The Chimpz Debuts New Video For Classic Single, ‘Corrupt’

Courtesy: The Chimpz

Independent nu-metal band The Chimpz unveiled a new video for one of its classic songs this week.

The band debuted the new video for its single ‘Corrupt’ Tuesday. The song is featured in the band’s 2011 EP, Who Can I Trust?, whose anniversary the band is celebrating with the new video’s premiere.

The new video is the second for the song, following the debut of the song’s original video in 2017. Where the original video was a showcase for extreme motorsports, the new video features the band performing its single. There are some external shots featuring co-front men Artimus Prime and Chuck P on a rocky outcrop, but the video is largely presented in a soundstage setting.

The musical arrangement featured in ‘Corrupt’ features a driving, bombastic guitar riff and steady time keeping that lend themselves to comparisons to works from the likes of Motley Crue. Artimus Prime and Chuck P’s shared vocals meanwhile offer a distinctly different approach. Prime’s vocals present more of a punk rock sensibility while Chuck P’s rhyme flow echoes that of former Stuck Mojo front man Bonz.

The lyrical theme featured in ‘Corrupt’ comes across as a social commentary, what with a line, such as that which reads, “Bad apple cause I’m made that way/Each and every day/It feels natural to say I’m corrupt.”       

More information on The Chimpz’ new video is available along with all of the band’s latest news at:

Website: https://thechmipz.com

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

Twitter: https://twitter.com/thechimpz

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.

‘Renegades’ Is Another Solid Return For Veteran Rock Band L.A. Guns

Courtesy: Golden Robot Records

Veteran rock band L.A. Guns unveiled another preview of its new album Renegades this week.  The band debuted the album’s new single ‘All That You Are.’  The album’s fourth single – behind ‘Crawl,’ ‘Well Oiled Machine,’ and the album’s title track — it is just one more example of what makes the record a positive new offering from the band.  ‘Why Ask Why,’ which comes between two of those singles early in the album’s 39-minute run, is another notable addition to the record.  It will be addressed shortly.  ‘You Can’t Walk Away’ is another intriguing addition to Renegades.  It will be discussed a little later.  ‘Don’t Wanna Know,’ the album’s finale, is yet another show of the album’s strength.  When it is considered along with the other noted songs, the record’s existing singles and its four remaining songs, the whole becomes a widely appealing record for rock fans across the board.

L.A. Guns’ latest album Renegades is a presentation that will appeal equally to the band’s longtime fans just as much as it will more casual listeners and rock fans in general.  The four singles that the record has now produced support the noted statements without question.  They are just some of the songs that show what makes the record so appealing.  ‘Why Ask Why,’ which comes early in the 10-song record’s run adds to that appeal in its own way.  That is due in part to the song’s musical arrangement.  The arrangement in question is a straight forward, guitar-driven classic rock style opus that throws in a touch of a modern rock element for a whole that is instantly infectious and keeps listeners engaged and entertained throughout its nearly three-and-a-half minute run time.  The energy in the fiery musical arrangement serves well to help translate the message in the song’s lyrical content and its associated emotion.

The lyrical content in question comes across as a familiar story of someone dealing with a toxic relationship.  Whether that relationship is romantic or plutonic is left to interpretation, but it seems relatively clear as front man Kurt Frohlich sings in the song’s lead verse, “I don’t know everything you feel/But I know that what I’m feeling is unreal/Can you show us what’s on my mind/Will you walk the wild side blind/Why ask why/I don’t mind.”  He continues in the song’s second verse, “Can you reach through inner space/Will you choose to meet me face-to-face/Are you two-faced/Yeah, you get on my last nerve…Why ask why/Why ask why/So don’t mind/’Cause I don’t mind.”  A small portion of the lyrics is difficult to decipher sans lyrics to reference, but the bigger picture here is relatively clear.  The energy in the song’s musical arrangement works to help translate the feeling of frustration obviously going through the main subject’s mind.  That is especially the case considering the tone in the guitar and bass.  To that end, the pairing of the noted musical and lyrical content here is certain to help the song connect with listeners and in turn, make the song accessible.  It all comes together to make the song just one example of what makes Renegades a positive return for this lineup of L.A. Guns.  ‘You Can’t Walk Away’ is another of the album’s notable entries.

‘You Can’t Walk Away’ is such an interesting addition to Renegades because it really defies everything that audiences have come to expect from L.A. Guns throughout its life.  Yes, there is a little bit of a ballad type of approach here.  At the same time though, the production, the choruses, and the instrumentation really throws back to the 1960s and some very distinct influence of The Beatles.  It really is the album’s most surprising and engaging work because of that approach.  That musical aspect, with all of is production and emotion works with the song’s familiar lyrical content about a relationship, to make the song even more appealing.

The noted lyrical theme is mad clear right from the song’s outset as Frohlich sings, “Nothing’s right/Gonna be a long way home tonight/A lover’s fight/I’ve been away too long/Another day rolls by/And it feels like an old friend/But nobody wants to do it/No one seems to care/And nobody wants to listen anyway/You can’t walk away/Something inside is telling you/Why is it so hard to do/You can’t walk away/When it all falls apart/Leave with your heart.”  The theme is made even clearer in the second verse, in which Frohlich sings, “Nobody pays your precious way/Thought it was an easy thing to do/But when you turned around something told you/Go back to where they know you/You can walk away/Something inside is telling you/Why is it so hard to do/You can walk away/Still it all falls apart/Leave with your heart.”  Keeping all of this in mind, the song’s lyrical theme remains relatively clear.  This deals with the emotional difficulties that come with a breakup.  The addition of the song’s subdued musical arrangement adds even more to the song’s overall impact.  The two elements jointly make this song one of this album’s most notable and important works.  Together with ‘Why Ask Why,’ the two songs show even more clearly what makes Renegades an appealing new offering from L.A. Guns.  The two songs are just a glimpse into the album’s appeal.  ‘Don’t Wanna Know,’ the record’s finale, is one more of the album’s most notable entries.

‘Don’t Wanna Know’ is a good way for L.A. Guns to close out its new album.  That is because this song’s musical arrangement is pure 80s hair metal.  The light, almost bouncy feel of Scotty Griffin’s guitar work and that of drummer Steve Riley works with Frohlich’s equally loose vocal delivery to take listeners back to the heyday of L.A. Guns, Motley Crue and Poison.  It is a fun, upbeat work that is certain to appeal to plenty of listeners, especially considering the more straight forward feel of the album’s opener, ‘Crawl’ and the rest of the album’s work.  It’s like this song is a reward to listeners for having made their way through the rest of the record.  Interestingly enough, as light and upbeat as the musical arrangement is here, it makes for an interesting contrast to the song’s lyrical content.


The lyrical content that is featured in ‘Don’t Wanna Know’ comes across as perhaps an indictment of someone going through addiction of some sort.  This is inferred as Frohlich sings in the song’s lead verse, “Heard it from my best friend/Heard it on the street/What’s going down/You puttin’ me down/Sayin’ I was obsolete/Heard it from your mother/Said you’re not the same/Tellin’ lies/With bloodshot eyes/Bringing the family shame/I’ve been this way too long/Too long/Nothing right or wrong.”  He continues in the song’s second verse, “Heard it from your doctor/You’ve been running late…never sleep/Losin’ all your weight/Heard it on the telephone/Picked it up to call/Got no place to hide my face/Even on a bathroom wall/It only hurts my soul/Don’t wanna know/Makes me lose control.”  What is interesting here is that all of this comes across in an almost frustrated yet sarcastic fashion.  It really makes for an interesting listen, again, especially when it is paired with the song’s high energy musical arrangement.  Maybe this is meant to be someone who is fed up with hearing about what a person is doing to himself/herself through the noted supposed addiction.  This is all just this critic’s own interpretation.  Regardless, the song offers audiences plenty of reason for engagement.  It all comes together here to show once more why Renegades is such a positive return for L.A. Guns.  When this song is considered along with the others examined here, the rest of the record’s songs and its singles, the whole of the album proves the album to be a widely appealing new offering from the veteran rock band.

Renegades is an interesting new offering from the veteran rock band L.A. Guns.  Its musical and lyrical content alike offers listeners so much motivation to remain engaged and entertained throughout its nearly 40-minute run time.  That is evidenced in all three of the songs examined here.  The same can be said of the four singles that the album has now produced and the album’s other songs not addressed here.  Each song is notable in its own right to the whole of Renegades.  All things considered, the album proves itself to be another example of why L.A. Guns remains one of rock’s elite acts.

More information on L.A. Guns’ new album is available along with all of the band’s latest news at:

Websitehttp://www.laguns.net

Facebookhttp://www.facebook.com/officiallaguns

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

Faith & Scars’ Debut LP Presents Plenty Of Firepower

Courtesy: TAG Publicity

Independent rock band Faith & Scars’ debut album Revolver officially drops today.  The eight-song record runs only 26-minutes, but in that time, it proves itself a strong debut from the band.  That is proven in part through the record’s collective musical arrangements.  They will be discussed shortly.  For all that the arrangements do for the album’s presentation, it does bring about at least one concern – its sequencing.  The sequencing does not make the album a failure, but is something that cannot be ignored.  It will be addressed a little later.  The concern raised by Revolver’s sequencing is its only real notable negative.  Its impact is lessened through an examination of the record’s lyrical content, which when coupled with the musical arrangements, makes for even more appeal.  Considering the noted appeal and the one minor concern, Revolver still proves itself a work that has plenty of its own firepower.

Faith & Scars’ debut album (and second studio recording – the band’s first studio recording was its 2016 EP Highway Ride) is a positive start for the up-and-coming independent rock band.  That is proven in part through the record’s musical arrangements.  The arrangements in question are largely southern and pure, guitar rock-tinged compositions.  They are easily comparable to works from the likes of Sons of Texas, Charm City Devils, and Black Heart Saints.  That is clear in listening to the twang in the guitar line and the heaviness in the drums.  Front man Roger Glenn’s vocal delivery even has that certain southern rock twang in his delivery style, adding to that noted comparison.  The more modern guitar rock sound makes itself known early on slightly in ‘Rain.’  Right from the song’s opening bars and its heavy intro, listeners get thoughts of Motley Crue.  That influence gives way as the song proceeds, to more of the noted southern rock sound before returning to a more modern rock sound in the choruses.  What’s interesting to note here is that the more modern rock sound in those choruses is comparable to works from Saliva.  Audiences get even more of that Saliva-type sound in ‘Breathe,’ the album’s midpoint.  The Charm City Devils comparison is just as evident in the song’s arrangement as the Saliva influence, adding to its appeal.  ‘Never The Same’ also boasts the noted Saliva influence.  As the album reaches its end, audiences get more of the Motley Crue influence, except in this case, it is in the more subdued fashion akin to that band’s more reserved works.  There is also a slight hint of a Zac Brown Band influence here thanks to the subtlety in the guitar, bass and drums.  Looking back through all of this, what audiences get in Revolver’s musical arrangements is a collection of compositions that gives them a solid range of influences and styles.  That in itself makes for plenty of reason in itself for audiences to hear this record.  For all that the record’s musical content does to help its presentation, the record does raise one concern.  That concern is its sequencing.

Revolver’s sequencing poses a problem that one cannot ignore, yet in the album’s defense, it is not such that it makes the album a failure.  The sequencing proves a problem primarily because of the placement of just one song – ‘Lightning.’  ‘Lightning’ closes out the album and is the record’s sole reserved moment.  Even ‘Never The Same,’ which does have its own slightly reserved points, is not as pulled back as this song’s arrangement.  Every other moment in this eight-song record is so adrenaline-fueled.  So to go from having so much energy throughout to the stark, sudden change in the record’s finale is just uncomfortable.  Listeners will find themselves wanting to accept the song’s placement, but it is just so difficult.  Looking at the album from a purely observational standpoint, it would have made so much more sense to made the song the record’s midpoint.  Had the band (and whomever made the final decision on the sequencing) gone that route, the album would have been a perfect start for the band.  That is especially the case in considering the overall structure of ‘Never The Same.’  The way in which that song balances its more fiery and more reserved moments and the way in which it closes would have made for a much smoother finale.  Of course hindsight is 20/20.  Again, this is a concern that listeners cannot ignore, but even considering that, is not enough to ruin the album’s presentation.  The record’s lyrical content couples with its musical arrangement to make for even more appeal.

The lyrical content featured in Revolver is important to note in examining the album because of its accessibility.  Case in point is the lyrical content featured in the album’s lead single, ‘Breathe.’  The band talked about that content in a prepared statement back in March when the band premiered the song and its video. 

“In a time where the world seems so divided, ‘Breathe’ is a song meant to crate hope for anyone who is struggling,” the statement reads.  “We want to let everyone know that they are not alone in the trials they face.  We hope that we can lead by example and show that even when life brings you to your lowest point, you can still rise up and live a life worth leading.”

On another note, audiences get a southern pride anthem of sorts in ‘Nothin’ Wrong.’  Glenn sings in the song, that “there ain’t nothin’ wrong wit ha rebel yell/Take a shot of whiskey/And raise some hell.”  There are also mentions of enjoying trips to Louisiana, Florida, North Carolina, etc.  Again, this is a full-on tribute to all things southern.  It will definitely get its share of audiences putting their horns in the air.  It is just one more example of what makes the album’s lyrical content so important.  ‘Long Way Home’ presents yet another way in which the album’s lyrical content proves so important.

‘Long Way Home’ is a song that centers on one’s self-care, according to a statement that the band released upon the debut of the single’s video.

“We wrote ‘Long Way Home’ as a reminder to remain grounded, in tune with yourself, and focused in the midst of the storm that is life,” the statement reads in part. “Oftentimes life will strike us like a tidal wave. Saying it can be hard to endure is an understatement. The lyrics promote positive state of mind, & self caring. We believe that, especially in the unknown, taking that extra moment to breathe, relax, and re-align with oneself is crucial to maintaining a positive mindset.”

The noted statement is illustrated as Glenn sings about being wary “of the whiskey sunrise,” “the blind man,” and encouraging people to heed the man’s words.  The added note of taking “the long way home/Back to the place where I’m from” is, in its own way, a reminder that people need to keep their priorities in order.  It echoes the comments in the statement.  Keeping that in mind along with the equally accessible themes in the other noted songs’ lyrical content (and that of the rest of the album’s songs) the album’s lyrical content in whole leaves zero doubt about its importance to the record’s whole.  When the record’s lyrical content is considered along with its companion musical content, that collective content in whole counters the record’s one concern to make the presentation in whole a still positive work from Faith & Scars.

Faith & Scars’ debut album Revolver is a record whose presentation hits the mark in nearly every way.  That is due in part to its accessible musical arrangements.  The arrangements will appeal widely to southern rock fans, those of classic and even more modern rock sounds.  It couples with the record’s equally accessible lyrical content to make this record quite a positive presentation even despite the concern raised in the album’s sequencing.  Keeping all of this in mind, Revolver is a work that is a near perfect first full-length recording from Faith & Scars.  The record is available now.

More information on Faith & Scars is available online now along with all of the band’s latest news at:

Websitehttp://www.faithandscars.com

Facebookhttp://www.facebook.com/FaithandScarsOfficial

Twitterhttp://twitter.com/faithandscars

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

South Of Eden’s Second Studio Recording Could Be The Band’s Breakout Record

Courtesy: Lava/Republic Records

Neo-classic rock band South of Eden  (formerly Black Coffee) will release its first major label studio recording Friday.  The band is scheduled to release its new four-song EP The Talk through Lava/Republic Records.  The 16-minute record is the band’s first new music since it released its 2018 album Take One under its former moniker.  That nine-song album was the band’s debut (and only) album under the name, but was an impressive offering from the group.  Now two years later the band has found success yet again with its debut EP.  That success is thanks to the record’s musical and lyrical content together, as is evidenced right from the EP’s outset in its title track.  It will be addressed shortly.  ‘Morning Brew’ is another way in which the EP shows its strength.  It will be addressed a little later.  The EP’s closer, which is also its lead singles, is one more example of how this record’s musical and lyrical content comes together to make it such an impressive new effort from the band.  When it is considered with the other two songs noted here and the EP’s one other song, ‘Solo,’ the whole of the EP becomes a work that will definitely leave listeners talking about South of Eden.

South of Eden’s sophomore studio recording and debut EP The Talk is a successful new offering from the up-and-coming neo-classic rock band.  It is a work that will appeal to rock and roll purists and rock fans in general.  That is thanks to the record’s combined musical and lyrical content.  The EP’s opener/title track is just one of the songs that serves to support the noted statements.  The song’s musical arrangement wastes no time grabbing listeners in its opening bars with its up-tempo riff.  That riff gives way to a more reserved nature in the song’s lead verse.  That reserved approach gives way to the noted high energy chorus.  The back and forth of that reserved and more up-tempo sounds ensures listeners’ engagement and entertainment from beginning to end of the nearly four-minute song.  What is really interesting to note here is that the classic rock influences of AC/DC and Guns N’ Roses, it also lends itself to comparisons to works from Buckcherry and Alter Bridge.  In other words, the classic rock influences are infused alongside the modern guitar rock influences.  The end result is an arrangement that is a strong start for the album and just one example of why the EP’s musical content is so strong.  The lyrical accompaniment to that musical content adds to the song’s appeal.

Not having a lyrics sheet to reference, the song’s lyrical content is difficult to decipher.  However, from what can be deciphered sans said sheet, it can be inferred (hopefully correctly) that this song is a commentary of sorts about how people say one thing but do something opposite; those people who feed lies to themselves and others.  This is supposed as front man Ehab Omran sings in the song’s chorus about someone who is seemingly rejecting the help that others offer.  He goes so far as to sing in the chorus, “You say you’re trying/But who can tell/When you talk, talk, talk?”  There is even mention in the song’s second verse of “helpful hands/reaching in/everyone tries/But you don’t give in” before he asks again, “What do you want?”  The song’s lead verse adds to the discussion as it addresses someone who in a different situation who doesn’t seem to know what he or she wants.  Again, this interpretation is made wholly sans lyrics to reference.  Hopefully it is somewhere in the proverbial ballpark.  Right or wrong, it can at least be agreed that there is a certain commentary going on here.  That in itself is sure to engage listeners while the song’s musical arrangement will entertain them.  To that end, it makes for a strong start for the EP.  It is just one of the songs that shows the EP’s strength.  ‘Morning Brew,’ the EP’s third song is one more example of why audiences will enjoy the record.

‘Morning Brew’ is much more reserved in comparison to ‘The Talk’ and to the EP’s other two songs in terms of its musical arrangement.  This arrangement is a bluesy, subdued composition that lends itself to comparisons works from the likes of maybe Johnny Lang with its slick guitar riffs.  That reserved nature in this almost blues ballad type composition serves to help translate the emotion in the song’s lyrical theme.

The lyrical content at the center of ‘Morning Brew’ comes across as an introspective statement.  It seems to come from the mind of someone who is going through a difficult time, emotionally speaking.  This is inferred as Omran sings in the song’s lead verse, “Where do you go/When your days are numbered/You’re feeling lonely/Down by the seashore/When your days are bright/Lights are heavy/Where would you go/If I can’t see straight/And my feet stay steady/Walk out the door/All we do/Our world is not ready/Ain’t that the way it goes/When you’re all alone.”  He continues in the song’s second verse, “What would they say/If they tell you no/But you do it anyway/Life’s all a big game/Where the people lose/When the evil stands to gain/Looking down the aisle of a train/People’s eyes/All I see is pain/newspapers and crosswords say we’re all lookin’ down the barrel of a gun.” Again, there is a lot of contemplation here about one’s own situation and the world.   When this deep thought is coupled with the song’s so subtle that it’s heavy arrangement, the result is a deeply moving work that stands strong on its own merits.  It is just one more example of what makes the EP stand out.  The EPs closer and lead single ‘Dancing With Fire’ is yet another key addition to the record.

The musical arrangement at the heart of ‘Dancing With Fire’ is as fiery as the title implies.  Drummer Tommy McCullough and guitarist Justin Young lead the way this time out.  Omran and bassist Nick Frantianne add their own touch to the arrangement, fleshing it out even more and making it just as strong a finale for the EP as its opener was a start.  Fans of bands, such as Motley Crue, Guns N’ Roses, and Poison will appreciate this arrangement.  It’s just one part of what makes this song shine.  The song’s lyrical content adds to its impact.

This is probably the easiest song to understand of the EP’s four tracks in terms of its lyrical content.  It clearly focuses on a person who is head over heels in love with another person.  This is made relatively clear early on as Omran sings in the song’s lead verse, “Well you’re pushin’ left/Pullin’ right/I can’t feel my hands tonight/Now, baby/yeah, you tell me when/tell me who/Stuck between a hard place and you/Sweet lady/You’ve been talking for so long/Putting up so strong/Forget about it/Got me feeling so wrong/Trapped in wire/’Cause I’ve been dancing with fire/Those flames keep burning up brighter/You’re walking past desire/But I can’t keep from loving you.”  This is pretty clear in its message.  This is someone who is crazy for that other person.  Any doubt is eliminated in the song’s second verse, which finds Omran singing, “Here we go/Go again/Ultimatums that never end/I’m hazy/With your smiling lips and your whispering tongue/Getting by/Saying you’re so young and lazy.”  Again, here audiences get someone whose mind is obsessed with that other person.  This readily accessible lyrical theme couples with the song’s equally accessible musical arrangement to make the song in whole the EP’s best song.  When it is considered with the other two songs noted here and the EP’s one remaining song, ‘Solo,’ the whole of the EP becomes a work that rock and roll purists everywhere will appreciate and a record that deserves its own consideration for a spot on any critic’s list of the year’s top new EPs.

South of Eden’s second studio recording and debut EP The Talk is a positive new offering from the neo-classic rock band that purists of the genre will certainly appreciate.  That is due to its musical arrangements and lyrical content alike.  All three of the songs discussed here support that statement.  The EP’s one remaining song not addressed here supports that statement, too.  All things considered, the EP’s content overall makes it a record that will leave audiences talking.  Yes, that awful pun was intended.  It is scheduled for release Friday through Lava/Republic Records.

More information on South of Eden’s new EP is available along with all of the band’s latest news and more at:

 

Websitehttp://southofedenband.com

Facebookhttp://www.facebook.com/southofedenmusic

Twitterhttp://twitter.com/southofedenband

 

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

John 5, Tommy Lee Join Tyla Yaweh Saturday For Pre-Game Performance on ESPN

Courtesy: ESPN

John 5 is joining forces with ESPN and the National Basketball Association to celebrate the NBA’s return.

The guitarist will join Motley Crue drummer Tommy Lee Saturday to perform with up-and-coming rapper Tyla  Yaweh Saturday for a live online performance to kick off the NBA’s return on ESPN.  The performance, scheduled to take place at 5:10 p.m. ET prior to ESPN’s digital pre-game show Hoop Streams presented by Google, will stream through YouTube, Facebook, Twitter, and the ESPN app.

John 5 talked about working with Tyla Yaweh and Tommy Lee for Saturday’s virtual performance, saying he was looking forward to it.

“I have a long time friendship with Tommy Lee and we have worked on some really great music together,” he said. “I really love how the remix turned out and loved working with new friends Tyla and Post Malone. I love this song and I’m proud to be a part of this.”

Which remix John 5 is referencing in his statement is unknown.  It was not directly addressed in a news release distributed about the performance.

Hoop Streams presented by Google debuts tonight and runs for five episodes through Aug. 3.  Cassidy Hubarth will host the July 31 broadcast, which is scheduled to broadcast at 6 p.m. ET from ESPN’s studios.  She will be joined by analyst and NBA Champion Kendrick Perkins and fellow ESPN NBA analyst Amin Elhassan remotely for additionally commentary.

The broadcast team for each Hoop Streams presented by Google is noted below.

 

Hoop Streams schedule July 31-August 3

 

Date

Fri, July 31

 

 

Sat, Aug. 1

 

 

Sat, Aug. 1

 

 

Mon, Aug. 3

 

 

Mon, Aug. 3

Time (ET)

6-6:30 p.m.

 

 

5:30-6 p.m.

 

 

8-8:30 p.m.

 

 

6-6:30 p.m.

 

 

8:30-9 p.m.

Commentators

Cassidy Hubbarth, Kendrick Perkins, Amin Elhassan

 

Christine Williamson, Omar Raja, Gary Striewski

 

Cassidy Hubbarth, Kendrick Perkins, Amin Elhassan

 

Christine Williamson, Omar Raja, Gary Striewski

 

Cassidy Hubbarth, Kendrick Perkins, Amin Elhassan

 

ESPN’s NBA coverage tips off at 7 p.m. with the Boston Celtics and Milwaukee Bucks facing off at 6:30 p.m. ET.

All of John 5 and The Creatures’ latest news and more is available at:

 

Websitehttp://john-5.com

Facebookhttp://www.facebook.com/John5official

Twitterhttp://twitter.com/john5guitarist

 

More information on ESPN’s NBA coverage is available along with all of the league’s latest headlines at:

 

Websitehttp://www.espn.com

Facebookhttp://www.facebook.com/ESPN

Twitterhttp://twitter.com/espn

 

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.

South Of Eden Debuts ‘Dancing With Fire’ Video

Courtesy: Lava/Republic Records/TAG Publicity

Neo-classic rock band South of Eden (formerly Black Coffee) has a new single, video and label home.

The band debuted the video for its new single ‘Dancing With Fire‘ Tuesday.  The song is the band’s first new music under its new moniker and through its new label home, Lava/Republic Records.  Under its former name, South of Eden released the full-length album Take One independently in 2018.

South of Eden’s new single is another neo-classic rock style approach whose arrangement lends itself to comparisons to works from bands, such as Motley Crue, Guns N’ Roses and Poison.  The song’s lyrical theme is readily accessible in its own right, focusing on a person who is head over heels for another person.

The video features the band performing the song in a backdrop that is meant to look like an intimate live outdoor setting, such as a patio at an upscale eatery.

The band talked about its new song in a recent interview, noting, “We wanted this to be a personality piece, and with all of us in quarantine, we knew the best way to do that was to show what we have accomplished leading up to this release.  John Payne, our media man, has been following us around for the last two years!  The best thing to show with raw music is raw footage.”

‘Dancing With Fire’ is available to stream and download here.

More information on South of Eden’s new single and video is available along with all of the band’s latest news and more at:

 

Website: http://southofedenband.com

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

Twitter: http://twitter.com/southofedenband

 

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

Angeles’ Latest LP Keeps The Flame Burning For Classic Rock Fans

Courtesy: Dark Star Records/Sony

When veteran rock band Angeles released its 12th full-length studio recording Fire It Up last year, it was the first time in more than 40 years that the band, founded by Dale Lytle, had released any new music to the masses.  Having been away from the limelight for such a long time, one would have thought the band would have had a hard time getting back into the swing of things, but as it turned out, the case was quite the opposite.  Now less than a year after its release, Angeles has returned with a new album in the form of Hell on High Heels and slightly changed lineup, — now former vocalist Gwendolyn Casella parted ways with the band following the album’s release and was subsequently replaced by new front man Louis Collins.  The eight-song record is scheduled for release Friday through Dark Star Records/Sony.  The new forthcoming 30-minute record continues the success that the band enjoyed in Fire It Up and builds on that success with its musical and lyrical content.  That is proven in part through one of the album’s latest singles, ‘Celebrate.’  It will be discussed shortly.  ‘Heal The Wounds,’ which is another of the album’s singles, is another way in which the album shows the band’s continued success on this record.  ‘Start Living’ is yet another example of what make Angeles’ new album another successful effort from the band.  Together with the other two songs noted here and the other five songs not noted here, the whole of Hell on High Heels proves to be another work that will certainly appeal to Angeles’ most devoted fan base as well as the most devoted 80s rock aficionados.

Angeles’ forthcoming album Hell on High Heels is a positive return for the band, especially having come less than a year after the band released the record’s predecessor Fire It Up.  Considering how little time has passed between these two records – unlike Fire It Up and its predecessor – one might think the album might feel rushed, and in turn messy.  However, the exact opposite is the case here.  That is proven in part through one of the album’s latest singles, ‘Celebrate.’  The musical arrangement at the center of ‘Celebrate’ is an upbeat, positive work that lends itself to comparisons to works from the likes of Poison, Ratt, and Motley Crue.  The noted musical arrangement fits the song’s lyrical theme, which touts the joy of just being together with friends and family.  It is that full-on happy, upbeat party rock sound that was so popular during that age of big guitar riffs and even bigger hair.  The positive vibe exuded by the song’s musical arrangement does well to help convey the sense of joy that is exhibited through the song’s lyrical content.

Collins sings in the song’s lead verse, “Slip on my boots/And get my head on right/We’re going to a rock and roll show/meet up with the boys/And we’re heading to the club/We’re fired up and ready to go/Raise a glass tonight and let’s celebrate/It’s only midnight and it’s not too late.”  He continues in the song’s second verse, “The drinks are flowing/And the music’s pumping/We’re having a real good time/the pretty girls are dancing and they’re looking at me/Gonna make one of ‘em mine/Sweet little Susie’s coming home with me/And we’re gonna set the night on fire/We’re back to my place and we have some fun/burnin’ like a funeral pyre.”  From there, the story continues, telling about the morning after that night of celebration with friends and what followed.  Little Suzie stayed the night and left the next afternoon, not to give away too much.  From there, Collins sings about working hard all week and in turn, celebrating on the weekend.  It’s never revealed if the song’s subject saw little Susie again.  That is left to the listener’s imagination.  That aside, the overall…well..celebratory nature of this song musically and lyrically makes it a work that lives up to its name and will assuredly keep listeners engaged and entertained what with that throwback musical and lyrical style.  It is just one of the songs that makes Hell on High Heels another positive offering from Angeles.  ‘Heal The Wounds’ is another way in which the album shows its strength.

Much as is the case with ‘Celebrate,’ this song’s arrangement is another full-on throwback to the guitar-laden rock that made the 80s such a notable musical era.  While the stylistic approach is the same, the sound is anything but.  This song’s musical arrangement is more akin to Poison’s ‘Every Rose Has Its Thorn’ and some older works from Bon Jovi.  It starts off soft and simple before becoming much more bombastic yet still ballad-esque in the same stylistic vein of the noted older works.  That familiar stylistic approach will appeal to the already mentioned audiences just as much as the arrangement featured in ‘Celebrate.’  It goes well with the contemplative nature in the song’s lyrical theme, which serves as a reminder to listeners that “time will heal the wounds,” of a broken relationship, as front man Louis Collins sings in the song’s chorus.

Collins sings sings in the song’s lead verse, “I’m all out of things to say/Out of tears to cry/All out of thoughts…Can barely let out a sigh/the memories and time/All pas me by/See you on the street/Makes me wanna die/Time will heal the wounds/Time will kill the pain.”  He continues in the song’s second verse, “I’m all out of whisky/I’m down to my last cigarette/Trying to get it together/I haven’t figured it out just yet/Sleepless nights, they haunt me/I’m laying down in a cold sweat/It’s time for me to go/It’s time to raise my bet/’Cause time will heal the wounds/Time will kill the pain.”  Following this point, listeners are presented the story of the actual breakup and the subject’s emotional recovery from that breakup.  It would explain the much more uplifting sound that gradually develops through the remainder of the song.  Considering that the song’s subject reminds himself that time will heal the wounds and kill the pain, this is a key to continuing to make sure this song connects just as easily with listeners through its words as much as through its music.  All things considered, the song is just one more way in which Hell on High Heels proves its strength in itself and within the bigger community of new 80s rock style releases put out so far this year.  ‘Start Living’ is yet another way in which the album holds its own alongside its counterparts.

‘Start Living’ is another positive, uplifting (so to speak) work featured in Angeles’ latest album.  That is due in part to its musical arrangement, which is a work that is as energetic and upbeat as ‘Celebrate.’  Its sound and approach is also just as similar to works from Motley Crue and others as that song.  It should be noted that even with that stylistic similarity, the song still bears its own sound, so it is not just ripping off the works from those bands or even itself.  To that end, the song’s arrangement does its own part to keep listeners engaged and entertained in this case.  Its lyrical content builds on that engagement and entertainment.

Much like ‘Celebrate’ is a full-on song that pays homage to being out with friends and just living the rock and roll life, so does this song in its own right.  Collins even sings in the song’s lead verse, “Thirty days in and I’m feeling down…Sick of the walls/I’m tired and bored/I wanna rock the world.But I’m stuck indoors/Let’s get moving/Start living all night long.”  He continues in the song’s second verse, “Look at my guitar/I play real loud/And take the shows to the biggest crowd/Party all night with the pretty girls…getting in the fights with the boys in the band…Patch things p with a whiskey shot/Do it again tomorrow/Ready or not/let’s get moving/Start living all night long.”  Now while some of the lyrics are indecipherable without a lyrics sheet to reference, enough is understood in this case that it is pretty obvious what is being addressed here.  There is a mention of fever making someone feel bad.  It could be interpreted that this has to do something with the impact of COVID-19, considering that the album was being recorded late last year and early this year as COVID-19 started to take over the world.  That mention of getting tired of looking at the walls strengthens that supposition even more.  It comes across as Collins talking about just wanting to get out and live, to get out and hit the road, which is what so many bands, acts and groups want to do, but sadly likely won’t get to do until at least next year.  It makes for its own engagement and entertainment for audiences.  That is because the fans want to be out there just as much as the bands.  Keeping that collective mindset and the energy and sound in the song’s musical arrangement, it becomes increasingly clear why this song is another standout addition to Hell on High Heels.  It is certain to become an anthem in its own right as bands and audiences alike await the return of live music.  Together with the other songs noted here and the rest of its works, Hell on High Heels shows why it is a positive return for Angeles.

Angeles has scored another win with its 13th full-length studio recording, Hell on High Heels.  That is due in no small part to its musical arrangements and lyrical themes, all of which are sure to engage and entertain audiences in their own way.  That is proven through three of the album’s eight songs addressed here.  When that trio of songs is addressed along with the rest of the album’s works, the album in whole proves, again, why it is another positive return for the band.  Hell on High Heels is scheduled for release Friday through Dark Star Records/Sony.

The album’s track listing and recording information is noted below.

‘Hell On High Heels’ tracklisting:
1. Hell On High Heels – Lytle/Collins – 4:43
2. Celebrate – Lytle/Collins – 3:37
3. Heal The Wounds – Lytle/Collins – 3:52
4. Apocalypse – Lytle/Collins – 4:24
5. Start Living – Lytle/Collins – 2:58
6. Rolling Like Thunder – Lytle/Collins – 3:56
7. Run – Lytle/Collins – 3:06
8. Holly Fenton – Merrit/James – 3:22

Music recorded at Clear Lake Recording Studios N. Hollywood CA – Ara Sarkisian.
Vocals recorded at MT Studios Burbank CA – Matt Thorne.
Produced by Dale Lytle and Matt Thorne
Mixed and mastered by Matt Thorne
Front cover by Jeffrey A. Swanson
Back cover by Connie Lytle
Graphic Design by Monarch Digital Design

More information on Angeles’ new album is available online along with all of the band’s latest news at:

 

Websitehttp://www.angelesband.com

Facebookhttp://www.facebook.com/TheAngelesBand

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

L.A. Guns Debuts New Single, ‘Well Oiled Machine’

Courtesy: Golden Robot Records

Veteran rock band L.A. Guns released its latest single this week.

The band debuted its new single ‘Well Oiled Machine‘ Monday.  The single is the second single from the band’s forthcoming album Renegades, which is slated for release later this year through Golden Robot Records.  The album’s release date will be announced soon.

The musical arrangement at the center of ‘Well-Oiled Machine’ is a full-on 80s, guitar-rock composition that will appeal to fans of the band’s fellow 80s rock stalwarts Ratt, Motley Crue and Poison.

While the song’s art features a motorcycle with the band’s logo, and the lyrics could easily be confused with descriptions of a motorcycle, the reality is that the song’s lyrical theme appears to center on a woman. This is clear as front man Phil Lewis sings in the song’s lead verse, “I love my baby/She’s a well oiled machine/She takes me places that I’ve never seen/Movin’ fast/She’s a satellite/Rollin’ thunder through the night.”  The note of the rolling thunder, again, could lead to confusion, as could the mention in the song’s chorus of the subject having a “jet black shine/Curves like a dream/Ain’t nothing like you ever seen.”  In reality, that is more likely a description of said woman, complete with raven-colored hair and hourglass figure.  Lewis continues in the song’s second verse, “Lights out under barren skies/We fade away into the rest of the night/She cuts me deep like a vampire/Light ’em up/Set the world on fire.”  That mention of the vampire simile shows even more clearly that this is not about a motorcycle or even a car, but a woman.  Examining all of this, the woman is apparently quite the intense figure.  This is a theme that countless bands have used, and even despite that, will still appeal to the band’s fans as it takes a classic approach to the topic.

‘Well Oiled Machine’ is available to stream and download here.

Courtesy: Golden Robot Records

The debut of the band’s new song comes less than two months after it debuted the album’s lead single Crawl.  According to a June 10 posting to L.A. Guns’ official Facebook page, the single had received more than 100,000 streams at that time. The song is available to stream and download through Spotify, Apple Music, Amazon, and Google Play.

The band debuted a making of video for ‘Crawl’ through Golden Robot Records’ official YouTube channel the day after ‘Crawl’ made its premiere.  The making of video is streaming here.  The song’s unofficial video, it features the band performing the single over a series of clips of the band in the studio working on the song.

More information on L.A. Guns’ new single is available along with all of the band’s latest news at:

 

Website: http://www.laguns.net

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

 

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

 

 

Angeles Reveals New Album’s Track Listing

Courtesy: Dark Star Records/Sony

Angeles revealed more information about its new album this week.

The band unveiled the track listing Wednesday for its new album Hell on High Heels.  The album is composed of eight songs, the longest of which — its opener/title track — comes in at four minutes, 43 seconds.  Other song titles featured in the record are works, such as ‘Start Living,’ ‘Celebrate’ and the album’s lead single, ‘Rolling Like Thunder.’

The album’s track listing is noted below.

 

‘Hell On High Heels’ tracklisting:
1. Hell On High Heels – Lytle/Collins – 4:43
2. Celebrate – Lytle/Collins – 3:37
3. Heal The Wounds – Lytle/Collins – 3:52
4. Apocalypse – Lytle/Collins – 4:24
5. Start Living – Lytle/Collins – 2:58
6. Rolling Like Thunder – Lytle/Collins – 3:56
7. Run – Lytle/Collins – 3:06
8. Holly Fenton – Merrit/James – 3:22

 

The band debuted the video for ‘Rolling Like Thunder’ April 20.  It is the band’s first single with the current lineup of Dale Lytle Louis Collins, Cal Shelton and Danny Basulto.  The DIY-style video features new vocalist Louis Collins performing the single while footage of the band is edited into the whole along with live footage of the band from past performances.

The song’s musical arrangement is a familiar up-tempo, classic 80s, guitar-driven style work that will appeal to fans of bands, such as RATT, Motley Crue and other bands of that ilk.  Its lyrical content comes across as being just as familiar, hinting at going out partying and rocking.

Angeles debuted the title, cover art and release date for Hell on High Heels June 11.  The album is scheduled for release July 3 through Dark Star Records/Sony.  Pre-orders are open now for the album’s upcoming digital release through Apple MusicGoogle Play and Amazon.

Angeles is scheduled to open for Krokus Oct. 10 at the famed Whiskey A Go-GO in Los Angeles, LA for the last show of Krokus’ farewell tour.

More information on Angeles’ new album is available online along with all of the band’s latest news at:

 

Websitehttp://www.angelesband.com

Facebookhttp://www.facebook.com/TheAngelesBand

 

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

 

Ratchet Dolls Debuts ‘Parasite!’ Lyric Video

Courtesy: TAG Publicity

Independent rock band Ratchet Dolls debuted the video for its latest single last week.

The band debuted the lyric video for its new single ‘Parasite!‘ Thursday. The song presents an upbeat musical arrangement whose heart is in its guitar work.  That work will appeal to fans of 80s hair metal from the likes of Poison and Motley Crue.

While the song’s driving musical arrangement will appeal to a very targeted audience base, its all-too-familiar lyrical content will connect with an even broader range of listeners.

Front man Kevin Sauceda explained the song’s lyrical theme in a recent interview.

“Although the song has a very uplifting feel, the lyrics themselves are rather dark,” he said.  “Parasite!’ speaks to us from the perspective of a person whose mental  health has deteriorated from trying to meet the standards of a non-committed partner.  One-sided relationships can lead to vulnerability…my goal is to try to help prevent others from having to walk that road; even if its just one person.”

‘Parasite!’ is available to stream and download through Apple Music, Spotify, Amazon and Google Play.

‘Parasite!’ is the second single from Ratchet Dolls’ upcoming as-yet untitled sophomore album.  The video for the album’s lead single ‘Out Of Control‘ was unveiled in September 2019.  Upon its release, ‘Out Of Control’ gained traction through major outlets, such as Loudwire’s “Weekly Wire Playlist” and KNAC Pure Rock.

More information on Ratchet Dolls’ new single, video, album and more is available online at:

 

Website: http://www.ratchetdolls.com

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

Twitter: http://twitter.com/ratchetdolls

 

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