GiGinJapan Artwork of Japanese CDs (mostly) Keith Richards & The X Pensive Winos / Beacon Theatre 1993 Final Night / 1DVDR / Non label
Beacon Theatre, New York, NY, USA 24th February 1993. NTSC
Click Image To Enlarge
Keith’s last solo tour (at the moment) “MAIN OFFENDER TOUR 1992-1993”. The best video containing the final performance is the gift release decision. The final performance is “February 24, 1993 New York performance”. A superb audience shot of a concert at the traditional Broadway theater “Beacon Theater”.
What is amazing is its quality. Of course, it will be analog video shooting due to the times, but it has been digitized directly from the original VHS master. With ultimate freshness, no dubbing marks or deterioration over time are seen, and even one white line noise is not found. In recent years, many original master excavation videos have appeared, but among them, it is an exceptional visual beauty.
Even more wonderful is camera work. When shooting from the right side of the stage, the front row of the balcony seats seems to be the shooting position, judging from the slightly overlooking angle and the screen that does not reflect the head or arms of the front row at all. The field of view of the special seats is occupied by the stage to fill the screen, but from there it approaches with a bold zoom. The closeness is tremendous, the screen is filled with Keith’s waist up, and the fingertips and facial expressions are perfect.
While keeping such a zoom, it is a type of image that follows the highlights centering on Keith, but its stability is strange. I may be using a tripod from a place that doesn’t cause camera shake at all, but even so, it feels like a professional shoot. What’s more, even if you shake it left or right with a bold zoom, there is no blurring, and scrolling is extremely smooth. Perhaps, in reality, the edges of the screen that are slightly blurred are scraped off, and digital trimming is used to stabilize it. It’s a great shooting that is so far away from the audience that such doubts arise.
And even the sound is suitable for the visual beauty. It’s not the “synchronization of another recording” that is common these days, but the audio of the shot video as it is, but it is extremely beautiful. Although it is not the type that makes a noise like “sound board”, the core that reaches straight is thick and thick, and on top of that, the sound unique to the traditional famous venue beautifully colors the sound. What’s more surprising is the low audience noise. A small amount of low-pitched voice can be heard between the songs, but the cheers that should have filled the venue just spread like ripples, and are incomparably smaller than the musical / singing voice. Both the screen and the audio are images that you can concentrate on “only the stage” and immerse yourself in it.
The final performance drawn with that quality has a wonderful sense of experience that overflows. Speaking of the North American leg of “MAIN OFFENDER TOUR”, the performance in Boston, which was also broadcast by satellite, is famous, but it is exactly the “100% version of this video”. In fact, this final performance is a show 11 days later (after 8 performances), and if the set is the same, the delicious performance is similar. However, the sound that wraps the whole body in a different dimension from the sound board, the stable zoom that looks at the opera glasses that are completely different from the multi-camera … If you want to see it with VR that is popular these days, you can experience the scene itself. It’s a real image.
This week, the definitive live album “MARQUEE 1992” from the London performance will also appear, and it is a great opportunity to look back on “MAIN OFFENDER TOUR 1992-1993”. That’s why I want to deliver the “best 100% experience of real students” with both eyes and ears. A gift title for that. Please try.
What is amazing is its quality. Of course, it will be analog video shooting due to the times, but it has been digitized directly from the original VHS master. With ultimate freshness, no dubbing marks or deterioration over time are seen, and even one white line noise is not found. In recent years, many original master excavation videos have appeared, but among them, it is an exceptional visual beauty.
Even more wonderful is camera work. When shooting from the right side of the stage, the front row of the balcony seats seems to be the shooting position, judging from the slightly overlooking angle and the screen that does not reflect the head or arms of the front row at all. The field of view of the special seats is occupied by the stage to fill the screen, but from there it approaches with a bold zoom. The closeness is tremendous, the screen is filled with Keith’s waist up, and the fingertips and facial expressions are perfect.
While keeping such a zoom, it is a type of image that follows the highlights centering on Keith, but its stability is strange. I may be using a tripod from a place that doesn’t cause camera shake at all, but even so, it feels like a professional shoot. What’s more, even if you shake it left or right with a bold zoom, there is no blurring, and scrolling is extremely smooth. Perhaps, in reality, the edges of the screen that are slightly blurred are scraped off, and digital trimming is used to stabilize it. It’s a great shooting that is so far away from the audience that such doubts arise.
And even the sound is suitable for the visual beauty. It’s not the “synchronization of another recording” that is common these days, but the audio of the shot video as it is, but it is extremely beautiful. Although it is not the type that makes a noise like “sound board”, the core that reaches straight is thick and thick, and on top of that, the sound unique to the traditional famous venue beautifully colors the sound. What’s more surprising is the low audience noise. A small amount of low-pitched voice can be heard between the songs, but the cheers that should have filled the venue just spread like ripples, and are incomparably smaller than the musical / singing voice. Both the screen and the audio are images that you can concentrate on “only the stage” and immerse yourself in it.
The final performance drawn with that quality has a wonderful sense of experience that overflows. Speaking of the North American leg of “MAIN OFFENDER TOUR”, the performance in Boston, which was also broadcast by satellite, is famous, but it is exactly the “100% version of this video”. In fact, this final performance is a show 11 days later (after 8 performances), and if the set is the same, the delicious performance is similar. However, the sound that wraps the whole body in a different dimension from the sound board, the stable zoom that looks at the opera glasses that are completely different from the multi-camera … If you want to see it with VR that is popular these days, you can experience the scene itself. It’s a real image.
This week, the definitive live album “MARQUEE 1992” from the London performance will also appear, and it is a great opportunity to look back on “MAIN OFFENDER TOUR 1992-1993”. That’s why I want to deliver the “best 100% experience of real students” with both eyes and ears. A gift title for that. Please try.
（現時点で）キース最後のソロツアー“MAIN OFFENDER TOUR 1992-1993”。その最終公演を収めた極上映像がギフト・リリース決定です。その最終公演とは「1993年２月24日ニューヨーク公演」。ブロードウェイの伝統劇場“ビーコン・シアター”でのコンサートを収録した極上のオーディエンス・ショットです。
驚くべきは、そのクオリティ。時代柄、当然アナログビデオ撮影になるわけですが、その大元VHSマスターからダイレクトにデジタル化されている。究極鮮度でダビング痕も経年劣化もまったく見られず、白線ノイズ１本すら見当たらない。近年、オリジナルマスターの発掘映像も多数登場するようになりましたが、その中でも格別の映像美なのです。
さらに素晴らしいのが、カメラワーク。ステージ右側からの撮影で、わずかに見下ろす角度、前列の頭や腕一切映り込まない画面から察するに、バルコニー席の最前列が撮影ポジションだと思われます。画面いっぱいにステージが占領する特等席の視野ですが、さらにそこから果敢なズームで迫る。その寄りっぷりが凄まじく、キースのウェスト・アップで画面が埋め尽くされ、指先や表情もばっちりなのです。
そんなズームをキープしつつ、キースを中心に見どころを追っていくタイプの映像なのですが、その安定度が異様。手ブレをまったく起こさないところから三脚を使っているのかも知れませんが、それにしてもビシッとしてまるでプロ撮影かのよう。しかも、果敢なズームのまま左右に振っても一切ブレず、しかもスクロールも極めて滑らか。もしかしたら、本当は多少はブレている画面の端を削り、デジタルのトリミングで安定させているのかも……。そんな疑念が湧くほどにオーディエンス離れしたスゴ業撮影なのです。
そして、サウンドまでもがその映像美に相応しい。昨今よくある「別録音のシンクロ」ではなく、撮影ビデオの音声そのままなのですが、それが極めて美しい。「まるでサウンドボード」と騒ぎ立てるタイプではないものの、真っ直ぐに届く芯は骨太かつ肉厚、その上で伝統の名会場ならではの音響が鳴りを美しく彩っている。しかも驚くべきは、オーディエンス・ノイズの少なさ。曲間では小声の話し声が極わずかに聞こえもするのですが、会場を埋め尽くしているはずの喝采もさざ波のように広がるばかりで、楽音／歌声とは比較にならないほど小さい。画面も、音声も、ひたすら「ステージだけ」に集中し、浸りきれる映像なのです。
そのクオリティで描かれる最終公演は、滲み出しては溢れる体験感が素晴らしい。“MAIN OFFENDER TOUR”の北米レッグというと、衛星放送もされたボストン公演が有名ですが、まさにあの映像の“本生100％版”。実際、この最終公演は11日後（８公演後）のショウでして、セットも同じなら滋味深い演奏も似ている。しかし、サウンドボードとは別次元の全身を包み込んでくるサウンド、マルチカメラとはまったく違うオペラグラスで見つめるような安定したズーム……昨今流行のVRで見ようものなら、まさに現場そのものが体験できそうなリアル映像なのです。
今週は、ロンドン公演の決定盤ライヴアルバム『MARQUEE 1992』も登場し、“MAIN OFFENDER TOUR 1992-1993”を振り返るには絶好のチャンス。そんな今だからこそ、目でも耳でも“最高の本生100％体験”をお届けしたい。そのためにギフト・タイトル。ぜひ、お試しください。
(127:03)
1. Intro 2. Something Else 3. How I Wish 4. Wicked As It Seems 5. Gimme Shelter
6. 999 7. Running Too Deep 8. Locked Away 9. Time Is On My Side 10. Will But You Won’t
11. Words Of Wonder 12. Hate It When You Leave 13. Before They Make Me Run
14. Eileen 15. Bodytalks 16. Band Introductions 17. Whip It Up 18. I Could Have Stood You Up
19. Happy 20. Take It So Hard
Keith Richards – Vocals, Guitar Waddy Wachtel – Guitar Ivan Neville – Keyboards
Bobby Keys – Baritone Saxophone Jerome Smith – Bass Steve Jordan – Drums
Sarah Dash – Vocals Babi Floyd – Vocals
The Uptown Horns
Arno Hecht – Saxophone Bob Funk – Trombone Larry Etkin – Trumpet
COLOUR NTSC Approx.127min.
