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JOE SATR I AN I Black Swans and lfformhole Wizards
2 Iretradu*tion 4 Premonition I"S Drearn Song 95 Pyrrhic trIic*oria 34 Light lilears Away 42 Solitude 43 Littleworth Lane 56 The Golden Roorn 66 'Wormhole Two Sides to Every Story Wizards 72 79 Wind in the T?ees 88 God Is Crying 96 Guitar Notation
Legend
Transcribed by Paul Pappas
Cherry Lane Music Company Director of Publications/Project Editor: Mark Phillips ISBN : 978-1-60378-31 2-5 Copyright @ 2011 Cherry Lane Music Company lnternational Copyright Secured All Rights Reserved
The music, text, design and graphics in this publication are protected by copyright lal. Any duplication or transmission, by any means, electronic, mechanical, photocopying. recording or othenryise, is an infringement of copyright.
visit our website at www.cherrylaneprint.com
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Some changes in the recording process were welcomed, however: When Satch and co-producer Mike Fraser (whose
credits include AC/DC, Metallica, Aerosmith, as well as several Satriani albums, such as Crystal Planet, ls There Love in Space?, and Super Colossal) convened in late spring at George Lucas's Skywalker Sound Studios in Marin, California,
along with longtime band drummer and percussionist Jeff Campitelli, they added a couple of new faces to the mix. Bassist Allen Whitman from the San Francisco-based band the Mermen was brought onboard ("he has such a unique style," raves Satriani; "he's a very creative rock and grooveoriented player"), as was keyboardist Mike Keneally, who has played with everyone from Steve Vai to Screamin' Jay Hawkins. "Every time you hear a simple keyboard swell or something that sounds very synth-y, that's me," says Satriani. "And any time you hear the piano and keyboards being played really well, that's Mike!"
The new lineup of players challenged Satch, but in ways he relished. To "Light Years Away," a tough, gritty stomper. they pushed the guitarist to bring his "big rock moments" to the forefront; and on the funky yet sweeping "Pyrrhic Victoria''
(the phrase "Pyrrhic victory" means "winning at a great cost"), what sounds like a rousing finale is but a precursor to another, more overwhelming coda. "0n a song like that. because of its very theme, you have to go through some sort of physical sacrifice," says Satriani. "The guys in the band helped me to not let up." Returning to the album's cathartic, intimate theme, Ihe jazzy, almost George Benson-ish "Two Sides to Every Story" is another song in which Satriani pays homage to his mother. "My mom turned me on to Eddie Harris, a brilliant saxophone player," Satriani explains. He had a lot of songs that cross genres, and he was really great with odd times. When I wrote the piece, I knew it was Eddie Harris, and again I knew I was
tipping my hat to my mom, for the musical education she instilled in me." The guitarist recalls both of his parents in the stirring solo electric guitar interlude "Solitude," which at first c0ncerns the need to "be alone with one's soul; but ultimately I realized I was channeling my folks, thinking of where they would go mentally in their need for reflection." Satriani kicks up some musical dirt on the gonzo but equally soul-baring "Wind in the Trees." Remembering how he loved
to sit by his bedroom window as a kid on Long lsland and listen to the sound of leaves being whipped around, Satriani ran his guitar through the pitch correction software AutoTune (frequently used by singers and rappers, but seldom utilized by instrumentalists) to re-create a surreal, yet wistf ul, memory. "l just cranked it to full-on Auto-Tune destruction mode," he laughs, "and it really did sound like gusts of wind blowing tree branches every which way. Crazy stuff."
Wi zarctr,s
0n the album-closing "G0d ls Crying," Satch puls :,: the stops, unleashing torrents of shred-tastic guita: i' track that ranks as one of his most panoramic of etfor:s
:
'
don't want to say that I was intentionally holding back on i^; blazing guitar throughout the record," he says, "but e'.'err song is about choices. How many notes? What notes? When writing this song, I started thinking about the c0ncept of God and what He would do if He actually came down to Earth-l mean, physically. And I thought, He'd probably start crying at all the things we've done. To properly convey that message,
I
couldn't hold back on my instrument.
I
let loose
with
everything I had."
Like its creator, Black Swans and Wormhole Wizards is an album that asks as many questions as it answers. But unlike
most records where you know exactly where each song
is
going to go, it takes off in a multitude of dizzying, disorienting
directions, probing the human condition and proving once again that Joe Satriani is one of the world's most gifted and
inventive instrumentalists and comp0sers working today. Like the black s,,"an. hes a shape-shifter. Aftists of his caliber don't come along e',ren,day. and neither do records like this.
-Joe
Bosso
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By Joe Satriani
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BmTadd4
Emiadd4
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ONIC3'I NOIIVION HVIINC
Premonition Dream Song Pyrrhic Victoria Light Years Away Solitude
Littleworth Lane
The Golden Room Two Sides to Every Story Wormhole Wizards Wind in the Trees God Is Crying
@:l',g:ltJ:1": ZFfi;:L=.;*it"' L-coRPoFtA-rtoN
u.s. s22.99
I SBN BN!978-1-60378-312-5
52299
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