What Hi-Fi? Sound and Vision - Discs and downloads

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Chris Gilson — Thu, 18 Feb 2010 12:06:00 GMT

Where the Action Is: La Nuggets 1965-1968

First, the earth cooled. Then, the Beatles went to America. And after they came back (and went again several times), others followed en-masse creating what rapidly became known as ‘the British Invasion’.

The result? Unsuspecting American teenagers being first caressed by the soothing sounds of the Beatles who just wanted to hold your hand, and then being viciously slapped round the face by the rawer sounds of the Animals, the Yardbirds and – naturally – the ‘Stones.

And the result of that? Thousands of American teenagers wanting to be just like Keith Relf, Mick Jagger and John Lennon, and forming their own groups, but, more importantly creating a very different sound where something got lost in the translation, and a whole bunch of new things were found instead.

If you’re no stranger to Rhino Records’ Nuggets series then you’ll have a fair idea of what the Where The Action Is box set contains. It’s the fifth one to emerge since 1998’s Nuggets: Original Artyfacts from the First Psychedelic Era 1965-1968 and focuses solely on the Los Angeles scene. As such, it acts as a nice companion to 2007's Love Is The Song We Sing collection that concentrated on San Francisco.

On the other hand, if you don’t know what a Nuggets box set contains then you’re in for a treat. What you have is 101 slices (normally no more than 3 minutes long) of Los Angeles’ reaction to the British Invasion.

The bulk of these are short-lived bands that may have a had a brief regional hit then dropped into wilful obscurity, while there’s also some big-hitters here like Love (above), Captain Beefheart, The Byrds, The Beach Boys, Mamas and Papas, Lee Hazlewood and Sonny & Cher.

Stylistically too you’ve got a boiling mix of prototype garage punk, raw r’n’b, psychedelia, faux-Merseybeat and the occasional bit of just pure boundary-pushing. In a nutshell, as with most Nuggets sets, you never know exactly what you’re going to get, but nine tenths of the time, it’s pretty damn good.

If you’re after audiophile quality you might be out on a limb though – 100 of the 101 tracks are in mono (Barry McGuire seems to have escaped and is in uber-wide stereo) and have been digitally re-mastered lovingly from, often, the original thoroughly worn-out or damaged 2 and 4 track master-tapes.

This means that while they are, in the main, crystal clear, every analogue wart shows up, and in the case of demo tracks, every cough, sneeze and car passing outside too. Saying that though, if you know your Nuggets you’ll be happy regardless.

A quick glance at the track-listing will have musos salivating in anticipation – two gems from the Byrds' (above) 1964 World Pacific Studios sessions stand out*, one being with Jackie DeShannon (the coming of age Splendor In The Grass complete with a gorgeous shimmering Rickenbacker backing and lovely McGuinn/Crosby vocal harmonies). PF Sloan’s Halloween Mary is a swaggering folk-rock drawl like Dylan on uppers, while Tommy Boyce and Bobby Hart’s^ scorching and sneering demo of Words has to be heard to be believed.

Those who only associate The Turtles**(left) with the saccharine Happy Together should check out the blackly waltzing Grim Reaper of Love - sample lyric “killing the living and living to kill” or the unwieldy monikered West Coast Pop Art Experimental Band, not to mention R’n’B hitters The Sons of Adam or Gary ‘Magic’ Marker’s Rising Sons who submit a killer cover of Goffin & Kings teeny-bopping Take A Giant Step.

Intriguing too are the established artists who leapt onto the back of the new sounds – Del Shannon, Lee Hazlewood and Rick Nelson, of whom only Hazlewood keeps his cool in the echo-chamber with the strings-laden Rainbow Woman.

Not enough to tempt you? – you’ve also got golden-voiced Tim Buckley, lothario Gene Clark and the distinctly kooky Van Dyke Parks, who also appears again with his collaboration on the alternative take of Heroes and Villains by the Beach Boys. It’s a far superior version to the one on Smiley Smile and should be in any self-respecting Brian Wilson fan's collection.

In fact it’s quite noticeable how much cross-pollination goes on here… one particular member of the Leaves, moves progressively through the Gene Clark Group and finally the Merry Go-Round in this collection, while other personnel seem to swap groups with an almost incestuous haste – Sons of Adam spawning Love’s tight-hitting drummer Michael Stuart, the Rising Sons’ Taj Mahal, The Byrds’ Gene Clark etc etc.

Naturally I have to mention the packaging. To be fair, it really is only the cherry on the cake when you think about what’s on the CDs themselves, but as always it’s well-researched, with a 48 page booklet, exhaustive liner notes, a pretty good history of the LA club-scene and the four CD’s in a neat slot-in system at the back. The whole thing looks like a big book, and as a coffee-table talking point isn’t bad either.

Are there any bad points? Well, no, although you’ve got to wonder how many more Nuggets sets can be left to emerge? There’s a couple of things that would have been nice here – maybe something really odd from Smile^^ perhaps (i.e. The Fire Suite)? Or one of the West Coast Pop Art Band’s weirder moments from A Child’s Guide To Good and Evil perhaps? But these really are niggles that verge on the insignificant.

So once again, Rhino comes up trumps – dig deep and buy… it’s worth it.

*In 1964 the Byrds, having just changed their name from the somewhat unconvincing Beefeaters, de-camped to World Pacific Studios to thrash themselves into shape. The results ended up on the rather-good Preflyte (re-pressed on CD by Poptones in 2000), and show a work-in-progress, with raw versions of songs such as the much-covered Jim McGuinn/Gene Clark composition You Showed Me among others. Shortly afterwards, having signed to Columbia (CBS), they went into the studios, cut Mr Tambourine Man and the rest is history so they say.

^Boyce and Hart – being pop-geniuses but not really lookers – ended up writing the bulk of the hits for the Monkees, such as Last Train To Clarksville, She, Words, Teardrop City and Valleri. They finally ended up becoming part of the Monkees and touring as such with Dolenz and Jones after Nesmith and Tork had departed. Despite writing cheery, chirpy music, Boyce shot himself in 1994.

**The Turtles really don’t seem to get the recognition they deserve despite some awesome records. Vocalists Howard Kaylan and Mark Volman later ended up providing some of the music for The Care Bears. Hmmm…

^^As a follow up to 1966's jaw-droppingly good Pet Sounds Brian Wilson started on Smile – a much more ambitious project, which featured a series of linear themes. Internal group tension, coupled with Wilson’s increasing LSD intake meant that sessions got progressively bogged down. Eventually, after the sleeves had been printed, the album was shelved, being partially-released as the distinctly patchy Smiley Smile in late 1967.

Wilson never recovered his impetus and Smile proved his undoing. It's possible to piece together the actual album from various sessions but on hearing it, you have to ask just how good it really could have been? I suspect that compared to Pet Sounds it just wouldn’t stand up as well in this day and age.

Up - Blu-ray review

Andy Kerr — Tue, 09 Feb 2010 15:40:00 GMT

The first Pixar movies were aimed at kids, but proffered enough wit to keep adult viewers amused, too. The studio’s later films have turned that credo on its head, weaving distinctly grown-up themes – love, relationships, the very meaning of existence – into stories children can also enjoy.

It’s a brave approach, yet Pixar’s commercial model is clearly so powerful that not even being taken over by Disney in 2006 (for $7.4 billion) has changed the way it goes about its business. In fact, it seems to have encouraged even bolder thinking: compared to 2006’s kid-friendly Cars, Ratatouille (2007) and Wall•E (2008) were notably more sophisticated, adult-orientated features.

Not just for kids

Now, Up pushes the creative boundaries further still. This simply isn’t a kids’ film, although children will doubtless love it. It’s beautiful, loving, moving and as bittersweet as any Hollywood classic you care to name – yet it’s entirely free of schmaltzy excess. Indeed, the opening half-hour is positively dark: as Carl Fredricksen (voiced by Hollywood stalwart Ed Asner) loses the love of his life and, with her, his reason for living, he retreats into a cantankerous insularity as heart-rending as anything Kafka could conjure.

Carl’s redemption comes from within as much  as without: driven by his need to consummate the unfulfilled dreams of Amazonian exploration he shared with wife Ellie, he concocts a fantastical  yet utterly fabulous escape, using thousands of balloons to float his house away from his tedious urban existence and onwards to adventure.

Unlikely? Of course – but no more so than, say, The Wizard Of Oz’s vision of airborne escapism. Directors Pete Docter and Bob Petersen balance the pathos with studious injections of comedy – for Toto, read Dug the talking dog, brilliantly voiced by Petersen himself – while the film’s finale, as Carl confronts his erstwhile hero, explorer Charles Muntz, is as epic as anything Pixar has attempted.

Stunning picture and sound

And of course, this being a Disney/Pixar disc, every aspect of its presentation is superb, from  the clarity of transfer to the wondrous cohesion and drama of its 6.1-channel DTS-HD Master Audio score. It’s a masterpiece of deft steering and formidable dynamics.

This is a special film, one that works on two levels. The first is a hugely touching homily on the meaning of life; the second is a story about  a grumpy old man, a floating house and some talking dogs. Either way you approach it (and your age will play a decisive role in that), Up is masterly, memorable and simply magical.

5 stars

Picture: 1.78:1 (1920x1080p)
Sound: DTS HD Master Audio 6.1

Up is released on Blu-ray and DVD on 15th February, but pre-orders are open now. Of special interest is the so-called Up Superset, which includes two Blu-rays, a DVD, and a digital copy of the main feature. You can pick it up for £17.88 on Amazon.

Folk is (still) not a four-letter word

Chris Gilson — Mon, 08 Feb 2010 14:46:00 GMT

After years of being passed over for the glossiness of other genres, folk is now starting to make a resurgence – and not before time too.

Not so long ago, the popular perception of folk music was your archetypal arran-sweatered, bewhiskered patriarch in a pub singing about the black and tans.

Now the whole idea has been turned on its head, with new bands such as Mumford and Sons and Fleet Foxes proudly wearing their folkish influences on their sleeves and leading a whole new generation to go hunting for that heritage themselves.

And therein lies the problem – the records have all gone missing. OK, the more mainsteam stuff such as Fairport Convention, Steeleye Span and The Strawbs has never really gone out of print, but what about the wealth of other singer/songwriters who've been discarded and cast to one side?

Unless you were lucky enough to have been around at the time the albums were issued, you'll have missed out. But now help is at hand with the advent of Three Black Feathers Records, which is dedicated to re-issuing those lost masters – and on the glorious medium of vinyl as well.

The first four releases – and the ones we've heard – spring from the vaults of the world's oldest independent label, Topic Records. If you've never heard of Topic, check out its catalogue at www.topicrecords.co.uk. One glance at its roster, and it's easy to see why Three Black Feathers made the decision it did.

Nic Jones

Our four samples, handed over at last autumn's Manchester Sound & Vision Show by label boss Chris Heard, are impressive to say the least. In release order you've got Nic Jones: Penguin Eggs, Eliza Carthy: Dreams of Breathing Underwater, DickGaughan: Handful of Earth and Lal Waterson: Once In A Blue Moon. Of these, folk aficionados will recognise the Waterson/Carthy dynasty in force.

Each album comes in a lavish gatefold sleeve, complete with detailed recording history, lyrics, additional photos and, in the case of Eliza Carthy, a bonus 7in with two unreleased tracks. The quality of the packaging is luscious, and it's clear that time and effort has been spent on researching and re-creating each re-issue.

The pressings themselves come in audiophile 180 or even 200 gram vinyl, the quality of which is excellent. There's really nothing quite as satisfying as a heavyweight vinyl pressing, and these don't disappoint. Neither does the actual richness of the sound – all albums have been re-mastered at Abbey Road Studios in London.

But it's the content that matters, and it doesn't disappoint. Those seeking the more traditional singer and lone guitar approach will thoroughly enjoy the Jones and Gaughan recordings, released originally in 1980 and 1981 respectively.

Jones's Penguin Eggs is a sparse, slow-burning album with often just Jones and his guitar present. The guitar-work is intricate and the subject matter often involving and emotional, while Jones's plaintive voice drifts out of the speakers and draws you in. Small wonder that Dylan covered the opening track Canadee-i-o on his Good As I've Been To You album in 1992.

Gaughan, on the other hand, is a protest singer in the truest mould, and his Handful of Earth – released in 1981 at the height of an economic downturn in Thatcher's Britain – simmers with barely-concealed fury.

Gaughan: Handful of Earth

It's a great English folk record, and in his sleeve note Billy Bragg, the Bard of Barking himself, says: "Until I heard Gaughan I was a protest singer with a small 'p'". Throughout the guitar crackles and Guaghan's expressive vocals pour scorn on the state of the world. Strange how nothing changes isn't it...?

The Waterson/Carthy folk heritage is legendary, with Eliza Carthy carrying the torch well and truly forward into the 21st century, subtly shifting the boundaries of folk, but firmly adhering to its traditions at the same time.

2008's Dreams of Breathing Underwater is a fluid and funky record that encapsulates traditional melody, with additional stylings such as dub, reggae and even a Mariachi band. It's accomplished and takes no prisoners, with Carthy's voice as seductive and sweet as ever.

Eliza Carthy: Dreams of Breathing Underwater

Finally, you've got Lal Waterson's Once In A Blue Moon, originally released in 1996 and produced with her son, Oliver Knight. It's a truly late-evening record, full of haunting melodies and sad words and is something that can genuinely be regarded as a lost classic. Purists may object to the use of electric guitar in conjunction with such a pure and beautiful voice such as Waterson's, but throughout it's a record to keep you mesmerised.

Incidentally, each album comes in a limited edition of 1,000 copies, so if you are thinking about buying one – and you should – then don't delay!

These albums really do fall into the category of lost masterpieces and all credit to Three Black Feathers for bringing them back to light. The company has more releases up its sleeve soon. Personally, I can't wait.

For more details on Three Black Feathers check out the website, e-mail them at info@threeblackfeathers.co.uk, or call them on 01684 899457.

And if you make it to the Bristol Sound & Vision Show from February 26th-28th, you'll find Three Black Feathers exhibiting there.

It Might Get Loud - Blu-ray review

Andy Kerr — Fri, 15 Jan 2010 22:29:00 GMT

Rock documentary. Be honest: the next words that entered your head were ‘This is Spinal Tap’, right? Yet, helmed by An Inconvenient Truth director Davis Guggenheim, It Might Get Loud couldn’t be further removed from Rob Reiner’s majestic spoof.

Instead of lampooning rock’n’roll excess, it stands as an homage to the allure of the guitar, an earnest attempt to explore its enduring attraction for millions of music-lovers the world over. Conceived by producer Thomas Tull – an amateur axe-man, unsurprisingly – it brings together three celebrated guitar gods, each from a different generation of music, each emblematic of a specific musical approach and each willing to chat with his fellow guitarists about what makes the guitar so special to them. Tull says “on a global level, the personification of contemporary music is the guitar” and, while that sounds more than a little pompous, it’s a credo that actually makes sense the more you think about it. Look at Guitar Hero, for starters.

Guggenheim’s film revolves around this endearingly informal three-sided conversation – somewhat grandiosely badged a ‘Summit’ – intercut with one-to-one interviews with each of his three stars. And what stars they are: Jimmy Page seems entirely comfortable as the group’s understated elder statesmen, The Edge slips seamlessly into the role of technically accomplished, gadget-obsessed experimentalist, and then there’s Jack White, all awkward hair, disconcertingly pasty complexion and harrowing intensity, his determined view that “I want it to be a struggle” exemplified in the film’s first frames, where he assembles a functioning diddly bo guitar out of what appears to be the contents of an average hillbilly dustbin.

They seem unlikely bedfellows, and on occasion White’s evident disdain for the U2 man’s tech-driven approach threatens to bubble up into outright hostility. But Page’s Alpha-male status always keeps a lid on proceedings, partially because he’s so innately charming – and so clearly revelling in the occasion – and partially because the others clearly worship the ground he walks on. This is never more obvious than when he picks up his beloved Gibson to belt into a searing rendition of Whole Lotta Love’s juddering riff: immediately White and The Edge, world-renowned superstars both, adopt the rapt grins and frozen posture of fanboys awestruck in the presence of greatness.

Of course, it’d be easy for all this enthusiasm to become wearing, but Guggenheim sensibly keeps to a taut running time, only seldom allowing his charges the scope to stray into pomposity (ironically, it’s the younger men who are most inclined to tread that particular path). The only downside to this approach is that you’re seldom, if ever, treated to a full song: only the trio’s formidable three-pronged assault on In My Time Of Dying earns longer than a minute’s screentime, save for an enjoyably acoustic rendition of The Weight over the closing credits.

For that reason, this is no great test disc, whatever the promise of its DTS-HD Master Audio score, although its HD-captured video is undeniably pristine. Yet that shouldn’t detract from It Might Get Loud’s obvious charm for any music lover. Tull says “I made this film for people like me, people who love music and the experience of a live show”. If that’s you – and it probably is, given where you are right now – it’s a must-see.

4 stars

Picture: 1.85:1 (1920x1080p)
Sound: DTS HD Master Audio 5.1

It Might Get Loud is released on Blu-ray and DVD on 18th January, but you can order it now from the usual retailers. Amazon has it listed at £15.98, while you'll pay a whole penny more to buy it from Play.

The Taking of Pelham 123 - Blu-ray review

Tom Parsons — Thu, 07 Jan 2010 23:04:00 GMT

The Taking of Pelham 123 is a movie with all the right ingredients: action movie stalwart Tony Scott directing Denzel Washington and John Travolta as they square up against each other as deal-maker and hostage-taker in the remake of a much-admired heist flick of the same name from the early ‘70s.

Unfortunately, all is not as rosy as you might expect. The script is full of clumsy, contrived dialogue and clichéd characters, while the jump-cut style of Scott’s action scenes actually serves to undermine, rather than enhance the tension.

The manic gurning that Travolta peddled in Face/Off and Swordfish is back once more, and it’s beginning to wear thin – worryingly his next project, From Paris with Love, seems to have him pulling the same faces yet again.

Wasted talent

A solid, if unspectacular performance from a fattened-up Washington keeps things ticking along at a reasonable lick, but the heavy-handed dialogue leaves even hugely talented actors like John Turturro and James Gandolfini with little room to exercise their ability.

Still, the picture is very clean and reasonably detailed, and the subway setting means your display’s black depth and insight will be thoroughly tested. Similarly, when the action does kick in, your surround package will be asked to reproduce fast-moving effects and decently deep bass.

So, what does all that add up to? That’s right; a decent test disc that’s also a reasonable, but not essential way to spend a night in.

3 stars

Picture: 2.35:1 (1920 x 1080p)
Sound: DTS HD Master Audio 5.1

The Taking of Pelham 123 is released on Blu-ray and DVD on January 11th. Blu-ray pre-order prices are all around the £16-mark, with Lovefilm proving to be marginally the cheapest at £15.93. Amazon and Play are offering it at £15.98 and £15.99 respectively.

The Hurt Locker - Blu-ray review

Andy Kerr — Tue, 05 Jan 2010 14:00:00 GMT

How ironic that amidst all the sound and fury of Hollywood’s high-concept, effects-heavy summer outpourings, Kathryn Bigelow’s comparatively low-budget war movie should deliver some of the most profound thrills we’ve experienced in modern cinema. Produced for just $11 million, it’s an adrenaline ride of the highest calibre.

Its heart-pumping intensity is only one of many facets to its appeal: this is a war movie that makes you yearn for peace, yet carefully, splendidly, it never undermines the heroism of its stars – ordinary soldiers struggling to cope with extraordinary circumstances. The story of a bomb-disposal team struggling to survive against the backdrop of a war-torn Iraq, The Hurt Locker questions motivations, not morality: when asked in a Newsweek interview to sum up her latest thriller, Bigelow said: "War's dirty little secret is that some men love it. I'm trying to unpack why."

That she pulls it off – that the film is at once so thrilling and so unsettling in the revelations it uncovers about the true nature of war – is testament to both her own talents as a director and the remarkable performances she coaxes from her carefully judged cast.

Unknown stars shine bright

Few, if any of her ensemble can lay claim to star status: you might recognize Jeremy Renner as lead protagonist Staff Sergeant William James from his previous outings in a supporting role, but little of his earlier work hints at the quality of the performance he has conjured here. His colleagues – Anthony Mackie as Sergeant Sanborn, and Brian Geraghty as Specialist Eldridge – are even less well-known, but don’t misread this approach as a cost-cutting exercise: it’s a deliberate ploy to help ground the action and heighten the tension to almost unbearable levels.

You identify with these young men as men, not as stars in khaki: because of their lack of Hollywood baggage, they seem at once entirely credible young soldiers and vulnerable, camo-clothed equivalents of Star Trek’s doomed red-shirted extras. Bigelow’s eagerness to kill off the movie’s only two A-list stars – each merits only a five minute cameo – makes the technique even more effective.

Intense presentation

And the action? Shot using handheld 16mm cameras, it’s grittily real. Bigelow has framed her images at 1.85:1 letterbox, Saving Private Ryan style, and is similarly willing to employ film grain, motion blur and rapid, disorientating pans in her quest to intensify the fly-on-the-wall feel. Sound, meanwhile, is spectacularly immersive, most obviously during the film’s firefight sequence, as a sniper engages James and his crew mid-desert: few films will make such extensive and disorientating use of your home cinema’s rear speakers.

The Hurt Locker is a triumphant achievement. Its premise is quite simple, its narrative equally straightforward, but that doesn’t stop it from being one of the most compelling war films you’ll ever see – and even if you don’t like war films, you’ll surely be swayed by its thrilling intensity. James Cameron described his ex-wife’s film as “Platoon for the Iraq War” – praise indeed, but not unmerited.

5 stars

The Hurt Locker is out now on Blu-ray and DVD. Pretty much everyone seems to be offering it for around £16, including Amazon and Play.

District 9 - Blu-ray review

Clare Newsome — Tue, 22 Dec 2009 14:25:00 GMT

Neill Blomkamp’s genius, and the secret of District 9’s appeal, lies in simplicity. The screenplay, which he co-wrote, isn’t hugely original: many of its key plot devices have been used before, most notably in James Caan’s 1988 sci-fi actioner Alien Nation.

But where others might wheel out an assortment of A-list superstars to dazzle you into submission, the 29-year-old South African director has instead fashioned his triumphant thriller using a cast of relative unknowns and a meagre (by Hollywood standards) budget of $30 million.

It’s the strength of the casting, the quality of the direction and above all the power of the lead performance that makes District 9 so memorable: it’s possibly the most intelligent, compelling sci-fi we’ve seen in years.

How does it look?
Of course, District 9’s key conceit – that aliens are real, living among us and being subjected to the sort of cruelly inhumane mistreatment that only mankind can muster – simply wouldn’t work if the special effects weren’t up to par, yet for all the modest expenditure involved, they appear miraculously convincing.

Spaceships, giant mechanical robo-suits, and, most dramatically, the myriad alien ‘prawns’ all appear consistently, remarkably real, and all add to the disquieting sense that District 9 isn’t a film at all, but some sort of fly-on-the-wall documentary insight into real events.

Picture downscaled for Blu-ray
Blomkamp’s steadycam style helps: shot entirely in 4K digital using lightweight HD cameras, it looks astonishing even on lower resolution Blu-ray, its image eschewing the grainy style favoured by some directors searching for authenticity (see Kathryn Bigelow’s The Hurt Locker) in favour of a pristine, TV-style clarity.

The direct-to-camera expository style of the opening scenes adds to that made-for-TV sensibility, even if Sharlto Copley’s nerdish, needlessly bureaucratic Wikus Van De Merwe cuts an especially dislikeable form during the film’s early stages. But you need to dislike him – or at least, be repelled by him – for the later narrative to work.

After becoming exposed to an alien chemical that progressively rewrites his DNA, it’s Wikus’ terror as his world collapses around him, and his confusion as his friends and family reject his cries for help, that helps him to discover inner reserves his whining former self never thought existed. Ironically, by slowly becoming an alien, he steadily rediscovers his lost humanity. (And if that sounds too 'heavy', it's not; plenty of humour as well as humanity here).

How about the sound?

Fine picture quality aside, there’s enough surround sound entertainment on show here – courtesy of its DTS-HD MA 5.1 soundtrack – to exercise your system’s muscles.

However, despite bags of on-screen action, this isn’t the subwoofer-stretcher many sci-fi films can be. The final confrontation is a stern test of both steering and low-frequency extension, but it’s not in the calibre of, say, Terminator: Salvation. Fortunately, the rest of District 9 is in something of a different league…

District 9 is released on Blu-ray and DVD on December 28th. The best pre-order deal we've found is at Amazon (£15.88); Play.com has it for £15.99; Zavvi for £15.95. HMV is offering an exclusive steelbook edition for £15.99.

Our Top 10 comedy Blu-rays

Andy Clough — Wed, 02 Dec 2009 13:06:00 GMT

Fancy a laugh this Christmas? Then read our reviews and take your pick from our Top 10 comedy Blu-ray discs.

No.1: HOT FUZZ (2007)

Simon Pegg and Edgar Wright's smart copper-com is just as funny as Shaun of the Dead, and has the crystal-clear picture and energetic soundtrack to match.

Vision: 2.35:1
Sound: DTS-HD MA

"Have you ever fired two guns whilst jumping through the air?"
"No."
"Have you ever fired one gun whilst jumping through the air?"
"No."
"Ever been in a high-speed pursuit?"
"Yes, I have."
"Have you ever fired a gun whilst in a high-speed pursuit?"
"No!"

That's the type of barmy back-and-forth you can expect between Simon Pegg's Nicholas Angel and Nick Frost's Danny Butterman in director Edgar Wright's ace police-com Hot Fuzz.

Homage, not mickey-take
The plot's simple enough: elite London copper Angel is making the Met look bad with his prodigious arrest rate, so the top brass transfer him to the sleepy village of Sandford, way out in the sticks.

Of course, not all is as it seems, and a sudden spate of bloody, graphic murders attracts the attention of the gormless, underworked local police force – which Angel has to marshall.

The eagle-eyed will be able to spot references to countless films, including Training Day, Point Break, Supercop and even their own Shaun of the Dead.

"We had Roger Ebert's Little Book of Hollywood Cliches, and made copious notes of every thriller cliche to make sure we could get them in," says Wright.

But this never descends into mickey-taking – there's a deep reverence there, and a recognition (and embracing) of some of the more ridiculous and awesome action-movie set-pieces.

It's the sort of film that you can't help but watch again, either. "I think that in the age of DVD, you owe it to the audience to make a film worth watching more than once," says Pegg. "There are certain things you won't get until you see it twice."

"Yes, it wasn't until the second time I watched it that I realised Edward Woodward is in it," jokes Wright.

Bonus features galore
And in keeping with that admirable philosophy, you can expect a bumper bundle of extras – such as multiple commentaries (including one by virtually every great old British act-or), deleted scenes and outtakes.

This is how a Blu-ray should be: flawless picture, ballsy sound and with enough content to keep you coming back again and again.

No.2: SPINAL TAP (1984)

This 'rockumentary' about a bad band is one of the most quotable films ever. The disc's a great advert for Blu-ray, too, with a solid picture, thunderous DTS sound and lashings of extras.

Vision: 1.78:1
Sound: DTS-HD MA

No.3: BURN AFTER READING (2008)

A misplaced CIA memoir ends up the subject of a bungled blackmail in this laugh-out-loud black Coens' comedy. A sublime picture and near-flawless sound win it our plaudits.

Vision: 1.85:1
Sound: DTS-HD MA

No.4: GHOSTBUSTERS (1984)

They've done a great clean-up job on one of the best-loved films of the 80s. The Aykroyd/Ramis script is as funny now as it was back in the day.

Vision: 2.40:1
Sound: Dolby TrueHD

No.5: KNOCKED UP (2007)

Seth Rogen does a creditable job as leading man in this 'coming-of-age, be a man' comedy from Judd Apatow. A dazzlingly well-produced disc.

Vision: 1.85:1
Sound: DTS-HD MA

No.6: JUNO (2007)

More unplanned pregnancy in this heartwarming tale. Expect a clean, yet still pleasingly grainy presentation.

Vision: 1.85:1
Sound: DTS-HD MA

No.7: SUPERBAD (2007)

Teens desperate to lose their virginity? American Pie? Yes. But this is actually funny, with superb visuals and sound.

Vision: 1.85:1
Sound: PCM 5.1

No.8: THE SIMPSONS (2007)

The plot is a 7/10, but the picture and sound are right up there with the best in this, at times, side-splitting feature.

Vision: 2.40:1
Sound: DTS-HD MA

No.9: LITTLE MISS SUNSHINE (2006)

This black, amiable and funny road movie's picture belies its $8m budget.

Vision: 2.40:1
Sound: DTS-HD MA

No.10: BLAZING SADDLES (1974)

The spoof western didn't make it last year, but its picture has grown on us. The story is, of course, pure genius.

Vision: 2.40:1
Sound: Dolby Digital

Our Top 10 Blu-ray action films

Andy Clough — Mon, 30 Nov 2009 11:33:00 GMT

There's a fantastic selection of action movies now available on Blu-ray, so if you want to give your home cinema system a real workout, choose from one of our Top 10 action films.

No.1: The Dark Knight (2008)

Chris Nolan's brooding Caped Crusader puts in a star turn, but The Joker has the winning hand

Superhero movies are supposed to be cool – but for every smash-hit, Hollywood has served up a plethora of misfiring mistakes, each brasher, louder and clunkier than the next.

Bear than mind when you next watch The Dark Knight, and remember, it stems from the same franchise, or at least premise, that gave the world the cinematic car-crash that was Batman and Robin.

Viewed in those terms, Chris Nolan's second Batman film – which manages, astonishingly, to surpass the heights of his first, already splendid offering, Batman Begins – isn't so much a triumph as a minor miracle.

A strong supporting cast gives the film its foundation, but it's the formidable performances of the two leads that ensure its success. Christian Bale's earnest, angsty turn as the eponymous hero is sturdy and imposing, although we're still not sure why he had to growl his dialogue with quite so much menace.

Perhaps he was trying to stop the threat to his limelight posed by Heath Ledger's massive, movie-stealing performance – and if so, he failed, because for all ofBale's strengths, it's the sadly departed Ledger who dominates. There has never been a better Joker or, indeed, a better villain in any superhero story.

Bat's entertainment
This cast, the director's assured touch and the edgy, worthy script would be assets enough to ensure star status in themselves – but The Dark Knight has one last ace to play (or, if you like, joker in the pack): the quality of its Blu-ray release.

With some scenes derived from IMAX footage and presented in full-frame video, a scintillatingly crisp transfer from frame one to film's end, and sound so forceful it beggars belief, there simply is no better action Blu-ray to buy this year.

Vision: 2.40:1/1.78:1
Sound: TrueHD

No.2: Iron Man (2008)

Tony Stark (Robert Downey, Jr) is a playboy and arms dealer who, after being captured by terrorists, creates a suit – the Iron Man – so he can bust out.

His escape sparks an epiphany and Stark abandons his company's weapons program. Of course, the company's money man, evil Obadiah Stane, doesn't like this. And so begins a fun action romp as the two do battle.

A great picture and obligatory balls-out soundtrack are both present and correct, and director Jon Favreau keeps the action and laugh count high.

Vision: 2.40:1
Sound: Dolby TrueHD

No.3: GLADIATOR (2000)

The Gladiator DVD was a test staple here at What Hi-Fi? Sound and Vision, and the Blu-ray disc is no different. You don't get the hyper-real, eye-popping picture from some Blu-rays, but for every touch of authentic grain you get a dollop of HD detail.

Just the sound as Maximus rises through the gladiatorial ranks to avenge his family and Emperor is never less than exciting, thanks to a meaty 5.1 DTS-HD Master Audio soundtrack. A top disc.

Vision: 2.39:1
Sound: DTS-HD MA

No.4: SPIDER-MAN TRILOGY (2007)

They're perhaps the ultimate blockbuster franchise, so you'd expect the three Spidey movies to be great on Blu-ray. You'd be right, too.

All three have stunning levels of depth and detail (they're all BD50 discs) and the soundtracks are predictably hefty. The films themselves? The first is great. The second is brilliant. The third is... well, OK, a bit too much. But does anyone care? It's still a load of fun.

Vision: 1.85:1
Sound: PCM 5.1

No.5: THE BOURNE TRILOGY (2008)

Poor old Jason Bourne, he's in a pickle, isn't he. We tried to watch this excellent trilogy back to back, and had to stop halfway through for a lie down in a very dark room – such is the frantic energy of the whole rogue-assassin franchise.

That hyper-caffeinated treatment extends to the crisp, noise-free picture and aggressive DTS-HD Master Audio sound, too. A feast for eyes and ears.

Vision: 2.35:1
Sound: DTS-HD MA

No.6: MISSION: IMPOSSIBLE TRILOGY (2007)

Huge explosions! Suspense! More explosions! Toothy scientologist Tom Cruise keeps the 'Midichlorians' (or whatever it is he believes in) in check to deliver three top-quality action flicks.

The trilogy gets better with each film, as does the picture quality. Expect vivid colour and oodles of detail. Your subwoofer will, of course, be flapping merrily away for much of the time. Good-oh!

Vision: 2.40:1
Sound: DD-Plus 5.1

No.7: HELLBOY II: THE GOLDEN ARMY (2008)

An ancient truce between humans and a variety of mystical beings (think trolls, fairies and goblins) is broken, and a vast army of mechanical warriors is about to be unleashed.

Of course, UN sanctions wouldn't really work here, so it's up to Ron Perlman's Hellboy to sort it out. It lacks the subtlety of the first film, but makes up for plot shortcomings with a luscious, punchy picture and aggressive 7.1 soundtrack. It's great fun, too.

Vision: 1.85:1
Sound: DTS-HD MA 7.1

No.8: BRAVEHEART (1995)
Some restorations have caused controversy, but Braveheart's an exception: most would agree that this is a sensational disc, its picture and sound coming firmly out of the top drawer.

As for Mr Gibson's perspective on history – well, as Fergus Cannan, medieval historian and contributor to the Blu-ray's extra features puts it, "It's a film, not a history book. It's the story of the man becoming the myth." And a damn good action movie, too...

Vision: 2.35:1
Sound: DTS-HD MA

No.9: 300

Based Frank Miller's awesome graphic novel following 300 Spartans as they face-off against the Persian army, this big-screen adaptation shares the same ultra-stylised, sepia-tinted comic treatment and off-the-chart levels of violence.

Director Zack Snyder's style stops it from feeling too gratuitous, though – indeed, much of it's funnier than you'd think. A crisp (if edgy) picture and muscular sound complete this high-octane epic.

Vision: 2.35:1
Sound: PCM 5.1

No.10: CRANK 2: HIGH VOLTAGE (2009)

You'll get a stunning picture here, with detail to die for. The 7.1-channel soundtrack, likewise, is awesome. As is this film. It's the most brilliantly offensive, confusing, funny, baffling, jaw-dropping, frenetic, sweary, violent, relentless, awful piece of cinematic genius we've ever seen.

There are cringe-worthy moments, as well as all-out belly-laugh ones. This film just never lets up. It's amazing.

Vision: 1.85:1
Sound: DTS-HD MA 7.1

Playlist: this month's top test discs

Tom Parsons — Sat, 28 Nov 2009 09:00:00 GMT

Welcome to this month's Playlist in which we pick the latest movies, music and games to test your system with. Got an opininon on any of our reviews? Then tell us what you think at www.whathifi.com/forums.

THE WIZARD OF OZ/GONE WITH THE WIND
£22.99 BLU-RAY
Out now
5 stars

1939 will naturally always be marked as a dark year in history, but it was also a lighter landmark, seeing the release of two classic movies – The Wizard of Oz and Gone with the Wind – that have entertained global audiences for the subsequent 70 years.

Both are fresh out on Blu-ray – and fresh is the word for high-definition restorations that truly allow you to see the films as you never have before.

As fascinating documentaries on the restoration process (available in the Extras for both movies) detail, these movies have been remastered from the original 35mm Technicolor camera negatives.

Each of the three master negatives (Technicolor captured separate red, green and blue reels) was scanned in ultra high-resolution 8K format, then digitally aligned to pixel-perfect precision, then a 4K, 16-bit colour 'capture' master created.

To put that in context, each frame of that final master contains 50MB of information: oh yeah, these babies are ready for resolutions far beyond that of Blu-ray!

A time-consuming restoration job
Before the Blu-ray transfer was created, the restoration team then had to do further work on addressing film damage, colour fading and more. The first 10, sepia minutes of The Wizard of Oz alone took 91 hours to clean up....

All the hard work is worth it. Even if you've got the restored DVDs, the Blu-rays are a massive step up in quality. From Judy Garland's freckles, to the burlap face of the Scarecrow to the texture of Scarlett O'Hara's dresses, the detail's astonishing, the colours vibrant, the backgrounds almost three-dimensional.

The picture isn't perfect – print damage is occasionally visible, as are some production/set flaws, and film grain. However, as one restorer says: "We could polish these things up - but you'd never recognise them, you'd lose the charm."

Sonically, the improvements are less dramatic. The 5.1 mix created for the DVD release of Oz gets a Dolby True HD upgrade that clarifies both dialogue and songs, while Gone with the Wind also gets a subtle HD boost. Purists can choose to hear the original mono mixes – also cleaned up.

Finally, a brief mention for It's a Wonderful Life, also making its Blu-ray debut. The picture looks as crisp as Bedford Falls snow, and the stereo mix is effective. Just avoid the abomination that is the 'colorized' version.

So, classic movies on Blu-ray? Frankly, my dear, we do give a damn.

Wizard of Oz: 1.33:1 (1080p)
Dolby True HD; Mono
Gone with the Wind: 1.37:1 (1080p)
Dolby True HD; Mono

HEAT
BLU-RAY
Out now
5 stars

Public Enemies might be a bit disappointing, but the Blu-ray release of Heat, Michael Mann's original heist movie, makes up for it. The HD transfer isn't as crisp as it could be, but the soundtrack is exceptionally dynamic and weighty – just wait for the final shootout.

2.35:1 (1920x1080p)
Dolby TrueHD 5.1

ICE AGE 3: DAWN OF THE DINOSAURS
BLU-RAY
Out now
4 stars

Where most modern animated films attempt to humour adults as well as kids, the Ice Age films play straight for the nippers. Still, while they're giggling away, you can revel in the pristine CGI and vibrant colours. Your flatscreen never looked so good.

1.85:1 (1920x1080p)
DTS HD MA 5.1

MOON
BLU-RAY
Out: 16th November
5 stars

This story of a lone astronaut's time on a lunar space station is beautiful and brilliant, both directorially and thematically. Although it's got its twists, it doesn't mess with the head to a frustrating degree, and the ending is more satisfying than you might expect.

As the main character, Sam Rockwell has a huge weight on his shoulders, but he once again proves himself to be one of the most versatile and convincing actors around, while Kevin Spacey introduces just the right amount of creepiness into the film's HAL-like AI.

Add TV-challenging whites, blacks and general picture neutrality, plus Clint Mansell's wonderful, atmospheric soundtrack (also available on CD), and you've got one of our favourite films of the year.

2.35:1 (1920x1080p)
DTS HD MA 5.1

BLOOD: THE LAST VAMPIRE
DVD
Out now
2 stars

A samurai-schoolgirl takes on grotesque demons in this highly stylised action horror. It's hugely gory, with buckets of blood and squelchy sound effects. There's nothing wrong with that necessarily, but it's also rife with dreadful effects and even-worse acting.

The film's actually a re-imagining of a Japanese anime of the same name, also now available on Blu-ray. Check that out instead - it's shorter, but somehow also more convincing and spectacular.

2.35:1 (Anamorphic)
Dolby Digital 5.1

PUBLIC ENEMIES
DVD
Out now
3 stars

The story of John Dillinger, the FBI's first 'Public Enemy Number One' should be an absolute cracker. However, although it reveals loads of detail, Michael Mann's digital filming technique feels at odds with the 1930s setting, lending it something of a made-for-TV feel that seems to rob the surroundings of grit and atmosphere and leaves the action scenes short of excitement and immediacy.

Another of Mann's key traits is lead characters that blur the line between good and bad. That's evident here, but unlike much of his other work, in Public Enemies there seems to be a relative lack of depth that makes it hard to feel any genuine emotion for either Johnny Depp's Dillinger or Christian Bale's Melvin Purvis.

2.35:1 (Anamorphic)
Dolby Digital 5.1

STAR TREK
DVD
Out now
5 stars

We'll admit to having been rather cynical about this Star Trek reboot, but we needn't have worried: J.J. Abrams has produced a film that's as honest to the original as it is entirely fresh. There's enough continuity in the characters and settings (as well as plenty of in-jokes) to satisfy the die-hard Trekkies, but it welcomes, rather than alienates (pun totally intended) those who are fresh to the Star Trek franchise.

By DVD standards this is very detailed, and the frequent fast motion will prove a genuine test of your flatscreens motion processing. Of course, if that's not good enough for you, you could opt for the Blu-ray version, which features in our Top 10 Sci-fi Films on Blu-ray feature.

2.35:1 (Anamorphic)
Dolby Digital 5.1

GAMES

BORDERLANDS
Xbox 360/PS3
Out now
4 stars

For all of its brilliance, Fallout 3 is a fairly slow-paced game. Borderlands, the latest game to splice the first-person shooter with the RPG, is anything but. Instead, it's frantic, thrilling and non-stop, with hordes of enemies attacking from all angles at once. In fact, you'll be running away almost as often as standing your ground.

The actual structure borrows heavily from massively-multiplayer online role-playing games (MMORPGs) like World of Warcraft, with questing, leveling-up and looting featuring heavily. Like those games it's also far superior when played with friends. Assuming you can get an Xbox Live party together for four-player co-op and aren't adverse to games that involve comparing tonnes of weapon stats, Borderlands is an absolute treat. The beautiful, cel-shaded graphics are just the icing on the cake.

CALL OF DUTY: MODERN WARFARE 2
PS3/Xbox 360
Out now
5 stars

This is perhaps the most eagerly awaited game of all time, and with all the hub-bub surrounding that airport scene, everyone now knows of Modern Warfare 2. So, is it actually any good? Of course it is! For most people this will be exactly what they were hoping for - a gripping, spectacular campaign mode, a selection of challenging and varied co-op missions, and the best first-person deathmatch action yet to hit consoles.

As is Infinity Ward's way, presentation is stunning, both in terms of graphics and sound. Make sure you turn your TV's motion processing off to avoid death-by-smearing, and ensure your surround system's properly calibrated so that you get the full bullets-whizzing-passed-your-head effect.

FORZA MOTORSPORT 3
Xbox 360
Out now
5 stars

Microsoft's rival to Sony's Gran Turismo series is now in its third iteration, and it's better than ever. There are now over 400 cars and 100 tracks, as well as more exciting handling, stunning graphics and even better sound.

Customisation is more in depth than ever before, but this is countered by an auto-upgrade option to make sure your chosen motor's in the best shape it can be for the upcoming race.

There's now more of a career feel to the single player, and it's a real challenge on the harder difficulty settings. Oh, and go for the cockpit viewpoint, it's about as close to real racing as you can get without the smell of burning rubber.

UNCHARTED 2: AMONG THIEVES
PS3
Out now
5 stars

Nathan Drake returns for a second dose of Indiana-Jones-meets-Lara-Croft action and adventure. This is one of the most beautiful and cinematic games ever released, and the 7.1 LPCM soundtrack is brilliantly detailed and dynamic. The PS3 might not be rife with killer exclusives, but Uncharted 2 might just be worth the price of the console all on its own.

MUSIC

EDITORS
IN THIS LIGHT AND ON THIS EVENING
4 stars

Editors' switch from guitar-based melancholy to synth-tastic soundscapes will upset some fans, but it's largely successful, with the multi-layered techno-attack of Papillon proving a particular high-point. Only kit with spot-on rhythmic rigidity need apply.

MR. HUDSON
STRAIGHT NO CHASER
4 stars

Take the smooth, American production of Kanye West and add the very English lyrical introspection of Ben Hudson, and you've got an R&B album that's impossible to dislike. The clean sound requires plenty of precision from your system, and deep bass extension is a must.

SEASICK STEVE
MAN FROM ANOTHER TIME
5 stars

Groovy hobo Seasick Steve's third album is another all-analogue affair that sees him playing every instrument, except the drums, himself. Those instruments include the Diddley Bow, effectively a plank of wood with a single string. It's a gloriously honest, open and stripped-down joy.

Our Top 10 TV shows on Blu-ray

Andy Clough — Mon, 23 Nov 2009 14:45:00 GMT

We love a bit of telly, and no more so than when it's in glorious high definition. Here's our selection of current top TV shows on Blu-ray:

No.1
ROME (2009)
This exceptional HBO co-production with the BBC looks stunning. With a strong cast, it's a consistently engaging and entertaining watch.

Vision: 1.78:1
Sound: DTS-HD MA

It appears most of Britain adores the prospect of an evening in with Strictly or the X-Factor, so we're not going to attempt to preach to you about the relative merits of reality television.

All we'll say is hurrah for HBO: from where we're sitting, the combined televisual output of America's Home Box Office deserves huge respect, and provides a welcome alternative to mainstream broadcasting's current obsessions.

So from the company that brought you Band Of Brothers and True Blood comes Rome, like Band Of Brothers developed as a collaborative project with the BBC.

An epic tale of political intrigue, surreptitious scheming and, on occasion, flat-out war, it's made using an adult, warts-and-all approach that some viewers might find a little shocking, and which led to a few more vociferous critics unfairly dismissing the series for its glamourised, 'sex, swords and sandals' perspective on ancient history.

But whatever the critics said – and it should be pointed out that most were enthusiastic supporters of the show – TV audiences were unequivocal in their love for Rome's unflinching approach.

Yes, it's true that some of the violence, particularly in the scenes of gladiatorial combat near the end of series one, make Gladiator look like a teddybear's picnic by comparison, but somehow, it all seems vaguely appropriate to the times, and if the camera lingers on the odd decapitation a little longer than you'd expect, well, those were tough times.

Besides, would you rather be talked down to or treated like a child, like most TV shows do? Exactly...

It should come as no surprise that there's a grown-up and impressively cinematic feel to proceedings: co-creator John Milius cut his teeth screenwriting film classics such as Dirty Harry, Apocalypse Now and Clear And Present Danger, and since he also gave the world Conan The Barbarian, he clearly ought to know his way around a fight scene or two.

His fellow creators William Macdonald and Bruno Heller are hardly ingenues either, while the cast – almost all of whom are Brits – make the most of the meaty material given them.

Kevin McKidd excels as hard-bitten centurion Lucius Vorenus, Ciaran Hinds and James Purefoy are typically excellent as Caesar and Mark Antony respectively, but it's the show's two central rogues – Polly Walker's scheming, sensual Atia and Ray Stevenson's formidable Titus Pullo – who steal the show.

Each character simply demands your attention, each as repellent as they are magnetic: Pullo, in particular, conjures an easy amiability even as he brutally stabs David Bamber's Cicero in the neck.

However, it's the developing relationship between initial enemies Vorenus and Pullo that most grounds the show – and if the duo eventually morph into an ancient-world equivalent of Lethal Weapon's Gibson and Glover, well, it's hardly the end of the world.

Rome's a sprawling 22 episode epic, and this ten disc Blu-ray set gives you the lot, plus exceptional extra features - a total of 22 hours of content. It's presented superbly, from the animation of the menus, and picture quality throughout is simply extraordinary. Sound is fine too, if a little less dramatic – but that's the only aspect that doesn't stun here.

No.2
BATTLESTAR GALACTICA (2009)
A space epic of grand proportions, or a morality tale on a very human level? Galactica is all of these and more: it's clever, exciting, brutal and brilliant. This Blu-ray set's a lot of money, but it'll keep you glued to the screen for weeks to come.

Vision: 1.78:1
Sound: DTS-HD MA

Mention to a non sci-fi fan that you've just got the Blu-ray box set of Battlestar Galactica, and they'll probably wince and ask if that was the one that had Face Man out of The A-Team in it.

Well, yes. And no. For this is Ronald D. Moore's reimagined version. Gone are the twee theme music, slightly tongue-in-cheek characters and ropey, sub-Star Wars special effects – replaced with energy, moral ambiguity and explosions. Lots and lots of explosions.

"We've told this story in a much more resolved and fuller way than the original ever did," says Jamie Bamber, who plays Captain Lee 'Apollo' Adama. It's true: this version has over 70 episodes, compared to the original's 21.

And, in a departure for most America TV series, it has an ending that isn't a hurriedly put-together, hour-long, post-cancellation clip-show. Galactica's makers dictated when the show was going to come to an end, not the TV network.

Why? "If it doesn't end, the journey has no meaning," says Bamber, adding: "When we got there, it was a real sense of satisfaction and achievement; it has a structure that makes it better than it would've been if it was still going".

It's this sense of finality and unity that makes this massive Blu-ray box-set so compelling to watch. It's the kind of series that'll have you saying: "Oh, go on, then - just one more, then bed" until well into the wee hours.

More than one cast member has spoken of an friendly, creative atmosphere on set – and that shines through in their performances; you really do start to believe these people are real, and go through their adventure with them. That makes this set a real keeper, says Bamber: "This show is going to be discovered by people for many years to come, and I'm excited by that".

And quality? Pictures are true to the TV broadcast, which is to say they can be distressed and grainy on occasion: it takes some getting used to. Sound, on the other hand, requires no equivocation: it's formidable throughout. So, it's intelligent TV, and a home cinema tester, too.

No.3
STAR WARS: THE CLONE WARS (SEASON ONE BOX SET (2009)
Ah, George: why did you ever inflict Hayden Christensen on us in the first place? Animated Anakin is much more like it: he whines less, fights more and, best of all, he doesn't get drowned in droning exposition every five minutes.

What we have here is distilled essence of Star Wars, all adrenaline-rush action, kick-*** spaceships and dazzling 1080P visuals.

There's more excitement on offer in one 22-minute show than an all three of the live-action prequels combined, and this Blu-ray's superb presentation gives the top production values full rein. It's simply essential Saturday-morning viewing: who cares if it's supposed to be for kids?

Vision: 2.35:1
Sound: Dolby Digital

4 BAND OF BROTHERS (2007)
War is hell, and this sterling BBC/HBO co-production ably makes the point: deftly steering its way past schmaltzy excess, it's a brilliantly paced and classily shot action adventure of the highest calibre, with every one of its ten episodes demanding your attention.

The DTS-HD MA soundtrack is a formidable ally throughout, its deep, fully extended bass giving your system the sternest of workouts. Images are pin-sharp too, with an authentic desaturated look to boot.

Vision: 1.78:1
Sound: DTS-HD MA

5 PLANET EARTH (2008)
The Beeb's stunning documentary series remains a standard-setter of its type, and this lavishly packaged Blu-ray does it full justice.

Presented in 1080i (as it was originally shot) the five-disc set looks thrillingly detailed throughout, with almost every scene containing an HD 'wow' moment.

Most testing scene? In our view, it's when the Great White shark leaps from the water to devour a seal.One to slow-mo your way through.

Vision: 1.78:1
Sound: Dolby Digital

6 24 (SERIES SEVEN) (2009)
It's four years after CTU's disbandment, and Jack Bauer is in front of the senate being grilled about his illegal use of torture. But – of course – something's afoot.

So, away Jack goes, torturing baddies (again), fighting ex-colleague Tony Almeida and taking on the shadiest of anti-government conspiracies. All in a day's work then. We can't fault the discs: deep detail, fast movement and meaty sound all satisfy.

Vision: 1.78:1
Sound: DTS-HD MA

7 TRUE BLOOD (2008)
Take some vampires, take them out of the normal, Us vs Them world they've inhabited in the likes of Blade, Buffy and, of course, the Dracula legend, then bung them in a small Louisiana town.

Now make them campaign for equal rights. This is the compelling premise behind Alan 'Six Feet Under' Ball's series – and it works. This HBO show makes a solid box-set, with a great-looking picture that'll keep you watching well into
the night. Better keep the lights on.

Vision: 2.40:1
Sound: DTS-HD MA

8 BEING HUMAN (2009)
Vampires are clearly 'in' at the moment. So, a werewolf, a vampire and a ghost are sharing a flat together in Bristol: it sounds like the start of a joke.

But it's really the start of this top-notch BBC horror/drama/comedy. We liked it immediately, and really warmed to its flawed characters as they try to live a normal life despite their 'conditions'.

It's much gorier than you'd think, too. As with most BBC BDs, you'll be greeted with a crisp, vivid picture that draws you in.

Vision: 1.78:1
Sound:Dolby Digital

9 YELLOWSTONE (2009)
The BBC's Natural History unit strikes again: each of these three 50-minute documentaries is yet another poster advert for the virtues of high-definition, its picture quality providing hour after hour of 'did you see that?' insight into life in America's Yellowstone National Park.

Filmed and presented in 1080i HD, it looks great. We'd question the value (Planet Earth seems a better deal) but documentary lovers will love this anyway.

Vision: 1.78:1
Sound: Dolby Digital

10 PSYCHOVILLE (2009)
It's easy to forget how subversive British comedy can be. It might be League of Gentlemen in different rags, but this dark comedy-mystery is the much-needed dark in the BBC's canon of light programming.

The robust picture has a suitably 'organic' feel, but the DD 5.1 soundtrack is the prize here, offering subtle atmospherics and grand histrionics as the series' tone goes from the grimily sublime to the near-genius ridiculous.

Vision: 1.78:1
Sound: Dolby Digital

+ TEN BLU-RAYS TO MISS!

1. Land of the Lost
2. The Love Guru
3. The Spirit
4. The Day the Earth Stood Still (2008)
5. Batman & Robin
6. The Happening
7. Rambo (2008)
8. Meet the Spartans
9. Planet of the Apes (2010)
10. Zombie Strippers

Our Top 10 sci-fi films on Blu-ray

Andy Clough — Wed, 18 Nov 2009 11:10:00 GMT

With Star Trek out on Blu-ray this week, we thought we'd bring you our choice of Top 10 sci-fi films on Blu-ray, plus an interview with the key players on the latest outing for the Star Trek franchise.

No.1
STAR TREK (2009)
Join a fresh-faced Kirk and Spock as they lock horns for the first time on the Enterprise and then duke it out with a Romulan baddie bent on revenge. Leonard Nimoy also shows up, which you'd think might be confusing. And is. But not in a bad way. Oh, just see it...

Vision: 2.35:1
Sound: Dolby TrueHD

"It was a very profound experience for me," muses Zachary Quinto, the man chosen to don the pointy ears and play the cool, logical foil to the reckless captain James T. Kirk in the latest addition to the Star Trek franchise. "I'm glad
to be part of something I am genuinely excited about and feel really proud of."

We'll admit, when we first heard there was going to be a prequel, eyebrows were raised. Then when we heard that JJ 'Lost' Abrams was going to be at the helm, foreheads were corrugated as well. Could he pull it off? Is he a Trekker? Hell, do we even trust him at all? The man wrote Armageddon, for God's sake...

Down in our testing room, there was a collective intake of breath at the opening scene - where the USS Kelvin faces off against an impossibly huge Romulan vessel. That breath was then held for pretty much the next two hours until the very end, where... well, you'll just have to see it, won't you.

So then, there'll be no prizes for guessing what we think is going to be the bulldozing Blu-ray sales machine this Christmas.

And it's a different experience than you might think. Those of us brought up on the original series or The Next Generation will be expecting a pristine future; one where money, war (among humans, at any rate) and poverty are all anachronisms. Not so in the universe Abrams has created. This one's visceral and violent.

Set your faces to 'stun'
But Abrams was conscious of not overdoing it. As stunning as the effects are, visual set-pieces count for nothing if the story isn't there - just look at Star Trek V. "None of the visual effects would matter if you didn't care about and believe those characters," Abrams says. "That was the goal.

"We wanted to make the thing feel real and alive," he adds. "A lot's over the top, you know - it's a clear fantasy - but I really wanted to make sure you believe it, and the only way to do that is with the characters."

How to portray such iconic characters was something the cast agonised over. Chris Pine, aka Kirk, decided against a straight William Shatner impression. "That wasn't the mandate that JJ had set forth at the beginning. It was time to breathe new life into these characters. I felt I had gotten enough of the series and the spirit with which Gene Roddenberry had created it," Pine says.

But while the rest of the cast had big shoes to fill, Quinto's pair was humungous. And there in the room with him in the shape of Spock Mk.1, Leonard Nimoy. Any nerves? "I didn't feel any pressure from him. From the very beginning he was so supportive and welcoming," says Quinto.

While some involved in the production came in cold, Simon Pegg, or Scotty to his space-pals, had a slightly different experience: "To become part of it, as a nerd, which is what I am, and I'm sorry but it's true, is extraordinary. It was odd to have Leonard look at me, say lines and me not to become very excited and need to go to the toilet. I never went into this wanting to impersonate James Doohan. I wanted to pay homage to him".

We could go on. But that sense of arm's-length reverence pervades the production. The characters are freshened-up, but still recognisable - Karl Urban nails it as Bones McCoy - and the little touches still cater to the die-hard fans. The continuity is there.

We don't want to give too much of the plot away, but suffice it to say, it's a very good one. Following Kirk from before he even sets foot on the Enterprise makes for a wide-open story - and, as Abrams wanted, lets the characters evolve in new and interesting ways.

It's not without its comedy moments, either, with most of the laughs coming from the sharp back-and-forths between Kirk and McCoy: "Dammit, Jim, I'm a doctor, not a physicist!".

So, that's the arty stuff. What about the disc? Awesome. Sharp, clear and with the kind of punch you'd get from an angry Klingon after you'd just chatted up his missus. The sound, in its 5.1-channel Dolby TrueHD glory, is weighty and full, with the kind of sofa-shaking bombast you'd expect from a blockbuster.

And this reboot has a twist – one that retains the integrity of all the Trek past, while letting the franchise boldly go where it hasn't gone before. It's a winner – an essential disc.

No.2
BLADE RUNNER (1982)
Harrison Ford was a superstar after Star Wars and Raiders – so Ridley Scott's grimy, dystopian tale of replicants, revenge and romance was a career risk. Which initially didn't pay off.

There are four official (and seven unofficial) versions of this now-classic future-noir masterpiece – but we think that this, the Final Cut, is the best. The picture is, to say the least, jaw-dropping – among the finest remastering jobs we've ever seen.

They've done a lot of work, including fixing lip-sync issues and even re-filming and digitally correcting the dramatic scene where replicant Zhora (Joanna Cassidy) smashes, in slow-mo, through the panes of glass. This film is a bona-fide classic, and this final version really does it proud.

Vision: 2.4:1
Sound: Dolby TrueHD

No.3
TRANSFORMERS (2007)
Check your brain at the door. Two factions of warring robots from the destroyed planet Cybertron arrive on Earth to battle it out over a gizmo that will decide the fate of the universe. Yeah, we know, it's not exactly cerebral - but who cares?

The Blu-ray transfer is amazing; it sounds truly massive through a capable system, the CG is almost photo-real, and it has Megan Fox in it. What's not to like?

Vision: 2.40:1
Sound: Dolby TrueHD

No.4
X-MEN 3/WOLVERINE (2009)
We're including the whole saga here: the original X-Men Trilogy as well as Wolverine's own spin-off outing. It's fair to say that, plot-wise, the series started off iffy and went downhill from there - but in terms of a fun high-def experience, it has few equals.

The cooling-tower scene in Wolverine is a sight to behold on a big screen with its near-flawless picture, packed with detail and vibrancy.

Vision: 2.35:1
Sound: DTS-HD MA

No.5
THE MATRIX TRILOGY (2008)
Again, a trilogy that got ropier with each instalment – but, again, don't let that put you off. It's fantasy, after all. The transfer here is excellent, with deep, inky blacks and plenty of detail.

The weird colour treatment when the characters are in the artificially created world is preserved nicely, and the sound during the frantic fight sequences is good and... well, punchy.

Vision: 2.40:1
Sound: Dolby TrueHD

No.6
I, ROBOT (2004)
Whatever you might think about the liberties director Alex Proyas took with Isaac Asimov's book, I, Robot remains a very watchable film.

Turn up your amp and skip to the tunnel chase scene and you'll be wowed with a powerful, percussive soundtrack and fast-paced action that never loses cohesion. Elsewhere you'll find a clean, detailed picture with a great colour treatment. Just pretend it has nothing to do with the book...

Vision: 2.35:1
Sound: DTS-HD MA

No.7
WATCHMEN (2009)
As faithful as director Zack Snyder has been to Alan Moore's opus, cuts had to be made to turn the epic graphic novel into a film. The Cold War backdrop has become more coincidental than it should, but the cast is spot-on and the action is suitably thrilling on the detailed transfer.

Standout moment? The nuclear-explosion kiss scene. You'll need your subwoofer up for this one – it's subterranean in its depth. And feels like an earthquake, too.

Vision: 2.40:1
Sound: DTS-HD MA

No.8
PITCH BLACK (2000)
Vin Diesel stars as the double-hard, shiny-eyed convict Riddick who ends up as the only hope of survival for the occupants of a crashed spaceship. The sun-scorched planet they're stranded on plays host to flesh-eating aliens that come out only when it gets dark every 22 years.

Guess what's about to happen? Rotten luck. But intelligent writing, a great cast and stylised, high-contrast visuals (which look stunning on BD) lift it far above the humdrum.

Vision: 2.35:1
Sound: DTS-HD MA

No.9
STAR WARS: THE CLONE WARS (2008)
Until the classic trilogy hits Blu-ray (c'mon, George!), this animated effort will do. An intro to the brilliant Clone Wars TV series, it's clearly aimed at a youthful crowd, but grown-up fans will enjoy it too, not least because the digital Anakin is far less irritating than Hayden Christensen.

It's distilled Star Wars, full of great HD action scenes but with hardly any of the turgid talkiness. We like, then.

Vision: 2.35:1
Sound: Dolby TrueHD

No.10
CLOVERFIELD (2008)
A colossal monster destroys New York in this intense JJ Abrams-produced film. Told from the point of view of a group of people with a video camera, the footage is predictably shaky and grainy, but this only adds to the cloying, frantic atmosphere.

The picture isn't the star here, though – the sound is. Flick to the relentless street battle with the tanks and you'll be pinned to the back of your seat.

Vision: 1.85:1
Sound: Dolby TrueHD

Check out the rest of our Ultimate Blu-ray Collection in the Ultimate Guide to Blu-ray, on sale now

Coming together - the Beatles re-mastered

Chris Gilson — Wed, 09 Sep 2009 12:04:00 GMT

It’s never easy to eat a huge slice of humble pie, especially when you’ve previously been so vociferous in your opinions, but I think that in my revision of views on the Beatles re-mastering, a particularly large slice is about to be served up, and, maybe even enjoyed, because to be fair, I’m happy to be proved wrong.

It was easy to be initially cynical about the whole scheme, especially given that we live in a digital age where the album, as a concept and a medium is losing ground to the method of merely picking and choosing an MP3 file from a long list, and my view, almost a real fear, was that these re-masters would swiftly be swept under the carpet, shedding, in their turn, the impact that their re-issuing deserves.

There was also the uncertainty of how they would fare under the re-mastering scalpel. We’re so used to the sound of the 1987 mastering and in two cases (Rubber Soul & Help!) remixes, that any change in sonic quality is going to sound like a revelation, and in the case of the first four albums, now available in stereo for the first time in 22 years, a completely different record.

The dangers of too much remastering
It could so easily have been the case, that an indifferent or hamfisted job would have given the music the blank stare of a Botox devotee, devoid of expression and emotion, with the warmth stripped away and a wind-tunnel, cleaned up, effect left in its place. Even worse, an over-analytical re-mastering would have exposed every flaw, every fault in the recordings, aiming the focus squarely on the pitfalls, and by-passing the quality of the music within.

So when the 14 albums arrived here this morning – 1988’s PastMasters 1 & 2 has also been given the same treatment, there was a definite feeling of bated breath. First impressions, though, are good – no we didn’t get the boxed set, but we did get the 14 individually, and mercifully, in the correct packaging – no horrid white promo covers.

It’s obvious that time and thought has been put into the look of the product. Whereas the 1987 issue had badly re-produced original artwork and little else, the 2009 issue features extended booklets, rare photographs, recording notes, a mini documentary on each album and even the original vinyl label artwork appropriate to each album’s first release on the CD.

This looks, and feels, like a high-quality issue, and indeed, interest here has been rather keen, with each album fingered over, poked, prodded and looked at from every angle. So far so good, but what lies inside?

Seeing as this arduous task has fallen on my shoulders I started with my favourite album – Beatles For Sale. Flip onto what should be side 2, select track 11, Every Little Thing, two minutes and four second sof proto-Byrds chiming loveliness and harmonies and push the magic button.

Chiming Rickenbackers
It is, quite simply, glorious. All the warmth of your original vinyl is there, but with a crisp, solid bite that was missing from the previous release. When John Lennon sings ‘When I’m with her I’m happy’ I just want to roll over and kick my legs in the air, Rickenbackers chime and all’s well with the world.

This is the aural equivalent of being the kid in the candy store, it’s easy to go for my favourites – Rain, Yes It Is, If I Needed Someone but even tracks that I’d never really rated like Your Mother Should Know, Savoy Truffle and even, God help me, Maxwell’s Silver Hammer seem to take on new life and immediacy.

Chris, aged six...
All of a sudden I’m six and I’ve got my Dad’s battered to hell copy of Beatles For Sale (in a A Hard Day’s Night sleeve!) and I’m loving every second of what I’m hearing. That battered copy started a lifetime of love for The Beatles’ music (and music in general) and with this re-mastering it’s as if it’s all been leading up to this point.

Falling back to earth for a second, it’s time to discuss how these are being marketed. Today sees the release of two boxed sets – aimed squarely at the collector, both with a £170 price tag. One is the stereo set I have in front of me, the other is the mono re-issues of all the albums, plus the original 1965 mixes of Help! and Rubber Soul, which were substituted for the 1987 re-mastering.

If you know your Beatles mythology, the Rubber Soul mix is likely to be the fabled ‘loud cut’ mix, which is – allegedly – the best one available.

Sadly the mono re-issues aren’t available for the time being, and hopefully EMI will relent in the near future and press the LP’s with both sets of mixes back to back. This isn’t the time or place to go into that now, and it’s really a case of 'watch this space and keep your fingers crossed'.

In the meantime though, there’s more than enough to be getting on with here, and I have a sneaking suspicion what I’m going to be listening to tonight.

As the man said, “a splendid time is guaranteed for all”. Anyone for more pie?

Online music: which site is for you?

Andy Clough — Wed, 19 Aug 2009 09:33:00 GMT

The variety of sites and services for downloading or streaming music can be confusing. The best offer a huge library of songs, HD music and great value

The music industry is not what it once was. Gone are the days of trawling through the shelves of your local record store looking for the latest release or rarity by your favourite band. Instead we're living in the age of instant access to seemingly infinite, internet-based catalogues.

The release of the iPod saw take-up of portable MP3 players go through the roof almost overnight, and ripping CDs onto computer became an everyday activity. People wanted to share their music with others, and before long MP3s were changing hands for free, many via Napster, the first music sharing service which is still going strong.

Now, an industry that was once thought to be killing music is rightfully acknowledged as a legitimate and vital digital lifeline for artists, labels and retailers. Just take a look at how the UK Top 40 is now compiled: 98 per cent of single sales are digital and these contribute to the chart – and bosses are looking at ways to integrate streamed music as we speak.

But which online service should you choose? Well, it depends on a number of factors; primarily which media player or portable you use, how much you prioritise sound quality, and how much you're prepared to pay.

If you're an iPod owner you probably already use iTunes, and are a click away from the iTunes Store, where compatible tunes can be bought for 79p and transferred to your portable.

"There are 10 billion songs that are sold in the US every year on CDs. So far on iTunes, we've distributed about 16 million. We're at the very beginning of this" Dec 03
Steve Jobs, CEO, Apple

But there are now often cheaper alternatives available from the likes of Play.com and Amazon that are compatible with all players.

There are subscription services like the re-born Napster. You can now pay a small monthly fee for unlimited access to millions of tracks that can be transferred to a compatible portable.

Then there's Spotify, a service that lets you listen to tracks on the internet for free. The files are streamed, so you never own them, but then you aren't paying for them, either.

"Spotify lets users listen to whatever music they love, whenever - and soon wherever - they want to hear it, through a platform which is simple, clean and quick to use" July 09
Paul Brown, UK MD, Spotify

And what if you want proper hi-fi quality music rather than the compressed MP3s of stores like these? You're catered for, too, by services from Naim, Linn and B&W which all create original content which provides the best digital music around.

They each offer catalogues of unique albums at levels of quality that match and even surpass those of CD. Below, we profile the eight major players when it comes to downloading the best quality and selection of music the internet can offer...

iTUNES STORE

The iPod would be nothing without iTunes. Who's going to enjoy a portable, regardless of how sleek and sweet-sounding it might be, if the software used for filling it with music is a pain?

A large part of iTunes' success is down to the iTunes Store, an online shop that sells music, movies, TV shows, audiobooks, games, apps and podcasts. In a couple of clicks you can buy almost any type of media, and it takes barely more effort to sync it to an iPod. When life's that easy, why buy your media anywhere else?

As successful as the iTunes Store's other offerings are, its original reason for existence was to sell music. Initially tracks were only available at 128kbps, and were DRM-protected, but now all tracks are 256kbps with no DRM.

Pricing has changed, too. Once, all downloads were 79p; now, there are 59p and 99p tracks, too. 79p is still the norm, though, and that means iTunes is a little more expensive than most rivals.

"Look out for the Single of the Week – a free track that's almost always worth a download"

It's also important to note that all tracks are in AAC format. If you use a non-Apple portable or streamer, it's not guaranteed you'll be able to play them. But if you can, you can take advantage of what is an excellent codec, offering improve-ments over MP3. We'd still like to see Apple Lossless files being made available, though.

Double-clicking any track starts a 30 second clip. Also look out for the Single of the Week on the Store's homepage. This is a free track that's been chosen by the iTunes staff and is almost always worth a download.

The most straight-forward way to pay for downloads is to attach a credit or debit card to your account. Or you can pick up prepaid cards from an Apple Store, places like HMV, WHSmith and some supermarkets. You can even set up an allowance for your music-loving offspring, letting them download a certain amount each month without the need for you to hand over your card.

Apple fans will find the slick operation of the Store and its integration with the rest of iTunes and their iPod makes it hard to resist making purchases, but if you're the owner of a non-Apple player, we'd still recommend looking elsewhere.

THE LOWDOWN
DOWNLOADS OR STREAMS Downloads
MUSIC FORMATS AAC
FILE QUALITY 256kbps
TRACK PRICE 59p, 79p, 99p
SAMPLE CLIPS Yes
SUBSCRIPTION PRICE n/a

SPOTIFY STORE

If the iPod was the catalyst of the revolution in music consumption of the early 2000s, Spotify could prove to be the iconic site of the latter-part of the decade. It has millions of songs – and they can all be listened to for free...

The system is simple: you play the tracks you like without paying a penny, and in return you listen to the odd advert. Your music is likely to be interrupted only every four or five tracks, but if that proves too much, you can pay £9.99 for a Premium subscription, which cuts the ads out.

Almost as impressive as the free-ness of the service are its features and usability. Type in the name of an artist and you're taken to a page with their back-catalogue of tracks, often accompanied by pictures, a biography and review.

On this page you'll also find a list of similar artists, and there's an 'Artist radio' tab, which takes you to a playlist using your selected band as a starting-point.

You can create your own playlists using simple drag-and-drop, and the artwork from the currently playing track is displayed in the bottom-left corner of the screen. In fact, so slick and flexible is the system, it's easy to feel as though the music is actually yours.
It isn't.

"You play the tracks you like without paying a penny, and in return you listen to the odd ad"

You can't download tracks, transfer them to a portable or stream them to a networked media player. That, though, is all part of Spotify's plan: discover and listen to music for free at your computer, then, if you want to keep it, you buy it.

You can even right-click on a track in Spotify and be taken directly to that same track's page at 7digital.com, where you can download a 320kbps MP3, complete with artwork, usually for 79p.

Track transferability isn't the only reason to pay for a download; there's also the matter of quality. Spotify streams Ogg Vorbis files at around 160kbps to standard listeners, and is in the process of adding 320kbps versions for Premium subscribers.

Both actually sound very good, but the nature of streaming means even the 320kbps files can be beaten for sound quality by a downloaded file at a similar bitrate.

We're not taking anything away from Spotify, though. We love it, and we know you will, too.

THE LOWDOWN
DOWNLOADS OR STREAMS Streams
MUSIC FORMATS Ogg Vorbis
FILE QUALITY 160kbps, 320kbps
STANDARD TRACK PRICE n/a
SAMPLE CLIPS n/a
SUBSCRIPTION PRICE £9.99 for Premium membership

AMAZON MP3
Online retail giant Amazon has hit the market with the first service that might make iTunes Store users think twice. The DRM-free MP3s don't sound any better than Apple files, but are often cheaper, with 69p being the most common price. Frequent offers see popular tracks available for just 29p and albums for less than £4.

The download manager is impressive, too. This handles the downloading of your MP3s and adds them to Windows Media Player or iTunes. Open your chosen player and the tracks are there, complete with accurate metadata and artwork.

Tracks are encoded using variable bitrates, averaging 256kbps, and they sound just as good as the constant 320kbps tracks offered by the likes of Play. So you get cheaper prices, instant delivery and a 30-second sample. Honestly, what's not to like?

THE LOWDOWN
DOWNLOADS OR STREAMS Downloads
MUSIC FORMATS AVAILABLE MP3
FILE QUALITY 256kbps variable encoding
STANDARD TRACK PRICE 29p to £1.19
SAMPLE CLIPS 30 seconds
SUBSCRIPTION PRICE n/a

B&W SOCIETY OF SOUND
Bowers and Wilkins' digital music service is more of a club than a download store. You pay for a membership, and in return you can download a number of albums from the back catalogue and a new album every month.

That may not sound a lot, but what makes the service so compelling is that each album is unique and specially recorded at Peter Gabriel's Real World Studios.

This is not about catering to particular genres or artists, it's just about great music, sumptuously recorded, and because the lowest-quality format available is 16-bit Apple Lossless (16 and 24-bit FLACs are also available), sound quality is superb.

If you're musically open-minded this is a terrific way to discover new artists and listen to their output in proper hi-fi quality. If you're still not sure, head over to www.bowers-wilkins.co.uk to sign up for a free trial.

THE LOWDOWN
DOWNLOADS OR STREAMS Downloads
MUSIC FORMATS AVAILABLE FLAC, Apple Lossless
FILE QUALITY 24-bit, 16-bit
STANDARD TRACK PRICE n/a
SAMPLE CLIPS n/a
SUBSCRIPTION PRICE £23.95 (6 mth), £33.95 (1 yr)

LINN RECORDS
Linn specialises in classical, jazz and Celtic music, all of which is available from www.linnrecords.com. Very high-quality formats are available, including 24-bit Studio Master and 16-bit CD quality FLACs and WMAs, and they're worth every penny. You can even buy 5.1 Studio Masters for home studio setups.

The files are huge, but there's a download manager in development that handles all of the downloading in the background. It doesn't add the tracks to your music player, but this is a simple job to do manually. Also, although downloads include a booklet, inlay and cover art, you'll have to manually add this in your media player.

All this pales into insignificance, though, when you play the music. It has the kind of detail, dynamics and solidity that lower bitrate files can only dream of.

THE LOWDOWN
DOWNLOADS OR STREAMS Downloads
MUSIC FORMATS 5.1 FLAC, 5.1 WMA, FLAC, WMA, MP3
FILE QUALITY 24-bit, 16-bit, 320kbps
STANDARD TRACK PRICE 79p+
SAMPLE CLIPS 30 seconds
SUBSCRIPTION PRICE £23.95 (6 mth), £33.95 (1 yr)

NAIM LABEL
Naim's label can be found at naimlabel.com. It originally concentrated on classical and jazz, but has recently expanded with Naim Edge, dedicated to contemporary artists.

As seems to be the norm with the digital music offered by hi-fi companies, sound quality is superb. Formats range from 320kbps MP3 to 16- and 24-bit WAVs and FLACs. The higher the bitrate, the higher the price, but the extra cash is certainly worthwhile for stunning quality.

Users of Naim products such as the HDX will enjoy perfect reproduction of these downloads. The WAV files will also work with both Windows Media Player and iTunes as standard, although we could only get the downloadable metadata and artwork to work automatically in WMP. There's always a free sample available on the site for you to try the music in various formats.

THE LOWDOWN
DOWNLOADS OR STREAMS Downloads
MUSIC FORMATS AVAILABLE WAV, FLAC, MP3
FILE QUALITY 24-bit, 16-bit, 320kbps
STANDARD TRACK PRICE 69p+
SAMPLE CLIPS 30 seconds
SUBSCRIPTION PRICE n/a

NAPSTER
At first glance, Napster is miles behind the competition: it's the only service here that still uses DRM, and the WMA-format downloads are 192kbps. If this makes Napster weak as a pay-per-download service, it's the subscription options that make it a winner.

Paying £9.99 a month grants you unlimited access to the 8 million track catalogue as a web-based stream, and lets you download tracks to up to three PCs for offline playback.

And, if you're a Sonos, Logitech Squeezebox or Noxon iRadio user, music can be streamed direct from Napster; the streamed files are 128kbps, but they sound loads better than you might imagine.

Upgrade to the £14.99 service and you can also transfer unlimited tracks to a compatible portable. Most players, other than iPods are covered; if yours is, you should give Napster a go.

THE LOWDOWN
DOWNLOADS OR STREAMS Downloads
MUSIC FORMATS 5.1 FLAC, 5.1 WMA, FLAC, WMA, MP3
FILE QUALITY 24-bit, 16-bit, 320kbps
STANDARD TRACK PRICE 79p+
SAMPLE CLIPS 30 seconds
SUBSCRIPTION PRICE £9.99 or £14.99 a month

PLAYDIGITAL
Play.com is another online retailer responding to declining CD sales by introducing an MP3 download store. Most tracks are encoded at 320kbps (although some are still 192kbps) and the standard price of 65p per track, as well as regular special offers, makes it competitive.

There's a download manager to handle your purchased tracks, but unlike Amazon it doesn't place them in well-organised files or add them to your media player. This is a fairly simple manual job, as is getting your player to find the artwork, but it would be nice if Play did it for you.

All files are DRM-free, so can be transferred to any device, and sound quality is very good considering the small file sizes. Navigation is the same as the rest of the site and you get 30 sec clips to help you choose, but Play has some work to do if it's to match Amazon's slickness.

THE LOWDOWN
DOWNLOADS OR STREAMS Downloads
MUSIC FORMATS AVAILABLE MP3
FILE QUALITY 320kbps, 192kbps
STANDARD TRACK PRICE 65-70p
SAMPLE CLIPS 30 seconds
SUBSCRIPTION PRICE n/a

The Beatles remasters: will they be Good Day Sunshine or Hello, Goodbye?

Chris Gilson — Fri, 07 Aug 2009 07:34:00 GMT

Ah, it’s another re-mastering blog. Is that “God, no!” I hear you say, coupled with the sounds of millions of mouse buttons being clicked rapidly away?

Well relax, chaps – the targets for tonight are those nutty, noisy Beatles, who are set to make a resurgence in the hi-fi world with the release of their back catalogue in both mono and stereo on September 9 this year. Or 09/09/09 if you want to look at it in an appalling use of song titles kind of way.

In fact you can already pre-order it from the likes of Amazon. If you have £170 going spare, that is...

It’s been 22 years since we last had a Beatles re-master.Yes, that’s 22 years.

For that time too, we’ve only had the first four albums (Please Please Me, With The Beatles, A Hard Day’s Night, Beatles For Sale) in mono, because that’s how they were supposed to sound when released. Apparently.

Stereo mixes became overnight a thing of the past, and millions of Beatle fans have probably worn out their vinyl stereo copies of the albums in order to listen to the 56 or so tracks that were mono only from 1987 onwards*

Conversely don’t forget, the remaining albums were remastered only in stereo, meaning the different mono mixes, substantially diffrerent in some cases, were shelved. Revolver especially has a very different mix when the two formats are compared side by side.

It was a spectacularly ill-advised decision to inflict this kind of punishment on a doting public: OK, early 1960s stereo mixes are usually interesting to say the least, with instruments and vocals being thrown over the stereo spectrum willy-nilly, but at least they existed, unlike a great deal of the earlier output from other 60s artists.

Examples? The ‘Stones and Kinks, with true stereo not becoming standard in the case of the former until 1966's Aftermath and the Kinks later then that, Decca and Pye respectively being dedicated to monaural sound for the ‘pop’ format. And that pretty much subsisted until the creation of the Deram and Dawn offshoot labels respectively.

To add insult to injury, every other artist imaginable has pretty much received a comprehensive remaster and re-package to today’s sonic standards. You can go into HMV and pick up virtually the entire back-catalogue of any artist you care to name in super-duper audiophile quality, but The Beatles? Sorry chum, you’re out of luck.

There have been the occasional dabbles into the market, though – 1996's Anthology tie-in releases were most welcome, as was Let It be Naked, Live At the BBC and Love. Most interesting of all was the unleashing of the first four US albums on CD with – check this out – both mono and stereo mixes,most of which were among the missing 56 tracks.

All good stuff, but the US releases are substantially different from the UK ones, being remixed at the time for a more US friendly sound, resulting in reversed stereo, speeded up songs, alternative versions and horrible use of echo. So, no dice then, although it was all very interesting.

Thing is, has EMI left it just too late? I was talking with a fairly high-ranking music industry figure at a launch recently, and the subject of the Beatles back-catalogue came up. He pointed out, with some asperity I might add, that in this wonderful world of digital, the reissuing of the albums has lost its impact.

EMI is, no doubt, assuming that the bulk of consumers will merrily throw away their old 1987 mastered copies of the albums and buy the new masters in droves. I think they’re wrong.

People are far more likely to pick and choose what they want, and just ditch the surplus. In this digital chop and change age, the Beatles remasters are, realistically, just likely to be a briefly heralded drop in the water, before they sink into a world of iTunes, sampling by indifferent artists, and general apathy.

It’s a real shame: this could have been so big. Even a couple of years ago it would have been massive, and I’d much rather have had those missing 56 tracks then all my Hollies remasters**, or even Dusty InMemphis***.

To be honest, I’m feeling pretty apathetic, although I’m curious to see just how good Revolver turns out to be. There are bonuses here, mind you; the two important PastMasters compilations are getting the same treatment, although once again The Beatles At The Hollywood Bowl seems to have slipped under the radar.

But realistically, you might say, EMI has missed what could have been a very lucrative boat indeed.

*Some tracks are only available in mono. First single Love Me Do/P.S. I Love You is mono only, as are She Loves You, I’ll Get You, the two German language songs and You Know My Name (Look Up the Number). True stereo mixes of Yes It Is and Rain were thought to be missing until 1988, when they were included on the Past Masters sets. But are they really the true mixes? Who knows?...

**This is a big step

***This is an even bigger one