Jimi Hendrix: Live At The Atlanta Pop Festival Is One Of 2015’s Top New Live CDs

Courtesy:  Experience Hendrix, LLC/Legacy Recordings

Courtesy: Experience Hendrix, LLC/Legacy Recordings

On July 4th, 1970 legendary guitarist Jimi Hendrix stood on a stage in Byron, Georgia before an audience estimated to be anywhere from 300,000 to 400,000 people at the city’s Second Atlanta International Pop Festival. He was joined on stage by then band mates Billy Cox (bass) and Mitch Mitchell (drums) for what would go on to be the biggest audience for which the trio would ever perform before Hendrix’s untimely death a little more than two months later. While it is the biggest performance that Hendrix and company had ever held, it has never seen the light of day. That is until now. Thanks to the efforts of the people at Experience Hendrix, LLC and Legacy Recordings, this classic concert will finally be available to audiences this Friday, August 28th. Needless to say this new, upcoming live recording is one more welcome addition to any Hendrix fan’s music library. The main reason that it is such an enjoyable recording is its set list. The show’s set list totals sixteen songs and tops off at roughly an hour and twenty-two minutes. It features both a number of Hendrix’s biggest hits up to that point and even a number of lesser-known pieces. The combination of both those bigger hits and lesser-known pieces makes for a set list that both the most hardcore Hendrix fans will enjoy and those that might not be so familiar with the music that made Hendrix rock royalty. As important as the concert’s set list is to its presentation in whole, it is just one part of what makes the show so enjoyable. Hendrix’s stage presence and that of his band mates plays its own role in the concert’s enjoyment. Last but hardly least important in the concert’s enjoyment is its audio mix. Considering the changes in recording technology over the course of the past forty-five years the quality of this concert’s audio mix is surprisingly impressive. Sure, it’s tough to hear Hendrix talking and joking with the audience between songs without pumping the volume almost to max. But that’s a minor issue when looking at the audio mix in general. That being the case, the audio mix passes the test and rounds out what is yet another archived show that any Hendrix fan will want to have in his or her own music library.

Jimi Hendrix: Live at the Atlanta Pop Festival is hardly the Jimi Hendrix Experience’s first archived live show to be released by Experience Hendrix, LLC and Legacy Recordings. That aside, it is still another great addition to the home music library of any Hendrix fan out there regardless of his or her familiarity with Hendrix’s body of work and his live shows. The main way in which it proves so enjoyable is its set list. The set list is not entirely different from previous Jimi Hendrix Experience concert recordings. However, it does show at least some differences from those recordings. It shows differences by including a number of lesser-known songs including the likes of: ‘Lover Man,’ ‘Spanish Castle Magic,’ ‘Room Full of Mirrors,’ ‘Message To Love,’ and ‘Freedom’ just to name a handful. While the inclusion of those lesser-known songs is in itself important to the enjoyment of this recording the performance of the band’s more well-known songs should not be played down. Audiences will love the band’s laid back take of ‘Red House.’ And fittingly the band’s performance of the show-opening ‘Fire’ will have listeners even today feeling the energy exuded by the band and by the audience in attendance all those decades ago. Feeling that energy, listeners will feel it running through themselves, too. Just as interesting is the band’s performance of ‘Hey Joe,’ one of its biggest hits of all. Unlike with so many other performances of this song–and even the song’s original recording–it shows to be more up-tempo than in those recordings. That’s not to say that it is a really fast paced rendition of the song. It is just not as slow as audiences are accustomed to in regards to this song. It’s yet another interesting way in which the set list shows to be just one important element in the whole of Live at the Atlanta Pop Festival. The rest of the songs featured in the show’s set list could each be used as examples, too. These examples within themselves are just a few of the clearest examples of why the show’s set list is so important to its success and enjoyment.

The set list featured at the heart of Live at the Atlanta Pop Festival is a key element of the recording’s success. It is of course just one element in a much larger picture. The band’s stage presence–especially that of Hendrix himself–is just as important to its success and enjoyment. Audiences that are familiar with Hendrix’s history both on and off the stage will find his stage presence just as enjoyable as ever. This includes both his performance of each song and his rapport with his audience. During the course of each of the band’s songs, Hendrix feels just as at ease as ever. His performance feels completely natural and organic. Listeners will especially notice this in some of the concert’s more spur of the moment jam session moments. The same can be said of [Billy] Cox and [Mitch] Mitchell. They feel just as natural in their performances. Mitchell sounds as if his drumsticks are natural extensions of his arms as he flows through each song while Cox is just as smooth, offering up just enough low-end to perfectly compliment both Mitchell’s rhythms and Hendrix’s main line. It makes for a great harmony opposite Hendrix’s work. All three musicians’ talents together make for a nearly ninety minute set that is still just as enjoyable today as it was forty-five years ago. Hendrix’s rapport with the audience plays into that, too. Although listeners will have to pump the volume on their stereos or MP3 players in order to hear him between songs, they will hear for themselves in doing so just how natural he was even when not performing. It’s really interesting to note especially considering his nature off-stage. He was just as nice off-stage as he was in front of a crowd. But he was also somewhat shy around people when he wasn’t performing. So keeping that in mind, it makes his interactions with the audience here just as enjoyable and incredible as in any of the band’s other performances. It really goes to show why his ability to overcome that shyness is so important both to the enjoyment of this and other performances from the band, and why he is himself one of the most important front men in modern rock history.

The stage presence of both Hendrix and his band mates throughout the course of Live at the Atlanta Pop Festival shows in the long run to be a hugely important element in its overall success and enjoyment. That is because all three musicians’ performances feel just as natural and organic as in any of the band’s previous performances. That natural, organic approach to each song make the set list in whole that much more important to the recording’s success, too. For all of the importance of both noted elements, neither would be of any worth noting without noting the concert’s audio mix. Thankfully, those charged with restoring the concert’s audio mix stepped up and accomplished their task with the utmost expertise. Sure, it would have been nice if listeners didn’t have to jack up the recording’s volume in between songs. But that is a minor price to pay for a recording that sounds as good as it does in this case. It speaks volumes of not only the abilities of those that re-mastered the concert’s sounds but of those that originally recorded the concert and of the recording tech from the era. It is thanks to both that tech and the abilities of all involved that both the show’s set is so easy on the ears and why the band’s stage presence throughout the whole show comes across just as well even with the issue of the moments between the songs. It is the foundation for the concert in whole and in turn makes the concert complete. It is the final touch in the concert’s examination, proving exactly why it is yet another welcome addition to any Hendrix fan’s music library.

Jimi Hendrix: Live at the Atlanta Pop Festival is not the first live Hendrix concert recording to be released to audiences. That aside, it still proves in the end to be another fully welcome addition to any Hendrix fan’s music library. That is thanks to the show’s near ninety-minute set list, made up of songs that all of Hendrix’s fans will recognize. The band’s stage presence and the work of those responsible for re-mastering its sound are just as much to note. All three elements combined make Live at the Atlanta Pop Festival one more welcome addition to the music library of any Jimi Hendrix fan and one more of this year’s best new live CD recordings. It will be available in stores and online this Friday, August 28th. More information on this and other Jimi Hendrix recordings is available online now at:

Website: http://www.jimihendrix.com

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

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.

Satriani Announces Release Date, Specs For Fifteenth Album

Courtesy:  Legacy Recordings

Courtesy: Legacy Recordings

Veteran guitar virtuoso Joe Satriani will release his latest full-length studio recording this summer.

Shockwave Supernova will be released on Friday, July 24th. His will be one of the first to be released under the entertainment industry’s new “Global Release Day” release schedule. Shockwave Supernova was recorded late in 2014 at the famed Skywalker Sound in Lucas Valley, California. Also on board for the record were long-time Satriani collaborator Mike Keneally (keyboards, guitars), Marco Minnemann (drums), and Bryan Beller (bass). Satriani said of the lineup tapped to help him record the new album, “I couldn’t have asked for a better band to help bring these songs to life.” Fellow long-time friend and collaborator John Cuniberti manned the boards once again for this latest record. The relationship between Satriani and Cuniberti reaches all the way back to Satriani’s 1986 debut album Not of this Earth and its platinum-selling follow-up record Surfing with the Alien.

Satriani’s fans can pre-order Shockwave Supernova online now via his official website http://www.satriani.com. Fans that do will receive a free exclusive, signed poster along with the album. The artwork for the poster will be chosen from fan submitted art. Fans can get more information on the poster art contest at http://www.facebook.com/joesatriani. For those that want to pre-order the album by itself can do so via Amazon and iTunes respectively at:

Amazon: http://smarturl.it/satriani_SS_amzn

iTunes: http://smarturl.it/satriani_SS_itunes

All of the latest updates on Shockwave Supernova is available online now along with the latest updates on Satriani’s live dates at:

Website: http://www.satriani.com

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

To keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at 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.

 

Rob Halford Signs New Deal With SME, Legacy

Courtesy:  Sony Legacy

Courtesy: Sony Legacy

Sony Music Entertainment and Legacy Recordings made a big announcement today that involves Judas Priest front man Rob Halford. And for fans of both Judas Priest and Rob Halford, it is a very exciting announcement.

Officials with SME and Legacy Recordings have announced that they have inked a deal with the Judas Priest front man that will allow much of the material from his side projects to finally see the light of day. The precise terms of the deal were not released. However it is known that the deal guarantees that virtually all of his work with Fight Two, and his own eponymous recordings from 1992 forward will see proper releases. There will also be an “Essentials” compilation along with a “Playlist” compilation and definitive “Complete Albums” box set. The Essential Rob Halford will be released March 31st via Columbia/Legacy as part of the deal. The double-disc compilation will feature thirty tracks. A pair of live recordings in the form of War of Words: The Film and Live in Phoenix are also expected for eventual release as part of the deal.

Rob Halford’s catalogue includes the following releases:

Fight

Albums
War of Words
Mutations
A Small Deadly Space
K5 – The “War of Words” Demos

Audio/Visual
War of Words: The Film
Live in Phoenix

Two

Voyeurs

Halford
Metal God Essentials: Volume 1
Resurrection
Live Insurrection
Crucible
Live at Rock in Rio 3 (album and audio/visual)
Live in Anaheim (album and audio/visual)
Winter Songs
Made of Metal
Live at Saitama Super Arena (album and audio/visual)
Live in London
Live 2010 North & South America Tour (album and audio/visual)
Metal God Essentials: Volume 2

Rob Halford’s fans can keep up with his latest news online via Twitter at http://twitter.com/halfordmetal. 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.

Priest’s DOTF 30th Anniversary Deluxe Edition Is A Must Have For Every Metal Purist And Judas Priest Fan

Courtesy:  Columbia Legacy

Courtesy: Columbia Legacy

Judas Priest. The very name is synonymous with metal. Regardless of whether or not audiences are familiar with the work of Judas Priest, they know the band’s name and its reputation among rock’s elite acts. The band has been making music together for almost half a century as of this year. To be more specific, the band has been making music for roughly forty-six years. Though its first full length album wasn’t actually released until 1974. Since that time, Judas Priest has churned out a surprising seventeen full-length studio albums. Those albums have sold millions of copies the world over including its most recent release Redeemer of Souls (2014). Considering that, it speaks volumes of the band’s longevity and its popularity. Now as the band comes another year closer to its fiftieth anniversary–this year marks the band’s forty-sixth year–it celebrates yet another important anniversary that just recently passed with the 30th Anniversary Edition of its 1984 album Defenders of the Faith. 2015 actually marks thirty-one years since Judas Priest originally released Defenders of the Faith. So why Columbia and Legacy would wait until this year to release the album’s 30th Anniversary Edition is anyone’s guess. It would have made more sense to have released it last year. That aside, Defenders of the Faith: 30th Anniversary Deluxe Edition is still a must have for metal purists and Priest fans alike. The central reason that it is a must have for audiences is the very fact that it presents Defenders of the Faith in its entirety exactly as it was presented way back in 1984. All ten tracks are here and they sound just as they did in the album’s original release. The addition of a two-disc, twenty-one song performance from the band’s 1984 tour in support of DOTF makes this re-issue all the more valuable for metal purists and Priest fans alike. And while it may seem like a minimal element to some, the album’s packaging is just as important to the presentation as the original album and its newly included concert. By itself, the re-issue’s packaging plays its own important part in the album’s enjoyment and success. Together with the album’s extensive bonus live recording and its full presentation of the original album, all three elements together prove why every metal purist and Priest fan should have Defenders of the Faith: 30th Anniversary Deluxe Edition.

Defenders of the Faith: 30th Anniversary Edition is, as already noted, a must have for any metal purist and Judas Priest fan out there that does not already own his or her own copy of the album whether on CD or vinyl. The presentation of the original album in its entirety is just one reason for this. Thirty-one years have now passed since DOTF was first released to the metal masses around the world. Since that time, it has gone on to earn platinum status, selling over a million copies worldwide. Even selling so many copies, there are still those that do not own the album whether on vinyl or on CD. Now those same audiences and a whole new generation can finally enjoy this album including its hugely controversial track ‘Eat Me Alive.’ For those that don’t know, ‘Eat Me Alive’ became a point of contention for Tipper Gore and the then PMRC because of Mrs. Gore’s interpretation of said song. The band’s musical response to that song was pretty interesting in its own right. That’s a story for another time. But the fact that that song is present along with each of the album’s others, and that they still sound so clear to this day makes for plenty of reason for audiences to add this album to their music libraries.

The presentation of DOTF as it was originally presented thirty-one years ago in its new re-issue is within itself plenty of reason for metal purists and Judas Priest fans alike to add this re-issue to their music libraries. This applies to both the generation that might already own the album whether it be on vinyl or CD and to the current generation of metal legions around the world. The addition of the bonus concert recording to the package makes even more reason for metal legions and Priest fans alike to pick up this re-issue. The concert’s set list totals twenty-one tracks and comes in at just under two hours. More specifically, it clocks in at an hour and forty-three minutes. Thanks to the concert’s set list and the band’s stage presence, that near two-hour run time feels to be far longer. And that is meant in the best possible way. Simply put, the concert’s set list and the band’s stage persona leaves audiences not even realizing that so much time has passed. At the same time, it doesn’t leave audiences feeling short-changed in the end, either. Full discretion, there are some points throughout the concert in which the audio mix is a bit dicey. Simply put, at some points, it seems as if the dual attack of Glenn Tipton and K.K. Downing overpowers front man Rob Halford’s vocals. It’s not terrible. But it is noticeable. And luckily this doesn’t happen throughout the performance. It only happens at points. So considering this, one can forgive whomever was originally at the audio boards. Even more Richard Kayvan and Tom Allom are to be commended for their efforts in remastering both the concert’s audio and the audio from the original album’s songs. The total of that work on both sides still makes Defenders of the Faith: 30th Anniversary Deluxe Edition well worth adding to every metal purist and Judas Priest fan’s music collection.

The presentation of DOTF in its full, original entirety in its new 30th Anniversary Edition makes for reason within itself for metal purists and Judas Priest fans alike to add this re-issue to their music libraries. The addition of a never-before-released two-hour concert to the package makes for even more reason for those same audiences to add this re-issue to their music libraries. While both elements together do plenty to make this re-issue enjoyable, they still are not all worth noting that makes it a success. Believe it or not the re-issue’s packaging actually plays a part. So may record labels, when handling multi-disc sets, tend to use the case for a single album and add a plastic insert on which one or even two discs are placed, depending on the number of discs. This does help save space on CD racks. but it is also very problematic. The problem with this form of packaging is that the plastic insert in question can very easily be broken either at the hinge or on the insert itself when it is flipped out and pressure is placed on the insert to either remove or replace the CD(s). Columbia Legacy didn’t take that path with Defenders of the Faith: 30th Anniversary Deluxe Edition. Instead they presented the album’s re-issue in a gatefold package. This places each of the re-issue’s three discs into their own trays. This practice protects not only the discs but the trays, too. This actually preserves the album and its companion concert discs for far longer than the standard plastic insert formula. While it may be slightly more bulky, it is also much smarter. Not only that but it also creates a certain sense of nostalgia especially among those that might have owned the original album on vinyl thirty-one years ago before the advent of CDs. People generally take for granted the packaging of CDs. But hopefully in reading this, audiences will see that packaging sometimes can indeed help make or break an album. And this is an instance in which the packaging has greatly helped the album in its re-issue. It is one more way that Defenders of the Faith: 30th Anniversary Deluxe Edition proves itself a must have for any metal purist and Judas Priest fan around the world. Together with the bonus full-length concert and the re-mastered original album, all three elements are more than enough reason for every member of the Metal Nation worldwide to add this re-issue to their music libraries regardless of whether or not they already own the original album.

Defenders of the Faith: 30th Anniversary Deluxe Edition boasts plenty of reasons for audiences to add this re-issue to their libraries. The original album is presented in its entirety. And thanks to the work of those charged with re-mastering it, it sounds as good as ever if not better. The addition of a full-length concert that comes in at nearly two hours makes this re-issue eve better even with the occasional audio imbalances between Rob Halford’s vocals and the guitarists K.K. Downing and Glenn Tipton. The packaging is just as important to the whole of the re-issue. Despite being slightly bulky, the packaging protects the discs and their trays and even creates a sense of nostalgia among some audiences. The combination of all three elements together makes clear why every metal purist and Judas Priest fan should add this re-issue to their music libraries. It is available now in stores and online. More information on DOTF: 30th Anniversary Deluxe Edition is available online along with all of the latest news from Judas Priest at:

Website: http://www.JudasPriest.com

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

Twitter: http://twitter.com/judaspriest

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.

Sony Legacy’s Latest Hendrix Profile Is One Of The Best Overall Albums Of 2015

Courtesy:  Sony Legacy/Experience Hendrix, LLC

Courtesy: Sony Legacy/Experience Hendrix, LLC

Sony Legacy’s new record You Can’t Use My Name is one of this year’s best new records. It is also one of the most important pieces of music history to be released in a long time. The record is a compilation of songs on which legendary guitarist Jimi Hendrix lended his talents during his short stint with Curtis Knight and the Squires from 1965 – 1966. The songs culled for this record have never been released in any form. That is,as is noted in the album’s companion booklet, a result of legal issues that were only hammered out by the people at Experience Hendrix, LLC. Speaking of the booklet, it is just one part of what makes this record so important regardless of one’s level of knowledge in regards to Hendrix and his body of work. Confused? It’ll all be explained shortly. First and foremost though, the songs are central to the overall enjoyment of the record. They, along with the record’s companion booklet, make perfectly clear why any music lover overall will want to hear this record. Last but not least of all worth noting is the production values of the songs presented across the record. Considering that they have apparently sat in limbo for decades, they sound especially impressive in this presentation. Each element by itself makes You Can’t Use My Name enjoyable for any Jimi Hendrix fan. All three elements taken collectively into account they prove this record to be an equally important piece of music history. That collective importance and enjoyment makes You Can’t Use My Name one of this year’s best new album’s overall and a piece that both Hendrix fans and music lovers overall should add to his or her collection.

There is a lot to be said of Sony Legacy’s new compilation You Can’t Use My Name. The fourteen-track record is a compilation of songs that were recorded by legendary guitarist Jimi Hendrix between 1965 and 1966 when he served as a backup member of Curtis Knight’s group Curtis Knight & The Squires. Its release on Tuesday, March 24th marks the first time ever that these songs have seen the light of day. They have hung in limbo for so long because of legal issues that Experience Hendrix, LLC only recently finally got settled. The issues in question had to do with ownership and distribution rights for the songs. The efforts to get the rights to the songs were well worth it as listeners will agree in hearing these songs. As listeners will note on this record, Hendrix’s guitar playing in each one of the compilation’s songs displays the roots of his talents. His guitar solo on ‘Gotta Have a New Dress’ and his work on the near seven-minute-long ‘Knock Yourself Out (Flying on Instruments) both display those roots. Though, the latter of the two shows more hints of the timeless tunes that he would churn out in the years to come with Mitch Mitchell, Noel Redding, and Billy Cox. For all of the breadth of talent displayed by both Hendrix and the members of The Squires on this record, listeners get to hear a glimpse of the consequences of those talents in the uncut take of ‘Gloomy Monday.’ Listeners hear Hendrix talking to Curtis Squires and to producer Ed Chalpin, head of PPX in regards to his name being used in the song’s credits. His reasoning for keeping his name off of the recording is fully justified, as audiences will read in the album’s companion booklet. Speaking of that story and the booklet in whole, the companion booklet that comes with You Can’t Use My Name both that story and the larger story presented in the booklet proves to be another reason that music lovers and Hendrix fans alike will enjoy and appreciate You Can’t Use My Name.

So many consumers today have turned away from purchasing physical albums and turned more towards directly downloading specific songs from given acts’ albums. Ever since the creation of iTunes so many years ago, people have increasingly turned their backs on the physical object. The main argument given for this turn is that there are so few full albums worth purchasing anymore. To a certain point, that argument does hold water. In the case of You Can’t Use My Name, it is an argument that is one giant hole. In this case, the hole is so large not only because of the amount of impressive songs included for the compilation’s body but for the inclusion of its companion booklet. The booklet included with You Can’t Use My Name gives an in-depth background on Hendrix’s early days and his rise to stardom as the mouthpiece of The Jimi Hendrix Experience. While many audiences know plenty about Hendrix’s time with The Jimi Hendrix Experience and Band of Gypsys, it’s likely that far fewer audiences know about the legal issues that he faced during his rise to stardom. The booklet included with You Can’t Use My Name outlines in detail the legal issues in question courtesy of writer John McDermott. Those legal issues even boil over onto the album itself as can be heard in the rough cut of ‘Gloomy Monday.’ McDermott goes so far as to clearly transcribe the conversation heard between Hendrix, Knight, and PPX head Ed Chalpin before the recording begins. It clearly displays Hendrix as being very untrusting of Chalpin but trying to play off his discomfort at the situation in which he had found himself. That’s just part of the whole story that makes this record a must have for any music lover, historian or Hendrix fan. McDermott goes on to detail how perhaps Hendrix’s own interpretation of his contract with PPX versus Chalpin’s view obviously led to the ongoing dispute and the rift formed between Hendrix and Chalpin. McDermott notes in his history that these disputes followed Hendrix into his career with The Jimi Hendrix Experience. It would explain why in Sony Legacy’s Hendrix documentaries Jimi Plays Berkeley (2012), The Jimi Hendrix Experience: Hear My Train A’ Comin’ (2013), and Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight, Hendrix is seen as being somewhat closed off from others while not on stage. He even shows a little of that side on-stage, too. It is visible and audible in his stage presence. Despite his powerhouse performances, he himself comes across as being a little reserved for lack of better wording. The impact of these legal issues would seem to explain at least to some extent that reserved nature. Regardless of whether or not the legal issues outlined in You Can’t Use My Name’s companion booklet played a role in who Jimi Hendrix became over time, one can’t help but wonder. The very revelation of those issues–which may or may not have played a role in his personal life–thanks to John McDermott and the potential discussions that they could lead to as noted here, prove without a doubt why the booklet included with You Can’t Use My Name is just as important to the whole as the music itself. It still is not all worth noting of what makes the record work, either. The record’s production values are well worth noting, too.

The music chosen for You Can’t Use My Name and the record’s companion booklet are both of equal importance to the record’s enjoyment and success. That has been noted above. The music presents Hendrix before he was a star. And not only that, but it also presents a clear picture of his musical roots. The in-depth history of the legal issues challenging Hendrix as his star rose is just as key to the record’s enjoyment and success. It is more ammo in the argument in favor of owning the physical object and against the digital. Those that buy the album in its physical form will get the full experience, including that history and music. Those that only download the music won’t get the full background on the music and why the songs on this record are so important in the overall history of popular music and of Jimi Hendrix’s career. Now, having noted all of this, the music and the history lesson behind the music would be useless without quality production values. From the socio-politically charged protest piece that is ‘How Would You Feel’ to the uptempo, blues-infused instrumental that is Knock Yourself Out (Flying on Instruments) to the album’s controversial closer ‘Gloomy Monday,’ each song collected for the album sounds equally impressive. And that is thanks to those charged with resurrecting them and re-mastering them. If not for their painstaking efforts, none of the elements noted above would mean anything and this record would otherwise end up collecting dust on store shelves. But thankfully that is not the case. Because it isn’t the case, every song on the record is equally worth the listen. In hearing the quality sound of each song and taking in the important history behind the songs, listeners that are open-minded enough will agree that You Can’t Use My Name is not only one of this year’s best new albums but one of the most important pieces of 20th Century music history to come along in a very long time.

You Can’t Use My Name proves in the end to be an aptly titled new collection of songs from Experience Hendrix, LLC and Sony Legacy. The history provided behind the songs courtesy of John McDermott illustrates this clearly and concisely. This leads the songs themselves to prove all the more valuable both because of Hendrix’s performance on each one and simply for the fact that they were held in music limbo for so long. And thanks to the hard work of those charged with restoring the songs, the songs are clear and completely enjoyable. The end result of all of these elements is an album that once again proves to be one of the year’s best overall new records and one of the best pieces of 20th Century music history to come along in a very long time. You Can’t Use My Name will be available Tuesday, March 24th in stores and online. Though, the purchase of the physical item in the case is highly recommended. More information on this and other titles from Experience Hendrix, LLC and Sony Legacy is available online now at:

Website: http://www.jimihendrix.com

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

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.

Experience Hendrix, Legacy Announce New Hendrix Live Recording

Courtesy:  Experience Hendrix, LLC/Legacy Recordings

Courtesy: Experience Hendrix, LLC/Legacy Recordings

Officials with Experience Hendrix, LLC and Legacy Recordings announced Tuesday that the companies will release one of the last live performances of Jimi Hendrix’s career next month.

Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight will be released on Tuesday, June 17th on DVD and Blu-ray. The recording captures what would be his last full performance before his death eighteen days later on September 18th, 1970. His last live performance before his death was an impromptu set at Ronnie Scott’s Jazz Club in Soho less than a month later. The concert presented on Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight documents Hendrix’s headlining performance at the hugely revered festival on August 31st 1970. Hendrix performed to an audience of 600,000 at the festival. It was the largest audience before which he had ever performed. It was also the first time that his new band, rounded out by bassist Billy Cox and drummer Mitch Mitchell, had played together in the UK.

The concert’s presentation on both DVD and Blu-ray will contain the same features including new footage of ‘Hey Joe’ that was not part of the concert recording’s original release. There is also a bonus interview with director Murray Lerner, reproductions of the original Isle of Wight Festival tickets, festival posters and even a copy of Hendrix’s own hand-written directions to the festival. The recording features both a stereo sound mix and ad 5.1 audio surround sound track mixed by Eddie Kramer. Eddie Kramer was Jimi Hendrix’s original recording engineer. The complete track listing for Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight is noted below.

TRACKLIST

  1.      Blue Wild Angel: Jimi Hendrix Live At The Isle Of Wight (Main Film) (Live At The Isle Of Wight)
  2.      Introduction (Live At The Isle Of Wight)
  3.      God Save The Queen (Live At The Isle Of Wight)
  4.      Sgt. Pepper’s Lonely Hearts Club Band (Live At The Isle Of Wight)
  5.      Spanish Castle Magic (Live At The Isle Of Wight)
  6.      All Along The Watchtower (Live At The Isle Of Wight)
  7.      Machine Gun (Live At The Isle Of Wight)
  8.      Lover Man (Live At The Isle Of Wight)
  9.      Freedom (Live At The Isle Of Wight)
  10.  Red House (Live At The Isle Of Wight)
  11.  Dolly Dagger (Live At The Isle Of Wight)
  12.  Foxey Lady (Live At The Isle Of Wight)
  13.  Message To Love (Live At The Isle Of Wight)
  14.  Ezy Ryder (Live At The Isle Of Wight)
  15.  Purple Haze (Live At The Isle Of Wight)
  16.  Voodoo Child (Slight Return) (Live At The Isle Of Wight)
  17.  In From The Storm (Live At The Isle Of Wight)
  18.  Credits (Live At The Isle Of Wight)

Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight will be available Tuesday, June 17th. It can be pre-ordered online now via Amazon at http://www.amazon.com/gp/product/B00JGD0TGC/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00JGD0TGC&linkCode=as2&tag=legacy_recordings-20&linkId=ZIHQ4HIRI22HXDGE. More information on this and other Jimi Hendrix recordings is available online at http://www.facebook.com/JimiHendrix and http://www.jimihendrix.com. 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.

Allman Brothers Band Celebrates 45th Anniversary With Live Shows, New Live Releases

MSO PR

MSO PR

2014 marks a major milestone for the Allman Brothers Band.  This year marks the forty-fifth anniversary of the band’s formation.  In celebration of the anniversary, the band will release new live CD and DVD recordings for its fans.  It also has announced the schedule for its annual stint at the Beacon Theater.  It all begins next month with the release of the new two-CD set, Play All Night: Live at the Beacon Theatre 1992 and the new live DVD, Live at Great Woods.  This recording was originally recorded in 1991.  The band will also release via its own label, Allman Brothers Band Recording Company, another live DVD titled Boston Common 8/17/71.  Topping it all off, the band is set to return to its original home base of Florida this Spring for the annual Wanee Festival.

Play All Night: Live at the Beacon Theatre 1992 presents the band’s first time ever performing such an extended run at the famed theatre.  The band performed ten shows at the Beacon Theatre in 1992.  Only two of those ten shows were ever taped.  Very little material from those recordings has ever been made publicly available for fans up until now.  The double-discset will be released via Epic/Legacy Recordings on Tuesday, February 18th.  Epic/Legacy Recordings is a division of Sony Music Entertainment.

The upcoming double-CD live release is just half of the band’s celebratory releases.  The band will release alongside Play All Night: Live at the Beacon Theatre 1992 a new live DVD titled Live at Great Woods.  The recording, which was originally filmed in September 1991, presents the band performing in front of nearly twenty-thousand fans at the Great Woods Center for the Performing Arts in Massachusetts.  The new re-issue of the concert recording marks the first time that it has ever been released on DVD.  It features for fans the band’s original long-form video version of the performance.  There are no interviews spliced into the recording here.  It will also be released via Epic/Legacy Recordings.

Finishing of the band’s list of celebratory live recordings will be the release of Boston Common 8/17/71.  John Lynskey—publisher of the ABB’s magazine, Hittin’ The Note—explains the recording and the band’s relationship with the people of Boston in the recording’s liner notes.  Boston Common 8/17/71 is also scheduled for a February release.  No official date has been confirmed yet.

“1971 was a watershed year for the Allman Brothers Band – they recorded their seminal live album, At Fillmore East, in March, and continued to tour relentlessly. By this point, their performances had reached a level of musicianship and intensity that other groups could only dream of. At Fillmore East was released in July to massive critical acclaim, and a month later, they rolled back into Boston to once again jam in the Common, playing two shows on August 17th. Boston Common 8/17/71 manages to capture the loose and engaging early set, with the band clearly enjoying themselves – Berry [Oakley]’s stage banter is particularly engaging as he comments on the group’s relationship with Boston and their friendship with the J. Geils Band. As for the music, Duane’s slide guitar is blistering on ‘Statesboro Blues’ and ‘Don’t Keep Me Wonderin’’; his interplay with Dickey [Betts] on ‘You Don’t Love Me’ is a complex masterpiece, and their dual melody line on ‘In Memory of Elizabeth Reed’ is flawless. Gregg’s vocal work is stellar throughout, and his growl on ‘Trouble No More’ clearly justifies his reputation as one of the best blues singers of all time. Berry, Butch and Jaimoe lay down a rhythm foundation that is a mile wide – the thumping bass line and syncopated drum patterns turn the ‘Whipping Post’ finale into a musical maelstrom.”

Following the release of its upcoming live CD and DVDs, the band will continue celebrating its forty-fifth anniversary with its annual stay at the famed Beacon Theatre and a return engagement at the annual Wanee Festival in Live Oaks, Florida.  2014 marks the tenth anniversary of the Wanee Festival.  The band’s performances at the Beacon Theatre mark its only live performances in the metro NYC region this year.  The complete schedule of performances dates is listed below.

DATE

CITY

VENUE

Fri

3/7

New York, NY

Beacon Theatre

Sat

3/8

New York, NY

Beacon Theatre

Tue

3/11

New York, NY

Beacon Theatre

Wed

3/12

New York, NY

Beacon Theatre

Fri

3/14

New York, NY

Beacon Theatre

Sat

3/15

New York, NY

Beacon Theatre

Tue

3/18

New York, NY

Beacon Theatre

Wed

3/19

New York, NY

Beacon Theatre

Fri

3/21

New York, NY

Beacon Theatre

Sat

3/22

New York, NY

Beacon Theatre

Fri

4/11

Live Oak, FL

Wanee Music Festival

Sat

4/12

Live Oak, FL

Wanee Music Festival

 

Tickets for the band’s Beacon Theatre shows go on sale this Friday, January 10th at 10am. They can be purchased online via the official Ticketmaster website, http://www.ticketmaster.com and the official Beacon Theatre website, http://www.beacontheatre.com.  They can also be purchased via phone at 1-800-745-3000.  Any unsold tickets will be sold at the venue box office beginning this Sunday, January 12th at the Beacon Theatre box office.  Tickets for American Express card holders are available now and can be purchased through this Thursday, January 9th at 10pm.

More information on the Allman Brothers Band, its releases, concerts and more is available online at http://www.allmanbrothersband.com, http://www.hittinthenote.com, http://www.waneefestival.com, and http://www.facebook.com/allmanbrothersband.  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.