One of my best friend's worked concert security for many years and met many acts as well.
I feel sorry for your friend; I could never do security. The thought of standing in one place for hours at a time without being allowed to turn around or walk away to take a piss does not appeal to me one bit.
Satriani probably could write a ten minute riff.
So could Alvin Lee, and he sucks
BECAUSE of it. In music, as a rule of thumb, you should never write a phrase longer than you can sing in one breath. Otherwise it becomes uninteresting to the ear. Try listening to one of Alvin Lee's phrases that goes on for a minute or longer. After a few seconds it just becomes a jumbled mess of notes. More importantly, though, try to sing back what he just played.
If you think he sucks, that's fine, but he's one of the most technically accomplished guitarists of all time.
I never said he sucks; I actually recognized that he has great speed and dexterity a few posts ago. Hell, I wish I had his chops, even if the music I play has nothing to do with the music he plays.
Your misunderstanding comes from the fact that you're comparing apples to peanut butter and jelly sandwiches. One can have great technique, but still fail musically, which is what I don't like about Satriani. Yes, he can play really fast scales, in time, to boot, but the problem with that is that it really isn't musical. It's great as a way to show off how great you are, but musically it does nothing.
I'll give you an example of a different virtuoso guitarist who has flawless technique, yet still doesn't have much musicality. John Williams, Segovia's student, not the movie soundtrack guy, is widely recognized as having perfect technique, and, by many, as being one of the best classical guitarists ever. If you study what he does and apply it to your own playing you'll become infinitely better. He's great at what he does. However, he often plays things
WAY too fast; if a piece says it's
Moderato he'll play it
Allegretto, or faster. In doing so he loses some of the nuances that make the piece great. For example, I have a recording of him playing Mudarra's
Fantasia que Contrahace el Harpa de Ludovico. In the original manuscript Mudarra explicitly says that the piece should be started at a slow enough tempo where the tricky second section can be played without slowing the tempo down. From personal experience, that piece should not be played any faster than 70 clicks per minute, and even that's pushing it. However, Williams starts it somewhere in the neighborhood of 120 clicks per minute, losing some of the desired effect of the piece, and then, contrary to Mudarra's specific instructions, slows the tempo to about half when he gets to the aforementioned second section. In showcasing his perfect technique, Williams not only loses some of the character of the piece, but directly contradicts the composer's indications.
That's just one of many examples where Williams, a virtual guitar demi-god, lets technique take precedence, and loses musicality in the process. Do I think he sucks? No. I'd love to have his technique, but I don't like his music because it's not very musical. That's the same problem I have with Satriani.
Unnecessarily antagonistic, don't you think?
Nope, I'm just calling it as I see it. Let's take the last Satriani show that I worked as an example. In a crowd of 1,500 there were less than 100 women. That counts as a sausagefest in my book. :hatsoff: