Motley Crue / Osaka 1990 / 1DVD

Motley Crue / Osaka 1990 / 1DVD / Non Label

Translated Text:
Live at Osaka-Jo Hall, Osaka, Japan 8th May 1990. NTSC



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“Single Multi Camera” “Jet Coaster Angle” “Goose Shot” …. The shock of the transcendental video that was only expressible in terms that are not understood anymore! This time it is a Japanese show !!!
I disappointed that I listened suddenly chikuman-kan words. These are a lot of words that you twisted out when introducing the press DVD “ALBANY 1990”. If you saw that superfluous work, no further explanation is necessary. It is where I want to end with “over!”, But there are also many people who are new to the event. I will explain step by step. First of all, what is this work? Its identity is the audience shot containing the first day “May 8, 1990: Osakajo Hall” performance among “DR. FEELGOOD JAPAN TOUR 1990” realized in the golden age of MOTLEY CRUE golden age. Although the image of this performance was known from that time, this work is a completely different thing. It is a violent picture that was excavated suddenly recently.

【Giant Speed’s Goose Shot】
That “furious” for the first time, the camera work of the photographer. In a nutshell, “I will repeat the violent zoom to Norikori.” If this is the only thing you may be imagining images shaken by Gushaguta, but of course it will be different (if so, I will not press). I completely know the music of the band and hold down the highlight so that I can play it all the while. Although it is amazing in its entirety, it is amazing to do it from the beginning “Kickstart My Heart”. I am singing “Oh! Yeah! Kickstart my heart, hope it never stops !!” with the rust, but I’m surely zooming in to Vince Neil with “Oh!” And thinking carefully with “Yeah!”, “Kickstart my heart, Hope it never stops !! ” It’s also aggressive that way, its full-speed zoom capability possible at that time video camera. Spit! Close and go! And subtract. That is, Tani’s Garoon. It was this that wrote “Gochon Shot” at the beginning.
Of course, this is just an example. Depending on the song, depending on the part, hold down the highlight of the four people in the same way. Even if you switch that point, you still use the zoom. Specifically, when moving from Vince to Nicky Six, for example, instead of swinging left and right while zooming, pull it to the stage full view once, set aim for Nicky and go snappy! . By doing this, the screen will not be distorted intensely while zooming in, and the appearance of the whole stage always comes into my mind. It is easy to say in terms of language, but realizing this requires a furious technique and experience. You can concentrate on the “highlight” and at the same time detect the whole stage of the stage and be familiar with the “next highlight”. Even more amazing is the zoom speed mentioned earlier. Even if you draw the full view, instantly judge which member will be aimed next and instantly get close. It is also without putting the target members in the middle of the screen, without momentary doubt. That speed, its accuracy ……… this is already “Golgo 13 · shot”!

【Golden Period MOTLEY CRUE That’s why a roller coaster sensation】
I have forgotten to talk about the basics to too sharp shots. The filming position of this work is the second floor seat of the left side of the stage (Mick · Mars side) (probably) the front row. For that reason, we are looking directly at the stage above the head of the first floor, no shadow of the arm or the head of the front row, no viewing field is occupied by MOTLEY CRUE. Also, image quality is also special grade. Although it will be a periodic pattern video shoot, it is woken up by 1st Genie Master, and there is no deterioration at all. Edge and color development are vivid, and it is clear enough to see the button of the costume when it comes closer to the zoom. However, this work also has disadvantages, the voice is slightly overloading. Furthermore, it is about two and a half minutes by “Shout At The Devil”, and there is a dark of about 30 seconds in “Smoking ‘In The Boys Room”. Is it even becoming to find a secret shot, it frames out as it is? So, in this work, I inserted a slideshow also in that scene and solved the stress I waited in the dark.
… OK, I wrote what I needed. Let’s go back to the story of a furious shot that is crucial. Aggressively zooming in and out in the whole story is repeated, but the place where the object is the golden period MOTLEY CRUE is also amazing. Anyway, it is a modern fantastic rock show. If the set list is also luxurious, both Vince and Nicky move hard, a glamorous girls chorus dances and Tommy Lee strikes violently. Especially intense is “Dr. Feelgood”. Although white squirrels Vince and nurse’s elder sisters appear, it is a highlight, but it is a must-see climax where Nicky breaks the base. While the song is over and the power cord is ringing, remove the base (black) you pulled from the shoulder and swing the group. Thinking of breaking as it is, throwing out the base and falling down, putting a hand on the other base (white) that was put nearby, destroying it with a beating machine. Although it is possible to witness the whole of the crash scene of Jimi · Hendrix or Richie · Blackmore with the power of the goose shot, it is also interesting to see this scene many times. The destroyed white base is placed from the beginning of the encore, and in fact it does not play. Of course, the viewpoint of the photographer who noticed the existence of the white base came back and forth with white base and Nicky even during the song. The expectation of “Is it almost time!?” “Do you want to come already?” Has taken over to camera work altogether.
Like this, even if you are looking at the still perspective, it is fierce, but I will pursue it with an active shot that is dazzling, and the spectacular scene shifts from one to the next with a glowing spirit. Despite the one-camera, this sight that turns round is the “single multi camera”. Moreover, unlike the switching of cuts, the dynamism of continuous motion is the reason why it is described as “roller coaster angle”.

Although the drawbacks were also listed earlier, it was a piece that turned into a bread roll with no such thing as a thing. Words such as “masterpiece” “excellent work” “masterpiece” do not suit this work. “Transcendental video” “Impact video” … No, “Supreme pleasure”. MOTLEY CRUE That’s why, as it is the golden age, and a photographer boasting a brutal technique shakes nori, it is the roller coaster shot that was born out. It is the best novelty work which recorded the truth of the Japanese performance in super MOTLEY flow. This weekend endless dynamic locking pictures will attack you.


「独りマルチカメラ」「ジェットコースター・アングル」「ガチョーン・ショット」……もうわけが分からない言葉でしか表現のしようのなかった超絶映像の衝撃が再び! 今度は日本公演です!!!
いきなりチンプンカンプンな言葉を羅列して失礼しました。これらはプレスDVD『ALBANY 1990』をご紹介する際にひねり出した言葉の数々なのです。もし、あの超快作をご覧になった方なら、これ以上の説明は不要。「以上!」で終わりにしたいところですが、初めての方も多くいらっしゃる。順を追ってご説明させていただきます。まず、本作は何物か? その正体はMOTLEY CRUE黄金期中の黄金期に実現した“DR. FEELGOOD JAPAN TOUR 1990”のうち、初日「1990年5月8日:大阪城ホール」公演を収めたオーディエンス・ショット。当時からこの公演の映像は知られていましたが、本作はまったくの別物。最近になって突如として発掘された激烈映像なのです。

その“激烈”ぶりとは、撮影者のカメラワーク。一言で言えば「ノリッノリに猛烈なズームを繰り返しまくる」。これだけだとグチャグチャにブレまくった映像をイメージされるかも知れませんが、もちろん違います(そうならプレスなんかしやしません)。バンドの音楽を完全に熟知し、思いっきり遊ぶように見どころを押さえまくるのです。全編凄いのですが、冒頭の「Kickstart My Heart」からして凄い。サビで「Oh! Yeah! Kickstart my heart, hope it never stops!!」と歌うわけですが、「Oh!」で思いっきりヴィンス・ニールにズームし、「Yeah!」で思いっきり引き、「Kickstart my heart, hope it never stops!!」でまた寄る。その寄り方がまた思いっきりアグレッシヴでして、当時のビデオカメラが可能なズーム機能のフルスピード。ズバッ!と寄って、ズバッ!と引く。つまり、谷啓のガチョーン。冒頭で「ガチョーン・ショット」と書いたのは、このことなのです。

【黄金期MOTLEY CRUEだからこそのジェットコースター感覚】
あまりの激烈ショットに基本を話し忘れておりました。本作の撮影ポジションは、ステージ左側(ミック・マーズ側)の2階席で(恐らく)最前列。そのため、1階席の頭上ごしにステージ直視しており、前列の腕や頭の影も一切入らず、視界全部がMOTLEY CRUEに占領される極上視野です。また、画質も特級。時代柄ビデオ撮影になるわけですが、1stジェネ・マスターから起こされており、劣化がまるでない。エッジも発色もビビッドで、ズームに寄ると衣装のボタンまでハッキリ見えるほどです。ただ、本作にも欠点はあり、音声がややオーバーロード気味。さらに「Shout At The Devil」で約2分半、「Smoking’ In The Boys Room」で約30秒の暗転がある。隠し撮りが見つかりそうにでもなったのか、音声はそのままながらフレームアウトしてしまうのです。そこで、本作ではそのシーンにもスライドショウを挿入し、暗闇で待つストレスを解消しました。
……よし、必要なことは書いたぞ。それでは、肝心要の猛烈ショットの話に戻りましょう。全編にわたってアグレッシヴにズームイン/アウトを繰り返すわけですが、その対象が黄金期のMOTLEY CRUEというところがまた凄い。何しろ、当代きっての超ド派手なロックショウ。セットリストも豪華絢爛なら、ヴィンスもニッキーも激しく動き回り、グラマラスなガールズコーラスが踊り、トミー・リーも猛烈に叩きまくる。特に強烈なのが、「Dr. Feelgood」。白衣ヴィンスやナースなお姉さま方が登場する冒頭から見どころですが、ニッキーがベースをぶっ壊すクライマックスは必見。曲が終わってパワーコードが鳴り響くなか、引いていたベース(黒)を肩から外し、グルグルを振り回す。そのままぶっ壊すかと思いきや、そのベースを放り投げて倒れ込み、近くに置いてあったもう1本のベース(白)に手をかけ、ガンガンと叩きつけて破壊するのです。ジミ・ヘンドリックスかリッチー・ブラックモアかというクラッシュ・シーンの一部始終をガチョーン・ショットのド迫力で目撃できるわけですが、このシーンを何度も見返してみるとまた面白い。破壊された白ベースはアンコールの最初から置かれており、実は弾いてない。もちろん、白ベースの存在に気がついた撮影者の視点は、曲中も白ベースとニッキーを行ったり来たり。「そろそろか!?」「もう来るか!?」の期待感がそっくりカメラワークに乗り移っているのです。

先ほど欠点も羅列しましたが、それさえ物ともしない凄味でパンパンになった1枚。「名作」「秀作」「傑作」といった言葉は、本作には似合わない。「超絶映像」「衝撃映像」……いえ、「最高快作」。MOTLEY CRUEだからこそ、黄金期だからこそ、そして猛烈なテクニックを誇る撮影者がノリにノリまくるからこそ生まれ出でたジェットコースター・ショット。日本公演の真実を超MOTLEY流に記録しきった2つとない最高快作。今週末、これ以上ないダイナミックなロック映像があなたに襲いかかります。

1. Intro. 2. Kickstart My Heart 3. Red Hot 4. Rattlesnake Shake 5. Too Young To Fall In Love
6. Shout At The Devil 7. Live Wire 8. Same Ol’ Situation (S.O.S.) 9. Slice Of Your Pie
10. Guitar Solo 11. Looks That Kill 12. Smoking’ In The Boys Room 13. Wild Side
14. Girls, Girls, Girls 15. Without You 16. Home Sweet Home 17. Dr. Feelgood

COLOUR NTSC Approx. 86min.


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