Gary.Moore -《音乐节演唱会》(Live.At.Monsters.of.Rock)[DVDRip]

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  • 时间: 2005/07/02 11:05:13 发布 | 2005/07/02 11:05:13 更新
  • 分类: 音乐  演唱会 


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Filmed live at the Sheffield Arena on the 2003 Monsters of Rock Tour (which featured, amongst others, Tawny Kitaen's own personal nightmare, Whitesnake), former Skid Row/Thin Lizzy/Colosseum II instrumentalist extraordinaire Gary Moore performs a 60-minute concert that attempts to encompass his near 35 years in the business within standard skimpy opening act parameters. The set list for this trip down barely memorable lane is as follows:

• "Shape of Things": a famous Yardbirds song covered by Moore on his 1983 album Victims of the Future.
• "Wishing Well": a classic Free song covered by Moore on his 1982 album Corridors of Power.
• "Rectify": a Moore original from his 2002 solo album Scars.
• "Guitar Intro": a small instrumental piece/guitar solo.
• "Stand Up": another original from his 2002 solo album Scars.
• "Just Can't Let You Go": and still another original from his 2002 solo album Scars.
• "Walking By Myself": a blistering version of the Jimmy Rodgers song covered by Moore on his 1990 album Still Got the Blues.
• "Don't Believe a Word" (Two Versions) a Thin Lizzy track, originally found on their 1976 album Johnny the Fox. Moore covered a faster version of the song on his own 1979 solo album Back on the Streets. Moore later developed the slower version for his 1993 solo album Parisienne Walkways.
• "Out in the Fields": an original song written with Thin Lizzy's Phil Lynott, from Moore's 1985 solo album Run for Cover.
• "Parisienne Walkways": an original song written with Thin Lizzy's Phil Lynott for Moore's 1979 solo album Back on the Streets.

Watching Gary Moore: Live at the Monsters of Rock is a lot like sitting through the hardworking local warm-up act that sheepishly takes the stage before your longtime favorite asskicking mega-superstar headliner has regained consciousness in their dressing room. His set is professional and powerful and his backup band is tight and rhythmic. But you still gaze and glower, waiting for the well-known hit pop song that will get your fist pumping and your toes tapping. Sadly, Moore lacks that, or at least it sounds that way to the complete non-fan who wouldn't know him from Tobin Sprout or Jimmie O'Neil. Moore is that career musician whose name occasionally pops up on "best of" lists of renowned guitarists or "modern magicians" of old time blues, but as for the recognition that comes from popular success, he might as well be Fred Lane. Onstage he is not the most charismatic, call and response rocker on the planet. Indeed, singing seems to be something new to him—or perhaps it is just that his voice is not right for the tunes he is crooning. He is a virtuoso on the axe, but just like wading through endless drum or mellotron solos, too much finger picking histrionics blemishes the harmonious soul. In the end, we are left with a nice enough chap who is trying his damnest to get a rise out of this cold, waiting for Coverdale audience. And the lack of significant crowd shots in this documentary indicates just how successful he is.

This is not to say that Gary Moore: Live at the Monsters of Rock is without its incendiary moments. His rave-up run through of "Out in the Fields" features enough power chord chaos to make even the most sheepish metalhead bang their brain. His whiplash version of Free's "Wishing Well" also thunders with an outrageous authority. But Moore is sometimes out of his element here. For the last few years he has carved out a niche as an exemplary blues man, finding his finesse buried deep inside the classic 16-bar progression. But the times they are-a-changin' and his friendly, forceful crotch rock just can't quite translate to an audience waiting to "break stuff" with Durst or sue Napster with Metallica. Hard rocking music has gone the way of the dinosaur, altruism, and a sense of personal shame in the last few years, but Moore still wants to get out there and amp angry young teens back into puberty. Too bad that this mostly old fart festival throng (the rare stage POV shot shows more bald heads from age than shaving) just want to relive their MTV video vibrations and go home to worry about their 401(k)s. Still, with a simple three piece set up, some classic guitars, and an amazing array of pedals, Moore makes his guitar gently weep, wail like a banshee, and blast like a furnace. He is never boring and always gregarious, but the songs just don't sink in rapidly enough to have you truly enjoying yourself. If anything, Gary Moore: Live at the Monsters of Rock is a testament to the rejuvenating powers of rock and roll. At 52, Moore is still a spry, spunky performer giving all manner of well-rehearsed guitar hero poses. Too bad the audience is waiting for bad imitation hair band Zeppelin.

The DVD of Gary Moore: Live at the Monsters of Rock is a nice, professional package which features the concert video, a spectacular Dolby Digital 5.1/Stereo surround mix, and about thirty minutes of extras, divided among a soundcheck and an interview. The 1.66:1 anamorphic widescreen image is excellent with none of the flaring or bleeding you'd expect from a direct to video transfer. This concert is heavy on the early '80s hyperactive jump cut style (the camera never sits on one set up for too long), so the lack of jittering or ghosting is impressive. On the sound side, the Dolby Digital work is fantastic here. In either 5.1 or 2.0, you will feel like you are sitting in amongst the less than enthusiastic multitude as Moore gives it his all. As for the bonuses, they are enlightening and fun. The sound check finds Moore and the band working through a few technical issues as they power up on a couple of featured songs. The interview finds Moore in a reflective mood as he discusses his career, his return to rock after nearly a decade dedicated to the melancholy and his teenage son's musical influence over him. He comes across so personable and friendly that you feel bad when you have to attack his output. But Gary Moore: Live at the Monsters of Rock is nothing stunning. It is journeyman-like and vaguely entertaining, but it's merely the appetizer to what eventually becomes an empty main course. Moore and his fans deserve something better than this digital declaration of bar band status.

Gary Moore是众所周知的来自英伦群岛的著名音乐家之一。他的音乐生涯可以追溯到六十年代,很少有音乐家们没有受到著名的摇滚乐队如Thin Lizzy、Colosseum II和Skid Row等的影响下的下去创造他们的音乐。在2001年3月12号,星期一,Gary Moore出版了他的全新专辑——《Back To The Blues》。

  Gary Moore于1952年4月4号出生在北爱尔兰的Belfast。和那个年代的很多人一样,他开始的时候也是听着猫王的音乐玩Rock and Roll。在60年代中期的家乡,通过Beatles、Jimi Hendrix和John Mayall的Bluesbreakes,Gary Moore开拓了的眼界,他开始认识到了Blues音乐的广阔世界。Peter Green演绎的“Blues Guitar”更是点亮了Gary的无限的天才。不久后,Gary就已经成为倍受瞩目的青年音乐奇才。其实,是Green促成了Moore的事业,Gary也漂亮地以他1995年发行的专辑《Blues For Greeny》来答谢Green。

  1979年,凭借由Phil Lynote客串演唱,Gary弹主音的单曲“Parisienne Walkways”,Gary的事业蒸蒸日上。这首歌在那年的4月进入了英国十大,自然的,接下来的专辑《Back On The Streets》也被广为接受。

  Gary的第一支著名乐队——强力三人组合Skid Row,在1970年与CBS公司签约,同时,Gary也搬去了Dublin,他的好朋友Phil Lynott也随即成了该乐队的主唱。Gary和这支乐队出了3个唱片,在乐队因为他要单飞解散之前,他们去了美国并帮助Allman Brother和许多其他乐队。但是不久后,Gary重组乐队Thin Lizzy,Phil Lynott代替了Eric Bell成为主唱。Gary在这个乐队中表现不多,但在1977年Brian Robertson离开乐队后他重新获得了他的位置,并在1978年开始了名为“Black Rose”的巡回演出。

  在70年代晚期和80年代初期,Gary一直在不知疲倦的寻找自己东西;和Phil Lynott的重组是他又创作了充满力量的热门单曲“Out In The Fields”。在1987年的专辑《Wild Frontier》中,他在探索着他的Celtic的本性。但是直到1990年的专辑《Still Got The Blues》,Gary音乐才达到了他的创作才能能够充分发挥的巅峰。伴随着这个成功,Gary成为了和Alert King、B.B.King、Alber Collins等一样的Blues吉他大师,这也是他的卓越的天才的有力证明。1994年, Gary在BBM乐队中同Ginger Baker、Jack Bruce完成了一张专辑。然后又开始了他的单飞生涯。

  从Gary的新专辑《Back To The Blues》,我们看到这个天才的音乐家在用他的新的角度去诠释Blues。在很具试验性的专辑《Dark Days In Paradis》和《A Different Beat》后,一个内含10首经典之作像“Stormy Monday”、“You Upset Me Baby”和“I Ain't Got You”等歌曲的专辑问世了。这张专辑不亚于是对Gary的音乐的一个回顾。Gary致力于在他个性化的音乐当中去融合,匹配对立不同的风格,并显示了他出凡的感觉和炫目的技巧。录音时几乎是在录录音棚里的现场,《Back To The Blues》摇摆、摇滚,表现出Gary Moore是一个真正德Blues的捍卫者。可以说2001年Gary在他公认的音乐生涯中达到了他的巅峰,象在60年代第一次看到了Peter Green的16岁少年一样,充满了火一样的热情的。

  从传统角度出发,严肃地说,Gary Moore留住歌迷的方法是他每一次新的作品一定是他至今为止最出色的作品,每一次的都使的人们要去重新看待Gary的东西。

  这次,Moore和前Skunk Anansie的bass手Cass Lewis以及Primal Scream的鼓手Darrin Mooney组成了Scars这个金三角组合,新的专辑将会在9月2号,星期六问世。当Gary听Mooney的前面的两张专辑后,被这个鼓手的充满力量的、精确的鼓声打动了。同时在他寻找bass手来完成组合的时候,Darrin毛遂自荐。


  伴随着Gary Moore的音乐生涯的新的方向,新的乐队拥有更加强大的热情和纯粹的天才,显而易见,2002年,Gary Moore不会再忧郁了!


1. Shapes of Things
2. Wishing Well
3. Rectify
4. Guitar Intro
5. Stand Up
6. Just Can't Let You Go
7. Walking By Myself
8. Don't Believe A Word
9. Out in the Fields
10. Parisienne Walkways






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