| | Steve Vai Where The Wild Things Are CD Steve Vai Discography of CDs
Taken from a two hour and 40 minute sold out show recorded at The State theatre in Minneapolis, WHERE THE WILD THINGS ARE is yet another live showcase of meticulously mapped Steve Vai compositions. Much of the material is new, and tested out in front of an unfamiliar but eager audience, with Vai exercising his chops to the limits. It's a chance for him to bust out every trick in the book: blazing through ridiculously difficult scales, double hand-tapping extravaganzas (where he plays the guitar like a piano), and sick string bends and whammy bombs to the point where his custom Jem neck should be left, imaginably, in the same shape as the rubbery guitar on the cover of FLEXABLE. The listening experience is more geared towards frequent guitar clinic attendees than someone seeking background music for a day drive. It's the kind of stuff that deserves full concentration, and while most will furrow their brows while focusing on the guitar pyrotechnics, the rest of the instrumentalists are tightly locked and highly ambitious in their own right. Touring for the first time as a collective, violinists/keyboardists Ann Marie Calhoun and Alex Depoe join Vai, along with bassist Bryan Beller, drummer Jeremy Colson and guitarist/sitarist Dave Weiner. The virtuostic tendencies run high, the musicianship is incredible, and as a whole, the group sounds more like one of Frank Zappa's stage bands than, say, David Lee Roth's.
Personnel: Steve Vai (vocals, guitar); Dave Weiner (guitar, sitar); Ann Marie Calhoun (violin, keyboards); Jeremy Colson (drums).
Audio Mixer: Steve Vai.
Where The Wild Things Are Music Steve Vai Where The Wild Things Are Songs Where The Wild Things Are Review
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Buy Where The Wild Things Are CD  | | Steve Vai
14.5 x 14.5 inch
Framed CD
Price: $29.99 |  | | Steve Vai
14.5 x 20.5 inch
Framed CD
Price: $49.99 |
Purchase Where The Wild Things Are CD To buy, Click on price to add to cart | Machine Head - Elegies DVD (2005)
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| | Gogogo Airheart CD (1997)
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On their 1998 self-titled debut album, the elements that eventually made Gogogo Airheart's sound so striking are all in evidence. The basement-quality production, unpredictable time signatures and tempo shifts, and Michael Vermillion's scratchy, screechy vocals are all here, although the band hadn't quite found the right balance of these sounds yet. A dark, grotto-like quality permeates the album, particularly on heavily dub-influenced tracks like the opening "C8/...'Programme'," "Elgin Marbles," and "A Book of Dress." While these songs have a certain hypnotic quality, they also have very little of the spark that ignites the band's best work. Tracks like the brief punk outburst on "November, November" and "Jukebox Capitol" -- the phased guitars and vocals on which suggest a prog punk hybrid -- veer off in completely opposite directions, yet both point toward the band's eventual style more than most of the first half of the album does. Likewise, whimsical electronic instrumentals such as "Distance" and "Positions Are Not Popular" hint at the band's latent talents for melodies and arrangements, albeit in a completely different way than the other songs do. It's not until Gogogo Airheart's second half that the band gets down to business and starts delivering the angular, danceable art punk on which they built their later reputation, but songs like "Red-Dial, Re-Dial," "Community, Continuity, Insecurity" and "Take the Structure" are worth the wait. While some of the album's recorder-grot experiments and the generally underdeveloped, unfocused feel give Gogogo Airheart a lower signal-to-noise ratio than the band's subsequent albums, it is an admirably ambitious debut, the promise of which Gogogo Airheart delivered on a very short time later. ~ Heather Phares
On their 1998 self-titled debut album -- reissued five years later on Gold Standard Laboratories -- the elements that eventually made Gogogo Airheart's sound so striking are all in evidence. The basement-quality production, unpredictable time signatures and tempo shifts, and Michael Vermilion's scratchy, screechy vocals are all here, although the band hadn't quite found the right balance of these sounds yet. A dark, grotto-like quality permeates the album, particularly on heavily dub-influenced tracks like the opener "C8/. . .Programme,'" "Elgin Marbles," and "A Book Of Dress." While these songs have a certain hypnotic quality, they also have very little of the spark that ignites the band's best work. Tracks like the brief punk outburst on "November, November" and "Jukeboxcapitol" -- the phased guitars and vocals on which suggest a prog punk hybrid -- veer off in completely opposite directions, yet both point towards the band's ...
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