Making the rounds around Hoyt Sherman Place during the Generation Axe show last night I noticed someone sitting at the back of the loading dock where a couple million dollars’ worth of equipment had made its way into the venue earlier in the day.
As head of security for this show it was my job to make sure this person wasn’t trying to sneak in or walk off with some equipment. I approached and said hello. The guy looked up apologetically for raising concern, offered a hand to shake and said, “Oh, Hi. I’m Steve.”
I’ve worked enough shows and met enough artists that I don’t get star struck much. But, holy shit. Steve Vai just introduced himself to me. If you don’t’ know who Steve Vai is, first, shame on you. Second, just google him. I don’t have space to write his bio here. Briefly though, he’s the guy near the top of every “greatest guitar player ever” list, and the driving force behind the Generation Axe touring guitar masturbation fest featuring himself, Zakk Wylde, Yngwie Malmsteen, Nuno Bettencourt, and Tosin Abasi.
He told me he was just taking a quick break outside while Yngwie Malmsteen was on stage, and was listening for his cue to join him. I told him that was perfectly fine – and then immediately felt as stupid as humanly possible for telling him it was OK to be at his own show.
Trying, and failing, to play it cool, I said I was just watching Yngwie and that he was “killing it.” Fucking dork. Steve kindly agreed though, and commented about how exact and precise he is and how amazing it is to play with him. He truly seemed like a fan, just some dude chilling and talking about music. I asked where they were headed next and admitted he really didn’t know. Then he asked “We’re in Des Moines tonight right?” I responded awkwardly with the Spinal Tap quote “Hello Cleveland!” and he said “It could very well be Cleveland. I can’t keep track.”
I mentioned I was a big fan, especially of his work with Frank Zappa back in the 80s and he broke into a huge smile, and said Frank was incredible and one of a kind. A guy who saw us chatting came up and mentioned he had an album he’d brought to Get signed. Steve said “Yeah, no problem, go grab it if it’s close or just catch me afterwards.”
He came back from his car with a copy of “Ship Too Late to Save a Drowning Witch,” an album Zappa released in 1982. It’s best known for “Valley Girl,” the song in which Moon Unit Zappa, like, forever changed the way we speak in the United States. Steve was credited on this album for playing “impossible guitar parts.”
Steve took it in his hands and smiled, said “Oh yeah” or “Oh Wow” or something along those lines, turned it over to look at the front and back, seeming to recall some memory or another. “This album was half studio work and half live,” he said. “You know the song ‘Envelopes?’ It was supposed to be a live recording but Frank messed up and had to dub in some studio parts. That was the only time I ever saw Frank mess up.”
He then started talking about the incredible range of music that Zappa was responsible for. “Frank put out a lot of different music. Some of it was really ahead of its time and people might just be appreciating it now. Then there’s stuff he did with the synclavier that is so incredible and so far ahead of its time that in 100 years people will just start to understand how brilliant it is.”
Then Yngwie played a particular lick that caught Steve’s attention and stopped him mid-sentence. “Oh shit. That’s my cue.” I walked him back to the entrance and mentioned that I always loved the story about when he auditioned for Frank and before I could finish he laughed and said, "I hear Linda Ronstadt is looking for a guitar player.” He shook my hand again and thanked me for some damn reason, then climbed on stage with Yngwie and proceeded to just tear shit down.
Not a bad night.
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