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.

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hard rock Music Reviews

STYX Pieces Of Eight

Album · 1978 · Hard Rock
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Warthur
On The Grand Illusion, Styx did a fine job of walking the tightrope between poppy AOR and prog-tinged hard rock, and on Pieces of Eight they try to do much the same. As with its predecessor, it's a carefully judged balanced: there's just enough hard rock touches to make it feel credible in that arena without compromising the radio-friendliness, and just enough little flourishes to give a hint of prog whilst still prioritising pop hooks over prog complexity. (That said, going terse can bring its own benefits: on I'm OK the band cram a bunch of little movements into under six minutes, yielding a song which gives the feeling of a multi-part prog epic without demanding the runtime of one.)

This sort of alchemy makes them exactly the sort of band the term AOR was coined to describe - because they're not prog rock or hard rock or pop rock or soft rock to be unambiguously described by any of those terms, but are enough like all of those things that they're clearly some flavour of rock aimed at a somewhat more mature audience than more singles-oriented genres.

At the same time, "AOR" tends to be associated with very commercially-oriented material, but that's a little unfair here. Sing For the Day isn't the sort of song you do expecting it to be a hit, and likewise if you were just trying to churn out viable radio material the 1-minute instrumental The Message is a weird thing to spend time on; in 1978 if you were wanting to chase the big money you'd be making disco or new wave. (Styx would eventually do exactly that, but they don't do it here.)

In fact, you could argue that despite being as radio-friendly as it is, Pieces of Eight is commercial despite itself - it isn't necessarily being anti-commercial, but it is being anti-bandwagon. It's carrying the torch for progressively-tinged hard rock in an era when many bands working that style were shifting away from it - Lords of the Ring puts me in mind of the more grandiose efforts of early Queen, for instance, who this same year were putting out material like Fat Bottomed Girls. On the whole, the album doesn't capture the same lightning in a bottle as The Grand Illusion, but it comes very close.

VIRGO Virgo

Album · 2001 · Hard Rock
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lukretion
Released in 2001, Virgo is the fruit of a collaboration between two outstanding musicians in the power metal world, Andre Matos (Angra) and Sascha Paeth (Heavens Gate). The two musicians are here accompanied by a number of guest musicians, most of them coming from Paeth’s inner circle (his producing buddy Miro plays keyboards, Robert Hunecke-Rizzo plays drums). With songs penned by both Matos and Paeth, one may be tempted to guess Virgo is some type of power metal super-project, perhaps at the intersection between Matos and Paeth’s main bands. However, Virgo defies expectations and is in fact not a metal album at all. Instead, the two musicians blend together a variety of non-metal influences, from blues, to rock, to orchestral pop and even a touch of prog rock.

The heterogeneous influences create some nice variety which makes this a relatively easy album to listen to. The approach is light and balladish, with only few moments where the pace picks up and the guitars have bite (“Baby Doll”, “Blowing Away”). The quality of Paeth’s guitarplaying and Matos’ vocals are unquestionable and the album is well played and well produced.

Although the album flows away pleasantly, I cannot help but feel underwhelmed by what I hear. There are only very few songs that are truly interesting on this record. The first two tracks are by far the best of the lot. They are both symphonic proggy affairs, with big melodies and some impressive vocal histrionics by Matos. The rest of the album is fairly bland. In truth I struggle to see the relevance of most of the music presented here and it’s not quite clear to me what Matos and Paeth were trying to do. The run-of-the-mill blues rock of “Take Me Home” and “River”, the tasteful but inoffensive pop of “I Want You to Know”, the big band pop of “Fiction” where Matos attempts his best Sinatra impersonation, they all add extremely little to either their respective genres or to the two musicians’ output.

I am not criticizing the fact that Matos and Paeth attempted to play music that is different from what they play with their main bands. To the contrary, I think it’s great when musicians experiment with something outside of their comfort zone. But Virgo is so terribly pedestrian and unimaginative that it hardly qualifies as an experimental project and it ultimately feels like a waste of talent. If you want to listen to some blues rock or pop, there is so much better out there than what you can find on this album. If you want to listen to Matos or Paeth outside of their main bands, there are also better albums than this. My recommendation is to give this one a pass.

BUCKETHEAD Pike 307 - Mercury Break

Album · 2022 · Heavy Alternative Rock
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siLLy puPPy
Although BUCKETHEAD has slowed down in recent years, he still cranks out more releases than many other artists out there. While hundreds were released back in 2015 now in 2022 the chicken lover is only on his fifth album in 2022 which is titled PIKE 307 - MERCURY BREAK.

Like all PIKEs, this one is all instrumental and a one-chicken show. This one is short as it only clocks in over 27 minutes. This one features only two tracks, the 23-minute plus title track and the tiny-in-comparison “Echoing Unicorn.” Ah, i love it when unicorns echo echo echooooo.

For the majority of these PIKEs the chicken lover hovers between angsty alternative metal and a softer form of heavy alternative rock of course those are hardly the only genres he covers but the vast majority fall into either of these. This one is more on the heavy rock side of things.

The cool sounding title track is a nice break from some of the monotony of recent PIKEs. Yeah this one has the same repetitive guitar riffs and accompanying bass and drums but the atmosphere and production is a bit airy with even a bit of processed vocals in the mix.

The guitar tones are pretty cool and some synthesized sound effects are just what the doctor ordered to keep this from being too repetitive. Even the drumming is a bit more complex than the usual canned drumbeat. It actually sounds as if a live being is pecking away on percussion.

Yeah, perhaps the title track is longer than i needs to be with the same receptive riffs chugging along after each breakdown but it is more interesting than normal with some nice processed guitars, a few time signature and tempo deviations and overall atmospheres. Decent.

“Echoing Unicorns” insinuates a psychedelic space rock with trippy reverb and fantasy fueled freakiness but is in fact another one of those heavy alt rock guitar riffing sessions in the vein of the title track with processed talk box vocals in tandem with the guitar. The sound effects are pretty cool but not OMG so. Unlike the title track, this one is the perfect playing length.


Overall this PIKE is a nice subtle shift from previous ones. BH has been ramping up the production values and this one has some interesting atmospheres and cool sound effects. Now he needs to work on more interesting compositions overall. It’s still just repetitive riffs on overdrive. This is a decent PIKE but it’s been a while since i’ve been blown away.

EARTH Pentastar: In The Style Of Demons

Album · 1996 · Stoner Rock
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Unitron
After taking doom to its droning breaking point, Earth joined in with the likes of Fu Manchu and Kyuss in perfecting the art of desert rock. The whole album just bathes in warm, raw, and gravely riffs, and it's no better on display than on the classic Tallahasse.

This album couldn't have had a more fitting cover. It sounds like a roaring motor, one that's old and worn, yet never gives up and with care lasts you through any blazing heat. All I see when I listen to this album is driving this sweet green ride across the desert, but it breaks down every so often. I have to keep getting out to get the engine purring again, but it's all worth it for the experience and the sound.

GHOST IMPERA

Album · 2022 · Hard Rock
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Kingcrimsonprog
Swedish Rock/Metal band Ghost return in 2022 with their fifth full-length studio album, Impera, an empire themed three-quarters-of-an-hour journey through various musical twists and turns. There are three brief intros/interludes and nine “real songs” including epic stadium-destined power balladry, weird creative diversions, and some big bouncy anthems.

No two Ghost albums are alike, and this album doesn’t sound much like their previous album Prequelle, nor indeed any of the albums that came before that either. They have evolved markedly over the course of their career, and you could make a solid argument for any one of their albums being their best one.

If you are expecting a St. Vitus or Pentagram album, because someone once mentioned the word “doom” or “occult” to you in reference to Ghost several years ago, then this album might be a bit of a shock. This album is perhaps their brightest, shiniest, most “stadium” sounding record to date. The media has been quick to throw out Bon Jovi, Def Leppard and Van Halen comparisons, and in all honesty, those do seem fairly close to the mark. They don’t sound specifically like any one of those bands, but there are tinges of the feeling they evoke – just mixed with dozens of other influences. Ghost are such a melting pot and no two listeners will describe it exactly the same way. You’ll be picking up hints of all sorts of different reference points, from ‘60s and ‘70s Psychedelic and Prog music, to that ‘80s MTV sound, to classic Hard Rock, and maybe even bits of Ozzy and Dio, and all sorts of other things. In addition to all the rock and metal, Tobias has also always had a big ear for pop music, and the 70s/80s pop stylings are dialled notably up. The producer, Klas Åhlund, has worked in various capacities for people like Madonna, Kylie Minogue, Britney Spears, the Sugababes, Paloma Faith and numerous others. I’ve heard it described in all sorts of different ways, from Dr. Feelgood by way of “Mama Mia,” to Mercyful Fate covering “Panama,” to the alternate reality where Rabin-era Yes wrote The Black Album.

The mixture of pop, rock and metal has always been a cornerstone of the Ghost schtick, and the ratio and specifics change slightly each time, but it always sounds like Ghost. I would be hard pressed to say you would ever dislike this if you liked any of their previous work, even if it is sonically quite a far cry from Opus Anonymous.

It is hard to pick highlights, because there are only 9 real songs, all of them serve a specific purpose in the journey, three of them were singles anyway already (at time of writing) and none of them are skippable. Its quite a tight, succinct, well-paced, fat-free affair. Definitely the kind of album you listen to in one whole sitting from start to finish. That being said, I’ve always loved the obvious “hits” like “Square Hammer,” “Kiss The Go-Goat” and “Rats” from other releases, so “Hunter’s Moon” is very noteworthy for me. The opener, “Kaisareon” doesn’t fit that previous “hit single” mould, but its supercharged hook after hook after hook approach (its almost like it has 4-5 different album defining choruses in one single song) is a standout in a whole new way. From the reaction it is getting in the media, I can foresee “Darkness At The Heart Of My Love” being a massive concert favourite, and every time I listen to it, it feels important somehow, like some sort of milestone moment.

As usual, Ghost deliver a great new album that gives more of what we want, in quirky and unexpected ways, and sounds exactly and uniquely like themselves while both never repeating themselves and also sounding like a Jukebox of dozens of other disparate things you like or at least recognise from elsewhere. As usual, Ghost deliver a top notch set of songs that will stick with you for years to come, that you are desperate to hear in the live setting, that you couldn’t imagine a playlist without. As usual, within the first few listens, you’ll be convinced its an album of the year contender.

hard rock movie reviews

KISS Kiss Meets The Phantom Of The Park

Movie · 1978 · Hard Rock
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Vim Fuego
KISS have long had a reputation for doing anything for a buck, and getting their name out in public. There are KISS coffins, er… sorry I mean KISS Kaskets, KISS cologne, KISS checkers, KISS Visa cards, and of course, the KISS comic books. Is it over-the-top tacky marketing of image over substance, or is it capitalism and market forces in action, and simply giving people what they want? With KISS, it’s an unclear mixture of both.

The Marvel Comics Super Special 1977 comic book saw Space Ace, the Demon, the Starchild, and the Catman battling villains Dr. Doom and Mephisto with their superpowers. The comic even has the band members’ blood mixed in with the ink. And so what does every comic book superhero want? A live action movie of course.

So the world got “Kiss Meets the Phantom of the Park”, which first aired on the NBC network on 28 October 1978.

It’s like an overlong live action episode of Scooby Doo, but without the stoner humour. The plot is a bit convoluted. KISS are playing a series of shows at an amusement park. However the park is inhabited by a mad scientist who is supposedly developing animatronic robots for the park. But of course, he’s mad and therefore evil, so he’s creating robots of real people. He creates a Demon Gene robot which smashes up the park. While the band are busy performing, another robot is sent to steal their talismans, from which their superpowers come. And then it starts to get silly and confusing…

There’s more than half an hour of snoozefest before there’s any “acting” from the band themselves. None of the four had any acting experience, and the stilted delivery of their dialogue shows. Originally, all Space Ace was scripted to say was “Ack!” When the real Ace found out, he threatened to pull out unless he got some more lines. After demanding more lines, Frehley also didn’t show for filming some days, so his stunt double filled in. Peter Criss’ Catman lines were mostly feline puns, and his voice ended up being overdubbed anyway, as he didn’t turn up for looping (re-recording lines in post-production), and his broad accent. Gene’s Demon voice ended up either a demonic roar or a Satanic hiss.

Despite all the cheap and nasty sets, effects, and costuming, the fight scenes are actually pretty entertaining. There’s a kung fu fight after one of the concerts onstage and in the empty arena, and there’s a great slapstick/comic book-style brawl against various classic horror movie monster robots. And of course, there’s the climactic KISS robots vs KISS superheroes fight in front of a crowd going wild.

There’s concert footage interspersed through the movie. These parts offer sweet relief from the hammy acting. It was a real concert at a real theme park, set up especially to be filmed for the movie. After the real concert, the band also lip synched several tracks for filming. As you’d expect from KISS, the live performances are flamboyant and over-the-top. Perhaps a more traditional concert movie would have been a better idea?

So how did it all turn out? It was a fucking disaster of course! KISS hated it. For years, after, it was forbidden to mention the movie to anyone in the band. Gene Simmons compared it to “Plan 9 From Outer Space”, often considered the worst movie of all time.

Fans hated it. It got a worldwide release in theatres to a pretty tepid response. It was oddly popular in Australia, but this was probably because free tickets could be obtained by cutting 20 diamond shaped coupons from an ice confectionery cup called an "Icee" and pasting them onto a printed sheet.

KISS fans being what they are, eventually warmed to the movie. It slowly gained cult status, and was released on DVD as part of the “Kissology Volume Two: 1978-1991” box set. It’s one of those movies you see to say that you’ve seen it, but won’t remember well, and definitely won’t remember for the right reasons. The thought of a second viewing is a brand new horror show all of it’s own…

DEEP PURPLE The Video Singles

Movie · 1987 · Hard Rock
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martindavey87
Don’t get me wrong, I love Deep Purple, and I really enjoy the songs on offer here, but these videos are all pretty hilariously bland and uninteresting, and sure reflections of the times and music genre. Besides that, this DVD is barely half an hour long, and comes with no extras, and all these videos are available on YouTube. Not even some additional chit chat between the videos. So there’s really no point in owning this unless you’re an OCD collector like me, who needs to own everything. And even then, it only takes up space.

But I’m a collector, and I only paid 50p for this. So why not?

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.

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