7.6 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
From the Pavillon de Paris. The audio formed the basis of the 1980 live album Paris but the film was never released. Video transferred and restored from the original 16mm film. Audio remixed in stereo and 5.1 surround by Peter Henderson and Russell Pope, Supertramp’s original sound engineer. Tracklist: (1) French Touch (intro) (2) School (3) Bloody Well Right (4) The Logical Song (5) Goodbye Stranger (6) Breakfast In America (7) Hide In Your Shell (8) Asylum (9) Even In The Quietest Moments (10) Give A Little Bit (11) Dreamer (12) Rudy (13) Take The Long Way Home (14) Another Man’s Woman (15) Child Of Vision (16) Fool’s Overture (17) Two Of Us (18) Crime Of The Century (19) From Now On (credits)
Starring: Roger Hodgson, Rick DaviesMusic | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.78:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 5.1
English: LPCM 2.0
None
50GB Blu-ray Disc
Single disc (1 BD)
Slipcover in original pressing
Region A (B, C untested)
Movie | 4.0 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 2.0 | |
Overall | 4.0 |
There’s no arguing that the Fender Rhodes was the “cool” electric piano back in the 1960s and 1970s. The Rhodes starting appearing on recordings in the mid-sixties and seventies (even though it had been around in one form or another for at least a decade before that), really coming into mainstream prominence for the first time with Sergio Mendes’ Rhodes solo on his Top 20 reworking of “Scarborough Fair” (for more information on this fantastic single, see our recent Heavy Traffic Blu- ray review). The Rhodes really exploded into jazz eminence a bit after Mendes’ heyday when such artists as Herbie Hancock and Chick Corea started using it, something that established that particular keyboard as the instrument of choice for pop and jazz pianists wanting the fuzzy, warm, vibe-like sound of an electronic instrument. But there was another electric piano out during this era, and I know because I had one since I was unable to afford the much more expensive Rhodes until much later in my musical career. The relatively lowly Wurlitzer Electric Piano, which keys players tended to call a Wurly, was a much less bulky instrument and it had a similarly more scrappy sound than the relatively smooth and elegant Rhodes. Though the Wurly had been featured on a number of relatively high profile hits in the 1960s, the keyboard always had a kind of low rent reputation for one reason or another, something that again I personally experienced when musician buddies of mine would come over to my place to jam or rehearse for gigs. “You have one of those?” would be a recurring refrain, but I always had one salient comeback for these musical snobs. Supertramp used the Wurly almost exclusively for their string of Top 40 hits in the 1970s and 1980s. If it was good enough for a band that was raking in untold millions and regularly landing singles in the Top 10, it was certainly good enough for me. (That didn’t stop me from buying a Rhodes when I could finally afford one.)
Supertramp Live In Paris '79 is presented on Blu-ray courtesy of Eagle Vision (an imprint of Eagle Rock Entertainment) with an AVC encoded 1080p transfer in 1.78:1. The concert was evidently originally filmed in 16mm, and for that small scale format, things look remarkably good here. In fact, they might look a little too good, especially in some isolated shots. While there's quite a bit of grain and fuzziness in the wide shots and even midrange shots (as should be expected of this format), some of the close-ups look awfully clean, which makes me a little suspicious that perhaps some DNR has been applied. I could be wrong, since things are never at the totally waxy level that usually belies such digital tweaking, and also because there definitely is noticeable grain, but it's a little odd that some individual shots sometimes seem to have somewhat lesser grain compared to the bulk of the concert. This perhaps over-cynical qualm aside, the image here is quite sharp, at least for 16mm. Blacks are really deep and solid. Colors look just a tad faded, but generally this is a very solid looking high definition presentation that should easily please Supertramp's legion of fans.
Supertramp Live In Paris '79 features both a lossless DTS-HD Master Audio 5.1 mix as well as an uncompressed LPCM 2.0 stereo fold down. If you come to this concert without reading the liner notes, you might think, as I initially did, that the audience is really loud. As discussed above in the main body of the review, this was an intentional sound design choice, meant to put the virtual concert attendee in a sonic ambience much like they would have experienced had they been there in person. This is at least a debatable, if not a downright questionable, gambit, but individual mileage will vary on how you respond to it. For the bulk of this concert, it wasn't too annoying, since Hodgson's plaintive tenor wail easily cut through the mass screams (and arrhythmic clapping) of the audience. But personally I could have stood more of the band and less of the audience overall in this mix. The 5.1 mix does nicely separate the instruments, but it also augments the crowd noises. Fidelity is excellent throughout both tracks.
- Ain't Nobody But Me (1080p; 4:57)
- You Started Laughing (When I Held You In My Arms) (1080p; 4:17)
- A Soap Box Opera (1080p; 5:05)
- From Now On (1080p; 6:37)
- Downstream (1080p; 3:33)
Breakfast in America had a number of huge hit singles, and it's fun to hear them performed live here. The vocals aren't quite as polished as they are in the studio versions, but that perhaps only adds to the charm of the live concert setting. Instrumentally, Supertramp is in top form here, doing their patented eight to the bar chunktastic keyboard oriented pop-rock, something that no doubt served as the soundtrack for many Baby Boomers. This Blu-ray offers excellent video and audio, and the audio supplements will be welcome to Supertramp's fans. Recommended.
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