After a 23-year absence, The Police return in (almost) all of their former glory. One of the best things about this live album is the extended jams, solos, and re-arrangements that breath fresh air into the old songs ("Wrapped Around Your Finger", "Driven To Tears", "King Of Pain", and the "VIMH/WTWIRDYMTBOWSA" medley simply destroy the old album cuts), which of course still sound fresh even today. Sting's bass work is stronger than ever and pushed up in the mix. Stewart Copeland is still a drumming prodigy and the star of the show, playing tastefully and unloading the heavy artillery when needed. Andy Summers fiery playing belies his 64 years of age, tossing off solos left and right along with his trademark chorus/effect-laden chordal patterns. The band truly sounds amazing, hands-down. Despite a few stumbles ("Don't Stand So Close To Me" is a bit too pedestrian, "Truth Hits Everybody" is about half-speed, and Sting can't quite hit those notes like he used to) the band is tighter and better than ever before, and like Sting said, they were really good to begin with. Simply put, there aren't any bands like this around anymore and that's a shame.

In The 1950s Arose The Stereotype Of The Melancholic, Mostly Black-Dressed Young Existentialist, Who Oscillated Between Jazz-Cafe And University. A General Reorientation Of Ideology Preceded The New Style. Promoters Were Not Only The American Rock 'n' Rollers, But Also The Traditional Jazz Of Ken Colyer, Chris Barber And Other Dixieland Af?cionadoes. At That Time, Paris Became The Second Home Of Many Black Jazz Musicians, Because There Was No Discrimination. This Box Set Of 10 Cds Relives That Time.