Albums that changed my life! G3- Live in Concert!

A long hiatus.. and the world has changed. Fine, not exactly, but my station in life has. I managed to land a job and managed to get a few avenues from which to launch myself as a musician. The deal is now that I have decided to not take up the job and I haven't yet launched myself as a musician. So maybe my station in life hasn't changed. Nonetheless, at least I'm done with college( Yes, I passed). So after the long break, I am finally posting again.
This is the third installation of albums which changed my life. Like the previous albums discussed, I heard this when I was around 11 years old and was getting acquainted with the acoustic that my brother had. The album is nothing short of groundbreaking in all possibilities of the word. This single album revived guitar rock like nothing before it, and even though the 80s had gone by and glam metal was passe, suddenly guitar gods were back in fashion. The beauty of the album is that the concept survives till date, a testimony to it's longevity, both as an idea and for the songs in it.
The album I first heard was the audio format of it, not the more popular video that has spawned the G3 culture. Being a novice at the guitar, I couldn't understand much of what was going on then. Hammer-ons, pull-offs and sweeps were included in my vocabulary years later but the sheer force of the album was evident even then. When I watched the video years later and Satch begins the show with "Cool #9", the bass line started running through my head even before Stu Hamm had touched his instrument. The songs, the musicians, the musicianship, all of them are quintessential Instrumental rock, covering various genres from rock and blues( Eric Johnson), to space age experimental( Satch and Vai). Of course future editions have included other genres like neo-classical( Yngwie Malmsteen, John Petrucci) and that pop-loving guitar maniac Paul Gilbert( he is a genre unto himself).
The various sets then, beginning with Joe Satriani. What can one say about the man who single-handedly created an empire for where guitar geeks like me can take refuge at a billion notes per second. His musical CV and heritage is undoubted, combine that with his technical aptitude for the instrument and his desire to impart knowledge through lessons or clinics makes him a perfect role model for guitar players worldwide. The set begins with "Cool #9", aptly named, for the hypnotic entry into the song has cool written all over it. A testimony to the fact that Mr. Satriani never launches into mindless self indulgence, the tune is as memorable as it is difficult to execute. He never makes songs that would be rocket science for the common man and that perhaps lends him greater credibility as a songwriter than some of his peers in the same category. The next song is "Flying in a blue dream" starts with almost a "Foxey Lady"esque hold on a single note harmonic before the lilting chords kick in. One of the most standout features about Joe Sat's playing which is illustrated in this song is his sudden burning of the fretboard using single handed legato. The tones and control are exemplary, song construction phenomenal, just has every quality to draw you in. The last song in the set is "Summer Song", that harmonic freak-out start that scores high on the cool and technical quotients. The chord progressions just flow and the musicians hold it together very tight. Just an amazing set, a sure set sign for all the good things that followed.
Next up, Mr. Eric "Note-Choice" Johnson. Of melodic licks and impeccable tone, this versatile guitarist was never the shredder but has the chops to die for. Blues and rock based in his approach, Eric Johnson has been playing in a band since he was 14 and the experience shows. When I first heard the album, Joe Sat was my all-out favourite, when I first saw it, Steve Vai twisted my insides with his pyrotechnic 2 handed tapping before "For the Love of God". But ever since I have learnt how to play the guitar properly, my firm favourite has been Eric Johnson and his unique brand of Blues Rock guitar music. The expressions conveyed, the phrasing, the sheer beauty of his playing is more a treat to me than 22 notes per second hyperspeed( although I love that as well). The first song in his set was "Zap", starts off with trademark pentatonic runs that leave most guitarists scratching their heads and lends itself towards clean jazz runs( at this point the dandruff on the head is gone on account of the scratching) before going into the most amazing melodic 70s prog riff to have you firmly in grasp. Mr. Johnson prefers using a Fender Stratocaster as opposed to the Ibanez totting gunslingers in Satch and Vai, and the warmth in the tone is evident. A self confessed gadget freak since his very early days, he was one of the first people to use amp-switchers in an effort to have more control of his tone. The next song was "Manhattan", where he uses his Wes Montgomery thumb picking style to great effect. A stellar tune, with amazing tone and note choice, this surely ranks amongst the best compositions of the Grammy winning guitar player. The song to finish out the set was "Camel's night out" though I preferred "SRV", the dedication to Stevie Ray he played to close out his set in the video version. Perhaps the only disappointment is that he didn't play his signature tune, "Cliffs of Dover". Nonetheless, the most musically compelling set amongst the three.
Last and never least, Steve Vai. Of 80s hair and alien guitar technique, Vai is like the Bruce Lee of guitar, a pioneer and an innovator. Casual in demeanor, uncompromising in his composition and zen-like in his goal to be a better guitar player and musician, Mr. Vai has no peers. Even though 98% of those who hear his music won't understand most of what's going on in there in terms of melodic content, let alone technique, it doesn't change his approach to songwriting, truly holier than thou. The first song in the list is "Answers", the song with one of the funkiest riffs from the Vai catalog. The movements through the song are deliberate, even though it is a fast song. It makes for a very compelling listen. Followed by "For the Love of God". What can I say about this song, emotional, technical and of pure worship, one of the masterpieces of modern day guitar. Words can never completely describe it's majesty, give it a listen( any version). Closing the set is "The Attitude Song", the true meaning of the song can be seen only in the live where the band members go wild onstage. A hard hitting riff and some very fancy legato work later, the set is completed. Vai fans get what they want, massive dive bombing on the floyd rose, two handed tapping of the highest order, crazy antics onstage to match and their favourite songs, one of the last remaining showmen around.
Now to the G3 Jam, this thing has become a thing of legend. Three guitarists side-by-side, ripping endlessly on their fretboards, bags of tricks and never ending cadenzas of shredding. It's just fun for guitar players around the world to watch and to emulate(and fall flat on their asses trying). The songs in the jam were "Going down" which Joe Sat killed with his plectrum tapping away at hyperspeed, "My guitar wants to kill your mama" where Eric Johnson had Steve Vai staring with his note choice, and "Red House" where Eric Johnson's vocals led the way for the perfect ending with all three guitarists ripping it to good effect.
All in all, a fabulous album, and a must for every guitar enthusiast. Hear it, see it and get addicted. The guitar world changed for the better with this album, if not anything else this is a history lesson in guitar!! Cheers!