Creed seemingly came out of nowhere in 1997 with the title track to My Own Prison taking over the airwaves with lyrics about crying out to God, “seeking only His decision.” A band from the East Coast broke the down-tuned grunge code at the tail end of the movement birthed in Seattle. Soon the whole world fell in love with Scott Stapp’s baritone voice. By the whole world, we’re talking 6 million consumers that bought the record.
In 1999 they destroyed the sophomore slump idea by releasing Human Clay. Here the band dialed in a heaviness rivalling the black album. 11 million lovers gobbled it up.
It wasn’t until “With Arms Wide Open” got played so much that the band became the punching bag for indie rock snobs.
The first legs of the Human Clay tour with Finger Eleven and Three Doors Down was well received. Its November 4 show in San Antonio with Oleander and Our Lady Peace was recorded and preserved for this live album, which was originally released as a bonus disc on the 25th anniversary re-release of Human Clay. Craft Recordings smartly licensed it for this vinyl re-issue.
Human Clay did so well that the band toured it for multiple legs. I had the privilege of seeing their Houston, Texas, show with Collective Soul in 2000, which is one of the best concerts I’ve ever seen in my life.
Creed pounded out their hits with the kind of passion rarely seen for a full headliner set. I remember counting four times where I thought the singer would explode into tears or burst the bulging veins in his forehead. Tunes like “Wash Away Those Years,” “Faceless Man” and “Beautiful” were gripping and epic. Even slower tunes, like “Say I” and “Illusion” had monster riffs that delivered more energy. “What If” accentuated the end of each chorus line (“What if … I”) with massive synchronized pillars of fire coming up from the stage. It was just a stunning show.
I was very curious if this earlier leg packed the same punch as the one I had seen and heard. Unfortunately, it did not. I was let down when I heard “Beautiful,” “What If,” and “Faceless Man” in my ears while I pictured what I saw back in October of 2000. I’d heard it better. I’d heard it louder. I’d heard it played as if it meant life or death for the band.
Having said that, however, these songs still sound powerful and epic. The performance was good and it feels like the band was enjoying themselves and having a good night.
Skipping the ominous introduction found on other digital renditions, the band launches into the perfectly-titled set-opener, “Are You Ready?” Like many a band’s first song on the setlist, the mix is heavy and gets dialed in as it goes. After the obligatory greeting, “Hello, San Antonio. Are you ready to rock?” the band jumps into “Ode,” where Tremonti’s guitar bites through the subtleness with a “here we go” vibe. The mix is balanced well, with guitars chiming in loud and clear, along with Stapp’s commanding voice. Brian Marshall’s bass lines and Scott Phillips’ snare attack are right there, but in the background. The bridge section shows Stapp and Tremonti riffing as complementing instruments. The background vocals are also mixed well, which is a surprise with a live album. There’s some really tasty wah-wah effect by Tremonti at the tail end of “Torn.” The opening to “Beautiful” breathes with the kind of wide audio spectrum that the vinyl format offers. Sounds great.
Tremonti’s guitar sings along as if a perfect harmony vocal. Turn this one up loud to experience the full sound.
“Illusion” starts off with the thickest, fuzziest guitar tone you’ve heard in a while. “You’ve gotta feel the groove on this one, cmon!” Stapp encourages the crowd. Another moment to appreciate a perfect live mix. The lead break here proves that this is live, with lots of space for terminating to show off.
“It’s starting to feel like a rock show now.”
Stapp directs the audience through “Say I,” as if leading them in a dream sequence. This song and others showcases well how Creed are kings of dynamics, bringing the listener down and them pulling them up with swells into crashing alls of muscular riffs.
“This song started it off for this band, and for that we thank you.”
Hearing this version of “My Own Prison”taught me that two voices are utilized during the “ooooh, oooh” chorus sections.
“What If” starts off with the prettiest finger picking intro.
Marshall’s bass comes front and center during “What If” and it sounds great.
Stapp introduces the big hit “Arms Wide Open” as a very personal song, kind of a mood swing, insecurities and fears. The quiet intro acts as a soft bed that gets harder as the song progresses.
As the audience cheers, my favorite song of theirs starts to chime in. “Faceless Man,” seemed to cement the biblical framework that Christian rockers debated since the band’s inception.
“Next time I see this face, I’ll say, I choose to live for always. So won’t you come inside and never go away?”
Feels like a gospel redemption moment cry of salvation.
Much like a live concert, by the time you flip that disc over for side four, you start to get sad, realizing that the show is almost over.
Fremont adds some more finger-picking guitar magic to set the mood for “What’s this Life For?”
The band plays the jangly “One” after lots of cheering (perhaps it was the first encore?). The unifying theme gets some audience singing that’s audible over the mix.
Like a good show, this double-vinyl album leaves you satisfied.
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