YNGWIE J. MALMSTEEN

Neoclassical metal / Non-Metal • Sweden
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YNGWIE J. MALMSTEEN picture
Malmsteen was born on June 30, 1963, as the first child of a musically talented family in Stockholm, Sweden. At age seven, he saw a television news report on the death of Jimi Hendrix. To quote his official website, "The day Jimi Hendrix died, the guitar-playing Malmsteen was born". At the age of 10 he took his mother's maiden name Malmsten as his surname, slightly changed it to Malmsteen, and Anglicised his given name Yngve to "Yngwie". Yngwie also created his first band "Track On Earth" at the age of 10, consisting of himself and a friend from school on drums. Malmsteen was a teenager when he first encountered the music of the 19th century violin virtuoso Niccolò Paganini, whom he cites as his biggest classical music influence.

Through his emulation of Paganini concerto pieces on guitar, Malmsteen developed a prodigious technical fluency. Malmsteen's guitar style includes a wide, violin-like
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YNGWIE J. MALMSTEEN Discography

YNGWIE J. MALMSTEEN albums / top albums

YNGWIE J. MALMSTEEN Rising Force album cover 4.08 | 43 ratings
Rising Force
Neoclassical metal 1984
YNGWIE J. MALMSTEEN Marching Out album cover 3.73 | 25 ratings
Marching Out
Neoclassical metal 1985
YNGWIE J. MALMSTEEN Trilogy album cover 3.71 | 23 ratings
Trilogy
Neoclassical metal 1986
YNGWIE J. MALMSTEEN Odyssey album cover 3.66 | 26 ratings
Odyssey
Neoclassical metal 1988
YNGWIE J. MALMSTEEN Eclipse album cover 3.41 | 19 ratings
Eclipse
Neoclassical metal 1990
YNGWIE J. MALMSTEEN Fire and Ice album cover 3.22 | 20 ratings
Fire and Ice
Neoclassical metal 1992
YNGWIE J. MALMSTEEN The Seventh Sign album cover 3.39 | 15 ratings
The Seventh Sign
Neoclassical metal 1994
YNGWIE J. MALMSTEEN Magnum Opus album cover 3.22 | 12 ratings
Magnum Opus
Neoclassical metal 1995
YNGWIE J. MALMSTEEN Inspiration album cover 4.17 | 10 ratings
Inspiration
Neoclassical metal 1996
YNGWIE J. MALMSTEEN Facing the Animal album cover 3.83 | 8 ratings
Facing the Animal
Neoclassical metal 1997
YNGWIE J. MALMSTEEN Concerto Suite for Electric Guitar and Orchestra in E Flat Minor: Op. 1 album cover 4.11 | 10 ratings
Concerto Suite for Electric Guitar and Orchestra in E Flat Minor: Op. 1
Neoclassical metal 1998
YNGWIE J. MALMSTEEN Alchemy album cover 3.75 | 10 ratings
Alchemy
Neoclassical metal 1999
YNGWIE J. MALMSTEEN War to End All Wars album cover 2.85 | 9 ratings
War to End All Wars
Neoclassical metal 2000
YNGWIE J. MALMSTEEN Attack!! album cover 3.25 | 8 ratings
Attack!!
Neoclassical metal 2002
YNGWIE J. MALMSTEEN Perpetual Flame album cover 2.12 | 7 ratings
Perpetual Flame
Neoclassical metal 2008
YNGWIE J. MALMSTEEN Angels of Love album cover 2.62 | 4 ratings
Angels of Love
Non-Metal 2009
YNGWIE J. MALMSTEEN Relentless album cover 2.50 | 3 ratings
Relentless
Neoclassical metal 2010
YNGWIE J. MALMSTEEN Spellbound album cover 2.72 | 5 ratings
Spellbound
Neoclassical metal 2012
YNGWIE J. MALMSTEEN World on Fire album cover 3.75 | 2 ratings
World on Fire
Neoclassical metal 2016

YNGWIE J. MALMSTEEN EPs & splits

YNGWIE J. MALMSTEEN Heaven Tonight album cover 2.00 | 1 ratings
Heaven Tonight
Neoclassical metal 1988
YNGWIE J. MALMSTEEN I Can't Wait album cover 2.75 | 2 ratings
I Can't Wait
Neoclassical metal 1994
YNGWIE J. MALMSTEEN Power and Glory album cover 2.00 | 1 ratings
Power and Glory
Neoclassical metal 1994

YNGWIE J. MALMSTEEN live albums

YNGWIE J. MALMSTEEN Trial by Fire: Live in Leningrad album cover 3.42 | 8 ratings
Trial by Fire: Live in Leningrad
Neoclassical metal 1989
YNGWIE J. MALMSTEEN Live!! album cover 3.00 | 2 ratings
Live!!
Neoclassical metal 1998
YNGWIE J. MALMSTEEN Double Live!! album cover 2.50 | 1 ratings
Double Live!!
Neoclassical metal 1998
YNGWIE J. MALMSTEEN Concerto Suite For Electric Guitar And Orchestra In E Flat Minor Live With The New Japan Philharmonic album cover 3.67 | 3 ratings
Concerto Suite For Electric Guitar And Orchestra In E Flat Minor Live With The New Japan Philharmonic
Metal Related 2002

YNGWIE J. MALMSTEEN demos, promos, fans club and other releases (no bootlegs)

YNGWIE J. MALMSTEEN Powerhouse album cover 3.00 | 2 ratings
Powerhouse
Neoclassical metal 1978
YNGWIE J. MALMSTEEN Birth of the Sun album cover 0.00 | 0 ratings
Birth of the Sun
Neoclassical metal 1980
YNGWIE J. MALMSTEEN 1981 Demo album cover 0.00 | 0 ratings
1981 Demo
Neoclassical metal 1981
YNGWIE J. MALMSTEEN 1985 album cover 0.00 | 0 ratings
1985
Neoclassical metal 1985
YNGWIE J. MALMSTEEN You Don't Remember, I'll Never Forget / The Way album cover 0.00 | 0 ratings
You Don't Remember, I'll Never Forget / The Way
Neoclassical metal 1986
YNGWIE J. MALMSTEEN Making Love album cover 0.00 | 0 ratings
Making Love
Neoclassical metal 1990
YNGWIE J. MALMSTEEN Dragonfly album cover 0.00 | 0 ratings
Dragonfly
Neoclassical metal 1992
YNGWIE J. MALMSTEEN Teaser album cover 0.00 | 0 ratings
Teaser
Neoclassical metal 1992
YNGWIE J. MALMSTEEN Carry on Wayward Son album cover 0.00 | 0 ratings
Carry on Wayward Son
Neoclassical metal 1996

YNGWIE J. MALMSTEEN re-issues & compilations

YNGWIE J. MALMSTEEN The Yngwie Malmsteen Collection album cover 3.00 | 3 ratings
The Yngwie Malmsteen Collection
Neoclassical metal 1992
YNGWIE J. MALMSTEEN The Best of 1990-1999 album cover 0.00 | 0 ratings
The Best of 1990-1999
Neoclassical metal 2000
YNGWIE J. MALMSTEEN Anthology 1994-1999 album cover 3.00 | 1 ratings
Anthology 1994-1999
Neoclassical metal 2001
YNGWIE J. MALMSTEEN Yngwie Malmsteen Archives album cover 0.00 | 0 ratings
Yngwie Malmsteen Archives
Neoclassical metal 2001
YNGWIE J. MALMSTEEN The Genesis album cover 2.50 | 1 ratings
The Genesis
Neoclassical metal 2003
YNGWIE J. MALMSTEEN Instrumental Best Album album cover 0.00 | 0 ratings
Instrumental Best Album
Neoclassical metal 2004
YNGWIE J. MALMSTEEN 20th Century Masters: The Millennium Collection: The Best of Yngwie Malmsteen album cover 0.00 | 0 ratings
20th Century Masters: The Millennium Collection: The Best of Yngwie Malmsteen
Neoclassical metal 2005
YNGWIE J. MALMSTEEN Complete Box Polydor Years album cover 0.00 | 0 ratings
Complete Box Polydor Years
Neoclassical metal 2006
YNGWIE J. MALMSTEEN Far Beyond the Rising Sun album cover 0.00 | 0 ratings
Far Beyond the Rising Sun
Neoclassical metal 2008
YNGWIE J. MALMSTEEN High Impact album cover 0.00 | 0 ratings
High Impact
Neoclassical metal 2009

YNGWIE J. MALMSTEEN singles (7)

.. Album Cover
3.50 | 1 ratings
I'll See The Light Tonight / Don't Let It End
Neoclassical metal 1985
.. Album Cover
5.00 | 1 ratings
Black Star
Neoclassical metal 1985
.. Album Cover
2.00 | 1 ratings
Rising Force Studio / Live '85
Neoclassical metal 1985
.. Album Cover
3.25 | 2 ratings
I'm A Viking
Neoclassical metal 1985
.. Album Cover
0.00 | 0 ratings
Fire
Neoclassical metal 1986
.. Album Cover
0.00 | 0 ratings
You Don't Remember, I'll Never Forget
Neoclassical metal 1986
.. Album Cover
2.50 | 2 ratings
Heaven Tonight
Neoclassical metal 1988

YNGWIE J. MALMSTEEN movies (DVD, Blu-Ray or VHS)

.. Album Cover
4.00 | 1 ratings
Rising Force - Live '85
Neoclassical metal 1985
.. Album Cover
3.50 | 1 ratings
Trial by Fire: Live in Leningrad
Neoclassical metal 1989
.. Album Cover
0.00 | 0 ratings
The Yngwie Malmsteen Collection
Neoclassical metal 1992
.. Album Cover
0.00 | 0 ratings
Leo Fender Benefit Live
Neoclassical metal 1993
.. Album Cover
3.75 | 2 ratings
Live at Budokan
Neoclassical metal 1994
.. Album Cover
3.50 | 2 ratings
Yngwie Malmsteen LIVE!!
Neoclassical metal 1998
.. Album Cover
0.00 | 0 ratings
Yngwie Malmsteen Video Clips
Neoclassical metal 2000
.. Album Cover
5.00 | 1 ratings
Concerto Suite Live with Japan Philharmonic
Metal Related 2001
.. Album Cover
4.50 | 1 ratings
Far Beyond the Sun
Neoclassical metal 2006
.. Album Cover
0.00 | 0 ratings
Live Animal
Neoclassical metal 2009
.. Album Cover
3.50 | 1 ratings
Live in Korea
Neoclassical metal 2009

YNGWIE J. MALMSTEEN Reviews

YNGWIE J. MALMSTEEN Marching Out

Album · 1985 · Neoclassical metal
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SilentScream213
Yngwie’s sophomore solo album is much more traditionally structured like a regular album, with almost every song featuring vocals (strong vocals at that) and the improvised noodling is kept to a minimum. Depending on your taste, that can be a plus or a minus, but for me it’s a huge plus. Yngwie works best as support – he writes fantastic riffs, and his solos are excellent in small doses, rather than dedicating entire songs to him improvising. Although far from pop songs, the vocals feature some fantastically catchy choruses, and though the songs delve into anthemic arena rock territory, Yngwie keeps it interesting by ensuring the backing riffs are as technical and engaging as ever.

Definitely an improvement over the debut in my opinion, which was impressive but occasionally boring.

YNGWIE J. MALMSTEEN Rising Force

Album · 1984 · Neoclassical metal
Cover art Buy this album from MMA partners
SilentScream213
I’ve been a big fan of what Malmsgteen has done – both Steeler and Alcatrazz had great records with him. However, I think he works much better as a lead guitarist than a solo artist. By rights this album is musically, technically impressive, incredibly so, and there are great tracks. However, it does get boring listening to Yngwie solo for 40 minutes. He writes fantastic riffs and solos, but they are much better appreciated in between choruses and verses, rather than back to back.

The impact of this album is just as respectable as the talent within, in that it inspired the entire subgenre of Neoclassical Metal, and had a huge influence on the Japanese metal scene for some reason. However, I'd rather listen to almost any Yngwie-influenced Neoclassical Metal band than this album devoid of substance.

YNGWIE J. MALMSTEEN Rising Force

Album · 1984 · Neoclassical metal
Cover art Buy this album from MMA partners
martindavey87
Yngwie Malmsteen’s 1984 debut, ‘Rising Force’, is the album that inspired a whole generation to grab a guitar and learn how to play it really, really fast, as well as giving birth to what’s known as the neoclassical subgenre, a hybrid of metal guitar playing with classical music themes. It’s a highly influential album. But does it hold up well today?

Not really.

I went into this album with some intrigue. The outspoken Malmsteen has never been too modest to tell us underlings of his superior musical abilities, so I was interested to see what the fuss was about. And to be honest, I find it pretty boring. Don’t get me wrong, he plays with absolute precision and intensity, and no doubt in 1984 this was groundbreaking stuff. But by today’s standards, it just sounds like the same recycled classical lick played over and over.

There are a few songs with vocals which aren’t too bad, ‘Now Your Ships Are Burned’ and ‘As Above, So Below’, and in this aspect Malmsteen’s playing suits the music well. But for the most part, I just find this album dull, with all the songs serving as a self-indulgent excuse to play the same guitar scales as fast as possible.

Except for one song; ‘Icarus’ Dream Suite Op. 4’.

Wow! Where did this come from?! I can tolerate mindless shredding here, because the melodies when the song slows down are incredible. The clean guitar playing, the keyboards, everything here just comes together perfectly! This song itself is pretty damn amazing, and while ‘Rising Force’ generally bores the hell out of me, this song alone is enough for me to at least come back for more and see what else the master of men can conjure up.

No doubt this is highly regarded by fans, and in particular, by other guitarists, as a classic. But it just doesn’t work for me.

YNGWIE J. MALMSTEEN Rising Force

Album · 1984 · Neoclassical metal
Cover art Buy this album from MMA partners
Warthur
It's rare that you can point to a specific artist and album and say that here, right at that moment, is where a particular musical subgenre got its start, but you absolutely can with neoclassical metal - Yngwie Malmsteen's Rising Force album is patient zero for this high-technicality, classical-influenced, guitar-worshipping brand of metal.

This style has been derided from time to time as being nothing more than empty technical showboating, exacerbated by the fact that whereas progressive metal (which also gets accused of such showboating from time to time) at least tends to put a spotlight on a range of different instrumentalists, your typical neoclassical metal act is essentially a virtuoso guitarist and a group of backing musicians who are there to help the guitarist look good. Whether or not you consider that stereotype to be an outrageous slur on the scene or a perceptive assessment of some of its trends, you can't say that Malmsteen hasn't contributed to that image just a little, repeating his formula over sufficient albums that it's become an overworked, tired-out cliche.

It would be unfair, however, to tarnish this excellent debut album with that brush. The difference between this and so much of Malmsteen's subsequent discography is that, as a result of coming out first, it wasn't laden down with the expectations people had placed on Malmsteen's work. The general compositional approach hadn't yet ossified into a formula from which albums could be churned out by rote, and Malmsteen hadn't yet fallen into the trap of pandering more and more to fan expectations and believing more and more in his own hype, until his music became an overwrought caricature of itself.

Instead, what you get here is some dynamite classically-influenced heavy metal, building on a foundation reminiscent of early Queen (especially when Jeff Scott Soto's vocals come in) and adding intricate classically-inspired guitar work from Malmsteen himself. The end result is an electrifying performance which not only provides an exceptional showcase for Malmsteen's guitar skills, but is also a downright entertaining album in its own right. Don't hold Malmsteen's late-career turkeys against him and listen with an open mind.

YNGWIE J. MALMSTEEN Spellbound

Album · 2012 · Neoclassical metal
Cover art Buy this album from MMA partners
Conor Fynes
'Spellbound' - Yngwie Malmsteen (5/10)

When I was 11 or 12, I came upon a copy of Yngwie Malmsteen's debut "Rising Force". I had never heard anything quite like it before, and within a month of being exposed to Malmsteen's music, I went out and got my first guitar. Although neoclassical shred metal is no longer a significant part of my musical vocabulary, it goes without saying that Malmsteen's music has had a huge influence on me, both as a musician and a listener. With that in mind, it's all the more of a disappointment to hear Malmsteen in such a stagnant place with his career. Although there was that concerto he did with a symphonic orchestra some years back, Yngwie has tended to stick close to his comfort zone when it's come to the release of new music. Perhaps even moreso than the rest of his new millennium material, 2012's "Spellbound" shows him reverting almost entirely to the largely instrumental sound he started with on "Rising Force". Although I would normally be thrilled to here more of the sort of music that first had me really appreciate the guitar as an instrument, it would be a fool's hope to think that, after years of relative mediocrity, he would achieve something anywhere as exciting. No; as could be expected, Malmsteen pulls out the same baroque stops that he's used to cruise on throughout his career. Add that to a less-than-impressive production standard, and you have an album that barely squeezes by on the merit of his legendary skill with guitar.

"Spellbound" kicks things off on its strongest note. The title track instantly plants Malmsteen in familiar territory; baroque shred patterns warm up the album as the rhythm section gradually swells. Before long, Malmsteen has made the dive into brushfire guitar soloing, eventually even tossing a recurring melodic idea the listener's way once he's had his fill of assaulting the fretboard. Particularly when it comes to his sweeps, it's instantly clear why Malmsteen has become such an icon in the shred metal world. His guitar tone is distinctive and rich, and there is an organic quality to the performance that is rarely heard in the next- gen shredders. In other words, there's no sense that the recording has been altered in any significant way to make Yngwie sound better than he actually is. Of course, especially at this point in his career, Yngwie's skill with guitar is not in question. Without a doubt, it's the best thing the album has going for it.

Although Yngwie has almost always flown under his own name, "Spellbound" has a certain honour of being a solo effort in the truest sense. On top of guitar, Yngwie performs everything here, including vocals on a few of the tracks. Normally, this would lead to complaints of the album in question being one-sided- of course, this was always the case for Malmsteen. Contrary to what I would have first thought, the backup arrangements are surprisingly well done. Although there's little complexity to anything outside of the guitars, the drums are effectively performed (or programmed?) and the subtle choral synths give an added classical atmosphere. Although his voice is nothing special, he has a decent mid range, well capable of holding a tune. Even more surprising however, is how weak the production itself has been left. Considering Malmsteen's resources and experience, the production feels decidedly hollow and plain. Barring the omnipresent shred, it's as if Malmsteen was on a strict budget here. Even the guitars fall victim to the subpar production; "Majestic 12 Suite" is filled with audible guitar buzz, the likes of which would be just as annoying in a high school garage jam. On a record from one of the greatest guitar legends though? It raises alot of questions.

Barring his baroque shredding, there's a handful of bluesier moments. However, regardless of style, all of "Spellbound" seems to suffer from the cardinal sin of much shred metal: it's a celebration of flash over substance. While "Rising Force" enjoyed excellent compositions that could have stayed afloat regardless of Yngwie's guitar wizardry, whatever writing that went on here is little more than a showcase for his shredding. Thankfully, that shredding is a great thing to behold. Fans of Malmsteen should check it out if they're in the mood for it, but it offers nothing that wasn't already done on the early albums in greater quality.

YNGWIE J. MALMSTEEN Movies Reviews

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