A sumptuously recorded, yet somehow sterile representation of what attending a Roger Waters concert circa 2000 must have been like, the 'In The Flesh' DVD is perhaps the most "live feeling" concert video I have ever seen, at least from a visual standpoint.

It's difficult to pinpoint exactly what it is about this footage that makes it seem like you are watching the show as it happens in real-time (the high-definition image, perhaps? the camera occasionally shooting from what looks like ten rows back on the floor?), but there is definitely a palpable, almost disorienting sense of intimacy to 'In The Flesh' that is in total opposition to the larger-than-life, but distant extravaganza that was 'Pulse.'

For the Waters die-hards out there, the accompanying half-hour documentary ('Gearing Up') that is thoughtfully packaged alongside the concert provides gales of laughs simply by spotlighting cuddly ol' Rog and his happy band in rehearsals in Westhampton (apparently for music run-throughs and brushing up only) and then more intensively at an abandoned air base in nearby Calverton (for full production rehearsals with lights, et al). It is here that Waters the perfectionist is shown seeking additional nuance from his band members and production crew in all his kinder (yet still steel-willed) glory. After watching this, one is thankful that our gray-haired leader has a character like Andy Fairweather-Low hanging around to keep him chuckling, otherwise who knows what might have been. Admittedly, a lot of this documentary stuff is cute or mildly interesting when seen once or twice (and then forgettable to all but the rabid), yet a couple of isolated bits manage to stand out - the most notable being Waters' hilarious on-camera mocking of Mark Fenwick's idea for a "be-the-saxophone-player-in-Roger's-band" contest (which is by far the jolliest I have ever seen Mr. Misery Guts, onstage *or* off).

Of course, all of the above is just the trimmings for the main course that is the concert itself. 'Gearing Up' is then seemingly carried over to the opening minutes of the concert portion of 'In The Flesh' - which starts with a look in on the happenings back stage while the band whiles away the moments before the show starts in their own individual fashions (scattered snickers for Doyle's hair and laughably silly voodoo outfit being tended to by wife/backing singer Susannah Melvoin).

Once we're on stage and watching the band play is when 'In The Flesh' truly shines. It's no secret that Waters is a *far* more effective and animated band leader than David Gilmour will ever be, and he is extremely adept at keeping the throngs in the palm of his hand throughout the night. Whereas Gilmour was quite content to let the show itself take over the front man duties, Waters aggressively courts and wins over the entire crowd, literally dragging them into the music with little more than a few silly faces, poses, and arena-rock-sized pantomime. Perhaps the most startling aspect of his performance is that he looks so disarmingly *happy* to be on stage, which is almost in direct contrast to the evil antisocial monster he has been frequently accused of being over the last thirty years.

Unsurprisingly, the performances by Waters and his band are excellent all around, with particular nods due towards dead-eyed guitarist Doyle Bramhall II, loose-limbed drummer Graham Broad, palpably intense keyboardist Jon Carin, and woo woo chyk Katie Kissoon. Special comedy relief nod goes to Andy Fairweather-Low, who dresses like a bank manager, yet also does a distortion-laced, deconstructionalist solo during that is one of the most overtly "rocking" parts of the whole show.

Special mention must also go to the featured songs from 'Amused To Death,' which are just maginificent to behold in a live setting. Wonderfully thick with atmosphere and featuring Waters' most impassioned and magnetic performances of the entire concert, "Perfect Sense," "The Bravery Of Being Out Of Range," "It's A Miracle," and "Amused To Death" are spellbinding, and accomplish the near-impossible feat of eclipsing the studio versions. I'd even go so far as to say that these songs alone are worth the price of the whole show.

OK, now for the parts that left me a bit cold ...

* From accounts posted on the 'net by those who attended this show, the crowd was specifically asked to behave themselves at this show, and it's apparent throughout - lit in soft red, the audience seems cowed almost to the point of inactivity. While there are some advantages to this idea, some parts of the show seem to lose effect when the crowd is reduced to near-total silence, and "Dogs" certainly falls into this category. Yeah, Jon Carin plays and sings well, and every note and lyric is where it ought to be ... but this version is startlingly bereft of the spine- tingling effect it had when I saw it performed it live in 1999. Similarly, "Shine On You Crazy Diamond" and "Welcome To The Machine" are robbed of their stirring, chest-thrumming presence and come off as boring and clinical here.

* The spinning mirror disc may have worked fairly well at the shows I attended, but it looks really cut-rate and lame on this DVD.

* We are shown what looks like the same left-to-right tracking shot of the backing singers time and time again, and each time they are making sillier and sillier gestures with their hands. Sure, Gilmour's woo-woo's did some lame shuffles once in a while, but this is a bit hard to take with a straight face after the third or fourth song in.

* While we're on the woo-woo tip, there is a lot of inconsistent mixing going on here, with their voices -- at times they utterly dominate the mix, and at other times they are barely audible when they are quite clearly singing.

* Waters simply cannot do a good-sounding live version of "Wish You Were Here" or "Time." Discuss.

* One cannot help but laugh as we promptly switch from tight and close-in shots of Waters and Fairweather-Low to long shots filmed from well back in the venue *just* as we reach that disputed point in "Every Stranger's Eyes" where Waters' otherwise passable voice suddenly returns to it's full-shouting glory. Go figure ;)

* In a cute touch that proves once again that some water will never flow under the bridge, Carin's tenure in David Gilmour's Pink Floyd from 1987-1994 isn't even alluded to at all, while Snowy White's touring stint with the band from 1977-1981 warrants a prominent mention. Heh.

Barring these (admittedly non-essential) sticking points, 'In The Flesh Live' is a damned fine recording and a highly recommended purchase by fans on either side of the Waters / Gilmour fence. True, it would have been extra nice to have the original films shown behind the band rather than a series of largely static slides, but the musical performance makes up for the loss. Here's hoping that Pink Floyd manage to raise the bar set by their ex-band mate whenever the long-delayed 'Pulse' DVD finally sees the light of day.

'Dogs'	'Shine On You Crazy Diamond'	'Set the Controls'
'Money'	'Comfortably Numb'	Gearing Up

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