CHITARRA LAMPO

• MUSIC BOOKS
    WHAT'S NEW
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    CLASSICAL GUITAR
    CLASSICAL and
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    JAM '50/backing tracks
    JAM '60 backing tracks
    JAM '70 backing tracks
    JAM '80/backing tracks
    JAM '90/backing tracks
    JAM '00 backing tracks
    JAM BLUES/backing tracks
    JAM COUNTRY/backing tracks
    JAM JAZZ/backing tracks
    JAZZ GUITAR
    JAZZ METHODS
    GYPSY JAZZ, SWING, MANOUCHE
    METHODS FOR GUITAR
    PIANO/KEYBOARDS e...
    ROCK and ROLL
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    ANTHOLOGY '70
    ANTHOLOGY '80
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    ANTHOLOGY '00
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    GUITAR MAKING
    INSTRUMENTAL REFERENCE, BIOGRAPHY
    METHODS FOR BASS GUITAR
    METHODS FOR DRUM
    HARMONICA
    BOOKS
• VIDEO/DVD INSTRUCTIONAL DVD
• CLASSICAL AND FLAMENCO GUITARS, & ACCESSORIES

GROUPS & PERSONALITIES

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6328 SATRIANI JOE, PROFESSOR SATCHAFUNKILUS AND THE MUSTERION OF ROCK. TAB.

Euro 22,00

Quantity

SATRIANI JOE, PROFESSOR SATCHAFUNKILUS AND THE MUSTERION OF ROCK. TAB.

Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Joe Satriani

Notes & tab for ten tunes off the '08 CD, approved by Satch himself! Includes the robot ode "I Just Wanna Rock" and: Andalusia - Asik Veysel - Come on Baby - Diddle Y-A-Doo-Dat - Musterion - Out of the Sunrise - Overdriver - Professor Satchafunkilus - and Revelation, plus an enlightening introduction. 156 PAGES

Andalusia
Asik Veysel
Come On Baby
Diddle-Y-A-Doo-Dat
I Just Wanna Rock
Musterion
Out Of The Sunrise
Overdriver
Professor Satchafunkilus
Revalation

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0853 SATRIANI JOE, CRYSTAL PLANET.

~~Euro 32,95~~
- 24,28% Euro 24,95

Quantity

SATRIANI JOE, CRYSTAL PLANET. TAB.

Series: Guitar
Publisher: Cherry Lane Music TAB
Artist: Joe Satriani

Matching folio includes all 15 songs from the best-selling album, including the title song plus, Plus photos from the recording.

Ceremony
Crystal Planet
House Full Of Bullets
Lights Of Heaven
Love Thing
A Piece Of Liquid
Psycho Monkey
Raspberry Jam Delta-V
Secret Prayer
Time
A Train Of Angels
Trundrumbalind
Up In The Sky
With Jupiter In Mind
Z.Z.'s Song

160 pages

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1981 SATRIANI JOE, DREAMING # 11.

Euro 23,00

Quantity

SATRIANI JOE, DREAMING # 11. TAB.

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3360 SATRIANI JOE, ENGINES OF CREATION. TAB.

Euro 22,95

Quantity

SATRIANI JOE, ENGINES OF CREATION. TAB.

Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Joe Satriani

Note-for-note transcriptions with tab for all 11 songs from guitar god Joe Satriani's 2000 release, an inventive foray into electronica. Includes:

Attack
Borg Sex
Champagne?
Clouds Race Across The Sky
Devil's Slide
Engines Of Creation
Flavor Crystal 7
The Power Cosmic 2000 - Part I
The Power Cosmic 2000 - Part II
Slow And Easy
Until We Say Goodbye

96 pages

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1982 SATRIANI JOE, FLYING IN A BLUE DREAM.

Euro 29,00

Quantity

SATRIANI JOE, FLYING IN A BLUE DREAM. TAB.

Series: Guitar Personality
Publisher: Cherry Lane Music TAB
Artist: Joe Satriani

From Satriani's hit album, featuring both instrumental and vocal selections such as the title track and:

Back To The Shalla-Bal(Satriani)
Bells Of Lal (Part One) Satriani
Bells Of Lal (Part Two) Satriani
Big Bad Moon
Can't Slow Down
Day At The Beach (New Rays From An Ancient Sun)
Feeling, The (Satriani Joe)
Flying In A Blue Dream
Forgotten, The (Part One) Satriani
Forgotten, The (Part Two) Satriani
Headless (Satriani Joe)
I Believe (Satriani Joe)
Into The Light (Satriani Joe)
The Mystical Potato Head Groove Thing
One Big Rush
Phone Call,The (Satriani Joe)
Ride (Satriani Joe)
Strange (Satriani Joe)

128 pages

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3261 SATRIANI JOE, GREATEST HITS, SCORE.

Euro 26,00

Quantity

SATRIANI JOE, GREATEST HITS SCORE. Always with me alwayts with you -cool #9 -flying in a blu dream -not of this earth -one big rush -satch boogie -summer song -surfing with the alien -up the sky. TAB.

Series: Guitar Personality
Publisher: Cherry Lane Music TAB
Artist: Joe Satriani

Includes complete transcriptions for every instrument used on 9 shredding songs from this guitar virtuoso, 168 pages

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1983 SATRIANI JOE, I SEGRETI DELLA CHITARRA, IN ITALIANO.

Euro 19,95

Quantity

SATRIANI JOE, I SEGRETI DELLA CHITARRA, IN ITALIANO. Tutte le 41 lezioni che Satriani ha scritto per la rivista "guitar", Accordi; Scale e Modi; Teoria delle scordature; Tecnica; Armonici, Assoli. TABLATURE

41 PRIVATE LESSONS AS FEATURED IN GUITAR For The Practicing Musician magazine (GFTPM)

INCLUDES

CHORDS

SCALES & MODES

TUNINGS

THEORY

TECHNIQUE

HARMONICS

SOLOING

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1986 SATRIANI JOE, GUITAR SECRETS. TABLATURE

Euro 13,00

Quantity

SATRIANI JOE, GUITAR SECRETS. TABLATURE

Guitar For The Practicing Musician magazine ( GFTPM )

Series: Guitar Educational
Publisher: Cherry Lane Music TAB
Artist: Joe Satriani

Learn guitar tips, tricks and secrets with this collection of articles and tips from Satriani's famous columns that have appeared in Guitar For The Practicing Musician magazine. Who better to learn guitar from than the master himself?

40 pages

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1988 SATRIANI JOE, NOT OF THIS EARTH. ULTIME COPIE DISPONIBILI, OUT OF PRINT

Euro 24,00

Quantity

SATRIANI JOE, NOT OF THIS EARTH. TAB.

Availability:

2240 SATRIANI JOE, SATRIANI. BOOK OF MUSIC WITH TABLATURE

Euro 22,95

Quantity

SATRIANI JOE, SATRIANI. BOOK WITH TABLATURE

Series: Guitar Personality
Publisher: Cherry Lane Music
Artist: Joe Satriani

The matching songbook to the hot new album, including: (You're) My World - Luminous Flesh Giants and all the rest! Plus photos and a feature interview with Joe, detailing the evolution of the new album.
Authorised guitar edition of all 12 tracks from Satriani's eponymous seventh album. Arranged for advanced guitarists, with an introduction by HP Newquist of Guitar Magazine.

Cool #9
Down, Down, Down
Home
If
Killer Bee Bop
Look My Way
Luminous Flesh Giants
Moroccan Sunset
Sittin' Round
Slow Down Blues
S.M.F.
(You're) My World

123 pages

Joe SATRIANI
has a new record. It is calle d, simply, Joe Satriani. The album is actually his second record titled Joe Satriani, but the first isn't available anymore, so that doesn't really make much difference. He's pretty excited about this record. He should be. It's a radical departure from the overdubbed guitar onslaught of alI of his previous studio albums.
Joe went into the studio with producer Glyn Johns [Rolling Stones, The Who] and a full band featuring longtime Eric Clapton collaborators Andy Fairweather Low on rhythm guitar and Nathan East on bass, and Peter Gabriel drummer Manu Katché. The result is the most stripped-down and "live" feeling record he's ever dane. Recorded on the heels of a successful Deep Purple tour wherein he filled the venerable shoes of Ritchie Blackmore, Satriani decided to throw away alI the conventional methods he had previously used to put together an album. It resulted in several false starts, and took him longer than he had expected, but he claims that it couldn't have worked any other way.
But you don't ne ed to hear us tell you about it. After approving the artwork far the record, Joe spent an afternoon with us in a tiny Italian restaurant in the Pacific Heights section of San Francisco, recounting the tale himself.

from Guitar Magazine l995

BETWEEN THEN & NOW
I signed a deal with Epic at the end of the Flying In A Blue Dream tom, at the end of 1990, to do a full band record, finding a vocalist and ali that. Then about a year ago, I couldn't feel in my body that this was my future, to be in a band behind a vocalist, writing songs far him. I went into it like you do when somebody says, "Let' s go aut and get a pizza." Sometimes your body speaks before your brain and says, "Good idea." But sometimes it's a bad idea. At the time, getting with a lead vocalist, making more music and selling more records sounded like a good idea I eventualiy asked to be released from the contract and I gave them their money back and they tore up the contract [laughs]. Theywere very accomodating. l'm sure they would have liked to have gotten the record, but they weren't going to make me make a record. I would have needed incredible people and an incredible dynamic. When I was looking around far people, and mentally comparing me and them to some of the other incredible bands that were coming aut, we couldn't hold a candle to some of those groups, because they had a real band-thing going.

GROUNDWORK
As I went off to tour Europe with Deep Purple in the spring of '94, I was thinking of working with someone who would not only change my method of recording but also mywriting. There was a certain feeling at the beginning of this project that steered me towards recording it maybe like Trent Reznor; you know, tweak it all I wanted.
A friend of mine, Eric Valentine, who plays far T-Ride and is a great drummer, engineer, and producer, saweye to eye with me on a lot of things. I thought that maybe here would be a way for me to work with someone where I didn't have to stay at home, write all the songs, go to the studio, find people to play all the parts, get it dane, mix the album, then go aut on tour. I was looking far some way that I could be a bit more creative in the studiowhich is always a very expensive proposition-so I started with a home-studio situation. I had a piece of music which I gave to Eric, and I said, "Look, here's a tape.
Don't think about what l'm writing or what you think I might be expecting. Just go crazy, cut it up, paste it, whatever. l'll be back in a couple of months, and then we'll get together and see what it sounds like."
When I carne back from the tour and I heard what Eric had dane, I thought it was arnazing. We spent about four days mixing it, and we ended up with something that we were really exdted about. I said, "l'm going to deliver you my demo s, and then you build up the tracks with drurns, bass, synth and computers. Then we'll bring other people in and l'll come back and we'll make it really happen-anything goes." We started doing that, but things started getting a bit drawn aut. l'm pretty spoiled. I like going in and having things dane, and just recording and moving ono I was staying home writing, and I wanted to spend more time with my san, Zachariah, so I was only coming in an hour or two once or twice a week. After a while, I realized that I wasn't going to make my own deadline of trying to have a record aut by around May of 1995.
While I had Eric doing his thing, I went to some other studios with John Cuniberti [ca-producer aJ Surfing With The Alien, Not Of This Earth, Dreaming #Il, Time Machine and Flying In A Blue Drearn] and Jeff Carnpitelli to knock aut other pieces I was working onoItwas definitely happening with John and Jeff, because we were getting things on first take. At the end of the day we would reflect on it and it was like listening to a whole new person, and I was getting off on that. So we wound up with a few things like that, that I thought were really perfect.
By the time Eric carne to the studio with the rest of the songs, I could already see a split happening between these wonderful first takes with John and these pieces with Eric that were labor-intensive studio creations. And Eric said, "You know, I don't think we're going to make
this May deadline." But I knew that if I spent more time on the record it would introduce an element that I was trying to avoid, which was too much work in the studio.
The final stage was in February or March 1995. Gregg and Matt Bissonette [drummer and bassist, respectively, wha wauld appear an the track "Laak My Way'1 carne up far a week or two with John, and we did some great recording.
But by the end of it, I had to say, "Look guys, it' s no one' s fault, but this isn't working." There was something about the whole process that I hadn't quite figured aut. Then Eric carne in again, brought the last of his backing tracks, and started working on the newer stuff. But no matter what we did to try to fix things, whether it was with his computer or me soloing on top of the tracks, it just wasn't working with these overly human- type of performances I was making with John. [Eric Valentine wauld later play on and engineer several tracks onJoe Satriani-ed.] Finally I thought, this is really silly, let's just stop. After some conversations with my management and the record company, they said, "Yeah, stop, and when you want to get back to it, get back to it." So I set it aside for a while, and I realized after several months of recording that I really didn't want to produce myself anymore. I just wanted to play guitar again. I kept remembering that the power ofthe one-take recordings was in how I delivered the message, not in how crafty I was in fleshing aut a part.

OUTSIDE PRODUCTION
In the very early stages, my [producer]list was a bit strange. It reflected a direction that would have been a bit more electronic, perhaps like Brian Eno. Then Mick Brigden [oJSatriani's managementcompany] recommended Glyn Johns as a possible producer. I never thought there was a chance in hell that we' d get a return phone call-since he is Glyn Johns. I was lucky to have met his brother Andy before The Extremist, and And and I had an instant bonding [resulting inAndy's producing said album-ed.). Inddentally, Andy had mentioned...

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CHITARRA LAMPO