke + Mirrors Live is its own important part of the recording’s overall presentation.  That is the case even with the set list varying between the recording’s visual and audio presentation.  The band’s performance and stage production couple for another important part of the recording’s presentation.  That is because they work so well together to entertain audiences with their collective energy.  There is no arguing the importance of each noted element in the recording’s overall presentation.  As important as they are to the whole of the recording they are not the recording’s only important elements.  The varied platforms and packaging of the recording are just as important to its presentation as any of the other noted elements.  In regards to its platforms it is available in the Blu-ray/CD combo pack which is being examined here.  It is also available in a DVD/CD combo pack, standalone DVD and Blu-ray platform, and various digital platforms.  This might not seem like much on the surface.  But in presenting it in all three formats (and each format being “extended”) Eagle Rock and Universal Music have covered all of their bases.  They have essentially reached out to every possible audience group.  This was an extremely wise course of action for all involved.  The recording’s packaging is just as important as its platforms.  That applies primarily to the concert’s physical platforms.  Audiences will note that the packaging for both the DVD/CD combo pack and Blu-ray/CD combo pack is exactly the same.  It presents both halves of the recording in a gatefold packaging.  The discs are each placed on their own spindle in their own respective spot inside the packaging.  This greatly reduces the odds of damage to the case and the discs.  Audiences that are familiar with multi-disc CD packaging will note that many labels today use thin, plates in the middle of a standard sized CD case in order to save space on CD racks.  That does save space.  But as thin as said inserts are, they are very prone to breaking because of their fragility.  The material used for inserts in multi-disc DVD and Blu-ray packaging is more durable, making it smarter for that platform.  Keeping all of this in mind, the packaging used for this (and many other live recordings from Eagle Rock Entertainment) might be bulkier than those from other labels.  But it is more durable and better protects the recordings’ discs.  So to that end, Smoke + Mirrors Live’s packaging proves in the bigger picture to be just as important to its presentation as its set list, stage production and performance by the band.  Each element is equally important in its own right to the recording’s overall presentation.  Even the program’s main menu plays its own part in the concert’s presentation.  Audiences get to see the band prepare for its performance in the recording’s menu.  There are also snippets of said performance played against the menu.  And they aren’t just short, little snippets either.  They are solid samples of each song. Between that and everything else that has been noted audiences get in whole here a recording that audiences in whole will appreciate.  This applies regardless of audiences’ familiarity with the band’s body of work.

Imagine Dragons’ new live recording Smoke + Mirrors Live is a recording that every viewer will appreciate.  This applies regardless of audiences’ familiarity with the band’s body of work.  This is due in part to the recording’s extensive set list.  The band’s performance and its general stage production work together to keep audiences entertained and engaged from beginning to end.  The packaging of both the DVD/CD and Blu-ray/CD combo pack plays its own important part in the recording’s overall presentation, too.  The concert’s main menu proves important to its presentation, too even as minor as it may seem.  Each element is important to the concert’s presentation in its own special way.  Altogether they make Smoke + Mirrors Live a concert that audiences will not only appreciate but will agree is one of 2016’s top new live recordings.  They will agree, too that it proves once more why Eagle Rock Entertainment still stands tall as the leading name in live recordings.  It will be available in stores and online Friday, June 3rd.  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

 

 

More information on Smoke + Mirrors Live is available online now along with all of Imagine Dragons’ latest news and more at:

 

 

Website: http://www.imaginedragonsmusic.com

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

Twitter: http://twitter.com/imaginedragons

 

 

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.

Perry: “No Truth” To Recent Aerosmith Rumor

Courtesy:  MSO PR

Courtesy: MSO PR

Rumors have allegedly been running rampant around the fate of veteran rock band Aerosmith.  The alleged rumors have centered on whether or not the band has been looking to replace long-time front man Steven Tyler.  It would seem that the rumors likely heated up upon the announcement of Tyler’s upcoming “Out On A Limb Tour.’  It isn’t the first time that rumors have swirled surrounding the band’s fate, either.  Tyler’s stint on Fox’s American Idol stirred rumors, too as did events both before and after.  In response to the latest rumors Tyler’s band mates have spoken out.

Joe Perry outright denied the rumors saying, “There’s absolutely no truth to a story circulating that Aerosmith is looking for a new singer.”  He added, “Any rumor out there about us looking for another singer is completely untrue. All five of us were just on the phone together talking about how excited we are to go to South America and Mexico City.” These tour dates run from September 29-October 27.

 

More information on the situation is available online now along with more news and more from Aerosmith at:

 

 

Website: http://www.aerosmith.com

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

Twitter: http://twitter.com/Aerosmith

 

 

Aerosmith’s latest studio recording is 2012’s Music From Another Dimension.  Late last year the band released its latest live recording Aerosmith Rocks Donington via Eagle Rock Entertainment.

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.