Steven Siro Vai Quotes
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I think the thing that I got most from working with Frank Zappa is that I was able to see someone who completely independent. The most beautiful thing about Frank was that he was completely in the moment and present and eternally creative.
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It just happens in life, where you resonate with a particular artist. Or it can be a kind of food or a fashion - you discover it and it gives you a whole new lease on life.
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It's always funny to me when people use the phrase 'Best guitar player in the world'. There are too many variables such as technique, uniqueness, emotional investment in the notes, etc. But If I had to pick one, it would be Tommy Emmanuel. Watching him perform can be a study in artistic and virtuosic human achievement.
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The blues scale was the first thing I learned. It's just a pentatonic scale with a flat seventh and a few notes that sound cool when you bend them. And because people have amalgamated the blues into this rock-blues scale, if you're using it, you better sound like a real authentic blues player.
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That's the thing about great artists: They find the thing that's most obvious to themselves, what's most conscious and natural, and they put it out there and the audience comes.
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Lenny Breau was a genius - inspired and really loose. I loved how he used the guitar as an extension of his inner freedom, because, obviously, on the outside there were a lot of trainwrecks going on. But when you listen to him play, you hear what kind of guy he really is
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When you get down to it, the way that the music affects you individually is the most important thing, and when you let things like the location of a band get in the way or have an effect on your overview, you're cheating yourself out of a really good time.
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My main calling in life is to seek and achieve spiritual balance, and to express that through my instrument. Everything else is here today, gone later today.
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There's very notable dynamics in all of the collaborations I've done. It's hard to say if one is more important than the other, but if I had to think of all situations and point to one band that I enjoyed most it would be when I was eight years old. I had a band with my little sister and the kid across the street. We sat around all day playing music and it was bliss. I didn't have any expectations or do it for anyone or worry about selling an album. That was really my favorite band. We were called Hot Chocolate.
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We have the insight and the tools to identify and bring to fruition the dormant talent that our artists possess. Favored Nations will be branded as the home base for inspired musical talent.
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The level of achievement that we have at anything, is a reflection, of how well, we were able to focus on it. Because the only thing that's holding you back, is the way you're thinking.
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I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.
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The only thing that's holding you back, is the way you're thinking.
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I loved the guitar, and I had all of this music in my head. My passion for the guitar and the ideas for what I could create musically were equal. So that's where I was.
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Critisism is just reflection of the person that speaking
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I didn't have any aspirations of becoming famous or successful; in fact I was scared to death of all that. I remember somebody once said that if a rock musician goes on tour, he goes insane. I was very impressionable and I carried this useless weight of fear around with me about going on tour, all because of this thing somebody said.
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As a musician, I look for certain things that stimulate me. And what I look for is something that's an evolution on a particular genre that I never heard before.
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Still to this day, I am deeply satisfied when watching a guitar player who is connected with their art and instrument. GuitarTV helps you tap into that connection, and to each other.
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I dedicated all the time I had to it. The 10 hour workout was just what I put in the magazine at the time, but for me it was every waking moment.
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It's very hard to come across as a passionate human being in print. People can't hear the inflections in your voice.
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My past is very interesting, and I treasure it, but to write about it, it's just not on my radar.
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If you want to play something that you can't, you need to see and hear yourself doing it in your minds eye. It will start to happen
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I think every artist subconsciously wants to evolve themselves. Sometimes they get stuck in ruts because of pop culture, peer pressure, stuff like that. But what excites me most is exploring my own musical insights and expanding upon them.
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If you're feeling emotional when you're creating something, it'll sound that way.