Joe Satriani Album by Album Thread

The sound "effect" on Satch Boogie is a signature of his guitar playing.... lot of use on his live set.

 

To me, Circles and Lords of Karma are the highlights of that album. Also love the Always With Me, but the programmed drums don't sound so nice 25 years later. The big "hits" (Satch Boogie and Surfing With the Alien) are slightly boring to me. Thought the same about Summer Song two albums later.

 

I've been a fan of his since (almost) the very beginning, and I've known about him since even before that, thanks to Steve Vai talking him up every chance he got. NOTE was pretty good, but SWTA changed my life. One day I will learn to play Satch Boogie all the way through.

 

This is definitely my favorite just because it's the perfect snapshot of his abilities. I actually like "Echo" as the closer especially following "Midnight". Also it seems like Joe had a tendency to end his albums with slower or low key tracks at least back then. I'm thinking "Into the Light" and "New Blues" fit this pattern. "Circles" is a personal favorite as well.

It would probably be a fun exercise to see how the tracks could be re-arranged for a different experience.

 

The recording of SWTA was a pain for recording and mixing engineer John Cuniberti... he had to mix side one again, after he heard a left/right balance shift before the mastering.

 

A classic , no doubt.

 

FLYING IN A BLUE DREAM

After the success of Surfing with the Alien, it seemed impossible to think that Joe could even come close with a follow-up album. His sophomore album was so instantly classic, so iconic, nothing could possibly compare, right? Oh, how untrue that would prove to be. As Joe matured as a solo musician, having now firmly turned down that path, and expanded the demonstration of his influences, he only showed how complete an artist he was becoming. Flying in a Blue Dream is nearly as iconic as the album that came before it, and I dare say that were it not for the questionable choice to perform vocals, it may have outshone it. But let’s face it – if you only had the instrumental tracks, this would still be one of the greatest guitar albums ever.

[And just a reminder, I'm not doing live albums, so no Dreaming #11 here.]

Flying in a Blue Dream

I can still remember purchasing this album at the Eastfield Mall and immediately popping it in to my Walkman to hear those first notes of feedback ring out. The fact that the radio signals behind it were just a happy accident was unknown to me until years later. The subtle chords that open the song are such a contrast to the surf vibe of the preceding album, but when he lays into that first solo, you know this is all Joe. I love the ‘bridge’ that starts at 2:40 and how it completely changes the tone of the song. And in the remastered version, I can hear so much more going on than I could hear through my foam covered over-ears more than twenty-five years ago.

The Mystical Potato Head Groove Thing

The production is already so obviously better on this album than its predecessors, and here we finally feel that Joe is coming into his own. That main riff is killer, but the melody is what makes it shine. And then at 1:33… Holy crap. Even to see Joe do it live, I have no idea how he accomplishes that flurry of one-handed hammer-ons and nails every note. And later, when that motif pans back and forth as a backing track before the solo – just awesome. And when the eastern-feeling passage comes in at 3:28, we can hear Joe maturing as an artist right in front of us. So much compositional complexity in such a fun song.

Can’t Slow Down

And here we get introduced to Joe as a singer, probably the worst decision he could possibly have made (I read back in the day that Rubina is actually the one who talked him into it). His limited range is hidden under effects and layering here, but his penchant for overly simplistic lyrics is not. However, the riff almost covers it all up, because this song rocks as hard as anything on Surfing. But suffice it to say, I don’t think there is anyone out there who would rather hear Satch sing a verse than play it on his six-string.

Headless

A companion piece to the similarly titled track on his debut album, here we get the debut of Joe on harmonica, another odd choice, but more enjoyable than his vocal for sure. This one serves as more of an interlude to me than anything else, linking the hard rocker before it with the quirky track after.

Strange

This is a fun curiosity piece. Had it been purely instrumental, it might have been an butt-kicker, but the vocals eliminate that possibility. Given that, only the bridge really succeeds vocally, and the solo that comes after is terrific. I do like the sinister pipe organ after that also.

I Believe

Man… Had anyone else sung this… It is such a beautiful song, with a somber and elegant guitar line and tasteful volume-swelling overdubs, and the simplistic naiveté of the lyrics almost works here. But the limitations of Joe’s range show quite clearly on the chorus. Which is a shame, because there is tremendous potential here. I just wish someone would cover this with Joe playing guitar. The tapped harmonics over the chorus are perfection, and that backwards solo is gorgeous.

One Big Rush

I first heard this song on the soundtrack to …Say Anything, which I had bought for the presence of a track by my favorite band, Cheap Trick. And to say this song just blew me away is an understatement. Those two-step bends are absolutely insane, and the restraint shown leading into that monster solo run just builds the tension. The fact that Cameron Crowe pretty much curates his own soundtracks and chose a brand new track from Joe at this stage of his career speaks volumes to his growing popularity.

Big Bad Moon

I have always felt that this was the worst possible song to release from this album, yet it was the lead single. The overly simplistic ZZ Top rhythm guitar, the hideous vocal (tone and lyric) and totally generic feel are not representative of Joe or this album. I admit though, that first solo is smokin’, as is the chromatic lead-out on the second. But then we get Joe on harmonica and slide guitar, again – just not representative. I don’t like it.

The Feeling

This is a cool transitional track, much like Headless, but loses some of its pizazz when you know it is just a banjo strung like a guitar. Still, nice to hear Joe playing with different tones.

The Phone Call

“Gimme dat phone!” At this point, one has to just accept that Joe wants to sing and run with it, and here - it works. Probably because he sang through a phone receiver and it covers all the warts of his vocal abilities (or lack thereof). And the lyric is a bit more fun, with the guitar solo accompanying it perfectly.

Day At The Beach (New Rays from an Ancient Sun)

For years, this was my favorite song, bar none. So much so, I even wrote a paper in high school about it (my jerk teacher said it was too predictable). The haunting simplicity of the progression is masked by the superb technique employed to perform it. The quickening pace of the song evokes a beach getting crowded and more lively, while the slowing down suggests the coming twilight. And those ethereal synth notes that back the closing phrases so impeccably illustrate the visual of a setting sun. A masterpiece.

Back to Shalla-Bal

I used to crank the volume for the preceding track, then have my ears blown out for the opening notes on this sequel to the Surfing with the Alien track. What happens at 1:30 on this song just defies description. It’s a great rocker and Joe shows he hasn’t lost his sense of humor.

Ride

This is one of those riffs that looks so easy to play to when you see the music, but it is all in the wrist. I could never get it right. Another bothersome vocal distracts from something good here, though the bass is also quite meager. I love the breakdown of the solo, with the two rhythm guitars underneath it – another instance where the remaster allows the music to shine through.

The Forgotten (Pt. 1)

I almost breathe a sigh of relief knowing that from here on out, it’s all guitar. And what a way to kick it off. The furious two-handed tapping of this first chapter is simple enough to play, but the rhythmic complexity in the middle of the piece always threw me off. I love both parts of this song though.

The Forgotten (Pt. 2)

I remember that I once read who Joe meant ‘The Forgotten’ to be, but it doesn’t matter when I listen to it, because to me it is every soul left unremembered by someone they truly cared about. This song is one of my hands-down favorites in Joe’s catalog, with a solo that is heart-wrenchingly sad and beautiful all at once. The run at 1:46 was always a favorite of mine, but those screaming bends just evoke a tortured souls cries so eloquently. And what an outro!! Perfect title, perfect song.

The Bells of Lal (Pt. 1)

This is a less interesting introductory piece, but Joe gets some great tones here.

The Bells of Lal (Pt. 2)

We got a brief taste of Stu Hamm on Strange, and here he is going all out under some sick rhythms from Joe and a brilliant lead guitar track that has a wholly improvised feel throughout (though of course, we know better). It was almost as if Joe was holding back for the first hour of this album just to completely cut loose here.

Into the Light

And what a way to close things out!! I think I read that Joe wrote this for his father who had passed? It is a gorgeous piece that I used to rewind to hear again because I just couldn’t take it all in. So majestic and passionate – a perfect conclusion to an outstanding album.

 

Just listened to this yesterday. I have a lot of the same feelings about it. First and foremost, I agree he should have never introduced his vocals. Pretty much all those tracks could be excised and I'd be fine with the album being what remained. It reminds me of Steve Vai's "Fire Garden". 1st half of that record is fantastic...and then the second half hits.

I will say I can still appreciate "I Believe" just because it is that good in spite of Joe's vox.

I remember checking this out for the first time on my walkman laying on my parent's couch looking out the window. I was 15. I think I got it from Columbia House. The opening track just hooked me - especially when the bass hits - so powerful. Extended range bass wasn't common yet in 1989.

Oh, and the melody in the intro of "Day At The Beach" always reminds me of the theme song to My Two Dads...(you can count on me....)

 

Good comparison there. What baffles me is that he continued to come back to them every now and then on later albums. It's as if he wanted you to think you were safe then - BAM! - Lifestyle assaults your ears and makes you run for the skip button.

 

I haven't listened to Flying in a long time, I even packed it away thinking I didn't need to hear it again. However I'm going to dig it out now and listen to it while programming out all of the vocal songs!

 

Taking out the tracks with singing makes for a nice 12 song 36 minute album. Perfect length!

 

Yeah, that's what I did on a CDR. Like the album a lot more that way.

 

Flying is a great album even if it has some songs that sound like me singing (blech). Although as someone else said, I like (love actually) the song I Believe even with Joe's weak vocals.

I thought Flying was another nice progression for Joe, just like Surfing was a progression from the first record. The title song is still one of my favorite Satch creations (along with Always With Me from the previous album). I remember blasting that song (whole album actually) in my car driving with a work friend & his reaction was priceless, like he was hearing something so unbelievable that it couldn't be real, a "who makes music like this???" kind of thing (and turning him into a fan). Didn't hurt that my sound system in the car was pretty ass-kicking as well, with a sub in the back, and had the ability to crank to skull splitting volume with no distortion.

 

Flying is a very good album. Why only very good? horrible vocals and a few fillers.

 

THE EXTREMIST

After the smash that was Flying in a Blue Dream, Joe could no longer be ignored. He was not a novelty, not a flash in the pan. And as such, Joe made the jump from little Relativity Records to a major label. And who could blame him really? The guy mortgaged his life on his first two albums, then cashed in. But with a contract comes stipulations and expectations. First was that Joe needed to fill out a full band. Enter the Bissonette brothers, a rhythm section made all the more tight by the bond of blood. And enter Andy Johns, the man who single-handedly had just made Van Halen sound like a real band, and not Eddie and his wingmen. But would all of this work on record? The answer is “oh, hells yes”.

Friends

The difference is immediate and noticeable. The resonance of acoustic drums; the subtle flourishes on bass; the immense, room-filling sound of the rhythm guitars. This is just a dream come true for Satriani fans. And it only gets better as the song goes on. There is no flash here – Joe is trying to introduce himself to the rest of the world, and does it through sheer melodic passion. This feels like a new Joe, all over again.

The Extremist

Oh, wait – same old Joe. This rhythm guitar opening the song is just perfectly recorded –cutting, biting, and yet full-bodied and deep. This song just seems to keep moving, propelling itself forward. I have to admit that having the first real solo on the album be a harmonica is a bit odd, but Joe makes up for it immediately afterwards. And those screaming signature notes at 2:07 have never sounded better. And when those toms kick in at 2:58… This is definitely a full band effort.

War

I picture military jets taking off with that opening salvo. And here comes Joe with his wah pedal, foregoing the surf vibe all together and just going full-on metal. The rhythm guitar is wicked and fierce and the melody lines over it complement it perfectly. And at 1:24, we get so much layering, and it all just works. The breakdown into the solo is sick, and the solo itself takes everything up a notch. At 2:28, Joe makes that wah pedal sound like a rocket launcher before engineering a series of whammy tricks to make your jaw drop. But for me, it is the closing of this song that evokes such powerful visual imagery. Joe laid another appropriate title on this one, because I just see smoke on a desert horizon and helicopters massing for the assault from about 4:20 onward.

Cryin’

The one weak track on this disc. I get nothing from it. At all. It feels like an exercise, an attempt. Nothing more.

Rubina’s Blue Sky Happiness

Six years ago, I was driving west from Boston to Seattle and making my way across the high plains of Idaho along the Snake River, and this song came on a mix I had burned to CD. As the sun shone across the golden fields, I could think of no better compliment to the view that nature provided than this song accompanying it. This is just a superb song, and so unlike anything Joe had put to tape to date. And that outro just soars!!!!

Summer Song

I never knew until reading on these boards how polarizing this song was. I guess some people don’t like to rock out and have fun!!! Like One Big Rush, this song isn’t about the solo, it is about that inescapable melody that hooks you and just keeps going. But yeah, there’s some guitar pyrotechnics along the way.

Tears in the Rain

This is a nice transitional piece, but to me it doesn’t offer anything special.

Why

That funky rhythm has the feel of something off NOTE, but less video-gamey. But once that melody line kicks in – holy crap. All those harmonized guitars, in the days before you could just bump something in a digital recording with a click-track if it was slightly off?? Just brilliant. And then that solo screams out of the gates at you.

Motorcycle Driver

Hot damn, now we got us an album!!! Joe kicks in the doors with the opening on this one, and doesn’t relent until the closing notes. Love those rimshots on the drum kit in the opening sequence, followed by that descending harmonic line that segues into easily one of my favorite rhythm guitar lines Joe has done. The fact that it is the rhythm and melody at once is terrific. And I love how it changes under the solo at the 2:25 mark. But that outro solo is what really makes the song amazing – from 3:33 onwards it is a brazen, bluesy fury of fretwork with some flashes that just make me grin from ear to ear. But that ending… So anti-climactic. :/

New Blues

Whoa, wha? The opening of this song defies description, and shows you that we’re on to newer territory, yet again. A tapped two-hand rhythm guitar? No. Way. But the pensive and thoughtful melody or towering chorus that opens the song cannot possibly prepare you for what starts at 2:09. Those first subtle squeals set you up for the greatest scream from a guitar on record. And those trills at 2:38!!! Man, this is Joe at his finest.

 

2nd best Satriani album. The opener Friends is a filler... otherwise only good tracks. My faves are War, Motorcycle Driver, Why and New Blues.

 

For me, "Friends" totally sets the tone for the album. A beautiful track where he doesn't overplay, he really serves the song well. Probably my 2nd favorite album in his catalog next to "Crystal Planet".

 

Every time I think of this album, two things always come to mind:

Seeing Joe playing the title track on Letterman's old show was awesome, and getting tired of hearing "Summer Song" in all those Sony walkman commercials.

That said, I still think "Summer Song" is great and I was also unaware it was polarizing. Seems like classic Joe to me. "War" and "Why" are my favorites.

 

I love both Flying (even with the vocals I like Big Bad Moon- so I like ZZ top, so sue me!) and The Extremist. Because of this thread, I just ordered vinyl copies of these albums (I already have the Chrome Dome). See what you made me do!

 

I am very surprised to read of peoples dislike for 'Friends' and 'Crying'. Those are two of my favorite tracks on the album, which is my favorite album of Satriani.

 

Rubina's Blue Sky Happiness. I get a lump in my throat just thinking about that glorious tune.

 

Just listened to it again today at work. Still enjoy all the tracks. Definitely has the live band vibe happening.

It's all downhill from here, but it's a fairly flat hill.

 

IMO, there is one more uptick in the catalog, but yes - it was very flat for several years. But I have an interesting take on a few later albums. (Hey, I gotta keep the people reading somehow!!)

 

The Extremist was yet another example of Joe growing as an artist/songwriter, another natural progression for him, as he went from album I to II to III to now IV. I'm not a music theory person, just a hacker that used to play guitar, so I don't know how to put it into words, other than to say that the songs on this album seem more straightforwardly melodic and less "weird" scale or feel-wise. Most of the songs are ones my brain can channel and singalong to his playing, not so with most of the older stuff.

And I LOVE Summer Song! Probably my favorite on the album.

I did this in some other ABA threads so am going to do it now - my ratings out 10 for each Joe album. I haven't Satched-out since I got the box set a year or so ago (when I listened to all the albums back to back to back to back etc...over a few days), and I need to go back and re-listen some of the newer albums especially as we move through the catalog. Assigning ratings is hard btw, there is very little I DON'T like by Joe and I guess I could give each album a "10" but I need to try to differentiate them somehow since there are some I like more than others.

Not of This Earth - 5
Surfing With the Alien - 6
Flying in a Blue Dream - 7
The Extremist - 8

 

I was a huge fan from around 1989 till 1992. So I love Not of This Earth, Surfing With the Alien, Flying in a Blue Dream & The Extremist. I just lost interest after that.
I did buy a few of his albums after the extremist but struggled to get into them. Engines of creation was the one I liked most. I still think he has/had the best ear for melody out of all the virtuoso "shred" guitar players.