Listening to the work of a virtuoso can be both rewarding and a frustrating challenge. For a guitarist who has become a definitive name in the shredding world, Steve Vai represents both sides of this musical coin on his newest album 'The Story of Light'. A mature artist with unquestionable creativity and technical prowess, Vai lets his talent shine in a series of songs that vary from heavy to light, instrumental and packed with vocals, originals and adaptations.
The variation in music on 'The Story of Light' is certainly a highlight. Generally the softer tracks feature more meaningful expression, as evidenced in the echo-laden passages of 'Creamsicle Sunset' that are both playful and emotional, where listeners do not feel that technique is articulated for the sake of technical show. The same goes for 'Mullach A'tsi' and the calming atmospheres Vai's guitar is able to evoke. Unfortunately such cannot be said for the louder and more forceful tracks such as 'Gravity Storm', which proudly exhibit some stylish acrobatics on the fretboard but accomplish little beyond in terms of music composition. Sections of 'Weeping China Doll' adroitly build up and release anticipation, but much of the song and any atmospheric accompaniment of other instruments are soon lost beneath loud cymbals and the blitz of guitar notes. More songs should have been done like 'Racing The World,' which is energetic without overdoing the technical extravaganza. The variation in Vai's final product can be both to his credit as well as a disappointment.
The songs with lyrics are also highlights on the album. An adaptation of the traditional Gospel blues call-and-response song 'John the Revelator' is perhaps the most notable, where Vai's guitar passages build on top of Willie Johnson's raspy original vocals. Although the track certainly suffers at moments from far too much soloing that distorts the emotive bluesy mood, it overall remains a rather successful blend of virtuoso rock and the powerful soul of the voice. The additional vocals supplied by Beverly McClellan complement Johnson's original in a way that noticeably heightens the song's energy. 'Book of the Seven Seals' is a clear follow-up track, although unfortunately Vai's guitar this time feels much more of an intrusion than a complementary force to the strong layered singing.
'No More Amsterdam' is the other shining example of Vai's songwriting, where vocals and gentle acoustic guitar go well to create a melodic and enjoyable experience. In between omissions of the rhythmic drums and the occasional fade to silence, the entry of an electric guitar is subtle and smoothly accompanies the song's conclusion.
'The Story of Light' does not hold back from expressing Vai's more spiritual side, from both the bursts of heavy metal alongside traditional home gospel, and the combination of virtuoso technique and powerful vocals. Listening to the musician's latest album will more likely than not put one in an upbeat mood, as the energy on most tracks is barely contained within the rhythmic parameters of the songs. From 'The Story of Light' it seems that the gentle side of Vai's musical portfolio is more enjoyable an experience. The merits of his technical prowess and experimentation notwithstanding, Vai's masterful playing unfortunately does not always translate to masterful songwriting.
‘The Story Of Light’ is available now via Favored Nations Entertainment, the label Vai founded in 1999.
Sat December 1st 2012 - Portsmouth Guildhall, Portsmouth
Sun December 2nd 2012 - Hammersmith Apollo, London
Mon December 3rd 2012 - Wolverhampton Civic Hall, Wolverhampton
Wed December 5th 2012 - Newcastle City Hall, Newcastle
Thu December 6th 2012 - Ipswich Regent Theatre, Ipswich
Fri December 7th 2012 - Manchester Apollo, Manchester
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The variation in music on 'The Story of Light' is certainly a highlight. Generally the softer tracks feature more meaningful expression, as evidenced in the echo-laden passages of 'Creamsicle Sunset' that are both playful and emotional, where listeners do not feel that technique is articulated for the sake of technical show. The same goes for 'Mullach A'tsi' and the calming atmospheres Vai's guitar is able to evoke. Unfortunately such cannot be said for the louder and more forceful tracks such as 'Gravity Storm', which proudly exhibit some stylish acrobatics on the fretboard but accomplish little beyond in terms of music composition. Sections of 'Weeping China Doll' adroitly build up and release anticipation, but much of the song and any atmospheric accompaniment of other instruments are soon lost beneath loud cymbals and the blitz of guitar notes. More songs should have been done like 'Racing The World,' which is energetic without overdoing the technical extravaganza. The variation in Vai's final product can be both to his credit as well as a disappointment.
