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.

Inclusive Hard Rock Genres

Heavy Psych Also known as Psychedelic Hard Rock or Hard Psych, heavy psych is a fusion genre between hard rock and psychedelic rock developed by acts such as Blue Cheer and Vanilla Fudge in the late 1960's. As such many early heavy psych acts can also be found under proto-metal on the MMA. Like with all hard rock on MMA, heavy psych acts are only included if they have been deemed to have a relevance to heavy metal music. Examples of later heavy psych acts include Blood Ceremony (whose work also leans into doom metal), Purson and Jess and the Ancient Ones.

Heavy Prog Also known as Progressive Hard Rock, heavy prog acts add a harder edge to their core progressive rock sound, which may or may not include metal elements as well, but are still primarily progressive rock artists. Like with all hard rock on MMA, heavy prog acts are only included if they have been deemed to have a relevance to heavy metal music, though as always this distinction need not apply to every release the artist has made. Examples of acts in the MMA database with heavy prog releases include Porcupine Tree, Arena and Touchstone.

Sub-genre collaborators (+ child sub-genres (except Heavy Alternative Rock) & shared with Heavy Metal and Glam Metal):
  • 666sharon666 (Leader)


Biography written by Time Signature. The Inclusive Genre section written by adg211288.

hard rock top albums

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hard rock Music Reviews

HÄLLAS Excerpts From A Future Past

Album · 2017 · Hard Rock
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siLLy puPPy
HÄLLAS is one of those Swedish retro prog bands that has been getting a lot of attention in recent years for mining the 70s prog and hard rock world and adding some of the more modern production technologies along with influences from various genres ranging from black metal to synthpop. This band was formed in Jönköping in 2011 with the stable lineup of Tommy Alexandersson (bass, vocals), Alexander Moraitis (guitar), Marcus Pettersson (guitar), Kasper Eriksson (drums) and Nicklas Malmqvist (keyboards).

The band spend a few years honing their chops and released the self-titled EP independently in 2015 and while that four-track debut perfectly showcased the band’s intent of bridging the gap between 70s Black Sabbath, Uriah Heep and Wishbone Ash, the tracks sounded a little too retro for my tastes although these guys clearly displayed their fiery passion for the retro melodic hard rock sounds that made the 70s such a wonderful musical place to begin with! While touted as a progressive rock band, the debut EP was clearly missing that aspect.

Two years later in 2017, HÄLLAS finally unleashed its debut full-length album titled EXCERPTS FROM A FUTURE PAST which saw the band develop its sound into something more unique and crafted a more sophisticated blend of their influences which found its way onto the Swedish indie label The Sign Records. While the band’s proclivities are clearly rooted in the 70s hard rock action of Uriah Heep, the band dropped many of the Sabbath aspects and instead focused on the organ driven prog of early Uriah Heep with some of the blues rock inclinations of Wishbone Ash. Also more emphasized in the mix were ample uses of progressive rock as well as the organ parts adding more textures beyond a mere atmospheric backdrop.

With so many prog acts taking the leap into oft perceived complex pomp, HÄLLAS on the other hand keeps such excesses at bay and prefers the time signature deviations and overproduced slickness to be kept on a leash. What HÄLLAS focuses on instead are catchy hooks based in 70s inspired bluesy hard rock with the crossover prog characteristics shining through via organ driven technicalities and somewhat extended compositions at least on the ending tracks “Shadow of the Templar” and “Illusion Sky,” however for the most part these tracks are based on simple guitar riffs in the vein of 70s bands like Rainbow, Wishbone Ash, UFO or Uriah Heep. Alexandersson’s vocals display a tender vulnerability at odds with some of the brasher bravado that the 70s exhibited and the entire mood is a bit on the spacier side with subject matter revolving around medieval fantasy worship.

Gosh, these guys even look the part and if someone told you this band really was from 1974 or somewhere around that time, you could totally believe it! While many such retro bands go the full mile to play the part by recording on analog equipment, i’m not sure if HÄLLAS went to such extremes however given the warm organic sounds that perfectly replicate the guitar tones, groovy bass lows and period piece organ sounds, i would not doubt it for one minute if that was the case. The entire album that exceeds 42 minutes is actually rather dreamy for a hard rock album as the vocals are fairly monotonous and not even a tiny bit dramatic and the organ sounds are always providing an ambient backdrop if not outright taking the lead. The guitar riffs go up and down the scale while the bass and drum provide a stable if unremarkable rhythmic background.

If period piece retro rock is your thing with the additional touches of prog lite then HÄLLAS will be your up your alley but to be honest i’m not as impressed as many seem to be about this band. Yeah, all the boxes are checked for that authentic feel but when it comes down to it the compositions are hum along in a similar manner without a lot of dynamic changes. There seems to be missing that extra mojo that makes this style of music truly compelling and while the band is quite competent at crafting an album’s worth of retro pseudo-prog from the 70s, it just feels a little too safe for my liking.

HÄLLAS Hällas

EP · 2015 · Hard Rock
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siLLy puPPy
As far as progressive rock goes, Sweden is the gift that keeps on giving with seemingly no end in sight of extraordinary bands emerging from this nation of just over 10 million inhabitants. Emerging from the interior city of Jönköping is yet another band that has been catching the world’s attention in the last few years. HÄLLAS is one of those retro bands that adapts older sounds to the newer sonic palettes of the 21st century.

The band formed in 2011 and was inspired by various artists ranging from Wishbone Ash, Kebnekaise, Anekdoten, November, Camel as well as disparate genres ranging from black metal to synth pop. The lineup has remained the same since the band’s inception with the members Tommy Alexandersson (bass, vocals), Alexander Moraitis (guitar), Marcus Pettersson (guitar), Kasper Eriksson (drums) and Nicklas Malmqvist (keyboards).

This four-song self-titled EP was released independently in November 2015 and set the stage for the retro sounds that HÄLLAS has amalgamated into its own with a little Wishbone Ash blues rock mixed with Black Sabbath heft which makes this feel like a relic from the 70s with those classic guitar stomps, bluesy guitar licks and that familiar vocal style that sounds more like something from the Blue Oyster Cult but overall the musical flow comes off more as something Uriah Heep might have released in the early 70s.

HÄLLAS needed a bit more time to develop its sound a bit as this earliest offering is a bit too retro for my tastes and sounds more like a tribute to the past than anything innovative but yet this little EP sets the stage for greater things to come and the band nails these retro sounds quite well which accompanied by the benefit of a modern production job makes this a delight to listen to however at this point HÄLLAS is just getting warmed up. This one is probably best for those who have already warmed up to the band’s sound but it’s not a bad place to start either since it’s only 24 minutes long.

LED ZEPPELIN Led Zeppelin III

Album · 1970 · Hard Rock
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Dellinger
For me, their best album so far. Starting up with an instant hard rock classic in Immigrant Song, the album soon comes to a more folky mood for most of the album, most of which are really nice ones (though some that appear on the later Unledded album I think work even better with that treatment), and it's got one of my very favourite Zep songs, as well as my favourite blues song ever (not that I know all that much about that genre, anyway). Unfortunatley, it's still got a few noisier songs that are not really my cup of tea.

UNRULY CHILD Big Blue World

Album · 2019 · Hard Rock
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Kev Rowland
After disbanding around 1993, the original members of the legendary melodic hard rock quintet Unruly Child reunited to produce a brand-new album for Frontiers Records in 2010, with subsequent releases following in 2014 and 2017. Marcie Free (vocals), Bruce Gowdy (guitars), Guy Allison (keyboards), Larry Antonino (bass) and Jay Schellen (drums) are now back with the latest release, ‘Big Blue World’. I think I first came across the band at the time of their third album, by which time there had been some line-up changes and Mark Free was one of those who had left, releasing a solo album under his original name in 1993 before becoming Marcie Free, in time for ‘Tormented’ in 1996. It takes a heck of a of guts to come out as transgender at any time, but to do it more than 20 years ago when he was already known as a singer shows huge cojones and I tip my hat to him.

This album is exactly what I expect from Unruly Child, namely melodic hard rock, with plenty of emphasis on all three words. There are lush harmony vocals to support someone at the front who is singing her heart out with total control, all combined with superb hooks. We get power ballads, slower numbers, more in your face songs, but all with total control at all times. "For this album, there was a conscious decision to merge the best of what Unruly Child does, while still evolving,” says Guy Allison. "You know, melodic rock, but with that unique Unruly Child approach. It's hard for us to stand still and repeat ourselves, but we also can’t help but sound like ‘us’, irrespective of any artistic lateral movement. While I’m sometimes surprised what catches the ears of our fans, I think that the album has something for everyone."

And you know what, he’s right. This is a classy and classic melodic rock album with songs that make you think, and others which are perfect for driving along and singing to at the top your voice. Well worth seeking out for fans of the genre.

BLUE ÖYSTER CULT The Columbia Albums Collection

Boxset / Compilation · 2012 · Hard Rock
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Warthur
This is basically your one-and-done Blue Oyster Cult collection, spanning their entire career with Columbia Records from their debut album to Imaginos. (Yes, in theory they have produced some material since then... but none of it is particularly significant compared to their 1970s and 1980s work.) You get the studio albums, you get the official live albums, you get a nice rarities collection, you get Radios Appear: the Best of the Broadcasts (a collection of 1980s live material which is a decent fourth live album - early editions of the set came with a code to download a now-pulled collection called Harvester of Lives of four live shows, but these are just the shows from which the songs on Radios Appear were selected and you don't really need more than that single disc in terms of that material).

As far as the first five studio albums plus Some Enchanted Evening go, the editions you get here are the standard remasters that have been around for some time, with the same bonus tracks. Other albums are present in new remasters, giving them a long-overdue tidy up, but don't have bonus tracks (one suspects that much of the material which would have served as such ended up on the Rarities and Radios Appear discs anyway). All of this is served up in a selection of cute little cardboard LP sleeve replicas - which breaks some of the gatefold artwork in some cases, but eh, when the value's this good that's no big deal.

Even superfans will want this collection for the rare cuts on there - and those who are less keen on BOC but still enjoy them enough to want a selection of their albums will find there to be plenty to explore here. If you are going to do a cheap and cheerful collection of a big fat chunk of a prolific band's discography, this is how you should be doing it.

hard rock movie reviews

THE WHO Quadrophenia: Live In London

Movie · 2014 · Hard Rock
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rdtprog
I was not sure before purchasing this DVD, if I was going to enjoy a live show with the complete double album of "Quadrophenia", because it was a long time ago that I listen to this album and if I remember, I didn't enjoy all the songs. Many years later, I didn't change my mind about this, there are some really good songs, like the title track, "Dr. Jimmy", "The Rock" and "Love Reign Over Me". The other tracks are not bad for what they are, good rock songs, but not as good as some songs of their entire discography. Fortunately, the show has some of those songs as bonus performance, including "Baba O'Riley", "Who are You" and "Won't get Fooled Again"

There's a lot of projections on the screen of the band from the old days. Nice touch to have included John Entwistle with a solo of one of his performance in the song "5:15". Not only you can see him on the screen, but you can actually hear his solo. In fact, his solo sounds more alive than the bass sound of the actual player Pino Palladino, who is rarely captured by the cameras and low in the mix. Also, during "Bell Boy", Keith Moon is singing on the screen.Those projections of the old days performances are only present in the "Quadrophenia" album and not in the bonus songs at the end. We have many musicians on the stage including horn players, Simon Townsend who signs like Pete in "Dirty Jobs". Also two keyboardists, but it's mostly the piano that we hear during this show.

It is easy to rate this, can't be 2 stars because it's not only for collectors, and can't be 4 stars because, that is not a progressive rock show. So it's a good 3 stars, nothing more. But those who enjoy "Quadrophenia" will have a ball with this DVD!

DEF LEPPARD Classic Albums: Hysteria

Movie · 2002 · Hard Rock
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progshine
The worst episode of all Classic Albums series (and I watched 25 of them)!

What is great about the series is that they explain track by track about the albums and show these tracks on a studio enviroment stripping them down and showing us details. Not here.

Hysteria have 12 tracks, but according to this documentary the album have only 7 tracks, and half of it the only feature on the movie is some video or live footage of the song, sometimes the band says 3 words about it though.

As I said, this series is supposed to go deep into Classic albums in the history of music and tell their secrets and details, and most of times they do an excellent job. Not here.

Not to mention that Hysteria might have sold 12 million copies but this is not a classic album at all, just a popular one in 1987. And we know this story in Pop music, right?

RUSH Replay X 3

Movie · 2006 · Hard Rock
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AtomicCrimsonRush
"Replay X3" is a terrific box set of the 3 earlier Rush VHS concerts and it has been mastered to provide great picture though not all widescreen unfortunately. The sound is excellent without any noteable dropout unlike the VHS antiques. The packaging is excellent, booklets included and all original art prints on the seperate covers. There is also a bonus CD of Grace Under Pressure which is worthwhile.

DVD 1 is Exit...Stage Left, a 1 hour concert from the early years or Rushtory when they had long hair, and features a strong setlist with the likes of Limelight, Tom Sawyer, and a rare appearance of the brilliant Xanadu. The usual suspects are here such as the wonderful Red Barchetta and quintessential Freewill along with lighters in the air stalwart crowd pleaser Closer To The Heart. It is always great to see them having fun with the instrumental YYZ and a real treat is to hear the medley at the end with By-Tor And The Snow Dog, In The End, In The Mood and 2112 edited together masterfully. The VHS or DVD delivers what it promises, Rush in their hey day with great quality sound and editing. The band look young of course and jump around a lot more and there were no signs of chicken rotisseries or clothes dryers back then, but a heck of a lot of lighting and laser effects more than makes up for it. The concert also comes with a lot of interview footage and voice overs between songs, and some footage of the band backstage while the songs play and that is a treat compared to the usual straight concert footage. Too short but quite sweet. A real blast from the past that will please Rushaholics.

DVD 2 is Grace Under Pressure, another of the earlier concert performances of Rush running for about an hour with a lot of songs from "Grace Under Pressure" of course and it is nice to hear these. It begins with a glorious opening with The Spirit Of Radio, and a noticeable glowing effect on the band especially the white shirts, as if Vaseline had been rubbed on the lens. This is the 80s and this effect was prominent on film clips of artists such as Nik Kershaw and Dire Straits or Duran Duran. It looks kind of weird on Rush as they were never pretty video boys. Unfortunately the fuzzy effect is prevalent throughout the recording, and it kind of annoys me, especially the way the bright lights phase over constantly. Lifeson wears a white sports jacket looking like the mad scientist of metal, Peart has a white T and red cap that he loses later, and Lee wears grey suit jacket and white T. The hair dos are 80s personified; Peart has a rat tail, Lee has a mullet and Lifeson has a Flock of Seagulls quiff. Oh well, it is what it is. The music is brilliant.

The Enemy Within is rarely heard live but sparked my memory and it's a great song. The Weapon is always fantastic, one of my favourites, and it begins with a Dracula character on screen telling people to put on their 3D glasses. Witch Hunt begins with a screening of a bunch of cultists burning books with torches. It is a great song from "Moving Pictures" recently heard in the Time Machine concerts. Lee's vocals are excellent throughout and the guitars are incredible. New World Man is another one rarely heard live recently and it is OK though not one of the better tracks from "Signals". Synths are heard here though no one seems to be playing them, so I suspect some recorded music was used. It was the age of the video clip and a clip is shown of some animation and a boy looking up to see a huge airship in the sky. Distant Early Warning follows and it is a great song from GUP, that has become a concert favourite. The clip shows the boy riding a missile and the laser light show follows.

Red Sector A is an awesome song and I loved hearing it on this DVD again, with one of the strongest melodies of the Rush catalogue. The laser show looks great here. The lyrics by Lee are terrific and when Lee sings "smoking gun" a massive explosion goes off causing the crowd to roar. The lyrics are actually based on family experience and is a homage to his mother and father that survived the holocaust. Though Lee re wrote the lyrics to have a broader perspective that it may apply to any holocaust like situation such as Rwanda. Closer To The Heart is always a crowd pleaser and the crowd know it well enough to drown out some of Lee's vocals. There were no mobile phones back then but plenty of lighters go up in the air.

The obligatory medley is here with a terrific merging of some classics, YYZ, Temples Of Syrinx, and Tom Sawyer. During YYZ the crowd are obsessed with air drumming throughout. Tom Sawyer features the Moving Pictures animation on the screen. It is nice to hear Lee be able to reach those high notes too in the chorus.

Vital Signs is one I have not seen live on other concerts till the "Moving Pictures" live concerts of recent years. When Lee takes off his jacket his white T glows like the rest of the band's halos. It is a weird effect really and perhaps the worse part of the DVD. It ends with Finding My Way and In The Mood, from the earliest album. it is a great crowd participation song with the crowd visible throughout, a guy even lights up a pipe at one stage. Overall, this is a great snippet of songs from the Rush 80s years, worth checking out for certain even if for nostalgia if nothing else.

DVD 3 is A Show Of Hands, a 90 minutes concert experience and as such way better than the previous DVDs available, namely "Exit Stage Left" and "Grace Under Pressure". It is excellent also due to the use of animations on the big screen and the overall setlist. The songs are from "Hold Your Fire" mostly and I believe they are better heard live than on that album so that is a drawcard of this particular DVD. It also has a very solid quality sound throughout and the band look great and have heaps of fun. From "Hold Your Fire" the songs appear, Mission, Prime Mover, Force Ten, and Turn The Page so there is a lot from their latest at the time.

Closer To The Heart is always present of course along with quintessential Tom Sawyer, and The Spirit of Radio. I always love to hear the magnificent Red Sector A and hard rocking Force Ten, and it was great to see them play Mission, another one rarely heard live on these DVDs.

Marathon, Territories and The Big Money from "Power Windows" are good rockers for the crowd to get into. The drum solo by Peart is terrific, with his vibes section and patented cymbal jazz splashes along with some incredible triplet work though his drums are still stationary in this era, and not as many.

The concert ends with a brilliant medley 2112, The Temples Of Syrinx, La Villa Strangiato and In The Mood. Overall a strong concert, one of the best live documents of the band and worth getting hold of above the rest.

The Grace Under Pressure Bonus CD, is a previously unreleased audio from the newly remastered Grace Under Pressure concert soundtrack and it is a fantastic Rush sound.

"Replay x3" is definitely worth getting as it houses 3 very good concerts of the early years and these are only available now with this set released in 2006.

RUSH Exit...Stage Left

Movie · 1981 · Hard Rock
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AtomicCrimsonRush
Exit...Stage Left is a 1 hour concert from the early years or Rushtory when they had long hair, and features a strong setlist with the likes of Limelight, Tom Sawyer, and a rare appearance of the brilliant Xanadu. The usual suspects are here such as the wonderful Red Barchetta and quintessential Freewill along with lighters in the air stalwart crowd pleaser Closer To The Heart. It is always great to see them having fun with the instrumental YYZ and a real treat is to hear the medley at the end with By-Tor And The Snow Dog, In The End, In The Mood and 2112 edited together masterfully. The VHS or DVD delivers what it promises, Rush in their hey day with great quality sound and editing. The band look young of course and jump around a lot more and there were no signs of chicken rotisseries or clothes dryers back then, but a heck of a lot of lighting and laser effects more than makes up for it. The concert also comes with a lot of interview footage and voice overs between songs, and some footage of the band backstage while the songs play and that is a treat compared to the usual straight concert footage. Too short but quite sweet. A real blast from the past that will please Rushaholics.

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.

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