Ace Frehley’s New Record Is The Exception To The Rule About Covers Compilations

Courtesy: eOne

Covers collections are a dime a dozen.  From one genre within the bigger musical universe to the next, they are overly abundant offerings.  There is no denying that in the bigger picture of things, covers collections are little more than space fillers used by acts for the purpose of fulfilling contractual obligations between new albums.  Many of those albums are that and little more.  However, every now and then at least one rarity rises above the rest to do at least a little more, and actually show some value.  Ace Frehley’s latest covers compilation is one of those rarities.  Released Friday through eOne, the 12-song record stands out in part because of its featured covers.  This will be discussed shortly.  The performances of the songs play their own part in the album’s presentation and will be discussed a little later.  The production that went into the record rounds out its most important elements and will be addressed later, too.  Each noted item is important in its own right to the whole of the collection.  All things considered, they make Frehley’s latest space filler a work that will appeal to plenty of classic rock fans.

Ace Frehley’s latest covers compilation, released Friday through eOne, is an interesting addition to this year’s field of new space fillers.  That is because unlike its counterparts, it actually proves itself to actually be worth at least some value.  That is due in part to the record’s featured songs.  While there are some notable works featured in the record from some very well-known bands, there are also some lesser-known deep cuts from those bands, too.  Mountain’s ‘Never in my Life’ is an example of one of those deep cuts.  The band is well-known, and while Climbing!, the album in which the song is featured, is considered a hit for Mountain, the song itself was never considered to be one of the album’s biggest hits.  ‘I’m Down,’ which was a b-side to The Beatles’ hit song ‘Help!,’ is another example of Frehley including a lesser-known work from a big name band in this record.  Cream’s ‘Politician’ is yet another example of the noted lesser-known songs featuring in this record.  While the album in which the song is featured – Wheels of Fire – is the world’s first platinum-selling double album, the song was never used as a single.  To that end, it is more of a deep cut.

On the other end of the spectrum, works, such as The Rolling Stones’ ‘Jumpin’ Jack Flash,’ The Jimi Hendrix Experience’s ‘Manic Depression’ and Deep Purple’s ‘Space Truckin’’ (whose lyrics Frehley changes slightly here when he sings, “we’re space ace truckin’) are examples of the more well-known works featured in the album.  Between these songs and the lesser-known pieces is in reality a little bit of a rock music history lesson.  Audiences get to learn about some big name bands (I.E. The Rolling Stones, Deep Purple, Led Zeppelin) and those who were more mid-level (Mountain, Paul Revere & The Raiders) while also getting a starting point on discussions on the acts and their catalogs.  What’s more, being that those lesser-known works are rarely if ever played on corporate terrestrial radio and are just as rarely presented in other acts’ covers compilations, their inclusion adds to their importance.  Keeping all of this in mind, the compilation’s featured songs actually prove at least some value to its presentation.

While the songs featured in Frehley’s new covers set present at least some value, the performances of said songs plays just as much importance if not more.  That is because while Frehley and his fellow musicians do stay at least somewhat true to their source material throughout the record, they  also give the songs a new updated sound.  Case in point is the group’s performance of The Rolling Stones’ hit song ‘Jumpin’ Jack Flash.’  The Rolling Stones’ original composition is energetic in its own right, and the band’s live performances of the song step things up in the song even more.  Frehley and company’s version here however really amps things up.  Ronnie Wood and Keith Richards’ guitars are replaced in this case by that of Frehley and guitar goddess Lita Ford.  The duo also takes on Mick Jagger’s vocals jointly and definitely take things collectively in a whole new direction.  It should be noted that Ford does drop some f-bombs here, so some listener discretion is advised.  Honestly, its disappointing that Ford would work blue here since the original song did not need any foul language in order to be enjoyable.  Charlie Watts’ steady, subtle time keeping has even been replaced by an equally heavy drum line here.  Simply put, the performance in whole does stay true to the source material in terms of sound, but in terms of style it is a completely different song.  So that is certain to generate its own share of interest and discussion among listeners.

The group’s take on The Animals’ ‘We Gotta Get Outta Here’ is another example of the importance of the performances of the featured songs here.  The Animals’ original rendition of the song was grounded in its bass line and vocals.  In the case of Frehley and company’s take on the song, Frehley takes on the bass line, using the guitar instead for that famous line.  Between that, the semi-operatic vocal delivery and the bombastic drumming, the whole of the song takes on a distinctly 80s hair metal vibe that echoe the sounds of KISS (no surprise there) instead of presenting the song in its more subdued original presentation.  At the same time, considering that the song’s lyrical content focuses on a relationship matter and “needing to get out of this place,” the song’s energy in this presentation does seem to work in its own right.  To that end, it is sure to generate its own share of interest and engagement.

On another hand, the performance of The Beatles’ I’m Down’ stays almost true stylistically to its source material.  Yes, it’s amped up compared to the original, but compared to let’s say The Beatles’ performance on The Ed Sullivan Show, this performance actually echoes that performance relatively well, even despite being so amped up.  As a matter of fact, this performance is actually a step up from the Beatles’ original song.  That is not to say that The Beatles’ original is bad by any means.  That should not be misconstrued.  Rather, Frehley and company took a song that was great to begin with and stepped it up, improving upon it even more.  Between this performance, the others noted here and the rest of the collection’s performances, it can be said that the performances pose their own importance to the record’s presentation just as much as the songs themselves.  The performances are just one more part of what makes the collection worth hearing, too.  Its production rounds out its most important elements.

The production of Origins Volume 2 is important to note for the very reason that has already been raised in examining the performance of the record’s featured songs:  the performances take the original songs from decades ago and really amp them up.  This is important because in so many of the songs, there is a lot more going on than in these works than the originals.  In other words, there is more need to balance all of the elements to ensure each song presents the fullest performance.  Those behind the record’s production are to be applauded for their efforts, too.  For all that is going on in each song, the guitars, bass, vocals, and drums are quite well balanced.  The energy is transmitted just as well because of that expert work that went into balancing each element within each song.  The end result is an album that works just as well for its aesthetics as for its content.  When this is considered along with the record’s content and the performances therein, the result is a covers collection that while it is a covers set, actually proves itself worth hearing at least once if not more.

Ace Frehley’s new covers compilation Origins Volume 2 is an interesting follow-up to his 2016 set Origins Volume 1.  That is due in part to its featured songs.  The songs are a balance of well-known works and deep cuts.  They and the bands that performed them can actually serve as a starting point on discussions about rock’s modern history.  That is actually a positive in its own right.  The performances of the featured songs is important to this record because they stay true to their source material in terms of sound, but stylistically, they clearly show Frehley’s own influence, what with the overly bombastic nature of each performance.  That is certain to generate its own share of discussion among audiences.  The record’s production puts the finishing touch to its presentation.  That is because it ensures for all of the elements going on in each song, those elements are well-balanced, making the record just as worth hearing for this aesthetic element as for its content.  Each item noted here is important in its own way to the whole of the album.  All things considered, they make the compilation a presentation that is the exception to the rule for covers compilations.  It is available now.  More information on the set is available along with all of Ace Frehley’s latest news at:

Websitehttp://www.acefrehley.com

Facebookhttp://www.facebook.com/officialacefrehley

Twitterhttp://twitter.com/Ace_Frehley

 

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U.D.O.’s Latest LP Will Unite Music Lovers Around The World

Courtesy: AFM Records

Veteran rock band U.D.O. returns Friday with its 17th full-length studio recording.  Titled We Are 1, the 15-song record features the band performing its new compositions with the Concert Band of the German Armed Forces.  While rock bands performing and recording with non-rock organizations is anything but out of the ordinary nowadays, the fact that the entire record is composed of new songs is itself interesting.  The arrangements that make up the album’s body offer audiences plenty to appreciate, as do the lyrical themes that accompany that musical content.  Each item will be addressed in itself here.  When they are considered with the record’s sequencing, all three elements make the album in whole a truly unique presentation that rock and metal fans alike will appreciate.

U.D.O.’s latest album We Are 1 is an impressive new entry from the veteran rock band.  There is no doubt in listening through the 75-minute record, that it will resonate with rock and metal fans alike.  That is due in part to the album’s musical arrangements.  The arrangements in question are full-on rock meets classical compositions that bear their own unique identity separate from the works that acts, such as Metallica and KISS have crafted.  These new, original works are such unique orchestrations.  One actually could argue that they are stylistically more similar to works from Devin Townsend’s latest album Empath (2019).  That comparison stems from the use of the choral element, the strings, the brass and woodwinds together.  Each arrangement sounds so epic even in a more reserved moment, such as in ‘Blindfold (The Last Defender).’  Now not having liner notes to reference, it is not known who the female vocalist is in this song, but her vocals, along with the bells, drums and harp make this song feel cinematic in its own right, especially with all of the attention to the dynamic changes throughout the song.  ‘Blackout’ — which immediately follows ‘Blindfold (The Last Defender)’ — is another example of how powerful the arrangements are in this record.  This nearly three-minute song’s brass and percussion come together to make the song sound like something that would be a perfect fit in the soundtrack for some military movie from the 80s and 90s.  That huge opening that leads into the immediate softer, more contemplative sound, is so powerful especially as that noted softer sound crescendos back into something more constant throughout the rest of the song.  On yet another hand, the use of the bagpipes, tympani, snare drum and standard rock elements come together in ‘Beyond Gravity’ to make this song yet another notable addition to the album that shows in its own right, why these arrangements are so important to examine.  There’s no attempt here to rip off AC/DC or any other band that uses bagpipes.  There’s not even any attempt to copy any other act.  It is its own unique presentation that is certain to become a favorite on record and in a live setting when and if music can ever go live again.  It’s just one more way in which the album’s musical arrangements prove so important to its general presentation.  When it and the rest of the album’s arrangements are considered together, the album’s diverse musical styles and elements collectively build a strong foundation for the LP’s presentation.  In themselves, they make a clear argument as to why this record is one of the year’s top new rock albums.  It might not even be a stretch to call it potentially one of the year’s top new overall albums if only for its musical aspect.  Of course the musical aspect is just one reason to take in this record.  The album’s lyrical content adds to its appeal.

The lyrical content featured in We Are 1 runs through one general topic, that topic being concerns about the state of the world.  Band founder and namesake Udo Dirkschneider talked about that overarching theme in a recent interview.  He said of the album’s general theme, “We all live on this planet.  No matter who we are or what we do, we all just have this one planet.  There is no planet B.  When I see the pictures of all the plastic in our oceans and when I hear about the next climate catastrophe in the news, I really start wondering how respectless and irresponsible we sometimes are.  It’s not just about us.  It’s also about all the others and last but not least, about our children!”  That concern that he voiced in the noted comments is shown throughout this record in a variety of fashions.  ‘Here We Go Again,’ for instance takes on concerns over how the Trump administration has handled the issue of immigration.  Dirkschneider notes in this blues rock based song’s lyrical side, “Who has got the right to decide/Who’s gonna live and who’s gonna die/People on the street and people on the sea/Always on the run/Trying to be free/People on the left/People on the right/Everywhere you look/Uptight/Living in a cell/Living in a cage/Fairy tale is over…Everybody’s…longing for a new way/Everybody’s got the right/turning darkness into light/here we go again…Time to show again.”  From here, the song makes mention of corrupt elections and trump’s cries of “fake news” every time that legitimate news agencies call BS on his lies in the song’s second verse.  Given, this is hardly the first time that any musical act has taken on the corruption of the Trump administration and Trump himself, but it is still approached in a unique fashion here that is certain to keep listeners engaged.  It is just one of the ways in which the album’s lyrical themes prove pivotal in their own right to the album.  The album’s title track, which comes early in its run, is clearly another way in which the record’s lyrics show their importance.

‘We Are One’ is a call for unity.  Again, referencing Dirkschneider’s noted statements, the song’s lyrical theme makes crystal clear sense.  He, his band mates and the choir that joins them sings in the song’s chorus, “What are we waiting for/Before we lose control/We are one/We are free/And we need a place to be/We are one/We will rise/Gonna be no compromise/We are one/We are free/And we need a place to be/We are one/We will rise/Never be a compromise.”  This comes after Dirkschneider makes note in the song’s lead verse, of people dealing with all the negativity that is on television nowadays and the impact thereof.  He continues the commentary in similar fashion in the song’s second verse, asking “Do you enjoy watching people die?” before reminding listeners again that “We are one.”  It’s that call to unity and action that is just as needed and welcome today as ever, and just one more way in which the album’s lyrical themes prove so pivotal to this album.  ‘Rebel Town’ is yet another example of the importance of the album’s lyrical themes.

The lyrical theme at the center of ‘Rebel Town’ is a celebration of the 30th anniversary of East and West Germany’s unification.  The song makes mention here of revolution and people sacrificing, and indirectly of people tearing down the Berlin Wall.  Dirkschneider even goes so far as to state at one point, “Chase away the leaders/Let them rot in hell/Believe in what you’re fighting for/Let them hear the rebel yell.”  This is that call again, this time about people coming together to remove the barrier between the two Germanies “in this little town.”  The use of the horns and overall orchestral elements here really paints such a vivid picture of that key moment in history.  This is unique if not original in terms of songs’ lyrical themes from one to the next.  This critic in particular is hard-pressed to find another band that has ever written a song about the fall of the Berlin Wall and the unification of Germany.  Keeping that in mind, the song is yet another example of what makes the album’s lyrical content so important to its whole.  When it is considered along with the other noted themes and those in the rest of the album’s songs, the whole of the album’s lyrical content works with the album’s musical content to make the LP’s body overall such that it will guarantee listeners’ engagement and entertainment.  Even with all of this in mind, there is still one more item to note in examining the album’s presentation – its sequencing.

The sequencing of We Are 1 is important to note because it displays the time and thought that went into maintaining the album’s energy throughout.  Seventy-five minutes is a long span.  Given it isn’t the length of a full concert, but it is still a long run time for a standard studio recording.  To that end, the sequencing plays a key part in ensuring listeners’ engagement and entertainment.  The album opens just as strongly as it closes and vice versa.  In-between, the energy rises and falls at all of the right points from one to the next and even within each of the songs.  Some of the songs start, stay and end strong while others, such as ‘Love and Sin’ and ‘Children of the World’ open with a semi-mysterious tone before launching into a full-on cinematic approach that is a fit for any epic blockbuster’s soundtrack.  ‘Blindfold (The Last Defender)’ and ‘Blackout’ serve as solid break points for the album’s sequence, giving listeners something soft, and then fully orchestra in the vein of movie soundtrack composer Hans Zimmer before the album returns to its initial approach.  ‘Natural Forces,’ which comes late in the album’s run, is another good break point, giving listeners more of the Hans Zimmer style presentation.  From here on out, the album’s energy switches direction, rises and falls at all of the right moments, ensuring just as much as ever, listeners’ engagement and entertainment right to the album’s end.  When all of this is considered along with the impact of We Are 1’s musical and lyrical content overall, all three elements come together to make this album a truly outstanding offering from U.D.O. that will appeal not only to rock and metal aficionados but to music lovers in general.

U.D.O.’s latest full-length studio recording We Are 1 is one of the most pleasant musical surprises of 2020 so far.  While it features a rock band working with an orchestra, it can’t be compared to those rock-meets-classical records from the likes of Metallica and KISS by any means or any other band that has taken this approach.  This collection of new songs really is its own, unique presentation that shows more similarities to works from Devin Townsend, composer Hans Zimmer, Epica, Judas Priest and even Joe Satriani (yes, that seems like an odd mix, but it works) than to the noted other acts’ works.  What’s more, the socially conscious lyrical themes that accompany the musical arrangements solidify the album’s presentation even more.  The record’s  sequencing puts the final touch to the album’s presentation.  Each noted item is important in its own way to the LP’s presentation.  All things considered, they make this record not only one of the year’s best new rock and hard rock albums, but potentially one of the year’s best new overall albums.  We Are 1 is scheduled for release Friday through AFM Records.  More information on the album is available along with all of U.D.O.’s latest news at:

 

 

 

Website: http://www.udo-online.de

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

 

 

 

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

Opus’ New Covers Collection Will Appeal To A Wide Range Of Rock Fans

Courtesy: O’Donnell Media Group

Rock drummer Christian F. Lawrence released a new collection of cover songs titled The Corona Covers Friday through his official Bandcamp page.  Lawrence — who goes by the stage name Opus — works with independent hard rock/metal band Dead By Wednesday and with Megadeth bassist David Ellefson on his solo work.  The eight-song recording features songs that are a far cry from the work for which he has come to be known.  That is due to the songs that make up the body of the new compilation.  They will be discussed shortly.  Lawrence’s performance of said songs plays its own role in the overall presentation of this record.  They will be discussed a little later.  The price point for this covers collection is also important to discuss.  Together with the noted elements of the songs and their performances, all three elements make The Corona Covers a positive display of Lawrence’s talents and potential as a solo artist.

The Corona Covers is a positive new offering for drummer Christian F. Lawrence.  That is because it is a work that puts on display, Lawence’s talents as a singer, guitarist and solo artist.  It does this in part through the songs that make up its body.  The songs are not metal songs.  Rather, they are works that come from a relatively wide range of musical genres.  The collection opens with a cover of Alice in Chains’ hit song ‘Rooster.’  The band, as most audiences know, was part of the Seattle grunge sound back in the early and mid 1990s.  From there, Lawrence takes audiences back in time with his own performance of Pink Floyd’s timeless song ‘Mother.’  ‘Mother’ and ‘Rooster’ could not be any farther apart as two songs can be in terms of genres.  He continues to branch out even more in the collection’s third song, ‘Blackbird.’  ‘Where Do The Children Play?,’ which was the product of Cat Stevens, follows that work.  From there, Lawrence moves to the southern rock realm with a cover of the Marshall Tucker Band’s song ‘Can’t You See.’  He doesn’t stick to that sound for long as the collection continues progressing, offering next, a cover of Phil Collins’ timeless hit ‘In The Air Tonight.’  KISS’ song ‘Beth’ follows that work, again keeping things interesting for listeners.  ‘Itsy Bitsy,’ by Mike and Peggy Seeger, closes out the collection.  Yet again, here is another change of style and pace for listeners.  What’s more, it’s another example of the diversity in Lawrence’s own musical influences.  That far-reaching range of influences in itself will establish respect for Lawrence by listeners while also keeping audiences engaged and entertained.  Keeping that in mind, this collection’s featured songs clearly are important in their own right to the whole of the compilation’s presentation.  As important as they are to the collection’s presentation, Lawrence’s presentation thereof is just as important to address.

Each performance by Lawrence in this collection stays true to its source material as best it can.  That is obvious throughout the compilation. That in itself is noteworthy.  What’s more, Lawrence’s actual performance of each song does its own part to honor each song’s roots.  The most notable of his performances come in his takes on ‘Rooster’ and ‘Mother.’  From the “rubbery” effect of the guitar to the control and balance in the layering of the vocals, this performance is right up there with the best acoustic performances that Alice in Chains held at its MTV Unplugged performance so many years ago.  Lawrence’s performance of ‘Mother’ is just as powerful, as that crafted by Pink Floyd.  That same melancholy is there in the instrumentation and Lawrence’s vocal delivery.  It has that same ethereal vibe of its source material, leading it to tug so strongly at listeners’ emotions.  Lawrence is to be commended for this performance which mirrors almost exactly its source material.  Much the same can be said of his performance of The Marshall Tucker Band’s song ‘Can’t You See’ and The Beatles’ ‘Blackbird.’  Lawrence strives to stay as true as possible to the source material in those performances, as well as those of the other noted songs and those not directly addressed here.  All things considered, Lawence’s performance of the compilation’s featured songs adds even more engagement and entertainment to the set as the songs themselves.  Together with the songs, the two elements give fans plenty of encouragement to purchase the record.

Speaking of buying, the price of Lawrence’s new covers collection is $8.  Considering the breadth of content and the Lawrence’s also already noted performances, that price is actually relatively affordable.  So many records with the same amount of content can range from that price and go up from there, so paying only that price is not bad.  Add in the fact that Lawrence will add new songs to the collection each week without raising the price, and audiences get even more motivation to purchase this compilation.  When this is considered along with the impact of the set’s songs and performances thereof, the set in whole proves to be a work that Lawrence’s fans will appreciate just as much as Dead By Wednesday fans and those of David Ellefson.

Christian F. Lawrence’s new covers collection The Corona Covers is hardly the first covers collection to ever be released by any musical act.  It is however, one that rock fans in general will find entertaining.  That is proven in part through the songs that make up the body of the record.  They show Lawrence’s wide range of musical tastes while also providing a wide range of listeners something to enjoy.  Lawence’s performance of the noted songs adds even more to appreciate here, as does the collection’s law price.  Each item noted here is important in its own right to the whole of The Corona Covers.  All things considered, they make The Corona Covers a presentation that will appeal to any rock fan.

More information on The Corona Covers is available online along with all of Lawrence’s latest news and more at:

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

Twitter: http://twitter.com/OpusTheDopest

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Ace Frehley To Perform Live On ‘Jimmy Kimmel Live’ Monday Night

Courtesy: eOne

Ace Frehley will release his new album next month, and in anticipation of its release, will make an appearance Monday night on ABC.

Frehley, one of the original members of KISS, will appear on Jimmy Kimmel Live! asa special guest member of Kimmel’s house band, Cleto and the Cletones as part of the promotion for his new album Spaceman.  The album is currently scheduled for release Oct. 19 via eOne.

 Spaceman is Frehley’s first album of original material since the release of his 2014 album Space Invaders. It features a cover of Eddie Money’s ‘I Wanna Go Back’ the singles ‘Bronx Boy‘ and ‘Rockin’ With The Boys‘ and six other songs sure to be their own fan favorites.

The album’s full track listing is noted below. Pre-orders are open now.

 

Courtesy: eOne

1. Without You I’m Nothing
2. Rockin’ With the Boys
3. Your Wish Is My Command
4. Bronx Boy
5. Pursuit Of Rock and Roll
6. I Wanna Go Back
7. Mission To Mars
8. Off My Back
9. Quantum Flux

 

 

 

Frehley is scheduled to perform on the KISS Kruise VIII from Oct. 31 to Nov. 5.  The cruise leaves from Miami, Florida before heading to Key West and Nassau before returning to Miami on Nov. 5.

Three more dates in Florida are scheduled following the cruise, from Nov. 9 to 11.  All of Frehley’s current live dates ate noted below.

Oct 31, 2018 – Nov. 5, 2018 – Miami to Key West and Nassau, KISS Kruise VIII
November 9, 2018 – Clearwater, FL, Capitol Theatre
November 10, 2018 – Melbourne, FL, King Center for the Performing Arts
November 11, 2018 – Miramar, FL, Miramar Amphitheatre

More information on Ace Frehley’s new album, live dates and more is available online no along with all of his latest news and more is available online now at:

 

Website: http://www.acefrehley.com

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

Twitter: http://twitter.com/Ace_Frehley

 

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.

 

 

The Dead Daisies Make A Good First Live Impression With ‘Live & Louder’

Courtesy: Spitfire Music/SPV

The Dead Daisies are alive and kicking.  The veteran rock outfit makes that clear in its brand new live recording Live & Louder.  The recording, released last Friday, May 19, comes a little less than a year after the release of the band’s third full-length studio recording Make Some Noise.  This new live recording is also the band’s first-ever live offering.  Keeping that in mind, it is a good start for the band in terms of live recordings.  That is due in part to the recording’s set list.  This will be discussed shortly.  The band’s performance of said set list is just as important to discuss as the set list itself in examining its overall presentation.  The bonus DVD that comes with the CD is yet another of the recording’s most important elements and hardly its last.  One could (and should) discuss the recording’s collective production values, which include its sound engineering and its general editing, as another positive.  The only real negative to the whole thing is the fact that the DVD provides snippets of the band’s performance rather than the performances in whole presented in the recording’s CD.  It would have been nice to have had that included in the package.  Hopefully that will be taken into consideration when and if the band releases its next live recording.  Even with that in mind, the recording in whole still proves to be an enjoyable first live effort from The Dead Daisies that exhibits potential for future live recordings from the band.

Live & Louder is an enjoyable first live effort from The Dead Daisies.  It is a recording that that exhibits potential for future live recordings from the band.  That is due in part to the recording’s set list.  The 15-song set list (technically 14-song since one track is listed as “Band intros) lifts liberally from the band’s latest full-length studio recording, with the album receiving eight nods.  The band’s first two records are also represented here, too with the band self-titled 2014 album being represented by ‘Lock ‘N’ Load,’ which featured former Guns ‘N Roses guitarist Slash as guest musician in the original recording.  Revolucion (2014) receives three nods in the form of ‘Mexico,’ ‘With You and I’ and the band’s cover of the Sensational Alex Harvey Band’s ‘Midnight Moses.’  Those aren’t the set list’s only high points.  Also included in the set list are covers of The Beatles’ ‘Helter Skelter’ and Grand Funk Railroad’s ‘We’re An American Band.’  While Make Some Noise got the most nods in this set list, the band is to be commended for lifting at least somewhat from its first two records for this show, too.  It would have been nice to have more songs from those albums for audiences who might not be so familiar with the band and its body of work.  Hopefully the band will take this into consideration when and if it releases its second live effort.  Even with this in mind, the set list still proves to be its own important part of the recording’s whole.  It is not the recording’s only key element.  The band’s performance of the set list is just as important to discuss here as the set list itself.

The set list featured in The Dead Daisies’ debut live recording is a key piece of the recording’s whole.  That is because though it pulls heavily from the band’s latest album, it does make an attempt to introduce audiences to the band’s older material, too.  Hopefully any future live recordings will be more balanced in regards to its representation of the band’s body of work.  While the set list alone makes this recording a good first live effort for the band, it is just one of the elements that is worth noting.  The band’s performance of the set list is just as important to note as the set list itself.  What is most notable about the band’s performance throughout these collected concerts is the sheer energy exuded in each show by each of the band’s members.  Front man John Corabi leads the way, giving his all in each song while the teamwork of guitarists Doug Aldrich and David Lowy generates even more energy through each song.  Drummer Brian Tichy’s solid timekeeping and powerhouse work behind the kit will impress drummers and musicians in general as will veteran bassist Marco Mendoza.  Whether in the songs or between them, the band manages to keep even home audiences entertained with its collective work.  The only downside to the band’s performances is that the actual video of said performances comes only in small clips in the concert’s bonus DVD.  It would have been nice to have had a full audio-visual presentation of that energy rather than an exclusively audio presentation.  Either way, the energy of the band’s performance does translate relatively well here.  As with the set list itself, it is another element which should be considered for the band’s next live recording.  That aside, the band’s energy still translates well in each song through the recording’s current presentation.  Keeping that in mind, it is not the last of the recording’s most important elements.  The bonus DVD that comes with the recording is yet another of its key elements.

The bonus DVD that is included with Live & Louder is a critical piece of the recording’s whole because of its content.  It includes an extensive series of interviews with the band members in which they discuss a variety of topics including stage fright, favorite live songs, playing covers and much more.  It also includes music videos for four songs taken from Make Some Noise.  Having the videos available on DVD means not always having to search for the videos online, so that in itself is its own bonus.  Audiences are also treated to a brief yet concise look at the tour from which the featured set list was culled.  The short vignettes give just a glimpse into the band’s live shows and life on the road, which adds to the recording’s overall experience.  Each element is minor in itself.  However, when set alongside each other, the noted elements do plenty to add to the overall live experience for fans who might otherwise not get to experience The Dead Daisies live.  One can only hope that, again, with its next live recording, a full audio-visual experience will be available and not just glimpses of that full-on experience.  That’s a discussion for another time.  All things considered, the bonus DVD that comes with Live & Louder’s main CD presentation is worthy of applause in its own right.  When it is set alongside the concert’s set list, the band’s performance thereof and even the concert’s production values, the end result is a recording that is a good first live effort for The Dead Daisies both because of and despite the lack of a DVD or Blu-ray recording of the concert.

The Dead Daisies’ debut live recording Live & Louder is a good first live effort from the veteran rock collective.  It boasts plenty of positives that have already been noted.  What wasn’t fully discussed was the expert production values exhibited throughout the recording.  The transitions between the separate segments were spot on and the sound engineering proves to be just as impressive as the general editing.  When these elements are set alongside the other discussed elements, the end result proves once more just how enjoyable this recording is even solely on an audio-specific platform.  With any luck, the band’s next live recording will include a DVD and/or Blu-ray performance so that the band can show even more just how impressive its live show is.  Live & Louder is available now.  More information on Live & Louder is available online now along with all of the band’s latest news and more at:

 

 

 

Website: http://thedeaddaisies.com

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

Twitter: http://twitter.com/TheDeadDaisies

 

 

 

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Santana Shines Again In Phil’s Picks’ 2016 Top 10 New Live DVDs/BDs List

Courtesy: Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

The weather outside is definitely looking frightful this time of year.  That means rather than going outside to get out and about, people are going to be looking more for ways to have fun while they stay indoors and stay warm.  That is just one of so many reasons that record labels churn out so many live recordings each year.  The problem with all of those recordings is that while some are truly standout offerings, others are otherwise forgettable space fillers used to fulfill contractual obligations for the given acts.  Presented today are some of the best of this year’s new live recordings.

Whereas Phil’s Picks already presented the year’s top new live CD recordings, this time Phil’s Picks is presenting the year’s top new live DVDs and Blu-rays.  A lot of thought and consideration went into this list.  The concerts’ set lists, the bands’ performances, the cinematography and audio mix all went into consideration for this list as did the recordings’ companion booklets or lack thereof.  So it goes without saying that it wasn’t an easy list to assemble.  But this critic tried.
As always, the list presented here includes not just this critic’s list of the year’s top new live DVDs and BDs but five honorable mention titles for a total of 15 recordings.  Without any further ado, here for you, is Phil’s Picks 2016 Top 10 New Live DVDs/BDs.
PHIL’S PICKS 2016 TOP 10 NEW LIVE DVDs/BDs
 
1. SantanaSantana IV Live at the House of Blues Las Vegas
2. KISSKISS Rocks Vegas
 
3. Joe BonamassaLive at the Greek Theatre
4. Judas PriestBattle Cry
5. Motley CrueThe End Live in Los Angeles
6. The Rolling StonesHavana Moon
7. Deep PurpleLive at the NEC
8. Melody GardotLive in Paris
9. Gregory PorterLive in Berlin
10. ScorpionsLive in Munich
11. Alan JacksonLive at Red Rocks
12. Michael Schenker’s Temple of RockRock on a MissionLive in Madrid
13. SaxonFeel Your Power
14. Imagine DragonsSmoke + Mirrors Live
15. Fall Out BoyThe Boys of Zummer TourLive in Chicago
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Santana Shows The Way In The Phil’s Picks 2016 Top 10 New Live CDs List

Courtesy: Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Experiencing a live performance of one’s favorite act(s) is a very special event.  That is because it serves to help fans and their favorite acts connect in a way that taking in said acts’ studio releases just can’t.  What’s more attending live concerts isn’t always easy or inexpensive.  Between the cost of tickets, food, souvenirs, gas, and lodging, attending concerts can cost almost as much as a used car sometimes, depending on the act.  In other cases, one’s favorite acts might never even come near one’s town.  So what is a person to do to experience one’s favorite acts?  The answer is simple: the live recording.  That brings us to the topic of today’s “Best Of” list.

Today, Phil’s Picks presents its list of the year’s Top 10 New Live CDs.  Everyone should understand this is distinguished from the year’s top new live DVDs and BDs.  That’s because some recordings come only on CD while others are only presented on the latter format.  Others are also presented in both formats both separate of one another and collectively.  The recordings included in this list include both standalone CDs and CDs included in complete DVD/BD/CD sets.  One of the standalone live CDs included in this list is ZZ Top’s new live recording Greatest Hits Live.  The Outlaws’ Legacy Live is another of those standalone CD recordings.  Joe Bonamassa also has a new live recording in the form of Live at the Greek Theatre that is available on separate CD, DVD, and BD platforms.  It’s on this list, too.  Suffice it to say, there’s a healthy mix of new live titles here both in terms of genre and platform.  So, enough rambling.  Presented here for you is Phil’s Picks 2016 Top 10 New Live CDs.

It should be noted here again that the list includes the Phil’s Picks Top 10 new Live CDs as well as five additional honorable mention titles for a total of 15 recordings.

 

PHIL’S PICKS 2016 TOP 10 NEW LIVE CDs

 

  1. Santana IV Live at the House of Blues Las Vegas
  1. ZZ TopGreatest Hits Live
  1. Judas PriestBattle Cry
  1. KISSKISS Rocks Vegas
  1. Joe Bonamassa Live at the Greek Theatre
  1. The OutlawsLegacy Live

  2. The Rolling StonesHavana Moon

  3. Motley Crue – The End: Live in Los Angeles

  4. SaxonFeel Your Power

  5. Imagine DragonsSmoke + Mirrors Live

  6. Iggy Pop Post Pop Depression

  7. Ayreon – The Theater Equation
  8. Pete Townshend’s Deep EndFace The Face

  9. Wacken 201526 Years Louder Than Hell

  10. LeprousLive at Rockefeller Center

 

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KISS’ Latest Live Recording Lives Up To Its Title

Courtesy: Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Late last year, veteran rock band KISS played a nine-night residency at Las Vegas’ famed Hard Rock Hotel and Casino.  Now almost a year later, one of those shows has been made available to audiences in the form of the band’s new live recording KISS Rocks Vegas.  Released just this week, the extensive recording offers audiences and members of the KISS Army to appreciate beginning with its set list.  That will be discussed shortly.  The band’s stage show and presence are just as important to the concert as the set list.  That will be discussed later.  The varied platforms on which the concert is available rounds out the concert’s most important elements.  Each element is important in its own right to the concert’s overall presentation.  All things considered, they make KISS Rocks Vegas one more must have for any KISS fan whether just a fan or a longtime member of the KISS Army.

KISS’ new live recording KISS Rocks Vegas is hardly the band’s first ever live recording.  It is, however a welcome addition to any KISS fan’s collection.  That is due in part to the concert’s set list.  The set list reaches all the way back to the band’s 1974 self-titled debut and all the way up to its 1998 album Psycho Circus to make up its body.  The band’s 1976 album Destroyer is most heavily represented in this set list with no fewer than five of its songs presented here.  Those songs are: ‘Beth,’ ‘Detroit Rock City,’ ‘God of Thunder,’ ‘Shout It Out Loud,’ and ‘Do You Love Me.’  Love Gun (1977) receives three nods with ‘Christine Sixteen,’ ‘Love Gun,’ and ‘Plaster Caster.’  These are just some of the band’s hit songs included in the twenty-three-song set.  The band obviously couldn’t pull songs from every one of its albums in just one show.  That would require a set list that would lead to a much more extensive recording.  Of course odds are that few, if any, KISS fans would complain about that.  Keeping that in mind the show’s extensive set list gives audiences plenty to appreciate in the bigger picture of this recording.  The band’s show and stage presence combine to make for another important part of the recording’s presentation.

The extensive twenty-three song set that is featured in KISS’ new live recording is clearly pivotal to the recording’s overall presentation.  It obviously doesn’t cover the band’s entire catalogue of hits and albums.  But audiences will agree that it does cover quite a bit of ground.  It is just one of the key features of the recording, too.  The band’s overall show and its stage presence throughout are collectively just as important to note as the show’s set list.  The band’s stage show is just as intense as it was in the band’s heyday.  Those that have seen the band’s live shows from its early days will agree with that sentiment.  It includes all of the pyro, lights, and other over-the-top elements for which the band has come to be known.  The camera crew’s work in capturing that intensity is to be applauded, too.  That is because it does such an impressive job translating that intensity to audiences at home.  In the same vein the band’s actual presence throughout the concert is just as notable.  All four members of the band give one hundred percent and then some in entertaining the audience in attendance.  Paul Stanley commands the stage and the audience.  Fellow founding member Gene Simmons expertly compliments Stanley’s persona with his own *ahem* fiery energy throughout the show.  One would expect that both men would take it easy at their age, as so many older performers do.  But neither one does.  Rather, they give their all because the audience gave its all, too.  Even current drummer and guitarist Eric Singer and Tommy Thayer put in their share of energy, too in their performances.  The combined efforts of all four men make the band’s stage presence in itself intense and wholly entertaining.  The band’s actual stage show couples with that performance to make both elements one whole that is just as important to this recording as the show’s set list.  Even collectively, they are still not all that makes KISS Rocks Vegas another standout live recording from what is considered by many to be “the greatest band in the world.”  The varied platforms on which this recording is available rounds out the concert’s most important elements.

The set list that is featured in KISS Rocks Vegas works with the bands stage presence and stage show to give KISS fans more than enough reason to add this new live recording to their personal collections.  They are just the tip of the proverbial iceberg for the recording.  The concert is available on a number of platforms.  Those platforms include: DVD + CD combo pack, Blu-ray + CD combo pack, Deluxe Edition DVD + Blu-ray + 2CD.  In making the concert in three separate platforms, Eagle Rock Entertainment and KISS have covered all of their collective bases here.  Regardless of whether fans have DVD players or Blu-ray players, every fan can enjoy the concert in full with both its audio and audio/visual presentation.  For the true KISS loyalists—the hardcore members of the KISS Army—there is also the Deluxe Edition, which includes both the DVD and Blu-ray in one complete package along with a double CD audio presentation of the concert.  That Deluxe Edition also includes a large photo book complete with pictures from the band’s nine-night residency at the Hard Rock Hotel and Casino.  So whether one is just a fan, a devoted fan, or full-blown member of the KISS Army, there is something for everyone across the board.  Eagle Rock Entertainment and KISS are to be highly commended for going this route.  When this element is set alongside the band’s stage show and presence, and the show’s extensive set list, it all comes together to show once and for all why this concert is, again, a must have for any KISS fan and his or her collection.

KISS Rocks Vegas is not KISS’ first ever live recording.  And regardless of whether fans have any of the band’s previous live recordings, this latest live offering still proves in the long run to be one more must have for any KISS fan and his or her collection.  This is made clear in part through the concerts extensive, twenty-three song set list.  The band’s performance of that set list and the band’s overall stage show make that even clearer.  The multiple platforms on which the concert has been made available by Eagle Rock Entertainment and KISS puts the finishing touch on why the recording is so impressive.  Each element is obviously important in its own way to the concert’s overall presentation.  All things considered KISS Rocks Vegas proves to be, once more, a must have for any KISS fan and his or her KISS collection.  It is available now in stores and online.  More information on this and other titles available 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.

KISS To Release New Live Recording Next Month

Courtesy: Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

KISS is coming home yet again this summer.

Eagle Rock Entertainment will release the veteran rock band’s new live recording KISS Rocks Vegas on Friday, August 26th.  It will be available on multiple platforms including: DVD + CD combo pack, Blu-ray + CD combo pack, Deluxe Edition DVD + Blu-ray + 2CD.  The Deluxe Edition is presented as a hardcover package complete with 12 X 12 book that features photos from the band’s performance as well as a bonus CD.  The concert presented here was originally recorded in November 2014, during the band’s residency at The Joint at Hard Rock Hotel and Casino in Las Vegas.  The band’s residency was part of its 40th anniversary World Tour.  It features the band’s trademark performance complete with pyrotechnics, full-on stage presence, and much more.

The show’s extensive set list features a total of 23 songs, 7 of which are performed in their own acoustic set.  It features a number of the band’s biggest songs including but not limited to: ‘Rock and Roll All Night,’ ‘Detroit Rock City,’ ‘Shout It Out Loud,’ ‘Love Gun’ and many others.  The full set list featured in this recording is noted below.

 

 

     TRACK LISTING:

 

  1. DETROIT ROCK CITY

 

  1. CREATURES OF THE NIGHT

 

  1. PSYCHO CIRCUS

 

  1. PARASITE

 

  1. WAR MACHINE

 

  1. TEARS ARE FALLING

 

  1. DEUCE

 

  1. LICK IT UP

 

  1. I LOVE IT LOUD

 

  1. HELL OR HALLELUJA & TOMMY SOLO

 

  1. GOD OF THUNDER

 

  1. DO YOU LOVE ME

 

  1. LOVE GUN

 

  1. BLACK DIAMOND

 

  1. SHOUT IT OUT LOUD

 

  1. ROCK AND ROLL ALL NIGHT

 

 

       ACOUSTIC SET:

 

  1. COMING HOME
  2. PLASTER CASTER
  3. HARD LUCK WOMAN
  4. CHRISTINE SIXTEEN
  5. GOIN’ BLIND
  6. LOVE HER ALL I CAN
  7. BETH

 

More information on KISS Rocks Vegas is available online now along with all of the band’s latest news and more at:

 

 

 

Website: http://www.KissOnline.com

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

Twitter: http://twitter.com/KISSOnline

 

 

 

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.

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.