Have you ever wondered what happens when two legendary musicians unite to create something extraordinary? Join host Buzz Knight on this episode of takin’ a walk as he welcomes the guitar virtuosos Joe Satriani and Steve Vai, who have officially formed a new band, Satch Vai. Together, they embark on a captivating journey through their long history of collaboration, revealing the serendipitous events that led to their new musical venture.
As they share insights into their upcoming Satch Vai album, featuring the vibrant new single "Dancing," Joe opens up about a heartfelt moment when a comment from his son inspired them to finally work together on this exciting project. This episode is a treasure trove of music history and creative journeys, showcasing the playful and loose vibe that permeates their latest release.
Buzz Knight dives deep into the chemistry that fuels their collaboration, examining the challenges of curating a setlist that honors both their solo careers and their combined artistry. With their impressive backgrounds in rock music history and jazz music, Joe and Steve reflect on their live performances, the joy of collaborating with their talented band members, and their ongoing desire to learn and evolve as musicians with Satch Vai.
As the conversation unfolds, listeners will gain valuable music history insights and discover the stories behind their iconic songs. Buzz Knight’s friendly style makes this episode not just an interview, but a heartfelt exploration of musician storytelling and the cultural impact of music. The trio concludes with a lighthearted discussion about who they would like to take a walk with, emphasizing their appreciation for creativity and collaboration in the world of music.
This episode is a must-listen for fans of legendary musicians and anyone interested in the music industry stories that shape our favorite sounds. Tune in to takin’ a walk for an inspiring conversation that celebrates the artistry and resilience of two of rock's most iconic figures, as well as the magic that happens when musicians come together to create.
#music legends #Joe Satriani interview #steve vai interview
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Speaker 1 (00:00):
Taking a Walk.
Speaker 2 (00:01):
Welcome to Taking a Walk on Buzz Night. My guests
today are two of the most celebrated guitarists in rock history,
and for the first time ever, they've made it official.
Joe Satriani and Steve Vai are satch VII, and they're
bringing their surfing with a hydratur across America this spring.
Speaker 3 (00:22):
Their new single.
Speaker 2 (00:23):
Dancing is out now and a full album is on
the way, and Joe and Steve are next on taking
a Walk.
Speaker 1 (00:33):
Taking a Walk.
Speaker 2 (00:34):
Well, Steve VI and Joe Satriani, you guys have been
orbiting each other for decades. You've been collaborators, fellow travelers.
What finally made this the right moment? We hoped as
fans this right moment would come some time ago. But
what made it the right moment to make satch Vai
(00:55):
an actual band?
Speaker 4 (00:57):
Ah go for a joke, you know, Steve, Well, the
stars aligned.
Speaker 3 (01:03):
Yeah, it was really quite accidental, although you know, I
think Steve would confirm we always wanted to do it
and we knew it would happen. We just couldn't figure
out when we were You know, we're in so many
similar ways. We are just driven to pursue our artistic goals,
(01:26):
and that's kind of worked against us opening up this
period of you know, exploring doing a record together. But
all of a sudden, you know, something happened. A little
comment from my son's deez. He was talking about making
a documentary and how cool it would be if the
G three started again, because that's as a four year old,
(01:50):
that's when he started to tour with us, my wife
and I and he kind of grew up around Steve
and all the other band members that joined us from
ninety six and just traveled with us all the time.
And so he was making a beginning to make this
documentary about that his life growing up with the Strangers
Spunge of Dudes ever right, And then he mentioned like,
(02:14):
wou'd be great if you guys got together again and
did like a concert, and then that turned into wouldn't
it be great if you did a tour? And wouldn't
it be great if you know, you kept a tour going,
and wouldn't be great if you had a track, And
somebody said why didn't you guys do an album? We
were like, oh, I guess that moment has arrived. Yeah,
and you know, and it did. And even though The
(02:38):
crazy thing is is that it was the worst time
because we both took on these outside gigs that were
going to drive us crazy, make us happy, but drives
crazy with you know, our schedules, And somehow we just
expanded the time element so that we would have double
(02:58):
the amount of time to work. I don't know how
we did, to tell you the truth, I think that's
we Steve and I have been thinking about that last
couple of days as we finished the record, wondering like,
how did we get this done?
Speaker 4 (03:11):
Yeah, it's like, don't blink, you know. I think I
think Joe's right on it. But it was always something
at the back of our minds, and we've had a
lot of great experiences together on stage and recording, you know,
live stuff. I think it was just inevitable, and then
the cooperative components just came right together. It was easy, peasy,
(03:37):
There wasn't anything in the way. It felt simple enough
and organic, and it moved quick, and it quick but
slow because you know, when you usually when you make
a record, conventionally, you get a bunch of guys together,
you work out the songs, you go in the studio,
you lay tracks or however, but you know this day age,
(04:00):
and as Joe was mentioning, we're both kind of first
navigating our solo records because we both had released records
and you have to go out and tour that. So
we're both out doing our solo world tours. And then
right into that was the G three and then a
(04:22):
Joe Satrianni Steve I tour with two bands, and then
as as Joe mentioned, things just started, the pieces just
started falling together, and for Joe and it was just easy,
you know, because it just happened and we're very happy,
and it was funny because we just finished mastering the
(04:42):
record and making the record. When you're making a record,
you know, you're in it and you're being you know,
you're very forensic and critical, and it's hard to get
a you know, as they say at thirty thousand foot view,
until you can't do anything anymore because it's done and
you've gone through seventeen songs and whittled it down to ten.
(05:08):
I mean, I know, for me, I kind of feel
it might have been the same for Joe. You can
only act in the minute with what's in front of you,
and then before you know it, you've done that so
many times you've completed something and you're like, wow, here
it is, And that's kind of how I feel about
this record.
Speaker 3 (05:29):
Yeah, congratulations on it.
Speaker 2 (05:32):
Dancing is loose and layful, It's wonderful.
Speaker 3 (05:38):
Is that intentional?
Speaker 2 (05:39):
Is that a different musical headspace that you guys found?
Did that come out of the environment of the studio?
Speaker 3 (05:46):
Talk about that? Yeah, Steve, you should tell him how
we got to that song.
Speaker 4 (05:52):
Well, you know, Joe and I we have particular similarities,
you know, if you're know and you're watching us play guitar,
so you know they kind of are in the same playground,
you know, But our solo music, you know, you could
hear things that are representative of similarities, but our musical
(06:16):
ears are different. You know. Joe usually very solid, you know,
very more a little more simplistic than the kinds of
things I do. I'm very quirky and sometimes I reach
for odd, complex things. I don't know why. It's just,
(06:37):
you know, to say the least, every night when I
walk up to the hydra, i'd say, why are you
like the way you are? But I heard this song
and it was a Palo Conte song, and for some
silly reason, it just stuck with me, and I carried
it around since the eighties because I for some reason
(06:58):
heard it in the back of my mind as a
guitar duo because it's so unexpected and I like unexpected,
you know. So I carried it around and when the
opportunity came up to start writing with Joe, we were
submitting stuff and I had it, and I thought, well,
I give it a shot. See what he says, you know.
(07:19):
And but I knew it was a stretch, you know.
But Joe wrote back a really funny email that said,
I have no idea what I'm going to play on this,
but I trust your insanity. So we, you know, kind
of built the track. And I love the way it
(07:39):
came out. It's it's different, you know. And we actually
have another song it's called Mayhem, and it's really a great,
straight ahead, high high energy, beautiful power rock guitar instrumental
piece with a totally inspired melody. And you'd think, well,
let's go with that at And we had released two singles,
(08:05):
the Sea of Emotion, which is very accessible, very it
has a little bit of quirk in it, you know,
but very accessible. And then I want to play my guitar,
which is like as really straight ahead as you can get.
So Joe and I weren't really sure, you know, what
we should release for the next single, because you know,
(08:28):
there was options. So we brought in the professionals, you know,
the label, and we said, well, here they are. You know,
what do you think? And you know they do that
all day, they know what is you know they can
help if you got good if you've got a good
label with inspired A and R people, you know, they
have good instincts, and they suggested we go with dancing.
Speaker 2 (08:52):
Awesome, great story, great behind the scenes story. So Kenny Aronoff,
Marco Mendoza, Pete Thorne, pretty serious this lineup? How did
those pieces come together? And what does that chemistry feel
like on stage?
Speaker 1 (09:08):
Oh?
Speaker 3 (09:08):
Fantastic. I mean I've been playing with Kenny for quite
a while so and I'm still playing with him this
week in another band. Right, Kenny brings an enormous amount
of positive, driving energy that it's like it's even though
(09:29):
I don't surf. I imagine if I was a surfer
and the perfect wave came along, I'd say, Man, all
I have to do is get up on my board
and let this thing carry me right to the shore.
And that's kind of like what it's like. As soon
as he counts it off, I know I'm in these
incredible hands that the drive, the timing, the finessing, the groove,
(09:52):
all of it is just going to be great. And
all I have to do is sort of ride that
way with him, and he does that for every song
in such a unique way. And then of course there's
off stage, where he is just the greatest even being
and one of the funniest guys he'd ever want to
travel with. So, you know, throw top to bottom. Working
(10:14):
with Kenny is really amazing. We started putting together the
idea for the album band and the touring bands kind
of independently. I think Steve and I had a conversation
where we thought, well, we've got these two live bands,
but when we go to do the record, how are
we going to choose which band he use? And then
we thought, well, let's not. Let's just bring in different
(10:38):
drummers and bass players, keyboard players if we need them,
and just make the record full of really interesting players
who we think are going to enhance the songs. And
it's an eclectic album, you know, as Steve was pointing out,
it goes for my I want to play my guitar
to dancing. And there's even weirder stuff on the album,
so there's no point trying to make one rhythm section
(11:02):
go through all those changes. When you can invite people
with special talents. We also had to make a decision
about who that other person was going to be that
was going to have to handle all the guitar parts
that Steve and I can't play when we're busy doing
melodies and solos, and can they either are they either
(11:23):
keyboard players who play a little guitar or emulay guitar,
or are they going to be guitar players who handle
all our crazy parts, especially Steve's, and then also simulate
keyboard parts. And I don't know why, but we just
sort of thought, let's get a guitar player that'll be
more fun. And in my mind, Pete was He just
(11:46):
pupped into my head right away. I just thought, I
don't know anybody more professional and relaxed to handle something
like this. And I'd seen him play all kinds of
stuff and never lose that just perfect feel for modern music,
and and so it just turned out great. And then
(12:06):
there was Marco, which actually Marco was recommended to me
by Alan Rosen, who owns the Bananas at large music
stores that I hang out in way too much up
in northern California. And then it was one of those
recommendations where you go, oh, of course, you know, we
(12:28):
need a singing bass player. You know, who's got a pedigree,
who's who understands how to perform this kind of stuff,
And it just so happened. He had these other talents
that made him perfect for tracks like dancing, which other
rock based players would have been scratching their heads like
what do I do? You know, but he knew exactly
(12:49):
what to do because it was part of his wheelhouse.
Speaker 2 (12:51):
You know, this isn't the setup to a joke. But
two guitarists walk into a music store. Their names are
Steve v and Joe Satrianni. Do they walk out with
something every time?
Speaker 4 (13:07):
No, they just walk in and look at all the
other guitar players and go, I can do.
Speaker 3 (13:11):
That, I can do that, or that's interesting. I better
steal that. You better steal that.
Speaker 4 (13:18):
Yeah, I don't know. Do you buy stuff? You go
occasionally but not often? I do?
Speaker 3 (13:24):
I back and forth and back and forth. I have
the syndrome gear acquisition syndrome. But I also get rid
of my gear, probably just to the same degree, to
the same percentage. But I you know, full disclosure, I
bought a pedal last night online. I don't know why.
Speaker 5 (13:45):
I'm not even going to be home to test it
out for three months, but yeah, I thought, I dad,
if when I get home in three months i plug
that in, I'll write a couple of songs, you know.
Speaker 3 (13:56):
So that's the way my mind thinks. But you recite
well stuff too, you you take stuff out of rotation and.
Speaker 4 (14:02):
Get rid of it.
Speaker 3 (14:04):
Yeah, and Allen at Bananas, he's really great at that.
There's a lot of my stuff that you know, you
have to be sort of I mean, Steve and I
don't want to get rid of anything, but at some
point the people that we live would say, really like
six more guitar, right, there's ten more pedals, you really
(14:25):
need those stacks of abs. Then you go okay, So
you know, it's like triage and you go, okay, I'll
get rid of that that And yeah, I recently put
up for sale a seventy one Marshall Hunter WAPLEXI and
that was gut wrenching, you know. I hadn't used it
(14:45):
in like seven years, and the last time I used
it we use it for like a bridge of a song,
and it was just like, why am I holding onto
this thing when someone really wants it and they want
to play it every night? So yeah, it was. It
was sad. I think when I walk away from dropping
off gear at Alan's place, I'm you know, a little
tear in my eye, like I'll never see that.
Speaker 2 (15:09):
You go through the same thing, Steve, that same emotion,
that same oh my god, it's gone.
Speaker 3 (15:14):
I had to do it. Well.
Speaker 4 (15:16):
I go through phases, you know, where I don't want anything.
I would just want space. I don't use any of
this stuff. Let's get rid of it, you know, call reverb,
you know whatever. And then I go through the feeling
of I shouldn't. I shouldn't get rid of anything, because
there's always that moment where I'll be looking for a
(15:39):
sound or something. And it just happened the other day
where I have these old neutrons. I bought them ages
and ages ago, and they and they're very you know,
valuable these days. And they've sat in the closet, sat
in the closet and I'd look at them and go oh,
I own a neutron, you know, And then I was like,
I gotta get of all this stuff I don't want
(16:01):
any I had a big auction and everything, but I
didn't get rid of those and sure enough I've been
I used them on our record. Yeah. So I it's
a it's a weird kind of thing because clearing clutter
for clarity is uh, you know, that works very nicely,
(16:22):
But then there's you know, the the uh what did
I do that for?
Speaker 3 (16:29):
Yeah?
Speaker 2 (16:30):
Yeah, me, I have to worry about my wife saying
you haven't worn that jacket for fifteen years and I
get rid of it, I'm going to lose this battle.
But that that has to be nothing like the intensity
of giving away, you know, one of your pieces if
you will, right.
Speaker 3 (16:46):
Yeah, Well, let me just add Steve, if you're thinking
of getting rid of something, call me first.
Speaker 4 (16:52):
We will trade trade. Yeah, that's cheating.
Speaker 5 (16:57):
I love that.
Speaker 1 (16:58):
We'll be right back with more the Taking a Walk Podcast.
Welcome back to the Taking a Walk Podcast.
Speaker 2 (17:10):
What was the first moment in terms of a live
concert experience that you guys can talk about that had
such an imprint on you to this to this day, Steve,
do you recall the first one.
Speaker 4 (17:25):
Well, yeah, I was a young boy and a huge
led Zeppelin fan, and the idea of you know, going
into the city to see led Zeppelin at Madison Square
Garden was just a fantasy. First of all, it sold
out in one second, and oddly enough, in my town,
this guy pulled into a gas station that was part
(17:47):
of the crew and he said, hey, I got these
two tickets. I don't want them, I don't need them.
You want them to my friend, And I'm like what
And we went. So that was my first my very
first well, my first concert was returned to Forever at
the Hofstra Playhouse, but the next one was led Zeppelin,
but they both had quite an impact.
Speaker 3 (18:10):
Oh man, that's a that's a great one, Joe.
Speaker 4 (18:12):
How about you.
Speaker 3 (18:13):
Oh, there was a bunch of concerts I went to.
That's a small amount. I mean, it's funny. Steve mentions
Zeppelin at the Garden crazy concert was hacked and the
stage collapsed at the end, the front of stage.
Speaker 4 (18:34):
But you go on to that one.
Speaker 3 (18:36):
Yeah, and uh, it was insane because it was such
a magical concert and just the the you know, it
was when you're a kid and you're at an event.
The event is just as important as you know, what
the people are doing on stage, because you're kind of
with your tribe and and when you're you know, or
(19:00):
team fifteen years old, it's very important that you get
to gather with your tribe, you know. And so the
whole experience was just mesmerizing. And then because of all
the people trying to climb on the stage to the
front of the stage just goes when this big V
starts to open up pointing towards the audience and the
PA columns, the voice of the theater side fill start
(19:21):
to fall in, and it's just sort of craziness going on.
And then hearing Robert Plant scream shit in that high
pitch voice. We never forgot that. We just thought that
was the funniest thing, you know. But and the band
all backed up, they left the stage, and they turned
all the lights on, which was really weird. I don't
think we'd ever you know. It's sort of like you
(19:42):
wake up from a dream, you know, and all of
a sudden you realize, wow, we're just a bunch of
crazy kids. It matters that square gardener looks more like
a like you've gone to see a hockey game or something,
you know, with all the lights on, and they secured
the stage and then the band came back out and
they played thank You with all the lights and that
was amazing because we got to see what they really
(20:04):
look like without well magic. It was just these guys,
these young guys from the magical Kingdom of England who
had blessed us with their presence, and it was yeah,
I never forgot that. And as we were leaving, we
got the idea that we should get a souvenir, and
(20:25):
we went up to the stage and we started seeing
we could pull piece of wood, plywood stuff. And the
New York City cop came up with his club and
he went, let me do that for you, and he
yanked a big piece for me and I got to
take it home.
Speaker 4 (20:41):
Oh my god, I remember seeing it. You showed it
to me.
Speaker 3 (20:45):
Yeah, I don't know what happened to it somehow, you know,
through adolescence.
Speaker 1 (20:50):
I don't know.
Speaker 3 (20:50):
Maybe my parents said, why are you keeping this piece
of wood?
Speaker 2 (20:56):
Amazing stories, Oh my god, you're going to be blending
news set material with catalog classics and covers. How do
you curate a set list that honors both your histories?
Without it feeling, you know, like it's some greatest hits package.
Speaker 3 (21:14):
That's hard.
Speaker 4 (21:16):
Well, in some sense, it is the greatest hits package
because the show's diverse and very integrated in that there's
times when Joe and I are actually playing our songs
that we wrote together, and that's very integrated that it's
not like just jamming. And then there's spots where I'll
(21:41):
come out and play a couple of my songs and
then Joe will come out and we'll merge something together,
you know, and then he'll take offs sort of like
tag team. So there's quite a lot of stage movement
and diversity and putting a set list together for that,
you know, it kind of tells you what it should be.
(22:05):
And when you're picking your songs I have, you know,
there's a couple of Most artists have a couple of
songs that their fans know the best, that they're probably
gonna want to hear, and at least one song that
if you don't play, you're gonna get in real trouble
by the fans, you know. So you kind of and
I guess you would say those are quasi greatest hits.
(22:28):
So I like to pull some of those, but also
leave a little room for a little indulgence or something
from a new record. So I chose some two or
three songs from my new record, and then we have
our songs that we play together, so it really kind
(22:49):
of works out itself. And then we always feel that
at the end it should be a big shebang, you know,
with jamming and something classic that people just you know,
they don't have to think about, they just know and
they just immediately feel good when they hear it.
Speaker 2 (23:05):
Joe, the dancing video was directed by your son's z
e Zi. Yeah, that experience having him involved. Obviously he's
been part of the road with you for so long,
so that must have been a fun full circle moment.
Speaker 1 (23:21):
Yeah.
Speaker 3 (23:22):
We started, i'd say when he was about ten or so,
when he was really getting serious about making skateboard films,
and we be on tour South America, Europe, Asia, and
you know, he'd be working on a move for two
hours and he'd be telling me, hold a camera like this, dad,
and this is how you make sure you go like this.
(23:43):
So I got used to taking direction from my son.
Speaker 1 (23:46):
You know.
Speaker 3 (23:47):
Decades ago, we did a documentary together Beyond the Supernova,
and he's done a lot of music videos for us,
and so this is the third one he stopped for us,
as a matter of fact, the second one he did
the day before he did the thank You video for
Sammy Hagar and the rest of us. So it's really
great to work with him because he knows exactly what
(24:08):
he wants, but he can improvise and think on his
feet as well. So the environment's fun, it's high energy,
and all you have to do is just do what
he says. And that's what I learned back when he
was a little kid, is just do what he says
and it turns out great, and don't think about, you know,
vanity or anything like that, because he's got you know,
(24:31):
he's got the vision of the end result in his
mind and it's crystal clear, and it's better just to
let him go with it. And so we had a
great time, and especially in the dancing video, you know,
Steve and I got to watch a whole day of
these incredible dancers from every walk of life use their
(24:52):
bodies in ways that we're never going to be able
to do, and it was just fascinating to see them
one after another, just like respond to the music with
bodily movement in such a different style. It was you know,
it was really great that that happened. Of course, the
following day we shot in the beginning with Brendan, which
(25:14):
was hysterical, you know, And I'm no actors, so it
was really hard for me to keep a straight face
and not just burst out laughing every time Brendan would
improvise something hilarious.
Speaker 1 (25:26):
You know.
Speaker 3 (25:28):
We had. We had a great.
Speaker 2 (25:29):
Time for two guys who were so committed to your craft.
Is there still things that you want to learn about
the guitar and how to play it and how to
get more out of it?
Speaker 3 (25:43):
Yeah?
Speaker 4 (25:44):
I don't think that ever ends for for anybody that's
truly interested in something. And you know, I think when
Joe and I started, we were very naive in the
sense that we didn't know how hard life, you know,
is supposed to be, and we just very innocently just
(26:05):
did what we loved. And when a person does that,
it's I think it's rare that the gas runs out,
you know. So I know, for me, especially these days,
when the development of guitar technique from the underground players
is just really off the charts, I could watch them
(26:28):
and although I can't do what they do. I can
be inspired by them, and as you know, I know,
for me, like an athlete, you know, an elite athlete,
there's a window of your peak bodily functioning, you know.
And I think it's the same for virtuoso type musicians,
(26:52):
although for regular musicians that are songwriters, just players solo
here there, you know, there's there can be a longevity
in the playing with the virtuo, so you have to
adjust and move on at times, you know, as the
(27:14):
apparatus starts to slow down a bit. But in an
odd way, it's actually a blessing for me. I used
to play fast a lot of the time, and you
just get bored of it, you know, and you really
start searching, the search for meaningful note after note notes
(27:38):
and phrasing and quirky little touches to the note. It's
endless and it's interesting. So I don't think that never
goes away, and you don't really need to be a
virtuoso to manipulate the notes into something meaningful.
Speaker 3 (27:56):
Yeah. Yes, your question reminds me of something that happened
back stage the other night. We were just in the
tuning room where we just mess around and get ready
for the show, and for some reason, I start creeping
by Stevie Wonder and Greg picked up on it and
he knew the song, and we started talking about it
and Kenny was like, oh, I love that song. And
(28:19):
I related the story to Greg that when I heard
the first time I heard that song and the chorus came,
then it kind of changed my life because I thought,
you can do that, like in the first two chords
of a chorus, you can create that weird movement, and
because it went against everything that Steve and I were
(28:40):
learning from Bill Westcott at car Place High School about
music theory and you know, no parallel fifths and all
this kind of stuff, and all of a sudden, there's
Stevie Wonder, just beautiful, beautiful song and he's doing the
exact wrong thing and it sounds magical, and it kind
of reminded me of those moments where you're not expecting
(29:06):
to get this beautiful, eye opening moment when you're just
casually listening to some music. And back then it was
just Stevie Wonder was one of those artists that, you know,
my siblings and my parents would listen to. It was
one of those few artists that everybody in the house
would listen to. And these days, as Steve was saying,
(29:29):
you can watch on social media just amazing players from
around the world in every style, and at one point
you're going to go wow. You mean you can do
that with a guitar and it's inspiring and you may
not be able to do it, but it may be
just a stepping stone to something that maybe they didn't
(29:50):
think of, but they play a part in inspiring to
take it a step further, maybe in a slightly different direction,
you know.
Speaker 2 (30:01):
So in closing, since we call this podcast taking a Walk,
I have to ask you the signature question, which is,
if you could take a walk with someone living or dead,
who would you take a walk with? And where would
you take that walk? And more than one answer is
allowed if you'd like. But who wants to dive into that?
Speaker 1 (30:22):
Uh?
Speaker 3 (30:23):
That that lovely h question? I say, I'll do that.
I mean, I think, uh, this is kind of bizarre,
But I was just thinking it would be great you
could walk with Stephen Hawking and he could walk, which
would just be a joy to see him free of
his bodily problems. Uh. And and and perhaps uh on
(30:51):
the surface of the moon where we can somehow breathe
and not float away, and us talk about as we
look back at the planet Earth, we could talk about
what it's all about. That's great, Yeah, it is.
Speaker 4 (31:08):
Well, you know, there's been a lot of talk of
what Jesus Christ used to say, so I would be
interested in actually hearing what he actually said, you know,
get the straight scoop. Yeah, it'd be very very interesting,
you know. So yeah, I'd love to have a little
(31:28):
walk with Jesus And who knows, maybe he would will someday.
No anything, What.
Speaker 2 (31:36):
An incredible honor to talk to you too, lessons and
inspiration and creativity and collaboration and the joy of music.
Thatch Vy hitting the road the new album coming out
later in twenty twenty six. It's an honor having you
guys on and thank you for being on Taking.
Speaker 4 (31:59):
A Walk right on. Thanks buzz Yeah, thank you.
Speaker 2 (32:04):
I'm Buzznight and thanks for listening to the Taking a
Walk podcast. Now, please check out our companion podcasts produced
by Buzznight Media Productions with your host Lynn Hoffman music
Save Me, showcasing the healing power of music and comedy.
Save Me shining a light on how laughter is the
best Medicine. All shows are available on Apple Podcasts, Spotify,
(32:29):
and are part of the iHeart podcast network.
Taking a Walk.
Speaker 2 (00:01):
Welcome to Taking a Walk on Buzz Night. My guests
today are two of the most celebrated guitarists in rock history,
and for the first time ever, they've made it official.
Joe Satriani and Steve Vai are satch VII, and they're
bringing their surfing with a hydratur across America this spring.
Speaker 3 (00:22):
Their new single.
Speaker 2 (00:23):
Dancing is out now and a full album is on
the way, and Joe and Steve are next on taking
a Walk.
Speaker 1 (00:33):
Taking a Walk.
Speaker 2 (00:34):
Well, Steve VI and Joe Satriani, you guys have been
orbiting each other for decades. You've been collaborators, fellow travelers.
What finally made this the right moment? We hoped as
fans this right moment would come some time ago. But
what made it the right moment to make satch Vai
(00:55):
an actual band?
Speaker 4 (00:57):
Ah go for a joke, you know, Steve, Well, the
stars aligned.
Speaker 3 (01:03):
Yeah, it was really quite accidental, although you know, I
think Steve would confirm we always wanted to do it
and we knew it would happen. We just couldn't figure
out when we were You know, we're in so many
similar ways. We are just driven to pursue our artistic goals,
(01:26):
and that's kind of worked against us opening up this
period of you know, exploring doing a record together. But
all of a sudden, you know, something happened. A little
comment from my son's deez. He was talking about making
a documentary and how cool it would be if the
G three started again, because that's as a four year old,
(01:50):
that's when he started to tour with us, my wife
and I and he kind of grew up around Steve
and all the other band members that joined us from
ninety six and just traveled with us all the time.
And so he was making a beginning to make this
documentary about that his life growing up with the Strangers
Spunge of Dudes ever right, And then he mentioned like,
(02:14):
wou'd be great if you guys got together again and
did like a concert, and then that turned into wouldn't
it be great if you did a tour? And wouldn't
it be great if you know, you kept a tour going,
and wouldn't be great if you had a track, And
somebody said why didn't you guys do an album? We
were like, oh, I guess that moment has arrived. Yeah,
and you know, and it did. And even though The
(02:38):
crazy thing is is that it was the worst time
because we both took on these outside gigs that were
going to drive us crazy, make us happy, but drives
crazy with you know, our schedules, And somehow we just
expanded the time element so that we would have double
(02:58):
the amount of time to work. I don't know how
we did, to tell you the truth, I think that's
we Steve and I have been thinking about that last
couple of days as we finished the record, wondering like,
how did we get this done?
Speaker 4 (03:11):
Yeah, it's like, don't blink, you know. I think I
think Joe's right on it. But it was always something
at the back of our minds, and we've had a
lot of great experiences together on stage and recording, you know,
live stuff. I think it was just inevitable, and then
the cooperative components just came right together. It was easy, peasy,
(03:37):
There wasn't anything in the way. It felt simple enough
and organic, and it moved quick, and it quick but
slow because you know, when you usually when you make
a record, conventionally, you get a bunch of guys together,
you work out the songs, you go in the studio,
you lay tracks or however, but you know this day age,
(04:00):
and as Joe was mentioning, we're both kind of first
navigating our solo records because we both had released records
and you have to go out and tour that. So
we're both out doing our solo world tours. And then
right into that was the G three and then a
(04:22):
Joe Satrianni Steve I tour with two bands, and then
as as Joe mentioned, things just started, the pieces just
started falling together, and for Joe and it was just easy,
you know, because it just happened and we're very happy,
and it was funny because we just finished mastering the
(04:42):
record and making the record. When you're making a record,
you know, you're in it and you're being you know,
you're very forensic and critical, and it's hard to get
a you know, as they say at thirty thousand foot view,
until you can't do anything anymore because it's done and
you've gone through seventeen songs and whittled it down to ten.
(05:08):
I mean, I know, for me, I kind of feel
it might have been the same for Joe. You can
only act in the minute with what's in front of you,
and then before you know it, you've done that so
many times you've completed something and you're like, wow, here
it is, And that's kind of how I feel about
this record.
Speaker 3 (05:29):
Yeah, congratulations on it.
Speaker 2 (05:32):
Dancing is loose and layful, It's wonderful.
Speaker 3 (05:38):
Is that intentional?
Speaker 2 (05:39):
Is that a different musical headspace that you guys found?
Did that come out of the environment of the studio?
Speaker 3 (05:46):
Talk about that? Yeah, Steve, you should tell him how
we got to that song.
Speaker 4 (05:52):
Well, you know, Joe and I we have particular similarities,
you know, if you're know and you're watching us play guitar,
so you know they kind of are in the same playground,
you know, But our solo music, you know, you could
hear things that are representative of similarities, but our musical
(06:16):
ears are different. You know. Joe usually very solid, you know,
very more a little more simplistic than the kinds of
things I do. I'm very quirky and sometimes I reach
for odd, complex things. I don't know why. It's just,
(06:37):
you know, to say the least, every night when I
walk up to the hydra, i'd say, why are you
like the way you are? But I heard this song
and it was a Palo Conte song, and for some
silly reason, it just stuck with me, and I carried
it around since the eighties because I for some reason
(06:58):
heard it in the back of my mind as a
guitar duo because it's so unexpected and I like unexpected,
you know. So I carried it around and when the
opportunity came up to start writing with Joe, we were
submitting stuff and I had it, and I thought, well,
I give it a shot. See what he says, you know.
(07:19):
And but I knew it was a stretch, you know.
But Joe wrote back a really funny email that said,
I have no idea what I'm going to play on this,
but I trust your insanity. So we, you know, kind
of built the track. And I love the way it
(07:39):
came out. It's it's different, you know. And we actually
have another song it's called Mayhem, and it's really a great,
straight ahead, high high energy, beautiful power rock guitar instrumental
piece with a totally inspired melody. And you'd think, well,
let's go with that at And we had released two singles,
(08:05):
the Sea of Emotion, which is very accessible, very it
has a little bit of quirk in it, you know,
but very accessible. And then I want to play my guitar,
which is like as really straight ahead as you can get.
So Joe and I weren't really sure, you know, what
we should release for the next single, because you know,
(08:28):
there was options. So we brought in the professionals, you know,
the label, and we said, well, here they are. You know,
what do you think? And you know they do that
all day, they know what is you know they can
help if you got good if you've got a good
label with inspired A and R people, you know, they
have good instincts, and they suggested we go with dancing.
Speaker 2 (08:52):
Awesome, great story, great behind the scenes story. So Kenny Aronoff,
Marco Mendoza, Pete Thorne, pretty serious this lineup? How did
those pieces come together? And what does that chemistry feel
like on stage?
Speaker 1 (09:08):
Oh?
Speaker 3 (09:08):
Fantastic. I mean I've been playing with Kenny for quite
a while so and I'm still playing with him this
week in another band. Right, Kenny brings an enormous amount
of positive, driving energy that it's like it's even though
(09:29):
I don't surf. I imagine if I was a surfer
and the perfect wave came along, I'd say, Man, all
I have to do is get up on my board
and let this thing carry me right to the shore.
And that's kind of like what it's like. As soon
as he counts it off, I know I'm in these
incredible hands that the drive, the timing, the finessing, the groove,
(09:52):
all of it is just going to be great. And
all I have to do is sort of ride that
way with him, and he does that for every song
in such a unique way. And then of course there's
off stage, where he is just the greatest even being
and one of the funniest guys he'd ever want to
travel with. So, you know, throw top to bottom. Working
(10:14):
with Kenny is really amazing. We started putting together the
idea for the album band and the touring bands kind
of independently. I think Steve and I had a conversation
where we thought, well, we've got these two live bands,
but when we go to do the record, how are
we going to choose which band he use? And then
we thought, well, let's not. Let's just bring in different
(10:38):
drummers and bass players, keyboard players if we need them,
and just make the record full of really interesting players
who we think are going to enhance the songs. And
it's an eclectic album, you know, as Steve was pointing out,
it goes for my I want to play my guitar
to dancing. And there's even weirder stuff on the album,
so there's no point trying to make one rhythm section
(11:02):
go through all those changes. When you can invite people
with special talents. We also had to make a decision
about who that other person was going to be that
was going to have to handle all the guitar parts
that Steve and I can't play when we're busy doing
melodies and solos, and can they either are they either
(11:23):
keyboard players who play a little guitar or emulay guitar,
or are they going to be guitar players who handle
all our crazy parts, especially Steve's, and then also simulate
keyboard parts. And I don't know why, but we just
sort of thought, let's get a guitar player that'll be
more fun. And in my mind, Pete was He just
(11:46):
pupped into my head right away. I just thought, I
don't know anybody more professional and relaxed to handle something
like this. And I'd seen him play all kinds of
stuff and never lose that just perfect feel for modern music,
and and so it just turned out great. And then
(12:06):
there was Marco, which actually Marco was recommended to me
by Alan Rosen, who owns the Bananas at large music
stores that I hang out in way too much up
in northern California. And then it was one of those
recommendations where you go, oh, of course, you know, we
(12:28):
need a singing bass player. You know, who's got a pedigree,
who's who understands how to perform this kind of stuff,
And it just so happened. He had these other talents
that made him perfect for tracks like dancing, which other
rock based players would have been scratching their heads like
what do I do? You know, but he knew exactly
(12:49):
what to do because it was part of his wheelhouse.
Speaker 2 (12:51):
You know, this isn't the setup to a joke. But
two guitarists walk into a music store. Their names are
Steve v and Joe Satrianni. Do they walk out with
something every time?
Speaker 4 (13:07):
No, they just walk in and look at all the
other guitar players and go, I can do.
Speaker 3 (13:11):
That, I can do that, or that's interesting. I better
steal that. You better steal that.
Speaker 4 (13:18):
Yeah, I don't know. Do you buy stuff? You go
occasionally but not often? I do?
Speaker 3 (13:24):
I back and forth and back and forth. I have
the syndrome gear acquisition syndrome. But I also get rid
of my gear, probably just to the same degree, to
the same percentage. But I you know, full disclosure, I
bought a pedal last night online. I don't know why.
Speaker 5 (13:45):
I'm not even going to be home to test it
out for three months, but yeah, I thought, I dad,
if when I get home in three months i plug
that in, I'll write a couple of songs, you know.
Speaker 3 (13:56):
So that's the way my mind thinks. But you recite
well stuff too, you you take stuff out of rotation and.
Speaker 4 (14:02):
Get rid of it.
Speaker 3 (14:04):
Yeah, and Allen at Bananas, he's really great at that.
There's a lot of my stuff that you know, you
have to be sort of I mean, Steve and I
don't want to get rid of anything, but at some
point the people that we live would say, really like
six more guitar, right, there's ten more pedals, you really
(14:25):
need those stacks of abs. Then you go okay, So
you know, it's like triage and you go, okay, I'll
get rid of that that And yeah, I recently put
up for sale a seventy one Marshall Hunter WAPLEXI and
that was gut wrenching, you know. I hadn't used it
(14:45):
in like seven years, and the last time I used
it we use it for like a bridge of a song,
and it was just like, why am I holding onto
this thing when someone really wants it and they want
to play it every night? So yeah, it was. It
was sad. I think when I walk away from dropping
off gear at Alan's place, I'm you know, a little
tear in my eye, like I'll never see that.
Speaker 2 (15:09):
You go through the same thing, Steve, that same emotion,
that same oh my god, it's gone.
Speaker 3 (15:14):
I had to do it. Well.
Speaker 4 (15:16):
I go through phases, you know, where I don't want anything.
I would just want space. I don't use any of
this stuff. Let's get rid of it, you know, call reverb,
you know whatever. And then I go through the feeling
of I shouldn't. I shouldn't get rid of anything, because
there's always that moment where I'll be looking for a
(15:39):
sound or something. And it just happened the other day
where I have these old neutrons. I bought them ages
and ages ago, and they and they're very you know,
valuable these days. And they've sat in the closet, sat
in the closet and I'd look at them and go oh,
I own a neutron, you know, And then I was like,
I gotta get of all this stuff I don't want
(16:01):
any I had a big auction and everything, but I
didn't get rid of those and sure enough I've been
I used them on our record. Yeah. So I it's
a it's a weird kind of thing because clearing clutter
for clarity is uh, you know, that works very nicely,
(16:22):
But then there's you know, the the uh what did
I do that for?
Speaker 3 (16:29):
Yeah?
Speaker 2 (16:30):
Yeah, me, I have to worry about my wife saying
you haven't worn that jacket for fifteen years and I
get rid of it, I'm going to lose this battle.
But that that has to be nothing like the intensity
of giving away, you know, one of your pieces if
you will, right.
Speaker 3 (16:46):
Yeah, Well, let me just add Steve, if you're thinking
of getting rid of something, call me first.
Speaker 4 (16:52):
We will trade trade. Yeah, that's cheating.
Speaker 5 (16:57):
I love that.
Speaker 1 (16:58):
We'll be right back with more the Taking a Walk Podcast.
Welcome back to the Taking a Walk Podcast.
Speaker 2 (17:10):
What was the first moment in terms of a live
concert experience that you guys can talk about that had
such an imprint on you to this to this day, Steve,
do you recall the first one.
Speaker 4 (17:25):
Well, yeah, I was a young boy and a huge
led Zeppelin fan, and the idea of you know, going
into the city to see led Zeppelin at Madison Square
Garden was just a fantasy. First of all, it sold
out in one second, and oddly enough, in my town,
this guy pulled into a gas station that was part
(17:47):
of the crew and he said, hey, I got these
two tickets. I don't want them, I don't need them.
You want them to my friend, And I'm like what
And we went. So that was my first my very
first well, my first concert was returned to Forever at
the Hofstra Playhouse, but the next one was led Zeppelin,
but they both had quite an impact.
Speaker 3 (18:10):
Oh man, that's a that's a great one, Joe.
Speaker 4 (18:12):
How about you.
Speaker 3 (18:13):
Oh, there was a bunch of concerts I went to.
That's a small amount. I mean, it's funny. Steve mentions
Zeppelin at the Garden crazy concert was hacked and the
stage collapsed at the end, the front of stage.
Speaker 4 (18:34):
But you go on to that one.
Speaker 3 (18:36):
Yeah, and uh, it was insane because it was such
a magical concert and just the the you know, it
was when you're a kid and you're at an event.
The event is just as important as you know, what
the people are doing on stage, because you're kind of
with your tribe and and when you're you know, or
(19:00):
team fifteen years old, it's very important that you get
to gather with your tribe, you know. And so the
whole experience was just mesmerizing. And then because of all
the people trying to climb on the stage to the
front of the stage just goes when this big V
starts to open up pointing towards the audience and the
PA columns, the voice of the theater side fill start
(19:21):
to fall in, and it's just sort of craziness going on.
And then hearing Robert Plant scream shit in that high
pitch voice. We never forgot that. We just thought that
was the funniest thing, you know. But and the band
all backed up, they left the stage, and they turned
all the lights on, which was really weird. I don't
think we'd ever you know. It's sort of like you
(19:42):
wake up from a dream, you know, and all of
a sudden you realize, wow, we're just a bunch of
crazy kids. It matters that square gardener looks more like
a like you've gone to see a hockey game or something,
you know, with all the lights on, and they secured
the stage and then the band came back out and
they played thank You with all the lights and that
was amazing because we got to see what they really
(20:04):
look like without well magic. It was just these guys,
these young guys from the magical Kingdom of England who
had blessed us with their presence, and it was yeah,
I never forgot that. And as we were leaving, we
got the idea that we should get a souvenir, and
(20:25):
we went up to the stage and we started seeing
we could pull piece of wood, plywood stuff. And the
New York City cop came up with his club and
he went, let me do that for you, and he
yanked a big piece for me and I got to
take it home.
Speaker 4 (20:41):
Oh my god, I remember seeing it. You showed it
to me.
Speaker 3 (20:45):
Yeah, I don't know what happened to it somehow, you know,
through adolescence.
Speaker 1 (20:50):
I don't know.
Speaker 3 (20:50):
Maybe my parents said, why are you keeping this piece
of wood?
Speaker 2 (20:56):
Amazing stories, Oh my god, you're going to be blending
news set material with catalog classics and covers. How do
you curate a set list that honors both your histories?
Without it feeling, you know, like it's some greatest hits package.
Speaker 3 (21:14):
That's hard.
Speaker 4 (21:16):
Well, in some sense, it is the greatest hits package
because the show's diverse and very integrated in that there's
times when Joe and I are actually playing our songs
that we wrote together, and that's very integrated that it's
not like just jamming. And then there's spots where I'll
(21:41):
come out and play a couple of my songs and
then Joe will come out and we'll merge something together,
you know, and then he'll take offs sort of like
tag team. So there's quite a lot of stage movement
and diversity and putting a set list together for that,
you know, it kind of tells you what it should be.
(22:05):
And when you're picking your songs I have, you know,
there's a couple of Most artists have a couple of
songs that their fans know the best, that they're probably
gonna want to hear, and at least one song that
if you don't play, you're gonna get in real trouble
by the fans, you know. So you kind of and
I guess you would say those are quasi greatest hits.
(22:28):
So I like to pull some of those, but also
leave a little room for a little indulgence or something
from a new record. So I chose some two or
three songs from my new record, and then we have
our songs that we play together, so it really kind
(22:49):
of works out itself. And then we always feel that
at the end it should be a big shebang, you know,
with jamming and something classic that people just you know,
they don't have to think about, they just know and
they just immediately feel good when they hear it.
Speaker 2 (23:05):
Joe, the dancing video was directed by your son's z
e Zi. Yeah, that experience having him involved. Obviously he's
been part of the road with you for so long,
so that must have been a fun full circle moment.
Speaker 1 (23:21):
Yeah.
Speaker 3 (23:22):
We started, i'd say when he was about ten or so,
when he was really getting serious about making skateboard films,
and we be on tour South America, Europe, Asia, and
you know, he'd be working on a move for two
hours and he'd be telling me, hold a camera like this, dad,
and this is how you make sure you go like this.
(23:43):
So I got used to taking direction from my son.
Speaker 1 (23:46):
You know.
Speaker 3 (23:47):
Decades ago, we did a documentary together Beyond the Supernova,
and he's done a lot of music videos for us,
and so this is the third one he stopped for us,
as a matter of fact, the second one he did
the day before he did the thank You video for
Sammy Hagar and the rest of us. So it's really
great to work with him because he knows exactly what
(24:08):
he wants, but he can improvise and think on his
feet as well. So the environment's fun, it's high energy,
and all you have to do is just do what
he says. And that's what I learned back when he
was a little kid, is just do what he says
and it turns out great, and don't think about, you know,
vanity or anything like that, because he's got you know,
(24:31):
he's got the vision of the end result in his
mind and it's crystal clear, and it's better just to
let him go with it. And so we had a
great time, and especially in the dancing video, you know,
Steve and I got to watch a whole day of
these incredible dancers from every walk of life use their
(24:52):
bodies in ways that we're never going to be able
to do, and it was just fascinating to see them
one after another, just like respond to the music with
bodily movement in such a different style. It was you know,
it was really great that that happened. Of course, the
following day we shot in the beginning with Brendan, which
(25:14):
was hysterical, you know, And I'm no actors, so it
was really hard for me to keep a straight face
and not just burst out laughing every time Brendan would
improvise something hilarious.
Speaker 1 (25:26):
You know.
Speaker 3 (25:28):
We had. We had a great.
Speaker 2 (25:29):
Time for two guys who were so committed to your craft.
Is there still things that you want to learn about
the guitar and how to play it and how to
get more out of it?
Speaker 3 (25:43):
Yeah?
Speaker 4 (25:44):
I don't think that ever ends for for anybody that's
truly interested in something. And you know, I think when
Joe and I started, we were very naive in the
sense that we didn't know how hard life, you know,
is supposed to be, and we just very innocently just
(26:05):
did what we loved. And when a person does that,
it's I think it's rare that the gas runs out,
you know. So I know, for me, especially these days,
when the development of guitar technique from the underground players
is just really off the charts, I could watch them
(26:28):
and although I can't do what they do. I can
be inspired by them, and as you know, I know,
for me, like an athlete, you know, an elite athlete,
there's a window of your peak bodily functioning, you know.
And I think it's the same for virtuoso type musicians,
(26:52):
although for regular musicians that are songwriters, just players solo
here there, you know, there's there can be a longevity
in the playing with the virtuo, so you have to
adjust and move on at times, you know, as the
(27:14):
apparatus starts to slow down a bit. But in an
odd way, it's actually a blessing for me. I used
to play fast a lot of the time, and you
just get bored of it, you know, and you really
start searching, the search for meaningful note after note notes
(27:38):
and phrasing and quirky little touches to the note. It's
endless and it's interesting. So I don't think that never
goes away, and you don't really need to be a
virtuoso to manipulate the notes into something meaningful.
Speaker 3 (27:56):
Yeah. Yes, your question reminds me of something that happened
back stage the other night. We were just in the
tuning room where we just mess around and get ready
for the show, and for some reason, I start creeping
by Stevie Wonder and Greg picked up on it and
he knew the song, and we started talking about it
and Kenny was like, oh, I love that song. And
(28:19):
I related the story to Greg that when I heard
the first time I heard that song and the chorus came,
then it kind of changed my life because I thought,
you can do that, like in the first two chords
of a chorus, you can create that weird movement, and
because it went against everything that Steve and I were
(28:40):
learning from Bill Westcott at car Place High School about
music theory and you know, no parallel fifths and all
this kind of stuff, and all of a sudden, there's
Stevie Wonder, just beautiful, beautiful song and he's doing the
exact wrong thing and it sounds magical, and it kind
of reminded me of those moments where you're not expecting
(29:06):
to get this beautiful, eye opening moment when you're just
casually listening to some music. And back then it was
just Stevie Wonder was one of those artists that, you know,
my siblings and my parents would listen to. It was
one of those few artists that everybody in the house
would listen to. And these days, as Steve was saying,
(29:29):
you can watch on social media just amazing players from
around the world in every style, and at one point
you're going to go wow. You mean you can do
that with a guitar and it's inspiring and you may
not be able to do it, but it may be
just a stepping stone to something that maybe they didn't
(29:50):
think of, but they play a part in inspiring to
take it a step further, maybe in a slightly different direction,
you know.
Speaker 2 (30:01):
So in closing, since we call this podcast taking a Walk,
I have to ask you the signature question, which is,
if you could take a walk with someone living or dead,
who would you take a walk with? And where would
you take that walk? And more than one answer is
allowed if you'd like. But who wants to dive into that?
Speaker 1 (30:22):
Uh?
Speaker 3 (30:23):
That that lovely h question? I say, I'll do that.
I mean, I think, uh, this is kind of bizarre,
But I was just thinking it would be great you
could walk with Stephen Hawking and he could walk, which
would just be a joy to see him free of
his bodily problems. Uh. And and and perhaps uh on
(30:51):
the surface of the moon where we can somehow breathe
and not float away, and us talk about as we
look back at the planet Earth, we could talk about
what it's all about. That's great, Yeah, it is.
Speaker 4 (31:08):
Well, you know, there's been a lot of talk of
what Jesus Christ used to say, so I would be
interested in actually hearing what he actually said, you know,
get the straight scoop. Yeah, it'd be very very interesting,
you know. So yeah, I'd love to have a little
(31:28):
walk with Jesus And who knows, maybe he would will someday.
No anything, What.
Speaker 2 (31:36):
An incredible honor to talk to you too, lessons and
inspiration and creativity and collaboration and the joy of music.
Thatch Vy hitting the road the new album coming out
later in twenty twenty six. It's an honor having you
guys on and thank you for being on Taking.
Speaker 4 (31:59):
A Walk right on. Thanks buzz Yeah, thank you.
Speaker 2 (32:04):
I'm Buzznight and thanks for listening to the Taking a
Walk podcast. Now, please check out our companion podcasts produced
by Buzznight Media Productions with your host Lynn Hoffman music
Save Me, showcasing the healing power of music and comedy.
Save Me shining a light on how laughter is the
best Medicine. All shows are available on Apple Podcasts, Spotify,
(32:29):
and are part of the iHeart podcast network.
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