Alcatrazz/Pennsyalvania,USA 1984 & more

From Alcatraz’s 1984 U.S. tour just before Ingie’s departure, two performances that appeared for the first time in just 30 years are now available! Recorded are both performances on June 15, 1984 and the following day on the 16th. , both of which were originally sourced from AUD recordings with good sound quality at the time. The 15th is attractive for its transparency and straight sound with good visibility, and the 16th is notable for its slightly flat sound, but the closeness and clarity of the sound image. As is well known, Alcatraz at this time was touring as an opening act for Ted Nugent, so the performance was quite short, about 45 minutes, but the performance was very short. The stage progression had a sense of condensation and lightness that set it apart from other times. The unique charm of this period is also prominent in both performances, such as incorporating Ingy’s guitar solo for nearly 10 minutes into a carefully planned set within a short time frame to excite the audience. Unfortunately, neither is a complete recording, but the missing songs (“Too Young To Die..” and “All Night Long”) are supplemented by both sound sources, so these two The content allows you to follow the contents of the performances held during the day. Tracks (1) to (8) include the Upper Darby performance on the 15th. The opening song “Too Young To Die,..” is a cut-in recording from the second half of the guitar solo, but as soon as you press the play button, a tremendously high-speed and massive performance suddenly jumps out, so it’s time to prepare yourself. I think you will be overwhelmed by the power of music without even realizing it. The next “Jet To Jet” begins before the excitement cools down, but this performance is without a doubt one of the strongest performances in the band’s history. Graham’s singing is several times better than on other days, and it is really rare that the high notes are extended this much. Of course, the solos are intense, but Ingie, who keeps adding light-speed phrases throughout the song, is intense, but above all, the ensemble, which combines tension and drive at such a high level, is spelled out with a powerful sound image that has a clear outlook. I think you will be amazed at how it goes. “Island In The Sun” is a performance with a good sense of rhythmic dynamism, and is appealing in that it clearly conveys the image of the song. In the guitar solo, the drums in the background create a vivid rhythm and the movement of the low range is clearly recorded, and the structure of the song is that the guitar solo stands out because of the movement of the low range. You can check it again. On the other hand, “Night Games” has a wonderful dense ensemble, and here again Graham’s passionate singing and challenge to music are clearly spelled out. Perhaps sensing this, Ingy is also modest in the background of the song, and it is impressive that in the solo, he explodes with intense phrases like a demon. At the end, from around 2 minutes 54 seconds to 3 minutes 13 seconds, there is a scene in which Yang violently hits the cymbals and takes a violent approach, like rolling the toms, which is also a distinctive feature of this day’s performance. Masu. For “Kree Nakoorie”, the sound output from the right channel becomes slightly weaker from around 1 minute 27 seconds to around 2 minutes 02 seconds due to deterioration of the master tape (*the sound is coming out properly), but it’s noticeable. Not. This song is also a passionate performance, but it also includes an unusual scene where the melody at the beginning is changed and then restarted. What’s interesting about the guitar solo in track (6) is that there are a lot of hooks in some of the melodies. It’s interesting that in the volume playing scene, the scale selection of the foot pedal is different from other days, and it’s easy to miss it because of the rapid succession of plays, but if you listen closely, it’s around 5 minutes 07 seconds to 17 seconds. There is a scene where part of the phrase from “Evil Eye” is cleverly buried, and this is also a hidden highlight. The howling during the performance of “Since You Been Gone” is somewhat noticeable from the beginning to the middle, but it is captured that the song is enlivened with a very light touch. Graham’s singing in this song is remarkable as he sings the high notes well, and it is also a great point that the charm of his original throat, which is rich in color and has a core, is beautifully recorded. Around 2 minutes 39 seconds to 55 seconds, Ingy repeats sharp phrases in a sound full of strong dynamism, which is also a delight to the ears. If you listen closely to “All Night Long,” you’ll notice that the guitar is having trouble in the beginning, and the song goes on without a guitar for over a minute (from around 00 minutes 58 seconds to around 2 minutes 09 seconds). He returns just before the solo, but perhaps for that reason, he plays very restrained from the solo until the end, and this is also a unique scene that is different from other days. Track (9) “Jet To Jet” is the Columbia performance the next day, the 16th. This is also a cut-in recording, but fortunately it is recorded from just before the guitar solo, so the solo is recorded perfectly. Also, like the day before, Graham’s throat is in great condition, so it’s nice to see a core singing voice that stretches from bass to treble here and there. “Night Games” was more thrilling than yesterday’s performance, and the expressions that seemed to appeal to each audience member were impressive, but at times Ingy would include naughty phrases, and you could feel the imbalance. That’s the interesting part of the day. “Kree Nakoorie” enters the song with a perfect introduction, perhaps due to yesterday’s mistake, and its profound sound blooms beautifully. Thanks in part to the slightly rounded recording sound, the heavy melody can be heard in a realistic way, and the melodies, which tend to be monotonous, are recorded with an appealing sound, and after the guitar solo. , the way the light-speed melody mysteriously distorts as it enters the third verse is also captured in a vivid sound image. The guitar solo on track (13) has a good melody like the previous day, but it is impressive that it starts from a faster and more ferocious phrase than yesterday. What was most distinctive about this day was the sudden introduction of the phrase from Wagner’s famous wedding march, commonly known as the “wedding chorus,” at around 2:30. I don’t know why I’m suddenly including this phrase here, but maybe it’s because the wedding of a member or someone related to him is coming up, or maybe Ingie is in this fan-shaped outdoor stage with a good view, “Merriweather Post Pavilion.” Maybe they found a couple who looked like that and improvised. In any case, this will be a big surprise point. “Since You Been Gone” allows you to enjoy the sound of the rugged and thick performance bouncing lightly with the cohesive ensemble. It is also notable that it includes information until the end of the performance, and it is noteworthy that you can track how popular the band was on that day and the afterglow of it. As I mentioned at the beginning, this year 2014, and this June, is exactly the 30th anniversary of these two performances. In such a memorial month, the fact that the content of the June 1984 performance, of which there are few left, was revealed twice is very significant from the perspective of sound source research. Please take this opportunity to enjoy this sound source that suddenly appeared to celebrate the 30th anniversary. This is a must-have for fans! Tower Theater, Upper Darby, PA. USA 15th June 1984 TRULY AMAZING SOUND & Merriweather Post Pavilion, Columbia, MD. USA 16th June 1984 TRULY AMAZING SOUND (66:53) Live at Tower Theater, Upper Darby, PA. USA 15th June 1984 1. Too Young To Die, Too Drunk To Live 2. Jet To Jet 3. Island In The Sun 4. Night Games 5. Kree Nakoorie 6. Guitar Solo 7. Since You Been Gone 8 All Night Long Live Merriweather Post Pavilion, Columbia, MD. USA 16th June 1984 9. Jet To Jet 10. Island In The Sun 11. Night Games 12. Kree Nakoorie 13. Guitar Solo 14. Since You Been Gone Graham Bonnet – Vocal Yngwie Malmsteen – Guitar Gary Shea – Bass Jan Uvena – Drums Jimmy Waldo – Keyboards