Reviews of Yngwie Malmsteen's Albums

Rising Force (Polydor - 1984) This monumental album came out the same year as Van Halen's 1984 and proved that classical and metal could complement one another. Rising Force saw the debut of singer Jeff Scott Soto on two tracks (the other six are instrumentals). The first track, Black Star, begins with acoustic guitar and is followed by drums and slowly builds with layers of guitar, some slow with a lot of feeling, others blazing fast. With a solid rhythm foundation underneath, the strongest features are the contrasts between fast and slow, acoustic and electric, and the general outpouring of emotion into the guitar on this track. The second track, Far Beyond the Sun, is played at a faster tempo and ends with an organ formada. Now Your Ships are Burned brings the world the first glimpse of the potential of Malmsteen/Soto collaboration. Jeff Scott Soto's voice seems the perfect match for Malmsteen's style and tone: dark, even in the higher registers, with a masculine delivery. Track four, Evil Eye showcases a strong song-writing style via the incorporation of a series of themes/changes which lead to track five, Icarus' Dream Suite Op. 4, arguably the best track on the album. Few guitarists can match the fluidity of this song-- fluid emotion is conveyed from the drawn out notes of the intro which transcend into the lighter theme followed by driving rhythm, acoustic guitar, and a fade into faster tempo at the end. As Above, So Below starts suddenly with an unexpected organ and brings Soto's second and strongest vocal performance, which begins "There's a hole in the sky but don't ask me why 'cause I don't know. . ." Soto proves he can sing a scale straight up the line on "to the other side" and hold the high notes with great strength. The song touches on the topic of immortality, "I will never die 'cause I will fly to the other side." The album seems to be winding down with the intro to Little Savage, but then starts to pick up in tempo with a sense of urgency and climaxes part way through at the junction of keyboard and Yngwie's coming in with a guitar dive that smashes via a well-timed power chord (at 4:10). The album ends with the short Farewell which is played on the acoustic with beautiful harmonics. Highlights: Black Star, Icarus' Dream Suite Opus 4, As Above, So Below. index		Rating: 9.25
Marching Out (Polydor - 1985) This album begins with a barely audible, low rumbling which grows in intensity as Yngwie plays a few sorrowful legato notes and scratches the strings in Prelude before bursting simultaneously with drums into I'll See the Light Tonight. Soto also bursts into the song with a high, drawn out "No," which is repeated after the solo. This technique of going from a softer intro to an explosive transition will be repeated throughout the album and lends to the dynamic nature which makes this album undeniably one of Malmsteen's finest. "I'll see the light tonight flashing through the sky; take my life tonight. . ." lyrically returns to the theme of immortality (see As Above, So Below from Rising Force), with a declaration that one is unafraid to face death. The intro to Don't Let It End showcases Soto's ability to sing with a softer touch, in perfect unison with acoustic guitars. The song then kicks in with faster tempo and distorted guitar, which one could describe as the perfect metal guitar tone. The song is trademark Malmsteen, utilizing a forward-moving strong rhythm overlaid with both fast runs on the guitar as well as long notes and strong, melodic vocals. The lyrics are also some of Malmsteen's strongest, as is the song-writing and vocal delivery, which come together to tell the story of one struggling to hold a relationship together. The intro to Disciples of Hell features some of the most beautiful acoustic guitar to be found on any metal album and is immediately followed by a dive in explosion of up front riffage. This is the heaviest track on the album and a classic example of Yngwie's earlier style. I am a Viking begins with a crash of percussion and drawn out, dark wail from Soto, and superb, classically-influenced fret-work from Malmsteen. Lyrical content likely draws from Malmsteen's Swedish ancestry. Overture 1383, an instrumental, begins rhythmically featuring unique guitar runs (00:23) and transitions into a beautiful electric section with trademark emotion and sweep picking at the end before resting in a soothing layer of keyboards (Jens Johansson). The relaxation only lasts a moment before exploding into the next track, Anguish and Fear. Anguish and Fear is a fast tempo track with backing vocals that fit well with another strong vocal delivery by Soto. On the Run Again contains one of the most beautiful transitions from a solo back into vocals ever recorded. Malmsteen winds down an ultra-fast sweeping solo into a Blackmore-esque (2:17-2:25) ending at which point Soto comes in with "Yeah. . .he's got mixed emotions running through his head. . ." Soldier Without Faith utilizes an appropriate usage of dramatic pauses, see (4:36, 4:48, etc.) Soto delivers the lyrics "Gotta get outa here, don't wanna be around, gotta find my way home." with great emotion. Caught in the Middle carries a fine solo complemented by keyboard, another dramatic pause (3:05), and complex, brilliant ending. The instrumental Marching Out is a soothing song to end an album with; it has steady bass coupled with fast guitar, and works to set the mood for winding down the album-- ending in a fade out (note the album began with a fade-in). Lyrical content, guitar work, strong song-writing and vocal delivery, and interaction of guitar, keyboards, and drums work to make this a great album. The production also seems to be a key factor, as does the order in which the songs were arranged on the album, which is a true art. Highlights: Don't Let It End, Anguish and Fear, On the Run Again. index		Rating: 10.0
Trilogy (PolyGram Records - 1986) Trilogy brought together Arthurian cover art, songs of lore (Queen in Love, Dark Ages), reflection of relationships gone bad (You Don't Remember, I'll Never Forget, Liar), and empowerment of/ inspiration for the individual (Fire, Magic Mirror). It also saw the debut of talented vocalist Mark Boals, whose style, like Soto's, was a good fit for Malmsteen. Examples of Boal's strong vibrato and ability to sustain long, high notes can be heard on Fire. The album contains responsive interaction between singer and guitarist: an example can be found in the song Magic Mirror, when Boals sings "magic mirror" and Malmsteen responds by bending a beautiful note (3:06). It also contains good use of keyboards by Jens Johansson and imaginative cover art. Highlights: You Don't Remember, I'll Never Forget, Queen in Love, Fire. index		Rating: 10.0
Odyssey (PolyGram Records - 1988) Odyssey contains one of Malmsteen's most popular songs, Heaven Tonight, and finds former Rainbow vocalist Joe Lynn Turner as the new lead singer. The album starts off with Rising Force, a fast-paced song presumably about newfound strength/ just getting pumped-up in general, before the entrance of unique, melodic, harmonized guitar of Hold On. Declarative, melodic vocals accompany this song. Heaven Tonight brought Yngwie to the air waves across America and many people heard for the first time what a guitar solo could really be like. Dreaming (Tell Me) is a slower song with beautiful acoustic guitar, well-executed electric guitar with emotive solo, and sorrowful lyrics in dedication to a lover who likely passed away. The best line of the song: "Walk with me on the winds of time, Love's mystery is for us to find." Riot in the Dungeons is rhythmically strong with excellent interplay between all instruments (see end of solo, 3:19), melodic vocals and fast, intricate guitar. One highlight of this song comes in the later part of solo where the drums come crashing in, (2:56-3:25). Deja Vu starts out with some nice double bass (Anders Johansson) and is once again a very rhythmical song. Crystal Ball: Who can resist pounding their fist in the air at (4:04 post solo) on this song? In Now is the Time, the melody from the chorus is introduced by the guitar at the beginning of the song. Memories, a beautiful acoustic instrumental with its abrupt ending, is a fine way to end the album. Once again, a very solid release from Malmsteen. Highlights: Rising Force, Dreaming (Tell Me), Crystal Ball. index		Rating: 9.75
Trial By Fire/Live In Leningrad (PolyGram Records - 1989) This live album contains the following tracks: Liar, Queen in Love, Deja Vu, Far Beyond the Sun, Heaven Tonight, Dreaming (Tell Me), You Don't Remember, I'll Never Forget, Guitar Solo (Trilogy Suite Op:5/Spasebo Blues), Crystal Ball, Black Star, and Spanish Castle Magic. Although the liner notes do not indicate this, Far Beyond the Sun is preceded by a beautiful portion of Icarus' Dream Suite Opus 4. Turner does a nice job on the material from Trilogy/Marching Out. Rather than trying to mimic Boals or Soto, he sings the songs in his own style. Malmsteen improvises the solo to You Don't Remember, I'll Never Forget by adding a Greensleeves melody and interacting with Turner for a bit. Highlights: Queen in Love, Heaven Tonight, You Don't Remember, I'll Never Forget. index		Rating: 9.0
Eclipse (PolyGram Records - 1990) The first listen to this album was a shock: where were the raw guitars and dark-toned vocals of Marching Out and why were there so many synth-sounding keyboards? After seeing the band perform songs from the album live (at Dayton's Hara Arena in 1990, opening for Dio) I was quickly won over to the new style (without detracting from earlier albums). What could be viewed as Yngwie's first ballad, Save Our Love, appears on this album, and showcases new vocalist Goran Edman's smooth, melodic presentation. Song order plays a key role on this album, having an even greater dramatic effect towards the latter part of the album (see transition between Demon Driver and Faultline. Highlights: Save Our Love, What Do You Want, Faultline. index		Rating: 9.75
Collection (Polydor - 1991) This one gets an 8.0 rating because, while Jeff Scott Soto is only represented by one song on the album, that blasted Hendrix cover, Spanish Castle Magic, is present. Also there are no unreleased tracks (with the exception of an extended guitar solo on Making Love), and therefore not much incentive to get this one if you already have all of his earlier albums. index		Rating: 8.0
Fire and Ice (Elektra - 1992) On this masterpiece Goran Edman returns for a second album and it appears that Malmsteen may be able to regain commercial success in the states with the single Teaser being played coast to coast on Z-ROCK. Fire and Ice also went to #1 in Japan upon release. Here is a track by track briefing: Perpetual: a complex, layered, dynamic instrumental that builds up to the entrance of the main guitar (0:48) that is packed with emotion and excellent rhythm. Dragonfly: reminiscent of Eclipse's Bedroom Eyes, this song goes back to basics with an exchange between verse (no guitar), guitar, verse (no guitar). Not to say the song is without complexity, when keyboards, solo, and backing vocals are considered. This track has fantasy lyrics and a fun intro. Teaser: one of the more commercial-sounding tracks to date, but without losing the signature Malmsteen sound. How Many Miles to Babylon: Malmsteen's fusion of classical music with metal is exemplified by this track from the opening notes. This integration is both flawless and tasteful. The introduction builds until the next section is brought in with great power. Goran Edman sings throughout with excellent phrasing and legato. Cry No More: a very soothing, therapeutic song. Also contains a classical interlude (2:28) prior to the solo. Edman's vocals post solo "Our years in misery made dreams reality. . ." have a powerful impact. No Mercy: fast track with double bass, also contains a classical interlude (2:25) and seamless transitions. This song begs to be played at high decibel levels. C'est La Vie: Starts with middle eastern sound, drums and guitar come in unison, with dark keyboard beneath. A true treasure track from the subtleties in the rhythm track, on every 4th beat Malmsteen plays a slightly different part, i.e. 1 and 2 and 3 and fill; 1 and 2 and 3 and another fill (0:47, 0:50, 0:52, 0:55, 0:58, 1:00, 1:03, etc.), which makes for a fun song to listen to over and over, even though the lyrics are "the world's going to end if we don't save it"-like. Leviathan: second instrumental on the album. Also found on the guitar heroes CD Guitars that Rule the World. Fire and Ice: title track; excellent song from both guitars and lyrics camps. Lyrical content: people try to bring you down, you stay true to your vision (as Malmsteen has done musically), refuse to compromise, and have confidence. Forever is a Long Time: the second fast, double bass track; as with No Mercy, contains classical interludes (1:53, 2:01). Solo contains excellent effects and delivery. Good legato vocals and ending. I'm My Own Enemy: the album's ballad; contains acoustic guitar, classical progressions, heart-felt lyrics from Edman. Epitome of a ballad and a good addition to this diverse album. All I Want is Everything: bluesy, bragging track. Golden Dawn: the album's third instrumental; acoustic guitar over ominous keyboard ends for dramatic effect before thunder of the final track. Final Curtain: begins with thunder and powerful introduction. A fitting title for the last song of an album. Contains a powerful metal riff (3:19), chorus comes in (4:16) on ah, and track ends shortly thereafter with thunder. Highlights: Perpetual, How Many Miles to Babylon, Cry No More, No Mercy, C'est La Vie, Forever is a Long Time, I'm My Own Enemy. index		Rating: 10.0
The Seventh Sign (CMC International - 1994) The Seventh Sign is an energetic album that features former Loudness singer Michael Vescera on lead vocals. The album contains: 4 fast rockers (Never Die, Hair Trigger, Seventh Sign (starts out slow), and Crash and Burn), 1 fast, fun and groovy (I Don't Know), 1 mid-tempo (Meant to Be), 2 power ballads (Forever One and Prisoner of Your Love), 1 slow, bluesy (Bad Blood), 2 instrumentals (Brothers and Sorrow), and 1 slow and heavy (Pyramid of Cheops). Never Die kicks off the album in a manner that will quickly draw a smile to a metal fan's face: first the fast guitar intro, then the drums in matching intensity, then a high, held-out "Never die" on vocals. Malmsteen also returns to the immortality motif found in Rising Force's As Above, So Below with the line "I'm perpetual, I'll never die." Meant to Be is a unique-sounding track that one could almost be classified as a "tough ballad." Vescera's vocals have a catchy quality which tend to draw the listener into the song, which is an ability well illustrated in this track. The Seventh Sign ends with a beautiful, melancholy instrumental, Sorrow ala Odyssey's ending with Memories. Highlights: Never Die, Bad Blood, Crash and Burn. index		Rating: 9.5
Magnum Opus (Viceroy Music/Architect - 1995) Malmsteen and Vescera are back with a faster, darker album. Vengeance starts off with a classical sounding guitar before kicking in. There is a short classical interlude (2:25), ala Fire and Ice's Forever is a Long Time (1:53), prior to the main solo. The song has barely stopped before No Love Lost rolls in with a catchy rhythm. Backing vocals play a strong role in this song. Tomorrow's Gone is a slower, heavy, classically-blended, melodic song that is lyrically and tempo-wise in the vein of No Parole from Rock and Roll's Kree Nakoorie. The Only One is the most upbeat song on the album and the way it starts out reminds me of Winger's Seventeen. This song also has a very catchy chorus. Vescera drops down into baritone range for the verses of I'd Die Without You before going back into upper tenor land for the chorus. The guitar work is beautiful at the beginning of this, the only ballad on the album. Voodoo contains a unique chorus sung in a "round" fashion before "forbidden knowledge." Also the beat under the solo (3:05) is reminiscent of Odyssey's Rising Force. The song concludes with a well-crafted and brutally heavy outro after the solo. Cross the Line is to Magnum Opus what I Don't Know was to The Seventh Sign. Time Will Tell contains elements of legato, melodic vocals, eastern-sounding guitars, heavy guitars, and lyrics reflecting on man's purpose and accountability. In other words, a great song. Fire in the Sky picks up the tempo and contains the classic line, "I feel fine although you give me hell. . ." The album concludes with the instrumental Amberdawn. Highlights: Tomorrow's Gone, Time Will Tell, Voodoo. index		Rating: 9.5
Inspiration (Foundation Records - 1996) Inspiration brings collaboration between Malmsteen and former vocalists Turner, Soto, and Boals for an album of cover songs from groups such as Rainbow, Deep Purple, Scorpions, Rush, and Kansas. Malmsteen picked songs that he loved to listen to and play-- three are from Deep Purple and two are from Rainbow. There is a short synopsis for each song in the liner notes that explains when he first heard the songs/ how they affected him. Probably the most obscure choice for a cover song is In the Dead of Night written by Eddie Jobson and John Wetton of the band UK. Although the concept of Malmsteen releasing an album of his influences is very respectable, I'm only rating it an 8.0 because of Malmsteen's decision to include the Hendrix track with himself singing lead vocals. It would have been preferable to hear another track with Boals/Turner/Soto, or to have had a Rainbow song done with Dio on vocals. (One can dream)! Highlights: Gates of Babylon, Pictures of Home, Child in Time. index		Rating: 8.0
Facing the Animal (Mercury - 1998) Facing the Animal brings another Yngwie singer into the world: Mats Leven. The album starts with Braveheart: outstanding elements include crisp, ultra-precise drumming and a surprise "false ending." Leven lends a bit of attitude to the song with his various "yeah's" in between verses. Sacrifice is a strong track and could have been even better if some parts of the verses, such as "bitter to the taste" and "a never ending game" had not been omitted. From the title, I was expecting Heathens from the North to be a little more like the Marching Out classic, I am a Viking. I had hoped for a darker, heavier song than the one recorded. End of My Rope recalls a little Alcatrazz or MSG w/Bonnet with its use of keyboards. (see also Magic Mirror from Trilogy). Other criticisms: band members' names not listed in CD jacket. Highlights: Braveheart, My Resurrection, Another Time. index		Rating: 8.0
Concerto Suite for Electric Guitar and Orchestra in E flat minor Op.1 (Spitfire - 1998) Disclaimer: this album is not a rocker. While on past albums Yngwie has infused some classical into his metal, Concerto Suite is mostly classical, via an orchestra, infused with a little Yngwie. His guitar gets drowned out in spots, i.e. on Icarus Dream Fanfare (1:34). Finale (0:14) contains a section from the title track of the album Fire and Ice. There is a consistent sound throughout the album-- maybe a little too consistent. I keep waiting for Malmsteen to break up the domesticity of the orchestra with some really heavy guitar (see Metallica's No Leaf Clover), but that line is never crossed. Highlights: Adagio, Fugue. index		Not Rated
Alchemy (Dream Catcher - 1999) Alchemy starts out with the instrumental Blitzkrieg, which sounds like a blend of sounds from Odyssey (keyboards), Fire and Ice (guitars), and Trilogy (guitars, 0:41). Leonardo begins with a chorus of vocals that sound as if they are coming from a monastery, prior to the eagerly awaited return of Boals on vocals. Although Boals does a fine job on the singing on this album (check out the high notes on Playing with Fire) some of the songs sound like Malmsteen wrote the vocal lines with Vescera in mind. The Stand contains catchy drumming and solid bass line under the extended and well-executed outro solo. Wield My Sword is a fast song which contains the sure-fire recipe for a good song: (1)Malmsteen, (1)Boals, and (1)batch of lyrics pertaining to the middle ages ("I would die for my king and my land. . ." (see Queen in Love - Trilogy). The odd part about the track Legion of the Damned is that the chorus, "Battling the enemy that we don't know, we're strangers in a strange land. . ." (possibly an Iron Maiden reference) sounds so happy, while the rest of the song contains a darker feel. Hangar 18, Area 51 is a faster track dealing with off-limits material. The last three songs, Asylum I - Asylum, Asylum II - Sky Euphoria (classically influenced), and Asylum III - Quantum Leap, are instrumentals. The first and only other reference I have seen to the subject of Alchemy within the music industry was on Bruce Dickinson's The Chemical Wedding, with a song called The Alchemist. Highlights: Blitzkrieg, Leonardo, Playing with Fire. index		Rating: 9.0
War to End All Wars (Spitfire Records - 2000) Boals is back on War to End All Wars, which gets off to a fast start with Prophet of Doom. When the backing vocals come in the listener suddenly wonders if they weren't taken straight from a Queen album. Crucify is a good, heavy tune, which also sounded great live at the Cleveland show. Bad Reputation-- here come the Queen-sounding backing vocals again! But at this point they are starting to grow on me a little. Also of note are the lyrics, "What you have done can't be undone." Catch 22 gets the tempo rolling again, but the chorus seems to be missing something. The intro vocals in Masquerade begin a lot like The Seventh Sign's Hair Trigger. The instrumental Molto Arpeggiosa begins with a bass guitar and later reminds me at times of a cross between Far Beyond the Sun and Krakatau. The lyrics for Miracle of Life fit very well with the music and the song seems to continue to build and build. When famous guitarists dedicate songs to their children things can get pretty ugly/sappy (see Van Halen's 316 from For Unlawful Carnal Knowledge). Fortunately, Malmsteen and crew do a great job on this song, making it one of the better tracks on the album. Wild One sounds like it could have come from a different album. Tarot is another heavy song which really sets a mood post-solo. The third instrumental, Instrumental Institution, contains prominent keyboards, as did Preludium, and more percussion. War to End All Wars contains a beat similar to Riot in the Dungeons. Not to discourage artists from including bonus tracks, I'm just not a big fan of the last track, Rainbow cover Black Sheep in the Family. Highlights: Crucify, Miracle of Life, Tarot. (See also Album Cover Art). index		Rating: 8.5

Jim Miller, 2002.

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