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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hard rock Music Reviews

VOLBEAT Rewind, Replay Rebound

Album · 2019 · Hard Rock
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UMUR
"Rewind, Replay Rebound" is the 7th full-length studio album by Danish heavy rock/metal act Volbeat. The album was released through Universal/Vertigo Records in August 2019 just little over three years after the release of "Seal the Deal & Let's Boogie" from June 2016. Three years spend touring and gaining more and more fans and commercial success. "Rewind, Replay Rebound" is the first Volbeat album to feature bassist Kaspar Boye Larsen. Anders Kjølholm left Volbeat before the recording sessions for "Seal the Deal & Let's Boogie (2016)", but Larsen was not in place for the recording of that album (he joined in May 2016), and the bass was therefore recorded by lead guitarist Rob Caggiano.

Stylistically the material on "Rewind, Replay Rebound" continue the hard rock/heavy metal style of "Seal the Deal & Let's Boogie (2016)". A polished and melodic hard rock/heavy metal style with great mainstream appeal. The tracks feature regular vers/chorus structures and typically great anthemic sing along choruses. The influences from 50s rock´n´roll (Elvis, Johnny Cash) are still strong as well as heavy nods toward 90s-Metallica. Volbeat have had a unique sound (built with tried and true musical elements) from day one and with lead vocalist/guitarist Michael Poulsen´s distinct sounding voice in front that is not gonna change anytime soon.

Volbeat have become a little more melodic, polished, and mainstream oriented over the years, and that tendency is continued on "Rewind, Replay Rebound", which at times is more melodic hard rock than heavy metal. Occasionally a really heavy riff appears, but the polished sound production even makes the most heavy sections easily digestable for a mainstream hard rock audience.

Upon conclusion "Rewind, Replay Rebound" is pretty much another Volbeat album by the numbers. You won´t find many surprises here. There are melodic tracks, 50s rock´n´roll influenced uptempo tracks, a couple of more soft/mellow type tracks, and a couple of harder edged heavy tracks featured on the album, so the band are as diverse as always, yet sounding unmistakably like Volbeat all the way through the album. The two first singles off the album "Last Day Under the Sun" (which features a semi-funky guitar riff, reminding me slightly of the guitar riff on Michael Jackson´s "Black or White") and "Leviathan" are both among the highlights of the album, and to my ears especially the latter ranks among the band´s strongest compositions. It´s great to hear they are still capable of producing standout tracks this far into their career.

The remaining tracks on the album are a bit up and down in quality. Some are strong compositions which are instantly catchy and memorable, while others are a little less remarkable. Featuring 14 tracks and a total playing time of 56:45 minutes, the album is a bit too long for its own good, and had the band chosen to trim the fat and release "Rewind, Replay Rebound" leaving out a couple of the least remarkable tracks, the album would overall have been a stronger release. It´s still a quality release through and through though, featuring a couple of standout tracks and several good quality tracks and therefore a 3.5 star (70%) rating is deserved.

XYSMA Lotto

Album · 1996 · Stoner Rock
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Triceratopsoil
Very strange album to be coming from a former death/grind band, though not totally unexpected given the trajectory Xysma's career had been taking up to this point. While the prior albums First and Magical and Deluxe being somewhat lighter & trippier variations on Entombed's "death-n-roll" theme, Lotto veers into stoner rock and even almost pop-punk. Think, a more garage version of Monster Magnet or Queens of the Stone Age. The production is intentionally a bit lo-fi, but it works.

The lyrics are goofy ("There's a feel I gotta be behind the wheel, I love my tram") and the vocals are split duty between croaky and (surprisingly good) clean. Overall, the thing that strikes me most about Xysma and especially Lotto, is how lighthearted and fun it all is. Hard not to have a good time listening to this album.

Favourite tracks: We Just Came Inside, New Gel In Town, The Tram

FIRST SIGNAL Line of Fire

Album · 2019 · Hard Rock
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Kev Rowland
Back in In 2010, a new band came together under the watchful eyes of Canadian rock vocalist Harry Hess (Harem Scarem) and German producer Dennis Ward (Pink Cream 69, Khymera), First Signal. At the time Harem Scarem were on a break, and Frontiers President Serafino Perugino presented Hess with some melodic rock songs which he felt were worthy of his attention. The debut album was greeted with great interest, and even though Harem Scarem became a viable entity again, Hess was keen to record more songs under the First Signal monicker. The second album came out in 2016, when he there was a total shift in personnel and he was joined by Daniel Flores (drums, who also produced the album) and Michael Palace (guitars) plus assorted guests, and now they are back with the third where the core line-up has been expanded by the addition of Johan Niemann (bass) . The inspiration behind the album were the first two Harem Scarem albums, two absolute Melodic Rock classics, but with some new twists thrown in, with songs covering everything from AOR to Arena Hard Rock.

Any fan of melodic hard rock will know exactly who Harry Hess is, and what he consistently delivers, and this is nothing different in that it is top class with great performances from all involved. Keyboards are a key part of the overall sound, and with great hooks and melodies combined with strong production and immaculate harmonies it is hard to really pick fault. True, it is a cast of thousands when it comes to the songs themselves (the press release proudly states they are provided by Stan Meissner, Harry Hess, Henrik Hedström, Lars Edvall, Anderz Wrethov, Andreas Johansson, Carl Dixon, Bruce Turgon, Sören Kronqvist, Morgan Jensen, Hal Marabel, Daniel Palmqvist, Ulrick Lönnqvist and Nigel Bailey), but Hess is front and centre of everything which is going on and with the guys next to him in perfect sync the result is a blast from start to finish.

True, there are times when one can feel there is just too much sugar coating going on, but here is a band who in many ways really are capturing those very early days of Harem Scarem, who are still one of the very top bands to come out of Canada. It would be great for these guys to be out on the road and really gelling together, but given priorities I expect this only ever to remain as a studio project, which in many ways is a shame as I would love to hear them grow as a unit. But even as it stands this is a great slab of melodic rock.

CRIMSON GLORY Strange And Beautiful

Album · 1991 · Hard Rock
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UMUR
"Strange And Beautiful" is the 3rd full-length studio album by US heavy metal act Crimson Glory. The album was released through Roadrunner Records in June 1991. Crimson Glory were formed in 1979 under the Pierced Arrow monicker but changed their name to Beowulf in 1982, before finally settling on the Crimson Glory monicker in 1983. They released their eponymously titled debut album in October 1986 and their sophomore studio album "Transcendence" in November 1988. There have been a couple of lineup changes since "Transcendence (1988)" as guitarist Ben Jackson and drummer Dana Burnell have jumped ship. Jackson has not been replaced and therefore Jon Drenning handles all guitars on the album, but Burnell has been replaced by new drummer Ravi Jakhotja. The remaining members of the lineup are lead vocalist Midnight and bassist Jeff Lords. In addition to the permanent members of the band playing/singing, "Strange And Beautiful" also features couple of guest appearences on keyboards, piano, percussion, and saxophone.

It´s not only in the lineup department that there have been changes, because stylistically "Strange And Beautiful" is far removed from the US power/heavy metal style of the band´s two previous albums. Maybe the lineup changes paved the way, or maybe Crimson Glory just felt it was time to try something completely different, because the music on "Strange And Beautiful" is a mix of hard rock, glam metal, and the occasional nod towards progressive rock/metal. Midnight´s otherwise distinct sounding high pitched vocal style has changed too. On this album he sings more in mid-range and he at times actually sounds a bit like Axl Rose (Guns N' Roses).

The 11 tracks on the 59:09 minutes long album are as such well written viewed from a technical perspective, and the high level musicianship also ensures that there is quality in that department, but the songwriting is a bit of a mish mash of different styles, which don´t really fit that well together and makes for an incoherent listen. The album includes futuristic synths, plastique horn keyboards, cheesy male/female choirs/backing vocals, saccarine ballads like "Song for Angels" and "Far Away", and semi-funky hard rock/heavy metal tracks like "Dance On Fire" and "Make You Love Me" (which reminds me a bit of a poor man´s Extreme). The only two tracks which are somewhat decent are the two opening tracks (the title track and "Promise Land"). From there it goes downhill...

"Strange And Beautiful" reeks of a band who have lost their way. It sounds like a weak attempt at trying to gain a commercial breakthrough. An attempt which failed badly and instead left us with a directionless and occasionally quite tasteless mess of an album. The critics gave it a cold reception, and the fans generally loathed it. As mentioned above the professional musicianship and a clear and detailed sounding production save "Strange And Beautiful" from complete failure, but it´s overall not a very successful release and considering the two releases which preceded it, it´s a huge disappointment. A 2.5 star (50%) rating is warranted.

RAM JAM Portrait Of The Artist As A Young Ram

Album · 1978 · Hard Rock
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Unitron
"Won't you be by my side, on the Hurricane Ride"

Portrait of the Artist as a Young Ram is not only an excellent album in of itself, but also impressive for just how much of an improvement it is over the mediocre boogie rock album that is Ram Jam's debut. Gone is the boogie and "oh black betty bambalam", and in its place classic heavy metal that kicks some serious ass.

They still have a bit of a southern rock influence, but it really just makes the album sound like a great blend of Molly Hatchet and Judas Priest. Pretty Poison, Wanna Find Love, Just Like Me, Hurricane Ride, and Runaway Runaway are all among the best metal songs of the 70's. Turnpike is as well, though provides a moody contrast to the high octane energy of the other aforementioned tracks.

There are a couple lame moments on the album unfortunately that keep it from reaching fantastic status, The Kid Next Door is just a completely forgettable hard rock song, and Saturday Night is an awful attempt at some melodic rock a la Boston.

It's a shame that they didn't release anything else after this (cashing in on Black Betty doesn't count), because with how great this is they could've been the USA's answer to Judas Priest come the 80's.

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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