Joe-Sa-tria-ni, the brand name guarantee in virtuoso industry, actually started to be successful quite late, when he was in his 30s, but also built a name quite quickly since he decided to move on. released heavy discs of instrumental rock songs, something that few people did in the mid-80s.
His struggling years with the young Squares band, and his shyness with the limelight made Joe feel at ease as a piano teacher. At least he trained Steve Vai, Kirk Hammet (Metallica), or Alex Skolnick (Testament, Trans-Siberian Orchestra, Savatage) among many popular guitar names. The series of albums Surfing with the Aliens (1987), Flying in the Blue Dreams (1989) and especially The Extremist (1992) saw Joe-Sa-ni’s career advance in an almost vertical direction, in one form. the type of music that most shy away from radio stations.
The 90s continued to see Time Machine (1993) or Crystal Planet (1998), where Joe-Sa-ni-ni continuously showed new guitar techniques and broke all the conventions of guitar performance on stage. Joe-Sa-tria-ni became the fourth most grammy nominated artist in history with 15 nominations, though he has not won a single (!!). It’s a bit of a pity for such a heroic talent in a genre that doesn’t have many listeners.
Aware of entering the new decade, since the late 90s, Joe-Sa-tria-ni has a careful plan for diversifying his music, from creating a super tour of G3 ( usually Joe-Sa-tria-ni and Steve Vai teaming up with another virtuoso artist, sometimes Eric Johnson, sometimes John Petrucci, and so on), to forming a superband with Sammy Hagar (Van Halen), Chad Smith (Ret Hot Chilli Peppers) under the name Chickenfoot; His solo music products do not seem as well received as their heyday anymore. Even when he performed with G3, Joe-Sa-ni-ni often performed songs from the 90s.
I wonder if it is because of the audience’s indifference to the solo guitar, the “disease” that began to spread in the late 90s, or because of the advancement of technology in the production of the instrument and the effects and techniques. The studio spoiled the audience with techniques and techniques that only virtuosos could do in the past. It can only be seen that, it seems that the music of Joe-Sa-Tria-ni after 2000 is not as breakthrough as it was in the 1990s. On my shelf, maybe Joe-Sa-tria-ni is the only artist where I have enough discography. But I must also confess that every time I wait for Joe-Sa-Tria-ni to play a disc, I take the time to listen and find new ideas in his music.
Today is not going to be about Crystal Planet or The Extremist, but I would like to take the liberty to summarize some very interesting ideas from Joe-Samaritan in the albums after 2000s. The topic of space / time and robot machines is still the theme throughout, and please don’t blame it for only giving Top 5. I know Joe’s music has more than that.
5. The Souls of Distortion (Is There Love in Space? – 2004)
Wah Wah and the fine noise of the background noise makes the music. Very well, in one plate is quite uniform and gentle. Another notable track on the disc, perhaps “If I Could Fly”, is not because of the music, but because of the controversy when in 2008 Joe sued the group Cold Play for using the harmony and the concept of this song in ” Viva la Vida “without permission. The lawsuit was subsequently settled smoothly by Cold Play and the cost of the settlement was not disclosed. Like any other music lawsuit.
4. Premonition (Black Swans and Wormhole Wizards – 2010)
Combining a lot with the keyboard’s strings, there weren’t too many of Joe-Sa-tria’s tricks on this disc and most (apparently all) were reworks. “Premonition” really stands out because of the climactic solo as well as the emotional response afterwards.
Another notable track from the same album: “Wormhole Wizards”.
3. One Robot’s Dream (Super Colossal 2006)
Overall the Super Colossal sounded great even though it didn’t have the signature timbre of the ’90s, and there was a huge leap in music production compared to previous records, which I don’t know if it’s the studio technique or Joe. suddenly interested in production than before. This disc is very well produced, and there is no sense of absence of a great bass player like Stu Hamm or Matt Bissonette (Joe is in charge of both guitar and bass) with many very good bass lines.
The Track One Robot’s Dream overall sounds very strange, and it sounds exceptionally empty. All the sounds on this disc sound very new, and I have to confess that Joe continued to succeed in producing since his live album Satriani Live! (2006), put all this sound on stage and recorded it exactly. Respect!
Other notable tracks from the album are: “Made of Tears”, “A Cool New Way”, “Ten Words”, and also the title track “Super Colossal”.