last updated 10/11/99
Robert Fripp
Kenny Wayne Shepherd
Joe Satriani
The Jam (Fripp, KWS, Vai & Satch)
10/11/97 - Memphis, TN
OK, so I've been waiting forever for G3 to come to Memphis, the nearest venue to where I reside in the middle of nowhere, and the show was originally canceled last July. I bought my ticket in June, and I was in row 21, yet a friend of mine who bought his in September was in the 12th row. For those of you who don't already know - Ticketmaster sucks!!
I arrived way too early (5:15), picked up my aftershow passes (6:00) that God-of-all-things-Vai Rich Pike (subliminal suggestion: subscribe to Greasy Kids Stuff now and get these kinds of perks!) got for me, and headed on over to Mud Island via the tram (featured prominently in "The Firm", the tram and walkway are the only pedestrian connections to the venue). Fripp was serenading the empty amphitheater as I arrived. Ever the eccentric, he would occasionally leave his instruments and simply stand on the corner of the stage while the music continued to play and bask in whatever applause the moderately confused audience saw fit to bestow upon him. Mike Keneally joined him briefly for a lovely jam, and basically that was that.
Kenny Wayne Shepherd hit the stage around 7:30. I'm not familiar enough with his repertoire, so i can't provide a song list other than "The Good Die Young" and "Slow Ride" (NO - not Foghat!). Suffice it to say he played competently and the band was tight. They concluded with a slamming version of "Voodoo Chile" and there was much excitement all around...
..which of course, to me, paled in the face of the excitement elicited by the explosion and siren blares that open "There's a Fire in the House". I've never seen Vai live and I must say it was everything I hoped it would be. The man is a consummate stage entertainer and musician. After a brief conversation between Vai's and Keneally's guitars in a language of string noise similar to that made between Vai and Dweezil in Zappa's Universe, "The Crying Machine" began. I'm not sure of the exact order of things, but eventually played were "Tender Surrender", "Answers" - with a brief "Little Green Men" intro, "For the Love of God", "Angel Food", "I Would Love To" (YES!!), and "The Attitude Song". Truly a near-orgasmic experience. It reminded me of the days of yore when rock and roll was about having fun, and it's says a lot about Steve that he can excite a rock crowd without a vocalist. God, I wish I could've seen him with Roth...
A brief interlude between sets and then the lights dim as "Cool #9" begins playing. Again, I'm not sure of the order, but eventually "The Mystical Potato Head Groove Thing" (YES!!), "Flying In A Blue Dream", "Surfing With the Alien", "Ice Nine", "Satch Boogie", "Summer Song", "Always With Me, Always With You", and Stu Hamm's solo rounded out the set. It was a 'greatest hits' package for Joe, with only one song from the latest album. Joe's lengthy finale ("Surfing" I think) was long enough for me to run to the bathroom and back to beat the crowd. Thanks, Joe!
"That was when the jamming started" (Alert guitar nuts out there e-mail me if that quote sounds familiar; it's from another Southern California instrumental guitar whizbang) Same jams as always - "Goin' Down", "My Guitar Wants To Kill Your Mama", and "Red House". You think they'd have gotten tired of these songs by now. It was often a G4 jam, with Fripp adding his wonderfully bizarre twists to these basic blues tunes.
The show is over, and I take my aftershow passes that Rich "God" Pike got for me, and sit down at the house left side of the ampitheatre, which will serve as the aftershow meet-and-greet area. I got autographs out of everybody, had Joe and Steve sign a Guitar World poster that featured the two of them, and had Keneally sign my Beer For Dolphins CD insert. Hamm, Mangini, and Bynoe signed my tour program. I almost didn't get Stu, he was on his way out when I asked him for his autograph - a situation Keneally best described as a fine example of "Hamm-grabbing". I got a photo with Joe and Keneally, but not with Steve since he ducked out kinda quick. I did chat at length with Mangini and Keneally (Mike and Mike), who were both entertaining as hell and deserve their own sitcom. Keneally was the only person to recognize the t-shirt I was wearing - my Michael Manring "Thonk" tour shirt - and god bless him, he's a lovely man. Mangini was telling me about his new "Rhythm Knowledge" books with the fervor and enthusiasm of a converted Hare Krishna, so everyone look into his stuff - it's all about practice method and applies to all instruments. I wish I could have taken them all out for a beer or something, those guys are 23 barrels of monkeys.
On my way out of the venue, I chatted with Larry Menshouse, who came all the way from Kentucky (which proves that he's even more insane than I am). He showed me pictures of his children - his Jems of course, and gave me a ride back to my car via the scenic route of Danny Thomas blvd. It's always cool to meet 'net buds in real time.
So, before G3 rides off into the sunset (the tour ended this week), I just want to say that, dammit, we need more of this kind of stuff in the world. If more people played guitar, we wouldn't have war, famine, disease, bigotry, Jerry Springer re-runs, $2.50 12oz water bottles, or any of this Puff Daddy business. The US would truly be, as the immortal poet and statesman George Clinton put it, "One Nation Under A Groove." Thank you very much - good night Cleveland!!
Colter "Plantboy" McCorkindale
10/11/97 - Memphis, TN
Robert Fripp opened with Mike Keneally joining for a few songs. This is the perfect for people filtering into the amphitheater and for getting ready for the show that is on the way.
Kenny Wayne Shepherd played next. He was better than I remembered from Cleveland G3 (6/24/97). He played a couple of songs from the new album which sounded more like rock than blues. I liked them. He finished with Voodoo Chile with an extended solo.
Steve Vai then came to do his magic. Steve came out wearing a black suit with red Japanese characters on the sides of the arms. He had a yellow/orange silk shirt underneath. I had not seen either before. He opened with "There's a Fire in the House" playing his "bad-horsie" non finished ash bodied JEM7VWH. He was extremely energetic and did things I had previously only seen him do with the "Lasher guitar" such as hold the guitar by the strap and spin, the "toss the guitar over the shoulder" around the body spin (think of Poison), and generally went nuts. KILLER Mike played a JEM7VWH.
The next song was "The Crying Machine. He had not played this one live at the previous G3 shows I had attended (10/30/96 and 6/24/97). It was executed with much energy and no noticeable problems. Steve played his main axe EVO, which appeared to have chrome hardware now. Mike Keneally played a Red Jem/RG. This guitar had a body without the Monkey grip and was painted in a wine red color. I was unable to tell if it had the lions claw trem cutout. It was rear mounted with a clear pickguard. The neck was straight from a JEM7VWH with gold hardware including gold tremolo.
Tender Surrender was the next song. Steve played a JEM7VWH and was amazing as always on this song. JUST INCREDIBLE. toward the end, after the "climax" and pause, they launched into a couple of bars of "These are a Few of MY Favorite Things" from "The Sound of Music." They then finished Tender Surrender. Very interesting they way they did that.
The band then played "I would Love to." During this song Mike played keys and had a short, 8 bar? or so solo. Steve also took liberty, and played over the chord changes differently from the song, extending it out quite a bit. He then finished the song much as recorded. Another Moment from this show. Steve Played the same JEM7VWH for this song as for "Tender Surrender."
The acoustic was then wheeled out and Steve performed "Angel Food." Very good performance of this and was by FAR the best of the live performances I had heard (G3-6/24/97 and FG 12/10/97).
EVO was then brought back out and Steve and Mike had a slight duel, guitar vs. keyboards. Very short. Steve then made the characteristic beginning to "Answers" as heard on the G3 CD and video (the lead in) but started "The Boy/Girl song." They played only about 3 or 4 bars of this and then immediately began "Answers." Toward the end of the song, They did the crowd participation thing and feedback thing, as seen on the G3 video.
"For the Love of God" was next. Steve played EVO and Mike played the coral sitar. I think I will always be amazed when Steve plays this..... it gives me goose bumps. To finish the set, "The Attitude Song" was played. Steve Played EVO and Mike the red "Jem/RG." This song was much like heard on the G3 CD and Video. Overall, This was Steve's best set of the 3 G3 shows I had the good fortune to see.
Joe was last and played "Cool #9." He used a chrome JS model. Next was "Ice 9" and he used the same guitar. "Summer Song" came after and then a guitar change. He switched to another chrome JS model, although this one appeared very worn where his right arm rests. It actually appeared white at times due to the many small scratches. With this guitar, he played "Flying in a Blue Dream" and "Mystical Potato Head Groove Thing."
He then changed to an "electric rainbow" JS model and played "Always with You, Always with Me." Stu Hamm had his solo at the end of this song and played "Moonlight Sonata" as in Cleveland. He had played the "Peanuts Theme" in Columbus 10/30/97. Stu is amazing. Joe then switched back to the "worn" chrome JS and played about 2 bars of "Green Acres" before launching into "Satch Boogie." "Surfing with the Alien" was next to finish the set.
The Jam was next with "Going Down." Steve used EVO thru-out and was straight from EVO to a Boss DS-1 to his Bogner head it appeared. He actually made an adjustment to the DS-1 right before his solo. "My Guitar Wants to Kill your Momma" was next with Steve and Mike Keneally on vocals. "Red House" finished the night.
All I can say is WOW, Hope everyone got a chance to see G3.
Larry Menshouse
9/28/97 - Portland, OR
Hi Glen, I wanted to write to you about my G3 experience in Portland, OR on Sept 28, 1997. I brought my JEM 7VWH for a Vai signing.
I bought the "Meet and Greet" tickets, one for me, and one for my father. We were in the 3rd row front. We were to meet there at 3:30pm for the greet, but after waiting an hour in the hot sun (the concert was outdoors), Satch didn't show so they delayed it till the evening. We listened to Fripp for a while, and Mike came out with his green strat and played along too. I brought my 35 mm camera with a 300 mm lens and snapped off a few close-ups. I asked permission from one of the security guards first, and he said I could take pictures. After Fripp was done, and Kenny was coming out, another security guard came over to me and said I could NOT take pictures! Make up their minds dammit! Fearing the loss of my $1000 camera, I put it away.
Kenny came out and performed well. I was very surprised at his performance. I was really waiting for Vai, however.
After Shepherd was done, Vai came out with Fire in the House (with Bad H. JEM). Excellent!!! I loved every second of his performance. After he was done, Satch did his thing and the Jam session started. The crowd went wild and stormed the front of the stadium. Seeing my chance, I snapped off 11 pictures in a matter of seconds, not even grabbing the attention of the overburdened security! I got REALLY good shots. Anyway the show was over and the Meet and Greet was about to happen.
After an hour of chaos and poor organizing, we finally all got in line to meet them. We were hearing rumors that Vai may leave to see the Prince concert going on in the auditorium on the other side of the river. I looked ahead and saw Vai signing, so I thought he would stay. It took about 45 minutes to get through the line and security were real butt heads, rushing us through at intense speeds. One autograph per person. It was nearing my time, and I handed over my camera to my father, telling him to snap off some pictures during the signing. I approached and a guard grabbed my guitar case and told me to open it. Startled, I opened it and he said 'here! Hold it like this!'. I held it and got my concert ticket out. I handed it to the first in line, Kenny, and he signed it. I said 'thanks' and he nodded. Next was the man, Vai. I was nervous, hands shaking, I passed the guitar onto the master. He said 'Oh, you have the nice one!' and signed it! I was shocked when he looked up at me and smiled. I smiled back, speechless and took the guitar from his long fingered hands. I totally pass Joe and put my guitar into my case, waiting at the other end of the table. I took my VIP pass and set it in front of Joe and he signed it.
Overall, it was not what I expected. Very unorganized on the part of River Queen Showplace. They could of made it a better experience for $84 a ticket! I did get to meet the masters, so I guess I can't complain too much. Thank you for reading!
6/21/97 - Holmdel, NJ
Having had the pleasure to see last fall's G3 Tour, I was eagerly anticipating this years show. Upon hearing the new lineup, I figured this years show would not suffer and rather would be bolstered. As a huge SRV fan & having saw him live in '85 & '86, I felt that Kenny Wayne had the potential to upgrade the show and help resurrect the guitar hero. Nothing against Eric Johnson, but my gut instinct was that KWS would be a better fit with Vai & Satch. I was really hoping to see Gary Hoey added to G3, but maybe next year.
Almost 45 minutes before the designated start time, Robert Fripp came on stage and began the show. He sat on a stool surrounded by a large pedal board, Eventide's and amp. He used the massive processing to create a tranquil environment while people filtered in. Many did not even realize that Fripp was playing because it sounded nothing like a traditional guitar. I thought it created a cool aura with the haunted house tones, rhythmic delays and multitude of harmonies and sound samples. The nice thing about Fripp was that for outdoor shows, you can hang back and enjoy the music without feeling obligated to go to your seat & watch. Visually there is not much to see so you can enjoy yourself outdoors & get the background vibe.
Kenny Wayne Shepherd was next up and he opened with a thunderous version of SRV tribute song Down to the Bone. He went thru the first four songs on "Ledbetter Heights" tearing into every song with authority. On "Aberdeen" KWS played a resonator guitar tuned with a slide. The acoustic intro had the fans clapping along with the band. If anyone know this exact guitar, please e-mail. The tone was straight off Led Zep III. Kenny Wayne closed with a tribute to Hendrix, including a nice rendition of Voodoo Chile.
We all knew that Vai was next, and personally this is what I was looking forward to most. On last years G3, Vai unfortunately played first. This is a bad idea because his huge stage presence makes him a tough act to follow. Luckily KWS had us primed with his stellar playing so when Vai broke into "There's a Fire in the House" the crowd went nuts. The stage was rushed, but my friend & I maintained our 5th row seating to protect our "belongings". Vai donned a funky headband and retro look keeping his "superstar" aura and huge stage presence. Of course he played the bare ash "Bad Horsie" JEM and got off. Security finally returned everyone to their seats, but not before Vai broke a string on his EVO guitar during the second song, "The Animal". EVO didn't even make it thru it's first song so his tech Buddy B. (and Rich P. look alike ;-) brought out Vai's replacement, a 7VWH with half vine neck with dots from frets 12-24. It was missing the "Vai" logo from the 555s 24th fret so it's a custom neck on a 7VWH body. As if I had to tell 'ya, Vai's playing was at his customary, jaw dropping level. "Deepness" came next, and while this song is really impressive on the CD, it's more amazing live. From there Vai cut into "Tender Surrender" and blazed through that with extended soloing and improvisation. "Little Alligator" was next with Steve on vocals w/ his EVO guitar and the amazing Mike Keneally on rhythms.
The next song was a real treat, even though it displaced one of my favorites "Bad Horsie" from the lineup. "Angel Food" was introduced into the set with Vai playing a Carvin acoustic mounted on a stand, while Mike K. cut loose on the keys. The guitar stand was on the left side of stage, so sadly, my viewpoint was poor as I was right of center stage, Luckily it sounded amazing, as it was a treat to our ears and an unexpected surprise.
The pinnacle of the Vai set was approaching. Vai resuscitated EVO and blazed into "Answers". Since PAW, is perhaps my favorite album of all time, hearing these songs live and played beyond perfection can nearly give you the chills. Of course "For the Love of God" was next, which was as amazing as ever. The only twinge of disappointment was knowing that only one Vai song would remain. Luckily this song was my first exposure to Vai years ago. "The Attitude Song" was the last song and as you all know, was played along with Mike K. Unfortunately, Mike had technical difficulties with two guitars, but the song rocked on. They got it together for the grand cadenza capping off a tremendous show.
Before leaving the stage, Vai announced "the show has just begun" and he did not lie. At last years G3 show I attended, EJ & Satch's guitars were not loud enough in the mix. Perhaps it was because we were dead center in the front. Luckily this time out Satch sounded great, as we were able to hear every note with clarity. The setlist is on the site here, so I want to editorialize more than give a blow-by-blow account like I did for Vai's set.
Satch was dead on perfect. Maybe it was the sound or EJ's subdued performance that set the tone wrong for last year's G3 show, but this time around Satch was back. I have to search for Satch w/ Deep Purple bootlegs now. Having been a Satch fan since Surfin' broke, I was excited to see Joe with a ton of fans supporting him. I always loved his music and his albums are probably more balanced to my tastes than Vai's when taken as a whole. Satch played great and sounded even better. The only glitch with Satch's set that both myself and my friend perceived is that Stu Hamm was mixed too loud and overplayed at times. I'm sure many think this is blasphemous, but the bass is critical for rhythm in a 3-piece band. Stu's talents are legendary, but his overplaying and bass-heavy mix totally drowned out Satch in "Ice #9" & "Mystical Potato Head". We both thought Stu's "Solo" was a bit drawn out too. It started out nice with cool two-handed stuff, then broke down to corn-ball Hey-Haw type riffs that many in the crowd loved. I guess we were outnumbered. For JS guitar owners, Satch played his Chrome Ibanez JS guitar for every song, except the "Rain Forest" guitar which was used for "Mystical Potato...." & "Always With You...".
Satch's band remained on-stage as Fripp, KWS & Vai took the stage. Vai plugged straight into his Bogner Ecstasy & 4x12 Marshall cabinet. They immediately ripped into "Goin Down" trading off solos. Mike K. came out for vocals during "My Guitar..." and KWS' vocalist finished up with "You Really Got Me" and "Red House". See the previous G3 page for details on solo orders. A standing-O followed as they saluted the crowd after the amazing 4+ hour show. G3 '97 was a rousing success... I look forward to next year's show or perhaps a 2nd time thru town when the tour resumes. Before leaving the show my friend & I had a special treat, but that story is for another day.
My thanks go out to Fripp, the KWS band, the JS band and especially Vai & Co. for making G3 '97 such a special event. The fine memories will last a lifetime.
Glen G.Cianciulli, DC
Jemsite.com
6/20/97 - Jones Beach, LI
6/21/97 - Holmdel, NJ
When the 1997 G3 tour hit the shores of North America this spring, exactly what was to be expected was unknown, but the expectation was high. Remember that the G3 tour only just left the stage at the end of 1996, and the seats are still smoking from most of those dates. The 1996 G3 lineup of Joe Satriani, Steve Vai, Eric Johnson and Adrian Legg was the dream-team of electric guitar masters. Satriani's assembly of the team and the entire G3 concept had become a reality and a smashing success - how could this continue? Well, there's always 1997.
The reviews from the 1997 European leg were clear, the G3 tour was on another full-whammy guitar assault mission that was winning the audience city by city. This time with a new lineup planned for North America, what will the outcome be? The 1997 G3 lineup includes Joe Satriani, Steve Vai, rock-blues artist Kenny Wayne Shepherd and special guest Robert Fripp, who most will remember as the guitar-wizard of King Crimson. With the 1996 tour in the rear view, a brand new CD ( G3 LIVE , Epic Records Group) released that truly captures the essence the of the 1996 tour (individual efforts by Satriani,Vai,Johnson and the mega-jams featuring all three guitarists) - ok, how do you top that?
Exactly what they were thinking came to life for this fan at Jones Beach Theater on Long Island (LI celebrates the home town for both Satriani and Vai) and at the PNC Arts Center in Holmdel, New Jersey. Both shows were stellar performances across the board for all the artists, and the jam sessions included some favorites and surprises. The Jones Beach Show, an outdoor venue was the first time I got to hear the crying and crunching of the guitar solos and songs shared with the open air, allowed to drift across the beach carried by the evening breeze, on the first day of summer; 1997. The PNC Bank Arts Center, also an outdoor venue provided a open, yet more intimate setting, bringing the artists to the front of the stage, only feet from the fans, something that brings out the best in both Steve Vai and Joe Satriani.
The 1997 tour breaks away from the 1996 version in format as well as lineup. As the audience takes there seats, mills around and settles in for the evening, Robert Fripp is already on stage performing - no introduction, he is just there . The crowd sits back, and the speakers present the "sound-scapes" produced from Fripp's lone guitar. His lone guitar is connected to a mass of pedals, monitors and screens that give him access to thousands and thousands sounds and combinations of sounds. At one point, you could feel the music take you away into a deep European church and then you exit through a door of sheer water and fall into yet another picture . As the crowd fills he the seats, he is done and quietly leaves the stage to applause, having never been introduced, but needing no introduction. Fripp returns later in the show to join his tour-mates.
The stage is taken by Kenny Wayne Shepherd and the Kenny Wayne Shepherd Band, and you know it's Blues Time. Performing many songs from his latest CD, "Ledbetter Nights", the band works each song as if it was the first time performed. An unmistakable energy is set loose by the 18-year old guitarist that many people are watching to see what he ll do next. Kenny Wayne exercises the classic Fender Stratocaster blues a a fresh level, showing respect and a masters degree from those who have come before him, but yet with a new edge that often breaks the mold, mixing well formed blues patterns with rock and roll speed. To ensure that he is not "molded" in any particular way, most of Kenny's band rolls of the stage and he is left with the "power trio" formation of guitar, bass and drums to break into the classic Jimi Hendrix tune "Voodoo Child". He makes the song his own, mixing some of the Jimi licks and pick-drags with deep grinding low tones and fast responses. The crowd sits, jaws to the floor as he finishes up and leaves the stage to standing cheers. Whatever Kenny Wayne is planning for the future, he just enlisted 9,000 volunteers that want the first samples.
Clear up the stage, and to answer to red lights and sirens blaring is Steve Vai. Steve and his band never disappoint, musically or in their show-stopping-stage- stomping production. Picking songs from his recent "Fire Garden" CD, he commands himself and his band to reach higher and higher. At one point he's a Zen-Lunatic-Guitar master and then like a conductor of a 100 piece orchestra he guides the band from song to song. Mr. Vai and crew go from the sonic sailing of "For The Love of God" and then drops the listeners to the raw-floor with the pure energy of the "Attitude Song". Also, the colors that Steve Vai paints with are not from one side of the rainbow, he performs beautiful music, yes, on an acoustic guitar that shows his depth and experience in composition. Steve Vai has soaked up the best of the best in the music world and now finds the directions to shoot at the moon every chance he gets. His band, is multi-instrumental and a critcial part of the show he produces. Before leaving the stage, he is quick to inform the audience that: "The evening has just begun!".
The stage is changed again, this time for good and as the first teasing notes are heard from the guitar, it's unmistakable - Joe Satriani is coming out to play his guitar and the roar grows from the entire crowd. This reviewer, sitting in the center notices as Joe starts a long "Cool #9" , the full summer moon rising and is visible through the black towers along side the stage. Joe Satriani performs his songs in a no-muss, no-fuss fashion, performing in jeans and only the best $5.00 T-shirts money can buy. His orchestra is his long time associates Stu Hamm on bass and Jeff Campitelli on drums and the fret-board of his "Chrome-Boy". Thats all Joe Satriani needs tonight. The opener leaves the stage dripping of things to come. Joe cuts into "Summer Song", how appropriate on such a fine evening, the crowd reacts and the pounding beat gets the folks to their feet. The classic "Flying In A Blue Dream" is presented, where most of the un-initiated Satriani live listeners loose their grip and realize why he alone has done more for the new-life of instrumental guitar music than anyone.
Joe Satriani loves to play the guitar; and to this end gives the audience a reel treat. He reaches back into his catalog of CDs and pulls up not one but two tunes from his breakthrough "Surfin With The Alien" CD, "ICE NINE" and his Grammy Award nominated "Always With Me, Always With You". Could there be more? But of course! Another tune from the "Flyin" CD, " Mystically Potato Groove Thing" is let loose, a favorite of mine. And not to leave it out, "Satch" cuts a slice a mile wide with the "Satch Boogie" and the entire audience knows what Joe loves to do best - play. Joe's attack is unforgiving, a mixture of pure rock & roll energy with the technical skills of a surgeon. The stage is left undisturbed at one point so that Stu Hamm can demonstrate exactly what a bass guitar is built for - music! Stu plays some cover, (She's So Heavy) and spins in some country pickin , yes, on bass - I never thought he would take me past his "Linus and Lucy" solo on last years tour, but he has done it again. Joe has brought the crowd to the point that they wanted to be, on the edge.
Joe keeps the stage and is joined by Steve Vai, Kenny Wayne Shepherd and Robert Fripp (along with members of their bands) to do a little jamming. A little jamming is like calling the Atlantic "a little water". Together, they tear off into "Goin Down" (featured on the new G3 LIVE CD) and light up the night. Taking their turns on solos, the crowd gets to hear each individual inject their stlyes into this classic song. The Steve Vai song, "My Guitar Wants to Kill Your Momma" is next on the plate offering some outstanding opportunities for Mike K (of Vai's band) to get into the act by providing vocals and double-teaming the neck of Joe's guitar!
The next tune is a hat-trick, the Kink's "You Really Got Me" is pulled by the roots and leveled by each guitar master, a real crowd pleaser, no one is sitting anymore. To get some balance and to allow the crowd not to crash into the ground, the Jimi Hendrix "Red House" is jammed. Here Kenny Wayne, Joe and Steve expose their roots - Blues and Rock & Rock. All guitarists seem at home with this tune and to say that they do it justice is a understatement.
The show comes to a close. Both the Jones Beach and the PNC Arts shows are exactly more than the crowd expects; they are left with wondering why they get so much music for so few dollars, I felt as if I owed them something.
The G3 experience is one-of-a-kind; Joe Satriani conceived and brought the concert out to the public not once, but twice. Across the board, they are all experts at the feelings they convey with wood and steel, but I remind that it's not so amazing that great players can play great, but you must remember that they HEAR this music long before it finds it's way to the fingers and fretboard - that's a musician s-musician. G3 provided it all.
So now, what happens? Well, there's always 1998!
John R. Riccio
Guitarist and Fan
6/18/97 - Philadelphia, PA
The June 18th G3 show was AWESOME, to say the least. The show was moved from its original location of the E-center in Camden to the Electric Factory in Philly. Many people didn't like this because of the hassle that it caused, but it only made the show better. It went from specified seating to general admission! Needless to say I got there very early to insure a front row spot.
When we got to go inside, we got to our fron row seats and Robert Fripp began to play, if that's what you can call it. All he did was play through a huge rack system headed by two Eventides. The orchestral sounds that he (or rather the Eventides) produced were very cool. It got a bit long but the finale was great.
Next, Kenny Wayne Sheperd came out. His great blues riffs rocked the crowd through the originals and covers that were played. He has a great instinct and feel for the fretboard. I think that is what makes his sound so good. Overall, he put on a great show.
Now, the moment I was waiting for. I knew that Vai was coming on next by the set that was being brought out. My anticapation grew as everything was being completed and I saw stage hand grab one of Vai's Jems and take it backstage. He came out playing "There's a Fire In The House" substantially louder than KWS. Everyone was kind of taken back by the loudness that Vai's entourage was producing. He was incredible!! Played all the songs that I expected. His blazing technique blew my mind as usual. It was just incredible.
Next, Satriani came out and put on another excellent performance. His technique is so clean and precise, it's easy to see how he has gotten as far as he has. Stu's bass solo was great. I loved it. Very entertaining and skillful. Satriani's set ended with "Surfing With The Alien" that was insane.
Satriani stayed on stage and talked with the crowd a little and then introduced Vai and KWS along with Fripp back on stage to do an encore. The did the usual three songs and were absolutely astounding. I could really talk about each aspect of this show for pages, so that is why this review is so brief. Basically, my advice is go see a G3 show and you'll be left speachless like many of us have been so far. After the show, my girlfriend and I wandered to the back of the building where we saw the buses and about 15 other people. We were tired and deaf, but there was no way we were leaving if there was a chance we could meet the performers. After a little wait, about an hour, KWS came out and signed some autographs along with his band and Vai and Satch's band. I talked for a little with Mike Keneally and Stu Hamm. Both were very cool people very good personalities and funny. Then, Vai and Satch came out. We didn't have too much time with them, because their time was limited, but it was enough. Just to have a few moments with these two men who have been so influential on me was a small part of a dream come true.
Dave Weiner
5/23/97 - Rotterdam
It was May 23rd, when 7 friends and I entered the concert hall. The atmosphere was very relaxed and we were able to get pretty close to the stage. Even then it was obvious most people came to see the great Satch: the hall was pretty empty.
Adrian Legg opened the gig right on time, playing his beautiful country-type song in which he keeps retuning several strings in order to create that twanky sound. This guy has some awesome technique! Unfortunately, his sound mostly just drowned, due to the fact that he used massive delay. The acoustics of the concert hall didn't help, either. Visually, the guy is not very interesting, but musically he's one of the best acoustic guitar players I have ever seen! He's sooo concentrated. Still, after 45 minutes we got a little bored. His music is excellent for a quiet evening at home, drowning you in beatiful tunes skillfully played.
When AL was finished, the lights went out, creating that tense atmosphere of anticipation. I was afraid Steve Vai would come second and my fears became reality. All of a sudden... WHAM! "There's a fire in the house" starts. I go nuts! This is the first time I'm going to see Vai and the thrill is great. Just before playing TAFITH, Steve steps on his wah and does the talking guitar stuff from Yankee Rose. I loved that! It's something that I like so much about Frank Zappa, too: conceptual continuity and a lot of musical jokes. Then: total bummer. The sound is awful. There's a lot of drums and bass, but where the f**k is Vai's guitar sound? All through the song the sound is bad. During the second song ("I would love to") it clears up.
You can imagine that I was overwhelmed by the sheer craftmanship and virtuosity Vai displayed, so you'll probably forgive me for not remembering the set list. What still lives on in my mind is the overall feel. Without overreacting, I can say Vai was the best I have ever seen! This guy knows what he is doing. Everything he did had a point, and he made sure the point came across.
The best part of his show? After he played Ballerina 12/24 - Excellent! - he starts breathing heavily into his mike. I'm going: "Oh my God, he's gonna do it! He's gonna DO it!" Well... he didn't. He had me by the balls! As nice as he is, of course he DID play "For the love of God" later. It was perfect. Not just the song, but the way he built it in the show, with so much tension! A lot of people around me, who came to see JS, were also overwhelmed by Vai's show.
The grand finale was even better than I had expected. I never would have thought he'd play one of my alltime favorites: "The Attitude Song". My good friend and ex-guitar teacher, who was a Vai fanatic for a long time, dropped his jaw. And he had seen Vai four times before! We both enjoyed the conceptual continuity he showcased (we're both Zappa-freaks, sorry!). Steve's show was, in short, a perfect combination of just about everything which makes a concert great: professionalism, good music and a lot of humor!
The whole crowd knew what was up next: Joe Satriani! Allthough I dig Satch probably just about as much as you do, he didn't reach Steve's level. He's a great player and very professional, but his show lacked the aspects which made Steve's show so great. After releasing "Time Machine" and playing at the North Sea Jazz Festival in The Hague last summer, I knew what to expect. He delivered his stuff, for sure, but his show wasn't much different from the one I had seen in '93.
The stuff Joe and Steve played together was amazing. Having a lot of fun, they ripped through the three songs together (no Eric Johnson for us Europeans). "Our" version of "My guitar wants to kill your mama" was way better than the one on CD! It looked like it was another tribute to FZ, done with a lot of good memories and love on behalf of Steve's part. BTW - Steve sang "Red House". He sang it much better than EJ does on CD. He actually looked like he meant it!
The funniest remark of the evening? My girlfriend said to me: "Vai has a perfect body, except for his face." Yeah, right! We came to the show to check out his body... NOT! BTW - she liked the show as much as I did.
Nico Meijer