Posts Tagged ‘Live’

I went to see An Evening With Machine Head last night in Cardiff, Monday 14th May 2018. There were no support bands and wasn’t much waiting around, just about three hours of Machine-Fucking-Head (as they like to be called).

After playing some Slipknot, Metallica and Killswitch Engage songs over the PA, and coming on to ‘Diary Of A Madman’ by Ozzy, the band took the stage. It was all decked out in cool mats and banners with the band’s iconography on it, there were no visible amps as it was all covered in screens which were white and blood stained, the drum kit was even white. I think at other shows the band might’ve been dressed white as well but they were dressed normal tonight.

The audience reaction was really great. I’ve seen Machine Head twice before and in the UK they are utterly beloved, so you can imagine how good the energy in the room was.

The night held a mixture of old and new, fast and slow, heavy and quiet. They played a decent chunk of their controversial (but excellent) new album Catharsis, which I appreciated as although I thought it was good on first impressions, it has been my car album ever since and in work that is the soundtrack to driving and I’ve really come to love it over the months. They played 6 whole songs of it, which is a pretty good showing for a new album. The audience reacted really well to the new material and the sing-alongs to songs like ‘Kaleidoscope,’ ‘Catharsis’ and even the controversial ‘Triple Beam’ were all just as good as fan favourites like ‘Bulldozer,’ ‘Take My Scars’ or ‘The Blood The Sweat The Tears.’ There was one typical meathead guy just shouting ‘Davidian!’ all night, but he was a small minority, the new stuff went over really well. Take that internet trolls.

The audience lapped up stuff of the classic albums like Burn My Eyes and The Blackening, reacted very well to material off my favourite album Unto The Locust and went mental for even stuff off the controversial albums like The Burning Red and Supercharger (yes even the much bemoaned rapping in From This Day, their late ’90s single which is often complained about by the bullet belt crowd. Hey, I love it and I showed up in a patch jacket full of Forbidden, Exodus and Testament patches). The only point in the evening was when it dipped was for the new ballad ‘Behind A Mask’ (which I loved and happily sang along to) but which seemed to die on its ass. One mosh-pit enthusiast turned to me and yelled, ‘this is why we have support bands!’ – meaning he didn’t like it. But to be fair the crowd might have just been tired from banging around for two and a half hours and just having heard ‘Davidian’ 19 songs into the otherwise crushing and energetic set.

There were all the songs I can’t live without nowadays like ‘Locust’ ‘Game Over’ ‘Killers And Kings’ ‘Aesthetics Of Hate’ and ‘Imperium’ (I think I’d cry if I saw Machine Head and they didn’t play all of those) as well as the old reliable tracks like ‘Old’ & ‘Ten Ton Hammer.’ They even threw in ‘None But My Own’ off the debut which they didn’t play either time I saw them before which was a nice change.

The way the lighting works, with green for Locust era songs, Orange for Burn My Eyes era songs and Red for Burning Red songs is really cool, and with occasional towers of smoke and a very enthusiastic band interacting constantly with each other and the crowd, it is a joy to watch. You catch little bits like Phil and Dave making faces at eachother or Phil tuning Robb’s tuning peg in the middle of a part for laughs and you can tell they’re having fun. Although not new anymore, the new-ish bassist Jared MacEachern has such a great stage presence and is a perfect fit for the band, just like how Phil was when he joined and now you can’t imagine the band without him.

As for the performances; pure flipping magic! Watching Dave McClain drum is like watching a science experiment on a voodoo ritual. The man comes up with some bonkers patterns and just the best fills, and its hard not to spend the majority of the concert air drumming. The guy is a beast.

The vocals from all three stringed players were great, and Rob really holds up live. He is a brilliant frontman, you get peaks of it on the old live at brixton DVD and the live CDs but in person its a whole other level, he is the perfect mixture of grateful and humble but also commanding and dominating. Its awesome.

Apart from one or two very minor technical issues, the music was amazing. (I think Phil either broke a guitar string or had faulty equipment once as he dissapeared off stage briefly once). The jaw dropping guitar solos are such fun and people were singing along to parts like you do for Megadeth. I was in such a good spot – second row from the front, just left of centre – so could see everyone perfectly and see every little detail of the fretboards and drum kit. The venue has the stage quite close and low to the crowd so you really get to see everything and it was visually the best concert I’ve seen for a band of this size. You could practically make out their nose hair it was that good a view.

Considering Machine Head don’t have that many short songs, and played long tracks like ‘Clenching The Fist Of Dissent’ and ‘Halo,’ having 26 songs live was incredible value for money. Considering how ridiculously good the band are live it was anyway, but the sheer quantity as well as the spectacular quality make this one of the finest live concerts I’ve ever seen… Sometimes I’ve seen bands I love and been underwhelmed by sound, setlist choice or performance (see Monster Magnet for all the that one time when I was in Uni, or Slipknot when they supported Metallica that one time back in Dublin where the soundguy fucked them over and they only had a very short set) but with Machine Head everything has been amazing. Like Saxon, I’ve never seen them anything less than amazing and been totally satisfied.

If you get the chance, see this band live!

Ps. Shout out to the Cardiff audience members in the That’s Not Metal merch, I love that show!

220px-Cover_LiveinSPSepultura have a good few options if you are into live material. There is the Chaos DVD with the Under Siege video on it with the band touring Arise and playing all their Thrash era songs. There is the Under A Pale Grey Sky cd with the last ever gig of the Max Cavelera line-up on it, playing a lot of material off of Roots and Chaos AD. There is the newer Rock In Rio DVD with the Les Tambors Du Bronx percussion group augmenting them. There’s also plenty of live material on bonus tracks and compilations.

Best of all however, is Sepultura Live In Sao Paulo. It was the first video album with the Derick Green line-up, the first time you got to see and not just hear live versions of material from Roots and Chaos AD and its the only place to hear straight up unaltered versions of material off the Derick Green albums. It was released in 2005 when they were touring Roorback, back when they were still a Gold-selling band.

You get to hear an amazing blend (21 songs!) of material all the way from their earliest EPs and albums with early material like ‘Necromancer’ and ‘Troops Of Doom’ beside the mega-hits from the ’90s like ‘Territory’ and ‘Roots Bloody Roots’ mixed in with more modern gems like ‘Choke’ and what has to be one of the band’s best ever songs in ‘Sepulnation.’ (For me, its in the top 5 songs they ever recorded, any era).

Visually, the album is great. Its really well shot and edited, with no fancy distracting weird camera angels or lenses and no too-fast music video style choppy cuts. The stage set up and tasteful circle of lighting around their tribal ‘S’ logo banner looks really great, and the soundjob and mix are perfect. Sometimes the guitars or the vocals can be too quiet in a live recording, or some times the drums have way too much reverb, or sometimes you can’t hear the crowd’s energy; but here everything is perfectly balanced hear and it all sounds thick and chunky.

The band’s performances are excellent and it really shows off what great musicians they are. I never ‘got’ how good a drummer Igor is until I saw this! I didn’t much care for Derrick Green as a frontman before I saw this an it utterly changed my mind.

It looks great, it sounds great, the tracklist is great and the band play great. What more could you possibly want? Oh well, if you still do want more there is an absolute tonne of extras, with music videos, more live songs, a short making of documentary and biography, a bigger documentary about the band from 1998–2005 and other stuff as well (photogalleries etc.)

Overall; this is a damn strong release from a very important band, and there’s so much on it its great value for money. If like me you were skeptical on them without Max in the band, go on youtube and check out live versions of tracks like ‘Chaos AD’ and especially ‘Sepulnation’ off of this and just try not to be converted! If you are new to the band altogether this is a great starting point blending the best parts of all the eras together.

I went to go see the mighty Saxon last Friday in Cardiff; this was my third time catching the NWOBHM legends live and my second ever concert in Wales. (It would have been my fourth time seeing Saxon but I’ve already written before about the time I had tickets and it got cancelled due to Lemmy from Motorhead getting diabetes.)

The trip to the venue was great, now that I know the way it was a lot less stressful to find than the time I went to see Mastodon and this time the city centre was a lot quieter and less full of boozed-up thugs. I got there a bit late and missed all but the last minute of the opening act, Rock Goddess, so just got to hear them chant ‘Heavy metal – rock and roll’ about six times and take a bow. I remembered the really good comfortable spot from the Mastodon concert – behind the sound/lighting desk, so I headed there and remained there for the rest of the show, great sound, great view and no people bustling you around.

I caught the Metallica-inspiring also-NWOBHM legends Diamond Head next. It was kind of strange to see them be their own roadies. Usually you get excited when the band but I saw Brian Tattler for like 15 minutes before the band were ready just setting up the guitar, I can see why roadies get hired and how annoying it must be nowadays when records aren’t selling as much. They were a man down due to a serious hospital operation but they soldiered on regardless, dropping all the best and heaviest songs from Lightening To The Nations and Borrowed Time. They also dropped one new song from their self titled album (‘Bones’). I didn’t know this beforehand; but they have a younger guy on vocals (Rasmus Bom Andersen). He was a very good frontman, jumping in the air, pumping up the crowd, trying to get people enthusiastic and doing a very good job of mimicking the original vocals. I’ve been listening ‘In The Heat Of The Night’ a lot recently so I really enjoyed it live – he did it justice. The crowd were into it, but not so into it. The band were pretty good; not so tight, but that’s obviously due to the man-down situation and totally understandable. Hey, I’m just happy to be seeing songs like ‘Its Electric’ and ‘Lightning To The Nations’ live.

When they dropped ‘Am I Evil?’ though…the whole atmosphere changed. The crowd sang almost every word, the room warmed up, the band looked five-times as confident and all the energy that was sort of missing before came into the room. It felt like a real heroic moment. Previously the crowd seemed to view them as a bit of a ropey pub band based on how they reacted, but for that last song they treated them how they deserved, like stars.

After a wait, the mighty Saxon took the stage, opening up with the intro and title track of the new album. I had been a bit cold on ‘Thunderbolt’ when it was the previw single but when I heard the album and listened to it on repeat it fell in to place for me. Seeing it live made it even better. Its a really strong tune. Biff mentioned we were the first audience to ever see it live, which got a big cheer. They also dropped some other fairly recent material such as ‘Sacrifice’ and ‘Battering Ram’ (also so good live!). Its nice to see them not just being a nostalgia act.

There was also all the big classic songs you’d expect such as ‘And The Bands Played On,’ (Side note – I never think about how short that song is!) ‘Strong Arm Of The Law,’ ‘Crusader,’ ‘747 (Strangers In The Night),’ ‘The Power And The Glory’ etc.

They also played a good four-six tracks off the new album overall, such as ‘Sniper’ ‘The Secret Of Flight’ ‘Predator’ and ‘They Played Rock And Roll.’ Nibbs did the backing parts that Amon Amarth’s singer Johan Hegg does on the album, which was quite fun. My favorite moment was hearing ‘Nosferatu’ live.

They mentioned that they had filmed their next music video in the venue the previous night and also that the students were filming the concert (maybe that will be their next concert film or maybe just on youtube later, I’m not sure).

They did two encores. They ended the main set with ‘Princess Of The Night,’ and then they came back and did ‘Heavy Metal Thunder’ and ‘Wheels Of Steel’ then they went off again and came back once more and did ‘Denim And Leather.’

The band were absolutely phenomenal. I’ve seen Saxon three times so far and this was unquestionably the best. They were absolutely on fire. The power and confidence and audience reaction was really special. The band seemed really taken aback and grateful and Biff kept commenting on what a great crowd it was that night (which I do agree with, I’ve seen a lot of concerts but its rare to get such good applause and sing-alongs and fans demanding you come back again after you’ve already done an encore).

It appears the band are on an upswing; Biff mentioned the new album was their first to enter the UK Top 30 albums chart since the mid-80s and joked that he ‘almost chocked on my cornflakes when I heard that!’ which was very amusing. He was quite amusing all night to be honest. Someone suggested they play ‘Crusader’ early on in the set and he started doing the ‘Who dares battle the Saracen?’ voice from its intro but said ‘Its not time for Crusader, that comes later’ which was pretty funny in context and got a good crowd reaction.

The band were stunning too. As well as Biff’s excellent stage presence and banter, the guitar solos were so good. Doug and Paul were so impressive – they really are absolute guitar heroes. Nibbs is the rowdy guy with all the energy and gets the crowd going. Best of all of course, as if I would say anyone else, (how many times have I banged on and on about my drummer-crush on his skills?) was the incomparable ‘Engine Room’ – Nigel Glockler! I’ve already written at length about how he elevates the songs with the extra cymbal catches and well timed extra double kicks on the old stuff before he was the drummer and his own stuff is badass to begin with. He has a star power and talent level that really lifts Saxon above so many of their NWOBHM peers and shows you why they are not only relevant now when so many of their peers fell by the wayside but arguably better now than even in their classic period.

The whole concert was an absolute triumph, the old stuff, the new stuff, the stage presence and the performances. Scorching solos and powerful fills. I had an absolutely great night. I really recommend you catch Saxon live if you haven’t already and if this turns out to be available now the students have filmed it, check the video out.

It was a bit of an interesting gig, in that I didn’t really want to go due to a mixture of recent bereavement and family visiting that evening and anxiety over finding a strange new venue in an unfamiliar city on a Saturday night when all the drunks and junkies would be roaming the streets, during the busy Office Christmas Party season where even more rowdy people would be out trying to look crazy to have something to talk about at work the next few weeks, as well as having to drive on some roads that have caused me much problems already this month and which have got me so stressed out I’ve actually said aloud ‘the next person to beep me, I’m getting out of the car and telling them, that I’m memorizing their face and if they ever beep me again I’ll follow them home and burn down their house with them in it.’

So, driving in the dark on a terrible road, negative emotions, better things to do with visiting family all already had me thinking I should just stay home and not attend.  Then, when I looked at the setlist of previous gigs in the tour I noticed a lack of a lot of my favourite songs (no Blood & Thunder!) and a too-high percentage of the new album (9 whole songs!). I also, when I bought the tickets initially, had noticed that they’d been doing a six song encore with all the songs they’d ever recorded with guests spots by Neurosis’ Scott Kelly, live, with Scott himself guesting. That seemed cool but I noticed on the previous show when I checked the setlist before going to my own gig that it now said ‘last show with Scott for 2017’ so one of the reasons that influenced me to buy the ticket in the first place was gone.

Mastodon are also a very hit and miss live band. Watch any outdoors show of them on youtube and you can see cracks appear. Watch their early DVD appearances and you can see Brent Hinds really struggle with vocals (that semi-famous version of ‘Capilarian Crest’ from that Slayer tour DVD for example). And while there are also amazing live moments from Mastodon, when I was thinking of reasons not to go and being a big wimp about the city streets and dodgy roads, I forgot about that.

I made a compromise and decided to not wimp out and still go, so I took my visiting guests to Cardiff for a night out, we had a nice meal in a restaurant, they went for drinks and saw the city and its Christmas market and temporary Ferris Wheel and got some drinks while I slipped off to see Mastodon after the food.

The support acts were Russian Circles, an instrumental Post-Metal band who my brother likes but I’ve never checked out, and Red Fang, the fun stoner metal band who have a Baroness and Mastodon sheen to them but also write Queens Of The Stone Age type stuff at times. I made it to the gig timed in such a way as to only see the last two Red Fang songs (and that’s ok, I only have two Red Fang CDs and only like one of em anyway) and I missed Russian Circles altogether (sorry guys… when I lived in Manchester I always walked to the venue early, got in as doors opened and watched all the support acts, but this is a new city, coming in by road, and bla bla bla…).

I’ve seen Mastodon three times before. Twice when their newest album was Blood Mountain, once with Tool where they leaned on their proggier side and played the full ‘Hearts Alive’ (hooray) and once supporting Slayer where they leaned on their more Metal side. I also caught them a few tours later when their latest album was Once More ‘Round The Sun, where they leaned on their more commercial and accessible material. Each version was great. In the Tool show the sound was bad and the vocals almost silent, but otherwise cool. With Slayer was probably the best. The headline ‘Sun show was pretty great but came at a period when I’d sort’ve fallen away from the band and it was actually what pulled me back in. The only downside was some stupid Scottish jerk screamed so loudly directly into my earhole that I had a ringing in my ears for three and a half days solid and I thought I was going to have to go to the doctor’s over it.

I have to admit, when it comes to Mastodon, my favourite albums are the three album stretch from Leviathan (I have a vinyl copy on my wall as decoration) until Crack The Skye. In this period, when it was happening, they were the most important, beloved, can-do-no-wrong band in the world and everything about them was cool and perfect. The next three albums are good too, and pay off really well when you first get them, but don’t quite live up to those previous three really, when you really look at them, in the cold light of day after the excitement has faded. They’re great, but they aren’t important and generation defining and tied up in all sorts of friendship memories and youthful anything-could-happen-next wide eyed wonderment. A lot of my friend group always say ‘they should’ve broken up after Crack The Skye and would’ve had a perfect untarnished legacy.’ (I’m much, much more forgiving of the next three albums than any of them, but even I can’t deny much preferring the previous three.)

So anyway, that’s the background.. On to the show…

So they came on after soundcheck to a warm applause, and launched into the rather odd song choice for an opener of the Crack The Skye late-album deep track ‘The Last Baron,’ (which is awesome in and of itself, but always feels like the second half of the title track and the third part of a suite of it, the title track and ‘Ghost Of Karelia’ and feels sort of unexpected and naked on its own). It was great though. It was a rather big statement of intent of what you could expect from the evening though, the trippier spacier stuff was definitely moved to the forefront.

There was some tasteful lighting and the stage turned from red to green to flashing depending on the tempo or time signature or some hidden logic I was having to much fun to study.

Then came the recent single from the new album, ‘Sultan’s Curse,’ which I didn’t think I liked all that much until I found myself singing along. They played the Crack The Skye single ‘Divinations complete with its surf guitar influenced solo, and then new-album deep cut ‘Ancient Kingdom’ and the lighting and previously not-much-used seven large thin screens surrounding the band started showing running water.

From then on the show started to get really good and I was warmed up and the showmanship started to come out more, the crowd started singing along more, and the screens started showing mental-ass psychedelic visions of evil octopuses, burning horses, snow, hell-scapes, deserts and all sorts.

The previous setlists on this tour had had a full 9 songs from Emperor Of Sand, but they trimmed that down to a more manageable 7 songs for my show, adding in the hits ‘Colony Of Birchmen’ ‘Black Tongue’ and ‘Blood And Thunder’ to the set to balance it out. They also made the very nice decision to play crazy-ass Blood Mountain deep cut ‘Bladecatcher’ which I wasn’t expecting but gladly welcomed, air drumming along to all its twists and turns and teases.

There was an absence of a lot of their hits that night. No ‘Iron Tusk’ no ‘Capilarian Crest,’ no ‘March Of The Fire Ants,’ no ‘The Wolf Is Loose,’ no ‘Crystal Skull’ no ‘Curl Of The Burl’ and no ‘The Motherload.’ They certainly don’t always just play the same songs every tour that’s for sure!

They did a pretty great job without them though. When they initially chucked in the deep cut from ‘Round The Sun, ‘Emerald City’ I found myself thinking, “which one is that?” when they said the name in the introduction, but then quickly found myself singing the chorus loudly along with easily a thousand other people. I didn’t even know I loved that one, but apparently I do. Its never made it into any of my greatest hits playlists or friend recommendations before, but I guess it probably will in future.

They also played my favourite track off of Emperor Of Sand ‘Andromeda’ with its almost Remission-esque noisy barbaric riff. Some of the drums on tracks like ‘Steambreather’ and ‘Roots Remain’ were breathtaking. Brann Dailor is an absolute drum hero up there with Dany Carey and Neil Pert.

Now; Because Mastodon are such an important band to me, all their albums are major life events and are tied to specific periods in my memory forever. Leviathan was around my 16th birthday and was influential to my teenage band and one of the most exciting times I’ve ever had as a music fan (a lot of my early facebook photos are in a Leviathan shirt and I’ve got a vinyl copy on my wall, now and in my last three homes, as decoration). Blood Mountain was the big exciting release all my high school friends were talking about when I left town after high school and what I’d discuss with them when I got back in touch with them any time in the next few years. Crack The Skye was this amazing otherworldly transcendental masterpiece that defined much of my time when I moved to England. The Hunter was the soundtrack to when I worked in Blackpool while reading all the A Song Of Ice And Fire books and figuring out what I wanted to do with my life. Once More ‘Round The Sun always reminds me of walking my then girlfriend, now wife, to university in the snow and slipping and sliding along all the ice, and then waiting in the lecture halls I’d gotten to half an hour early for my own classes, just cranking out Mastodon, sitting in cold echoing halls bopping away to ‘Halloween’ and ‘Tread Lightly.’

Emperor Of Sand, however, reminds me of misery. I was listening to it heavily when we lost our first baby, and when I was working horrible soul destroying night shifts with an awful, passive aggressive, demanding and socially maladjusted manager in a horrific ungrateful job where you could work either 14 hours a day day shifts or 11 hours a night night shifts and still be harassed into coming in early so they’d pass inspections or going home every single damn day between 20 and 90 minutes late due to short staffing, and not be thanked for it, and have to come in on two hours notice, or on only five hours sleep, and work in awful dehydrating conditions and have the manager talk to you through the toilet door if you ever actually got the chance to actually go to the toilet and escape work for long enough to piss. That place broke so many labour laws and health and safety rules it was staggering and its a wonder the upper management weren’t all sacked, if not prosecute. But anyway… Nowadays when my life is so much happier and nicer and I’m in an awesome job that I love in a much better city in a much nicer home and everything is a lot better, listening to Emperor Of Sand just bums me out and reminds me of slaving away in such horrible conditions for such a dreadful uncaring company and their demanding, hateful, ungrateful clients and then coming home to bereavement and a lack of sleep.

Hearing those songs live with the cool video screens and all the joyous sing-alongs from the other fans sort of freed them from that association. I just got to listen to and enjoy them as songs, free from all the baggage. It was nice. Liberating.

Which is a good job, since so much of the setlist was from it. Going off Setlist FM, the breakdown was as follows: Emperor Of Sand -7 songs; Crack The Skye – 3 songs; Blood Mountain – 2 songs; Leviathan – 2 songs; Once More ’Round The Sun – 1 song; Remission – 1 song; The Hunter – 1 song.

Oh yeah, did I tell you they played bloody ‘Mother Puncher’ ?! SCORE! Its nice that even though they’re so late in their career they aren’t ignoring Remission (come to think of it, last time I saw them they very unexpectedly dropped ‘Ol Nessie’ into the middle of all the commercial stuff!). I hate fans who act all cool and say they only like Remission, sure, but it is a stunning monstrous album and I’d hate for it to be overlooked or forgotten. I’d love for them to drop a few more nuggets from it in nowadays. Nobody could argue with a bit of ‘Crusher Destroyer’ or ‘Where Strides The Behemoth’ nowadays, surely. Just slipped in nice and tidy among the proggier stuff to raise the energy levels and remind us of heavier times.

Speaking of ‘Mother Puncher’…. good God, the drums on that song! That and the breakdown in the middle of ‘Blood And Thunder’ have some of the most maddeningly-illogical yet crazily-satisfying drums ever.

Overall, I had a pretty great night and the band were great. A vastly different setlist than I’ve ever seen by ’em before, cool interesting visuals, a receptive audience, and I’ve not mentioned it yet but the sound was really clear and well balanced, the guitar solos were cool and Brent played them with a little bit of improvisation, and the vocals were really great. As I’ve said, I’ve went to Mastodon shows were you couldn’t even hear the vocals, I’ve seen Mastodon live footage online were the vocals weren’t so hot performance-wise, and I’ve seen ’em live before or recorded on their Brixton live video for example, with awesome vocals. Tonight was a good night for vocals, and indeed for crowd participation. The audience were dancing, singing, air drumming. I was sat behind the lighting/sound guys and they were dancing in unison at one stage. The whole vibe was very friendly and fun and like we were all in on the group secret.

I might have been skeptical and almost cancelled going to this show, but I’m glad I didn’t. I had a good time, I saw a good show and its given me a renewed appreciation for the new album and helped free it from bad memories.


Bullet-For-My-Valentine-Live-From-Brixton-Chapter-TwoLive From Brixton: Chapter Two is a 2017 crowd-funded live album from the Welsh Heavy Metal band Bullet For My Valentine. Its their second live album filmed at the venue, hence the title (as they had released one way back at the start of their career about a decade earlier). It is available in many formats and combinations but my review will concentrate on the single disc Blu Ray version.

The release captures the band live in London in December 2016, towards the end of their touring cycle for the underated Venom album (my favourite BFMV album personally in case you were wondering) and consists of two full concerts. Firstly there is a normal set in support of the Venom album with a nice mix of material throughout their career and an extra focus on Venom. The second concert is a special performance where the band play their popular debut album The Poison in its entirety (with an encore of four extra songs to close out the evening). Its great that they filmed both of these because either one on their own would make a stunning live album and its great not to have to sacrifice one for the existence of the other. There are a few tracks in both sets but overall they are very different and the crossover is minimal. The track listing is as follows:

Night One:

1. V (Intro) 2. No Way Out. 3. Skin. 4. Your Betrayal. 5. Scream, Aim, Fire. 6. Venom. 7. Four Words To Choke Upon. 8. You Want A Battle? Here’s A War. 9. The Last Fight. 10. Hears Burst Into Fire. 11. Alone. 12. Worthless. 13. Hand Of Blood. 14. Don’t Need You. 15. Tears Don’t Fall. 16. Waking The Demon.

Night Two:

1. Intro. 2. Her Voice Resides. 3. Four Words (To Choke Upon) 4. Tears Don’t Fall. 5. Suffocating Under Words Of Sorrow (What Can I Do) 6. Hit The Floor. 7. All These Things I Hate (Revolve Around Me) 8. Room 409. 9. The Poison. 10. Ten Years Today 11. Cries In Vain 12. Spit You Out 13. The End. 14. V (Intro) 15. No Way Out. 16. Your Betrayal. 17. Waking The Demon. 18. Don’t Need You.

Already, value for money is excellent with two entire full-length headline concerts in one package adding up to a 161-minute runtime. And that’s primarily made up of songs by the way, not wasted on indulgent piano solos or annoying onstage rants. But hey, that’s all well and good from a marketing perspective. How good are the concerts themselves? How good is the concert film? How good is the sound of this live album? These are what really matter at the end of the day. The answer to all of which is ‘utterly fantastic.’

I was at the Manchester set from this tour so saw how good the performance was first hand (and am smug enough to report I caught Mike’s drumstick at the end!). Just like my experiences in person in the north of England, down in London things were equally electric by the look of it. The band just seem so into it; Guitarist Padge and drummer Michael Thomas always seem like they are having such fun. The childlike glee on their faces when they nail a difficult part or lay into a crunchy groove just comes across perfectly. Its great to see a band who are so enthusiastic and entertained by what they do. (Which is almost odd considering the reputation they have among Metal elitists who call this cynical corporate kiddie music. …Oh well, their loss!). Matt Tuck can deliver that clean singing really well live too, that is not easy to pull off! Do you know the best thing too? It all sounds so much rawer, heavier and more energetic live than on record. Maybe its their overly slick production jobs on some of those albums that put fans of heavier music off, but live this stuff sounds ferocious. If you doubt me, listen to ‘Scream, Aim, Fire’ live. Its like a fucking Testament song! (Hardly cynical kiddie music!).

First thing outside of the band’s performance to discuss is how this looks. The sheer amount and variety of lasers and lights is ridiculous. Its like a competition to see how elaborate a lightshow can get. During the intro to night two you’d almost be forgiven for thinking you accidentally put on a Pink Floyd concert…that’s how much effort they put into the light show! There’s also a big BMFV backdrop (which the camera personnel use to great effect for framing). There’s pyro. The band are all sharply dressed in suave gentlemen’s suits. Visually its just stunning. Captured in High Definition it looks wonderful. The camera work is great. A real beautiful looking concert film. The editing is tasteful and well paced too. Its not overly stylized or choppy million-shots-a-minute stuff so you can’t even concentrate on the musicians playing their instruments. No; Its really well filmed and put together and a delight to watch.

The sound and mix can be tricky for live releases. Luckily this one strikes the perfect balance of feeling live, and sounding big and polished. The drums are nice and loud in the mix and the timbre of the toms and kicks on this recording really bring out the live vibe. The balance between the three string instruments is pretty perfect with no one either sounding too loud or inaudiable either. As I said it all comes across as a lot more savage than the album versions of the tracks.

In terms of specs, there’s the choice of either 5.1 DTS HD Master audio, Dolby Digital 5.1 or Dolby Digital stereo. Its region code 0. It comes with a booklet filled with pictures as well as a set of liner notes from singer/guitarist Matt Tuck and a set from guitarist Padge.

Overall; this a very good value for money, absolutely beautiful-looking and excellent-sounding concert film capturing two absolutely blistering and enthusiastic, fun performances. It looks an absolute treat and it sounds so much more raw and human than their studio output. Anyone who’s on the fence about this band should seriously check this release out as I can imagine it converting a lot of people. Anyone who is already a fan is going to absolutely fucking love it. Highly, highly recommended.

r-9299096-1481877844-1972-jpegWhen I first heard of Motley Crue I didn’t like them. I was young, Nu Metal was what the Magazines were saying was cool and anything Glam or Hair related was advertised as being terrible, cliched, sexist nonsense for old men who had all grown out of rock music now and were embarrassed to admit they used to like it. That’s what I was told anyway, and though it turns out that this idea was very much a caricature of the real situation I was fool enough to believe it an ignored the band for the next decade or so. Eventually a friend bought me their biography, The Dirt, and I read it since I usually enjoy a good band book and it was rather famous in and of itself as a book so I was tempted to try even if I wasn’t a fan of the band. Upon reading I instantly grew to dislike the band. Cheating, stealing, rude, ungrateful, disrespectful of other’s hard work and property, they didn’t seem like nice people (apparently I forgot about the whole Rock N Roll thing… because everyone else who read the book said ‘Wow, what a badass’ where I thought ‘You are the opposite of an upstanding citizen’). It did make me wonder why anybody liked the band, and that lead me to listen to their music.

…Oh. It all made sense now. Songs like ‘Bastard,’ ‘Red Hot,’ ‘Use It Or Loose It’ and ‘Live Wire’ all tapped into my love of Speed Metal and NWOBHM with their familiar sound… pounding drums, chugging guitars, shouting vocals. What do you mean they toured with Saxon in the early days!? ….That let me in the door and soon I discovered the rest and gladly so. Oh, songs like Don’t Go Away Mad are like an updated version of Kiss… it all makes sense.

Fast forward a few years and its time to review The End, the final concert from the final tour in the storied and legendary band’s career. Available in many formats, CD, Vinyl, DVD and Blu Ray, normal and deluxe editions, there’s many ways to buy this. For me it was standard edition Blu Ray.

Sonically; its very good. The music is clear, big and well-produced. Its got umph. The mix is just right. Visually; its a treat. The picture is excellent, the camera work is on point, the editing is well done (maybe I could loose a few of the slow motion shots but that’s just personal taste) and the actual content of the show is very visually interesting… there’s flames, a specially designed stage with spikes and pentagrams and the band’s name, there’s lazers and even a rollercoaster. The band tower above the crowd on cherrypickers a one point. Its a very big Rock N’ Roll show to match the likes of Kiss, Rammstein and Rob Zombie.

The setlist is quite strong, lots of material from the first four albums, Primal Scream, and a few from the more recent Saints Of Los Angeles. Basically, only material by the full ‘classic line up.’ More or less hit after hit. In terms of less-famous songs they even play my favourite Crue non-single ‘Louder Than Hell’ off of the underrated Theater Of Pain.

So; it looks good, it sounds good and they play good songs. Sounds perfect, right? Well… uh, here’s the thing. The performance is a bit patchy. Maybe even a lot patchy. I mean, Motley Crue are good performers as entertainers… the flame-thrower bass guitar and the crowd interaction and the first pumping excitement raising is all very good in terms of live performance. Its just, the key thing, y’know, playing the songs, where it falls down for me. There’s numerous musical fluffs and mistakes and missed ques. There’s questionable reworkings of classic songs that might’ve made ’em feel updated but miss the mark (‘Shout At The Devil’ I’m lookin at you!) and Vince’s vocals are very sloppy. I have a lot of good will for him and don’t want to slag him off unnecessarily, but man, he is so out of breath, misses so many lines, delivers so many lines in an inappropriate pitch or tone or volume, overall just does not sing these songs either as well as on record or indeed, very well at all.

You could probably forgive a few fluffed transitions and you can get over a few of the questionable moments like Vince doing a happy sexy dance to the word ‘rape’ if you keep in your mind its a concert and not everything would be absolutely perfect, but the singing is such a let down it really is a bit of a deal breaker for me. You can add a few more points if you are a diehard fan I guess, but you can also detract a few if you are a fan of any album between ‘Feelgood and ‘Saints.

I also find the drum solo very… um, well. Drum solos should usually be about showing how well you can play the drums, not just playing along to some dubstep. The rollercoaster was cool and I guess its difficult to play a virtuosic solo when you are upside down, but seriously who comes to Motely Crue wanting to hear dubstep? Maybe I’m nitpicking. Its interesting that they caught on film the one time it goes wrong and Tommy gets stuck in midair like an amusement park malfunction. Its just hard to imagine that it was pitched to the right audience maybe.

I go through two different moods when watching this. First, the cynical mood – ‘Wow, look at those passed-their-prime guys who all hate eachother showing up for the money and not even being on-point musically’ and then the more optimistic ‘Wow, look at those guys up there putting aside their differences to give the fans what they want, and so what if they don’t play perfectly as they put on a big enough spectacle to compensate.’ Sometimes it varies from viewing to viewing, and sometimes it varies from song to song in a single viewing, but I never have settled into deciding which way I feel definitively, and I never did stop viewing.

So that’s the concert. What about the bonus features? Well, there’s a quick four-minute feature about the Flamethrower Bass which is just Nicky talking about his history with pyro and why the one in this concert is the best. Then there’s a similar five-and a-half minute feature on Tommy’s drum rollercoaster and why visuals are important to a live audience. The best feature is a 35 minute interview section with the band where they answer all sorts of questions ans start reflecting on their history and how far they’ve come. None of these features are deal-breakers that you’d buy the disc over if you didn’t want the concert, but are welcome enough for a one-off watch.

Overall; There’s a lot to recommend this concert on – a setlist of mainly hits, a great sound and look, a big rock spectacle, historical significance etc. There’s a few bonus features to add some extra value for money. There’s also a pretty big downside however – the band and especially the singer don’t do as good a job as you’d hope. Whether you can put up with that is up to you. Or like me, maybe you buy it anyway and struggle to figure out if you can put up with it while still watching it a lot.

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The Zombie Horror Picture Show is a live release by the Industrial Metal band Rob Zombie. It was filmed in Texas and released in 2014 on DVD and Blu Ray, his first full concert video release. The Blu Ray version is in 1080p with DTS HD Master 5.1, Dolby TrueHD 5.1 and PCM stereo options.

Live CDs are great, but Rob Zombie has always been about spectacle, about visual, about putting on a show. It just makes more sense to release it in a visual medium. Here’s a list of things you can find on this concert film: Multiple costume changes (including prosthetic Nosferatu ears and a light-up mouth-guard) …when the band are already decoratively dressed and wearing make up to begin with; Multiple screens (showing a mixture of crowd footage, scenes from the music videos and dedicated footage such as horror imagery, strip tease, psychedelic visualizers and karaoke sing along prompts), light-up guitars, a see-through drum kit (which also has pentagrams projected onto it at one stage), balloons, confetti, fireworks and pyro and steam cannons, lights and lasers, customized mic-stands, fake snow falling, hired dancers in big puppet costumes, a giant prop that says ‘Zombie’ on it, a giant radio prop, a giant skeletal podium prop and even a giant steampunk-robot-chariot that drives around the stage and can move its head around. That’s more than most bands do in a whole career these days.

Its a very visual concert, with a lot to take in. The editing and camera work is all very high-budget stuff, lots of different angles available, movement, concentrating on the right parts of the song. There’s the occasional grainy film filters, or psychedelic looking screen mirrored down the middle or what have you, and during the intro, outro and a small selection of the more quiet parts it’ll cut to footage from the road. Its a very good looking film, well put together, not too stylized but not to plain. Very in keeping with Zombie’s tastes and artwork (Which makes sense seeing as Zombie himself directed it). Perhaps, there’s a few too many titty-shots. … a much higher proportion than normal really. If that’s off-putting to you then this aint the concert for you I fear, as there’s no getting around it here.

The band, featuring drummer Ginger Fish and guitarist John 5 (Hey, remember how cool Marilyn Manson was live when those two were in the band!?) as well as bassist Piggy D are all on top form, no free rides! Rob himself performs well and enthusiastically, really getting into it, dancing, interacting with the audience, going into the crowd etc. His vocals, which have been criticized on previous live releases are very strong here, and not a weak link at all. From everyone involved its a good performance, and the crowd seem into it.

The setlist is great; out of all of ‘Zombie’s live albums this has the most wide-ranging setlist, covering five solo albums and two White Zombie albums. Across its 80 minute length you’ll find all the hits you’d expect like ‘Dragula,’ ‘Living Dead Girl,’ ‘Never Gonna Stop (The Red, Red Kroovy),’ ‘Sick Bubblegum’ etc. There’s material from the then-new album Venomous Rat Regeneration Vendor (including a really storming rendition of ‘Dead City Radio…’). There’s also a brief drum solo and a slightly longer guitar solo where John 5 really gets to shred. There’s the popular Grand Funk cover of ‘We’re An American Band.’ The Educated Horses album is the least drawn-from album but then there was already a live album from that touring cycle so its good not to just repeat the same setlist twice. Everyone’s tastes are different and I’d personally have loved to add in ‘Scum Of The Earth’ and ‘Werewolf Women of the SS’ but otherwise it is a pretty amazing selection.

Sound wise, its is decent. The White Zombie covers sound nice and thick, and the more organic material from his solo catalogue fairs really well. Some of the more industrial sections maybe sound different live than on record but not in any way that spoils them. My only minor gripe is that my favourite ‘Zombie song, the very catchy ‘Ding Dang Dong De Do Gong De Laga Raga’ isn’t just as crunchy and massive live. Its good, but not just as satisfying. I think its just because there’s only one guitar track live and in the studio they can beef it up with more. Minor nitpick at most though.

There isn’t much in the way of extras at all, just a gallery, not even a booklet with linear notes or anything, but to be honest I bought it for the concert in the first place so that’s ok I guess.

Overall, in terms of set,sound, performance, spectacle, visuals and editing this is a very good concert film and I highly recommend it. If you are a fan already it is pretty perfect and as an introduction to the band it serves as a pretty high quality ‘greatest hits’ package with a nice career spanning collection of songs to give you a flavour for different eras.