视频简介
这场DVD全长约195分钟,涵盖了22首现场演唱曲目及多段附加内容。曲目选择横跨亚当斯80年代至2000年代的代表作,包括《Summer of '69》《Heaven》《(Everything I Do) I Do It for You》等经典金曲,以及《Room Service》《Open Road》等新专辑作品。演出录制采用多机位拍摄,提供Dolby Digital 5.1、立体声及DTS多种音轨选择,画质为16:9宽屏格式。这不仅是亚当斯中期巡演的珍贵影像记录,也是一场集结了他职业生涯热门单曲的视听盛宴。
高光时刻:
- 《Summer of '69》全场大合唱:这首摇滚国歌响起时,里斯本现场观众的热情被彻底点燃,全场齐声合唱,成为整场演出的情感顶点。
- 《It's Only Love》的激情演绎:亚当斯与现场乐队在这首硬摇滚风格的作品中展现了极强的舞台爆发力,吉他手Keith Scott的solo令人印象深刻。
- 《When You're Gone》的现场版:作为90年代末期的重要单曲,现场版呈现了不同于录音室版本的即兴发挥和情感张力。
- 《Room Service》开场连击:以新专辑同名主打歌《Room Service》和《Open Road》开场,迅速调动现场气氛,展现了亚当斯在2000年代依然强劲的创作与现场能量。
深度赏析:
嗓音状态:这场演出正值亚当斯职业生涯的中期巅峰阶段,他的沙哑嗓音保持着极佳的穿透力和爆发力。从《Run to You》的高能硬摇滚到《Have You Ever Really Loved a Woman?》的温柔抒情,亚当斯展现了游刃有余的声音控制力。
器乐表现:长期合作伙伴Keith Scott的吉他演奏是演出的一大亮点,他的主音吉他线条在《Cuts Like a Knife》和《Kids Wanna Rock》中尤为出彩。节奏组Mickey Curry(鼓)与Brian Stanley(贝斯)的配合稳健有力,为整场演出提供了坚实的律动基础。
编排与曲目:22首曲目的编排兼顾了经典老歌与新专辑推广,既照顾了老歌迷的怀旧需求,也展现了乐队在2000年代的新方向。这种跨越二十年职业生涯的曲目选择,使演出成为亚当斯音乐历程的缩影。
制作水准:Dick Carruthers的导演功力体现在多机位的精准切换上,既有全景展现舞台与观众互动的宏大场面,也有特写捕捉亚当斯演唱时投入的表情细节。
歌曲列表:
| 歌名 | 发行专辑 | 年份 | 时长 | 备注 |
|---|---|---|---|---|
| Room Service | Room Service | 2004 | - | 开场曲 |
| Open Road | Room Service | 2004 | - | - |
| 18 Til I Die | 18 til I Die | 1996 | - | - |
| Let's Make a Night to Remember | 18 til I Die | 1996 | - | - |
| Can't Stop This Thing We Started | Waking Up the Neighbours | 1991 | - | - |
| Kids Wanna Rock | Reckless | 1984 | - | - |
| Back to You | On a Day Like Today | 1998 | - | - |
| (Everything I Do) I Do It for You | Waking Up the Neighbours | 1991 | - | - |
| Summer of '69 | Reckless | 1984 | - | 全场大合唱经典 |
| Cuts Like a Knife | Cuts Like a Knife | 1983 | - | - |
| When You're Gone | On a Day Like Today | 1998 | - | - |
| Not Romeo Not Juliet | Room Service | 2004 | - | - |
| Heaven | Reckless | 1984 | - | - |
| It's Only Love | Reckless | 1984 | - | - |
| The Only Thing That Looks Good on Me Is You | 18 til I Die | 1996 | - | - |
| Cloud Number 9 | On a Day Like Today | 1998 | - | - |
| Run to You | Reckless | 1984 | - | - |
| Best of Me | Anthology | 1999 | - | - |
| Flying | 单曲 | 2004 | - | - |
| All for Love | 三个火枪手原声 | 1993 | - | 与Rod Stewart、Sting合作版 |
| Straight from the Heart | Cuts Like a Knife | 1983 | - | - |
| Room Service (Reprise) | Room Service | 2004 | - | 返场曲 |
音视频规格:
- 画质:16:9宽屏格式,多机位专业录制
- 音频:Dolby Digital 5.1 / Stereo / DTS 三种音轨可选
- 字幕:待补充
稀有度说明:
这场演出最初是作为2005年精选集《Anthology》北美限量版的附赠DVD发行,并非独立大规模发行的演唱会录像。对于北美地区的乐迷而言,这张DVD具有较高的收藏价值。同时,演出收录了多首《Room Service》专辑曲目的现场版本,该专辑是亚当斯在2000年代为数不多的录音室作品之一。此外,长达195分钟的完整内容以及包含的RFM电台采访、宣传视频等附加素材,使其成为亚当斯中期生涯的珍贵影像文献。
The 195-minute runtime is insane value. You get the full concert plus interviews and promos. This is the kind of DVD you put on and suddenly three hours disappear because you’re just lost in the music.
《Straight from the Heart》这种早期金曲真的太杀我了。布莱恩年轻时的嗓音更清亮一些,但2006年这场唱起来多了一份成熟男人的沧桑,别有一番风味。
"All for Love" is such a surprise inclusion. Even without Rod and Sting, Bryan carries it beautifully. It’s a reminder of his massive crossover appeal in the 90s. A true power ballad.
相比2024年阿尔伯特音乐厅的典雅,这场里斯本演出更偏向纯粹的摇滚现场。观众都是站着看的,气氛更躁动。两种风格我都爱,但这场更有“地下摇滚俱乐部”的粗粝感。
Let’s talk about the rhythm section. Mickey Curry on drums is a beast. His energy on "Can't Stop This Thing We Started" drives the entire song. Solid, tight, and absolutely relentless.
2006年刚好是布莱恩从90年代情歌王子转型回归摇滚的时期。这场演出的曲目安排特别好,既有《Heaven》这样的经典抒情,也有《Room Service》这种硬朗的摇滚,层次很丰富。
Keith Scott is criminally underrated. His guitar tone on "Kids Wanna Rock" is legendary. That gritty, sustaining sound is the backbone of Bryan's music. He’s the perfect foil to Bryan’s raspy vocals.
I’ve always loved "When You’re Gone", but the live version in Lisbon hits differently. There’s a spontaneity to it, a rawness that the studio version lacks. Bryan really pours his soul into every word.
这场演出的音频选项太良心了,有DTS 5.1环绕声。我用家庭影院试了一下,《It's Only Love》那段吉他solo从后环绕传出来的时候,真的像是在现场一样,临场感爆炸。
"Room Service" as an opener is such a bold choice. It sets the tone immediately that this isn't just a nostalgia tour; he’s still pushing new material. And "Open Road" right after just keeps the momentum going.
Dick Carruthers really knows how to shoot a concert. The multi-camera work here is exceptional. Close-ups on Bryan’s gritty expressions, wide shots of the Lisbon crowd, and perfect angles on Keith’s guitar work.