Starcrazy Offers Infectious Guitar Rock, Engaging Lyrics In Its New EP

Posted on March 8, 2023 by philspicks

Independent rock band Starcrazy is scheduled to release its EP, Another Day, Another Squalor Friday. The six-song record is one of the true hidden gems of the rock community this year. That is proven through its musical and lyrical content alike. The singles that the record has already spawned – ‘Hysterical,’ ‘The Open Sea’ and ‘Eggin’ Me On’ – both do well to make that clear. The other trio of songs featured along with those works – ‘Galaxy O Luv,’ ‘The Big Time’ and ‘Monday Morning (Prayer For Tony’ – also do their own share to engage and entertain audiences. When these three songs are considered along with the trio of songs already released, the whole makes Another Day, Another Squalor a presentation that shows promise for Starcrazy’s future. Whatever that future may be, the EP in whole proves to be among the best of this year’s top new EPs.

Another Day, Another Squalor, the new EP from Starcrazy, is a strong new offering from the up-and-coming independent rock band. It is yet more proof that despite what some still want to believe, rock is still alive and well. Its musical and lyrical content alike do well to prove that. The record’s opener, ‘Galaxy O Luv’ is just one of the songs featured in the record that serves to support that statement. The song immediately grabs listeners with its neo-classic rock infused arrangement, led by guitarist Odin Wolf. His bluesy riffs and front man Marcus Fraser’s vocal delivery fully immerse listeners in the song. Bassist Jack Barratt’s low-end compliments the pair’s work just as well while also serving expertly as a companion to the work of drummer Jack Farmer. That funky bass line is right there with Farmer, accenting Farmer’s bass drum line so well while adding just enough touch to the whole. The collective work of all four musicians makes for so much enjoyment here and really lends itself to comparison to works from the likes of Poison, Motley Crue, and others of that ilk while still managing successfully to maintain its own identity.

The energy in the song’s musical arrangement works with the song’s lyrical theme to make for even more engagement and entertainment. That is because the song’s lyrical theme is meant to be just as uplifting as its musical content. The inferred theme here is one of reminding one’s self of the positives in life even among all the difficult days. This is inferred in the song’s lead verse and chorus, which state, “Giving it all you’ve got now/But you’ve got to give it more/Breaking your back for a living/Shocks your system to the core/Just take a look outside/Look into the sky/Can you feel it/Sent for the universe/ A little message…/Straight for the galaxy of love.” The song’s second verse seems to hint at that inferred theme just as much as it states, “Everyone’s got their pants on/Everyone’s feeling just alright/We’re gonna break out baby/We’re gonna do it up tonight.” As it is worded here, this all just seems to be meant as an uplifting message of having good times to offset all the hard work that brings us down each day. This is all just this critic’s interpretation, of course. If it is in fact somewhere in the proverbial ballpark, then it is a message that plenty of listeners will appreciate, especially considering how much motivation people need each day, especially nowadays. When that seeming positive message is paired with the song’s equally uplifting musical arrangement, the whole makes clear how much of a role this song plays in the EP’s bigger picture. It is just one of the songs that serves to show the EP’s strength, too. ‘Big Time’ is another example of how much this new EP has to offer.

The musical arrangement featured in ‘Big Time’ is just part of what makes the song stand out. The work of the band in whole makes this arrangement work. The funky guitar and bass lines and polyrhythmic patterns in the drumming pair with the vocals here to make for quite the unique arrangement. On the one hand, the collective performances of the band members make the song comparable to works from the likes of The Rolling Stones and oddly enough, The Bangles. It sounds like a weird combination of influences, but it is there at least in this critic’s ears, and it works, too, as it creates its own unique musical identity. That catchy musical content is just the foundation for this song. Its lyrical content adds its own touch to the presentation here.

The lyrical theme featured here hints at being about making the most of life, especially for those who want to make something of themselves. This is inferred in the song’s lead verse and chorus, which state, “Here we are/In the same old jam going nowhere/Daytime TV has got me losing my hair/I gotta get myself together now/I gotta bend my money/Put it down…” The last part of the chorus is tough to decipher sans lyrics to reference, but enough of the verse and chorus is understandable to the point that the seeming message becomes clear. The song’s second verse adds more to that seeming theme as it states, “Living the dream in a magazine/Such a good time/I said get yourself together for the big time/I have got to get myself together now/I gotta bet my money/Put it down/Because I want it all and I want it now/You can have it all/It’s up to you/Because there is nothing left for you to learn.” This, again seems to hint at a person reminding himself/herself that he/she controls his/her future and fate. If in fact this is the message in the lyrical content here, then it works on a level that should resonate just as much with listeners. That is because we do in fact control what happens with us at least to a point. If this theme is what is here, then it and the song’s mid-tempo arrangement pair to make for even more engagement and entertainment here. They collectively show even more, why the song and EP are worth hearing, just like ‘Galaxy O Luv.’ To that end, it is just one more example of what makes this record worth hearing. The EP’s finale, ‘Monday Morning (Prayer For Tony)’ is one more example of what makes this EP interesting.

‘Monday Morning (Prayer For Tony)’ is a stark contrast to the rest of the record’s entries in terms of its musical arrangement. That is because unlike those songs, this composition is so much heavier in its sound and body. The richness is due in large part to the blending of its guitar and bass lines. The classic rock influences are still on display here, but they play more of a supporting role to the primary portion of the arrangement, which is something of a rock/hard rock style composition that bridged that period between the late 80s and early 90s. The whole is a presentation that is easily content for a single. The song’s lyrical content makes for even more interest.

According to information provided about Another Day, Another Squalor, the lyrical side of this song centers on Fraser’s neighbor. As the information states, his neighbor frequently got death threats from his roommate, who allegedly was a drug addict. Knowing this is the theme, there is little reason to delve too much into the lyrics here, though the statement at the end of the lead verse that “you’d better watch your back” and the later statement in the song’s second verse that “he’s gonna die here” would seem to lay a certain tone about that roommate. To that end, the message becomes clear about what type of person his neighbor’s roommate was. Keeping that in mind, the pairing of that unique story with the song’s catchy musical arrangement makes it yet another song that will engage and entertain audiences. In turn, it proves once more why Another Day, Another Squalor is so worth hearing. When it is considered along with the other songs examined here and with the song’s other trio of songs, which have served as its singles, the whole makes this EP a work that offers promise for Starcrazy’s future.

Another Day, Another Squalor, the new EP from Starcrazy, is an applause-worthy presentation from the up-and-coming independent rock act. That is proven through the record’s musical and lyrical content alike. The songs examined here serve as proof of those statements. When they are considered alongside the record’s three singles, the whole makes the EP a positive sign of hope for Starcrazy’s future and at the same time, is another of this year’s definite top new EPs.

Another Day, Another Squalor is scheduled for release Friday. More information on the record is available along with all of Starcrazy’s latest news at:

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

Twitter: https://twitter.com/starcrazy_band

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.

80s Hair Rock, Metal Fans Will Find Appeal In The Guitar & Whiskey Club’s Debut Self-Titled EP

Posted on December 22, 2022 by philspicks

Early last month, independent rock band The Guitar & Whiskey Club released its debut studio recording in the form of its self-titled EP. Released Nov. 7, the five-song record will appeal easily to any fan of the rock and hard rock sounds of the 80s. The record’s musical arrangements and lyrical themes are sure to keep fans of that era and musical genre engaged and entertained from the start of the 23-minute record to its end. ‘Sleazy,’ the EP’s second entry, clearly supports the noted statements, as does ‘I know,’ which immediately follows. Both songs will be examined here. ‘Lone Cowboy,’ the EP’s closer, is yet another notable addition to the record. It will also be examined later. When it is considered alongside the other two songs noted here and with the record’s two other songs, the whole makes The Guitar & Whiskey Club an intriguing addition to this year’s field of new EPs.

The Guitar & Whiskey Club, the debut self-titled EP from its namesake band, is a presentation that will find appeal among most fans of the rock and hard rock sounds and acts from the 80s. This is proven through the record’s musical and lyrical content alike. ‘Sleazy,’ which comes early in the EP, is just one of the songs that serves to support that statement. The song’s musical arrangement is full on sleaze rock in the vein of L.A. Guns and Motley Crue. That is evident from the bombast of the guitar work and drumming to the vocals of front man Jeffrey Donovan. The whole is a mid-tempo composition that is an easy single to represent this first outing from The Guitar & Whiskey Club.

The lyrical theme content that accompanies the song’s musical arrangement will find just as much appeal among the noted audiences as the song’s musical content. That is because, as with so many 80s hair rock songs, this work centers on a woman. In this woman’s case, she is nothing but trouble, though. She keeps leading the song’s subject down the wrong path. This is made clear as Donovan sings in the song’s lead verse and chorus, “Woke up on the wrong side of town this morning/Got out of the wrong side of bed/Don’t know what I did to deserve this feelin’/Of a thunderbolt inside my head/But I’m suspectin’ that I neglected/To draw the line when it comes to you/Now I’m feelin so sleazy/Every time you tease me/You make that feelin’ come easy/Starin’ at the lumps in the sheets next to me/Wonderin’, ‘Oh My God is that you?’/All I see is tangled bed hair/Naked dirty feet/And now I’m thinkin’/What did I do/So I’m stressin’/Scratchin’ my head, guessin’/And lookin’ for some kind of clue.” The song’s subject continues on in similar fashion from here, noting that this woman just keeps leading him down the noted path he’s on. He even says he doesn’t hate the woman for it. In fact, he seems to say that he welcomes having that side of himself brought out by the woman. That almost misogynistic tone here is, again, something that is so commonplace in so much 80s hair rock and metal. So to that end, this and the song’s musical content collectively make for plenty of appeal for the band’s audiences and those of its more well-known counterparts.

‘I Know’ is the polar opposite of ‘Sleazy’ in terms of its musical arrangement and lyrical theme, but at the same time is still classic 80s rock in its own right. In the case of ‘I Know,’ the song’s arrangement is right in line with the power ballads that rose to fame in the 80s hair rock and metal scene. That melancholy, flowing solo guitar line in the song’s opening bars that is eventually paired with an equally mournful electric guitar line and vocal delivery from Donovan immediately takes listeners back in time, thinking of ballads from so many 80s hair rock bands. The schmaltz is on full display here and is sure to appeal just as much to the noted audiences.

The lyrical content featured alongside the song’s musical arrangement adds even more to the appeal for the noted audiences. In the case of this song, it comes across pretty clearly as a song about a breakup. This is evidenced as Donovan sings, “I know/What you said/Can’t escape the words/Trapped in my head/You know/How I am/From the time we shared/Inside your bed/One on one and high on the feeling/Two lovers share each other’s reaction/Me on you and you on top/Let it rain/You knew when he came/Your spirit left me/In the cold again/I know/You felt pain/For what you did to me/There’s no escape/One looks back and says to the other/Can we go back and savor each other/It’s just too hard to go any further.” Again, this is obviously that mournful, melancholy about a relationship that went south because of one partner’s infidelity. It is another familiar theme among the 80s rock scene, and just as familiar here as in the songs of that era. The emotional impact of the lyrics is heightened through the noted musical arrangement that pulls at listeners’ heart strings just as much as the lyrics. To that end, it is another example of what makes this record appealing to a very specific audience base.

‘Lone Cowboy,’ which closes out the record, is yet another example of what makes The Guitar & Whiskey Club appealing to 80s hair rock and metal fans. The country rock approach taken in the song’s arrangement is just as familiar as so many other similar style songs from days gone by. At the same time, audiences could just as easily make comparison to certain works from Black Label Society, considering the overall arrangement. At the same time, listeners could also make a slight comparison to work from Pink Floyd (of all bands) here, too. It really is an intriguing combination of sounds and influences, and works surprisingly, all things considered.

The lyrical theme that accompanies the song’s mournful musical arrangement comes across as another all too familiar topic. In the case of this work, it comes across as being that theme of being out on the road. This is inferred as Donovan sings here, “Man walks softly/When his horse has died/In bad country no man can hide/Man gets lonely, Heaven knows/On the prairie all alone/Days are blazing/Nights are cold/Trail tells of another wrangler alone/Memories haunt him of his life at home/The journey back shouldn’t take so long.” This is, again, an all too familiar theme that has been tackled by so many bands that have come before, but is still a great guilty pleasure work. The use of the melancholy musical arrangement here adds to the song’s impact. All things considered the song becomes yet another example of what makes The Guitar & Whiskey Club appealing to this band’s fans and to those of the hair metal and rock sounds of the 80s. When it and the other songs examined here are considered along with the EP’s other two remaining works, the whole makes the record one more intriguing addition to 2022’s field of new EPs.

The Guitar & Whiskey Club, the eponymous debut EP from the independent Guitar & Whiskey Club, is a work that is sure to appeal to anyone that is a fan of 80s hair rock and metal. Its musical and lyrical content alike makes that clear, as is evidenced here. From the familiar musical sounds to the equally familiar lyrical themes, the whole of this record is very targeted in its presentation. That presentation makes the record a work that while targeted, is still worth hearing at least once.

The Guitar & Whiskey Club is available now. More information on the EP is available along with all of the band’s latest news at:

Website: https://guitarandwhiskeyclub.com

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

Nova Rex Debuts ‘Time Is Up For You’ Video

Posted on April 30, 2022 by philspicks

Hair metal band Nova Rex debuted the video for its latest single this week.

The band premiered the video for its new single, ‘Time Is Up For You’ Tuesday. The song is featured in the new documentary, It Ain’t Easy Being Cheesy.

The video is a straight forward, familiar style presentation. It features the band performing its new single in a forested setting at night, a large bonfire burning behind the group as it sings.

The musical arrangement featured in the band’s new single is full on 80s hair metal. Comparisons can easily be made to vintage music from the likes of Ozzy Osbourne, Poison, and Motley Crue throughout the arrangement. That is evidenced through the rich, bass and guitar-driven composition.

No information was provided about the song’s lyrical theme. No lyrics are provided with the video, either. A close listen to the song adds even more to that vintage hair metal sense. That is because the whole thing is heavy with so much lyrical tough guy bravado that is so common from that era.

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

Website: https://novarox.com

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

Twitter: https://twitter.com/NovaRexRocks

Ratchet Dolls Plans New EP Release, Debuts Record’s Lead Single

Posted on March 29, 2022 by philspicks

Independent rock band Ratchet Dolls will release its first new record in more than five years this summer in the form of a new EP.

The band is set to release its new EP, Bring The Noize this summer. An exact release date is under consideration. In anticipation of what will be the band’s second studio release, the band premiered the record’s lead single, ‘Modern Mistake‘ March 20.

The musical arrangement featured in ‘Modern Mistake’ is a high-energy, guitar-driven composition. Its big riffs and energy will impress any guitar rock purist. The incorporation of the piano as a backing element alongside the bass and rums adds even more to the arrangement’s overall impact. The whole lends itself to comparison to works from the likes of Motley Crue and Poison. Audiences could even argue that there is a touch of Buckcherry influence here, too.

The lyrical theme featured in the band’s new single is about a woman. More specifically, it is a familiar theme about a man who is crazy for a woman that he knows is bad for him. That is evidenced as founder/front man Kevin Sauceda sings, ‘It hurts like hell, but I enjoy the pain” about what the woman puts the song’s subject through. The very statement that the song’s subject “can’t resist” adds even more to that noted theme. It is an all too familiar matter that will resonate with a wide range of audiences, especially when it is paired with the song’s infectious musical arrangement.

‘Modern Mistake’ is just the latest of Ratchet Dolls’ singles. The band released its then most recent single, ‘Parasite‘ in 2020. That song’s arrangement also boasts a clear Buckcherry influence. Its release was preceded by that of the single, ‘Out Of Control‘ in 2019. The band released its debut album, Damaged, two years prior in 2017.

In other news, the band is on tour in support of its new EP. The next date on the band’s tour is scheduled for Thursday in Asheville, NC. From there, the tour will gradually wind down through the first two weeks of April. The band is also scheduled to perform at this year’s annual Rockfest Festival, which is scheduled to take place July 14-16 in Cabot, WI.

More information on Ratchet Dolls’ new single and tour is available along with all of its latest news 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.

The Fifth’s Self-Titled EP Will Appeal To Classic, Guitar Rock Purists Alike

Posted on September 22, 2021 by philspicks

Independent rock band The Fifth is scheduled to independently release its new, self-titled EP Friday. The five-song record is a positive first outing for the band. That is especially the case for audiences who are fans of the pure, guitar-driven rock that bridged the late 80s and early 90s. Each item will be discussed in itself. The record’s production rounds out its most important elements and will also be discussed later. Each item noted is important in its own right to the whole of the EP. All things considered, they make the EP a successful new presentation that The Fifth’s established audiences and targeted listeners will agree deserves high marks.

The Fifth’s forthcoming self-titled EP is a presentation that will find wide appeal among the band’s established audiences and more casual rock purists. That is proven in part through the record’s featured musical arrangements. The arrangements in question exhibit the kind of pure, guitar-driven styles and sounds that bridged the late 80s and 90s. Their collective sound and stylistic approaches lend themselves to comparison to works from the band’s fellow North Carolina-based rock band Faith & Scars. Right from the record’s outset, audiences get an arrangement in ‘Shake Little Sister’ that is just as comparable to works from the likes of Motley Crue and Poison, what with the operatic vocals, the rich guitar line and just as bombastic drums. ‘Home,’ with its more subdued approach, is its own familiar style composition that again throws back to days gone by. Meanwhile, a track, such as ‘Coming to Get You,’ in its blues-based presentation is so similar to so many rock songs that were popular in the early 90s and are still just as popular today. To that end, it is more proof of the appeal that the record’s musical arrangements generate. That is even clearer when this and the other arrangements noted here are considered with the two others not directly examined. All things considered, they leave no doubt that the record’s musical content will engage and entertain audiences. It is just one part of what makes the record successful. The lyrical content that accompanies the record’s musical arrangements makes for its own appeal.

The lyrical content that is featured in The Fifth takes on a variety of topics. The EP’s opener, ‘Shake Little Sister,’ is as the title notes, a song about a man who is admiring a woman. ‘Calm Before The Storm’ seems to be a commentary about a broken relationship, but in this case not so much romantic, but plutonic. There is something in the way that front man Roy Cathey sings about people’s paths never crossing again. The sense of foreboding that Cathey seems to paint in the song’s opening verse paints toward that inference just as much and continues as he sings that “I know things will never be the same.” There do not seem to be any real allusions here to a romantic relationship, but rather to the impact of the past on the present and future. This is all this critic’s interpretation, of course. Regardless, it suffices to say that this song is not about a broken relationship, but something quite opposite. The contemplative ‘Home’ comes across as one of those familiar themes of someone looking back at life and where life is going. Reaching back to the musical aspect, the song’s arrangement is one of those over the top hard rock ballads that was so beloved in the 80s, matching the big hair of the age. Cathey sings here about letting go of those memories from the past and moving forward, again showing the theme of that rumination. That and the musical approach together is sure to connect with a wide range of audiences. ‘Coming to Get You’ meanwhile is another song that is about a man who is obsessed with a woman. Considering that the band has already touched on this topic in the EP’s opener, it is a familiar topic. It is just presented in a different fashion than in ‘Shake Little Sister.’ On yet another note, ‘Roll The Bones’ (not to be confused with the song made famous by Rush) takes audiences in yet another direction. This is just a song whose lyrical content is full of swagger and energy. It’s just a full on celebratory song about going out and having a good time with friends. Looking back through all of this, it is clear that the band touches on a relatively wide range of items that are still in themselves accessible to audiences. That overall accessibility along with the arrangements’ accessibility makes the album’s overall content reason enough to hear this EP. The content is only part of what makes the record worth hearing. The EP’s production brings everything together and completes the record’s presentation.

The production that went into The Fifth is important to address because of the different sounds and energies in each composition. As noted, a song, such as ‘Home’ is one of those familiar contemplative rock ballads from the 80s that starts off subdued, but eventually crescendos in its solo. That means that from beginning to end, full attention had to be paid to each musician’s performance. The softer moments early on had to have the fullest impact as did the bigger, bombastic solo and finale. Every bit of it all was expertly balanced throughout, leading the song to be a favorite among any listener. On another note, the edge of ‘Coming To Get You’ required a different approach in the production. That is because of the aforementioned swagger that is exhibited through the song. Particular attention had to be paid not necessarily just to the guitar line here as a result, but just as much to the nuances in the effects used therein to really bring out that edge. Again, the attention to detail paid off here just as much as in any other song. It really brings out the confidence in Cathey’s vocals and even in the guitar line. Much the same can be said of the attention to the bass and drums, too. Each couldn’t just be a rich presentation, but had to have certain emphasis on specific notes and beats to really enhance the song’s presentation even more. The attention to that detail paid off just as much. It is just one more example of what makes the EP’s production stand out. When the overall production is considered together with the EP’s content, the whole of the record proves to be fully successful.

The Fifth’s forthcoming self-titled EP is a successful new presentation from the independent rock band. Its success comes in part through its featured musical arrangements. The arrangements stand out in their distinct 80s and 90s pure guitar rock approach. From the familiar rock ballad styles of the 80s to the harder edged stuff, and more, there is plenty for audiences of said sounds to enjoy. The lyrical themes that accompany the EP’s musical arrangements are also of note. That is because they are just as familiar and accessible as the record’s musical arrangements. The production that went into the EP’s creation brings everything together and completes the presentation, making sure that its general effect is as pleasing as its content. Each item examined is important in its own way to the whole of this record. All things considered, they make the EP a positive new offering from the band.

The Fifth is scheduled for release Friday. More information on the EP is available along with the band’s latest news at:

Website: https://reverbnation.com/thefifth

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

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

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

Posted on November 10, 2020 by philspicks

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:

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.

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

Posted on August 19, 2020 by philspicks

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:

Website: http://southofedenband.com

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

Twitter: http://twitter.com/southofedenband

South Of Eden Debuts ‘Dancing With Fire’ Video

Posted on July 22, 2020 by philspicks

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

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

Posted on June 30, 2020 by philspicks

Courtesy: Dark Star Records/Sony

When veteran rock band Angeles released its 12^th 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 13^th 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:

Website: http://www.angelesband.com

Facebook: http://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’

Posted on June 30, 2020 by philspicks

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: