GiGinJapan Artwork of Japanese CDs (mostly) Yngwie Malmsteen / Kristianstad 1995 / 1CD / Zodiac
Live at G-Punkten, Kristianstad, Sweden 21st November 1995
Play sample :
Yngwie Malmsteen from the Michael Vescera era, who was both catchy and metallic. An original DAT master who can experience the performance in his native Sweden is newly excavated. Introducing a permanent storage press CD.
The engraving on this work is “November 21, 1995 Kristianstad performance”. It is the best audience recording. We have archived all of Yngwie’s career with various masterpiece live albums, but it’s been a while since the Vescera era. It’s also a good opportunity, so let’s first look back at the whole picture of the activities that we had with the “Singing Marshall Amp”.
● 1994
“February 18” THE SEVENTH SIGN “released”
・ February 19-28: North America # 1 (3 performances)
・ March 8-23: Japan # 1 (11 performances) ← * Official video
・ April 2-15: North America # 2 (5 performances)
・ May 5th-June 11th: Europe # 1 (20 performances)
・ June 26-July 30: North America # 3 (11 performances)
“Released” LIVE AT BUDOKAN “on July 21st”
・ September 8: Appearance at Foundations Forum
“October 21: EP” I CAN’T WAIT “released”
・ October 13th-November 26th: North America # 4 (9 performances)
● 1995
“Released” MAGNUM OPUSN “on June 21st”
・ August 24-30: North America # 5 (7 performances)
・ September 8-30: Japan # 2 (17 performances)
・ November 4th-December 23rd: Europe # 2 (39 performances) ← ★ Coco ★
This is Yngwie Malmsteen from the Vescera era. It was also a heyday to fold up with EP “I CAN’T WAIT” and live video “LIVE AT BUDOKAN” in addition to two studio albums in a full two years. The Kristianstad performance of this work is the final edition of the Vescera era. It was the 14th performance of “Europe # 2”. When you say “Sweden in 1995”, you may remember the soundboard album “THE SWEDISH ONE (Shades 462)”, but this work is also 4 days and 3 performances after that press masterpiece. did.
This work recorded at such a show is a wonderful stereo audience that will awaken your eyes. It is directly digitized from the DAT master brought by its own route, but its core is powerful and extremely thick, and the texture is also fiercely turned on. What is even more surprising is the vividness of the contours, and each instrument is clear to the smallest detail and has a great sense of separation. In “Far Beyond the Sun”, Shane Gaalaas listens to demon-like cymbal work, but even if each grain and Yngwie’s shred guitar are intertwined, they never mix. Even if Barry Sparks pours a rapid shot of Billy Sheehan and Mats Olausson wraps it in a synth, the vividness is still fine.
The feeling of a closed room is even more delicious. I don’t know the capacity of the on-site “G-Punkten”, but when I hear it, it feels like a small club or a basement. There is a feeling that all the instruments are ringing in front of you, and the cheers that boil between the songs also have a private feeling. It would be a shame if the venue was a big hall, but I would like to affirm in order to convey the sound nuances of this work. It’s a secret recording with a sense of intimacy.
The rich sound is drawn with a full show that concentrates the taste of the Vescera era. As mentioned above, it is also the latest of the sound board masterpiece “THE SWEDISH ONE”, but the set is actually different. Let’s organize them while comparing them here.
● Michael Vescera era (7 songs)
・ Seventh Sign: Never Die / Forever One / Seventh Sign (★)
・ Magnum Opus: Vengeance / No Love Lost / Voodoo / Fire in the Sky
● Others (3 songs + α)
・ Original song: Too Young to Die, Too Drunk to Live (★) / Far Beyond the Sun / I’ll See the Light Tonight (★)
・ Others: Blues (★) / Rock and Roll Ain’t Noise Pollution (★)
* Note: The “★” mark is a song that could not be heard on the sound board masterpiece “THE SWEDISH ONE”.
…… And it looks like this. I’m scared of AC / DC’s “Rock and Roll Ain’t Noise Pollution”, but this is actually an instrumental jam of less than a minute. It’s a spontaneous play where the members come with you when you play the riff. However, even so, it must be an interesting scene where Yngwie plays AC / DC.
And even more delicious would be “Too Young to Die, Too Drunk to Live”. It’s the first revival song in 9 years, but it’s also a rare song that I haven’t played at all after this tour. It was said that the new work “MAGNUM OPUS” at that time had an ALCATRAZZ-like mood, but the genuine ALCATRAZZ number is still wonderful. Graham’s difficult songs are heavy on Vescera … I thought, but the hot songs that entered the hall are also suitable.
Approximately one month after this work, Yngwie, who finished the tour, fired Vescera on the grounds of the famous alleged infidelity. After that, Vescera left behind neo-classical works with followers such as Joe Stump, Sammy Bellel, and Daschan Petrossi, but the famous combination that produced the masterpieces “THE SEVENTH SIGN” and “MAGNUM OPUSN” will never be revived. There will be no. What comes out of this work is the final goal of “that era”, which is nostalgic for its immense popularity in Japan. A treasure album where you can experience the scene with the best sound. Please enjoy it anytime, forever with the permanent storage press CD.
★ The best audience recording of “November 21, 1995 Kristianstad performance (Sweden)”. The core is powerful and extremely thick, and the texture is extremely on in a closed room recording, and each instrument is clear to the finest parts and the feeling of separation is also great. Even if Shane Gaalaas’s demon-like cymbal work and Yngwie’s rapid fire are intertwined, the vividness that never mixes is also wonderful. It is a new masterpiece where you can experience delicious full show such as the resurrection song “Too Young to Die, Too Drunk to Live” and AC / DC “Rock and Roll Ain’t Noise Pollution” jam.
