Artist: Yngwie J. Malmsteen's Rising Force
Label: Spitfire
Release Date: 11/7/00
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Title: War to End All Wars Artist: Yngwie J. Malmsteen's Rising Force Label: Spitfire Release Date: 11/7/00 |
Judgment Committee Reviews | Rating |
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Abyss's Review:
O.K. the less said about this one the better. While I think Mr. Malmsteen is one of the most technically proficient guitarists to ever pick up the instrument, I find the majority of his music tedious. While there is a great deal to be said for finger dexterity, it alone does not make good music. It’s easy to listen agape and in awe when one looks at this from a musician’s point of view, but I can’t help but feel emotionally void while listening to Yngwie’s dance across the frets of his axe.
"Unless you’re a huge fan or can appreciate music that doesn’t sound good, but is really hard to play, there is no real reason to pick this one up." Yngwie’s best work, his material with Alcatrazz, while impressive from a technical aspect, had much more substance. It was actually enjoyable to listen to. His solo stuff comes across more as a guitar clinic than a piece of art. The lack of songwriting on this album is staggering, almost all of it sounding like notes put together to separate the guitar solos. The songs also seem to be completely ignorant of today’s musical scene. While that can be an asset for a band, if not done well, it just highlights the weaknesses. The song that stands out the most is “Bad Reputation”; I can’t tell if it’s the best or worst song on the album. It sounds so much like a bad 80s glam band that it borders on parody; however, it does have one of the catchiest melodies on the album.
Bottom line is that unless you’re a huge fan or can appreciate music that doesn’t sound good, but is really hard to play, there is no real reason to pick this one up. Gave it one skull just because he is an amazing guitarist. I can only imagine what he could do if he surrounded his skill with prolific songwriting.
Death's Review:
In the eighties, Yngwie’s name was synonymous with lightning-fast, neoclassical guitar shredding. I was sucked in by classics like Rising Force and Marching Out, and even stuck with him as Yngwie succumbed a bit to the glam trends with Trilogy (although “Trilogy Suite” rules, and he did tour for that record opening for Iron Maiden, who were supporting Somewhere in Time). Anyway, by the time Odyssey came out, I was over the whole guitar hero thing, and, having heard that that record was even more commercial, I stayed away. Somewhere along the line I noticed that he had even dropped the “Yngwie J. Malmsteen’s Rising Force” band moniker. Still, I thought to myself, if he ever goes back to the magic of the first few records, I’m right back on board.
"You closet shredders out there can come back into the light and worship at the Malmsteen altar." Well, word did creep my way that his last album, Alchemy, kicked ass, although I’ve yet to hear it. But by the time an advance of War to End All Wars landed in my lapped, credited once again to the “Rising Force,” I decided to pop it in and give it a spin. Wow, I thought to myself. This kicks ass! In this age of the anti-guitar solo nu-metal bands, the arguably pompous speed and classical stylings that are the Yngwie trademark sounded fresh again. They were seriously kicking my ass. And the band shreds as well, exhibiting killer musicianship throughout the disc. I mean, Dream Theater and Fates Warning fans will undoubtedly respect the tight, technical riffing found at the begging of “Crucify.” And with killer guitar instrumentals like “Multa Appeggiosa,” you closet shredders out there can come back into the light and worship at the Malmsteen altar. Without having heard Alchemy, it is hard to know whether to call War to End All Wars a return to form, but suffice to say, if, like me, you were into Yngwie in the beginning but have long-since strayed from the flock, you might want to get back on board for this one. It is truly a wild ride.
Two criticisms of the record, before I conclude. First, the singer. He’s good, and accomplished, but overall I just don’t like him. Marc Boals comes from the same mold of many of the singers Yngwie has used in the past. I did really dig Jeff Scott Soto, but for the most part, I’m not that into that style. Of couse, Boals and Yngwie have split, but that doesn’t change the fact that he is the singer on this record. My second criticism pertains to the lyrics. Often, they suck. Badly. Well, that’s a little harsh, but at this point in my life I really don’t need another song about somebody’s “Bad Reputation.” Old hard rock clichés die hard, I know. But believe me, you won’t be listening to this record for its insightful poetry, at least on some of the more “rockish” tracks.
"It is truly a wild ride." So that’s it. If you are down with the Malmsteen shred style, or just appreciate complicated, technical, classical-influenced metal, you’ll dig this album. If you aren’t, you won’t. I know I like it, but this one is surely not for everyone.
Hel's Review:
Much as I hate to say it, this album strikes me as simply another "Guitar God" showpiece; with the focus being solely on how incredibly amazing this guy is at playing his guitar. How fast, what a dizzying number of notes... Anything else is additional ornamentation. The vocals are just another instrument, like an orchestral instrument utilized for accent at just the right moment, a musical necessity, present because it aids in the delineation between the beginning and ending of solos, and moreover, to ultimately separate the technically brilliant morass into "songs", and further still into an "album".
"The production is clearly geared to making Yngwie's always-leading guitar stand out in front, frequently at the cost of overall clarity." The vocals. The gentleman doing the singing just doesn't convince me his heart is in it. But I hardly blame him, the sheer inanity the lyrics occasionally achieved made me cringe. Each song, as a whole, was more overblown than the last, with amazing detail to each and every part Yngwie played. And that was a lot. The bass parts are undeniably played with amazing precision by Yngwie, but even that is often lost in the bottom-heavy mix. The production is clearly geared to making Yngwie's always-leading guitar stand out in front, frequently at the cost of overall clarity.
I admit, I fabricated this whole "Guitar God" theory because the phenomenon troubles me. Too often, the potential grand value of the album is overlooked in the effort to make people understand, really understand how brilliant a guitar player this guy is. Invariably I get bored and wander away, because that, to me, is too much like a movie with no plotline. With no real story to keep my attention, I wonder why I'm listening. Yngwie, we get it, you are a totally amazing musician on all levels, we love how well you can play, that alone made your album 3 skulls in my book. But there's not much else keeping me in there.
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