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Although the studio tracks do put the rear speakers to more use for the instrumentals, the focus does remain on the front speakers for all of the album's tracks, with the surrounds providing enough detail to provide a simple, but effective amount of envelopment. The audio quality remained solid throughout both studio and live tracks. The live tracks certainly sound like very good recordings, with a nice amount of crowd noise and very good green day detail and clarity to both the green day vocals and instrumentals - I don't think I've ever heard the classic guitar riff in "Sweet Home Alabama" sound so good. Overall, while the presentation is straightforward, the audio quality is excellent - certainly a release that sounds even better at top volume. Extras: A video of a live performance of "Simple Man" (in 2.0), bios and credits.

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A fair amount of the Silverline releases that I've listened to do not attempt to make any great (or even mild changes) to the way that the music was originally presented. Essentially, these titles have allowed the surrounds to present some appreciated, noticable - but not method man diss distracting - re-inforcement of the music. I have yet to run across any Silverline title with the kind of aggressive surround use displayed on, method man diss for example, "Bohemian Rhapsody" from DTS's "Queen: A Night At The Opera". That kind of audio trickery often works perfectly well for me, making for a new method man diss approach to the listening experience of the album. However, most of the Silverline titles seem to take the approach of leaving well enough alone and really, that's perfectly acceptable and enjoyable, too. "Then and Now" is another one of those instances.

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