I’ve always wondered what their sets were like. Comprehensive review of the Minneapolis show by Nate Patrin. Not sure if those extra setups are really worth that premium though. Link
Sure, the visuals might have had something to do with it: there were cameras set up at strategic points around Shadow and Chemist’s row of turntables, and Chemist went so far as to actually strap some sort of minicam to the underside of his wrist so we got to frequently see a bizarre fish-eye view of a gigantic palm and teeny tiny stubby fingers flipping through 45s. There were also copious visuals, including a funny takeoff of the James Bond film intros using the UNI label, weird cut-ups of the late ‘50s GM Motorama industry short “Design for Dreaming,” lots of shots of internal jukebox components doing their thing, and some deadly ninja throwing disc action. (There was also a kind of reoccurring, cloying vinyl-snob motif where a robot jukebox destroyed iPods using lasers – c’mon, like Timmy Thomas said, why can’t we live together?)
