Steve Vai .:. For The Love of God

“For the Love of God” is an instrumental guitar piece by Steve Vai. It is the seventh song on Vai’s 1990 album Passion and Warfare. The track was voted #29 in a readers’ poll of the 100 greatest guitar solos of all time for the magazine Guitar World. The piece, which runs for just over six minutes, features a number of techniques, including whammy bar tricks, two-hand tapping, harmonics and volume swells. Vai recorded it on the fourth day of a 10 day fast because “I do try to push myself into relatively altered states of consciousness. Because in those states you can come up with things that are unique even for yourself”.

Vai has performed an arrangement of this piece with The Metropole Orchestra in the Netherlands, a nine minute version of this arrangement by Chris Opperman can be found on his Sound Theories album.

David Coverdale makes a guest appearance in this song, speaking the phrase “Walking the fine line… between Pagan… and Christian”, after the song ends.

It is one of the songs in the DLC Guitar Hero Virtuoso Pack, available for Guitar Hero III: Legends of Rock. Also, a live version (from his 2009 live album, Where the Wild Things Are) is available for download for the Rock Band series of games, through the Rock Band Network.

Steven Siro “Steve” Vai (born June 6, 1960) is a three time Grammy Award-winning American guitarist, songwriter and producer who has sold over 15 million albums. After starting his professional career as a music transcriptionist for Frank Zappa, Vai recorded and toured in Zappa’s band for two years, from 1980 to 1982. The guitarist began a solo career in 1983 and has released 8 of his own solo albums since. Apart from his work with Frank Zappa, Vai has also recorded and toured with Public Image Ltd., Alcatrazz, David Lee Roth, and Whitesnake. Vai has been a regular touring member of the G3 Concert Tour which began in 1996. In 1999 Vai started his own record label, Favored Nations, intending to showcase, as Vai describes, “…artists that have attained the highest performance level on their chosen instruments.”

 

 

On Composing/The “Evo Era”

“I wanted to be a composer ever since I was a young boy. To me written music on paper was (and is) beautiful. It looked like art and I wanted to have a complete understanding of how to speak, read and write that language. I knew that through the little black dots I could get the music that was in my head out into the world. Though the guitar fell into my lap and my fingers were glued to the instrument, I studied composition and musical notation long before I even started playing the guitar. Through high school, college and beyond, I kept up my studies and kept composing through the years as I felt my eventual calling was in the compositional world. Although I have listened to and studied most of the great older and contemporary composers, when I compose my music I take a similar approach as to when I am developing my voice on the guitar and that’s to find and cultivate ideas that I have not heard before. That’s the exciting part!

Once you understand the written language of music and the possibilities and limitations of various instruments, composing music is pure liberation. It’s an art form that allows for deep personal expression. For me composing is the ultimate playground for my imagination. And to have the opportunity to hear your music performed is the greatest gift a composer could hope for, provided it’s performed correctly.

I feel that my task is to merge my authentic rock sensibilities with my orchestrational skills to create a brand of contemporary music that is unique and fulfilling on an emotional and melodic level for the listener. Although rock musicians have worked with orchestras and contemporary composers have written for rock band instruments, I believe the catalog of music that I am building in this field is not what would be expected from either. I’m very excited about this brand and hope to inspire other composers to walk their own parallel lines within this movement. I call this movement “Evo”, short for evolution. As it has been in the past through all of history, the 21st century will see a whole new wave of orchestral musical awareness develop. We are now entering the “Evo Era.” -Steve Vai

Vai is also a producer. He owns two studios (“The Mothership” ^[7] and “The Harmony Hut” ^[8]), and his own recordings combine his guitar skills and novel compositions with studio and recording effects.

Vai helped design his signature Ibanez JEM guitar series. They feature a hand grip (fondly referred to as a “monkey grip”) cut into the top of the body of the guitar, a humbucker–single coil-humbucker (H/S/H) DiMarzio pickup configuration with several different types of pickup including Evolution, Breed and EVO 2. He also uses the Ibanez Edge and Lo-Pro Edge double-locking tremolo systems (the current production JEMs have the newer Edge Pro), as well as an elaborate and extensive “Tree of Life” inlay down the neck. Vai also equips many of his guitars with an Ibanez Backstop, a tremolo stabilizer that has been discontinued. Lately Vai has also equipped some of his guitars with True Temperament fretboards to make his chords sound more in tune. Vai also has a 7-string model designed by him named Ibanez Universe, featuring DiMarzio Blaze II pickups in an HSH arrangement. The Universe later influenced the 7-string guitars used by Korn and other bands to create nu metal sounds in the late 1990s. He also has a signature Ibanez acoustic, the Euphoria. Before Ibanez, he briefly endorsed Jackson guitars, but this relationship only lasted two years. His two main guitars are white JEMs dubbed “Evo” and “Flo”, each with their own unique modifications.

Steve Vai has also worked with Carvin Guitars and Pro Audio to develop the Carvin Legacy line of guitar amplifiers. Vai wanted to create an affordable amp that was unique, and equal in sound and versatility to any guitar amp he had previously used. Over his long musical career, Steve Vai has used and designed an array of guitars. He even had his blood put into the swirl paint job on one of his signature JEM guitars, the JEM2KDNA. Only 300 of these were made. Currently, he mainly uses his white “Evo”, a JEM7V, and his “Flo”, which is a customized Floral JEM 77FP painted white. They are both inscribed with their names in two places, mainly so he can distinguish between them onstage. “Flo” is equipped with a Fernandes sustainer system.

He also has a guitar named “Mojo” with dot inlays that are blue LED lights. Additionally, he has a custom-made triple-neck guitar that has the same basic features as his JEM7V guitars. The top neck is a 12-string guitar, the middle is a six-string, and the bottom is a six-string fretless guitar with a Fernandes Sustainer pickup. This guitar was featured on the G3 2003 tour on the piece I Know You’re Here. Vai’s effects pedals include a modified Boss DS-1, Ibanez Tube Screamer, Morley Bad Horsie, Ibanez Jemini Twin Distortion Pedal, TC Electronics G-System, Morley Little Alligator Volume pedal, DigiTech Whammy, and an MXR Phase 90/Phase 100 on the Passion and Warfare album. His flight cases are labeled “Mr. Vai”, or lately, “Dr. Vai.” He has used a number of rack effects units controlled via MIDI, but used a floor-based TC electronics G system instead for the Zappa Plays Zappa tour.

In 2005, Vai signed on as an official supporter of Little Kids Rock, a nonprofit organization that provides free musical instruments and instruction to children in public schools throughout the U.S. He sits on LKR’s Honorary Board of Directors.