Yngwie Malmsteen Albums (29)
'Perpetual Flame'
Release Date 10/13/2008
Tracks 12
Label Rising Force
See Album Tracklist and Review
What The Critics Say
Arguably, not since the days of Jeff Scott Soto has Yngwie Malmsteen shared the spotlight with a singer who possessed enough pizzazz to truly stand toe to toe with the Swedish six-string shredder. But on ol' Yng's 2008 release, Perpetual Flame, former Judas Priest/Iced Earth screecher Ripper Owens has signed on as the man behind the mike. And the result is Yngwie's best album in quite some time. Not only does it feature all the superhuman guitar acrobatics that you've long come to expect from the man who can probably sweep-pick arpeggios in his sleep, but it also features a chap who is known as an absolute vocal terrorizer within the realm of metal. The Yngwie/Ripper union pays immediate dividends for fans of "medieval metal," as evidenced by "Death Dealer" and "Four Horsemen" (perhaps the true test of an Yngwie song is if you can picture yourself dressed in knight's armor, storming a castle -- and these two ditties pass the test!). But don't fret, longtime fans, Ripper allows Yngwie more than enough room to shred away, especially on "Red Devil" (which musically sounds surprisingly like a vintage Joe Satriani-esque tune) and the over the top instrumental "Caprici di Diablo." As heard throughout Perpetual Flame, Yngwie has once more (to borrow a quote from the guitarist himself) "unleashed the f**king fury!" ~ Greg Prato, All Music Guide
What The Critics Say
Angels of Love is both a compilation and a new album of sorts by Swedish guitarist Yngwie Malmsteen. On it, he has gone over his entire catalog, picked out the various power ballads -- i.e., love songs -- and re-recorded them with steel- and nylon-stringed acoustic guitars, string arrangements, synthesizer and synth guitar, various keyboards, and yes, some trademark electric guitar. Why this matters is that the original news releases were quoted as saying there were no electric guitars on the album, which would have been an utter shock. Now, of course, the only question is how Malmsteen punters will react to a rehash of older material, rearranged, re-recorded, and re-presented outside of its context of origin. The bottom line? These selections are all good and add up to an adequate mood soundtrack, although they do not provide listeners with what they've come to expect from the self-proclaimed "Bach of Rock." Not that this is necessarily a bad thing; changeups can be righteous -- especially when they frustrate advance expectations. Two tracks in particular, "Ocean Sonata" and "Memories," manage to reach the heights of the potential Malmsteen himself created with his own pyrotechnics and abilities. ~ Thom Jurek, All Music Guide
'Concerto Suite for Electric Guitar and Orchestra'
Release Date 3/12/2007
Tracks 12
Label Dreamcatcher
See Album Tracklist and Review
What The Critics Say
In 2002, guitar acrobatic extrodinare Yngwie Malmsteen was aboard an airplane in Japan and received the surprise of his life. As folklore goes, Malmsteen allegedly made offensive comments regarding homosexuality. A fellow passenger took offense to the comment and proceeded to throw a glass of water on Malmsteen. This sent his temper into a rising force and began a legendary tirade that catapulted Malmsteen back into the heavy metal spotlight for one last time. Amidst the fracas Malmsteen launched a verbal spat on the passenger with the phrase "you've unleashed the f**cking fury" being atop the most quotable of moments. Fast forward three years and Malmsteen is still milking this incident for all its worth, bringing into question whether or not this event was actually staged in order to sustain his career. Conspiracy theories aside, Malmsteen and company basically run the same plays on Unleash the Fury that they do with every other album. There's no denying Malmsteen's virtuosity on guitar, making runs up and down the guitar neck that even the most accomplished guitarist would find find troubling at half speed. But when the vocalist makes his appearance, then things become awkward and irksome. Taking more than contributing, the lyrics and vocal stylings hinder the sole reason for purchasing this record: to listen to the guy make the guitar melt in the palms of his hand. Another predictable exercise, and what starts off with a fury ends with at best a whimper. ~ Rob Theakston, All Music Guide
What The Critics Say
Despite what some Yngwie Malmsteen fanatics would like to believe, the Swedish guitarist did not just pick up the six-string and pen such classically tinged heavy metal epics as "I'll See the Light Tonight" -- he gradually worked his way up the ladder of speed-demon guitar wizardry. And while most admirers pick up Malmsteen's career from either his Steeler or Alcatrazz recordings, even earlier compositions exist, which have been compiled together for 2002's The Genesis. Although Ritchie Blackmore is often credited as being Malmsteen's prime six-string influence, Jimi Hendrix was also always at the top of the list, which is proven by an over 12-minute jam of "Voodoo Child (Slight Return)." Elsewhere, such instrumentals as "Plague in Lucifer's Mind" and "Black Magic Suite Op. 3" show that Malmsteen was doing the "classical metal thang" even earlier than many assume. ~ Greg Prato, All Music Guide
What The Critics Say
Guitar virtuoso and heavy metal legend Yngwie Malmsteen is not subtle; 15 seconds into Attack!!'s opener, he fires off his first round of six-string artillery like a soldier left for dead, littering the earth with spent cartridges of neo-classical brutality. There's no denying his impressive chops -- the instrumental "Baroque & Roll" is a veritable "horned-hand" seminar -- but like all lecturers, Malmsteen goes on too long. He provides so much information to his weary students of rock that the unbridled joy of the subject gets lost. Ex-Rainbow vocalist Doogie White -- who does a fantastic Ronnie James Dio impersonation -- does wonders with Malmsteen's insipid lyrics, utilizing his throaty growl on timeless rockers like "In the Name of God" and the ubiquitous Viking anthem "Valhalla." The blistering title track, "Attack!!," is easily the best song on the record. Ferocious in its intensity, it sounds fresh and exciting, two words used sparingly in Malmsteen's later years. His frequent use of guest vocalists has never been a sore point for fans of the Swedish egotist, and his sole lead vocal on the bluesy "Freedom Isn't Free" is a fine example of why; like a froggish cross between David Lee Roth and Huey Lewis, his gruff voice straddles the fence between curio and car wreck. Despite some obvious filler -- never start a record with something called "Razor Eater" -- and a dull instrumental called "Air," where he shares writing credits with Johann Sebastian Bach, Attack!! is a fine return to form from one of heavy metal's most talented overachievers. ~ James Christopher Monger, All Music Guide
'Concerto Suite Live with Japan Philharmonic'
Release Date 1/29/2002
Tracks 17
Label Pony Canyon
See Album Tracklist and Review
What The Critics Say
Few rock artists seem as custom-made for the "orchestral treatment" as classical metal buff Yngwie Malmsteen, and that's just what occurred with his 2002 release, Concerto Suite Live with Japan Philharmonic. Although not his first guitar-meets-orchestra release (1998's Concerto Suite for Electric Guitar and Orchestra in E Flat Minor Op. 1 preceded it), the latter album turns out to be a much more fully realized affair, as there has been speculation that Malmsteen had to overdub some solos on the first release -- instead of playing it all live as he does here. As evidenced by such tracks as "Trilogy Suite Op. 5, the First Movement," Malmsteen's playing is as over the top as ever, as his rapid-fire soloing does heroic battle with an orchestral accompaniment. Despite hard rock bands like Metallica and Kiss having also utilized the same setup on similarly styled releases, Malmsteen's music is better suited for an orchestra, as proven by Concerto Suite Live with Japan Philharmonic. Whether it's for better or for worse, that's another story. ~ Greg Prato, All Music Guide
'War to End All Wars'
Release Date 11/7/2000
Tracks 15
Label Spitfire
See Album Tracklist and Review
What The Critics Say
No, War to End All Wars isn't a Molly Hatchet album, the Frank Frazetta cover painting notwithstanding. It's Yngwie J. Malmsteen's Rising Force's 2000 album on Spitfire, which also finally gave Malmsteen's '90s output a proper U.S. reissue release at about the same time. The fleet-fingered Swedish guitar god plays all the electric and acoustic guitar parts on War to End All Wars, of course, and he also plays bass and sitar. And, for better or worse, he writes all the lyrics. His supporting players include vocalist Mark Boals, keyboardist Mats Olausson, and drummer John Macaluso. War to End All Wars is packed with Malmsteen's jaw-dropping, neo-classical, light-speed guitar shredding, and the three instrumentals are arguably the best tracks. (Face it, nobody listens to a Malmsteen album for the vocals, and Boals' operatic wailing wears thin after awhile.) "Molto Arpeggiosa" is the highlight and the track's foundation, oddly enough, is the rigidly spry bass riff; never fear, for Malmsteen quickly unleashes the rockets in his fingertips. His impossibly fast soloing on "Preludium" and "Instrumental Institution" is supported by the keyboards and drums. "Prophet of Doom" comes complete with Queen-like harmonies. The mid-tempo hard rocker "Bad Reputation" includes Malmsteen's self-defensive lyrics. "Masquerade" has a sleeker '80s-like feel and Malmsteen does as much riffing as soloing. The acoustic guitar-tinged "Miracle of Life," which seems inspired by his new life as a husband and father, has the broadest range of musical dynamics on the album. "Wild One" is rooted in speed metal and the lyrics cleverly weave past Malmsteen song titles. Given Malmsteen's love of Ritchie Blackmore, you'd think the U.S. bonus track "Black Sheep of the Family" is a Rainbow cover, but it's not. It's a playful, reggae-based studio jam. ~ Bret Adams, All Music Guide
