Mercury Studios’ New Thin Lizzy Hybrid Documentary/Concert Recording Is A Mostly Successful Presentation

Courtesy: Mercury Studios

Late last month, Mercury Studios presented audiences with a unique new presentation for fans of the iconic rock band Thin Lizzy.  The hybrid documentary/concert recording, Phil Lynott Songs For While I’m Away + Thin Lizzy The Boys Are Back In Town Live at the Sydney Opera House October 19878 (yes, that is a mouthful for a recording’s title), was released June 24.  One part documentary and one part concert recording, it is a presentation that is certain to engage and entertain most of the band’s audiences.  That is due in part to that dual presentation, which will be discussed shortly.  Digging a little deeper into the presentation, it sadly is not perfect.  Unlike so many recordings released through Mercury Studios, there are no liner notes to offer background on the concert.  This shortfall is not enough to doom the recording, but certainly would have enhanced the concert experience.  It will be discussed a little later.  The dual presentation of the concert and the note in the packaging about the footage works with the general presentation to round out the presentation’s most important elements and will also be examined later.  Each item noted here is important in its own way to the whole of the recording.  All things considered they make Mercury Studios’ new Thin Lizzy hybrid release such that most of the band’s audiences will find something to appreciate.

Phil Lynott Songs For While I’m Away + Thin Lizzy The Boys Are Back In Town Live at the Sydney Opera House October 19878, the new hybrid live recording from Mercury Studios, is a unique presentation that the band’s established audiences are sure to appreciate.  That is due in no small part to its general presentation.  On one side, the recording is a documentary about the band and its still iconic front man Philip Lynott. On the other side is a double-disc presentation of the band’s October 1978 Sydney, Australia concert.  The documentary will engage and entertain audiences in large part because it is not just another one of those self-serving pieces narrated by some unseen third party with random interviews, footage, and pictures.  Rather, the story in the documentary is told by the former members of Thin Lizzy and by Lynott’s own wife and daughters.  The group recalls the band’s history and Lynott’s influence as a performer and songwriter throughout the expansive presentation.  Along the way, the documentary’s chapters are separated through presentations of the songs that Lynott wrote and footage of the band performing the songs.  The stories behind the songs and the band’s history are so engrossing even for the most casual Thin Lizzy fan. Audiences will be surprised to learn how shy Lynott apparently was off stage despite being such a charismatic front man on stage.  This seems to be a recurring theme with front men.  Kurt Cobain was always said to be much the same way, as was Jimi Hendrix (who Lynott idolized according to the stories told in the documentary).  So many other front men (and women) are and were just as shy.  To that end, this revelation is sure to be a starting point for so many discussions on what makes so many vocalists so dramatically different on and off stage.

Getting back on topic, the concert that accompanies the documentary provides its own share of engagement and entertainment.  The concert is interesting in part because of its set list.  The set list in question is a 13-song presentation that spans 1974-1979, covering half of the band’s 12 albums and two of its live recordings. One of those recordings, Still Dangerous, is an exception, having been released in 2009 years after the band’s breakup.  The albums represented in the set list reach back to 1974’s Nightlife and run through 1979’s Black Rose: A Rock Legend.  The other of the live recordings represented here is the band’s debut 1978 live recording, Live and Dangerous.  So given, it is very specific in the records represented here were really Thin Lizzy at its peak.  Following the release of Black Rose: A Rock Legend, the band’s final three albums – Chinatown, Renegade, and Thunder and Lightning – were commercial disappointments.  To that end, the albums represented here and the performance overall, showed the band at its best and a great representation of the band’s body of work.  What’s more, the set list’s sequencing adds to the presentation.  That is because it keeps the concert’s energy flowing in relatively stable fashion, only really slowing in the performance of ‘Still In Love With You.’  To that end, the set list’s sequencing proves itself just as important to its presentation as its songs.

While the set list and its sequencing play directly into the concert’s engagement and entertainment the lack of any background ntoes on the concert detracts somewhat from the overall presentation.  This is rare for live recordings from Mercury Studios (formerly Eagle Rock Entertainment).  In doing research, it is revealed that the concert presented herein is in fact a re-issue of a previously released concert from another label years ago. What’s more, the concert that was held was a free performance that the band held in front of 100,000 fans in Sydney. In addition, the concert marked guitarist Gary Moore’s first time live with the band in Australia as a permanent member.  His stint with the band between 1978 and 1979 would be his third and last with the band.  To that end, the concert is as much about Moore’s performance with the band as it is about the band in whole.  A note about the quality of the concert footage is included in the packaging, which adds to the understanding and appreciation of the audiovisual presentation, ensuring that much more, audiences’ engagement and entertainment.  Keeping all of this in mind, there is plenty of interesting background that could have been written about the band’s 1978 Sydney Harbor concert, which is also briefly shown as part of the recording’s documentary, but sadly that background is nonexistent here.  It is not enough to doom the recording, but it certainly would have been beneficial to the presentation to have that addition.

Getting back to the positive side of things, audiences will be happy to know that the concert is presented in full both on DVD and CD as part of the presentation.  That means that audiences can enjoy the concert herein in their vehicles and at home any time they want.  That is a positive in its own right and is a definite positive to the whole.  The concert order is slightly different between the DVD and CD presentations, but each song is still present in each platform.  That means no matter what, audiences get the entire concert experience here.  When this is considered along with the general overall presentation of the recording, the two items collectively give Thin Lizzy’s established audiences plenty to appreciate.

Phil Lynott Songs For While I’m Away + Thin Lizzy The Boys Are Back In Town Live at the Sydney Opera House October 19878, Mercury Studios’ new retrospective on Thin Lizzy and its equally famed front man Phil Lynott, is a work that will appeal widely among the band’s audiences.  That is due in part to its general presentation.  The general presentation gives audiences the best of both worlds in one setting with the documentary about the band in the same package as the concert.  It would have been easy for Mercury Studios to split the two up and make audiences pay double, but instead the company took the high ground and offered it all in one package.  That is commendable to say the least.  While the general package is positive, the lack of any background on the concert half of the presentation is disappointing.  It would have been nice to have had the important background about the band’s 1978 Sydney Harbor show included in some form, but sadly it was not there.  That is not enough to doom the recording, but it certainly would have added to the recording’s impact.  The dual presentation of the concert as part of the whole rounds out the recording’s most important elements.  It allows audiences to enjoy the 1978 Sydney Harbor show anytime and anywhere they want.  It puts the finishing touch to the presentation.  When it and the other items examined here are considered together they make the recording in whole a piece that most of the band’s audiences will appreciate.

Phil Lynott Songs For While I’m Away + Thin Lizzy The Boys Are Back In Town Live at the Sydney Opera House October 19878 is available now through Mercury Records.  More information on the recording is available along with all of Thin Lizzy’s latest news at:

Website: https://thinlizzyband.com

Facebook: https://www.facebook.com/ThinLizzyOfficial

Twitter: https://twitter.com/thinlizzy_

More information on this and other titles from Mercury Records is available at:

Websitehttps://mercurystudios.com

Facebookhttps://www.facebook.com/MercuryStudiosCo

Twitterhttps://twitter.com/mercurystudios

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

The Rolling Stones Offer Audiences One More Of 2022’s Top New Live Recordings In ‘Licked Live In NYC’

Courtesy: Mercury Studios

The Rolling Stones has another new live recording out this week.  It comes in the form of Licked Live in NYC.  The recording is another wonderfully enjoyable presentation for any fan of The Rolling Stones.  That is due in part to its featured set list which will be discussed shortly.  The bonus content that accompanies the recording makes for its own engagement and entertainment.  It will be discussed a little later.  The companion booklet rounds out its most important elements and will also be examined a little later.  Each item noted is important in its own way to the whole of the recording’s presentation.  All things considered, they make the recording another presentation that is sure to appeal to any rock purist and fan of The Rolling Stones.

Licked Live In NYC, the latest live recording from The Rolling Stones, is another thoroughly impressive presentation from the band and from Mercury Studios.  It is a work that will appeal to any fan of what is in this critic’s mind, the best rock and roll band in the world.  The recording’s success comes in part through its featured set list.  The set list is largely composed of so many familiar songs from The Rolling Stones.  ‘Gimme Shelter,’ ‘Tumbling Dice,’ ‘and Honky Tonk Woman’ are all there.  The latter of the group features a guest appearance by Sheryl Crow.  Also included in the set list are the likes of ‘It’s Only Rock ‘n’ Roll (But I Like It),’ ‘Angie’ and ‘Street Fighting Man.’  At the same time though, the set list also pulls in what many might consider some deep cuts.  They come in the form of  ‘Happy,’ ‘If You Can’t Rock Me,’ ‘Don’t Stop,’ ‘Monkey Man,’ Thru and Thru’ and Can’t You Hear Me Knocking.’    The latter of that group of songs was performed by guitarist Keith Richards.  ‘Don’t Stop’ is a single featured in the band’s compilation record, 40 Licks.  ‘Monkey Man’ takes audiences back to 1969 and the band’s beloved album, Let It Bleed while ‘Thru and Thru’ is lifted from the band’s 1994 album, Voodoo Lounge.  On a side note, Mercury Studios has released a live Rolling Stones performance previously that was part of a tour in support of Voodoo Lounge in the form of Voodoo Lounge Uncut.  That recording was released in 2018.  Getting back on topic, ‘Can’t You Hear Me Knocking’ is lifted from the band’s hit 1971 album, Sticky Fingers but has rarely been featured on any of the band’s live recordings.  So it is its own treat for audiences.  ‘Happy’ reaches back to 1972 and the band’s album, Exile on Main Street while ‘If You Can’t Rock Me’ comes from the band’s 1974 album, It’s Only Rock ‘n’ Roll.  Simply put, what audiences get from this concert’s set list is a fair balance of familiar songs and some that are less familiar in a live setting from the band.  They also pull from a relatively healthy swath of some of the band’s most well-known and beloved albums.  In other words, audiences get the best of both worlds in more ways than one here.  To that end, the set list forms a solid foundation for the recording’s presentation.

Resting firmly on that foundation is the band’s performance of the set list.  The band’s performance, which took place on stage at Madison Square Garden Jan. 18, 2003, is everything that audiences have come to expect from Mick Jagger, Ronnie Wood, Keith Richards, and the now late great Charlie Watts, as well as their fellow musicians and performers.  Jagger’s swagger is just as energetic and prevalent as ever throughout the concert.  Even his interaction with his fellow performers, including the backing singers, is just so real.  Watts’ energy is on full display as he keeps the beat in each song while Wood and Richards bring their own familiar yet unique energy to each performance.  Late great saxophonist Bobby Keys’ solo work and backing work throughout the show even added its own great touch to the whole.  The energy that he and everybody else brough from the whole unit is fully engaging and entertaining.  It makes the overall group’s performance just as immersive and enjoyable as ever.  There really is no one bad thing to say about the band’s performance at any point in the concert.  To that end, the set list and band’s performance thereof collectively make for so much enjoyment in this concert.  They are just a portion of what makes the recording so enjoyable, too.  The bonus content that accompanies the concert adds even more to the overall experience.

The bonus content comes in the form of a n extensive documentary about the band’s tour, a group of “studio rehearsal performances” and some live extras.  The extra live content comes in the form of live clips of ‘Star Star,’ ‘Street Fighting Man’ and ‘I Just Want To Make Love To You.’  Between those songs, the full “rehearsal” performances of ‘Well Well’ and Extreme Western Grip’ brings the recording’s full song list to 26 songs.  So in other words, audiences not only get some extra performances, which are engaging and entertaining in their own right, but audiences also get in these performances some more enjoyable live performances, some in studio and some on stage.  It’s the best of both worlds, so to speak. 

The bonus documentary that comes with the presentation is important in its own right because it really makes audiences the proverbial fly on the wall.  Audiences get to watch as the band members plan the tour from which the featured concert was included.  From planning the stage show to rehearsing together to even Jagger preparing his vocals and dancing skills.  Yes, he even trains in regards to the dancing that he does on stage.  Audiences will be pleasantly surprised to watch him train for that aspect.  It shows just how seriously the band members take the preparations for its shows.  At the same time, in listening to the band members talk about working together and to see them interacting with fans, family, and friends, audiences gain even more appreciation for the band.  That is because of how easygoing the band members appear throughout the show.  That easygoing nature shows through just as much on stage, so in essence, audiences get a definite vibe of what you see is what you get from the band.  It really shows that this veteran band, even at that point in its career, did not seem to have the ego of so many bands out there today, veteran and otherwise.  Between that and the appreciation that audiences will have watching the band prepare for the tour, the documentary presents its own engagement and entertainment.  When the enjoyment generated through the documentary is paired with that generated through the bonus performances, the overall bonus content more than makes for reason to take in this concert.  That bonus content is just one more part of what makes Licked Live In NYC so enjoyable.  The liner notes featured in the recording’s companion booklet rounds out the most important of its elements.

The liner notes featured in the companion booklet were penned by journalist/broadcaster Paul Sexton.  Sexton outlines the show in his notes, giving audiences a preview of the concert before audiences even take in the show.  It is a thorough description highlighting many of the extensive number of high points throughout the concert.  He also cites guitarist Ron Wood  as saying that the band rehearsed no less than 120 (yes, 120) songs in preparation for the tour.  That tidbit, while minimal, is still powerful.  It adds even more to the documentary, showing even more just how seriously the band took its preparations for the tour.  That the band had that many songs to rehearse is in itself shocking and in a good way.  It makes for even more appreciation for the band and the overall presentation here.  AS if that is not enough, there are comments from Richards and from Watts about how the band came to decide on the venues for the concert.  Their insights are deep as they talk about the constraints of performing at larger venues and at theaters and smaller venues.  All of these discussions and the previous that Sexton offers audiences makes for its own engagement and value to the recording, too.  When that engagement and value is paired with the impact of the concert’s set list and the band’s performance thereof, and with the bonus content featured here, the whole makes Licked Live in NYC yet another fully successful live offering from a group that is one of the greatest rock and roll bands in the world if not the best.

Licked Live in NYC, the latest live recording from The Rolling Stones, is an impressive new offering from the group that rock purists and fans of The Rolling Stones alike will find appealing.  Its appeal comes in part through its featured set list and the band’s performance thereof.  The set list gives audiences plenty of familiar content while also bringing some deep cuts that have rarely appeared in any of the band’s existing live recordings.  That best of both worlds approach and the enjoyment of the songs themselves makes for so much enjoyment.  The band’s performance of each song makes for its own engagement and entertainment.  That is because even being 40 years into its life at the time of the concert, it shows the band was still at the very top of its game.  That includes the core group’s backing performers.  The bonus content that accompanies the concert adds to the overall enjoyment.  That is because it gives audiences even more live content, both on stage and in studio.  The documentary that is also used as bonus content will keep audiences engaged and entertained in its own right.  That is because it shows the time and effort that the band put into preparing for its 40th anniversary tour.  The liner notes crafted by Paul Sexton do well to compliment the documentary while also previewing the concert through his own descriptions.  Each item examined here is important in its own way to the whole of the recording.  All things considered they make Licked Live in NYC one more of the year’s top new live recordings.

Licked Live in NYC is available now. More information on Licked Live in NYC is available along with all of its latest news at:

Websitehttps://www.rollingstones.com

Facebookhttps://www.facebook.com/therollingstones

Twitterhttps://twitter.com/RollingStones

More information on this and other titles from Eagle Rock Entertainment is available at:

Websitehttps://mercurystudios.com

Facebookhttps://www.facebook.com/MercuryStudiosCo

Twitterhttps://twitter.com/mercurystudios

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

The Police’s New Live Recording Is A Mostly Successful Offering

Courtesy: Mercury Studios

For the first time in more than a dozen years, veteran rock band The Police officially released a new live recording this week in the form of Around the World: Restored & Expanded.  Released Friday through Mercury Studios, the recording is the band’s first new live recording since the release of its then latest live recording, Certifiable: Live in Buenos Aires in 2008.  That recording was released through A&M Records.  This latest presentation is such that it will appeal to a wide range of audiences, from the band’s most devoted audiences to even more causal audiences.  That is due in large part to its featured set list, which will be discussed shortly.  The audio’s companion tour documentary that is featured in the set’s DVD and Blu-ray platforms adds its own share of interest.  It will be discussed a little later.  The liner notes penned by The Police guitarist Andy Summers are a welcome companion to the tour documentary and round out the presentation’s most notable elements.  They will also be examined later.  Each item noted here is important in its own way to the whole of the recording.  All things considered they make Around the World: Restored & Expanded a presentation that most fans of The Police will find enjoyable.

Around the World: Restored & Expanded, the new live recording from The Police, is a presentation that most of the band’s audiences will find appealing.  That is due in large part to its featured set list.  Totaling 11 songs, the set list is pulled from performances that the band held on its then debut global tour in 1980.  The songs presented here were pulled from the band’s first two albums, Outlandos d’Amour (1978) and Reggatta de Blanc (1979).  That 1978 record is the most heavily represented here, with six total songs.  The latter received four nods.  As an added bonus, the rare b-side, ‘Visions of the Night’ is also featured here.  The song was a b-side to the band’s hit single, ‘Walking on the Moon’.  Simply put, what audiences get in this collection of songs is a presentation of The Police from what was at the time still its infancy.  To that end, it is a welcome representation of the band’s catalog at the time.  Keeping that in mind, this aspect is certain to appeal to plenty of audiences.  The only downside to the set list is that it is only made available on the recording’s CD platform.  Given, there are live performances of four of the songs featured in the audio side, but it still would have been great having the entire collection, considering that the tour documentary presented on the DVD and Blu-ray runs only an hour and 23 minutes.  Beggars can’t be choosers, though.  To that end, it is still good to even have this presentation of The Police’s early days both in studio and on the road.

The songs that make up the main body of Around the World: Restored & Expanded are just part of the presentation’s appeal for the band’s noted audiences.  The tour documentary that is featured in the collection’s DVD and Blu-ray presentation will appeal just as much to the noted audiences.  Audiences see the band make its way around the world, from Asia to Australia, to Africa (more specifically Egypt) to South America and to America, audiences are taken along for the band’s ride in its debut world tour.  Along the way, audiences get to see the noted live performances that are also separated as bonus content on the DVD and BD platforms.  While the band is in Asia, audiences get to see Summers take on a sumo wrestler, though some might not really want to see him in the glorified diaper that sumo wrestlers wear.  Yes, that was meant to be a lighthearted statement.  Audiences also get to see the band on board a boat in the waters of what looks like possibly Thailand.  When the band reaches Egypt things get a bit tense.  At first audiences think that a certain discussion had between a group of individuals was acted out, but as Summers points out in his notes, it apparently was not set up.  This will be discussed a little later.  Over in Australia, audiences see the band in the countryside as well as on stage.  Overall, the documentary builds on the foundation formed by the recording’s audio side and enhances the concert experience that much more for the noted audiences.

Building on the presentation that is the documentary are the liner notes penned by Summers.  As already pointed out, Summers explains that the band’s stay in Egypt was anything but good.  Summers explains that a comment made by Sting to an Egyptian official and his initial refusal to take back what he said almost caused an international incident.  Another incident was narrowly avoided in one South American country when Summers apparently had a physical altercation of sorts with a law enforcement official at a concert.  These two items will be left for audiences to discover for themselves, but they definitely build on the experience even more.  That is just the tip of the proverbial iceberg that is the liner notes.  Summers also writes in his notes that the band had yet another close call in New Zealand, yet again involving law enforcement.  This is yet another intriguing anecdote that will be left for audiences to read about for themselves.  Between this story, the others pointed out here and everything else that Summers recalls in his notes, the overall content in the recording’s companion booklet puts the finishing touch to the presentation and ensures that much more that the band’s established audiences and casual fans alike will appreciate the presentation.  When this content, the audio, and video are all considered, they leave no doubt that the noted audiences will find plenty to appreciate about the recording.

Around the World: Restored and Expanded is a presentation that most fans of The Police will find enjoyable.  That is due in large part to the recording’s featured songs.  They are in themselves a strong representation of the band in its infancy.  That is because the songs that make up the main body of the recording are all pulled from the band’s first two albums.  There is even a rare b-side included in the mix for good measure.  The tour documentary that accompanies the performances makes for its own interest.  That is because it takes audiences along for the ride with the band on its first-ever world tour.  Audiences get to see firsthand, much of what the band experienced, including the high and occasional not so high points.  The liner notes penned by The Police guitarist Andy Summers work directly with the documentary to enhance the viewing experience therein.  That is because they are those firsthand notes.  They take audiences even deeper into the band’s tour and finish off the overall presentation.  Each item noted here is important in its own way to the whole of the recording.  All things considered, they make Around the World: Restored & Expanded a presentation that most fans of The Police will find a welcome new offering from the band and from Mercury Studios.

Around the World: Restored & Expanded is available now. More information on the recording is available along with all of the latest news from The Police at:

Website: https://thepolice.com

Facebook: https://www.facebook.com/thepolice

Twitter: https://twitter.com/thepoliceband

More information on this and other titles from Mercury Studios is available at:

Websitehttps://mercurystudios.co

Facebookhttps://www.facebook.com/MercuryStudiosCo

Twitterhttps://twitter.com/mercurystudios

To keep up with the latest entertainment reviews and news, go online to https://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.  

Mercury Studios Announces Details For New Documentary/Concert Presentation

Courtesy: Mercury Studios

Mercury Studios will celebrate the legacy of Thin Lizzy and its front man Phil Lynott this summer with a new dual documentary/concert presentation.

Phil Lynott Songs For While I’m Away + Thin Lizzy The Boys Are Back In Town Live at the Sydney Opera House October 1978 is scheduled for release June 24. The expansive presentation will release on 2DVD/CD and Blu-ray/DVD/CD. Pre-orders are open and a trailer for the presentation is streaming here.

The band’s live recording is a re-issue of the presentation that was previously released on VHS, laserdisc, and DVD. It features five additional songs not featured in the concert’s previous releases as well as remastered video and remixed audio.

The set list in the concert features songs, such as ‘The Boys Are Back in Town,’ ‘Still In Love With You,’ and ‘Warriors.’ The 13-song set list is featured in different orders on the CD and DVD presentations. As an added note, there is an option on the DVD to play the songs with the Lost Performances from the order in which they were originally performed.

More information on this and other titles from Eagle Rock Entertainment is available at:

Websitehttps://mercurystudios.com

Facebookhttps://www.facebook.com/MercuryStudiosCo

Twitterhttps://twitter.com/mercurystudios

More information on Thin Lizzy’s new documentary/concert is available along with all of the band’s latest news at:

Website: https://thinlizzyofficial.com

Facebook: https://www.facebook.com/ThinLizzyOfficial

Twitter: https://twitter.com/thinlizzy_

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

Mercury Studios Announces Details For Another Live Show From The Rolling Stones

Courtesy: Mercury Studios

Mercury Studios is reaching into The Rolling Stones’ live vault once again.

The company, formerly Eagle Rock Entertainment, announced Wednesday, it is scheduled to release Licked Live in NYC June 10. A trailer for the recording is streaming here.

The concert presented in the package was held January 18, 2003 at New York City’s Madison Square Garden for an HBO special. It was the second of two dates that the band performed at the venue that month, with the first date having been held two days prior on Jan. 16.

Mercury Studios will release the concert on DVD/2CD and SD Blu-ray/2CD combo packs, as well as 2CD and 3 LP standalone sets. It features performances of many of the band’s greats hits, such as ‘Brown Sugar,’ ‘Gimme Shelter,’ and ‘Sympathy for the Devil.’ Additionally, Sheryl Crow made a guest appearance on the band’s performance of ‘Honky Tonk Women.’

As an added bonus, the package’s DVD and BD packages will feature the band’s rehearsal footage and three extra performances not featured in the original HBO performance. Also, the SD Blu-ray package will feature the 51-minute documentary, “Tip of the Tongue,” which follows the band as it prepares for the tour.

The full concert set list is noted below for each of its platforms.

Track listing:
Screen Shot 2022-04-12 at 12.35.30 PM
Courtesy: Mercury Studios

More information on this and other titles from Eagle Rock Entertainment is available at:

Website: https://mercurystudios.com

Facebookhttps://www.facebook.com/MercuryStudiosCo

Twitterhttps://twitter.com/mercurystudios

More information on Licked Live in NYC is available along with all of its latest news at:

Websitehttps://www.rollingstones.com

Facebookhttps://www.facebook.com/therollingstones

Twitterhttps://twitter.com/RollingStones

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

Shout! Factory, Arrow Video, Others Offer Audiences Plenty Of Alternatives To All The Prequels, Sequels, and Remakes Hitting Theaters, Streaming Services

Courtesy: Shout! Factory

It seems like ever year, audiences everywhere are seeing an increase in the number of classic TV shows and movies that were once popular everywhere they go.  It really is a sad state of affairs.  Of course that is not the only avenue in which older content is getting renewed so to speak.  The originals also get new life every now and then on DVD and Blu-ray through various distributors, sometimes in better form than others and vice versa.  This year saw a handful of classic TV shows and movies get some laudable re-issues and some less so. 

What is most interesting about this year’s field of top new DVD and BD re-issues is the wide range of companies that released said titles.  It shows that along with the likes of Shout! Factory – which has made quite the name for itself over the years in the home entertainment field – other familiar and up-and-coming names are really working to make their names known in that field, too, such as Arrow Video and Corinth Films, making for so much more variety.

From Shout! Factory’s re-issue of Explorers, to Arrow Video’s re-issue of the original Dune, to even Mill Creek Entertainment’s re-issue of the classic, short-lived animated series, The Critic, this year’s re-issues and the companies that released them offered audiences plenty of alternatives to the never-ending ocean of prequels, sequels, and reboots that filled theaters and streaming services this year.  As with every list from Phil’s Picks, this list features the Top 10 titles in the given category with five additional honorable mention titles for a total of 15.  This year’s list was not easy to compile but is complete.

Without any further ado, here for your consideration is Phil’s Picks’ 2021 Top 10 New DVD/BD Re-Issues.

PHIL’S PICKS’ 2021 TOP 10 NEW DVD/BD RE-ISSUES

  1. Explorers
  1. Rowan & Martin’s Laugh-In: The Complete Series
  1. The Final Countdown
  1. The Belles of St. Trinian’s
  1. Ken Burns’ Baseball
  1. The Rolling Stones: A Bigger BangLive at Copacabana Beach
  1. Dune
  1. Motorhead: No Sleep Till Hammersmith
  1. The Interrogation
  1. The Snake Girl and the Silver Haired Witch
  1. The Transformers: The Movie
  1. Superman: The Animated Series
  1. The Critic: The Complete Series
  1. Star Trek: The Original Series
  1. Emergency: The Complete Series

It should be stressed here that in the case of Emergency and Star Trek, those two series sets are intentionally set at the bottom of this year’s list as, their positives are few.  They are the least of the year’s best new re-issues.  Audiences would do well to largely avoid these sets.  There is a reason they are at the bottom of even the honorable mention titles.  Keeping that in mind, this year’s list of top new DVD and BD re-issues is officially wrapped.  There are still plenty of other lists coming, such as the year’s top new box sets for grown-ups, families, and even family DVDs/BDs.  Stay tuned!

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

Eric Clapton’s Most Devoted Audiences Will Enjoy His Latest Live Recording

Courtesy: Mercury Studios

Famed bluesman/rocker Eric Clapton has made quite the stir last year and this year with his outspoken comments on the about COVID-19 pandemic, even going so far as to work with fellow singer-songwriter Van Morrison to write a protest song about the matter in the form of ‘Stand and Deliver.’  He followed up that song this year with another song centered on the pandemic in the form of ‘This Has Gotta Stop.’  The song is a reference to the lockdown actions taken by governments the world over in what they have said were efforts to slow the virus’ spread.  The pandemic also caused the cancellation of a series of live dates that he had scheduled to perform at the Royal Albert Hall in London this past May.  In lieu of those cancellations, Clapton instead retreated to the Cowdray House in West Sussex, England with friends and fellow musicians Steve Gadd (drums), Nathan East (bass) and Chris Stainton (keyboards) to record an intimate performance for audiences.  The recording, dubbed The Lady in the Balcony, is scheduled for release Friday through Mercury Studios (formerly Eagle Rock Entertainment).  It is a presentation that will appeal to the most devoted Clapton fans.  That is due in part to its general presentation, which will be discussed shortly.  The recording’s set list makes for its own interest and will be examined a little later.  Considering the setting, the performance’s production is also important to examine, and will be later, too.  Each item noted is important in its own way to the whole of the recording.  All things considered, they make The Lady in the Balcony a work that, again, Clapton’s most devoted audiences will find a great way to make up for the lack of live shows from the famed performer.

Eric Clapton’s forthcoming live recording, The Lady in the Balcony is a work that will appeal to plenty of fans of the famed veteran bluesman.  Recorded lieu of his planned performances at the Royal Albert Hall early this year, the intimate performance is a nice change of pace from all of the livestream events that so many acts opted to host in place of their live shows.  That is not to say that livestreams were not/are not a good option, just that it is nice to have something a little bit different.  That very presentation sits at the base of the recording’s success.  Instead of the band being in a studio made to look like a stage, Clapton and company instead sit in the comfort of a room at the Cowdray House in West Sussex, England to capture the performance.  It is along the lines of the performance that Between The Buried and Me did in studio some years ago for one of its live recordings.  It is just more intimate.  What’s more, instead of trying to spice up the concert with any interviews, etc. between songs, those behind the recording instead opt for a more “natural” approach, showing footage of the countryside around the facility that looks like a castle.  Audiences see the sun setting across the peaceful countryside, as well as the countryside itself.  There is even a unique shot from outside the room where the recording was captured that looks into a window on the building.  At some points throughout all of that, the group’s performance even plays over those calm visuals.  As much as one might like to see and hear audiences in live recordings, there is something that is just as enjoyable here because it allows the group and the music to take center stage (no pun intended).  On a related note, that increased focus on the group’s songs and performance allows for more appreciation for the talents of all involved.  To that end, the general presentation here forms a strong foundation for The Lady in the Balcony and gives the noted audiences reason enough in itself to watch this recording.  It is just a part of what makes the recording noteworthy, too.  The songs featured in the performance are of their own interest.

The set list featured in The Lady in the Balcony is of interest because of its makeup.  For the most part, the set list is composed of covers that Clapton has recorded and performed over the years.  The covers in question have also played a key role in his fame.  Among the covers featured in the set list are those of artists and composers, such as Jimmie Cox (‘Nobody Knows You When You’re Down and Out’), Muddy Waters (‘Bad Boy’) and Derek and the Dominos (‘Layla’ and ‘Bell Bottom Blues’).  The originals are kept to an extreme minimum here with intimate acoustic performances of ‘Believe in Life’ and ‘Going Down Slow.’  Between the songs noted here and the others featured in the set, the whole of the 17-song collection makes for its own interest.  When this is considered along with the concert’s general presentation, the two items show even more why the recording in whole will appeal to the noted audiences.  Even with that in mind, there is still one more item to examine in the recording.  It comes in the form of the performance’s production.

Going back to the intimate setting for The Lady in the Balcony, the setting raises reason for audiences to note the recording’s production.  The quartet gathers in one room to record each song together.  Seeing the size of the room, one can argue that it is about the size of a typical rehearsing space away from a studio.  That means that extra emphasis had to be paid to the room’s acoustics so as to keep the ground from drowning itself out.  Thankfully, Clapton’s longtime Grammy®-winning producer and friend Russ Titelman’s attention to that detail throughout paid off.  Even in simple moments in which just one of the musicians is performing, the size of the room does not allow for the sound to echo and wash itself out.  Everything is expertly balanced throughout each song.  The result is that the performance’s sound is just as laudable as its general presentation and set list.  All things considered, the recording proves itself an enjoyable concert experience for the majority of Eric Clapton’s fans.

Eric Clapton’s forthcoming “live” recording, The Lady in the Balcony, is a unique presentation from the veteran singer-songwriter.  That is proven from start to end of the recording.  The general presentation is partly to credit for its appeal.  That is because instead of trying to get all artsy (which easily could have happened) those behind the presentation instead opted for a more appealing, literally natural approach throughout.  It makes the general presentation engaging and entertaining in its own right.  The set list is interesting in its own right because of its focus more on covers than on Clapton’s own originals.  The recording’s production rounds out its most important elements.  It ensures that the sound is expertly balanced along with the various shots throughout the performance.  Each item noted is important in its own right to the whole of the recording.  All things considered, they make the recording a pleasing presentation for Eric Clapton’s most devoted audiences. 

The Woman in the Balcony is scheduled for release Friday through Mercury Studios.  More information on the recording is available along with all of Eric Clapton’s latest news at:

Website: https://ericclapton.com

Facebook: https://www.facebook.com/ericclapton

Twitter: https://twitter.com/ericclapton

More information on this and other titles from Mercury Studios is available at:

Websitehttps://mercurystudios.co

Facebookhttps://www.facebook.com/MercuryStudiosCo

Twitterhttps://twitter.com/mercurystudios

To keep up with the latest entertainment reviews and news, go online to https://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.  

Mercury Studios Announces Details For New “Live” Lockdown Performance From Eric Clapton

Courtesy: Mercury Studios

Mercury Studios will release a new “live” lockdown recording from Eric Clapton this fall.

The company is scheduled to release The Lady in the Balcony: Lockdown Sessions Nov. 12. The recording will feature 17 songs performed by Clapton with friends Steve Gadd (drums), Nathan East (bass and vocals), and Chris Stainton (keyboards). The recording came about as an alternative to the May 2021 concerts that Clapton had planned to take place at the Royal Albert Hall in London.

Among the songs featured in the presentation are updated takes on Clapton originals and new takes on classic standards. Those songs include and are not limited to: ‘Tears in Heaven,’ ‘Layla,’ Bell Bottom Blues,’ and ‘Nobody Knows You When You’re Down and Out.’ The group even takes on songs from Fleetwood Mac, such as ‘Man of the World’ and ‘Black Magic Woman.’

The recording’s track listing is noted below:

TRACK LISTING

Nobody Knows You When You’re Down and Out

Golden Ring

Black Magic Woman

Man of the World

Kerry

After Midnight

Bell Bottom Blues

Key to the Highway

River of Tears

Rock Me Baby

Believe in Life

Going Down Slow

Layla

Tears in Heaven

Long Distance Call

Bad Boy

Got My Mojo Working

Pre-orders are open now. A trailer for the recording is streaming here.

More information on The Lady in the Balcony: Lockdown Sessions is available along with all of Eric Clapton’s latest news at:

Website: https://ericclapton.com

Facebook: https://www.facebook.com/ericclapton

Twitter: https://twitter.com/ericclapton

More information on this and other titles from Mercury Studios is available at:

Website: https://mercurystudios.co

Facebook: https://www.facebook.com/MercuryStudiosCo

Twitter: https://twitter.com/mercurystudios

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

Bob Marley And The Wailers: The Capitol Session ’73’ Is An Important Part Of The Group’s History That Reggae, Marley Fans Alike Will Welcome

Courtesy: Tuff Gong/Mercury Studios

This coming October marks an important mark in the history of Bob Marley and the Wailers.  Approximately 48 years will have passed this year since the group performed a live, closed-door performance at Capitol Records’ offices following what was a rough tour in support of its then latest album, Catch a Fire.  The “concert” in question is a rare recording from the group.  It took years of searching and research to even locate the footage, assemble and edit everything.  Now this Friday, that painstaking time and effort will come to fruition when Tuff Gong and Mercury Studios (formerly Eagle Rock Entertainment) release the intimate performance.  The recording proves an entertaining presentation thanks in part to its featured liner notes.  Those liner notes set the stage (so to speak) for the recording and will be discussed shortly.  Adding to the recording’s appeal is its production, especially considering the amount of time and work that went into restoring the footage.  It will be examined a little later.  The set list rounds out the recording’s most important elements and will also be examined later.  Each item noted here is important in its own way to the whole of the recording.  All things considered, they make the recording a presentation that reggae fans and those specifically of Bob Marley and the Wailers will appreciate.

Tuff Gong and Mercury Studios’ forthcoming release of Bob Marley and The Wailers: The Capitol Session ’73 is a presentation that will appeal widely among reggae fans.  Its success comes in part through its featured liner notes.  The liner notes are so important to the recording’s presentation because they establish the setting and story that led to the one-off performance.  The notes come from author John Masouri’s book, Simmer Down: Marley-Tosh-Livingston.  The excerpt featured in the recording’s booklet points out that leading up to the rare performance, Marley and company had not had the best experience.  Masouri even cites then band member Joe Higgs as saying of the experience, “We weren’t happening, our outfits were inappropriate, and we were rebels.”  In other words, the U.S. leg of the band’s “Catch a Fire Tour” (which was what led up to the Capitol Session according to Masouri) was not necessarily a positive experience.  Audiences will be just as enthralled as they learn that the band’s connections at Island Records helped to get the band its performance.  Perhaps most interesting of all that Masouri points out in the featured excerpt is that the Capitol Session performance was one of the very last times that the majority of The Wailers’ initial lineup performed together.  As he states, Bunny Livingston had left the band around the time that the tour’s UK leg launched in April 1973.  He later adds that following the Capitol Session performance, the rest of the initial lineup would perform together two more times before many members went their own way.  Having this understanding, it makes the performance and recording that much more important of a moment in the history of Bob Marley and The Wailers.  Higgs and Tosh each left the band after the band returned to Jamaica following those last two shows together.  They would go on to their own successful careers as solo artists.  So simply put, the information featured in this recording’s liner notes are just a brief excerpt from Masouri’s book, but they offer so much in the way of establishing the setting.  When audiences read those notes first, they will go on to have even more appreciation for the performance.

While the history presented in the recording’s liner notes does a lot to make the recording engaging and entertaining, it is just a portion of what makes the recording successful.  The recording’s production makes for its own appeal.  Going back to the noted time and effort that went into finding and restoring the recording’s footage, that work paid off.  Considering that almost half a century has passed since the footage was initially captured, it looks and sounds quite impressive.  The picture and audio are each surprisingly clear.  What’s more, the mix effects that are used between the four cameras give the performance a feeling that is just as enjoyable as any much bigger concert.  The smooth, gentle transitions from camera to camera do so much to heighten the relaxed sense that the music establishes.  Considering that the band was playing this concert in-studio instead of in front of a live audience, it meant extra attention also had to be paid to the recording’s audio mix.  The attention paid even to this aspect is impressive, as audiences can hear the subtle echo of the band in the studio, but the echo never once overpowers the music.  In fact, it actually adds a subtle positive aesthetic impact to the general effect.  It shows along with the video production that the work that went into recording the performance and even restore it paid off in spades.  That positive result and the story behind the performance join to make for even more engagement and entertainment.  Even with that in mind, there is still one more item to address in examining the recording.  That item in question is the recording’s set list.

The set list featured in the band’s Capitol Session performance is interesting because of its clearly directed focus.  The 12-song set pulls from the band’s then latest album, Catch a Fire behind which the band was touring, and its follow-up, Burn, both of which were released in 1973.  The band had already released four other albums prior to the performance, so to have the focus mainly on those two albums is just very interesting.  As a matter of fact, the band pulled over half of Catch a Fire’s nine tracks for the performance, and approximately half of Burnin’.  So what audiences get in this set list is a very specific look at the band at that moment in its history.  To that end, it is a positive in its own right.  So in other words, not only do audiences get an actual history of the band at that point through the recording’s liner notes, but they also receive a musical history so to speak at the same time.  Keeping that in mind along with the impressive production values in the recording, the whole leaves The Capitol Session ’73 a presentation that will appeal widely among reggae fans and those specifically of Bob Marley and the Wailers.

Tuff Gong and Mercury Studios’ forthcoming “live” Bob Marley and the Wailers recording, The Capitol Session ’73 is a positive new offering for any reggae fan and fan of Bob Marley and the Wailers.  Its success is established early on through the liner notes featured with the recording.  The notes, which are in fact an excerpt from a book about Marley and his fellow musicians, do well to establish the history of the moment.  Audiences are recommended to read those notes before taking in the concert, as it will serve to increase the appreciation for the performance.  The production values presented in the recording add to its appeal.  That is because it shows how ell the footage has stood the test of time.  What’s more, it shows that the time and effort that went into locating and restoring the footage paid off in its own right.  The recording’s set list rounds out the most important of its elements.  It is important because it encapsulates the band in a sense.  It shows the band at a very particular point in its life through the performances of songs from two specific albums.  Each item examined here is important in its own way to the whole of this recording.  All things considered, they make the recording a piece that reggae fans and Bob Marley fans alike will appreciate.

Bob Marley and The Wailers: The Capitol Session ’73 is scheduled for release Friday through Tuff Gong and Mercury Studios. More information on The Capitol Sessions ’73 is available along with all of the latest Bob Marley news at:

Websitehttps://www.bobmarley.com

Facebookhttps://www.facebookcom/bobmarley

Twitterhttps://twitter.com/bobmarley

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

Mercury Studios, The Rolling Stones’ Re-Issue Of ‘A Bigger Bang: Live On Copacabana Beach’ Is An Improvement On The Original

Courtesy: Mercury Studios/Universal Music Group

Mercury Studios (formerly Eagle Rock Entertainment) and The Rolling Stones have brought quite a bit of enjoyment to fans of the legendary rock band over the course of almost the past decade.  The two sides have partnered since 2012 to release no less than 18 archived live recordings from The Rolling Stones.  The shows have come from points around the globe, from England to Japan to Cuba to the United States.  Now Friday, the two sides will revisit one of The Rolling Stones’ “older” live recordings when they re-issue the band’s 2007 live recording, A Bigger Bang: Live on Copacabana Beach.  While it is a re-issue, this recording is still a presentation that will appeal to any fan of The Rolling Stones.  That is due in no small part to the recording’s featured set list, which will be discussed shortly.  The re-issue’s companion booklet is also of note.  It will be discussed a little later.  The recording’s production values round out its most important elements and will also be discussed later.  Each item noted here is important in its own way to the whole of the re-issue.  All things considered, they make the re-issue another wonderful new addition to the library of any fan of The Rolling Stones.

Mercury Studios and The Rolling Stones’ forthcoming re-issue of its 2007 live recording, A Bigger Bang: Live on Copacabana Beach, is a re-issue done right.  It will no doubt appeal to all of the band’s audiences.  That includes those who might already own the recording’s original release.  This is proven in large part through the recording’s set list.  The set list features a total of 20 songs, one of which – ‘Night Time is the Right Time – is a cover of a song made famous by the equally legendary singer/songwriter, Ray Charles.  Four others – ‘Sympathy for the Devil,’ ‘This Place is Empty,’ ‘Oh No, Not You Again,’ and ‘Tumbling Dice’ – were not featured in the original recording.  This despite the fact that the band performed said songs at the 2006 concert, held in Rio De Janeiro.  Mercuty Studios and The Rolling Stones are to be especially commended for the inclusion of the noted songs as part of the recording because it would have been just as easy for each side to just make the songs “bonus content.”  This is something that many labels and acts do with live recordings.  Even Mercury Studios has taken this route in past recordings from other acts.  So to make the previously unreleased songs part of the main feature makes the recording whole.  This, again, will appeal not only to those audiences who maybe do not already own the recording’s 2007 presentation, but also to those who do own that recording.  It will certainly make replacing that recording all the easier.

Adding to the importance of the set list is that while the band once again features many of its timeless hits here, it also lifts from its then new album, 2005’s A Bigger Bang.  The set list is not necessarily career-defining in the purest sense of the word, but it does pull from nin (almost half) of the albums that the band had released up to that point.  A Bigger Bang and Exile on Main Street each get the most nods at three while Sticky Fingers and Let It Bleed each get two.  Along the way, other records, such as It’s Only Rock ‘N Roll, Voodoo Lounge, Some Girls, and Tattoo You each get one nod along with other records from the band’s extensive catalog. 

As if everything noted is not enough, there is still one more aspect of the set list worth noting.  That aspect is that the set list is presented in the same sequence on each of its available platforms.  Those platforms are: DVD/2CD, SD BD/2CD, 2DVD/2CD, and 3LP.  The Deluxe 2DVD/2CD platform will feature a 40-page book and the concert on DVD and CD.  The bonus second DVD features the band’s 2005 Salt Lake City, UT concert in whole.  That concert was also in support of A Bigger Bang.  Now, keeping in mind all that the positives that the recording’s set list offers audiences, it is just a part of what makes this re-issue successful.  The companion booklet that accompanies the recording adds its own appeal to the presentation.

The companion booklet that accompanies this re-issue is important because of the liner notes featured therein.  Crafted by journalist Paul Sexton, the liner notes set the stage (pardon the pun) for the concert featured on the noted platforms.  Sexton points out in his notes, front man Mick Jagger and guitarist Keith Richards’ 1968 vacation to the region was at least partially responsible for the samba beat featured in ‘Sympathy for the Devil.’  He also notes that the free concert, which is estimated to have had an audience in excess of 1.5 million people, was not just something that the band did on a whim.  He points out that a lot of thought and planning went into the event beforehand.  That whole story will be left for audiences to discover for themselves just as much as that of the region’s impact on some of the band’s older material.  Additionally, Sexton cites the band members themselves as they recall fondly, the experience of playing before one of the largest audiences ever for a free concert by any act.  Between everything noted here and so much more pointed out by Sexton, the whole makes the liner notes just as important as the set list to this re-issue.  It is easy to argue, considering this, that audiences should really read the liner notes before taking in the concert.  Keeping that in mind, the overall content featured in this recording gives audiences much to appreciate.  The collective content is only a portion of what makes the recording successful.  The recording’s production values round out its most important elements.

The production values in this recording are just as appealing as the concert’s content.  While 4KUHD might not have been a reality in 2006, recording technology from the early 2000s was still a huge improvement in comparison to that of the 80s and 90s.  Keeping that in mind, the audio and video mix in this re-issue is solid throughout the course of the concert’s approximately two hour run time.  The sound balance is expert from beginning to end.  The camera work captures the concert from so many great angles.  Staying on that note, the direction is to be commended for having such an eye for those angles.  Thanks to that collective work, audiences are taken on stage with the band and above the crowd with various crane cam shots.  The shots change at a pace that is just right to accent the energy within each song.  This in itself is important because it means at no point will audiences be left feeling dizzied or even bored.  The mixes make the transitions just as smooth, too.  Simply put, everything incorporated in to the production makes the concert’s presentation just as successful as the concert’s content.  All things considered, the concert proves to be a prime example of a re-issue done right.

Mercury Studios and The Rolling Stones’ forthcoming re-issue of A Bigger Bang: Live on Copacabana Beach is a presentation that every fan of The Rolling Stones will appreciate.  That is proven in part through its featured set list.  The set list runs 20 songs deep and is presented in whole.  That is in comparison to the set list featured in the recording’s 2007 presentation, which was lacking four songs featured in the then 2006 concert.  The set list is also featured in the same sequence on each of its available platforms.  It is also an extensive presentation of the band’s catalog at that point.  Given it might not be career-spanning per se, but still does a good job of representing the band’s catalog.  The liner notes featured in the recording’s companion booklet add their own appeal because of the foundation that they form.  That foundation is formed through the background information that the notes provide.  The recording’s production rounds out the presentation’s most important elements.  The sound and video are expertly balanced while the cinematography does its own share to keep viewers engaged and entertained.  It is a tribute to the work that was put in to remaster and re-edit all of the featured content.  Each element examined here is important in its own way to the whole of the recording.  All things considered, they make the recording a presentation that every fan of The Rolling Stones will enjoy and a prime example of a re-issue done right.

A Bigger Bang: Live on Copacabana Beach is scheduled for release Friday through Mercury Studios and Universal Music Group. More information on Steel Wheels Live is available along with all of its latest news at:

Websitehttps://www.rollingstones.com

Facebookhttps://www.facebook.com/therollingstones

Twitterhttps://twitter.com/RollingStones

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