Joe Satriani-Black Swans and Wormhole Wizards

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JOE SATR I AN IBlack Swans and lfformhole Wizards

2 Iretradu*tion

4 PremonitionI"S Drearn Song95 Pyrrhic trIic*oria

34 Light lilears Away42 Solitude43 Littleworth Lane56 The Golden Roorn66 Two Sides to Every Story72 'Wormhole Wizards79 Wind in the T?ees88 God Is Crying

96 Guitar Notation Legend

Transcribed by Paul Pappas

Cherry Lane Music Company

Director of Publications/Project Editor: Mark Phillips

ISBN : 978-1-60378-31 2-5

Copyright @ 2011 Cherry Lane Music Company

lnternational Copyright Secured All Rights Reserved

The music, text, design and graphics in this publication are protected by copyright lal.Any duplication or transmission, by any means, electronic, mechanical, photocopying.

recording or othenryise, is an infringement of copyright.

visit our website at www.cherrylaneprint.com



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Some changes in the recording process were welcomed,

however: When Satch and co-producer Mike Fraser (whosecredits include AC/DC, Metallica, Aerosmith, as well as

several Satriani albums, such as Crystal Planet, ls There Love

in Space?, and Super Colossal) convened in late spring at

George Lucas's Skywalker Sound Studios in Marin, California,

along with longtime band drummer and percussionist Jeff

Campitelli, they added a couple of new faces to the mix.

Bassist Allen Whitman from the San Francisco-based band

the Mermen was brought onboard ("he has such a unique

style," raves Satriani; "he's a very creative rock and groove-

oriented player"), as was keyboardist Mike Keneally, who

has played with everyone from Steve Vai to Screamin' Jay

Hawkins. "Every time you hear a simple keyboard swell or

something that sounds very synth-y, that's me," says Satriani."And any time you hear the piano and keyboards being played

really well, that's Mike!"

The new lineup of players challenged Satch, but in ways he

relished. To "Light Years Away," a tough, gritty stomper. they

pushed the guitarist to bring his "big rock moments" to the

forefront; and on the funky yet sweeping "Pyrrhic Victoria''

(the phrase "Pyrrhic victory" means "winning at a great

cost"), what sounds like a rousing finale is but a precursor

to another, more overwhelming coda."0n

a song like that.because of its very theme, you have to go through some sort

of physical sacrifice," says Satriani. "The guys in the band

helped me to not let up."

Returning to the album's cathartic, intimate theme, Ihe jazzy,

almost George Benson-ish "Two Sides to Every Story" is

another song in which Satriani pays homage to his mother.

"My mom turned me on to Eddie Harris, a brilliant saxophone

player," Satriani explains. He had a lot of songs that cross

genres, and he was really great with odd times. When I wrote

the piece, I knew it was Eddie Harris, and again I knew I was

tipping my hat to my mom, for the musical education sheinstilled in me." The guitarist recalls both of his parents in the

stirring solo electric guitar interlude "Solitude," which at first

c0ncerns the need to "be alone with one's soul; but ultimately

I realized I was channeling my folks, thinking of where they

would go mentally in their need for reflection."

Satriani kicks up some musical dirt on the gonzo but equally

soul-baring "Wind in the Trees." Remembering how he loved

to sit by his bedroom window as a kid on Long lsland and

listen to the sound of leaves being whipped around, Satriani

ran his guitar through the pitch correction software Auto-

Tune (frequently used by singers and rappers, but seldomutilized by instrumentalists) to re-create a surreal, yet wistf ul,

memory. "l just cranked it to full-on Auto-Tune destruction

mode," he laughs, "and it really did sound like gusts of wind

blowing tree branches every which way. Crazy stuff."

0n the album-closing "G0d ls Crying," Satch puls :,: :the stops, unleashing torrents of shred-tastic guita: i' 'track that ranks as one of his most panoramic of etfor:s

don't want to say that I was intentionally holding back on i^;blazing guitar throughout the record," he says, "but e'.'err

song is about choices. How many notes? What notes? When

writing this song, I started thinking about the c0ncept of God

and what He would do if He actually came down to Earth-lmean, physically. And I thought, He'd probably start crying at

all the things we've done. To properly convey that message,

I couldn't hold back on my instrument. I let loose with

everything I had."

Like its creator, Black Swans and Wormhole Wizards is an

album that asks as many questions as it answers. But unlike

most records where you know exactly where each song is

going to go, it takes off in a multitude of dizzying, disorienting

directions, probing the human condition and proving once

again that Joe Satriani is one of the world's most gifted and

inventive instrumentalists and comp0sers working today.

Like the black s,,"an. hes a shape-shifter. Aftists of his caliber

don't come along e',ren,day. and neither do records like this.

-JoeBosso



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Moderately .J

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WIND IN THE TREES

EmTadd4

By Joe Satriani

Play 3 timet

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Half-time feel

EmTadd4

Rhy. Fig. I

BmTadd4

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BmTadd4Play 4 times

End Rhy. Fis. 1

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PremonitionDream Song

Pyrrhic VictoriaLight Years Away

SolitudeLittleworth LaneThe Golden Room

Two Sides to Every StoryWormhole WizardsWind in the Trees

God Is Crying

@:l',g:ltJ:1":ZFfi;:L=.;*it"'-coRPoFtA-rtoN

u.s. s22.99BN!I SBN 978-1-60378-312-5

52299

Documents

Joe Satriani-Black Swans and Wormhole Wizards