Published on Nov 7, 2000
Although I’m familiar with Yngwie Malmsteen’s work, having heard
his playing since he started his solo career in 1984 (and seeing
him open for AC/DC in 1985), I can’t say that I’m well-schooled in
his entire discography. I’m certain I’m missing an album or two
from his discography, despite the fact my publicist friends were
nice enough to send me the latest reissues of Malmsteen’s
“forgotten” releases from the ’90s.
But after listening to an advance copy of
War To End All Wars, Malmsteen’s upcoming release, it’s
almost like I’m listening to an incomplete picture. It’s almost as
if you need to be familiar with everything that Malmsteen has done
to this point to understand where he’s coming from musically. If
you’re not as well-versed, you’re left with a rather confusing
picture.
Recorded with vocalist Mark Boals (who just recently announced
his departure from the band, according to Brave Words & Bloody
Knuckles), Malmsteen continues to crank out the
classical-influenced metal that he’s made a career out of – and I’m
not suggesting that’s a bad thing. Malmsteen still remains one of
the most exciting guitarists fighting for your entertainment
dollar. But as this album proves, such an approach can easily be
hit-or-miss.
Take, for example, “Prophet Of Doom,” a song whose Queen-like
harmony vocals and John Macaluso’s thrash-style drum work make this
track stand out. It might not have the same kind of magic as
Malmsteen’s earlier hits, but it has its own unique charm that
makes it equally special. (If you’re wondering how anyone could
play a bass riff with the same lightning speed as the guitar line,
just look at the credits… Malmsteen handles all the bass work.
‘Nuff said.) Ditto goes for “Bad Reputation,” a song which almost
sounds like it could have come from any of a number of other bands,
albeit without the classical riffs from Malmsteen.
Then, there are the experiments that don’t work as well. One
such example is “Tarot,” a song which occasionally strikes my fancy
just for Malmsteen’s riffage. Other tracks, such as “Masquerade” or
“Wizard,” have the technical expertise, but they lack any real
emotion lyrically, and they don’t allow the listener to really
connect with them on the level that Malmsteen et al. would have
liked them to.
Malmsteen’s instrumental work, naturally, is without peer;
selections like “Arpegios From Hell” and “Prelude” all are just
more wonderful padding to Malmsteen’s musical resume.
Maybe part of the problem with
War To End All Wars is that it comes on the tail end of a
period in Malmsteen’s career where his work wasn’t getting noticed
in America. Now that the bulk of those discs are out on the market,
people can play one major game of “catch-up”. Maybe then,
War To End All Wars will sound more “in place” with the rest
of Malmsteen’s discography. On its own, it has its moments, but it
comes off sounding like a painting which is only half-complete.