You all know I love Yngwie. But…

[Eazy-ESP]

The level of TONE is what separates elite players, along with Authority, and NOBODY had anything in either area over Yngwie at his peak.

Becker was way up there, though, and at such a young age....

Yngwie's tone made him sound like a man compared to the boys.

 

[Eazy-ESP]

I think Becker took it to another level playing imo

He showed glimpses. Altitudes is one of the most amazing guitar things I've ever heard. But we never got to see what JB really could have been. Would love to have heard where he went. One of the greatest tragedies. But we should be grateful we at least got some recordings.

 

[BlueParfait]

tbh apples to oranges.
Very different styles.

Quite frankly, though, pre-crash Yngwie was also cleaner than Jason, and almost as fast.

IMO the guy who did fast, technical neoclassically-influenced shred the "best" insofar as technique went was Paul Gilbert, but between Jason, Yngwie and him, his music was the least listenable until he joined Mr Big

 

[Devin]

I like Eleven Blue Egyptians more than anything Yngwie has ever done

 

[Uzi Nein Millimetah]

tbh apples to oranges.
Very different styles.

Quite frankly, though, pre-crash Yngwie was also cleaner than Jason, and almost as fast.

IMO the guy who did fast, technical neoclassically-influenced shred the "best" insofar as technique went was Paul Gilbert, but between Jason, Yngwie and him, his music was the least listenable until he joined Mr Big

Yngwie always had better toan than Paul, though, and more great songs. Paul is very interesting and creative, but has gotten sidelined into outright pop music at times. Paul's best shred moments are some of the best, his precision and discipline are amazing.

I wish Yngwie would have switched bands/producers about 1/2 as many times as he actually has, so he could have developed more with the better lineups. Soto and Boals were awesome, and so were Goran and Mike V and Leven for that matter. Hmmmm, actually I'm glad I heard all of those singers with Yngwie, but I wish he would have stuck with professional producers (and singers).

He has a lot in common with The Dave (Mustaine) when it comes to getting along with his "employees" aka band, but at least Dave sticks to real producers/engineers.

 

[jabps]

The level of TONE is what separates elite players, along with Authority, and NOBODY had anything in either area over Yngwie at his peak.

Becker was way up there, though, and at such a young age....

Sorry man as and old codger here that cut my teeth during that era I just cannot put that much weight on tone. Randy Rhoads was an elite player but in hindsight in this day and age not the best tone.

I can assure you, at the time it was released nobody was analyzing Gary Moore, Brian May, Rhoads, EVH's etc... tone at that point, we where listening to their playing. Same with Yngwie when he hit, we were listening to his playing not his tone. Absolutely Tone would become a huge component as the whole 80's shred movement grew but early on, it was not the focus. As long as we had a Marshall MV and an OD, we felt we were in the ball park.

Besides Shrapnel was crapping all this stuff out with as little money as possible so the production was never going to rival something where a guy had a 250k budget.

 

[Kapo_Polenton]

Becker's tone was garbage and he never got to be the "first" or put out the amount of material Yngwie did with songs you could actually listen to. I think Becker's best work is a lil ain't enough. Just enough solo sprinkled in but fantastic rythm playing. That was when he was already diagnosed and sick. Comparing is a waste of time anyway.. very different artists with different strengths. Becker had a tendency to really overplay in spots far worse than Yngwie because of what he played ( sweeps ) and that for me, would take away from the music. I love both guys though obviously.

 

[Kapo_Polenton]

Sorry man I just cannot put that much weight on tone. Randy Rhoads was an elite player but in hindsight in this day and age not the best tone. I can assure you, at the time it was released nobody was analyzing tone at that point, we where listening to his playing. Same with Yngwie when he hit, we were listening to his playing not his tone. Absolutely Tone would become a huge component as the whole 80's shred movement grew but early on, it was not the focus.

Besides Shrapnel was crapping all this stuff out with as little money as possible so the production was never going to rival something where a guy had a 250k budget.

True. I feel bad for some of those shrapnel artists, so many had to work with shit tone and production. The drums are always so big and boomy too. That said, at least they got the music out there. Some productions were better than others as well so Varney did start to put some $ back into the shop.

 

[jabps]

I think Becker took it to another level playing imo

I'll stay away from the comparisons but I always preferred Becker. Put the shred aside, I always liked his phrasing. I put alot more emphasis on phrasing from this era than tone.

 

[Kapo_Polenton]

Yngwie always had better toan than Paul, though, and more great songs. Paul is very interesting and creative, but has gotten sidelined into outright pop music at times. Paul's best shred moments are some of the best, his precision and discipline are amazing.

I wish Yngwie would have switched bands/producers about 1/2 as many times as he actually has, so he could have developed more with the better lineups. Soto and Boals were awesome, and so were Goran and Mike V and Leven for that matter. Hmmmm, actually I'm glad I heard all of those singers with Yngwie, but I wish he would have stuck with professional producers (and singers).

He has a lot in common with The Dave (Mustaine) when it comes to getting along with his "employees" aka band, but at least Dave sticks to real producers/engineers.

Paul def peaked at Mr. Big. He put it all together perfectly there. Poppy hooks but in a rock context and some amazing either melodic solos or downright nasty tight shred. It is the best of everything without being too much of anything. But since that yeah, his tone has gotten worse and he's a bit scattered.

 

[jabps]

True. I feel bad for some of those shrapnel artists, so many had to work with shit tone and production. The drums are always so big and boomy too. That said, at least they got the music out there. Some productions were better than others as well so Varney did start to put some $ back into the shop.

Yep and that was Varney's prime goal, get these guys heard and put a little coin in his and their pocket. Crazy back then because we all got a lesson in drumming from Atma Anur lol. I hope that dude made a good living.

 

[Kapo_Polenton]

jason at his peak was pretty shocking. like yngwie bordering on shawn lane.
this was a free marty/jason clinic i recorded on my handheld lecture recorder in 88 at a club in fullerton called goodies which was a two block walk from my apt.
they had just received ADA MP-1s the day before and were playing hurricane gtrs. marty started off the solo back and forth duel and imo jason fully sunk marty’s battleship



watching jb that day, i definitely got that same otherworldly vibe i experienced seeing early yngwie, holdsworth, lane, gambale, and guthrie go off live in person for the first time.


my wife sent me this clip—guy’s pretty nuts too!

lol I love that line about sinking his battleship BUT I don't hear that at all. I hear two distinct shredders and masters of their own style. I do love that playful blues swing shit Jason did with the arpeggios thrown in but then also am blown away by that eastern "exotic" phrasing Marty always he does. He's the only guy that can do that to the extent he does. Nobody else comes close to making me think of camels and and harems than Marty when he plays. Nick Johnson has shades of it but offsets it with more jazzy runs.