‘Diamonds’ Is A Sharp New Offering From Liar Thief Bandit

Courtesy: The Sign

Independent rock band Liar Thief Bandit released its latest studio recording this month, a little more than a year after the release of its then latest album, Deadlights in the form of Diamonds.  Released through The Sign Records, the band is marketing the seven-song record as a new “mini-album.”  In other words, the 27-minute record is an EP.  This EP is a fully engaging and entertaining new offering from the band, too.  That is evidenced through its musical and lyrical content alike.  The record’s early entry, ‘Better Days,’ is just one of the songs that serves to make that clear.  It will be discussed shortly.  The band’s cover of Graveyard’s ‘Ain’t Fit To Live Here’ is another notable addition to the record and will be discussed a little later.  ‘Send Me Home,’ the EP’s closer, is yet another way in which the record’s collective musical and lyrical content makes it interesting.  It will also be examined later.  All three songs noted here are interesting in their own way to the whole of the record.  When they are considered alongside the record’s other entries, the whole makes Diamonds another welcome addition to this year’s field of new EPs.

Diamonds, the new EP from independent rock band Liar Thief Bandit, is another enjoyable offering from the band.  The band’s fourth studio recording, it is being marketed as a “mini-album,” which everyone knows is just a euphemism for EP.  EP or album, it is another enjoyable offering from the band.  Its musical and lyrical content collectively make that clear.  That is evidenced early in the record’s run in the form of ‘Better Days.’  The musical arrangement featured in ‘Better Days’ presents an intriguing blend of classic rock influence (which should come as no surprise considering that The Sign has a lot of neo-classic rock bands on its roster) and the band’s more familiar garage rock approach.  Right from the outset of the three-minute-plus song, the dual guitar approach immediately conjures thoughts of Thin Lizzy’s timeless hit song, ‘The Boys Are Back in Time.’  The choruses that follow also present that comparison while also giving the song its own unique identity with even more classic rock influence.  The verses meanwhile present more of the noted garage rock leaning.  The overall musical presentation makes this song completely infectious.

The positive sound and style of the musical arrangement featured in ‘Better Days’ is a good fit with the song’s lyrical theme.  The clear lyrical theme here is that of knowing our limits and not setting ourselves up for disappointment, by connection.  This is inferred in the song’s lead verse and chorus, which state, “We’ve been making efforts/But nothing seems to change/All our past decisions/Led us to where we are/And we go too far/Better days are really hard to come by/Taking a stand is better than to stand by/We had it all figured out/Why can’t we just be satisfied.”  The inferred theme continues in the song’s second verse, which states, “In constant search for shelter/We found our own way/It took a while to settle/For less than a shooting star/But this is who we are.”  This line makes that seeming theme even clearer.  It comes across as a statement of how we as a race had to learn to not set our expectations too high, but that that is just who and what we are, wanting instinctively to reach too high.  It is as if the song is a reminder that it is okay to reach high and have certain expectations in life, but at the same time to know our limits.  The seeming message, paired with the positive mood set in the song’s musical arrangement makes the song overall a positive addition to the record and just one of the songs that stands out here.

Liar Thief Bandit’s cover of Graveyard’s ‘Ain’t Fit To Live Here’ is another notable addition to the record.  Liar Thief Bandit’s take on the song, which is featured in Graveyard’s 2011 album, Hisingen Blues, largely stays true to its source material right down to the frenetic drum solo that opens the song and the stoner rock approach taken in the original song.  Even the subdued choral effect used in the song’s bridge is here, just as in the original song.  The whole is a little more amped up in terms of the production, but overall, it is right in line with its source material, just amping it up even more.  What’s more, the song clocks in at three minutes, 15 seconds, just 10 seconds longer than the original, so that shows even more just how closely this cover sticks to the original, paying full tribute to that work.  It is just one more notable addition to Liar Thief Band’s record that audiences will appreciate.

‘Send Me Home,’ which closes out the EP, is one more notable addition to Diamonds.  This song’s musical arrangement is completely unlike anything else on the record.  The bass-driven composition almost immediately lends itself to comparison to so many vintage works from Black Sabbath.  That is especially when the pairing of that bass line and the controlled guitar is coupled with the vocal delivery here.  Even with the comparison clearly there, the song still boasts its own identity separate from the noted similar works, making the arrangement all the more enjoyable.

The lyrical content that accompanies the song’s musical content makes for its own enjoyment.  Lyrically, this song is a deeply contemplative work.  The lead verse and chorus state, “I’m giving up on getting further down the line/I’ve watched the second sunrise far too many times/Life is wasted on the living/The gift that keeps on giving/I’m giving in my resignation/I’m way past an explanation/I’ve been looking for a decent road to roam/I’m through/Searching for a reason/Send me home.”  This brooding contemplation comes across as being from the point of someone at a very low point in life; someone who has just gotten fed up with so much.  As the song progresses, the second verse adds, “Infatuation means there’s a reason to hold on/Six degrees of desperation takes over once it’s gone/There’s poetry in motion/But I’m not ready for such devotion.”  This line leaves itself open for interpretation, clearly.  The third verse adds, “Those who will not move/Never notice their own chains/Naïve behavior leaves you abandoned with the remains/People don’t change/They just get older/Standing by as the wind gets colder.”  Taking this verse into account with the other two verses, what audiences get here is something along the lines of an existential rumination of sorts.  It is a work that is certain to connect with specific audiences.  The addition of the song’s musical arrangement to the mix makes for even more interest.  The whole makes the song overall yet another noteworthy entry in this latest offering from Liar Thief Bandit.  When it is considered alongside the other songs examined here and with the rest of the record’s entries, the whole makes the record overall another mostly successful offering from Liar Thief Bandit.

Diamonds, the latest studio offering from Liar Thief Bandit, is another engaging and entertaining offering from the independent rock band.  That is due to its musical and lyrical content featured throughout the record.  When those songs are considered along with the res of the record’s songs, the whole makes Diamonds another welcome addition to this year’s field of new EPs.

Diamonds is available now through The Sign Records. More information on Diamonds is available along with all of Liar Thief Bandit’s latest news at:

Websitehttps://www.liarthiefbandit.com

Facebookhttps://www.facebook.com/LiarThiefBandit

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

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

Courtesy: Mercury Studios

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

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

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

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

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

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

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

Website: https://thinlizzyband.com

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

Twitter: https://twitter.com/thinlizzy_

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

Websitehttps://mercurystudios.com

Facebookhttps://www.facebook.com/MercuryStudiosCo

Twitterhttps://twitter.com/mercurystudios

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

Mercury Studios Announces Details For New Documentary/Concert Presentation

Courtesy: Mercury Studios

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

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

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

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

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

Websitehttps://mercurystudios.com

Facebookhttps://www.facebook.com/MercuryStudiosCo

Twitterhttps://twitter.com/mercurystudios

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

Website: https://thinlizzyofficial.com

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

Twitter: https://twitter.com/thinlizzy_

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

‘Quantum Leap’ Is A Largely Successful New Offering From Gus G.

Courtesy: AFM Records

Firewind founder and guitarist Gus G. is quoted from a recent interview as saying of his new album, Quantum Leap, that he “didn’t make it with the intention of it being the next one in the cycle of solo albums.  It was more of a case of, ‘What else is there?’ I needed the creative outlet.”  One of so many albums created during the downtime forced on acts by the COVID-19 pandemic, audiences will be glad that he crafted the album regardless.  That is due in large part to its general presentation, which will be discussed shortly.  While the album’s general presentation makes the record a strong new offering, the recording is not perfect.  The production in the live content detracts from the presentation to a point.  This will be discussed a little later.  Speaking of production, the production of the album’s first half offsets the impact of the production in the album’s second half and makes the album that much more enjoyable.  The end result of this is that the album in whole proves to be one more of the year’s top new rock and hard rock/metal albums.

Gus G.’s new solo album, Quantum Leap is a mostly successful new presentation from the veteran guitarist.  That is due in large part to its general presentation.  The general presentation finds the 18-song record divided into two separate discs.  The first disc is composed of 11 original new songs that the guitarist (formally known as Konstantinos Karamitroudis) crafted during the peak of the COVID-19 pandemic.  The second disc is composed of seven live tracks, at least two of which are covers (one a Thin Lizzy cover, the other a Dire Straits work).  The live songs were all from a concert that Karamitroudis held in 2018 in Budapest.  Two of the songs – ‘Fearless’ and ‘Cold Sweat’ – were featured in his 2019 digital-only EP, Live in Budapest.  The other five songs are other performances featured in the concert, but just not in the EP.  Ironically, the other two songs from the EP are not featured among the live songs in this bonus live material.  Sure, it would have been nice for audiences to have had those songs, for a total count of nine live performances, but at least audiences get seven.  To that end, audiences cannot complain too much.

Getting back to the topic of the main record, the material that makes up its body is both new and archived material that Karamitroudis had stored away unfinished from however long ago.  Karamitroudis composed and recorded most of the instrumentation in this record, save for the drums.  He was joined by drummer Vincent Velasco for the recording.  Velasco’s work is solid throughout and offers just the right musical “spice,” too.  Just as interesting is that Karamitroudis was quoted during an interview promoting the album, that he had to step back from his typical approach (IE lots of extensive guitar solos and work, really in-depth arrangements).  Instead, he allowed himself to write and create more freely.  The result is wonderful.  There are songs that fit just as well here on any Firewind album (E.g. ‘Demon Stomp,’ and ‘Enigma of Life’) as would fit on one of Joe Satriani’s albums.  The more Satriani work comes in the form of the album’s opener, ‘Leap Into The Unknown’ and ‘Not Forgotten.’  There is even some hint of influence from fellow guitar virtuoso Marty Friedman peppered in through songs, such as ‘Force Majure’ and ‘Exosphere.’  As if all of that is not enough, the sort of “new agey” approach and sound of ‘Night Driver’ with its keyboards, is a throwback to that familiar hair metal sound of the 80s.  It will appeal to specific audiences in its own right.  Simply put, the works crafted for the album’s main body are diverse and unique from one another throughout its run.  The wide appeal that it will certainly generate couples with the appeal from the record’s companion live material to make for even more engagement and entertainment.  In other words, audiences get the best of both worlds here in the best way possible.  They get a new, impressive studio recording, and a healthy compliment of live material in lien of a live performance, since the COVID-19 pandemic put Karamitroudis’ live plans on hold.  Keeping all of this in mind, the album’s general presentation creates a strong, solid foundation for the record.  Of course while the album’s general presentation is undeniably important to its appeal, the album is not perfect.  There is a slight issue raised as a result of the live material’s production.


The production is slightly problematic because of the lack of balance in the instrumentation and vocals.  The vocals in the live show were performed by Dennis Ward (Pink Cream 69, Unisonic).  Maybe it is just this critic’s own hearing, but it seems throughout the songs with vocals, Ward’s performance is washed out by Gus G.’s work and that of drummer Johan Nunez (Firewind, ex-Kamelot).  Ward’s vocals sound so distant, as if his mic was not turned on.  Whether that was accidental is anyone’s guess.  Regardless, it forces audiences to turn up the volume and listen closely to be able to hear Ward.  This is disappointing, but is not enough of a dent to make the live material a failure.  That is because not every song has vocals.  To that end, the album’s live material still helps play into the album’s success, despite the one noted concern.

Considering that the production in the album’s live material is not enough to doom the record, there is at least one more item to note here to the record’s positive.  That item is the production of the album’s primary content.  As noted already, Karamitroudis admitted in an interview promoting his new album, that he had to take a new, unfamiliar approach to composing and performing in Quantum Leap.  That approach included not only taking different approaches in the songs, but also making sure that each part works well with each other.  That is because so much is still going on in each song.  Ward, who also mixed and mastered the album, deserves his own share of applause.  He clearly paid painstaking attention to each instrument’s place within each arrangement.  He made sure that every part complimented the others and balanced each song in whole.  That work and that of Karamistroudis came together and made the album in whole just as successful for its aesthetics as for its content.  When this and the album’s content are considered together, the whole makes Quantum Leap another impressive offering from Gus G. that is among the best of not only the year’s new rock albums, but hard rock and metal albums, too.

Gus G.’s recently released album, Quantum Leap is an impressive presentation that will appeal equally to his fans, those of Firewind, and rock and hard rock fans alike.  The record’s success is due in large part to its general presentation.  The general presentation gives audiences the best of both worlds with a new studio album and live recording in one.  The studio recording gives audiences a new studio presentation while the new live recording gives audiences a nice concert experience in lieu of a live, in-person show from Gus G. as a result of the COVID-19 pandemic.  The general presentation gives the record a strong start, but the production in the live recording detracts from the presentation to a point.  The production proves problematic because there is an obvious problem with the balance between the instrumentation and vocals in the tracks that feature vocals.  Thankfully it is not enough to make the record in whole a failure or even the record’s live half.  The production of the record’s primary body makes up for the concerns raised through the production of the live content.  It ensures every instrument balances expertly with one another.  The result is that the studio content is fully engaging and entertaining from start to end.  Each item noted is important in its own way to the whole of the album’s overall presentation.  All things considered, the album proves a mostly successful presentation.

Quantum Leap is available now through AFM Records.  More information on the album is available along with all of Gus G.’s latest news at:

Website: https://gusgofficial.com

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

Twitter: https://twitter.com/gusgofficial

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.  

Saxon Announces Title, Release Date, Specs For New Covers Collection

Courtesy: Silver Linings Music

Saxon will open the new year with a new covers record.

The band is scheduled to release its new collection, aptly titled Inspirations, March 19 through Silver Linings Music. The 11-song record features covers of songs from bands, such as The Rolling Stones, AC/DC, and Thin Lizzy. Audiences can hear the band’s cover of The Rolling Stones’ famed song ‘Painted Black,’ which is featured in the compilation, here.

Front man Biff Byford, who released his own solo record School of Hard Knocks this year, talked about the band’s new compilation during a recent interview.

“We wanted to do an album based on our influences, the songs and bands that inspired us to write what we did and still do, and it was also interesting to see what my voice could do as I haven’t sung many of these songs before,” said Byford.  “We didn’t want to change any of the songs too much, just play them more like Saxon.  And we also think it’s very important to have – and share with the fans – some fun in these dark times.”

Alongside the noted covers, Saxon’s forthcoming compilation also features covers of songs from other acts, such as Motorhead, Toto, and Led Zeppelin. The collection was recorded at Brockfield Hall near York, in the United Kingdom. the structure was constructed in 1804 and houses the largest collection of paintings from Yorkshire’s impressionist artists — The Staiths.

Byford talked about recording in the facility during his noted interview.

“The warmth and feel of Inspirations had so much to do with being together in this magnificent place and doing it ‘old-school’ style,” said Byford. “This is how many bands back in the day -including some of the ones covered here- made such great albums, so it just felt really good to be able to do this somewhere like Brockfield Hall.”

Inspirations‘ track listing is noted below. The album will release on CD, vinyl, and digital outlets. Pre-orders are open.

Track Listing:

  1. Paint It Black
  2. Immigrant Song
  3. Paperback Writer
  4. Evil Woman
  5. Stone Free
  6. Bomber
  7. Speed King
  8. The Rocker
  9. Hold The Line
  10. Problem Child
  11. See My Friends

 More information on Inspirations is available online now along with all of the band’s latest news and more at:

Websitehttp://www.saxon747.com

Facebookhttp://www.facebook.com/saxon

Twitterhttp://twitter.com/SaxonOfficial

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

Eagle Rock Entertainment Releasing New Archived Gary Moore Concert

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment will release later this month a new archived live performance from guitarist Gary Moore.

Gary Moore: Live at Bush Hall 2007 will be released by Eagle Rock Entertainment Tuesday, September 23rd. The concert was recorded at London’s Bush Hall on May 17th, 2007. It was originally broadcast by Planet Rock Radio and features a number of songs from his then new album Close as You Get (2007). Those songs include the likes of ‘Eyesight to the Blind,’ ‘I Had a Dream.’ Also included in the performance are some of Moore’s older material including: ‘Don’t Believe a Word,’ ‘Walking By Myself,’ and ‘Still Got The Blues’ among a number of others. The concert’s release later this month will mark the first time that it will have been released in its entirety worldwide. Its track listing is noted below.

TRACK LISTING

1) If The Devil Made Whiskey

2) Thirty Days

3) Trouble At Home

4) Hard Times

5) Eyesight To The Blind

6) I Had A Dream

7) Too Tired

8) Gary’s Blues 1

9) Don’t Believe A Word

10) Still Got The Blues

11) Walking By Myself

12) The Blues Is Alright

13) Sundown

 

More information on this and other releases from Eagle Rock Entertainment is available online at http://www.facebook.com/EagleRockEnt and http://twitter.com/EagleRockNews. 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.