Motley Crue / Albany 1990 / 1DVD

Motley Crue / Albany 1990 / 1DVD / Non Label

Translated Text:
Live at Knickerbocker Arena, Albany, NY. USA 11th April 1990. NTSC


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“What kore!?” “Amazing I audience shooting ……”. We suddenly rude. However, fierce one that those words leaks reblogged appeared. This work, MOTLEY CRUE heyday heyday in, “DR. FEELGOOD WORLD TOUR 1989-1990” audience shots. Although how the heyday, the audience video press DVD of the ’80s, it’ll be many people that are surprising to think. After all, it is incredibly even on our side. However, I can not believe it’s really,’s the contents of this work. We do not have any confidence this weirdness can tell how far, but anyway challenge.
First of all, from the fixed form of spec introduction. This work is audience shot of the “April 11, 1990 Albany performances”. The angle that contains the stage panoramic view from the stage left side of the second floor, is not entered at all, such as the shadow of the front row, live itself is spread in full view. Befitting the sight of the shield without, clear sound is ………… Oh, it is useless. Not if you have spent a number of characters in such a thing. Greatness of this work, we do not do that!
Well, what is uncanny. Clearly saying the photographer is amazing. What a good speaking, another Norinnori. Do you boldly zoom like crazy down the attractions of the show, but the speed is not that anyway is God. We I maintain the zoom function of your home handy camera, please I think that its maximum speed. We stop by and bang at full speed, but still hold the members of the aim in the middle and tightly. This is, but I know yet if the band does not move from a fixed position, because’s the heyday MOTLEY CRUE to run around the stage crowdedly, is think of it and another ferocious Aktiv’s the video …, the screen spree shaking mess and write this you may, but is not. Not only by the bang, it draws a bang. How if you Abareyo is Vince Neil and Nikki Sixx, only hard to see than chase remains of zoom. Instead, once drawn to the panoramic view, again zoom in on it. Therefore, zoom can enjoy while fully grasping the show though it Wankame. In there is only shooting technique say though, even with the “one multi-camera”, are you portray the roller coaster feeling.
It even still I knew I would be misunderstood. Screen to repeat the zoom in / out will be is likely to Sewashinai. I actually that so (laughs), because it is not difficult to see amazing. Whether you are using a tripod, fiercely stable and, almost without camera shake even in big time zoom. Moreover, familiarity …… yea the highlights of the show, has been completed familiar, it fucked precise. Well, for example, “Live Wire”. Early in the Tommy Lee beat of the song is driving a wedge in the music, but to repeat the zoom in / out in conjunction with the one stroke one stroke. Ride to the tune of the beat, it feels “Gachon” is repeated in the Kei Tani. Of course, from beginning to end to the rhythm does not mean to be “Gachon”, glue of the song, the timing is also part of the zoom to fit snugly to show the atmosphere of freedom. “Same Ol ‘Situation (S.O.S.)” So, You me plenty of fascinated by the glamorous Girls chorus, drum solo of round around Tommy overhead of a large audience also an Eraku dynamic.
Too terrible image because, had been spoiled that important. This work, the image quality is also amazing. We fuss and zoom zoom from earlier, but, like the super beautiful like a pro shot even closer to the intense. Freshness even as much as I can only imagine that it has digitized directly from shooting master itself, noise also not if deterioration. Ultra-clear until one by one of Tommy dishevel while rolling up beating hair. That we all in the quality can be seen. Opening to jump out from the floor as Kabuki, nor Tommy strip down rather dudes shine the bikini pants, also Pyro of eruption to turn turn the explosion. Roller coaster shots lock idiot half-assed of transcendence entertainment suits also far. This amazing thing, I’ve never seen ….

Even though one camera, worth seeing more than much of the multi-camera professional shot. And visual beauty. Heck, if this photographer who is. But does not seem to be a person concerned because there is also a scene to hide the camera in a hurry, etc. between the song, also skill is to it, too deep too terrible even understanding of the show production. Shooting Tech, the goodness of glue up to tremendous. And, gorgeous, brilliant bohemian heyday MOTLEY CRUE, which would by far the photographer. Miracle gem of precisely because all are met. To be honest, is not on this tour there is a superb professional shot of the large classic (Auburn Hills performances and Kansas City performances), but even not to the other party.
Rather than “great though it is the audience shooting,” “amazing because the audience shooting”. Is the one that was achieved because “audience-shot” becomes benevolent culture, after 100 years, “great I lock of the 20th century” is also in the human race after 200 years ultra-reportedly a “terrible tut I audience shooting” entertainment is epic. Roller coaster Rock photographer is “fun!” Is bare of no two feel in the field. This weekend, we will deliver to you your hand.


 「なんだコレは!?」「客席撮影って凄い……」。いきなり失礼いたしました。しかし、そんな言葉が漏れる猛烈な1本が登場してしました。本作は、MOTLEY CRUE絶頂期中の絶頂期、“DR. FEELGOOD WORLD TOUR 1989-1990”のオーディエンス・ショット。いかに絶頂期とは言え、80年代の客席映像がプレスDVDとは、意外に思われる方も多いことでしょう。何しろ、当方でさえ信じられないくらいです。しかし、本当に信じられないのは、本作の中身なのです。この凄味をどこまでお伝えできるか自信がありませんが、とにかく挑戦します。
じゃあ、なにが凄いのか。ハッキリ言って撮影者が凄い。なんと言えば良いか、もうノリッノリ。ショウの見どころを押さえまくって果敢にズームするのですが、そのスピードがとにかくハンパじゃない。ご自宅のハンディカメラのズーム機能をイジっていただき、その最大スピードだと思ってください。全力スピードでズバッと寄るのですが、それでも狙いのメンバーをキッチリと真ん中に押さえる。これが固定ポジションから動かないバンドならまだ分かるのですが、ステージを所狭しと走り回る絶頂期MOTLEY CRUEなのですから、それはもう猛烈なアクティヴ映像なのです……と、こう書くとグチャグチャに揺れまくる画面を思い浮かべられるかも知れませんが、そうではないのです。ズバッと寄るだけでなく、ズバッと引く。いかにヴィンス・ニールやニッキー・シックスが暴れようと、ズームのまま追うのでは見にくいだけ。そうではなく、一度全景に引き、その上で再度ズーム。それゆえ、ワンカメなのにショウを完全把握しながらズームも楽しめる。まるで「1人マルチカメラ」とでも言うしかない撮影テクニックで、ジェットコースター感覚を描き出しているのです。
これでもまだ誤解されてしまいそう。ズームイン/アウトを繰り返す画面が忙しないと思われることでしょう。実際にそうなのですが(笑)、それが見づらくないから凄い。三脚を使っているのか、猛烈に安定しており、思いっきりなズームでも手ブレはほとんどナシ。しかも、ショウの見どころを熟知……いや、完熟知しており、めちゃくちゃに的確なのです。そうですね、例えば「Live Wire」。曲の序盤でトミー・リーのビートが曲にくさびを打ち込みますが、その1打1打に併せてズームイン/アウトを繰り返す。曲のビートに乗って、谷啓の「ガチョーン」が繰り返される感じです。もちろん、終始リズムに合わせて「ガチョーン」しているわけではなく、曲のノリ、ショウの雰囲気にピッタリと合わせてズームの箇所もタイミングも自由自在。「Same Ol’ Situation(S.O.S.)」では、グラマラスなガールズ・コーラスをたっぷり魅せてくれますし、大観衆の頭上でぐるぐる回るトミーのドラムソロもえらくダイナミックなのです。

カメラ1台なのに、マルチカメラ・プロショットを遙かに超える見応え。そして映像美。一体、この撮影者は何者なのか。曲間などで慌ててカメラを隠すシーンもあるので関係者ではないようですが、それにしては腕前も、ショウ演出の理解も凄すぎる深すぎる。凄まじいまでの撮影テク、ノリの良さ。そして、撮影者にそこまでさせてしまう豪華絢爛・華麗奔放な絶頂期MOTLEY CRUE。すべてが揃ったからこその奇跡な逸品。正直言って、このツアーには大定番の極上プロショット(オーバーンヒルズ公演やカンザスシティ公演)があるわけですが、それすら相手にならない。

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. Drum Solo 12. Looks That Kill 13. Smokin’ In The Boys Room
14. Wild Side 15. Girls, Girls, Girls 16. Without You 17. Home Sweet Home 18. Dr. Feelgood

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

COLOUR NTSC Approx.102min.

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