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5 Jul 2017

Yngwie Malmsteen "Angels Of Love" 2009 Sweden Prog Symphonic

Yngwie Malmsteen " Angels Of Love" 2009 Sweden Prog Symphonic


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...... by Thom Jurek..........

Yngwie Malmsteen was born in Stockholm, Sweden, on June 30, 1963.
The youngest child in a household that included his mother Rigmor, sister Ann Louise, and brother Bjorn,
Yngwie originally had no interest in music. However, on September 18, 1970,
Yngwie saw a TV special on the death of guitar iconoclast Jimi Hendrix.
Seven-year-old Yngwie watched with awe as Hendrix blasted the audience with torrents of feedback and sacrificed his
guitar in flames. The day Jimi Hendrix died, the guitar-playing Yngwie was born.

By age 15, Yngwie's trademark style had begun to emerge.
He worked for a time as a luthier in a guitar repair shop,
where he encountered a scalloped neck for the first time when a 17th century lute came into the shop.
Intrigued, Yngwie scalloped the neck of an old guitar in similar fashion and was impressed enough with the results to try it on his better guitars.
The scalloped fret board was somewhat more difficult to play than a normal neck,
but his control over the strings was so improved that Yngwie immediately adopted it as a permanent alteration to his equipment.

About this time, Yngwie began playing in a number of bands built around his explosive guitar style,
with long instrumental explorations. Around age 18,
Yngwie and several friends recorded a demo set of three songs for Swedish CBS, but the cuts were never released.
Frustrated, Yngwie began sending demo tapes to record companies and music contacts abroad.
One such tape found its way into the hands of Guitar Player contributor and Shrapnel Music founder Mike Varney.
Yngwie was invited to record with Shrapnel's new band Steeler--and the rest, as they say, is history

Taking most of 2004 to rest, recharge his creative batteries, and work in his studio at his leisure,
Yngwie produced a highly acclaimed new album titled Unleash the Fury.
Featuring some of his most impressive playing and songwriting in years,
the album garnered rave reviews from fans and critics alike., a popular Internet hard rock music review site proclaimed,
"Yngwie Malmsteen, the Neo-Classical king is back to Unleash The Fury with another bag of alchemy fuelled compositions...
Overall Unleash The Fury is a welcome return to form from ... to deliver the goods."
Reviewers on and CD Universe gave the new album 5-star ratings, with consumers proclaiming
"Yngwie is the original, don't settle for cheap imitations!" and "it's a great year for shredders!"...........

Following hot on the heels of his last 'electric' hard rock album Perpetual Flame this album is a mostly acoustic album that takes Yngwies fans on a diverting journey where the Swedish fretburner gets to revisit many of the mellower songs from his prolific back catalogue. Note that I said mostly acoustic, Yngwie dusts off the electric guitar on a number of tracks in order to flesh out the sound and add different dimensions to the tunes.

As the album unfolds it becomes apparent that something in this mostly acoustic format has brought something out in Yngwie that's rarely seen - restraint. This rarely seen dimension to the Swedes playing means that this album is a true stand out in the mans career and I have a sneaking suspicion that I'll be listening to this album more than any other he's put out since..... oh around Eclipse at least. It's certainly more indicative of a different approach than even his 'classical' album as on that one his playing wasn't really all that different to his usual schtick.

Notes to bear in mind here are that Yngwie has mostly adapted ballads to this format, all are done without vocals and a couple of them were already instrumentals in their first incarnation. This is not like an unplugged album where the vocals are left in. Malmsteen takes care of (deep breath) acoustic steel and classical guitar, electric guitar, keyboards, synthesizer guitar and cello as well as being the producer. Michael Troy Abdallah helped out with additional keyboards in places and Keith Rose took care of the mix. Interestingly his wife April Malmsteen is credited as executive producer and more importantly is credited as 'concept and direction'. The mental image of such a famously egotistical bloke like Malmsteen being prodded along by his wife is quite amusing. And when the results are this enjoyable, perhaps he should listen to his girl more often!

It's not a work of brilliance or genius, though there is brilliance on the album, but this work deserves to be heard not only by the guitarists fans but by a wider audience as well. Nice work.............By.Paul Lawrence..............

Yngwie Malmsteen is most notably well known for his insane guitar style. Infusing mind melting sweeps, arpeggios and shreds which inevitably leave people gob smacked at his remarkable skill.

Sadly though with this amazing trait, Malmsteen has become known to be a little repetitive in recent years. His once awe inspiring guitar style, hailed by many in the mid to late 80’s, has become nothing more then a fizzled out memory. Many complain of repetition and albums lacking finesse. Most notably his most famous flop, “Unleash the Fury” released in 2005.

Having said that, he has redeemed himself with minor exceptions like “Attack!” in 2002, and most recently “Perpetual Flame” in 2008, which also saw the introduction of Tim “Ripper” Owens of Iced Earth fame into the Rising Force limelight.

Tim Owens’ similar vocal style to that of Rob Halford added a heavier aspect to the album, which many saw as a blessing. Others however were not impressed by this move, and still labeled Malmsteen has a self absorbed, donut obsessed, guitar wielding wanker who still believed he was living in the 1980’s.

Personally, I enjoyed Perpetual Flame. It didn’t try to sound over the top (unless you count the instrumental ‘Caprici di Diablo’ and of course the albums cover art) or “new” in a way, it just kept to the basics of what all Malmsteen fans loved. I was content with the album and knew that within the next 3 – 4 years Malmsteen would be at it again. Releasing yet another album with conflicting views and reviews by many.

Strangely though, I had no idea Malmsteen released another album after ‘Perpetual Flame’. I came across ‘Angels of Love’ by a sheer accident. It took me awhile to realize it was a Malmsteen album. as there was no typical or distinct labeling to give the impression off it was a Malmsteen release.

To be honest I was expecting another album cover with Yngwie plastered all over. Showing off yet another variety of his pouted looks and wielding is famous Fender Stratocaster. Thankfully, we are treated to a beautiful young woman sitting outside as the albums front cover.

The album itself is more of a revision of previously released material. If you are expecting something along the lines of another ‘Perpetual Flame’, look elsewhere. This album is purely an acoustic instrumental one. The albums sheer sound is coated with a distinct steel guitar effect, with some minor additions of flutes, electric guitars, keyboards and the odd synthesizer.

Tracks include a selection from albums such as Eclipse, Trilogy, Odyssey and a variety of earlier works. Sadly though, there is no sign of insane guitar solos. This album is dedicated more to the love song enthusiast, rather then someone who wants a quick fix of cheese laden guitar wankery.

There is however a previously unreleased track entitled, ‘Ocean Sonata’. It opens with a nice mesmerizing strum and orchestral backing, which flows into a beautiful acoustic number. A great addition to the album, but many maybe unsatisfied with the albums only new feature.

Personally, I found the album to be quite relaxing. It’s great to get a perspective of Malmsteen’s earlier work with new modern twist. However, many “hardcore” fans of Malmsteen may feel as though they have been kicked in the balls with this somewhat shameful release. Then again, Malmsteen isn’t the first person to commit such an act.

I did however get a little bored of the steel guitar effect throughout the album. There is some variety with classic guitars, but with an album clocking in at almost 52 minutes you get a bit hesitant to listen on after the first few songs. Personally, I wished for a bit of speed to mix up the album. Sadly my wish was not fulfilled.

In conclusion the album still holds the fundamental elements of a Yngwie Malmsteen release. Many maybe unsatisfied with the albums theme of “love”, and maybe a bit hesitant to go any further as there is no sign of ‘Blitzkerg’ or ‘Arpeggios from Hell’ on the album to satisfy the more technical/speed freaks of Yngwie Malmsteen fans ........By Anwar Rizk ..................

Yngwie's core fans will be pleased anyway, even if lightning arpeggios are rarely seen (don't bet…) in this compilation CD. The Swedish virtuoso's rivals will have another arrow in their quiver, not to forget, even if now it's not the time for accusing the man of infinite shredding. Who's left then? Well, fans willing to taste alternate versions of the originals plus fans of mild music is a case study,. After listening to Angels Of Love for a dozen of times in a row (gazing at the attractive lady in the cover frequently, to recapture the muse tendered) it's no wonder I'd take a glimpse again shortly.
What's the scenario here: the 'neoclassical' shredder compiled this album with (nearly) acoustic versions of some of his ballads all these years. Using acoustic guitars - with a slice of electricity scattered for some climax to be uncapped - and keys arrangements, Yngwie lets his inner self loose in service of the resulting equilibrium and tranquillity. Some of the songlist does not fly away from the original versions, mainly due to the inflexible composing pattern while enough songs do gain a fair new-fangled point in terms of letting loose 'parallel' emotions once buried under the nonstop virtuosity of this mentor.
I think (did not count, it's a general impression) the takes recorded here do not - in a whole - depict 100% of the duration of the originals; let's just say that each tune here carries the main theme (or a set of themes) correlating to the preliminary composition. In addition, I cannot recall any existent song named Ocean Sonata in Malmsteen's so far catalogue, not being a die-hard follower though…Anyway, some last notion obtained is that - due to his performance or the new arrangements or whatever - the final upshot approaches more the Uli Jon Roth blend rather than the Ritchie Blackmore pen (if only these two choices ever existed in Yngwie's mind, haha).
Sum it up? Yeap, this is the road the Swedish maestro walks on the last quarter of a century. Nothing new in terms of style, still listening to this album while driving in the countryside, seeing beautiful landscapes, reading on a winter's night or just sitting by the fire is some kind of a nice companion soundtrack. Angels Of Love is perfect as a present too, let's propose.
On second thought: if Yngwie Malmsteen also wanted to deliver a certain message to his critics, he possibly did it… Grigoris Chronis ....................

Line-up / Musicians
- Yngwie J. Malmsteen / guitars, keyboards, cello
- Michael Troy / keyboards

Forever One 4:50
Like An Angel 6:05
Crying 6:02
Brothers 6:01
Memories 4:10
Save Our Love 6:18
Ocean Sonata 6:14
Miracle Of Life 4:32
Sorrow 2:52
Prelude To April 4:42 

johnkatsmc5, welcome music..





Cassete Deck

Cassete Deck