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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RUSH Moving Pictures Album Cover Moving Pictures
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LED ZEPPELIN Led Zeppelin IV Album Cover Led Zeppelin IV
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DEEP PURPLE Machine Head Album Cover Machine Head
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DEEP PURPLE Deep Purple In Rock Album Cover Deep Purple In Rock
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hard rock Music Reviews

BANG Mother / Bow To The King

Album · 1972 · Heavy Psych
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voila_la_scorie
Bang! or BANG were an American heavy rock band in the early seventies. Their first album, "Death of a Country" was not released on account of it being a concept album. So the band went ahead and recorded another album and it was released as a self-titled debut in 1971. I got this album as a double album along with their final seventies release, "Music", which was pretty disappointing as the heavy, almost Sabbath-esque riff rock from the debut had been abandoned. "Mother / Bow to the King" sits snuggley in between and I always wondered which way it leaned.

Fortunately for us early seventies heavy rock fans, it's heavy enough to drop like an anvil on "Music" and totally crush that acoustic pussy rock sucker. Oh, sure, this album is not heavy through and throughout. The song "Mother" starts off the album with acoustic guitar and sounds a bit down home at first. It's all foot-stomping and hand clapping. That is until about 1:30 when it turns into a foot-stomper, hand-clapper with a rock out electric guitar. "Humble" leads in with some gentle, clean electric guitar but this song also soon goes heavy rock around 0:55. At times the lead vocals resemble Ozzy's voice when coupled with those heavy guitar riffs. But then this dude, I'm not sure if it's Frank Ferrara or Frankie Glicken, is able to belt out the lyrics with more power than Ozzy typical gave.

Side one simply gets better with "Keep On", a grooving heavy rock number, and "Idealist Realist", which also hints a bit at Black Sabbath when the riff gets darker.

Side Two begins with a cover of "No Sugar Tonight" by The Guess Who. It sounds quite pretty until we get to the hard rock, power chord chorus. The Guess Who version is a dual track combined with "The New Mother Nature". Bang just stick with "No Sugar Tonight" but they do a pretty cool job of it. "Feel the Hurt" is a bit more like heavy country rock like some Nazareth songs and "Tomorrow" takes us into melodic hard rock with a catchy chorus. The final song, "Bow to the King" is a clean electric track, slow like a ballad but about a boxing champion. It's okay.

Well, there are enough cool, hard rock/heavy rock tracks on here to make this worth picking up for my collection. The only complaint I'd have is that - like many old albums - it sounds like the CD was cut from a nice piece of vinyl instead of a master tape. I don't know if there are other versions out there with a better sound. It's not bad but with ear buds you can really hear the tiny scratches and pops which I think don't belong on CD.

JUDAS PRIEST Rocka Rolla

Album · 1974 · Hard Rock
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The Crow
Curious debut of the great Judas Priest!

Here they typical sound of the band was not really developed, and they showed their influences which move from Black Sabbath to Deep Purple, among other symphonic rock and prog-rock acts.

The result is an eclectic and diverse collection of songs with some fine tracks (Never Satisfied, Run of the Mill, Rocka Rolla) with some big mistakes (the boring suite Winter, the strange Dying to Meet You), but far of the characteristic sound that would make them big in 1976 with Sad Wings of Destiny.

Best Tracks: Never Satisfied, Run of the Mill, Rocka Rolla.

My rating: ***

ASTERIX Asterix

Album · 1970 · Hard Rock
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siLLy puPPy
ASTERIX was a short lived band that was the precursor to Lucifer's Friend. The band formed in 1969 when British born vocalist John Lawton moved to Germany and met guitarist Peter Hesslein, bassist Dieter Horns, organist Peter Hecht and drummer Joachim Reitenbach, who were members of a band called The German Bonds. These Germans also played in many of the 60s beat groups such as The Giants, The Rattles and many anonymous studio albums released as budget albums through The Air Mail, Electric Food, Hell Preachers etc. After hitting it off with Lawton, the other members found the chemistry was perfect and released one self-titled album under the moniker ASTERIX.

ASTERIX is the logical precursor to the classic Lucifer's Friend sound. While not a progressive band per se, ASTERIX had amply revved up its hard rock creds sufficiently to take it all to the next level where they could develop all the progressive twists and turns of the next incarnation. This is actually a pretty good hard rock album with all the great markers of a great period piece that implements heavy rocking bass driven grooves, bluesy guitar riffing and accompanying percussive drive. While not really progressive at this point, there are touches of jazziness but most of all the music is highly melodic and augmented by Lawton's strong vocal performances which always add a whole layer of zest to a stellar hard rock performance.

Despite being German, ASTERIX sounded more English most likely due to Lawton's British beginnings. In fact, i wouldn't have been surprised if someone told me that this was a Free album or even an early album by The Faces before Rod Stewart jumped on board. While labeled as Krautrock due to nationality, this sounds more like classic turn of the decade British hard rock through and through with even a bit of Little Feat in the bluesy piano and organ use. As it turned out, ASTERIX was simply a warmup act and the moniker was scrapped fairly quickly in exchange for the more ominous Lucifer's Friend which would suit the band's new heavier sound and progressive qualities.

This is a really good album for the period and much better than i could've imagined since the 69-70 timeline has some gawd awful crap that was released in that period. This is highly melodic, heavily charged with all the musicians having honed chops that flawlessly deliver their heavy blues laced rock. Lawton is an under appreciated singer in the history of rock and roll as he had one of the strongest and most powerful voices that was perfect for the style. He even sounds a bit like Robert Plant at times without the whiny nasal thing and all. It's no wonder he would go on to play with Uriah Heep amongst others. ASTERIX was a great start but Lucifer's Friend was better. Nice beginning.

KISS Dressed To Kill

Album · 1975 · Hard Rock
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martindavey87
Another Kiss album, and not a lot different than the previous two. Short, sleazy, rock songs about the usual 1970’s affair... sex, women, partying, sex, drinking, women, and occasionally, something different, like sex, women and partying all at once.

It’s easy to see how this might have been a bit more revolutionary in the 70’s, but these albums sound pretty tame and immature by today’s standards. The production is decent enough, and the playing is consistently good (though again, pretty laid back), but after two previous albums of similar material, ‘Dressed to Kill’ just tends to bore.

‘Room Service’, ‘Getaway’ and ‘Rock and Roll All Nite’ (admittedly, an early Kiss classic), are the only really half-decent tracks here worth remembering. Still, it’s only half an hour long, so it’s not doing any harm, and Kiss will always be a guilty pleasure of mine, and everyone else’s.

With that said, despite three pretty mediocre releases, the next album is where my fandom for the band really begins, for it’s the album that changed my life. The best is definitely yet to come...

AC/DC High Voltage (International Version)

Album · 1976 · Hard Rock
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siLLy puPPy
AC/DC was formed in 1973 by the Young brothers, at the time Malcolm, Angus and George with a heavy rotating cast that found Bon Scott joining in 1974. The band released their debut album HIGH VOLTAGE in Australia in early 1975 and followed it up with their second “TNT” coming out at the end of the same year. In between the band found a more stable lineup with Phil Rudd joining in on drums and Mark Evans landing the role as bassist. While starting out more glam oriented with the 1975 version of HIGH VOLTAGE, the band had already developed their classic ballsy bravado that developed the bluesy hard rock into a sound all their own. Despite having carved out their own musical niche, the debut album didn’t quite have all the ingredients in perfect order yet and as a result the band quickly ironed out all the kinks that were fine tuned on “TNT.”

“TNT” found the band cranking out nine brash original rockers plus a Check Berry cover, whom the band claimed as a major source of inspiration. With this second release, the band became quite popular in their native Australia which attracted the attention of the international record label Atco which signed the band and preceded to release their international debut. Instead of doing something more sensible and concocting a new title, Atco decided to release a different version of HIGH VOLTAGE which would in reality take the seven tracks from “TNT” and only the two tracks “She’s Got Balls” and “Little Lover” from the Australian HIGH VOLTAGE. Just to make things more confusing, the title track “High Voltage” first appeared on “TNT,” NOT the debut!

When all was said and done, international HIGH VOLTAGE was nothing more than a compilation of the first two Australian albums which lifted the best tracks and compiled them into what most AC/DC fans of the world (including myself) have owned, loved and collected. To be honest, i have only experienced the Australian HIGH VOLTAGE in preparation for this review but in reality i have heard most of the tracks since many have been released as the compilation “74 Jailbreak” and elsewhere. International HIGH VOLTAGE is the much better product than the Australian debut. It shows the band in full bad boy boogie-woogie hard rock mode and already dripping in adrenaline fueled confidence. Graced by their garage rock sensibilities, AC/DC’s apparent middle-fingers-to-the-world attitude and hedonistic errancy found them being lumped into the punk rock scene as their debut hit the UK simultaneously as the burgeoning punk rock scene was getting underway.

While similar in many ways, the punk connection is one that the band bitterly deflected as they have always claimed that they were nothing more than a rock and roll band and accused punk of being nothin more than a fashion statement, not a musical one. The international debut of AC/DC found them instant success with tracks like “It's A Long Way To The Top (If You Wanna Rock 'N' Roll),” “Rock N Roll Singer” and “The Jack” proving to be some of their best known hits that have found their way into the AC/DC playlist long past the premature passing of the late Bon Scott. AC/DC delivered a completely different style of hard rock that stood out from pretty much everything else that came out in the 70s. While the Young brothers were Scottish by birth, Bon Scott added yet another Scottish touch as he was pretty much the only bagpipe player to perform in a hard rock band as heard on the opener “It's A Long Way To The Top (If You Wanna Rock 'N' Roll).”

While HIGH VOLTAGE isn’t the band’s best album, this combo version of the first two Australian releases was the perfect release to unleash on the world displaying their unique twin guitar riffing assault, Angus’ schoolboy persona and Bon Scott’s unique vocal style all coming together in perfect synergy. While the music is quite simple, it is addicting and dripping with attitude. AC/DC emerged as a band that took simple riffs, basic melodies and seemingly banal lyrics and animated them into a commercial powerhouse. While panned by the critics, the fans ate it up and catapulted the band to the top of the world in a very short time. The rest is history but outside of Australia, this is the album that started the whole ball rolling and the world has never been the same since.

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
Cover art Buy this album from MMA partners
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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