Along with his one-time teacher
Joe Satriani, six-string wizard Steve Vai set the standard for rock guitar virtuosity in the '80s. Born on June 6, 1960, and raised in Carle Place, NY, Vai became interested in the guitar via such legendary artists as
Jimi Hendrix,
Led Zeppelin, and
Alice Cooper as a teenager and, upon starting high school, took lessons with an older player from his high school,
Joe Satriani. Playing in several local bands, Vai quickly picked up on the instrument, and by the age of 18 was attending the renowned Berklee School of Music in Boston. As a student there, Vai transcribed several of
Frank Zappa's most technically demanding compositions for guitar, and even sent a copy of one such transcription, "Black Page," to
Zappa himself.
Zappa was so impressed with the young guitarist that upon meeting him, he invited Vai to join his band.
Subsequently, Vai toured the world with
Zappa (giving Vai the nicknames "Stunt Guitarist" and "Little Italian Virtuoso") and played on such albums as 1981's
Tinsel Town Rebellion and
You Are What You Is, 1982's
Ship Arriving Too Late, 1983's
Man from Utopia, plus 1984's
Them or Us and
Thing Fish, before leaving to set out on his own. First off was a pair of self-financed, recorded, and released solo albums in 1984,
Flex-Able and
Flex-Able Leftovers, both of which showcased Vai's guitar playing and songwriting talents, yet were still heavily influenced by
Zappa.
With
Van Halen all the rage by the mid-'80s due to their massive hard rock/pop crossover success, Vai replaced
Yngwie Malmsteen in a similarly styled outfit called
Alcatrazz (which featured former
Rainbow vocalist
Graham Bonnett), playing on their overlooked 1985 release
Disturbing the Peace. The same year, Vai made a cameo appearance in the movie
Crossroads (playing the devil's guitarist and shredding away in a guitar duel with
Ralph Macchio) and got an invite from his friend/bass master
Billy Sheehan to try out for the guitar spot in singer
David Lee Roth's solo band (
Roth had just split from
Van Halen), and eventually landed the gig. 1986 saw the debut release from
Roth and his stellar solo band,
Eat 'Em and Smile, which went on to become one of the year's top hard rock releases. Both Vai and
Sheehan were catapulted to superstardom due to their instrumental talents, as they took top honors in numerous guitar magazines for years afterward.
But although the quartet showed great promise,
Sheehan jumped ship just after their sophomore album,
Skyscraper, was issued in 1988. Although the album was more pop-based than its predecessor, it became another sizeable hit -- with Vai earning a co-producing credit on the album along with
Roth. The same year, Vai issued his own line of snazzy guitars, the Jem 777 series, via the Ibanez company. After the ensuing tour with
Roth wrapped up in late 1988, it was Vai's turn to jump ship. In addition to working on another solo album, he was invited to join up with chart-topping pop-metallists
Whitesnake, an offer he accepted. His one and only album with
Whitesnake,
Slip of the Tongue, was issued in 1989, as was his third solo album overall,
Passion and Warfare, a year later. The album was based on dreams that Vai experienced as a teenager, as the largely instrumental album became a sizeable hit, earning gold certification and solidifying Vai's standing as one of the top guitarists of the day. It was also around this time that Vai created a seven-string guitar through Ibanez. Although the instrument didn't catch on initially, it would by the mid- to late '90s, when the guitarists in such metal acts as
Korn and
Limp Bizkit would utilize the instrument to achieve super-low tunings.
After an extended hiatus, Vai formed his first conventional rock band (called...VAI) along with newcomer
Devin Townsend on vocals,
T.M. Stevens on bass, and
Terry Bozzio on drums -- offering their one and only album in 1993,
Sex & Religion. When the album proved to be a disappointment both critically and commercially, Vai returned back to all-instrumental work with the 1995 EP
Alien Love Secrets. For the remainder of the decade, Vai continued to issue solo releases, including 1996's
Fire Garden, 1998's
Flex-Able Leftovers (a re-release of his long out of print second solo album, with added tracks), and 1999's
The Ultra Zone. It was also during the late '90s that Vai and
Satriani reunited for an annual co-headlining tour (with a different third artist added each year), called G3, unleashing a live album,
G3: Live in Concert, in 1997.
The early 21st century saw a flurry of releases from Vai, including a compilation of instrumentals,
The 7th Song: Enchanting Guitar Melodies Archive, in 2000, and his first full-length live release,
Alive in an Ultra World, in 2001, as well as his mammoth career-encompassing ten-disc box set
The Secret Jewel Box. In 2002, he collected several pieces that he had contributed to films through the years, including the guitar duel from
Crossroads and the theme to
Bill and Ted's Bogus Journey and put them together in a 40-track collection called
The Elusive Light and Sound, Vol. 1. A series of compilations came next and after a five-year hiatus from the studio, Vai returned in 2005 with
Real Illusions: Reflections. A tour with
the Metropole Orchestra followed and he released a ambitious double live set documenting his performances, titled
Sound Theories, Vols. 1-2, in 2007.
Over the years, Vai guested on countless albums by other artists, including
Gregg Bissonette's self-titled debut and
Submarine,
Alice Cooper's
Hey Stoopid,
Randy Coven's
Funk Me Tender,
Al di Meola's
Infinite Desire,
Public Image Ltd.'s
Album,
Joe Jackson's
Symphony 1, and
Billy Sheehan's
Compression. He can also be found on such additional
Zappa releases as
Jazz from Hell,
Shut Up 'N Play Yer Guitar,
Guitar, and on several volumes of the ongoing
You Can't Do That on Stage Anymore series and the live tribute disc,
Zappa's Universe. As if his busy schedule weren't full enough, Vai pursued a lifelong interest when he began harvesting honey among five bee colonies in the backyard of his home.
1990 - Passion And Warfare
The fourth solo release from Megadeth guitarist Marty Friedman finds the guitarist mostly repeating the same formula that worked so well on Introduction. This time around, though, there is less emphasis on new age stylings in favor of a more rock-oriented approach. With the exception of the impressive "Rio" and "Farewell," there isn't much space here, which he used so well previously. There is also fewer solo space for his accompanying musicians, causing this to be a rather banal session. The vocal tracks "Last September" and "Live and Learn" may have been attempts to add variety; however, the bland arrangements and vocals just add to the session's unevenness. The session's best track, "Intoxicated," offers a glimpse of what Friedman could sound like if he shelved some of his stereotypical metal riffing. It wasn't likely that Friedman would top Introduction, but it wasn't expected that this cerebral guitarist would show signs of stagnation and even regression.
