jettojet

Hey Vin, did you not see that I ranked it as the best song on the album? Anyway, I completely agree with your judgment!

So I managed to make you doubt, that’s already something!

well... convinced you

simply composing instrumental pieces like a true classical composer in a modern key on an electric guitar, with a technique like Paganini and you tell me little! As for Sanremo, I’ll skip that, because I have no comments to make, it speaks for itself.

by the way, hi momo!!

Malmsteen has always praised Holdsword, that’s true, but everything else is the usual tired discussion about whether he was important or not. I reiterate that no one before him had ever understood the electric instrument as a violin, and no one was composing instrumental pieces with Paganini's technique on electric guitar, for sure. And this is true; he was influenced by some bands or guitarists (Deep Purple, Rainbow, Blackmore, Uli Roth especially), but his way of composing and playing was absolutely unique and, I stress, a model for an endless array of guitarists. My goodness, even today gentlemen like Romeo and Joe Stump are striving to be like him, not understanding that Malmsteen is not just a technical phenomenon. Rising Force or the Concerto Suite for Orchestra are true compositions with the structure of classical music; he is all substance and no fluff, that's the point. That said, it may not be to everyone's taste and that should be respected, but saying he introduced no novelty, if not in style, means being somewhat subjective and letting one's musical tastes cloud their judgment.

You are among those who deny the evidence, namely the historical importance of Malmsteen, which is indeed clear; the guitarists you mentioned are certainly skilled, but they are marginal in a historical sense. Malmsteen changed the way the electric guitar is played; no one before him played in that manner, and to not recognize this, I repeat, is a sign of narrow-mindedness. It’s true that Holdsword or, I add, McLaughlin were fast before him, but no one had ever approached the electric guitar from a classical perspective like the Swede did. Frankly, hearing the same clichés repeated over and over tends to feel a bit tedious, especially because, I reiterate, Malmsteen may be liked or not, but he is indeed a part of the history of the electric guitar, and not just because he changed the culture, but because he made a substantial turn in the instrument itself.

I certainly don't want to change your tastes, but I'm sorry to tell you that Malmsteen is already part of the history of electric guitar; he has significantly revolutionized the way of playing and composing and has been an example for many musicians. All of this, along with the music he leaves behind, makes him a great of the six strings in itself, regardless of the preferences you or others may have. There are many incredibly talented guitarists around, and there have been many others in the past, but only a few have made substantial changes that have influenced future generations, and certainly Yngwie belongs to this select group, by right now, even if today he certainly has less content to express compared to 20 years ago.

errata corrige: instead and original

Well done Pasquale, you said something very wise. The other anonymous ones instead created a nice collage of names, but the idea is original, there's no denying that! Vin, the girl must have been very pretty, I imagine!! The review is well done anyway, and the idea of doing it this way makes it even unique in its kind. I don’t understand why it has to disappear so quickly; it is as piercing as it is a bearer of a message that, in the end, potentially (and often not only!) concerns a bit of everyone!