Hard Rock

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Hard rock, or heavy rock, is a genre of rock music which is tied in with heavy metal at several levels. The hard rock sound is typically characterized by heavily distorted guitars, potent riffage, and strong and solid drums which, along with the bass, constitute the rhythm section, while the vocals are often aggressive and draw primarily on expression, as hard rock vocalists often incorporate screams, wails, growls, raspiness and falsetto voice and other techniques that one rarely encounters in types of popular music outside of the rock music sphere. Hard rock is heavier, more aggressive and harsher than pop rock and many other types of rock music and is thus based on the same aesthetic as much heavy metal music is.

Hard rock emerged in the mid 1960s and early 1970s as musicians within various rock subgenres of that era (such as, for instance, blues rock, progressive rock, psychedelic rock, southern rock, boogie rock and garage rock among others) began experimenting with distortion, heaviness, intensity and aggression. The sound that such artists developed would eventually become the sound associated with heavy metal music in general, and the early hard rock sound is often considered identical to the proto-metal sound, and, at the time, the terms ‘hard rock’, ‘heavy rock’, and ‘heavy metal’ were synonymous.

As artists like Black Sabbath and Deep Purple, and later Judas Priest, began to gradually move their music away from its blues roots and into darker territory, ‘heavy metal’ began to be used with reference to the type of music resulting from this darker and more intense type of rock music, while many other artists who contributed to the establishment of the proto-metal sound retained their blues influences, and also began incorporating other elements into their music, and by the 1980s, hard rock was generally considered more commercially oriented and more melodic than heavy metal music. The histories of hard rock and heavy metal remained intertwined, though, as many hard rock artists would often take their music into heavy metal territory and incorporate elements from various subtypes of heavy metal into their music, while heavy metal artists would continue to draw on influences from both contemporary and early hard rock. Also, many artists would experiment with both heavy metal music and hard rock, releasing albums and singles some of which fall under the hard rock rubric while others fall under the heavy metal rubric. In addition, several subgenres and movements in heavy metal have close associations with hard rock - for instance, many NWoBHM artists would extensively draw on hard rock (some even being more hard rock than heavy metal), while glam metal is often conflated with hard rock.

The term ‘hard rock’ is used in a number of different ways. Sometimes, it is used as an antonym of ‘soft rock’ which refers to pop rock, folk rock and other types of rock music which do not emphasize distorted guitars – this definition is very broad and includes any type of guitar-driven rock, not necessarily related to heavy metal music, including punk rock, grunge and even Brit pop. Another broad definition is the use of the term ‘hard rock’ with reference to heavy metal music in general, while a more specific use of the term is restricted to blues-based pentatonic rock music performed with intensity and heaviness on distorted guitars, thus excluding many artists who combine rock with elements from heavy metal. Another definition, which is the one that the MMA operates with, emphasizes the heaviness of hard rock compared to other types of rock music as well as its relation to metal, placing hard rock within the sphere of heavy metal music on the scale of heaviness and intensity underneath traditional heavy metal, but above other types of rock music. On this definition the ethos that characterizes heavy metal music in general, is applied to hard rock as well, thus largely excluding rock genres like punk rock and grunge rock (with exceptions, of course), as well as individual artists and releases whose sound cannot be said to bear any similarity to heavy metal music or to have any relation to heavy metal music at all. This definition cuts across rock music subgenres, and will thus include artists from, say, southern rock or AOR whose sound involves a considerable amount of heavy metal elements while excluding other southern rock or AOR artists that do not integrate heavy metal elements into their music.

Sub-genre collaborators:
  • Colt
  • Stephen

hard rock top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm

RUSH Moving Pictures Album Cover Moving Pictures
RUSH
4.46 | 91 ratings
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VAN HALEN Van Halen Album Cover Van Halen
VAN HALEN
4.35 | 58 ratings
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THIN LIZZY Jailbreak Album Cover Jailbreak
THIN LIZZY
4.41 | 20 ratings
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SOUNDGARDEN Superunknown Album Cover Superunknown
SOUNDGARDEN
4.33 | 37 ratings
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PEARL JAM Ten Album Cover Ten
PEARL JAM
4.36 | 23 ratings
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RUSH Permanent Waves Album Cover Permanent Waves
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4.22 | 64 ratings
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RUSH A Farewell to Kings Album Cover A Farewell to Kings
RUSH
4.21 | 59 ratings
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RUSH Hemispheres Album Cover Hemispheres
RUSH
4.20 | 61 ratings
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THIN LIZZY Bad Reputation Album Cover Bad Reputation
THIN LIZZY
4.36 | 13 ratings
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TESLA Mechanical Resonance Album Cover Mechanical Resonance
TESLA
4.29 | 17 ratings
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AEROSMITH Rocks Album Cover Rocks
AEROSMITH
4.18 | 20 ratings
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BLACK COUNTRY COMMUNION Black Country Album Cover Black Country
BLACK COUNTRY COMMUNION
4.23 | 14 ratings
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hard rock Music Reviews

WOLFMOTHER Wolfmother

Album · 2005 · Hard Rock
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UMUR
"Wolfmother" is the self-titled debut full-length studio album by Australian hard rock act Wolfmother. The album was released through Australian label Modular Records in October 2005. Australia has a proud hard rock tradition spearheaded by AC/DC and this album sees Wolfmother delivering music according to that tradition with balls and fierce conviction.

...and what better way to start a hard rock album than with an attitude filled scream like Wolfmother do on "Colossal". Lead vocalist/guitarist Andrew Stockdale has to be mentioned right off the bat, as he is quite the skilled and at times also raw vocalist. His voice and vocal delivey mean a lot for the music on the album. Wolfmother are a trio which in addition to Andrew Stockdale also feature Chris Ross (bass, keyboards) and Miles Heskett (drums). This is one of those cases where the "power-trio" format works wonders. Wolfmother are a tight playing unit but also skilled composers. They know exactly how to write a memorable and punchy chorus, hard rocking riffs and pounding beats. But they also understand that you won´t go far if you don´t write varied material, which is probably one of their biggests strengths. The way they touch psychadelic and stoner rock territories without compromising hard rocking power is brilliant to these ears. Paired with a powerful and not too polished sound production all mentioned elements make for a highly enjoyable listening experience.

While the main instrumentation are guitars, bass and drums, the occasional use of keyboards/organs provide an extra dimension to the album and much of the above mentioned psychadelia comes from the addition of especially organ.

Usually I listen to an album and either think that "this is not something for me" or "I´ll give this one more spins because it sounds interesting", but with "Wolfmother" I was hit with one of those rare moments where you like an album right away. A high energy level, a rock´n´roll "Fuck You" attitude and some really well written and memorable tracks result in a fully deserved 4 star (80%) rating.

WILD RIDE Tension and Desire

Album · 1993 · Hard Rock
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Stephen
Year 1993 was a bad year for classic rock as grunge swept off many bands from the board but WILD RIDE was among the survivors of melodic hard rock and I'm glad they made 'Tension and Desire', which even though not many remember or know this band, this little historical piece has special place in many fans heart.

The opening tune, 'If You Don't Want My Love' is beautiful yet heavy and definitely among the best track here. Together with 'This Time' which is a flawless and the greatest song they ever made and also the awesome closing power ballad, 'Stop The Fighting', made this album worth the purchase. Another brilliant songs they crafted here are 'Steal My Heart', what a splendid chorus!, the anthemic and another hard-hitting song, 'Too Late To Stop', and also the uptempo tune, 'Don't Save Your Life', with an excellent riffs.

Couple of weaker songs but nothing's troubling at all. Also if you spotted a little accent trouble on Fred Pieters singing might be another low point of this album, but overall, 'Tension and Desire' is still a very solid release and deserved at least 85% from me.

WIZARDS OF KAOS Wizards of Kaos

Album · 2012 · Hard Rock
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Time Signature
Digging up our dead...

Genre: groove metal/rock

Enter Wizards of Kaos (or WOK), a Canadian rock band who will be unleashing their eponymous debut album upon the rock-loving segments of the world population later this month. The band is categorized as a stoner rock band, but I think there is much more to the music on this album than just stoner rock.

Granted, there is a considerable influence from southern rock, and the spirit of the tracks on Wizards of Kaos can definitely be traced back to the hard rock of the 70s. However, there are plenty of metal elements on this album, some of which are so aggressive that I strongly recommend that you do not get stoned while listening to the album, as heard in 'Digging Up Our Dead', which even features some thrashy elements. While the southern groove is a central element on this album, neatly unifying all the tracks on Wizards of Kaos, you will find that the album is actually also quite varies, drawing on different genres within the hard rock and metal universe. For instance, the instrumental 'Ear Hole' combines heavy metal grooves and chucking riffage with post punk dissonance and alternative rock guitar melodies, and 'New World Mistress' features both heavy grooves and a boogie drive not unlike that of Cathedral's 'Ride', and 'The Great Shadow' draws on a very metallic main riff and a groovy bridge, while 'White Face' has an almost sludgy and punky edge to it.

There are virtually no weak track on this album, and I really like the raw and organic production Wizards of Kaos have opted for. The guitars are extremely distorted, and the bass has a fat bottom to it, while the drums have an authentic round sound to them – I also love the organic hippy-behind-the-kit drumming style, and the guitarists' use of grooves and guitar harmonies both score a lot of points in my book.

Fans of southern rock, sludge rock and stoner metal will definitely like Wizards of Kaos' debut album, and anyone who likes the groove should not hesitate to go out and buy it as soon as it is released.

(review originally posted at seoftranquility.org)

NIRVANA In Utero

Album · 1993 · Hard Rock
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UMUR
"In Utero" is the 3rd full-length studio album by US hard rock/alternative rock act Nirvana. The album was released through DGC Records in September 1993. Despite the major commercial success of "Nevermind (1991)", Nirvana felt that the album ultimately came out too polished compared to how they saw their own music and they wanted to make sure that "In Utero" sounded more raw and closer to the "punk" ideals they felt a closer relation to. They enlisted producer Steve Albini to help them gain that sound and with him they recorded the songs for "In Utero" in around two weeks time. They weren´t completely satisfied with the result though and ended up hiring Scott Litt to make a few changes to the sound.

The more primitive recording process is certainly audible as "In Utero" is a much more raw sounding album than "Nevermind (1991)". The prominent use of dissonance, feedback and other non-polished features (check out the highly aggressive and almost hardcorish track "tourette's") that you usually don´t find in accessible mainstream music, are quite the change compared to the predecessor. The songwriting is a bit uneven though and while tracks like "Hear-Shaped Box" (which was the biggest hit from the album) and "Frances Farmer Will Have Her Revenge on Seattle" are really effectful and memorable, there are far too many tracks on the album that come off a bit half-baked and honestly sound like the band didn´t care too much. I understand that it was part of the attitude in those days, but some tracks simply don´t sound as inspired as they could have.

When that is said the musicianship and especially Kurt Cobain´s vocals are for the most part a real treat. He has such a raw and personal delivery. A really unique and characteristic voice, which he explores a bit more on this album than he did on "Nevermind (1991)".

Considering the major commercial success of "Nevermind (1991)", "In Utero" is actually quite a daring and bold attempt at breaking free from a sound that most people expected from the band. 5 million copies sold arond the world bear witness to the fact that at least commercially Nirvana fully succeeded in their mission, but artistically I think "In Utero" lacks a bit although a 3.5 star (70%) rating is fully deserved.

BLACK SABBATH Technical Ecstasy

Album · 1976 · Hard Rock
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Kingcrimsonprog
Technical Ecstasy is the Birmingham based band's seventh full-length studio album and their second-last album with Ozzy Osbourne. People never give this the credit it deserves; it is actually a very accomplished and well rounded album but by and large it is an album that is either ignored or insulted by a sizable portion of Black Sabbath fans.

The main reason that the album isn't thought of as terrific is that it arguably doesn't sound all that much like Black Sabbath. There are a lot of different styles experimented with on the album and there aren't many classic three minute Heavy Metal tracks. Sabbath try a lot of new things on this album, and if you are open to a bit of variety and experimentation it will prove at least an interesting album though ultimately still won't be the best Sabbath album in your collection.

It does have a lot going for it too however, as Ozzy's voice arguably sounds better here than on many other albums, and the production is arguably better than usual as well.

Standout moments include the heavy and complex 'Dirty Woman,' which contains loads of memorable riffs and is a welcome component of their reunion DVD, as well as the maudlin piano ballad 'It's Alright' which Guns n Roses fans will recognize. Possibly the greatest track on the album (and arguably the most underrated in the band's history) however is 'You Won't Change Me,' which a haunting tune that really should be considered as Sabbath's 'Stairway to Heaven' or 'Comfortably Numb' but is unfortunately widely overlooked.

If you still don't like the idea of the album you should at least check out 'Dirty Woman' and 'You Won't Change Me' as stand alone MP3s.

Overall, Technical Ecstasy isn't the best Black Sabbath album, but it is definitely worth a listen if you don't mind that there aren't wall to wall rockers and enjoy a bit of variety. If you don't own many Black Sabbath albums yet, this is definitely not something you should pick up until you have about five or six other Sabbath records first, but at the same time it is not something that you should dogmatically avoid from ever hearing.

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hard rock movie reviews

RUSH Snakes And Arrows Live

Movie · 2008 · Hard Rock
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AtomicCrimsonRush
This 3 CD package is a great concert experience that I will return to often. Everything works - from the excellent sound quality to the crystal clear picture. The stage itself is massive and there are incredible lighting effects, lasers and fire effects. The 3 split screens at times show each band member, and sometimes a visual effect to enhance the track being played. There are weird Rush-ian gimmicks, namely the 3 huge ovens full of rotating chickens that glow ominous red throughout the night. There is no reference to these except Lee says at the end of CD1 that they are no longer spring chickens so they need to take a break. At one point a weird chef appears to turn the chickens over. Similar in fact to the washing machines with rotating clothes in the 'Live in Rio' show. Other subtler things are on stage such as flanks of flowers around microphones, plastic dinosaurs around Lifeson's stacks and the piece de resistance is the miniature Stonehenge rock on Lee's keyboards - a nod in Spinal Tap's direction for sure. We see crowd shots and Lee takes home movies of them screaming Hello Canada - in fact we see many versions of him doing this from other shows. Peart is featured with a sizzling drum solo that is well above what normally occurs in solos. He uses gamelon style blocks and sound effect drums to enhance the solo and his kit rotates to add depth. I love when the jazz band kicks in and he plays full blown jazz metrical patterns - there is a standing ovation after this.

There are no lengthy lead solo sections where Lifeson plays by himself but there is a nice acoustic piece following the drum solo. Lifeson effortlessly plays all the songs with precision and finesse. Surely one of the greatest guitarists in the world.

Lee's vocals are excellent and as clear as ever. His bass pounds on every track. I noted its all mostly hard rock on this live show. The band play old favourites that every Rush fan adores such as 'Spirit of Radio' and 'Tom Sawyer' but they focus on 'Snakes and Arrows' album, virtually playing every song. This could have been problematic but I find these live versions even better than the studio versions. I was never a huge fan of S&A but this live concert really brings something special to these tracks. I like the film clips that break up the songs such as South Park's Cartman singing Tom Sawyer and the weird clips of babies in prams and a game of snakes and ladders.

The bonus features are fun, such as watching the clips without the band shots and the making of the clips which show Rush at their kookiest. Some of the extra live tracks are great too so overall this is a must see for any Rush fan. I recommend this as well as 'Live IN Rio' which are completely different experiences. This is not as good as 'Rio' due to the set list, but it is still a fantastic DVD package.

RUSH Rush In Rio

Movie · 2003 · Hard Rock
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AtomicCrimsonRush
The spirit of Rush captured live before an enthusiastic crowd.

“Rush In Rio” is undoubtedly one of the best live records in the extensive Rush catalogue. Unlike some of the other live DVD concerts, this one features a lively crowd that insist on singing every line of every song and their enthusiasm is infectious. It always brings a warm feeling to hear them singing all the notes, even in the instrumentals. This is definitely one of the best DVDs of the power trio along with “Snakes and Arrows Live”.

There are some brilliant moments to savour as a visual and oral experience. Lee, Lifeson and Peart are at their best, Lee is especially terrific on vocals, when his voice was powerful and dynamic. There are about 160 minutes of quintessential Rush favourites. Highlights abound such as Tom Sawyer, YYZ, where the crowd holler out every note and bounce like a football crowd, The Pass, Freewill, Closer to the Heart and a wonderful version of Natural Science, a track that drew me to the “Permanent Waves” album. There are incredible performances of One Little Victory, Leave That Thing Alone, Resist, and a 7 minute edited version of 2112. At least it is here but I rather the version on "All The World's A Stage"/

The last part of the concert is my favourite as it features indispensable classics such as Limelight, La Villa Strangiato, The Spirit of Radio, By-Tor and the Snow Dog, and a tacked on tiny version of Cygnus X-1. My favourite is Working Man, and it is given a wonderful treatment in Rio.

There are some unusual additions on DVD 2 with the most compelling documentary I have seen in years. The fly on the wall treatment of seeing what goes on behind the scenes is fascinating and worth the price of admission alone.

This concert is a lengthy but triumphant Rush paradise. The performances are faultless and it is full of energy and power from start to finish. Pick up this masterful DVD at all costs!

BLACK COUNTRY COMMUNION Live Over Europe

Movie · 2011 · Hard Rock
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Kingcrimsonprog
Black Country Communion released their first live outing, Live Over Europe in late 2011 just a few short months after their second studio album ‘2’ and only about a year after their self-titled debut.

The band, which is something of a super group featuring the talented Joe Bonamassa, Glen Hughes, Jason Bonham and Derek Sherinham. Between them they’ve worked in all sorts of interesting and important bands like Deep Purple, Black Sabbath, Led Zeppelin (sort of), Jimmy Page’s solo works, Dream Theater and lots of other solo and guest work.

There are some good things going for Live Over Europe. The set-list for example is pretty fabulous, featuring fifteen live original songs by the band (with another studio version in the credits, inexplicably listed on the back) as well as a modified Bonamassa solo track and one Deep Purple cover (‘Burn.’) This is a pretty impressive turn out considering the band only have twenty-three songs at the time it was recorded.

In terms of non-concert extras, the booklet has linear notes and there is a documentary bonus feature along with some photo galleries.

The biggest problem with this release however is the format; it is taken from different shows on different European dates, instead of just picking one to film and release in its entirety. Some of the shows are indoor, some are festivals and as such the sound quality and mixing from each is a little different, which can prevent it from flowing as well as a single show would.

The editing job isn’t exactly the best either, with the first song ‘Black Country’ especially suffering. The track is split up between the different concerts and stitched together, with little sections of documentary dialogue in there too. Luckily though, this is the only song to be spoiled in such a way and the rest of the release displays each song intact and complete from beginning to end at the one show, although sometimes the transition between shows will feature a few seconds of documentary footage.

If you can get by the format and forgive the editing (and the aspect ratio), this is still a good enough release that is fairly enjoyable. I have watched it a fair few times since it came out and do not regret buying it despite its flaws.

While quality isn’t consistent, some of the shows have very good sound and visuals. In each show, the band are always great performers and the songs themselves are very good so it really does still offer a lot of quality for fans, so long as they aren’t put off by the aforementioned format and editing.

Overall; Live Over Europe isn’t everything you could hope for in a Black Country Communion live release, so take that into consideration before picking up a copy, but at the same time it is a Black Country Communion live release, which should be enough for a lot of people. The wonderful playing and superb vocals from Joe and Glen really do make up for a heck of a lot and tracks like ‘The Battle For Hadrian’s Wall’ and ‘The Ballad Of John Henry’ are absolutely phenomenal live.

RUSH Time Machine 2011: Live in Cleveland

Movie · 2011 · Hard Rock
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rdtprog
The Time Machine tour was highlighted by the celebration of the Moving Pictures's CD 30th Anniversary. The band played the entire cd at the beginning of the second set. Also they decided to play back some songs that have not been play for a long time, like "Marathon" and "Time Stand Still". For the first time, we can hear the song "Presto", live. The rest of the set contains classics songs covering all the decades, including the two new songs; "BU2B" and Caravan". The playing of the entire Moving Pictures cd was a opportunity to hear for the first time in 30 years, "Camera Eye". But at the same time, we have to endure again the same songs that the bands put on all his tours, i am talking about "Tom Sawyer" and "Limelight", who are favorites among the majority of fans, but not for me. The two new songs are not great songs, but had to be put on the set list here.

For the performance, the band was full of energy, happy to be there, if we take a look at the cameras that was catching the looks and funny faces that each member through at each other, especially obvious in the song "Free Will", with Neil and Alex. The editing filming is excellent by giving us some camera shots at the right spot and at the right moment.

The picture quality on the Blu-Ray is very good, maybe not as good as Snakes and Arrows, but this is not a issue here. The DTS-HD sound is excellent with a full surround sound and a clear mix of all instruments. As for the extras, it's rather short and not memorable. I would have prefer to see more recent footage instead of some old archives stuff where the picture quality is poor, like they did on Snakes and Arrows.

So this Blu-Ray is excellent, because it's made by a great band that have survived together all these years with a impeccable musicianship. I can only be a little fussy about the set list, that's what happened when you listen too much to a band's music... Recommended!

RUSH Classic Albums: 2112 - Moving Pictures

Movie · 2010 · Hard Rock
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AtomicCrimsonRush
I picked this DVD up at a generous price recently and enjoyed hearing about these classic albums that have always favoured strongly in my Rush collection. We hear about the influences and inspiration behind 2112 and how the album was put together. We hear how songs were created and can learn about the recording industry, as is always the case in the Classic Albums documentary series. Songs are stripped down so we can hear hidden sections or just bass by itself, vocals, guitar or drums respectively. This gives a real insight into how the Rush sound is formed.

The three members have a lot to say as usual, as do their managers and friends and rock commentators spouting on about what it was like to record these albums. Moving Pictures is of course a masterpiece and we get to indulge in how songs were written and the overall sound was generated. The transformation from prog to commercial sound is discussed and there is a section on the production of the YYZ classic.

The unseen unaired footage is of particular interest including the influences of 2112, footage of performances of Something For Nothing, Neil warming up, Red Barchetta, Tom Sawyer, and YYZ, why they called it such and what it really is about. The band take out the scalpel and dissect each other in a kiss and tell section with humorous anecdotes.

This is a great supplement to the Beyond the Lightest Stage documentary. I recommend this for those who love the CA series and all Rush addicts such as myself. It is a fantastic diagnostic look at two quintessential Rush albums.

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