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“Even when I was a young boy,” he recalls, “besides the guitar itself, the thing that fascinated me most was the idea of recording sound on sound.I started recording stuff the day I started playing guitar. There’s maybe the idea of some kind of posterity, which more and more seems like a big waste of time.Wir verwenden Cookies, um Inhalte zu personalisieren, Werbeanzeigen maßzuschneidern und zu messen sowie die Sicherheit unserer Nutzer zu erhöhen.Wenn du auf unsere Webseite klickst oder hier navigierst, stimmst du der Erfassung von Informationen durch Cookies auf und außerhalb von Facebook zu.His uncanny mastery of the fretboard, the strange voodoo he could work with a whammy bar, the soul-searching lyricism of his ballad playing, his compositional flair, even his mystical, tantric alien love god persona—the whole Vai story begins with The album is also an important early example of a rock musician seizing control of the means of production and distribution, and having it his own way.Vai recorded it in a home studio that he built with his own hands, and then released it independently. era of My Space and You Tube, Pro Tools and Garage Band—except that Vai did it all analog, at a time before personal computers had even made their way into most people’s homes and the internet was still more than a decade down the road.I’ve made millions of dollars from that little record by retaining my rights. He gave me the Linn drum machine I used on the album.
, Vai delivers the most in-depth look ever into the making of his shred-tastic debut and his plans to remake it.And now the indie concept was fueling another kind of rock phenomenon. “To this day, Sony distributes , and they have to account to me for .50 for every CD sold,” Vai says. It worked out really well that it was far away from L. And this house had a tool shed in the backyard, with two good-sized rooms, built by the previous owner.“That’s more than they’ve ever paid any artist in history, I’m sure. I spent five months and ,000—money I earned giving guitar lessons—and I built this studio, Stucco Blue, in that backyard shed. I went out, bought the wood, built the studio and put the gear in, entirely by myself.Released in 1984, a quarter of a century ago this year, it has become a classic among fans of virtuoso rock guitar and a landmark of the Eighties shred phenomenon that forever raised the bar for rock guitar technique.
It has been reissued many times and in many formats, along with the now equally famous was the first record that presented him on his own terms.
“Record labels bank on the fact that artists believe that a record deal is the Holy Grail, so they’re willing to sell their intellectual property very cheaply.