Alcatrazz / Definitive Albuquerque 1984 / 1CD

Alcatrazz / Definitive Albuquerque 1984 / 1CD / Zodiac
Live at Grand Central Station, Albuquerque, New Mexico, USA 19th February 1984

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ALCATRAZZ in 1984, which revolutionized the rock guitar itself beyond the framework of a mere singer’s self band. The super-name recording is brushed up and it is a permanent preservation decision.
It is “February 19, 1984 Albuquerque performance” that is included in such this work. It is the best audience recording. Speaking of ALCATRAZZ in 1984, the rare geniuses of Yngwie Malmsteen and Steve Vai have been registered in succession, and have made two legendary visits to Japan. Among them, let’s look back on the schedule of those days, what kind of position this work will be.

・ January 24-29: The first visit to Japan (5 performances)
・ February-April: North America # 1 (West Coast) ★ ★ Coco ★
-May-July: North America # 2 (Chubu-East Coast)
イ ン グ Invais → → Join Vai
・ July 13: California show
・ October 3-11: Japan (5 performances)

This is a summary of activities in 1984. It’s rather crude, but in fact, early ALCATRAZZ has too few records. Only Japan knows only the number of performances and the number of performances, and it is unclear how many performances actually occurred in North America. What day in July was the last Tulsa performance in Yngwie, who became the captain, was there a show in addition to the California show that took place before the day before Vai joined? … Everything is unclear. Among such, Albuquerque performance of this work is the oldest record in “North America # 1”. It can not be affirmed whether it was actually the first day, but there is no doubt that it will be just after the first visit to Japan.

[Superb name recording of Yngwie era updates the highest peak] Such a show has a well-known recording, and it has long been known as a representative of Yngwie era ALCATRAZZ. This work is the highest peak of its name recording. Polish the best master originated from the 1st gene cassette with the latest and detailed mastering. It is the best audience album out of the best that can exist. The quality is just excellent. First of all, I was the original 1st Gene Master, but this is great. It has been known since ancient times such as “ESCAPE FROM PRISON”, etc., but 1st gene is another dimension to say clearly. Anyway, a clear and powerful core arrives on, and the details are super vivid. Although the audience’s testimonials are engraved on the sound of the snare, it is beyond the common sense of the customer record regarding the clearness. Especially the ugly one is Yngwie’s guitar. The volume is not enough to push off the vocals compared to the later solos, but it is still crispy to one sound and one sound of the passage of light speed. It’s not just a quick play, it’s a violent shake, an embarrassing arming, and even a picky noise. No matter how hard you beat it, it’s a clear crystal clear classical phrase with details.
… and so far the story of the 1st Gene Master itself. Even in our shop “ESCAPE FROM NEW MEXICO: 1ST GEN MASTER” is a familiar sound. This work refines the 1st gene further. Get the best master in the 1st Gene again and carefully remaster. Of course, we do not go without sound and pressure. We adjust the beauty and the balance of the sound for each range to maximize the possibility of the original sound. It varies in many ways, but is it particularly noticeable in the midrange? Although the original sound was a sound with a high dropout, the midrange was slightly faded, resulting in a feeling of sloppy. Of course, I can not improve if the midrange is not recorded, but if I analyze it well, the details are well left. Of course, such mids are not just raised. While adjusting seamlessly with treble and bass, adjust the sound finely so as not to lose the expansion of treble and the sharpness of the edge and the force of the bass. As a result, the crystal clear goodness remains as it is, realizing a richer sound. Even in the Yngwie era, one of the best recordings has been reborn as the top recording.

Valuable full-length recordings by Graham’s acclaim
The show drawn with such the highest peak sound is also the highest peak. As the schedule above, this show will be right after the first visit to Japan of the legend, but human relations have not yet been broken down, and the energetic performance full of motivation is great. Speaking of Yngwie, there is a fan who is particular about the accident in 1987, but especially in the days of the ALCATRAZZ era, the fidelity and accuracy is a godsend. Phrases that are played a lot more than studio works are blazing passions that can only be improvised, boasting all the beauty of calculation. Although the early solo stage, which took over all of the things, was amazing, in ALCATRAZZ, the ambition to take away the leading role bursts into violence, and it is a miracle performance that it is beautiful.
Such a flash of Yngwie was able to be tasted on the first visit to Japan, but it is Graham Bonnet to exceed it. To be honest, “METALLIC LIVE” and “LIVE SENTENCE” spread the fame of Yngwie, while Graham had stamped “a person who can not live”. Of course not really. From the opening “Too Young To Die, Too Drunk To Live”, the singing voice of the best tone screams, and the following “Hiroshima Mon Amour” shows overwhelming power. Since then, it has not been compared to the Japanese performances, and the full show will go on until “Something Else”. This full show is also a point. In fact, the North American tour is full of RATT and Ted Nugent’s opening performances, and the full set performance itself is valuable. In particular, it is only the Albuquerque performance of this work that is performing until “Something Else”. In other words, this work is a rare, precious live album with all the triples of “Sound, Good Condition, Full Set”.

Speaking of the audience album of Yngwie era so far, “SUPER JET (Calm & Storm 002)” of the Japanese performance was the ultimate, but this work is second only to it. No, if you consider Graham’s perfect tone, it will be the two greatest peaks in the film and “SUPER JET”. So much super fine name recording. It is a permanent preservation decision with the press CD to renew its highest ever record!


・2月-4月:北米#1(西海岸) ←★ココ★


そんなショウは名録音が残され、以前からイングヴェイ時代ALCATRAZZの代表作として知られていました。本作はその名録音の最高峰となるもの。1stジェネ・カセットから起こされたベスト・マスターをさらに最新・細心マスタリングで磨き上げ。現存しうるベスト中のベストを尽くしたオーディエンス・アルバムなのです。そのクオリティは、まさに絶品。まず、元となった1stジェネ・マスターですが、まずこれが偉い。古くから『ESCAPE FROM PRISON』等の既発で知られてきましたが、1stジェネはハッキリ言って別次元。とにかくクリアで力強い芯がオンに届き、ディテールも超鮮やか。スネアの音色にオーディエンスの証が刻まれているものの、ことクリアさに関しては客録の常識外。特に凄いのはイングヴェイのギター。後のソロに比べるとヴォーカルを押しのけるほどの音量ではないのですが、それでも光速パッセージの1音1音までクッキリ。それも単なる速弾きではなく、暴れるチョーキングも、軋むアーミングも、ピックでこすったノイズに至るまで超ビビッド。どれだけ苛烈に弾き倒そうと潰れる事がなく、クリスタル・クリアに輝くクラシカル・フレーズが細部まで目映いのです。
……と、ここまでは1stジェネ・マスター自体の話。当店でも『ESCAPE FROM NEW MEXICO: 1ST GEN MASTER』でもお馴染みのサウンドです。本作は、その1stジェネをさらに磨き込んでいるのです。1stジェネでもベストなマスターを改めて入手し、入念にリマスター。もちろん、無闇矢鱈な音圧稼ぎなどは行っていません。各音域ごとに鳴りの美しさやバランスを調整して原音の可能性を最大限に引き出しています。細かくいろいろと異なるのですが、特に目立つのは中音域の手応えでしょうか。原音は高音の抜けが強いサウンドではあったものの、中音域はやや痩せており、結果スカスカ感になっていました。もちろん、中音域が録音されていないのであれば改善できませんが、よくよく解析するとディテールまでしっかりと残されていた。もちろん、そんな中音域もただ引き上げているわけではない。高音や低音とシームレスな均整を取りつつ、高音の伸びやエッジの鋭さ、低音の迫力も損なわないよう鳴りを細かく調整。その結果、クリスタル・クリアな抜けの良さはそのままに、さらにリッチなサウンドを実現。イングヴェイ時代でも屈指の名録音がトップ録音にまで生まれ変わっているのです。

そんなイングヴェイの閃きは初来日でも味わえましたが、それを超えるのがグラハム・ボネット。正直なところ『METALLIC LIVE』や『LIVE SENTENCE』はイングヴェイの名声を広める一方、グラハムに関しては「ライヴでは駄目な人」の刻印を押してしまいました。もちろん、実際には違う。オープニングの「Too Young To Die, Too Drunk To Live」からして絶好調の歌声が轟き、続く「Hiroshima Mon Amour」でも圧倒的なパワーを見せつける。その後も日本公演とは比較にならない好調ぶりで「Something Else」までフルショウを貫くのです。このフルショウというのもポイント。実は、北米ツアーはRATTやテッド・ニュージェントの前座公演が多くフルセット公演自体が貴重。特に「Something Else」まで演奏しているのは本作のアルバカーキ公演のみ。つまり、本作は「サウンド・絶好調・フルセット」の三拍子がすべて揃った貴重極まりないライヴアルバムなのです。

これまでイングヴェイ時代のオーディエンス・アルバムと言えば、日本公演の『SUPER JET(Calm & Storm 002)』が究極的でしたが、本作はそれに次ぐ。いや、グラハムの絶好調ぶりまで考慮すれば、本作と『SUPER JET』で堂々の2大頂点となるのです。それほどまでに極めつけの超・名録音。その史上最高峰を更新するプレスCDで永久保存決定です!

1. Intro 2. Too Young To Die, Too Drunk To Live 3. Hiroshima Mon Amour 4. Big Foot
5. Island In The Sun 6. Kree Nakoorie 7. Guitar Solo 8. Since You Been Gone
9. Suffer Me 10. Desert Song 11. Jet To Jet 12. Evil Eye 13. Band Introductions
14. All Night Long 15. Lost In Hollywood 16. Something Else

Graham Bonnet – Vocal Yngwie Malmsteen – Guitar Gary Shea – Bass Jan Uvena – Drums
Jimmy Waldo – Keyboards


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