Joe Satriani Album by Album Thread

All it took was a couple people asking.

Joe Satriani stepped out of the San Francisco scene of the 1980s after having been a fixture of the club circuit with his band The Squares and a noted teacher of six-string talents including Steve Vai and Kirk Hammett. But few could have anticipated what a tremendous influence he would have on an entire generation of guitarists - not to mention people who would never pick up an instrument, but could still marvel at his craft. And therein lies the unique quality of Satriani: he appealed to all music-lovers, not just those who sought to emulate his technique on the fretboard.

I'll be going through and reviewing each of his albums, track by track, in order of release. With each review, I'll bold out my favorite track from the album. As with my other AxA threads, this thread will not include live albums, which in Joe's case I don't even own. I will be listening to the hi-res versions of each, which are from the spectacular 'Chrome Dome' set released just under two years ago, and thus Crush of Love and other nuggets will appear as part of the Additional Creations & Bonus Tracks review.

By the end of the thread, I hope to have found the EP on vinyl (I actually bought it as a gift for a friend and haven't seen it in a store since!), and will have downloaded the hi-res version of his most recent album, thus making that a 'first listen' review!

I welcome comments from any and all perspective, but if you're just a hater, please find an elsewhere to be.

 

NOT OF THIS EARTH

At a crossroads in his career, trying to make the most of band situations while also carving a niche for himself marketing a self-produced EP release, Bay Area transplant and fledgling guitarist Joe Satriani laid down the tracks for what would become his first solo album. Using every penny he had (and some he didn’t), Joe recorded in odd hours at whatever facilities he could to get everything just right. The perfectionist attitude he took in recording was immediately evident not just in the result (which sadly now sounds like a product of its era), but in his technique. Not of this Earth would serve as an introduction to his skill, but evidence of his true genius would have to wait for his second release.

Not of this Earth

The opening chords signify that we are off to an unearthly plane. Rotating around a common root note, the chords give a clue as to what tricks Joe would employ in the future. And while the opening melody line is distinctive enough, it is the furious soloing that comes shortly thereafter that would become Satch’s trademark. At the 2:05 mark, it gets even more bizarre and brilliant and carries through to nearly the end of the song. A great introduction.

The Snake

This was always one of my favorites on the album. Joe cribs from classical and funk influences in a spirited jam vibe. The layered guitars show Joe’s penchant for composition over simple shredding, a factor that would separate him from his peer group. But the electronic drums are already starting to wear on the listener, especially in the break at 2:35. In some moments, it almost sounds like 1980’s video game music, which in hindsight gives it a bit of character.

Rubina

The first of two ballads named after his wife, this song’s drums feel a bit less effected and the chiming guitars that come in over them add mood and atmosphere. I never liked this song in the original CD release, one of the many that suffered from the poor mastering of the day. But on vinyl and hi-res, it really shines. And here Joe stays true to his intent of creating a guitar album for all listeners, not just the shred-heads.

Memories

Great opening riff. While it isn’t a monster here, live recordings show exactly what it should have sounded like. Here, Joe relies even more on time changes and shifting tempos to great effect. And when that first solo kicks in at 1:22, we’re off to the races. The run he tears off at 1:52 has always been one of my favorites. But those darn drums…

Brother John

A simple but elegant tune that emphasizes soul and songcraft over showmanship. The subtle harmonics are the only flashiness here.

The Enigmatic

That damn snare drum drives me nuts. It isn’t quite where is should be, but that’s exactly where Joe wants it. And the driving beat gives way to an utterly bizarre and inscrutable solo that challenges the listener, and keeps your attention.

Driving At Night

Man, this song is badass. Joe sometimes will pick the most perfectly simple but appropriate titles for songs, and here is a prime example. The sinister synth keys are the perfect foil for the impeccably harmonized guitar lines throughout.

Hordes of Locusts

Another heavy riff here suffers from the poor production of its time, but still manages to rise up and grab you. The notes that ring in for the solo at 1:27 are just awesome. Here though, we see Joe reined in a bit, sticking to a monolithic rhythm guitar line and just adding his flashes of brilliance over the top. This to me seems like the most radio-ready track on the album, even with the somewhat apocalyptic feel of the outro lines.

New Day

Doublestops aplenty. The 80s kid in me loves those fat synth notes, but it is the bright and shimmering clean guitar lines setting up the understated solo that make this song unique on the album.

The Headless Horseman

And with a whistle, we’re off!! This is just an exuberant end to a great debut. Two-hand tapping throughout, Joe shows he’s not serious 100% of the time and can have a little fun now and then, even when he is showing off.

 

You're 100% correct about the title for "Driving At Night". I can picture myself speeding down the interstate with this on right now.

 

Like many of life's "firsts" I actually remember buying that album when it came out, and even where I bought it (at Listening Booth in the Granite Run Mall). It was of course the original planet cover. I had never heard of him (or maybe I did read about him already in Guitar Player magazine, but I forget) and it was a sticker on the front cover that mentioned Steve Vai that made me buy it. Either it was a recommendation from Vai or maybe it said something like "Steve Vai's Guitar Teacher!!". Came across it just looking through the record racks & was intrigued enough to buy it. Have bought every Satch album since...

 

I wish they would have kept that cover for NotE. I never saw that before - pretty cool.

 

This was the second Joe Satriani title I purchased. Despite the technical limitations of the recording the music still shines. And I like the cover too.

Initially, I discovered Joe Satriani while shopping at the Tower Records by Lincoln Center in NYC. The employees had some kick ass instrumental rock music playing over the store's sound system, and, after some investigation, I ended up buying a copy of the just released album. The Marvel Comic inspired cover caught the eye as much as the music caught the ear. That rockin' album was, of course, Joe's break-through followup to Not Of This Earth.

Within the next few months I would pick up the debut CD, and I would catch Joe and his band (Stuart Hamm and Jonathan Mover) at the Bottom Line. I ended up picking up Stu Hamm's debut, Radio Free Albemuth, not long after seeing that show.

What a wonderful little run of musical discovery that was.

 

I have a copy of that LP; the same friend who I bought the EP for gave me a copy. Here is the text of that sticker:

When I was fourteen, I bought a guitar for five dollars.
I had heard about a hot guitar teacher in town named Joe Satriani, he was a few years older than me and went to the same school.
I called him for lessons and went to his house with my $5.00 guitar and a pack of strings (for 3 years).
Through Joe, I saw what true musicality was. His playing never ceases to venture into unexplored realms. As a role model his attitude is totally professional but there's always that unexpected element of surprise. His personality reflects a subtle spirituality. He's an incredible inspiration.
Thanx - Love ya Joe.
Steve Vai

Vai was terrific at doing right by his mentors and peers once he gained success. He produced an album for some Zappa friends that became Western Vacation. It isn't my kind of music, but he plays on one track too.

As for the cover art, it was lost shortly after the pressing, which is why subsequent reissues have Joe holding a guitar (a guitar he never actually played!).

I discovered him after the release of his second album, but didn't get to see him live until the eponymous album tour. Luckily, he had brought back Stu and Mover, and had a rhythm guitarist as well (I think it may have even been Jeff Campitelli?). Smoking show.

 

First heard Joe from borrowing a couple of my dad's cd's, right around Flying in a Blue Dream's release. I do dig this first album but yeaaah, those drums. Makes it a little hard to revisit it too often. Favorite tracks include The Snake- Stodgers is right, totally sounds like a Capcom video game soundtrack, Rubina-beautiful song, one of my all time fav Satch songs, think it comes to life much better on some of his live releases though, particularly the Live in San Francisco one, and Driving At Night followed by Hordes of Locusts was such an awesome 1-2 punch. Totally fitting titles which as has been mentioned has always seemed to be one of his subtle strengths.

Great topic, will be following throughout.

 

Thanks for this thread and the great track by track commentary. I will be watching.

 

Great idea for a thread! I'm going to go and listen to the record again right now! I splurged for the meet and greet on his upcoming tour. Really looking forward to it.

 

NOTE is a nice debut. Some great monents on the songs. My favorites are the first two and the last two songs.

 

Listened to Side A multiple times today on vinyl. This thread is a great way to deep dive into this wonderful music. I never realized how simple those opening chords were on the title track. Memories was a track that jumped out at me. It has a great opening with a lot of power. I understand all the comments about the drums. They don't bother me too much except on Snake, for some reason.

 

SURFING WITH THE ALIEN

If anyone could have guessed what was coming after Not of this Earth, I don’t think they would have imagined the work of breathtaking genius that is Joe Satriani’s second album. From front to back, this album is an absolute showcase, but not just of guitar technique, but of music theory and composition, as well as heartfelt songwriting. Aside from possibly Van Halen’s debut album, there is no more influential single album in the world of rock guitar. The world that existed before Satriani and after him is clearly demarcated by the release of this album. Nothing would be the same.

Surfing with the Alien

If you want to make a definitive statement to open your sophomore album, there is simply no better way to do it. If Joe was just testing the waters on NOTE, it wasn’t obvious – at least not until one compares it to this. The trills at 1:10 launch you into one of the sickest guitar solos to date, then at 1:43 comes a euphoric melody line bringing us back to the main verse. But it is not until the outro solo, beginning at the series of whooshes at 2:35 that your jaw loses all control and just hits the floor. Those whammy-hammer combos. The screaming harmonics. The killer bends. It all works – flawlessly – to create one of the most iconic songs ever written, never mind iconic instrumental guitar tracks. If there is a reason that Joe remains a guitar god to date, one need look no further than this song.

Ice Nine

Titled after a mysterious substance from Vonnegut’s Cat’s Cradle, Ice Nine cuts loose a killer groove before tearing into a series of legato guitar runs to open the solo, then switching tones to searing guitar sound that cuts right through. The squeals and whammy tricks that close out the solo remind one that Joe’s technique isn’t all flash and has some texture to it too. Though I said earlier I don’t have Joe’s live albums, an exception is the Dreaming #11 EP, on which the version of this song - where Joe plays lead AND rhythm guitar - is simply humbling to hear.

Crushing Day

I’ve always enjoyed this song more than the preceding track, for where Ice Nine feels like sheer improvised passion, Crushing Day is calculated flurries of perfectly composed notes. I remember trying to play this one on my first hundred-dollar guitar, and throwing the whammy out of whack after just one pass through a verse. The runs in the solo are blistering and though each slide up to a high note is perfectly executed, one gets the feeling Joe didn’t need multiple takes to get it right.

Always With Me, Always With You

For every album he delivers following this one, any ballad Joe offers will invariably be compared to this three minutes and twenty-two seconds of absolute perfection. I cannot put into words the emotional impact of hearing this song, and it still gets me. Every. Single. Time. From the guitar’s haunting cry at 1:06, to the faint plaintive descending notes at 1:29, to the sheer jubilation that erupts after the solo at 2:12 and just lifts your spirit. This song is an effin’ masterpiece.

Satch Boogie

If Surfing is Joe’s signature song, this is his calling card. A song that effortlessly blends his bop jazz influences with scorching metal licks. And though I could attempt to explain pitch axis theory half as well as Joe does, one only need listen to the tapped solo in this to get the picture. It is a song that defies criticism because it is just plain fun.

Hill of the Skull

This song was always the perfect way to kick off side two before I wore through the cassette listening to this album over and over again. It has a lurching and ominous feel invoking the Golgotha of its title, and again shows that Joe is a master of layering and composition as much as shred and soloing.

Circles

The chiming, delay-ridden guitars that open this song are quite beautiful, but only serve to lull you into the subsequent two minutes of absolute insanity. The brief lick at 1:27 is one of my Satriani favorites, but this whole solo is a freakin’ monster. Though the first side of SOTA is often lauded at the expense of the second, there is plenty of meat here as well.

Lords of Karma

What a great opening. So majestic and anthemic. Lords of Karma was a song Joe had the chords for years before and just couldn’t put it all together until recording SOTA. And we again see an intense focus on composition here. The melodic lyrical quality of Joe’s instrumental songwriting cannot be underestimated and it shines through on a song like this.

Midnight

In all my years of playing guitar, there was only one Satriani song I felt confident enough to play in front of an audience and this was it. I remember bringing this in to my guitar teacher in my second year of study and him saying “you want to learn to play this?!?” When I had mastered it a month later, he told me if I could play that, I could play anything. Sadly, nothing could have been further from the truth. This is still the only Satriani song I can play straight through.

Echo

I always felt this was a rather anticlimactic end to such a spectacular album. It has a tiny bit of rhythmic complexity to lend it some weight, and the soaring choruses like at 1:15 are pretty, but I wish something resembling the version that closes the live Time Machine disc had been laid to tape.

 

NOTE is a great start, but Surfing rules! It redefined guitar playing in the 80's, along with Steve Vai - Flex-Able. Both of them are big influences on me.

 

Surfing is a great record for sure. Always With Me...is so beautiful. It's the only Satch song I ever learned btw (one of the guitar mags I used to subscribe to had a transcription of it).

Unfortunately music like this is not everyone's cup of tea. I remember being totally blown away when it first came out and I brought the CD with me to a friend's party. He took it off, said it gave him a headache (then replaced it with something I cannot stand like The Ramones).

 

As you said, in addition to his incredible chops, he also had a strong understanding of music theory which he studied under the brilliant jazz pianist and teacher Lennie Tristano.

 

I was my fraternity's social chairman one semester in college. A band came in to ask if we would book them at parties and they showed me a setlist of covers that included Satch Boogie, among other radio-friendly pop and rock songs of the 80s and 90s. I booked them based on that alone.

And I have to say, they nailed it.

 

Hmm. This brings back great memories.
I wore out this cassette too. I played bass in a high school garage band that eventually became a power trio... Our guitarist was 16 years old and phenomenally talented. We did fairly credible versions of Surfing With The Alien, Satch Boogie, and Crush Of Love thanks to him. (And later, Eric Johnson's Cliffs Of Dover.)
At some point Joe was signing at the local guitar store... The guitarist and I stood in line for hours to get his autograph. Somewhere I still have a Guitar Player magazine with his signature on it!

Also, does this ring a bell with anyone? Joe played a show in ATL on this tour... It was an over-21 club so I couldn't get in, but the local radio station broadcast the show live over the air. And I had my trusty cassette deck going. THAT was a hot show... And afterwards, Stu's bass solo with the Peanuts theme became my Mount Everest in terms of bass playing. Did this get broadcast in any other markets? Just curious if anyone would have a better quality recording. The breakdown to "Birdland" in the middle of Surfing was absolutely fantastic.

 

The Atlanta broadcast isn't something I'm familiar with, but Stu Hamm put a version of his live solo, complete with Peanuts theme, on his studio album The Urge. You may already have it, but just an FYI.[/QUOTE]

 

Surfing With The Alien is an almost perfect album in my view. And I think that side two is stronger and more consistent than side one. I found a vinyl copy of Surfing about a year and a half ago, and it blows away all other versions.

 

[/QUOTE]

Yep. I bought The Urge after hearing that live show... And was pleased to find the solo there.

 

I would count Surfing as my second favorite Satriani album after The Extremist. I have only heard and own the Mobile Fidelity gold disc which I don't think is that highly regarded but it sounds good to me!

 

Great, A Satch album-by-album!

Even with a dated production those early albums don't sound dated just by virtue of his incredible style. Would love to listen to 'em one by one while I'm following this! Might as well read the Strange Beautiful Music-bio while I'm at it (thanks to my lovely wife).

Don't forget the Dream #11-ep!!!

 

Surfing is one of the greatest guitar albums. Amazing guitar work, never heard before. I like every song... the only thing I don't like is the sterile production and heavily use of drum computers.

 

Cool thread. I have really dug Joe since I first heard SWTA back in about 89 or 90. Followed his career for the most part since then. I have slightly fallen off with the recent albums, but just for xmas picked up cheap copies of the eponymous and Is there Love in Space. Saw him twice in concert.

And yeah . . . his stuff is a b***h to play.