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Category | Music | None | |
Rating | |||
Year Released | 2000 | ||
Running Time | 54:13 minutes | ||
RSDL/Flipper | No/No |
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Start Up | Menu | ||
Region | 1,2,3,4,5,6 | Director | |
Distributor |
Warner Vision |
Starring | George Jones
Willie Nelson Waylon Jennings Billie Joe Spears Conway Twitty Don Williams Roger Miller Marty Robbins Patsy Cline Dolly Parton Charley Pride Merle Haggard |
Case | Brackley | ||
RPI | $39.95 | Music | Assorted |
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Pan & Scan/Full Frame | Full Frame | MPEG | None |
Widescreen Aspect Ratio | No | Dolby Digital | 2.0 |
16x9 Enhancement | No | Soundtrack Languages | English (Dolby Digital 2.0, 192 Kb/s) |
Theatrical Aspect Ratio | Full Frame |
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Macrovision | ? | Smoking | No |
Subtitles | None | Annoying Product Placement | No |
Action In or After Credits | No |
In general, country music has been the butt of many a musical joke over the years (one of the best in film is in The Blues Brothers), and to be honest the reason can often be found amongst the music of the legends on display here. The resurrection of country music in the 1980s and 1990s was the result of the new generation of musicians rejecting the style of these legends and forging a new style. The difference between new country music and traditional country music is plain to see when you view this collection, which is not to say that there is nothing to enjoy here, but rather to say that this is a great demonstration of a genre that has very much changed over the past twenty years. The songs on offer here are:
The music comprises a mix of live concert performances (George Jones, Willie Nelson, Waylon Jennings) and television appearances (the rest). All barring the effort from the immortal Patsy Cline are in colour. As seems to be the norm with these Massive releases, you can ignore the dating of 2000: this is a collection that dates back much further indeed.
The packaging refers to the program as Country Legends, but the actual title credits refer to it as Legends of Country Music. A minor difference perhaps, but you would have thought a degree of consistency in the naming would be possible. You would also have expected that the spine lettering could be the right way round, in accordance with generally accepted conventions (spines should read from top to bottom, not bottom to top as here).
The transfer is presented in a Full Frame ratio and is not 16x9 enhanced.
Obviously with the "clips" being extracted from various sources and eras, there is little consistency in the quality of the presentation here. In general, we have a transfer that suffers somewhat from a lack of any really decent definition and detail. What is on offer would be best described as average or slightly better. Some of the extracts are better than others, but the live efforts tend to be the better ones, for the simple reason that they would appear to be the more recent efforts. A few extracts display a rather diffuse image that really causes problems with the eyes when you have to resort to squinting in order to get your focus right. There is a distinct lack of real detail here, and most especially any real shadow detail. This is not an especially clear transfer, which is then compounded in a few instances by a little bit more grain than normal in some source material. There did appear to be some problems with low level noise in a few of the extracts, but this again may of course be a reflection of the inadequacies of the source material rather than the result of any mastering issues.
Aside from the black and white Patsy Cline clip, which actually looks pretty decent, the program is made up of colour extracts. In view of the rather varied sources of these, there is obviously a degree of variability in the colour palette offered. The one consistent point though is the lack of solidity of the colours throughout: there is no great tonal depth at all and the result looks marginally undersaturated throughout. This is obviously not a vibrant transfer at all. There is some problems with flare in some of the live concert extracts, but nothing approaching colour bleed or oversaturation anywhere in the transfer.
There are no apparent MPEG artefacts in the transfer. There were no real problems with film-to-video artefacts in the transfer. Film artefacts were not much of a problem here, other than a few black marks in the Patsy Cline clip. The main issue here would be the general inherent flaws in the source materials used.
There is only the one audio track on this DVD, being an English Dolby Digital 2.0 soundtrack.
Dialogue and vocals were reasonably clear and reasonably easy to understand and there did not appear to be any problems with audio sync in the transfer.
Given the audio level variability in the previous two Massive DVDs through my player, I was expecting the worst here, given the wide range in the age of the source material. I was pleasantly surprised, as there appeared to be no real inconsistency in the audio levels at all. That is about the best thing I can say about the audio. Otherwise, it is a rather unremarkable soundtrack, with nothing much in the way of dynamics to be concerned about. It all comes across in a rather flat manner, but it is free from any imperfections as far as I could hear. Nothing here at all to disturb the slumber of the surround channels nor the bass channels. Overall, an adequately bland soundtrack and nothing more.
A decent video transfer.
An average audio transfer.
No extras.
Video | |
Audio | |
Extras | |
Plot | |
Overall |
© Ian Morris (have a
laugh, check out the bio)
25th August 2000
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DVD | Pioneer DV-515; S-video output |
Display | Sony Trinitron Wega 84cm. Calibrated with the NTSC DVD version of Video Essentials. |
Audio Decoder | Built in |
Amplification | Yamaha RXV-795. Calibrated with the NTSC DVD version of Video Essentials. |
Speakers | Energy Speakers: centre EXLC; left and right C-2; rears EXLR; and subwoofer ES-12XL |