Robinson’s Re-Issues Are Must Haves For His Fans And Black Crowes Fans

Courtesy:  Eagle Rock Entertainment/UMG

Courtesy: Eagle Rock Entertainment/UMG

Early last year the Black Crowes announced that after more than two decades making music together the seminal Georgia-based rock band was calling it quits.  For some the split came as a surprise.  For others it was less of a surprise.  That is because brothers Chris and Rich—the band’s core—had been busy with their own projects in the years leading up to the band’s breakup.  There had also been some not so hidden tensions between members of the band in the years leading up to its finale.  Considering all of those factors, the band’s split becomes even less of a shock.     Even with the Black Crowes officially rock history the brothers Robinson are anything but done making and releasing music.  Just last year Chris released his latest album under the Chris Robinson Brotherhood moniker Betty’s Blends Volume 2.  And last month Rich Robinson re-issued two of his classic recordings in the form of Paper and Llama Blues.  Whether one is a fan of the Black Crowes or of Rich both of these vinyl re-issues prove to be items that audiophiles on both sides of specific aisle will appreciate.  That is thanks in large part to the recordings’ featured songs.  That will be discussed at more length shortly.  The recordings’ sound and packaging are just as important to their presentations as their featured songs.  Each recording comes complete with a card for a digital download of the recordings.  That element rounds out the recordings and brings everything full circle.  All things considered Rich Robinson’s new vinyl re-issues are great pieces for any Black Crowes fan.

Courtesy:  Eagle Rock Entertainment/UMG

Courtesy: Eagle Rock Entertainment/UMG+

Rich Robinson’s new vinyl re-issues of Paper and Llama Blues are both great pieces for any Black Crowes fan.  This is thanks in large part to the songs featured on each of the recordings.  This is especially the case with Robinson’s double-LP recording Paper.  Richardson notes in the album’s liner notes the full story behind Paper’s creation and near loss thanks to Hurricane Sandy.  Luckily, as he goes on to note, he was able to save the album’s basic tracks, thus allowing them to be re-recorded last year along with some bonus songs that went on to be included here.  The end result is a seventeen-song, double-LP album full of great songs for Black Crowes fans and classic rock fans alike.  That is because the songs mix both elements together from start to finish in this record for an experience that will keep listeners engaged all the way through.  The very story behind the songs is in itself more than enough reason to note the importance of the album’s songs.  The songs, when coupled with the story, make them all the more important.  In regards to Llama Blues this recording is a re-issue in a purer sense of the term.  This four-song EP was originally released on December 5th, 2011.  Its songs are another great collection of compositions for audiences with their blues-infused sound.  They are exactly the same numbers included in the EP’s original release.  While there are only four songs here, their total run time tops the sixteen minute mark.  Sixteen minutes of classic twelve-bar blues-infused rock is sixteen minutes worth of music that is well worth having regardless of whether or not listeners already own this EP.  Keeping all of this in mind, the songs that are featured throughout Rich Robinson’s new vinyl recordings show in their own way why they are important to the overall presentation of these vinyl re-issues.  Whether one is experiencing them for the first time (as most will be in the case of Paper) or for the fiftieth (or more) audiences will agree that the records’ songs are an extremely important part of the records.  They are just one part of what makes them such a joy for fans of the Black Crowes and the Robinson brothers.  The records’ collective sound and packaging are just as important to their presentation as their songs.

The songs that are featured on both of Rich Robinson’s new vinyl recordings are important in themselves to the records’ overall presentation.  In the case of Paper that is especially the case because the album almost never even got released after the events of Superstorm Sandy.  That vinyl’s release marks the first time that any of Robinson’s fans and fans of the Black Crowes have ever gotten to hear the songs in question.  In the case of Llama Blues the songs are just as enjoyable for fans that already own the EP as for those that might be less familiar with Robinson’s solo work or even that of the Black Crowes.  As important as the records’ songs are to their presentation they are not the only important element of the records.  The records’ collective packaging and sound are just as important to their presentation as the records’ songs.  The records sound great on vinyl; especially Llama Blues.  There is something magical about hearing that classic blues-infused sound and the static sound of the vinyl especially considering how recently the EP was released.  The record’s packaging adds even positive vibes to the listening experience here with the picture of the mixing board on the cover and the picture of Rich recording the EP on the back of the package.  It may not seem all that important.  But there is something about the two elements that enhances the overall listening experience with the songs’ vintage sound.  Paper’s single gatefold packaging is highlighted by an original painting created by Robinson.  There is no notation inside the album’s package in regards to its title.  But there is something about the painting’s rich, warm colors and the fluidity of the picture’s brush strokes that works quite well with this album’s songs.  There are even elements of his painting inside the gatefold package.  They are combined with pictures of Robinson performing.  It continues that fluidity, which again flows into the album’s songs.  Listeners will hear and feel that fluidity for themselves when they listen to this double-LP vinyl set.  It is just one more way in which the packaging for these vinyl re-issues proves to be just as important to their presentation as their featured songs.  Of course the packaging and songs are only a collective portion of what makes Robinson’s new re-issues so important for his fans and fans of the Black Crowes.  Each re-issue comes with a card for a digital download of said records.  That rounds out their overall presentations.

The songs featured in each of Rich Robinson’s new re-issues and the records’ packaging are both equally important to their overall presentations.  While they play directly into one another they are only a portion of what makes these re-issues so important for Robinson’s fans and those of the Black Crowes.  Both re-issues come complete with a card for a digital download of said recording.  The downloads are provided courtesy of soundtrax.com and Noiseland.  This inclusion means that whether one is more a fan of vinyl or of CDs or even digital fans can now own both recordings in all three formats thanks to the noted companies and to Eagle Rock Entertainment and Universal Music Group.  It also means that audiences can take the recordings with them wherever they go whether it be at home or out and about.  So for all intents and purposes it could be argued that that download cards are in fact bonuses for fans that purchase the re-issues.  Keeping that in mind, the bonus download cards come together with the records’ songs and their packaging to complete their presentations and show in whole why they are pieces that Robinson’s fans and fans of the Black Crowes should have in their own home music libraries.

Rich Robinson’s re-released recordings of Llama Blues and Paper are both available now in their new vinyl presentations.  They are both pieces that Robinson’s fans should have in their music libraries just as much as fans of the Black Crowes.  This is proven primarily through the recordings’ songs and their packaging, which ties directly into the music.  The download cards that come with each record serve as great bonuses for fans.  They allow fans to enjoy the recordings not just in their new vinyl presentations but in digital form and even on CD when they burn the files to disc.  They round out the re-issues’ presentations.  Keeping this in mind both re-issues prove, once again, why they are pieces that fans of both Rich Robinson and the Black Crowes will want to have in their own home music libraries.  They are available now in stores and online and can b ordered online direct via Rich Robinson’s online store at http://richrobinson.net/store.  More information on these and other recordings from Rich Robinson is available online along with all of Robinson’s latest news at:

 

Website: http://richrobinson.net

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

Twitter: http://twitter.com/richrobinson

 

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The Who: Live in Hyde Park Is One More Of 2015’s Top New Live Recordings

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

The Who is one of the most iconic bands in the modern history of the music industry. The band, originally composed of front man Roger Daltry, guitarist Pete Townshend, drummer Keith Moon, and bassist John Entwhistle, has seen its lineup change a number of times over the course of its now fifty years plus making music. Through it all Daltry and Townshend have both remained at the core of the band. And late last year the duo, along with its current roster of backing musicians, marked The Who’s fiftieth anniversary with an extensive global tour. While there were some bumps along the way, the band finally wrapped its tour this past June at London’s famed Hyde Park. The concert was recorded and last month was released by Eagle Rock Entertainment and Universal Music Group in a triple-disc Blu-ray/2 CD combo pack. The experience presented throughout the course of the set’s discs make this recording one more of the year’s best new live overall recordings. The main reason for that is the show’s set list. The twenty-plus song set takes listeners of all ages throughout the band’s expansive catalogue of hits. There is a lot to say here. It will be noted shortly. On a related note, there are some differences between the concert’s CD presentation and Blu-ray presentation that set the two apart from each other. This is another important element of the recording that makes its presentation so important to note. Last but not least of note here is the band’s stage presence throughout the 109-minute (one hour and forty-nine minutes) concert. Daltry and Townshend may be up there in age. But the pair definitely doesn’t show it even despite Townshend’s joke in one interview about how easily he and Daltry getting easily winded. Each element is important in its own right to the overall presentation that is The Who: Live in Hyde Park. Altogether, they make this recording one more of the year’s best new live recordings.

The Who: Live in Hyde Park is one of this year’s top new live recordings. The main reason for the recording earning such acclaim is its set list. The show’s set list runs nearly two hours. Among that massive collection of hits featured in this show’s set list are: ‘My Generation,’ ‘Pinball Wizard,’ ‘Baba O’Reily,’ ‘I Can’t Explain,’ ‘You Better You Bet,’ ‘Who Are You,’ ‘Won’t Get Fooled Again,’ ‘Join Together,’ ‘The Kids Are Alright,’ ‘I Can See For Miles’ and a number of others. Simply put the show includes songs that audiences of all ages know and love. And depending on how one counts the total number of songs, it could be argued that the set list features a total of twenty-two songs. Some of those songs are included as part of a couple of medleys. So the total number of songs could be argued. Regardless of which side one takes on that discussion, the fact that so much of the band’s extensive catalogue of hits is featured in this concert is plenty of reason for audiences to check out the recording. It isn’t the only reason that audiences will want to check out The Who: Live in Hyde Park. Believe it or not the concert’s Blu-ray presentation is actually different in at least a couple of ways from its CD presentation. That is another important element to note in its overall presentation.

The set list that is presented in The Who: Live in Hyde Park is in itself an important reason for audiences to check out this latest live recording from The Who. It is just one part of what makes this recording such an interesting experience for audiences. Between its Blu-ray and CD presentations The Who: Live in Hyde Park audiences actually get two largely different presentations. That is just as important to note of this recording as the show’s set list. Audiences will note in comparing in both its Blu-ray and CD presentations that the Blu-ray presentation includes one-on-one interviews with the band members, fans, and even the band’s counterparts. One of those counterparts is veteran punk rocker Iggy Pop. Pop discusses the band’s mega-hit ‘My Generation’ and its importance in the rock community’s modern history. Townshend–as previously noted–jokes about how easily he and Daltry can get winded in live performances in one interview. And Daltry shares his thoughts on the band’s place in rock’s history among many other topics throughout the show. The fans that are interviewed at the concert show exactly why The Who remains one of rock’s (and music’s) elite acts today. The fans in question come from a number of age groups and are both male and female. That wide sample of fans and their views on the band shows that the band remains just as relevant today. That relevance and continued ability to entertain masses of all ages is the argument as to why The Who remains one of rock’s (and music’s) elite acts. The interviews with the band members (those interviews include not just Daltry and Townshend but the duo’s backing musicians as well) and the band’s counterparts strengthen said argument even more. On the other side of the recording, audiences get in the recording’s CD side the band’s interactions with the audience between songs at the concert. Those interactions are replaced in the Blu-ray presentation with the previously noted interviews. On the surface this is a little bit problematic. That is because it would have been nice to have those moments included both on the concert’s CD and Blu-ray presentation. But in the bigger picture of the recording, audiences still get the whole concert experience between the two presentations. So to that extent the two separate presentations are in whole an important part of The Who: Live in Hyde Park in terms of its overall presentation despite the Blu-ray slightly short-changing audiences. Even with this issue being noted it still isn’t enough to doom the recording in whole. That is because audiences do still get the full concert experience here. Said experience is just spread across three discs. And when combined with the concert’s extensive set list both elements together make The Who: Live in Hyde Park even more of an important recording especially being that of the final show on the band’s worldwide 50th anniversary tour. Even together they are not all that makes this recording such an interesting and important recording. The band’s stage presence throughout the show is just as important to note as the set list and the two distinctly different presentations that make up the body of the recording.

 

The set list and separate CD and Blu-ray presentations that make up the body of The Who: Live in Hyde Park are both important elements in the recording’s overall presentation. AS important as each element is to the recording’s whole, they are not the only elements that should be discussed in examining the recording. The band’s stage presence throughout the course of the nearly two-hour concert is just as important to discuss as those previously noted elements. It has already been mentioned that Pete Townshend jokingly mentions in one of the one-on-one interviews included in the recording’s Blu-ray presentation, that it doesn’t take much for he and long-time band mate Roger Daltry to get winded. Yet watching the duo on stage here, one wouldn’t know that. That is because the duo (and the other musicians on stage) comes across as giving it their all throughout the show. Townshend’s arm swings in that propeller motion with just as much power as in his younger days. And while Daltry can’t swing his mic with the same power as he used to decades ago, he still has some power. What’s more, the pair still surprisingly has just as much fire in its performance of each song as in its younger days. On a related note in regards to the band’s stage presence, there is no parental advisory sticker on this recording. But there is a certain amount of foul language throughout the recording. Maybe it isn’t enough for whatever parties to consider it deserving of such notice. But there is at least some language throughout that some audiences might find objectionable beginning right off the top as Townshend drops an “F”-bomb as he tells the audience that the band will reach the audience no matter how far away audiences are in the expansive venue. It’s just one moment that audiences should note. So listener discretion should be advised. Even noting the discretion that should be taken in taking in the recording in whole, it still isn’t enough to ruin the overall experience presented in this recording in either its Blu-ray or CD side. Keeping that in mind, the band’s stage presence, when coupled with the concert’s set list and the separate elements included and omitted in the Blu-ray and CD portion of the recording, rounds out the recording’s most important elements. Altogether, all three elements make The Who: Live in Hyde Park a concert recording that is one more of the year’s best overall live recordings.

Eagle Rock Entertainment’s new recording from The Who is a good addition to the personal music library of any of the band’s fans. That is thanks in large part to the extensive career-spanning set list that makes up the main body of the recording. In examining both the recording’s Blu-ray and CD presentations, audiences will note that there are some noticeable differences between the two presentations. The audience interactions included in the recording’s CD presentation have been largely replaced in the Blu-ray presentation with one-on-one interviews with the band members, audience members that were at the show, and some of the band’s counterparts. It would be interesting to find out why the choice was made to go in that direction in this recording. Regardless, audiences still get the full concert experience in the Blu-ray/2 CD presentation of The Who: Live in Hyde Park even if it is spread across the entire presentation. So it isn’t necessarily a bad thing. The band’s stage presence is another positive throughout the concert. Even though they aren’t as young as they once were, Daltry and Townshend still own the stage alongside their younger counterparts from beginning to end. That energy is certain to keep audiences fully engaged throughout the course of the concert’s nearly two-hour run time. All three elements combined, they make The Who: Live in Hyde Park, again, one of this year’s best new live recordings and one more welcome addition to the personal music library of any of the band’s fans around the world. The Who: Live in Hyde Park is available now in stores and online.   More information on this and other titles from Eagle Rock Entertainment is available online now at:

Website: http://www.eagle-rock.com

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

Twitter: 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.

Lady A’s Latest Live Recording Will Have Fans’ Hands Up And Clapping

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

This past October, superstar country music act Lady Antebellum wrapped its “Wheels Up Tour.” The tour, which was in support of its latest full-length studio recording, 2014’s 747, spanned a total of sixty-six dates, eight countries including the United States, Canada, and select European nations, and garnered a total revenue of more than six million dollars. That means that thousands of fans across the world got to see this platinum-selling and Grammy Award-winning country act. However, just as many fans didn’t get to see the trio. That is because as many did get to see the trio perform, its global tour only visited a select group of nations. Its North American tour was far more far-reaching. Last month though, the band teamed up with Eagle Rock Entertainment to give even more fans the chance to see the band perform with the release of its new live recording Wheels Up Tour. There is plenty for fans to appreciate about this performance, originally recorded at the band’s June 27th performance in Irvine, California beginning with the concert’s overall presentation. Audiences get here more than just another run-of-the-mill concert recording. Audiences get to see the band’s concert as well as vignettes featuring fans in attendance and the band’s interaction with said fans before the concert. The show’s set list is just as important to the whole of the recording if not more so. The band’s stage presence is one more important part of the recording’s whole but hardly the last. The concert’s production values are also an important part of the recording’s presentation. Together with the previously noted elements, the presentation of Wheels Up Tour shows in whole to be yet another impressive live recording from Lady Antebellum and more proof of why Eagle Rock Entertainment remains today the leading name in live recordings.

Eagle Rock Entertainment has shown time and time again why it is the leading name in live recordings. It has done so with the release of live recordings from a number of different acts that span the musical universe and with recordings that give audiences the best seat in the house whether or not those audiences were able to be in attendance at the concerts featured in the given recordings. Now with the release of Lady Antebellum’s latest live recording, Wheels Up Tour, it has continued to hold that mantle with strength and pride. The third full-length live recording that the band has released via Eagle Rock Entertainment, this recording is another impressive piece from the two parties first and foremost through its general presentation. The concert presented here is not just a standard, run-of-the-mill concert recording. Instead of just giving audiences the concert, the recording also features vignettes featuring the band’s fans as well as the band and its interaction with its fans outside of the concert. Audiences will be interested to learn of the dedication of some fans. One group of fans, audiences will discover, drove about three days just to see the band’s show. That’s dedication. In another vignette, audiences see the band invite a young lady “up on stage” in a pre-show performance in which the young lady gets to actually perform on her own for both the audience in attendance and for the band. This isn’t just a performance with the band but actually by herself as the band and audience watch. There’s a certain genuine vibe from the band that audiences will appreciate in seeing that genuine respect for fans from the band. At the same time, the love that the fans have for the band is just as pleasant to see. The solid editing between the band’s performance and the recording’s companion vignettes makes the presentation in whole one that entertain audiences from beginning to end and in the same vein will keep them just as engaged.

The general presentation of Lady A’s Wheels Up Tour is in itself plenty of reason for the trio’s fans to add this latest recording to their home music libraries and DVD/Blu-ray collections. It is just one reason that audiences will enjoy this recording. The show’s set list is another important part of the recording’s presentation. The twenty-song set list covers all five of the band’s current albums. Yes, there are six total releases, but one of them is a holiday collection, thus leading the count to actually be five if that makes any sense. What is really interesting about this is of those twenty-songs, the band’s 2010 sophomore album Need You Now is most heavily represented with a total of five tracks. Those tracks are: ‘Perfect Day,’ ‘Hello World, ‘Need You Now,’ ‘Our Kind of Love,’ and ‘American Honey.’ 747, which the tour was supporting, is represented here by four songs. The band’s 2008 self-titled debut is represented with only three songs as is 2011’s Own The Night. Golden gets two nods for a total of eighteen songs. There are also three covers–Ed Sheeran’s ‘Thinking Out Loud,’ ‘Aerosmith and Run DMC’s ‘Walk This Way,’ and Shania Twain’s ‘Any Man of Mine’–included in the show for a total of twenty songs. Considering the spread of songs featured in this recording audiences will appreciate just how much of the band’s catalogue is covered here. Add in the mix of covers included in the set, it shows that the band listens, obviously, to more than just other country acts. In turn it might even get audiences that might otherwise not listen to those acts into said acts. To that effect, the set list featured in Wheels Up Tour proves to be just as important to its overall presentation as the band’s performance. It still is not the only remaining important element worth noting in this recording. The band’s stage presence is just as important to note.

The set list that makes up the body of Wheels Up Tour and the overall presentation of the recording contained therein are both equally important to the whole of the recording. While both elements are equally important in their own right to the whole of the recording they are just not all that should be noted. The band’s stage presence couples with the concert’s production values to round out the recording’s most important elements. Audiences will be impressed by the band’s stage presence because of its energy throughout. The trio and its backing musicians give their all throughout the show. And it shows quite well even on the small screen. That clear translation of said energy is thanks to the work of those behind the concert’s cameras and audio boards. The venue’s rather large size allows for plenty of great shots. And the camera crew utilized every one of them, capturing every bit of the band’s energy and the love and energy given by the audience in return. The audio is just as impressive considering the venue’s size. The concert’s audio engineers expertly handled the challenges presented by the venue’s size. They captured the venue’s size by balancing the sound of the trio singing without losing the trio’s vocals in all of its echoing through the concert hall. Also balanced within that element was the crows noise. It complements the audio not just from the trio but its backing musicians, too. The end result of the expert camera work and audio engineering is a concert that captures Lady Antebellum’s enjoyable stage presence quite well. And together with the show’s set list and general presentation of the concert in all of its facets, Wheels Up Tour shows in the end to be yet another must have for any of the trio’s fans. It also proves to be yet an impressive companion to the trio’s previous pair of recordings released via Eagle Rock Entertainment as well as more proof of why Eagle Rock Entertainment remains today the leading name in live recordings.

Lady Antebellum’s Wheels Up Tour live recording is another impressive recording released by the partnership between the trio and Eagle Rock Recording. The third of the band’s live recordings to be released via Eagle Rock Entertainment, it features a concert that is more than just a concert. It actually takes audiences behind the scenes before and during the concert showing why the trio’s fans are so dedicated to the group and why the connection between the two parties is so strong. The set list, which covers all five of the group’s albums so far adds even more reason for fans to add this recording to their respective music libraries and DVD/Blu-ray collections. The combined stage presence by Lady Antebellum and its clear translation via the work of those behind the lenses and audio boards rounds out the presentation, showing once more why any Lady Antebellum fan will appreciate this new recording from the superstar country act. Wheels Up Tour is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:

Website: http://www.eagle-rock.com

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

Twitter: http://twitter.com/EalgeRockNews

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.

Perry’s Prismatic World Tour Live Shines Brightly For Fans

Courtesy:  Eagle Rock Entertainment/Capitol Records

Courtesy: Eagle Rock Entertainment/Capitol Records

Katy Perry is one of the biggest names in the pop music community today.  Ever since breaking out with her hit song ‘I Kissed a Girl’ in 2008 Perry’s rise to stardom has been meteoric to say the very least.  Now roughly seven years later, she is one of the darlings of the pop world having earned no fewer than five American Music Awards, fourteen People’s Choice Awards, nine number one singles, and much more acclaim.  This is all with Perry having released three albums and one live recording since the release of her 2008 debut album One Of The Boys.  Late last month Perry added yet another live recording to that list, ensuring that her acclaim grows even more.  The recording, Prismatic World Tour Live, was recorded at Perry’s performance in Sydney, Australia during her 2014 Prismatic World Tour.  Whether one is a long-time Katy Perry fan or perhaps just a casual fan, this latest live recording from the pop princess is one every one of her fans will enjoy.  The main reason for that is the show’s set list.  That will be discussed at more length shortly.  Perry’s stage presence and the show’s overall presentation are just as worth noting in this recording.  The show’s production values round out the most important of the recording’s elements.  The camera work and that of those behind the audio boards lies at the center of the recording’s overall viewing experience.  Together with the show’s set list and performance by Perry and company, all three elements combined make Prismatic World Tour Live a recording that any of Perry’s fans will enjoy.

Katy Perry’s new live recording Prismatic World Tour Live is a recording that any of her fans will enjoy.  This applies both to the hardcore fans and even the more casual fan that enjoys her music but might not want to pay the exorbitant price of a ticket to see her live.  The main reason for such high level of enjoyment is the show’s set list.  The twenty-two song set features songs from all three of Perry’s current full-length studio recordings.  Though her two most recent albums—Prism (2013) and Teenage Dream (2010)—are most prominent in the featured set list.  That is not to say that Perry ignored her debut album One Of The Boys (2008).  It is just that the latter pair is more heavily represented.  That is especially the case with Prism.  Nearly the entire album is represented in this performance.  Perry even goes so far as to include the song ‘It Takes Two’ in the show.  That song is only included in the extended edition of Prism.  In all Prism is represented by a grand total of twelve songs.  Teenage Dream is represented by eight songs and One Of The Boys by four.  So since Katy Perry has only been a fixture in the mainstream music community for seven years, it would be improper to call this recording career-defining.  However, considering the fact that all three of her albums so far have been relatively well represented in the concert, it could be argued that one could call it career-spanning.  Of course that term would be used loosely at this point.  But it would still apply.  And that being the case, it can be said that in presenting so much material, the show’s set list shows itself to be a key element to Prismatic World Tour Live’s overall presentation.  It establishes a solid foundation for the recording and in turn is just the beginning of what makes the presentation in whole one that Perry’s fans will enjoy.  Perry’s performance (and that of her dancers) couples with the show’s theatricality in whole to strengthen the concert’s overall presentation.

The set list chosen for Prismatic World Tour Live establishes a solid foundation for the recording.  It is a set that covers all three of Perry’s albums so far.  Two of those albums are even more prominent than the other.  Regardless, Perry’s long-time fans and her more casual fans alike will appreciate that she covered so much ground, musically speaking.  Of course the concert’s set list is just one part of the whole that fans will enjoy.  Perry’s performance (and that of her dancers) couples with the theatricality of the show to add even more depth to the concert.  Perry’s performance throughout the show is within itself important to the whole of this concert in that she really puts on the best possible performance for those in attendance.  From her extensive dance routines to the choreographed routines with her dancers, many hours had to have been spent rehearsing those routines.  Those hours obviously paid off because they are handled with the utmost precision.  To that extent, Perry and company will keep audiences engaged.  On a side note, it should be said that some audiences might find some of the dance featured dance moves….offensive.  That is because there is a fair share of twerking and rump shaking going on throughout the course of the show.  And some of the outfits leave little to the imagination.  Those two factors cannot be ignored even with the precision of the performers’ (Perry included) routines in mind.  On a related note, the theatrical elements of Perry’s show add even more depth to the concert for fans.  There are multiple costume changes and set changes throughout the show.  From an Egyptian set and costumes to something akin to the Broadway musical Cats to a giant balloon-like dress, post-apocalyptic rave-like outfits in the show’s opener, and so much more, Perry and company keep audiences well entertained through the show’s theatricality. All things considered here, the dance routines and overall theatricality of Perry’s live show makes for even more enjoyment for her fans. What’s more it might actually be possible that Perry even used her own vocal talents at different points in the show. Heck, she might have even actually sung her way through the entire show. Though, with her singing over her own vocal track it is at time difficult to tell. It cannot be denied that she did use her own vocals even if it was only at certain points. The fact that she actually did will impress audiences just as much. It is the proverbial cherry on top of the concert’s performance elements that together with said elements makes those elements important in their own right. Together with the show’s set list, they make Prismatic World Tour Live that much more of an entertaining watch for Perry’s fans. As with any other live recording they are hardly the last elements worth noting in examining the concert in whole. The show’s overall production values round out the viewing experience.

The set list and overall performance by Perry and her dancers throughout Prismatic World Tour Live are in their own right hugely important to the concert’s overall viewing experience. The set list covers almost all of her songs to date. The performance and theatricality of the show itself is sure to keep audiences just as engaged. Together, all of those elements make Prismatic World Tour Live a concert experience that any of Katy Perry’s fans will enjoy. Of course they wouldn’t be worth the note if attention wasn’t paid to the show’s production values—its audio and video mix. Of course Eagle Rock Entertainment is not the leading name in live recordings for no reason. It only releases recordings with the highest quality production values. And that holds true here just as much as in any of the label’s vast collection of recordings. The venue at which Perry performed this concert was expansive to say the very least. It was a full-size arena holding any number of her fans. That means that balancing the concert’s audio was of the utmost importance for audiences at home. And that is evident even in the concert’s post production work. That is meant in the most complimentary fashion possible. Audiences can really hear just how expansive the venue was. At the same time, Perry’s vocals are never lost along the way. In simpler terms, audiences can hear as she sings just how far her vocals (and the rest of the show’s audio) spread throughout the arena. But none of those parts ever overpowers the others nor do any of those parts sound airy, as if they are off in the distance. To that extent all involved are deserving of praise for their painstaking efforts to balance the concert’s audio levels. In the same vein, the work of those behind the cameras and editors is just as important to note. Whereas the venue’s size offered its share of challenges for those handling audio duties, it offered just as many opportunities for those behind the lens. And it goes without saying that said individuals used every one of those opportunities. There are shots taken from every possible angle from beginning to end. It gives audiences watching at home quite a view of the show if not the best seat in the house. The work of those charged with assembling said shots in post is just as much to thank for that. It is thanks to their efforts that the shots not only give viewers the best seat in the house and the fullest experience. The zooms, pans, cuts, and angles are used expertly throughout to enhance Perry and company’s performance. They serve to heighten the show’s energy even more and translate said energy to audiences at home. The end product is a concert to which audiences will find themselves singing and dancing because of that expert translation. Together with the equally well-handled audio, that enjoyment is made even more. And together with the performance of Perry and her dancers, and the show’s set list, the recording in whole proves to be one that is well worth the watch by any of Perry’s fans regardless of whether they have ever gotten to see her live or not.

Katy Perry’s new live recording Prismatic World Tour Live is a live recording that any of the pop star’s fans will want to see. This is regardless of whether or not they have ever had the opportunity to see her live. The show’s set list covers all three of the albums that she has released to date, totaling twenty-two songs. Perry’s performance alongside her dancers couples with the show’s theatrical elements to keep fans fully engaged and entertained. The production values give audiences the best seat in the house thanks to the efforts of those that originally recorded the show and those that prepared the show for release. Each element plays its own important part in the whole of this recording’s presentation. Altogether, they make Prismatic World Tour Live a recording that, again, any Katy Perry fan will enjoy. It also serves to show once more why Eagle Rock Entertainment remains to this day 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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Every Rolling Stones Fan Should Own Live At The Tokyo Dome

Courtesy:  Eagle Rock Entertainment/Universal Music Group

Courtesy: Eagle Rock Entertainment/Universal Music Group

The Rolling Stones is the greatest rock band in the world. Period. That might be something of a subjective statement from this critic. But it is this critic’s own view. The band has spent the better part of half a century and then some proving its greatness. It has done so through the release of nearly thirty albums, at least thirteen live albums, and countless live performances throughout its life. One of those live recordings–Live at The Tokyo Dome–was released late last month as part of the band’s “From The Vault” series of recordings. This recording is one of the most important in the band’s extensive catalogue of live recordings. The main reason for this is the span of time that had passed between this show and the band’s most recent tour at the time, which had ended in Leeds in 1982. That is a span of seven years. While the band’s show at the Tokyo Dome wasn’t the lead off for the band’s Steel Wheels Tour, it still remains an important piece of the band’s history considering that span of time. Staying in that pattern of thought, the band’s stage presence throughout the course of the roughly two-hour performance lies at the center of the recording. That will be discussed shortly. In the same vein, the show’s featured set list is just as important to the presented concert as the band’s performance. Audiences will be interested to learn that of the concert’s twenty-four song set, the majority of its songs were lifted from the band’s older, more familiar albums than the band’s then latest album Steel Wheels. That will be discussed later as it plays its own important role in the whole of this recording. Last but hardly least of note in Live at The Tokyo Dome’s overall presentation is the presentation’s collective production values. The concert’s audio mix is surprisingly impressive. The video portion is just as interesting. That is because it shows just how far video recording technology has come since the concert’s recording. It is one more reason that this concert recording proves to be so important to the band’s history. Together with the band’s performance and its featured set list, the concert in whole shows in the end to be yet another great addition to The Rolling Stones’ “From The Vault” series.

The latest addition to The Rolling Stones’ “From The Vault” series, Live at The Tokyo Dome is one of the most important pieces of the band’s history to be released in recent history. That is because the concert presented here is part of a tour (The “Steel Wheels Tour”) that was the first for the band in seven years at the time. Before the band embarked on the “Steel Wheels Tour” in August 1989, its members had not been out on the road together since having performed in Leeds in 1982. That concert will be released by Eagle Rock Entertainment later this month. Now having noted this, the band’s stage presence in its Valentines Day 1990 concert is the concert’s most important element to note. Core members Mick Jagger and Keith Richards performed like they had never been away from the road. Mick strutted and danced all over the stage from start to finish, giving his all. Just as interesting (if not more so) to note of Jagger’s performance is his interaction with the audience. He spent a fair share of time talking to the audience and even going out into the audience at one point in the show. That’s just one part of what makes his interaction with the audience so intriguing. Most intriguing is that he seemed to speak to the audience in Japanese in more than just a couple of sentences. He really came across as being fluent in the language considering just how much he spoke in the audience’s home language. This is key to note because of just how many performers are trained in just a couple of phrases here in there for their respective foreign audiences even today. Jagger didn’t go that route. He really came across as being quite familiar with the language. It’s refreshing to hear. Moving on, lead guitarist Keith Richards was just as entertaining both as the band’s lead guitarist and in his time on the mic. That’s right. Richards even got his own time on the mic as he had written a pair of songs–‘Can’t Be Seen’ and ‘Happy’–for Steel Wheels. By comparison, bassist Bill Wyman showed nearly no emotion at all throughout the evening’s performance. Of course after the tour wrapped up later that year in Europe, Wyman and the band parted ways. Considering the well publicized issues among the band during its time away from the road prior to the “Steel Wheels Tour,” one becomes less surprised by Wyman’s apparent lack of interest and energy throughout the show. By comparison drummer Charlie Watts looked right at home behind the drum kit from beginning to end. He played his part like it was old hat yet still presented an air of truly enjoying being on stage again. One could also go into the performance provided by the band’s backup singers and musicians. But it goes without saying that their energy was just as positive, leading in turn to a show that audiences watching the show at home today will enjoy just as much as those audiences that were in attendance at the original performance. That is because the band in whole (including the backup performers) performed here as if it had never been away from the road. It’s just one part of the concert’s presentation that makes the recording so enjoyable. The show’s set list is just as important to the recording as the band’s performance.

The Rolling Stones’ stage presence (and that of the band’s backing performers) is central to the overall presentation of Live at The Tokyo Dome. It showed a group of performers that had obviously not lost a step in all of its years off the road and despite its own internal issues. While the musicians’ stage presence is important to the recording’s presentation in its own right, it is only one part of the presentation that should be noted. The show’s featured set list is just as important to the whole of the concert as the band’s stage presence. This is especially the case considering that while the band was touring in support of its then new album Steel Wheels, only five of the show’s twenty-four songs were pulled from that album. The other nineteen songs were older, more familiar tunes. It reaches all the way back to the band’s 1967 album Their Satanic Majesties Request. That album is represented through the song ‘2000 Light Years From Home.’ Beggar’s Banquet, Let It Bleed, Sticky Fingers (which was just recently re-issued), Exile on Main Street, It’s Only Rock ‘N Roll, Tattoo You, and Dirty Work are all represented in the show’s set list. The U.S. release of Between The Buttons is represented, too thanks to the inclusion of ‘Ruby Tuesday.’ Simply put the band included songs from a pretty wide swath of its catalogue up to that point in this show’s set list. This is important to note be cause it shows the band had taken into direct consideration the fact that so much time had passed since it had last toured. So those older songs were likely what audiences really wanted to hear since it’s what those audiences knew. It shows a deep respect for the audience. Considering this, it had to have made audiences respect the band even more in turn. That mutual respect between the band and audience ultimately makes the concert’s set list that much more important of an element in the whole of Live at The Tokyo Dome. And together with the band’s stage presence throughout each song, the two elements together show even more why Live at The Tokyo Dome such an important piece of The Rolling Stones’ history.

The Rolling Stones’ stage presence in Live at The Tokyo Dome and the concert’s set list are both of equal importance to the concert’s overall presentation. While both elements are important in their own right to the whole of this recording, they would be of no consequence without mention of the recording’s collective production values, or its audio and video. Audiences must go into this recording understanding that the concert was recorded in 1990. That was well before the advent of high-definition capabilities. That being the case, the audio mix at least proves to be relatively impressive. That is especially considering the size of the Tokyo Dome. Audiences will note in watching the performance just how open the concert hall is inside. It has very high ceilings and is just as open from wall to wall. That means an increased ability of the sound to echo throughout the hall. Luckily, all involved both at the concert and in preparing this recording handled their duties with the utmost precision. The result is a concert that sounds just as good on Blu-ray (and CD) as it did in the original performance if not better. The video quality is just as interesting. While some of the shots are clear others are at the opposite end of that spectrum. More specifically, there are some shots that are not quite in focus despite the best efforts of those behind the cameras. But they are luckily not enough to really ruin the concert’s overall viewing experience. If anything the combination of those shots and the concert’s re-mastered audio serves to show just how far recording technology has come since this concert was recorded. In its own way it actually makes the overall experience of this concert that much more enjoyable. Because it does, it makes the band’s performance that much more engaging and the show’s set list just as impressive. All things considered, Live at The Tokyo Dome shows in the end to be another welcome addition to The Rolling Stones’ ongoing “From The Vault” series.

The Rolling Stones’ Live at The Tokyo Dome is yet another welcome addition to the band’s ongoing “From The Vault” series. The band’s stage presence exhibits a band in general that had not lost a step despite having been off the road for roughly seven years before it embarked on its “Steel Wheels Tour.” The set list shows a certain amount of respect for fans considering that most of the show’s twenty-four-song set list was pulled from the band’s already extensive catalogue of albums at the time. And the recording’s overall production values show just how far recording technology has come since the concert’s original presentation even as impressive as those values are in their own right. One would be remiss to ignore the recording’s companion booklet and double gatefold packaging. The companion booklet adds even more enjoyment to the overall experience as it presents extra tidbits such as the revelation that the band’s stage setup was so big that it took eighty (yes, eighty) trucks to haul it from venue to venue. The crew required to assemble and break down the set was just as expansive, according to Richard Havers’ notes. It’s tough to figure out conversion rates, but the revelation of tickets to the Tokyo Dome show costing 10,000 Yen is just as eye-opening. These are just a couple of interesting extras that are noted in the companion booklet. And while it might be more bulky than the standard multi-disc setup, the double gatefold packaging of the SD Blu-ray/2-CD combo pack actually protects the discs more than that standard slim packaging. Whether for that packaging, the bonuses added by the companion booklet or for any of the centrally noted elements, it can be said of Live at The Tokyo Dome that the recording in whole is, again, one of the most important pieces of the band’s history and one that any Rolling Stones fan will want to have in his or her own music (and Rolling Stones) 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:

Website: http://www.eagle-rock.com

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Kravitz’s Fans Won’t Want To Let Go Of His New Tour Documentary

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Rocker Lenny Kravitz has made quit the name for himself over the course of his career. For more than twenty-five years he has churned out ten albums (many of which have gone gold and even platinum and not just once either), numerous singles, a handful of compilations and has also lent his talents to other projects all while touring the world just as many times over. Speaking of his touring Eagle Rock Entertainment recently gave audiences yet another chance to experience Kravitz’s live show last month in the form of the new rockumentary Lenny Kravitz Live: Just Let Go. As noted, Just Let Go is a music documentary, not a pure concert presentation. It is not the first of its kind either. That is not a bad thing, though. As a matter of fact the fashion in which the program was presented is at the core of its success. that will be discussed in more depth shortly. In the same vein the feature’s editing is just as noteworthy. Last but hardly least worth noting of the program’s overall presentation is its combined set list and stage presence of Kravitz and company. All three noted elements together are just the tip of the proverbial iceberg in the documentary’s presentation. There is also a handful of bonus live performances included in the presentation worth noting and the overall look of the program in whole just to name a couple more elements that could be discussed. Whether for those elements or any of those more directly noted, the presentation in whole proves in the end to be one that any of Lenny Kravitz’s fans will enjoy.

Lennny Kravitz’s new rockumentary Just Let Go is a presentation that none of the rocker’s fans will *ahem* want to let go. This extensive tour documentary is one that every one of his fans will enjoy. The main reason for this is the fashion in which the program is presented. It is not the first of its kind to ever be released by any act. However in viewing audiences will note that it doesn’t come across like so many of those aforementioned pieces. The noted programs are typically composed of short live segments coupled with guerilla-style off-stage segments showing acts going here, there and everywhere. This program, while not the polar opposite of those presentations, is close to it. Rather than the typical guerilla-style off-stage segments, audiences are instead treated to a series of deeply insightful interviews with Kravitz and his fellow musicians. Some of the interviews in question are deep, single-person sit down segments while others such as those featuring Kravitz’s horn players sees them relaxing, playing a game of pool while they discuss life with Kravitz and their fellow musicians. Viewers will be interested to learn about Kravitz’s apparently devotion to giving audiences the absolute best show possible yet his gentility with his band mates. There are also some light-hearted moments shared throughout, too such as the interview with Kravitz’s backup vocalists. Audiences will laugh uproariously as they discuss their first meeting with him and their apparent……appreciation for him for lack of better wording. Audiences will get that joking reference when they see the program for themselves. Those are just a few examples of how Just Let Go’s overall presentation makes it stand out so clearly from other rockumentaries. The concert segments are just as important to note.

The interview segments that are included in the body of Just Let Go are key in their own way to the program’s overall presentation. While they are clearly important to the program’s overall presentation, they are just a tiny portion of what makes it worth the watch. The live segments that are mixed in with the interviews are just as important as the interviews in themselves. That is because they aren’t just short performance segments. Rather they are full song performances. Some of those performances are even tied in to small segments of the band behind-the-scenes. The catch is that said performances are still complete. They don’t cut off and cut to the noted behind-the-scenes segments. Said segments are used along with the songs to add even more impact to the overall presentation. The approach taken here makes the live segments that much more enjoyable. While the recording in whole has been presented via Eagle Rock Entertainment, it serves to illustrate even more Kravitz’s dedication to giving fans the best presentation possible. And when coupled with the program’s live segments the overall audio and visual presentation that lies at the center of Just Let Go shows itself to be one of the program’s most important elements if not the single most important. Of course it is not the only important element worth noting. The program’s editing is just as worth noting as the overall presentation.

The combination of on-stage and off-stage elements presented over the course of Just Let Go shows in itself to be one of the program’s most important elements if not the single most important of the program’s elements. That’s because they are the elements that draw in audiences. Of course without the work of those charged with editing the video for its presentation, none of the noted video would be of any consequence. Luckily those individuals handled their duties with the utmost prevision and expertise. The audio levels rarely if ever have to be adjusted over the course of the program. And the vintage grainy effect used from beginning to end really does give the presentation in whole a special feeling that in itself stands apart from so many other music documentaries out there. On another level, little things like cuts between the on-stage and off-stage segments are clean. At some points the connection between specific songs and interview segments is perfectly timed and cut. It’s little things like that attention to detail that make this presentation one that every one of Kravitz’s fans will enjoy. It also once again mirrors Kravitz’s statement in regards to wanting to give audiences the best experience possible. It’s even more reason that audiences will enjoy the program, but once more not the last. The combined set list and stage presence presented in the program’s live segments rounds out the primary ways in which Just Let Go proves to be a program fans won’t want to let go.

The set list featured throughout Just Let Go’s live segments combined with the stage presence of Kravitz and his fellow musicians round out the core ways in which the program shows itself to be one that Kravitz’s fans will thoroughly enjoy. It would be a lie to say that the set list featured in this presentation is career-spanning or even defining. However, it is true that of the presentation’s eighteen total performances they cover quite a wide swath of his now ten total albums. It includes songs from Strut, his most recent album, 5, Are You Gonna Go My Way, and even his 1989 debut record Let Love Rule among others. The band’s stage presence throughout each performance makes the whole thing all the more enjoyable. Watching Kravitz and company perform, it is clear that a Lenny Kravitz concert is more than just a concert. It is in fact a full experience in every sense of the word. It is something from which audiences walk away from knowing that they will never forget. From the sheer power of the songs to the band’s own energy in delivering said songs, the concert in whole is one of those things that makes a person understand the importance of taking in a live show. And it translates quite well in the case of these performances. That solid translation couples with the expert work of those charged with editing the presentation to make Just Let Go quite the enjoyable tour documentary. The on and off-stage segments that lie at the center of the program solidify that argument. All things considered, Just Let Go shows in the end to be a piece of which no fan will want to let go.

Lenny Kravitz Live: Just Let Go is a fittingly titled new presentation from the veteran rocker. It stands out solidly from so many other run-of-the-mill tour documentaries that are out there today. The presentation’s editing is just as worth noting in its success. Last but not least worth noting is the combined set list and stage presence on display throughout the presentation. All three elements show in their own way why none of Kravitz’s fans will want to let go of his new tour documentary. And they are just the tip of the proverbial iceberg here, too. The bonus performances and overall look of the presentation are worth noting, too. One would be remiss to ignore them. And if there were time enough to cover them, too this critic would touch on them, too. Regardless, it can be said of each element that in whole they make, again, Just Let Go a presentation that none of Kravitz’s fans will want to let go. It is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:

Website: http://www.eagle-rock.com

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

Twitter: http://twitter.com/EagleRockNews

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Audiences Will Want Seconds, Thirds, And More Of Lynyrd Skynyrd’s New Live Recording

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

A little more than four decades ago, a little band named Lynyrd Skynyrd released its debut album (Pronounced Leh-nerd Skin-nerd). At the time of its release, no one would have known that said album would go on to become one of the band’s biggest and most beloved. Surprise, surprise. That album has long since gone platinum at least twice over if not more, and has produced some of the band’s biggest hits of all time including: ‘Tuesday’s Gone,’ ‘Gimme Three Steps,’ ‘Simple Man,’ and perhaps its biggest hit of all ‘Freebird.’ With the quick success that that album saw, the band followed it up the very next year in 1974 with the release of Second Helping. That album proved to be just as successful if not more so. Earlier this year, the current Lynyrd Skynyrd lineup celebrated the ongoing success of both albums when it performed both albums in their entirety over the course of two nights at the Florida Theatre in Jacksonville, Florida. Now thanks to the people at Eagle Rock Entertainment, audiences can see both performances in one package in the band’s new live recording Pronounced Leh-nerd Skin nerd & Second Helping Live From Jacksonville at the Florida Theatre. There is a lot for audiences to appreciate about this presentation beginning with the noted two-album set list. It’s just one part of what makes te recording so impressive. The band’s stage presence throughout both sets is just as important as the complete album set lists. Last but hardly least of note is the shows’ production values. Considering the venue’s high ceilings and open space, balancing acoustics was obviously quite the task. But both the band’s production crew and those behind the mics did a superb job of balancing the concerts’ levels from start to finish. The camera work is just as impressive with shots from multiple angles, capturing the theater’s surprising size. The shows’ variety of shots and their equally impressive audio mixes partner with the band’s stage presence and the shows’ complete album set lists to make Pronounced Leh-nerd Skin nerd & Second Helping Live From Jacksonville at the Florida Theatre a show that every Lynyrd Skynyrd fan will want to have in his or her own home DVD/Blu-ray library and Lynyrd Skynyrd collection.

Lynyrd Skynyrd’s brand new live recording Pronounced Leh-nerd Skin nerd & Second Helping Live From Jacksonville at the Florida Theatre is one that every Lynyrd Skynyrd fan will want to have in his or her own home DVD/Blu-ray library and Lynyrd Skynyrd collection. The main reason for this is its sixteen song set list. The set list in question comes from the band’s 1973 debut album (Pronounced Leh-nerd Skin-nerd) and its followup, 1974’s Second Helping. Both albums are presented in their entirety over the course of a two-night stint at the Florida Theatre in the band’s hometown of Jacksonville, Florida. This means that not only are all of the album’s major hits there, so are the lesser known yet still enjoyable songs such as ‘Mississippi Kid,’ ‘Poison Whiskey,’ ‘The Needle and the Spoon’ and ‘I Need You.’ Front man Johnny Van Zant even points out ahead of ‘I Need You’ that the band very rarely performs that song in a live setting. That makes its inclusion in this performance all the more special. It is a truly touching work, too; one that will move any viewer regardless of his or her familiarity with the song. It is more proof–along with the inclusion of the other lesser known songs–why this live two night recording is so special and why the “hits” are not always the only hits. Just because a record label says “X” or “Y” song is a hit doesn’t mean that fans will agree. On another level, the presentation of both albums in whole gives audiences of all ages a much richer picture of Lynyrd Skynnyrd in more than one way. The performance of both albums presents a full picture of Lynyrd Skynyrd’s original lineup creatively. The performance of those albums by the band’s current lineup is almost a side-by-side portrait in a manner of speaking. It’s like experiencing the “old” Lynyrd Skynyrd and the current Lynyrd Skynyrd all at the same time for lack of better wording. All things considered here, the dual set list that makes up the body of the recording shows in full why it is such an important part of the recording’s whole. it is just one part of what makes Pronounced Leh-nerd Skin nerd & Second Helping Live From Jacksonville at the Florida Theatre such a proud success. The band’s stage presence over the course of both nights’ sets adds even more enjoyment to the recording.

The dual album set list that makes up the body of Lynyrd Skynyrd’s new live recording is in itself plenty of reason for fans to add it to their home DVD/Blu-ray libraries and Lynyrd Skynyrd collections. It is just one part of the recording’s whole that makes it so impressive. The band’s stage presence adds even more enjoyment to the concert in whole. That is because the band shows throughout both performances that the k.i.s.s. formula still works perfectly to this day. There was no need for on-stage antics, pyro or anything else. The band let the music do the talking. And it talked loud and clear, too. The energy exhibited by the band in each night’s set proves that. It showed that the band wasn’t just phoning it in at any point. Rather, it showed that the band intended to give its audiences the best show that it possibly could on both nights. Even when Van Zant did take some time between songs to interact with the audience, he didn’t just say a couple of things and go into the next song. He really interacted with the audience and made them feel that they were part of the show. As minor of an element as it may seem to be, it is just as important as the songs themselves. Together with the band’s overall stage presence and the set lists, both the set lists and the band’s presence together make for even more enjoyment for fans throughout the band’s shows. Even with their importance they are still not all that make this pair of performances so impressive. The concerts’ production values are just as important as the set lists and the band’s performance of said set lists.

The set lists that make up the body of Pronounced Leh-nerd Skin nerd & Second Helping Live From Jacksonville at the Florida Theatre, when combined with the band’s performance of both set lists makes for plenty of enjoyment throughout the course of the recording. While both elements are of equal importance to the overall viewing experience here, they are not the only important elements worth noting. The shows’ overall production values are just as important to note as anything else. Without proper production values none of the recorded material would be worth the watch. Luckily for fans the production values incorporated into this concert are of the highest caliber. Of course that is to be expected from Eagle Rock Entertainment being that the label is the leader in live recordings. Those that have never been inside the Florida Theatre will be surprised to see the concert hall’s immensity. This critic is among those masses. Its ceilings come across as being quite high. And the overall space feels just as open. This means that sound will spread out everywhere. It also means more space for echoing. That can be a very bad thing when recording an indoor performance. Those that handled the mics and the boards for the shows’ original recordings did so with the utmost expertise. Thanks to their work audiences really get the full feel of the theatre’s size without getting any of the echoing, feedback or other issues. It shows the talents of those charged with handling the concerts’ audio and makes those individuals all the more deserving of praise. The same can be said of those behind the cameras. The venue being so large and open, the camera crew was given plenty of options for camera shots. And they used every one of those options, too providing audiences at home not only great footage of the band’s performance but of the theatre and the audience in attendance. Those shots include shots from the theatre’s upper balcony, looking up at said balcony from the stage, looking at the stage from amidst the audience and so much more. In whole the work of those behind the cameras gives audiences the best seat in the house and the fullest experience. It rounds out the ways in which Pronounced Leh-nerd Skin nerd & Second Helping Live From Jacksonville at the Florida Theatre proves itself such an impressive experience for any Lynyrd Skynyrd fan and shows once more why Eagle Rock Entertainment remains once more the leading name in live recordings.

Pronounced Leh-nerd Skin nerd & Second Helping Live From Jacksonville at the Florida Theatre is yet another impressive live recording released by Eagle Rock Entertainment. It is just as much a must have for Lynyrd Skynyrd fans of all ages. That is thanks in large part to the set lists which present the band’s first two albums in whole. The band’s performance of each set list adds even more enjoyment to the recording’s whole. And thanks to the work of those behind the cameras and audio boards, both concerts look and sound great. Each element is important in its own right to the whole of the recording. That goes without saying. When combined, they make Pronounced Leh-nerd Skin nerd & Second Helping Live From Jacksonville at the Florida Theatre a must have for Lynyrd Skynyrd fans of all ages and more proof of why Eagle Rock Entertainment remains to this day 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:

Website: http://www.eagle-rock.com

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

Twitter: http://twitter.com/EagleRockNews

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.

Live At Finsbury Park Is One Of RATM’s Most Powerful Performances Yet

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Rage Against The Machine is one of the most influential bands in the modern history of rock.  Over the short course of its roughly nine years together, the band—Zach de la Rocha (vocals), Tom Morello (guitar, vocals), Tim Commerford (bass, vocals), and Brad Wilk (drums)—released a total of three full-length studio recordings, a covers album and a handful of live recordings all while moving its fans to stand up and make their voices heard.  It would be fair to say that considering that influence, Rage Against The Machine is to its generation as Bob Dylan and others of that era were to their audiences.  Now the band’s influence has been put on display once again thanks to the release of its 2010 performance at London’s Finsbury Park.  The concert was the result of one man’s effort to dethrone X-Factor in the race for the UK’s annual top Christmas single only some months prior.  The concert was released via Eagle Rock Entertainment, the leading name in live recordings, last Friday, October 16th.  And there is plenty to like about this latest live Rage recording beginning with the show’s set list.  The twelve-song set list features songs pulled from all three of the band’s albums released throughout its almost decade-long run together.  The band’s stage presence is, in relation, just as important.  Not too much time had passed between the band’s breakup in 2006 and its short-lived reunion and tour in 2008 and its performance at Finsbury Park in 2010.  So the band’s performance here is the image of a band that felt completely refreshed, energetic, and fiery as it was in its earliest days.  Together with the featured set list, the band’s performance of those songs makes for a show that every RATM fan will enjoy from start to finish.  Rounding out the whole thing is the show’s collective production values (I.E. its camera work and audio mix).  It goes without saying that having a well-known director helming the show’s recording paid off in spades.  The shots presented throughout the show expertly capture the full energy of the show both from the stage and the audience.  The end result is a performance that blurs that border of putting audiences right in the middle of the action and giving them the best seat in the house.  The audio mix is just as impressive especially considering that this is an outdoor show.  Both elements together round out the whole of the concert experience presented in this recording.  They work alongside the show’s set list and the band’s performance to make the recording in whole one more of the best of this year’s new crop of live DVDs and Blu-rays.

Rage Against The Machine’s latest live recording Live at Finsbury Park is one of the best of this year’s crop of new live DVDs and Blu-rays.  This latest live offering from RATM and Eagle Rock Entertainment proves to be a piece that every one of the band’s fans will want to have in his or her own music library and DVD/Blu-ray collection.  It proves this first through its set list.  The twelve-song set features songs pulled from all three of the albums turned out by the band over its near decade-long run together.  It opens with a powerhouse performance of ‘Testify’ that will have fans watching at home just as fired up as those that had the pleasure of seeing the band in person at the show’s recording.  Also included in the show’s set list are other career-spanning hits such as: ‘Know Your Enemy,’ ‘Bulls On Parade,’ ‘Freedom’ and of course the very song that set things in motion for this concert ‘Killing in The Name’ among so many other songs.  Regardless of which song or album fans enjoy most, all three albums are well represented with the band’s self-titled 1992 album getting the most love with six songs.  Evil Empire was represented through two of the set’s songs and The Battle of Los Angeles through three.  There is also a cover of The Clash’s ‘White Riot,’ which was not included in any of the band’s albums, including its covers compilation Renegades (2000).  It makes sense that the band’s debut got the most attention figuring that the song that sparked the concert’s birth came from that album.  Sure, it would have been nice to see ‘Voice of the Voiceless,’ ‘War Within a Breath,’ ‘Born of a Broken Man,’ ‘Vietnow,’ ‘Roll Right’ and ‘Wake Up’ included in the show’s set list.  But the set list featured here is still just as entertaining in its own right.  So that in mind, it is still a solid reason for any real RATM fan to check out this concert.  It is only part of what makes this concert recording so enjoyable for the band’s legions of fans around the world.  The band’s stage presence throughout the course of the concert is another reason that the recording proves so enjoyable.

The set list featured in RATM’s 2010 Finsbury Park, while focusing largely on the band’s self-titled 1992 debut, is a clear reason for fans to pick up this new recording.  The likely reason for that album being so heavily represented here is the fact that ‘Killing in The Name’ came from that album.  The song in question sparked what would eventually become the Live at Finsbury Park performance.  That is not to say that the band’s other two albums are not represented here.  They are represented.  But it is just fitting that the album in which ‘Killing In The Name’ was originally included be the one that gets the most attention.  It doesn’t hurt that that album was a landmark recording both for the band and for the rock community in whole either.  That having been noted, the band’s stage presence throughout the course of its nearly ninety-minute concert is just as important as the songs themselves.  The band’s energy throughout its performance is incredible.  Roughly eighteen years had passed between the band’s formation and its performance at Finsbury Park.  Yet watching the band absolutely own the stage here is like seeing the band in its early days.  Front man Zach de la Rocha commands the audience of thousands while Tom Morello’s work on guitar is just as powerful.  Morello’s energy as he makes his way through each song is just as fiery as de la Rocha’s performance.  And the teaming of Wilk and Commerford on drums and bas respectively generates just as much energy.  Watching Wilk, audiences see so much focus on the music yet a certain amount of enjoyment in his face as he drives his band mates forward in each song.  Commerford complements Wilk’s work behind the kit, rounding out the whole presentation.  He doesn’t just stand around in one spot at any given point in the show, either.  He is just as active as his band mates, churning out the songs’ low end and harmonies all while keeping audiences engaged with his own personal energy.  The combination of the band members’ own energies throughout the show makes for a performance from beginning to end that will have audiences at home just as engaged as those that that were in attendance at the show’s taping.  That is because those energies combined make each of the show’s songs so powerful.  It shows that the band isn’t just going through the motions.  Rather the band is all in from beginning to end.  It makes the concert yet another fully memorable performance from one of rock’s most influential acts.  It is one more reason that this concert is such an impressive new release from RATM and Eagle Rock Entertainment.  It is not all that makes this concert so memorable, either.  The concert’s collective production values round out the experience.

The set list featured in RATM’s Finsbury Park performance and the band’s performance of said set list are both equally important in their own right to the recording’s overall viewing experience. Both elements combine to make said viewing experience quite impressive to say the least. That in mind, the final element that is fully worth noting in regards to the concert’s overall viewing experience is its collective production values (I.E. its audio and video mix). Jeff Cronenworth, the concert’s director of Photography is to be commended for his work capturing the concert as is famed producer Andy Johns in regards to his work handling the concert’s boards. Cronenworth is actually interviewed in the concert’s bonus behind-the-scenes featurette. He discusses in this extra his dedication to showing the full reach and impact of the concert and how he achieved that goal with various cameras and angles. His discussion definitely puts things into perspective especially for those that watch the concert first. The aerials and crowd shots do an extraordinary job of capturing the sheer magnitude of the audience and its reaction to the band’s performance. On the other side, the shots of the band on stage both from the stage and right in the front row are just as impressive. One of the best of the on-stage shots is the close up of Wilk captured from what feels like right on his drum kit. It is a shot that has to be seen to be understood in regards to its impact in the whole of the show. The wide shots of the band are just as powerful as they serve to capture the full energy of the band as it makes its way through the show. There is plenty more that could be noted here in regards to the show’s camera work. But it goes without saying that these examples and those not noted work in unison to make the concert’s camera work in whole a hugely important and successful part of the concert’s viewing experience in whole.

The work of the camera crew in capturing RATM’s concert for its presentation here is just as important as the show’s set list and the band’s performance of said songs. Of course what would any of that be without solid handling of the show’s audio boards. Andy Johns is hardly a stranger to working an audio board having produced albums from The Rolling Stones, van Halen, Joe Satriani, Bon Jovi, Ill Nino and countless others. His years of experience show clearly in this recording just as much in every recording that he has handled (studio and live) before. Being such an expansive venue, Johns had quite the job on his hands. Yet he handled his duties with the utmost expertise keeping the band members’ levels equal to one another and balancing those levels with the crowd noise. Audiences will find that thanks to Johns’ efforts, there is rarely a single point throughout the concert in which they have to adjust the volume on their televisions in either direction. That is a telling statement. And together with the work of Cronenworth and his camera crew, the overall production values presented in Live at Finsbury Park make the show in whole yet another impressive recording from RATM as well as potentially one more of the year’s best new live DVDs and Blu-rays.

Live at Finsbury Park is not Rage Against The Machine’s first live recording. It likely isn’t the last from the band even considering its relatively short time together. Regardless, it can be said that the combination of the show’s set list, the band’s performance of that set list, and the concert’s overall production values lead it to be yet another impressive live recording for fans and one of the year’s best new live DVDs and Blu-rays. It is available now in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:

 

Website: http://www.eagle-rock.com

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

Twitter: http://twitter.com/EagleRockNews

 

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.

Live At Shea Stadium Another Candidate For This Year’s List Of Best New Live DVDs and Blu-rays

The Who Live at Shea Stadium 1982 Box Art

Courtesy: Eagle Rock Entertainment

In 2014, the legendary rock band The Who marked a major milestone as it reached its fiftieth anniversary. In honor of the anniversary, the veteran British band has been making its way around the world, sharing its decades of music with generations of fans. While it is currently in the midst of that tour, not every city has been or will be lucky enough to see the band as it shares its timeless tunes with the masses. Thankfully for the people at Eagle Rock Entertainment, the leader in live recordings, audiences have been treated with one of The Who’s most classic concerts in the form of Live at Shea Stadium 1982. Live at Shea Stadium 1982 is a pivotal point in The Who’s career as it would be the last time that the band would be joined by Kenney Jones on drums. It would also mark the last time that the band would perform live until 1989. That is a span of some seven years. In the music world, seven years is an eternity. Until now, this concert had never been released in its entirety on one platform. Being the first time ever that the concert–the second of The Who’s shows from its 2-night stand at Shea Stadium in October, 1982–it is a wonderful debut. It proves itself so impressive primarily through its set list. The main set list featured in this concert runs twenty-five songs and just over two hours. The songs included in that list solidly represent the band’s career up to that point. The quartet’s performance of said songs is just as enjoyable as the songs themselves. Considering that it would be the last time that the band would perform live for a span of seven years, the band definitely went out on a high note albeit temporarily. Last but not least to note is the concert’s collective production values. Being that the concert contained in Live at Shea Stadium was originally recorded nearly thirty-three years ago, the footage has stood the test of time quite well. Even more impressive is the work of those that resurrected its footage and re-mastered it for its presentation here. Thanks to the work of those individuals, the concert maintains the look that it boasted in its original recording yet boasts a sound that is just as clear as any show recorded today. The combination of all three noted elements shows clearly why Live at Shea Stadium 1982 is a great replacement for those that won’t get to see The Who on its current tour. It shows just as clearly why this recording is one more of the year’s best new live DVD and Blu-ray recordings.

Live at Shea Stadium 1982 is a defining moment for The Who. It marked the last time that audiences would get to see the band live for another seven years after its completion. It would also be the last time that the band’s then drummer Kenney Jones would perform with the band. And until now, it has never been released in its entirety on one platform. Considering this and the fact that the band’s current tour may be the last for the band, it becomes an even more important recording for fans of The Who to own. It shows itself to be such a lasting concert for audiences first and foremost through its extensive set list. The set list presented here runs twenty-five songs deep and just over two hours long. That is not even counting the five performances included as bonuses. Added to the main set list, they push the overall run time of the recording to a little more than two hours and twenty-five minutes. That’s a lot of music to say the least. And that’s a lot of live for fans that won’t get to see the band on its current tour. On a related note, the songs that make up the show’s set list represent a relatively healthy cross-section of the band’s section up to that point. It reaches all the way back to the band’s third studio release, 1967’s The Who Sell Out and even includes hits such as ‘Pinball Wizard,’ from the band’s hugely popular 1969 album Tommy, ‘Baba O’Reily’ and ‘Behind Blue Eyes,’ both from 1971’s Who’s Next as well as ‘I’m One,’ ‘The Punk and the Godfather,’ ‘5:15,’ and ‘Drowned’ all from another of the band’s biggest releases of all time, 1973’s Quadrophenia among so many other major hits. For all of the importance of the noted hits, their sequencing is just as important to the enjoyment of the show. The first five songs offer up a solid, driving energy that is soon followed up by a slightly more reserved vibe in ‘It’s Hard.’ That is followed up by the ‘Sledgehammer’-esque vibe of ‘Eminence Front’ before the band really pulls back on ‘Behind Blue Eyes,’ another of its biggest hits. That is just the first six of the show’s twenty-five song set. The remainder of the show’s songs exhibit just as much balance right up to the show’s finale. That balance of energy and drive from one song to the next coupled with the show’s overall set list shows clearly why as with any live show, the set list in whole is central to its enjoyment and overall success.

Live at Shea Stadium 1982’s set list and its overall arrangement give audiences plenty to like about the recording. The balance of energy and drive from one song to the mix coupled with an equally solid mix of the band’s hits up to that point will keep audiences’ attention from beginning to end. Much the same can be said of the band’s stage performance throughout the course of the two-hour plus concert. Front man Roger Daltry shows time and again why he is one of the greatest front men in rock’s modern history with his balance of charisma and energy from one song to the next and even in-between as audiences will see for themselves. When the crowd gets too close to the stage, Daltry very calmly and politely asks the audience to back up and make room. Even having to do this more than once he never loses his cool. As minor as it seems, it goes a long way toward showing the type of person that he is. It is truly impressive to see such demeanor. That demeanor coupled with his minimal yet still energetic performance is a clear example of why the band’s performance in this show is so impotrant to its enjoyment and success. Daltry’s band mates John Entwhistle, Pete Townshend, and Kelley Jones each provide their own entertainment throughout the show. Guitarist Pete Townshend’s classic airplane playing is there. Jones’ drumming generates its own energy throughout each song. Even Entwhistle’s own unassuming demeanor as he provides the songs’ low end is entertaining in its own right. Whether in the concert’s biggest moments or its more reserved moments, none of the band members really seem to exert that much energy, rather letting the music exert most of the energy for them. That energy translates perfectly to the audience and will translate just as well to home viewers. In turn, it will lead audiences to appreciate the band members’ talents both as musicians and song writers. That appreciation reveals in one more way why Live at Shea Stadium 1982 is such an enjoyable and successful new recording from one of rock’s greatest acts.

The set list that makes up the body of Live at Shea Stadium 1982 and the band’s performance of said songs do plenty to show why this concert is so enjoyable. They are only two parts of the presentation that makes it whole. The concert’s collective production values round out the ways in which it proves itself so enjoyable. Considering the fact that the concert was originally recorded some thirty-two years ago, it can be said that the footage has stood the test of time rather well. Of course the work of those charged with re-mastering the concert’s audio and video is just as much to credit for how well it looks and sounds. It maintains the look that it boasted in its original standard def recording. Even with that look it is clear that it has been cleaned up and brought back to life. Through it all the fact that it still maintains that look is deserving of praise. It shows the high quality results of the painstaking efforts of those individuals charged with handling the footage. The same can be said in regards to the concert’s audio mix. It is obvious that just as much work was put into remastering the concert’s audio. That is because it sounds clearer than most concerts recorded so long ago. Thanks to the work done on both ends, the band’s performance and the show’s set list both become that much more enjoyable. In conjunction with the work of those that resurrected and re-worked the footage, all three elements show together just why Live at Shea Stadium 1982 is another entirely enjoyable and successful from one of rock’s biggest bands and why it is also one of this year’s best new live DVD and Blu-ray recordings.

Live at Shea Stadium 1982 shows in plenty of ways to be another entirely enjoyable and successful recordings from a group that is one of rock’s biggest and most respected acts. It shows just as much why it is one of the year’s best new live DVDs and Blu-rays. It is available now in a variety of formats both in stores and online. More information on this and other titles from Eagle Rock Entertainment is available online now at:

Website: http://www.eagle-rock.com

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

Twitter: http://twitter.com/EagleRockNews

More information on The Who’s current tour is available online now along with all of the band’s latest news at:

Website: http://www.thewho.com

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

Twitter: http://twitter.com/TheWho

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.

Live At The Roxy 9.25.14 Is The Best Of This Year’s Live BDs and DVDs So Far

Courtesy:  Eagle Rock Entertainment

Courtesy: Eagle Rock Entertainment

Common logic states that once a person or organization reaches its proverbial peak, the only way to go is down.  Yet somehow Eagle Rock Entertainment has defied that logic time and again as far back as can be remembered.  It has done just that yet again with the new live recording from Slash and his friends Myles Kennedy and The Conspirators, Live at The Roxy 9.25.14Live at The Roxy 9.25.14 has officially taken the top spot on this critic’s list of the year’s top new live Blu-ray and DVD recordings.  The main reason that it has earned that honor is the group’s overall stage presence.  Typically, the set list is the most important element of any live recording.  In the case of this recording, the band’s performance takes center stage (bad pun fully intended).  That is not to discount the importance of the show’s set list.  The set list is important in its own right to the whole of the recording.  The show’s set list features songs from Slash’s solo career, his time with Velvet Revolver and Guns ‘N Roses, and his work with Myles Kennedy and The Conspirators.  The total run time of the seventeen-song set comes in at just under two hours.  That is a lot of material.  It represents every era of Slash’s career, too.  That sweetens the deal even more for this concert.  Rounding out the whole presentation is its collective production values (I.E. audio mix and camera work).  As small as the Roxy is, the camera crew and its director did an outstanding job of giving audiences the best seat in the house from start to finish.  The audio mix is just as important considering the club’s relatively small size.  Thankfully those handling audio duties both at the original show and in the concert’s post production did so with the utmost expertise.  The end result of their efforts (and those of the camera crew and director) is a concert experience that is just as good as being there if not better and one that proves yet again being at the top doesn’t necessarily mean the only way to go is down especially in the case of the company that is the leader in live recordings.

One would think that considering the hugely successful stable of live recordings that it has already established in recent years, Eagle Rock Entertainment would have a hard time continuously maintaining its place atop the world of live recordings.  But somehow it has defied that logic, churning out one top notch recording after another.  Now it has added yet another recording to that apparently ever-growing stable in the form of Live at The Roxy 9.25.14, the new live recording from Slash Featuring Myles Kennedy & The conspirators.  Due out next Tuesday, June 16th, this recording is not Eagle Rock Entertainment’s first live recording of the year.  But it is the best new live recording of the year across the board.  Eagle Rock Entertainment has presented in this recording a concert that shows itself to be just as good as being there is not better.  The main reason for this is the band’s performance.  Typically one would think that a concert’s set list lies at the heart of its enjoyment.  And the set list featured in this show does play a role in its enjoyment.  But there is something special, almost magical, about this performance.  There’s a special energy exuded by the band throughout the show that translates so clearly even on screen.  Even with this band being a side project for all involved, it’s almost as if Slash and company were meant to be a band.  That’s obvious throughout the concert.  From the group’s extended jam session in ‘Rocket Queen’ to the full throttle take of ‘Nightrain’ to the emotional yet hard rocking performance of ‘Bent To Fly’ and other points in between, the band exhibits a certain chemistry along with its energy.  It’s a chemistry that while unspoken is obvious.  It is obvious in the fun that the band clearly has throughout its performance.  Because the band has so much fun on stage, it makes the performance that much more fun for audiences at home.  Again that points back to the ability of the energy exuded by the band translating so well to home audiences.  In experiencing that translation for themselves, audiences will agree that the band’s performance in this concert is indeed the concert’s most important element.  Of course it is not all that is worth noting in terms of what makes it such a success.  The show’s set list is just as important to its overall enjoyment and success as the band’s performance.

The performance of all involved in Live at The Roxy 9.25.14 is key to the concert’s enjoyment and its overall success.  The chemistry between the performers and the energy exuded by their performance translates clearly to home audiences from start to finish.  Without a set list though, there’d be nothing to perform.  Thus we have another important element of the concert.  The set list featured in this recording culls music from every era of Slash’s career.  There are pieces from his days in Guns N’ Roses, Velvet Revolver, his solo career, and of course his current work with Myles Kennedy and The Conspirators.  Taking that list of songs into consideration, audiences will be especially surprised by Kennedy’s performance in the G N’ R songs.  That is because he sounds just like a young Axel Rose if not better.  Heck, it could even be argued that he [Kennedy] even resembles Rose in his youth to a point right down to his mannerisms in his performances of those classic songs.  Meanwhile Slash’s almost unassuming demeanor throughout each song hasn’t changed since those days.  That’s not a bad thing, either.  Getting back on track, the set list assembled for this recording is a solid representation of every era of Slash’s career.  Given a strong majority of the set’s songs (six songs to be exact) are classic G N’ R songs.  But there is still a solid mix of music from the guitarist’s solo recordings and his work with Myles Kennedy and The Conspirators.  The set list itself is impressive to say the least.  Its ordering makes it just as impressive as the band builds the energy and pulls it back at just the right moments from beginning to end.  Home viewers will remain just as fully engaged as those that were there in attendance at the show’s taping thanks to that smart sequencing and related performance of each song.  It’s just another way that the show’s set list shows itself to be just as important as the band’s performance in this recording.  Together, the set list and performance make a strong, solid argument as to why this recording is the best of the year’s new live Blu-rays and DVDs so far (and potentially overall).  It still isn’t the do all-end all for the recording, either.  As impressive as both the show’s set list and the band’s performance prove to be in whole, neither would be worth noting if not for the work of those behind the cameras and the audio boards.  Their collective efforts round out the ways in which the recording proves itself so enjoyable.

The set list featured in Live at The Roxy 9.25.14 and the band’s performance of said set list are of equal importance to the whole of the recording in terms of its ability to connect with home viewers.  As important as both elements are to the recording’s success, it would be pointless to note either one if not for the work of those behind the cameras and the audio boards.  This includes the work put in both during the course of the concert and in its post-production.  It is thanks to the work of those behind the cameras that home viewers actually get the best seat in the house.  They might not be right there singing and rocking along with the band and the rest of the masses pushed into the club’s small confines.  But that is a good thing in this case.  The camera crew catches the concert from so many different angles both from the crowd and the stage, even getting close-ups of Slash’s work on his guitar.  On a related note, the work of those handling the concert’s audio is to be commended, too.  This includes both those handling the mics at the concert and those mastering the sound in post-production for the concert’s home release.  The Roxy is not the biggest venue in the world.  That means that it was much easier for the sound to bounce all over the place.  Thankfully, those handling the audio for the show both in person and after the fact took that into account and balanced everything.  This has led to a sound in the recording that is perfectly balanced.  It is a sound that especially those with home theater systems will especially appreciate.  Together with the concert’s set list, the band’s performance of said set list, and the work of the concert’s camera crew, audiences get a concert in Live at The Roxy 9.25.14 that they will want to watch again and again.  They get a show that is one of the best of the year’s live Blu-rays and DVDs if not the best of the year.

Live at The Roxy 9.25.14 is one of the best of the year’s best new live Blu-rays and DVDs if not the best.  It proves this through the performance of Slash and his band mates.  It proves it through the show’s set list and through the work of those charged with recording the concert and bringing it to audiences in the best possible quality. Whether for just one of the noted elements or for all of them combined, audiences will agree that all three elements make Live at The Roxy 9.25.14 a piece that every fan will enjoy. They also make it more proof of why this concert is one of the best of this year’s new live Blu-rays and DVDs and why Eagle Rock Entertainment shows no sign of falling from its spot atop the world of live recordings. More information on this and other live recordings from Eagle Rock Entertainment is available online now at:

 

Website: http://www.eagle-rock.com

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