Joe Satriani - Surfing with the Alien

When you get to your mid 30s you will inevitably start to sound and feel like an old fart. For instance, a subordinate of mine sent an invitation to drinks some weeks ago in order that we, his elders and betters, might wish to help him celebrate his birthday. When he said he was 19, it didn’t really register, it was when he informed me that he was born in 1987 that I wanted to beat him about the head with his wretched, fashionable shoes to wipe the smug grin off his spotty face….

I, instead, contented myself by pointing out almost nothing of any merit emerged from the 80’s (not an ounce of bitterness or envy on my part, you understand). As a decade, it was a cultural and artistic wasteland. Almost without exception, the clothes, movies and music were at best, lamentable. One such exception, indeed one of the few people to move the heavy rock genre forward instead of toward the pastiche that made the grunge backlash inevitable, was Joe Satriani. And, as I happily informed my subordinate, the ONLY good thing about 1987, was the release of Surfing with the Alien.

Whilst not at the cutting edge of what was proving to be quite an extensive list of shredders to emerge from eighties California, Satriani’s pedigree, as the former teacher of both Testament’s Alex Skolnick and Steve Vai, was unparalleled. Whilst other players attempted to differentiate themselves from what was a largely homogenous sound with particular tricks or a singular approach to technique, Satch placed as much emphasis on composition and particularly on pop hooks before rolling out the sweep picking or 7 finger tapping. The result is as satisfying a collection of songs, as one is likely to find with the added bonus of some ripping lead playing. The appalling recording quality is somewhere around the 6th former demo mark but in the context of the relentlessly upbeat music lends the album an additional pleasantly naive quality.

It’s been a while since I last listened to this album, nearly 10 years in fact it still sounds remarkably fresh and edgy despite the aforementioned recording quality. Satch’s style is difficult to pin down; techniques-wise he stops just short of throwing in the kitchen sink, his real gift however is phrasing. Whilst some listeners may dismiss the simplicity of some of the playing from a purely technical perspective, very few, if any could make sweep picking sound as natural as it does on the track Crushing Day or harmonic dive bombs as well-timed as on, well almost every track come to think of it. The standard two handed tapping and lyrical vibrato (Always with me Always with you) the multi-finger tapping (Midnight) and some stellar scale sequences (Crushing Day) are all performed perfectly in context. If bought together with the transcription this album makes the ideal workout for someone looking to take their playing from an intermediate to advanced level. I can vouch that that these are tremendously rewarding tunes to play one self.

In summary, accessible tunes, top chops and at the risk of sounding sexist, you’ll even be able play it in the car without the wife moaning.