Well folks, just in time for the end of the year....word has filtered down that there will be a new release for the fansbase. Annie Haslam will at some point announce on her site that there will be a concert DVD from the 1970's. And prerelease information indicates that this will be a combination of two shows: The Scheherazade tour and one from Azure d' Or....
On the latter point, there has been some debate as to what was the song order due to the presence of 'The Vultures Fly High' on the setlist. More often than not this song showed up as the opening piece on two of their last tours, Azure D' Or and Camera Camera. And there is something interesting about the setlists:
Azure D' Or
Can You Understand [instr]
The Vultures Fly High
Day OF The Dreamer
New Song One
New Song Two
Running Hard
Northern Lights
New Song Three
New Song Four
Mother Russia
A Song For All Seasons
Prologue
Ashes Are Burning
Camera Camera
Can You Understand [Instr]
The Vultures FLy High
Day OF The Dreamer
New Song One
New Song Two
Running Hard
Northern Lights
New Song Three
Mother Russia
New Song Four
New Song Five
A Song For All Seasons
Ashes Are Burning
Notice a pattern there folks??? Granted familiarity does help if only due to us hardcore fans. But this also meant that those who were in control at the time may not have had a little bit of imagination. Of course these oversights were corrected for the Beacon shows [previously mentioned] and later tours.
Speaking of later material...
- Someone in another blog had mentioned that 'Chagrin Boulevard' was the best song on 'Time-Line'. Yes I have my faves off of this somewhat uneven album, but for crying out loud, if a song named after a somewhat non-descript street in Cleveland is the best off this album, then there may just be a few things wrong with this planet.
--And while we are at it, comparing Renaissance to ABBA is an insult....to Renaissance. IF one were to notice somewhat carefully, the production on the last two albums on Sire was more like that of mid period Genesis which was not by coincidence. The same production team responsible for 'Duke' and 'ABABCAB' had their hands on 'A Song For All Seasons' and 'Azure D' Or'. Hence the sound was going to be somewhat similar and the overdubbing of synths on 'Azure' was not by accident. But ABBA....only someone who while a fellow Ren fan but smoking rope can make that rather large, if not strange leap of illogic.
Well that is the news, sports and weather for now.....if I do get a copy of the DVD, you will see a review of it here!!!
Showing posts with label Camera Camera. Show all posts
Showing posts with label Camera Camera. Show all posts
Thursday, October 30, 2008
Monday, October 6, 2008
The Last Live Album by Renaissance..Land of The Rising Sun
[Sidebar-Due to some medical issues that have been more or less been creeping up like the taxman does when they smell a potential audit victim, postings here will be a tad intermittent. Yours truly is hoping that at some point the young team of doctors who I am working with will find something to put all of these to rest and life can resume with some sense of normality and I can post here more often]
For a while, yours truly had been hoping to obtain the above mentioned disc for various reasons. One being that this would complete a little part of the collection in that I was interested in the more electric concerts that Renaissance had recorded....with and without orchestras. Second being that this has some material from 'Tuscany', which is one heck of an album. As has been mentioned in other corners, considering the last two studio pieces ['Camera Camera' and 'Time-Line', respectively] this is a comeback, a triumph so hearing anything live from this mini-tour in Japan would be fantastic, a real treat. Lastly, it seems that the word had gotten around that Terry Sullivan would be back on drums, David Keyes would be on bass and two excellent keyboardists - Mickey Simmonds and Rave Tesar rounding out the band. I would be remiss if I forgot to mention that the groups was led by Annie Haslam and Mickey Dunford. So when this arrived in the mail, I tore at this like a child on Christmas Morning looking for that long awaited present.Let's say on the first listen and subsequent playings.....there is no disspointment here.
'Carpet of the Sun' leads off the concert and it is just as good as any previous version, but this has a kick. Much like the others on these discs which in other settings have had an orchestra, those parts are filled with synthesizers, but these are not your father's type of synth background. Close your eyes and it sounds as though the strings that accent the beginning of 'Carpet' are there. This is to the credit of Mickey Simmonds and Rave Tesar doing the right thing as far as sampling is concerned. And then there is Annie's voice. You know from these moments that this is going to be a fun trip, a wonderous trip back home with the band. And the best is yet to come all through the disc...
The next track being 'Opening Out' is usually coupled with 'Day of The Dreamer' from 'A Song For All Seasons' , but here is a standalone and it does work as that. Just a simple piece....nothing more and nothing less....and as beautiful as the studio version. 'Midas Man' comes after and it is a shame that this one was not featured in concert as often, if only because it is another song that while the melody is simple, the lyrics will get someone to think. After all, we have all at one time had employers who have acted like misers in the tradition of, let's say Ebeneezer Scrooge.
After these first three, the Tuscany material comes to the fore. The title track 'Lady From Tuscany' is just as powerful here as it is on the CD, the orchestral samples playing as though there is the Royal Philharmonic is present with either Louis Clark or Harry Rabinowitz at the baton. Of course, Annie carries the day here, much like on the CD...once you hear her upper range you know that this is truly classic Renaissance, the band in their element. 'Pearls of Wisdom' follows next and this is actually another example of a truly great love song that was common for the band to play from 'Prologue' on. It is a combination of the lyrics and the lushness of the intruments that shows a truly great romantic edge [folks if you are like me, you may have sent copies of Ren lyrics as love poems to the person you are interested in and this song falls into the same family of material and can work just as well *S*]. The last of the new songs in this portion of the concert is 'Dear Landseer' which sounds just like the album version. It is a sweet piece, a tale of an artisan from a long bygone era and the images he creates as well as those which are still a part of the London landscape to this day.
'Northern Lights' is next and it is not a Renaissance show without this song. Granted there are as many versions of this...live and otherwise....as there are 'Famous Ray's' Pizza in New York City, but here it sounds as though the band is having fun with the song. Speaking of having fun, the next song 'Moonlight Shadow' is played in a similar vein [lyrics to the contrary]. There are versions of this which have made the rounds, here however this could have almost have become a singlalong.
The next two tracks 'Precious One' and 'Ananda' are those which have been featured on Annie's solo albums and have good readings here. Sadly due to the state of current radio trends you may not hear much of her solo work. And that is a shame. Yes, these may not sound like they would fit on a Renaissance CD, which I guess would be the point, in that these are two songs that have helped Annie define her own style. In this setting they are worth multiple listenings.
The second CD starts off with one of the 'magnum opi' that Ren was known for. 'Mother Russia', which is played in full. This one still brings chills, especially given certain political realities on this planet. With that said, it is still powerful still timely. Again let's credit the keyboardists for the attention to detail in replicating the orchestral flourishes which are one of the song's hallmarks.
'Trip To The Fair' comes next and this is a study in what happens when Ren infuses a song with jazz figures. The album version on 'Scheherazade' is has a similar break, but this version sounds as though it comes out of the Brubeck school of cool...with turbochargers. Think of it as being a rather nice game of 'call and response' . Of course this is framed by the storyline as related by Annie's vocals.
The next two piecces can be considered a romantic couplet. Frist being 'One Thousand Roses' which is the last track from Tuscany plays like the album version. Lyrically, it is a wonderful story...and repeated listenings show there is a tale that any person who has wanted to show their unconditional love for another can relate to. It is followed by 'I Think Of You' which is from 'Turn of the Cards' . For the life of me, I cannot figure out why this was not featured more often in their previous tours, but be that as it may....wow....this is just a great version. This could have been a solo version by Annie with just Mickey on guitar and the result would be the same, as the rest of the band had a little hand in this....
And then came 'Ashes are Burning', the standard close. Once again, the middle breaks are jazz centered with Mickey Simmonds expanding on the basic melody with a solo for the ages. This led to David Keyes on bass, who while he is not Jon Camp, then again Jon Camp is not David Keyes. What David did was put his own signature on what is the 'seldom imitated-never to be duplicated' Jon Camp solo [which is a clinic on how to do a bass solo] as though it were being played on a lead guitar.The eolo here that really surprised was that of Rave Tesar, which almost sounded like this was a lead guitar. Upon further airings, this is a 'wow factor' solo...in a sense in the same ballpark as the solo Mickey did during the encore of the 'Camera Camera' tours. The end.....Annie in her element, another reason why this was a band to be reckoned with and to savor.
If there are no other live material to be upcoming from Ren, then this is a great way to say so long. Not many bands can do this, even those that have been on their respective concert circuits for decades. Even with changes in personnel, there is that consistency, that fire in Renaissance that still remains...not many can say that, let alone play it.
For a while, yours truly had been hoping to obtain the above mentioned disc for various reasons. One being that this would complete a little part of the collection in that I was interested in the more electric concerts that Renaissance had recorded....with and without orchestras. Second being that this has some material from 'Tuscany', which is one heck of an album. As has been mentioned in other corners, considering the last two studio pieces ['Camera Camera' and 'Time-Line', respectively] this is a comeback, a triumph so hearing anything live from this mini-tour in Japan would be fantastic, a real treat. Lastly, it seems that the word had gotten around that Terry Sullivan would be back on drums, David Keyes would be on bass and two excellent keyboardists - Mickey Simmonds and Rave Tesar rounding out the band. I would be remiss if I forgot to mention that the groups was led by Annie Haslam and Mickey Dunford. So when this arrived in the mail, I tore at this like a child on Christmas Morning looking for that long awaited present.Let's say on the first listen and subsequent playings.....there is no disspointment here.
'Carpet of the Sun' leads off the concert and it is just as good as any previous version, but this has a kick. Much like the others on these discs which in other settings have had an orchestra, those parts are filled with synthesizers, but these are not your father's type of synth background. Close your eyes and it sounds as though the strings that accent the beginning of 'Carpet' are there. This is to the credit of Mickey Simmonds and Rave Tesar doing the right thing as far as sampling is concerned. And then there is Annie's voice. You know from these moments that this is going to be a fun trip, a wonderous trip back home with the band. And the best is yet to come all through the disc...
The next track being 'Opening Out' is usually coupled with 'Day of The Dreamer' from 'A Song For All Seasons' , but here is a standalone and it does work as that. Just a simple piece....nothing more and nothing less....and as beautiful as the studio version. 'Midas Man' comes after and it is a shame that this one was not featured in concert as often, if only because it is another song that while the melody is simple, the lyrics will get someone to think. After all, we have all at one time had employers who have acted like misers in the tradition of, let's say Ebeneezer Scrooge.
After these first three, the Tuscany material comes to the fore. The title track 'Lady From Tuscany' is just as powerful here as it is on the CD, the orchestral samples playing as though there is the Royal Philharmonic is present with either Louis Clark or Harry Rabinowitz at the baton. Of course, Annie carries the day here, much like on the CD...once you hear her upper range you know that this is truly classic Renaissance, the band in their element. 'Pearls of Wisdom' follows next and this is actually another example of a truly great love song that was common for the band to play from 'Prologue' on. It is a combination of the lyrics and the lushness of the intruments that shows a truly great romantic edge [folks if you are like me, you may have sent copies of Ren lyrics as love poems to the person you are interested in and this song falls into the same family of material and can work just as well *S*]. The last of the new songs in this portion of the concert is 'Dear Landseer' which sounds just like the album version. It is a sweet piece, a tale of an artisan from a long bygone era and the images he creates as well as those which are still a part of the London landscape to this day.
'Northern Lights' is next and it is not a Renaissance show without this song. Granted there are as many versions of this...live and otherwise....as there are 'Famous Ray's' Pizza in New York City, but here it sounds as though the band is having fun with the song. Speaking of having fun, the next song 'Moonlight Shadow' is played in a similar vein [lyrics to the contrary]. There are versions of this which have made the rounds, here however this could have almost have become a singlalong.
The next two tracks 'Precious One' and 'Ananda' are those which have been featured on Annie's solo albums and have good readings here. Sadly due to the state of current radio trends you may not hear much of her solo work. And that is a shame. Yes, these may not sound like they would fit on a Renaissance CD, which I guess would be the point, in that these are two songs that have helped Annie define her own style. In this setting they are worth multiple listenings.
The second CD starts off with one of the 'magnum opi' that Ren was known for. 'Mother Russia', which is played in full. This one still brings chills, especially given certain political realities on this planet. With that said, it is still powerful still timely. Again let's credit the keyboardists for the attention to detail in replicating the orchestral flourishes which are one of the song's hallmarks.
'Trip To The Fair' comes next and this is a study in what happens when Ren infuses a song with jazz figures. The album version on 'Scheherazade' is has a similar break, but this version sounds as though it comes out of the Brubeck school of cool...with turbochargers. Think of it as being a rather nice game of 'call and response' . Of course this is framed by the storyline as related by Annie's vocals.
The next two piecces can be considered a romantic couplet. Frist being 'One Thousand Roses' which is the last track from Tuscany plays like the album version. Lyrically, it is a wonderful story...and repeated listenings show there is a tale that any person who has wanted to show their unconditional love for another can relate to. It is followed by 'I Think Of You' which is from 'Turn of the Cards' . For the life of me, I cannot figure out why this was not featured more often in their previous tours, but be that as it may....wow....this is just a great version. This could have been a solo version by Annie with just Mickey on guitar and the result would be the same, as the rest of the band had a little hand in this....
And then came 'Ashes are Burning', the standard close. Once again, the middle breaks are jazz centered with Mickey Simmonds expanding on the basic melody with a solo for the ages. This led to David Keyes on bass, who while he is not Jon Camp, then again Jon Camp is not David Keyes. What David did was put his own signature on what is the 'seldom imitated-never to be duplicated' Jon Camp solo [which is a clinic on how to do a bass solo] as though it were being played on a lead guitar.The eolo here that really surprised was that of Rave Tesar, which almost sounded like this was a lead guitar. Upon further airings, this is a 'wow factor' solo...in a sense in the same ballpark as the solo Mickey did during the encore of the 'Camera Camera' tours. The end.....Annie in her element, another reason why this was a band to be reckoned with and to savor.
If there are no other live material to be upcoming from Ren, then this is a great way to say so long. Not many bands can do this, even those that have been on their respective concert circuits for decades. Even with changes in personnel, there is that consistency, that fire in Renaissance that still remains...not many can say that, let alone play it.
Saturday, August 9, 2008
Another re-visit: The 'Camera Camera' Concert - 1981
[The original of this appears in a Yahoo group and is in full, not an expurgated version]
Let's start out by saying that at the time that this album was released, yours truly like quite a few other folks was in shock. Why you ask? Well for one, after a long abscence [short when compared to the sabbatical the Moody Blues took] one would have hoped that the comeback album would be back in the old style. A strident answer to the punk rock/dance rock/corporate rock genres that seemed to have permeated the airways. However just from first view of the cover, it seemed that Renaissance had been assimilated into the morass.
Secondly, it was the cover that was a tad...well different. Yes it was that era and it seemed a little bit out of character. Even the back cover, which features a smile from Jon well almost could give the impression that 'do not worry, we are playing a joke on all of you folks...WINK'!. Ok, that would make sense...after all, I have read O'Henry and Rod Serling, so a twist like this could be expected.
Mind you I was still in college at the time and one of the few in the town who bought the album on day of release. And that evening ,a friend of mine heard me go off on a rant that would be close to:
- what diehard fans of the Brooklyn Dodgers felt when the team announced they were moving to Los Angeles in 1958
- the words used when the first few folks had gotten their Edsels and felt cheated
- or when the city of Seattle felt an earthquake when Boeing announced they were moving their corporate headquarters to Chicago ['you people are doing WHAT???']
After all this did not look like the Renaissance of old, the one that had played with the New York Philharmonic, the same one that created Novella and A Song For All Seasons. But being the true, diehard fan I was, I had purchased tickets for the concert in town that followed this release by 2 weeks and was surprised by the performance. And it is these discs, recorded in San Francisco [a few nights before the show I went to in Rochester, NY at the Triangle Theatre] that brought this back.
On disc one, there is the opening, which is the instrumental exposition from 'Can You Understand?' which was another way of saying that Ren [with two sidemen Peter Gosling and Peter Barron taking the place of John and Terry respectively] was back. Then it was Annie's vocals on 'The Vultures Fly High' that sealed the deal. The crowd was then hooked. But it is after this that even upon further listening...things get a little strange.
'Day of the Dreamer' opened ok, but it was the bridge for same that was a precursor to what else would be heard, synthesizer wise. Peter Goslings major ax of choice was an Oberheim [OB-X if I remember correctly through other means] which in this performance sounded a little tinny, which could be rooted in where the mike was placed, etc. In a sense though, this bridge did sort of set the scene for the new material that was coming up.
When you listen to this, please keep in mind that as with many bands, the live versions will sound different and even will be expanded from the said same album versions. 'Camera Camera', the title track and 'Fairies Living at the Bottom of The Garden' are good examples of this. Also this is where further review helps in that the keyboard parts for 'Camera' sounded as though they were put together from what could best be described as an almost, intro, basic primer to 'How to do a solo on your new synth'. Granted, the beat being kept does keep ones mind off of this little faux pas and this song is danceable [sidebar...I did see them on the second leg of the US tour at the Palladium in NYC and there were folks in our section, myself included who WERE DANCING along to 'Camera Camera'. It seemed the synthesizer parts were better rehearsed and as such were cleaner], but you will hear the crowd give a little bit of a lukewarm reception after it was done. 'Fairies' which was in the same vein sounded very much like its album counterpart, but once again the crowd reaction here is in the same ballpark.
It was and is the classic material in this concert that saves the day. 'Running Hard', 'Northern Lights' are welcomed and in further listening really work well. Then comes up one of the two new pieces from 'Camera' that really do seem to show that Ren can not just play something a little different and make it work live. 'Tyrant-Tula' which Jon, in some cases has introduced as being inspired by episodes of 'Mission Impossible'. An amazing piece in that one hears the band stretching it out...hitting on all cylinders. It is the ending of this that the crowd does go a little crazy, due to the segue into 'Mother Russia'. This brings about the 'WOW' factor.
Another highlight here in this performance is 'Jigsaw'. On the album, its intro is short, but still with the traditional Ren flourish. In this concert, this piano introduction is expanded and shows the old style, what got many folks into Renaissance in the first place. Ah, this is beautiful...and when listening to this again if I am in the store, I do play along with the keyboads on the top of the shopping cart if only due to Peter Gosling taking it home and making it his. Jon's bass rocks harder, Mickey attacks his chords like this is the last time he would be playing this song, Peter Barron's drums hits the right points and of course Annie soars.
For some reason it is after this highlight, that on disc two one hears 'Bonjour Swansong' as the lead in to 'A Song For All Seasons'. In a sense this appears to be a little bit of a letdown and you will hear the crowd feeling the same thing. Granted, 'Bonjour' in the concert was announced to be the followup to 'Northern Lights', so one would expect that the same piece would come off as being in the same vein. The reaction from the crowd will give you a hint as to what was thought of the song. This portion of the concert though is saved by the encore.
'Ashes Are Burning'. What more can be said...and like on 'Jigsaw' the band does what they do best. Even Jon's bass solo brought it all home [during this tour it should be mentioned, they played smaller venues and as such, one did get to see the expressions on the face, the ones that showed he was having his 'zen moment' while playing the solo on the 'Great White']. When this concert ends, you hear the folks clapping as though they did not want this to end, although I sense through repeated listenings that they wanted the older material.
There are those who would consider the tour for 'Camera Camera' to have been a missfire, something that was just a minor blip on the screen or resume. Again it does need to be mentioned that this was the first tour in close to three years, there was the integration of the two Peters into the band, as well as the attempt to fit the band into the atmosphere of the time. If the minor glitches are overlooked, this is a concert that can be listened to to remind us that Ren did put forth the effort as oppossed to throwing in the towel, that they did rescue the night not just with the older material, but with two newer songs that reminds anyone that the spark is still there. And when given the chance to do so live, the spark is intensified.
Let's start out by saying that at the time that this album was released, yours truly like quite a few other folks was in shock. Why you ask? Well for one, after a long abscence [short when compared to the sabbatical the Moody Blues took] one would have hoped that the comeback album would be back in the old style. A strident answer to the punk rock/dance rock/corporate rock genres that seemed to have permeated the airways. However just from first view of the cover, it seemed that Renaissance had been assimilated into the morass.
Secondly, it was the cover that was a tad...well different. Yes it was that era and it seemed a little bit out of character. Even the back cover, which features a smile from Jon well almost could give the impression that 'do not worry, we are playing a joke on all of you folks...WINK'!. Ok, that would make sense...after all, I have read O'Henry and Rod Serling, so a twist like this could be expected.
Mind you I was still in college at the time and one of the few in the town who bought the album on day of release. And that evening ,a friend of mine heard me go off on a rant that would be close to:
- what diehard fans of the Brooklyn Dodgers felt when the team announced they were moving to Los Angeles in 1958
- the words used when the first few folks had gotten their Edsels and felt cheated
- or when the city of Seattle felt an earthquake when Boeing announced they were moving their corporate headquarters to Chicago ['you people are doing WHAT???']
After all this did not look like the Renaissance of old, the one that had played with the New York Philharmonic, the same one that created Novella and A Song For All Seasons. But being the true, diehard fan I was, I had purchased tickets for the concert in town that followed this release by 2 weeks and was surprised by the performance. And it is these discs, recorded in San Francisco [a few nights before the show I went to in Rochester, NY at the Triangle Theatre] that brought this back.
On disc one, there is the opening, which is the instrumental exposition from 'Can You Understand?' which was another way of saying that Ren [with two sidemen Peter Gosling and Peter Barron taking the place of John and Terry respectively] was back. Then it was Annie's vocals on 'The Vultures Fly High' that sealed the deal. The crowd was then hooked. But it is after this that even upon further listening...things get a little strange.
'Day of the Dreamer' opened ok, but it was the bridge for same that was a precursor to what else would be heard, synthesizer wise. Peter Goslings major ax of choice was an Oberheim [OB-X if I remember correctly through other means] which in this performance sounded a little tinny, which could be rooted in where the mike was placed, etc. In a sense though, this bridge did sort of set the scene for the new material that was coming up.
When you listen to this, please keep in mind that as with many bands, the live versions will sound different and even will be expanded from the said same album versions. 'Camera Camera', the title track and 'Fairies Living at the Bottom of The Garden' are good examples of this. Also this is where further review helps in that the keyboard parts for 'Camera' sounded as though they were put together from what could best be described as an almost, intro, basic primer to 'How to do a solo on your new synth'. Granted, the beat being kept does keep ones mind off of this little faux pas and this song is danceable [sidebar...I did see them on the second leg of the US tour at the Palladium in NYC and there were folks in our section, myself included who WERE DANCING along to 'Camera Camera'. It seemed the synthesizer parts were better rehearsed and as such were cleaner], but you will hear the crowd give a little bit of a lukewarm reception after it was done. 'Fairies' which was in the same vein sounded very much like its album counterpart, but once again the crowd reaction here is in the same ballpark.
It was and is the classic material in this concert that saves the day. 'Running Hard', 'Northern Lights' are welcomed and in further listening really work well. Then comes up one of the two new pieces from 'Camera' that really do seem to show that Ren can not just play something a little different and make it work live. 'Tyrant-Tula' which Jon, in some cases has introduced as being inspired by episodes of 'Mission Impossible'. An amazing piece in that one hears the band stretching it out...hitting on all cylinders. It is the ending of this that the crowd does go a little crazy, due to the segue into 'Mother Russia'. This brings about the 'WOW' factor.
Another highlight here in this performance is 'Jigsaw'. On the album, its intro is short, but still with the traditional Ren flourish. In this concert, this piano introduction is expanded and shows the old style, what got many folks into Renaissance in the first place. Ah, this is beautiful...and when listening to this again if I am in the store, I do play along with the keyboads on the top of the shopping cart if only due to Peter Gosling taking it home and making it his. Jon's bass rocks harder, Mickey attacks his chords like this is the last time he would be playing this song, Peter Barron's drums hits the right points and of course Annie soars.
For some reason it is after this highlight, that on disc two one hears 'Bonjour Swansong' as the lead in to 'A Song For All Seasons'. In a sense this appears to be a little bit of a letdown and you will hear the crowd feeling the same thing. Granted, 'Bonjour' in the concert was announced to be the followup to 'Northern Lights', so one would expect that the same piece would come off as being in the same vein. The reaction from the crowd will give you a hint as to what was thought of the song. This portion of the concert though is saved by the encore.
'Ashes Are Burning'. What more can be said...and like on 'Jigsaw' the band does what they do best. Even Jon's bass solo brought it all home [during this tour it should be mentioned, they played smaller venues and as such, one did get to see the expressions on the face, the ones that showed he was having his 'zen moment' while playing the solo on the 'Great White']. When this concert ends, you hear the folks clapping as though they did not want this to end, although I sense through repeated listenings that they wanted the older material.
There are those who would consider the tour for 'Camera Camera' to have been a missfire, something that was just a minor blip on the screen or resume. Again it does need to be mentioned that this was the first tour in close to three years, there was the integration of the two Peters into the band, as well as the attempt to fit the band into the atmosphere of the time. If the minor glitches are overlooked, this is a concert that can be listened to to remind us that Ren did put forth the effort as oppossed to throwing in the towel, that they did rescue the night not just with the older material, but with two newer songs that reminds anyone that the spark is still there. And when given the chance to do so live, the spark is intensified.
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