Yngwie Malmsteen/PA, USA 1987

Yngwie Malmsteen created his masterpiece “TRILOGY” in 1987 and was at the peak of his creativity and performance. The world’s first original recording that conveys the scene is now available. This work was recorded at “Philadelphia Performance on January 13, 1987”. This is a superb audience recording unique to this work, recorded by a master Japanese recorder who was in the United States at the time. This date, place name, Japanese recording…some of you may have already noticed. Yes, this work is a sister work to IRON MAIDEN’s new masterpiece “PHILADELPHIA 1987 ORIGINAL MASTER” which will be released at the same time. It is a full recording of Yngwie’s stage, which appeared as Maiden’s opening act. Even though it is the opening act for Maiden, it is only a part of the performance from the perspective of the whole tour. First, let’s look back at Yngwie’s schedule in order to understand the circumstances around that. 1986, January 3-12: North America #1 (6 performances) July 4-September 21 (?): North America #2a (15 performances) [September: Mark Boles leaves → Jeff] Scott Thought Return》・September 25th (?)-November 2nd: North America #2b (30 performances)《“TRILOGY” released on November 4th》・November 7th-14th: Japan (5 performances)・November 25th – December 20th: North America #3 (19 performances) 1987 ・January 7th – 20th: North America #4 (10 performances) ←★Here★ 《June 22nd: Transportation in his beloved Jaguar Accident》・August 1st: Irvine performance　This is Yngwie in 1986/1987. Speaking of “TRILOGY TOUR”, Mark Boles was replaced by Jeff Scott Sort on the way, and the before and after is also important. It is said that the time when he was replaced in the mania verification was “September 1986”, but the details are unclear. The schedule is so packed that Jeff might be singing in early September when Mark is still there… so it’s not certain. In any case, this work takes place in 1987. This is the 6th concert of “North America #4”, which was fixed by Jeff. This year, I was involved in a traffic accident in which my beloved Jaguar crashed into a tree, and it happened just before that. This work recorded at such a show is truly the best audience recording. When I play it back, the vocals are very quiet and I feel a little uneasy for a moment, but this is due to the on-site PA. This also improves in the first minute of the first song, “Liar,” and the overall sound improves significantly. From there, the close-fitting, solid sound with plenty of direct feeling is fully opened. Anyway, I had no sense of distance and it felt like a Strat was being bombed right in front of me and my whole body was being hit by the rapid fire. Each grain is clearly falling down like a machine gun. Moreover, the loud cheers were far away. Between the songs, the heightened sensibility spreads out like the roar of the sea, but it doesn’t come between it and the stage. I’m not sure, but it was probably recorded near the front row. The close contact and three-dimensional feel is unimaginable. Actually, I’m not the type to immerse myself in the beauty of luster and sound, but I can’t think of any recording where I can enjoy the climax of Yngwie with such a direct feeling. What is depicted with such a sound is a show that concentrates and reduces early masterpieces with tremendous passion. Although it is short at about 47 minutes as it is an opening performance, it packs all its genius into that time. First of all, let’s organize the set here.・RISING FORCE: Far Beyond the Sun／Icarus’ Dream Suite Op.4 ・MARCHING OUT: I Am a Viking ・TRILOGY: Liar（★）／Queen in Love（★）／Fire（★）／You Don’t Remember, I’ll Never Forget (★) *Note: Songs marked with “★” cannot be heard on “CHASING YNGWIE: LIVE IN TOKYO ’85”. …and it looks like this. Speaking of the early Yngwie sung by Jeff, the official video for his first visit to Japan, “CHASING YNGWIE: LIVE IN TOKYO ’85” is a symbol, but this work (of course) includes the “TRILOGY” number that cannot be heard there. Lots of things too. In particular, “Fire” is an extremely rare song that was only played on the Ono tour. What’s more is the ability to play. It is said that Yngwie’s accuracy as a performer, as well as a composer, deteriorated after a traffic accident, and this work is just before that. The performance, which combines sharp picking with skill, is truly divine. Of course, it’s not just speed and accuracy, but the overflowing phrases are endlessly rich and full of inspiration. Rather than saying “great phrases pop out”, “there are only great phrases”. Moreover, the awesomeness that flows out constantly with that knockdown. As mentioned above, this work is a stage of about 47 minutes, but that is why it runs through at full speed without letting up even for a moment. It’s a special guitar album that doesn’t have any flaws. There were only five performances left before I had a traffic accident. This is a live album that vacuum-packs the final version of this climax. Even in 2020, I suddenly came across such a superb recording. A new excavation master released for the first time in the world that is not just a bonus for the IRON MAIDEN edition. Live at Spectrum, Philadelphia, PA, USA 13th January 1987 ULTIMATE SOUND(from Original Masters) (46:38) 1. Introduction 2. Liar 3. Queen in Love 4. Far Beyond the Sun 5. Fire 6. Keyboard Solo 7. Icarus’ Dream Suite Op.4 8. I Am a Viking 9. Guitar Solo 10. Band Introductions 11. You Don’t Remember, I’ll Never Forget Yngwie Malmsteen – Guitar Jeff Scott Soto – Vocals Jens Johansson – Keyboards Wally Voss – Bass Anders Johansson – Drums