G3: Live in Concert

Basically these two guys represent a sort of "Gee-tar University" school of musicianship. Imagine your favourite professor, in cap and gown, lecturing you: "This is how it's done. This is an octave bend; this is two-handed tapping; this is choking - and you may be able to do it as fast as this if you work hard, sonny . . ."

And actually it's all terribly impressive. What's so intimidating (as people used to say about Yes back in the 1970's) is that they can really do this stuff live on stage. It's frankly dazzling. They're the Wolfgang Amadeus Mozart and Ludwig van Beethoven of electric guitar. Wherever the axe evolves to in the future, these guys will have defined it. Like those two classical worthies, these guys have taken everything that went before and melded it into an academic discipline that learned men and women are already writing treatises on. Everything that comes after will either build on it, dilute it, or set out to tear it down.

That's the good part. The bad part is that it's indescribably boring. Compared with these guys, the pages and claptons and hendrixes of this world are just guitarists. And yet, Page and Clapton and Hendrix could say more in a 20 second lead break than the professors can manage in 20 minutes. Neil Young could convey more emotion playing the same note 20 times in a row than the academics can manage playing 20 notes in a second!

The exception on the strength of this album is the understated and charming Eric Johnson. He's a kind of acolyte - possibly a past student of Satriani's - who hasn't let pure abstract technique overcome his natural flair for melody, tone and phrasing. His three solo tracks are a refreshing break from the remorseless attack of heavy metal without theme or lyric that accounts for over half this album. I mean, just how do guys who write earnest but interchangeable instrumental compositions come up with titles? . . .

"Hey, Bill, I can't decide whether to call this one `Attack of the Killer Aspidistra' or `Plasma 659'. What do you think?"

"Dunno, how'd the lyrics go?"

"Ain't got no lyrics, jus' like all the others."

"OK, why not call it `My Cat's Got Chiggers'."

"Hey, thanks man, that gives me the idea for another riff!"

It has to be said, nobody who's grown up with prog rock is going to really dislike this. It contains three well-chosen tracks by each of the three front-men with faultless scratch-band support, followed by three jams on rock standards where the guys trade licks with ane another. Bits of it are tuneful, bits of it are stirring, bits of it could inspire you to take up the guitar yourself, bits of it are frightening enough to make you chuck your Strat in the pond.

On the other hand, one of the several solo albums by the three virtuosi is probably a better investment. And if you like great tunes, virtuoso solo-ing and impossibly tight ensemble playing, why not take a mega-risk and try 20 year old Hilary Hahn's dazzling cut of the Barber and Meyer violin concertos. Like pomp-rock before it, prof-rock is struggling to ape the sonic & thematic range, intellectual ambition, technical accomplishment and raw emotional power of classical music - still without success. If you share that vision, try the real classics.

This review is going to collect unhelpful votes like a dog collects fleas, but remember . . . they'll be existing converts to this impressive but soulless perfectionism.


One of the Best Live Guitar Rock Albums Ever Made!   January 19, 2001
9 out of 9 found this review helpful

On G3 Live three of the most talented electric guitar players of all-time come together for an album that sizzles with creative synergy. Each of the three play three of their best pieces- Satriani starts out kind of mellow and cool with "Dreaming # 11," picks up momentum with "Flying in a Blue Dream," then closes his set with an ear-popping rendition of "Summer Song" that really cooks! Satriani's live tracks are very impressive for their creative virtuousity and willingness to explore new musical ideas that may differ a bit from his studio cut, which he then weaves together masterfully- taking a classic work and giving it a fresh, edgy and breath-taking new interpretation.

Eric Johnson dazzles the listener with an amazing blend of guitar styles that flow together seamlessly- ranging from a bluesy, jazz-rock style on Zap, to the rich jazz progressions and solo work on Manhattan to the intricate merging of blues and shred rock on Camel's Night Out.

Steve Vai highlights some of his better work here with Answers, For the Love of God and Attitude Song. His awesomely arpeggiated melodic lines soar as they seem to rise out of nowhere and fly out into space. Out of the three on this album, Vai seems to get the most unique sounds out of the instrument- he makes it sing, ring, scream, cry and soar... my only major critique of Vai's guitar work is that the harmonies and sounds he uses in the background tend to distract from his melodic lines rather than enhance them as they do with Satriani and to some degree with Johnson.

Out of the three pieces they play together, their version of RED HOUSE is awesome! The three blend and complement one another nicely, beginning with a classic blues opening and gradually building in intensity. the song is extended to include a solo by each of the three after each verse, and to close it out they trade eights- (one guitar plays a riff and the next one responds), finishing strong with a great ending. Hendrix would have been proud and probably impressed by this fine rendition. The only liability with their cover of RED HOUSE is Eric Johnson's drab singing, but then again- when you listen, you will be so amazed by the guitar work that Roseanne Barr could be singing, and it would still sound pretty darn good! But seriously, it is an awesome album, that gives an excellent taste of some of the best work of these three- check it out!


The Electric Guitar Trio   May 1, 2002
Jeff Arenson (Colorado Springs, CO United States)
8 out of 8 found this review helpful

This disc is a recording from the first G3 tour. The three axmen that are featured are Joe Satriani, Eric Johnson, and Steve Vai. Each member has three of their own songs and then all three are on stage for a trio of covers. Satch is featured first. He plays "Cool #9", "Summer Song" and "Flying in a Blue Dream". His playing is typical Satch. He does a little improv in the intro to summer song but other than that the songs are duplications of the studio versions. This isn't a bad thing and fans of Satch won't be dissapointed. Joe is known for his great melodies and his jaw dropping technique. Both are displayed here. His ability to improvise material to new heights isn't on display here. If you want that then buy "Time Machine". I still would get this because Joe is still Joe. Eric Johnson is next. On "Zap" he boogies and shows off his tone. Also the rest of his trio is given the opportunity to do their thing as they trade fours. "Manhatten" is Eric displaying all types of techniques. The song has a jazzy vibe and is quite different than "Zap" in terms of mood and style. "Camel's Night Out" is the closer of Johnson's set and he explodes during it. This song is a chance for Eric to display all of his tricks and he does. Eric Johnson fans should be loving his three song set as it shows off his versatility, virtuosity and unique tone. Vai is the last to go and go he does. Steve is the sorcerer. All kinds of maniacal guitar playing is on display during his set. "Answers" has Vai interweaving lines with Keneally. Then he lets the pyrotechnics loose. Two handed technique, blinding alternate and sweep picking,whammy bar madness, and the joy of playing with feedback are all used in his closing cadenza to this tune. "For the Love of God" is an incredible example of emotion. The main melody lines are moving and the solo invokes all kinds of emotion. This is one of Steve's best compositions. "The Attitude Song" is the closer and is Vai at his wildest. Fellow guitarist Mike Keneally adds to the mix of unison lines. The tremelo bar work is unreal. Vai is a madman and he doesn't have any of his "bizarre" overdubbing that is on some of his lesser studio discs. If you get the DVD you will see that Vai is a magician on stage and has a commanding presence. The three cover songs have all the men on stage and they seem to have a good time with another. The highlight is the trading of fours during "Redhouse". During all three covers each guitarist gets to solo and they all do so very well. "G3" is a great disc and it is a tribute to these three that they were able to put their egos aside and do a project like this. If you like guitar orientated rock or are familiar with any or all of these guys then buy it now.


Great Live Album   November 2, 2002
Buford M. Bell (Greensburg, KY United States)
7 out of 7 found this review helpful

Who could have guessed that 3 of the greatest instrumental guitarist in the world would team up and perform a concert together(and in this case, record the concert and put out a cd of it). But it happened, and thankfully so.

G3 Live in Concert is; like it says on the sticker on the album, the ultimate live concert album. It starts off with the 3 guitarists: Joe Satriani, Eric Johnson, and Steve Vai, all performing songs from their own reputuar: Joe plays, 'Cool No.9', 'Flying In A Blue Dream', and 'Summer Song'. Eric plays: 'Zap', 'Manhattan', and 'Camels Night Out'. And Steve plays: 'Answers', 'For The Love Of God', and 'The Attitude Song'.

Then in the grand finale, all thre of the guitar giants come together and perform another set of 3 songs: 'Going Down', 'My Guitar Wants To Kill Your Mama'(originally by Frank Zappa), and a long drawn out(but still listenable) version of Jimi Hendrix's 'Red House'(the highlight of the CD).

With over 75 minutes of music, ot might seem a bit long; but remember, it is a 'LIVE' album, and this particular live is one of the best.