简介
Though the band should be congratulated for producing such faithful studio versions considering the fact that is pretty much a different band playing them, several things become apparent when listening to these live renditions. Firstly, the sound quality is superb with plenty of meat in the drums and bass, without affecting the impact of the lead instruments at all. Secondly, the vitality of the playing comes across beautifully, and the performances themselves are never less than first rate. Rob Reed on keyboards--with an impressive "mini-moog" lead sound--and Chris Fry on lead guitar are the instrumental stars, but the rest of the band contributes to the energy and tightness of the performances. Christina is an astonishing live singer, as all those that have seen the band in concert will testify. Not only is she note-perfect technically, but also she injects plenty of humour and passion into her performances. In fact, the bands' harmonies are, in the main, pretty good, if a touch rough and ready in places. But then, this is a live album, after all! Those that delight in the differences between studio and live versions will find most of interest in the tracks from "Seven," despite their shorter running times. "Gluttony," which opens the album, has a few differences, including a slightly revised opening, with "cha-cha-chas" omitted. Rob Reed's Dylan-esque vocal section has been revised inventively, and Christina ends the piece with a spine tingling scream. "Lust, also has some variations, especially an extended end instrumental section, and Martin Rosser's midi-guitar handles the orchestral sections impressively. "Pride" continues the theme of extending instrumental passages, while "Anger" is delightful, Chris Fry's sensitive nylon guitar complementing Christina's bare vocal nicely, with Martin taking the lovely electric solo at the end. "Children of the Sun" and "The White Witch" from Revolutions are played convincingly in their entirety, though with fewer frills than their studio counterparts. These are reasonably straight versions, with the band handling the complexity of the material with energy, though a particular note should go to Chris Fry for his rasping solo on "Children." "Genetesis" is also played in an effective, 12-minute version. The band also demonstrate that shorter, less proggy material can be performed with tightness and precision, playing excellent versions of "Broken" and particularly the sublime standout ballad "Call Me." Obviously, Magenta fans will seek this album out as a document of the band's live performances, especially as the band doesn't get out as often as many would like, so opportunities to see them are limited. It is a great opportunity to hear the live band lineup do these great tracks as well. Those curious in the band will also find this a useful "best of" to kick start an interest in their music Overall, this remains a wonderful record of a jaw-droppingly good live band.--Stephen Lambe in Cheltenham, England and Russ Elliot in New York
