u/MaximusCapacitance

Yngwie Malmsteen is a guitarist whose reputation precedes him, and who needs no introduction. The case that's usually made is that he's a highly technically proficient player but lacks feel and songwriting skills. Despite this, I've always had a soft spot in my heart for his work. Music is subjective, and in my personal experience I believe the case can be made that he actually makes intensely emotional, intricately designed compositions. I'd like to highlight some songs and works from his catalogue that I believe show his playing to have plenty of feel and musicality to them.

Black Star (from "Rising Force, 1984) -

When I first learned about Yngwie Malmsteen, it was because he was mentioned as an influence on Stratovarius, another metal band that I really like. I was in high school at the time and just beginning to discover heavy metal. It wasn't long before Rising Force was recommended to me as his seminal work and I played it on my headphones during a school study hall. Needless to say, I didn't do any studying that period, unless you count the studying of this neoclassical masterpiece.

Black Star is a perfect opening to a perfect album. It's got both fast and slow notes, all pitched perfectly, with amazing vibratro, and his signature runs. It's got so many interesting parts. The acoustic intro, the way the best drops hard, the synth in the background. The way way he begins playing this leading arpeggio slowly then it gets faster and more dramatic. Black Star changed the game for me, and so did the rest of this album. I was absolutely starstruck, and for the time being Yngwie was the center of my guitar universe. And to his credit, his virtuosity definitely got me interested in other virtuostic genres like prog rock and jazz, and he introduced me to Deep Purple and Ritchie Blackmore, and then Dio as well. I gotta give Yngwie credit, a lot of my favorite rock/metal music started with him (and Stratovarius too!).

Far Beyond The Sun (Rising Force) -

Black Star showed his emotional, slower, and darker side. Far Beyond The Sun shows his compositional finesse. It's got so many twists and turns and really does feel like a classical music work for the electric guitar without being gimmicky. I think it's an excellent track to show someone who wants to know what Yngwie Malmsteen's "signature sound" is. Arpeggios, fast runs, clean tone, lots of notes, rich vibrato - that's his bread and butter. I think he explores many different emotional states and styles, but never fails to scribble his sonic signature into each composition. I'd just call that him having a unique voice.

Icarus' dream Suite Op. 4 (Rising Force) -

The vibe I get on the intro to this track is similar to the sort of vibe I got from Giorgio Morodor's soundtrack for "The Neverending Story". It's that same sort of grand fantasy feel. Then it comes in with this slow acoustic segment that builds in intensity as other instruments join in, and his guitar riffing kicks with more orchestral elements, and soloing ensues. This is some of his most tasteful and interesting soloing, as it goes through so many tones. Lots of notes to paint a really pretty picture. Then it slows down again with what sounds almost like a harp right before the electric guitar and band come in with the same melody. The mood builds until this really medieval, wicked, driving groove locks and builds in intensity. Then keyboards come in with a counter melody as the track jams into the ether, fading out. This might be my favorite instrumental by him aside from Black Star, and it really does carry the spirit of classical music.

Little Savage -

This track like others on the album has parts that go really hard and others that are much softer and slower. I'd say that even at his most lyrical and slow, Yngwie's works have this yearning, minor key classical quality to them. But then he can just as easily flip the switch into hardcore shredding. The twin attack with Jens Johannson's (from Stratovarius) keyboards brings the intensity to another level as well. The guitar solo at the very end is extremely emotional and quick at once. Another awesome track on this album.

I know, I talked a lot about Rising Force. It's hard to ignore the impact this album's impact. I think it definitely set the benchmark for guitar in a lot of people's minds. But it wasn't just his guitar abilities that made this album legendary, it was his compositional skill as well. I believe Yngwie Malmsteen the composer often gets overshadowed by Yngwie Malmsteen the guitarist, who is often overshadowed by Yngwie Malmsteen the "I don't want your donuts" media portrayal.

Don't Let It End (from "Marching Out")

It wasn't just his instrumental works that make him stand out. I would also argue that he pioneered an entire subcategory of heavy metal; neoclassical, and also power metal. But he had his own sort of niche style... A combination of that melodic "80s metal" sound, with his more neoclassical elements. Part of that sound was his choice of vocalists, who often were capable of soaring operatic performances. Don't Let It End is an early example of him successfully marrying traditional metal and classical melodies and the result is brought to life convincingly by Jeff Scott Soto's vocals. He's one of several great vocalists that Yngwie brought aboard over the years. The classical elements give the already emotionally charged song an even more yearning twist, and his blazing solo is simply cathartic.

I Am A Viking (Marching Out) -

This is Scandinavian power metal at its finest, before power metal had really even taken off. Jeff Scott Soto almost gives off Dio vibes as he sings with upmost conviction about being a Viking. It's a very epic track elevated by Yngwie's blistering soloing.

1383 Overture (Matching Out) -

This is a very slow, beautiful, melodic instrumental track that I highly recommend you listen to if you think that he's all shred and no feel. I can even hear a bit of Greensleeves in this melody, but it's his own thing.

Soldier Without Faith (Marching Out) -

Everything on this track turned out perfect. The vocals, the theme of war's toll on soldiers, the varied and awesome, and lightning fast guitar solo. And this is just one of the awesome proto- power metal songs on this album. Once again, Jeff Scott Soto's voice and Yngwie's guitar compliment eachother very well and bring his compositional vision to life.

Marching Out (Marching Out) -

The instrumental title track to the Marching Out album is another testament to his more slow, emotive side and is worth highlighting as well. The production here is also notably slick as it really captures this certain dark, spatial atmosphere that I feel is only present in some of Yngwie's earlier albums.

I think that the Marching Out album is a really great follow up to Rising Force. It takes the neoclassical ideas in the prececessor and applies them to more traditional metal song structures in a compelling way that I think paved the way for entire styles in metal later on. It also showed off more of his slower, more melodic playing that often gets overlooked.

You Don't Remember, I'll Never Forget (Trilogy) -

If there's anyone who doesn't remember you that you'll never forget, this really is the track for you. It's got a lot of power to it, the vocals are pouring with heartbreak, and the way the more classical elements come in leading up to and during the slower paced, emotionally charged guitar solo that speeds up into a cathartic outpouring of metal melancholy. I feel like this song is a good example of his overall composition when it comes to a full package metal song becoming more mature, and I really enjoy it.

Queen In Love (Trilogy) -

This one feels like "You Don't Remember" with a bit more polish. I like the medieval themes of this one. I think that those types of themes really fit well with Yngwie's style, and it's part of why he exerted such an influence on power metal. It's usually his neoclassical stuff that gets cited, but I think that he really brought the full package for heavy metal, especially in the 80s.

Rising Force (Oddysey) -

I really, really like the Oddysey album. While Marching Out is his signature "heavy metal" album and Rising Force is his signature "neoclassical" album, this one shows his ability to just craft really good songs. I'd say it's one of his more accessible albums as more. It opens with an absolute heavy metal banger that never fails to get me going, and the signer Joe Lynn Turner absolutely and utterly kills it here ("the lightning strikes, CRAAACK in the night!" gets me every time). I love the intensity that he delivers the chorus here, and the dueling guitar/keyboard solos are some of the finest in his entire discography.

Dreaming / Tell Me (Oddysey) -

This song to me is one of the prettiest examples a slower rock ballad that he's made, and the way he infuses it with this haunting, classical sense of yearning makes it even better. The singing here completely sends me. The theme is desiring somebody out there to love is pretty universal and is expressed fully in very vivid fashion. The guitar solo on this track also perfectly fit the atmosphere and manages to be fast without losing its emotional content. This song is also another good example of his skills with an acoustic guitar as bits of it are sprinkled in this song.

Riot In The Dungeon (Oddysey) -

This is another song that I wasn't originally going to mention but upon hearing it again the heavyness, vocals, and epic metal feel of it made me feel the need to bring it up. This is one of his most complete "power metal-like" songs that he's made and it's definitely worth a listen.

Deja Vu (Oddysey) -

This might be the most epic song about somebody being a soulmate that I've heard. It has this sort of atmospheric feel to the chorus that I really like, and the way he incorporates the classical elements into the riffs themselves is something I think Yngwie really pioneers here. The solo here is one his more fast paced and blistering ones, with him and the keyboard practically in a firefight. Then it even goes into this Hendrix-like wah-wah sound at one point.

Crystal Ball (Oddysey) -

The chorus to this song might be the most memorable melody to me of all his songs. It has this mystical, mysterious feel to the way the lyrics are delivered, almost haunting. I also really love the lyrics themselves, asking "can you feel the wonder of it all?"... And honestly with music like this, I think I can.

Spanish Castle Magic (Live In Leningrad 1989) -

I would strongly recommend you all to listen to this entire live album as it has versions of great songs that are arguably even more intensely delivered than the original, but it's this closer to it that I wanted to highlight because it shows stronger than anything else his appreciation for Hendrix. Occasionally, you'll hear his influence pop up at moments in his playing but it isn't dominant. On this track, it's a different story... Yngwie delivers blues, but not without adding his note-heavy arpeggiated signature, resulting in a rare neoclassical/blues fusion that's only in performances like this. I'd recommend checking out his cover of Mistreated by Deep Purple and his other Hendrix covers for more of his blues playing.

Bedroom Eyes (Eclipse) -

This is a side to Yngwie Malmsteen that you don't see everyday, it's a more groovy feel and the singer on this album compliments it well. The riffing and solo here shows a bit of that Hendrix influence as well. I think it's a really solid track and one of the few by him that might be more suited for dancing than headbanging.

Save Our Love (Eclipse) -

This is probably the most emotional Yngwie Malmsteen song I've heard. Göran Edman bears his soul on this one, and you can really feel the emotional weight here. A power ballad it may be, but I feel it having had been through loss before myself. And I don't know about you but if I was trying to write a song to save my love with somebody, Yngwie Malmsteen definitely wouldn't be a bad guitarist to really sell it with a solo that simply plumbs the depths of the soul.

Dream On (Aerosmith cover with Ronnie James Dio) -

What can I say? It's Malmsteen with Dio singing Dream On. Just listen to this if you can. It's the only collab they ever did but I'll take it. I listened to this cover so many times that when I last heard the original I wondered where the soloing in the intro went.

Concerto for Electric Guitar (with the Japan Philharmonic Orchestra) -

This is a concerto that he composed himself for an entire orchestra that accompanies him as the lead soloist with an electric guitar. A lot of it is compositions from his older albums made into a full orchestral work, and I feel this really is Malmsteen truly in his element. He plays without missing a note with an entire orchestra with zero sheets of music for an entire hour. I think that if any work was to be the definitive statement of who he is as an artist, this would be it. Well, this and Rising Force.

I think that as I've went over these different works by him, what strikes me is how much territory Yngwie Malmsteen went into without actually deviating too much from his main style. His signature is all over the place, even when playing something as different as the blues or a groovy Hendrix influenced solo. His signature neoclassical stylings adds lots of flavor to what would otherwise be less interesting tracks.

I also notice that classical-like progressions are evident not just in the solos but in the riffs and hooks for his vocal songs, and it creates a really unique combination of uber-80s metal and classical that I haven't really seen outside his work. It's what makes songs like "Crystal Ball" or "Save Our Love" so enduring. He also demonstrates on several songs both instrumental and vocal that he's more than capable of playing a slow, emotional solo. Sure, he might throw in more notes than other guitarists, but that's just his style and I think he adapts it to those more soulful moments very well.

All-in-all, I think that Yngwie Malmsteen may have more to offer than many people who haven't really looked too hard into his work realize. He actually created a rather unique style and has some tracks that I believe will truly move some of you so if you haven't given him a chance yet, I'd recommend it. Of course, I'm aware some people might still hold the same opinion of him even after hearing this stuff, and that's ok. Music is ultimately a matter of taste at the end of the day.

Anyhow, I hope you enjoyed the post and found some good music from reading it. Rock Rock till you drop guys🤘

When I was a teenager (in the 2010s), I asked my mother if we could watch a Nightmare On Elm Street movie. Her pick was was the aptly titled "Dream Warriors", the third movie in the series. It was a great movie full of striking visuals, a moody atmosphere, and a whole lot of great one liners... But the real icing on the cake here was the soundtrack. Not only was the movie an atmospheric horror masterpiece, it was also pretty metal.

When I first heard Dokken's "Into The Fire" during the intro to the movie, I couldn't help but look it up later on Thus began my love affair with one of the coolest metal bands of the 80s... A band very good at making music about love affairs. I hadn't had much relationship experience at the time, so the lyrics sort of flew over my head.

What didn't fly over my head was George Lynch's absolutely searing guitar solos across all of their albums. I like lots of 80s metal and there are plenty of awesome guitarists to pick from that time, but there's something about Lynch's solos that really speak to me. Though I moved onto other genres later and didn't listen to as much Dokken for awhile, his skill always stuck with me and I'd find myself returning to songs like "Dream Warriors" just to hear him belt it out once again.

Flash forward almost a decade, and by chance I'll be having the opportunity to see both Don Dokken and George Lynch live at the same venue later this year. To hype myself up, I hit play on some of their music for the first time in awhile. The album I want to discuss however, is Under Lock & Key.

Now, I expected to enjoy the music. Musically, Dokken is one of the finest bands from that time. What I didn't expect, is how much the lyrics *hit different* now that I'm in my mid 20s. I've had a fair share of relationship experience at this point, some of which would be fitting for a Dokken song. And no set of Dokken songs tell a story about love gone dark quite like Under Lock & Key. For this review, I'm going to discuss how each song from the album spoke to me both lyrically and musically.

Unchain The Night is a great album opener. The acoustic, slow, dark intro is foreboding, hinting of the 80s awesomeness to soon follow. I can practically picture Don Dokken and George Lynch emerging from a dark neon-tinged fog to rock us, and boy did they ever. It kicks off with that classic 80s metal riff groove, and Don begins singing his tale of heartbreak. I'm not sure what it means to "Unchain The Night", but it sounds like his love will be gone if that happens. At the same time, the relationship he describes sounds quite toxic and non-reciprocal. As if to answer the emotion bursting from Don's vocal cords, George Lynch begins his epic elegy to this twisted relationship. His solo seems to express the intense emotions that Don's words just can't quite give justice.

This theme of Lynch's guitar wails enhancing the mood conjured by Don's lyrics continues in mid-tempo banger, "The Hunter". Don Dokken's lyrics paints the picture of a man helpless against his lustful desires, like heavy metal's answer to "Hungry Like The Wolf". I love how Lynch embellishes the end of Don's lines with these sexy guitar licks too. Lynch's solo has this longing, fatalistic tone, and much like Don"s desires the tension doesn't resolve. As a team, Lynch and Dokken paint bold emotional landscapes.

What "The Hunter" did for animalistic lust, "In My Dreams" does for longing. Don Dokken can't sleep, tosses and turns all night, and when he finally does get some shut-eye, he dreams of his lost love still by his side. This is a state that many people will enter at some point following a difficult breakup. Then, all the pent up emotion explodes in a cathartic guitar solo from George Lynch. This solo is both very fast/technical and emotionally intensely.

"It's Not Love" hit pretty close to home. Realizing his toxic relationship is not really love, our singer was forced to let her go and leave her so lonely. The dark, chromatic melodies from Lynch's guitar reinforces the dramatic circumstances of this departure in darkly emotive fashion.

"Lightnin' Strikes Again" keeps it fairly ambiguous, but I take that lightning to be bottled up emotions. When it bursts and you've been holding back too long it's like lightning striking suddenly. Sometimes, it can be the end of you. And like such an outburst, Lynch's piercing guitar tone strikes you in the ear like lighting (again). This is also one of the faster, more "heavy metal" tracks on the album.

"Will The Sun Rise" in my mind gives off the Soviet era fear of a nuclear winter, asking "will the sun rise when it's over, will there be a sky?", stressing that "nobody wins the game of chance". Wisely exclaiming, "Open your eyes, do you think that you're the best?". Food for thought about humility on an 80s rock album. Lynch kills it as always with another scorcher of a solo.

Judge me all you want, but as a teenager my favorite song on this album was "Slippin Away". The epitome of a power ballad it may be, but having been through a few difficult breakups, Don's powerful vocals do justice to the devastating feeling of losing what you thought was going to be a lasting love, and George Lynch's shrieking, wailing guitar solo where he absolutely spills his guts into those strings with the most heart-wrenching urgency still pierces my soul to this day. I don't know if it's still my top song on the album, but it still holds a special place in my heart.

"Jaded Heart" is up there on my list this time around. I can definitely relate to the theme, it's a specific kind of heartbreak where you meet somebody who you really fall for but they've been hurt so much before you met them that they're unreachable. It's happened to me a few times, and Don Dokken sells out with his delivery on this track; his voice absolutely soars. The drums, riffs, and once again the wonderful guitar solo from Mr Scary himself coming in with a tragic, heartbroken sincerity come together to make an excellent heavy metal song. Underrated track honestly.

Even more up-tempo is the flat out 80s style rocker "Don't Lie To Me" demonstrates that Don Dokken does not "love the way you lie" and demands with conviction and authority not to lie to him "like the way you used to do". We've all been lied to and lost some trust, so this is a very relatable track. And honestly if she still lies to him again after that powerful chorus and assertively scorching guitar solo from George Lynch, then she ain't the one.

The album's closer, "Till The Livin' End", accurately depicts with a fast paced metal rocker the frustration of a relationship that's simply not working out. He doesn't want to wait forever for somebody to change so he can have a good relationship with them. George Lynch gives it all for the last solo on the album in quasi-speed metal fashion. And while Don can't wait till the livin end, George Lynch sure can be considered a guitar legend till then after that blazing solo.

The overall thought I had throughout this entire album is how George Lynch and Don Dokken work together cohesively as a duo to bring these deeply relatable themes to life without simplifying or lightening their darkness in the process. Despite how heavy this album is and how elaborate the solos are, this is a very accessible album. There's something in it for everyone. I personally believe this is not only one of the best 80s metal albums, but best metal albums period and I strongly recommend anyone who doesn't dig Dokken to sit with this one just a bit more because it seriously kicks ass.

Anyhow, I hope you all enjoyed the review and until next time, I'll be rokken with Dokken. Dream on metalheads, look out! 🤘