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:
  • 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

JUDAS PRIEST Rocka Rolla

Album · 1974 · Hard Rock
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DamoXt7942
Look at the mischievous, playful sleeve, and listen carefully to their well-matured stoner rock. JUDAS’ debut album “Rocka Rolla” should be positioned as one of pioneers of stoner rock, and it’s quite surprising that this stuff would get to be a historical cornerstone in 70s rock scene ... even for a debut creation of a British promising rock act. In those days this album got lots of 'negative' reviews which should have made the members sad. It's a pity their non-catchy heavy (not of metal) rock could not be approved by every fan of pop / rock, but let me say this hidden novelty must be re-evaluated and appreciated more and more.

Honest to say their composition is not so novel as their following one "Sad Wings Of Destiny" but we can taste such a monotonous heavy / stoner atmosphere only via this album (lacking of enthusiasm cannot be fit for Rob's falsetto voices though). The first shot "One For The Road" is sorta grand compilation of this whole album. Down-tempo, shoegaze, and depressive anarchism against popular rock for children can be fully heard. In "Run Of The Mill" are Rob's high-tone voices with magnificent passion, not under crying guitar sky but under bluesy stoner clouds. During 40 or more minutes is not any major key nor speedy metallic kick like their golden days. However, their musical attitude at that moment was never blurred. This undoubted identity of theirs should have been called as innovative, I'm sure.

MAGNUM Magnum II

Album · 1979 · Hard Rock
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martindavey87
Continuing exactly where 'Kingdom of Madness' left off, Magnum's second album, titled "Magnum II" (how original...), sticks to its tried-and-tested formula of 70's keyboard-based hard rock with progressive elements thrown in for good measure.

Magnum have never really been more than a small blip on my musical radar, although I was pleasantly surprised by how much I enjoyed their debut record. As it is, 'Magnum II' lacks the same energy and sense of fun that its predecessor has. There's some good songs on offer here, but there's also a few rather naff ones. And when you add in the cheesy lyrics and over-the-top vocal performances, as a whole there just isn't really anything of any major substance to inspire me to come back.

Brief highlights include 'Reborn', 'The Battle' and 'Great Adventure', though oddly enough, one of the more memorable songs is a bonus "acoustic" version of the song 'Foolish Heart', which is a jazzed up ballroom-style take on one of the albums more generic tracks. It features a brass section, a saxophone solo and an incredibly up-tempo rhythm that actually gets you quite pumped up. Why, oh why was this a bonus track?!

Overall, this isn't a terrible album, and Magnum have been able to at least grow on me a little, but this just doesn't have anything all that interesting going on. Listen to 'Kingdom of Madness' instead.

NIGHT SUN Mournin'

Album · 1972 · Hard Rock
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Unitron
What happens when you combine Black Sabbath, Deep Purple, and Led Zeppelin, and mix it together in a crazy early heavy metal album that was ahead of it's time and also fit nicely with other early 70's metal bands? You get the German Night Sun's sole studio album, Mournin'.

The German music scene during the early 70's was home to Krautrock, an experimental rock movement that birthed bands such as Can and Neu! as well as electronic pioneers Kraftwerk and Tangerine Dream. With Mournin' being produced by Konrad Plank, known for producing albums for many Krautrock staples, you would think it would fit into this scene. However, it's an amazing and blistering slice of early metal.

Night Sun immediately wants the listener to know that they aren't fucking around, as "Plastic Shotgun" is faster, heavier, and spits more than anything else from 1972. It sounds like what is probably the earliest example of thrash metal, having nearly the same force and aggression of an early thrash opening track like Metallica's "Hit the Lights". There's of course the Deep Purple-esque organ and Robert Plant meets Ian Gillian vocals that lets you know what year this is, but the main riff is jagged and crushing and would open a mosh pit right up had this been released more than a decade later.

That's the song that makes this album groundbreaking, but the majority of the rest of the album is up there with the best of early 70's heavy metal. "Got a Bone of My Own" begins with a three minute long dark and haunting ambient section that rivals the brooding atmosphere of Black Sabbath's self-titled song, before raining down gargantuan doom metal riffing that crushes the listener's skull. "Slush Pan Man" and "Come Down" follow similar suit, with the latter beginning more softly before bringing in the heavy artillery. "Blind" and "Nightmare" pick the speed back up, less proto-thrash but still blisteringly fast heavy metal/hard rock.

The last song, "Don't Start Flying", is a bit of an oddball. It still maintains the heavy riffing, but blends in a lot of horns that take a little while getting used to, but sometimes has the same swing of a song like Gentle Giant's "Peel the Paint".

If you're looking for some heavy, dark, and crushing heavy metal from the 70's, Night Sun's lone wonder of Mournin' is an essential listen. Will these guys ever reform? Who knows, and who knows if it will even be heavy metal if they do. As of now, they're a one album legend. And with an album as groundbreaking and amazing as this one, there is no problem with that. Hope you found this review helpful, feel free to comment!

AEROSMITH Permanent Vacation

Album · 1987 · Hard Rock
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voila_la_scorie
Possibly one of the best comeback albums ever?

"Done With Mirrors" (i.e. done cutting lines with mirror and razor?) was more like Aerosmith's came back album. "Yo! We came back. Here's our album. Dig it." But "Permanent Vacation" sounds like a real comeback album, like a band who is ready to burst through your living room wall and out to the pool-side for an all night party of blues rock meets glam in a style that no other band could ever hope to imitate.

Whale song, air raid sirens, Indian war cries, DRUMS and BOOM! Joe Perry's guitar delivers a tricky riff that sounds like his fingers would be falling over themselves. Brad Whitford backs it with a chugging riff and we're off with one heckuvan opening track. Steve Tyler is fully on top of his game, howling with his trademark scratchy throat style.

This is Aerosmith like you've never heard them before, and that's partly because they worked with a whole slough of, a whole slew of other musicians and song-writers, and partly because they were in the Little Mountain Studios with Bruce Fairbairn. To make the album a full-on performance, the band's hard rocking blues style was augmented with clarinet, trombone, trumpet, muted trumpet, saxophone, cello, mellotron, steel drums, and organ. And to what a result! The band sound like they've been injected with a mother load of MOJO!

After the stunning opener, the band hits us again with the catchy, sing-a-long chorus of "Magic Touch", a great upbeat, hard rocker. Then we go all bluesy and swinging with the brass and slide guitar of "Rag Doll". This song has less punch and more groove than the other two. Tyler gives us some scat near the end as a clarinet and muted trumpet carry us out.

Is it ballad time now? Not yet. "Simoriah" may not be the best track on the album but it slams down another powerful pop hard rock tune.

Then comes one of the big classic singles, "Dude Looks Like a Lady". What can you say? Full swing with brass, fat sound, rocking bluesy lead guitar. Instant hit!

Side one wraps up with the blues track, "Saint John", and man, Aerosmith simply mop the floor with all those hair bands that tried to go blues in the mid-eighties. Aerosmith are just proving the cool. Full sound. Awesome!

We got croaking frogs and a creaking rocking chair. We got a steel pedal guitar and harmonica. "And if I could / I surely would / Stand on the rock that Moses stood / I say whoa boy / Dontcha lie on the track-a-la-cka". Aerosmith just come up with a style that pays tribute to the blues of yesteryear and marries it with eighties hard rock.

"Girl Keeps Coming Apart" takes us back to the big sound of brass and rock with another loud, partying song. Highlights are the spoken parts at the beginning and near the end ("There she was / buns up and kneeling / I was a-wheeling and a-dealing / My ace-in-the-hole, so to speak") and that kick ass brass. How about that guitar solo? And the instrumental close out? Great loud-in-the-car song!

And at last the ballad. And what a power ballad it is. Powerful intro and then all sweet and wow! Tyler is awesome. One of the best power ballads of the eighties. The chorus has almost an early sixties love song feel to it but buffed up for the big sound of the eighties. Love the clean guitar solo, too. When I saw Aerosmith in Vancouver in '87, this song has not yet been released as a single and they didn't play it. Wow, eh? I remember Steven Tyler doing splits off the amp stacks and cartwheels while holding on to the mic stand. What a showman!

The title track now has us on the beach with steel drums and colourful banana shirts. Break out the margaritas, the pina coladas, and the tequila!

Someone had a request? Here's a cover of the Beatles' "I'm Down" done in rocking Aerosmith style. Great job!

The album closer is a puzzling one. "The Movie" is lead by a simple guitar melody and backed by a simple heavy beat. In one part, a voice speaks in a foreign language and then the music changes to remind me of the city scenes in "Blade Runner". Thumping drums and scratching records, the production team left no instrument unturned for this album and it worked wonders.

Agreed that this is not a metal album, but there's just so much going for this one with each song crafted carefully and just stellar playing. It's a freaking awesome party rock album!

If you like that sort of thing.

SAGA 10,000 Days

Album · 2007 · Hard Rock
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martindavey87
After a run of poorly-received albums over the prior decade or so, Saga released 'Trust' in 2006 to favorable reviews, which helped the band start to reestablish themselves and prove their relevance. And so it comes to the follow-up and to see if the band could capitalize on this newfound momentum and sense of revival, or if they'd fall back into the "has-beens" category, where they'd spent the best part of the last few years.

The answer lies somewhere in the middle.

'10,000 Days' is a solid album, no doubt. The songwriting and creativity doesn't quite match up to previous release 'Trust', but the band do still maintain a renewed vigor, with some energetic performances and instrumental acrobatics, especially between guitarist Ian Crichton and keyboardist Jim Gilmour. The music is keyboard-driven progressive rock at its finest, and the group show that, in a day and age full of virtuoso musicians everywhere, these guys still have the chops when it counts.

While this record does suffer from a fair amount of filler material, there are some strong compositions that make this a worthy purchase. 'Lifeline', 'Book of Lies', 'Sideways', 'It Never Ends' and instrumental track 'Corkentellis' may not rank among any of Saga's greatest hits, but they're still damn good songs none-the-less.

While '10,000 Days' isn't perfect, it's still a good album by a newly-revitalized band. It's unlikely to convert any new fans, but people who enjoyed 'Trust' might still see potential in this group to continue releasing solid music. "Good, but non-essential" sums it up perfectly.

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
Cover art Buy this album from MMA partners
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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