From humble beginnings in the corners of smoky bars, Melissa Etheridge, through luck and immense talent, has become one of the most successful female singer/songwriters in the world. Sure, she's not the only one, but she sure is unique. When you consider that many of today's leading female artists are bland imitations of each other (with varying amounts of anatomy exposed indirectly proportionate to actual talent), it's not surprising that an artist such as Melissa Etheridge should be able to sustain her popularity while always keeping her clothes on. She continues to create passionate music 14 years after her 1988 debut album, and for that we should all give thanks.

While singing a mix of originals and covers in those smoky bars, she was signed to write songs for A&R records in 1986. However, it was in 1988, at a Joan Armatrading tribute show, that Island Records boss, Chris Blackwell, saw and heard Etheridge for the first time and signed her immediately. With the songs for her first album already written, the debut was soon in the shops, and all over the radio.

That album, Melissa Etheridge, contained the massive hit Bring Me Some Water as well as other hits and well-known numbers such as Chrome Plated Heart, Like The Way I Do, and Similar Features. Her second and third albums Brave and Crazy and Never Enough, though successful and crammed with excellent songs and musical collaborators such as Bono, failed to really keep Etheridge at the top of the charts.

In 1993 she released the album Yes I Am and while many assumed this was her way of addressing the long-standing rumours about her sexuality, it wasn't, and Etheridge officially ‘outed’ herself shortly after at a Bill Clinton presidential rally. No one was taken by surprise, not least of all her lover of the time, Julie Cypher, ex-wife of Lou Diamond-Phillips, whom Etheridge met whilst filming the video for Bring Me Some Water years before. Yes I Am contained the hit Come to My Window and Etheridge was again hot property.

The follow up album Your Little Secret contained another radio backed hit I Want To Come Over, but the following albums Breakdown and the most recent, Skin, failed to realise any hit songs in Australia, despite touring. The albums were again packed with raw, passionate and catchy songs, but by that time the Popstars had regained control of the airwaves and talents such as Melissa Etheridge had to console themselves with significant, and fiercely loyal, fan bases.

For those that have not had the pleasure of hearing or seeing Melissa Etheridge live, here is your chance. Those that have will know what I mean when I claim that you will struggle to find an artist who can match her passion, her honesty, and her desire to reach an audience. Her humility and love for her fans is totally sincere.

Armed primarily with an acoustic guitar, Etheridge will keep you captivated for the entire performance, and you will wonder why she has not been even more successful. Few artists can pull off this type of performance so convincingly. Dylan perhaps, Springsteen, certainly, but few female artists. None can match the power of her voice, and get this personal in song. Her guitar playing is strong and solid (mostly Ovation 12-strings and a double-neck if anyone cares) and combines magically with her vocals. She also shows considerable piano playing skills which offers musical variety to the show.

There are one or two percussion only numbers that are almost acapella style. The highlight, for mine, is Scarecrow, which was written about Matthew Shepard, a young gay man who was attacked and bashed so badly that the man who found his body tied to a fence post, thought he was a scarecrow. His murder shocked and outraged decent people around the world, and the lyrics to Scarecrow are incredibly moving, with Etheridge herself battling to hold back tears as she sings for all she’s worth.

Forget Mariah Canary, give Whitney the boot, dump Kylie, and trash Britney. If you want to know what a real woman can do musically, then grab this two DVD set jammed with a two-hour show and heaps of extras.

Tracklisting

Considering the age of this I would have expected the video image to be a little sharper, but it’s still fine. Every detail is there to be seen, and it’s really the stage lighting and camera angles that seem to affect the image more than anything else. Colours are affected also by the minimal and subdued stage lighting, with some dreaded blue light that does not scrub up well on DVD. Shadow detail is decidedly average, but mostly insignificant in this one-woman show.

The show is presented in a non-16:9 enhanced aspect ratio of 1.78:1 and includes some opening shots that are split screen, which are used once or twice later in the show. I have never been overly convinced of the benefits of split screen. especially when used on a solo performer, but they are relatively infrequent. There is no evidence of colour bleeding or chroma noise, and black levels are generally good apart from some long shots.

There is also some minor evidence of shimmer and possibly a few white flecks, but when placed in amongst all the flashing lights, and reflections, most of them are probably not artefacts at all. As said, the biggest problem for this and many other live performance DVDs is the stage lighting that no doubt looks fantastic when you are there, but struggles to impress on DVD.

There are two audio options (not counting the audio commentary) being a Dolby Digital 5.1 and a Linear PCM 48/16 track. As this is a minimal performance, (vocals, guitar, piano, harmonica, percussion) and at most there are only two ‘instruments’ to be heard, it requires great skill to make use of a 5.1 track that isn’t going to sound hollow. Fortunately, someone has done their homework and this is a great sounding 5.1 mix.

The music comes from the front speakers, with the rears used for crowd noises and for a very small amount of guitar overflow. This is not designed to surround you, and is used to recreate a ‘live on stage’ sound. Etheridge’s vocal is placed mostly in the centre speaker and overflows slightly into the left and right fronts.

The piano sounds rich and the bass notes are very solid, though the subwoofer is not really called on. The sound range is good, with vocals and guitars nice and clean, and there are no issues with synchronisation.

The default audio is the Linear PCM and this too is a good option for the purists who like stereo sound as opposed to a 5.1 mix. In a show such as this I am close to being in agreement. With few sounds fighting for space, a 5.1 mix is almost too sparse and there is little need for the rear channels. Those of us used to 5.1 mixes will probably still choose that option to better give the impression of being there.

WOW! With the actual feature clocking in at just over two hours, there are another two hours worth of extras on the second disc, plus a commentary, and I don’t think any fan is going to complain about being shafted with this effort.

On the first disc there is an audio commentary from the gal herself and it’s a very full commentary with few pauses and very little repetition. In a two-hour show I would have thought Melissa would run out of things to say and while she almost does, it remains interesting until the end. She comments on the stage design, set order, fan reaction, performing, touring, playing solo, missing her band on some songs, rehearsing, playing various instruments and audience participation. The only surprise is the lack of information on what inspired the songs, but I guess most of the lyrics speak for themselves.

You will also find two Multi-angle Camera Segments from the show, being the songs All American Girl and Scarecrow. You have a choice of three angles with each song and if you have seen this function before you’ll know that it simply allows you to chop and choose the camera angle to view the performance.

The last extra on the first disc is a Weblink and Credits, which is a DVD-ROM feature that gives you access to the official web site that you can get to on the ‘net without this DVD, and the credits for who did what in putting this release together. This extra is repeated on the second disc.

Now we get to disc two and the best stuff. Unless stated, all are in Dolby Digital 2.0 stereo, and a 1.78:1 aspect ratio which is not 16:9 enhanced.

It all kicks off with Tour Diary, which runs for about an hour (there is no time encoding) and is a collection of Melissa’s thoughts and impressions along the Alive ... and Alone tour that crossed the States and western Europe. It includes post and pre-show footage, as well as film from hotel rooms, backstage, her home, on stage, on planes, meeting fans, signing autographs, playing tourist, and doing interviews. It is all mapped out cartoon style, and includes thoughts from her crew and current squeeze, Tammy. A most enjoyable and interesting peek into her world. It is presented in a combination of full frame and 1.78:1 ratio.

Next up we have Melissa Interviewed which is quite lengthy at almost 28 minutes, but frustratingly has questions asked off camera and almost out of microphone range. I get the impression this was to have been edited into just responses, but the decision was made to include it as is. Melissa is loud and clear in her responses to a range of questions about family, music, touring, her band, and September 11.

Fans will be happy with the inclusion of two new audio-only Bonus Songs. The new tracks are a studio version of the live favourite and Joan Armatrading song, The Weakness in Me, and Alive. Both are presented in 24bit 96KHz high resolution uncompressed stereo and sound fabulously crisp with a dynamic sound range. One day, all music will sound this good.

There are also two Tour Bonus Songs from other shows with the tour, and they are the guitar accompanied Yes, I Am and a piano version of Dance Without Sleeping. Both are widescreen being 1.78:1 and 1.8:1 respectively.

Of great interest will be the all-too-short 1987 Solo Club Performance, which was recently found by Etheridge herself, and is just two minutes of some very poor quality footage from one of her last bar gigs. You’ll recognise the two tunes as they were included on her first album. For fans, it is interesting to see how little her style and passion has changed since 1987, and is a fine inclusion on this DVD. Some of this footage is used as an introduction to the main feature.

2002 Roxy Band Performance is a short montage of three songs (although the text intro claims four) of Etheridge’s new band and was recorded just after the solo tour. These are not whole performances and the total running time of just 2:31 is a disappointment. It would have been great to see these three songs in full length.

Lastly, there is a complete Discography of all Etheridge’s albums, singles, videos, and various songs recorded for a variety of live shows and collections. Real fans will know all of this.

It’s hard to find fault with this release. Two discs, almost six hours of varied material including insights into her private life that is usually quite guarded, and a great performance from a truly talented woman. No fan could pass this over, nor would they want to. At a time when all it seems a woman needs to be a successful artist are perky breasts, skimpy outfits and suggestive dance routines (thinly veiled soft porn), it’s comforting to know that there are still some out there who can captivate an audience using nothing more than passion, honesty and sheer talent.