Bryan Adams-Live at Slane Castle (2000)
Main Menu Introduction
Menu Animation & Audio
Featurette-Day Of Show Rehearsal
Featurette-Going On Stage Video
Featurette-Interview With BA And Band
Music Video-Have You Ever Really Loved A Woman
Music Video-Into The Fire
Music Video-Before The Night
Featurette-360° Static View (5)
|Year Of Production||2000|
|RSDL / Flipper||RSDL (27:29)||Cast & Crew|
|Region Coding||1,2,3,4,5,6||Directed By||Hamish Hamilton|
Universal Pictures Home Video
|Pan & Scan/Full Frame||None||
English Dolby Digital 5.1 (448Kb/s)
English Dolby Digital 2.0 (448Kb/s)
|Widescreen Aspect Ratio||1.78:1|
|Video Format||576i (PAL)|
|Original Aspect Ratio||1.78:1||Miscellaneous|
|Annoying Product Placement||No|
|Action In or After Credits||No|
With that in mind, this review is somewhat of a return to my earliest music roots, a nostalgic journey as it were. Imagine then my shock when I realised that Bryan Adams now plays with a three piece - Bryan himself is on the bass, with long-time guitarist Keith Scott doing all the melodic guitar work. The effect this has on his music is extremely noticeable, leading to a sound that is far more raw and open than ever before, but equally is lacking severely in the hooks that used to be so prevalent, and not well-suited to big shows in front of big crowds. And, as crowds go, they do not come much larger than the one present for this concert.
Playing in front of over 60,000 screaming Irish fans at Slane Castle, Adams admits during the interviews that even he did not think that a three piece could carry off a gig of that size. As such, a number of guest artists are used throughout the evening, from Spice Girls alumni Mel C (during her "large" phase) helping out on their duet When You're Gone, to Nick Bracegirdle of Chicane on Don't Give Up. The most interesting aspect of the entire concert, however, is that the average age of the crowd seems to indicate that, once again, Bryan Adams is "cool".
|1. Back To You|
2. 18 Till I Die
3. Can't Stop This Thing We Started
4. Summer Of '69
5. It's Only Love
6. (Everything I Do) I Do It For You
7. Cuts Like A Knife
8. When You're Gone
9. She's Only Happy When She's Dancing
10. I'm Ready
12. Blues Jam
13. a) If Ya Wanna Be Bad
14. b) Let's Make A Night To Remember
15. Only Thing That Looks Good On You
16. Don't Give Up
17. Cloud Number 9
18. Run To You
19. Best Of Me
20. Please Forgive Me
As with all the other Universal Music discs I have looked at recently, this concert is 16x9 enhanced and presented in an aspect ratio of 1.78:1.
The sharpness of this transfer is, quite frankly, not very good. Most images are quite soft, and the constant presence of high levels of grain certainly does nothing to help the problem. These start from 0:15 to 0:17, and recur so often throughout that to list them all here would lead to a very long review indeed. A particularly bad example, in a disc filled to the brim with grain, comes at 23:13 to 23:18. When the grain clears up enough to enable something of a decent image to sneak through, the shadow detail is not too bad, but as the grain is usually exacerbated on darker scenes, this is a rare occurrence. It was impossible to tell if there was any low-level noise present on this disc, as the background was always alive with grain.
Colours were quite decently represented throughout the transfer, although the choice to dress the entire band in white leads to a few instances of severe blooming during the bonus tracks. Aside from those instances, there are no real issues with the colour.
There are, interestingly enough, very few compression artefacts present in this transfer, being limited mostly to a few instances of pixelization that occur in the background on the grain (and given the amount of grain present, this is quite impressive). Most likely due to the extremely soft nature of the image, there are no instances of aliasing during the transfer. Likewise, there are no instance of wobble. This transfer is entirely free from film artefacts.
There are no subtitles present on this disc, so singing along is restricted to the dedicated fan.
This is an RSDL formatted disc with the layer change occurring at 24:29, between Chapters 7 and 8. As with any music DVD there is no good place to hide a layer change, but this is about as innocuously positioned as is possible in the circumstances.
There are two audio tracks present on this disc, being a Dolby Digital 5.1 surround mix at a bitrate of 448 Kbps, and a Dolby Digital 2.0 stereo mix at an extremely high (for a two channel track) bitrate of 448 Kbps.
The audio mix is decent without being spectacular. There is really no action from the surrounds save from crowd noise, and the imaging of the instruments is quite limited due to there only being three band members. There is almost no difference between the front channels for the stereo and surround tracks, and I certainly could not hear any benefit from the super high bitrate 2.0 track. One annoying aspect of the imaging is that the person responsible for the mixing (attributed to the almost legendary Bob Claremountain) decided to get creative and place the vocals in the soundstage to correspond with the position of Bryan Adams' microphone on the actual stage (there were a number of microphones set up across the front of the stage). This leads to the vocals only emanating from a single channel on a number of occasions, such as between 11:30 and 12:30, and can become quite annoying and distracting. In regard to the mixing levels, these are generally good, with vocals only occasionally becoming overpowered by the music.
There are no issues with audio sync during this transfer, although Bryan Adams' singing style consisting of constant head bobbing can be a little disconcerting to watch in close-up for long periods.
The surround channels really only come to life during crowd applause and involvement sequences, but this quite obviously helps to place the viewer in the middle of the concert and that is never a bad thing. Just do not look to this transfer to take you to new levels of multi-channel audio.
The subwoofer is scarcely used during this presentation, barely raising above a murmur.
|Surround Channel Use|
NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.
The video quality is quite disappointing, being extremely grainy and not particularly sharp.
The audio quality is better than the video, although the tendency to mix the vocals to match the location of Bryan Adams on the stage quickly becomes annoying.
The extras are good without being spectacular. They present some interesting new information, but also quite often seem to be more padding than substance.
|DVD||Pioneer DV-535, using Component output|
|Display||Loewe Xelos 5381ZW. Calibrated with Video Essentials. This display device is 16x9 capable.|
|Audio Decoder||Built in to amplifier/receiver. Calibrated with Video Essentials.|
|Amplification||Onkyo TX-DS787, THX Select|
|Speakers||All matching Vifa Drivers: centre 2x6.5" + 1" tweeter (d'appolito); fronts and rears 6.5" + 1" tweeter; centre rear 5" + 1" tweeter; sub 10" (150WRMS)|