Joe Bonamassa announced a new summer/fall tour schedule this week.
The famed blues-rock guitarist’s new tour is scheduled to launch May 26 in Yakimaw, WA and to run through Dec. 2 in Hollywood, FL. The summer leg is scheduled to run through Aug. 13 in Bethel, NY. From there, Bonamassa will take a break to rest and recharge before launching the fall leg of the tour Oct. 23 in Memphis, TN.
The tour’s schedule is noted below:
SUMMER TOUR May 26 Capitol Theatre Yakima, WA Aug 2 Vina Robles Amphitheatre Paso Robles, CA Aug 4 The Cosmopolitan Of Las Vegas Las Vegas, NV Aug 5 Eccles Theater Salt Lake City, UT Aug 6 Red Rocks Amphitheatre Morrison, CO Aug 12 Northwell Health At Jones Beach Wantaugh, NY Aug 13 Bethel Woods Center For The Arts Bethel, NY
FALL TOUR Oct 23 The Cannon Center Memphis, TN Oct 25 Shreveport Municipal Shreveport, LA Oct 27 Majestic Theatre San Antonio, TX Oct 28 Smart Financial Centre Sugar Land , TX Oct 29 ACL Live Austin, TX Nov 1 Walton Arts Center Fayetteville, AR Nov 3 Robinson Performance Hall Little Rock, AR Nov 4 Texas Trust CU Theatre Grand Prairie, TX Nov 5 Civic Center Music Hall Oklahoma City, OK Nov 8 Tulsa Theater Tulsa, OK Nov 10 The Midland Theatre Kansas City, MO Nov 11 The Fabulous Fox St. Louis, MO Nov 12 Paramount Theatre Cedar Rapids, IA Nov 14 Mayo Civic Center Rochester, MN Nov 15 Coronado Performing Arts Ctr Rockford, IL Nov 17 Embassy Theatre Fort Wayne, IN Nov 18 Fox Theatre Detroit, MI Nov 19 Palace Theatre Columbus, OH Nov 21 The Santander Performing Arts Ctr Reading, PA Nov 22 Providence Performing Arts Ctr Providence, RI Nov 24 Symphony Hall Springfield, MA Nov 25 The Lyric Baltimore, MD Nov 28 Johnny Mercer Theatre Savannah, GA Nov 30 Van Wezel Performing Arts Sarasota, FL Dec 1 Hertz Arena Estero, FL Dec 2 Hard Rock Live Hollywood, FL
More information on Joe Bonamassa’s new tour schedule is available along with all of his latest news at:
Joe Bonamassa’s new tour schedule is in support of his new album, Time Clocks, which was released in January through J&R ADventures.
Derek Sherinian offered audiences their first taste of his new album to open the weekend.
Sherinian premiered his new single, ‘The Vortex‘ Friday. The song is the title track from his forthcoming album, Vortex, which is scheduled for release July 1 through InsideOut Music. The record’s release will come more than two years after the release of his then latest album, The Phoenix. That album produced the singles, ‘Empyrean Sky,’ ‘Dragonfly,’ and ‘Them Changes‘ (a cover of the Buddy Miles classic).
The arrangement in this full-on instrumental track is everything that audiences have come to expect from Sherinian, who has made quite the name for himself throughout his career, working with the likes of Alice Cooper, Dream Theater, and currently Sons of Apollo. The frenetic energy exhibited throughout the arrangement does well to illustrate what one thinks of when one thinks of a tornado.
Sherinian announced last March, that he had started work on Vortex. He said at the time, drummer Simon Phillips would return for the album, which has been confirmed for this album. Also making guest appearances at Steve Stevens, Zakk Wylde (Ozzy Osbourne band, Black Label Society), and Michael Schenker (Temple of Rock, Michael Schenker Group, Michael Schenker Fest), all of whom he has worked previously.
Sherinian made a guest appearance on Schenker’s latest Micheal Schenker Group record, Immortal, last year, while Wylde has previously appeared on some of Sherinian’s early solo releases. Also making appearances this time out are the likes of Joe Bonamassa, Steve Lukather (Toto), and his Sons of Apollo band mate Ron “Bumblefoot” Thal.
The track listing for Vortex is noted below.
Tracklisting: 1 The Vortex feat. Steve Stevens 2 Fire Horse feat. Nuno Bettencourt 3 Scorpion 4 Seven Seas feat. Steve Stevens 5 Key Lime Blues feat. Joe Bonamassa, Steve Lukather 6 Die Kobra feat. Michael Schenker, Zakk Wylde 7 Nomad’s Land feat. Mike Stern 8 Aurora Australis feat. Bumblefoot
More information on Derek Sherinian’s new album is available along with all of his latest news at:
Famed keyboardist Derek Sherinian is scheduled to release his new album, Vortex, this summer.
The album is scheduled for release July 1 through InsideOut Music. The record’s release will come more than two years after the release of his then latest album, The Phoenix. That album produced the singles, ‘Empyrean Sky,’ ‘Dragonfly,’ and ‘Them Changes‘ (a cover of the Buddy Miles classic).
Sherinian announced last March, that he had started work on the album. He said at the time, drummer Simon Phillips would return for the album, which has been confirmed for this album. Also making guest appearances at Steve Stevens, Zakk Wylde (Ozzy Osbourne band, Black Label Society), and Michael Schenker (Temple of Rock, Michael Schenker Group, Michael Schenker Fest), all of whom he has worked previously.
Sherinian made a guest appearance on Schenker’s latest Micheal Schenker Group record, Immortal, last year, while Wylde has previously appeared on some of Sherinian’s early solo releases. Also making appearances this time out are the likes of Joe Bonamassa, Steve Lukather (Toto), and his Sons of Apollo band mate Ron “Bumblefoot” Thal.
The track listing for Vortex is noted below.
Tracklisting: 1 The Vortex feat. Steve Stevens 2 Fire Horse feat. Nuno Bettencourt 3 Scorpion 4 Seven Seas feat. Steve Stevens 5 Key Lime Blues feat. Joe Bonamassa, Steve Lukather 6 Die Kobra feat. Michael Schenker, Zakk Wylde 7 Nomad’s Land feat. Mike Stern 8 Aurora Australis feat. Bumblefoot
More information on Derek Sherinian’s new album is available along with all of his latest news at:
Independent rock band Illumination Road debuted its new single and music video this week.
The band premiered its new single, ‘It Looks Like They Got To You (Too)‘ Tuesday. It is available to stream and download through all digital platforms.
The song’s premiere comes more than two months after the premiere of the band’s then latest single, ‘the Modern World’ and its video. That song is available to stream and download through Spotify, iTunes, and Apple Music.
Courtesy: Earshot Media
The musical arrangement featured in ‘It Looks Like They Got To You (Too)’ changes things up from the band’s previous single. Instead of the classic rock approach and sound featured in that song, this song is more of a blues rock style composition. It is easily comparable in its sound and style to works from the likes of Stevie Ray Vaughan, Joe Bonamassa, and Kenny Wayne Shepherd.
The lyrical theme featured alongside that blues-rock musical arrangement is left up to interpretation. Bassist Chad Shlosser discussed the song’s lyrical theme in a somewhat cryptic fashion during an interview with Elmore Magazine, stating, “This cut, ‘It Looks Like They Got To You (Too),’ is the smashing yet groovy second single. Following the story line from the first single, where we’re introduced to ‘The Modern World,’ we’re now feeling the effects of this new way of life and how it’s cutting to the core of all of us.”
More information on Illumination Road’s new single is available along with all of the band’s latest news at:
Jazz and blues fans have had a lot to like this year. That is because this year has produced so much enjoyable and memorable music from the two genres, which are so closely aligned. From Yellowjackets’ new album Jackets XL to Joe Bonamassa’s new album Royal Tea to he Rev. Shawn Amos’ latest album Blue Sky and more, this year has seen so much great music released. That being said, with the year winding down, critics are already releasing their lists of the year’s top new albums in these categories. This critic is joining those ranks with a list of the best of the year’s new jazz and blues albums.
As with each list released by Phil’s Picks, this list features the Top 10 new albums from the two genres and five additional honorable mention titles for a total of 15 albums. Without any further ado, here is Phil’s Picks 2020 Top 10 New Jazz and Blues Albums.
PHIL’S PICKS 2020 TOP 10 NEW JAZ & BLUES ALBUMS
Yellowjackets – Jackets XL
Joe Bonamassa – Royal Tea
Lisa Hilton – More Than Another Day
The Rev. Shawn Amos & The Brotherhood – Blue Sky
Analog Players Society – Soundtrack for a Nonexistent Film
Melody Gardot – Sunset In Blue
Dion – Blues With Friends
Ronie Earl & The Broadcasters – Rise Up
Shadow & The Thrill – Sugarbowl
Diana Krall – This Dream Of You
Sugar Ray & The Bluetones – Too Far From The Bar
Carol Welsman – Dance With Me
The Rough Guide to the Roots of Country Blues
The Roots of Blues
The Rough Guide to Spiritual Blues
Next up from Phil’s Picks is the Top 10 New World Music Albums from 2020. Stay tuned for that.
Joe Bonamassa has made a career of playing the blues, covering the classics and handling his own originals. From one album to the next, he has shown why he is one of the leading names in the blues community. Now with the release of his latest album Royal Tea on Oct. 23, Bonamassa has completely cemented his place not only in the upper echelon of the blues community, but the music community in whole. That is because Bonamassa has branched out so much in this record, opting to offer so much more than his standard blues compositions. This is well worth discussing in itself. The record’s production adds its own touch to the presentation and will also be addressed here. The sequencing puts the final touch to this album’s presentation. When it is considered along with the noted production and musical arrangements, the whole make Royal Tea a work that proves Joe Bonamassa is music royalty.
Joe Bonamassa’s latest album Royal Tea is without question, one of his greatest albums to date if not his greatest work yet. It is a presentation that shows so much growth from the famed blues rock guitarist/singer. That is proven throughout the course of the 10-song record’s 53-minute run time. Rather than just sticking with the standard blues style works for which he has come to be known, Bonamassa opted this time to branch out. That is evidenced right off the top in the album’s opener, ‘When One Door Opens.’ This nearly eight-minute epic composition opens with a broad, symphonic arrangement, complete with strings, crash cymbals, and horns. That bombastic opening gradually gives way to a very contemplative, introspective stylistic approach whose chromatic scales and vocal harmonies are more rock ballad-esque than blues. As the song progresses into its “third movement” (the very fact that the song is so in-depth displaying so many styles is itself impressive. That me blends them together so well is even more worthy of applause) things change over to Bonamassa’s more bluesy style before switching back to the noted contemplative ballad-style approach to close out the song. There is even a hint of Holst’s ‘Mars: The Bringer of War’ mixed in for good measure. Whether that was intentional is anyone’s guess. Regardless, the subtle addition of that element adds so much to the song in its own right. The whole of this composition shows clearly that it is anything but what audiences have come to expect from Joe Bonamassa. It is just one of the works that exhibits his growth in this album. Just as interesting to note as this song is the clear influence of certain other equally well-known acts in other songs.
Listening to the album’s title song, the Beatles influence is undeniable, especially as the song opens. From there, there is a touch of Jimi Hendrix influence. Considering that Bonamassa recorded this album at the legendary Abbey Road Studios, none of this should come as a surprise. Hendrix rose first to fame in England before the United States. And of course, The Beatles are synonymous with Abbey Road Studios. ‘High Class Girl’ meanwhile immediately lends itself to comparisons to Booker T and the MGs’ famous hit ‘Green Onions’ what with the combination of its guitar, bass, drums and keyboards. The side-by-side is a near mirror image, yet even with that in mind, Bonamassa still manages to make this song about a man who is crazy for a woman who is out of his league into its own composition. On yet another note, ‘Lonely Boy’ echoes influences of Brian Setzer and Stray Cats with its rockabilly style arrangement. That Bonamassa was able to take influences from his equally well-known contemporaries and still create his own unique compositions is just one more way in which this record’s musical content proves so important to its whole. He also branches out into some other realms, and in the process makes his own unique compositions.
Case in point of the noted statement about Bonamassa branching out even more is ‘Savannah,’ which closes out the album. This song is a distinctly country/bluegrass work that will appeal widely to fans of acts, such as Steep Canyon Rangers and Zac Brown Band. The subtle use of the keyboards against the vocal harmonies, drums, mandolin and guitar makes the song such an enjoyable work. By contrast, ‘Lookout Man!’ is a bass heavy modern rock style composition whose heavy guitars, bass, and rums will appeal to fans of acts, such as Audioslave and Small Town Titans. The addition of Bonamassa’s gritty vocal delivery and the harmonica to the mix adds even appeal more to the arrangement. ‘A Conversation With Alice,’ the album’s lead single, throws lends itself to similarities to works from the likes of maybe Foreigner if not other veteran rock acts. Simply put, these songs in themselves show even more the breadth of Joe Bonamassa’s talents and abilities. They show, along with the other noted arrangements, that he is not just a one trick pony whose bread and butter is just the blues. It shows that he can play any style of music any time. Hopefully with that in mind, audiences will hear him take that into account even more when he releases his next album. Now taking all of this into account, the wide range of styles of music exhibited throughout Royal Tea make up collectively just one part of what makes the album so enjoyable. The album’s production adds another positive touch to its presentation.
The production that went into Royal Tea’s presentation is so pivotal because, again, Joe Bonamassa branched out so much throughout this album. ‘Why Does It Take So Long To Say Goodbye’ is a good example of the impact of the production. This slow, bluesy work, is clearly a work about a broken relationship. The song’s arrangement adds so much to its impact. Listeners will note the subtlety in the guitar and bass balance and the way the drums cut through here when they listen closely. The way each element is balanced in the song’s verses versus the more bombastic choruses serves well to translate the emotion in each moment as the song’s subject is going through so many thoughts.
‘When One Door Opens’ is another example of what makes the album’s production so important. That is due in part to the symphonic element in the song’s opening bars. This is something that Bonamassa has done rarely if ever. That means that a subtle backing element, such as a cymbal crash had to be really controlled. Even in the song’s more subtle moments, the vocals and drums had to be balanced with the equally subtle string arrangement and bells (yes, bells) to make sure the fullest impact was achieved, which it was.
‘Beyond The Silence’ is one more example of what makes this album’s production so important. The song, whose arrangement is a very western style work, conjures thoughts of Bon Jovi’s hit song ‘Blaze of Glory’ and Blues Saraceno’s ‘Evil Ways.’ The song stars and ends in very brooding fashion, with thunder setting the stage. The subtle way in which that thunder rumbles “in the distance” is powerful in its subtlety. The equally subtle use of the organ, drums, piano, guitar, bass and vocals makes for such high levels of engagement. As the song enters its chorus, the more energetic approach makes for a stark contrast to the more subdued verses. That contrast adds even more impact to the song. The work that clearly went in to balance the two moods paid off, maximizing the impact. When this is considered along with the examined production in the other songs noted here and the rest of the album’s entries, the whole of the production clearly plays an important part to the album’s presentation. It is still not the last of the record’s most important elements. The sequencing rounds out the album’s most important elements.
The sequencing of Royal Tea is important to examine because it ensures the energies in the album are balanced. Audiences will be glad to know that the record’s sequencing is just as successful as its production and songs in general. The record starts so strongly in the multi-movement ‘When One Door Opens.’ The energy stays high even as the stylistic approach changes in the album’s title track. From there, things pull back noticeably in ‘Why Does It Take So Long To Say Goodbye’ before picking right back up in ‘Lookout Man!’ and carrying through to ‘Beyond The Silence.’ That song in question has already been addressed. ‘Lonely Boy’ considerably changes things again, picking up the fun and energy once more before the album sets listeners gently on another shore in ‘Savannah.’ This simple, laid back country/bluegrass track is, again, so unlike anything that Bonamassa has ever composed. It is a wonderful finale for the album, especially considering the musical journey on which audiences embark in listening to the album. Simply put, the album’s energy rises and falls at all of the right points throughout the course of this album. This is a tribute to the time and thought that went into the album’s sequencing. It assures listeners will remain just as engaged and entertained for this aspect as for the rest of the album’s aspects. Keeping all of that in mind, Royal Tea proves itself to be a solid new offering from Joe Bonamassa and potentially his best work to date.
Joe Bonamassa’s new album Royal Tea is an impressive new offering from the veteran blues-rock guitarist/singer. It is a record that is largely unlike anything that he has ever presented. That is presented in part through its musical arrangements, which toss aside the standard blues songs for which he has come to be known in favor of a more diverse selection of styles. The production of those works and their sequencing puts the final touch to the record, collectively speaking. They ensure listeners will remain engaged and entertained through the presentation of the arrangements and the balance in their energies. Each item noted here is important in its own way to the whole of the album. All things considered, they make Royal Tea royalty among Joe Bonamassa’s catalog. Royal Tea is available now. More information on the album is available along with all of Joe Bonamassa’s latest news at:
Derek Sherinian showed audiences how his latest album The Phoenix came to life this week.
Sherinian (Sons of Apollo, ex-Dream Theater, Platypus) debuted his new “making of” video Tuesday. The nearly 25-minute video opens with Sherinian shredding on a massive keyboard setup before eventually moving into an interview with Sherinian and a montage of footage from the album’s recording sessions.
The noted montage is coupled with a series of other interview segments with Sherinian and some of the album’s featured guest stars, such as Billy Sheehan, Simon Phillips, and Ron “Bumblefoot” Thal.
The video takes audiences trac-by-track through The Phoenix in Sherinian’s own words and those of Phillips. the pair discusses topics related to the album, such as the influence of Return To Forever and Jimi Hendrix, working with bluesman Joe Bonamassa, and bringing everyone together for the album.
The Phoenix is available now through InsideOut Music. The album has produced the singles ‘Them Changes,’ ‘Dragonfly,’ and ‘Empyrean Sky.’
It will be available as a limited edition digipack CD, 180-gram LP/CD combo pack and digital album. The record’s track listing is noted below.
1. The Phoenix
2. Empyrean Sky
3. Clouds of Ganymede
4. Dragonfly
5. Temple of Helios
6. Them Changes
7. Octopus Pedigree
8. Pesadelo
The Phoenix will feature guest appearances by figures, such as bassists Billy Sheehan, Tony Franklin and Jimmy Johnson and guitarists Joe Bonamassa, Zakk Wylde, Steve Vai, Ron “Bumblefoot” Thal (Sons of Apollo, Guns N’ Roses), and Kiko Loureiro (Megadeth).
Sherinian said of bringing Loureiro on board for the new album, “Kiko and I have known one another for about 20 years, but this is the first time I’ve had the opportunity to play with him.”
More information on Derek Sherinian’s new album is available along with all of his latest news at:
Bluesman Joe Bonamassa is keeping himself in the headlines.
The famed blues singer/songwriter/guitarist appeared this week on GibsonTV’s series The Collection. Bonamassa’s appearance featured him discussing his collection of vintage guitars. This latest episode is streaming here.
Audiences can watch even more episodes of The Collection by subscribing to GibsonTV.
Said GibsonTV host Mark Agnesi of Bonamassa and his collection,
“Joe’s commitment to preserving the history of these instruments and sharing their stories is a testament to his love for everything about the guitar. His passion is contagious, and he is an amazing ambassador for the instrument.”
Bonamassa’s appearance on GibsonTV is just one way in which he is keeping his name in the headlines. He is scheduled to hold a live stream concert at 4 p.m. ET on Sept. 20 in support of his newly released album Royal Tea. The ticketed event will stream live from the famed Ryman Auditorium.
Tickets are available here. A portion of proceeds from ticket sales for the concert will benefit the Keeping The Blues Alive Foundation for Bonamassa’s Fueling Musicians Program. The program helps assist musicians who were negatively impacted by the COVID-19 pandemic.
More information on Redemption is available online now along with all of Joe Bonamassa’s latest news and more at:
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Singer-songwriter Nick Perri is joining southern rock band Blackberry Smoke for a series of live dates next week. The live dates, set to run from Sept. 10-15, are all drive-in concerts that will take Perri and his fellow musicians — Brian Weaver (bass), and Zil Fessler (drums) — from Virginia up to Massachusetts. They are in support of Sun Via, the recently released album from Perri and his larger backing back, The Underground Thieves. Released independently by the band Aug. 14, the 10-song record will find appeal among a wide range of listeners through its musical and lyrical content, each of which will be discussed here. While each noted element is key in its own way to the whole of the album’s presentation, its production and mixing is just as important to the noted overall picture. It will also be noted later. All three items are important in their own way to the whole of the album. All things considered, they make Sun Via one of the most surprisingly interesting albums released in the rock community so far this year.
Nick Perri and the Underground Thieves’ debut album Sun Via is an intriguing first offering from the band. That is meant in a positive fashion. The interest in the record stems in part from its musical arrangements. The arrangements in question display a variety of influences. Case in point is the record’s finale ‘White Noise.’ The wall of sound approach in this song’s arrangement combines influences from the likes of Oasis and Pink Floyd while also adding in a touch of David Bowie influence to add even more depth to the whole. While the influences are noticeable, audiences will be glad to know that Perri and company used those influences to make their own unique song here rather than just rip off any specific songs from said acts. The whole makes this arrangement a powerful exit for the album and just one example of what makes the album’s arrangements so important to its whole. ‘Fall’ also boasts a bit of that Pink Floyd influence, just in a different sense. Moving on, ‘Feeling Good,’ the album’s opener, takes a distinctly different approach in its arrangement. Right from the song’s opening notes, its arrangement lends itself to comparisons to works from blues rock great Joe Bonamassa. At the same time, listeners can also make comparisons here to works from the likes of The Black Keys and Royal Blood. That comparison can be made through the use of the (Hammond?) organ, the fuzzed effect in the guitar and the percussion alongside the bass line. The whole creates a sound that is so infectious and memorable. It’s just one more way in which the album’s musical arrangements prove so important to its presentation. That is because it shows again, the diversity in the record’s musical side. The album also presents a classic rock influence in the form of ‘I Want You.’ This song is a ballad that white original and unique in its own presentation, clearly shows the noted influence. There is also a more modern pop rock influence exhibited in this record in the form of ‘I Want You,’ and ‘Daughters & Sons.’ There are other songs that show the aforementioned Pink Floyd influence along with all of this. Simply put, the musical arrangements that are featured throughout Sun Via give listeners plenty of reason in themselves, to hear this record. They arrangements are just a portion of what makes Sun Via stand out. Its lyrical themes are just as valuable to its whole as its musical arrangements.
The lyrical themes featured throughout Sun Via are wholly familiar to any listener. Case in point is the theme featured in ‘I Want You.’ Perri sings at one point, “Baby, please come home/Baby, I want you.” Little else needs noting to know the song’s lyrical theme. This is someone trying to get the woman he loves to come back after the pair has obviously had some form of falling out. In this case, the song’s subject is not using the familiar “oh, woe is me” mindset in trying to get his woman back, but rather, trying at this point, to be hopeful that he can convince her to return. It’s just one phase of such a situation. It will connect with any listener.
‘Daughters & Sons’ presents its own unique introspective lyrical theme. The song opens with Perri singing, “I see the writing on the wall/They say the futility of it all/Why do the evil get it all/While the good one die youg/Leaving daughters and sons.” From there he sings, “Are you aware/Of the little things that you do/That you do/To make people love you/Are you aware of the little things that you say/Turning the blue skies to gray/But I see/The writing on the wall/Facing he futility of it all/Why do the evil get it all/While the good ones die young/Leaving daughters and sons?” He continues in the song’s second verse, “Do you care about the people you leave/Yeah, the people like you and me…Do you care…about the feeling we lost here at home?” This really comes across as a subtle commentary of sorts that reminds people to keep in mind who and what is important in life while we are here. It’s hardly the first time that such a seeming message has been delivered in any genre. That aside, it is a message that is always welcome and that will resonate with listeners. Keeping that in mind, it is just one more way in which the album’s lyrical content proves so important to its presentation. ‘Everybody Wants One’ I another way in which the album’s lyrical theme show their importance to the record.
The song comes across – at least to a point – as being about concerns surrounding consumerism. This is inferred as Perri sings in the song’s lead verse, “They got something gonna blow your mind/It doesn’t all look how it shines, yeah…Gonna make you feel good/Everybody wants one/Don’t let it get away/Everybody wants one/Tokyo to L.A./Everybody wants one/You don’t wanna hesitate.” He continues in the song’s second verse, “You know, it’s gonna put ‘em all to shame/Everybody’s gonna have one soon/You know what I’m looking at, you.” Again, this would seem to hint at a commentary about how companies sell things to people and how people fall for the companies’ marketing, making them believe that they just have to have the next big, cool item. It’s another familiar topic, and is just as relevant today as ever. It’s one more way in which the album’s lyrical content proves its value. When it is considered along with the other themes noted here and the rest of the album’s lyrical themes, the whole makes even more clear why the album’s lyrical content is as important as its musical arrangements. The lyrical and musical content featured in the record go a long way toward making it a strong new effort, and are just a portion of what makes the album worth hearing. Its production and mixing adds to its appeal, too.
The production and mixing that went into Sun Via’s presentation is important to note because of the general effect that it has on the record. Some of the songs, such as ‘White Noise,’ ‘Daughters & Sons,’ and ‘Fall’ have so much going on in such different ways. From the dynamic changes to the balance of the instruments to even the smaller aesthetic elements, such as electronics and ambient aspects, everything within the songs is balanced so well within each song. The result is a group of songs whose arrangements are distinct from one another, but ensure listeners’ engagement and entertainment because of that balance and overall composition. Much the same can be said of ‘Feeling Good’ and so many of the album’s other entries. The sharpness of the guitar in ‘Feeling Good’ and its slight echo effect makes for a great effect here. That the drums and bass are so well-balanced with the guitar and vocals adds to the song’s positive impact. The whole is such a strong offering and yet another example of the impact of the album’s production and mixing. Between the production and mixing here, that of the other noted songs and the rest of the album’s entries, the production and mixing in whole proves why it is just as important to this album as the album’s content. Keeping all of this in mind, the album in whole leaves no doubt why it is such a strong debut for Nick Perri and the Underground Thieves. The noted elements join to make the album one of the year’s more surprisingly interesting new rock and independent albums.
Sun Via is quite the intriguing first outing from Nick Perri and the Underground Thieves. That is due in part to its musical arrangements. From blues rock to some prog influences, to, even modern pop rock, and even some neo-folk and more, the record’s musical arrangements display a wide range of styles. This ensures a wide appeal in itself. The album’s lyrical themes are familiar and delivered in unique fashion from one to the next. The record’s production and mixing ensure its aesthetic appeal is complete, too. Each item noted here is important in its own way to the whole of the record. All things considered, they make Sun Via a truly unique presentation that is well worth hearing and that shows great promise for the group’s future. Sun Via is available now. More information on the album is available along with all of the group’s latest news at:
Derek Sherinian debuted the video for his latest single this week.
Sherinian debuted the video for his cover of the Buddy Miles classic ‘Them Changes‘ Sept. 4. The song is the latest single from Sherinian’s forthcoming album The Phoenix, which is scheduled for release Sept. 18 through InsideOut Music. It follows the debut of the album’s singles ‘Dragonfly,’ and ‘Empyrean Sky.’
The video for the group’s cover of ‘Them Changes’ features a guest appearance by famed blues rock guitarist Joe Bonamassa. The black-and-white-shot video features, Sherinian, Bonamassa and their fellow musicians in studio recording the song.
Sherinian and company’s rendition of the song largely stays true to its source material. The most noticeable difference in the rendition is the exclusion of the horns that are used in the original song. Miles’ original is also more of a funk-style song while Sherinian and company took a decidedly more blues-based sound, with Bonamassa shredding the solos a la Jimi Hendrix. The addition of Sherinian’s keyboard work and drummer Simon Phillips’ time keeping adds a bit of a Deep Purple vibe to the song.
Pre-orders for The Phoenix are open now. Eight songs will make up the body of The Phoenix, among them a cover of Buddy Miles’ ‘Them Changes.’ It will be available as a limited edition digipack CD, 180-gram LP/CD combo pack and digital album. The record’s track listing is noted below.
1. The Phoenix
2. Empyrean Sky
3. Clouds of Ganymede
4. Dragonfly
5. Temple of Helios
6. Them Changes
7. Octopus Pedigree
8. Pesadelo
The Phoenix will feature guest appearances by figures, such as bassists Billy Sheehan, Tony Franklin and Jimmy Johnson and guitarists Joe Bonamassa, Zakk Wylde, Steve Vai, Ron “Bumblefoot” Thal (Sons of Apollo, Guns N’ Roses), and Kiko Loureiro (Megadeth).
Sherinian said of bringing Loureiro on board for the new album, “Kiko and I have known one another for about 20 years, but this is the first time I’ve had the opportunity to play with him.”
More information on Derek Sherinian’s new album is available along with all of his latest news at:
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