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DVD Review: Rush Snakes & Arrows Live

Whether or not you are a Rush fan, there’s no getting away from the fact that those three guys (particularly Geddy Lee and Alex Lifeson) have a sense of humor and are not afraid to stretch themselves a bit and try their hand at some comedy routines. Their idea of comedy doesn’t align too well with my personal taste, but seeing Geddy Lee dressed up like a Scotsman complete with kilt and pretty well-executed accent was entertaining nonetheless.

I’ll confess to be a little slow on the uptake since I did not recognize the genie with the spinning noggin as Alex Lifeson until I heard about it later. I’ll give him high marks for his phony accent as well – not bad at all.

There are also appearances of various other comedic talents such as Jerry Stiller, The South Park kids as well as Bob and Doug McKenzie of “Great White North” fame. I’m not sure who many Dutch fans in attendance recognized some of these characters, but with the global nature of entertainment these days, perhaps they were more recognizable than the average North American might suspect.

The real meat (which of course, would be chicken) of this 3-DVD set (1 DVD for the Blu-ray version) is of course the concert footage, which was filmed over the course of two nights in Rotterdam, Holland during October of 2007. Employing 21 high-definition cameras certainly provides a very thorough presentation of the show and spends ample time featuring each of the three legendary performers and how they interact, and seem to genuinely enjoy performing for the assembled audience.

In addition to the Rotterdam performance, there are four songs on the “Oh, Atlanta! The Authorized Bootleg” portion of this release.

Sound quality is quite good, although I found the quality of the recently-reviewed David Gilmour CD set, Live in Gdansk more to my liking. This may be due to the open air venue in Gdansk as opposed to the indoor venue in Rotterdam, where recording may present more challenges. I’m no sound technician, and even though I prefer the quality of Gilmour’s recording, Snakes & Arrows Live is about as good as one might expect from a live recording.

Other minor criticisms include some portions of the mix that seem to bury Lifeson’s guitar a bit too far beneath the other instruments and vocals during certain passages.

I honestly don’t know whether Neil Peart’s snare drum malfunctioned or whether he switched to a different one during the performance of  “The Trees,” but I thought its muddy, shallow sound really detracted from that performance when compared to the punchier snare sound on during the original recording.

With the group’s decision to perform some of their older material such as “Red Barchetta” and “2112” came some significant vocal challenges for Geddy Lee who is not able to hit the high notes like he once could. He can hardly be blamed, however, since these guys are in their mid-fifties and are still out there putting on great shows and thrilling fans around the globe.

I’ll concede that some, if not all of these criticisms are probably a bit on the nit-picky side given the challenges of presenting a quality recording of a live performance, and none of these criticisms would sway my decision away from adding this release to my collection.

The set list is posted in about a billion other places, so I’ll save some space here and not bother with it. I think its enough to say that this release is a must for inclusion in the collection of any Rush fan. Being one whose somewhat reclusive nature makes me less desirous of standing amidst a few thousand screaming fans, I dare say that watching Snakes & Arrows Live is preferable to actually being there. Many will disagree, but you aren’t going to get close enough to each one of these guys to see the kind of detail you will see with this release, especially the Blu-ray version.

The obligatory drum solo was of course included, and as contradictory as it may seem for an old drummer (strictly amateur, trust me!) like myself to say, I’m not a big drum solo guy. Demonstrating ones technical ability and speed is of course impressive, but I’ve always enjoyed hearing a good drummer accompanied by fellow performers rather than solo.

However, Peart brings an interesting and more entertaining element to his solo by the use of some electronic pads to create a unique melodic interlude before launching into his big band style finale which I thought was very cool. As far as drum solos go, I’d say that was about the most unique and entertaining I have encountered.

In case you haven’t picked up on it by now, if you are a Rush fan and do not already have this release, go get it as soon as you can. I’ve been a fan since the late 70’s myself and for me, the Blu-ray version of this release on a big screen HDTV with a good surround sound system would be as good as being there. Actually, probably better.

Snakes & Arrows Live is available at Amazon.com for about $20, which seems like a good bargain for a release packed with this much content. The previous link takes you to the Blu-ray version, so just be sure you select the standard version if you decide to order from Amazon and don’t have Blu-ray player at your disposal.

I consider myself a pretty dedicated Rush fan, although not quite to the level of a “Trekkie” who might show up at a Star Trek convention wearing a pair of Spock ears, so I’m still a bit mystified with regard to the recurring “chicken” theme that’s referenced on this release.

Maybe I’m just a bit dense or have somehow missed something obvious, but if you are as clueless about the whole poultry thing and how it relates to Rush as I am, the internet – I presume – is at your disposal. Myself, I’ll just enjoy the show and allow the mystery to endure.

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Tags: DVD, Review, Rush, Snakes & Arrows Live

CD Review: Sammy Hagar’s Cosmic Universal Fashion

To me, Sammy Hagar has always typified a straight-up rock and roll kind of guy. He’s never found a place on my list off all-time favorites, but as I have said here before, I think Van Halen’s best years were during the time Hagar was with them. Besides preferring Hagar’s voice over Diamond Dave’s, I’ve never cared much for big egos. Maybe those old VH videos with Roth throwing his blond locks around and casting those“come hither” looks towards the camera just creeped me out a bit too much to ever take the guy seriously. Some footage from the most recent Van Halen tour with Roth riding a giant inflatable microphone around the stage surely didn’t help.

As far as being a straight-up rock and roll kind of guy goes, this latest effort is a bit of a departure, and some if it can definitely be classified as music with a message. Awareness about the environment seems to be a key part of the message Hagar is trying to convey with Cosmic Universal Fashion.

The CD is packaged in a cardboard case that is described right on it as being “Printed on 40% recycled paperboard,” as well as “Environmentally friendly package: No booklet, no waste.” Indeed, there is no booklet accompanying the CD as you would normally expect, which is really not a big deal for me and the cardboard packaging certainly was easier to open than that shrink-wrapped plastic fortress that CDs are usually encased in. You can however, visit Hagar’s website and view or download the booklet if you choose.

If you’re a Sammy Hagar fan, there’s a fair chance that you will enjoy this new album. For someone like myself who is  a bit more neutral where the Red Rocker is concerned, I found myself left with only one track that I really liked. I certainly don’t consider the other tracks “unlistenable,” but the one I found myself playing over and over a number of times was “Loud.” Now that’s straight-up rock and roll, and the kind of thing I would have liked to hear more of on a Sammy Hagar album.

Getting to the title track, “Cosmic Universal Fashion,” it is not your typical rock song, and it’s a difficult one for me to classify, although it has more of a machine-generated sound to it which is a bit too repetitive and certainly does not sound like any of the old classic Hagar I remember. Of all the tracks on the album, this was the one I liked the least. It’s creation is an interesting story however, since it was born out of a collaboration between Hagar and an Iraqi fan took place over the internet. Unfortunately, I found the story of the song’s creation more interesting than the song itself.

The whole album is somewhat of an odd collection, since some of the tracks don’t seem like they belong on the same CD and were made up of a collection of songs that Hagar did not know what else to do with. That’s confirmed to some degree by the credits where Hagar talks about a couple of songs he wrote with Neal Schon just before he signed on for the Van Hagar reunion and had to put his plans with Schon on hold. Those two tracks, “Psycho Vertigo” and “Peephole” are on this album, with “Psycho Vertigo” being the better track in my opinion. Deen Castronovo’s hard-driving drum work really provides a strong backbone to this guitar-driven track.

Although I have seen some criticism of Hagar’s singing on this album, I think he’s holding up pretty well at the age of 61, and to me he sounds pretty much like the Sammy Hagar I remember from the 80’s.

As someone whose favorite groups include Rush, Yes, Heart and Kansas, Hagar’s creative work, much of which has that party-inspired feel to it, has never been much of a draw for me. For Hagar fans however, this album may be worth checking out.

Tags: Album, Cosmic Universal Fashion, Review, Sammy Hagar

CD Review: David Gilmour: Live In Gdansk

A little over two years ago, on August 26, 2006, the sounds of a legendary artist filled the air at the shipyard in Gdansk, Poland,where 50,000 cheering fans joined in commemoration of the world-changing events at the shipyard where striking workers were credited with one of the first organized efforts that eventually led to the collapse of Communism in Eastern Europe.

This is probably one of the best live albums I have heard. I have not seen the DVD that accompanies some versions of this release, but this album gave me more of a feeling of “being there” than other live recordings I have heard. This may be due in part to history of the venue, which was so unique, when compared to the typical concert hall or sports arena where recordings like this are usually made.

One welcome discovery while listening to this album was that the audience seemed to be there to actually listen to the music, which stands in contrast to other live recordings, where one might get the idea that a good portion of the audience purchased their tickets with the idea of spending most of the show screaming and whistling, whether the band was playing or was between songs. The crowd in Gdansk was clearly appreciative of the opportunity to attend, but was virtually dead silent when the artists were playing. Very commendable for a crowd of 50,000 or so. Bravo for that Polish audience in attendance.

The album includes some venerable Pink Floyd classics, such as “Breath (In The Air),” “Shine on You Crazy Diamond,” “Wish You Were Here” and “Comfortably Numb.” There are also a number of songs from Gilmour’s solo career that are certainly not as recognizable as the Pink Floyd material, but I found that I enjoyed those as well. It is, however,  tough to compete with the old favorites.

As is the case with all my reviews of live albums, it would not be complete without a comment or two about the sound quality. I found it difficult to find fault with the sound quality of this recording. There was an element to it that is difficult for me to describe that did hint strongly that this was recorded at an outdoor venue, but it was not something that detracted from the experience, and probably contributed much to that feeling of “being there” that I alluded to earlier.

This recording was made during the last performance of Gilmour’s On An Island tour, and was unique due to the accompaniment of the string section from the Baltic Philharmonic Orchestra, conducted by Zbigniew Preisner.

Another unique element to this recording is the presence of Richard Wright, whose recent and untimely passing probably makes this one of the final recordings that the sometimes-overlooked Pink Floyd keyboard player, vocalist and song writer ever appeared on.

Of all the tracks on the album, I would have to say that “The Division Bell” was my personal favorite. I’m hard pressed to think of any other “classic” group that evokes so much emotion for me than Pink Floyd — something I’ve experienced only since crossing the line into middle age. As a carefree teen or twenty-something, it was just cool music.

Track 5 on the second CD, “Echoes,” is notable in that it morphs into what might be called a “jam session” of sorts, and really showcases the musicianship of those onstage, and energizes the well-behaved crowd as well.

The music of Pink Floyd has a lot to say, and although I won’t claim that I “get it” entirely, I know it’s there just under the surface. Listening to those classics on this new live album had no less effect on me than that of their original counterparts, and it was one of those rare live recordings that genuinely made me wish I had been able to attend. It must have been quite an extraordinary event.

The DVD trailer is available online for those who would like a nice preview.

David Gilmour: Live In Gdansk will be available on September 23rd and can be ordered at Amazon.com.

Tags: David Gilmour, Live In Gdansk, On An Island Tour, Pink Floyd, Review

DVD Review: AC/DC ‘No Bull’ (The Director’s Cut)

During July of 1996, Aussie hard rockers AC/DC rocked the Plaza de Toros de Las Ventas in Madrid, and this forthcoming re-mastered edition DVD was more entertaining than I had expected.

I have never been a major AC/DC fan, and for me they were one of those bands that I would continue listening to if they happened to come on the radio, but was not quite into them enough to actually buy an album, or attend one of their concerts.

In my younger days of cruising around with the FM radio blasting, there were certain groups or songs that I thought of as “station changers.” Recognized within just a few notes, my fingers would quickly rescue my ears from something I would rather not hear. I never thought of AC/DC as a “station changer,” and I have no trouble remembering well their hits like “Hell’s Bells,” “Back In Black” and “Highway To Hell.”

As those who may have read some of my past reviews of live CDs or DVDs may know, I’ve never been a big fan of audio recorded live. In this case, however, I found the audio quality quite acceptable, although lead singer Brian Johnson’s voice did seem to be a little buried under his hard-rocking band mates at times. Whether that can be blamed on the sound crew or a failure of Johnson’s pipes is something I will not speculate about.

There’s little doubt about where most eyes are when AC/DC takes the stage. Although I’ve always been a little freaked out by Angus Young’s “British Schoolboy” attire, there is no doubt that the man can put on a show, and he deserves some additional credit for losing most of the well-worn costume as the show heated up.

I recently heard about a study where it was determined that rock drummers are quite similar to top athletes when it comes to stamina and physical fitness. I dare say that I would have to select Angus Young as the guitarist who comes as close as I have seen to one that might have the stamina of a top athlete. No offense to Phil Rudd intended!

Young appears to be nothing short of a perpetual motion machine onstage, and at the same time, I actually found him quite entertaining. I also must give credit to whatever manufacturer made the wireless transmitter that was affixed to the back of his guitar strap during the show for producing such a sturdy device. I do not know how many times he threw himself on the floor and spun around on his back a few times — an act that was reminiscent of the signature move pioneered by “Curly” of the Three Stooges many years ago.

The crowd in Madrid was as enthusiastic as one might imagine. The venue reportedly accommodates approximately 20,000, and had I been an AC/DC fan in attendance, I would certainly not have felt short-changed. There was no shortage of unusual props added to the performance, including a wrecking ball and a giant, well-endowed blow-up doll, who we can safely assume was named “Rosie.” Unfortunately for her, she was unceremoniously and rather rapidly deflated when her approximately four minutes of fame had expired.

Some reviews I read about an earlier version of this show that was released on DVD in 2001 were critical of the sound, as well as the short length of time between camera shots, which someone likened to an effect that might trigger an epileptic seizure.

Apparently, the director himself was never pleased with the earlier release either. On the rear cover of the DVD is reads, “Ultimately rushed for release in 1996 for the home video market, [director David] Mallet was always unhappy with the results of the final product. Until Now.”

Having in my possession just a review copy of the latest version of No Bull, I do not know if the criticisms of the earlier version are accurate, but the fact that director David Mallet was himself not satisfied with the earlier release lends credibility to those fans who were not happy with it.

The criticisms of the earlier version do not seem valid while judging this latest release, which is good news for AC/DC fans who might want a higher quality version of this performance for their collection.

For those that are not fond of the relatively quick scene changes that are common to rock videos in general, there are four songs on this new release that were shot with the “Angus Cam,” which does not feature much more than continuous footage of the energetic guitarist as he visits just about every corner of the stage, much to the delight of the fans in Madrid.

There are also two bonus videos from that same Ballbreaker tour, one shot in Goteborg, Sweden and the other in Daytona, Florida.

Overall, I found this to be a well-produced and entertaining DVD, and I suspect AC/DC fans will appreciate it even more than I did. As a self-confessed audio snob, I often serve up a healthy dose of criticism for the sound quality that one may get with CDs or DVDs recorded live, a point I mentioned earlier. In this case, I found it quite satisfactory for a live performance.

No Bull (The Director’s Cut) is scheduled for release on September 9, and it will be available exclusively at Wal-Mart stores and at AC/DC’s official website.

AC/DC’s brand-new studio album, Black Ice, is expected to be released on October 20, and will also be available at Wal-Mart stores and on the band’s website.

Check out the trailers at the following locations:

For Windows Media

For QuickTime

Tags: AC/DC, Ballbreaker Tour, DVD, Madrid, No Bull, The Directors Cut

Album Review: Kim Mitchell’s ‘Ain’t Life Amazing’

I’ve been a big fan of Kim Mitchell’s stuff since the Max Webster days. I don’t think I’ve ever heard a single track from Kim that I did not like. I guess the intro to “Acrimony” of his Itch album comes closest to something I don’t care for, but I think that was kind of tongue-in-cheek on his part.

With that said, I must admit I was a little disappointed when I had my first listen to Kim’s new album, Ain’t Life Amazing. Before you get yourself all prepared for a crappy review, hold on just a second and let me tell you what happened next.

Well, I listened to it again. And again. And Again. And guess what. Did this album ever grow on me. I’m not sure I am ready to say I like it better than his previous stuff, but the more I listen to this new album, the more I like it.

I’ve always been the kind of guy that often has to listen to a new song or new album a number of times before I can decide if I like it or not. And that is exactly why I usually wait awhile before I pass judgment on anything new.

Now in the past, the “listen to it ten times” rule has not applied when it came to listening to Kim’s stuff and I’ve been on board the first time around. However, when compared to his older stuff, this album is different.

What’s different about this new album? If I had to describe in one word what makes this different from his other stuff, I would have to say “raw.” That’s the way it strikes me.

If you’ve read some of my other recent reviews, you know I am not a fan of live albums. I’m a sound freak and I want to hear the music as pure and as controlled as it can be. Studio conditions, everything mic’d up perfect and engineered to audio perfection. That’s what I like.

And that’s where this album kind of departs from the kind of studio-quality sound I love. No, it’s not that the sound on this album is bad. However, it has an almost “live” sound to it — minus the screaming crowds and lousy acoustics.

That’s probably a big reason that I was turned off a bit after my first run-through with this album, but I’ll tell you, I’ve adapted to it and now I’m really getting into it. Might I prefer it done in a more traditional studio quality way? Maybe, but it’s not something I am worrying about.

My personal favorite tracks from this album are: “In The Stars Tonight,” “N’Awlin Nights,” “Ain’t Life Amazing” and… Oh hell, I think I’m about to list just about every damn song on the album, so why bother?

To sum it up: It’s Kim Mitchell, it’s a bit more raw than his previous stuff and it rocks. What more can I say? I just hope he keeps on writing and keeps on recording because he’s still got it.