Yngwie Malmsteen/Sweden 1995 DAT Master

Yngwie Malmsteen in the Mike Vesela era was particularly catchy and metallic. The original DAT master that allows you to experience the best performance in his native Sweden has been newly excavated. This work is engraved with the “November 21, 1995 Kristianstad performance”. It is a superb audience recording. We archive Yngwie’s entire career with various classic live albums, but it’s been a long time since the Vesela era. It’s a good opportunity, so let’s start by looking back at the whole picture of his activities with the “singing Marshall amp”. 1994 February 18th: “THE SEVENTH SIGN” released February 19th-28th: ​​North America #1 (3 shows) March 8th-23rd: Japan #1 (11 shows) *Official video April 2nd-15th: North America #2 (5 shows) May 5th-June 11th: Europe #1 (20 shows) June 26th-July 30th: North America #3 (11 shows) July 21st: “LIVE AT BUDOKAN” released September 8th: Foundations Forum appearance October 21st: EP “I CAN’T WAIT” released October 13th-November 26th: North America #4 (9 shows) 1995 June 21st: “MAGNUM OPUSN” released ・August 24-30: North America #5 (7 performances) ・September 8-30: Japan #2 (17 performances) ・November 4-December 23: Europe #2 (39 performances) ←★Here★ This is Yngwie Malmsteen in the Vesela era. In addition to two studio albums, he also released the EP “I CAN’T WAIT” and the live video “LIVE AT BUDOKAN” in the space of two full years. The performance in Kristianstad in this work is the final stage of the Vesela era. It was the 14th concert of “Europe #2”. Some of you may remember the soundboard album “THE SWEDISH ONE” when you say “Sweden in 1995”, but this work was four days and three performances after that masterpiece. This work recorded at such a show is a stunning stereo audience that wakes you up. It was digitized directly from the DAT master brought by a unique route, but the core is powerful and thick, and the texture is also fiercely on. What is even more surprising is the vividness of the outline, each instrument is clear even in the fine details, and the sense of separation is tremendous. In “Far Beyond the Sun”, Shane Garas plays demonic cymbal work, but even when each of them is intertwined with Yngwie’s fast playing, they never mix. Even when Barry Sparks pours in Billy Shee-like rapid fire and Mats Olausson wraps it up with a synth, the vividness still does not waver even a little. What’s even more delicious is the closed room feeling. I don’t know the capacity of the actual “G-Punkten” site, but it feels like a small club or basement. There is a sense that all the instruments are playing in front of you, and the applause that rises between songs has a private feeling. It would be embarrassing if the venue was a big hall, but I would still like to assert that in order to convey the sound nuances of this work. It is a secret recording with a sense of intimacy. Such a rich sound depicts a full show that condenses the flavor of the Vesera era. As mentioned above, it is the closest to the sound board masterpiece “THE SWEDISH ONE”, but the set is actually different. Let’s organize it by comparing it here. Mike Vescera era (7 songs) ・Seventh Sign: Never Die / Forever One / Seventh Sign (★) ・Magnum Opus: Vengeance / No Love Lost / Voodoo / Fire in the Sky Others (3 songs + α) ・Original songs: Too Young to Die, Too Drunk to Live (★) / Far Beyond the Sun / I’ll See the Light Tonight (★) ・Others: Blues (★) / Rock and Roll Ain’t Noise Pollution (★) *Note: The “★” mark indicates a song that was not heard on the soundboard masterpiece “THE SWEDISH ONE”. …And so it goes. AC/DC’s “Rock and Roll Ain’t Noise Pollution” is shocking, but it’s actually an instrumental jam of just under a minute. It’s a spontaneous play where the members follow along when you play a riff. However, even so, the unexpectedness of Yngwie playing AC/DC is sure to be an interesting scene. And even more delicious is “Too Young to Die, Too Drunk to Live”. It’s a revival song for the first time in nine years, but it’s also a rare song that hasn’t been played at all since this tour. It was said that the new work “MAGNUM OPUS” at that time had an ALCATRAZZ mood, but the genuine ALCATRAZZ number is still wonderful. Graham’s difficult songs are a heavy burden for Vesela… but his passionate singing suits him well. About a month after this work, after the tour, Yngwie fired Vesela due to the famous infidelity suspicion. After that, Vesela also left behind neo-classical works with followers such as Joe Stump, Sammy Berrell, and Dusshan Petrossi, but the famous duo that produced the masterpieces “THE SEVENTH SIGN” and “MAGNUM OPUSN” will never be revived again. What emerges from this work is the final destination of “that era” that is also nostalgic for its immense popularity in Japan. A treasured album that lets you experience the scene with the best sound. The best audience recording of “November 21, 1995 Kristianstad performance (Sweden)”. The core is powerful and thick, and the texture is also intensely on in a closed room recording, with each instrument being clear to the finest details and a great sense of separation. The vividness of Shane Garas’ demonic cymbal work and Yngwie’s rapid fire, which never mix even when they are intertwined, is also wonderful. This is a new masterpiece that allows you to experience a delicious full show at its best, including the revival song “Too Young to Die, Too Drunk to Live” and AC/DC’s “Rock and Roll Ain’t Noise Pollution” jam. Live at G-Punkten, Kristianstad, Sweden 21st November 1995 ULTIMATE SOUND (from Original Masters) ★First appearance, super high quality sound (72:37) 1. Intro 2. Vengeance 3. No Love Lost 4. Never Die 5. Far Beyond the Sun 6. Forever One 7. Blues 8. Guitar Solo (incl. Woman From Tokyo, Eruption) 9. Seventh Sign 10. Rock and Roll Ain’t Noise Pollution ★AC/DC cover. Rare 11. Band Introductions 12. Voodoo 13. Fire in the Sky 14. Too Young to Die, Too Drunk to Live ★Alcatrazz number. A comeback song after 9 years. A rare song that has never been played since this tour. 15. I’ll See the Light Tonight Yngwie Malmsteen – Guitar, Vocal Michael Vescera – Vocals Mats Olausson – Keyboards Barry Sparks – Bass Shane Gaalaas – Drums