Description
In 1985, Yngwie Malmsteen left ALCATRAZZ and began to pursue his own music freely. A new unearthed original recording of his first solo visit to Japan, vacuum-packed for the first time. This work is engraved with the performance “January 24, 1985: Nakano Sun Plaza”. It is a super-class audience recording. Speaking of Yngwie’s first solo visit to Japan, we have archived a number of masterpieces, including the out-of-print video “CHASING YNGWIE”. First of all, let’s check the schedule while organizing the collection. January 22nd “FIRST RISING NIGHT (Osaka)” January 23rd: Nagoya City Public Hall January 24th: Nakano Sun Plaza ←★This work★ & Official January 26th “TOKYO 1985 2ND NIGHT” January 27th “ENSLAVING TONIGHT (Tokyo)” A total of 5 performances. No matter how heroic he was in those days, “MARCHING OUT” had not yet been released at that time. Perhaps the guitarist’s solo was considered to be too difficult, so the schedule was a compact tour of Tokyo, Nagoya, and Osaka. Among them, this work was recorded at the third performance in the middle. It was the same show as the official video. [Newly excavated recording of a super soundboard threat] You may think, “Why press the audience when there is an official pro shot?”, but this work is worth it. First of all, a complete recording of the show that exceeds the official. In the first place, the official video cut three songs, “Caught in the Middle”, “Little Savage”, and “Evil Eye”, and the position of “Black Star” was also changed. This work eliminates all such changes. It is a complete album that allows you to enjoy all the songs of the full show as they are on the spot. Secondly, it is a genuine live performance. This is also a famous story, but the official one was overdubbed. The vocals were replaced, and in some scenes the guitar fingering and phrases were different. In that respect, this work is a one-shot audience recording, so it is 100% real. You can enjoy plenty of divine and true live performances. Thirdly (this is the most important), this recording is the best sound with “super”. It is an original master brought by a unique route, but the sound that flows from it is super tight and direct. The core is on and powerful, and if there is no sense of distance, the details are also super clear. What is most surprising is that there is no presence of atmosphere. Of course, physically speaking, if there is no atmosphere, the sound cannot be transmitted, so it is only an image, but even if you listen carefully with headphones, you cannot feel the hall sound component. Strictly speaking, there is a slight “resonance” in the vocal singing, but that is a story of listening to it microscopically. In fact, the official sound board is patched in some parts (described later), but it is line-like enough to make it possible. Furthermore, what spurs on the “sound board feeling” is the unnaturally small audience noise. It is the so-called cheers and applause, but there is none of this. When the official sound board appears between songs (I will explain later), a cheer suddenly erupts. Sometimes the audience recording is matrixed to add cheers to the sound board, but this work is the opposite. It’s hard to tell which is the sound board. [A complete album made possible by utilizing the official sound board] Now, let’s talk about the sound board complement. The first appearance master this time was actually a piece of shit. Perhaps they were concerned about the remaining tape, but between songs, the pauses were repeated. In this work, such parts were patched with the official sound board of “CHASING YNGWIE”. The complete form of the show was realized. If you look at the complement points of the following songs, you might think “Wow, this is so much…”, but when you actually listen to it, you’ll be surprised because there is almost no discomfort. As mentioned above, this work is too superb sound, and most of the complement points are between songs. The only places where the performance sound changes are the intro of “Don’t Let It End” and the long tone after “Kree Nakoorie”, as well as some parts of the drum solo/guitar solo, which are not related to the song. Again, this is just a guess, but at that time, Yngwie’s concert style was not well known, unlike now. He couldn’t predict the light rapid-fire improvisation before the song, and the quiet part of the long solo time was different from the interval between songs… and so he pressed pause. Anyway, the full show that will be the “Complete version of CHASING YNGWIE” is depicted with such a transcendent sound. Let’s check the set at the end. Marching Out (7 songs) I’ll See The Light Tonight / Caught In The Middle (★) / Don’t Let It End / On The Run Again / Anguish And Fear / I’m A Viking / Disciples Of Hell Others (9 songs) Rising Force: As Above, So Below / Far Beyond The Sun / Black Star / Icarus’ Dream Suite Op.4 / Little Savage (★) / Evil Eye (★★) Alcatraz: Kree Nakoorie / Hiroshima Mon Amour / Jet to Jet *Note: The “★” mark indicates a song that was cut from the official video. In particular, the “★★” mark indicates a song that was not performed at other shows. …And so on. They are generously playing the masterpieces from “MARCHING OUT,” which will take the world by storm as a template for neo-classical metal. Moreover, the sound is much better than “MARCHING OUT” (bitter smile), and the stage tension is built up. It’s interesting to explore the raw vocals and different phrases before the replacement, but the performance itself is just fierce. Yngwie is the type who shows his true colors on stage, but his wild yet unparalleled picking and the vividness of his rapid-fire phrases without any sense of habit are probably the best of all time. The tuning goes out of whack on “Anguish and Fear” and there are some howling sounds here and there, so the equipment was not perfect and he replaced them, but the performance itself is a threat. It is truly the “complete version of CHASING YNGWIE” and “100% real CHASING YNGWIE”. Yngwie’s solo visit to Japan in 1985 is said to be the best in the history of his visits to Japan. This is a cultural heritage album that allows you to fully experience the true form of that symbolic performance with the quality of a barefoot soundboard. A superb audience recording of the “January 24, 1985: Nakano Sun Plaza” performance. This is the same show as the official video “CHASING YNGWIE”, but it is a complete version that allows you to enjoy the three cut songs “Caught in the Middle”, “Little Savage” and “Evil Eye”. Some of the vocals and guitars, which were officially replaced, are 100% real. Moreover, the quality is official class. The recording leaks between songs are supplemented with the official sound board, but it is a new excavation board that is so tight and direct that you can’t tell which is the guest recording part. Ambient microphone recording on the day of the official video shooting leaked by the related parties. Amazingly high-quality recording with almost no audience noise. There are cuts between songs, probably because of the material (work) tape, but on the contrary, it is compensated from the official video. For the first time in history, the complete version of this day has been reproduced. Live at Nakano Sun Plaza, Tokyo, Japan 24th January 1985 ULTIMATE SOUND (from Original Masters) ★ Completely first appearance source. Disc:1 (50:29) 1. Intro ★Fully supplemented 2. I’ll See the Light, Tonight ★0:00 – 0:02 supplemented *3. Caught in the Middle 4. As Above, So Below ★ 3:53 – Supplemented until the end (interval between songs) 5. Don’t Let It End ★0:00 – 0:29 supplemented (intro) * 6. Far Beyond the Sun ★5:44 – Supplemented until the end (interval between songs) 7. On the Run Again ★0:00 – 0:02 supplemented / 3:19 – Supplemented until the end (interval between songs) 8. Acoustic Guitar Solo / Black Star ★0:00 – 0:27 supplemented (light playing intro) * 9. Anguish and Fear (incl. Drum Solo) ★0:00 – 0:13 supplemented / 4:05 – 6:36 Filling (drum solo) * 10. Icarus’ Dream Suite Op.4 11. I’m a Viking Disc:2 (45:51) *1. Little Savage 2. Kree Nakoorie ★5:30 – Filling until the end (last stretch) * 3. Guitar Solo ★0:00 – 0:08 Filling / 1:05 – 1:59 Filling / 4:36 – 5:22 Filling / 6:13 – 6:16 Filling / 9:26 – Filling until the end (performance) * 4. Disciples of Hell ★6:03 – Filling until the end (between songs) 5. Hiroshima Mon Amour ★0:00 -0:01 Filling (between songs) *6. Evil Eye 7. Jet to Jet ★8:18 – Filling until the end (after the show) Yngwie Malmsteen – Guitar Jeff Scott Soto – Vocals Jens Johansson – Keyboards Marcel Jacob – Bass Anders Johansson – Drums
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