neo-classical

REVIEW: Tony MacAlpine – Edge of Insanity (1985 Shrapnel)

TONY MacALPINE – Edge of Insanity (1985 Shrapel)

Tony MacAlpine seemed to be in every guitar magazine when I was a kid, but I never got to hear his music. He looked cool, and he was highly praised as a shredder, but his music (on Shrapnel records) was impossible to find unless you ordered it from a specialty shop.  Like most of Shrapnel’s output, it was produced by Mike Varney.

His 1985 solo album Edge of Insanity features an impressive band:  Journey’s Steve Smith on drums, and of course it’s common knowledge that Billy Sheehan played bass.  The album is instrumental.

Opener “Wheel of Fortune” has a neoclassical vibe, with the rapid fire bassline enabling MacAlpine to focus on the melody rather than shred his way throughout.  There is certainly a commonality in terms of musical direction with Yngwie, but Tony’s approach is more easily digested.  Tony’s music has an actual bottom end thanks to Billy, and of course Steve Smith’s technique speaks for itself.  He’s more than capable of heavy metal hammering as he does on “Wheel”, but listen carefully and you will hear his signature cymbal work, so unique to me.

“The Stranger” discards some of the neoclassical robes, and rocks a more straight-ahead blitz.  Tony has a wicked keyboard solo mid-song, showing the breadth of his abilities.  The pulse of the song is all Sheehan, and Smith’s fills sound a lot like a certain band that started with a “J”.

A live solo called “Quarter to Midnight” is unaccompanied.  It reminds me of a Randy Rhoads solo.  There’s some nice whammy work near the end, which was so popular in the era.

A ballady song called “Angrionia” (mis-printed on the back cover, but correctly in the booklet) follows; quite a nice little tune with the occasional bursts of neoclassical guitar speed.  Billy has a couple nice rips as well.  MacAlpine multitracks his guitars for effect.

“Empire in the Sky” has a very cool keyboard intro, that leads into a gallopy metal number.  This has a mid-tempo vibe like Maiden circa Seventh Son when keyboards were happening.  You could imagine this coming from that era, though of course Tony was three years ahead.  His doubletracked leads set it apart from that, and there are some chunky riff chords happening beneath, though this is not a riff album.  There’s also some outro guitar twangin’ that is absolutely freakin’ rib-shattering.

An Yngwie vibe pervades “The Witch and the Priest”.  You hate to make comparisons, and it seems lazy, but when you hear a vibe there might be something to it.  Of course, Billy Sheehan and Steve Smith help make it sound less Yngwie.  Tony’s tone is warmer than the Swedish shredder’s as well.

“The Taker” is the only song with Tony playing bass and it’s less prominent for that reason.  This tune is a full-speed blaze, with Tony deftly weaving melody through all his playing, and then suddenly taking a left turn with harpsichord-like keys and then some organ for good measure!  “The Taker” keeps you on your toes.

Tony treats us to actual classical music next:  his spin on Chopin.  “Prelude 16, Opus 28” is performed on piano, and you’d never guess it wasn’t from a professional classical pianist.  This prelude leads into Tony’s “Edge of Insanity”, a deep cut title track and one that allows the chug-chug-chug of the metal to come through.  There’s still a soaring melody and flying bassline to absorb.  Smith’s drum parts are smashing – literally.  A great tune and a little easier to digest than the speedier stuff.

“The Raven” has classical keys opening a speedy metal rollercoaster ride.  Once again, Smith is classing up the place several notches with his signature fills.  Tony rarely lets up, constantly treating the listener to impressive shred.  He switches tones (and probably guitars) at some points, giving the lead work different voices.

The closing track, “No Place in Time” has some slinky Billy bass, and really allows him to have some of the spotlight.  His playing here is all about the groove he’s laying down, and how he complements Tony’s lead.  MacAlpine uses doubletracked guitars and plays a slow melody.  It’s not the most memorable track, and not the most effective closer.

Edge of Insanity is more accessible than a lot of instrumental guitar albums of the era.  If some of those other artists seem daunting but you’d still like a taste of neoclassic rock, then go for some Tony MacAlpine.

3.5/5 stars

 

REVIEW: Accept – Symphonic Terror – Live at Wacken 2017 (2018)

ACCEPT – Symphonic Terror – Live at Wacken 2017 (2018 Nuclear Blast)

They weren’t the first, but they did it with their own twist.  It was inevitable that even a band with the heavy metal roots of Accept would eventually go symphonic.  Guitarist/leader Wolf Hoffman released his first classical album in the 90s, and in 2016 made the Headbanger’s Symphony record, adapting classical pieces to metal with Czech National Symphony Orchestra.  Accept’s Symphonic Terror combines their own metal masterpieces with the classical/metal hybrid Headbanger’s Symphony at Wacken 2017, to create a unique musical experience.

Like Kiss with their symphonic detour, Accept chose to break the set into sections.  The first consists of five Accept songs, mostly new, performed straight by the band with no extras.

“Die by the Sword” was the logical opener, also being the starting track on Accept’s newest album The Rise of Chaos.  The biting riff storms the Wacken stage.  It is vocalist Mark Tornillo who proves his worth over and over again through the entire show.  With voice set to full-grit he delivers all the power and melody that Accept’s material demands.  Not an easy gig.  Second, it’s the riffy “Restless and Wild” from Accept’s 1982 album of the same name (an album that they return to more than once on this night).  It’s singing the old Udo material that people will judge Tornillo by, and he does the job.  By necessity, it’s done with his own twist.  Another sharp Rise of Chaos standout, “Koolaid” is rolled out to great effect.  They dig back to the first album with Mark for “Pandemic”, riding the Peter Baltes bass groove to heavy effect.  Finally it’s the speed metal of “Final Journey” from the Blind Rage album.  Not the finest song of the set, but a banger indeed.

The Headbanger’s Symphony featuring the Czech National Symphony Orchestra has a different set of musicians in the front.  Wolf Hoffman and drummer Christopher Williams remain, while Mark Tornillo, Peter Baltes and Uwe Lulis are replaced by keyboardist Melo Mafali, guitarist Phillip Shouse and bassist Daniel Silvestri.  With the full might of the orchestra behind them, they take on  the tempests of “Night on Bald Mountain” (Mussorgsky). It’s not a pure adaptation, but more a thrash metal version with an orchestra.  “Scherzo” (Beethoven’s Ninth Symphony) is fully enjoyable and a better melding of the two styles.  Moving on to Prokofiev, “Romeo and Juliet” is slow and plodding.  Even with a burning hot Hoffman solo, it’s the least interesting.  I don’t think Beethoven envisioned the heavy riffing of “Pathétique” but you never know.  Did Beethoven invent speed metal?  Judging by this, he might have.  Vivaldi is next, the metal shredder’s favourite.  “Double Cello Concerto In G Minor” is less familiar but continues to combine the heavy and delicate music with an emphasis on the heavy.  Mozart closes the Headbanger’s Symphony set with “Symphony No. 40 In G Minor”, a familiar favourite made heavy enough to sound eerily similar to Queensryche’s “The Needle Lies”.

The orchestra stays on stage for the remainder of the show, peppered with new and old Accept classics.  Accept’s music works well with the orchestra behind, arguably better than Metallica’s does.

Back to 1982 and “Princess of the Dawn”, an awesomely enhanced Udo-era metal classic.  However it is “Stalingrad” that is the show stealer, a song clearly suited to the orchestral treatment.  It sounds as if the string section is charging into battle with the band.  Blind Rage‘s “Dark Side of My Heart” comes to life in this new form, a superior track to the original.  The punchy horns, the silky strings — everything comes together to raise the track to a higher level.

Back to 1981, the classical musicians may have had a difficult time keeping up with the speed metal of “Breaker”!  They get a “break” on the more deliberate pace of “Shadow Soldiers”, an excellent tune adapted well to the orchestra.  Another album highlight.  “Dying Breed” is a heavy track from Blind Rage, a little same-same sounding to other tracks like “Stalingrad”.

“Fast as a Shark” is the last of the speed metal tunes that the symphony has to try and keep up with.  They sure sound wonderful together on the neoclassical guitar solo section.  “Metal Heart” (with classical interlude) and “Teutonic Terror” both work well enhanced, but “Balls to the Wall” is surprising.  It’s always been a bit silly, but it sounds great with an orchestra.  Too bad Mark couldn’t nail that “sign of victory” part, but the absurdity of “Balls to the Wall” with a symphony is not lost.

Symphonic Terror was the second live album with Mark Tornillo on vocals.  Only about half overlaps with the previous one, and when you consider the differences offered by the symphony, not much overlap at all.

4/5 stars

REVIEW: Yngwie Malmsteen – Trial By Fire: Live in Leningrad (1989)

YNGWIE MALMSTEEN – Trial By Fire:  Live in Leningrad (1989 Polydor)

Walk up to the well-schooled rock fan in your group of friends and ask, “What do you think of Yngwie J. Malmsteen?”

Even the ones who don’t like the Swedish Speed Demon’s albums will admit, “except for that one with Joe Lynn Turner; that was pretty good.”

The short-lived Turner lineup did release a live album in 1989.  Trial By Fire: Live in Leningrad was accompanied by home video of the same name with more tracks.  By 1990, Malmsteen already had a new album and singer named Göran Edman, but only Joe Lynn Turner had the marquee value to bring Yngwie a Billboard top 40 charting record (#40 with Odyssey).

Although Turner can act as a gateway to hear Yngwie for the first time, his stuff can still be pretty off-putting.  Just look at the pompous “thank you’s” on the inside sleeve.  Sprinkled in with the regular names are da Vinci, Bach, Beethoven, Paganini, HP Lovecraft and Monty Python’s Flying Circus.  Come on, Yngwie!

Joe is a versatile singer, which is one reason he’s always been sought after.  He effortlessly imbibes the old Yngwie tracks with his own attitude:  “Liar”, “Queen in Love”, and “You Don’t Remember” are better with Joe singing.  Unfortunately this is marred by a too-loud audience and Yngwie’s always excessive shredding.  More often than not, he overplays.

When it works, it works.  “Heaven Tonight”, “Queen in Love” and “Deja Vu”, the most melodic songs, click.  The instrumentals are good too, like demonstrations of immaculate neo-classical rock.  “Far Beyond the Sun” is tightly composed and arranged, though live Yngwie lets the strings fly even more.  Listen for some Deep Purple right in the middle of “You Don’t Remember, I’ll Never Forget”, and some Rainbow on “Crystal Ball” too.

Yngwie produced Live in Leningrad himself, and it’s a rather shrill affair with obvious backing tapes on some of the choruses like “Heaven Tonight”.  The problem with many Yngwie albums is that you can only listen to so much before ear fatigue sets in.  Live in Leningrad is one such album.  By the end your brain is exhausted and you have to listen to something from a different end of the spectrum.  Even Joe Lynn Turner can’t blunt the aural razorblade effect.

3/5 stars

REVIEW: Yngwie J. Malmsteen – Trilogy (1986)

YNGWIE_0001YNGWIE J. MALMSTEEN – Trilogy (1986 Polygram)

Trilogy: not only my first Yngwie Malmsteen album (cassette), but also the first Yngwie Malmsteen review here at mikeladano.com.

Trilogy was, appropriately, Yngwie’s third album.  It was also his first with new singer Mark Boals after the departure of the uber-talented Jeff Scott Soto.  I received this album (cassette) for Christmas of ’86 and it was all but instant dislike.  I knew a couple Yngwie songs, but none of the new ones, and I didn’t care for the new singer.  I saw this listed in an A&A Records and Tapes flier so I asked for it for Christmas.  All I really knew was that Yngwie was heavy metal and that he was a blazing fast player.  That did not prepare me for the distinctly European flavour and neo-classical leanings of Trilogy.

As it was, Polygram used to put out the shittiest quality cassettes.  My copy of Trilogy was unlistenable in a matter of months, so until I got it again a decade later on CD, I didn’t have a chance to let it grow on me.  In 1996 a used CD came into the store, and I was mocked for buying it by staff member the Boy Who Killed Pink Floyd.  Here’s a weird thing about our old store receipts.  They would imprint, permanently, whatever was on them onto the jewel case of a CD.  My jewel case for Trilogy still has a faint accidental imprint of the receipt, so I know that I bought it October 11 1996, at precisely 4:29 pm!  Apparently I paid by debit card.

Trilogy has grown on me over the years and now it’s a favourite Yngwie album.  I still get what I didn’t like about it as a kid.  The drums don’t sound very good (the album is self produced) and Mark Boals can be a bit over the top at times.  There’s no denying the guy has range and power, but it was all flat-out back then.  And of course Yngwie’s songs aren’t always the catchiest.  You need to give them time, and I have.

The one song that I did like as a kid was the mid-tempo opener “You Don’t Remember, I’ll Never Forget”.  I’ve always thought the melody and hooks were strong, and I still think it’s the strongest track on the album.  “Liar” is also excellent, from the fast part of the spectrum.  It sounds at times like Yngwie really wanted to be Ritchie Blackmore, but that’s OK.  There are very few that can come even close to Ritchie Blackmore.  “Queen in Love” is another mid-tempo track, similar to “You Don’t Remember” and almost as strong.  As a kid, I found this one too slow.  As an adult, I’m playing air bass along to it.  (Yngwie played all bass on the album.)

YNGWIE_0002One of things that I was most excited about hearing on an Yngwie album were instrumentals.  “Crying” is the first, which features both classical and electric guitars.  I’m noticing Yngwie has a nice vibrato when playing classical.  This fine instrumental track is only hampered by the production values.  Too much bass and poor drum and cymbal sounds distract the attention.  The album side is redeemed by “Fury” which is another blazingly fast Yngwie electric medieval dance, and good enough for me.

“Fire” commences with some incendiary guitar, but the song itself is a plain old hard rocker with Jens Johansson providing keyboard hooks for the verses.  Then from some sorcerer’s bag of tricks is “Magic Mirror”, but it is indeed just smoke and mirrors.  Killer chorus aside, the song doesn’t catch, except when Yngwie is unleashing his own electric magic.  “Dark Ages” sets the scene; some dark cloudly and cold landscape about a thousand years ago.  This is a slow Dio-esque prowl, with Boals screaming his balls off.  It’s a bit much with the screaming, but the song does not suck.

I was expecting more instrumentals than this, but Yngwie saved a seven minute epic instrumental for last.  “Trilogy Suite Op:5” is as bombastic as you’d guess it is.  Running the gamut in tempos and tones, Yngwie composed a track here that is highly enjoyable.  Jens and Yngwie get to duel with each other, but it’s definitely a guitar showcase.  Electric and classical, Malmsteen pulls out all the stops on his opus.  I mean, hey: it’s Yngwie J. fucking Malmsteen!

I am glad to say that I enjoy Trilogy a lot more today than I did in 1986.  Bonus points are added for the cover art.  Dio, after all, only had a single-headed dragon!

3.5/5 stars
YNGWIE_0003