Super speed shredder Chris Impellitteri has had many tags associated with him: Yngwie rip-off, soul-less, lives only for speed soloing etc, but there is much more to this artist than that. Impellitteri is a super fluent soloist with possibly the best right hand picking technique in metal today. He also knows how to pen a catchy, melodic hook and the combination of power and melody of many of his albums would please all fans from Dio to Megadeth.
Chris first came to prominence in the mid 1980's thanks to his self titled 4 track ep. This led to a major label deal which saw the release of 1988's Stand In Line featuring Graham Bonnet (Rainbow/Alcatrazz) on vocals and Pat Torpey (Mr Big) on drums. This album combined Chris's super speed soloing with tight punchy metal riffs and commerical hooks. The album contians what have become Impellitteri classics with tracks such as Stand In Line, Secret Lover, Tonight I Fly, and an instrumental working of Somewhere Over The Rainbow. The album created quite a buzz on the metal scene at the time and musically, it still stands up well today though it's hampered by a wet production and a weak mix.

The band Impellitteri's next release was Grin & Bear It. This album saw a complete overhaul in personel and featured a change in sound. The heavily neo-classical tracks were replaced by a more riff-based, song-oriented direction that was more in line with Van Halen and early Extreme. These heavy and catchy riffs were the backdrop for vocalists Rob Rock's powerful metal scream. The duo proved themselves to be a very strong songwriting partnership and one that would blossom over subsequent releases.

Answer To The Master and Victim of the System followed in quick succession, and both are enjoyable metal romps powered along by Impellitteri's metal finesse, Rock's classy vocals and drummer Ken Mary's (Fifth Angel/James Byrd's Atantis Rising) explosive drumming. But it was Screaming Symphony which really saw the band hits its stride. This album is home to one of Chris's finest instrumentals in 17th Century Chicken Picking. Screaming Symphony led to a fanatical following in Japan and further underground praise around the world.

Eye Of The Hurricane is perhaps the bands highlight with Rob Rock in the band. Containing 11 tracks of pure metal delight, this album is a fast, break-neck ride that only lets up briefly for the acoustic track, On and On. But its the metallic majesty of tracks like Eye of the Hurricane, Shed Your Blood, Master Of Disguise and the neo-classical instrumental work out Race Into the Light that catch the attention.

With the release, Crunch, the band got even heavier and they lost a little of thier finesse, but its still a pleasing metal album with rip-roaring tracks like Beware of the Devil and Speed Demon -- a song that borrows a lot from Dio's Stand Up and Shout, but the energy displayed is impressive nonetheless.

2002 saw the band reform with Graham Bonnet for the re-energised System X. This is one delightfully metaliic affair and is a thousand miles away from the sound displayed on Stand In Line. Bonnet's lyrics do border on the banal at times -- She's a nightime lover, ooo she'll never meet your mother (Nightime Lover) -- but generally it's an extremely enjoyable slice of metal. It also features Bonnets best vocal performance since Alcatrazz's No Parole For Rock & Roll. The album is available worldwide.

Chris's guitar sound is based on the classic Stratocaster and vintage Marshall setup. However, the rhythm tones often suggest a more hi-gain amplifier for the biting metal tone and tighter bass. Chris's website reveals the use of Soldano SLO-100's, Boogie Rectifiers and a Peavey 5150 as well. Chris's lead tone is however very pure with a lot of definition and clarity and this would be the likely area where the vintage Marshall's are used.

Chris's REH instructional video Speed Soloing saw Chris using a Fender Yngwie Malmsteen Signature Strat -- with Yngwie's signature sanded off! Chris's use of scalloped necks seemed to end around 1992, and he started used Schecters for a brief time. These days he is back to Fenders and uses custom shop instruments. He normally prefers rosewood boards, large headstocks and single coils (see top picture).

Chris lead work is firmly rooted in the neo-classical mold e.g. lots of 2, 3, 4, 5 and 6 string arpeggios, sweep picking passages, diminished, harmonic minor and phrygian runs. Chris's speed was best shown on the Stand In Line album. Since then his solos have matured nicely and he has learnt the art of when to use his terryfying speed to provide more impact. Chris's technique is super clean, with flawless timing between left and right hands. His vibrato has improved over the years and whislt not yet in the class leaders stakes, it gets better with each release.

Chris' rhythm work is often based around fast speedy power chord voicings on top of rampaging open notes, yet the choruses often see nice chord inversions to make the melodic choruses more memorable.

If you are looking for a band and player that combine heavy riffs, melodic vocals and impressive soloing Impellitteri could be just the ticket.