Illinois Entertainer July 2017 - Page 63

Continued from page 46 A platter of outtakes clear the vaults. “Rise Up” is a promising but uncharacteristical- ly optimistic exploration that was ulti- mately abandoned for The Joshua Tree. The Eno-esque “Drunk Chicken” with beat poet Allen Ginsberg’s recitation of his “America” is an oddity and curiosity for the completist. An early run through “Silver and Gold,” however, is sparse and feral. Dutch photographer Anton Corbijn’s iconic images of the Mojave Desert is dis- tributed throughout the package, and exalted in a folio of color prints featuring the band in collected and individual poses. A shot of drummer Larry Mullen Jr. is reflective of Ansel Adams’ 1941 photo- graph Moonrise, Hernandez, New Mexico. Corbijn’s photos echo the band’s charac- terization of America as a mythologized landscape that is beautiful and full of wide-open potential, but also mysterious, brutal and stark. Other features include expanded liner notes for the album and a hardbound book of The Edge’s own photography. Often shot over Corbijn’s shoulder, Edge’s pho- tos reveal a different side of U2’s sojourn into the California wasteland. Images of the expanded traveling party suggest a family affair. Smiles and laughter are also captured, suggesting the band’s mood wasn’t fully represented by Corbijn’s “studied asceticism.” – Jeff Elbel 10 THE ROLLING STONES Ole, Ole, Ole, A Trip Across Latin America (Eagle Vision DVD) Olé Olé Olé! serves as a companion to last fall’s Havana Moon concert film. The documentary is another document of a busy 2016 for the Rolling Stones, crowned by the December release of Blue and Lonesome. As its extended title suggests, Olé Olé Olé! describes the rockers’ early 2016 tour of ten Latin American cities. Director Paul Dugdale’s film follows the Stones from their final day of rehearsals in Los Angeles onward to dates in Chile, Argentina, Uruguay, Brazil, Peru, Colombia and Mexico. All of the action depicted in the film leads toward the major and unprecedented challenge of mounting the Cuban show, requiring coor- dination to the very top levels of govern- ment. Guitarist Keith Richards describes the drive to visit new places, even after 50 years on the job. “It’s the explorer in us, I think,” he says. “The Christopher Columbus in all of us that wants to see what’s ‘round the corner, and is it round or is it flat?” Shows in front of massive stadi- um c &vG2W&f&֖r&VƖ&R6WFW'0ƖR( 7F'BRW( fB֖6vvW"@66f'F&ǒ&FrFR&Pb&VrFRv&N( 2w&VFW7B&6@&&BGVvFR6VFW2vvW"@&6&G>( '6W'fF2FR&V6WFFR&B&V6VfVBbFW6RFW'&FЧ&W2GW&rFRsc2vVG2W62v0gFV&VBf"&Vr6VFFW2खFW'fWw2FR7G&VWG2b&vVFFW67&&RFR7FW>( W622&VƖvVFG6VbBFRfVFFf"W&&G&&Rv2&Ɩv26&ƖPvGG2FW67&&W2FR6WGFrvFfW"ЧvVVBf2Ɩ6RW66'G2Bg&V禖V@6w2( ėN( 2ƖR6&7W2( R62( ėN( 26&7W2v^( fRFR'FRv( &PvB6FW2FRvVbVFvW &fFVB'FRVFV6RFBFR&@F2F&V7FǒFR6W&fw2vvW BvGG2GW&rFff7VB'WBW&VFǐfV&RW7W'62vWGFrFFV"7W"Ч&VFw2GW&rfbֆW'2f2bfv'F7V&ǐVFR&W2fVGW&Rb66W'BW"Цf&6W2b6WfV6w26GW&VB'VV2&W26BƖ`FR6w2&R&W6VBFRf6WBƗ7B'WB( ֗72^( v2ǒ&W6VBFPVF4G2FRƖW'Rfb( ֗70^( f2FB6~( 2fBFRf7VFW'FVBvvW"6֖W2B7'0vF&767BF'W2&Vf&RVFr6vrvFFV2bFW6G2vFW62FW&R2wVvR&'&W"F&PfVB( 2VfbV&VpVǐ#pƖ6VFW'FW"6Уc0