文/ 喬•沃格爾（Joe Vogel）
2012年9月14日 - 25年前1987年的夏末，邁克爾•傑克遜（Michael Jackson）發行了繼《顫慄》（Thriller）之後飽受期待的新專輯《飆》（Bad）。《飆》產生了5支第一名金曲、幾部經典短篇電影和一場創紀錄的世界巡演。到今天為止，《飆》的銷量估計已達到3000 – 4500萬張。為了慶祝這里程碑式的事件，邁克爾•傑克遜遺產管理委員會和史詩/遺產唱片公司（Epic/Legacy Recordings）將於9月18日 發行一個三CD套裝《飆25》（Bad 25），其中包括重新處理過的原始專輯、包含樣帶和混音的新專輯和來自“飆”世界巡演（Bad World Tour）的現場專輯。
除了新歌，《飆25》套裝的亮點毫無疑問就是“溫布利現場”（ Live at Wembley）演唱會完整版DVD。如果不是對傑克遜物品的尋找，這份非凡的歷史之作很可能就找不到了。溫布利演出堪比1965年披頭士樂隊（Beatles）在謝亞球場（Shea Stadium）的演出。但是沒錯：傑克遜的演出讓最天才的前輩也黯然失色。
可惜的是，儘管對傑克遜的收藏物品進行了全方位查找，但遺產管理委員會沒能找到溫布利演出原始的Umatic母帶。也許有一天，它們會出現在什麼地方。他們找到的是傑克遜自己錄影收藏裏的演唱會私人VHS拷貝帶。“即使找到這份VHS錄影帶也讓我們覺得像是奇跡。”遺產管理委員會執行人約翰•布蘭卡（John Branca）說。
身為絕對的完美主義者，傑克遜常常看自己演出的錄影帶確定“魔力”是否被拍到、他的演出和其他隊友還有什麼可以改進的地方。這是供傑克遜觀看的1988年7月16日 有包括戴安娜王妃（Princess Diana）和查理斯王子（Prince Charles）在內共72000人到場欣賞的傳奇演唱會的拷貝帶。
除了新歌，《飆25》套裝的亮點毫無疑問就是“溫布利現場”（ Live at Wembley）演唱會完整版DVD。如果不是對傑克遜物品的尋找，這份非凡的歷史之作很可能就找不到了。溫布利演出堪比1965年披頭士樂隊（Beatles）在謝亞球場（Shea Stadium）的演出。但是沒錯：傑克遜的演出讓最天才的前輩也黯然失色。
可惜的是，儘管對傑克遜的收藏物品進行了全方位查找，但遺產管理委員會沒能找到溫布利演出原始的Umatic母帶。也許有一天，它們會出現在什麼地方。他們找到的是傑克遜自己錄影收藏裏的演唱會私人VHS拷貝帶。“即使找到這份VHS錄影帶也讓我們覺得像是奇跡。”遺產管理委員會執行人約翰•布蘭卡（John Branca）說。
身為絕對的完美主義者，傑克遜常常看自己演出的錄影帶確定“魔力”是否被拍到、他的演出和其他隊友還有什麼可以改進的地方。這是供傑克遜觀看的1988年7月16日 有包括戴安娜王妃（Princess Diana）和查理斯王子（Prince Charles）在內共72000人到場欣賞的傳奇演唱會的拷貝帶。
儘管錄影源是“非高清的1988年錄影帶畫質”，但它還是被一支曾為美國國家航空航天局修復錄影的團隊修復了。最後的成果雖然不是完美的高清畫質，但在我看來絲毫沒有減少欣賞時的樂趣。看這張DVD時我激動萬分，好像回到了那個年代。近距離和中距離鏡頭清晰很多，遠距離鏡頭有時有點模糊。幸運的是，由於鏡頭抓得相當好，很多次對傑克遜的精彩特寫鏡頭會讓人感覺自己仿佛在看高清錄影。而且原始錄音是多音軌錄製，5.1環繞身歷聲讓人難以再抱怨什麼。
“飆”世界巡演始於1987年9月的日本，結束於大約16個月後1989年1月的洛杉磯，是史上票房最高、到場人數最多的演唱會之一。傑克遜在15個國家向約440萬歌迷表演，這也是他在北美第一次、也是最後一次個人巡演。
倫敦演出在第二輪巡演的中期，邁克爾熱潮已經席捲歐洲。據美聯社報導，在奧地利維也納有超過130人在演唱會期間暈倒。當他抵達倫敦，民眾的興奮已達沸點。溫布利體育場的7場演唱會門票全部售罄，打破了麥當娜（Madonna）和布魯斯•斯普林斯汀（Bruce Springsteen）之前創下的紀錄。
看著24年前7月16日 演出的DVD，你還能感受到那種由內而外釋放的能量和激動。當傑克遜終於從煙霧中出現演唱開場曲《想鬧事》（Wanna Be Startin' Somethin’）時，觀眾頓時騷動了。邁克爾•傑克遜小宇宙爆發。
演出這麼好看還有一個原因是它的自然（以傑克遜的標準），從舞臺設計到服裝到燈光到整體效果。音樂總監葛列格•菲林岡斯（Greg Phillinganes）領導一支活力四射的樂隊，在舞臺後鼓舞士氣，而傑克遜在一邊，和一群像“刀鋒戰士”（Blade Runner）、似男似女的天才舞者【包括拉韋爾•史密斯（Lavelle Smith）在內】排舞。
這種極簡抽象藝術的方式讓傑克遜的才華 —— 作為一個舞者、歌手和表演人 —— 發揮得淋漓盡致。他輕鬆活潑，玩似的，我們就在那裏看。傑克遜幾乎唱了全場，在有些地方即興加入了出彩的效果。比如，《我會守候》（I'll Be There）的結尾處，他開始像被靈魂主宰的福音傳教士一樣即興演唱，跟和音歌手、觀眾們召喚回應。“你能感覺到嗎！”他大喊。一顆顆汗珠滴落，音樂像電流一樣穿過他的身體。接著他開始有節奏地頓足、亂唱，進入下一首歌。
其他亮點也多了去了。傑克遜默劇般用舞蹈表演《人之天性》（Human Nature），飄渺的高音飛向觀眾；《犯罪高手》（Smooth Criminal）開始時在煙霧中顯出一個輪廓，然後是著名的藝術舞蹈；《比莉•珍》（Billie Jean）最後的打鼓獨秀讓傑克遜隨著節奏即興發揮 —— 旋轉、踢腿、跺腳、滑步。傑克遜作為表演者這麼吸引人的一個原因就是他的肢體能一直舞動，完全跟音樂融合。就像他常常說的，整場演出中他成為“音樂流動的載體”。
最有意思的是最後傑克遜調皮地介紹和音歌手、吉他手和樂隊，他在創意合作中的幽默感和快樂不言而喻。他還讓一群孩子上臺，看他們認真模仿偶像的舞步。
最後是讓你屏住呼吸的安可曲目《鏡中人》（Man in the Mirror）。就像斯派克•李（Spike Lee，他在《飆25》紀錄片最後用了這個表演）說的：“如果你看了那場表演，他是屬於別的地方的。那是最棒的表演之一。你看看邁克爾怎麼唱那首歌的 —— 他不屬於這個世界，他是另一個地方的。”
傑克遜在倫敦的7場演出共吸引了約50萬人來看。真正的一票難求，只要他願意，再加演10場也是場場爆滿。所有人都想看一個叫邁克爾•傑克遜的奇人。
9月18日，全世界終於有機會看到塵封多年的魔力重現。
這種極簡抽象藝術的方式讓傑克遜的才華 —— 作為一個舞者、歌手和表演人 —— 發揮得淋漓盡致。他輕鬆活潑，玩似的，我們就在那裏看。傑克遜幾乎唱了全場，在有些地方即興加入了出彩的效果。比如，《我會守候》（I'll Be There）的結尾處，他開始像被靈魂主宰的福音傳教士一樣即興演唱，跟和音歌手、觀眾們召喚回應。“你能感覺到嗎！”他大喊。一顆顆汗珠滴落，音樂像電流一樣穿過他的身體。接著他開始有節奏地頓足、亂唱，進入下一首歌。
其他亮點也多了去了。傑克遜默劇般用舞蹈表演《人之天性》（Human Nature），飄渺的高音飛向觀眾；《犯罪高手》（Smooth Criminal）開始時在煙霧中顯出一個輪廓，然後是著名的藝術舞蹈；《比莉•珍》（Billie Jean）最後的打鼓獨秀讓傑克遜隨著節奏即興發揮 —— 旋轉、踢腿、跺腳、滑步。傑克遜作為表演者這麼吸引人的一個原因就是他的肢體能一直舞動，完全跟音樂融合。就像他常常說的，整場演出中他成為“音樂流動的載體”。
最有意思的是最後傑克遜調皮地介紹和音歌手、吉他手和樂隊，他在創意合作中的幽默感和快樂不言而喻。他還讓一群孩子上臺，看他們認真模仿偶像的舞步。
最後是讓你屏住呼吸的安可曲目《鏡中人》（Man in the Mirror）。就像斯派克•李（Spike Lee，他在《飆25》紀錄片最後用了這個表演）說的：“如果你看了那場表演，他是屬於別的地方的。那是最棒的表演之一。你看看邁克爾怎麼唱那首歌的 —— 他不屬於這個世界，他是另一個地方的。”
傑克遜在倫敦的7場演出共吸引了約50萬人來看。真正的一票難求，只要他願意，再加演10場也是場場爆滿。所有人都想看一個叫邁克爾•傑克遜的奇人。
9月18日，全世界終於有機會看到塵封多年的魔力重現。
A Piece of History: Michael Jackson Live at Wembley Stadium
Twenty-five years ago in the late summer of 1987, Michael Jackson released his long-anticipated follow-up to Thriller, the Bad album. Bad went on to produce five No. 1 hits, several classic short films, and a record-setting world tour. To date, it has sold an estimated 30-45 million copies. To celebrate the milestone, the Estate of Michael Jackson and Epic/Legacy Recordings will release a three-CD package (Bad 25, out September 18), which includes the remastered original album, an album of bonus tracks, including demos and remixes, and a live album from his Bad World Tour.
Along with the new songs, the highlight of the Bad 25 box set is undoubtedly the "Live at Wembley" full concert DVD. This is a remarkable piece of history that might have been lost if not for a fortuitous discovery among Jackson 's belongings. The Wembley shows are the equivalent of the Beatles at Shea Stadium in 1965. But make no mistake: Jackson 's performance here eclipses even his most talented predecessors.
Unfortunately, in spite of an extensive search through the pop star's storage archives, Jackson 's estate was unable to locate the original Umatic master tapes for the Wembley shows. Perhaps one of these days, they will show up somewhere. What they did find was a personal VHS copy of the concert from the singer's own video collection. "Even finding this VHS felt like a miracle to us," says estate co-executor John Branca.
A consummate perfectionist, Jackson often watched tapes like this of his shows to ascertain whether the "magic" was being captured and what could be improved not only in his own performance, but that of the rest of the crew. This was his viewing copy for the legendary July 16, 1988 performance, attended by 72,000 people, including Princess Diana and Prince Charles.
While the sourced footage remains "pre-HD, 1988 videotape quality," it has been restored by a team that has also treated recovered footage for NASA. The result isn't a perfect high definition picture, but for me, at least, took little away from the enjoyment of the experience. Watching the DVD is like being transported in time. It feels like the era it comes from. Generally, it seems the closer and mid-range shots are much sharper, while the distant shots can sometimes be a bit blurry. Fortunately, because the camera work is so good, we get many brilliant close-ups of Jackson that might almost be mistaken for high-definition. Add to that that the original audio was captured on multi-track and presented in 5.1 audio, and it is hard to complain about the results.
The Bad World Tour began in September 1987 in Japan and concluded nearly sixteen months later in January 1989 in Los Angeles . It became the highest-grossing and most attended concert series in history. Jackson played to an estimated 4.4 million fans in fifteen countries. It was also his first and last solo tour in North America .
The London shows came in the midst of the second leg of the tour. Michael-mania was sweeping through Europe . In Vienna , Austria , the Associated Press reported that over 130 people passed out during the concert. By the time he reached London excitement had reached a fever pitch. All seven concerts at Wembley Stadium sold out, shattering a record previously held by Madonna and Bruce Springsteen.
Watching the July 16 show on DVD 24 years later one can still feel that visceral energy and excitement in the stadium. When Jackson finally appears out of the smoke and starts into the opening number, "Wanna Be Startin' Somethin,'" the crowd erupts. This is Michael Jackson at the height of his performing powers.
Yet part of what makes the performance so enjoyable is how stripped down and spontaneous it is (by Jackson 's standards), from the stage design, to the costumes, lighting and overall presentation. Music director Greg Phillinganes heads up a dynamic band, elevated just behind the stage, while Jackson is flanked, on many of the choreographed numbers, with a talented group of androgynous, Blade Runner-esque dancers (including Lavelle Smith).
The minimalist approach allows Jackson 's talent -- as a dancer, singer and performer -- to shine through. He is loose and exuberant, like he's simply having a great time, and we're there to watch in. Jackson sings live throughout most of the show, and improvises to brilliant effect in certain parts. At the conclusion of "I'll Be There," for example, he begins ad libbing like a gospel preacher possessed by the spirit. He does call and response with his backup singers and with the audience. "Can you feel it!" he exclaims. Dripping with sweat, the music pulsing through him, he begins rhythmically tapping his foot, then scatting, before launching into the next number.
Other highlights abound. Jackson 's locking, popping, miming rendition of "Human Nature" and its ethereal cries directed outward to the audience. The intro to "Smooth Criminal," in smoky silhouette, which gives way to the now-famous, but still captivating high-art choreography. The extended drum-solo postlude to "Billie Jean" that allows Jackson to improvise to the beat -- gyrating, kicking, tapping and gliding. Part of what makes Jackson so compelling as a performer is how his body is constantly in motion and completely in-sync with the music. For the entirety of the show, he becomes, as he often said, "the medium through which the music flows."
One of the most enjoyable moments actually comes at the end as Jackson playfully introduces his backup singers, guitarists and band. It gives a sense of his humor and joy in being a part of a creative collaboration. He also allows a group of children on stage, who earnestly try to imitate their idol's dance moves.
The show concludes with a breathtaking encore performance of "Man in the Mirror." As Spike Lee (who ended up using the performance to conclude his Bad25 documentary) says, "If you look at that performance, he's somewhere else. That's one of the great performances ever. You see the way Michael's singing that song -- he's not of this world. He's somewhere else."
Jackson played a total of seven shows in London to an estimated 500,000 people. Ticket demand was so strong it was estimated he could have done at least 10 more sold-out Wembley concerts if he had desired. Everyone wanted to witness the phenomenon that was Michael Jackson.
On September 18, after years of gathering dust in storage, the world will finally have the chance to experience the magic again.
沒有留言:
張貼留言