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

RAINBOW Down to Earth

Album · 1979 · Hard Rock
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siLLy puPPy
It’s amazing to think how quickly things moved in the 1970s in comparison to the first two decades of the 21st century. It’s nothing for bands to wait five years between albums these days but back then things were set to jet speed. Ritchie Blackmore started the 1970s with Deep Purple rising to the top and then going through several changes in the band before going solo with RAINBOW in 1975 but even with his own band never managed to keep the same lineup for any album. Luckily his prize vocalist Ronnie James Dio stuck around for the first three albums but then one day Blackmore decided to drop the swords and sorcery themes and steer the band into a more commercial arena and Dio jumped ship.

While a true blow to the band’s overall sound, Blackmore was accustomed to auditioning new members and it seems in retrospect that half of RAINBOW’s time was spent recruiting new members rather than actually playing! Before Dio split, both bassist Bob Daisley and keyboardist David Stone were fired and replaced by Clive Chaman and Don Airey but soon after Chaman didn’t workout and former Deep Purple bandmate, bassist and producer of the previous albums finally stepped up to fill in as an actual musician. The task of replacing Dio was met sensibly by finding somebody would fit in with the band’s new slicker hard rock style that was more akin to bands like Styx, Foreigner and Whitesnake. Graham Bonnet formerly of The Marbles was chosen to fit the bill and while he did a remarkable job on the band’s fourth album DOWN TO EARTH, he wouldn’t last long. This was also the last album to feature drummer Cozy Powell.

DOWN TO EARTH is very much a product of the late 1970s timeline when fantasy infused prog had all but surrendered to more immediate hard rock with more DOWN TO EARTH themes and less subterfuge in interpretation. While heavy metal would soon regain all those dark fantasy and occult themes, this speed bump in history favored songs about love, life and other banalities that resulted in partying and having a great time with your friends. For the hardcore Dio fans, this move was a slap in the face and RAINBOW lost much of its devoted fanbase but where one door closes another opens and DOWN TO EARTH did indeed to prove to be the ticket to more radio airplay and charting singles which led to the expected uptick in sales. The group’s popularity was also boosted by RAINBOW headlining the Monsters of Rock festival at Castle Donington in England.

Stylisitcally, DOWN TO EARTH fit right in with the nascent New Wave of British Heavy Metal with catchy bass grooves, infectious guitar riffs and melodic sing-along lyrics. The opening track and single “All Night Long” sounded somewhat like KISS meets Bad Company with a more pounding bass and drum drive but addictively composed with lots of catchy twists and turns. Bonnet’s vocal style proved to be the perfect answer to this new pop infused heavy rock. The other single was a cover of Russ Ballard’s “Since You’ve Been Gone” and proved to be one of RAINBOW’s biggest hits hitting the top 10 in England. Same with “All Night Long.” While no other singles were released, DOWN TO EARTH doesn’t really have any bad tracks. The diverse tracks includes a reprise of the dramatic keyboard symphonic opening on “Eyes Of The World” which also is quality single material as well as the familiar boogie shuffle on “No Time To Lose” although without Dio sounding a bit more like AC/DC or Foreigner.

“Makin’ Love” also featured exotic music scales in the vein of earlier songs like “Gates Of Babylon” only eschewing the arcane subject matter. The final three tracks are also of equal caliber thus making DOWN TO EARTH a really good specimen of heavy bluesy rock with classical crossover elements. Yeah Dio was gone but so what. Those first three albums were already about 85% the same as what is presented here only without dungeons and dragons themes and more focused on blue collar worker subject matter. Whatever the case i’m in it for the music not the poetry recitals and DOWN TO EARTH delivers the goods in the vein of many of the contemporary hard rock bands from Aerosmith and Thin Lizzy to Uriah Heep and the Scorpions only with the extra touches of keyboards. While RAINBOW may not have been reinventing the wheel in any way, Blackmore sure knew how to craft a competent collection of hard rockers that ticked off all of the boxes that made hard rock so popular during this era and while many may disagree, i really like Graham Bonnet’s vocal contributions. This is one of those i find under-appreciated by the majority.

ZEN BISON Krautrocker

Album · 2018 · Stoner Rock
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siLLy puPPy
One of the countless modern bands that looks back instead of ahead, the retro band ZEN BISON formed in Rostock, Germany in 2013 by Philipp Ott (guitar, vocals), Steffen Fischer (bass) and Martin Konopka (drums) and decided to take a trip back to the wild wonderful psychedelic timeline where the a1960s met the 1970s. The band actually started out merely as BISON but since it’s getting harder and harder to score a simple one-word band name these days, the much more interesting ZEN BISON came to be. After the addition of two more members: Hans Kirschner (keys, organ) and Bobby Müller (percussion) were added, ZEN BISON was ready to take Germany down memory land.

As the band’s so far only album title KRAUTROCKER suggests, this is indeed a retro journey into Germany’s past where fuzzy guitar riffs painted a bluesy rock pastiche and slowly drifting jam sessions offered transcendental escapism into the perceived promised paths to ascension. While nirvana may or not be experienced during this album’s 42 1/2 minute run, the authenticity of a retro Kraut album endowed with a knack for divine mimicry will leave you wondering if this was indeed a long lost relic released from the obscurity shelves of some long lost recording studio where the tapes had been sitting for some half century. Indeed everything here passes the test. Trippy album cover art, stoner vibe, spaced out jams with ethnic influences. It’s all here for the Krautrock lovers who just can’t get enough.

The album is bookmarked by two vocal tracks. “Blow My Mind” sounds like something out of the Jimi Hendrix playbook with classic wailing psychedelic guitar riffs that bring a smokey club in 1968 to mind. Philipp Ott delivers the perfect dead ringer classic blues rock singing style with that grizzled Groundhogs meets Grand Funk Railroad stylistic approach. The same goes for the closing “Going Down” which perfectly emulates the late 60s but unfortunately the band is so fixated on mimicry that these tracks sound like mere covers rather than original material. The latter track also adds extensive guitar licks and jamming time as it extends past the 10 minute mark. In fact three of the tracks hover around the 10 minute mark leaving only the first two under six.

“Backseat Lovers” doesn’t deviate from the opener’s hard blues rock only the guitar heft is even louder and more distorted as the fuzz and haze only intensifies. This is also a vocal track. The best tracks are the 11-minute title track which is an instrumental journey into the heady authentically German sounds that one would hear from Amon Duul II or other drugged out mind-bending pioneers of the era. The near 10-minute “La Madrugada” offers a more uplifting treat with Santana inspired percussive drive and a Latin flair that gives a bit of joie de vivre to the otherwise spaced out or balls to the wall heaviness. These two instrumental tracks despite being more pleasant to my ears unfortunately are also quite derivative of journeys already taken but for what it’s worth this is quite a pleasant album to get lost in as it satisfies on all levels however it also doesn’t invite repeat listens either. In the end ZEN BISON is a decent retro band but given these types of bands are a dime a dozen these days, this band will have to find its own voice in the wilderness to really remain relevant.

GIFT Gift

Album · 1972 · Heavy Psych
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siLLy puPPy
The birth of Germany’s progressive Krautrock scene took many roads with some bands focusing on the farthest out psychedelic trips possible, others tackling the technicalities of jazz-fusion, some more engaged in catchy crossover pop hooks while others merged the heavy psych 60s with the hard rock 70s. The Augsburg based GIFT was one of those bands that took the last option and crafted an interesting take on the heavier aspects of the earliest sounds of what would be called heavy metal. GIFT is actually the German word for “poison” and what you get with the band’s first of two albums that emerged in the early 1970s is a venomous sting of infectious early heavy metal that cranked up the speed, volume and prog complexities of the heavy psych sounds that flooded the latter part of the 60s.

This band was obviously inspired by Amon Duul II’s classic debut album “Phallus Dei” because the then school band formed in the same year of 1969 and took on Phallus Dei as its band name. After a few years of practice and the recruitment of new members the lineup featured on the band’s eponymous debut was Uwe Patzke (bass, vocals), Helmut Treichel (vocals), Rainer Baur (guitar) and Hermann Lanze (drums, percussion) after being discovered by Munich producer Otto Hartmann who signed the band to the Telefunken label. Considered one of the more adventurous heavy Kraut bands of the German scene, GIFT wasn’t exactly the most popular on the scene but gained a loyal cult following for its dedication to dexterous compositional flow that adopted the excesses of progressive rock without sacrificing the heft of a bantering display of guitar, bass and drums. It’s also notable that guitarist Nick Woodland was listed on the credits but actually quit the band before recording began.

GIFT’s debut is an excellent display of no nonsense hard rock with a brilliant juxtaposition of cleverly crafted compositions that feature strong melodic hard rock hooks with heavy guitar riffs and an excellent rhythm section that features hairpin turn time signature changes and unexpected twists and turns in the musical flow without sacrificing the underpinning of what makes a hard rock song work so well. The Krautrock scene was filled with heavier bands but not all of them could pull it off but GIFT did so with seeming ease with a particularly strong emphasis on the drumming and percussive accoutrements that give the album that extra special something. Add to that the strong confident vocal ability of Helmut Treichel and it’s easy to declare GIFT’s debut release as one of the most competent heavy psych releases of the early 70s.

Perhaps not quite as heavy as contemporaries such as Lucifer’s Friend, GIFT certainly took the established heavy psych sounds of the late 60s to their limits before the scene moved on to the hard rock and heavy metal that would soon become the more popular style of the 1970s. While compared to the fellow German band Hairy Chapter, GIFT was similar to many other bands such as Captain Beyond and Twenty Sixty Six and Then but due to the talented members on board managed to stand out as an original all its own without deviating significantly from the established heavy psych sounds of the era. This one doesn’t seem to get as much love as the more psychedelic Kraut bands of the era and gets lost behind the harder bands from England and the USA but for my tastes GIFT successfully cranked out a wild ruckus of an album for their debut. The band would change its sound by adding keyboard sounds for its sophomore album “Blue Apple” but for this first offering GIFT was a powerful beast of heavy guitar driven rock music.

DIES IRAE First

Album · 1971 · Heavy Psych
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siLLy puPPy
One of the lesser known earliest German Krautrock bands, the Saarbrücken band DIES IRAE adopted the Latin phrase with means “Day of Wrath” as its moniker when it formed in 1968 and stuck around for five years before calling it a day. The band consisted of Andreas F. Cornelius (drums), Robert J. Schiff (bass), Harald H.G. Thoma (guitar, vocals) and Cord Wahlmann ( lead vocals, harmonica) and retained the psychedelic rock attributes of the 1960s while adding the hard rock sounds that had become popular by the time the band’s sole album FIRST hit the market in 1971.

DIES IRAE was quite popular on the German live circuit and shared the stage with many of the bands that would become Krautrock legends but for many reasons DIES IRAE did not enjoy the longevity that many of its contemporaries have enjoyed with the resurgence of psychedelic music and therefore have been pretty much forgotten by all except the hardcore Kraut addicts who seek out the obscurities. One of the problems with FIRST when it was released in 1971 was that the occult lyrical content was extremely controversial and while other Kraut bands were receiving radio airplay time, this band was literally shunned.

However when a band becomes banned, there are always those who seek out the forbidden fruits of the music industry and therefore this band has enjoyed a cult following over the decades complete with CD reissues. Another problem with FIRST is that it is all over the place with the opening track “Lucifer” featuring a hard rock repertoire with bluesy rock and even a harmonica. Compared to early Black Sabbath, which is totally legit, the band totally abandoned the hard rock aspects in the middle of the album and with the track “Trip” drifts off into true psychedelic freakery much like Can did on “Tago Mago” and bands like Faust and Cluster did all the time.

Although the opening track “Lucifer” is rather silly and amateurish, the remaining heavier tracks remind me more of the Scorpions’ debut album “Lonesome Crow” which was basically a bridge between the psychedelic Krautrock of the early 70s with the more straight forward hard rock of the latter part of the decade. Unfortunately lead vocalist Rainer Gerd Walhmann doesn’t quite match the charismatic singing prowess of Klaus Meine but he does get the job done. The album’s bizarre inconsistency reminds me of those late 70s albums where bands were forced to stuff in a career’s worth of ideas because they knew they only had one shot and therefore FIRST seems more like a collection of tracks rather than a cohesive album experience but having stated that, it’s actually all quite pleasant and totally fits in with the Kraut vibe of the year 1971, opening track excluded.

Unfortunately first impressions do matter. The opening track “Lucifer” may sour this one for many and the unattractive barbed wire fence album cover evokes more of a concentration camp scene rather than a Kraut filled escapist’s paradise. Yeah, the DIES IRAE members were not masters of marketing by any means but with the right guidance this band certainly had the talent to take things a bit farther and deserved a couple more albums since the potential is obvious from the tight-knit musicianship and the effortless transition between lysergic floatiness to bluesy hard rock. The band did have a brief reunion in 1991 but no new album came from it so DIES IRAE remains one of those one and done bands that released a sole artifact on the timeline and then went bye-bye. This is one of those albums that’s a bit hard to rate. It’s not good enough for 4 stars yet is too good for 3 so i guess 3.5 stars is warranted.

HAZE Hazecolor-Dia

Album · 1971 · Heavy Psych
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siLLy puPPy
One of the many one and done obscurities from the early 70s Krautrock scene, HAZE didn’t leave a lot of clues about themselves. With some sources claiming their were from Germany and others that they were Swiss, this band will most likely remain a mystery unless former members spills the beans. Perhaps one of the newer reissues of the band’s one and only album HAZECOLOR DIA has liner notes that shed light on its origins but nevertheless HAZE is well known in the collector’s world for its album’s dynamic artwork sleeves designed by Walter Seyffrer who crafted it to look like a slide picture complete with a die-cut cover with an attached transparency photo center of the band on both sides of the album cover.

On the musical side of things HAZE deliver a strong dose of 60s inspired heavy psych which featured early Led Zeppelin inspired bluesy rock but also fit well into the early Krautrock scene with bombastic organs and hyperactive flute runs. While the compositions were fairly catchy and could rightfully exist in the world of hard rock, HAZE was clever in how they infused their songs with progressive touches fortified with a psychedelic haze. While the instrumentation of guitars, bass, organ and drums, the addition of the flute added a whole other level of psychedelia to the mix. I’m not sure if the original album featured credits for the flautist but he wasn’t featured on the cover and there seems to be no info regarding who it actually was. Another mystery indeed. This is a very soulful album with that German touch for sure.

With thundering guitar riffs that also offer energetic drum rolls and heavy distortion, HAZE juggled the aspects of 60s heavy psych with 70s hard rock and the early complexities of progressive rock thus making an interesting listening experience however what really puts HAZE over the top for me is the exaggerated vocal styles of lead singer Christian Scherler who had the knack to sound like Robert Plant at times and then take on a rather male version of Janis Joplin and then wail out some ear piercing falsettos that prognosticated some of the excesses of 1980s heavy metal. Despite all these vocal gymnastics, Scherler dished out these antics quite well and added that extra dimension that would otherwise delegate HAZE to the endless pile of generic heavy psych bands that existed at the same time.

This was one of those bands that could alternate between sloppy garage band nonchalantness and technical precision which offered a starting contract but for the most part this was a blues rock oriented band with no nonsense composiitons that tackled social issues in the lyric department. The extended tracks such as “Fast Career” and the lengthiest track “Decision” displayed the band’s ability to add all those extra touches which allowed entry to the prog universe. Clearly a work of the era from which it sprang, HAZECOLOR DIA will probably not go down as one of the most original or coveted albums of the early Krautrock scene but is a lot better than i expected. Luckily the album has found a remastered reissue so this is definitely an album i would gladly pick up.

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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