推荐回答（3个）
《红》恰恰把哥哥的精神世界表现得丝丝入扣，成为喜爱他的人心目中“若染上了未尝便醉”的“绝色伤口”。
对于荣迷来说，一定听过《红》的至少三个版本，《红》专辑中的暧昧与缥缈，《跨越97》中的任性与虚幻，《热情》中的豪放和孤独。还有一个版本是demo版中配合钢琴的哀伤及悠远。
《红》专辑发表于1996年，那时的哥哥刚刚复出歌坛不久，哥哥很好地把握了歌词中那一份只可意会的意境，用自己的谱曲赋予歌词以空灵及悠远，给每个人以无限遐想－－《红》可以是你难以忘怀的一段苦乐参半的恋情，又可以是你曾经无奈的苦苦追寻，更或许是你任性地与世界开的一个玩笑．．．
《跨越97》中哥哥对《红》的演绎可谓经典。复出后的哥哥对名利的那份淡然让他可以完全忠实于自己心目中的艺术，并身体力行地实践自己对艺术的理解－－“真正的艺术家应该是雌雄同体的”。艺术本无性别，只是由于演绎者的性别而无奈地被赋予了所谓的“性别”。可想而知，艺术的深度和广度不得不为人类在性别认识上的局限性所羁绊。在这次演唱会中，哥哥和着错落有致的鼓点，踏着那双惊世骇俗的“红”色高跟鞋，与男性舞者大胆地跳着探戈的舞步，淋漓尽致地把《红》的那份任性，妖冶，迷醉呈现于观众面前。这次演唱会是哥哥首次向世人宣布自己在艺术的道路上要另辟蹊径追求一种稀缺的美学方向。而在这次演唱会中《红》更成了诠释哥哥艺术的最好的“代言人”。（与之类似的另外一首歌《偷情》的演绎也相辅相成）
《2000热情》中的《红》则是我心目中的经典。哥哥在2000年《热情演唱会》中的成就达到其艺术巅峰，也是他所有演唱会中我最为激赏的一场。哥哥配合着Jean Paul Gaultier设计的7套舞台服装，把演唱的歌曲汇编成一出“由天使美少年转变为统驭众生的魔鬼”的舞台剧，用豪放的声线，君王的舞姿，配合着精美的舞台灯光演绎出亚洲歌坛中最伟大的一场演唱会，而这面丰碑的高度可能需要后人若干年代的努力才能超越。哥哥又一次对《红》作了新的诠释。如果说97版的《红》对歌词的演绎入木三分的话，那麽2000版的《红》则是把《红》的精髓深刻地绽放出来。只听哥哥用略带沙质的性感嗓音和着有些阿拉伯氛围的前奏，恍若掠过浩瀚沙漠里的一阵轻柔的风，此时除了漫无边际的沙，唯一具有动感和生命的就是这缕清风，孤寂地舞着。哥哥身着一席黑色，手中拿着摄录机，配着似小调般的鼓点，完全作为这个世界的一位旁观者拍摄着舞台上的伴舞者。最喜欢哥哥在2000南京演唱会的版本，那天在凄风冷雨中，作为一位专业的艺术家，哥哥没有因为天气的原因而对演出的服装或演绎做任何改动，仍然穿着单薄的舞台服装，在《红》的结尾处，爆发出一阵狂笑，冷眼嘲讽“这样的气候对我又能如何？”经典的张国荣！！
此为转载。不过我觉得写得挺好。
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