Motley Crue/Osaka,Japan 1990

“Solo multi-camera”, “roller coaster angle”, “Gachoon shot” … The shock of the transcendental image that could only be expressed with words that I can’t understand is back again! This time it’s a performance in Japan!!! I’m sorry for suddenly listing all these confusing words. These are the words I came up with to introduce the press DVD “ALBANY 1990”. If you’ve seen that super-exciting work, no further explanation is necessary. I would like to end it with “That’s it!”, but there are many people who are seeing it for the first time. I will explain it step by step. First of all, what is this work? Its true identity is an audience shot of the first day “May 8, 1990: Osaka Castle Hall” performance of “DR. FEELGOOD JAPAN TOUR 1990”, which was realized during the golden age of MOTLEY CRUE. The video of this performance has been known since then, but this work is completely different. It is a fierce video that was suddenly unearthed recently. [Furious Speedy Gachon Shot] The “furious” part is the camerawork of the photographer. In a word, “repeated furious zooming in and out.” If you only see this, you might imagine a messy, shaky video, but of course it’s not. He knows the band’s music perfectly well, and he captures all the highlights as if he’s having fun. The whole video is amazing, but even the opening “Kickstart My Heart” is amazing. In the chorus, he sings “Oh! Yeah! Kickstart my heart, hope it never stops!!”, and with “Oh!” he zooms in on Vince Neil, with “Yeah!” he pulls back, and with “Kickstart my heart, hope it never stops!!” he zooms in again. The way he zooms in is also very aggressive, and it’s the full speed of the zoom function that video cameras at the time were capable of. He zooms in and out, and then pulls back. In other words, it’s Tani Kei’s Gachon. This is why I wrote “Gachon Shot” at the beginning. Of course, this is just one example. Depending on the song and the part, the four members’ highlights are captured in the same way. Even when switching between these points, the zoom is still used. To be more specific, for example, when moving from Vince to Nikki Sixx, instead of panning left and right while zooming, he pulls back to the entire stage, aims at Nikki, and zooms in. By doing this, the screen does not become violently distorted while zooming in, and the whole stage is always in mind. It is easy to say, but it requires tremendous technique and experience to achieve this. You cannot do it unless you concentrate on the “highlights” and at the same time sense the whole stage and are familiar with the “next highlights”. Even more amazing is the speed of the zoom, as mentioned earlier. No matter how far he zooms back to the entire stage, he instantly decides which member to aim at next and zooms in instantly. And he does this without a moment of hesitation, while keeping the target member in the very center of the screen. That speed, that accuracy… This is already a “Golgo 13 shot”! [A rollercoaster feeling only possible in the golden age of MOTLEY CRUE] I forgot to talk about the basics because of the intense shots. The shooting position for this work is the second floor seats on the left side of the stage (Mick Mars side), (probably) the front row. Therefore, the stage is directly seen through the overhead of the first floor seats, and there are no shadows of the arms or heads of the front row, and the entire field of vision is occupied by MOTLEY CRUE. The image quality is also special. Although it is a video shoot due to the era, it has been started from the 1st Gene Master and there is no deterioration at all. The edges and color development are vivid, and when you zoom in, you can even see the buttons on the costumes clearly. However, this work also has its drawbacks, and the sound is a bit overloaded. In addition, there is a blackout of about 2 and a half minutes in “Shout At The Devil” and about 30 seconds in “Smoking’ In The Boys Room”. Perhaps it was about to be discovered that the hidden shooting was happening, but the sound goes out of the frame while the sound is still there. So, in this film, a slide show was inserted into that scene to relieve the stress of waiting in the dark. ……Okay, I’ve written what I need to. Now, let’s go back to the main story of the fierce shots. The film aggressively zooms in and out throughout the film, and the fact that the subject is MOTLEY CRUE in their golden age is also amazing. After all, it’s the most flashy rock show of the time. The set list is gorgeous, Vince and Nicky move around vigorously, the glamorous girl chorus dances, and Tommy Lee also hits hard. The most intense song is “Dr. Feelgood”. The highlight is the beginning, when Vince in a white coat and the nurse ladies appear, but the climax where Nicky destroys the bass is a must-see. As the song ends and the power chords ring out, he takes the bass (black) he was holding off his shoulder and swings it around. Just when you think he’s going to destroy it, he throws the bass down, falls down, grabs another bass (white) nearby, and slams it down, destroying it. You can witness the whole crash scene, which sounds like Jimi Hendrix or Ritchie Blackmore, in a powerful shot, but it’s also interesting to watch this scene over and over again. The destroyed white bass was there from the beginning of the encore, and it wasn’t actually played. Of course, the cameraman’s viewpoint, who noticed the presence of the white bass, goes back and forth between the white bass and Nicky during the song. The sense of expectation of “Is it about time!?” and “Is it coming already!?” is transferred to the camerawork. In this way, even if you watch it from a still perspective, it’s intense, but the dizzying active shots chase it, and one after another, the glittering and flashy scene changes. Despite being a single camera, this scene that changes constantly is what you would call “a solo multi-camera”. Moreover, unlike the switching of cuts, the dynamism of the continuous movement is the reason why it is described as a “roller coaster angle”. Although I have already listed the shortcomings, this is a piece that is full of awesomeness that does not even matter. Words such as “masterpiece”, “excellent work” and “masterpiece” do not suit this work. “Superb footage” “Shocking footage” … no, “the best masterpiece”. The roller coaster shot was born because it was MOTLEY CRUE, the golden age, and because the cameraman who boasts fierce technique was in the groove. A one-of-a-kind best masterpiece that records the truth of the Japanese performance in the ultra-MOTLEY style. Live at Osaka-Jo Hall, Osaka, Japan 8th May 1990 AMAZING SHOT! 1. 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 COLOR NTSC Approx. 86min.