The Stereophonics, of course, got the title for their most recent album from the categories listed on the back of a DVD. Ironic, then, that such classifications are absent from the sleeve of this, their most recent live album that also purports to contain a 'warts and all' documentary.
The language? Well, English, naturally - and mostly free of profanity. Sex? Don't be silly! This isn't a Motley Crue tour, after all. Violence? Nothing of the sort, although Kelly Jones' voice does have quite a violent rasp at times when he's trying to be a bit more rawk. Which leaves 'other', in this instance the four accompanying videos to the album's singles.
Of prime interest is the thirty minute documentary that follows the band from spring 2004 through to March 2005, not exactly warts and all but loosely tackling the recording and production stages of the album, rather than spending extended time on tour with the band.
It's mostly well shot, although the arty camera angles get a bit much after a while, the unexpected close-ups of mugs of tea and studio accessories a bit wearing. The grainy, often black and white footage suits the band though, a kind of homage to the Performance and Cocktails era. This is more fully explored in an interesting section on the artwork for Dakota (initially entitled Vermillion). In particular the section describing the development of colour on the album's cover is most absorbing.
In addition video director Charles Mehling gives his take on the four promotional pictures included, then he sticks Kelly behing the wheel of the car and sits back to observe the results.
As the main feature the band opt to show a slightly ungenerous fifty minute concert, the band filmed last year as part of their world tour in Dakota, of course. It's a strong set and a tight, gutsy performance, alternating misty-eyed slower numbers - a Welsh flag waves along to Maybe Tomorrow - with punchy guitar-driven tracks of which Local Boy In The Photograph winds hands down.
Here, too, the camera wanders, and doesn't always pay too much attention to the musicians, which isn't a terrible thing given their relative lack of movement on stage.
It's a strong if rather curtailed package, certainly desirable for Stereophonics fans. It catches the band in a favourable light, if not quite delving quite as much behind the scenes as it might have done.