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14.12.2015
ReviewIt's a rare moment when an artist takes his established, even iconic work and makes it still stronger, but Peter Gabriel's live two-CD set Secret World Live is just such a moment. Peter Gabriel’s Secret World Live is good, very good in fact, and a better representation of Gabriel’s stage abilities than last years New Blood - Live In London to be honest, though you have to realize that this is Peter Gabriel nearly two decades ago. With new shows added, Garth Brooks extends special relationship to Las VegasGarth Brooks and Las Vegas go together like friends and low places. Exclusive: ‘Selfless’ the official sidequel to Paul Inman’s debut novelToday marks the publication day of Paul Inman’s debut novel Ageless. Per scaricare la copertina cd clicca con il tasto destro del mouse e poi seleziona 'Salva Immagine'. Every great musical artist if they stick around long enough reaches a point in their career when performing live that they have to become a bit of a greatest hits act. An additional performance, a look behind the scenes, and a bonus from Gabriel’s New Blood release round out this Eagle Rock disc.
Recorded in Modena, Italy, during a January 1994 performance on his Secret World tour, the album and the concurrent video release bring songs threaded together by the images of earth and water into a cycle that explores relationships between men and women. Still, this is a release that people need to see, thanks to a stupendous setlist including some of Gabriel’s massive hits like the quirky “Sledgehammer” and the solemn “Solsbury Hill,” and that’s not even to mention tracks like “Don’t Give Up” and “In Your Eyes.” And as for stage presence, Gabriel delivers in spades, utilizing his stage like a playground, one complete with multi-level staging filled with elevators, moving floors and trap doors, and even a huge UFO which lowers from the ceiling. Humans strive for immortality, yet when one possesses it, one begins to ask: Is immortality a blessing or a curse?


They can no longer simply go out on tour and perform a bulk of new material and hope to please the crowds that have paid good money to see them perform the old favorites.
With that being said, even compared to 35mm, 16mm lacks resolution, and the result is an often soft image with narrow contrast and inaccurate colors. His solo career has been extraordinary, to say the least, as he has never really bothered with the worries of the commercial market and has continued to pave his own path. There’s a slate of extras as well, such as extra tracks like “Red Rain” and “the Rhythm of the Heat,” as well as a photo montage and exclusive interviews and behind the scenes footage that should come to be expected with any tradition Eagle Vision release, but the main selling point of Secret World Live is getting to go back in time and reminisce about Gabriel’s sonic glory days.
For Peter Gabriel, Us was arguably the last album of his career where he could launch a large-scale tour and perform a bulk of material from his new album. This isn’t an issue with most transfers, however, as they mainly look as close to the original source as possible and, for a lot of recent 16mm (particularly Super 16) films, are quite satisfying. The surround channels, rather than being simple carriers of crowd noise and performance space atmospherics carry an array of discrete effects from percussive sounds that pan in circular patterns through the room, to the bagpipes that open “Come Talk to Me.” Vocals are clean and clear in the center channel and instrumental separation is superb.
Secret World Live finds him in one of his finest moments career-wise backed by a top-notch cast of musical players. Secret World Live, filmed across two nights in Modena, Italy in 1993, captured Gabriel on that tour playing a track list of songs that leaned heavily on his latest album Us with a mild sprinkling of what are some of the strongest numbers from his already long and illustrious career. A concert like Secret World, however, with its dim lighting, flashing lights, quick camera pans and so forth may be pushing the limits of 16mm, especially when, inexplicably, they have chosen to transfer the film source at 1080i rather than 24Fps.


I think there could have been just a tad bit more low end at times in what is an otherwise marvelous sound mix.
Bolstered by a band of veteran musicians including Manu Katche on drums, Shankar on violin, and singer-songwriter Paula Cole on vocal duties, Gabriel’s show was in his typical fashion, more than just a rock concert. This introduces some motion artifacts that shouldn’t be there and makes it a bit less film-like. It married his love of world music with visual and performance art that engaged the audience. Outside of that, the image looks rather clean, without many instances of actual source damage and the grain looks natural.
Two stages joined by a catwalk served as the setting for ambient stage lighting, screen projections, and excellent musicianship.



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