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Rating: Leningrad, today's Saint Petersburg, 1989.
In the austere Soviet Union, now at the end of the communist era (and dictatorship), the most conceited, vain, baroque, and kitsch guitarist in Heavy Metal performs: Yngwie J. Malmsteen and his Rising Force.
The contrast in styles is evident: Malmsteen is dressed in an 18th-century style shirt open at the chest, leather pants, and blow-dried hair. Such a spectacle had never been seen in an Eastern bloc country, accustomed only to pomp during military parades. This very concert, however, would consecrate the undeniable talent of this young Scandinavian guitar hero to the world, even if he would get lost in subsequent studio works (works that, I personally have always appreciated). The release of this live album comes at the right time; the Swedish guitarist is riding the wave of success from his first four solo albums ("Rising Force", "Trilogy", and "Odyssey", excluding tracks from "Marching Out").
The live setlist encompasses various metal genres, from neoclassical to hair, passing through AOR (thanks also to the collaboration with Joe Lynn Turner). Besides Malmsteen and the former Rainbow frontman, there are also Anders Johansson on drums, Barry Dunaway on bass, and the immensely talented Jens Johansson on keyboards who, despite having the simple role of supporting act, delivers a masterful performance.
The beginning is typical of Rock-Metal concerts, which usually feature a fast and immediate track as the opener. Here it is "Liar". Malmsteen is at ease when the speed is high, and his solo rich in scales and arpeggios is more fitting than ever, the same goes for Johansson who unleashes himself on the synth. Turner also carves out his space with his commanding presence, offering a phenomenal performance in the subsequent "Queen In Love" and "Déjà Vu" (here A. Johansson hits hard with the double bass).
A dark synth background opens the "Adagio", a piece of rare mastery, in perfect neoclassical style and which introduces us to the absolute masterpiece of Malmsteen's entire career: "Far Beyond The Sun". Frenzied speed, arpeggios, and scales, a duel of solos between the guitarist and the keyboardist make this song the highlight of the concert. Not to forget the fundamental contribution in the rhythm section by Dunaway and A. Johansson, who are more driven than ever.
The level drops a bit with "Heaven Tonight", a typical commercial track. There's room for neoclassical metal, instead, with "You Don't Remember I'll Never Forget" (where Malmsteen "quotes" his idol, Blackmore, by playing a small part of the duel from Strange Kind Of Woman), "Crystal Ball", and "Black Star", the latter a piece of rare beauty that showcases Malmsteen's compositional abilities.
Midway, the guitarist takes the entire stage with his "Guitar Solo", where he performs part of "Trilogy Suite Op.5" (what a track!), various arpeggios and scales as usual, and finally even a little blues: "Spasebo Blues".
This, however, is Malmsteen's true Achilles' heel: the blues. A genre that is not at all suited to the Swedish guitarist's cultural background, and this is evident in the last song, a tribute to Jimi Hendrix with "Spanish Castle Magic". A tribute that turns out to be more of a murder, as Malmsteen's numerous notes per second are of no use in a blues track, a style that favors very different melodies.
Aside from this little misstep, the live remains an excellent performance by Yngwie Malmsteen's Rising Force, pioneers of Neoclassical Metal.
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