|
|
|||||||||||||
Ostatnie 10 torrentów
Ostatnie 10 komentarzy
Wygląd torrentów:
Kategoria:
Muzyka
Gatunek:
Koncerty
Ilość torrentów:
813
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
DVD 5 PAL 4:3 DD 2.0 ..::TRACK-LIST::.. Jammin' The Blues (Gjon Mill) 1. The Midnight Symphony 2. On The Sunny Side Of The Street 3. Jammin' The Blues Charlie Parker (TV Stage Entrance Show) 4.Hot House The Sound Of Miles Davis - Complete Edition (Jack Smight) 5. So What 6. The Duke 7. Blues For Pablo 8. New Rhumba Bonus Songs (Recorded at the "Jammin' The Blues" session but not used in the movie soundtrack) 9. Sweet Georgia Brown 10. If I Could Be With You One Hour Tonight 11. Blues For Marvin 12. Jammin' The Blues (Alternate Take) Jammin' The Blues - recorded Hollywood, August-September, 1944 Charlie Parker - recorded New York, February 24, 1952 The Sound Of Miles Davis - recorded New York, April 2, 1959 ..::OBSADA::.. Alto Saxophone - Charlie Parker (tracks: 4) Bass - John Simmons (tracks: 1-3, 9-12), Paul Chambers (tracks: 5-8), Red Callender (tracks: 1-3, 9-12), Sandy Block (tracks: 4) Bass Clarinet - Danny Bank (tracks: 5-8) Drums - Charlie Smith (tracks: 4), Jimmy Cobb (tracks: 5-8), Jo Jones (tracks: 1-3, 9-12), Sid Catlett (tracks: 1-3, 9-12) French Horn - Julius Watkins (tracks: 5-8), Bob Northern (tracks: 5-8) Guitar - Barney Kessel (tracks: 1-3, 9-12) MC - Earl Wilson (tracks: 4), Leonard Feather (tracks: 4) Performer [Dance] - Archie Savage (tracks: 1-3, 9-12) Piano - Dick Hyman (tracks: 4), Garland Finney (tracks: 9-12), Marlowe Morris (tracks: 1-3, 9-12), Wynton Kelly (tracks: 5-8) Tenor Saxophone - Illinois Jacquet (tracks: 1-3, 9-12), Lester Young (tracks: 1-3, 9-12) Tenor Saxophone, Alto Saxophone - John Coltrane (tracks: 5-8) Trombone - Bill Elton (tracks: 5-8), Dicky Wells (tracks: 9-12), Frank Rehak (tracks: 5-8), Jimmy Cleveland (tracks: 5-8), Rod Levitt (tracks: 5-8) Trumpet - Clyde Reasinger (tracks: 5-8), Dizzy Gillespie (tracks: 4), Emmett Berry (tracks: 5-8), Ernie Royal (tracks: 5-8), Harry Edison (tracks: 1-3, 9-12), Johnny Coles (tracks: 5-8), Louis Mucci (tracks: 5-8) Trumpet, Flugelhorn - Miles Davis (tracks: 5-8) Tuba - Bill Barber (tracks: 5-8) Vocals, Performer [Dance] - Marie Bryant (tracks: 1-3, 9-12) Woodwind - Eddie Caine (tracks: 5-8), Romeo Penque (tracks: 5-8) SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-21 11:10:48
Rozmiar: 3.60 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 1. Celtic Run 2. Solitaire 3. Narmada 4. You Can't But You Can 5. Circle Seven 6. Moments Of Fortune 7. Midair Decision ..::OBSADA::.. Simon Phillips - drums Otmaro Ruiz - keyboards Ernest Tibbs - bass Alex Sill - guitar Jacob Scesney - saxophones https://www.youtube.com/watch?v=FKgry7eIPoE SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-18 17:19:06
Rozmiar: 4.16 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 37. Internationale Jazzwoche Burghausen, Wackerhalle, Germany, March 22, 2006 1. Trollsyn 2. Storebror 3. Conversation 4. Twelve Moons 5. Rondo Amoroso 6. Chorus 7. He Comes From The North 8. Dansere 9. Brother Wind March 10. Bali 11. Once I Dreamt A Tree Upside Down 12. Quartet No. 1 13. Number One 14. New Bein' 15. Mission: To Be Where I Am ..::OBSADA::.. JAN GARBAREK - tenor sax, curved soprano sax RAINER BRÜNINGHAUS - keyboard, piano EBERHARD WEBER - bass MANU KATCHÉ - drums https://www.youtube.com/watch?v=uBjLXyb8ic0 SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-17 17:45:59
Rozmiar: 3.32 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 30. Leverkusener Jazztage 2009, Germany 1. Liquid 2. Yr 3. Considering The Snail 4. Stolt Öli 5. Jodphur 1 6. Pygmy Lullaby 7. Qawwali 8. It's High Time ..::OBSADA::.. Jan Garbarek - saxophones Rainer Bruninghaus - piano, keyboards Yuri Daniel - bass Trilok Gurtu - percussion https://www.youtube.com/watch?v=TFqiURgAHpA SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-17 17:11:00
Rozmiar: 2.30 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. 'We look at what we do as approaching music with jazz training. We use the jazz language when we’re writing, but we’re not proficient. We’re not the top musicians of the genre, so we don’t try to assume ourselves as prolific innovators because jazz has this history of boundary-pushing limitless constant progression, eight hours a day of practice. We’ve learned to find different interests—whether it’s production, recording techniques, writing, exploring totally different genres of music—instead of progressing our instruments per se as soloists. We listen to Coltrane and Sun Ra and all these progressives, but for us because of the internet and the age we’re a part of we love to study everything. It’s this weird ongoing thing for us to keep being educated and learning.' ..::TRACK-LIST::.. Intro Velvet Confessions Putty Boy Strut Kaleidoscope IV Hedron CS60 ..::OBSADA::.. Chester Hansen - Bass Matthew Tavares - Piano Alexander Sowinski - Drums Leland Whitty - Sax https://www.youtube.com/watch?v=Spi-9ldtqSk SEED 14:30-23:00. POLECAM!!!
Seedów: 1
Komentarze: 0
Data dodania:
2024-01-16 19:28:31
Rozmiar: 2.04 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
Dwóch świetnych, będących tamtego wieczora w rewelacyjnej formie muzyków, klasyczny repertuar i perfekcja wykonania. Rzecz do oglądnięcia i do zapamiętania na zawsze. ..::OPIS::.. In 2001, Ken Hensley returned from the US to the UK on a permanent basis (or at least until he move on to Spain!) and renewed some old acquaintances. He joined up with former Heep member John Wetton in the recording studio, with Wetton contributing to Hensley's then current solo album, "Running blind". In December that year, he also played again with Uriah Heep for the first time in over 20 years. It was during the weekend of "The Magician's Birthday party" that Hensley and Wetton also got together on stage for the gig captured here. While the song writing credits would tend to indicate a bias towards Hensley's recordings, it should be remembered that Wetton played on the original Uriah Heep recordings of a number of them, and performed others live while a member of that band. Further, it is a lesser known fact that Wetton (not David Byron) actually provided the lead vocal on "One way or another" when it opened Heep's "High and mighty" album. The main gig runs to around 90 minutes, drawing in songs from Wetton's solo career, his time with Asia, Hensley's solo work, and music from the David Byron era of Uriah Heep. John's fine voice suits the Heep material well, with songs such as "Return to fantasy" and "July Morning" retaining all their magic. While Ken was never as talented vocally as David Byron, his voice was actually very similar (to the extent that many people do not realise even now that it is his voice on the album version of "Look at yourself"). Ken and John trade lead vocals through the gig with the latter being slightly the more dominant. It is interesting to hear songs such a the aforementioned "One way or another" and "Confession" getting a live airing, simply because they first appeared on an album the two were both involved in. Interesting too is the way some of the Uriah Heep songs, while played out in full, are blended together in a continuous medley. As "Return to fantasy" becomes "July morning", Ken tells the audience "this is your bit now". He then proceeds to deliver a truly impassioned vocal, demonstrating that over 30 year later the song still means a great deal to him. Pleasingly, Ken plays the original Hammond solo this time, rather than the staccato version which tends to find favour in the Uriah Heep live set. It is only when we get to the famous screamed section that we look in vain for the late David Byron. John Wetton's selections from his own (or joint) compositions tend to be ballads and power ballads such as "Battle lines", "Emma" and the particularity emotional "Hold me now". Ken on the other hand mostly goes for upbeat numbers from his solo work. These, including the opening "Overture", are all from his then current album "Running blind" (on which the entire line up here except John Young appeared) although "I don't want to wait" first appeared on the "Time to time" collection. Hensley and Wetton keep a couple of crowd pleasers up their sleeves for the encore which consists of Uriah Heep's "Lady in black" and Asia's "Heat of the moment". In all, a highly enjoyable set which blends a fine cross section of songs from the history of these legendary artists. The duo is augmented by the presence of four other musicians; Dave Kilminster, Steve Christie, Andy Pyle and John Young, the packaging failing to give these guys the credit they deserve. (The booklet does however helpfully tell us the "Jump to tracks" option lets you "choose the track you'd like to hear".) The DVD also contains four bonus promo videos. Of these, two are for songs from Hensley's "Running blind" album, both of them featuring in the main gig. These videos are straightforward films of Hensley and his band performing the songs. Wetton's "Battle lines" is also included in the gig, the video here being a superb period drama piece taken from the film "Chasing the deer". His Asia song "Praying for a miracle" is only included in this section (not in the gig), the performance here being a live one by post-Howe Asia. As is customary for Classic Rock Legends" releases, the extras also include snippets from other DVD's released by the label. In this case, these cover bands such as Wishbone Ash, Ian, Gillan, Caravan and Asia. In summary, a wonderful package, the main course of which is a unique event which will particularly appeal to fans of Uriah Heep, Asia and of course the two principal performers. Easy Livin ..::TRACK-LIST::.. 1. Overture 'La Tristeza Secreta De Un Corazon Gitano' 2. A Minor Life 3. Easy Livin' 4. One Way Or Another 5. Return To Fantasy 6. July Morning 7. Battle Lines 8. Confession 9. Emma 10. Hold Me Now 11. After All 12. The Wizard 13. I Don't Wanna Wait 14. Out Of My Control 15. Tell Me 16. Lady In Black 17. Heat Of The Moment Extras: 1. Bonus videos: - Promo 'Tell Me' - Hensley - Promo 'I Don't Wanna Wait' - Hensley - Promo 'Battlelines' - Wetton - Promo 'Praying For A Miracle' - Wetton/Asia 2. Photo Gallery 3. The Rock Vault ..::OBSADA::.. Ken Hensley - keyboards, slide guitar, vocals John Wetton - guitar, bass, vocals Dave Kilminster - lead guitar John Young - keyboards Andy Pyle - bass Steve Christie - drums https://www.youtube.com/watch?v=eMPWWFtIukU SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-16 17:17:58
Rozmiar: 3.66 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 1. Little Walter Rides Again 2. In Case the World Changes It's Mind 3. Down the Tubes Improvisation # 1 4. Down the Tubes Improvisation # 2 5. Tootie Ma is A Big Fine Thing 6. Tequila & Chocolate 7. Julia 8. Hottentot # 1 9. Hottentot # 2 10. A Go Go ..::OBSADA::.. John Medeski - Organ, Keyboards John Scofield - Guitar Billy Martin - Drums Billy Martin - bass https://www.youtube.com/watch?v=0KeYU8xG-ek SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-16 16:47:51
Rozmiar: 7.18 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 1. Inside Of Me 2. Love Is 3. Whatever It Is 4. The Gambler 5. Freedom 6. Memory Lane 7. Ginger Falls Off 8. 4 Phil 9. People ..::OBSADA::.. Paul Gurvitz - Bass, Vocals Adrian Gurvitz - Guitars, Vocals Ginger Baker - Drums, Percussion, Vocals Peter Lemer - Keyboards Mr. Snips - Vocals https://www.youtube.com/watch?v=DgoXvPwxH5U SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-14 19:29:12
Rozmiar: 2.41 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 1. Keep Your Eyes Open 2. Blues From Before 3. My Man's Gone Now 4. Follow Your Heart 5. Lush Life 6. Shenandoah 7. You Only Live Twice 8. People 9. What The World Needs Now Is Love ..::OBSADA::.. Bill Frisell - guitar Thomas Morgan - double bass Rudy Royston - drums https://www.youtube.com/watch?v=dYdGEw6x2Zs SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-14 19:08:53
Rozmiar: 5.75 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
Kanał ORF3 2015 aug 16 ..::TRACK-LIST::.. Cry Me A River Feelin' Alright Put Out The Light A Whiter Shade Of Pale Delta Lady Hitchcock Railway Sweet Forgiveness You Are So Beautiful With A Little Help From My Friends I Heard It Through The Grapevine The Letter High Time We Went ..::OBSADA::.. Joe Cocker - voc Cliff Goodwin - Lead Guitar Howard Hersh - Bass Mitch Chakour - Piano Larry Marshall - Organ B.J. Wilson - Drums Maxine Green - Voc Dede Washburn - Voc Anne Lang - Voc https://www.youtube.com/watch?v=ekdNbfREGm0 SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-14 18:54:31
Rozmiar: 3.25 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. Woodstock Festival August 16, 1969 (00:24:34) 1. Born On The Bayou 2. Bad Moon Rising 3. I Put A Spell On You 4. Proud Mary (Partial) 5. I Put A Spell On You 6. The Night Time is the Right Time 7. Keep On Chooglin' Johhny Cash Show 1969 (00:05:26) 1. Bad Moon Rising 2. Proud Mary Ed Sullivan Show 1969 (00:07:47) 1. Down On The Corner 2. Fortunate Son 3. Proud Mary Music Scene ABC-TV Los Angeles December 1, 1969 (00:05:47) 1. Down On The Corner 2. The Night Time is the Right Time Promotion Film 1969 (00:02:52) 1. Proud Mary ..::OBSADA::.. John Fogerty - vocals, guitar, harmonica, piano Tom Fogerty - rhythm guitar, backing vocals, co-lead vocals on 'Suzie Q' Stu Cook - bass guitar Doug Clifford - drums https://www.youtube.com/watch?v=-p9wUYoM6HI SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-14 10:31:18
Rozmiar: 2.68 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. The collection features electrifying performances from icons like Dave Grohl, Eric Church, Joe Bonamassa, Jim James, Gov’t Mule, Grace Potter, and Mike Gordon, among many others, recorded live at Haynes’ 30th annual Christmas Jam on December 7 and 8, 2018 in Asheville, North Carolina. The set paints a vivid tapestry of live music, characterized by spontaneous collaborations, raw energy, and a palpable mutual respect among the artists. ..::TRACK-LIST::.. BD 1: 1. Warren Haynes - Just Before The Bullets Fly 2. Warren Haynes - One 3. Warren Haynes - Soulshine 4. Marco Benevento - Greenpoint 5. Marco Benevento - Pepper 6. Jamey Johnson - Ray Ray's Juke Joint 7. Jamey Johnson - In Color 8. Jamey Johnson - I Think I'll Just Stay Here And Drink 9. Grace Potter & The Nocturnals - Medicine 10. Grace Potter & The Nocturnals - The Lion, The Beast, The Beat 11. Grace Potter & The Nocturnals feat. Ron Holloway Good Times Bad Times - Paris (Ooh La La) 12. Mike Gordon - Victim 13. Mike Gordon - Sweet Emotion 14. Mike Gordon - Pendulum 15. Jim James - Here In Spirit 16. Jim James - A New Life 17. Jim James - State Of The Art (A.E.I.O.U.) 18. Eric Church - Record Year 19. Eric Church - Smoke A Little Smoke 20. Eric Church - Ain't Wastin' Time No More 21. Eric Church - The Weight 22. Warren Haynes feat Ray Sisk - Glory Road 23. Joe Bonamassa - Spanish Boots 24. Joe Bonamassa - SWLABR 25. Joe Bonamassa - Tea For One - I Can't Quit You Baby 26. Dave Grohl - Play 27. Gov't Mule - Thorazine Shuffle 28. Gov't Mule - Revolution Come Revolution Go 29. Gov't Mule feat. Machan Taylor & Mini Carlsson - Million Miles From Yesterday 30. Gov't Mule feat. Machan Taylor & Mini Carlsson - Dreams & Songs 31.& Gov't Mule feat. Ron Holloway & Mike Barnes - Red Baron 32. Gov't Mule feat. Dave Grohl - Rockin' In The Free World - Machine Gun - Rockin' In The Free World BD 2: 1. Warren Haynes & Joe Bonamassa - If Heartaches Were Nickels 2. Tyler Ramsey - 1000 Black Birds 3. Tyler Ramsey - The Nightbird 4. Kevn Kinney, Jamey Johnson & The Christmas Jam Band - Underground Umbrella 5. Kevn Kinney, Jamey Johnson & The Christmas Jam Band - Straight To Hell 6. Warren Haynes & Jim James - Captured 7. Warren Haynes, Jim James & Grace Potter - Gold Dust Woman 8. Mike Gordon & Scott Murawski - Crazy Sometimes 9. Edwin McCain - I've Seen A Love 10. Planet of the Abts - I'm Telling You 11. Dave Grohl & Warren Haynes - Times Like These 12. Dave Grohl - Everlong 13. Govt Mule - Time - Breathe (Reprise) 14. Govt Mule - Money 15. Gov't Mule feat. Jim James - Us And Them 16. Govt Mule - Any Colour You Like 17. Gov't Mule - Welcome To The Machine 18. Gov't Mule - Comfortably Numb https://www.discogs.com/release/29135764-Various-Warren-Haynes-Presents-The-Benefit-Concert-Volume-20 https://www.youtube.com/watch?v=sMVK1gOQyKY SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-12 19:49:49
Rozmiar: 73.71 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. 'Patrząc na okładkę The Lost And The Painless i pamiętając te wczesne albumy i występy na żywo, to niesamowite pomyśleć, że Gothic został wydany 30 lat temu' - mówi wokalista Nick Holmes. 'To służy jako bardzo ważny rozdział w życiu zespołu i wywołuje wiele nostalgii z początku lat 90-tych. Żyliśmy z chipsów, spaliśmy w squotach, na podłogach ludzi i pod pojazdami. Papierosy kosztowały 1,50 funta za paczkę, piwo Stella Artois wciąż miało 5,2%, a podróżowanie furgonetką Ford Transit z całym wyposażeniem i 10 osobami siedzącymi na starym materacu było uważane za normalne' - dodaje lider Paradise Lost. ..::TRACK-LIST::.. 'Live Death', Live In Bradford UK, 1989 1. Deadly Inner Sense 3:24 2. Frozen Illusion 5:39 3. Breeding Fear 4:32 4. Paradise Lost 5:41 5. Our Saviour 5:26 6. Rotting Misery 5:57 7. Internal Torment 6:06 On Tour With Autopsy, September 1990 8. Deadly Inner Sense 4:50 9. Frozen Illusion 5:46 10. Breeding Fear 4:38 11. Paradise Lost 6:07 12. The Painless 2:17 'The Lost Tapes' 1991 13. Intro 1:06 14. Dead Emotion 4:38 15. Gothic 4:27 16. Paradise Lost 5:57 17. Breeding Fear 4:29 18. Eternal 3:59 19. Shattered 4:13 20. Frozen Illusion 5:52 21. Angel Tears 2:01 22. Silent 4:00 23. The Painless 4:16 Live In Berlin, Germany 1991 24. Dead Emotion 4:27 25. Gothic 4:29 26. Breeding Fear 4:26 27. Eternal 4:07 28. The Painless 4:07 29. Deadly Inner Sense 5:02 30. Our Saviour 5:51 https://www.youtube.com/watch?v=xcrAhA8sH4A SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-12 15:57:29
Rozmiar: 7.04 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. Live At Nagano Sunplaza 1992 1. Introduction 2. Pray For The Dead 3. Slaughter House 4. Down’n’Dirty 5. Everyone Lies 6. House Of 1,000 Pleasures 7. Black Widow 8. Twisted 9. Hell Bites (From The Edge Of Insanity) 10. Waking The Dead 11. Crazy Night 12. Crazy Doctor 13. Firestorm 14. S.D.I ..::OBSADA::.. Bass - Taiji Sawada Drums - Munetaka Higuchi Guitar - Akira Takasaki Vocals - Masaki Yamada https://www.youtube.com/watch?v=IKXsnDx81Pk SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-12 15:37:20
Rozmiar: 6.30 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Sing me a song You’re singer Do me a wrong You’re a bringer of evil... Miejsce akcji: Szacowna, zbudowana w 1932 roku, sala Radio City Music Hall w Nowym Jorku. Czas akcji: 30 marca 2007. Gwiazda wieczoru: Black Sabbath ups...Heaven & Hell (Sharon ma dobrych prawników). Setlista: DIO ERA (Heaven And Hell, The Mob Rules, Dehumanizer oraz 2 nowe utwory przygotowane na składankę The Dio Years). Żadnych ukłonów w stronę Ozzy’ego. Kto się spodziewał War Pigs, Paranoid i innych hitów powinien zmienić dysk w odtwarzaczu – to NIE TEN KONCERT. W filmie dokumentalnym zamieszczonym na DVD Iommi żartobliwie stwierdził, że wreszcie sobie pograł długie gitarowe frazy w stylu Davida Gilmoura. Publiczność: szalona i oddana, śpiewająca każdy utwór wraz z Ronniem Jamesem (apogeum Heaven And Hell). Bilety na koncert rozeszły się na pniu w ciągu kilku godzin, a zapotrzebowanie na nie wielokrotnie przekroczyło możliwości sali. Przedział wieku: rówieśnicy członków zespołu, ich dzieci i wnuki. Kocham Black Sabbath w każdym wcieleniu (nawet z Tonym Martinem), ale największą słabość mam (o tempora! o mores!) nie do składu z Ozzym, ale właśnie do ekipy z czasów The Mob Rules. Mały człowiek o WIELKIM głosie – Ronnie James Dio jest dla mnie wzorem metalowego wokalisty. Show: Kurtyna podnosi się. Scena została zaaranżowana na kształt prezbiterium kościoła w Stanford. Trzy wielkie ostrołukowe okna/ekrany (na których wyświetlano projekcje multimedialne), detale architektoniczne zainspirowane angielskim gotykiem, znakomicie zaplanowane oświetlenie (wielkie brawa dla scenografa Paula Dextera). Zestaw Appice’a umieszczony w centrum sceny. Iommi po lewej, Butler po prawej. Dio - wszędzie. Przez dwie godziny panowie zagrali wszystkie swoje największe „metalowe przeboje” (patrz spis). Znalazło się miejsce na zaprezentowanie dwóch, całkiem niezłych, nowych utworów tego wcielenia Black Sabbath (The Devil Cried, Shadow Of The Wind). Jak widać muzycy nie odcinają kuponów od dawnych osiągnięć. Nie jest to klasyczny „skok na kasę”. Od intro w E5150 do ostatnich dźwięków Neon Knights słuchacz i widz ma do czynienia z wielkim koncertem. Może to była kwestia dyspozycji, ale tego dnia w Nowym Jorku, zespół zagrał FENOMENALNY koncert. Zabójcza rytmiczna maszyneria Butler/Appice zagrała perfekcyjnie. Ze strun „Old Boya” Iommiego leciały skry, a gitarzysta nadal potrafi przywalić piekielnie ciężkim riffem, by za chwilę zagrać przepiękne, natchnione solo. Dio zaśpiewał tego dnia wspaniale. Bez wpadek, czyściutko, niezwykle pewnie. To niesamowite, ale jego głos z upływem lat jest coraz lepszy, praktycznie niezniszczalny. Nie ma dla niego żadnych ograniczeń. Świetne partie śpiewane w wysokich rejestrach (np: Heaven And Hell, Shadow Of The Wind, Children Of The Sea, The Sign Of The Sounthern Cross). Kondycji fizycznej też można „małemu rycerzowi” pozazdrościć (człowiek, który się kulom nie kłania). Brzmienie całości wgniotło w ziemię (polecam miks 5.1). A przecież na scenę wyszło czterech starszych, nobliwych panów grubo po pięćdziesiątce. Sposób, w jaki zagrali, klasa i mistrzostwo wykonania budzą największy szacunek. Każdy dźwięk został perfekcyjnie i z sercem zagrany. Widać i słychać, że granie tych nie wykonywanych od lat utworów sprawiało muzykom wielką frajdę. Cezar powiedział tak: Veni, Vedi, Vici. W przypadku Black Sabbath słowa są do dziś aktualne. Metalowa młodzież powinna się uczyć. Panowie pokazali jej miejsce w hierarchii. Wrażenia: bezcenne! Pal licho cenę, którą zapłaciłam za wersję de luxe (DVD + 2CD+ książeczka ze zdjęciami + backstage pass, a całość zamknięta jest w gustownym pudełeczku). Ten materiał wart jest każdych pieniędzy. Absolutely must have! Ja nadal nie mogę wyjść z podziwu. The devil is never a maker The less that you give You’re a taker So it’s on an on and on It’s HEAVEN AND HELL... Lothien O formie Heaven and Hell mogliśmy przekonać się osobiście w czerwcu podczas koncertów w Warszawie i Katowicach. Gdyby jednak komuś muzyki Black Sabbath z Dio było mało może sięgnąć po zapis podobnego występu, który odbył się w nowojorskim Radio City Music Hall. Na koncercie, który ukazał się zarówno na kompakcie (dwie płyty) i na DVD, Heaven and Hell zagrali niemal wszystkie kompozycje, które ukazały się, na wydanej w tym roku składance "Black Sabbath: The Dio Years", podsumowującej lata, w których wokalistą Black Sabbath był Ronnie James Dio. Mamy więc ciężki "After All (The Dead)", szybki "Neon Knights", bujający "Lady Evil" oraz wydłużoną wersję "Heaven and Hell". Zespół sięgnął też do dwóch nowych piosenek, które znalazły się na wspomnianej składance. W "The Devil Cried" słyszymy solówkę perkusyjną, a "Shadow of the Wind" prowadzony jest przez jeden z najlepszych riffów, jaki wyszedł od Tony'ego Iommiego, a było ich przecież niemało. Podobnie jak na polskich koncertach, kwartet Dio, Iommi, Butler i Appice dają z siebie wszystko. Dio nie tylko potrafi porwać śpiewem, ale też utrzymuje ciągły kontakt z publicznością, dzięki bogatej, czasem dowcipnej, konferansjerce. Iommi po raz kolejny udowadnia, że jest jednym z najlepszych metalowych gitarzystów, a sekcja rytmiczna znakomicie z nim współgra, co słychać na przykład w instrumentalnej części "Heaven and Hell". Albumowi można jednak zarzucić sterylność i zbyt wygładzone brzmienie - to mankament wielu koncertowych płyt wydawanych w dzisiejszych czasach. Traci przez to trochę na drapieżności, chociaż ogień buchający ze sceny nadal potrafi porządnie osmalić twarz. RJF When reflecting upon the past, particularly after the passing of the subject of the recollection in question, each recorded moment becomes an invaluable keepsake. Whatever flaws may have endured with those moments of splendor become welcome marks of uniqueness, especially when they are minuscule, as they tend to be when dealing with a mainstay and veritable perfectionist of a craft. Dio's illustrious career, spanning many decades under various projects, was arguably the personification of perfection, not so much in the modern sense of flawlessness, but the archaic one where something is in a state of fulfillment. With rare exception, his music was an exercise in mastery that would captivate audiences the world over, but his true home was in the live setting, and towards the twilight of his time with us he embarked on yet another short-lived collaboration with his mates in Black Sabbath, though it came to be known officially by the name of Heaven And Hell due to the "official" version of the band still being an active player at the time. The first official offering under the new moniker turned out to be a live offering, due in no small part to there already being an EP worth of new material recently released under the Sabbath name and creating a wave that supplanted the original lineup's slavish adherence to being an OzzFest promotional gimmick. True to this lineup's reputation, the presentation walks a fine line between exuberant pomp and humble gratuity that makes for a far more engaging live performance, especially in the video medium where the enthusiasm and execution of the performers count for a lot more than the familiarity of the songs themselves. On the song selection front, this sense of balance finds itself with an adequate representation of the Dio era's entire catalog, including two out of the three latest offerings, though the largest plurality of songs came out of the iconic Heaven And Hell album that kicked off Dio's time in the Sabbath fold. It's a doubly enthralling affair given how effortlessly the band transitions from the rocking smoothness and epic tenor of the early 80s material to the more industrialized and dark feel of the Dehumanizer and current offerings. Dio himself was often quoted as believing that a band is a collective effort, and it is arguable that this notion came through the most during his time in Sabbath, and the performance takes it to its logical conclusion. Every member of the outfit has their time in the spotlight with no real edge given to one over the other, though how and when this occurs varies a bit from one song to the next. Tony Iommi finds himself stealing part of the show at the onset of "Die Young", a song that tended to feature his talents in particular, and he takes the occasion to expand upon the introduction of the song and turns it into an extended solo slot for himself, banging out expressive, singing notes that focus a bit more on quality than quantity. Vinnie Appice takes a drum solo for himself towards the middle of the set that occasionally features some background keyboard work and samples, though he comes off as a tad more restrained when compared to how Simon Wright would handle drum solo slots with Dio's solo band. Geezer all but chimes in with flashy bass fills through just about every song, but the creeping, atmospheric work he brings to their rendition of "Sign Of The Southern Cross" is where he shines the brightest. Naturally a performance is about more than just the individual achievements of each member and how they equal themselves out, as much of these songs are primarily rooted in a basic structure that caters both to impact and atmosphere, and the selection of songs heightens this to the point of seeing this band perfectly balance their doom and heavy metal personas. The choice of following the creepy "E5150" intro that was featured in the Heavy Metal film prominently with "After All (The Dead)" shifts the overall feel of the show to the darker side of things, and though there are many lighter and epic moments to be enjoyed between "Children Of The Sea", "Neon Knights" and "Lady Evil", they tend to be equaled out by combination of selections from Dehumanizer and the newer offering "Shadow Of The Wind" (which could have been from the same album). Nevertheless, the faster rocking moments have their turn, and surprisingly enough Dio gets so jazzed up at the onset of "The Mob Rules" that he ends up belting out a high A note right out of Iron Maiden's Number Of The Beast that I don't recall ever hearing out of him, at the ripe old age of 65 to boot. Perhaps the best way basis of comparison between this glorious performance, where the band would come off as 20 years younger were it not for the video footage, would be to Dio's recent outing with his own band playing the Holy Diver album in its entirety, among some lesser known offerings. This follows the same basic scheme, but has a slight bit more enthusiasm behind it, perhaps in large part due to it occurring in a larger venue with a group of musicians that had not collaborated in a very long time. But no matter what past performance including members of this fold, this was a powerful performance unto itself, and one that would launch what would sadly be the last wave of original output with Dio at the helm. It's hard to get used to who was arguably the second king of rock n' roll being gone, but as sure as the setting sun in the western sky, he will not be soon forgotten. hells unicorn ..::TRACK-LIST::.. 1. E5150 / After All (The Dead) 2. The Mob Rules 3. Children Of The Sea 4. Lady Evil 5. I 6. The Sign Of The Southern Cross 7. Voodoo 8. The Devil Cried 9. Computer God 10. Falling Off The Edge Of The World 11. Shadow Of The Wind 12. Die Young 13. Heaven And Hell 14. Lonely Is The Word 15. Neon Knights Extras: 16. Heaven And Hell Road Movie 17. Hail The Gods Of Metal 18. Meet The Mob 19. Radio City ..::OBSADA::.. Bass - Geezer Butler Drums - Vinny Appice Guitar - Tony Iommi Vocals - Ronnie James Dio https://www.youtube.com/watch?v=kjG5CspkBuI SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-12 14:35:11
Rozmiar: 7.53 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 1. Born On The Bayou 2. Green River 3. Tombstone Shadow 4. Travellin' Band 5. Fortunate Son 6. Commotion 7. Midnight Special 8. Bad Moon Rising 9. Proud Mary 10. The Night Time Is The Right Time 11. Good Golly Miss Molly 12. Keep On Chooglin' 13. Down On The Corner (Bonus) https://www.youtube.com/watch?v=b0Upk41P7aw SEED 14:30-23:00. POLECAM!!!
CREEDENCE CLEARWATER REVIVAL - THE ROYAL ALBERT HALL CONCERT1970 (2010) [DVD5] [NTSC] [FALLEN ANGEL]
Seedów: 18
Data dodania:
2024-01-07 19:04:19
Rozmiar: 3.65 GB
Peerów: 9
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 1. Detroit Rock City 2. Shout It Out Loud 3. Deuce 4. War Machine 5. Heaven’s on Fire 6. I Love It Loud 7. Say Yeah 8. Cold Gin 9. Guitar solo from Tommy Thayer 10. Lick It Up (with a bridge of The Who’s “Won’t Get Fooled Again”) 11. Calling Dr. Love 12. Makin’ Love 13. Tommy/Paul guitar duel 14. Psycho Circus 15. Drum solo from Eric Singer 16. 100,000 Years 17. Bass solo from Gene Simmons where he spits blood 18. God of Thunder 19. Love Gun 20. I Was Made for Lovin’ You 21. Black Diamond Encore: 22. Beth 23. Do You Love Me 24. Rock and Roll All Nite https://www.youtube.com/watch?v=91uY2HcSWN0 SEED 14:30-23:00. POLECAM!!!
Seedów: 79
Komentarze: 0
Data dodania:
2024-01-07 13:40:01
Rozmiar: 9.54 GB
Peerów: 13
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. On August 14, 2008, Morrissey released the following statement: "The slapdash release of Morrissey: Live at the Hollywood Bowl is done by Warner without any consultation to me whatsoever, and is in breach of their terms as laid out by themselves in an agreement made for the film between Warner and my ex-manager. Being Warner, predictably the sleeve art is appalling. It is the work of cash-hounds, and I urge people NOT to buy it. I am not signed to Warner, and no royalties from this DVD will come to me. Please spend your money elsewhere. Thank you, MORRISSEY. My first concert at the Hollywood Bowl was Morrissey in 1992. Times were different then. Morrissey played for about an hour and change and no Smiths songs were played. Ticketmaster also wasn't as greedy back then as they are now. The bowl show in 1992 sold out in a record 23 minutes. This is mindboggling considering that there was no online ticketmaster site back then. I couldn't help but smile when I saw Morrissey's name on the marquee with "Sold Out" placed underneath. Kristeen Young opened yet again at almost exactly 8:00. She did a better job compared to Gallon Drunk who opened back in 1992. The crowd was receptive and applauded most of her songs. The bowl was not a fully capacity since it was a friday night and traffic was horrendous. Kristeen used a wah pedal on her keyboard during one of her songs which gave her piano tone a cracked psychotic tone. They played their usual forty minute set. "Hooray for Hollywood!" Morrisey quipped as he dashingly appeared on stage. The crowd was truly electric. Their were a ton of cameras setup onstage and I spotted a steadicam filming during the show. I hope they captured the magic of this night. A large screen was showing different angles of Morrissey and the band all night. It was like watching a DVD. Morrissey wasn't as chatty but he was in a good mood and his voice was in top shape. The only small complaint I have was that the music was not loud enough. I was in Section D and I didn't even need my earplugs. I can only imagine it was a faint whisper in the back of the bowl. Morrissey added some of his usual banter including that many famous people have graced the stage at the Hollywood Bowl including himself. He also mentioned that the bowl was the hippest place to be except for the Cat and The Fiddle. The version of "How Soon is Now?" was epic. I can not wait to see how it turns out on DVD because I still get shivers thinking about it. The pounding of the bass drum by Matt Walker at the end of the song combined with the feedback was outstanding. Another highlight of the show was the sheer number of Smiths songs played. I always joked with my Morrissey friends about the Smiths song cap in that Morrissey never exceeds four songs per night. The Smiths cap was busted tonight as those lucky people in attendance received six songs which maybe a record for this decade. By ending the night with "There Is A Light That Never Goes Out" was simply magical. I hope I get a Morrissey Live at the Hollywood Bowl DVD for Christmas. Amateur Chemist ..::TRACK-LIST::.. 1. The Queen Is Dead 2. The Last Of The Famous International Playboys 3. Ganglord 4. The National Front Disco 5. Let Me Kiss You 6. All You Need Is Me 7. The Boy With The Thorn In His Side 8. Irish Blood, English Heart 9. Disappointed 10. I ve Changed My Plea To Guilty 11. Everyday Is Like Sunday 12. In The Future When All s Well 13. I Will See You In Far Off Places 14. Girlfriend In A Coma 15. First Of The Gang To Die 16. I Just Want To See The Boy Happy 17. You Have Killed Me 18. That's How People Grow Up 19. Life Is A Pigsty 20. How Soon Is Now? Encore 21. Please, Please, Please Let Me Get What I Want 22. You re Gonna Need Someone On Your Side 23. There Is A Light That Never Goes Out + 24. That's How People Grow Up (Promotional video) https://www.youtube.com/watch?v=ssLeBUziLKw SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-06 11:13:00
Rozmiar: 7.50 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. 1. Não Quero O Seu Perdão 2. Vamos Para O Espaço 3. Bambina 4. Canos Silenciosos 5. Decadence Avec Elegance 6. El Desdichado II 7. Mais Uma Vez 8. A Vida é Doce 9. Você E A Noite Escura 10. Das Tripas Coração 11. Ovelha Negra 12. Balada Do Inimigo 13. O Roque Errou 14. Essa Noite, Não 15. Me Chama 16. Rádio Blá (Blá, Blá, Blá... Eu Te Amo) 17. Corações Psicodélicos 18. Vida Bandida 19. Por Tudo Que For ..::OBSADA::.. Dudinha Lima - Baixo Armando Cardoso - Bateria André Caccia Bava - Guitarra Luís Sérgio Carlini - Guitarra https://www.youtube.com/watch?v=ifmiYPov9Wk SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-06 09:16:37
Rozmiar: 4.23 GB
Peerów: 10
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. The 1980s were a special decade for metal, where the genre was specially more open-minded and inventive. Acts such as Queensrÿche and Crimson Glory took metal to realms it was completely new to, and their sound was very influential for many modern musicians. As a logical consequence of that evolution, other bands seized the roots of that metal-esque songwriting and delved further into what their forefathers did, adding some uniqueness and searching deeper for a less accessible sound. That was the dawn of the sub-genre we all know now as progressive-metal. Thirty years ago, one album saw the light of day: “Awaken the Guardian”. It showed a band not only creating their own sound, but stepping outside the boundaries of their time. A monumental execution of a brilliant musical idea crafted in an outlandish way, it became not only a milestone in the band’s career, but also a good definition of “unique”. Its main goal was to be different, which it was successful in doing and, despite being overshadowed at the time of its release by the unveiling of Metallica’s “Master of Puppets”, Slayer’s “Reign in Blood”, Megadeth’s “Peace Sells…But Who’s Buying?” and Iron Maiden’s “Somewhere in Time” to name a few, it continues to be exceptionally appreciated as a complex, esoteric, and I’d dare to say arcane masterpiece. On April 28th, 2017, Fates Warning will officially release “Awaken the Guardian Live”, a celebration of that legendary album which ironically holds the honor as the band’s very first release to debut on the Billboard chart and at the same time marked the end of the Arch’s era. Fates Warning’s mastermind and main songwriter Jim Mattheos reassembled the “Awaken The Guardian” era lineup with John Arch at the mic, bassist Joe DiBiase, drummer Steve Zimmerman, and guitarist Frank Aresti for two special festival appearances last year: Keep It True XIX in Lauda-Konigshofen, Germany and ProgPower USA XVII in Atlanta, Georgia. At both shows Fates Warning performed the “Awaken the Guardian” in its entirety. The German show, directed and edited by Oliver “Bomber” Barth, also included “The Apparition”, “Damnation”, “Night On Brocken”, and “Epitaph” as bonuses, meanwhile at ProgPower USA, “Damnation”, “The Apparition”, “Kyrie Eleison” and “Epitaph” were added to the performance of their milestone album. The sound recording and video editing of the US show were in the capable hands of Kent Smith. Both shows were mixed and mastered by Bill Metoyer. After three decades, the most impending question for many fans was whether the band could do justice to such unwavering and demanding set of songs. I was fortunate enough to be amongst the ones in attendance at ProgPower USA XVII last September, and all I can remember is myself asking “How the heck are they pulling this off?”. I have now seen the Germany show as well, and I can assure you are in for a treat. Hearing the album in its original form is a true marvelous experience, but watching it live adds an additional taste that’s just as wonderfully pleasant as one could ever hope for. The band is firing on all cylinders, blasting energy and rapture in all directions. The haunting, yet melodious acoustic intros, the unconventional riffs, the very strange time signatures, the thrashy sections, the choruses… these veterans outdo themselves in front of two packed-to-the-roof venues, filled with euphoric and captivated spectators. I wasn’t really expecting this synergy, considering how many years had passed since they performed together for the last time, but the majesty of such a decisive record is highly palpable; topped off by Arch’s mind-blowing and masterful vocal melodies. How he can hit the same intricate high notes in passages like “I’m a fire without a flame, helpless child without a name with broken wings”, while keeping his truly charismatic tone throughout the entire set is, and probably will ever, be a mystery. The camera work and video editing is outstanding for both sets, being the ProgPower USA show slightly more enjoyable in my opinion: the band showcases a higher-degree of confidence on-stage and the sound packs an overall punchier, heavier tone. But fear not, both presentations have their own distinct flavor and freshness, turning the whole set into a visual experience of tremendous caliber. “Awaken the Guardian Live” also features art direction, design, and artwork by famed Greek-born artist Ioannis (www.dangerousage.com) who also created the original album cover. Even when Fates Warning would become a fully progressive-metal band with their next album “No Exit”, “Awaken the Guardian” was the watershed release for them, that killer album any metalhead can turn to for an unrelenting display of guitar prowess. The feeling it evokes, the mystical, otherworldly hum that seems to rise-up from its music, is astoundingly brought back to life and documented like never-before in this fantastic live release, which we recommend as a great testimony of the evolution of the genre. Joel Barrios ..::TRACK-LIST::.. Keep It True XIX 2016 1. The Sorceress 6:08 2. Valley Of The Dolls 6:40 3. Fata Morgana 5:29 4. Guardian 9:05 5. Prelude To Ruin 8:01 6. Giant's Lore (Heart Of Winter) 6:11 7. Time Long Past 2:08 8. Exodus 8:46 9. The Apparition 6:26 10. Damnation 6:48 11. Night On Brocken 5:28 12. Epitaph 12:42 Progpower XVII 2016 13. The Sorceress 5:51 14. Valley Of The Dolls 6:53 15. Fata Morgana 5:24 16. Guardian 8:57 17. Prelude To Ruin 8:12 18. Giant's Lore (Heart Of Winter) 6:07 19. Time Long Past 2:02 20. Exodus 8:54 21. Damnation 6:42 22. The Apparition 5:56 23. Kyrie Eleison 5:06 24. Epitaph 13:20 ..::OBSADA::.. Vocals - John Arch Guitar - Frank Aresti, Jim Matheos Bass - Joe DiBiase Drums - Steve Zimmerman https://www.youtube.com/watch?v=BK6gaFiKuMM SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-06 08:59:07
Rozmiar: 23.16 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Które to już DVD Dream Theater?! I czy w związku z tym warto po nie sięgać mając wcześniejsze mocno wypasione kolosy? Tym bardziej, że poprzednie tego typu wydawnictwo - Live At Luna Park - pojawiło się ledwie rok wcześniej. Warto. I to z paru powodów. Pierwszym jest wyjątkowość zarejestrowanego tu występu. Artyści pojawili się bowiem na scenie pięknej bostońskiej opery, do tego w towarzystwie orkiestry i chóru Berklee College Of Music, szkoły, którą ukończyli John Petrucci, John Myung (można powiedzieć, że to właśnie tu – jeszcze pod nazwą Majesty - wszystko się zaczęło), a obecny perkusista grupy Mike Mangini jest jej wykładowcą. Drugim jest atrakcyjność prezentowanej setlisty. Przypomnę, że nowojorczycy promowali tym występem swój ostatni, wydany w 2013 roku, krążek Dream Theater. W ramach jego promocji dotarli aż dwukrotnie do Polski a zestaw kawałków tu zapisanych jest zbieżny z tym wykonanym 5 lutego 2014 roku w katowickim Spodku. Są zatem obszerne fragmenty nowej płyty (pięć numerów) oraz dwa spore muzyczne wycinki z klasycznych i uważanych za najlepsze w ich dyskografii albumów – Awake i Metropolis Pt. 2: Scenes From a Memory. Zarówno w przypadku pierwszego, jak i drugiego krążka, muzycy świętowali jubileusze – odpowiednio 20 - i 15 - lecie. Siłą tego występu jest niewątpliwie towarzystwo wspomnianej orkiestry oraz chóru. I choć to nie pierwsze spotkanie „bogów progmetalu” z klasykami (w 2006 roku światło dzienne ujrzało DVD Score, na którym muzycy w Radio City Music Hall w Nowym Jorku wystąpili u boku The Octavarium Orchestra) ich współpraca wypada wybornie. Klasycy pojawiają się dopiero w suicie Illumination Theory i nadają jej ogromnie dużo dostojeństwa, pokazując przy okazji, że to naprawdę jeden z najlepszych epickich numerów Dream Theater. Z kolei w kończącym całość Finally Free dramaturgię świetnie podkreślają pełne patosu partie chóralne. Całość zmontowano w bardzo charakterystyczny dla Dream Theater sposób. Podział ekranu na dwie, trzy, czy cztery części, w których możemy śledzić każdego z muzyków to norma. Do tego dodano szereg ciekawych animacji. Polecam szczególnie tę otwierającą występ (False Awakening Suite), w której w płynny i pomysłowy sposób pokazano historię kapeli przez pryzmat motywów z płytowych okładek. Mimo, że materiał zgrano na dwóch dyskach, z dodatkami tym razem nie przesadzono. Dwa animowane filmiki i galeria zdjęć zupełnie wystarczają po prawie trzygodzinnym spektaklu. Mariusz Danielak Breaking the Fourth Wall delivers, even given the high bar to which live albums ought to be held. First, the musical execution. It’s spot-on. James LaBrie isn’t exactly the most consistent performer, and his shellfish-related injury (he ruptured his vocal chords coughing up bad clams) certainly didn’t help. However, he takes the stage in good shape, both as an emcee and as the lead vocalist. Still sounding nasal at times, however, LaBrie isn’t exactly perfect, and his breathiness can gnaw on the nerves of a listener, especially in balladic sections. John Myung and Mike Mangini perform as solidly as humanly possible, as they always do. Both incredibly talented musicians, neither hog the limelight yet both get their fair share of glory. Trapped behind his fortress-like drumkit, Mangini continually belts out polyrhythms and inhuman right hand/left foot coordination. Likewise, John Myung is consistently in complete synchronization with Mangini’s speedy and complex bass drumming and misses nary a note through the whole show. Keyboardist Jordan Rudess and guitarist John Petrucci are no worse, for that matter. Both have performances of a lifetime. Petrucci, adapting to his increased duties as the band’s secondary vocalist (Mike Portnoy had departed the band, and none of the other band members sing backup to James LaBrie), is as quick-fingered and tantalizing as ever. Rudess is similarly engaging and exciting to watch, though his self-indulgence does, at times, impede the flow of the music. For example, one could do without the necessary frills on Space Dye Vest. Finally, Eren Başbuğ conducts the choir and pit quite well. Dream Theater has never been shy about incorporating symphonic elements into their shows, and there’s no better conductor for this particular setlist than Mr. Başbuğ himself. Leading the Berklee College of Music orchestra and choir, Başbuğ’s restrained yet upfront approach to adding extra dimensionality to Dream Theater’s music yields major dividends, especially when it comes to augmenting the low end of the mix and the mid-range of LaBrie’s vocals. The next area of success that this album has is on the setlist. Opening with The Enemy Inside was a wise choice: It’s an adrenaline-pumping and anthemic metal song, the chorus of which has elements of Bon Jovi-style catharsis. By no means is this a bad song to use so as to kick off a concert. Following The Enemy Inside are some of Dream Theater’s good-not-great songs. This is par for the course when it comes to the first disc of a multipart live concert. Highlights include The Shattered Fortress and Trial of Tears, executed with an unprecedentedly soulful intro from John Petrucci. To conclude the first disc, the band pulls out all the stops with an Enigma Machine-Along For the Ride-Breaking All Illusions tetralogy, boasting a Mike Mangini drum solo, more of that pop-oriented crowd pleasing, and then one of Dream Theater’s signature epics. The setlist in the second disc isn’t quite as well put together, but it’s still decent enough. The band returns from intermission with a classic from their Awake album, The Mirror, soon to be followed by Scarred, also from Awake. Then, as a “calm before the storm” entr’acte, Space Dye Vest, again from Awake. It was not a great call to use Space Dye Vest as the penultimate song, given its relative obscurity (especially in the context of live shows–Dream Theater had seldom played this live since Kevin Moore’s departure), but it bridges the gap between Scarred and the grand finale ably. Ministry of Lost Souls, however, or perhaps Another Day would have been better choices, but these are nitpicky criticisms. Then, the most important part of any show: The grand finale. Dream Theater executed this perfectly. They chose a song that epitomizes the band’s core facets: Its progressiveness, its emphasis on metal and on riffing, the solositic tendencies of its members, and James LaBrie’s penchant for shrieking. They chose Illumination Theory to conclude this show, and it certainly did the trick. Incorporating a key tar solo from Jordan Rudess, several sentimental quips from James LaBrie between verses, incredible rhythmic performances by Mike Mangini and John Myung, and several monstrous, earth-shattering John Petrucci solos, it’s difficult to imagine a song that would have ended this legendary concert better than Illumination Theory. Then, the encore: Scenes From a Memory. They play Overture 1928, Strange Déjà vu, Dance of Eternity, and Finally Free. A glaring omission is Spirit Carries On,, though that’s certainly forgivable given the abundance of downtempo and emotional songs throughout the performance proper. A well-selected, perfectly executed (Petrucci’s solo in Overture 1928 is one of the greatest of all time, and no one misses a beat, even in the sheer chaos of Dance of Eternity) end to a great performance. jontayl ..::TRACK-LIST::.. Act 1 The Enemy Inside The Shattered Fortress On The Backs Of Angels The Looking Glass Trial Of Tears Enigma Machine Along For The Ride Breaking All Illusions Act 2 The Mirror Lie Lifting Shadows Off A Dream Scarred Space Dye Vest Illumination Theory - Paradoxe De La Lumière Noire - Live, Die, Kill - The Embracing Circle - The Pursuit Of Truth - Surrender, Trust & Passion Encore Scene Two: I Overture 1928 Scene Two: II Strange Deja Vu Scene Seven : I The Dance Of Eternity Scene Nine: Finally Free ..::OBSADA::.. Vocals - James LaBrie Guitar - John Petrucci Keyboards - Jordan Rudess Bass - John Myung Drums - Mike Mangini https://www.youtube.com/watch?v=8Ik9qECIWgc SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-02 17:21:18
Rozmiar: 11.76 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. The fan boy status of the author of this review not withstanding, Freedom Call has always been one of those bands that puts a smile on one's face, even when they're a tad off their game. They are something of a contradiction in that they come off as an AHATT metal act (all happy, all the time), which flies in the face of the overarching genre's origins as a sort of creepy underground phenomenon that is only fun to the twisted and the outcasts of society. Granted, for every "Black Sabbath" and "N.I.B." there always seem to be a "The Wizard" along for the ride, and this band of smiling, happy Germans show little hesitation in sporting the pointy hats and silver beards for all the world to see and turning it into sheer magic in the live setting. Live In Hellvetia is the first offering by this near 20 year old outfit in the video format, and their act proves to be quite photogenic in the process. Arguably Freedom Call comes into this release at a bit of a disadvantage as this was the era fraught with varying degrees of negativity and skepticism due to shifting lineups that resulted in central personality Chris Bay being the only original member at this point, to speak nothing for the stylistic divergences that commenced a few years prior. But they take it in stride through a combination of determination and some wise song selections that equally represent the old and the new without getting too far into the stylistically experimental material during the band's latter days that was the subject of some disapproval. Chief among these is the general lack of material off The Circle Of Life, an album that included a few solid songs but was largely a confused opus with a lot of forgettable side venture. Barring perhaps "Carry On", "Hunting High And Low" was the obvious choice from said album given its obvious similarities in style to Stratovarius, a band to which Freedom Call is often compared. Interestingly enough, the two albums given the heaviest degree of emphasis are the two latest ones, with Eternity coming it at a fairly close third. It goes without saying that "United Alliance" is among the highlight performances of this concert given the sheer power in said song's chorus, not to mention its overall driving character, which puts it in the same sort of fanfare category as "Freedom Call" and "We Are One", both of which naturally are also found on this performance. In fact, this concert is a particularly fast and celebratory affair for this band given the song selection, as barring a few piano and candlelight moments such as the intro of "The Quest" and the brief ballad "Merlin - Requiem", this concert is a decidedly bouncing and festive affair. Perhaps the biggest standout apart from Chris Bay's enthusiastic and on point vocal display is the drum work of then kit master Klaus Sperling, who throws out an impressive drum solo to Tchaikovsky's 1812 Overture after a good half an hour of mostly speed metal madness. In terms of song selection, this is a slightly weaker live release than the last one put out, which admittedly came out right at the height of Freedom Call's golden early days. However, in terms of total quality of performance this one has an ever so slight edge, perhaps in good part due to the larger number of resources that the band had to work with at this point, resulting in a fuller keyboard backdrop and even some pre-recorded vocal tracks to boost the band's sound, which is so massive in the studio that it probably couldn't be recorded if the band had twice as many musicians playing live. It's an essential experience for any fan of the ultra-melodic and consonant side of the power metal coin originally codified in the late 1980s by Helloween, and a whole load of fun for anybody who wants to bang their heads for joy rather than for being pissed at the world and all who occupy it. hells unicorn ..::TRACK-LIST::.. DVD 1 - Recorded Live @ Z7. Pratteln/Switzerland: 1. We Are One 5:20 2. United Alliance 6:17 3. Thunder God 4:35 4. Tears Of Babylon 4:08 5. Blackened Sun 4:50 6. Queen Of My World 5:25 7. Out Of The Ruins 4:58 8. Hunting Hight And Low 4:08 9. Drum Solo 3:59 10. Metal Invasion 8:05 11. Merlin - Requiem 3:28 12. Merlin - Legend Of The Past 4:59 13. The Quest 9:19 14. Warriors 4:38 15. A Perfect Day 6:29 16. Far Away 4:42 17. Mr. Evil 7:50 18. Land Of Light 5:06 19. Freedom Call 7:45 20. Hymn To The Brave 8:56 DVD 2 - A Perfect Day In The Life Of Freedom Call: 1. Interviews 19:57 2. Ein Tag Im Leben Von Freedom Call 29:54 3. Tourimpressionen Und Vieles Mehr 40:00 https://www.youtube.com/watch?v=6ob24d6v8gw SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-02 16:49:27
Rozmiar: 11.09 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. Fates Warning - Live at the Dynamo - was filmed May 30th 1998 at the Dynamo open air festival. 'A pleasant shade of Grey' 1. Part II (3:35) 2. Part III (4:13) 3. Part V (5:31) 4. Part VI (3:40) 5. Part VII (5:43) 6. The eleve Hour (8:59) 7. Point of view (4:49) 8. Monument (6:12) 9. We only say goodbye (4:47) ..::OBSADA::.. Ray Alder - Vocals Jim Matheos - Guitars Joey Vera - Bass Mark Zonder - Drums Jason Keazer - Key https://www.youtube.com/watch?v=q-h_9xYpDuA SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-01 18:53:15
Rozmiar: 2.88 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Live at Spodek, Katowice, Polska 31 January 1998 TVP Kultura DVB-S rebroadcast 25 April 2011 This DVD was directly made from the digital satellite broadcast stream files without any re-encoding or altering of the broadcast signal. It was the first broadcast in genuine 16:9 widescreen format. The show is beutifully shot by Polish TV and it appears to be one of the best received gigs of this short-lived line-up of the band Zawsze będę powtarzał, że okres, w którym w Genesis za mikrofonem stał Ray Wilson, to wciąż bardzo niedoceniany fragment historii tego zespołu. Oczywiście porównań do jego poprzedników – Petera Gabriela i Phila Collinsa – nie da się uniknąć, ale na ich tle Ray radzi sobie całkiem dobrze, o czym świadczy chociażby koncert, jaki wraz z Rutherfordem i Banksem zagrali w katowickim Spodku w 1998 roku. Przypomnijmy: w 1996 roku Phil Collins, który prawie przez dwie dekady dowodził w Genesis, postanowił skupić się na karierze solowej, którą długo prowadził równolegle z działalnością w macierzystej formacji. Mike Rutherford i Tony Banks, którzy byli w Genesis od czasu jego powstania, postanowili jednak kontynuować działalność. Zaczęli rozglądać się za nowym wokalistą, wymieniając takie nazwiska, jak: Paul Carrack (Mike & The Mechanics) i Fish (ex-Marillion). Ostatecznie wybór padł na byłego frontmana grunge’owej grupy Stiltskin – Raya Wilsona. Podobno dlatego, że jego głos był podobny do Petera Gabriela. Rutherford i Banks chcieli bowiem, aby nowe dzieło zespołu było rzeczywiście utrzymane w klimacie pierwszych, progresywnych albumów. I faktycznie, „…Calling All Stations…”, którego premiera odbyła się w 1997 roku, cechowała mniejsza przebojowość niż ostatnie krążki z Philem Collinsem, ale wciąż była to bardzo wciągająca i interesująca muzyka. Niestety, fani nie docenili nowego głosu w szeregach Genesis i album sprzedawał się bardzo kiepsko. W efekcie komercyjnej porażki w 1999 roku zapadła decyzja o zawieszeniu działalności formacji. Na szczęście w międzyczasie panowie zagrali długą trasę koncertową, która nie ominęła także Polski. Słuchając bootlegu „Live in Katowice, Poland 31/01/98”, po raz kolejny można się przekonać, że wybór Raya Wilsona na wokalistę grupy był z artystycznego punktu widzenia świetną decyzją. Nie dość, że dysponuje mocnym, charakterystycznym głosem, to jeszcze doskonale czuje się na scenie. Zaprezentowany w Spodku repertuar pokazał, że radzi sobie nie tylko ze swoimi kawałkami, ale całkiem udanie wchodzi w rolę Petera Gabriela i Phila Collinsa. Załoga Genesis postawiła na długie fragmenty z ostatniej płyty. Trzeba przyznać, że w zestawieniu ze starszymi hitami co najmniej 3 nowe kompozycje dorównują im poziomem – „Congo”, ze względu na spory potencjał przebojowości, „The Dividing Line”, dzięki rozbudowanemu solo perkusyjnemu (choć nie tak obłędnemu jak miał w zwyczaju Phil Collins) i „Calling All Stations”, w którym w pełni można docenić liryczność w głosie Wilsona. Nie gorzej radzi on sobie w utworach z czasu Gabriela, ze szczególnym wskazaniem na „The Lamb Lies Down on Broadway” i „Carpet Crawlers”. Osobną kwestią jest repertuar z czasów Collinsa. O ile Wilson spokojnie naśladuje Gabriela, o tyle śpiewu perkusisty nie ma już szans podrobić. Dlatego też nawet się nie stara, śpiewając po swojemu i na luzie. Owszem, można mu zarzucić, że przez to „Land of Confusion” stracił nieco na swojej nośności, a „Mama” nie wypada tak przejmująco, ale już taki „Home by the Sea” wypada rewelacyjnie. Podobnie „I Can’t Dance”, do którego nieco zblazowany śpiew wyjątkowo dobrze pasuje. Jednak nic nie przebije otwierającego koncert „No Son of Mine”, którym Ray zjednał sobie publiczność, dając do zrozumienia, że Genesis z jego udziałem jest inne, ale wcale nie gorsze. Jeśli jednak nowy głos w starych kawałkach komuś wybitnie nie pasuje, nie powinien skreślać z marszu tego krążka – dla takich osób jest absolutnie magiczny krótki set akustyczny. Składają się na niego dwa fragmenty dłuższych suit „Dancing With the Moonlit Knight” i „Supper’s Ready” oraz liryczny „Follow You Follow Me”. Wzruszenia gwarantowane, w dużym stopniu również dzięki niezwykle emocjonalnie reagującej publice. Na koniec muszę wspomnieć dwa słowa na temat jakości nagrania. Generalnie jest nieźle, ale irytujące jest to, że w zasadzie prawie co utwór następuje zmiana jakościowa nagrania. Czasem obcujemy z czystym dźwiękiem, a za chwilę z metalicznym pogłosem, tak jakby całość skompletowano z dwóch różnych nagrań. To znacznie obniża wartość całości. Cały czas żałuję, że Genesis nie nagrał więcej albumów z Wilsonem, bo facet ma potencjał, który teraz ukazuje na solowych nagraniach. Z drugiej strony nie posiadałbym się z radości, gdyby do zespołu wrócił Collins, nie tylko na wspólne koncerty, ale także do pracy w studio. Na razie jednak, ze względu na deficyt nowego materiału, należy cieszyć się ze starego – w wersji koncertowej. Piotr 'Pi' Gołębiewski ..::TRACK-LIST::.. 1. Land Of Confusion 2. The Lamb Lies Down On Broadway 3. Calling All Stations 4. Alien Afternoon 5. Carpet Crawlers 6. There Must Be Some Other Way 7. Domino Part 1: In The Glow Of The Night 8. Domino Part 2: The Last Domino 9. Shipwrecked 10. Firth Of Fifth 11. Congo 12. Home By The Sea 13. Second Home By The Sea 14. Dancing With The Moonlit Knight (opening section) 15. Follow You, Follow Me 16. Lover's Leap (from Supper's Ready) 17. Mama 18. The Dividing Line 19. Invisible Touch ..::OBSADA::.. Ray Wilson - lead vocals Tony Banks - keyboards, guitar, vocals Mike Rutherford - guitars, bass, vocals with: Anthony Drennan - guitars, bass, vocals Nir Zidkyahu - drums, percussion https://www.youtube.com/watch?v=J_SvE_ZsZ_s SEED 14:30-23:00. POLECAM!!!
Seedów: 1
Komentarze: 0
Data dodania:
2024-01-01 16:45:32
Rozmiar: 3.37 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. The influential nature of Teutonic legends Kreator cannot be stressed enough, and yet is an often ignored aspect of extreme metal history in the eyes of the mainstream, that has all too often directed unwarranted focus towards what is often deemed the heralding location of thrash metal, i.e the west coast of the United States. The rise of the most ground breaking, stylistically defying and unconventional genres in the cryptic extreme metal movement of the late 80’s and early 90’s was simply a reciprocal exaltation to the formative influences bestowed upon the innovators of extreme metal. The raspy screams, percussive insanity and the battering riffs of these disgruntled, ferocity-driven youngsters from the industrial town of Essen would prove to serve as an influence for a legion of the band’s followers across the world, that would in turn further intensify and shatter the artificial stylistic boundaries that had been set in stone and give birth to furthermore intrepid and adventurous styles such as death and black metal. The innovators of these aforementioned genres were looking for and consequently developed even more radical music in various parts of the world, having grown tired of the conventional modes of action already available in heavy metal, and one can quite easily draw a line tracing it back to the early musings of these German trailblazers, alongside similar innovators of the era such as Hellhammer/Celtic Frost, Sodom, Destruction, Possessed, Sepultura, Bathory and Slayer. Having formed in 1982 as Tyrant, quickly shifting to the moniker Tormentor, the band has seen a varied career graph, starting with their debut Endless Pain (1985), which was essentially a rehashed speed-metal indulgence with a blackened edge. The band truly made a torrential entrance with 1986’s seminal Pleasure to Kill, deemed by many as the heaviest thrash album of all time and widely known as one of three releases that comprise of the infamous trio of 1986, along with Slayer's 'Reign in Blood' and Dark Angel’s ‘Darkness Descends’, all these albums being characterized by a very relentless, speed-driven and frenzied approach, which brought a new touch of heaviness and brutality to the genre at the time. Soon after, the band’s work up until the early 90’s was characterized by a new found ambitiousness, with the band reaching for the stars as far as technical dexterity, unique song-writing and thematic intelligence was concerned. Thereafter, an experimental phase saw the band dabbling in groove and industrial elements alongside a slew of line-up changes. Not surprisingly, this didn't go down well with their long term fans, but the dawn of the new millennium saw them return to their classic thrash sound, albeit with an audibly pulsating melodic twist, and has characterized the band’s sound to date, and the current line-up seen on the DVD. ‘Dying Alive’ is the band's latest live DVD, released via the band’s long term record label, Nuclear Blast Records and could be viewed as the summation of the shows the band played in support for their latest masterpiece, Phantom Antichrist (2012), which won the band both critical and fan acclaim. The show that was used to record this live DVD was a gig in Oberhausen, in the Ruhr area of Germany and a mere 13 KM away from their hometown, Essen. The DVD’s main menu has a rather user-friendly interface that is fairly simple to traverse through. The graphics of this menu are in line with the cover artwork of the DVD and is nothing short of vivid and detailed, and truly reflects on the rounded vision of the band. While the main DVD presents the concert as a whole, there is also an option to choose select songs to view, in addition to other DVD bonus material such as the official music videos for the album’s singles – ‘Phantom Antichrist’ and ‘Civilization Collapse’, behind the scene footage of the DVD’s making, as well as a generic settings function that serve to adjust conventional particulars as per the viewer’s preference. Onto the actual live experience, I would first like to say that I have had the pleasure of seeing the band live, coincidentally in the very same Phantom Antichrist support tour at the Bangalore Open Air on June 16th, 2012; and mere words cannot express the sheer intensity that the band brings to a live setting. Lest I digress into my own concert experience, the DVD starts with ‘Mars Mantra’, an excellent choice for an intro, which starts of as a somber dirge that descends into epic rhythms and melodies that serve to build up excitement for the thrash-tastic assault that awaits the audience. During this intro, lyrics across songs from the album are projected on the stage curtain against a backdrop of various paintings, which also have a thematic consistency, with the paintings all depict a variety of situations concerning war and general disarray. The band invokes nothing short of an adrenaline rush as the curtain drops and the band kicks off with the anthemic ‘Phantom Antichrist’, which bleeds directly into ‘From Flood into Fire’. The set-list is fairly diverse and touches upon every era of the band, and is a rather accurate representation of an average Kreator seltist. All the songs blend with each other in a similarly seamless fashion. However, it is fairly evident that the band’s set-list choice is skewed towards the promotion of Phantom Antichrist, with five songs in all. Save for the crowd favorite ‘Phobia’, the band is seldom known to play songs from their experimental era, and this is reflected in the set-list choice on ‘Dying Alive’ s well. Despite some songs having been conceived almost two decades apart, they fit flawlessly into the band’s set-list and there is no discernible obstruction in the flow and congruency of the set-list whatsoever. The band’s performance is nothing short of fantastic, and the chemistry between the members of the band’s current line-up is akin to the type of live harmoniousness seen during their career peak in the late 80’s and early 90’s. The axe duo comprising of Mille Petrozza and Sami Yli-Sirniö produce riff after riff in an effortless fashion. The interplay between the two is nothing short of enthralling, and the trade-offs in lead parts is beyond drool worthy. Sami Yli-Sirniö’s performance cements his status as a sorely underrated guitar virtuoso. His guitar work is both technical and melodic, and yet does not descend into mindless noodling and also evokes and reinforces the mood of each song. The precursory acoustic intro to ‘United in Hate’ is an excellent reflection of Sirniö’s versatility and showcases an unseen, elegant side of the band. Founding member Jürgen ‘Ventor’ Reil was often criticized for his apparent sloppiness and overtly speed-driven style of drumming in the early years of the band, but this live DVD makes any such notions invalid and his technical dexterity is a sight to watch. As an aside, the calmness and composed expression that Reil maintains while belting out his tireless brand of mayhemic drumming is also rather amusing. Christian ‘Speesy’ Giesler’s bass is barely audible, but likely contributes to the overall heaviness wholeness of the band’s sound. It must be said, however, that Kreator has essentially been a band driven by the distinctively ingenious and enjoyably esoteric guitar work of Petrozza. However, a band devoid of a bassist generally sounds thinner and more sterile, and to that extent Giesler’s presence in the band is imperative, but not specifically something that adds to the distinctiveness to the dynamics of the band. Mille’s vocal delivery has undoubtedly been subject to the inevitability that is aging, but still manages to retain the razor-sharp, raspy quality that came to characterize his vindictive sonic pillage. Petrozza’s crowd interaction is genuine and evocative in a powerful and invigorating manner. Mille alternates between German and English, commanding for mosh-pits, crowd approval and the completion of lyrics in an assertive manner. One of my favorite aspects of the band’s approach towards a live performance is the manner in which they prolong the space between two songs, by letting the feedback flow. During these intervals, you can hear the crowd chanting the band’s name, and the general tension that builds up during these intervals effectively increase the level of excitement in the arena. Thus, when the band finally starts off with a new song, the crowd reaction is extremely uproarious. The quality of the footage in the DVD is very high-quality, courtesy of the 24 cameras that were placed in strategic positions to cover every aspect of the show. Thus, the viewer experiences every aspect of a Kreator live show, and is shown footage of not only the band on-stage, but also a panoramic view of the stadium, close-up footage of various parts of the crowd, the circle/mosh-pits (a specific mosh-pit camera was set-up for the making of the DVD). The conventional guitar cams are satisfactory, as well. In essence, this is a must-have for any Kreator fan, thrash metal enthusiast or live DVD collector, and yet is also an excellent gateway to newer fans who are looking to get into the band’s sound, as it chronicles and covers both various eras of the band’s creative musings through its set-list, as well as the band’s sheer combative tenacity as a live force. The band presents a monolithic, momentum-driven performance with healthy doses of ruthlessness and palpitating doses of sensible melody; and merely reinforces its status as one of the premier live acts of the genre, apart from its position as one of the most influential yet underplayed acts of heavy metal music. Apart from the fact that this live show might not be wholly universal in nature given the usage of German during crowd interaction every now and then, I truly cannot find any prominent flaws apropos this DVD offering, and is in summation and immensely gratifying experience. The band seems to be in a very healthy place now, in terms of its preferred stylistic mode, creativity and popularity; and ‘Dying Alive’ is most certainly testament to that. Achintya Venkatesh ..::TRACK-LIST::.. Recorded live at Turbinenhalle in Oberhausen, Germany, on 22-12-2012. 1. Intro: Mars Mantra 2. Phantom Antichrist 3. From Flood Into Fire 4. Enemy Of God 5. Phobia 6. Hordes Of Chaos 7. Civilization Collapse 8. Voices Of The Dead 9. Extreme Aggression 10. People Of The Lie 11. Death To The World 12. Endless Pain 13. Pleasure To Kill 14. Intro 2 - The Patriarch 15. Violent Revolution 16. United In Hate 17. Betrayer 18. Flag Of Hate 19. Tormentor 20. Outro / Credits Bonus Material: 21. Behind The Dying 22. Phantom Antichrist (Backstage Video) 23. Phantom Antichrist (Music Vedio) 24. Civilization Collapse (Music Video) ..::OBSADA::.. Mille Petrozza - Vocals, Guitars Sami Yli-Sirniö - Guitars Christian Giesler - Bass Ventor - Drums https://www.youtube.com/watch?v=txRGO9sZMw8 SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-01 16:28:29
Rozmiar: 7.04 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
DVD 5 NTSC 16:9 DD 2.0 ..::TRACK-LIST::.. 1.Day of Reckoning 2.Forever My Queen 3.Ask No More 4.Run My Course 5.You're Lost, I'm Free 6.Review Your Choices 7.Relentless 8.All Your Sins 9.20 Buck Spin 10.Sign of the Wolf 11.When the Screams Come + Interview with Bobby Liebling ..::OBSADA::.. Bobby Liebling - Vocals Victor Griffin - Guitar Greg Turley - Bass Gary Isom - Drums https://www.youtube.com/watch?v=XLqmlruRNUw SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-01 13:50:48
Rozmiar: 3.12 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. No i co ja mam tu napisać? Nazachwycałem się wypasionym, 6 – godzinnym DVD Whirld Tour 2010 a teraz mam ochotę zapytać: po co? I dla kogo? Pytania te dotyczą oczywiście kolejnego transatlantyckiego kolosa zatytułowanego More Never Is Enough, tym razem składającego się z 3 płyt CD i 2 krążków DVD. No bo ileż razy można wchodzić do tej samej rzeki?! Na trzy płyty audio More Never Is Enough trafia bowiem dokładnie ten sam materiał, który znalazł się na wydanym rok wcześniej Whirld Tour 2010, tym razem jednak zarejestrowany podczas ostatniego koncertu tej trasy – 22 maja 2010 roku – w Manchesterze, zaś na płytki DVD, między innymi, zapis występu z holenderskiego Tilburga, z 20 maja, powtarzający jeszcze raz ten sam zestaw. Okej, mamy obok tego kilka ciekawostek nagranych to w Niemczech, to w Szwajcarii… Nie zmienia to jednak postaci rzeczy, że wydawnictwo to może zaspokajać przede wszystkim ego (a pewnie i nie tylko) muzyków, dla których chwile te warte były uwiecznienia i zachowania dla potomności. Tylko czy owa potomność będzie miała jeszcze ochotę na tego, po raz kolejny odgrzewanego i wcale nietaniego, kotleta? Jak to w przypadku Transatlantic bywa, box wydany jest ślicznie, w sam raz do postawienia na półce, wśród równie ciekawie wyglądających rzeczy. Do postawienia, ale czy też do częstego wracania? Wyjaśnijmy sobie jedno. Muzyka i artyści są tu najwyższej próby. Grają to, co kochają, a robią to z dużą fantazją i polotem, bawiąc się przy tym zacnie. Tylko że… Jakie to ma znaczenie dla prawdziwego fana, który ma już wszystko? A... no pewnie takie, że skręca się on w swoim dylemacie: kupić, nie kupić?, patrząc na stojące na sklepowej półce cudo. Ostatecznie, z kołaczącą się w głowie myślą: jak to? Ja tego nie będę miał?! – „przegrywa”, a jego kieszenie stają jakby bardziej przewietrzone. Czym idealnie wpisuje się w biznesplan opracowany gdzieś na górze. Przy tej okazji, oddajmy cesarzowi, co cesarskie. Dla tych, którzy o Transatlantic jeszcze nie słyszeli i nie mają poprzedniego DVD, to wydawniczy strzał w dziesiątkę. No ale jak to w związku z tym ocenić? Pod względem artystycznym pewnie na „10”, jednak sam pomysł wydania… na „1”. Eeech, szkoda bawić się w gwiazdki. Mariusz Danielak If you thought Transatlantic - Whirld Tour 2010: Live in London was the ultimate TA experience for a live DVD, well you are going to find out different if you pick up this immense 3 CD/2 DVD set More Never Is Enough. Neal Morse (keys, acoustic guitar, vocals), Roine Stolt (guitars, vocals), Pete Trewavas (bass, vocals), Mike Portnoy (drums, vocals) and Daniel Gildenlow (keys, guitars, vocals and percussion) are the band that went on tour and consequently captured some of their best moments on stage at one of their favorite venues in Tilberg, Norway. Transatlantic was in their finest form at these gigs. They climbed the mountain and made it to the absolute peak with this release. As these gods of prog look down upon us mere mortals they planted their flag in the fertile earth of progressive rock, forever leaving their mark upon our senses and souls. No, that is implying something other worldly and being too over the top, this was indeed an epic and beautiful set. This collection serves as a definitive piece of evidence, a literal foundation from which everyone else that creates music like this should endeavor to create and capture for their fans on CD and DVD. It is a treasure trove of archetypical prog rock that you quite simply cannot miss and if you do get it you can then claim to be amongst the prog lovers in the circle of knowing, that collective consciousness in the music universe that we all tap into. If not, as they say over in England, you are a punter. The timing for this release just fuels the fire that is now burning out of control for this prog rock renaissance we have become immersed in. The two DVDs are in the stratosphere on a performance level, and that is at every position in the band. The extended jams are things that dreams are made of and any aspiring musician or enthusiastic prog fan will be salivating while all this takes place before their eyes. And if all that is not enough you can step away from the visual experience and listen to every performance on the 3 CDs. When you listen to some of the runs guitarist Roine Stolt goes on its not hard to see how each member inspires the other to reach for the stars with their given instrument with each composition. And that is exactly what they do consistently throughout these performances. Every band member is so inspired, you can see it, feel it, and hear it each performance. This collaboration called Transatlantic has proved time and again that is it magical and their innate abilities to deliver spot on improvisation is their ace in the hole. Their second encore in Tilberg was the legendary Genesis track "Return of the Giant Hogweed". This was the first time the band performed it live (without Steve Hackett) and it turns out very well. In fact, in the intro to the set from Neal Morse he states that the fans at the show were singing all the words and that they are real prog fans. "The Whirlwind" is an epic track custom built for these talented musicians and believe me they take every opportunity to find their own niche in songs like this, to their credit, without stealing the show from anyone else. Their chemistry and brotherhood within the band is clearly on display at all times. There is a bountiful amount of music and concert experiences to enjoy here if you are fan of the band or prog rock. This one is going to be nearly impossible to top but for all us prog rock freaks it is so true, More Never Is Enough. Muzikman ..::TRACK-LIST::.. DVD 1 - Transatlantic Live In Tilburg (1:21:15) 1. The Whirlwind 1:21:15 DVD 2 - Transatlantic Live In Tilburg (2:23:00) 1. All Of The Above 29:20 2. We All Need Some Light 9:56 3. Duel With The Devil 28:53 4. Bridge Across Forever 5:58 5. Stranger In Your Soul 38:56 6. Return Of The Giant Hogweed 9:05 Extras: Stranger Jams Clips 7. Cologne - Live Music Hall (May 8th 2010) 6:03 8. Stuttgart - Longhorn (May 9th 2010) 6:35 9. Esch Alzette - Rockhal (May 10th 2010) 5:34 10. Pratteln - Z7 (May 18th 2010) 7:44 ..::OBSADA::.. Bass, Vocals - Pete Trewavas Drums, Vocals - Mike Portnoy Electric Guitar, Vocals - Roine Stolt Keyboards, Acoustic Guitar, Vocals - Neal Morse Keyboards, Guitar, Vocals, Percussion - Daniel Gildenlöw https://www.youtube.com/watch?v=igJjfKQDiAE SEED 14:30-23:00. POLECAM!!!
Seedów: 10
Data dodania:
2024-01-01 11:02:13
Rozmiar: 10.93 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Cechą transatlantyków – choćby tych słynnych: Titanica, Queen Elizabeth, Queen Mary – była zapierająca dech w piersiach wielkość. Nie inaczej jest z muzyczną wersją Transatlantica. Ostatnie dzieło „progresywnej supergrupy”, Whirld Tour 2010, imponuje rozmiarami. Żeby przebrnąć przez wszystko to, co znalazło się na dwóch dyskach tego wydawnictwa, trzeba wygospodarować, z coraz szybciej uciekającego czasu, prawie 6 godzin! Czy warto? Koneserzy i fani takich podróży z pewnością powiedzą że tak. Tytuł i oprawa graficzna mówią wszystko. To zapis i pamiątka po zagranej w tym roku trasie promującej pierwszy po 8 latach studyjny album formacji The Whirlwind. Przypomnę, że tournee zawitało także i do naszego kraju. 6 maja, panowie Morse, Portnoy, Stolt, Trewavas i Gildenlow dali jedyny jak do tej pory występ na polskiej ziemi – w poznańskiej Arenie. Dla tych, którzy mieli okazję oglądać ten koncert, to DVD nie powinno być zaskoczeniem, raczej sympatyczną pamiątką. Dla reszty, niemałą muzyczną gratką. Co my tu mamy? Na głównym dysku oraz częściowo na drugiej blaszce, dostajemy zapis koncertu w londyńskim Shepherd’s Bush Empire z 21 maja 2010 roku. Artyści zagrali podczas niego w całości ostatni album i uzupełnili go prawie wszystkimi swoimi pozostałymi kompozycjami! Z autorskich rzeczy Transatlantica, które pojawiły się na dwóch poprzednich albumach, zabrakło tylko Suite Charlotte Pike, My New World i Mystery Train. DVD jest zatem ogromną pigułą i brykiem dla wszystkich tych, którzy nie załapali się jeszcze na to muzyczne zjawisko, a którzy za jednym zamachem chcą tę zaległość nadrobić. Niezbyt imponujących rozmiarów, aczkolwiek zwracająca uwagę balkonami w stylu naszego Teatru Śląskiego, dobita fanami sala, tworzy świetną atmosferę, a muzycy bawią się wybornie. Trudno cokolwiek im zarzucić, podobnie jak i samemu zapisowi, dobrze oddającemu wydarzenia sceniczne. Tradycyjnie już najfajniejsze są „momenty”. Ci zatem, którzy nie byli w Poznaniu, będą mogli zobaczyć, jak w Stranger In Your Soul Neal Morse płynnie podmienia za zestawem perkusyjnym Mike’a Portnoya. Niestety, ten ostatni nie popisuje się na gitarze, tak jak u nas, swoim tappingiem. Nieco wcześniej jednak wskakuje do fosy, by osobiście wręczyć stojącemu w pierwszym rzędzie fanowi (jak się okazało z Brazylii - ten pojawia się w dokumentalnym filmie na drugim dysku), pałeczki. Musicie koniecznie zobaczyć, jak obdarowany całuje je i dziękuje niebiosom za ten dar! (żeby było ciekawiej, podczas finałowego żegnania się muzyków z publicznością i standardowego podawania łapek, ten sam „zawodnik” całuje Morse’a w rękę!). No i nie można przeoczyć Portnoy’a noszonego na rękach przez zebranych. Płyta druga to wspomniane już dokończenie głównego występu w postaci dwóch bisów, genesisowy Return of the Giant Hogweed, zarejestrowany na festiwalu High Voltage, 24 lipca w Londynie i zagrany wspólnie z samym Stevem Hackettem (tak przy okazji, wyszła im naprawdę emocjonująca i elektryzująca wersja tego klasyka), 20 – minutowy wywiad z piątką muzyków oraz przede wszystkim 2 - godzinny film dokumentalny Behind The Scenes. Niby zrealizowany zgodnie z obowiązującymi schematami i chwilami nieco przegadany oraz nudnawy, jednak wiele mówiący o samej kapeli. Materiał prezentuje przebieg operacji Whirld Tour 2010, poczynając od spotkania muzyków podczas pierwszej próby w studiu, po finałowy koncert trasy. Jesteśmy zatem z artystami w garderobach, tuż przed występami, podczas posiłków, czy w tourbusie (możemy nawet zobaczyć członków ich rodzin, np. żonę Mike’a Portnoya). Z każdego koncertowego przystanku dostajemy parę chwil zaanonsowanych odpowiednim napisem. Poznaniowi dostało się ponad pięć minut, szkoda tylko, że przegadane na zapleczu przez muzyków. Tak przy okazji: patrząc na niewielkie „klubiszcza” (dzięki temu wypełnione po brzegi), w których przyszło grać muzykom podczas tej trasy, żałuję, że polski koncert artyści zagrali w tak mało kameralnym miejscu jak Arena, w której tysiąc fanów rozmyło się na znacznej przestrzeni. Oglądając ten dokument koniecznie zobaczyć trzeba transatlanticową wersję Smoke On The Water zarejestrowaną w Manchesterze, podczas której muzycy kompletnie zamienili się rolami. Portnoy chwycił za bas (sam utwór poprzedza jego solo na bass pedals!), Trewavas zagrał na klawiszach, Morse na gitarze elektrycznej, a Gildenlow na perkusji. Genialnie może nie było, ale zabawa zrodziła się doprawdy przednia. Gdzieś w dokumencie, jeden z brazylijskich fanów używa dosyć obrazowego porównania mówiąc, że tak jak Brazylia jest mistrzem świata w futbolu, tak Transatlantic jest najlepszym na świecie zespołem progresywnym. Cholera wie! Może i coś w tym jest?! Mariusz Danielak The Transatlantic tour took place in April following practice sessions in Southern California then finished up in July. This is all documented on this set. The TA performance from Shepherd's Bush Empire in London includes 147 minutes of footage from the first set on disc one. Keep in mind that this band has not performed together in over 9 years so what you will see is quite incredible based on that fact alone. Those of us familiar with all these fine musicians and their projects know how good they are and we should not be surprised that this performance is nothing short of spectacular. As a bonus Steve Hackett (formerly of early Genesis, when they were prog) comes on stage to perform a Genesis classic "The Return Of The Giant Hogweed" at their High Voltage Festival performance, the last stop on the tour. Of course, Hackett is simply amazing and Portnoy and everyone else are just beaming with delight to have him out there playing a prog-rock gem like that. The first set kicks off appropriately with "The Whirlwind", the title track from their ambitious 2009 double studio album (see review). The next three tracks 'All Of The Above", "We All Need Some Light" and "Duel With Devil" are extensive and solid proof of the band's prowess as musicians and entertainers in that configuration even after a 9 year layoff. It's a given that any prog song live is going to have improvisation and a guarantee that it will be an extended version of an already extensive track. This of course is what everyone wants in a live session and Transatlantic does not disappoint for one second. What I appreciate with this band is that they are not flashy or bombastic in any way; they just play good music with a flair for mixing classic prog with modern day twists and turns. The second DVD is160 minutes in length bumping up the ante for the entire prog package which includes a road documentary (ala homemade via a lot of Neal's own video camera), a band interview, and the aforementioned bonus track of the Genesis classic. "Bridge Across Forever" is an amazing track with shifting atmospheres and outrageous time signatures flying around. The jaw dropping changes are indeed a highlight, although this is typical for a band like Transatlantic, and they make their own way with a definitive stamp that nobody can reproduce. This is a very special group of individuals and I wish that I would have caught this show live because who knows when it will happen again. Perhaps now that Mike has left Dream Theater some good things could happen (although that saddens me) or some other interesting configurations may come to light suddenly. These prog rock dudes really get around and you just never know when one of them is going to pop up on another project or play with a band you are already familiar with. My hat is off to the band for adding Daniel Gildenlow to the concert tour. He adds yet another facet and energy to the already outstanding sound they create. His contributions on guitar, keys and backup vocals give their sound an additional texture and layer that is welcome in the live setting. I have no doubt that if TA goes back into the studio, they should consider asking Gildenlow to join them. If you have been waiting for this to happen, the time is now to grab this DVD set and experience Transatlantic live along with all the other bonuses they offer. The up close coverage you get during the tour makes you feel like you are hanging out with the band, it was a nice touch to get closer to their fans and they should be applauded not only for their musical brilliance but how in touch they stay with their audience. I have always been so impressed with each member of this band, their humbleness and appreciation for what they do, how they present it, and most of all what they give us in return for supporting them. Thanks to Transatlantic, I have many memories and fantastic music that I can enjoy for the rest of my life. Try finding that on any radio station these days. Muzikman ..::TRACK-LIST::.. DVD 1: 1. The Whirland 79:52 2. All Of The Above 30:19 3. We All Need Some Light 8:40 4. Duel With The Devil 28:31 DVD 2 1. Bridge Across Forever 6:03 2. Stranger In Your Soul 30:00 Documentary Band Interview The Return of the Giant Hogweed (feat. Steve Hackett) ..::OBSADA::.. Drums, Vocals - Mike Portnoy Electric Guitar, Vocals - Roine Stolt Guitar, Keyboards, Percussion, Vocals - Daniel Gildenlöw Keyboards, Acoustic Guitar, Vocals - Neal Morse Bass, Vocals - Pete Trewavas https://www.youtube.com/watch?v=BJKFn3qeLrE SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-01-01 10:38:45
Rozmiar: 14.70 GB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::TRACK-LIST::.. Filmed Live At The Salt Palace, Salt Lake City, Utah, U.S.A. ORIGINALLY RELEASED VHS in 1984 1. Intro 1:08 2. I Don't Know 4:34 3. Mr. Crowley 5:41 4. Rock & Roll Rebel 5:18 5. Bark At The Moon 4:52 6. Revelation (Mother Earth) 5:58 7. Steal Away 4:12 8. Centre of Eternity 4:47 9. Drum Solo 4:17 10. Flying High Again 4:44 11. Iron Man 4:05 12. Crazy Train 7:08 13. Paranoid 8:42 ..::OBSADA::.. Bass - Bob Daisley Drums - Tommy Aldridge Guitar - Jake E. Lee Keyboards - Don Airey https://www.youtube.com/watch?v=-zqafH4tmQY SEED 14:30-23:00. POLECAM!!!
Seedów: 11
Komentarze: 0
Data dodania:
2023-12-31 15:04:15
Rozmiar: 5.71 GB
Peerów: 45
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. From the very beginning, let me put it straight: this is awesome. A two-disc DVD set in a nice packaging containing almost four hours of Overkill. The first disc is the show at Asbury Park in its entirety (unlike its CD counterpart "Wrecking Everything - Live", which has only half of the songs the band played there), whereas the second disc is a brief excurse into the band's history with some rare footage from the 80-ies and a lot of behind-the-stage material. You'll cream your pants over this, I promise you. Now on to the show itself. ...And it captures the listener from the second minute of "Necroshine" (the first minute is an intro), when that monster riff kicks in. Great guitar tone, sharp, menacing and powerful, and fucking heavy without any downtuning. You can easily distinguish between the riffs, the solos are clearly audible. Good work. Sometimes the sound is even better than on studio efforts. The drums are thunderous and shattering, while being just loud enough to not wreck your ears and ruin the performance. Blitz' voice is in perfect form, he nails every single note, and I can't fucking count how many fucking times he fucking says fuck. It's fucking unbelievable. Got it, motherfucker? Finally, D.D. knows how to get 200% out of his bass guitar. It's clearly audible and it does add even more power and punch to the songs. Overall, tight playing and excellent musicianship. Unfortunately the venue is a seated one, so there's not much going on with the crowd. Probably that's why the camera work is good, but nothing really spectacular. And no, it isn't a low point, as it's far from being the key element here. Did I mention the tracklist? It's nearly perfect. "I Hate", "Elimination", "Deny The Cross", "E.vil N.ever D.ies", "Powersurge", "Wrecking Crew", "Rotten To The Core"... Seriously, if it doesn't make you drool, you're probably a newcomer to Overkill. Back on the track: 14 out of 23 tracks are from the first five albums. The rest are from their later efforts, one song from each album (two from FTUAB and Bloodletting), with the exception of a guitar solo (sweet but unnecessary) and the grand finale, the climax, the closing epic monster that is "Fuck You / War Pigs". My only complaint is the absence of "Hammerhead", "Feel The Fire" and "Fatal If Swallowed". The second disc makes up for it, though. (And you've already got two hours of unstoppable headbanging. What else do you need?) As mentioned before, it features a lot of backstage footage giving insight into the band. Basically it's the band's history in video, alternating between interviews and concerts, from the early days to what it has now become. An absolute must see for die-hard fans and newbies alike. Overall, it's quite a rare occasion when inclusion of a second disc is not only necessary, but also highly useful. Bonus points for the cover art - it's totally old school, which automatically makes it awesome. And yeah, you guessed it right, it's Chaly on the cover. Not the modernized version of him seen on the Killbox 13 and ReliXIV, but an ancient one, sort of similar to a rotting head appearing on Repulsion's "Horrified". It captures the spirit of Overkill perfectly: it's old, it's filthy and it's rotten to the core! It kind of warns you: "We're gonna kick your ass!". Believe me, they are. Overkill's concert is one hell of a show. And the DVD serves as a testament to this. In conclusion, this ain't no "Unleashed In The East" or "No Sleep 'Til Hammersmith", but nevertheless a great show put out by a great band. I strongly recommend it to any thrash fan. It's worth every single penny paid for it. Sooth to say, I think it's quite possibly one of the greatest metal DVDs ever released. Everything is good about it. If you've been meaning to explore the realm of thrash metal for a while, but don't know where to start, this is your choice. It conveys the spirit, mood and energy of the (sub)genre in a way none and nothing else can. So, to sum it up in a few words: do yourself a favour and get it. Buy it, steal it, do whatever you want... it doesn't matter. Just get it. NOW. Catachthonian ..::TRACK-LIST::.. Recorded live at The Paramount Theater, New Jersey, March, 2002. DVD 1: DVD 9 NTSC 4:3 DD 2.0 DD 5.1 DTS Necroshine Thunderhead E.Vil N.Ever D.Ies Deny the Cross Wrecking Crew Powersurge Gasoline Dream I Hate Coma Shred Hello From the Gutter Bleed Me Guitar Solo Long Time Dyin' It Lives Battle Spiritual Void The Years of Decay In Union We Stand Overkill Horrorscope Rotten To the Core Elimination Fuck You / War Pigs DVD 2: DVD 5 NTSC 4:3 DD 2.0 Batmen: The Return... Chaly Speaks (Band Documentary / Interview) Batmen Behind The Scenes Photo Gallery ..::OBSADA::.. Vocals - Bobby 'Blitz' Ellsworth Guitar - Dave Linsk Guitar, Backing Vocals - Derek Tailer Drums - Tim Mallare Bass, Backing Vocals - DD Verni https://www.youtube.com/watch?v=IkZu3Ta5uEg SEED 14:30-23:00. POLECAM!!!
Seedów: 10
Komentarze: 0
Data dodania:
2023-12-31 14:34:58
Rozmiar: 11.29 GB
Peerów: 22
Dodał: Fallen_Angel
|