DVD Reviews, Part 1 of 2

by | Dec 1, 2004 | DVD & Blu-ray Video Reviews | 0 comments

December 2004 Part 1 of 2 [Pt. 2

All Music Videos

Wilhelm Kempff plays BeethovenGeorge Szell documentaryAnna KareninaKorngold documentary
Jazz-It! TDK sampler
Byoerling in opera and songDeath in Venice to music of MahlerVoices of Concord at Montreux
Joe Cocker music videoDevo in JapanMatchbox music video

Wilhelm Kempff plays BeethovenWilhelm Kempff plays Beethoven (1964)
BEETHOVEN: Rondo in G, Op. 51, No. 2; Sonata No. 29 in B-flat Major, Op. 106 “Hammerklavier”

Studio: VAI DVD 4283
Video: Black&White 4:3
Audio: PCM Mono
Length: 57 Minutes
Rating: ****:

From Radio-Canada a telecast from 29 November 1964 featuring Wilhelm Kempff (1895-1991) in the music of Beethoven. An understated production in every way, typical of the restrained classicism of its performing artist. After a quietly supple Rondo in G Kempff answers a few questions regarding the Hammerklavier Sonata, having donned his eyeglasses in a most professorial demeanor. The questions-and-answers are conducted in French, and Kempff’s replies are both concise and without foreign accent. He argues for the “cosmic” quality of the great, three-voice fugue of the Largo movement, given its “licenses” within the confines of traditional fugal procedure. Kempff calls the work “The Art of Fugue for the solo piano,” a monument “evolving according to the eternal laws of planets and stars.”

The close camera work captures the intense concentration Kempff applies to the realization of Beethoven’s most massive, expansive sonata. Kempff plays with an easy lyricism, and his form in 1964 is quite strong; there are few of the finger-slips that plagued his later work. He allows Beethoven a rare sense of spiritual repose, particularly in the Adagio sostenuto. I find his playing of the ironic Scherzo somewhat peremptory. There is an especial dignity and sobriety Kempff brings to Beethoven; whether one chooses to call his playing “magisterial” or “noble,” there is no forcing of the emotional issues, and the melodic-harmonic texture appears to flow out of itself. So rapt is Kempff within the melodic labyrinths of the Adagio that the circling of the camera only seem to tiptoe around his shoulders. The image of Kempff’s crossed hands appears to have caught the camera’s lingering attention. The last movement has an aggressive counterpoint, as Kempff is not one to dally or to retard forward motion. The whole experience is quite compelling, assuming one can give this video the undivided attention which its ministry requires.

–Gary Lemco

Szell and Cleveland Orch.George Szell: The Cleveland Orchestra–One Man’s Triumph (1966)

Studio: VAI 4271
Video: 4:3 Color
Audio: PCM mono
Length: 55 minutes
Rating: ****:

Taped in 1966, introduced by Donald Vorhees for the Bell Telephone Hour, and narrated by Irving Kolodin, this excellent documentary captures the fiery, insatiably musical character of George Szell (1897-1970), the Hungarian conductor whose rigorous knowledge of the repertory he led ultimately honed the Cleveland Orchestra into a premier, international ensemble. Somewhat uncharacteristically, we see and hear only the polite side of Herr Szell, who could explode into sarcastic rancor. But following Toscanini’s dictum, “in politics democracy, in art aristocracy,” Szell does condescend to say “we” when speaking of musical decisions. We encounter Szell in five realms: he leads the Brahms Academic Festival Overture in rehearsal; he rehearses violinist Rafael Druian from the keyboard and at the podium in Berg’s Violin Concerto for a season opener; he discusses with Louis Lane whether to use Mendelssohn’s revision of the third movement for a recording of the Symphony No. 1 for CBS; he works with three young conducting apprentices in a rehearsal of Beethoven’s Fifth and the Strauss Don Juan; and he rehearses he first movement of the Beethoven Fifth, only to conclude in glorious technicolor with the final Allegro in concert.

By 1966, George Szell had been active in music for 58 years, having made his debut as a concert pianist and young composer with the Vienna Symphony in 1908. To see him coach young James Levine, Michael Charry, and Stephen Portman on the rudiments and psychology of conducting and orchestral response is to see a master technician pass the baton literally on to the next generation. Szell reminisces on Strauss the conductor, who himself used a minimum of gesture to elicit a huge, orchestral response. As Irving Kolodin rightly notes, conducting is not merely the “correct” execution of the notes, it is a knowledge of the composer’s own mind, what Szell calls “imagination in the direction of their thinking, not being mere robots recreating tones.” We witness the constant flexibility of Szell’s thnking, making any number of tiny incremental adjustments to the entries, accents, and dynamics of the Brahms Overture, bringing out a bit of sarcasm in the student tunes. We see him actually ask Druian to play “sentimentally” a short, melodic kernel from the Berg, which Szell manages to read from piano reduction without missing a beat. After having coached the Cleveland Orchestra through the agogics of Beethoven’s opening movement of the C Minor Symphony, the video ends triumphantly with the symphony’s finale, the C Major trumpets ringing out to the concluding peroration, when a mammoth “Bravo!” erupts from an enthralled audience. Conductor, players, and audience simultaneously bask in the refined glories of artistic possibility; or, as Kolodin suggests, in one man’s constant seeking after the impossible perfection.

–Gary Lemco

Anna Karenina balletSHCHEDRIN: Anna Karenina–Ballet in 3 Acts

Maya Plisetskaya; Vronsky Vladimir Tikhonov; Yuri Vladimirov; Artists of the Bolshoi Ballet; The Bolshoi Theater Orchestra/Yuri Simonov
Studio: VAI DVD 4286
Video: Color/widescreen enhanced
Audio: PCM Mono
Length: 80 minutes
Rating: ****

Filmed in 1974, the ballet version of Leo Tolstoy’s epic and tragic story of Anna Karenina is the last work by director Margarita Pilikhina, who did not live to see the final edit. Working with prima ballerina Maya Plisetskaya fulfilled the ballerina’s long-sought project of bringing Tolstoy’s novel to the ballet theater; Plisetskaya took on the major function of choreographing the ballet herself. The result, with the help of husband-composer Rodion Shchedrin, is a highly expressionistic interpretation of a woman’s fall from social grace when a grand passion makes her domestic life impossible.

Besides the alternately exquisite and explosive physical style of Plisetskaya’s dancing, the color concept of the film is itself a major component of this film. The stark reds and blacks that dominate the scene at the railway station–scene of the first fatal accident and later the scene of Anna’s suicide–illuminate throughout the ballet the self-destructive tendencies in Anna’s character. The Man at the Station (Vladimirov) becomes a kind of human emblem of emotional chaos. As Anna becomes increasingly enamored of Vronsky (Godunov), the Man at the Station engages in numerous pas de trois, often substituting himself for both chilly husband Karenin (Tikhonov) and Vronsky – a kind of wedding-in-death. Tikhonov’s role as the staid and unemotional Karenin is a model of social righteousness, and he comes to preside at a grand ball scene whose colors and staid pageantry have all of the emotional glamor of a beheading.

While the music of Shchedrin is not particularly memorable – its only melodic kernels co-opted from Tchaikovsky’s Third “Polish” Symphony – there are any number of rhythmic motifs that provide a kind of leitmotive-tapestry for Anna and the two men in her life. Alexander Godunov makes a startling Vronsky, exploiting his athleticism and broad leaps to contrast with the mincing, wooden gestures of the man Vronsky cuckolds. Director Pilikhina exploits several kinds of visual effects to make Vronsky’s love alternately buoyant and menacing, a source of freedom for the repressed Anna and an ineluctable social crucifixion of her reputation as a wife and mother. The use of color, again, can be unnervingly dynamic, sometimes even using a totally black background to denude the lovers of all social support. What dancer Plisetskaya has accomplished in her choreography is a psychodynamic surreal look into the dissolution of a marriage and of a vivacious young woman’s mind due to emotional excess. The tilting of the camera to portray Anna’s last futile rush to embrace her son Seryozha (A. Sedov) is effective, as is the cold restraining hand of her sepulchral husband. A visually and balletic tour de force, Anna Karenina satisfies less as a musical experience than as an imaginative adaptation of a great novel by a thorough professional of the dance.

–Gary Lemco

Korngold Bio & ConcertErich Wolfgang Korngold (The Adventures of a Wunderkind) A Portrait and Concerto (2001)

Frankfurt Radio Symphony Orchestra/Hugh Wolff
Studio: Hessian Radio/ArtHaus Musik
Video: 16:9 color and B&W
Audio: Dolby Digital Stereo (Portrait); PCM Stereo (Concert)
Subtitles: English, French, Spanish, Japanese
Extras: ArtHaus Musik trailer
Length: 144 min. total
Rating: ****

Another satisfying combination of documentary on a composer followed by a concert of his music (we covered the John Adams DVD last issue). Korngold was a perfect choice because he’s not that well-known by many, he is regarded as the father of the lush Late Romantic Hollywood movie score, and living the major part of his life in Hollywood there were considerable home movies of the Korngold family and his working with various actors and directors to make a visually interesting documentary. His fame as a young prodigy might remind some viewers of Mozart. He was the hottest thing in European concert halls and opera house in the 1920s. The rise of Fascism sent him to Hollywood where he demanded more control and freedom than the typical movie score composer had received. And he got it due to his great stature in the music world. His interesting life is illustrated thru some of both his abstract works and film scores. Among the music personalities commenting on the man and his music is mezzo-soprano Anne Sofie Von Otter.

This arrangement of documentary film plus concert allows you to view the concert at a different time if you wish – which is what I did. The concert opens and closes with Korngold concertos which liberally use themes from his film scores. The soloists are Violinist Leonidas Kavakos and Cellist Quirine Viersin. In the center are two short selections of works Korngold composed in Vienna in the first decade of the century: two Character Pieces from Don Quixote, and two selections from 7 Fairytale Pictures: Gnomes and Epilogue. The Cello Concerto had been discussed in the Portrait. It was expanded from its central part in the movie Deception to a 15-minute concerto. In the movie a murder is committed just prior to the premiere of the virtuosic concerto. The lengthier Violin Concerto which ends the concert shows Korngold recycling material from several of his films scores, including Anthony Adverse, Another Dawn, Juarez, and The Prince and the Pauper. Jascha Heifetz premiered the concerto in l947. The concert images are mostly extreme closeups, and it is interesting that the Dolby Digital data reduction of the documentary was dropped in favor of unmodified PCM stereo for this portion of the DVD. No audience was present for the concert; the shots are so close I was unable to see if the venue was a studio or concert hall.

– John Sunier

Bjorling in opera and songJussi Bjoerling in Opera & Song
a Voice of Firestone Classic Performance

Studio: Kulture DVD D2424
Audio: Dolby Digital mono
Video: 4:3 Black & White
Length: 65 minutes

There have been a number of compilations of vintage 1950/1960 television shows featuring opera singers. Collections like Kultur’s World Singers and Great Moments in Opera (Vol. 1 and 2) are excellent ones, showcasing stars like Roberta Peters, Beverly Sills, and Robert Merrill performing old standards. Jussi Bjoerling in Opera and Song differs in that it focuses on only one singer, and because of questionable programming choices is less successful as an aesthetic experience. These telecasts of 1950 and 1951 from the Voice of Firestone do portray what was considered popular for opera singers to perform in those days to reach a mass audience. Here we see and hear the greatest singer of the past 75 years singing grand opera as well as light opera selections like Victor Herbert’s Neopolitan Love Song (twice!).

In one unintentionally hilarious scene, he sings Krezner’s Prayer of Thanksgiving in front of scenery fashioned to resemble portals of a church, complete with kindly vicar. He and his wife Anna-Lisa also sing touching duets from Puccini’s Gianni Schicchi (O mio babbino caro) and La Boheme (O soave funciulla), both obviously filmed in television’s teething days. These pieces, along with Leoncavallo’s famous Vesti la giubba from Il Pagliacci and Bizet’s Flower Song from Carmen comprise the beating heart of this DVD. They show this magnificent singer fully in command of his vocal powers, although a bit stiff in his presentation. (He was a mediocre actor at best.) Incidentally interesting is the producer’s compulsion to include period ambiance. We get an advertisement for Firestone products and four numbers featuring the Voice of Firestone orchestra without Bjoerling, playing adumbrated versions of Brahms’s Hungarian Dance No. 1, Tchaikovsky’s The Story of a Starry Night, etc. While these performances are historically interesting — no women musicians! — they made me hunger for more Bjorling. Other instances of Bjorling on film do exist (although not with the Voice of Firestone). Here are some minor annoyances: Why did they repeat those ditties If I Could Tell You and the Prayer of Thanksgiving? The video is about as good as you’d expect, considering that kinescope video is visually the equivalent of 78rpm records. Still, I give this DVD a marginal thumbs up for all my fellow Bjoerling fans, those who devour his work no matter where and what he sings. As my grandfather used to say, “I’d pay to hear him sing the telephone book.”
— Peter Bates

Bogarde in Death in VeniceDeath in Venice (1971)

Starring: Dirk Bogarde, Mark Burns, Bjorn Andresen, Silvana Mangano
Studio: Warner Bros.
Video: 2.35:1 Widescreen Enhanced
Audio: Mono
Extras: Theatrical Trailer, Slideshow, “Visconti’s Venice” featurette (9 min)
Length: 131 minutes
Rating: ***

Death in Venice was adapted from Thomas Mann’s classic novel about an obsessed man vacationing in Venice in the summer of 1911. He is a composer, Gustav Aschenback, who is staid and in many ways a slight man. His stay at the hotel seems quite ordinary until he glimpses a pretty boy in his pre-teen years staying with his family. His secret obsession with this boy escalates from stolen looks to stalking the young boy wherever he can find him. From the town to breakfast at the hotel, and then onto the beach, Gustav is overcome with inspiration and desire. Even as the city becomes awash in death due to the breakout of disease, he stays at the hotel as tourist after tourist leaves. When he is at the station after being warned to leave town, he is compelled to return to the hotel as long as the boy remains although his health be in jeopardy.

Like many of the great Italian directors, Luchino Visconti has a particular feel to his films. At the start it takes a full six minutes before we hear any dialogue between the characters. The film’s soundtrack consists of selections from Mahler’s Third and Fifth Symphonies and it embodies the film with a unique passion emphasizing key moments throughout. There is huge attention paid to period detail, and between the music and lovely lyrical settings portrayed by the camera, it is easy to get caught up in the film. The best way to describe the camera technique is analogous to a painter with his brush—lavishing on rich colors on an empty palette.

Much of the film is communicated through images, direction, editing, and not specifically through dialogue. Occasionally Gustav will have a flashback, daydream, or flight of fantasy that will further develop his character for the viewer. But the most powerful moments are the scenes with the young boy that tell volumes of who Aschenback is. The pace is slow (especially compared to modern films), [and some viewers have felt that the screen images really exist only to illustrate the glorious music of Mahler on the soundtrack, which may be the best thing about the film. ..Ed.]

-Brian Bloom

Voices of Concord JazzVoices of Concord Jazz – Live at Montreux (2004)
Vocalists: Peter Cincotti, Karrin Allyson, Monica Mancini, Diane Schuur, Curtis Stigers, Nnenna Freelon, Patti Austin

Studio: Concord Records
Video: 4:3 full screen
Audio: Dolby Digital 5/1 or DD stereo
Length: 1 hr., 45 min.
Rating: ****

Tom Gibbs reviewed the CD version of this event last issue. For Concord’s 30th anniversary the jazz label gathered together seven of their finest jazz vocalists to appear at the prestigious Montreux Festival in Switzerland. It’s billed as the ultimate jazz vocal event and that isn’t totally hype. I’m frankly not heavily into jazz vocals, but I found it absolutely reviting and watched from start to finish. Actually the only vocalists of the group with whom I was completely familiar were Monica Mancini and Diane Schuur. It was great to get to know the work of others I had heard briefly or read about, including the cool young singer-pianist Peter Cincotti, and the petite and bouncy Karrin Allyson, whose recent audiophile LP is sitting here awaiting review.

The singers on stage at the festival are introduced by some travel-type footage shot around Montreux and the beautiful Lake Geneva. However, this is strangely very low-res home video quality while the onstage presentation is of the highest quality. But that’s certainly better than the other way ‘round. The singers appear in the order listed above – the first batch in intimate small-group situations. Both Allyson and Mancini have their own fine quartets; vibist Dave Samuels sits in with the latter. With Diane Schuur we switch to backing from the WDR (West German Radio) Big Band conducted by Tom Scott and things begin to ratchet up a notch or two. The concert also includes two great duets, matching up Schuur and Allyson on one and Mancini and Stigers on another. For the great finale we are treated to an ensemble performance by all the singers with the big band on How High the Moon. Groovy! And the surround mix is just right; put those fee up and arm yourself with some cheese or chocolate (or both) and pretend you’re there!

Here’s the singers and their songs: Cincotti: I Changed the Rules, Sway, Ain’t Misbehavin;’ Allyson: Moanin,’ Little Boat; Mancini: Charade, A Day in the Life of a Fool, Dreamsville (duet); Schuur: Deedle’s Blues, Stay Away from Bill (duet), Meet Me Midnight; Stigers: Swingin’ Down at 10th & Main, How Could a Man Take Such a Fall; Freelon: Better Than Anything, The Lady Sings the Blues, Out of This World; Austin: You’ll have to Swing It Mr. Paganini, Home Blues, How High the Moon; Ensemble: How High the Moon.

– John Henry

TDK Jazz SamplerJazz-It! – The Best of Jazz on TDK – Sampler

Studio: TDK/EuroArts
Video: Either 4:3 or 16:9 enhanced for widescreen
Audio: DTS 5.1, Dolby Digital 5.1, DD Stereo
Length: 89 minutes
Rating: **** as a sampler, but ** as entertainment

TDK has made available on DVDs a great variety of videos of many of the top jazz artists, shot from about 1983 to a couple years ago. The visual quality and lighting is pretty consistently high quality and that goes also for the sound – especially with the DTS option. The only gripe I have about the DVD is that most of the selections are faded out after about four minutes or so, and I had thought these were all complete items. However, it’s a great way to sample what TDK has available and which ones you might want to pick up the individual DVDs on. Right off I want the MJQ, Corea & Burton, and the Paco de Lucia Group.

Things get underway with the West Coast All Stars in Walkin’ – featuring Conte Candoli on trumpet, Teddy Edwards on tenor sax and Pete Jolly on piano. Herbie Hancock’s trio with Ron Carter on bass next do Toys. Lionel Hampton is heard in How High the Moon with a terrific lineup of all stars, including Clark Terry, Benny Golson, Harry Sweets Edison, and Junior Mance. Blues March is a standard with Art Blakey’s Jazz Messengers and that who play it on their cut. Bag’s Groove is the Modern Jazz Quartet on theirs, and Stan Getz is heard in his final concert recording with a sextet featuring Kenny Barron on piano in El Cahon. Oscar Peterson plays a selection from his Easter Suite for Jazz Trio, and Mendocino is the track from drummer Billy Cobham’s Glass Menagerie. We see and hear the jazz violin giant Stephane Grappelli in Gershwin’s Fascinating Rhythm in l991 and Gary Burton appears the first of two times with pianist Makoto Ozone in Monk’s Dream.

The Dave Holland Quintet does World Protection Blues, and from a DVD titled A Very Special Concert we hear Chick Corea, Joe Henderson, Stanley Clarke and Lenny White in Why Wait. The oldest video here (1983) is Gil Evans (fits cause the cat always looked so old…) and his orchestra in Variations on the Misery. The Herbie Hancock Trio plays Just One of Those Things from their disc and the avant group ESP 2 plays a strangely disjointed version of Charlie Parker’s Donna Lee. Vibist Burton returns with Chick Corea for Monk’s Four In One. Guitarist Terje Rypdal with percussionist Trilok Gurtu does Baba, and Eliane Elias plays The Way You Look Tonight with her trio and looks really smashing doing so. Whew! Another fine pianist, Ahmad Jamal, plays My Foolish Heart with his trio, Playa del Carmen is sampled for us by guitarist Paco de Lucia and his group. The German ensemble The Band from Utopia does a number from their Tribute to the Music of Frank Zappa, Bobbie McFerrin gives us some of his amazing improvisations, matching vocal chords with Herbie Hancock and Michael Brecker, the closer to the sampler is McCoy Tyner in a piano solo on Coltrane’s Naima.

– John Henry

Joe Cocker LiveJoe Cocker : Live Across From Midnight (2004)

Studio: Eagle Rockframe
Video: 4:3
Audio: DTS 5.1, DD 5.1, DD Stereo
Length: 85 minutes
Rating: ***1/2

This concert was filmed in 1997 at Waldbuhnem in Berlin utilizing 10 cameras that cut every few seconds or so. The venue is a good sized outdoor arena with spectacular stage lighting incorporating flashing lights mixed in with images on a screen behind the stage. The sound is very good and balance is slightly towards instruments over vocals. The concentration of sound is up front with a slight ambience in the surround channels. Cocker is noted for his ability to take a well-known song and transform it into his own. I was hoping that Jennifer Warnes would appear from somewhere and sing the duet on “Up Where We Belong,” but one of the background singers did a nice job instead. Joe dedicates a sweet rendition of “You Are So Beautiful” to Diana, Princess of Wales, and check out the nifty accordion work on “N’Oubliez Jamais.” There is good energy and flow throughout the concert coupled with great crowd participation. I didn’t realize there were so many Cocker fans in Germany!

Songs Included: Could You Be Loved; Feeling Alright; Have a Little Faith; Up Where We Belong; You Can Leave Your Hat On; When The Night Comes; N’Oubliez Jamais; Summer In The City; You Are So Beautiful; Into The Mystic; Don’t Let Me Be Misunderstood; Delta Lady; The Letter; Unchain My Heart; With A Little Help From My Friends; Across From Midnight; Cry Me A River.

-Brian Bloom

DEVO Live in Land of Rising SunDEVO — Live In the Land of the Rising Sun (2003)

Studio: Music Video Distributors
Video: 1.33:1 full frame
Audio: DD 5.1, DD Stereo
Extras: Devo Goes to Japan (12 min), David Kendrick Speaks (6 min), Target Video (from 1980–Live)
Length: 75 minutes
Rating: ***1/2

This DVD opens with a humorous instructional video detailing the proper dress attire for a Devo concert among other important factors involved in the concert attending process. From the red hats to the yellow jumpsuits, to the robotic movements, Devo puts on a good show. It’s not hard to believe that this “odd” behavior appeals to the Japanese and it’s important to take note of their influence on the development of rock music in Japan. Their visit to the country 25 years ago was very special and their big following there today is evidenced by this video. Thousands of young Japanese crammed into a large arena shouting, jumping, singing, and heartily enjoying the music of Devo. The band is known for their mix of mechanical electronic sounds, unconventional rock, and strange attire including “energy domes”—the red multi-tiered hats that the band and fans wear. The music speaks of devo-lution—a decline of culture that those of the band believe is happening in America at this very moment. The band may be a quarter of a century older, but they are still connecting to the youth of Japan with their message. In between many of the songs are interviews with band members reminiscing about the previous tour and discussing their philosophy of life and their music: pro-information, thinking for oneself, hating illegitimate authority, and promoting anti-stupidity.

The multichannel mix on this disc primarily consists of mixing the two channel information into the rear channels giving a big matrix-like sound. Songs included: That’s Good; Girl U Want; Whip It; Satisfaction; Uncontrollable Urge; Mongoloid; Blockhead; Jocko Homo; Smart Patrol/Mr. DNA; Gut Feeling/Slap Yer Mammy; Gates of Steel; Freedom of Choice; Come Back Jonee.

-Brian Bloom

Matchbox Twenty videoShow: A Night in the Life of Matchbox Twenty (2004)

Studio: Lippman Entertainment
Video: 1.78:1 Widescreen Enhanced
Audio: DD 5.1, DD Stereo
Extras: Gallery, Lyrics, Multi-Angle “Soul” (6), Multi-Angle “Bright Lights”, Documentary (36 min)
Length: 94 minutes
Rating: ***1/2

Matchbox Twenty is a rock band consisting of Rob Thomas (vocals), Kyle Cook (lead guitar, background vocals), Adam Gaynor (rhythm guitar, background vocals), Brian Yale (bass), and Paul Doucette (drums, percussion). This two-disc set is their first in-concert DVD and showcases the band’s material from their three studio albums that have sold over 25 million copies. The video was shot in high-def utilizing 17 cameras. In the bonus features you can see two of the tracks with up to six different camera angles. The stereo track on the DVD is encoded with SRS Circle Surround which the press release claims “enables a full spectrum surround sound mix to come through just two stereo speakers.” There was definitely a good amount of surround information (mostly loud crowd noise) although concentration was up front. The camera wavers a bit (on purpose) and cycles between solo close-ups to extremely tight shots and then back to long shots with the crowd. The fact that the stage is so well lit makes it easier to see all the musicians. The concert is indoors and this environment allowed the lighting crew to really put together a spectacular show. The show contains hit songs like “3AM,” “Disease,” “Unwell,” and “Push” and for those who like the slightly alternative/pop rock that is popular these days, the concert will please.

The documentary covers the band members talking about the tour, fans and music, the tour bus, and other people involved in the production. It’s done in a very casual way, so most of the video feels like you are following band members around while they speak their mind. It paints the picture the band members are just a bunch of everyday guys who enjoy playing music. Songs Included: Cold; Real World; All I Need; Soul; Disease; Could I Be You; 3AM; Mad Season; Feel; Hand Me Down; If You’re gone; Bright Lights; Bent; Unwell; Back to Good; Downfall; You’re So Real; So Sad So Lonely; Long Day; Push.

-Brian Bloom

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