STEVE VAI

Well, Vai may have made a pact with the Devil that in turn gave him exceptional skills on the guitar, but he got seriously shortchanged - as it may happen when you deal with an entity of the kind. He forgot to bargain for skills for composing tunes that would befit his virtuostic abilities on his chosen instrument. I find it somewhat bizarre that he named this album "The Story Of Light".

Now, I have long given up on Vai's solo releases after his first few albums. Some good solos encased in poor and sometimes even immature tracks. There are moment when he gets it right - as if by mistake - only to ruin a potentially great piece half-way through. Yes I am referring to "For The Love Of God" from the album "Passion And Warfare" as an example here.

Reading some encouraging comment on this album, I decided to proceed with another - and perhaps final - try before my remaining Vai albums are permanently retired via EBay. At first listen "The Story Of Light" appears only marginally - if at all - better than earlier works. It's the same old approach to some nice licks on the guitar "supported" by rather ordinary compositions that are closer to average Hard Rock/Metal than thoughtful and well designed tunes.

As usual, there is the odd glimpse towards something that could have been developed into a pleasing number. That however is not sufficient to captivate my attention. Boredom sets in with me early in the piece and honestly, I could hardly wait for the closing note on the album. I very much doubt that it would grow on me in future, so it's another album that won't gather much dust at my place.

For the longest time I have tried to "force" myself to like Steve Vai's albums, until one day I just said screw it and pretty much just abandoned the prospect of ever really enjoying vai. So much of what he does is very "out there" and I have never really been able to get into him fully besides a few songs here and there. Well, I am happy to say that the day has come where he has created an album just for me in the Story of Light.

This album feels so inspired and accessible. A perfect combination. Each song is diversified and engaging to the point where I pretty much enjoy the entire album from beginning to end. To anyone who has ever struggled to get into Vai's music, I would recommend starting here.

Sex & Religion is an overly ambitious album by talented musicians with one foot in the 80's and the other sliding all over the place. If my review sounds more like a 2 star than a 3 star review, it's because despite these flaws that I mentioned, the album still intrigues me. The fact that two now legendary musicians like Vai and Townsend played together makes this worth checking out. In fact, I'd go so far as to say that for someone who is more than a casual fan of both of them, this album is essential. In any case, it's interesting to see the immaturity but undeniable attempt at greatness on the album, and at some points, the band Vai pulls it off.

Rating: 6/10

Anyways, I put on The Story of Light and it blew me away. It's a continuation of Vai's previous album Real Illusions: Reflections (and it's the sequel to it as part of a planned trilogy) but musically it perfects what was only sometimes reached on that album. The focus is not on shredding guitars but on moving music. The Story of Light is a beautiful, layered, textural, and eclectic collection of tracks that show Steve at his best compositionally. It's also (perhaps not coincidentally) his most progressive album that I've heard. I highly recommend The Story of Light, and it may just be the most skilled guitarist of all time's best album to date.

Rating: 9/10

The album is really what you can expect from those players: complex arrangements, different styles and techniques, and guitar solos, a lot of them, all impressive and makes you wonder if we (them) already reach the top of chances to play the guitar. I think Petrucci's addition, after other guest players in earlier versions (such as Malmsteen and Johnson) is a more technical, less busy but gives a balance that you don't find in the other G3 albums. The two songs of John Petrucci are evidently different, more oriented to the structure and the composition and less interested in flashy solos. DT fans will love it, but I expect that all the haters can see what his style is all about and how great his proposal is. He really brings something different to the table and I enjoy more the composition and the development of a track better than the solos, I'm really pleased.

The other sets, both Vai and Satriani are flawless and top of their form, but I feel it's really the usual for them. Vai really is a showman and definitely knows his business well. The version of Building the Church is impressive and being aside of McAlpine and Sheehan is just too much for the same stage. Now, when the three of them are in the stage, there's when you can see the differences of the players. The jam is really the heaven for shredders, while I'm not that into crazy and unstoppable solos, I really enjoyed this section of the show. You can hear that perfect distortion and strong sound of Petrucci and his impressive speediness, while Vai does his usual "I-can-do-everything-with-the-guitar-and-always- have-fun", just a bit more interesting than Satriani's usual bluesy stuff.

This is a must have for any guitar player or musician aficionado. Maybe the best G3 production to date. A strong 4 star album. A real worth for your money. You, as a prog lover or rock lover, should give it a try. Great album.

Well, that's good and bad. The good part is that all of the songs can now be listened to without having to watch the concert. The bad part is that most of the best material was used up on the first disk. There are more than a few tracks of Vai, noodling around on his guitar. Keep in mind that Steve Vai noodling can be more interesting than most other guitarists' best work, but compared to his best playing, it pales a bit.

This isn't to say that the album is worthless. Vai albums, by nature of his and his band's talents, at their worst are still fun romps. I particularly like Apples In Paradise a duel between his violinists, Alex DePue and Ann Marie Calhoun. On the other hand, the tracks showcasing Jeremy Colson, usually a spectacular drummer, are just tedious.

Then, a few years ago I saw the video of his "Where The Wild Things Are" concert on TV, and saw that Vai had returned to his inventive roots, and was playing like only he could, that is as the most outstanding guitarist on the planet. Coupled with a mind blowing solo he added to "Zomby Woof" on the first ZPZ album, it gave me a reason to re-investigate Mr. Vai.

And this album does not disappoint. Opening with The Story Of Light, Vai returns to his Zappa beginnings. The song has a feel like the warm up numbers Frank would use to open his concerts (and had spoken Russian lyrics read by Julia Rainy May Vai - must be a relative). The song builds while Vai does his guitar acrobatics. Another Zappa-influenced track is Creamsicle Sunset, which sound like it was influence by Zoot Allures.

Highlights include John The Revelator and Book Of The Seven Seals, a pair of songs that begin as old time blues, and work their way into a prog-metal/blues/gospel frenzy. I can't describe it and better than that. You have to hear it.

Another astounding piece is Gravity Storm where Vai bends his rhythm and lead guitar lines in impossible ways, yet his band manages to stay right with him. And Mullach a' tSi, a duet with harpist Deborah Henson-Conant is delicate and beautiful.

This album is supposedly the second in a trilogy with his previous studio album (which I don't yet own). It doesn't matter, it stands completely on it's own. And it is brilliant from start to finish.

4.5 stars. Very close to perfect.

Vai starts off with the alarming "There's a Fire in the House" and the heat it generates can keep you toasty all winter long. After a siren-filled intro he and his cohorts settle into a hard-hitting rock groove over which Steve sets the torrid tone for what's to come. The rhythm section of Mike Mangini on drums and Philip Bynoe on bass along with keyboard flavorings tossed in by Mike Keneally gave Vai a virtual dream team of musicians to assist him on this project and their cohesiveness makes this one of his best records. On "The Crying Machine" strong drumming propels this song throughout and, despite its congenial melody, it still possesses a pair of sizeable testicles that keeps it from being pedestrian. I also appreciate Steve's respect for dynamics that cause this tune (and most of the album, for that matter) to have a level of sophistication that I instinctively gravitate towards. "Dyin' Day" is a gutsy mix of acoustic and electric guitars layered over a forceful beat. "Whookam" is an odd vocal-masking deal and a very short vignette that leads to "Blowfish," a heavy-as-Gibraltar ditty containing a buzz-saw guitar effect that cuts a wide swath through your psyche. "The Mysterious Murder of Christian Tiera's Lover" is next, a brief solo spasm of spectacular guitarisms that soar over my head like F-16 fighter jets. "Hand on Heart" follows and it's a pretty number with deep tones of aural colors shifting behind the infectious melody line. In a very progressive way, Vai doesn't play it safe at all, allowing the track to build on its own momentum. "Bangkok" sounds like you're caught in a swarm of flies that finally disperses to reveal a stately theme. It then takes you on powerful detours into realms of Asian grandeur before it all segues into the most impressive instrumental on the album, "Fire Garden." Here Steve further explores Indian-styled melodies and instrumentation as the epic constantly grows more challenging and complex on a multitude of levels. The peaks he ascends to are breathtaking but at one juncture he drops into a metallic segment where he shreds with abandon, bordering on spontaneous combustion. Not only is this suite wholly enthralling, it's one of the finest prog rock instrumentals you'll ever encounter.

The second half of the disc was a real surprise for my ears the first time I listened to it because I had no idea that Vai could sing, too. And he ain't too shabby, neither. "Deepness," a relatively simple vocal/guitar exercise, eases you into this new phase and then he hits you up aside the head with his powerful singing on "Little Alligators," a driving rocker with honorable Hendrix overtones and attitude. His guitar work is phenomenal here. Gee whiz, can this guy play his tushy off or what? "All About Eve" displays even more of his vocal skills as he navigates flawlessly through a very progressive chord pattern like there's nothing to it. I really like the places he takes my mind to in this song. "Aching Hunger" is a great change-of-pace cut that sports a kind of funky reggae feel but not at the expense of its rock roots. Once again I'm caught off-guard by Steve's singing acumen and musically I must reiterate that only a tiny minority of humans can play guitar this brilliantly. "Brother" has a slower, bluesy groove that I find refreshing at this point. Vai vocalizes with just the right mixture of raw passion and consistent pitch control. Who knew? "Damn You" is a vicious pile driver of a song with a stringent vocal aka Paul Stanley leading the charge. In fact, this number is what Kiss could've sounded like in their heyday if they'd been vastly more talented and adventurous. (I know that's weird but I'm just being honest.) Vai obviously knows about the intrinsic value of timing so his humorous sidetrack into silliness with "When I Was a Little Boy" is taken in the fun-loving spirit it's given. "Genocide" is a group-sung chant that reminds me of late 70s Queen but his guitar burns hot as a picnic in Hades and it works because of it. Steve chooses to end with the classy instrumental, "Warm Regards." This interesting, highly-melodic tune is a tour-de-force of his other-worldly imagination at play on the fretboard while showcasing his unbelievable technique. The man has no known boundaries and it's humbling to witness.

"Fire Garden" is an excellent album that any progger would be happy to have in his collection. Yet to say that Vai is the greatest guitarist would be presumptuous because there is no such thing. When you get up to this plateau of players that regal connotation ventures into the sticky territory of personal preference and the result of such an argument is usually vehement discord between opinionated individuals if not bloody fisticuffs. I prefer to place musicians like Steve Vai in a lofty category all their own and let them be whoever they want to be. I may not cotton to everything they produce and there may be times when they overindulge in their bedazzlement schemes but, for the most part, records such as "Fire Garden" satisfy a lot of different hungers growling in this old guitar picker's gut and few things are as gratifying as having a full stomach. 4.2 stars.

Most every electric guitarist from the last 30 years knows the name Steve Vai. Along with his teacher Joe Satriani and Swede Yngwie Malmsteen, Vai essentially created the shred guitar movement. However, what differentiates Vai from virtually every other speed demon out there was his other teacher, the one and only Frank Zappa. Immediately after his stint with Frank, Vai spent some months cooped up in the studio basically playing and experimenting, learning the craft of using the studio, and composing quirky tunes to try various techniques. I'm not sure if any of these were ever truly intended for general consumption, at least at first. The results of these sessions was FLEX-ABLE and FLEX- ABLE LEFTOVERS. Vai self-distributed the record on vinyl and it remains one of his most successful works.

The shadow of Zappa is all over this record. The most obvious examples of this are "Salamanders in the Sun" which is a romp in the spring flowers featuring mallets and some subtle Gong-era Allan Holdsworth-ish guitars. "Little Green Men" is also a light- hearted, goofy vocal piece with Frank's big smile clearly evident. All of the pieces are massively orchestrated, often in odd time, and actually rely very little on shred guitar. "The Attitude Song" is the main guitar showcase, but even that is more about the wierd groove in 7 than pure wankery. "Call It Sleep" is my favorite of Steve's slow bluesy numbers (he does about one per album). Though this piece has its share of firebreathing, the beauty is in the wierd articulation of notes, the spaces in between notes, and the effects added for tone variety.

After this album, Vai would do several gigs in more mainstream bands starting with Alcatrazz and then his signature gig with David Lee Roth and famous one album stint with Whitesnake. While there are some great guitar moments on those records, they sucked a little of the wierdness out of Steve. PASSION AND WARFARE is still spacier than most shred records, but I miss Zappa's influence. Vai was clearly trying to make a commericially viable product there. But on FLEXABLE he's just having fun with experimental delight. The result is so varied that 14 year old me didn't know what to do with this record when I first heard it 25 years ago. Most art rockers' disdain for virtuosity will make that aspect of the record not work for them. But if you like both, as I do now, this is a singular achievement in the history of experimental guitar.

The two "pop" songs, "Boy-Girl Song" and "Lovers are Crazy" are mildly interesting but not nearly as as other tracks. "Junkie" is a wierd painful lament with a huge guitar solo. "Viv Woman" is more of a typical Vai track, very much foreshadowing the songwriting style he brought to David Lee Roth. (Aside from the Zappa bridge) There are few quirky transition pieces, and the almost fully avant "There's Something Dead in Here."

This is a 4.5 album that I'm very near to giving a masterpiece rating, but I'm backing down for now. There really are only 3 monster tracks, with 2 still strong songs, and some oddities. Still, I would put this in the essential albums list for guitar nerds, ahead of the more famous PASSION AND WARFARE.

At the time that SEX AND RELIGION was released, I had been a fully enmeshed guitar nerd for several years. I had Steve Vai's previous two solos records memorized as well as much of his sideman work. When I learned that Vai was assembling a new vocal supergroup which was to be progressive and pushing the boundaries, well I was extremely excited. I'd heard of Terry Bozzio and even T.M. Stevens before, but who the heck was Devin Townsend? The picture on the front cover was actually pretty encouraging. This seemed like a young art nerd rather than another big hair poser.

So I listened to the promo singles. Monster disappointment. Townsend's voice was actually really ordinary in tone, though holy crap he was willing to abuse it. The songs were pretty pop-oriented. The guitar playing wasn't anything I hadn't heard before. I borrowed the cassette tape from someone, lent it back, and never thought much more about this project. I was leaning toward blues and jazz at that point in my life, my shred lover phase was ending.

Fast forward to 2008 when I join this website. As I'm going through the charts I come to Experimental Metal and see Devin's name all over the album list. My reaction was "Holy Crap! That Guy???" Yes I had been in a hole for 10 years in terms of metal, guitar, and progressive music. No I had never heard of Strapping Young Lad. So bought Terria, was monstrously confused, and then it clicked. I am now a colossal Devy fanboy as most on this site know.

So here I am back at SEX AND RELIGION. It could have been amazing. But it's a mess. Hearing Devy young and raw is delicious as a historic reference, and in retrospect I don't know how other vocalists would have been able to tackle some of the wierdness on this disc. But all of the players are being forced to conform to the confines of Vai's compositions, and occasionally it works. Mostly it doesn't. If Townsend had been able to write melodies and lyrics this would have been a prog metal legend. The single song he did co-write, "Pig" sounded like massive noise at the time. But now it's delicious. Vai is being pushed out of his comfort zone, and Townsend's palette has been massively expanded. It alternates between an Extreme-like groove metal to Mr. Bungle with a PhD in music theory. To my knowledge, neither has ever produced another track quite like it.

The interlude tracks are also really good. When Vai is composing, rather than showing off, he's really quite good. The overture "An Earth Dweller's Return" and "State of Grace" are beautiful, quirky, and original. "Touching Tongues" is Steve's obligatory slow burn guitar solo piece and it's quite strong. But the core of the album is a slightly grooving angle on glam metal a la Extreme's Pornograffiti. "In My Dream With You" is frankly painful. "Still My Beating Heart" is nice enough but has an inane central melodic chorus and a painfully stupid outro. "Here and Now" is straight from Vai's Whitesnake or DLR bag of tricks. "Sex and Religion" and "Dirty Black Hole" are just trying way too hard by everyone. "Deep Down in the Pain" is probably the most successful of these kind of songs, with Devin being in his lyrical element. There are of course, yummy passages here and there throughout, but there is also a lot of stuff that just doesn't work.

One could argue that Devin Townsend was going to be part of popular music regardless of where he got his break. But I'm not so sure. Vai took a big risk with the kid and this band and for the most part lost. But the world won with Townsend getting big time exposure that has led to him now being one of the most important metal musicians of the last 15 years. Vai has gone on to do some work that it quite amazing, and some quite forgettable.

I would love to hear a mature project where these two musicians just go bonkers and push each other as far as they possibly can. It will never happen. This album is important historically but not particularly fun to listen to without very careful picking and chosing.

Thanks Steve for giving the kid a chance and introducing him to all of us.