Music DVD Round-Up
- Mark Robertson
- 15 November 2007
Oasis show their capacity to entertain remains undiminished on Lord Don’t Slow Me Down (Sony) ••• which follows Noel and Co round the world on the tour to support Don’t Believe the Truth. More accurately it shows the relentlessness and tedium of touring and Liam and Noel’s fondness for stumping foreign journalists with surreal one-liners. The film, pointlessly shot in black and white to make it look arty instead of capturing the beauty or oddness of some of the places they visit, offers few new insights, but is worth a look to see a well oiled Charlotte Church haranguing Noel, fresh off the stage in Cardiff.
Well Deep: Ten Years of Big Dada Recordings (Big Dada) •••• celebrates a decade of Britain’s most stimulating hip hop label, bringing together their promo videos and a documentary about the genesis of the label. The highlight here just also happens to be their finest hour commercially, Roots Manuva’s hilarious school sports day promo for ‘Witness’.
Beef IV (SonyBMG) • is another chapter in the tabloidising of hip hop music and should be avoided. Take a peep instead at Tupac: Assassination (Liberation Entertainment) ••• and Notorious BIG’s Bigger than Life (SonyBMG) ••••, both of which employ a style over substance approach to the rap stars’ deaths but include some rare footage and credible interviews.
We’ve technically mentioned Idlewild’s Scottish Fiction (Parlophone) •••• already, as it comes with the band’s ‘Best Of’ compilation, but as an example of giving a sneak peak into the life and processes of a band in an unaffected truly human way there’s few to better it.
Not quite so much fun to be had in the company of The Fratellis (Island) whose Edgy in Brixton •• captures a band worryingly short of charisma with clinical accuracy and comes over as boorish and flat.
The prime concern with the intergalactic spectacle that is The Flaming Lips’ live show is that the music comes off second best to confetti, spacecraft and dancing santas. UFOs at the Zoo (Warners) ••••• suggests instead that the melée is fuelled by the otheworldly magic in the music. Constructed along the same lines as the Idlewild film, where the concert footage is interspersed with documentary footage, we see the build up and aftermath of this homecoming show in an outdoor amphitheatre in Oklahoma City Zoo. We see the show from a fan’s perspective, out in the parking lot, in the queue and in the crowd, beautifully capturing the sense of occasion.
REM Live •••• (Warners) isn’t quite so extravagant but instead captures the band live in Dublin in 2005 in crisp, slick fashion. The set lifts mostly from their most recent album, Around the Sun, but there’s enough from elsewhere to justify admission.