Music Blu-ray Review: It Might Get Loud (2009)

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When the sight of Elvis Presley's gyrating hips made parents in the 1950s fear that rock 'n roll was the gateway to further rebellion, they missed the point entirely. Rock 'n roll didn't cause rebellion; rock 'n roll was the rebellion. And when the art-form is epitomized by a series of scintillating strums on an electric guitar, one realizes that rock 'n roll will be the most seductive rebellion of all.

In Oscar winning filmmaker Davis Guggenheim's It Might Get Loud, he focuses on three particular outsiders from different generations and countries that rebelled against the status quo simply by picking up a guitar.

Forgoing the power point presentations of his previous feature length documentary, An Inconvenient Truth, Guggenheim and his extremely talented editor Greg Finton embarked on a rock doc rebellion of their own. Noticeably, It Might Get Loud fails to conform to the genre's two most tried and true structures of putting either a standard concert on film or by delivering a 98 minute episode of VH1 Behind the Music... and it's all the better for it.

The result is a rare blend of performance, autobiography, interview, and confessional filmmaking as Guggenheim invites us along to dig past the modern day success of Jimmy Page, The Edge and Jack White, both separately and together as they participate in a historical jam and gab session in 2008. And along with mixing the aforementioned techniques together, the filmmaker establishes a great sense of historical time and place as Guggenheim crafts a powerfully toe-tapping opus that you could almost dub "Portrait of a Guitarist as a Young Man and Legendary Axeman" multiplied by three.

While granted, the amount of footage of the three men from England, Ireland and America actually talking and rocking out is considerably less than the film's trailer would have you believe nor is it as "loud" as the misnomer title claims, nonetheless it's a deeply satisfying and cinematically rhythmic celebration of guitar geekdom and musical passion.

For, despite the fact that they'll never forget their first instruments or the particular songs that turned them on to the sound they love, when it comes to the trio's success and work ethic, to quote Page's band Led Zeppelin “The Song Remains the Same.”

Namely, no matter how many songs they've laid down in recording studios, on pieces of paper, or during sound checks, Page, Edge, and White's rebellious revolution will "Ramble On" in pursuit of the next great riff. In the words of the mostly quiet Edge-- since the guitar is the musician's voice, he works extra hard to make sure that he's able to duplicate the exact sound he can hear in his head to express it to the audience the same way that singer Bono can do vocally.

Taking the more technical based search of Edge to a visceral level of playing the guitar until his fingers literally bleed, Jack White uses his knowledge of several instruments as well as his position as front-man to vocally, lyrically, and musically channel the frustrations raging through him into infectious hooks and enviable chord progressions.

It's no accident that every one of White's songs sound like a rebellion, for it's the music that produced "Seven Nation Army" after all. Furthermore, as I recently discovered when the hot water turned freezing cold in the shower, White's work ensures you're able to survive getting the shampoo out by shouting along to "Hotel Yorba" until you make it to safety.

It's this rebellious nature and constant battle within that defines the individuals who began their lives as: a session guitarist and art school graduate fed up with making Muzak (Page), an Irish student who was lucky just to survive a walk to school without blowing up (Edge), and the youngest of ten children in one of the only white families in Detroit's “Mexican Town” who worked as an upholsterer apprentice (White).

Fascinating, inspiring and intimate, we begin the film scratching our heads at The Edge's bizarre version of yoga that replaces tranquil Zen with his BlackBerry before marveling at his technological knowledge. Quickly we discover, his true Zen is the music as he capture sounds and transfers them to buttons, pedals, boxes and more in order to enhance the texture of every single note he plays.

As he shares some of the painful stories of growing up during the endless bombings in Dublin before punk music caught his ear, the fact that Edge wrote lyrics to "Sunday Bloody Sunday" suddenly clicks in your mind as you see in the man, the boy who crafts anthems he wished had been blaring in his country during the '70s.

Likewise, it's awe-inspiring to watch the creativity pour out of the prolific White who writes a song on camera before handing it to the filmmaker off-camera, and likewise connects bottles and wires to a board with an amp in his fight to avoid easy over-processed studio noise by replacing it with pure soul.

However, classic guitar junkies will most likely be transfixed by Jimmy Page, given his amazing body of work including years spent with the legendary Led Zeppelin. And it's hard not to get goosebumps as we tour one of the band's old recording sites in the form of a gorgeous, vacant estate in the country with wide open spaces and excellent acoustics indoors given the high ceilings and wood for echoes.

Yet, as thrilling as it is to see classic footage of the band in their critically misunderstood heyday when music critics summed up their fourth album with a scathing one paragraph review, it was even more exciting to discover just how much of a little boy Page still is at heart. Eagerly sharing the secrets of "Stairway to Heaven" and "Kashmir" while wanting to learn "Seven Nation Army" at the same time, Page never fails to have a twinkle in his eye from start to finish.

While Edge is naturally reserved to the point of stoicism at times-- cracking a rare but charming smile here or there-- and White's bravado feels both staged yet also earnest, it's Page who seems the most at ease. And as the guys reveal their various influences and play records both to us and to the camera, Page still can't help himself from engaging in an impromptu air-guitar session in his rec room as he rocks out to Link Wray's killer track "Rumble."

Since Guggenheim's effort runs just under one hundred minutes, you'll want to move directly to the deleted scenes afterward where you may yourself wondering, as I did, why every single one of the cut moments weren't used in the movie as there's some truly amazing footage hidden in the special features.

Because it is Sony after all, the excellence in both picture and sound quality is to be expected, complete with Sony's visual calibration Easter Egg, which ensures you have the best picture after you press 7669 on the main menu with your remote.

Rounding out the disc with filmmaker commentary, and press conference footage, Blu-ray owners with BD-Live capabilities can also explore pop-up information during the film. And in a second exclusive BD feature, you're able to create and share your own play-list, which may definitely inspire you to whip out the air-guitar for a rock rebellion fueled by a "Whole Lotta [Guitar] Love."

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.

New on DVD & Blu-ray for the Week of 8/16/09

Jen's Video Picks of the Week

For the Art-House Collectors



(Note: All of the Above I Have Yet to See but They're of Particular Interest)

For the Kids



(Note: I've only caught Donald & last season's iCarly but felt LeapFrog was appropriate for Back-to-School)

For TV Lovers: Guilty Pleasures Edition

(Notes: Devoured the GG set which is gorgeous and loaded with extras-- nearly Blu-ray quality but have yet to review. DSM was a series I truly enjoyed yet missed the final episodes of following ABC's cancellation)

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Adventures of TinTin



The Beast: Season One



Big Windup: Part 1 (Episodes 1-13)



Bleach, Vol. 19



Bridge to Nowhere



Code Geass: Lelouch of the Rebellion R2, Part 1



Dexter: Season 3



Diary of a Nobody



Dirty Sexy Money:
The Complete Second & Final Season



Donald in Mathmagic Land



Eli Stone: Season 2



Everybody Hates Chris: The Final Season



Final Destination: Trilogy



Five Deadly Venoms (Dragon Dynasty Collection)



The Garden



Ghost Adventures: Season One



Go [Blu-ray]



The Golden Boys



Gossip Girl: Season 2



Greek: Chapter 3



Gunslinger Girl 2: Il Teatrino--The Complete Series



Hack//G.U. Trilogy



Hannah Montana: The Movie



The Helen West Casebook



How to Lose a Guy in 10 Days: Deluxe Edition



Husbands



iCarly: Season 2, Volume 1



Icons of SciFi: Toho Collection



Inglorious Bastards 2: Hell Heroes



Julia



Kagemusha (Criterion Collection Blu-ray)



The Last House on the Left



The Last Starfighter



LeapFrog: Let’s Go to School



Man vs Wild: Season Three



Minnesota Vikings: Five Greatest Games



Pahappahooey Island: What About Me!?



Pete's Dragon: High Flying Edition



Playtime (Criterion Collection Blu-ray)



Ride a Wild Pony



Simon and Simon: Season 3



The Simpsons: Season 12



The Smurfs: Smurfy Tales



Sons of Anarchy: Season 1



The Strangeness



Surveillance



Swan Princess



These Old Broads



Total Drama Island: The Complete Series



True Tears



Tyson



UFC 98: Evans vs. Machida



Visions of Britain and Ireland [Blu-ray]



Visions of Italy [Blu-ray]



The Wedding Bros.



Wyvern

Music Documentary DVD Review: 'Tis Autumn: The Search for Jackie Paris (2005)

The Search Arrives on DVD
3/31/09

Download The Music of Jackie Paris
On iTunes

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Long before the advent of Google searches, Wikipedia, MySpace, Facebook, Twitter, or YouTube-- when someone wanted to learn more about a subject, they had to venture to enormous buildings like libraries and stores which housed big, heavy, dust collecting, paper filled items called books.

And, of course, the mother of all texts--reliability-wise-- was a reference book or an encyclopedia as surely, the authors would have to fact check and one would assume that unlike Wikipedia (which can be updated by anyone), everything would need to be verified... or so you would think.

In 1991 Oscar nominated and Sundance award-winning filmmaker and jazz musician Raymond De Felitta found himself in awe of an unfamiliar voice crooning on a local radio station playing Charles Mingus' Paris in Blue. Simply put, De Felitta was hooked.

Mesmerized by what he’d heard, De Felitta set about tracking down every recording he could of the jazz singer Jackie Paris that resulted in obscure discoveries such as Japanese imports of classic albums including one misfiled under the name of Oscar Peterson. In addition to the the musical side, he also yearned to uncover more about the musician with pitch-perfect phrasing.

The biographical trail of Jackie Paris moved from hot to cool in the 1960s as the British Invasion made jazz a figurative musical dinosaur. And following that all information regarding Paris's life journeyed from cool to frozen in the 1970s when decades later, De Felitta read in a well-respected jazz-centric biographical encyclopedia that stated that Jackie Paris had died in 1977, while only in his early 50s.

Upon this newly acquired information, the filmmaker was content with what De Felitta referred to as his collection of “the handful of CDs and vinyl that comprised the meager but glorious output of Paris's career,” which included his signature rendition of “Skylark”-- his most famous and swoony work. And moreover, essentially to De Felitta the story of Jackie Paris seemed to end there in the all-too familiar jazz ending of death with more of the man's soul being captured on vinyl than in the history books.

However, his fascination with the Italian-American, New Jersey native who grew up entertaining, tap dancing and singing with a veritable who’s who of jazz legends (including Charlie Parker with whom sadly he never recorded any material despite a six month tour) never waned. Likewise, De Felitta became the latest in a long line of fans.



And even later he ascertained that Paris’s allegiance of admirers also had included the loftiest of greats from the era: Peggy Lee, who had arranged an elaborate audition for Jackie Paris with a major label; Lenny Bruce who helped him perfect his stage presence and humor as his opening act in one of the documentary’s most fascinating discoveries as a letter penned by Bruce is read aloud; musician Billy Vera who dubbed Paris “Chet Baker times ten”; later referred to as “the kissy singer” by Sarah Vaughan; as well as being called the personal favorite singer of Ms. Ella Fitzgerald.

Yet while his envious musical resume and near jazz-version of the six degrees of Kevin Bacon which linked him in roughly three degrees or less with every major recording artist in his jazz heyday was epic, De Felitta received the greatest shock when thirteen years following the first time he’d heard Paris’s voice over the speakers of his car, he learned that the “dead” singer was anything but.

When De Felitta happened upon a brief New Yorker magazine notice featuring club dates for the local Jazz Standard in 2004 with the name of Jackie Paris as the main attraction, he was stunned. “Jackie Paris? The one who died in 1977? How is he singing? Via a Ouija board?” De Felitta wondered but taking the chance, he decided to go.

Once he landed inside The Standard, he realized that “Paris was alive -- not exactly well, but still handsome and charismatic. And he was in fine form, singing a set that included three of my favorites...”although, while Jackie Paris politely but crisply dismissed him --which led De Felitta to the realization that "not all was peaceful in Parisland,” when he ventured back again the following evening, Paris started to warm up. Much to his amazement, Jackie Paris spoke to him in earnest between sets wherein he confessed that “he was terminally ill” and that therefore, this was probably his final gig.

In response, De Felitta went into overdrive blending together both the roles of fan and filmmaker and wanting to record it as a legacy “to bring the world's attention [to] the singer whose work I'd found so compellingly beautiful.” To this end, “working with borrowed video equipment,” he spent seven weeks with Paris before the man passed away on June 14 of the same year.

However, what started as a “tribute film,” filled with reminisces, interviews, and other accounts from both Paris himself along with others with whom he’s played, lived and loved whose phone numbers and addresses the musician graciously offered the filmmaker soon became a bit more of a mystery as De Felitta changed the approach from an introduction to one that took a more analytical stance.

Dedicating more energy to his new thesis of why Jackie Paris had become as the film's tag-line described “the greatest singer you've never heard,” De Felitta went to unprecedented lengths to address just why the man was always on the brink of stardom but repeatedly fell into obscurity.



Although he never really arrives at a set conclusion, several possible reasons are given in this fascinating piece of musical documentary portraiture which serves up the usual suspects as well as a decidedly different side to the man we’re consistently faced with throughout. Admirably he takes Jackie at his word and never probed him directly even though he had evidence to the contrary about some issues with which the man was less than forthcoming.

Yet, meanwhile De Felitta introduces us to two very different women who were both at one point Mrs. Jackie Paris, along with relatives, a denied son, etc. as we’re faced with tales of ego, temper, deep-rooted family dysfunction (in the form of a devastating account of his brother and abusive father), along with questions of whether refusing mafia support of his career or slugging the wrong club owner who was most likely "connected" always kept him from the top.

Overall, this routinely makes for a mesmerizing film that evolves much like an improvised jazz riff throughout its changes in tempo where some are successful with only a few rough patches in editing as we remain a bit foggy about some of the facts like we’d had a sax blaring too close to our eardrum for a bit.

However, the one issue that remains a subtext that's only vaguely questioned by De Felitta in his voice over narration at the end when quoting Orson Welles is just how much we need to know about artists to dig their work. And, likewise, whether or not the “search” for Jackie Paris was really a mystery in the end if he was happily living under the radar, definitely bitter about wasted potential, missed opportunities, and lack of money but essentially okay in his New York life.



This is especially the case since—while I’m incredibly grateful for De Felitta’s passion, compassion, and integrity in introducing a wonderful overlooked talent to a new generation—ultimately, I feel nearly as confused as I was near the beginning and still have just as many questions about Paris as I had from the middle of the picture to when the final credits began to roll.

This being said, the intent and style shown by De Felitta is warm and inviting. And it's what carries us through the work, despite the mysterious head-scratching footage we’re sometimes shown with contradictory interviews and a few loose ends that seem like they were left abandoned on the floor of the cutting room such as the discussion of a “wife?” who died of cancer and then talk of a divorce enters in the same sentence and a few interviewees aren’t identified at all. Yet this is all easy to overlook as soon as Jackie Paris’s astounding voice fills the soundtrack and when you couple this with the exquisite care he took towards his subject, De Felitta’s ‘Tis Autumn is a great find for jazz fans and documentary lovers alike.

Nominated for the Grand Jury Prize at the Sundance Film Festival, De Felitta’s Search marks his strongest work since I first discovered his overlooked, Sundance Audience Award winning sleeper Two Family House which is not only a personal indie favorite—but much like this film—a highly personal work for the director and one in which his passion is so infectious that I selected it without hesitation for inclusion in a local film series I ran in our community.

And similarly--just like House had people nodding along to the music in their seats—‘Tis Autumn will definitely make you want to rush out and track down the music you can find by the musician… if, that is, there’s still any left in print here in the United States. So in other words, our “musical” Search for Jackie Paris continues.

DVD News: "President Barack Obama: The Man and His Journey" Releases Today

Order It Today:

Releasing on the historic day which finds President-Elect Barack Obama being given the oath of office during his Presidential Inauguration, this roughly ninety minute DVD includes exclusive Chicago election night footage of the man when he accepted the nomination up through an in-depth post-election exploration to reveal "what was truly at stake, and the monumental significance of this moment in our nation’s history."

Narrated by 4-time NAACP Image Award winning and Golden Globe nominated actor Blair Underwood, and featuring not only an original song called "Yes, We Can" by the multi-Grammy nominated artist Brian McNight, also boasts exclusive interviews with Martin Luther King III, George Lopez, Hill Harper, Roland Martin, Linda Johnson Rice, Congressman Jesse Jackson and other important figures in fields ranging from religion to politics to entertainment.

More Details:

Collector’s Edition includes:

* Limited Edition Presidential Trading Card.

* Digital Download of the New Brain McKnight song “Yes We Can!”

Special Bonus Features include:

* Extended Interviews with Producer’s Roundtable, Tom Joyner, George Lopez, David Mendell, Bernice King, and many more.

* A collection of 7 short films including "Housing," "Immigration," "College," "War," "Economy," ""Vote, and "Family."

* Music Video- “I Am An American” by the Bergevin Brothers.

Watch the Inaugural Address



More About Barack Obama
& Election 2008

Music DVD Review: Smashing Pumpkins -- If All Goes Wrong

2-Disc DVD



Click Here to Check Out the Official Video Postcards

Visit the Official Band Website

You know how in the NBA-- when the ball manages to get tossed off the court, every player on the floor seems to forget the fact that just off in the distance their diamond earrings, gold watches and sports cars await them in the locker room and parking garage and instead retreat to their elementary school selves by pointing at the nearest athlete wearing a different colored jersey? Like the perpetually mischievous kid who says "I didn't do it," even before an accusation can be made, the players try to distract the refs, coaches, and fans with confusion by passing blame even for a second to try and save face, stay in the game, and keep their hands on the ball.

Although on the surface, finely tuned athletes and alternative former goth/grunge singers couldn't appear to be more different-- in reality, they're more alike than one would think. After a band breaks up, some members go into retreat, silencing themselves or taking the fifth as far as all media outlets are concerned (until perhaps they decide they want to cash in with an exclusive interview or memoir) and others take the lowest road imaginable, lashing out, laying blame, spreading rumors, sharing dirty little secrets either vocally in interviews, subtly in lyrics, and (now in the world wide web) by airing their frustrations out on MySpace pages and blogs.



Billy Corgan, arguably one of the most talented and commanding performers of the alternative music movement that took the world by storm in the '90s has meandered back and forth between the two modes, choosing not to share the tales that led to the demise of his phenomenally successful band Smashing Pumpkins in the new documentary If All Goes Wrong. However, but at the same time, opting to-- not kiss and tell but-- rock and reveal by typing out some scathing indictments of former members-- namely guitarist and backing vocalist James Iha and bass guitarist and backing vocalist D'arcy Wretzky.

With many mixed messages involving drug abuse, egos, dwindling sales, the decline of alt-rock in general, enormous artistic pressure, complaints about talent and control (with some accusations that it was truly Corgan along with his incredible jazz inspired drummer Jimmy Chamberlin who were responsible for most of the music on any given Pumpkins album), it's impossible to know what really happened. While Corgan rebounded with a short-lived band called Zwan before going solo and then trying his hand at poetry, in April 2006 after Corgan took out full page advertisements in his hometown's two biggest newspapers The Chicago Tribune and The Chicago Sun-Times announcing his ambition to reform the Pumpkins, Jimmy Chamberlin signed back on as new members replacing Wretzky (who had been the first to quit years earlier) and Iha joined the group.



Featuring new bassist Ginger Reyes and guitarist Jeff Schroeder and also bringing in the talented keyboardist Lisa Harriton for some of the work, Smashing Pumpkins (version 2.0) took an interesting approach to both reintroduce audiences to the band and as a bizarre form of "rock boot camp," getting the newbies right into the trenches as "rock 'n roll soldiers" (as they were dubbed on the DVD). To this end, they opted to find their footing, rehearse, perform and create new material via two lengthy "artistic residencies" in both Asheville, North Carolina and also San Francisco, California.

On the first disc of the DVD set, in the roughly one hundred minute titular documentary which derived its name from one of the group's songs, we're quickly brought up to speed as we're reminded that the last four and a half hour long show performed by the former version of the band (which brought such groundbreaking albums as Mellon Collie and the Infinite Sadness and Siamese Dream to listeners) occurred back in December of 2000 in Corgan's hometown of Chicago after the group's "fourteen year journey" to rock glory.

Following a Parisian show in 2007, the band announced its vague intention to perform a few gigs in the states which sold out in minutes and later in an attempt to stay in the same place for awhile and develop a sense of comfort, Corgan decided the next step was doing a Pumpkins style artistic residency-- "art for art's sake"-- by playing several nights beginning on June 23, 2007 at Asheville, North Carolina's historic, bohemian, 942 seat capacity venue The Orange Peel before venturing onto San Francisco's legendary Fillmore Auditorium to complete the 19-night residency.

While Corgan remained as prolific as ever, writing a plethora of new material one day and then performing it with his band-mates either the same night or the next, they encountered a few speed bumps along the way as their new rock heavy attack mode of performance didn't sit as well with some fans and critics as they hoped. Instead of delivering full sets filled with the band's greatest hits, Corgan's play-lists, developed right before each show so even the rest of the band (despite four hour practices daily) didn't know exactly what they'd be tackling in each three hour event, seemed to sprinkle the classics sparingly throughout in a sea of alternate and extended versions of songs, b-sides, a thirty minute version of "Gossamer," new material, and other performances. The final result left some fans walking out in disgust, some whose expressions are so baffled you nearly expect there to be a cartoon styled cloud with a question mark next to their heads, and with numerous critical reviews which were less than kind to put it nicely.



While Corgan and The Who's Pete Townshend complain in director Jeff Gulick's documentary that some die hard fans don't want bands to change and Townshend levels a scathing indictment at critical snobbery, their grumpy attacks and "woe is me" frustration do seem to be a bit like self-created drama when one show is so ill-received that even Corgan himself calls it a "f***in' nightmare," likening the horrific Fillmore experience to "three hours of f***in' quiet misery," having the techies call the show by turning on the lights as if they were pronouncing a patient dead at the hospital.

An intriguing study of-- if not the Pumpkins (as ultimately it leaves you with more questions than answers and as Zia Records notes, "your breadth of Pumpkins expertise has to extend well beyond humming "1979" on the radio every so often to appreciate this...")-- than Corgan who mostly appears wearing a nightgown in a hotel room, writing material, complaining, and every so often breaking down that wall that he builds up between him and us so that we catch a fleeting glimpse of what he may really be like beneath the cynical remarks and poses.

Ultimately, after viewing If It All Goes Wrong, my feeling about the reinvention of Smashing Pumpkins is mixed as Corgan's incredible talent is on display as he second guesses his lines aptly revealing "if you try to make it wordy, it destroys the sort of meditative quality" of his artistic output which one interviewee describes as his incessant quest to try and "make flowers grow out of cracks in the pavement." Yet, it also seems like he should've perhaps moved onward to the formation of a new band altogether as he and Chamberlin have grown and evolved since the days of Mellon Collie.

This is especially apparent as one of the opening scenes of the documentary finds Corgan noting that going back into the Pumpkins is like re-upping for the army to encounter experiences and situations he doesn't want. Thus, I almost feel like the depressive and inner-demon plagued Corgan may have found a greater freedom in letting go of all of those pent up emotions (which come out throughout the doc as he throws his guitar in his room when reminded of Iha) and instead moved onto his next endeavor, leaving the Pumpkins where they should be in our minds, hearts, and with all those lyrics flooding through the bloodstream of Generation X.



Still, the DVD set which offers The Fillmore Residency concert featuring fifteen tracks that begin with a twenty minute acoustic style set before launching into a major rock event (including "Starla" and "Gossamer") along with bonus material, interviews, performances, and featurettes is state-of-the-art and majestically packaged as nearly a work of modern art in its own right. Captured in 5.1 Digital DTS Surround Sound and high definition footage often utilizing split-screens showing every angle from the twelve cameras which recorded the historic event, offering seven all new tracks that were previously unreleased, it's worth a look for devotees of the band who idolized Pumpkins, still have that old Zero t-shirt in their closet, as well as bought and loved their new disc Zeitgeist.

You just need to be willing to let the "glory days" stay in the past, don't expect any additional insight about Iha or Wretzky, brush up on all things Pumpkins as this is far from undergraduate level study of the band and extensive prior knowledge is required, and be prepared to overlook some Corgan finger-pointing, pity parties, and a few too many shots of him looking like one of those airport Hare Krishnas in his nightgown.

SMASHING PUMPKINS DISC 1:

*If All Goes Wrong documentary

*"Voices Of The Ghost Children" featurette

*Interview with The Who guitarist, Pete Townshend

SMASHING PUMPKINS DISC 2:

*The Fillmore Residency

1. The Rose March*

2. Peace + Love*

3. 99 Floors*

4. Superchrist

5. Lucky 13

6. Starla

7. Death From Above

8. The Crying Tree Of Mercury

9. Winterlong

10. Heavy Metal Machine

11. Untitled

12. No Surrender*

13. Gossamer*

14. Zeitgeist


Bonus Tracks: Live From The Floor Of The Fillmore

*"99 Floors"

*”Peace + Love”

*"No Surrender"

*”Mama”*

*”Promise Me”*

*previously unreleased