Courtesy: Mercury Studios/A Cat Named Rover/Believe Media
Syd Barrett is one of the most enigmatic figures in the history of rock.
The one-time Pink Floyd front man was pushed out of the band early on in its life, and in the decades since then (and since his death) little has been known about his life after leaving the now iconic progressive rock band. Thanks to Mercury Studios, Believe Media, and A Cat Called Rover, audiences will finally get a new look at Barrett and his life next month in the new documentary, Have You Got It Yet?
The documentary is scheduled to make its theatrical debut May 15 in the United Kingdom in Everyman Cinemas and later in June in the United States and Canada through Abramorama. The documentary’s trailer is streaming here.
The documentary was directed by award-winning filmmaker Roddy Bogawa and the late Storm Thergerson. The documentary tells the story of its one-time former front man through interviews with the likes of David Gilmour, Roger Waters, and Nick Mason. Vintage footage featuring Barrett is also included to help tell the story. Actor Jason Isaacs (Star Trek: Discovery, Scoob!, Scooby-Doo: The Sword and the Scoob) narrates the documentary.
The documentary will make its major premiere Thursday at Everyman King’s Cross in London ahead of its wide release across the UK.
More information on the documentary is available at:
Few bands or even musical acts across the musical universe can say they have been around (and even relevant) for 50 years, but in 2012, The Rolling Stones managed to say just that. In celebration of the anniversary, the band launched its “50 & Counting Tour” Oct. 25 in Paris, France. The tour, which ran just short of a year, took the band from Paris to London and all the way across the United States before bringing the band back home to London in July 2013. The tour grossed in excess of $87 million for the band, proving it a resounding success. Now thanks to Mercury Studios and Universal Music Group, the band’s fans worldwide can enjoy one of the concerts – its Dec. 15, 2012 show at the Prudential Center in Newark, NJ – in the comfort of their homes and cars thanks to the band’s latest live recording, GRRR Live! Released Feb. 10, the recording is another welcome addition to the home library of any of The Rolling Stones’ fans and rock fans in general. That is due in no small part to the concert’s extensive set list, which will be discussed shortly. The band’s performance thereof adds its own share of engagement and entertainment to the recording and will be addressed a little later. The companion booklet that accompanies the recording rounds out its most important elements and will also be discussed later. Each item noted is important in its own way to the whole of the recording’s presentation. All things considered they make the recording easily among the best of this year’s new live recordings.
GRRR Live!, the latest live recording from The Rolling Stones, is a presentation that every one of The Rolling Stones’ fans will welcome in their home libraries. Along with so many of the live shows that the band has released over the course of the past five years or so, it is more proof of why The Rolling Stones is among the rock world’s top acts, not only in the studio but on the stage, too. The recording’s appeal is due in no small part to its featured set list. The set list runs 23 songs deep and features a number of well-known hits from The Rolling Stones, such as ‘Paint It Black,’ ‘Honky Tonk Women,’ and ‘Brown Sugar’ while also including some lesser-performed gems, such as ‘Get Off My Cloud,’ ‘Happy’ and ‘Respectable’ to add even more interest. There are even some other interesting non-Rolling Stones tracks, such as Freddie King’s ‘I’m Going Down’ and Bo Didley’s equally timeless 1956 hit, ‘Who Do You Love?’ Simply put, the set list offers audiences plenty of familiarity along with a peppering of something less performed and some other extras to really keep listeners engaged and entertained.
As if the primary set list is not enough for audiences, the collection features three songs – ‘Respectable,’ ‘Around and Around’ (a Chuck Berry hit) and ‘Gimme Shelter’ — as bonus performances on the recording’s Blu-ray. The songs, which bring the set list’s song count to 26 songs, were recorded during the first of the band’s two shows at the Prudential Center on Dec. 13, 2012. So not only do audiences get a taste of that concert, but the entirety of the band’s Dec. 15, 2012 show. What audiences get, in other words, is really the best of both worlds all the way around in the overall set list.
As much as the set list does to make this recording so enjoyable, the band’s performance thereof is of its own appeal. From Mick Jagger’s familiar swagger throughout the show and his ability to work the crowd, to the band’s very performance of the songs themselves, audiences get so much out of the performances in general. One of the most notable of the performances is that of the band’s timeless classic ‘Paint It Black.’ Unlike so many other takes of the song, this one has a unique, almost stripped down approach. The use of the keyboards and sitar here feels more prominent than ever. Charlie Watts’ performance on the drums is even different here than in so many takes of the song that the band has ever produced. It is a surprise, but a welcome surprise.
Speaking of surprise, the surprise appearance of Lady Gaga with the band on its performance of ‘Gimme Shelter’ makes for its own engagement and entertainment, too. Her vocals, together with those of Jagger make for such an interesting pairing. That is because of the power in her vocal performance. There is so much soul and fire in her delivery. The juxtaposition of her fire to Jagger’s subtle swagger in his vocals makes for such an interesting blend that even the least of Gaga’s fans will actually appreciate her work in this case.
The band’s performance of ‘Who Do You Love’ with The Black Keys (yes, The Black Keys) is yet another example of the importance of the performances featured here. The decidedly rockabilly approach that the two bands give the song is so unique in its own right, especially in comparison to Bo Didley’s original song. The coordination between Watts and The Black Keys drummer Patrick Carney is spot on throughout the performance, with the two keeping perfect time throughout and really helps keep the song moving. Jagger’s familiar dancing alongside Black Keys front man Dan Auerbach’s easygoing vibe makes for its own special contrast that is so enjoyable, too. Between this performance, the others examined here and the rest of the performances that make up the whole of this presentation, there is no doubt whatsoever about the important role of the set’s performance to the overall presentation. It ensures audiences’ engagement and entertainment just as much as the show’s set list.
As much as the band’s performance does to make this recording so enjoyable, it is still just one more part of what makes this concert so fun. The liner notes in the recording’s companion booklet add even more to the enjoyment. Penned by author Paul Sexton, the liner notes featured in the companion booklet start out by outlining the story of the break the band took in 2007 following the end of its “A Bigger Bang” tour. From there Sexton tells the story of the band’s preparation for its next tour that would become “The 50 & Counting Tour.” From a recording session in Paris, France in 2012 that led to the creation of two new songs – ‘Doom & Gloom’ and ‘One More Shot’ – to rehearsals for the tour to the tour’s launch, to the outline of the performance featured here, Sexton paints a rich picture of what was to come and what came of the tour and performance. That picture is painted additionally through the words of the band members themselves, which personalizes the story all the more for audiences. When the overall story laid out in the liner notes is considered alongside the set list featured here and with the band’s performance thereof, the whole makes GRRR LIVE! Yet another fully enjoyable performance from The Rolling Stones proving yet again why this band is among the greatest bands in the world if not the greatest.
GRRR LIVE!, the latest live recording from The Rolling Stones, is another enjoyable offering from the band. The concert, which was part of the celebration of the band’s 50th anniversary, proves appealing in part because of its set list. The set list offers audiences plenty of familiar hits from the band’s catalog while also including some lesser performed pieces. The set list also throws in some covers that are just as entertaining in their own right. Speaking of entertaining, the band’s performance of the set list is definitely entertaining from beginning to end. The band’s performance is everything audiences have come to expect from the group throughout its historic career. The liner notes included in the recording’s companion booklet add their own engagement and enjoyment to the mix as they lay out the story of the concert featured here. Each item examined is important in its own way to the whole of the presentation. All things considered they make GRR LIVE! Another fully enjoyable live offering from one of the greatest rock bands in the world if not the greatest in the land.
GRR LIVE! Is available now through Mercury Studios and Universal Music Group. More information on the recording is available along with the band’s latest news at:
Courtesy: Eagle Rock Entertainment/Eagle Vision/Universal Music Group
Universal Music Group and Eagle Vision, the video branch of Eagle Rock Entertainment, have partnered to release a new retrospective on the career of legendary guitarist Eric Clapton.
Eric Clapton: Life in 12 Bars is scheduled to be released June 8, 2018. The documentary tells the story of Clapton’s hugely successful career through the use of archived footage and interviews. Clapton is brutally honest as he talks about the highs andlows of his career and personal life throughout.
The profile will come with a complimentary soundtrack on 2-CD, 4-LP and digital platform. The 4-LP soundtrack is scheduled for release on July 20. The 32-track compilation will feature recordings by The Yardbirds, Derek and the Dominos, John Mayall’s Bluesbreakers, George Harrison, The Beatles, Aretha Franklin, Muddy Waters and Clapton himself. Five of those 32 tracks are previously unreleased, including a full-length recording of ‘I Shot The Sheriff’, which was recorded during the 461 Ocean Boulevard sessions.
More information on Eric Clapton: Life in 12 Bars and other titles from Eagle Rock Entertainment is available online now at:
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Universal Music Group will release a new box set of live recordings from legendary performer Frank Sinatra this spring.
Standing Room Only is currently scheduled to be released in stores and online May 4. the three-disc set will be available on separate CD and digital platforms. The performances featured in the collection were originally recorded between the 1960s and 80s.
The first concert was recorded January 28, 1966 at The Sands in Las Vegas. It was his second show with Count Basie at the facility, and included performances of ‘Come Fly With Me,’ ‘Luck Be A Lady,’ ‘Fly Me To The Moon’ and 13 other songs. This performance was, until now, unavailable on CD.
The set’s second concert was originally recorded October 7, 1974 at the Spectrum Arena in Philadelphia, PA. Like the first recording, this recording has also been unreleased on CD until now. It includes performances of ‘The Lady Is A Tramp,’ ‘I Get Along Without You Very Well,’ ‘I’ve Got You Under My Skin’ and 14 other songs.
Sinatra’s October 24, 1987 performance at Reunion Arena in Dallas, TX rounds out the set’s recordings. Previously unreleased in its entirety until now, this recording’s set list is the most extensive of the trio, with 24 total songs. Those songs include ‘Bewitched,’ ‘Mack The Knife,’ the theme from ‘New York, New York’ and many others.
Courtesy: Universal Music Group
FRANK SINATRA – STANDING ROOM ONLY [3CD; Digital]
CD 1: The Sands, Las Vegas – January 28, 1966 (2nd show)
1. Come Fly With Me
2. I’ve Got A Crush On You
3. I’ve Got You Under My Skin
4. The September of My Years
5. Street of Dreams
6. Angel Eyes
7. Fly Me To The Moon
8. “The Tea Break” (Monologue)
9. You Make Me Feel So Young
10. The Shadow Of Your Smile
11. Luck Be A Lady
12. It Was A Very Good Year
13. Where or When
14. My Kind Of Town
15. A Few Last Words (Monologue)
16. My Kind Of Town (Reprise)
CD 2: The Spectrum, Philadelphia – October 7, 1974
1. Overture
2. The Lady Is A Tramp
3. I Get A Kick Out Of You
4. Let Me Try Again
5. My Kind Of Town
6. Welcome
7. Ol’ Man River
8. Monologue
9. I Get Along Without You Very Well
10. I’ve Got You Under My Skin
11. “The Tea Break” (Monologue)
12. Send In The Clowns
13. If
14. You Are The Sunshine Of My Life
15. What Are You Doing The Rest Of Your Life?
16. My Way
17. Bows: My Way
CD 3: Reunion Arena, Dallas – October 24, 1987
1. Overture / Introduction
2. YOu Are The Sunshine Of My Life
3. What Now My Love
4. My Heart Stood Still
5. Moonlight In Vermont
6. Summer Wind
7. You Will Be My Music
8. More Than You Know
9. Mack The Knife
10. Monologue
11. What’s New?
12. Bewitched
13. Angel Eyes
14. If
15. When Joanna Loved Me
16. For Once In My Life
17. Lonely Town
18. Theme From “New York, New York”
19. Bows: Theme From “New York, New York”
20. Where or When
21. My Way
22. Maybe This Time
23. The Lady Is A Tramp
24. Brows: You Are There
More information on Standing Room Only is available along with all of the latest Sinatra news at:
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Courtesy: Eagle Rock Entertainment/Universal Music Group
Mumford & Sons is one of the biggest bands in the world right now. Ever since its inception in 2007, the London-based neo-folk outfit has released three albums, selling millions of copies of each along the way. Even with only three records under its members’ collective belts, the band has gained just as many fans around the world as it has sold albums if not more. Now a decade after the band first formed, it has added to its already impressive resume with its latest full-length live recording–a recording that all audiences will appreciate—in the form of Live From South Africa: Dust and Thunder. This latest live offering from Mumford & Sons—it’s last live recording was included in the 2010 re-issue of its 2009 debut album Sigh No More—will impress audiences first and foremost in its presented set list. That will be discussed shortly. The band’s performance of said set list is just as important to note in this recording as the set list itself. It will be discussed later. The concert’s collective cinematography and editing round out its most important elements. That is not to say it isn’t the last element to note in examining its presentation. The various platforms on which it has been made available can easily be examined, too. When this is set alongside the concert’s collective cinematography and editing, the band’s performance, and the show’s set list, the whole of this recording proves to be a work that all audiences will appreciate.
Mumford & Sons’s new live recording Live From South Africa: Dust and Thunder is a recording that all audiences will appreciate. This includes fans and fans in passing. That is made evident through the time and effort that was clearly put into the recording’s presentation beginning with its set list. The concert’s 17-song, 94-minute set list pulls from all three of the band’s albums almost equally. It pulls four songs from the band’s debut and sophomore record while its third record is only slightly more heavily represented with six songs. There is also a pair of performances with veteran Senegalese artist Baaba Maal included in the set list. One of that pair—that of ‘Lampenda’—pulls from Maal’s 2016 album Traveller. The other song that the two acts perform together—‘Wonda’—comes from the groups’ 2016 collaborative record Johannesburg. The five-song recording was released June 17, 2016 via Glassnote. Keeping this in mind, it is clear that a lot of thought was put into this concert’s set list. The set list does technically favor the band’s latest recording the most. But even with that in mind, it doesn’t favor that album too much more than the band’s first two recordings. The addition of the set’s additional songs from Baaba Maal adds even more depth to the set list. All things considered, the songs that are featured in this recording’s set list make clear why the set list is so important to the recording’s presentation. The set list is just one of the most important elements to note of the recording’s overall presentation, too. The band’s performance of the set list is just as important to note as the set list itself in examining the recording’s presentation.
The set list at the center of Mumford & Sons’ new live recording is in itself a pivotal piece of the recording’s presentation. That is because it balances representation of each of the band’s albums so well. While it is clearly an important part of the recording’s presentation, it is only one important part of that presentation. The band’s performance of the featured set list is just as important to note in examining the recording’s presentation as the set list itself. The most notable aspect of the band’s performance here is that it really lets the music do the talking for its members. Front man Marcus Mumford spend the better part of the concert getting the audience worked into a frenzy with the energy and enthusiasm put into every one of the show’s songs. Mumford and company give each performance its all, and the audience shows its appreciation for that effort with its own energy from start to finish. It isn’t until late in the concert that Mumford starts to really get into the show and start interacting with the audience more actively. When he does, that serves to work the audience even more into a frenzy. That is especially noticeable late in the concert as Mumford joins the audience during one performance. He doesn’t just walk the safe aisle areas of the audience, either. He actually mixes in with the audience, becoming one with the concertgoers. Between that moment and the overall performance put on by the band throughout the course of the 94-minute show, the band’s performance overall will keep audiences engaged and entertained just as much as the show’s set list if not more so. The band members’ performances—both alone and collectively—display such energy and enthusiasm. Those performances show that a band doesn’t always need pyro and other special effects to entertain audiences. Sometimes all an act needs is talent and heart, and that is exactly what the band presents throughout its performance of each song, showing in whole why the band’s overall performance is just as important to note in examining this concert’s presentation as the show’s set list. It still is not the recording’s last important element. The recording’s collective cinematography and editing round out its most important elements.
Live From South Africa: Dust and Thunder’s set list and the band’s performance thereof are both key pieces of the recording’s overall presentation. As important as they are to the recording’s overall presentation, they are not its only key elements. Its collective cinematography and editing are just as important as those elements to the recording’s presentation. The recording’s cinematography and editing are so pivotal to the recording’s presentation because they make this concert feel like so much more than just another run-of-the-mill concert recording. Audiences will note a very specific frame rate was used in capturing the concert. The recording’s bonus insert (at least in its Blu-ray presentation) does not note the cameras’ frame rates in their shooting. But it is obvious it was not a standard shooting rate. The angles and shot transitions were just as expertly handled in post production. The wide shots captured from high above the stage that expertly capture the immensity of the audience in attendance of the concert will leave audiences in awe. The same can be said of the dolly shots from just below the stage and the wide shots from amidst the audience. The transitions between these and so many other angles and shots add even more depth to the work of those behind the lens (and editing stations). From one song to the next, the transitions just as expertly capture the songs’ energy, the energy in the band’s performance and the audience’s appreciation for the band’s efforts. Between those expert transitions developed in the recording’s post production, the shots captured by the camera crew at the concert and even the concert’s sound engineers (speaking of which this concert’s audio is another that absolutely begs for a surround sound home theater system for optimum experience), the recording’s camera work and associated editing proves to be just as important to its presentation as its set list and the band’s performance thereof. When all three elements are set alongside one another, they make this concert an experience that all audiences will appreciate. That includes audiences who might just be casual fans. Add in the multiple platforms on which the recording has been made available, and audiences have in this recording what is one of the year’s first great new live recordings.
Mumford & Sons’ new live recording Live From South Africa: Dust and Thunder is one of 2017’s first great new live recordings. A thorough examination of the recording’s set list, the band’s performance thereof, the recording’s collective production values (both in production and in post production) and its platforms supports that statement. That has already been noted above. Each element is clearly important in its own right. All things considered, Live From South Africa: Dust and Thunder proves to be one of this year’s first great live recordings. It is available now in stores and online. More information on Live From South Africa: Dust and Thunder is available online now along with all of Mumford & Sons’ latest news and more at:
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Courtesy: Eagle Rock Entertainment/Universal Music Group
Guitarist Pete Townshend is best known for his role in the legendary rock band The Who. The British band is one of its country’s greatest rock acts next to The Beatles, Deep Purple, Judas Priest and a select group of others. While Townshend is best known for his work as a member of The Who, he also had a relatively successful solo career. This past September Eagle Rock Entertainment released a rare performance from Townshend’s solo career in the form of Face The Face. This recording is an important artifact of sorts from Townshend’s career, and thus, a piece that fans of The Who will appreciate just as much as Townshend’s fans. That is due in part to the recording’s companion booklet. It will be discussed shortly. The recording’s set list is just as important to note in examining its presentation as its set list. It will be discussed later. The concert’s production values round out its most important elements. Each element is important in its own right to the recording’s overall presentation. All things considered, Face the Face proves in the end to be, again, a recording that The Who’s fans will appreciate just as much as Townshend’s fans.
Eagle Rock Entertainment’s recently released performance from classic performance from Pete Townshend and Deep End is a recording that fans of The Who will appreciate just as much as Pete Townshend fans. It is a very rare live recording from the two acts, as audiences will learn in the recording’s companion booklet. Speaking of the booklet, it sits at the center of the recording’s presentation. The booklet presents an in-depth history of how Townshend and Deep End came to work together thanks to writer Matt Kent. It also notes that the concert presented here almost didn’t happen yet somehow miraculously did happen. That story in itself makes the recording’s companion booklet well worth the read. As if that isn’t enough, audiences will also learn that Prince’s beloved album Purple Rain was at least one influence behind Townshend’s solo record White City: A Novel. Townshend was touring in support of that record when this concert was recorded. That, too is noted in the booklet along with a thorough outlining of the concert’s set list, another of the recording’s key elements. Before touching on that subject, one would be remiss to ignore all of the other key information that Kent includes in the recording’s liner notes. Between the material noted here and that material not noted here, the information Kent provides audiences in the recording’s companion booklet will engage audiences just as much as the concert’s set list. Speaking, again, of the show’s set list, it is the next most important piece of the recording’s overall presentation to discuss.
The booklet included in Eagle Rock Entertainment’s Pete Townshend/Deep End live recording Face The Face is a key piece of the recording’s overall presentation. It isn’t the first time that a live recording’s booklet has proven to be the recording’s most important element. At the same time, though, it is very rare for any recording’s booklet, live or otherwise, to be so critical to its presentation. Face The Face’s companion booklet is undeniably important to its presentation, but it is also not the recording’s only key element. The concert’s set list is just as important to note in examining its overall presentation as its companion booklet. The show’s set list features classics from The Who, songs from White City and hits from other Townshend solo records and even some covers among other songs. Kent outlines the concert’s set list in relative depth, again, in the recording’s companion booklet. This, again, shows the importance of the recording’s companion booklet. That relatively thorough outline also serves as a solid starting point for a musical history lesson of sorts; not just a history lesson on Townshend’s arrangements but in music history overall. Getting back on the subject at hand, the set list presented in Face to Face presents a wide swath of material and talent on the part of both Townshend and the members of Deep End, among whom included Pink Floyd guitarist David Gilmour. Considering the breadth of material and talent presented throughout the concert’s set list, it becomes clear why the set list is just as important to Face The Face’s overall presentation as the recording’s companion booklet. It still is not the last element to note in examining this recording. The concert’s production values round out its most important elements.
Matt Kent’s liner notes included in Face The Face’s companion booklet and the recording’s set list are both key pieces of the recording’s overall presentation. The booklet expertly sets up the concert experience, preparing audiences for the concert. The set list is just as important to the recording as its booklet because of the wide array of sources for the featured songs. Kent outlines the show’s set list in relative depth in his liner notes, adding even more to the concert’s viewing experience. Keeping all of that in mind, both elements are clearly important pieces to the recording’s whole. They are only two-thirds of the recording’s whole that should be noted. Its production values are just as important to note here as its companion booklet and set list. The concert looks and sounds far different than concerts recorded today. For lack of better wording, the concert’s video and audio are rough. The thing is that said rough presentation creates a certain appreciation for how far recording technology has come since 1986 (the year when this concert was originally recorded). Between the sometimes airy sound in the audio mix and the at times equally uneasy cuts between cameras, watching the concert is an interesting experience, especially for those who grew up in the 1980s. Again, it reminds audiences of how far recording tech has come since the days when this concert was captured. So really, it presents its own history lesson of sorts, too. Keeping that in mind, the recording’s production values are just as important to its presentation as its companion booklet and set list. Each element is important in its own way to the recording’s presentation. All things considered, Face The Face proves in the end to be a recording that, again, Pete Townshend’s fans will appreciate just as much as fans of The Who. It supports even more this critic’s statement that Eagle Rock Entertainment is the leading name in live recordings.
Eagle Rock Entertainment’s recently released rare performance from Pete Townshend and Deep End is a rare piece that fans of The Who will appreciate just as much as Pete Townshend’s fans. It proves once again why Eagle Rock Entertainment is the leading name in live recordings. Those statements are supported in part through the recording’s companion booklet. The booklet features in-depth liner notes by Matt Kent that will engage readers just as much as the recording’s featured concert if not more so. Speaking of the concert, its set list is just as important to the recording’s presentation as its booklet. The concert’s production values play their own key part in its overall presentation, too. Each element is important in its own right to the concert’s overall presentation. All things considered, Face The Face proves, once more, to be a recording that The Who fans will appreciate just as much as Pete Townshend’s fans. Considering the concert’s rarity and everything else noted here, it proves once again why Eagle Rock Entertainment remains to this day the leading name in live recordings. Face The Face is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:
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Courtesy: Eagle Vision/Eagle Rock Entertainment/Universal Music Group/Crush Music/DCD2/Island Records
Late last summer pop punk outfit Fall Out Boy hit the road in support of its latest album American Beauty/American Psycho. As part of its tour, the band performed a hometown show that was recorded for release. That recording was released this past October via Eagle Rock Entertainment, the leading name in live recordings. For fans of this recording, there is plenty to appreciate beginning with the concert’s set list. That will be discussed shortly. The band’s performance of said set list is just as important to note here as the show’s set list. It will be discussed later. The concert’s packaging might not seem all that important in the grand scheme of things, but even it plays an important part in its presentation. It is hardly the last element that can be noted, too. The concert’s cinematography and combined video and sound mixing can also be discussed, too, as could the band’s simplistic stage setup. Each element is important in its own right to the recording’s overall presentation. That goes without saying. All things considered, The Boys of Zummer Tour: Live in Chicago proves to be, again, a recording that will appeal to any of Fall Out Boy’s fans.
Fall Out Boy’s new live recording The Boys of Zummer Tour: Live in Chicago is a work that will appeal to any of the veteran pop punk band’s fans. It is not the band’s first live recording by any means. Regardless, it will appeal to said fans. That is due in part to the concert’s set list. The 17-song set list pulls from all six of the band’s current albums. American Beauty/American Psycho receives the most nods with five songs. The band’s 2013 album Save Rock and Roll comes in second with four of its songs featured in the show’s set list. Infinity on High (2007) comes in third with three songs featured. From Under A Cork Tree also sees three of its songs included in the set list while Folie a Deux is represented by two songs and Take This To Your Grave with one song. Needless to say, the fact that the band pulled from each of its current albums makes this concert a career-spanning show for the band. That being the case, it becomes clear why the concert’s set list is so important to its overall presentation.
The set list presented in Fall Out Boy’s latest live recording is in itself a key piece of the recording’s presentation. The set list features songs from each of the band’s current albums. That makes it for all intents and purposes a career-spanning performance, even with the band’s career being far from over. While the show’s set list is clearly an important piece of its presentation, it is just one of the elements that should be noted in examining the concert’s presentation. The band’s performance of the show’s set list is just as important to note in examining the recording’s overall presentation. The band’s members—Pete Went (bass, vocals), Patrick Stump (guitar, vocals), Joseph Trohman (guitar, vocals) and Andrew Hurley (drums)—have full run of the massive stage. While they do make use of its wide open space at times, it seems that they opt to use their energies for their performances rather than running around the stage. Audiences will appreciate that attention to the performance. That is because it shows through in each song. The band gives its all in each song. The end result is that it will pull in home viewers just as much as it did the concert’s attendees. It should be noted that even in the concert’s semi-acoustic section the band spends plenty of time interacting with the audience between songs in a sort of Storytellers (for anyone who remembers that VH1 program) setting. It serves to strengthen the band’s connection with audiences even more. That includes audiences at home, too. The solid connection that is made between Fall Out Boy’s band members and the band’s audiences translates very well to audiences. It makes the viewing experience all the more enjoyable for the band’s fans at home, and is still not the last of the recording’s key elements. The concert’s packaging is just as important to note as its set list and the band’s performance thereof.
The career-spanning set list presented in Fall Out Boy’s new live recording and the band’s performance thereof are both key the this recording’s overall presentation. They are not its only important elements. The recording’s packaging is an important piece of the recording’s overall presentation, too. Much like so many of Eagle Rock Entertainment’s other live recordings released this year, this recording has been released in a standard package that will allow it to fit on any fan’s CD rack. That is even with the recording being presented on separate DVD and Blu-ray platform. This is important to note because of its ergonomic value. The concert being packaged in a standard CD packaging—despite being presented on DVD and Blu-ray—saves space on fans’ DVD and BD racks. Being a very thin package, it also saves space on CD racks, too. So that end, the recording’s packaging may not seem important on the surface, but ultimately proves to be just as important as the recording’s set list and the band’s performance thereof. It is just important in a different way. Interestingly enough, it still is not the last of the recording’s key elements. The concert’s video and sound mix (its production values) and the band’s simple stage setup could also be discussed in examining this recording’s overall presentation. Each element is clearly important in its own right. All things considered, they show in whole why The Boys Of Zummer Tour: Live in Chicago is a recording that any of Fall Out Boy’s fans will appreciate.
Fall Out Boy’s latest live recording The Boys of Zummer Tour: Live in Chicago is a recording that any Fall Out Boy fan will appreciate. Fans will appreciate this recording for a number of reasons beginning with the concert’s set list. The set list features songs from each of the band’s current albums. While the band’s career is likely far from over, this approach still technically makes the set list a career-spanning set. The band’s performance is just as important to note as the concert’s set list. That is due to the fact that the band’s members don’t run around the stage unnecessarily. Rather, they use their performances of the show’s set list to entertain audiences. That attention to its performance of each song improves the band members’ endurance and thus enhances each song’s performance even more. Those enhanced performances in turn make the band’s performance that much more engaging for fans. The recording’s packaging, production values and the band’s simple stage setup combine to round out the recording’s most important elements. Each element is obviously important in its own right to the recording’s overall presentation. All things considered, they show why The Boys of Zummer Tour: Live in Chicago is, once more, a recording that any Fall Out Boy fan will appreciate. It is available now in stores and online. More information on this recording is available online now along with all of the band’s latest news and more at:
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Courtesy: Eagle Rock Entertainment/Montreux Sounds/Universal Music Group
Fans of John McLaughlin have new reason to be excited this week. That is because Eagle Rock Entertainment and Montreux Sounds have released a new archived performance by the veteran guitarist. Paco An John Live at Montreux 1987 was released this Friday, June 24th. The triple-disc set is not the first of McLaughlin’s Montreux performances to be released by the companies. Five years ago, they released McLaughlin’s performance alongside fellow guitar virtuoso Carlos Santana at the 2011 Montreux Festival on Blu-ray. This latest recording takes fans even farther back in time and presents him with another guitarist—Paco de Lucia. There is plenty for fans of both musicians to appreciate in this new recording beginning with its set list. This will be discussed shortly. The duo’s stage presence is just as important to note. It will be discussed later. Last and most definitely not least of note in this set’s presentation is its companion booklet. It brings everything full circle with this presentation and shows together with the previously noted elements why this recording is one more must have for any John McLaughlin fan.
Eagle Rock Entertainment and Montreux Sounds’ new archived concert recording Paco and John Live at Montreux 1987 is a new must have for any fan of Paco de Lucia. It is just as much of a must have for any fan of John McLaughlin. It is not the first of McLaughlin’s Montreux performances to be released by Eagle Rock and Montreux Sounds. But it is unlike his previous released performances. That is evident in the first of the set’s most important elements—its set list. This concert’s set list features a mix of Mclaughlin and de Lucia’s own originals, and a number of covers, too. McLaughlin makes note of this in the set’s companion booklet. That will be discussed at more length later. In all, the nine songs (technically ten since the set’s opener is a two-song medley of sorts) that make up the body of the concert total ninety-one minutes. What’s important to note is that while nine (or ten) songs might not seem like much, each song’s arrangement is so in depth that each one must be truly experienced in order to be fully understood and appreciated. In other words, the set list presented here is not one that one can just have on in the background when experiencing it. It is one that requires full attention from one song to the next in order to be fully appreciated. It is just one of the recording’s most important elements. McLaughlin and de Lucia’s stage presence is just as important to note here as the show’s set list.
The set list featured in Paco de Lucia and John McLaughlin’s new live recording is an important part of the recording’s presentation in its own right. That is made clear simply by listening through the entirety of its ninety-one minute run time. It is just one of the recording’s most important elements. McLaughlin and de Lucia’s stage presence is just as important to note in this recording as the concert’s set list. The duo’s stage presence is so important to note because of how little the pair does throughout the course of its performance. Both men spend the length of their performance sitting down while they perform. There’s no walking around on stage, pacing back and forth. Even with this being the case, both men still manage to keep audiences entertained and engaged. That is done primarily through each musician’s display of musical talents. The precision and expertise exhibited in each man’s performance is impressive to say the very least. Actually getting to see that expertise in the set’s DVD reveals just how impressive their talents are. The pair’s facial gestures do just as much for their stage presence as their performance of the set’s featured songs. This includes the moments when each is alone on stage and when the pair is performing together. The sly little smiles that the pair share with one another as they perform speak volumes. Those motions do just as much to entertain as do those of any performer’s more active behavior on stage. That is a true testament to the power of the simplicity in the pair’s stage presence. It shows that just as the old adage states, big things sometimes do indeed come in small packages. Now, keeping this in mind, it should be clear why de Lucia an McLaughlin’s stage presence is so important to note in the overall presentation of this recording. Their stage presence is so simple. Yet it does so much for the experience even in (and perhaps thanks to) its simplicity. When that simple and so entertaining stage presence is set against the recording’s set list, both elements prove even more their importance to this recording. They are not its only important elements, either. The companion booklet that is included in the recording is just as important to its presentation as the recording’s set list and its performers’ stage presence.
The set list featured in Paco and John Live at Montreux 1987 is its own important element in the set’s overall presentation. The same can be said of de Lucia and McLaughlin’s stage presence. Both elements are each important in their own way to the recording’s presentation. They are, however, not its only important elements. The companion booklet that comes with the set is just as important to the set’s presentation as those other noted elements. The companion booklet should be noted in large part because of its liner notes. The notes in question were written by John McLaughlin. McLaughlin discusses in the notes the show’s set list and his friendship with de Lucia. There is even a very small music theory lesson of sorts in the liner notes as he discusses Bulerias, which he states are “one of the pillars of the Flamenco musical traditions.” The liner notes are brief, but also concise. In the end, it brings the presentation full circle. It rounds out the recording’s overall experience, proving once and for all why Paco and John Live at Montreux 1987 is one more must have for fans of both de Lucia and McLaughlin.
Paco and John Live at Montreux 1987 is a must have for any fan of Paco de Lucia and John McLaughlin. It is one of those rare presentations that does so much with so little. This is evident in the show’s set list, which runs a total of ninety-one minutes. It features compositions from McLaughlin and de Lucia but from their counterparts, too. Those that listen closely will note the difference in sound and style between each song, too. The duo’s performance on stage is so simple throughout. As odd as it may seem, that simplicity actually makes a big impact on the experience. The show’s liner notes are just as simple yet add their own depth to the experience, too. Each element proves in the end to be important in its own right to the whole of this recording. Altogether they make Paco and John Live at Montreux 1987, again, a live recording (and recording in general) that every one of de Lucia and McLaughlin’s fans should have in their own home music collections. It is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:
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Courtesy: Eagle Rock Entertainment/Universal Music Group
Popular musical acts using string (and sometimes orchestral) arrangements in their songs is nothing new in the music industry today. It is a practice that has been going on as far back as one can recall. However the actual performance of a popular musical act with orchestral organization isn’t so new. It wasn’t until the past twenty years or so that audiences started to see any major musical act join forces with an orchestra for a live performance, let alone a recorded performance. Elton John has done it. So have Metallica and KISS. They are just some of the acts that have added an orchestra to their music for live performances. It goes without saying that there are quite a few more out there that have. One of that mass is pop star Mika’s new recording Sinfonia Pop. Mika (a.k.a. Michael Holbrook Penniman, Jr.) recently released his new live orchestral recording. The recording is just the latest in a long line of accolades for the British-born singer-songwriter. Over the course of just four albums, Mika has sold more than 10 million records worldwide, and going Gold or Platinum in 32 countries. That is quite the resume. And this recording is sure to add to it as there is plenty to say to its positive beginning with its set list. That will be discussed shortly. The actual performance of the songs is just as important to note in this recording and will be discussed later. The interviews with both Mika and conductor Simon Leclere are equally important to the recording as the performance and its set list. Each element is important in its own right to the recording’s presentation. Altogether they make Sinfonia Pop a solid live recording from the internationally known pop star. They also show collectively why Eagle Rock Entertainment remains today the leading name in live recordings.
Mika’s new live recording Sinfonia Pop is a solid live recording from the internationally renowned pop star. It is also more proof as to why Eagle Rock Entertainment remains today the leading name in live recordings. This is due in part to the concert’s featured set list. The nearly two-hour concert runs twenty-one songs deep and lifts very liberally from all four of his current studio recordings. The most well represented of his albums is his 2007 debut Life in Cartoon Motion. It is represented by no fewer than 6 songs—‘Grace Kelly,’ ‘Love Today,’ ‘Relax (Take It Easy),’ ‘Any Other World,’ Happy Ending,’ and ‘Over My Shoulder.’ The Boy Who Knew Too Much is the least represented of Mika’s records here, with only two songs—‘Rain’ and ‘Toy Boy’—being pulled from that album. The Origin of Love is represented by a total of eight songs. They are ‘Origin of Love,’ ‘Stardust,’ ‘Make You Happy,’ ‘Underwater,’ ‘Overrated,’ ‘Love You When I’m Drunk,’ ‘Heroes,’ and ‘Elle me dit.’ Most interesting of those tracks is the last of them—‘Elle me dit.’ That is because this song was not included in the album’s standard release. It was included as a bonus track in the album’s French and Italian release. In other territories it was only included in the album’s deluxe edition. No Place In Heaven rounds out the concert’s set list. It is represented here by ‘Last Party,’ ‘Good Guys,’ ‘Ordinary Man,’ and ‘Boum Boum Boum.’ The latter of those tracks was only included in the album’s French and Italian release. So for many, getting to experience the song here, much as with ‘Elle me dit’ might actually be the first time hearing the song for many audiences. The concert’s opening ‘Overture’ is a completely new composition, bringing the total song count up to twenty-one. While the chosen set list is itself extensive, the process of picking out songs for the concert was just as interesting to learn about. That is discussed by conductor Simon Leclere n the recording’s bonus interviews. It will be discussed later. Staying on the topic at hand, the concert’s set list is extensive to say the very least. Two of Mika’s albums were obviously far more represented than the other two. Regardless, he did include some a pair of exclusive songs in his performance here from those two lesser represented. That and the more represented albums combine to make the show’s set list an important part of the recording’s presentation in its own right. It is not the only important element of the recording’s presentation, either. Mika’s performance, and that of the orchestra, are just as important to note here as the show’s set list.
The set list that is featured in Mika’s new live recording is important in its own right to the recording’s presentation. That is because it lifts from all four of his albums so far. It even includes a pair of songs that were only made available in exclusive editions of two of those albums, and an original composition in the concert’s opening ‘Overture.’ The end result is a set list that runs nearly two hours (an hour and forty-nine minutes to be exact) and twenty-one songs deep. It is just on of the recording’s most important elements. The actual performance by Mika and the orchestra is just as important to note in the recording’s presentation as its set list. The actual performance is so important to note because it stands out so starkly from the other mainstream/classical mash ups that are out there. It doesn’t come across as just another mainstream act performing in front of an orchestra. Instead at times it feels as if one is watching Mika and company performing numbers from some major musical stage production. Obviously they are not from said productions. But the arrangements, when coupled with Mika’s own powerhouse performance, makes each song feel (and sound) like it. That is a testament both to Mika’s own vocal talents and those of the musicians performing with him. Staying on that train of thought the orchestra members actually exhibit a certain enjoyment in performing just as much as Mika. That can’t exactly be said of some other orchestral groups who have performed with other well-known acts. In those cases it is obvious that the musicians in question are just going through the motions. The fact that the musicians in this orchestra were clearly enjoying themselves just as much as Mika, makes the performance that much more enjoyable to experience even in a home setting. On a side note, the performance in whole is powerful to say the very least. It sounds great on any standard hi-def monitor when the monitor is set to “Music” setting. Those with a home theater system will get an even more powerful experience. Keeping this in mind, it should be clear why the performance both by Mika and the orchestra is so important to this recording’s presentation. It still is not the recording’s last notable element. The bonus interviews with Mika and conductor Simon Leclere is just as important to note here as the performance and the chosen set list.
The set list featured in Sinfonia Pop and the performance put on by Mika and the orchestra are both key in their own right to the recording’s presentation. The set list is so important to note because all four of Mika’s albums are represented here, even with a pair of exclusive songs. The performance by all involved comes across like a collection of songs from any number of major musical stage productions. Considering this, one could even see Mika performing in said musicals considering his vocal talents and the talents of the orchestra’s members. As important as both elements are to this recording’s presentation they are not its only important elements. The interviews with Mika and conductor Simon Leclere are just as important to the presentation as those previously noted elements. Audiences discover in Mika’s interview his incredible sense of humility. There is no sense of ego from him in listening to him talk. That’s just one of the interesting tidbits revealed in his interview. Audiences also learn the improbable way in which the concert came together. It’s quite the interesting story, too. It is centered on a simple mealtime discussion with another individual. The rest of the story will be left for audiences to discover for themselves. In regards to Leclere’s interview audiences learn that Leclere and Mika didn’t just sit down and pick out a few songs randomly for the concert. Rather Leclere notes in his interview that he actually went through the entirety of each of Mika’s albums in order to decide which songs would best translate to an orchestral situation. That attention to detail paid off quite well, too as is clear in the previously noted performance. It allowed Leclere to fully grasp and appreciate Mika’s music and develop arrangements that would not just compliment Mika’s songs but take them over the top. And take them over the top they most certainly did. It’s just one of the interesting items revealed in his interview. As with Mika’s interview, there is much more for audiences to take in here. Each interview ultimately proves to be important in its own right to Sinfonia Pop. Altogether they prove to be just as important to Sinfonia Pop’s presentation as its set list and featured performance. Collectively speaking, all three elements prove equally important to the recording’s presentation. They make this recording a solid, new live recording from the internationally acclaimed performer. Thy also show once more why Eagle Rock Entertainment remains the leading name in live recordings.
Sinfonia Pop is a solid, new live recording from Mika. It is also more proof of why Eagle Rock Entertainment remains today the leading name in live recordings. That is due in part to the concert’s featured set list. Neither Mika nor Eagle Rock’s reps wanted to give audiences just some random performance. It is a set list that lifts liberally from all four of Mika’s albums, thus giving audiences a rich experience, in terms of its songs. Mika’s performance of said set list and that of his fellow performers is just as important in showing this. The performance of all involved is akin to watching a major musical stage production. In all honesty it is just as entertaining. The interviews that were included in the recording are definitely deserving of being called bonuses. That is because of the information revealed in each interview. Each element is undeniably important to the recording’s presentation. That goes without saying. Collectively speaking, they show in whole why, again, Sinfonia Pop is a solid, new live recording from Mika. They also show why once again Eagle Rock Entertainment remains today the leading name in live recordings. It is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:
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Courtesy: Eagle Rock Entertainment/Universal Music Group
Fans of The Rolling Stones have a lot of reason to celebrate this week. Two of the band’s members—guitarist Ronnie Wood and drummer Charlie Watts—celebrated birthdays this week. And today the band has released its latest live offering Totally Stripped. The hybrid tour documentary/live recording is a great gift from the band to its fans and a great way for fans to celebrate not just Watts and Wood but the band in whole. This is especially true in the case of the recording’s SD Blu-ray/CD combo pack. At the heart of the set is its packaging. This will be discussed shortly. The concert recording that is included in the set is another key element in the set’s presentation. It will be discussed later. Last but hardly least notable in this new presentation is the set’s companion booklet. It rounds out the set’s most notable elements. Each element is important in its own way to the set’s overall presentation. Altogether they make Totally Stripped a welcome follow-up to the band’s 1995 live recording Stripped and another welcome addition to any Rolling Stones fan’s music library.
The Rolling Stones’ new live recording Totally Stripped is a welcome follow-up to the band’s 1995 live recording Stripped, which was itself re-issued in 2009. It is just as much of a welcome addition to any Rolling Stones fan’s music library. This is due in part to the recording’s general presentation. The focus here will be specifically on the recording’s SD Blu-ray/CD combo pack presentation. In the case of this presentation, audiences get in the set’s CD a brand new collection of songs that the band performed during its “acoustic” sets included in the band’s 1995 “Voodoo Lounge” Tour. As is noted on the back of the set’s packaging, only one of the songs included in this set was included as part of Stripped. That being the case the CD portion of Totally Stripped becomes a brand new live recording rather than just another re-issue. In examining the set’s SD Blu-ray side, audiences get in this side the band’s Stripped tour documentary. This documentary isn’t just one of those short 15 – 30 minute pieces. Rather it is an extensive piece that takes audiences along with the band on the “acoustic” portion of its “Voodoo Lounge Tour.” The documentary runs roughly an hour. And it comes complete with performances from the band, behind-the-scenes footage, and interviews with the band and crew. The interviews provide some interesting insights, too. One of the most notable of the interview segments features guitarist Keith Richards discussing the misnomer that is “stripped/acoustic” performances. He laughs as he candidly notes that there’s really no such thing as acoustic anymore. He has a valid point. Those that are familiar with, say, MTV’s Unplugged will note that in its original run very few of the acts were ever fully acoustic in their performances. And a close examination of the performances here backs up Richards’ statement. [Charlie]Watts’ discussion about his role in the band and what he does is just as interesting to hear. He notes that he doesn’t play for himself. Rather he plays as part of the band. That is a real humble statement from such a revered artists and musician. Mick offers up his own insights, too along the way. And his insights aren’t the last. Even producer Don Was has some shining commentary about the band in his own interview segments. These sentiments and those of the band’s touring members join together to with the set’s CD presentation and complete the experience for audiences. The two sides together show clearly why the set’s packaging is key to its presentation. It isn’t the set’s only key element either. Looking a little bit deeper at the double-disc set, the set list presented in its CD presentation is important in its own right to the set’s presentation.
The packaging of The Rolling Stones’ new live recording Totally Stripped is in its own right a hugely important part of the set’s presentation. It divides up the experience, putting the band’s full-length “Voodoo Lounge Tour” documentary on its own disc. The actual concert recording is presented on another, separate CD. Speaking of the concert recording, the set list presented in the CD is almost entirely brand new. Only one of the songs from the band’s 1995 recording Stripped is included in this recording’s set list. The rest of the songs are taken from the band’s ’95 tour. But they were not included in that original recording. Even more impressive is that the songs were not all taken from just one of the acoustic dates included in the band’s ’95 tour. They were lifted from the band’s performance at Amsterdam, London, and Paris. The end result is a 78-minute audio experience that while not one full concert is just as good as a complete concert. In fact it technically could be considered a full concert in its own right, just lifted from a series of different dates, considering its run time. Keeping this in mind the CD presentation in Totally Stripped shows clearly that it is just as important to the set’s presentation as the set’s packaging. They are not the set’s only important elements either. The companion booklet that comes with the set is just as important to its presentation as the set’s packaging and its concert recording.
Totally Stripped’s packaging and its concert recording are both key elements in this set’s overall presentation. While both elements are of equal importance to the set’s presentation they are not its only key elements. This critic has noted time and again the importance of live recordings’ companion booklets. In some cases they are just as useful as they can be useless in others. This is one of those cases in which the set’s companion booklet proves quite important to its presentation. The booklet gives ample background on this recording, comparing it early to the band’s very first live recording Got Live If You Want It. Richard Havers, who has handled the liner notes for many of The Rolling Stones’ recent live recordings handled the liner notes for this recording, too. He notes here that on Got Live If You Want It was not in fact a wholly live recording. Rather it included two studio tracks with audience noise overdubbed to make them seem live. From there, Havers outlines in full depth the course of events that led to the release of Stripped starting with the recording of Stripped in studio and the documentary that rose from those sessions. From there he outlines the band’s Voodoo Lounge Tour and what made it such a great tour right up to the band’s final show of the tour at the Brixton Aademy. He even makes special note in the booklet about the songs featured on the new live compilation presented in the set’s CD. The background that Havers offers in his commentary is a great setup for this recording. It is like the appetizer to the set’s musical main dish so to speak. Yes, that’s probably a bad comparison. But it was the first thing that came to this critic’s mind. Simply put, the commentary included in Totally Stripped’s companion booklet proves just as important to the set’s presentation as its packaging and the content presented in each disc. All things considered, Totally Stripped shows in the end to be a welcome follow-up to Stripped and an equally welcome addition to any Rolling Stones fan’s music library.
The Rolling Stones’ new live recording Totally Stripped is a welcome follow-up to the band’s 1995 live recording Stripped. It is just as welcome in any Rolling Stones fan’s music library. That is due in part to the double disc set’s overall packaging. Eagle Rock Entertainment and Universal Music Group have presented the set with a standalone 90-minute documentary on its own disc. A separate 78-minute disc contains live recordings from the Stripped shows not previously included in the set. That “new” collection of songs (save for one) makes the recording’s CD presentation just as important as the set’s overall packaging. The set’s companion booklet rounds out its overall presentation. Thanks to Richard Havers, who handled the liner notes for many of the band’s previous live recordings, audiences are presented with a solid introduction to the set ahead of the experience that it provides audiences. Each element proves equally important in its own right to Totally Stripped’s presentation. Altogether they make this set, again, a welcome follow-up to Stripped and an equally welcome addition to any Rolling Stones fan’s music library. It is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:
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