Why Jake E. Lee Argues Yngwie Malmsteen Is Not a “Really Good” Guitar Player

💥 The 1980s were a golden age for guitar heroes, yet not every virtuoso appreciated the style of their contemporaries. Former Ozzy Osbourne guitarist Jake E. Lee—renowned for his work on Bark at the Moon and The Ultimate Sin—has long held a complicated, and often scathing, view of neoclassical shred legend Yngwie Malmsteen. While acknowledging Malmsteen’s technical prowess, Lee’s criticism centers on a severe lack of diversity and musicianship, suggesting the Swedish icon is deeply flawed as an overall artist.

The Problem with Narrow Focus

Lee’s core argument is that Malmsteen’s skill set, while exceptional, is confined to an incredibly narrow band of guitar playing. As Lee stated, Malmsteen is “really good at one little thing that he does—doing the sweeps and arpeggios and playing fast—and that’s all he could do.”

This laser-like focus, Lee argues, prevents Malmsteen from being a truly well-rounded guitarist. In Lee’s estimation, being a “good guitar player” requires versatility and balance, qualities he believes Malmsteen fundamentally lacks. By zeroing in only on high-speed technique, Malmsteen neglects other essential elements of guitar mastery.

A Failure in Musicianship

The critique extends beyond just playing solos; Lee rips into Malmsteen’s abilities as a songwriter and rhythm player, which he deems crucial components of a great musician.

“He’s a shitty rhythm player,” Lee asserted. “He can’t write a song worth a damn.”

This indictment is devastating because it suggests that Malmsteen has prioritized one specific technical spectacle over the foundational skills needed to contribute meaningfully to a band or create lasting music. For Lee, a guitar player must be competent in writing, rhythm, and tone, not just arpeggios. Malmsteen’s failure in these areas prevents him from achieving true mastery.

The Arrogance Factor

While Lee feels “a little bit bad” about his harsh assessment, his resentment is fueled by his personal interactions with Malmsteen, whom he has publicly labeled a “dick” and an “arrogant a–hole.”

Lee feels that Malmsteen’s arrogance is unjustified, given his limitations: “You can’t be that arrogant if you’re only really good at one, minute aspect of the art of playing guitar.”

Ultimately, Jake E. Lee’s judgment on Yngwie Malmsteen is twofold: technically, he is brilliant but one-dimensional; musically, he is a poor rhythm player and songwriter. For Lee, a genuinely great guitar player must embody the full range of the instrument, and Malmsteen’s lack of versatility makes his arrogance intolerable.