Southern rocker Jason Charles Miller is set to debut his latest single next week.
‘The River‘ is scheduled for release Monday through Golden Robot Records. Miller co-wrote his new, forthcoming single with songwriter Bart Allman.
The premiere of Miller’s new single will come more than a month after the debut of his then latest single, ‘Chasing The Sun‘. Miller debuted that single’s video early this month.
The musical arrangement featured in ‘The River’ is a stark contrast to that featured in ‘Chasing The Sun.’ Where the arrangement presented in ‘Chasing The Sun’ is an upbeat southern rock song a la Lynyrd Skynyrd, The Marshall Tucker Band, and Shooter Jennings, ‘The River’ features an arrangement that is more in line with works from Alter Bridge. Even Miller’s own vocal delivery style and sound is similar to that of Alter Bridge front man Myles Kennedy in this case.
According to information provided in the news release announcing the coming debut of Miller’s new single, the song’s lyrical theme was inspired by the 1849 California Gold Rush and by the collected works of author J.R.R. Tolkien.
More information on Jason Charles Miller’s new single is available along with all of his latest news at:
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Independent rock band 13South kicked off the new week with the premiere of its latest single.
The band debuted its new single, ‘High Enuff‘ Monday. The song is featured in the band’s forthcoming self-titled record, whose release date is under consideration. The record will release through independent record label, G4L Records.
The single’s musical arrangement is a full-on southern rock composition that throws back to the sounds and styles of the likes of George Thorogood and The Destroyers while also incorporating the most subtle influence of Lynyrd Skynyrd and so many other southern rock acts that have come before.
According to band co-founder Chris Blevins, the song’s lyrical theme sends a positive message to listeners about simply embracing life.
“’High Enuff’ is a tongue-in-cheek song, a call to arms for youth and the old schoolers still in their prime,” Blevins said. “Hopefully everyone else is reminded of that first taste of freedom of letting go of the cares of the world before you feel the weight of the world later in life.”
In other news, 13South is scheduled to launch a series of live dates late this month in Duluth, GA. The tour is scheduled to launch March 31 and features a handful of dates throughout the rest of this year, ending Dec. 16 in Frenchtown, NJ.
The band’s tour schedule is noted below:
• 3/31: Duluth, GA @ Sweetwater Bar & Grill • 4/1: Nashville, TN @ 404 Bar • 5/19: Natchez, MS @ Locust Alley • 5/20: Chalmette, LA @ Battlefield Bar • 7/29: Owensboro, KY @ Milligan’s Bar • 8/18: Miamisburg, OH @ Big A’s BBQ • 8/19: Cincinnati, OH @ MVP’s Sports Bar & Grill • 12/14: Yarmouth, MA @ The Music Room • 12/15: Concord, NH @ Bank of New Hampshire Stage • 12/16: Frenchtown, NJ @ Arties Bar & Grill
More information on 13South’s new single and live dates is available along with all of the band’s latest news at:
Jason Charles Miller premiered his latest single this week.
The former Godhead front man, who has gone on to a hugely successful solo career crafting southern rock and country music compositions, debuted his latest single, ‘Chasing The Sun‘ Thursday.
The song features guest vocals from Austin Hanks, who has also worked with the likes of the Billy Gibbons Band.
The musical arrangement featured in Miller’s new single is an instantly infectious composition that lends itself stylistically and in terms of sound to works from the likes of Lynyrd Skynyrd, The Marshall Tucker Band and, too a lesser extent, Shooter Jennings.
Lyrically, the song is just as uplifting as the song’s musical content. That is because of its uplifting message of a person simply just wanting to make the most of the day. This is made clear in the song’s chorus, in which Miller sings, “I’ll keep on driving ’till there’s no more highway/I’ll keep on running ’till I’m gone/I’ll keep on fighting/Gonna get there some day/Time is a-wasting/So I’ll just keep chasing the sun.” This is, straight up, a feel good piece about just getting out and making the most of life. It is a message that is certain to resonate with plenty of audiences.
More information on Jason Charles Miller’s new single is available along with all of his latest news at:
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As December (and the year) continues to wind down, Phil’s Picks is far from winding down. There is still much more to share from Phil’s Picks in the final weeks of this year, including today’s year-ender list, that of the year’s top new live CDs. In years past, Phil’s Picks has had an abundance of live material, including live DVDs and BDs, but this year, offerings from that field were far slimmer, likely due to the ongoing pandemic. On the opposite side though, there were plenty of live CDs released this year. Audiences across the spectrum got live material to enjoy this year. The metal masses got new live material from the likes of Destruction, Motorhead, and TesseracT. Jazz fans got new live content from the likes of Doug MacDonald, The Philadelphia Orchestra, and Jazz at Lincoln Center Sextet. Rock audiences got new content from the likes of The Allman Brothers Band, Lynyrd Skynyrd, and Foghat. Even reggae fans got a little something new from a “live” recording from Bob Marley. Simply put, 2021 was still a good year for new live music releases, if only on CD. To that end, Phil’s Picks is offering once again this year, the Top 10 New Live CDs.
As with each and every list presented by Phil’s Picks, the list also features five additional honorable mention titles, bringing the total to 15. Every single act and title listed here is deserving of its own applause, being that enjoyable. There is no bad release. Without any further ado, here for your consideration is Phil’s Picks’ 2021 Top 10 New Live CDs list.
PHIL’S PICKS’ 2021 TOP 10 NEW LIVE RECORDINGS
1. TesseracT – P O R T A L S
2. Lynyrd Skynyrd – Live at Knebworth
3. Harold Mabern – Mabern Plays Coltrane
4. Destruction – Live Attack
5. Motorhead – Louder Than Noise…Live in Berlin
6. The Allman Brothers Band – Down in Texas ‘71
7. Bob Marley – The Capitol Session ‘73
8. The Jazz at Lincoln Center Sextet – The Democracy Suite
9. Doug MacDonald – Live in Hawaii
10. Foghat – 8 Days on the Road
11. Eric Clapton – The Lady in the Balcony
12. The Hawkins – Live in the Woods
13. The Philadelphia Orchestra – Blue Symphony No. 2
14. Harold Land – Westward Bound
15. Enrico Rava – Edizione Speciale
That’s it for this list. Again, there is no bad recording here. Each act and title deserves its own share of praise and applause. With this list done, this year’s music year-ender lists drops now to only three – the year’s top new rock, hard rock/metal, and overall albums. From there, the attention will turn from music to TV and movies. Stay tuned!
More than four years after releasing its hit album Find a Light, southern rock band Blackberry Smoke returned this week with an equally strong new record in Georgia You Hear. The band’s seventh album, this record is everything that audiences have come to expect from the band, which has been called one of the best of the genre by many audiences and critics. That is due in part to its featured musical arrangements. They will be discussed shortly. The lyrical themes that are featured throughout the album add a second layer of appeal to the record. They will be discussed a little later. The record’s sequencing rounds out its most important elements and will be addressed later, too. Each item noted here is important in its own way to the whole of the album’s presentation. All things considered, they make the album a successful presentation from beginning to end.
Blackberry Smoke’s seventh full-length studio recording, Georgia You Hear is a record that every listener will want to hear. Yes, that awful pun was intended. That is due in no small part to its featured musical arrangements. The arrangements in question largely boast the band’s familiar southern rock tones and stylistic approaches. At the same time though, they also present a subtle variety from one to the next. The band even goes full-on country at one point – ‘Lonesome for a Livin’ (ft. Jamey Johnson).’ On a side note, rumblings are that Johnson, who is an outstanding artist in his own right, is finally mapping out his possible first new album in years. One can only hope and pray that it happens. Getting back on topic, the arrangements here take audiences in a variety of directions, even as they remain within the southern rock genre from one to the next. Case in point is the arrangement featured in the album’s opener, ‘Live It Down.’ There is something about the arrangement here (including the vocal delivery style of front man Charlie Starr) that makes the composition comparable to works from the likes of The Black Crowes. That should come as no surprise to the band’s established audiences. Those audiences know that the band has shown such similarities in its past records, too. Luckily though, Blackberry Smoke’s members did not just rehash the sounds of those songs here. Rather, it is its own original work.
As the album progresses, the noted diversity is just as evident in ‘Old Enough To Know.’ The twang of the steel pedal and the simple percussion against Starr’s bittersweet vocal delivery and guitar performance lends itself to comparison to works from the likes of James Taylor, Bob Dylan, and even Hank Williams, Sr. This subdued, simple song is a wonderful break point for the record that keeps things just interesting enough to keep audiences engaged.
On yet another note, ‘All Over The Road,’ the album’s penultimate entry, the band mixes its familiar southern rock sounds with a bit of Americana to make for even more evidence of the diversity in the album’s musical content. The classic Americana element is most evident in the use of the upbeat piano line. The more southern rock sound at times conjures thoughts of Tom Petty, ZZ Top and even, again, The Black Crowes. The whole makes the song yet another work that audiences will enjoy while also showing even more, the diversity in the album’s musical arrangements, even though the arrangements stay within the confines of the southern rock genre. The positive impact of the musical arrangements featured in this record is only a part of what makes the record successful. The lyrical themes featured in the record are just as diverse (and accessible) as the record’s musical arrangements.
The lyrical themes will connect with audiences just as easily as their musical counterparts. Case in point is the theme featured in ‘Old Scarecrow,’ the album’s closer. This song’s lyrical theme presents a message of self-assurance and personal identity. Starr sings here about not caring about “the year’s new model” and states “I might be a little ragged around the edges…I look at these two hands/And I know there’s someone watching over me.” He adds, “I ain’t never gonna change my ways.” This is that defiant message noted. It is that proverbial middle finger to the status quo, telling people that the subject is going to be who he is, trends be damned. Again, it is a familiar theme that is used across the musical universe. It is presented in a familiar fashion that will resonate with audiences just as much as in any other case.
‘Hey Delilah’ presents another familiar lyrical theme. The theme in question is that of a man who is head over heels for a woman. Apparently in this case, the woman’s name is Delilah. Starr recalls here how the woman influenced him (or the song’s subject), even describing how she looked and how it drove him crazy. That against the song’s musical arrangement, whose southern rock style and sound conjures thoughts of Lynyrd Skynyrd, makes for even more enjoyment here. It makes the song’s lyrical theme that much more accessible, in turn, showing even more why the album’s lyrical themes are so important to its presentation.
‘Morningside’ is yet another example of the variety and impact of the album’s lyrical content. In this case, the band presents in very unique fashion, what comes across as a message about making it through life’s difficult times. That is inferred as Starr sings in the song’s chorus about “waiting for the morningside” and that “nothing’s ever over…the light is shining on somebody all the time/I’m not stumbling in the darkness/I’m just waiting for the morningside.” If in fact that is what Starr and company are trying to translate, then they are to be commended for this, again, unique translation. To that end, it proves one more example of what makes the album’s lyrical content overall just as important as the record’s musical arrangements. When all of this and the rest of the album’s lyrical content is considered along with all of the album’s musical content, that whole gives listeners every reason to take in this new offering from Blackberry Smoke. Even with that in mind, it is just a portion of what makes the album worth hearing. The record’s sequencing rounds out its most important elements.
The sequencing presented in You Hear Goergia is important to note because a close listen reveals a clear, intentional approach to this aspect. The album starts off in up-tempo fashion in ‘Live It Down.’ From there, the album’s energy gradually pulls back in each song until it reaches its most subdued point in ‘Lonesome for a Livin’ (ft. Jamey Johnson).’ From there, the record’s second half changes things up a little more to keep things interesting. ‘All Rise again (ft. Warren Haynes)’ immediately picks things back up to start off the record’s second half. ‘Old Enough to Know’ then just as starkly changes things again as it pulls way back before giving way to the gritty ‘Morningside.’ That arrangement gives way to even more energy as it transitions to ‘All Over The Road,’ giving audiences one more dose of high energy. From there, the band closes out the album on a relaxed but still confident note in ‘Old Scarecrow.’ Looking back through all of this, it should be clear that the band and all involved had a clear plan in sequencing the songs. That plan paid off as it ensures listeners’ engagement and entertainment just as much as the album’s content by itself. When this is considered along with the album’s content, the whole makes this record just as successful as any of the band’s existing albums.
Blackberry Smoke’s brand new album You Hear Georgia is a successful new offering from the band that has become known as one of the leaders of the southern rock realm over its life. That is proven in part through its musical arrangements. The arrangements are mostly southern rock songs that still show subtle variations from one to the next in their influences, sounds and styles. A close listen to the album proves that true. As if that is not enough, the band even goes full country in at least one song. The lyrical content featured alongside the album’s musical arrangements is important to the record’s appeal, too. That is because it is familiar in terms of the presented themes. The manner in which the familiar themes are presented makes them just as accessible as the album’s musical arrangements. The sequencing of all of that content rounds out the album’s most important elements. It brings everything together and ensures in itself, audiences’ engagement and entertainment. Each item noted here is important in its own way to the whole of the album. All things considered, they make You Hear Georgia a record that audiences in Georgia and beyond will enjoy hearing. You Hear Georgia is available now through 3 Legged Records/Thirty Tigers.
More information on the album is available online now along with all of the band’s latest news and more at:
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Independent rock band The Lancasters debuted its latest single this week.
The band premiered its new single, ‘Goodnight’ and its video Monday. The single is streaming now on all digital platforms. The premiere of the new song and video comes more than a month after the band premiered its then latest single, ‘Scallywag‘ and its video.
Courtesy: Rivertale Productions/Fuzzy Cracklins Records/Epidemic Records
The musical arrangement featured in ‘Goodnight’ is a departure from that featured in ‘Scallywag.’ Unlike ‘Scallywag,’ whose musical arrangement presents influences from the likes of Lynyrd Skynyrd, ‘Goodnight’ is more of a DIY, garage rock type composition.
According to comments featured in a prepared statement from the band, the lyrical theme featured in ‘Goodnight’ is meant to deliver a message of hope and love.
“This is a hymn about two souls far apart and the forces that keep them together despite everything; their true desire and love create the strongest bond that holds them together and in balance…,” the statement reads. “It’s a melancholic message of hope: the darker the night gets, the more the light will shine when we see the dawn rise.”
More information on The Lancasters’ new single and video is available along with all of the band’s latest news at:
Courtesy: Rivertale Productions/Fuzzy Cracklins Records/Epidemic Records
Independent rock band The Lancasters debuted its latest single last week, along with its companion video.
The band premiered its new single, ‘Scallywag‘ and its companion video April 5. The musical arrangement featured in The Lancasters’ new single bears a notable classic rock vibe in the vein of Lynyrd Skynyrd. That is evidenced through the use of the distorted slide guitar, the rich sound of the drums and equally steady bass line. One could just as easily make a comparison (albeit slight) to works from Led Zeppelin.
The lyrical theme that accompanies the song’s musical arrangement takes on scammers who use television and other media to take people’s money.
Front man Dave (his last name was not provided in the news release announcing the single and video’s premiere) talked about the song’s lyrical theme.
“I have to say that I really enjoy it when I find people chatting about stars and cosmic flows that bring some kind of energy,” he said. “But what I enjoy the most is to sabotage these s****y fake beliefs from the inside”
Dave’s band mates Steve and Fred (their last names also were not provided in the noted press release) expanded on those statements.
“It’s kind of a personal revenge, we can’t stand these pricks and the lies they spread on TV,” they said. “All that glitters is not gold, sometimes it’s just plastic garbage.”
The video for ‘Scallywag’ illustrates and translates the band members’ statements. It features the trio as a group of fake psychics trying to scam viewers as the song plays over the silly visuals.
More information on The Lancasters’ new single and video is available along with all of the band’s latest news at:
When Lynyrd Skynyrd released its debut live recording, One More from the Road in September 1976, no one knew that it would go on to be the only live recording from the band (at the time) featuring the group’s original lineup. More than a year after the recording’s release, on Oct. 20, 1977, a plane crash claimed the lives of then front man Ronnie Van Zant, guitarist Steve Gaines, and backing vocalist Cassie Gaines (who was Steve Gaines’ sister). The crash happened during the band’s tour in support of One More from The Road and ironically, only days after the band released what would be its fifth album, Street Survivors. After the tragedy of that incident, more than a decade would pass before the band reformed with a new lineup and album. More than three decades would pass before any other live recording featuring the band’s original lineup would see the light of day in 2009’s Authorized Bootleg: Lynyrd Skynyrd Live: Cardiff Capitol Theater and Authorized Bootleg: Live at Winterland – San Francisco Mar 07, 1976. Every live recording that followed (and those in between) have all featured the band’s post crash lineup. Now Friday, Eagle Rock Entertainment and UMe will release another rare fully official recording featuring the band’s original lineup in the form of Live at Knebworth ’76. The concert captured in this rare recording took place Aug. 21, 1976 at the Knebworth as part of the day-long festival headlined by none other than The Rolling Stones. This is an important piece of information about the concert. It plays directly into the recording’s presentation and will be discussed later. The most important of the recording’s elements is its set list, which will be discussed shortly. For all that this concert offers audiences to appreciate, it is an imperfect presentation. That is due to one key limitation, which will be discussed a little later. Even keeping that one negative in mind, it is not enough to make the recording a failure. Keeping this in mind, the recording proves for the most part, to be a work that most Lynyrd Synyrd fans will appreciate.
Very few official recordings featuring live performances of Lynyrd Skynyrd’s original lineup have ever seen the light of day over the decades. In all, only three of those recordings have ever been released. That is saying a lot. Now Friday, what will be only the fourth ever live recording featuring the band’s original lineup will be released in the form of Live at Knebworth ’76. This 11-song recording is a mostly successful presentation, too. Part of the recording’s success comes through its set list. The set list pulls from all of its then four studio recordings, and even from its debut live recording, One More from the Road. What is truly interesting to note is just how balanced the set list is. The band’s 1973 debut album Pronounced Leh-nerd Skin-nerd receives three nods as does its follow-up, Second Helping. That record’s follow-up, 1975’s Nuthin’ Fancy, was represented with two songs while the band’s then latest album, 1976’s Gimme Back My Bullets is represented by one song. One More from the Road got two nods here. Simply put, it is easy to say that this rare live recording’s set list was at the time, career-defining. Adding to the interest here is that research into the band’s tour in support of One More from the Road, compared to this concert’s set list, mostly lines up. Comparisons show that the majority of the songs most commonly played by the band during its tour at the time are featured here. There is some variance between the band’s average set list from the tour and this concert’s set list, but for the most part, audiences got the set list presented in most of the band’s shows. To that end, the set list featured in this presented concert forms a solid foundation for the recording’s presentation. Now, for all that the concert’s set list does to establish appeal for the overall presentation, the recording does suffer from one negative. That negative comes from the limitation of the availability of the authorized Lynyrd Skynyrd biography, If I Leave Here Tomorrow. The last time this documentary was released was in 2018. The 97-minute documentary recounts Ronnie Van Zant’s upbringing, how that played into his song writing, and the band members’ relationships. It is itself a rarity, being that it is so difficult to find at any of America’s major retailers. In the case of its presentation here, it is made available as part of the recording’s Blu-ray/CD platform, but not its separate DVD/CD platform. Who made such a decision and why is anyone’s guess. Regardless, that limitation means that audiences who want to watch the documentary will either have to buy the Blu-ray player and HDMI cable, and Blu-ray/CD package (if they do not already own said product) or just try to find it streaming online. It really is a disservice to Lynyrd Skynyrd’s fans that the documentary would be so limited in its availability. Of course in defense of Eagle Rock and UMe, maybe not everyone is such a devotee and some people care more about the concert. To that end, that limited availability is not enough to make this recording a failure. Regardless, again, it is still a concern that audiences cannot ignore.
Going back to the topic of the concert and those audiences who perhaps prefer that more than the documentary, they and all other audiences receive in the concert, quite the presentation. Lynyrd Skynyrd’s performance here is considered by critics and fans alike to be a defining moment for the band. That is even considering that it was hardly the band’s first ever performance outside the United States. The band played Europe well before the tour that included its Knebworth show. There really is something special in this performance. The band keeps the energy high throughout the course of the 66-minute (one hour, six minutes) concert, wasting little time between songs with any amount of talking. Rather, the band allowed its performance to talk. In all honesty, the performance moves so fluidly that audiences are left feeling like it has reached its midpoint and even finale before they realize it. That is meant in the most complimentary fashion possible. It means that the band uses its songs and performances to make audiences completely forget about the time and just enjoy the show.
One big part of what makes that full immersion happen is the collective performance of drummer Artemis Pyle, guitarists Gary Rossington, Allen Collins, and Steve Gaines, and bassist Leon Wilkerson. The quartet’s talent is on full display throughout the show. The manic energy from the group throughout is so powerful as it pulls in audiences. Meanwhile, Van Zant’s own eclectic performance made for its own interest. His general lack of real emotion and motion throughout the show made for quite the contrast to the power in his vocals. Those moments in which he just stands there on stage as his band mates play their solos immerses audiences even more. That is because it makes audiences want to know what is going on in his mind. That mystery in itself makes for so much interest in his performance.
The audience’s reaction to this overall performance will engage and entertain home viewers just as much as the band’s performance. Some of those in attendance at the concert were decked out in Rolling Stones apparel – The Rolling Stones headlined the Knebworth show, but most critics agree Lynyrd Skynyrd even outperformed them, which speaks volumes — dancing just as energetically in time with the music. It clearly shows the band’s popularity at that early point in its life. Even in the more contemplative opening minutes of ‘Freebird’ audiences remained just as engaged, the camera at times showing the almost intense focus and attention from the audience as the band performed. At yet other points, the cameras capture a Confederate flag waving in the air as the band performed. This was not a flag that the band had in the crowd, either. It was brought by the audience. As a reminder, this was a show in England. It made the moment one of the weirdest moments in live music history, even as simple as it was. Yet at the same time, it shows the reach of Lynyrd Skynyrd’s appeal at that point in time. Between the interest that it creates and that generated through the rest of the audience reaction and through the band’s performance, the whole of that interaction makes clear why the actual recording featured in this package proves so important and enjoyable. When the appeal generated through the interaction between the band and audience is considered along with the recording’s equally rich set list, those elements make this recording a presentation that will appeal to any Lynyrd Synyrd fan. That is even with the one negative concerning the documentary’s limited availability in mind.
Eagle Rock Entertainment and UMe’s forthcoming presentation of Lynyrd Skynyrd: Live at Knebworth ’76 is a presentation that audiences will agree is a mostly successful presentation, especially being such a rare presentation. The recording’s success comes in part from its set list. The show’s set list is a presentation in itself that was at the time of the concert, career-defining. It pulled from all of the band’s studio recordings at the time and from its debut live recording. That live recording and this latest are technically the only two fully official live recordings featuring the band’s original lineup. Two “official bootlegs” were released in 2009 by Geffen Records, but are again, “bootlegs,” so considering this along with the career-defining set list in this recording, the set list gains even more importance. While the set list is undeniably important to the recording’s presentation, the limitation on the availability of the companion authorized documentary detracts from the recording’s appeal to a point. Luckily its negative impact is not enough to make the recording a failure, though it cannot be ignored, regardless. Moving on from there, the band’s performance and the audience’s reaction to that performance pairs with the set list to make the recording all the more enjoyable. That performance leaves no doubt about critics’ statements that the band outplayed The Rolling Stones, who were stars in their own right at that point. All things considered here, Lynyrd Skynyrd: Live at Knebworth ’76 proves itself a presentation that is for the most part, a successful new offering from Lynyrd Skynyrd, Eagle Rock Entertainment, and UMe.
Pre-orders for Live at Knebworth ’76 are open. A trailer for the concert is streaming here.
More information on this and other titles from Eagle Rock Entertainment is available at:
Lynyrd Skynyrd has a new live recording on the way.
Courtesy: Eagle Rock Entertainment
The band is scheduled to release its new recording, Live at Knebworth’76 on April 9 on DVD/CD combo pack, Blu-ray/CD combo pack, limited edition 2LP/DVD combo pack, and digital. The recording, which will release through Eagle Rock Entertainment, was originally recorded Aug. 21, 1976 at a day-long festival at Knebworth. The concert featured the band’s lineup of: Ronnie Van Zant, Gary Rossington, Allen Collins, Steve Gaines, Leon Wilkerson, Artimus Pyle, Billy Powell, and The Honkettes.
The concert’s set list featured performances of songs, such as ‘Gimme Three Steps,’ ‘Free Bird, and ‘Sweet Home Alabama.’ The concert’s set list is noted below.
TRACK LISTING
‘Workin’ for MCA’
‘I Ain’t The One’
‘Saturday Night Special’
‘Searching’
‘Whiskey Rock-A-Roller’
‘Travelin’ Man’
‘Gimme Three Steps’
‘Call Me The Breeze’
‘T for Texas’
‘Sweet Home Alabama’
‘Free Bird’
Pre-orders for Live at Knebworth ’76 are open. A trailer for the concert is streaming here.
More information on this and other titles from Eagle Rock Entertainment is available at:
Independent rocker Christopher Shayne is helping southern rock fans start off the new year on a good note. The up-and-coming singer-songwriter is giving the noted audiences reason to be happy as 2021 opens with his new forthcoming EP Ten High. Scheduled for release Friday through Carry On Music, the seven-song record offers audiences something to like in its musical arrangements. They will be discussed shortly. The lyrical content that accompanies the EP’s musical arrangement offers its own appeal for listeners, too. It will be discussed a little later. The sequencing of the noted content rounds out the record’s most important elements, bringing everything together, completing the EP’s presentation. Each item noted here is important in its own way to the whole of Ten High. All things considered, they make Christopher Shayne’s new EP a record that guarantees its appeal to its target audiences.
Christopher Shayne’s forthcoming EP Ten High is a presentation that is certain to appeal to Shayne’s specifically targeted audiences from start to end of its 24-inute run time. That is proven in part through the record’s featured musical arrangements. The arrangements in question all present a distinct southern rock approach and sound. While each arrangement displays the same kind of approach and sound, the arrangements in whole do at least give audiences something unique from one song to the next. Case in point is a comparison between maybe ‘Any Given Sunday’ to the album’s title track. ’10 High’ gives audiences plenty of the noted southern rock sensibility at points throughout the song. At the same time, the verses in this song present a clear AC/DC style influence. The contrast of those two styles gives audiences something interesting in itself. Meanwhile ‘Any Given Sunday’ presents more of a southern/country rock style approach. Shayne’s own unique composition adds subtle influences from the likes of Lynyrd Skynyrd and maybe Josh Turner. Again, the influence is so subtle, but it is noticeable through a close listen. When that whole is compared to the whole of the EP’s title track, it leads to more appreciation for the record’s musical arrangement.
On another level, ‘Jus Get Drunk,’ which closes out the EP immediately lends itself to comparison to work that Zakk Wylde has composed with his side project Pride & Glory in terms of its acoustic approach and distinct southern rock sound. Shayne’s vocal delivery style is even right up there with that of Wylde and other powerhouse vocalists. By comparison, ‘Give A Damn’ is arguably the EP’s most intense arrangement. It is yet another full-on composition, but there is so much fire and vim in this work. It is comparable to works from virtually any southern rock outfit out there today. The subtle addition of the banjo in the song’s opening bars adds its own unique touch to the whole of the song, too. When one examines this song in comparison not only to ‘Just Get Drunk,’ but also to the rest of the EP’s arrangements, its power becomes even more evident. What’s more, when all of the songs are considered together, the whole of that content makes for reason in itself for southern rock fans to take in this record. That foundation is strengthened even more through the EP’s lyrical content.
The lyrical content that is presented in Ten High is just as accessible for listeners as the EP’s musical content. The record’s opener and closer are both pretty clear in their content. They center on drinking. What is interesting to note is that where ‘Pour The Bottle’ presents a man who is having no regrets about just drinking his troubles away and tells the bartender, “I ain’t finished yet/Pour the bottle/I won’t have any regrets. He even goes on in the song’s second verse to sing about drowning himself “in alcohol.” So again, this is someone who is just giving that proverbial middle finger to the world, including obviously a woman that has wronged him. ‘Jut Get Drunk,’ by comparison is the opposite end of that emotion. This song is that person sitting at the bar, having gotten drunk, he talks about not feeling the same without some whisky and that he’d “rather just get drunk/’Cause I need a little time/To sort what’s in my mind/Just one more and I’ll be fine.” So again, here are two songs that lyrically tell their own story. The contrast in those two sides will ensure listeners’ engagement in itself.
On another hand, ‘Getaway Babe’ changes directions but keeps listeners engaged with its lyrical content. This song’s lyrical theme is that familiar topic of a man who is crazy for a woman. He tells her to “come get gone with me” in the song’s chorus, while adding plenty of praise in the verses. That familiarity and the song’s catchy musical arrangement pair to make the song in whole yet another standout addition to Ten High. When it is considered along with the equally engaging story presented in ‘Just Get Drunk’ and ‘Pour The Bottle’ and the rest of the EP’s lyrical content, the whole of that content makes for plenty for audiences to enjoy lyrically, too. The appeal that the EP’s lyrical content provides audiences is just one more part of what makes the EP stand out. The sequencing of the content puts its own ouch to the record. The sequencing of the record’s musical and lyrical content puts the finishing touch to its presentation.
The sequencing of Ten High’s overall content brings everything together in this record, to complete the EP’s presentation. As has already been noted, the EP’s opener and closer certainly seem to work hand in hand even if not intentionally. That book-ending, generated through the sequencing is sure to present its own appeal. Along the way, the sequencing changes things up, going from the seeming celebratory title track to the equally familiar topic of a man who is crazy for a woman in ‘Getaway Baby’ to the slightly introspective ‘Any Given Sunday’ and ‘Burn Me Down.’ The rather rowdy ‘Give A Damn’ changes things up even more before the EP closes out in the almost rueful ‘Just Get Drunk.’ The whole of the noted lyrical content ensures in itself shows that plenty of thought was put into the sequencing of this side of the EP. Just as much thought was put into the sequencing of the EP in regards to its arrangements and their energies.
What more can be said of the sequencing of the EP in regards to its musical arrangements and their energy than it ensures the energy stays high. The only time when the EP really pulls back is in its closer. Other than that moment, ‘Burn Me Down’ is the only other point that presents any pull back in the record’s energy. That pull back is noted in the song’s opening bars. It only lasts that short time, too. From those opening bars, things waste little time picking back up. Overall, the sequencing of Ten High in regards to its energy ensures that aspect keeps listeners remain engaged just as much as that of the lyrical content. It barely lets up at least until the EP’s finale. To that end, it will keep listeners fully engaged and entertained. Keeping this in mind, when this final touch is put to the EP, it brings everything together and completes the record’s presentation. The result of that completion is that the record will appeal strongly to Christopher Shayne’s target audiences.
Christopher Shayne’s forthcoming EP Ten High is a record of which southern rock and country rock fans will think highly. That is due in part to its musical arrangements. The arrangement in question boast some very clear southern and country rock vibes while also making sure the arrangements do not just copycat one another. There are subtle changes in each song that show a wide range of influences. That alone helps the EP’s appeal. The lyrical content that accompanies the EP’s musical arrangements adds its own touch to the EP’s presentation. That is because the topics presented in the lyrical themes are accessible. They are familiar topics for any listeners. The sequencing of that musical and lyrical content brings everything together, completing its presentation. Each item noted here does its own important part to make Christopher Shayne’s new EP appealing. All things considered, the EP proves a work that will appeal equally to any southern and country rock fan. Ten High is scheduled for release Friday through Carry On Music. More information on the EP is available along with all of Christopher Shayne’s latest news at https://www.facebook.com/christophershaynemusic.
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