STEVE VAI

The collection of mid tempo melodic guitar rock songs. Steve Vai has his own guitar playing style, and as often, there he uses all other musicians just as supportint team for his guitar sound demonstration.

Differently from many other guitar heroes, he doesn't play too fast or too loud. His music is concentrated more on melodic side ( even if all melodies are too similar) and his slow crying guitar soloing. Few different songs ( using some Spanish acoustic guitar or orchestrated sound) don't change the situation radically.

In fact, good album for electric rock guitar (not metal) music lovers. With just a few touches of progressive sound, this work should attract guitar virtuoso albums fans.

Alien Love Secrets is 7 songs long Steve Vai EP CD. Usual heavy metal progressive guitar (almost) instrumental album, concentrated on Vai's guitar playing technique demonstration.

Don't expect there nothing connected with his work with Frank Zappa. Yes, Steve Vai has great technique but doesn't use Zappa legacy or experience for his solo works. Music is quite usual guitar heavy metal, nothing too much different from style standard.

To say more, the album is GOOD heavy metal guitar playing technique demonstration . Compositions are played by master, and there are elements of prog almost everywhere. ( Comparing with his future partner in guitar projects John Petrucci, Vai is great PROGRESSIVE guitarist of heavy metal). But whenever guitar instrumental heavy metal is style very limited by itself in it's possibilities, I believe, that this album is mostly oriented to guitar instrumental music fans. However, good work between style competitors. Strong 3,5. .

For me G 3 is regular Joe Satriani established live guitar commercial show. Their level of musicianship is high enough they be interesting for some listening, but the idea and realisation is too "money-maker" oriented to be attractive. Satriani at almost annual basis is forming his 3 well known rock guitarists live show for world tour . So, usually these activities give for all team great promotion and some money for paying their bills. According to rules of that genre, it's difficult to wait for some innovative things from that kind of projects. This albums contains all should be placed there as well. The beginning of album is two John Petrucci compositions ( from his solo album). Glasgow Kiss is quite simple and old fashioned heavy metal composition with melodic elements oriented to attract most conservative part of public. Damage Control (from the same album) is heavier and more technical thing. There at least you can hear that Petrucci is technical guitar player. He used this tour as presentation for his solo debut Suspended Animation as well. (And his support team was similar to Dream Theatre - Dave LaRue - bass guitar and Mike Portnoy ? drums) Steve Vai has three solo compositions on Disc One. One from his old album, and two more fresh. There is much more interest in his playing. According to the rules of genre, he plays long solo as well, but differently from Petrucci cliché-type playing, he shows his guitar style with really interesting technique and even some space for improvisation. This is guitar - led progressive metal and is quality one. Disc Two contains of three Joe Satriani compositions and all three guitarists jam (which is always main attraction on any G-3 album). Joe Satriani doesn't bring no surprises as well ? classic heavy metal guitar compositions you're waiting from him. Enough acoustic, enough melodic, with some demonstration of playing technique, for sure. Nothing exceptional, but nice competent pieces. All three guitarists jam is most interesting place in any G-3 album. There three classic rock covers were used (ZZ Top's "La Grange," Jimi Hendrix's "Foxey Lady" and Deep Purple's "Smoke on the Water"). Great classic by themselves, it is always interesting to listen them in three guitarists jam version. Not the best G-3 project's album ( but not the worst as well). For sure will attract guitar fanatics.

High energy, deceptively complex, rigorously creative, and rousing from start to finish, "Sex and Religion" is one hell of a rock album.

Vai's songwriting is instantly appealing, catchy, and spirited. Most of the songs have a straight- ahead rock vibe, sometimes approaching pop status, but underlying all of it is a nuanced production and truly dense sounding performances. The listener is constantly hit with infectious melodies, technical flourish, and razor's edge guitar work; these songs will stick with you. Vai's virtuosity is present everywhere with sonically creative and exciting solos, but never so overwhelming that one would guess that this is a "solo" album. "Sex and Religion" is very song-oriented, with each member contributing equally to the overall effect (and what a rhythm section!). Well... except one member...

If "Sex and Religion" will do one thing, it will either remind/initiate the listener into the loving fandom of Devin Townsend... or affirm the listener's relentless hatred of Townsend's powerfully excessive vocals. I LOVE Devin's screams, squeeks, wails, croons, and sustains, and am more than satisfied-- he is more crazy here than on most of his solo albums. How he hasn't suffered an aneurism from these screams is beyond me. He belts out Vai's engaging lyrics with passion and wild abandon, giving "Sex and Religion" a memorable and distinguishalbe stamp of style and pizzazz that only Devin can deliver. He almost passes out at the conclusion fo the title track (seriously). Recommended!

Songwriting: 3 Instrumental Performances: 4 Lyrics/Vocals: 4 Style/Emotion/Replay: 4

The Biggest Shredder Album Ever

In the last few years, guitar shredding has had a resurgence, but the real peak time for this kind of music was in the late 80's and early 90's. There were numerous speedy gunslingers out at the time, and several were picked up by big bands only to find out they had a monster education in rhythm and musicality ahead of them (that means you Marty Friedman). Steve Vai, however, had already paid his dues at the feet of the most exacting master of them all, Frank Zappa. Between Zappa and Joe Satriani, Vai had perhaps the highest pedigree teaching of all time. The result was the most versatile virtuoso the heavy electric guitar may ever see.

PASSION AND WARFARE came out at the peak of the genre's popularity, was heavily promoted by the label, boasted a higher budget than any other shred album, and delivered the goods both musically and in popularity. Combining the quirkiness of Vai's debut (FLEX- ABLE) and his hard rock / metal shredding with David Lee Roth and Whitesnake, PASSION AND WARFARE more than satisfied the guitar freaks but was more musically interesting than any other album of its kind.

While rockers like "Erotic Nightmares" and "The Animal" grab immediate attention, it is the more complex composition on pieces like "The Riddle" that still resonate with me now, almost 20 years later. Here we see Vai's own eccentricity expanding beyond his two mentors (whose marks were all over the debut album). Taking Jimmy Page's guitar orchestra concept and bringing it forward in technique, technology, and musical complexity, we get a massive song far beyond the possibilities of young guitar slingers in their bedrooms. (Unlike "Surfing with the Alien" which many of us learned top to bottom.) The exception to this is the anthemic "For the Love of God," which seems to be clearly a conceived melody, apart from the instrument, that was subsequently expanded into a full piece with relatively straightforward accompaniment.

While the guitar technique on this album is about as high as it can get, and the harmonic structures are far from standard, the rhythm section is sometimes very straightforward, approaching drum machine sounds at times. The music is certainly progressive, though unlike anything else we call prog. Like many albums I review, this is a masterpiece at accomplishing what it sets out to do. That does not mean it's a masterpiece of prog. In that way, this feels like a 3 to 4 star album with reference to this site. I'll let my personal taste govern that small hair-splitting and bump it to a 4.

Just my favourite Steve Vai album!

Ok, I've not have heard all his studio albums yet, but "Sex & Religion" is just great... In this album, the awesome guitarist made a true band, and we can hear it through the songs. They sound really cohesionated, with protagonism of every insturment, not only the Vai's guitar.

And of course, here we have also the Devin Townsend's presence... It's his first official recording, and he has only 21 years, but he sounds really mature. His singing is just savage here! So variated as he would later offer us in his albums, but less restrictied, totally wild, sounding really spectacular. And Steve Vai gave him a lot of protagonism, letting his voice and screams sound in almost every second. For die hard Vai's fans, it can be annoying... But I really enjoy Townsend's voice, so I find it just great!

Nevertheless, people who want to enjoy the Steve Vai's guitar playing, will also have lots of reason of hearing this album... On every song we can enjoy the incredible speed of his fingers (he is the fastest guitarist in the world...), and his adventorous guitar tricks and melodies. You just have to hear the guitar solo in Here & Now... Songs like Touching Tongues and Rescue Me or Bury Me are perfect examples of his instrumental side, while in the rockier track his playing is also very enjoyable to fans of virtuoso guitar.

Best tracks: I really like every track in the album... I think every song has enough details and interest to be enjoyed. The rockier and hard rock oriented tracks (Here & Now, Sex and Religion, Survive...) the poppier ones (In my Dreams With You, Still My Bleeding Heart...) , the instrumentals and the most experimentals and proggier (Down Deep Into The Pain, Pig...) are great!

Conclusion: if you are a fan of virtuous guitar playing, experimental hard rock, or just good rock music... You should give "Sex & Religion" an opportunity. The hard rock and pop orientation (Desmond Child helped with In My Dreams With You) are also special in the Vai's discography... Mainly because Steve Vai was able to form a real band for this one, and it's noticeable in the protagonism of every instrument, and the very valuable presence of the awesome Devin Townsend, who was an essential part of the soul of this album. Strongly recommended!

My rating: ****1/2

What do we got here ? Answer is simple, most people will buy (and appreciate) this album for Steve's guitar virtuosity. At least I suppose, I can be wrong, but I feel that this is his main "export". I must agree that if I would be here to judge his guitar playing skill, he would get 5/5 instantly. I mean look at him, look at this album at all, it's instrumental, drums play their role - they're here just to make atmosphere, voice is almost not used.

But guitar is part for itself. And no, I will not tell more to guitar topic, it should be clear now, or it will be not. I mean, after listening of course. He plays with it, or when on stage does strange, but interesting looking things, he enjoys this fame and music business at all. He seems maybe little bit "cocky" or tiny little bit "arrogant" to me, but it's his choice. He has skills to behave like that, he has fans, so it doesn't matter.

Oh yeah, the music. It's not bad, from rock point of view. It's well composed album, it has many twists in guitar style (because he can handle them), but there's something which is concerning me. Prog point of view. There is situation worse. 3-4 stars. It's good, it's undoubtable, but how is it progressive ? In fact quite a lot, every guitar virtuos pushes limits little bit further, because of mere playing style. It's something new, what not so many people can do, so it's progressive just from definiton. And I have a good feeling about this album, so I'm gonna give it four. Not five, that would be bad.

From the opening of Joe Satriani's squelching lead over a soft backdrop of Cool No. 9, to the group's extended jam of "Red House," this is a live show that is an electric guitar-lover's paradise. "Flying in a Blue Dream" is one of my favorite Satriani pieces because it shows him being quite economical, and the rhythm is exquisite. "Summer Song," which is no song at all since it lacks lyrics, has a fantastic introduction. I'll go ahead and say that I find Eric Johnson to be a more enjoyable guitarist than his stage mates, and this for three reasons: First, his tone is meticulously crafted. His pick attack is also virtually inaudible. Second, he doesn't play blistering solos throughout- he engages in clean, lovely chord progressions and doesn't try to play a hundred notes a second when it isn't called for. Third, Johnson gives his rhythm section a place to shine (in "Zap," his rhythm section, particularly Roscoe Beck, upstages him). "Manhattan" is the crowning moment of the entire set, which sounds tremendously better than the original even. I love performing this piece myself, as it has not only beautifully crafted solos, but exquisite and shimmering clean guitar passages. "Camel's Night Out" is another good piece, and an unexpected one (one might have thought that the worn "Cliffs of Dover" would make an appearance). Steve Vai opens up with "Answers," and it's a rhythmic jungle gym, full of various sounds and great bass playing. Halfway through, it's a mess though, with very little coherence that becomes another one hundred notes a minute bit of business. "For the Love of God" is Vai's most melodic piece, and my favorite from his set. "The Attitude Song" (also not a song) is full of insane guitar playing and whammy bar abuse, but it serves its purpose. The finale features all three guitarists, one of them on vocals, performing three heavy blues covers. Satriani isn't much of a singer, but this music isn't meant to showcase the vocals anyway. Jeff Beck's "Going Down" is boring to me, but Johnson does a great job with his stunning precision and stellar tone. Frank Zappa's "My Guitar Wants to Kill Your Mama" is likewise dull; one can only take so much shredding and lazy singing. "Red House" by Jimi Hendrix is a nine minute jam, and has a real smokehouse feel, with Johnson's soft voice handling the lyrics. This is the best of the three cooperative performances, as the guitarists compliment one another well, are panned quite nicely, and play so tastefully, even when at high speeds. All in all, this is a great live recording for anyone remotely interested in guitar virtuosos or people wanting to hear one of any of these guitarists for the first time.

A wonderful EP from my favorite guitarist.

The songs here are fun, and in the oft-imitated, but rarely ever successful, Vai style(which in itself is a fusion of things). Guitar rock that delves into Zappa touches and multiple direct genres, creating a solid collection of music.

Beginning with the Highlight Bad Horsie, the pure funky wah-wah rock of this is enthralling. His wailing style with his Van Halen rocking makes for a great listen. As always, Vai's playing is well beyond standard. The songs follow a jazzy wailing rock. Juice has such a high power level, feeding off the first song.

The songs are great, but the album feels a bit shallow. Overall, the songs tend to remain within the hard rock vibe, and never venture much further, except for the tasteful and pretty close "Tender Surrender", which is one of Vai's best, and boasts such exceptional blues playing.

The songs lack a real sense of progression, and he does rely a bit too much on standard guitar solos and instrumental rock cliche, but the songs are enjoyable. Not essential, but definitely a fun listen. Three Stars

Strange, whimsical, mystical, and...beautiful?

I doubt I could use such adjectives on too many instrumental guitar rock albums outside of Vai. I love the way he plays, and if feels so emotional. He is truly an outstanding guitarist, with skillful songwriting sensibilities.

Each song is adventurous in tone, while collecting multiple genres to exploit at his whim. Sometimes calling Van Halen-style rock, or majestic band sounds, in songs like Liberty. The soloing is cut to a minimum when it comes to the genre this album is considered, and when Vai does solo, it is exuberant. The songs betray a quirky sense of fun and humor, amidst the seriousness and maturity. The words snippets that litter the album never detract from the overall songs, and are fun to hear. The opening to the Audience Is Listening, is a prime example of this.

Tracks don't follow a direct song format, and can surprise you quite often. Ballerina is so childlike in its pure sense of dancing wonderment. The naming off of random things in Greasy Kid Stuff, before letting his guitar rip, is all a phenomenal experience. The album balances well a sense of fun and humor, with majesty, and mature beauty.

Then, I must talk of one particular song. this is of course "For The Love Of God". The guitars sing to my soul, and make this one of the prettiest songs I have ever heard. So stoic and unbending in its wordless message. Some may criticize Vai and his ilk for relying to heavily on standard guitar soloing, but by the time the entrancing guitar slowly climbs into all the stages of this tracks beauty, you want him to let loose. this is a very serious excursion, and carries with it a lot of emotional impact. I suppose I would nominate this particular solo as my favorite. As it flows so smoothly, yet explodes everything under its impassioned might.

In all, the progressiveness may be a bit lacking, and this style of instrumental music might turn some people off, especially those who hear "instrumental guitar" and expect a Malmsteen clone, Of which Vai most certainly isn't. A powerful album boasting experimentation, strong writing, and always magnificent playing, with an identity all its own. Five Stars