Album Review

Joe Satriani – Black Swans & Wormhole Wizards

• 5th Oct 2010

14 albums into his career and has Joe Satriani saturated his writing talent?
There are albums that really stand out to owners of any music collection and for a number of reasons: albums that resonate in the memory for anything from an old girlfriend, a car journey or even a holiday. For me a holiday is where my first experience of Joe Satriani began.

It was 1988, I was 12 and visiting the USA for the first time. My parents had taken me to a record store in a mall after buying me my first Sony Walkman (the god-awful yellow splash-proof model) and I needed a tape. I didn’t have older brothers/sisters or influential people in my life when it came to music so the choices I made at that time were purely on album artwork. So I went for an album with the Silver Surfer on the front cover. That’ll do.

Surfing With The Alien is one hell of a way to be introduced to unquestionably one of the greatest guitarists of our time, and in my opinion it is one of the most exceptional guitar solo instrumentals written on the guitar. But I’m not here to review Surfing unfortunately. Joe Satriani has just released Black Swans and Wormhole Wizards and this is his first outing since his successful Chickenfoot project with former Van Halen singer Sammy Hagar, former bassist Michael Anthony and Red Hot Chili Peppers drummer Chad Smith. Satch is joined once again by Jeff Campitelli on drums and works for the first time with Mike Keneally on keyboards of Frank Zappa and Steve Vai fame, and Allen Whitman from Mermen on bass. Production and recording comes courtesy of Mike Fraser who has worked with the likes of Metallica and AC/DC.

If you were a youngster today walking into a record store, it would be unlikely that the album cover of this alone would be enough to attract you to pick it up and buy it. Some would say that this is the result of instant downloads and album artwork becoming a less important factor but Satriani has been guilty of this for a long time now: very few of his albums have ever featured anything but him holding whichever trusty axe is associated with him at that time. Worse still are the similarities of this cover to the 1997 album Crystal Planet, white background: check; black outfit: check; sunnies: check; Ibanez: check; bald head: CHECK!

It may seem harsh to allow an album cover to annoy but I can’t help but feel it sets the tone for the album. I am not about to say that Black Swans and Wormhole Wizards is a dreadful album by any means – it isn’t – but what I am going to say is that it isn’t anything we haven’t heard before, or at least that’s how it feels on the first few listens. This is more of a return to form over the previous few outings and I feel will have die-hard Satch fans back onside. But would it win new ones?
Premonition is a great way to start this album. There’s a mix of deft touches and unmistakable Satriani runs. It swells and storms creating a stirring track and is fuel for the fire so you want more.

Dream Song begins with a wah that forms the backing for this track and as the song builds the hook is unmistakable and brilliantly recognisable. It’s a lovely piece but doesn’t hold you the entire way through. The second half loses its way and makes me think of artists who name their pieces of work for reasons only they know!

By the time we are brought into Pyrrhic Victoria we are ready to experience some of Satriani’s true technical ability, and that’s exactly what we get. There are some incredible moments in this track. But moments are all we get and who am I to argue with his guitar playing ability? But it does highlight that being a great guitar player doesn’t make a good songwriter.

It takes until track four to hear what is going to be the first single of this album; Light Years Away, destined to be a hit? I’m not so sure. I was really looking forward to hearing this track but for me this is little more than an album filler as is The Golden Room and Solitude (all 58 seconds of it) as atmospheric as it is.

Katherine, Joe Satriani’s mother, passed away at the end of 2009 and this no doubt had a massive influence on Joe’s writing for this album, Littleworth Lane is a tribute to where she spent the last few decades of her life. This for me is one of the standout tracks of the album and is a beautifully crafted song. The care and attention he takes in the playing of this shows the first elements of emotion about the subject he is writing. It’s one example of a time when less is more – Satiani is renowned for over complicating with heavy shredding and an exorbitant number of notes. The restraint here is what makes this so touching.

Another homage to his mum is Two Sides To Every Story. She was heavily into jazz and this track stands out from the rest of the album. Its jazz roots are incredibly refreshing and alongside Littleworth Lane, shows another side and tone to Satch’s playing and writing – something I would like to hear more of for sure.

Jazz is definitely the theme from here on and the album is all the better for it. Keyboards come to the fore in the last few tracks and married with great soloing, this album really ends on a high. Wormhole Wizards for me would have been a better single to start this album release off with and I’m sure it will be released in the future. The “widdling” work on Wind In The Trees and God Is Crying are pure Joe at his best. Once you reach the end of this album, you can’t help but want to start it all over again and think: ‘I need to give that another listen’.

Is this an album I would recommend as an introduction to Satriani, to encourage someone to fall in love with guitar playing and the possibilities of its sonic attraction? Definitely not. There’s far better in his discography, but let’s remember 14 studio albums is no mean feat when it comes to instrumental writing and being able to hold an audience. Something that has surprised many about Satriani is that he does continue to sell records. He has the second most Grammy Award nominations without ever having won and I can quite believe that this album could bring him yet another. Perhaps teaming with a great writer however might see him actually win one. Leave Joe to the playing and development of a track but get a writer who can add some bulk and theme to an album.

But I am not going to cast aside this album. For those who already have a love affair with Joe and his distinct style, this is an album I am glad he has released – we are treated to some cracking tracks and some kick-ass guitaring. The best thing about this album though is the tour that goes alongside it. An opportunity to see the master play – now that is something I’d recommend to someone new to the show.

Also keep an eye out in the up coming movie Moneyball about the Oakland A’s. Satriani was asked to re-create the performance he did of the National Anthem at the 2002 season opener!