Motley Crue / Milan 1984 / 1CDR+1Bonus DVDR

Motley Crue / Milan 1984 / 1CDR+1Bonus DVDR / Shades

Live at Teatre Tenda Di Lampguano, Milan, Italy 12th November 1984 Plus Bonus DVDR ‘ The Children Of The Beast’

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Early MOTLEY CRUE that does not awaken the impact of the famous board “SAN ANTONIO 1983 (Zodiac 405)”. From that “SHOUT AT THE DEVIL TOUR 1983-1984”, a new superb live album has appeared. “November 12, 1984 Milan performance” is included in this work. A transcendental audience who recorded their first European tour as the undercard of IRON MAIDEN “WORLD SLAVERY TOUR” … No, stereo soundbo … that?
I’m sorry I was suddenly upset. In fact, I’m really at a loss. There is no doubt that it is a transcendental sound with a lot of super clear and direct feeling, and while the large audience is expanding, the presence with almost no jarring upcoming voice is like a sound board. However, if you listen with headphones, it seems that some spectators are relatively close (even if they are not close), and the snare tone feels a bit like a guest record … As a matter of fact, opinions are divided worldwide, and even if it is not declared as an audience, it does not mention the recording method, and some declare it as a “sound board”. Anyway, it’s a super-name recording like a sound board.
What is drawn with such a transcendental sound is the full show of the early MOTLEY CRUE, which may surpass even the hotly-talked-about masterpiece “SAN ANTONIO 1983”. To explain the reason, let’s look back at the whole picture of “SHOUT AT THE DEVIL TOUR” and confirm the position of the show.

● 1983
・ March 26-April 3: North America # 1 (6 performances)
・ May 29: US Festival appearance
・ September 3-17: North America # 2 (3 performances)
<< September 26, “SHOUT AT THE DEVIL” released >>
・ October 31st-December 16th: North America # 3 (28 performances) ← * SAN ANTONIO 1983
● 1984
・ January 10-March 24: North America # 4 (52 performances)
・ April 12-June 15: North America # 5 (38 performances)
・ August 18-September 7: Europe # 1 (7 performances)
・ October 15th-November 19th: Europe # 2 (23 performances) ← ★ This work ★

This is the 1983/1984 MOTLEY CRUE. The finest sound board “SAN ANTONIO 1983” was just after the release of “SHOUT AT THE DEVIL”, but in 1984 they made many laps in the United States and traveled to Europe. This “Europe # 1 + 2” was also MOTLEY CRUE’s first overseas tour across the ocean. The Milan performance of this work was the 20th performance of “Europe # 2”.
And, such an environment appears in the heat of this work. I was very excited about Europe for the first time while being confident that I had already overrun the United States. Moreover, because the opening performance has a short time, the young energy that cannot be used up even at the full show is concentrated and chewed. The explosive tension that doesn’t think about the pace and the Italians of Latin Nori who met MOTLEY CRUE for the first time created a synergistic effect, making it a ridiculously hot live album. And the richness is the same for Zet. As expected, all songs can be heard in “SAN ANTONIO 1983”, which was a solo performance, but it is still longer than “US Festival”. Here, let’s organize it while comparing it with the latter.

● Brilliant passion (4 songs)
・ Piece Of Your Action / Live Wire
● Shout at the Devil (9 songs + α)
・ In The Beginning (★) / Bastard / Knock ‘Em Dead, Kid ／ Shout At The Devil ／ Ten Seconds To Love (★) ／ Red Hot (★) ／ Looks That Kill ／ Helter Skelter
* Note: “★” marks are songs that could not be heard at the “US Festival”.

Early MOTLEY CRUE, which had a strong metal color and was more evil than an evil kid. This is a new excavation live album where you can enjoy the moment when they flew to the world for the first time with superb sound. Although it is not as long as “SAN ANTONIO 1983”, it is a new masterpiece that may surpass in terms of concentration and momentum. This one is recommended for those who are crazy about that superb sound board and those who have not yet experienced “SHOUT AT THE DEVIL TOUR”. Please be crushed to your heart’s content!

名盤『SAN ANTONIO 1983（Zodiac 405）』の衝撃も覚めやらぬ初期MOTLEY CRUE。その“SHOUT AT THE DEVIL TOUR 1983-1984”から、新たなる極上ライヴアルバムが登場です。そんな本作に収められているのは「1984年11月12日ミラノ公演」。IRON MAIDEN“WORLD SLAVERY TOUR”の前座として臨んだ彼ら初の欧州ツアーを記録した超絶級オーディエン……いや、ステレオ・サウンドボ……あれ？
突然、取り乱してしまって申し訳ありません。実は、本当に迷っているのです。とにかく超クリア＆ダイレクト感たっぷりな超絶サウンドなのは間違いなく、大観衆が広がりつつも耳障りな間近声のほとんどない臨場感もサウンドボードっぽい。しかし、ヘッドフォンで耳を澄ませると（間近ではなくても）比較的近い観客もいるようですし、スネアの音色がわずかに客録っぽい気もしてくる……。実のところ世界的にも意見が割れており、オーディエンスと断言しないまでも録音法に触れていなかったり、一部では「サウンドボード」と断言していたり。ともあれ、それほどまでにサウンドボード的な超名録音なのです。
そんな超絶サウンドで描かれるのは、話題沸騰中の大名盤『SAN ANTONIO 1983』さえ凌駕しかねない初期MOTLEY CRUEのフルショウ。その理由をご説明するためにも、今一度“SHOUT AT THE DEVIL TOUR”の全体像を振り返り、ショウのポジションを確かめてみましょう。

●1983年
・３月26日-４月３日：北米#1（６公演）
・５月29日：USフェスティバル出演
・９月３日-17日：北米#2（３公演）
《９月26日『SHOUT AT THE DEVIL』発売》
・10月31日-12月16日：北米#3（28公演）←※SAN ANTONIO 1983
●1984年
・１月10日-３月24日：北米#4（52公演）
・４月12日-６月15日：北米#5（38公演）
・８月18日-９月７日：欧州#1（７公演）
・10月15日-11月19日：欧州#2（23公演）←★本作★

これが1983年／1984年のMOTLEY CRUE。極上サウンドボード『SAN ANTONIO 1983』は『SHOUT AT THE DEVIL』発売直後でしたが、1984年になると彼らは全米を何周もし、欧州にも遠征。この「欧州#1+2」はMOTLEY CRUEにとって初めて大洋を渡った海外ツアーでもありました。本作のミラノ公演は、そんな「欧州#2」の20公演目にあたるコンサートだったのです。
そして、そんな環境が本作の熱気にもアリアリと現れている。すでに全米を蹂躙した自信に漲りつつ、初めてのヨーロッパに大興奮。しかも前座公演で持ち時間が短いために、フルショウでも使い切れない若いエネルギーを濃縮してブチかましている。そのペースを考えない爆裂したテンションと、初めてMOTLEY CRUEに対面したラテン・ノリのイタリア人が相乗効果を生み出し、とんでもなく熱いライヴアルバムになっているのです。そして、その濃厚ぶりはゼットも同じ。さすがに全曲とも単独公演だった『SAN ANTONIO 1983』で聴けるわけですが、それでも“USフェスティバル”よりは長い。ここでは後者と比較しながら整理しておきましょう。

●華麗なる激情（４曲）
・Piece Of Your Action／Live Wire
●シャウト・アット・ザ・デヴィル（９曲＋α）
・In The Beginning（★）／Bastard／Knock ‘Em Dead, Kid／Shout At The Devil／Ten Seconds To Love（★）／Red Hot（★）／Looks That Kill／Helter Skelter
※注：「★」印は“USフェスティバル”では聴けなかった曲。

メタル色が強く、悪ガキと言うよりは邪悪だった初期MOTLEY CRUE。そんな彼らが初めて世界に羽ばたいた刹那を超極上サウンドで味わえる新発掘ライヴアルバムです。長さでこそ『SAN ANTONIO 1983』には及びませんが、濃度や勢いでは凌駕しかねない新名盤。あの極上サウンドボードにヤラれた方にも、まだ“SHOUT AT THE DEVIL TOUR”を体験されていない方にも全力でお薦めできる１枚。どうぞ、思う存分ぶちのめされてください！

(44:40)
1. In The Beginning
2. Bastard
3. Knock Em’ Dead
4. Shout at the Devil
5. Ten Seconds To love
6. Piece of your Action
7. Red Hot
8. Guitar Solo
9.　Looks that Kill
10. Live Wire
11. Helter Skelter

Vince Neil – Vocals
Mick Mars – Guitar
Nikki Sixx – Bass
Tommy Lee – Drums

Shades 1236

————–

Motley Crue / The Children Of The Beast / 1DVDR / Non Label
Live at The Quebec Coliseum, Quebec City, Canada 5th June 1984 AMAZING-SHOT!!!

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The main story “MILAN 1984” is a live album where you can experience the heavy metallic early MOTLEY CRUE. However, MOTLEY CRUE at that time was dressed in full-body leather, and its looks and aggressive stage performance that seemed to be fused with hardcore are also attractive. Therefore, a bonus is also included in the superb video that represents those early witnesses.
“June 5, 1984 Quebec City performance” is included in this work. It is a superb audience shot taken at the concert which is the 33rd performance of “North America # 5” according to the schedule of the main part commentary. The quality of this work that recorded such a show is abnormal. Although it has to be called an “audience shot” by type, it has a different dimension from the 80-year audience shooting that you usually imagine. The angle is looking down from the stand seat on the left side of the stage (Nikki Sixx side), but what is surprising is the visibility and stability. First of all, the view is too superb. The shadow of the audience walking between songs may be reflected on the edge of the screen, so it seems to be an audience seat, but I do not feel the presence of other audiences at all. The stage occupies the entire field of view, and nothing else is visible. Moreover, the zoom is abnormal. It seems that there is a reasonable distance if you pull it all the way out, but bold zoom is used a lot, and when you get close to the maximum, the members approach the full screen, and even Tommy Lee at the back of the stage even shakes his hair. I understand it perfectly.
The zoom makes you notice a strange sense of stability. Even if you zoom so violently, no camera shake will occur. Scroll smoothly and zoom in / out repeatedly while maintaining a sense of stability. This magnificent view and sense of stability is more appropriate to be called a “one-camera-related shot” by the venue setup camera than to be called an “audience shot.” This is what I wrote at the beginning, “Are you really shooting in the audience?”
Furthermore, the master freshness of this work is abnormal. In terms of image quality, although the video shooting is sweet, no dubbing marks are found. The glossy color and the beauty without distortion in every corner of the screen seem to be only master quality. What’s more, it extends not only to the screen but also to the voice, and the clear sound that is far away from the loud cheers flows out without stagnation. I often use the word “AMAZING-SHOT”, but I am surprised at this work without any price. After all, wasn’t the staff taking it for reference? It is a quality that makes you want to think.
“Moving SHOUT AT THE DEVIL” is drawn with such visual beauty. The makeup and costumes of the artwork itself shouted and rampaged. The set is also longer than the main story “MILAN 1984” which was the opening performance. Let’s organize it here.

● Brilliant passion (4 songs)
・ Take Me To The Top (★) / Merry-Go-Round (★) / Piece Of Your Action / Live Wire
● Shout at the Devil (9 songs)
・ Shout At The Devil / Bastard / Ten Seconds To Love / Knock’Em Dead, Kid (★) / Too Young To Fall In Love (★) / God Bless The Children Of The Beast (★) / Red Hot / Looks That Kill / Helter Skelter
* Note: “★” marks are songs that cannot be heard in the main story “MILAN 1984”.

… And it looks like this. Speaking of this time, the pro shots of the “US Festival” of the century are also famous, but this work is a dignified full set. Especially from the 2nd album “SHOUT AT THE DEVIL”, all songs except “Danger” are played. The image and musicality will change from the next work “THEATER OF PAIN TOUR”, but because it was before that, “Take Me To The Top”, “Merry-Go-Round”, “Bastard”, “God Bless The Children Of” You will be dazzled by famous songs such as “The Beast”.
Furthermore, the action is unique to the early days. Around this time, he used a lot of formations, sometimes with Nicky and Mick Mars on both sides of the stage, and sometimes with Vince Neil, who often shook their necks. Coupled with the black leather outfit, it seems that the longing for JUDAS PRIEST and KISS is bleeding and spilling out.

Masterpieces, actions and costumes because of “SHOUT AT THE DEVIL”. It is a masterpiece video that you can fully experience all of them with the highest quality that you can only think of as shooting by the people concerned. Heavy metallic MOTLEY CRUE before the party rock’n’roll became the authority (drum solo without gimmicks is also strangely fresh). Please enjoy this work to the fullest.

本編『MILAN 1984』はヘヴィメタリックな初期MOTLEY CRUEを極上体験できるライヴアルバムです。しかし、当時のMOTLEY CRUEは、全身レザーに身を包み、ハードコアと融合したようなルックスやアグレッシヴなステージ・パフォーマンスも魅力。そこで、そんな初期の彼らを目撃できる代表する超極上映像もボーナス付属決定です。
そんな本作に収められているのは「1984年６月５日ケベックシティ公演」。本編解説の日程によるところの「北米#5」の33公演目にあたるコンサートで撮影された超極上オーディエンス・ショットです。そんなショウを記録した本作のクオリティは異常。種別的に「オーディエンス・ショット」と呼ばざるを得ないものの、普通イメージする80年の客席撮影とは次元が違う。ステージ左側（ニッキー・シックス側）のスタンド席から見下ろしたアングルなのですが、驚くのは視界と安定感。まず、絶景すぎる。曲間で歩く観客の陰が画面端にチラッと映ることもあるので客席なようですが、他に観客の存在をまったく感じない。視野のすべてをステージが占領し、それ以外に目に映るものがない。しかもズームが異常。思いっきり引くとそこそこ距離もありそうなのですが、果敢なズームが多用されており、最大に寄るとメンバーが画面いっぱいにまで迫り、ステージ一番奥のトミー・リーでさえ、振り乱す髪の揺れまでばっちり分かる。
そのズームで気づくのが異様な安定感。そこまで猛烈ズームしても手ブレをまったく起こさない。ビシッとした安定感のまま、流れるように滑らかにスクロールし、ズームイン／アウトを繰り返す。この絶景ぶりと安定感は「オーディエンス・ショット」と言うよりは、会場設営カメラによる「ワンカメ関係者ショット」と言われた方がしっくりくる。冒頭で書いた「本当に客席撮影？」というのは、こういう事なのです。
さらに本作はマスター鮮度までが異常。画質的にはビデオ撮影の甘さはあるものの、ダビング痕が一切見当たらない。艶やかな発色も、画面の隅々まで歪みのない美しさも、マスタークオリティとしか思えない。しかも、それが画面だけでなく音声にまで及び、大歓声も遠目なクリア・サウンドが淀みなく流れ出る。よく「AMAZING-SHOT」という言葉を使いますが、本作には掛け値なしに驚く。やっぱり、スタッフが資料用に撮ったんじゃないの？と思いたくなるクオリティなのです。
そんな映像美で描かれるのは「動くSHOUT AT THE DEVIL」。メイクも衣装も、あのアートワークそのものの４人が叫び、暴れまくる。セットも前座公演だった本編『MILAN 1984』より長くたっぷり。ここで整理しておきましょう。

●華麗なる激情（４曲）
・Take Me To The Top（★）／Merry-Go-Round（★）／Piece Of Your Action／Live Wire
●シャウト・アット・ザ・デヴィル（９曲）
・Shout At The Devil／Bastard／Ten Seconds To Love／Knock ‘Em Dead, Kid（★）／Too Young To Fall In Love（★）／God Bless The Children Of The Beast（★）／Red Hot／Looks That Kill／Helter Skelter
※注：「★」印は本編『MILAN 1984』では聴けない曲。

……と、このようになっています。この時期と言えば、世紀の“USフェスティバル”のプロショットも有名ですが、本作は堂々のフルセット。特に2ndアルバム『SHOUT AT THE DEVIL』からは実に「Danger」以外の全曲が演奏される。次作の“THEATRE OF PAIN TOUR”からはイメージも音楽性も様変わりするわけですが、それ以前だからこその「Take Me To The Top」や「Merry-Go-Round」「Bastard」「God Bless The Children Of The Beast」といった名曲たちに目が眩みそうです。
さらにアクションも初期ならでは。この頃はフォーメーションを多用しており、時にニッキーとミック・マーズがステージ両サイドで、時にヴィンス・ニールとの３人で固まって頻繁にネックを振る。ブラック・レザーな衣装も相まって、JUDAS PRIESTやKISSへの憧れが滲んで溢れてこぼれ出すかのようです。

『SHOUT AT THE DEVIL』だからこその名曲とアクションと衣装。そのすべてを関係者撮影としか思えないような極上クオリティでフル体験できる大傑作映像です。まだパーティ・ロックンロールの権化になる前（仕掛けなしのドラムソロも妙に新鮮です）のヘヴィメタリックなMOTLEY CRUE。ぜひ、本作でたっぷりとお楽しみください。

1. Shout At The Devil
2. Bastard
3. Take Me To The Top
4. Ten Second To Love
5. Merry-Go-Round
6. Knock ‘Em Dead Kid
7. Piece Of Your Action
8. Too Young To Fall In Love
9. God Bless The Children Of The Beast
10. Red Hot
11. Drum Solo
12. Guitar Solo
13. Looks That Kill
14. Live Wire
15. Helter Skelter
16. Live Wire(Promo Video)

Vince Neil – Vocals Mick Mars – Guitar Nikki Sixx – Bass Tommy Lee – Drums

COLOUR NTSC Approx. 87min.