Yngwie Malmsteen
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The name “Yngwie” will always draw varied reactions. Some find his brand of neo-classical guitar shred revolutionary, others find it a bit much. His attitude and approach is just as notorious – it’s Yngwie’s way or the highway, yet that steadfast approach has enabled him to endure for over 25 years. He has survived a car crash in 1988, the dwindling popularity of guitar-driven heavy music in the 90’s, and most of all, his reputation. Yet here comes Yngwie again, with a scorching new album (Perpetual Flame), singer (Tim “Ripper Owens; ex Judas Priest/Iced Earth) and his own record label, the aptly-named Rising Force Records.
Being this was the first time yours truly has spoken with Malmsteen, this interview was approached with a sense of apprehension and anticipation. After all, Yngwie has been known to grill many a journalist, but on this cold Friday afternoon, Yngwie was jovial, forthright, honest and accommodating. His thick Swedish accent couldn’t mask his enthusiasm for all he has going for himself and since we like good times and happy people here at Blistering, this chat was an absolute success, prompting this scribe to indulge in a post-chat Saturday afternoon of watching every Yngwie clip on YouTube imaginable. Except for “Heaven Tonight.” That song doesn’t rock, Yngwie.
Blistering.com: You were inducted into the Rock Walk in Hollywood this past October. How did it feel?
Yngwie Malmsteen:It was surreal. And the thing is, that’s exactly where I was when I first came to the States. I used to walk around those streets when I was a teenager. It was very bizarre, but a very great honor. My goal, basically… in Sweden, it wasn’t accepted to be a musician, you had to get a job like a welder or laying bricks. Music, that wasn’t considered a real job because they have this Socialist attitude. When I came to the States, I was pleasantly surprised that being a musician is highly regarded and that was something pleased about. I wanted to get by just making music and having enough to eat. That was my goal. It turned out a little different [laughs].
Blistering.com: What are your thoughts on the re-emergence of guitar soloing and/or shredding? In the 90’s, you were one of the few to still fly that flag. Heck, your songs are even in video games now.
Yngwie: For me, I don’t follow trends no matter what. I just do what I do and that’s it. When I did the G3 [with Joe Satriani and Steve Vai], that’s when I saw the extreme interest in the guitar thing. It was just us playing guitar – it wasn’t even a rock n’ roll band. It was nothing but guitar solos for three hours. That was nice and surprising, then I realized it was coming back. When the grunge thing came and went, nothing took its place. After that, there was no real sound; everything came more in an open field. In the beginning, I was skeptical for all of us, but now I think it’s a cool think because kids, that’s all they do is play those games.
Blistering.com: Is this any interest in doing another classical album ala your Concerto Suite For Electric Guitar?
Yngwie: For right now, I’m in a metal mode. More than ever, I feel very energetic and passionate about making extreme music. I haven’t had the time do more symphonic or movie-type soundtrack stuff, but I’d definitely like to do it. Right now, I’m in a good place. My mind is focused, healthy and I like to run around with the Marshall stacks, the smoke machines. The classical thing never goes anywhere for me anyway. Even for heavy songs like “Death Dealer,” it’s very classical chord progressions anyway…very Bach.
Blistering.com: Tell me about Rising Force Records. Was this done as a reaction to the current state of recording industry?
Yngwie: It went through a lot of different changes. The whole thing with labels being God like in the 70’s and 80’s is out the window. Most labels are a dying breed because of the distribution of CD’s is different and music being downloaded. The reason I decided I do it because labels have always been to me, shitty people. It really got out of hand even when the most so-called respectable labels were fiddling everything. They didn’t do the right promotion, they don’t do anything right…it’s really sad state of affairs.
It took an extreme amount of work to take over the whole thing. My wife, who is also my manager, she started the whole thing. It’s great because I have total control. There’s never any worry as to how many albums went out, so it’s all good, but it’s more work. On this last album, I did more work than ever – I even engineered and produced it. Of course I wrote the lyrics and arranged everything…there aren’t enough hours in the day. You are the seventh interview I’ve done today. I’m not complaining. In the past, it was a lot different because I’d sit around and wait for the label to tell you what to do. Nowadays, it’s a completely packed day. I have family – a wife and son, so it never stops. It’s a complete whirlwind. Kinda cool. I like it.
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