┌───────────────────────────────────────────────────────────────────┐ │■ ■│ │ .-/ .-. │ │ _.-~ / ___ | ~-._ │ │ \:/ -~| / __/| .\:/ │ │ / || (:/:| \ │ │ / /\/| |:\___\| |\ \ │ │ / /:::|.::/:::/:.|:\ \ │ │ / /:::/ \\/:::/::/:::\ \ │ │ / .::\ \-~~~~-/\/:.. \ │ │ /..:::::\ /:::::..\ │ │ /::::::::- -::::::::\ │ │ \:::::-~ ~-:::::/ │ │ \:-~ ~-:/ │ │ METAL CLASSICS ARCHIVE │ │ │ │ │ │ │ │ P R E S E N T S │ │ │ │ │ │ + Yngwie Malmsteen - Blue Lightning + │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Information ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Rls Date..2020-03-20 Encoder......LAME 3.100 ║ │ │║ Genre.....Metal Graber.......EAC ║ │ │║ Year......2019 Khz/Bitrate..44.1 / VBR kbps ║ │ │║ ║ │ │║ Ripper....Anthem Songs........14 ║ │ │║ Source....CD Covers.......Yes ║ │ │║ Url..http://www.yngwiemalmsteen.com ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Notes ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Artist : Yngwie Malmsteen ║ │ │║ Album : Blue Lightning ║ │ │║ Label : Mascot ║ │ │║ Cat.No : M 7578 5 ║ │ │╠════════════════════════════════════════════════════════════════╣ │ │║ ║ │ │║ Description : ║ │ │║ ║ │ │║ For the better part of the past decade Yngwie Malmsteen has ║ │ │║ basically come to embody the true definition of a solo ║ │ │║ artist, taking complete control of every aspect of the ║ │ │║ studio work that has been trickling out in a notably ║ │ │║ incremental fashion and recruiting touring musicians that ║ │ │║ could best be described as unknowns. The consequential ║ │ │║ shift in songwriting priorities, which has largely resulted ║ │ │║ in a return to a more instrumental-focused and shred ║ │ │║ dominated formula that bears some similarity to the 1984 ║ │ │║ Rising Force debut, but lacked much of the iconic elements ║ │ │║ and idiomatic hooks that made the original an undisputed ║ │ │║ classic, has naturally stirred controversy among both fans ║ │ │║ and detractors alike. It's understandable given that much ║ │ │║ of his core audience was codified during the days of ║ │ │║ Marching Out and Trilogy when he had a full fledged band ║ │ │║ and wrote songs catering to more of a mainline 80s metal ║ │ │║ crowd that were okay with a indulgent lead guitar display. ║ │ │║ Suffice it to say, nothing that has come down the pike ║ │ │║ since the end of his brief studio collaboration with Tim ║ │ │║ "Ripper" Owens has resembled what originally put the Rising ║ │ │║ Force name on the map, and Malmsteen's 2019 offering Blue ║ │ │║ Lightning ventures about as far from said sound as could ║ │ │║ possibly be imagined. ║ │ │║ ║ │ │║ The best way to describe this album as what Inspiration ║ │ │║ Part 2 would have sounded like had Yngwie opted to handle ║ │ │║ all the vocals on his own and focused almost exclusively on ║ │ │║ the blues/rock roots of his style. It consists primarily of ║ │ │║ cover songs from the 60s and 70s, reinterpreted through ║ │ │║ Yngwie's shred-happy lens, but surprisingly enough ║ │ │║ recreated in a manner that is more indicative of the era ║ │ │║ from which these songs originated. Certain liberties are ║ │ │║ taken with the introductions of Jimi Hendrix's "Foxy Lady" ║ │ │║ and "Purple Haze" that showcase an abrupt Neo-classical ║ │ │║ shred element, but much of the noodling that follows during ║ │ │║ the subsequent lead breaks consign themselves to the blues ║ │ │║ box. Generally Yngwie's more mystical tendencies as a ║ │ │║ player are contained within the more mystical leaning songs ║ │ │║ being reinterpreted, with "Paint It Black" and "Demon's ║ │ │║ Eye" coming closer to Yngwie's past shred triumphs, whereas ║ │ │║ "While My Guitar Gently Weeps" and "Forever Man" simply ║ │ │║ come off as retro-rock romps with a correspondingly rusty, ║ │ │║ old school bluesy swagger that's been speed up something ║ │ │║ fierce. Perhaps the lone outlier of the bunch is the cover ║ │ │║ of ZZ Top's "Blue Jeans Blues", which finds itself sounding ║ │ │║ like a shred-obsessed 80s reinterpretation of a 70s blues ║ │ │║ rock coaster, modifying the cooler tone of the original ║ │ │║ into something quite hot and bothered. ║ │ │║ ║ │ │║ Despite being a pretty drastic change in musical relative ║ │ │║ to even the past couple go-it-alone albums that Yngwie has ║ │ │║ ushered unto his audience, this format ends up working far ║ │ │║ better with his voice and overall vocal style. While ║ │ │║ Yngwie's guitar playing is very much a staple of power ║ │ │║ metal at its best, his husky baritone swagger is definitely ║ │ │║ more at home in the looser, mellower world of 70s hard ║ │ │║ rock. Even the original compositions that contain sung ║ │ │║ parts in "Blue Lightning" and "Sun's Up, Top's Down" reveal ║ │ │║ a mad Swede who's heart is in both the Mississippi Delta ║ │ │║ and the British Isles. Between these more easy going tunes ║ │ │║ of life and love and his rather soulful rendition of the ║ │ │║ Space Camp classic tune "Forever Man", he basically finds ║ │ │║ his vocal home as a hybrid of Eric Clapton and Jeff Healey, ║ │ │║ to the point where it becomes impossible not to picture him ║ │ │║ converting those high stage kicks into a martial arts ║ │ │║ routine that cleans up a rough bar in the American Midwest. ║ │ │║ Of course, Yngwie doesn't make a complete break with his ║ │ │║ Neo-classical shredding past, and ushers in a fleeting yet ║ │ │║ reasonably effective instrumental jam in "Peace, Please" ║ │ │║ that's about on par with most of the ones that were ║ │ │║ featured on his albums since Facing The Animal. ║ │ │║ ║ │ │║ It would be a massive stretch to call this Yngwie's ║ │ │║ crowning achievement as a musician and songwriter, and this ║ │ │║ steadfast fan would definitely put all of his 80s and 90s ║ │ │║ classics a sizable cut above it, but it is a nice little ║ │ │║ change of pace and a mark of a versatility that Malmsteen's ║ │ │║ detractors insist is not present. It's perhaps about as ║ │ │║ metal as your typical Joe Satriani or Paul Gilbert album, ║ │ │║ but it is definitely well performed and Yngwie definitely ║ │ │║ selected a group of songs that were tailor made for his ║ │ │║ voice type, which is more than can be said for his previous ║ │ │║ attempts to be a power metal vocalist on the last two ║ │ │║ studio outings. It channels the very era that metal was ║ │ │║ born from, and it does a decent job of melding Sweden's ║ │ │║ king of shred's over the top playing style with a genre of ║ │ │║ music that doesn't tend to exemplify overt virtuosity. ║ │ │║ Calling it a return to one's roots might be a bit of a ║ │ │║ misnomer given that none of his recording projects have ║ │ │║ ever sounded like this, but if one is counting the very ║ │ │║ beginnings of Malmsteen as a guitarist, it's a description ║ │ │║ that is fitting. A decent listen for anyone who enjoys ║ │ │║ rock, though Malmsteen's core fan base will probably not ║ │ │║ take to it, and all the shrieking voices insisting that ║ │ │║ he's all shred and no soul will continue to grasp for ║ │ │║ abstract explanations of precisely what they mean by soul. ║ │ │║ ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Tracklist ║ │ │╚═════════════════════╩══════════════════════════════════════════ │ │ │ │ 1. Blue Lightning 4:51 │ │ 2. Foxey lady 4:50 │ │ 3. Demons Eye 3:46 │ │ 4. 1911 sTRUT 2:39 │ │ 5. Blue Jean Blues 6:59 │ │ 6. Purple Haze 3:54 │ │ 7. While My Guitar Gently Weeps 5:47 │ │ 8. Suns Up Tops Down 4:02 │ │ 9. Peace Please 3:43 │ │ 10. Paint It Black 4:06 │ │ 11. Smoke On The Water 3:18 │ │ 12. Forever man 2:49 │ │ 13. Little Miss Lover (Bonus Track) 3:12 │ │ 14. Jumping Jack Flash (Bonus Track) 3:48 │ │ │ │ │ │ Total Length : 00:57:44 │ │ │ │ │ │ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ │ │ │ │ │ │ │ │ ╔═════════════════════╗ │ │ ║ Greetings To: ║ │ │ ╚═════════════════════╝ │ │ │ │ Too all people who contributes to make this │ │ archive of good music in a exceptional conditions │ │ │ │ │ │ │ │■ ■│ └───────────────────────────────────────────────────────────────────┘