Alcatrazz / No Parole From Milwaukee /1CD

Alcatrazz / No Parole From Milwaukee /1CD /Shades

Translated Text:

Live At Summerfest, Milwaukee, Wisconsin, USA 7th July, 1984.

Click Image To Enlarge

From the United States tour that Graham Bonnet led ALCATRAZZ went in ’84, precious live recordings hits withdrawal just before the Yngwie Malmsteen is the Onban by being direct use audience source of first-generation master! ALCATRAZZ from the time formation of ’83, that transcendence guitar singing and Yngwie Malmsteen with a powerful Graham Bonnet, as attractive both unique personality, was well sensational popularity in the United States and Japan. However, as a boundary of the Japan tour that took place in January 1984, interest of Yngwie opposite to the solo career, in the second time of the American tour that took place from February, the band interior is dominated by jerky and atmosphere which was yes. Show in Milwaukee Summer Fest ’84 July 7, which is contained in this work, you hit the play just before Yngwie to just left the band. Although some of the cut is seen in the MC between the songs, music and performance it has been recorded in complete, for fans of Graham and Yngwie, here to listen about 73 minutes historically recreational to very be important sound source you can affirm that it.

In comparison with the audience recording of the same period, in addition to the good of the freshness and the prospect of a sound, such as removing anything sheets of thick skin, which combines a clear and natural listening ease, if this sound before, audience sound source in the past of all 1984 US tour will become faded all! Audience of hot air from the moderator of the MC, which was before the curtain is in full swing, even from Gushing Yngwie call, the depth of the impact that he has given to the rock scene we will see. Decorate the opening “Too Young To Die, Too Drunk To Live” in the explosive upsurge in, listen to it should hand is also overwhelmed. Graham and Yngwie off a strong presence is of course located in the center of the musical tone, but the base of the keyboard and Gary Shea of ​​Jimmy Waldo to solidify the side also easy to hear, friendly fantastic and polished in the NEW ENGLAND touch of play can also be firmly confirmed. Also Yngwie nor sentiment good artisanal drum of Jean Yuvena admitted, have been respectively tightly record up to delicate play.

Already solo play prepare advanced that had the Yngwie of, That’s what songs are crazy to play at will, you are freely allowed to burst God takes such play. Given the terms of the band sound does not in any way preferable thing, is a unique sample on to listen to the guitar of brilliant Yngwie at the time. Especially explosive force and crazy play, such as “Kree Nakoorie” and subsequent energy mass of to listen in “Guitar Solo” has also clearly excelled through the career of Yngwie.

Graham even in this day from beginning to end excellent condition to confront this, shows off a superhuman voice everywhere. Many of the singer who sang in the band of Yngwie was also struggling and “Hiroshima Mon Amour”, to “Jet To Jet”, which recalls Graham himself struggling, singing voice that far transcends the studio take is really amazing! Of course, not the powerful full commitment, to the familiar “Since You Been Gone” in fun and pop from the RAINBOW era, the sadness, such as are devastated in the emotion full of “Suffer Me”, the dexterity of each expression divide rich singing, again groan will it be. Rounding out the last live is the “Lost In Hollywood” has become synonymous with Graham since RAINBOW “All Night Long”, but the sublime that is take that there is more to listen to respond whether there are other, be brought to feel that performance is a rarity.

It says that not Narabitata two great men, but the only let listen to the song should be noted that many of the venue is “Yngwie call” of, Graham would be there is no way even remember the complaints. This higher the clash of fierce vocals and guitar to date does not early listen. For the present sound source taper of which, such performance left me with the current as of this “Milwaukee duel” is only there thanks! But had been credited with the audience sound source entitled to have existed in the past, “THE FINAL ATTRACTION” is also “Milwaukee Summer Fest of the sound source”, there the date is incorrect, what this work of genuine ’84 7 is a document of the month 7 days. In the latest stage of Yngwie era, Please enjoy the ’84 US tour best of audience recording of ALCATRAZZ! Noise that was attributed to the master, sloppy cut various all, carefully corrected and corrected the same sound source best version. Pitch is also accurate. Release decisions in the appropriate press CD to historical items!

★ is a review summary of beatleg magazine vol.125 (2010 December issue). In case you’re wondering.

Milwaukee performances of the famous 1984 July 7 as the final performance of Alcatraz at the time of enrollment Ingi finally appeared. Writing and so on, core fans will think, “What?”. Speaking of Milwaukee performances of July 7, because there was a title called “THE FINAL ATTRACTION” as its outstanding board. But “THE FINAL ATTRACTION” for live data there is a suspicion that “Do not fake?” Between the part of the mania from the past, a long time its authenticity is in also true has been said that Arekore, of this work in appearance, likely to be settled in this issue came out. (Snip) undoubtedly be from the song between the MC is 84 years of the show, which was performed in Milwaukee, it is a sound source to cast a new Ichiseki fans will no doubt.
Contents are fiercely, this is a great performance in the vent to say that Ingi last stage. After returning from Japan performances in January, the band in a sense, when not have been drifting human relations state not be surprised even if in the end, in the period up to this July disconnect the shield while Graham is a guitar solo there were also incidents such as the Oklahoma performances that have been handed down even now by the. In this last gig, Ingi is on that show off God takes guitar work was increasingly Saewata’, the band has been fiercely function while emits many times the dazzling sparkle to the sound. Among them, seem Jet To Jet, Kree Nakoorie and of across the Angkor Hiroshima Mon Amour,, Lost In Hollywood is that it is the strongest, best ensemble past beat accompanied by the grooves and sharp sharpness. By day, even Graham that there is considerable variation in the singing, this day has kept the voice that extends to the end, the back of the rhythm is also admirably doing the professional seems reliable performance.
Recording is but audience recording, have been recorded in good sound balance that each instrument can hear well, also hear well in this work-based crushed Chima Gary. Of course, but the guitar work of Ingi also hear perfectly, I think this work is the one that Alcatraz itself was filled with strong overwhelming explosive power original organization can be proficient in all the way than it.


同時期のオーディエンス録音と比較して、ぶ厚い皮を何枚も取り去ったような音の鮮度や見通しの良さに加え、クリアかつナチュラルな聴き易さを併せ持っており、このサウンドを前にすれば、過去のあらゆる’84年アメリカツアーのオーディエンス音源は全て色あせてしまうでしょう!開演を前にした司会者のMCからオーディエンスの熱気は最高潮で、湧き上がるイングヴェイ・コールからも、彼がロックシーンに与えた衝撃の深さが判ります。オープニングを飾る「Too Young To Die, Too Drunk To Live」での爆発的な盛り上がりには、聴き手も圧倒されるはずです。強烈な存在感を放つグラハムとイングヴェイはもちろん楽音の中心に位置していますが、サイドを固めるジミー・ウォルドーのキーボードとゲイリー・シェーアのベースも聴き取りやすく、NEW ENGLANDで磨き上げた幻想的で優しいタッチのプレイもしっかり確認できます。 またイングヴェイも認めたジャン・ユヴェーナの小気味良い職人的なドラムも、細やかなプレイまでそれぞれきっちりと録音されています。

すでにソロ活動の準備を進めていたというイングヴェイのプレイは、それこそ全曲で気の向くままに弾きまくっており、神懸りなプレイを縦横無尽に炸裂させています。バンドサウンドという面から考えれば決して好ましい事ではありませんが、当時の才気溢れるイングヴェイのギターを聴く上ではまたとないサンプルです。特に「Kree Nakoorie」と続く「Guitar Solo」で聴かせるエネルギーの塊のような爆発力やクレイジーなプレイは、イングヴェイのキャリアを通じても明らかに秀でています。

これに立ち向かうグラハムもこの日は終始素晴らしいコンディションで、超人的な歌声を随所で披露しています。イングヴェイのバンドで歌った多くのシンガーも苦戦した「Hiroshima Mon Amour」や、グラハム自身が苦労したと回想する「Jet To Jet」まで、スタジオテイクをはるかに超越する歌声は本当に凄いです!もちろん迫力一辺倒ではなく、RAINBOW時代からおなじみの「Since You Been Gone」では楽しくポップに、情感溢れる「Suffer Me」では打ちひしがれる様な悲しみを、それぞれ表情豊かに歌い分ける巧みさには、改めて唸らされる事でしょう。ライヴの最後を締めくくるのはRAINBOW以来グラハムの代名詞となっている「Lost In Hollywood」と「All Night Long」ですが、これ以上聴き応えがあるテイクが他にあるのか、という気にさせられる壮絶な演奏は絶品です。

両雄並び立たずとは言いますが、これだけの歌を聴かせてなお会場の多くが”イングヴェイ・コール”では、グラハムが不満を覚えても仕方が無いでしょう。これほどまでに凄まじいヴォーカルとギターのぶつかり合いはそうそう聴けるものではありません。この”ミルウォーキーの決闘”のようなパフォーマンスを現在に残してくれた本音源のテーパーには感謝あるのみです!過去に存在した「THE FINAL ATTRACTION」と題するオーディエンス音源も”ミルウォーキー・サマーフェストの音源”であるとクレジットされていましたが、そちらの日付は誤っており、本作こそが正真正銘の’84年7月7日のドキュメントです。イングヴェイ時代の最末期にして、ALCATRAZZの’84年アメリカツアー最良のオーディエンス録音をどうぞお楽しみください!マスターに起因していたノイズ、雑なカット諸々は全て、丁寧に補正・修正した同音源ベスト・ヴァージョン。ピッチも正確です。歴史的アイテムに相応しいプレスCDでのリリースが決定です!

★beatleg誌 vol.125(2010年12月号)のレビュー要約です。ご参考まで。

インギー在籍時のアルカトラズの最終公演として有名な1984年7月7日のミルウォーキー公演遂に登場した。・・・と書くと、コアなファンは「え?」と思われるだろう。7月7日のミルウォーキー公演と言えば、既発盤として「THE FINAL ATTRACTION」と言うタイトルがあったからだ。しかし「THE FINAL ATTRACTION」のライブデータについては以前から一部のマニアの間で「フェイクではないのか?」という疑惑があり、長い間その真偽がアレコレと言われてきたのも事実で、本作の登場で、この問題に決着がつく可能性が出てきた。(中略)曲間MCからミルウォーキーで行われた84年のショウであることは間違いなく、ファンに新たな一石を投じる音源であることは間違いないだろう。
収録内容は凄まじく、インギー最後のステージと言うことを抜きにしてもこれは凄いパフォーマンスだ。一月の日本公演から帰国した後、バンドはある意味、いつ最後になってもおかしくない人間関係状態が漂っていたわけで、この7月までの期間にはグラハムがギターソロの最中にシールドを抜いたことで今でも語り継がれているオクラホマ公演のような事件もあった。この最後のギグでも、インギーはますます冴え渡った神懸かり的なギターワークを披露している上、バンドはその音に眩い輝きを何度も放ちながら凄まじく機能している。中でも、Jet To Jet、Kree Nakoorie、そしてアンコールを挟んでのHiroshima Mon Amour、Lost In Hollywoodはそのグルーブと鋭い切れ味を伴ったビートで過去最強・最高のアンサンブルではないかと思える。日によって、かなりその歌唱にバラつきがあるグラハムも、この日は最後まで伸びのある声を保っており、バックのリズム隊もプロらしい確実な演奏を見事にこなしている。

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

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


Shades 270

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.