Music/Concert DVD Review: Rolling Stones: Let's Spend the Night Together (1981)

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Regardless of the fact that it was a brand new track when Harold and Maude filmmaker Hal Ashby and his Being There cinematographer Caleb Deschanel shot the Stones concert film Let's Spend the Night Together in 1981, Mick Jagger waits until roughly the middle of the set-list to unleash “Start Me Up.”

Instead, as a natural born entertainer who most likely is “on” every waking minute of his life, it's only fitting that Jagger kicked off the show with “Under My Thumb.”

Looking out into a massive crowd that's roughly the size of an ocean, Jagger sings at admirers rather than to them.

Thus, knowing full well that in stark contrast to Thumb's openly misogynistic lyrics wherein he likens an obedient girlfriend to “the sweetest pet in the world,”when Jagger opens with that tune he's changing the meaning completely, acknowledging that his captivated audience has become his largest, highest paying pet in the world.

And unfortunately, this is the biggest part of the problem as although we see a polished, highly energized Jagger lunge onstage, he's been started up to go through his chart-toppers completely on dispassionate autopilot.

Gyrating wildly in what has become his trademark “eroticism” that leaves nothing to the imagination, Jagger tries to force sex into some of his most earnest hits, forgetting the fact that not everything works well as a double entendre when you're applying the double meaning in laughable crotch-accentuating football pants.

In my mind, there's absolutely nothing sexier than the right rhythm and blues laced Rolling Stones song and especially the ones that allow death-defying guitarist Keith Richards the chance to wail and this could've only been heightened with a more bare-bones, intimate venue concert. Sadly and aside from the inclusion of a jukebox worth of Stones hits, there's nothing less sexy than the performance on this DVD.

Seeing Jagger's androgynous presentation as a cross between Olivia Newton John's jazzercise aerobics favorite “Let's Get Physical” and glam rock era David Bowie is the equivalent of “baby, I've got a headache.”

And given the stellar material of the Stones catalog, I think he'd be much more effective without the cold shower inducing pomp and neon circumstance of the '80s arena rock concert venue and weird Aerosmith flag plus football attire approach.

Throughout, Jagger speeds through classics he must be tired of singing like “Jumpin' Jack Flash,” so that we lose the punch of those pre-punk, post-Dylan poetic lyrics about being “born with a spike right through my head.”

Essentially, he's the only band member that tries to ignite lust or excitement in the audience (even if by force) as amusingly even a parade of gorgeous girls during “Honky Tonk Women” can't distract the perpetually smoking Ron Wood and Keith Richards from showing each other their killer guitar skills.

And while we'd love to know exactly what he seemed peeved about, privately mouthing off to himself after it appeared as though Ron Wood gave Jagger some direction, Ashby's film remains a slick commercial concert piece.

Obviously, Let's Spend the Night Together may please some die-hard fans looking for a quickie that masquerades as a one-night stand. However since I prefer a musical love affair, let's just say that athletic wear and male eyeliner simply doesn't “Start Me Up” like hearing the album version of “Satisfaction.”

Text ©2010, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  

FTC Disclosure: Per standard professional practice, I received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

Music DVD Review: Elvis Presley: The Ed Sullivan Shows: The Classic Performances

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Although originally he'd vowed never to invite the man he would eventually describe as a "decent and fine boy" on his popular television show-- when rival host Steve Allen beat Ed Sullivan's ratings with the debut appearance of Elvis Presley on Allen's variety series-- eventually Ed Sullivan caved.

And sure enough the paperwork was completed in the summer of 1956 as Sullivan signed Presley to the tune of fifty thousand dollars to appear for three exclusive performances on The Ed Sullivan Show.

However, tragically a horrific head-on collision found Sullivan ordered to miss five weeks of hosting duties as friends filled in guest-hosting the show while he was convalescing following the car crash. Sadly, much to his disappointment-- (and regardless of the fact that he'd be there for the subsequent two appearances)-- ultimately the host ended up making television history as one of more than 72 million viewers who tuned in when Charles Laughton introduced the the young and relatively new singer to the world.

Seeing the shy, polite Southern country boy in his record-breaking premiere on September 9, 1956 make this newly released DVD that much more compelling since it offers us a chance to look back at the icon before he went into the army and met the teenager who later became his wife, before he went Hollywood and long before the pressures of being "The King" began to affect him.

Likewise, it's a fascinating opportunity to witness the way that Elvis Presley began working on his stage persona. Since, even when delivering a hit like "Love Me" where he appears to forget the words twice and/or gets lost in the crowd we can hear him experiment with different vocal approaches including some that would become his signature and others that as a fan of the music, I had never heard before.

Additionally you must bear in mind that this was during the controversial era of religious outcry over Elvis and the music he sang. For on the DVD, it's quickly visible that every so often he becomes overwhelmed by the magnitude of the experience given what sounds like a few slurred words, melodic mix-ups (wherein he puts a finger to his ear to adjust his tone) and a strange stab at a humorous ironic lead in to "Hound Dog" as a sad song that baffles even his band.

However, the little quirks make him that much more endearing as viewers simply couldn't care less. Moreover, even now in 2009, it's easy to be utterly drawn in by what is arguably the greatest entertainer of all time performing for millions in his prime. Beautiful, nervous, and consciously provocative with the abundance of hip gyrations-- even though Sullivan's studio gave him a dull music note background, your eyes only focus directly on the man himself.

And fortunately, Presley's confidence in front of a live television audience would increase with not just their ecstatic screams but each successive appearance-- whether he was actively helping to support the Hungarian relief effort for which he performs a moving rendition of "Peace in the Valley" or celebrating his [then] biggest record with rocking performance of "Don't Be Cruel."

Indeed, by the time the third appearance of Presley's occurred, he was so relaxed that the hip thrusts had gotten him in trouble to the point wherein the undeniably soulful, sexy singer was filmed from the waist up to avoid public outcry.

While a majority of entertainers today would've taken that as their cue to try and shock even more as the mainstream media seems to prefer behavior that can be considered salacious over actual substance, Presley was unflappable under what must have been the most appalling scrutiny and judgment. Instead, filled with kindness-- after of course, letting it rip in his usual level of rock 'n roll-- when Presley took Sullivan's stage during the holiday season, he addressed his viewers as "friends," politely thanking them in a way that seemed both genuine and truly humble.

Given the age of the footage, it's not the cleanest presentation imaginable with visible dirt and grain but it's a true find to see the Sullivan appearances back to back to back. And while on paper in the press release or on the back of the box, the bonus features seem as though they're going to offer some truly mind-blowing footage for devotees of the King to accompany the forty-seven minute disc, unfortunately the promos for the appearances are extremely dull, the remembrance interview footage is dated and the special moments and home movies feel very familiar.

However, the one very brief treasure included on the disc is the very first recorded video footage of Presley. Captured near Houston, Texas by a young couple testing out their brand new 8mm video camera-- the historical artifact presents us with the man before he'd been discovered let alone signed by Colonel Tom Parker. Featuring an upbeat and impossibly young, casual looking Elvis Presley performing at a local, disorganized outdoor gig-- it's the one extra that you should jump to before the rest in this slight yet otherwise fan-friendly DVD.

Text ©2009, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com
Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited.

Concert DVD Review: Trevor Horn & Friends -- Slaves to the Rhythm -- A Concert for the Prince's Trust: Live at Wembley Arena, London (2004)

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On An All-Region (Or Region 0) DVD

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As Seal points out during his commanding three-song performance for this live concert produced for The Prince's Trust back in 2004-- he was a fan of musician turned producer Trevor Horn's without knowing it. Essentially he reveals that the man with whom he would eventually collaborate for fourteen years had produced some of his all-time favorite acts and albums that had inspired Seal even before he began making music himself.

And over the course of this tremendous DVD which features some of the coolest animated jukebox styled menus I've ever seen that let you jump around the playlist by artist and tracks, we realize that-- much like Seal-- we too were fans of Horn's without being able to understand precisely why either.

This is evidenced quickly into the DVD, as one by one some of his most successful acts-- going way back into the early '80s and opening with Horn's own group Buggles ("Video Killed the Radio Star")-- take to the stage. Whether the groups were merely one-hit wonders who are now more well-known for the songs performed than the band names themselves or they became ultra successful, it's a wonderful celebration of the diversity of the producer's musical acts. And to this end, the DVD moves from ABC's fast and catchy track "Poison Arrow" to the incredible use of keyboard, synthesizer and machinery noise on Art of Noise's "Close to the Edit" before serving up the overwhelming crowd pleasers.

Of course, the ultimate standout consisted of Seal's charismatic mini-concert as he bravely wandered to the edge of the crowd and mingled with the fans throughout "Killer," "Kiss From a Rose," and "Crazy." However, Wembley Arena seemed like it would burst at the seams when-- complete with their brand new lead singer with whom they'd never played before-- Frankie Goes to Hollywood launched into "Two Tribes," and eventually finished up the night by way of "Welcome to the Pleasuredome" and "Relax."

Fan favorites Grace Jones (performing "Slave To The Rhythm"), Pet Shop Boys ("Left To My Own Devies"), and Yes ("Owner Of a Lonely Heart") all rocked the arena as well but I was especially taken with the dynamite vocals of Lisa Stansfield's "Takes a Woman to Know" that seemed as though she was about to sing herself hoarse. Likewise, I really enjoyed the inclusion of my personal favorite bands-- Belle & Sebastian-- who, jokingly referring themselves as representing "the Glasgow contingent," played their amazingly angelic sounding "I'm a Cuckoo" and "Step Into My Office" from the Dear Catastrophe Waitress album.

It also features a mini-documentary on Trevor Horn that chronicled the elaborate set-up of organizing thirteen of his biggest acts, guest musicians, and an amazing backing orchestra (including an Oscar winner) to perform for Prince Charles and a crowd of screaming fans more than twenty songs. However, the live show is the main event and the expertly transferred DVD brings the concert to your living room with an impressive Dolby Digital 5.1 mix.

This highly recommended disc is compatible with all DVD players as a region 0, all-region or region free disc which is only fitting since-- in addition to the diversity of acts from around Europe-- Horn had hits around the globe including the unparalleled honor of being the only producer "to have simultaneous number one records in both the UK and the USA."

Track Listing:

* The Buggles - Video Killed The Radio Star
* Dollar - Mirror
* Dollar - Give Me Back My Heart
* Grace Jones - Slave To The Rhythm
* ABC - Poison Arrow
* ABC - All Of My Heart
* ABC - Look Of Love
* Belle & Sebastian - I'm A Cuckoo
* Belle & Sebastian - Step Into My Office
* T.A.T.U. - All The Things She Said
* Art Of Noise - Close To The Edit
* Propaganda - Dr Mabuse
* Yes - Cinema
* Yes - Owner Of A Lonely Heart
* Pet Shop Boys - Left To My Own Devices
* Lisa Stansfield - Takes A Woman To Know
* Seal - Killer
* Seal - Kiss From A Rose
* Seal - Crazy
* Frankie Goes To Hollywood - Two Tribes
* Frankie Goes To Hollywood - Welcome To The Pleasuredome
* Frankie Goes To Hollywood - Relax

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Music DVD Review: Coleman Hawkins In Europe (London, Paris & Brussels)

From "Moonglow" to "Body and Soul"
Hawk Hits DVD

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Whether he was dubbed "the Father of the Tenor Saxophone," "the best tenor player in the world" or as this All-Region concert DVD from Standing Oh!vation notes "the true originator of the tenor saxophone as a solo instrument in jazz," Coleman Hawkins had an enviable professional run that lasted for roughly forty years.

Moving from piano to cello to the tenor saxophone before the age of ten years old back "when the saxophone was considered a novelty instrument, used in vaudeville and as a poor substitute for the trombone in marching bands," Hawkins' career flourished by the time he turned twelve, working for Mamie Smith's Jazz Hounds until he eventually found a home with the newly formed Fletcher Henderson Orchestra, playing alongside Louis Armstrong.

Conquering fans around the globe by moving to Europe in the '30s where he collaborated with Django Reinhardt and Stephane Grapelli-- when he returned back to the states, he still managed to outshine the up-and-comer Lester Young "by winning a few heated jam sessions," but he never neglected to share the spotlight-- celebrating artists from all backgrounds as a band leader as well as sharing the stage and the recording studio with such legends as Miles Davis, Thelonious Monk, John Coltrane, Duke Ellington, Dizzy Gillespie, and Sonny Rollins.

Recording the first ever "unaccompanied saxophone solo, 'Picasso,'" Hawkins managed to remain current by listening to all styles although intriguingly he noted that he preferred live jazz concerts and bought very few albums in his genre, instead favoring the passion of opera and classical compositions by Bach.

In this extraordinary DVD that offers viewers a chance to see Hawkins perform in London, Paris and Brussels in the early to mid sixties (just a few short years before his death), we're treated to some previously unreleased and remarkably rare footage over the course of its approximately one hundred and thirty-six minute running time.

Cherishing the intricacies of the music and the way that Hawkins gave unprecedented solo opportunities to his talented bandmates that change over the course of the included concerts-- the disc introduces each individual segment by announcing the date and location as well as the full line-up of musicians and name and composer of each track played.

Jumping around in chronology, we begin in London's Town Hall in 1964 that features some beautiful slower pieces including "September Song" that shows Hawkins' strength as a sax man until the swinging "Centerpiece" keeps us moving through the old jazz classic "Caravan."

Although some critics argue that Hawkins' best work ended in 1965, it's the 1966 concert at London's Royal Jazz Festival on the DVD that mostly caught my attention yet it was most likely due to the strength of its line-up including Benny Carter on alto-sax, Teddy Wilson on piano, Bob Cranshaw on bass, and the incomparable Louise Bellson on drums.

With Cranshaw's bass inviting us to snap along to "Blue Lou," before Wilson sets up Hawkins to shine in the bittersweet rendition of the Vernon Duke and Ira Gershwin number "I Can't Get Started," and Hawk's trademark "Body and Soul"-- intriguingly the knockout tune in this particular concert and indeed the entire DVD is in the "Disorder at the Border" final number which contains not only the best drumming I've ever seen in my life but makes the disc all the more extraordinary for finally offering this unreleased footage that once and for all shows the utmost importance of percussionists.

There seems to be an old joke among musicians that if you can't play an instrument, just become a drummer but the Italian virtuoso Louie Bellson (a shortened version of his overwhelmingly long Italian name that would fill an entire address label) embarrasses all the drummer prejudices with an incredible performance in the nearly fifteen minute number as he offers extended solos that do for the drums what Hendrix did for the guitar with "Star Spangled Banner." A remarkable feat of music-making and a tribute to the man who sadly passed away on Valentine's Day this year-- Bellson, much like Hawkins is truly one of a kind and will definitely be missed.

The DVD also contains more footage from other concerts in Paris (consisting of one brief rendition of "Moonglow" that sounds like we're just jumping into it shortly after it starts like walking into a film while the credits are rolling) and Belgium including an inferior version of "Disorder at the Border" minus Bellson that nonetheless is a peppy but alternate take featuring more piano (by Geroge Arvanitas) as well as additional tracks from the Coleman Hawkins-Roy Eldridge Sextet taken from the 1961 New York short film After Hours.

And while it's filled with some standout pieces, once Bellson rips into "Disorder" during the tenth track, it's all downhill from there. Still, a great find that's a rare treat for Hawkins fans and one that-- when I say "downhill" just means in comparison to "Disorder" but still remains far better than what sadly passes for jazz in the Kenny G era of today.

Coleman Hawkins In Europe is not only worth hunting down for jazz aficionados and those who worship the sax but one that should be shown to every drummer working today. Highly recommended and thankfully compatible with each and every region code DVD player Coleman Hawkins In Europe marks another fine entry into the historically important and downright entertaining Standing Oh!vation collection.

Music DVD Review: Count Basie & His Orchestra (Featuring Eddie "Lockjaw" Davis) -- Live in Berlin & Stockholm 1968

Now Available on DVD

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Legend has it that William Basie earned the handle of "Count" from an impressed radio announcer or emcee after realizing "there was already a King (of swing, Benny Goodman), a Duke (Ellington) and an Earl (Hines)."

And while the title of Count mostly brings up images of the number happy Sesame Street character who lived and breathed arithmetic to those in my generation-- Mr. Basie applied the same type of left brain logic with a splendid amount of right brain creativity-- in developing one of the most extraordinary American bands of the twentieth century.



Still going strong today after more than twenty years following Basie's death and led by bass trombonist Bill Hughes who appears in both concert venues featured on the DVD-- musician Count Basie and his incredible orchestra provided that rare "happy ending" case in the history of jazz as it managed to move with the times by embracing and conquering every form from Dixie to Swing to Big Band.

Moreover, Basie helped launch the careers of so many masters-- surrounding himself only with the best but always selflessly promoting the many talented soloists and musical arrangers throughout his extraordinary career (including Lester Young, Eddie "Lockjaw" Davis, Quincy Jones, Neal Hefti, Sam Nestico, Richard Boone, Bobby Plater, Eric Dixon, Marshall Royal, Freddie Green, Marlena Shaw, and many, many more.

While 1968 found America in a state of political and social turmoil during the Vietnam War era, leaders and public figures assassinated, the Black Panther party gaining momentum, and women starting to fight for their own sexual revolution-- it's hard to imagine Basie's jazz music as a companion to the year that seems to come complete with its own trippy rock soundtrack. Yet, Basie still remained popular-- essentially leading his orchestra for roughly fifty years during his lifetime.

With a sound that "was characterized by a light swinging rhythm section that he led from the piano" and focused on "generous soloing" and "lively ensemble work," so that it was a complete team effort-- while he'll always be known as the man with the delicate touch on the keyboard, perhaps the best assessment of his magic was in the argument one writer proclaimed that "his instrument was his band."

And in 1968, he was still going strong despite the turmoil back home as the child who grew up dreaming "of a traveling life, inspired by the carnivals which came to town," and his frequent escape to the silent movies (where one day--playing by ear-- he filled in for the absent pianist and discovered the art of improvisation), fulfilled his desire for adventure by taking Europe by storm. And directly in the eye of the Basie tornado of swing in Europe, in this newly released Impro-Jazz all region compatible roughly seventy minute DVD, viewers can sit spellbound as it charts vintage performances he gave in Berlin, Germany and Stockholm, Sweden.

A terrific find for jazz lovers-- surprisingly, although the footage seems a bit grainy with a distant hiss sound when the DVD begins, soon Basie launches us fully into the sounds of his enormous orchestra in two concerts that could also serve as a wonderful piece of background music for an intimate dinner party or '60s themed evening in.

The concert footage features rows and rows of musicians and in the selection of tracks managing to move forwards and backwards in time to play his first big hit "One O'Clock Jump," (in the closing of the Berlin concert) along with some tracks that feel far more contemporary such as Eric Dixon's incredible "Blues For Ilean" which sounds as though it wouldn't have been out of place in a Henry Mancini score or as a new theme song for TV's Get Smart.

"California Soul" singer Marlena Shaw--who was the first female artist ever signed to the famous Blue Note Jazz label-- appears for a few great renditions on the DVD. In her four year career singing with Count Basie's orchestra following her word-of-mouth breakthrough "wowing audiences in the Catskills, Playboy clubs and various other East Coast venues," and the phenomenally successful recording of her song "Mercy, Mercy, Mercy" which impressed the Count-- we get a great sense of her dynamic range on this riveting DVD.

For, just like Basie who made the orchestra his instrument, Shaw manages to move around the register in varying deliveries to become that rare singer who both seems like both a soloist and an integral one-of-a-kind instrument in her own right. While it's often easy for a singer to either overpower a band or find their own voice overpowered by a few instruments, let alone the massively intricate small town sized one run by Basie-- her standout track on this DVD is when she appears to perform"Bill Bailey" before she tops herself again in the achy and soulful "Muddy Water Blues."

Featuring some incredible saxophone solos and outstanding numbers like "Cherokee," the standard jazz classic "A Night in Tunisia," the beautifully wistful sounds of "Lonely Street" that make it seem as though it were ideal for a lovelorn Woody Allen movie, soon the thirteen track performance in Berlin moves us right into Stockholm. Once in Sweden and despite some mic difficulties at the start--the camera work appears to be much more creative, really focusing on the specific performers themselves.

Although a majority of the tracks in the very brief Stockholm section are repeats (although I'm sure nobody would complain at the chance of hearing an even better rendition of "All Of Me," and the awesome "Blues For Ilean" and "Cherokee" again), the first track is one of the best on the DVD as we hear Neal Hefti's "Splanky" which is so inviting, we even see members of the band unable to stop tapping their feet or bobbing their head as though they were audience members listening for the first time.

A solid, unselfish and highly entertaining group that seems to be the epitome of teamwork but still managing to give every incredible member a chance to shine in the spotlight-- while Basie fans may just be interested in picking it up simply for the Count himself-- seeing the entire orchestra in action makes you realize that in music, what you hear is only half the story.

Likewise, being given a chance to travel back in time to witness these vital performances makes one appreciate the songs and the man you thought you knew on a whole other level-- since there would be no orchestra without Count Basie and without the orchestra there would be no Count Basie.

DVD Track List

Berlin, Germany, November 9, 1968

1) All Of Me
2) Hittin' Twelve
3) Blues For Ilean
4) Bill Bailey
5) On A Clear Day
6) Cherokee
7) Good Time Blues
8) A Night In Tunisia
9) Muddy Water Blues
10) Whirly-Bird
11) Lonely Street
12) The Magic Flea
13) One O'Clock Jump


Stockholm, Sweden, November 12, 1968

14) Splanky
15) All Of Me
16) Hittin' Twelve
17) Blues For Ilean
18) Cherokee

Concert DVD Review: Nickelback -- Live at Sturgis 2006

In one of their many poignant rock ballads about the complexities of romantic relationships and what happens when love turns from a "paperback novel" into "Hollywood horror," Nickelback frontman Chad Kroeger vocalizes, "these five words in my head scream "are we having fun yet?" And when it comes to seeing Nickelback live and in concert, he and his three other band-mates not only want to make sure everyone is "having fun," but shortly after their 2006 "Rockin' The Rally" show in Sturgis, South Dakota begins, " he yells out a question to the sold-out, adoring and rabid fanbase of 35,000 screaming participants by asking them if they're "ready to have a good f***in' time tonight?!"

However, since this Sturgis show was being filmed for the band's first live DVD release in six years for an exclusive patronage of Walmart shoppers, Chad's language is cleaned up with the obligatory over-dubs of silent blanks to camoflauge his love of the f-bomb not to mention the many, many young women who inexplicably felt the need to party like it's Woodstock in 1969 by flashing their breasts which are also blocked from sight in the twelve song DVD concert.

So while it's not an authentic Nickelback experience the likes of which my enthusiast brother has shared stories of with me for months since seeing them live, it's the next best thing to see the guys in all of their guitar metal and pyrotechnic glory rocking it hard and fast for a select 35,000 member crowd lucky enough to score tickets out of the 500,000 bikers who rev into the otherwise "sleepy town of Sturgis" for one week in August every single year for "Rockin' the Rally" and Sturgis Bike Week events.

With a crowd filled with enough leather to send a PETA spokesperson into a nervous breakdown and enough piercings and tattoos to make any suburban mother hit still pause and warn their daughter that she's never supposed to bring one of those bad boys home for dinner, the band rips into some of their greatest hits including their first big radio friendly smash "How You Remind Me" that played nonstop during the year of 2001 as well as other favorites including "Photograph," "Someday," and "Savin' Me," all of which get the audience singing along.

Alternating between their power ballads and fast-living and loving, they journey into their darker territory with tunes like "Never Again," which-- while performed well-- manages to hit a sour note by following up Chad Kroeger's compliment to the beautiful female breasts being flashed his direction with its segue into a song about horrific physical abuse.

Filmed with fifteen high definition cameras including one poor cameraman literally hanging out of a helicopter to get the shots he wanted as he flies above the concert-- the picture and sound quality is second to none, giving DVD buyers the opportunity to watch it with four different sound options including DTS, Dolby 5.1 Digital Surround Sound, Stero, and SRS Circle Surround. In fact, it was such an impressive transfer that seemed like so much painstaking technical work had been involved in its creation that I was only surprised to discover that it wasn't released in the Blu-ray option as well to guarantee the highest definition in picture quality.

The DVD also features a music video for their newer hit "Rockstar," a twelve page gorgeous oversized booklet of photos and information, a roughly seventeen minute documentary that takes you behind-the-scenes as the guys discuss life rocking audiences a la Groundhog Day with the same circus over and over again until a" switch flips" and they go into "muscle memory" to give an energetic show (also helped by B-12 shots), along with a Sturgis 101 Vignette, and Photo Gallery.

While the length of the show transferred to DVD is disapointing as it only boasts twelve songs especially considering it's the first live DVD release since 2002 and die-hard purists will be disappointed by the censorship of Kroeger and the female flashers, it's a great celebration of their power as a performance band to fire-up that many people within seconds as well as a testament of their musical diversity when you realize the intracacies of the lyrics of some of the song where the drums, bass, and dueling guitars threaten to overpower the words.

Available exclusively at Walmart although there are some DVDs also popping up from sellers via Amazon, Nickelback Live at Sturgis 2006 makes a nice companion disc to ensure their fans are "having fun yet" alongside their November 18 CD release of their newest album Dark Horse, which the guys collaborated on with the legendary Robert John "Mutt" Lange.