YNGWIE J. MALMSTEEN

Neoclassical metal / Non-Metal • Sweden
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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 4.17 | 42 ratings
Rising Force
Neoclassical metal 1984
YNGWIE J. MALMSTEEN Marching Out album cover 3.80 | 24 ratings
Marching Out
Neoclassical metal 1985
YNGWIE J. MALMSTEEN Trilogy album cover 3.75 | 22 ratings
Trilogy
Neoclassical metal 1986
YNGWIE J. MALMSTEEN Odyssey album cover 3.68 | 25 ratings
Odyssey
Neoclassical metal 1988
YNGWIE J. MALMSTEEN Eclipse album cover 3.36 | 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 3.24 | 13 ratings
Magnum Opus
Neoclassical metal 1995
YNGWIE J. MALMSTEEN Inspiration album cover 4.22 | 9 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 4.03 | 11 ratings
Concerto Suite for Electric Guitar and Orchestra in E Flat Minor: Op. 1
Neoclassical metal 1998
YNGWIE J. MALMSTEEN Alchemy album cover 3.79 | 10 ratings
Alchemy
Neoclassical metal 1999
YNGWIE J. MALMSTEEN War to End All Wars album cover 3.00 | 8 ratings
War to End All Wars
Neoclassical metal 2000
YNGWIE J. MALMSTEEN Attack!! album cover 3.27 | 9 ratings
Attack!!
Neoclassical metal 2002
YNGWIE J. MALMSTEEN Perpetual Flame album cover 2.21 | 8 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 2.88 | 4 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
0.00 | 0 ratings
Black Star
Neoclassical metal 1985
.. Album Cover
2.00 | 1 ratings
Rising Force Studio / Live '85
Neoclassical metal 1985
.. Album Cover
2.00 | 1 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 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 Inspiration

Album · 1996 · Neoclassical metal
Cover art Buy this album from MMA partners
AtomicCrimsonRush
“Inspiration” is definitely one of my favourite Yngwie Malmsteen albums featuring wonderful cover versions of classic rock and some incredible vocals and special guests. It begins with Kansas’ classic ‘Carry on Wayward Son’ with a heavy treatment of the killer riffs and terrific vocals by Jeff Scott Soto, an old fave singer of Malmsteen’s from the early years. ‘Pictures of Home’ is a metal verision of Deep Purple’s seminal rocker, with vocals by Joe Lynn Turner who also sings lead on ‘Demon’s Eye’, both excellent covers with inventive reimaginings of the lead breaks. Malmsteen is a shredding genius.

The amazing ‘Gates of Babylon’ is an outstanding cover here, with the majestic style captured and fret melting lead work. Hendrix is a major influence on Malmsteen who according to his website was born the day Jimi died. ‘Manic Depression’ is one of my favourite Hendrix tracks and it is a joy to hear Malmsteen launch into that riff and scorching fiery lead break. Mark Boals is the vocalist on this and sounds terrific.

In the Dead of Night’ is a slower song but memorable for its catchy chorus and keyboards of Johansson. Whitesnake’s power blues of ‘Mistreated’ follows and is absolutely brilliant, the riff, the lead break, and the vocals of Soto are outstanding making this a highlight. It is nice to hear Malmsteen’s Rush influences here too with a cover of their ‘Anthem’ sounding bright and heavy.

The piece de resistance of this album though is the astonishing cover of ‘Child in Time’ featuring Malmsteen smoking on the lead break. In fact this lead break is utterly ingenious, with super fast arpeggios, hammer ons, speed sweeps, piercing string bends, adagio and even the odd speeded up scale up and down the frets. I have heard this track the most of all on the album, and it is the best cover of the song without a shadow of a doubt. This is one to get hold of to check out Malmsteen at his most ferocious, he simply takes off into the stratosphere on the Fender strat. When the lead break finishes shredding fiercely there is a stunned silence for a few seconds, before the quiet organ returns, and I always draw out a breath of amazement here every time. It is simply breath taking guitar. The song has some wonderful keyboards too from Johansson and Turner’s vocals are top notch.

“Inspiration” is a sensational cover album and showcases Malmsteen at his absolute best. It is great too as an introduction to the many bands being covered, many of which I had not heard a lot from when I first got hold of this album. I think Malmsteen has paid generous respect to songs and artists that have inspired him over the years, and he poured out all his energy and adoration towards these artists onto this album to create something very special.

YNGWIE J. MALMSTEEN Fire and Ice

Album · 1992 · Neoclassical metal
Cover art Buy this album from MMA partners
AtomicCrimsonRush
Yngwie J. Malmsteen is of course a legendary guitarist along with Joe satriani and Steve vai that were all the rage in the 90s. I remember this album well back in the 90s as everyone was getting hold of it and I had it on cassette back then. It is a pleasure to finally get the CD but it is not hard to find in bargain bins so it appears many decided to ditch it. Understandably this is very dated and sounds like the 90s neo-classical period.

There are very poppy moments such as 'Teaser' and overall the Whitesnake style power metal, merged with melodic soft rock. I was into it at the time but have since grown completely out of the style. It is not complex music, apart from the lead breaks by maestro Malmsteen. The prog on this is rather hard to find, though occasionally there are interesting orcestrations such as the intro to 'How Many Miles to Babylon'. This is a definitive highlight of the album. The flute and violin with acoustics is quite enchanting. The problem I always had with Malmsteen's albums is the choice of vocalist. On this occasion Goran Edman is actually quite good, adequate at the least but he is always staying on that typical metal note. He can reach a high falsetto and sounds great on the heavier songs.

The best moments for me are the instrumentals such as 'Perpetual', a standout fast lead solo, 'Leviathan', an atmospheric piece with fret melting lead work, and 'Golden Dawn', an acoustically driven piece. Of all these I prefer 'Leviathan' especially the screaming lead break with the odd time sig and constantly shifting tempo. I remember seeing this on video and being amazed at Malmsteen's ferocity on the Fender. It kind of annoys me how the songs fade as Malmsteen continue to shred, it would be better to finish on a huge power chord.

Malmsteen is a genius guitarist and he shreds brilliantly. The lead breaks are incredible, creative and virtuoso as one might expect having a band named after you. He looks great on stage too, and I always enjoyed when tracks from "Fire and Ice" appeared on concert performances. The liner notes of the CD includes that the album was "dedicated in loving memory to Bjorn Malmsteen" which is a nice touch. A clue to his influences are in the personal thanks as Malmsteen mentions the likes of Erika Malmsteen, J.S.Bach, Antonio Vivaldi, Ludwig Van Beethoven, Jimi Hendrix, H.P.Lovecraft, Enzo Ferrari, Leo Fender, Dinsdale, and Monty Python's Flying Circus. An interesting line up there showing where the music stems from. Indeed the classical influences are prevalent among others. Listen to the intro of 'C'est La Vie' with Malmsteen on sitar for an example of Indian Raga.

There are fast metal moments such as 'No Mercy' with a traditional shredding rhythm, and then an orchestra plays Vivaldi or Bach-ian music for a while till Malmsteen performs a blistering lead break. He loves those high string bends and speed picking sweeps as well as massive hammer ons and arpeggios. The album songs are forgettable, indeed I had to listen to the whole thing to remember a single melody, but at the time of listening it is enjoyable. 'Fire and Ice' is a rather pedestrian hard rock song sounding more like glam. At 2 ½ minutes in though we are treated to a brilliant lead break with ferocious arpeggios and classical inlfuences. It leads to a wah-wah sound for a change and it fades out again.

There is huge diversity on the album such as the speed power metal of 'Forever Is A Long Time' which includes symphonic keyboards by Mats Olausson. Edman sounds great here and the violin section is appropriate to usher is another super fast killer lead solo. He trades of with some equally fast keys too and this is fantastic. Malmsteen loves his ballads and here is no exception with 'I'm My Own Enemy' giving Göran Edman a chance to shine though it lasts for 6 minutes and is hard to sit through. This is perhaps one of those lighters in the air concert moments and Malmsteen can relax on 12 string. The string section is a nice embellishment though. 'All I Want Is Everything' follows, and it is okay but the album is tending to drag a bit at this stage and needs a real kick in the guts to bring it up to standard. After the beauty of the acoustic section it ends with 'Final Curtain'. There is a cool riff to begin and thunder rolls across the heavenly striking violins. The pace is slow but the music is intriguing. The obligatory lead break hammers in once more and she is all over with a thunder clap.

This is a long slog to get through the whole album, especially as it sounds so commercial. It was the album that a lot of my friends had in the 90s and I ended up with it but I rarely played it due to the lack of interest in the neo classical feel, but it is a bit more enjoyable these days with the prog references. Though I admit I won't be returning to this often as there is so much better out there, that leaves this outdated music for dead.

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