Yngwie Malmsteen’s Rising Force ili priča o tome kako ispuniti (velike!) Blackmoreove cipele (2003)

Lokacija: Beč (Wien) / Planet Music / Austrija
Datum: 22.03.2003

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Stari grad naših posjeta, i to na idealan dan, u subotu! Kasno poslijepodne prvi smo upali u predvorje Planet Musica. Tamo je vladala mrtva tišina. Sve je bilo lijepo pospremljeno, reklamni letci uredno složeni i najavljivali su burno proljeće, ponajprije kad je riječ o posjetima starih rockerskih i bluesersku legendi (Big Brother And Holding Company, The Yarbirds, Paul McCartney, John Mayal).

U pratnji hostese Planet Musica pored nas je projurio Dougie White (ex-Rainbow). Malmsteenov pjevač nam je mahnuo i obećao da će odmah doći k nama. Naravno, odmah je potekla priča o Ritchieju Blackmoreu i o tome kako Dougie gleda na njega i na cijelu situaciju koja se vrti (ili se vrtjela) oko Rainbowa. Očito pozitivno iznenađen trojicom manijaka koje više zanimaju korijeni nego novodobni trendovi, odao nam je tajnu što Yngwie trenutno radi: “Gleda CNN!” Valjda u kafiću unutar Planet Musica, pa je pograbio materijal za potpisivanje i ljubazno se ponudio da će otići k maestru po potpise. Yngwie je poznat po svojoj nedostupnosti i divljim ispadima (zbog jednog takvog ispada, na koji ga je navodno nagovorila žena (normalno, žene, tko bi drugi), završio je iza rešetaka, kad ju je jurio kuhinjskim nožem po njihovu stanu u Los Angelesu). U njega se uselio Blackmoreov duh i Yngwie je doslovno opsjednut Blackmoreom (o tome kasnije), koji ima gotovo identične karakterne osobine. U međuvremenu se odnekud stvorio basist Mick Cervino (ex-Blasckmore’s Night) i opet je potekla priča o Ritchieju. Cervino je naglas priznao da turneja s Malmsteenom prolazi fantastično za razliku od njegova nekadašnjeg druženja s Blackmore’s Night, kad se dogodilo i to da je Ritchie usred koncerta došao do Micka, povukao crtu na pozornici i odredio gdje se Cervino uopće smije kretati. Yngwie je druga pjesma, on ti daje potpunu slobodu na pozornici.

Dougie je donio naš plijen (autograme): “Master sends me!” bio je kratak dok je predavao Yngwieve autograme. Dodao je još: “Zvučna proba, obratite pažnju, svirat ćemo uglavnom Deep Purple i Hendrixa!”

U međuvremenu je očito bilo kraj izvještaja na CNN-u pa se gotovo dvometraški muškarac pojavio u “pelzmontlnu”, škrlatnoj svilenoj košulji i uzduž i poprijeko obješen lančićima. Ygwie je, obučen kar u scensku opremu, otišao na zvučnu probu, dok je Dougie još skakutao naokolo u trenirci.

I doista, grupa je na zvučnoj probi žarila Hendrixa (Purple Haze, Voodoo Chile), Black Sabbath (Heaven And Hell, Children Of The Sea), Deep Purple (You Fool No One). Naravno, Yngwie nije mogao izdržati a da ne odsvira komade svojih najdražih klasika.

No, prijeđimo na bit. U 20:15 na pozornicu su se dokotrljali lokalni dečki, ponos grada Beča, zvani Codex. Zvuk je bio idealan, za predgrupu više nego idealan, zapravo potpuno razgovjetan. Stereo chorus efekti, kompresor, pjevačev eho efekt, nijednog šuma nije se čulo. Ali… Pa, ne kažem! Dečki su dobri muzikanti, super se uklapaju jedni s drugima. Pjevač je očito još malo manje iskusan posjetitelj pozornica jer je bio preplašen kao zec. Spašavao ga je istrenirani vokal uz neživ pristup. A što su svirali? Opskurnu novodobnu izvedenicu, …teško je to uopće opisati. Nekakav obrat thrasha. Oduzete solaže (gitarist je svakako bio klasa, brzo i precizno udaranje po žicama, prijelazi potpuno čisto odsvirani i odlično puno rifanje), pojednostavljeni prijelazi, glazba utemeljena na polutonskim završecima. Dakle, melodije u klasičnom smislu riječi bilo je jedva naći. Zvuk je bio pun, ponajprije zahvaljujući odličnoj opremi i ozvučenju te usklađenom radu bubnjara, basista i gitarista na pozornici. Pjevač kristalno čista istreniranog vokala pokušavao je unijeti u tmurni zvuk malo više melodije, ali je ispao premalo primjetan. Treba mu više agresije, bijesa, gnjeva. Možda bi pomogao komad sirovog konjskog odreska. To mu je nedostajalo. A efekt je bio sljedeći. U prvom redu gotovo sam zaspao. No pristup grupe bio je korektan, dečki su se potrudili i svaki put su zaslužili pljesak. Ali jednostavno, glazba nema neke posebne veze s metalom. Općenito gledano, sad ću izreći paradoks, ali sve je zvučalo više kao ucelićeni pop, ponajprije u pjesmi u kojoj je ritam doslovno prekopiran iz nekih novoromantičara osamdesetih (Spandau Ballet), a preko njega su bili položeni polutonski rifovi. Čuli smo i U2 (With Or Withouth You), pri čemu sam se pitao što su to U2 napravili za dobrobit čovječanstva da su to zaslužili.

No, umiranja je bilo kraj nakon sat vremena, a čekali smo još jedan sat, pa umiranju još nije bilo ni izbliza kraja. I napokon se Malmsteen sa suradnicima pojavio na pozornici. U međuvremenu su na pozornicu pustili enormne količine dima, tako da sam se gotovo ugušio, a ona stvar iz koje puše dim siktala je kao zmija.

Rise Up u 22:00. Zujanje frštekarije i nerazgovjetnosti bilo je gotovo s idućim komadom. Ship Of Fools postavio je stvari na svoje mjesto. Zvuk jasan. Yngwie? Hej, već pri izlasku na pozornicu odmah je otkapio pet trzalica među publiku. Obrazac ponašanja poput uvjetnog refleksa. Kao što čovjek ne štedi na gitarskim ljestvicama, tako ne štedi ni na trzalicama. Tako da nas je njima potpuno zamedio tijekom koncerta. Roadie se barem pet puta pojavio na pozornici i paranoično zabadao nove na stalak za mikrofon, da ih je maestro bacio barem dobrih pedeset među narod. To je zanimljiv fenomen. Taj način komunikacije gitarskog virtuoza s auditorijem. A te trzalice leže posvuda po pozornici, među kablovima, foot switcherima. Jednu je trzalicu tako snažno šutnuo da se odbila od trbuha jednog napaljenog fana iz prvog reda te pritom zadržala dovoljno kinetizma da se vratila natrag na pozornicu među monitore. Eto, sad me pitate jesam li otišao na koncert gledati let trzalica i računati slobodne padove, kose hitce, vodoravne hitce i slične fizikalne stvari, ili uživati u glazbi Y.J. Malmsteena? Ali to ne bih isticao da nije riječ o takvoj posebnosti. Nisam još vidio glazbenika koji bi se pritom tako za(je)bavljao na pozornici. Arpeggio, puf trzalica među svijet, novi arpeggio i puf, druga trzalica među svijet…. Yngwie se doista bezgranično zabavljao pri tome.

Pa, ubrzo smo dočekali scenu, jedna pozornica – jedan čovjek. Solo točka nakon Stronghold, kad si je Yngwie priuštio šetnju kroz ostavštinu majstora klasike Paganinija i Albigionija. Svaka nota nađe svoje locirano i vremenski odmjereno mjesto, potpuno usklađeno. Oštro i paklenski brzo te čisto kao suza. Brzanje i samo krajnje navijeno brzanje prešlo je u sljedeću pjesmu sa zadnje ploče, gdje su se gitarskom bogu na pozornici pridružili ostali članovi grupe (uz iznimku Dougieja) jer su odžlajsali točku Baroque And Roll. Kod Dreaming s ploče “The Oddyssey” Yngwie je prihvatio akustičnu gitaru, naravno da je i ona bila opremljena simbolom vitlajućeg konja (Ferrarijev simbol, koji simbolizira Yngwiejev bend Rising Force), kao i svaka njegova bijela Fender stratocasterica.

Jedan od vrhunaca bila je nedvojbeno izvedba trilogije (Trilogy). Gitarski mitraljezac potpuno se razživio i u trenucima zaista pomisliš da je na pozornici Blackmore. S obzirom na geste, na sviranje… Inače, po vladanju gitarom nisu usporedivi. Yngwie je Ritchiejeva nadogradnja. S dvanaest godina Yngwie je znao odsvirati sve Deep Purple solaže „gore i dolje” po vratu gitare. A njegova opsjednutost Ritchiejem Blackmoreom na pozornici je više nego očita (isti model gitare, preigravanje Rainbow i Deep Purple klasika na pozornici, jednake kretnje na pozornici). To je nažalost šteta jer heh.., ovdje se postavlja retoričko pitanje izražava li Yngwie sebe ili pokušava izražavati Blackmorea. Solo umjetnina prešla je u zemaljski Red House. Hendrixov blues otpjevao je kar Yngwie sam te vokalom pokušao dočarati onaj zemaljski osjećaj zadimljenih noćnih klubova. Ponovno nas je podigao na krila solističkom avanturom uzetom s njegove ploče “Concerto Suite”, i to Fugue. Malmsteen je tako uvjerio i posljednjeg nevjernog Tomu u dvorani tog dana tko je gospodar. Maksimalno, svom snagom i neumorno ispaljivao je rafale svjetlosno brzih ljestvica te uprizorio pravi dramatični završetak svoje najdulje solo pustolovine u set listi tako da je potrgao žice na gitari, maksimalno zajahao tremolo i pritom izveo nekoliko pokreta zbog kojih sam doista pomislio da namjerava demolirati gitaru na prafaktore. U jednom se trenutku na pozornici pojavio roadie. Preplašen kao zec čekao je da mu Yngwie, klečeći na podu, nakon završene točke unatrag baci gitaru u naručje. Hoće li je uhvatiti? Roadie je uspješno obavio posao i nestao tamo gdje pripada. U mračne backstage dubine.

Yngwie je otišao na zasluženi vrčić (dva ili tri?) piva dok smo mi mogli uživati u klavijaturističkoj solo avanturi, majstorijama basista Micka Cervina (ex-Blackmore’s Night) i topničkom napadu Patricka Johanssona na bubnjevima. Yngwie je dotrčao na pozornicu i skupa su zapalili klasikom You Don’t Remember, I’ll Never Forget, gdje se publika počela ponovno živahnije ljuljati uz pjevanje stihova pjesme. Usred pjesme Yngwie je kao improvizatorski stručnjak skrenuo “po svoje”. Grupa je u klasik You Don’t Remember, I’ll Never Forget ugradila Deep Purpleov Demon’s Eye i iskusno prešla natrag na refren You Don’t Remember, I’ll Never Forget te završila pjesmu. “Neki ljudi vjeruju u nebo, Ronnie James Dio vjeruje u pakao, a Yngwie vjeruje u Valhallu!” To je bila Dougiejeva najava završne pjesme (također sa zadnjeg albuma). Kako je Yngwie navio potenciometre, meni nije jasno, ali u prvom redu njegovo je rifanje nadglasalo cijelu grupu jer je zvuk gitare odjednom postao prebrenčav.

Dodatak. Nakon akustičnog introa odsviranog preko svoje fenderice, Yngwie je odvijačio klasični rif. Mistreated. Ahhh, okej, meni će se smrknuti. Istina, Dougie je u višim sekvencama u usporedbi s Mikeom Boalsom ili Michaelom Vescerom možda “hladan”, ali u Mistreated je pokazao svu svoju majstorsku tehniku pjevanja i uživljeno, s punom mjerom improvizacije, oživio još jedan Deep Purple klasik iz razdoblja njihove Mk.III postave (Lord/Paice/Coverdale/Hughes/Blackmore), koju osobno najviše cijenim. Naravno, Yngwie nije mogao odoljeti a da rifove ne presolira rafalima mikronski preciznih ljestvica te tako krajnje začini pjesmu. “Za malu marendu” je još i u nulu skinuo originalnu Blackmoreovu solažu. Pjesma se završila dugim grandioznim završetkom kroz čisti blues uložak. Zaista posveta legendarnom bendu (Deep Purpleima), a masi su pritom ponudili mogućnost bezgranične uživancije. Grupa je koncert zaključila s Rising Force. Auditorij je oživio i uz zajedničko pjevanje stihova pomogao dovesti umjetnike do kraja njihova showa.

Malmsteenov koncert posebna je avantura, drukčija avantura u usporedbi s klasičnim metalskim “žur” koncertima i već zato vrijedna svakog gledanja. Osim toga, na njegove koncerte dolazi publika koja je malo zrelija u smislu da dolazi na koncerte doista slušati glazbu. Ovdje nije bilo moguće naći ni jednog zafrustriranog metalčića koji bi htio izazvati pažnju nekim stage diveom, zalijevanjem svoje bliže okoline pivom, naletavanjem na ljude ili imitiranjem rada helikopterske elise pomoću svoje tvrde glave. Super, barem s jednog koncerta došao sam suh i kosa mi nije bila zalijepljena prolivenim pivom. Yngwie i ekipa, see you around!

ENGLISH version:
Being in the same old town and the same old place again, very early to participate that special event, we found enough time to collect and read very precisely all flyers that were revealing hot spring events in Planet Music (Big Brother And Holding Company, The Yarbirds, John Mayal). But after couple of minutes we met Dougie, who was the most active Malmsteen’s member at that moment. We asked him directly: “Where is Yngwie?” And Dougie replied: “He’s watching CNN!” Dougie who worked with Blackmore and did vocals on Rainbow’s “Strangers In Us All” was in good mood, positively surprised with three Purple and Rainbow die-hards and was ready to discus about all sort of things. So we’ve focused on Ritchie’s case.

Mick Cervino (ex- Rainbow’s Night) who also joined us in conversation applied, that Ritchie was even so arrogant that during one gig he approached to position where Mick was doing his bass job on stage and drew a line on the bottom of the stage. This line marked Mick’s active space where he’s aloud to move on stage in order to not cross that line. Mick added that he’s enjoining very much being with Yngwie on tour. The working spirit of touring team is fantastic, everything runs smoothly and Yngwie leaves his mates plenty of room to breathe. Being a part of Malmsten’s team in comparison with Ritchie’s regime full of strange restrictions seems therefore as if you change a night for a day.

Meanwhile Dougie entered the Marshall’s Café in Planet Music where Yngwie was still very busy with watching current CNN news about U.S.A. actions in Iraq. He returned with Yngwie’s signatures saying: “Master sends me!” He also dropped three guitar picks on the table and invited us to enjoy the listening of band’s sound check sessions that will include a lot of stuff from Deep Purple and Jimi Hendrix.

And so it was. Sound check jamming delivered Purple Haze, Voodo Chile (Hendrix), Heaven And Hell, Children Of The Sea (Black Sabbath), You Fool No One (Deep Purple) and was spiced up with classical stuff from 19th Century’s translated and extracted into very special Yngwie’s electrical experience.

Let’s get to the point. Codex from Vienna as a local support hit the stage at eight p.m. They offered phenomenal sound as a support group. Supreme sound, they knew the acoustical specifics of Planet Music cellar hall. Everything was crystal clear for an ear. Band was perfectly tuned in. All effects, from singers echo up to stereo chorus and compressor’s ringing were there to help in building a “no mistake” and perfect sound. Guys are four pieced group. Drummer, bassist, guitarist and vocalist. First three are experienced, good musicians and were looking very relaxed. Singer was a little stressed. He wasn’t as convincible as he’s pals. He looked frightened, but he balanced that lack of self confidence with he’s trained clean vocals. From this guy we can expect more in the future, that’s for sure. Maybe a little more emotional expressions on stage wouldn’t harm at all. Codex are trying to develop their unique style. Passages are simplified, almost no guitar solos included, but first class riffing with great palm muted chords. Style is uhh… how to call this? Well, songs are caught in mid tempo thrash drive, based on obscure sounded half tune conclusions. But here we have interesting contrast between melodic clean vocals and this obscure sharp edged music style. General expressions also left a feel that Codex felt out to be slightly poppy (cause of singer’s style). Unfortunately they didn’t get me under their flag, but anyway, I wish them good luck in future. The band included also live performance of U2 With Or Without You. I’m still wondering what this bloody U2 did so special on a rock scene to deserve that?
Well Codex played one hour. We waited another hour for maestro and company to start their show. One plus one makes two hours of dying to meet El President. And he showed up with Rise Up at 22:00 (or 10p.m.). Opener wasn’t sounding clear. Yngwie’s riffing diminished other instruments including Dougie on vocals. But next piece Ship Of Fools placed things where they should be. I’m talking about sound improvement.

Hey, Yngwie just hardly appeared on stage and first thing he was up to do was, guess what? As usual he immediately kicked off a few guitar picks into the crowd. This Yngwie’s behavior strategy is something very interesting to discuss a bit. It is a sort of communication between Yngwie and his audience. During the show, roadie appeared at least for a five times on stage in order to supply Yngwie with guitar picks. Roadie was looking very funny. He was sweating like hell and looking with eyes full of paranoia. I understand that, how can you ever find yourself relaxed in such position? You know that it is funny thing to do, but you must do it. Master commands you to. Well, almost any single time when Yngwie looked to the audience, he threw one pick into the crowd as it would be a part of ordinary way of “day to day” living (sleeping, eating, etc,…). It was funny when I watched how Yngwie kicked one pick with such force that it hit a fan in the front row in his stomach, but still kept enough kinesis, to return back on stage. So picks were lying all over the place. On stage, among the technical equipment, well they just kept on flying from all directions. One arpeggio, one flyin’ guitar pick, next arpeggio, next flyin’ pick. Again and again Yngwie just kept on showering us with those little plastic pieces. And he was having a real big time while doin’ it.

After band did Stronghold we face one stage – one man scene. It was Yngwie’s journey through Paganini’s and Albigioni’s legacy, but blazed out on electric way. Translated hellish precise, every single tune was clearly detached with my ears. It was manifestation of pure speed, speed and again blistering speed of fuckin’ light. Maestro who meanwhile received a company on stage (with Dougie’s exception) drove his band directly (with no pause) in the next instrumental song Baroque And Roll. Dreaming (from “The Odyssey” album) calm things a little bit. Yngwie used for that special acoustic event his guitar with a rising horse symbol drawing on it.

A highlight of that evening was Trilogy. Machine gun guitar hero with his astonishing wizardry all over the guitar’s fingerboard was highly determinate to rip it up. Mood completely took him in and he really gave all his 110% here. I popped my eyes out while standing still in front row with my mouth wide opened. Those were a real breathtaking moments.

What is also very interesting is the fact about Yngwie’s obsession with Ritchie Blackmore. It is an old story but anyway. “At the age of nineteen, he became the Macedonian king”…, sorry (this is Iron Maiden, 1986). Let’s start again. At the age of twelve, he knew all Deep Purple’s solos to slide them in both directions of guitar fingerboard. Yngwie’s gestures on the stage reminds on those of Ritchie, also swinging the guitar around and over his body, than sliding the fingerboard with both hands, etc… This heaven’s solo fantasy faded directly into earthly Hendrix’s cover Red House with Yngwie on lead vocals. He tried to sound raunchy. This move (including of Red House in set list) made a nice contrast to a gig as whole.

Mood completely changed after Yngwie fired Fugue from his album “Concerto Suite”. This was firing storm of blazing arpeggios all over the place again. Where are his fingers, does anybody probably sees them? This was first highlight of the evening. This solo attraction was even lengthened with its orgasmic end with Yngwie who scrapped all six strings from poor instrument and threw them into the audience. At a moment I thought to myself: “Hey, his going for that Hendrix’s ritual!” (to burn guitar with gasoline). But instead of doing this he waited at the end of that act for roadie to appear behind his backs. After a sign, Yngwie thrown instrument over his head backward in the arms of roadie who scored his final touch down.

After that, the band went for a couple of beers. But Mick remained on stage and provided some good vibes out of his astonishing bass solo. After Mick ended his thing, Patrick Johanson’s drum flak began to thunder all over the hall. At a certain point Yngwie ran back on stage and band fired as one You Don’t Remember, I’ll Never Forget. Audience became more active again. In the middle section of a song, maestro started a well known riff. The band incorporated Purple’s classic “Demon’s Eye”. I was amazed. After that Dougie replied to the audience: “Some people believes in heaven, Ronnie James Dio believes in hell, and Yngwie believes in Valhalla!” This was the ending song.

Encore. After acoustically driven intro with his Fender Strato, maestro turned everything into pure delirium by opening theme of another unbeatable Purple’s classic Mistreated. Perhaps Dougie can’t get so high in vocals as his predecessors Mike Boals or Michael Vescera, but with Mistreated he showed all his great talent and amazing feeling for improvisations. He did it with full force, soulful and this felt out to be very convincible. This majesty from Purple’s Mk.III period (Lord/Paice/Coverdale/Hughes/Blackmore) got its wings. Yngwie perforated the song with his solos and arpeggios. Almost all guitar lines where riffs are placed in song’s original version were done in that Yngwie’s fashion and spiced up with all sorts of his own guitar ornaments, as it was actually expected. A long lasting beauty of this song faded into grand bluesy end that seemed as it won’t ever stop. A real dedication to the legendary band. Pure gates of delirium ended with full blown striker Rising Force with audience singing along with the band.

Malmsteen’s show is always something special. It is unique and unusual (from metal maniac’s point of view) and I think that every single one of us should taste it once in his life. It was also cool because there were no frustrated “metal earthdogs” that would come on gig to stage dive or to pour litres of beer on the crowd a and headbang through entire show, giving a common listener a real hard time to enjoy the live act (I’m too old for this shit!). Yngwie and guys, thank you for giving us incredible and unforgettable show. Take care and see you again as soon as possible!

autor: Aleš Podbrežnik
fotografije: Aleš Podbrežnik

Setlista:
01. Intro 
02. Rise Up 
03. Ship Of Fools 
04. Stronghold 
05. Solo (Yngwie plays Paganini) 
06. Baroque And Roll 
07. Dreaming 
08. Razor Eater 
09. In The Name Of God 
10. Trilogy 
11. Red House 
12. Fugue 
13. Solo Keyboards (incl. Toccata And Fugue) 
14. Solo Bass 
15. Solo Drums 
16. You Don’t Remember, I’ll Never Forget (incl. Demons Eye) 
17. Valhalla 
—dodatak— 
18. Intro 
19. Mistreated 
20. Rising Force

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