G3: Live in Concert

by

Joe Satriani, Steve Vai, Eric Johnson and G3

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This disc is a recording from the first G3 tour. The three axmen that are featured are Joe Satriani, Eric Johnson, and Steve Vai. Each member has three of their own songs and then all three are on stage for a trio of covers. Satch is featured first. He plays "Cool #9", "Summer Song" and "Flying in a Blue Dream". His playing is typical Satch. He does a little improv in the intro to summer song but other than that the songs are duplications of the studio versions. This isn't a bad thing and fans of Satch won't be dissapointed. Joe is known for his great melodies and his jaw dropping technique. Both are displayed here. His ability to improvise material to new heights isn't on display here. If you want that then buy "Time Machine". I still would get this because Joe is still Joe. Eric Johnson is next. On "Zap" he boogies and shows off his tone. Also the rest of his trio is given the opportunity to do their thing as they trade fours. "Manhatten" is Eric displaying all types of techniques. The song has a jazzy vibe and is quite different than "Zap" in terms of mood and style. "Camel's Night Out" is the closer of Johnson's set and he explodes during it. This song is a chance for Eric to display all of his tricks and he does. Eric Johnson fans should be loving his three song set as it shows off his versatility, virtuosity and unique tone. Vai is the last to go and go he does. Steve is the sorcerer. All kinds of maniacal guitar playing is on display during his set. "Answers" has Vai interweaving lines with Keneally. Then he lets the pyrotechnics loose. Two handed technique, blinding alternate and sweep picking,whammy bar madness, and the joy of playing with feedback are all used in his closing cadenza to this tune. "For the Love of God" is an incredible example of emotion. The main melody lines are moving and the solo invokes all kinds of emotion. This is one of Steve's best compositions. "The Attitude Song" is the closer and is Vai at his wildest. Fellow guitarist Mike Keneally adds to the mix of unison lines. The tremelo bar work is unreal. Vai is a madman and he doesn't have any of his "bizarre" overdubbing that is on some of his lesser studio discs. If you get the DVD you will see that Vai is a magician on stage and has a commanding presence. The three cover songs have all the men on stage and they seem to have a good time with another. The highlight is the trading of fours during "Redhouse". During all three covers each guitarist gets to solo and they all do so very well. "G3" is a great disc and it is a tribute to these three that they were able to put their egos aside and do a project like this. If you like guitar orientated rock or are familiar with any or all of these guys then buy it now.

At the time of writing, 24 excitable air-guitar-fiends have already written reviews of this album averaging about 4.9 stars. But what if you're not already a convert to virtuoso-rock? What if you've just heard the names Satriani and Vai bandied around, and are wondering what all the fuss is about?

Basically these two guys represent a sort of "Gee-tar University" school of musicianship. Imagine your favourite professor, in cap and gown, lecturing you: "This is how it's done. This is an octave bend; this is two-handed tapping; this is choking - and you may be able to do it as fast as this if you work hard, sonny . . ."

And actually it's all terribly impressive. What's so intimidating (as people used to say about Yes back in the 1970's) is that they can really do this stuff live on stage. It's frankly dazzling. They're the Wolfgang Amadeus Mozart and Ludwig van Beethoven of electric guitar. Wherever the axe evolves to in the future, these guys will have defined it. Like those two classical worthies, these guys have taken everything that went before and melded it into an academic discipline that learned men and women are already writing treatises on. Everything that comes after will either build on it, dilute it, or set out to tear it down.

That's the good part. The bad part is that it's indescribably boring. Compared with these guys, the pages and claptons and hendrixes of this world are just guitarists. And yet, Page and Clapton and Hendrix could say more in a 20 second lead break than the professors can manage in 20 minutes. Neil Young could convey more emotion playing the same note 20 times in a row than the academics can manage playing 20 notes in a second!

The exception on the strength of this album is the understated and charming Eric Johnson. He's a kind of acolyte - possibly a past student of Satriani's - who hasn't let pure abstract technique overcome his natural flair for melody, tone and phrasing. His three solo tracks are a refreshing break from the remorseless attack of heavy metal without theme or lyric that accounts for over half this album. I mean, just how do guys who write earnest but interchangeable instrumental compositions come up with titles? . . .

"Hey, Bill, I can't decide whether to call this one `Attack of the Killer Aspidistra' or `Plasma 659'. What do you think?"

"Dunno, how'd the lyrics go?"

"Ain't got no lyrics, jus' like all the others."

"OK, why not call it `My Cat's Got Chiggers'."

"Hey, thanks man, that gives me the idea for another riff!"

It has to be said, nobody who's grown up with prog rock is going to really dislike this. It contains three well-chosen tracks by each of the three front-men with faultless scratch-band support, followed by three jams on rock standards where the guys trade licks with ane another. Bits of it are tuneful, bits of it are stirring, bits of it could inspire you to take up the guitar yourself, bits of it are frightening enough to make you chuck your Strat in the pond.

On the other hand, one of the several solo albums by the three virtuosi is probably a better investment. And if you like great tunes, virtuoso solo-ing and impossibly tight ensemble playing, why not take a mega-risk and try 20 year old Hilary Hahn's dazzling cut of the Barber and Meyer violin concertos. Like pomp-rock before it, prof-rock is struggling to ape the sonic & thematic range, intellectual ambition, technical accomplishment and raw emotional power of classical music - still without success. If you share that vision, try the real classics.

This review is going to collect unhelpful votes like a dog collects fleas, but remember . . . they'll be existing converts to this impressive but soulless perfectionism.