When it comes to Saga, I was a very late bloomer, but now I am one of their biggest fans. I must be in the minority, because this supposedly well-known album is not a revisit for me. Back in the day, I may have acquired a copy, but I never paid it much thought or gave it too much of a listen. When they released Network and Trust, I was gaga for this newly-discovered substance. I played the heck out of these until the sheen from the underbody was duly scratched and totally worn out. Now when they put out something new, I am anxious and eager to gobble it up. When they released The Chapters Live, I was overwhelmed to find something out there so soon amongst these other outbreaks and then once I heard it I was floored. Having their latest in my hands, I am literally shaking like a pooch awaiting his favorite rawhide, biscuit, or bone. If a single crumb fell, I’d be all over it. As I take this disc from its case and slide it into the player, I’m panting like Scooby Doo used to peculiarly do when offered up the possibility of a scrumptious snack. As the vacuum seal is broken and the air slowly leaks out, I’m pretty much salivating in the moments before the vibes hit the hairs within my ears. As I munch on this material, it’s everything I had hoped it would accomplish. Not only is it awesome out of the gate, but it comes in several desirable formats: a two-CD or two-DVD set, or if you’re really lucky and an addictive fiend like me, both types of media can be scoffed at in a limited edition pack.
Moreover, the crowd complements the music. Sadler once recanted his dissatisfaction to me in regards to a certain singer’s disappointingly-poor live performance (won’t name names here, but it’s a fairly familiar mainstream artist). He has no need to worry about any criticism from this critic, his audience, or for that matter, anybody with taste. His performance is on the level with stars such as Sting, Peter Gabriel, and Freddie Mercury. Also, Saga’s transmission is so clear and in no need of error correction, it’s hard to believe the media is streaming from my speakers in real-time. There is no exaggeration in this claim. The guitars, bass, and keyboards are as sharp as heck. Coupled with immaculately-accurate singing, this is an unparalleled event. Too bad I couldn’t be there. I would like to catch them on the rebound, because they haven’t lost it and persist to tour. Then again, the rumor-mill has churned out statements to the contrary. In spite of this, I hope to see them in person someday as they are so good that standing in their presence must be like a safe landing in the paradise of another world. Meanwhile, I have Network, Trust, The Chapters Live, and now this one to keep me preoccupied. While we’re on the topic, other adjectives that come to mind are captivated, awestruck, and hypnotized. I’m for the most part under their spell in anticipation of that hallowed day that I’m drooling over to chew on. Until then, let’s continue to report on their most recent emergence.
In my opinion, the overall highlight is “The Runaway”, but in all seriousness, every item is phenomenal. What’s funny is that he says, “You think that one’s good…” as the fans cheer emphatically to “See Them Smile”. After a brief pause, they tear into that masterfully-performed work of art, which deals with a fugitive, escapee, or absconder. It’s not just the audience who appreciates this one. I’m a repeat offender and a habitual ogler who often elopes with this number. The guitars and synthesizers are killer on “Ice Nice” as well. With clanking glassware and twinkling keys, they take us back in the annals of their historical reign in the eighties. I almost thought he’d go into a fabled yarn like the shrewd soothsayer from Eragon, but alas he decides to start singing instead. Afterwards, he says, “We’re making a movie!”, and he does so with a country twang. With this, his fans become wild, get unruly, and go feral. This is when they delve into the bulk of World’s Apart, which begins at Track Seven Side One with the adorably-boingy “On the Loose” and ceases to respire at Track Five Side Two with the tempting venerations caused by the candies of “No Stranger”.
I’d say Disc One is best only because my favorites find themselves on that platter. “The Pitchmen”, for example, is an excellent source of fiber. It’s a smart choice to kick off the set and send this projectile into orbit. Other than that, the climate and mood is consistently pleasing throughout the duration of this excursion. Like “Don’t Be Late” is a strong contender that weighs in at the end.
As for others on the side I treasure, “Amnesia” and “Framed” are stacked like patties in a Big Mac. What’s more, these bosom buddies share common ground. The manner in which they cohabitate would make you think they were brothers. If ever the space were sold or reduced, these two peas in a pod would make ideal roommates. Conjointly, “Conversations” demonstrates what they can do instrumentally.
The hiccups provide surprise too. The crowd doesn’t participate as expected in “No Stranger”. Sadler gives them a chance to jump in, but they are difficult and diffident in his urgings to chip in. At any rate, the silence creates much needed space within a busy intersection. Despite the traffic, the song could have been lifted and overlaid upon output born from the studio and you’d never know it. By this, I’m referencing the record that dons a gal with microorganisms in one eye and the cosmos in the other lens.
To give you an idea of how they sound, they most closely emulate Queen. Still, they put their own stamp and brand on this hard-to-duplicate and tricky-to-replicate stock. While it’s impossible to replace the storied and the celebrated, these guys from Saga do a great job when it comes to filling the void. On a bright note, I heard through the grapevine that Queen is planning a tour with Paul Rodgers. This is gravy on top of succulently-mashed and lemon-infused potatoes.
Back to the basics of this particular assignment, Saga has mass-produced a surplus of goods and much coverage of this tonnage has been done on this album. Aside from World’s Apart, we find songs from their debut, Images at Twilight, Silent Knight, Heads or Tales, House of Cards, and Network. All these submissions do the album justice and use our time in a considerate and respectable manner. This outstanding concert sets the stage for one very gutsy self-defining point in time. To a degree, their genes epitomize nobility in the flesh. If Queen were the lady of the house, Saga is her firstborn and a priced-possession at that.
When Sadler isn’t doing an impression of his idol, he demonstrates vocal variety and an impression of other important persons. To a degree, “Scratching the Surface” embodies George Michael and Elton John. He also has the charismatic stage presence of Kevin Gilbert in his frequent dissertations between the pieces.
As for broadening the discussion outside of comparisons, the inset makes me think of that Saturday Night Live skit where Jack Black plays an anchorman at a photo op. He just can’t get anyone to acknowledge him. In this pic, the credit for the album is shared as the finger-pointing is equally-distributed.
In addition, this band really works the crowd in a way I’ve never heard. Sadler even conducts a sing-a-long and a dance routine. This comes through so clearly in the speakers, I felt like getting up and going for a trot around the sofa. Not to take anything away from the source material, but the music moves with a synergy and pace that is not entirely felt on the genuine article.
Furthermore, I’ve never heard “How Long”, and I was truly enthralled by the musky beat it spews. Before the spray can spurts, he begins with “Uno, dos, tres.” While foreign to my ears, this initiative was intuitive in the most indelible and unbelievable way.
While I make discrete comparisons to other bands, their style is universally distinct. I could pick them out of a line-up, and if I was playing name that tune, I’d suspect them in a couple notes regardless of my ability to consistently identify the title.
One thing I appreciate most about this concert is the fact that the inertia did not impede nor does it ever implode upon itself. The momentum goes from track-to-track, and the gap between the parts is bridged with idioms, a plethora of hoopla and jokes.
As they have done with their other live albums, they stay true to the original. Even the cover has that wizened traveler who is holding a globe. There is also that ghostly apparition with air force-issued sunglasses and chartreuse ChapStick on her lips. While this might appear to be another parcel on the pile, this is far from a completist’s neurotic acquisition. Better yet, I’d say it’s essential for fans whether they be committed aluminsts or newbies like me who are crazy about the band.
9.25/10 (Out of this world and one of the best of its kind)
Moreover, the crowd complements the music. Sadler once recanted his dissatisfaction to me in regards to a certain singer’s disappointingly-poor live performance (won’t name names here, but it’s a fairly familiar mainstream artist). He has no need to worry about any criticism from this critic, his audience, or for that matter, anybody with taste. His performance is on the level with stars such as Sting, Peter Gabriel, and Freddie Mercury. Also, Saga’s transmission is so clear and in no need of error correction, it’s hard to believe the media is streaming from my speakers in real-time. There is no exaggeration in this claim. The guitars, bass, and keyboards are as sharp as heck. Coupled with immaculately-accurate singing, this is an unparalleled event. Too bad I couldn’t be there. I would like to catch them on the rebound, because they haven’t lost it and persist to tour. Then again, the rumor-mill has churned out statements to the contrary. In spite of this, I hope to see them in person someday as they are so good that standing in their presence must be like a safe landing in the paradise of another world. Meanwhile, I have Network, Trust, The Chapters Live, and now this one to keep me preoccupied. While we’re on the topic, other adjectives that come to mind are captivated, awestruck, and hypnotized. I’m for the most part under their spell in anticipation of that hallowed day that I’m drooling over to chew on. Until then, let’s continue to report on their most recent emergence.
In my opinion, the overall highlight is “The Runaway”, but in all seriousness, every item is phenomenal. What’s funny is that he says, “You think that one’s good…” as the fans cheer emphatically to “See Them Smile”. After a brief pause, they tear into that masterfully-performed work of art, which deals with a fugitive, escapee, or absconder. It’s not just the audience who appreciates this one. I’m a repeat offender and a habitual ogler who often elopes with this number. The guitars and synthesizers are killer on “Ice Nice” as well. With clanking glassware and twinkling keys, they take us back in the annals of their historical reign in the eighties. I almost thought he’d go into a fabled yarn like the shrewd soothsayer from Eragon, but alas he decides to start singing instead. Afterwards, he says, “We’re making a movie!”, and he does so with a country twang. With this, his fans become wild, get unruly, and go feral. This is when they delve into the bulk of World’s Apart, which begins at Track Seven Side One with the adorably-boingy “On the Loose” and ceases to respire at Track Five Side Two with the tempting venerations caused by the candies of “No Stranger”.
I’d say Disc One is best only because my favorites find themselves on that platter. “The Pitchmen”, for example, is an excellent source of fiber. It’s a smart choice to kick off the set and send this projectile into orbit. Other than that, the climate and mood is consistently pleasing throughout the duration of this excursion. Like “Don’t Be Late” is a strong contender that weighs in at the end.
As for others on the side I treasure, “Amnesia” and “Framed” are stacked like patties in a Big Mac. What’s more, these bosom buddies share common ground. The manner in which they cohabitate would make you think they were brothers. If ever the space were sold or reduced, these two peas in a pod would make ideal roommates. Conjointly, “Conversations” demonstrates what they can do instrumentally.
The hiccups provide surprise too. The crowd doesn’t participate as expected in “No Stranger”. Sadler gives them a chance to jump in, but they are difficult and diffident in his urgings to chip in. At any rate, the silence creates much needed space within a busy intersection. Despite the traffic, the song could have been lifted and overlaid upon output born from the studio and you’d never know it. By this, I’m referencing the record that dons a gal with microorganisms in one eye and the cosmos in the other lens.
To give you an idea of how they sound, they most closely emulate Queen. Still, they put their own stamp and brand on this hard-to-duplicate and tricky-to-replicate stock. While it’s impossible to replace the storied and the celebrated, these guys from Saga do a great job when it comes to filling the void. On a bright note, I heard through the grapevine that Queen is planning a tour with Paul Rodgers. This is gravy on top of succulently-mashed and lemon-infused potatoes.
Back to the basics of this particular assignment, Saga has mass-produced a surplus of goods and much coverage of this tonnage has been done on this album. Aside from World’s Apart, we find songs from their debut, Images at Twilight, Silent Knight, Heads or Tales, House of Cards, and Network. All these submissions do the album justice and use our time in a considerate and respectable manner. This outstanding concert sets the stage for one very gutsy self-defining point in time. To a degree, their genes epitomize nobility in the flesh. If Queen were the lady of the house, Saga is her firstborn and a priced-possession at that.
When Sadler isn’t doing an impression of his idol, he demonstrates vocal variety and an impression of other important persons. To a degree, “Scratching the Surface” embodies George Michael and Elton John. He also has the charismatic stage presence of Kevin Gilbert in his frequent dissertations between the pieces.
As for broadening the discussion outside of comparisons, the inset makes me think of that Saturday Night Live skit where Jack Black plays an anchorman at a photo op. He just can’t get anyone to acknowledge him. In this pic, the credit for the album is shared as the finger-pointing is equally-distributed.
In addition, this band really works the crowd in a way I’ve never heard. Sadler even conducts a sing-a-long and a dance routine. This comes through so clearly in the speakers, I felt like getting up and going for a trot around the sofa. Not to take anything away from the source material, but the music moves with a synergy and pace that is not entirely felt on the genuine article.
Furthermore, I’ve never heard “How Long”, and I was truly enthralled by the musky beat it spews. Before the spray can spurts, he begins with “Uno, dos, tres.” While foreign to my ears, this initiative was intuitive in the most indelible and unbelievable way.
While I make discrete comparisons to other bands, their style is universally distinct. I could pick them out of a line-up, and if I was playing name that tune, I’d suspect them in a couple notes regardless of my ability to consistently identify the title.
One thing I appreciate most about this concert is the fact that the inertia did not impede nor does it ever implode upon itself. The momentum goes from track-to-track, and the gap between the parts is bridged with idioms, a plethora of hoopla and jokes.
As they have done with their other live albums, they stay true to the original. Even the cover has that wizened traveler who is holding a globe. There is also that ghostly apparition with air force-issued sunglasses and chartreuse ChapStick on her lips. While this might appear to be another parcel on the pile, this is far from a completist’s neurotic acquisition. Better yet, I’d say it’s essential for fans whether they be committed aluminsts or newbies like me who are crazy about the band.
9.25/10 (Out of this world and one of the best of its kind)
