Joe Satriani Talks About His 3D 'Satchurated: Live In Montreal' Film (VIDEO)
Powerline recently spoke to Joe Satriani about
the release of the live-concert film, "Satchurated: Live In
Montreal", which was filmed on December 12, 2010 at the Metropolis
in Montreal, Canada during Satriani's "The Wormhole Tour"
supporting his studio album "Black Swans And Wormhole Wizards".
Read an excerpt of the interview below.
Powerline: How do you feel this live
album is different than the previous ones?
Satriani: Besides the obvious 3D thing and it being in
theaters - that's huge - but content-wise the biggest difference is
that this is a concert where we played 100 percent of
the new album onstage
in front of people. When we filmed that night [for
"Satchurated"] - because of time restraints - we ended up
taking two songs out of the set. But we filmed and recorded us
playing those during soundcheck, which is also part of the DVD
package. That part of it is sort of a new chapter for the fans who
have our other DVDs. I think people understand that when you're out
there touring, you're always playing most of your catalog and a
little bit of a new record - getting your fans familiar with the
new album. This serves the live performance really well but it can
make people at home who primarily buy the DVD of the tour scratch
their heads because they wind up getting versions of the same song
over and over again. And basically it's your hits. There are
certain songs in my catalog that the live audience demands
that we play. You know, if we don't play
"Flying In a
Blue Dream", people walk out of the show being upset because
they may see us only once in their life and they really want to
hear that song. But that's at odds with the DVD process, you know.
So on that particular tour - the
"Wormhole" tour - I kind of put my foot down and said,
"Damnit, we're gonna play the whole new record live somehow," and
by the time they filmed us we had some experience. We'd already
been to Europe and we were coming close to the end of our U.S. run,
so the show was getting to be more of a well-oiled machine. We had
arranged the set pretty well.
It was an intense show from a musician's point of view and
emotionally very cathartic for me to go through all that material
every night. So it made the DVD very unique, especially when you
put it up against
"Live In Paris",
"Live in San Francisco",
Live!" and the
Powerline: Why did you choose the Montreal
Satriani: It was a practical matter, actually. We were
approached just a few weeks before filming, to do the film, by
Francois Lamoureux. So, we only had about four shows to
choose from. One of them was in New York City, which would have
been a nightmare of costs - union and all sorts of other fees - and
there were other places where the shape of the venue did not allow
for cameras. It just so happened that
Francois' hometown of Montreal
not only had a venue that, although smaller than what we were used
to, had a beautiful look and
sound to it. It did afford the placement of two sets of cameras -
both 2D and 3D - and it just so happened that that week we were
going to be playing in Montreal. A lot of the talent that they
wanted to draw from, from the film community, was available. We got
what they told us were their favorite guys for camera work,
lighting work, sound recording. And that team was a really stellar
team and they were able to get it together for only one show.
Because we only filmed one night. It wasn't like we had a whole
week to put this together. It was another one of those make or
break kind of things. And the audience in Montreal that night was
Powerline: You mentioned the word
cathartic before. Was there a certain song that emphasized that
word the most?
Satriani: Well, probably for me, "Littleworth Lane." When I
decided to film that night, it didn't really cross my mind until I
got closer to the date that it was the one year anniversary of my
mother's passing away. And although leading up to it I thought I
put the grieving process in order in my mind, in my heart, but the
night before it all just came back. I was going to be in New York
the following night, which is where I'm from, and my
family was, and it was going to be my first show in New York
in my whole solo career that my mother wasn't gonna be at. And it
affected me more than I thought. So I wound up not sleeping the
night before and showing up at the venue a bit of a basket case.
It's an odd thing. When you are a performer of any kind and you are
carrying around some sort of extra emotional weight, I think you
sometimes put up a wall to protect yourself. So you wind up not
looking like you're troubled. You look almost the opposite. But, in
fact, there was a lot going on inside and it came out through the
performance. I can laugh at it now because it's something my mother
would laugh at. She had a great sense of humor. She loved show
business and she would have been the one pushing me onstage saying
the show must go on. Put all your feelings into your playing. So
that's what happened that night, and I remember right before I
played "Littleworth Lane" I wasn't even aware of what I said to the
audience but it made absolutely no sense. Because I thought,
whatever you do, do not tell people how you're really feeling. Then
you'll just break down and the whole show will stop. Let's just say
by the time I walked off stage I felt like an emotional wreck.
Powerline: Do you find a
CHICKENFOOT fans crossing over to your
solo stuff now, and vice versa?
Satriani: I think so. I think there's a lot of cross over
there. There are quite a lot of fans of mine that probably had not
paid too much attention to
Sammy Hagar and
I think the opposite of that is true over the years and they
started to sort of cross pollinate, to a certain extent. But we're
so different. I think that's why
CHICKENFOOT is something that is artistically
successful. It's an unlikely pairing of four people.
Powerline: Did you ever
CHICKENFOOT being this big? It
really took off. You can call it a supergroup, I
Satriani: Yeah, I was always scratching my head because when
we did the first record it took so long and we played together so
little. We were literally recording the album and we never done one
show together. And , you know, we would meet up for a few hours and
then after two days there would be two songs recorded on album and
then I wouldn't see them for two months. (laughs). I kept thinking,
"This can't be the way a supergroup records an album." You know,
it's crazy. To tell you the truth, I remember when we realized we
had finished recording that first album and no one had actually
listened to all the songs in a group. And slowly over that
Christmas vacation, people started to email each other saying,
"Have you listened to the songs? I think it's an album." I think we
were surprised at what it was. Because, maybe in our minds, we
thought if I ever played again together with
Sammy it's gonna sound like it but it didn't. I think it
sort of surprised all of us, what the
CHICKENFOOT sound was.
Read the entire interview from Powerline.
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