01. Spellbound
02. High Compression Figure
03. Let’s Sleeping Dog Lie
04. Repent
05. Majestic 12 Suite 1,2 & 3
06. Electric Duet
07. Nasca Lines
08. Poisoned Mind
09. God Of War
10. Iron Blues
11. Turbo Amadeus
12. From A Thousand Cuts
13. Requiem For The Lost

Yngwie J. Malmsteen - Guitars, Bass, Keyboards, Vocals, Synthesizer, Sitar, Cello, Percussion

When I finally received my Japanese double edition SHM-CD/DVD, I was in the same time excited but also very much anxious, in fact the rumors spread across the web, concerning this album were so harsh, that my only wish was that I could close for good the filth stinky mouth of those Yngwie-haters who scatter around their venom behind their laptops.

Yes , indeed like my nickname suggests I’m a big and proud fan of the Swedish virtuoso since the very first day, when I heard an ALCATRAZZ song courtesy of a friend of mine, back in the school days almost 30 years ago. …And unluckily my wish is not fulfill, "Spellbound" it's actually an average CD, the tracks are mostly instrumentals, and I can't complain about that because after knowing that Mr. Malmsteen himself will even handle all the lead vocals , since then was pretty worried of the result. So, finally only three vocal songs; the Bluesy "Let Sleeping Dogs Lie" is pretty good, the other songs are ok, yet “Repent” starts pretty well with a very obese riff, the vocals are a kind of buried in the mix and luckily the worst has been avoided.

The instrumental tracks are a little bit "as usual" but obviously well played, the shredding licks are infinite & innumerable and jaw-dropping but also very much dead predictable. The good although super-cliché Neo-Classical "Turbo Amadeus" is already knew as a part of the live solos of the maestro since many years. The last track "Requiem For The Lost Souls" is very interesting and encouraging, maybe the right future path to follow for my favorite Viking. The programmed Drums are annoying and could have been crafted much better, it’s sounds pretty simple and far from the technologic prowess of most albums released with synthetic drums on the market today.

"Spellbound" is superior than “Perpetual Fire" & “Relentless", the production itself is way better. Malmsteen’s guitar tone is also much better and upgraded, but those CDs were particularly disappointing ones and were quite weak in the sound department, so it's difficult to find something positive in my early statement, and honestly I’m still balanced between anger and relief, a mixed bag of emotions, so much talent wasted. Anyway Yngwieis Yngwieand the guy holds his own style fiercely, and will stand forever as a genius even if the best of his career is behind him, he's still a living legend, still an innovator but so far from his golden creative years. --- Yngwie J. Malmsteen, metal-temple.com

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1 	Black Star Overture (Ochestra Only) 	
2 	Trilogy Suite Op. 5, The First Movement 	
3 	Brothers 	
4 	Icarus Dream Fanfare 	
5 	Cavallino Rampante 	
6 	Fugue 	
7 	Prelude To April 	
8 	Toccata 	
9 	Andante 	
10 	Sarabande 	
11 	Allegro 	
12 	Agagio 	
13 	Vivace 	
14 	Presto Vivace 	
15 	Finale 	
16 	Blitzkrieg (Encore) 	
17 	Far Beyond The Sun (Encore)

Yngwie Johann Malmsteen – electric guitar
Ritsuyukai Choir
New Japan Philharmonic
Taizo Takemoto – conductor

Few rock artists seem as custom-made for the "orchestral treatment" as classical metal buff Yngwie Malmsteen, and that's just what occurred with his 2002 release, Concerto Suite Live with Japan Philharmonic. Although not his first guitar-meets-orchestra release (1998's Concerto Suite for Electric Guitar and Orchestra in E Flat Minor Op. 1 preceded it), the latter album turns out to be a much more fully realized affair, as there has been speculation that Malmsteen had to overdub some solos on the first release -- instead of playing it all live as he does here. As evidenced by such tracks as "Trilogy Suite Op. 5, the First Movement," Malmsteen's playing is as over the top as ever, as his rapid-fire soloing does heroic battle with an orchestral accompaniment. Despite hard rock bands like Metallica and Kiss having also utilized the same setup on similarly styled releases, Malmsteen's music is better suited for an orchestra, as proven by Concerto Suite Live with Japan Philharmonic. Whether it's for better or for worse, that's another story. ---Greg Prato, AllMusic Review

No cóż. Wpadła mi w ręce płyta, a raczej dzieło muzyczne, zarejestrowane na płycie: "Concerto Suite For Electric Guitar And Orchestra - in E-flat minor Op. 1 'The Millenium'" autorstwa Yngwiego Johanna Malmsteena. Trudno rozpatrywać ten CD w kategoriach płyty. Trudno mówić tu o jakimkolwiek stylu, czy gatunku muzycznym. Jedno jest pewne - to najprawdziwsza muzyka klasyczna. Gra orkiestra, jest chór, jest dyrygent. Tylko solista to jakiś dziwny - facet z gitarą elektryczną.

Tym dziełem Yngwie Malmsteen potwierdził swoją klasę - jako kompozytor, przez duże K (całość jest jego autorstwa) i jako gitarzysta, chociaż pewnie znajdą sie tacy, co powiedzą, że gra szybko, a to nic specjalnego... Ale czy ktoś zarzucał Vivaldiemu, że "Cztery pory roku" to nic nadzwyczajnego, tylko pomykanie smyczkiem i palcami po skrzypcach?

W przypadku omawianego wydawnictwa sprawa jest jasna. Jest to muzyka klasyczna i jako taką trzeba ją rozpatrywać. Muzyka utrzymana w tonacji utworów XVIII wiecznych. Słychać wyraźnie fascynację Yngwiego kompozytorami baroku. Nie będę się rozpisywał, że słychać wpływy tego albo tamtego pana. Są w tej materii lepsi ode mnie, chociażby Boguś Kaczyński, czy Jurek Waldorf (osobiście bardzo byłbym ciekaw opinii tych Panów).

Oczywistym jest to, że Yngwie Malmsteen przełamał tą kompozycją wszelkie wyobrażenia zwykłego człowieka o muzyce. Mam tu na myśli muzykę klasyczną vs. hard rockową - metalową. Nigdy nie ukrywał swoich fascynacji muzyką klasyczną, co było słychać w jego utworach. Jakby na to nie patrzeć raczej ostrych. Ale wykręcić COŚ TAKIEGO!? Mnie zwaliło z nóg i nie tylko (patrz wyżej).

Momentami przebijają się melodie zaczerpnięte z wcześniejszych płyt. W "Icarus Dream Fanfare" wykorzystany jest motyw z "Icarus' Dream Suite Op. 4" z pierwszej płyty. W części finałowej - "Finale" - pobrzmiewa wstęp do kawałka "Fire And Ice". Takie barokowe zagrywki są na każdej płycie Malmsteena, są kwintesencją stylu Maestra, a tu znalazły się, jeśli można tak rzec, na swoim - bardzo dobrym - miejscu.

Nie ma co opisywać możliwości i umiejętności technicznych naszego bohatera - są już przysłowiowe. W muzyce klasycznej jest to chyba sprawa podstawowa. Moge dodać... Ale co tu dodawać...

Płyta cały czas jest w odtwarzaczu... Gra... Znowu te drgawki... Klawiatura spadła na podłogę... ---Dominik, rockmetal.pl

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01. Black Star
02. Liar
03. Making Love
04. Bedroom Eyes
05. Far Beyond the Sun
06. Judas
07. You Don't Remember, I'll Never Forget
08. Save Our Love
09. Guitar Solo
10. Heaven Tonight

Yngwie J. Malmsteen - Guitars, Taurus Bass Pedals, Vocals (backing), Korg Z3 Guitar Synthesizer
Svante Henryson - Bass, Contrabass, Vocals (backing)
Michael von Knorring - Drums
Göran Edman - Vocals
Mats Olausson - Keyboards, Vocals (backing) 

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01. Carry On Wayward Son
02. Pictures Of Home
03. Gates Of Babylon
04. Manic Depression
05. In The Dead Of Night
06. Mistreated
07. The Sails Of Charon
08. Demon's Eye
09. Anthem
10. Child In Time
11. Spanish Castle Magic (Bonus)

Yngwie Malmsteen – vocals (track 4), guitar, bass (except track 1), sitar
Jeff Scott Soto – vocals (tracks 1, 3, 6)
Joe Lynn Turner – vocals (tracks 2, 8, 11)
Mark Boals – vocals (tracks 5, 7, 9, 10)
David Rosenthal – keyboard (tracks 1, 3, 10)
Mats Olausson – keyboard (tracks 2, 6)
Jens Johansson – keyboard (tracks 5, 8)
Anders Johansson – drums
Marcel Jacob – bass (track 1)

Malmsteen is re-joined by a bevy of former bandmates for an all-covers album paying tribute to some of the guitarist's more recent heroes. There are four Deep Purple covers (pioneering neo-classicist Ritchie Blackmore was a major influence), as well as material from Rainbow, Rush, Scorpions, and even Kansas. Malmsteen also offers his first studio version of Jimi Hendrix's "Manic Depression," long a live favorite. ---Steve Huey, Rovi

'Inspiration' is definitely one of my favourite Yngwie Malmsteen albums featuring wonderful cover versions of classic rock and some incredible vocals and special guests. It begins with Kansas' classic 'Carry on Wayward Son' with a heavy treatment of the killer riffs and terrific vocals by Jeff Scott Soto, an old fave singer of Malmsteen's from the early years. 'Pictures of Home' is a metal verision of Deep Purple's seminal rocker, with vocals by Joe Lynn Turner who also sings lead on 'Demon's Eye', both excellent covers with inventive reimaginings of the lead breaks. Malmsteen is a shredding genius.

The amazing 'Gates of Babylon' cover of Rainbow's mystical epic, is an outstanding track here, with the majestic style captured and fret melting lead work. Hendrix is a major influence on Malmsteen who according to his website was born the day Jimi died. 'Manic Depression' is one of my favourite Hendrix tracks and it is a joy to hear Malmsteen launch into that riff and scorching fiery lead break. Mark Boals is the vocalist on this and sounds terrific.

'In the Dead of Night' is a slower song covering the UK classic, but memorable for its catchy chorus and keyboards of Johansson. Whitesnake's power blues of 'Mistreated' follows and is absolutely brilliant, the riff, the lead break, and the vocals of Soto are outstanding making this a highlight. It is nice to hear Malmsteen's Rush influences here too with a cover of their 'Anthem' sounding bright and heavy. Scorpions 'Sails of Charon' is another standout track.

The piece de resistance of this album though is the astonishing cover of 'Child in Time' featuring Malmsteen smoking on the lead break. In fact this lead break is utterly ingenious, with super fast arpeggios, hammer ons, speed sweeps, piercing string bends, adagio and even the odd speeded up scale up and down the frets. I have heard this track the most of all on the album, and it is the best cover of the song without a shadow of a doubt. This is one to get hold of to check out Malmsteen at his most ferocious, he simply takes off into the stratosphere on the Fender strat. When the lead break finishes shredding fiercely there is a stunned silence for a few seconds, before the quiet organ returns, and I always draw out a breath of amazement here every time. It is simply breath taking guitar. The song has some wonderful keyboards too from Johansson and Turner's vocals are top notch.

'Inspiration' is a sensational cover album and showcases Malmsteen at his absolute best. It is great too as an introduction to the many bands being covered, many of which I had not heard a lot from when I first got hold of this album. I think Malmsteen has paid generous respect to songs and artists that have inspired him over the years, and he poured out all his energy and adoration towards these artists onto this album to create something very special. 4 stars for the incredible lead guitar and arrangements, and an extra 1/2 star for excellent covers of prog songs. --- AtomicCrimsonRush, progarchives.com

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01.Forever One [04:50] 
02.Like an Angel [06:05] 
03.Crying [06:03] 
04.Brothers [06:01] 
05.Memories [04:10] 
06.Save Our Love [06:18] 
07.Ocean Sonata [06:14] 
08.Miracle of Life [04:32] 
09.Sorrow [02:52] 
10.Prelude to April [04:42]

Arranged By, Composed By, Orchestrated By – Yngwie Malmsteen
Directed By – April Malmsteen
Guitar [Classical], Acoustic Guitar, Steel Guitar, Electric Guitar, Keyboards, Synthesizer, Cello – Yngwie Malmsteen
Keyboards [Additional] – Michael Troy Abdallah 

Angels of Love is both a compilation and a new album of sorts by Swedish guitarist Yngwie Malmsteen. On it, he has gone over his entire catalog, picked out the various power ballads -- i.e., love songs -- and re-recorded them with steel- and nylon-stringed acoustic guitars, string arrangements, synthesizer and synth guitar, various keyboards, and yes, some trademark electric guitar. Why this matters is that the original news releases were quoted as saying there were no electric guitars on the album, which would have been an utter shock. Now, of course, the only question is how Malmsteen punters will react to a rehash of older material, rearranged, re-recorded, and re-presented outside of its context of origin. The bottom line? These selections are all good and add up to an adequate mood soundtrack, although they do not provide listeners with what they've come to expect from the self-proclaimed "Bach of Rock." Not that this is necessarily a bad thing; changeups can be righteous -- especially when they frustrate advance expectations. Two tracks in particular, "Ocean Sonata" and "Memories," manage to reach the heights of the potential Malmsteen himself created with his own pyrotechnics and abilities. ---Thom Jurek, allmusic.com

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	1.	Razor Eater
	2.	Rise Up
	3.	Valley of Kings
	4.	Ship of Fools
	5.	Attack!!
	6.	Baroque & Roll - (TRUE instrumental)
	7.	Stronghold
	8.	Man Dog
	9.	In the Name of God
	10.	Freedom Isn't Free
	11.	Majestic Blue - (TRUE instrumental)
	12.	Valhalla
	13.	Iron Clad
	14.	Air - (TRUE instrumental)

Yngwie J. Malmsteen's Rising Force: 
Yngwie J. Malmsteen (vocals, acoustic & electric guitars,
 sitar, cello, keyboards, synthesizer, bass, fretless bass);
Dougie White (vocals)
Derek Sherinaian (keyboards)
Patrick Johansson (drums)

Guitar virtuoso and heavy metal legend Yngwie Malmsteen is not subtle; 15 seconds into Attack!!'s opener, he fires off his first round of six-string artillery like a soldier left for dead, littering the earth with spent cartridges of neo-classical brutality. There's no denying his impressive chops -- the instrumental "Baroque & Roll" is a veritable "horned-hand" seminar -- but like all lecturers, Malmsteen goes on too long. He provides so much information to his weary students of rock that the unbridled joy of the subject gets lost. Ex-Rainbow vocalist Doogie White -- who does a fantastic Ronnie James Dio impersonation -- does wonders with Malmsteen's insipid lyrics, utilizing his throaty growl on timeless rockers like "In the Name of God" and the ubiquitous Viking anthem "Valhalla." The blistering title track, "Attack!!," is easily the best song on the record. Ferocious in its intensity, it sounds fresh and exciting, two words used sparingly in Malmsteen's later years. His frequent use of guest vocalists has never been a sore point for fans of the Swedish egotist, and his sole lead vocal on the bluesy "Freedom Isn't Free" is a fine example of why; like a froggish cross between David Lee Roth and Huey Lewis, his gruff voice straddles the fence between curio and car wreck. Despite some obvious filler -- never start a record with something called "Razor Eater" -- and a dull instrumental called "Air," where he shares writing credits with Johann Sebastian Bach, Attack!! is a fine return to form from one of heavy metal's most talented overachievers. ---James Christopher Monger, AllMusic Review

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