AC/DC/MA,USA 1990

“THE RAZORS EDGE TOUR 1990-1991” has made a great comeback. A masterpiece video that allows you to experience the glorious scene in the best quality has been decided to be released. This work includes the “September 2, 1990 Worcester performance”. This is a superb audience shot taken during the huge hit of “THE RAZORS EDGE” which reached No. 2 in the US. This tour is also left in the official masterpiece “LIVE AT DONINGTON”, but let’s first check the position of the show, including that. [1990] “THE RAZORS EDGE” released on September 24th November 2nd – December 16th: North America #1 (33 shows) ★Here★ [1991] January 11th – February 22nd: North America #2 (27 shows) March 20th – April 27th: Europe #1 (27 shows) May 24th – July 14th: North America #3 (36 shows) August 10th – September 28th: ​​Europe #2 (20 shows) ←※Official October 14th – November 16th: Oceania (18 shows) A total of 161 shows. It’s a large-scale tour like a veteran, but the density is not like a veteran. All these shows were packed into about a year, and it was hard work to do an average of three shows a week (including travel in between). You can see from the schedule how AC/DC was in the groove at that time. The official video “LIVE AT DONINGTON” was at the end of that, but the Worcester performance of this work was also at the beginning. It was the concert on the first day of the tour. Such a work is of extraordinary quality. It is a diagonal angle from the left side of the stage (Cliff Williams side), but there is no shadow of the front row, perhaps the front of the balcony seats. On top of that, if you zoom in, the screen is occupied by Angus’ upper body, which is an excellent field of view. On top of that, the stability is amazing. In fact, the camera work moves well enough to be acrobatic, but it is still not hard to see. It seems that no tripod is used, but even if you zoom in as much as you can, there is no camera shake. Is the cameraman’s technique abnormal, or is the camera shake offset by digital trimming? In any case, it is a sense of stability that you would not think of as “1990”. In fact, this work has been digitally corrected. The beauty of the images lies in the freshness of the digitalization directly from the master, but the superb sound is synchronized, and the recording gaps are compensated for by another recording. In the scene where the viewpoint is disturbed between songs and the frame goes out, other performance scenes are overlaid in slow motion to make it look nice. Although it is edited, it is not multi-camera, but rather a single-camera audience shot, but it has been treated as much as possible. And the camera work. As I wrote earlier, it is “acrobatic,” but it is extremely cool. The cameraman is well acquainted with AC/DC and is into all the songs. It is not a level where “highlights are captured,” but rather a level where “highlights are drawn out.” For example, the intro to “Sin City.” The riff roars “Daan! Dan! Dan! Dan!”, and the camera zooms in along with that “Daan!” It is directed like the so-called Gachon of Tani Kei. And in the scene where the song breaks, he pulls back in advance as if he knew about the ring light-up production and captures the whole view… At other shows, you’d think, “Oh, you’ve seen it many times. You like it,” but this was the very first day. How could they get ahead of the progress of the show? The camerawork was so amazing that it even made you wonder. Of course, this is just one example. The whole show, every song, every riff, was shot in such a forward-leaning manner. The show, which was written with such acrobatic shots, was a passionate performance that seemed to declare “a complete revival!” I’m happy to hear “Sin City,” “Who Made Who,” “Razor’s Edge,” and “That’s The Way I Wanna Rock’n’Roll,” which can’t be seen in “LIVE AT DONINGTON,” but the heat is not there and it erupts from every song. The key is the new member Chris Slade. Of course, the most important drummer in AC/DC is Phil Rudd, but the veteran hero Chris is also amazing. Although he is the oldest, his lively drumming has definitely revived AC/DC, and while it’s groovy, it also adds momentum. Malcolm’s right foot, which beats the rhythm, and Angus’s steps, clearly show that they are more “in it” than usual. The “momentum” and “tension” that explode with Chris’ beat. It was because of this that AC/DC was able to make a comeback. It was a time of comeback that Simon Wright, who tried to copy Phil but failed, could not achieve. A masterpiece of acrobatic shots that allows you to experience “THE RAZORS EDGE TOUR” 100% live, which was never witnessed in Japan. Live at The Centrum, Worcester, MA. USA 2nd November 1990 AMAZING SHOT!!!!★Recommended! ! Disc 1(61:00) 1. Thunderstruck 2. Shoot To Thrill 3. Back In Black 4. Fire Your Guns 5. Sin City 6. Heatseeker 7. Who Made Who 8. Jailbreak 9. The Jack 10. Razor’s Edge Disc 2(61:52) 1. That’s The Way I Wanna Rock ‘n’ Roll 2. Moneytalks 3. Hells Bells 4. High Voltage 5. You Shook Me All Night Long 6. Dirty Deeds Done Dirt Cheap 7. Whole Lotta Rosie 8. Let There Be Rock 9. Highway To Hell 10. T.N.T. 11. For Those About To Rock (We Salute You) COLOUR NTSC Approx.123min.