Even if the quality of the visuals was lesser that it is, the actual concert itself yields much of interest to those who only have seen 'Pulse' in that a lot of production effects that appear to have been dropped later on in the tour. "A Great Day For Freedom" is actually made halfway interesting by glacially-crawling stage projections resembling a grove of denuded trees as seen through a kaleidoscope lens, while "The Great Gig In The Sky" sports a computer-animated backing film of what looks like a striped sperm cell swimming through someone's house while pyramids melt together in the sky. Tah-rippy, dude. There is also no "scribbling hand" projection during the intro of "Another Brick In The Wall, Part 2," and that overlong standard-set list intro to "Money" is truncated halfway through (a miscue, perhaps?) which makes for a nice change of pace, but also renders the already-silly film sequence (for which the Residents should have immediately filed suit) utterly nonsensical to the audience.

Now, before you go charging off to purchase or download this sparklingly clear recording, there are a couple of weak points to it that must be addressed in all fairness. Firstly, it's very obvious by the second song in that the cameraman had never seen a show on the tour before (it's hard to find fault with this since this shot only a couple of weeks into the jaunt), thus there are many instances where he simply does not know what to be pointing the camera at -- which creates a bit of frustration at times as he zeroes in on Tim Renwick during a David Gilmour solo and vice versa.

Secondly, there are some nauseatingly fast pans around the venue or stage that can induce seasickness (in particular those dizzying 180-degree sweeps from the stage to the mirror ball during the "Comfortably Numb" guitar solo). There is also a perversely amusing bit during the middle of "Take It Back" when the cameraman slowly turns his camera on it's side (and I have to say that watching the whole stage seemingly stand on it's left side makes this song a bit easier to sit through). The rest of the camerawork (while undoubtedly klutzy), can actually be a bit revealing at times, with some hasty pans offering a bit of occasional insight as to who was doing what on stage at odd times. In the "learn something new every day" department, I have discovered that the snares on "High Hopes," which I'd previously thought were a tape effect, are actually triggered by Gary Wallis, while the ceremonial gong is smashed by none other than Nick Mason. Ah, the joys of fanboyism ...

A final note of advisement -- the cameraman here uses the same lame-ass high school TV Productions Class stunt as the dude who shot the Nassau '88 concert -- that is, superimposing the color-shifting words "PINK FLOYD" over the footage at a three different points throughout the proceedings. Thankfully, the words are tiny and occupy little space in the dead center of the screen, unlike the full-size 'Wall'-font graphics that marred the 1988 show.

'Astronomy Domine'	'Shine On You Crazy Diamond'
'Time'	'High Hopes'