BPMD’s ‘American Made’ Covers Collection Is Entertaining, But Hardly Memorable

Courtesy: Napalm Records

Covers collections are among the most peculiar releases that musical acts of any genre can release during their careers.  Unlike singles compilations, which in their own way, actually serve a purpose – that purpose being that they could lead new audiences to pick up an act’s albums in whole – covers compilations serve little if any purpose.  They are just collections of songs that acts put together to “pay tribute” to other acts and make money in the process.  They are really just space fillers that acts use in order to satisfy contractual obligations for album release numbers.  Keeping that in mind, one can’t help but wonder why respected and talented musicians, such as Bobby Blitz (Overkill), Mike Portnoy (ex-Dream Theater, The Winery Dogs, Transatlantic, Sons of Apollo, Liquid Tension Experiment, etc.), Phil Demmel (ex-Machine Head, Vio-lence) and Mark Menghi (Metal Allegiance) would come together just to create a compilation of cover songs for what is right now its first and only release.  The 10-song compilation, titled American Made, is scheduled for release Friday through Napalm Records.  It does delve into music from some notable bands who have come before this hard rock supergroup dubbed BPMD.  That dichotomy of the bands whose music is covered versus the band performing said songs does make for at least some interest at best.  This item will be addressed a little later.  The specific arrangements of said songs is certain to be its own discussion point.  They will be discussed later, too.  Each item noted here is important in its own right to the whole of this compilation.  All things considered, American Made proves itself to be a record that while worth hearing at least once, is sadly anything but memorable.

Hard rock super group BPMD’s debut recording American Made is a recording that is worth hearing at least once, but sadly not much more than that.  One of the record’s only saving graces is the contrast of the bands whose works are covered to the band performing said covers.  The bands whose works are covered throughout this roughly 37-minute collection include, but are not limited to Aerosmith, Ted Nugent, Lynyrd Skynyrd, ZZ Top, and Grand Funk Railroad.  Even Mountain gets its own recognition here.  Simply put, the bands whose works are covered here are in a realm that is completely opposite of the bands from which BPMD’s members have come.  Blitz is front man of the veteran thrash metal outfit Overkill.  Portnoy spent the majority of his professional career keeping time for the famed prog-metal outfit Dream Theater.  Even the other projects in which he has taken part have been in genres directly opposite of that of the covered bands.  Much the same can be said of Demmel and Menghi.  Considering the contrast of the resumes of BPMD’s members and the bands that they cover here, that in itself is worth at least engagement for audiences.  It shows that the band was willing to go out on a limb and do something different than what they normally do in their dayjobs.  One could also argue that maybe it is a display of the acts that influenced the band’s members.  If that’s that case, then the group has definitely gone far from those influences over the years, again making for its own share of discussion for listeners.  To that end, that contrast of the band’s collective background and the bands that this group covered does at best a little bit for the collection.  Directly tied to those discussions is the discussion on the collection’s one unavoidable negative, the very fact that it is a covers collection.

It has already been noted here that the members of BPMD have decidedly outstanding resumes.  So to that end, it is just baffling that considering the band members’ pedigrees, the group’s first impression of sorts would be a collection of songs that have been covered time and again by so many other acts.  These men are elite figures within the hard rock and metal communities.  It made audiences hope for something original right out of the gate so to speak.  Instead, the group opted to essentially phone it in and put out a covers compilation.  Had the group gone that route of releasing a debut loaded with original content first and then this record later, it would have made the compilation easier to accept. What’s more, unlike the case of Fozzy, which also started off with a collection of covers so long ago, it has to be assumed that BPMD is just a one-off project for its members.  At least in the case of a band, such as Fozzy, it was known that said band’s debut was just the beginning for that act.  This knowledge detracts from the draw of American Made.  It essentially makes the compilation come across as little more than a cash grab for the band and nothing more.  Keeping that in mind, this unavoidable aspect of American Made makes it difficult to call this record memorable.  While this aspect cannot be ignored, it does not make the album a complete failure for the group.  BPMD’s take on the record’s songs makes for its own share of engagement.

One of the most interesting updates that the band features in American Made is that of Lynyrd Skynyrd’s ‘Saturday Night Special.’  BPMD’s update does largely stay true to its source material by and large.  The amped up re-imagining also gives the song a new identity and feel, needless to say.  It gives the song more of a 1980s hair metal type of sense.  Whether fans love or hate this one will be left to them, but it is definitely an interesting take, needless to say.  BPMD’s update of Aerosmith’s ‘Toys in the Attic’ is another key addition to the collection.  As with the band’s cover of Lynyrd Skynyrd’s ‘Saturday Night Special,’ this cover also stays largely true to its source material.  It just once again gives the cover an amped up remake.  The song even goes so far as to include Joe Perry’s guitar solo from the original work.  It’s just weird hearing Bobby Blitz’s gritty vocals and the full-on hard rock re-imagining here.  That aside, this update actually works almost as well as the original.  BPMD’s cover of Grand Funk Railroad’s ‘American Band’ is another important addition to this compilation.  The band’s take once more does strive to stay true to its source material, and it is certain in its own right to create a lot of discussion among listeners.  That’s because while it does stay true to the source material, it seems to have trouble balancing its attempt to echo the song’s classic rock sound and the band members’ own hard rock and metal leanings.  It is definitely going to have listeners talking.  That is not to say that the song is a total loss or that any of the compilation’s works are losses.  The songs will certainly leave listeners talking, though.  Between the discussions insured through the musical updates and the very lineup of featured bands, which could actually lead some listeners to embark on musical journeys into catalogs of bands to which they otherwise might not have listened, the compilation proves itself worth hearing at least once.  To that end, the compilation is not a total failure.  However, one cannot ignore the fact that considering the resume of each of BPMD’s members, this just seems like little more than a cash grab.  To that end American Made makes itself worth hearing at least once, but anything but an American classic itself

BPMD’s covers collection American Made is a headscratcher of a record.  The first release from the hard rock super group, it will potentially lead some listeners to take their own journeys into the catalogs of the record’s featured bands.  The songs that are covered here play even more into that potential musical journey of discovery, as the covers will definitely lead to lots of discussion among audiences.  For all of the positives that the record’s featured bands and songs generate, one still cannot ignore the very issue that the band’s members are among the music industry’s elite figures.  To that end, coming together for potentially just one record and making said record a covers collection will leave a somewhat bitter taste in many listeners’ mouths, so to speak.  It leaves one feeling like this was just a rushed, phoned in work that was little more than a cash grab for the band’s members.  Keeping all of this in mind, the record proves itself worth hearing at least once, but sadly not much more than that.  American Made is scheduled for release Friday through Napalm Records.  More information on American Made is available along with all of BPMD’s latest news at:

 

 

 

Website: http://bpmdmusic.com

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

Twitter: http://twitter.com/bpmdofficial

 

 

 

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Sons Of Apollo Builds On The Success Of Its Debut Album With Its Sophomore Release ‘MMXX’

Courtesy: InsideOut Music

Prog-metal supergroup Sons of Apollo won’t be a one-off act for its members.  The group – Jeff Scott Soto (vocals), Billy Sheehan (bass), Ron Thal (guitar), Mike Portnoy (drums) and Derek Sherinian (keyboards) – will release its second full-length studio recording MMXX on Jan. 17.  The eight-song record has already spawned two singles – ‘Goodbye Divinity’ and ‘Fall To Ascend’ – and those singles are just a glimpse into what makes the album an impressive return for the quartet.  A close listen through the course of the record’s approximately 58-minute run time reveals an overall work that shows growth and change from the album’s predecessor Psychotic Symphony (2017).  One of the songs featured in the new album that serves to exhibit that growth comes late in the record’s run in the form of ‘Desolate July.’  It will be addressed shortly.  The record’s 15-minute-plus finale ‘New World Today’ is another way in which the group shows the noted growth.  It will be addressed a little later.  Much the same said of that song and ‘Desolate July’ can also be said of ‘Asphyxiation,’ which comes early in the album’s run.  When this song and the others noted here are considered alongside the two singles that the album has already spawned and the other three songs not addressed here, the whole of the album proves itself easily, to be one of this year’s top new hard rock and metal albums.

Sons of Apollo’s sophomore album MMXX is a step up from the band’s 2017 debut album Psychotic Symphony.  That is not to say that the band’s debut album was a bad record by any means.  As a matter of fact, said album was an impressive debut.  What this critic means to say is that the band has taken the success of its debut and built on it with this record.  That is proven in part midway through the album in the form of the song ‘Desolate July.’  The song starts with a brooding piano line with which , Soto sings.  A little more than a minute into the song, things pick up with the rest of the band members joining in.  What is interesting here is that even with the addition of Thal, Portnoy and Sheehan, the song still remains brooding in its own right during the choruses while the verses remain more introspective and moody.  Those different forms of heaviness makes the song’s arrangement its own powerful portion of the composition.  It is just one part of what makes the song stand out among the album’s works.  The song’s lyrical content adds even more power to that presentation.

Soto sings in the song’s lead verse, “Without reason/A dream becomes a tragedy/I’m still not believin’/Is this reality/So tell me/’Cause I don’t really wanna know/Did you really have to go/With no chance to say goodbye/And we’re left always wondering why/Another desolate July.”  He continues in the song’s second verse, “Night is silent/The innocence has found its way/The days are demising/Still the memories remain/So tell me.”  He adds in the song’s third and final verse, “I don’t believe what I’m hearing/It’s tearing down my soul/through every turn/You’re still reappearing/This void  has taken its toll/And now I’m running/I can’t stop this bleeding/And now I’m seething/My despair I’m feeling.”  Little, if any, is left to the imagination as to the song’s lyrical them through all of this.  This is some one who has lost a friend or loved one and is struggling to come to terms with it.  Considering the precise wording, this is not a song about a broken relationship.  It is a song about someone having died, and the emotional impact that said death has had on someone left behind.  Keeping that in mind, the song’s lyrical content couples quite well with its lyrical content to make the whole of the song one of the album’s most powerful and notable moments.  It is just one of the album’s most noteworthy works.  The album’s nearly 16-minute finale that is ‘New World Today’ is noteworthy in its own right.

The musical arrangement at the center of ‘New World Today’ opens with its own brooding, almost Pink Floyd-esque guitar line from Thal.  Thal’s intro to the three-movement song lends itself to comparisons to works from Pink Floyd’s 1994 album The Division Bell.  From there keyboardist Derek Sherinian joins in with his own percussive performance. Eventually the song progresses into its second movement, in which Soto joins in alongside Thal, Sherinian and the rest of the band members.  Eventually, the song enters its sixth and final movement, which is full on prog-metal.  What is so interesting about that third movement is how much it comes across as the band simply improving all the way around.  Even with that feeling, there is still a certain sense of control through it all that keeps the arrangement that engaging and entertaining.  For all of the entertainment and engagement that the song’s expansive arrangement ensures, that arrangement is just one part of what will keep listeners’ ears.  The song’s lyrical theme is sure to do just as much as its musical arrangement to grab listeners.

The song’s lyrical content comes across quite as a social commentary right from its opening.  Soto sings in the song’s lead verse. “Why do we fight all we’re living for/This generation decline/It’s not enough we’re conflicted/In search of something divine/In the age of modern man/No more playing by the rules/it seems no one gives a damn/Oh, so many fools/We’re all living in a cloud/We’re all living in a dream/We only do what we’re not allowed/In the land of the free/Illusion is reality/Residing beyond hope and fantasy/Divided by our destiny/this is your life/This is the new world today.”  He continues in the song’s second verse, “This ecstacy that we’re looking for/Seems to confuse and divide/We break down and rebuild the walls/We rise up an drop from grace/#MeToo #YouToo we fall/This subhuman race/Pledge allegiance to our God/Today it’s not PC/Take a knee/Now you are a fraud/Oh say, I can’t see/Colliding with all we conceal/Deciding we know all than what we feel/We somehow survive the surreal/this is our lives/This is the new world today.”  He adds in the song’s third verse, “We can’t undo yesterday’s tomorrow/Wheen something new was still so real/Now who will take the lead/Who will follow/the day has dawned/Unveil the new real.”  The song continues in similar fashion throughout right to its finale in its sixth movement.  The gist of the whole thing is a message that seems relatively clearly to infer that there is a need for change because of what society has become from what it once was.  Taking such an approach is nothing new for any musical genre.  The approach here is still powerful and moving in its own right.  When that message is joined with the song’s equally engaging musical arrangement, the whole of the song becomes yet another standout addition to MMXX and yet more proof of how much the band’s members have stepped up their game on this album.  Keeping this in mind, this song is still just one more of the ways in which MMXX proves itself another success from the band.  ‘Asphyxiation,’ which comes early in the album’s run is one more example of the album’s strength.

‘Asphyxiation’ presents a musical arrangement that from start to end, is full on prog-metal.  At one point, it even breaks into what feels almost like a complete improve session.  Even more interesting is that said seeming improve breakdown still maintains a certain control that makes the song that much more powerful.  This is something that is completely unlike anything that the band presented in its debut record, and is just as much unlike anything that any other prog-metal act today is doing.  Keeping that in mind, this adrenaline-fueled, five-minute prog-metal opus stands out as yet another of this album’s strongest additions and most notable.  One might even argue that it is even more notable than either of the singles that the album has already spawned, as engaging and entertaining as they already are.  Of course, as powerful as the song’s musical arrangement is, it is still just one part of what makes the song stand out.  The song’s lyrical content is just as noteworthy as its musical content.

This song’s lyrical content comes across as perhaps two people in a very toxic relationship.  That is inferred right from the song’s outset as Soto sings, “I’m lovin’ the way/That you’re squeezin’ my soul/My insanity/And I’m needin’ a taste/I can’t breath/This suffocating desire/Now dig/You’re the devil I know/My consequence, your dichotomy/No remorse, now I see/You are now my diseased fortifier/Your deceit is your desire/You’re my salvation/My new temptation/’Cause you’re my asphyxiation.”  He continues in the song’s second verse, “Under my own skin/Let the games now begin/In your private hell/I am your lust/Scream eternally under your spell/My deceit is your desire.”  He adds in the song’s third verse, “I’m your creation/Your new sensation/I’m your temptation/’Cause I’m your asphyxiation.”  It seems those strong thoughts and feelings go in both directions, leading back to that inference that this is a song about people in a less than perfect relationship.  That being the case, the almost manic feel of the song’s arrangement makes more sense.  To that end, it shows again just how much thought and time went into making sure every song in this album translated clearly to the band’s fans and general listeners.  Keeping that in mind along with the other two songs noted here and the rest of the album’s works, the entirety of MMXX becomes a record that is a large step up for Sons of Apollo. It makes the record a sign of how much this group has to offer audiences.  That in turn gives hope that this record will not be the band’s last album.

Sons of Apollo’s second full-length studio recording MMXX is a strong new offering from the superstar collective.  That is due to eight songs whose musical and lyrical content clearly display a lot of thought and time was spend crafting each work.  The songs addressed here are but a small example of that time and thought.  When they are considered alongside the rest of the album’s entries, the record in whole makes itself an early candidate for a spot on any critic’s list of the year’s top new hard rock and metal albums.

Sons of Apollo will launch a tour in support of MMXX later this month in Sacramento, CA.  The tour is scheduled to launch Jan. 23 and to run through Feb. 8 in Englewood, NJ.  After taking some time off, the band will launch the first European leg of its tour on Feb. 29 in Germany.  The European leg of the band’s tour is scheduled to run through March 25 in Budapest, Hungary.  the band’s tour schedule is noted below.

 

North America 2020
Thu 1/23            Sacramento, CA            Crest Theater
Fri 1/24             Pomona, CA                 The Glass House (https://bit.ly/2H8kNxY)
Sat 1/25            Los Angeles, CA           The Roxy (https://bit.ly/2H8aLNb)
Sun 1/26           San Francisco, CA        The Fillmore (https://bit.ly/31FYAPj)
Tue 1/28            Salt Lake City, UT          The State Room (https://bit.ly/31D8P7e)
Wed 1/29          Denver, CO                   The Oriental Theater (https://bit.ly/2Z5QC4s)
Fri 1/31             St. Charles, IL               Arcada Theater (https://bit.ly/30igOGu)
Sat 2/1              Battle Creek, MI             The Music Factory (https://bit.ly/31IwXVQ)
Sun 2/2             Toronto, ONT.               Mod Club (https://bit.ly/2Z8OuJ8)
Mon 2/3            Montreal QUE.              Corona Theater (https://bit.ly/2KF9eyU)
Wed 2/5            Boston, MA                  Paradise Rock Club (https://bit.ly/2N2rMMx)
Thu 2/6             New York, NY               Gramercy Theater (https://livemu.sc/2KHNN1r)
Fri 2/7               Jim Thorpe, PA             Penn’s Peak (https://bit.ly/2TLMy4w)
Sat 2/8              Englewood, NJ             Bergen PAC (https://bit.ly/31MKyM7)
Europe 2020
Sat 2/29            Germany                                   TBA
Mon 3/2            Drammen, Norway                     Union Scene
Tue 3/3             Gothenburg, Sweden                 Traedgarn
Thu 3/5             Kyiv, Ukraine                             N.A.U Theatre
Sat 3/7              Moscow, Russia                        RED
Sun 3/8             St Petersburg, Russia                Aurora
Tue 3/10            Pratteln, Switzerland                  Z7
Wed 3/11          Milan, Italy                                Live Club
Fri 3/13             Bilbao, Spain                            Santana 27
Sat 3/14            Barcelona, Spain                       Razzmatazz 2
Sun 3/15           Madrid, Spain                           La Riviera
Tue 3/17            France                                      TBA
Wed 3/18          France                                      TBA
Thu 3/19            London, U.K.                            Islington Assembly Hall
Fri 3/20             Eindhoven, Netherlands             Prognosis Festival
Sun 3/22           Show Brno, Czech Republic       Sono
Tue 3/24            Kosice, Slovakia                       Colosseum
Wed 3/25          Budapest, Hungary                    Barba Negra

More information on MMXX and the band’s tour in support of the album is available online now along with all of Sons of Apollo’s latest news and more at:

 

 

 

Website: http://www.sonsofapollo.com

Facebook: http://www.facebook.com/SonsOfApollo1

Twitter: http://twitter.com/SonsOfApollo1

 

 

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Sons Of Apollo Offers Audiences A Strong Live Debut In ‘Live With The Plovdiv Psychotic Symphony’

Courtesy: InsideOut Music/Century Media

The wait is finally over for Sons of Apollo’s new live recording.  The band officially released its new recording, Live With The Plovdiv Psychotic Symphony Friday.  The 24-song, two-and-a-half-hour concert was recorded at the famed Plovdiv Roman Theatre in Plovdiv, Bulgaria.  If that sounds familiar to some audiences, it should.  That is because that is the same venue where the Devin Townsend Project recorded its most recent live recording, Ocean Machine Live at the Ancient Roman Theatre Plovdiv.  That’s another concert, though.  This concert in question is a presentation that is certain to appeal to every Sons of Apollo fan.  That is due in part to the concert’s extensive set list, which will be addressed shortly.  The band’s performance of said set list is important to note in its own right and will be discussed a little later.  The concert’s production values round out its most important elements.  Each item noted is key in its own right to the whole of the recording.  All things considered, they make Live With The Plvdiv Psychotic Symphony a good first live outing for this prog-rock super group.

Sons of Apollo’s debut live recording Live With The Plovdiv Psychotic Symphony is a good first live offering from the prog-rock super group.  It succeeds all the way around, beginning with its extensive set list.  The 24-song, two-and-a-half-hour set list features the band’s debut album Psychotic Symphony in whole as well as covers of some of the band members’ own favorite songs from other acts and even some work from the band members’ own catalogs.  While Psychotic Symphony is presented in whole here, it is not in the same sequence as on the record, which is not necessarily bad.  It is instead scattered throughout the record with the other noted songs, including three classic Dream Theater songs ‘Just Let Me Breath,’  ‘Lines in The Sand’ and ‘Hell’s Kitchen.’  All three songs were lifted from Dream Theater’s 1997 album Falling Into Infinity, which was really the record that set Derek Sherinian’s identity as the band’s keyboardist at the time.  The covers featured in the set list are quite varied in their own right.  Rainbow gets a nod with ‘Gates of Babylon.’  The band also takes on Ozzy Osbourne with ‘Diary of a Madman.’  The band members even cover works from Pink Floyd, Led Zeppelin and the one and only Henry Mancini (yes, Henry Mancini) in this set list.  That’s quite a range of music.  From hard rock to prog rock to jazz and even the mainstream rock of Van Halen (the band also covers Van Halen’s ‘And The Cradle Will Rock,’ in this set), the band shows a wide range of influences and talent with the covers and the originals.  All things considered, the band’s set list ensures audiences’ maintained engagement and entertainment from the beginning to the end of the show.  That is heightened even more through the sequencing of the set list.  A close watch/listen shows a lot of thought went into the sequencing, as the show’s energy rises and falls at all of the right moments, ensuring even more, audiences’ engagement.

The engagement and entertainment ensured through this recording’s set list is but one part of what makes it so appealing for audiences.  The band’s performance of that set list ensures, even more that maintained engagement and entertainment.  Those who actively watch and/or listen to the recording will note that the band wastes little to no time moving from one song to the next over the course of the concert.  Case in point is the transition from ‘Alive to Henry Mancini’s timeless ‘Pink Panther Theme,’ and from that song into ‘Opus Maximus.’  The transition is seamless from one song to the next.  The band members hit all the right notes and cues to make each transition work.  It is just one of the prime examples of how the band makes the most of its time.  Earlier on in the set, the band transitions just as seamlessly from ‘Signs of the Time’ into ‘Divine Addiction.’  That fluidity makes for so much enjoyment for audiences.  Even in the rare moments in which the band does take a moment to interact with the audience, little time is wasted, such as when drummer Mike Portnoy introduces his longtime friend and band mate Billy Sheehan for Sheehan’s solo.  That solo, by the way, would make fans of Cliff Burton and Lemmy Kilmister proud.  Getting back on topic, Portnoy’s introduction is short and to the point, giving Sheehan more time to perform.  Even when front man Jeff Scott Soto gets his moment in the spotlight for his solo performances, he is gracious and humble in addressing the audience, and brief in the process.  Simply put, from the concert’s opening to its finale, the band’s presence and performance of the show’s set list displays the band as a fine tuned machine and as a group of true professional musicians that wants to give audiences the absolute biggest bang for its buck.  When that is considered alongside the set list itself, the whole of those two elements gives audiences more than enough to appreciate in this case.  Even with all of this in mind, the set list and the band’s performance thereof is still only a portion of what makes the concert so enjoyable for audiences.  The recording’s production values put the finishing touch to its presentation.

The production values in this recording are so important in that they add so much more to the general effect of the concert.  The camera angles, the transitions from camera to camera (including the speed of the transitions) help to expertly capture and translate the energy of the show for audiences who were not lucky enough to be in attendance at what was the band’s first-ever concert at the Roman Theatre.  At the same time, they also give home audiences the absolute best seat in the house, taking viewers right up close wit hthe band on stage and from high above at some points.  The sound editing and mixing is just as worthy of praise, as it keeps all of the music and vocals just as expertly balanced throughout.  Case in point is the balance of Soto’s vocal delivery against the instrumental elements in ‘Kashmir.’  Portnoy and company are clearly audible, but never once overpower the orchestral backing provided for the performance.  At the same time Soto’s vocals are never overpowered by his band mates and guest orchestral musicians as he takes on Robert Plant’s part from the original song.  When the expert production and mixing is considered alongside the band’s performance and the set list, the whole of the concert becomes an experience that definitely presents a very wide appeal.  Overall, the noted elements make this recording in whole one more of this year’s top new live Blu-ray/DVD recordings.

Sons of Apollo’s debut live recording Live With The Plovdiv Psychotic Symphony is a powerful first live offering from the prog-rock super group.  It is an offering whose appeal reaches easily beyond just fans of the band, but the bands with whom each of its musicians have performed and more.  That is proven in part through the recording’s extensive set list.  The set list not only presents the band’s debut album Psychotic Symphony in whole, but also lots of covers and originals that will appeal to lots of audiences.  The band’s performance of that set list does just as much to make the recording enjoyable.  The recording’s production and mixing put the last touch to its presentation, ensuring even more its positive impact.  Each item noted is important in its own right to the whole of the recording.  All things considered, they make Live With The Plovdiv Psychotic Symphony not just a strong live debut for Sons of Apollo, but also one more of this year’s top new live Blu-ray/DVD recordings.  More information on the recording is available online now along with all of Sons of Apollo’s latest news and more at:

 

 

 

Website: http://SonsofApollo.com

Facebook: http://www.facebook.com/SonsofApollo1

Twitter: http://twitter.com/SonsofApollo1

 

 

 

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‘Psychotic Symphony’ Is A Brilliant Work From Some Of Progressive Rock’s “Titans”

Courtesy: InsideOut Music

Late next month, progressive metal outfit Sons of Apollo will make its way to Nroth Carolina as part of its tour in support of its debut album Psychotic Symphony. The performance is scheduled for Feb. 13 at Cat’s Cradle in Carrboro. Audiences who have yet to experience this new recording from the long time friends — Mike Portnoy (ex-Dream Theater, Winery Dogs, Transatlantic, Liquid tension Experiment), Derek Sherinian (ex-dream Theater, Platypus, Alice Cooper), Billy Sheehan (Winery Dogs, Mr. Big, Steve Vai), Ron “Bumblefoot” Thal (ex-Guns N’ Roses, Art of Anarchy) and Jeff Scott Soto (Trans Siberian Orchestra, SOTO, Rising Force) — will definitely be in for quite an experience. That is proven in part through the album’s musical arrangements. They will be discussed shortly. The album’s lyrical content plays into that experience, too. It will be discussed later. The album’s sequencing rounds out its most important elements, putting the finishing touch on the project. Each element is important in its own way to the whole of this nearly hour-long recording. All things considered, they make the album in whole a powerful effort from what is in its own right true rock royalty.

Prog-metal super group Sons of Apollo’s debut album Psychotic Symphony, released this past October via InsideOut Music, is yet another strong effort for the veteran musicians who came together to create the record. Regardless of whether this proves to be just a one-off program or something more long term, it can be said that it impresses from beginning to end. That is proven in part through its diverse musical arrangements. Right off the top, audiences are treated to an arrangement that echoes hints of Dream Theater’s 1997 album Falling Into Infinity courtesy of Sherinian’s keyboards and Portnoy’s work behind the kit. Thal’s guitar work is right up there with that of John Petrucci’s from that album, too. Soto’s vocal delivery expertly compliments the work put in by his band mates, sounding like a cross between James LaBrie and Fozzy front man Chris Jericho. Speaking of Fozzy, the album’s second offering, ‘Coming Home’ boasts an arrangement that can easily be likened to so many works from Fozzy. That is due again to the coupling of the song’s instrumentation and Soto’s vocal delivery. ‘Signs of the Time,’ which comes next changes things up even more with a full on prog-metal opus that expertly balances its heavier down-tuned guitar-driven verses with its more melodic choruses. The result of that balance is an arrangement that is easily one of the album’s high points, but most definitely not its only positive. The arrangement at the center of ‘Labyrinth’ is its own positive. It starts with a tense string arrangement that eventually builds to a solid yet just as tense rock arrangement complete with the rest of the band. From there, the arrangement gradually builds even more until finally climaxing in its bridge almost six and a half minutes in. From there, the song’s energy gradually declines but doesn’t let off too much. By the time the nine-minute-plus opus ends, audiences are left breathless as they agree that this arrangement is yet another of the album’s high points. As if all of that is not enough, the arrangement at the heart of ‘Divine Addiction,’ the album’s penultimate entry, conjures thoughts of early Deep Purple. ‘Opus Maximus,’ which closes out the album, is an aptly titled work. That is because its arrangement is nearly incomparable to anything else out there. The only seemingly feasible comparison that can be made (at least in this critic’s ears) is if one were to take the best musical elements of Dream Theater and Liquid Tension Experiment and mix them together into one whole. the result would be this absolutely bombastic work. When the song ends, audiences will be so blown away that they will agree, the musical adventured embarked upon 57 minutes ago is one of a kind and one that was well worth the trip. As much as this record’s musical arrangements do to the positive for its presentation, they are only one part of what makes the album stand out. Its lyrical themes are just as important as those arrangements.

The lyrical themes presented throughout Psychotic Symphony are key to the album’s presentation because they are just as varied as the album’s musical arrangements. The album’s opener is a prime example of that importance. Soto sings in the song’s lead verse, “Through desert skies and far beyond the ocean/I am the star that shines eternal glow/Forever you’ll know/A cold desire that’s feelin’ no emotion/I am the fire that burns inside your soul/I’m inside your soul/’Cuz I am the light/Surrender tonight/I am the face of tomorrow/Now I’ve just begun/You can’t hide or run/’Cuz I am the god of the sun.” He goes on to sing in the song’s second verse of this figure “healing wounds” and a “prophet crying out for mercy.” There is even mention of an “invited illusion” and “fallen temptation with desperation.” This is rather metaphorical speak to say the very least. Considering that the Egyptian sun God Ra was a false deity as was Apollo in Greek mythology, one could assume that here, the God in question is being used as a metaphor for some commentary on established religion in general. On the other hand, it could be something wholly different. It would have been nice to hear [Mike] Portnoy and [Derek] Sherinian discuss the meaning behind the song’s lyrics in their song-by-song discussions that are available now on YouTube. Even without any discussion by the pair, it goes without saying that this song, which seemingly is rooted in religion (or perhaps in mythology), is certain to generate plenty of discussion among audiences if it hasn’t already done so. That being the case, it is just one way in which the record’s lyrical themes prove so important to its whole.

‘Alive’ is another song that serves to show the importance of the album’s musical themes. This song seems (again, just to this critic) to come across as perhaps a statement of someone who has overcome so much in life. This can be inferred right off the top in the song’s lead verse as Soto sings, “Colorize the sadness/The fear is black wnad white/Tunnel of denial/Looking for the light/The devil on my shoulder/The master of disguise/Can you hear him singing/Release me from the past/This tortured life I’ve sown/I’ve been down/I’m tired of being alone/I can’t hear the silence/Screams into my soul/The truth is ringing.” He goes on to sing in the song’s second verse that “I’m alive” and of basically starting over thanks to his parents. Its’ definitely thought provoking. There’s even mention of eliminating all the negativity of the past as the song nears its bridge. Considering this, the argument that this song lyrically seems to be about overcoming difficult situations in life begins to hold even more water so to speak. When the Veer Union/Sevendust-style musical arrangement is added to the mix, the emotion of such a moment becomes stronger. Once again, this is the interpretation of only this critic. It would, again, be nice to learn the true meaning behind the song’s lyrics. Either way, the discussions that again are certain to be generated show the importance of the album’s lyrical themes.

‘Coming Home’ is yet another example of the importance of this record’s lyrical themes. This song seems to be more of a defiant statement as Soto sings, “Now I’m not so suspicious/You’re downright malicious/Can’t make a fool outta me/You’re scheme’s complicated/Your pride is inflated/Seized by a social disease/There’s a voice screaming outta my head/There’s a truth that I don’t wanna know/Cross the line that’ you’re gonna regret/Is it me/Is it you/So get out of my way/Goin’ out on my own/Now remember my name/’Cause I’m coming home.” Again, there is plenty left to the imagination here considering that the song doesn’t just come out and say what it means. It definitely comes across as a positive work, lyrically, though. Keeping this in mind, it adds even more depth to the album. When that depth is joined with the depth generated by the album’s other lyrical themes, it makes the album that much stronger. When the depth generated by the album’s lyrical themes is joined with that of the album’s musical arrangements, the whole makes the album that much more solid. Even with this all in mind, it still is not the last of the album’s most important elements. The record’s sequencing rounds out its most important elements.

Psychotic Symphony‘s sequencing is so important to note in examining its overall presentation because of how much even it adds to the record. From start to end, the album maintains a solid energy that barely lets up at any point. The most that it lets up (if one can even call it letting up) comes in the opening moments of ‘Labyrinth’ as the string arrangement sets the stage for the song to come. Even that moment isn’t too light. Rather the tension that is built here actually maintains the album’s energy, just in a way that is separate from the album’s first three songs. Even as the band moves into ‘Alive,’ which is arguably the album’s most radio-ready track, the energy there doesn’t even pull back too much. From that point on to the album’s end, the band keeps things moving almost nonstop, insuring that much more, listeners’ engagement. Keeping this in mind, that maintained energy proves to be important in its own right. Had the album been presented in any other order, that might not have been the case. Lukcily though, that didn’t happen, meaning again only positives. That becomes even more the case as this element is joined with the album’s musical arrangements and lyrical themes. All things considered, they make Psychotic Symphony a solid work from a group of brilliant musical minds.

Sons of Apollo’s debut album Psychotic Symphony is a solid first outing from some of today’s great musical minds. From start to finish, this progressive metal offering is a work that any prog rock purist will enjoy. That is proven in part through the record’s varied musical arrangements. Its equally varied lyrical themes are just as certain to impress because of their ability to generate so much discussion among audiences. The album’s sequencing proves in its own way why this record is so impressive. Each element plays its own important part in the whole of Pyschotic Symphony. All things considered, they make this record yet another successful outing for some of the titans of progressive rock. It is available now in stores and online. More information on Psychotic Symphony is available online along with all of the band’s latest news at:

Website: http://www.SonsOfApollo.com

Facebook: http://www.facebook.com/SonsOfApollo1

Twitter: http://twitter.com/SonsOfApollo1

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‘Dog Years’ Ensures Engagement, Entertainment With Simplicity, Song Balance

Courtesy: Loud & Proud Records

Early next month, rock super group The Winery Dogs will release its latest live recording Dog Years to the masses. The recording, which includes both a live 15-song (17 if one counts drummer Mike Portnoy and bassist Billy Sheehan’s solos) set and a bonus 5-song studio EP is an impressive new live effort from The Winery Dogs.  That is due in part to both of the noted elements and the trio’s performance of the noted set list.  Each element is important in its own right to the recording’s overall presentation.  All things considered, they make Dog Years a work that proves to be one more of this year’s top new live recordings.

The Winery Dogs’ latest new live recording Dog Years is an enjoyable new offering from the rock super group, and easily a candidate for a spot on any critic’s list of the year’s top new live recordings.  That is due in part to its 15-song (again, 17 if one counts the two solo segments) set list.  The set list, which runs approximately 98-minutes, pulls almost equally from both of the band’s current albums.  The band’s self-titled debut is represented with seven songs while Hot Streak gets eight nods.  Considering the fact that The Winery Dogs boasts a total of 13 songs, that representation means that the band treated it Chilean audiences with more than half of that album in the concert presented in this recording.  That in itself is well worthy of its own share of applause.  The same applies to the band’s latest full-length studio recording.  Eight of its 13 total songs are represented in this live recording.  As with The Winery Dogs, that selection means that once again the band pulls from more than half of Hot Streak, too.  The result of that set list is a show that gives audiences a very healthy representation of the band’s body of work today.  This is more than worth its share of applause.

On a related note, the sequencing of the show’s rich set list is just as important to note as the set list itself.  Audiences will note in the set list that the band never sticks to one album or the other for far too long at one time.  The longest span that each album sees in this set list is two songs.  In other words, the band ensures audiences engagement not just with the set list but also with its sequencing.  The pairing of these factors does plenty to keep the concert entertaining and engaging.  The pairing makes the elements collectively just one of the key elements to discuss in examining this recording.  The band’s performance of the set list is just as important to note as the set list and its sequencing.

The band’s performance of the concert’s set list is so important to note because without a solid performance, there would be little to talk about here.  Audiences will be happy to know that the band’s performance of the concert’s set list is just as solid as the set list itself and its sequencing showing that it is possible to have an enjoyable live experience without unnecessary pyro and other elements.  Front man Richie Kotzen and company waste little time between songs with any idle rambling opting instead to keep the show’s energy flowing from one song to the next.  There are some brief interludes between songs, but for the most part, the band keeps things moving swiftly, explaining why the show’s run time comes in at just under two hours.  Add to the concert’s constant transitions the energy in each musician’s performance, and audiences get a show that will completely enthrall them.  From Kotzen’s own energy to Mike Portnoy’s driving tempos that barely let up to Sheehan’s own solid low-end and fiery performance, audiences get plenty to applaud even from the comfort of their own homes.  The entertainment and engagement ensured through the band’s performance couples with the show’s set list in all of its aspects to strengthen the concert’s presentation even more.  They are not the recording’s only key elements either.  The bonus five-song Dog Years EP is just as important to note in examining the recording’s presentation as the show’s set list and the band’s performance.

The bonus give-song Dog Years EP that comes with The Winery God’s new live recording is just as important to note in examining this recording’s presentation as the concert’s set list and the band’s performance thereof.  The EP is important to discuss because none of the songs featured on the disc are included in the concert or on either of the band’s current albums.  Odds are the blues-based songs are works that didn’t make the final cut for one of both of those records.  That is a positive to note because if that is indeed the case, then the inclusion of the songs here completes even more the listening experience for both records.  Regardless of whether or not that is the case, their inclusion still adds plenty to the overall experience of this live recording.  That is because one could easily argue that they present a sense of additional encores from the concert, despite being studio tracks.  Keeping this in mind, the bonus EP that comes with Live In Santiago more than proves itself as an important piece of the recording’s overall presentation.  When it is considered along with the concert’s set list and the band’s performance thereof, the whole of these elements gives audiences plenty to bark about. No, this review could not be completed without that intentionally awful pun or a variant thereof.  That aside, the whole of the noted elements makes Dog Years in whole an easy candidate for a slot on any critic’s list of the year’s top new live recordings.

The Winery Dogs’ latest live recording Dog Years is a work that any critic should have on his or her list of the year’s top new live recordings come December.  That is due, as already noted, in part due to the concert’s set list.  The set list pulls relatively equally from both of the band’s current albums and never sticks to one album or the other for too long. The band’s performance of the set list adds just as much entertainment to the concert thanks to the energy put into the performance by each band member.  The bonus five-song EP that is included with the recording is a virtual multi-song encore for fans who didn’t’ get enough from the extensive audio-visual experience presented in the live recording.  Each element clearly plays its own important part in the overall presentation of Dog Years.  All things considered, this recording proves fully deserving of a spot on any critic’s list of the year’s top new live recordings.  More information on Dog Years is available online now along with all The Winery Dogs’ latest news and more at:

 

 

 

Websitehttp://www.thewinerydogs.com

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

Twitter: http://twitter.com/thewinerydogs

 

 

 

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The Winery Dogs To Release New Live Recording This Summer

Courtesy: Loud & Proud Records

The Winery Dogs are set to really heat things up this summer with a new live recording.

The band will release its new live recording Dog Years: Live in Santiago and Beyond 2013-2016 Friday, August 4 via Loud & Proud Records.  The recording will feature live recordings from the band’s past four years of live shows.  It will be available both in a standard 2-disc CD platform as well as a special deluxe edition.

The recording’s standard 2-CD platform features a Blu-ray that includes 100 minutes of concert footage as well and music videos from both of the band’s two current albums The Winery Dogs (2013) and Hot Streak (2015).

It also includes a companion EP featuring a handful of previously unreleased songs that didn’t make the cut on those albums.  Pre-orders for the standard edition are open now here.

The recording’s extended five-disc platform includes everything featured in its standard two-disc platform. As a bonus, it also includes two CDs containing live concert audio. Pre-orders are available now here.

Dog Years: Live in Santiago and Beyond 2013 – 2016 is not The Winery Dogs’ first live recording.  Unleashed Live in Japan 2013 was included with the deluxe edition of the band’s debut album, and featured 10 songs recorded during the Japan leg of the band’s 2013 tour in support of that album. The album’s deluxe edition was released Nov. 11, 2014.

The track and video listing for Dog Years: Live in Santiago and Beyond 2013 – 2016 is noted below.

LIVE IN SANTIAGO:
1. Oblivion
2.  Captain Love
3.  We Are One
4.  Hot Streak
5. How Long
6.  Time Machine
7.  Empire
8.  Fire
9.  Think It Over
10.  Mike Portnoy Drum Solo
11.  The Other Side
12.  Billy Sheehan Bass Solo
13.  Ghost Town
14.  I’m No Angel
15.  Elevate
16.  Regret
17.  Desire
MUSIC VIDEOS:
Elevate
Desire
Time Machine
I’m No Angel
Oblivion
Captain Love
Hot Streak
Fire
DOG YEARS EP:
1.  Criminal
2.  The Game
3.  Solid Ground
4.  Love Is Alive
5.  Moonage Daydream

Audiences can view a trailer for Dog YearsLive in Santiago and Beyond 2013 – 2016 hereonline now .  More information on Dog Years: Live in Santiago and Beyond 2013 – 2016 is available online now along with all of the band’s latest news and more at:

 

 

 

Website: http://www.thewinerydogs.com

 

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

Twitter: http://twitter.com/thewinerydogs

 

 

 

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‘Morsefest 2015’ Release Date, Specs Announced

Courtesy: Radiant Records/Metal Blade Records/SONY

Courtesy: Radiant Records/Metal Blade Records/SONY

The Neal Morse Band will release its latest live recording next month.

Morsefest 2015 will be released on Friday, March 24, 2017.  The extensive concert recording will be released on separate 2 Blu-ray and 2 DVD + 4 CD sets and on digital platforms including iTunes.  Both will be released via Radiant Records via Metal Blade Records/SONY.

Pre-orders are available online now here.  A trailer for the upcoming release is available here. The concert was recorded over the course of two nights in 2015 and spans more than five hours.  It features from some 38 musicians including drummer Mike Portnoy.

The show includes complete performances of Sola Scriptura and Question, songs from Morse’s time with Spock’s Beard (featuring vocal performances from Nick D’Virgillio) and Transatlantic and more.

Morsefest 2015 includes as bonus material an hour-long documentary.  It features candid footage from the band, crew and other musicians

More information on Morsefest 2015 is available online now along with all of Neal Morse’s latest news at:

Website: http://www.nealmorse.com

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

Twitter: http://twitter.com/nealmorse

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The Winery Dogs Announce New Live Dates; Debut New Video

Mike Portnoy, Richie Kotzen, and Billy Sheehan, also known as the Winery Dogs, have announced a new string of live dates for this summer.

The band announced this week that it has added a new 10-date North American tour set to kick off Saturday, June 25th in Hinckley, Minnesota.  The band’s current schedule takes it largely through the Midwest and southwest with dates also in Wisconsin, Michigan, Kentucky, and Texas.  As of right now no additional dates are known.  However, fans can always keep up with any new dates through the band’s official website and social media.  The band’s current tour schedule is noted below.

 

Check out THE WINERY DOGS at any of the following stops:

 

DATE               CITY                             VENUE

 

Sat 6/25            Hinckley, MN                 Grand Casino Amphitheatre

Tue 6/28            Eau Claire, WI               State Theater

Wed 6/29          Ashwaubenon, WI          Green Bay Distillery

Thu 6/30            St. Charles, IL               Arcadia Theater

Sat 7/2              Hazard, KY                   The Forum

Sun 7/3             Sterling Heights, MI       Stars & Stripes Festival

Tue 7/5             Buffalo, NY                   Taft Music Hall

Fri 7/8               Houston, TX                  Warehouse Live

Sat 7/9              Dallas, TX                     Gas Monkey Live

Sun 7/10           San Antonio, TX            Alamo

 

In anticipation of its new tour announcement the band has unveiled the video for its latest single ‘Captain Love.’  The song will start hitting radio stations nationwide June 3rd.  It is taken from the band’s latest album Hot Streak.  The Vicente Cordero-directed video is currently streaming online at Guitar World. The band discussed the video recently in an interview which can be seen here now.

 

Courtesy:  Loud and Proud Records

Courtesy: Loud and Proud Records

 

Hot Streak has proven to be an apt title for The Winery Dogs’ new album.  Ever since its release on October 2nd, 2015, the album has been on its own hot streak.  It reached the top spot on Amazon’s Best Sellers/Hard Rock chart and its Pre-orders/Hard Rock chart.  In comparison to the band’s 2013 debut album Hot Streak sold 30% more copies than that record.  It topped out at the #2 spot on Billboard’s Top Current Alternative Albums Chart and #30 on the Top 200 Albums Chart.  That is just the top of the proverbial iceberg.  The numbers listed below are its other accolades from Billboard.

 

#5                     “Top Current Hard Music”

 

#5                     “Top Hard Music Albums”

 

#6                     “Top Current Rock Albums”

 

#6                     “Album Core / Genre Rock”

 

#15                   “Top Current Physical Albums”

 

#16                   “Top Current Albums”

 

 

More information on The Winery Dogs’ new tour dates, single, album and more is available online now along with all of the band’s latest news at:

 

 

Website: http://www.TheWineryDogs.com

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

Twitter: http://twitter.com/TheWineryDogs

 

 

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

Next To None Debuts Lyric Video For New Single

Courtesy:  InsideOut Music

Courtesy: InsideOut Music

Up-and-coming progressive rock band Next To None has debuted the lyric video for its new single ‘Blood on My Hands.’

Courtesy:  InsideOut Music

Courtesy: InsideOut Music

The video’s premiere comes a week ahead of the band’s debut album A Light in the Dark (InsideOut Music). The song, which closes out the album, is a commentary on the recent outbreak of shootings that have plagued the country in recent months. As vocalist/keyboardist Thomas Cuce explains, “At the time [I wrote the lyrics] it seemed like every day there was a different person going crazy somewhere and shooting up a building or whatever, and I would ask myself ‘Why does this keep happening? What was that person thinking? What led them to do this?” He added, “So I tried to put myself in this person’s head. I created a character and started from the aftermath of the event, which is where we first hear about it in the news.” Of the song’s extended arrangement, he says, “It took us months to write this song and then months to learn it. We had a big dry erase board that we used to chart out all the parts with the time signatures until we had them memorized.” Audiences can check out the video online now via YouTube at https://www.youtube.com/watch?v=2qFfHWrXyMk&feature=youtu.be. Audiences can also check out a stream of the song ‘You Are Not Me,’ online now via SoundCloud at https://soundcloud.com/officialinsideoutmusic/next-to-none-you-are-not-me/s-rVJzu. ‘You Are Not Me’ is also one of the tracks included in Next To None’s upcoming album. Pre-orders for A Light in the Dark are available now online at http://www.radiantrecords.com/products/577-next-to-none-a-light-in-the-dark-cd.aspx.

Next To None is: Thomas Cuce (keyboards, vocals), Ryland Holland (guitar), Kris Rank (bass) and Max Portnoy (drums). The band’s album was produced by Max Portnoy’s famed father Mike Portnoy (ex-Dream Theater, Winery Dogs, Liquid Tension Experiment). It features guest appearances from Guns N’ Roses guitarist Bumblefoot on the song ‘A Lonely Walk’ and prog-rock legend Neal Morse (ex-Spock’s Beard, Transatlatic, Yellow Matter Custard). The complete track listing for A Light in the Dark is noted below.

A Light in the Dark’ tracklist:

  1. The Edge Of Sanity
  2. You Are Not Me
  3. Runaway
  4. A Lonely Walk
  5. Control
  6. Lost
  7. Social Anxiety
  8. Legacy
  9. Blood On My Hands

Digital-only bonus tracks:

  1. Fortune Cookie
  2. Deafening

 

More information on Next To None, including its latest news, is available online now at:

 

Website: http://www.nexttonone.net

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

 

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

The Winery Dogs’ Debut Even Better The Second Time Around

Courtesy:  Loud & Proud Records

Courtesy: Loud & Proud Records

Billy Sheehan, Mike Portnoy, and Richie Kotzen (a.k.a. The Winery Dogs) released their self-titled debut last summer.  The rock super group’s album proved to be one of the best rock records of 2013 at least in the view of this critic.  Now the trio has followed up the success of its debut full-length with a re-issue of that album that includes a bonus live disc boasting a ten-song live performance by the band.  That recording, Unleashed in Japan 2013, combines songs from the band’s self-titled debut, and songs previously unreleased in the United States.  The bonus disc itself is the central point of the re-issue’s enjoyment.  The recording’s set list is another reason that audiences will enjoy the bonus concert.  The show’s audio mix is the finishing touch for the whole package.  That factor, the set list and the very fact that this show would be included with the original album makes the whole package one of the year’s re-issues definitely worth checking out.

The new re-issue of The Winery Dogs’ self-titled 2013 debut record is one of the few album re-issues definitely worth checking out in 2014.  The primary reason for that is the album’s bonus companion live recording.  The Winery Dogs obviously isn’t the first band to re-issue an album with a bonus live recording.  But The Winery Dogs is a super group of sorts.  Its members each have their own projects going on outside of this one.  So, touring time is more than likely limited.  That being the case, it makes any live recording all the more valuable especially for fans that don’t have or haven’t had the chance to experience The Winery Dogs live.  The companion live recording is even more of a bonus when compared to the live recordings included as companion material by other bands on their albums.  Other bands just take performances from their tours and jam them all together onto a CD or DVD (or both in some cases).  The Winery Dogs didn’t do that here.  This recording is an extensive concert recorded in Tokyo, Japan, July 17th 2013.  That was the second ever concert held by the band.  It would be interesting to see if Loud & Proud Records will follow up this audio recording with a companion DVD/Blu-ray video in the near future to compliment this piece of the whole.  Regardless, having included a concert recording as extensive as this one with the band’s debut album is central to this re-issue.  It gives audiences the near complete experience of what The Winery Dogs is all about.

The inclusion of the bonus live recording as part of The Winery Dogs’ new re-issue is central to the re-issue’s enjoyment.  The set list chosen for the band’s concert is just as important to the package.  Audiences will notice that the band only played a few of the songs from its debut record in this concert.  The band included in its live companion recording one song that was previously unavailable to American audiences.  The trio also included songs that its members had written and recorded with and by others.  Among those songs are: Poison’s ‘Stand’, Elvin Bishop’s ‘Fooled Around and Fell In Love’, and even a piece co-written by Richie Kotzen and Richie Zito (both of whom performed and recorded with Poison) titled ‘Shine.’  The combination of the band’s own works and the these songs makes the band’s concert all the more of a full experience.  The band’s balance of the songs throughout its set is the key to that enjoyment.  And set alongside the concert’s audio mix, the concert becomes a complete experience for fans.

The set list chosen for the band’s concert presented here is quite well balanced, especially being a concert promoting the band’s debut album.  As important as the set list is to the experience, the audio quality of the recording is especially important.  That applies whether or not audiences were actually there in person at the show.  The show’s audio mix is relatively clear. The vocals and music are both equally balanced. The show’s audio operator is to be commended for handling what was a clear issue with the venue’s acoustics. Even on record, audiences can tell that the concert’s venue had to have had rather high ceilings. Even despite this, the person helming the boards compensated quiet well for this, putting what is the final touch to the recording, making it a recording that any fan of these three veteran musicians will love. The recording together with the band’s original debut album make the package as a whole one of the year’s few re-issues so far worth checking out.

The band is currently touring in support of its newly re-issued album. It will perform live at the Ridgefield Playhouse in Ridgefield, CT. The band’s current tour schedule also brings it to North Carolina for a pair of dates this month. A performance at Amos Southend in Charlotte, North Carolina is scheduled for next Saturday, May 10th and one to follow the next day at Ziggy’s in Winston-Salem. The band’s current tour schedule is available online at http://www.facebook.com/TheWineryDogs. Audiences can check out the band’s tour schedule there as well as keep up with the latest news from the band, too.

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