A number of years ago, while I was in college (mid 90s), I got to witness Steve Vai perform on multiple occasions. The first was on the Sex and Religion tour when his band played at Graffiti's club in Pittsburgh, with Devin Townsend on vocals. The show was simply amazing, and contained everything... heavy hard rock vocal numbers, melodic instrumentals, great audience participation, percussion/drum solo, jazzy numbers, mind boggling extended solos, and an amazing, and inspired energy.
A couple years later, I saw Steve play on the first G3 tour, and this was a much more concise performance, limited to 45 minutes, and his best material, but still inspired. A year or so after that, he toured behind the Fire Garden album, again playing at Graffiti in Pittsburgh. This show, again was jaw dropping, and felt so special, as if we were witnessing magic, on a particularly inspired evening. The crowd interaction, Steve's between-song banter, and the performance was just ...special.
I decided to drive down to Washington DC to catch the next show that weekend. This show was at the now defunct Bayou in Georgetown. I brought a guitar student and my older brother with me... they had to witness what I saw in Pittsburgh. Much to my surprise, this show was nearly identical to the show in Pittsburgh, just two nights before. The same set of songs, the same between-song banter, the same crowd participation scenario, almost every thing about it was the same. As soon as it occurred to me that Steve and the band were playing the same thing every night (hey, I was young and I assumed they changed it up), I was a little disappointed. That show in Pittsburgh wasn't special, it was like all the other shows...
This disappointment quickly faded, as I witnessed a seemingly just-as-inspired performance in Washington DC. Steve and the band were still giving 100%. Sure, it was a similar performance to the other night, but that didn't stop them from delivering. There were two differences from this show and the previous one and I relished them. First, Steve's amp crapped out in the middle of the song "Brothers", right before his solo would have started. His band played on, with Mike Keneally taking a keyboard solo while the crew scrambled to replace the amp - which they did just in time for Steve to deliver THE solo! Secondly, towards the end Steve decided to smash his guitar to bits, and throw it into the audience, and then proceed to crowd surf in a very packed Bayou club. OK, now that was cool. (If Steve reads this, maybe he can interject a little about what he was feeling that night that prompted this.)
My take away from this was an important music lesson for me. When you are performing the same set of songs over and over, or if you are performing a song that you may feel is easy or boring, you can't let it be easy or boring. Your mind should be on multiple things:
1. Song Arc: Be mindful of the overall dynamic arc of the song, from intro, to verse, pre chorus, chorus, etc... How are you going to shape the song? 2. Part Arc: Each part of the song (Intro, Verse, Chorus, Bridge) has it's own dynamics, timing, and feel. How are you shaping each part of the song? Is it similar or in contrast to the other parts? 3. Line Arc: Each part of a song is made up of musical lines. Are you paying attention to the phrasing of these melodies and/or chord progressions? There may be a question and answer quality to these lines, are you performing them effectively? How are you shaping these lines? 4. Note Arc: Each melodic line or chord is made up of individual notes. How are you shaping these notes? Are they staccato, legato, loud, quiet? Does the timing occur ahead of the beat, or behind it? What is the envelope of each note and chord?
With all of this to think about, you can guarantee that the performance won't be "phoned in". You should be on your toes through every part of the performance. While much about performing is having the material down so well that it becomes second nature, you should always be mindful of how you shape each part of the song (on the macro and micro level). This will guarantee that you are "in tune" with the song, and can go a long way to delivering inspired performances no matter how many times you've played the set of songs.
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Philip Bynoe and I have had a long musical friendship. I’ve known Philip for over 16 years. We met during the first G3 tour in ’96, we both moved to LA at the same time, and we have been playing together for over 13 years. Philip played on my 2002 release King Friday. He’s my first call, go-to bassist with a great feel and groove that pushes the music forward. So it was a no-brainer to include him on my new album, Tone Poet. I must say, tracks that he plays on really benefited from his superb bass playing. Philip Bynoe brings to the record both world-class bass playing and experience from years of touring and recording for artists such as Steve Vai, Kevin Eubanks, Slash, and Ring of Fire. I recently caught up with Philip, who is on the road with Steve Vai. We discussed his musical influences, working with Steve again, the new album, and more.
You've played with some amazing artists from Steve Vai, Tony McAlpine, to Kevin Eubanks. But who are your musical influences? Do you have a favorite bass player or one that impressed you growing up?
As a bassist I have to say my father and older brother were my first big influences. When I was about 14 a friend introduced me to Stanley Clarke and that was a big day. I bought everything he released and learned it and from there to Weather Report and Jaco. Larry Graham was next as I was just listening to everybody.
You're back on the road with Steve Vai, how is touring with Steve different now than when you played together in the mid-late 90s?
Steve as a band leader and friend has developed his skills in the way he motivates the members of the band, which has us working together and growing musically in ways that none of us expected. The things we focus on are relaxing, being in the moment, phrasing and being musical. All things we did before, but now we work together to support each other, it's wonderful.
You tracked a handful of songs on my new album, Tone Poet, and you've been playing with me on and off for about 13 years... what have you noticed is different about my new material compared to say, "King Friday"?
As you have matured as a writer, the choices you make in creating music have grown also. Instead of forcing ideas into songs it sounds to me as if you're allowing the music to speak through you. As with all of us you have your signature sound and you have enhanced that.
Can you tell readers about the bass(es) and gear used to record your tracks on Tone Poet?
For this recording I used my Music Man Bongo 6 string basses, with the double humbucker pick ups. For my direct sound I went through a Digi 003 Black Box pre amp and used my SSL channel strip plug in. For live amp I used a 1200 watt tube amp with a 4/10 cab and a 421 mic on the cabinet.
Speaking of gear, what basses, effects, and amps are you touring with now?
My live rig and basses are, the a fore mentioned Music Man Bongo basses I have one with 2 humbuckers and the other is a single coil/humbucker set up. A 5 string Bongo fretless and a Kala ukulele bass that sounds like an upright.
What advise would you give aspiring bass players who may want to pursue a professional career in music?
As I tell the bass students at the LA Music Academy where I teach, it is a long road to be a musician. There are also many ways to be in the music business, if you start out with a plan of where you want to be and allow yourself to find your way, though it might take longer than you think, and your goals and dreams can change as you go along, if you allow that to happen you will find your way. Also don't get hung up in the game of "I wish I was doing that gig", enjoy what you are doing, do your best where you are and don't compare your life to others and you will have more fun and probably be more successful.
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Tone Poet was two years in the making... maybe even longer, but real recording and writing started two years ago. I'd like to take you through each song, share my thoughts on each of them, and give you an idea of what inspired them, how they were written, and what challenges they may have presented. Below is a preview video, giving you samples of each of Tone Poet's 12 tracks.
1. "Resurrectis" - Track 6 ("Luminae") was so much fun to compose and record that I immediately started another classical/choral composition that turned into "Resurrectis". Shorter than "Luminae", I decided this would be the album opener. Something unexpected for some listeners, I'm sure. The last few measures are lush and beautiful and come to an epic crescendo, which sets us up for... 2. "Brick By Brick" - Another track written early on in the project. The riffs, and the arrangement of the demo were intended to be for a vocal song. Believe it or not, as I was writing and recording the rhythm parts for this song, I kept thinking... "what would Reb Beach do?". I like Reb's rhythm playing, and this is my version of some of his heavier style of playing from albums like Pull and IV. The lyrics were my idea, but Mark Boals wrote the majority of them. He'd send me lyrics, I'd send back some re-writes and revisions, then he'd do his final tracking at his home studio, and send me the vocal tracks to dump into my rhythm section tracks. Drums were recorded last, by Charlie Waymire at his studio, Ultimate Rhythm Studios. 3. "When You Fall" - Having a bit of writer's block a couple years ago, I tried to make things interesting by using an open tuning. The open tuning for "When You Fall" is inspired by Devin Townsend, who plays guitars tuned from low to high: C G C G C E. That is what my guitar is tuned to here. Boy, did this work. The song wrote itself in a day or two. Intro, verse, chorus... done. This started out as an instrumental, and somewhere I have "Morning Rain" with lead guitar over the whole track. However, this was a great opportunity to have a vocal ballad, and I asked Mark to include the idea of rain in the lyrics, as the rain and thunder effects were already a part of the arrangement. The unique guitar solo was 16 measures pulled from the original instrumental lead guitar take, and fit really well.The outro features six tracks of Mark's backing vocals, creating a lush background... Again, drums were recorded last by Charlie Waymire.
4. "Flying" - This was the first song written for the album. The main guitar riff, groove, and choral ending was all written as a demo about 4 years ago. At the time I knew this was going to be a vocal track. I refused to record a guitar melody over this, simply because I knew this would be a vocal song, and that vocalist would be Mark Boals. Mark and I worked out the lyrics over a few short days, trading emails, and some demo vocal takes. The most complicated part of the song is the middle guitar solo section. The rhythm of the riff behind the solo is odd, and didn't feel comfortable to play over, as the rhythmic figure comes back in unexpectedly. I ended up combining two solos, that now are heard as these intertwined parts, and it happened to work out well. 5. "Movie In My Mind" - This song was hard to make work. I had 2-3 good parts written, and they seemed to kinda work together, back to back. I wrote the lyrics myself - my first lyrics ever to make it to tape! After Mark tracked his parts, I took liberty to rearrange the song, putting in the piano intro, which is also found in the new middle section break. I rerecorded my rhythm guitar parts, and must have rerecorded the lead guitar parts 6 or 7 times. It wasn't until after the live drum parts were tracked (by Charlie Waymire), and that Philip Bynoe laid down his bass part that it started to really gel. I then tracked what would be the final lead guitar parts you now hear. I think "Movie In My Mind" is a unique song, with interesting production, and a catchy chorus.
6. "Luminae" - This was the first of the three classical pieces, and was exciting to write and record. Somewhat inspired by the classical work of Uli Jon Roth, this pulls inspiration from composers like Arvo Part and Vangelis. As lush and as complicated as it may sound, a great amount of it was done in just 2-3 days. Later on, before mixing, I returned to this piece to really fine tune all the strings, choir, and guitar. I have not heard of anyone else combining electric guitar with this kind of "epic" style choral composition, and I feel like it is really unique.
7. "La Dolce Vita" - Written around the same time as the classical pieces, this takes those elements of choir and strings and puts it to a beat. My thought process here was to alternate between acoustic guitar and electric guitar. The groove was to have a fusiony drum feel, that Todd Sucherman nailed. For me, the song really came together when I added the 2nd electric guitar part (right speaker) that answers the main electric guitar melody. Listen closely during the "choruses" for the very Italian sounding faux-mandolin guitar parts in the background. The most difficult performance of the recording was the middle acoustic guitar/piano double-time unison part. This alternate picked one-note-per-string arpeggio part with a moving melody was near impossible to play in time, and I even retracked this part (again) after the song was mixed! Todd Sucherman really hit this one out of the park - one of my favorite tracks on the album. 8. "Tone Poet" - An all acoustic effort. My attempt at emulating Ukrainian "Bondura", which is a large multi-string instrument kind of like an autoharp meets a dulcimer. Tons of acoustic guitar tracks, doubling each other - both steel string and nylon (I think 4-5 guitars, some in stereo, some recorded in mono). The challenge here was to be able to perform these multi-tracked guitars in time, as the slightest deviation would make such a mess. The background heard underneath the ascending 16th note guitar part is inspired by Arvo Part's Tintinnabuli composition technique, using simple triads, with a rhythmically simple melody played counter to the three individual notes of the triad, but giving no weight to any particular note... How rock and roll, I know?! Again, Todd Sucherman's drums are outstanding here, and really show off a side of his playing that you don't get to hear when he's on the road with Styx. This song's groove felt much stronger after Philip Bynoe tracked his bass parts. 9. "Epoch" - I debated whether or not to include this composition on Tone Poet. There's no guitar! But I felt that it showed another side to me, and is a breakthrough for me in recording quality orchestral music. I thought about trying to track some guitar, but then thought "nahh...". The biggest challenge of this track was getting the various string parts to sound in time, as they tend to drag a bit with a slow attack. I really like the lead melody violin part, which delivers a very emotional performance. 10. "Echoes of El Greco" - This track started out with the simple 16th note rhythm guitar parts against the double bass drums... just messing with programming double bass drums, really. The big electric guitar part is my take on the not nearly asked enough question, "what if John Sykes were to write an instrumental?"...I wanted it to be "Crying in the Rain" - huge, and then schizophrenically switch to a Latin inspired neo-flamenco guitar solo section. This is a high energy, fun track to listen to, and according to Todd, was very taxing to record! 11. "Ur of the Chaldees" - Another track that got its start from Devin Townsend's open guitar tuning, C G C G C E. The song was written starting with the strummed guitar part, then the acoustic guitar melody. Over the coarse of the rest of the composition, it morphs into a middle eastern, world music inspired musical caravan. Layers, and layers of guitar, strings, choir, violin, percussion, and more percussion. The outro trading electric guitar solos are all the same takes from the original demo, they may not be perfect, technically, but they feel good and have the right energy. Not an easy track to mix. 12. "Spring (The Return)" - There are three parts to this song. The intro/verse, the "prechorus" harmony guitars, and the chorus featuring the arpeggiated guitar melody. But as simple as the arrangement is, boy does that chorus melody pay off. This guitar part was me experimenting with a one-note-per-string arpeggio figure with this moving melody line above. The left hand stretch and the right hand picking was a real challenge. So much so that I probably re-tracked this part a couple times, just to make sure the triplet timing was just right. The outro solo is a single take. The benefit of playing guitar more and more on a regular basis is that I find myself liking the first and second takes, and not laboring to "fix" and "punch in" any trouble spots. Listen closely to hear the background soprano vocal harmonies underneath the 2nd chorus and outro solo.
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LOS ANGELES, Calif. (May 14, 2013) - Rock guitarist Adrian Galysh has enlisted three-time Grammy nominee and Emmy Award-winning bassist, Philip Bynoe, to contribute bass tracks to his new album, Tone Poet. Philip Bynoe brings to the record both world-class bass playing and experience from years of touring and recording for artists such as Steve Vai, Kevin Eubanks, Slash, and Ring of Fire.
Bynoe and Galysh have had a long musical friendship, having played on Galysh’s 2002 release King Friday. According to Adrian, “I’ve known Philip for over 16 years. We met during the first G3 tour in ’96, we both moved to LA at the same time, and we have been playing together for over 12 years. He’s my first call, go-to bassist with a great feel and groove that pushes the music forward. The tracks that he plays on really benefited from his superb bass playing.”
Philip says, “I've been playing and recording with Adrian for a long time and his newest endeavor, adding a vocalist to his songs, is some of his best songwriting yet. I look forward to the new direction this music will take Adrian career-wise and have high hopes for great success in the years to come.”
Described as “a virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine, Galysh has a successful trajectory spanning three solo albums and numerous collaborations and performances with industry giants like Uli Jon Roth, Yngwie Malmsteen, Carl Verheyen, Mike Keneally, George Lynch, Warren DeMartini, and many more.
Galysh is preparing the release of his fourth solo album Tone Poet, due summer 2013. The album includes 12 tracks featuring vocal rock songs, instrumentals with world music influences, and sweeping orchestral works. His tasteful guitar work and compositional style will be complemented by Mark Boals’ (Yngwie Malmsteen, Royal Hunt) vocals, and grooves by world-class drummer, Todd Sucherman (STYX).
For more information, visit www.AdrianGalysh.com Subscribe to Adrian's E-Newsletter and get a FREE MP3!
Los Angeles, CA - Instrumental rock guitarist, Adrian Galysh, will perform a blistering set at the world famous Baked Potato in North Hollywood on Tuesday, May 15th at 9pm. Featuring band members from Uli Jon Roth, Alice Cooper, Gladys Knight and Steve Vai, this ensemble is sure to bring down the house, performing material from Galysh’s three solo releases.
Described as “A virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine, Galysh has been dazzling southern California audiences for over a decade, whether he’s backed by his band or as sideman for ex-Scorpions guitar legend, Uli Jon Roth.
His band features ace-drummer Glen Sobel (Alice Cooper), Philip Bynoe (Steve Vai) on bass, and Yuko Tamura (Gladys Knight) on keyboards. Fans of guitar centric music ala Jeff Beck, Joe Satriani, and Eric Johnson will enjoy Galysh’s tasty phrases, and anthem like melodies.
Galysh remarks about performing at the Baked Potato, “I’ve always enjoyed playing the ‘spud. It has an intimate vibe, and audiences love it - nowhere else can you witness such world class musician ship so close from your seat!”.
Growing up in the 1980s and 90s, with a guitar in my hands, I listened to a lot of hard rock and metal music. I've always tended to listen to music "before my time" though, and am attracted to music from the 70s and early 80s. I have been familiar with Graham Bonnet's voice since I was probably 10 years old.
Being a huge Scorpions fan, it was inevitable that I would have Michael Schenkerrecords in my collection, including the classic, "Assault Attack". From Graham's work with MSG, then Alcatrazzwith both Yngwie Malmsteen and Steve Vai, (did I mention I was a guitar nut in the 80s?) I then went back and bought all the Rainbow albums I could get my hands on. Graham stood out at that time in music. For one thing, he didn't look like all the other long haired, leather wearing "metal musicians". He had a more James Dean thing going on, with short blond hair, often seen wearing white sport coats. And secondly, his voice was just .... different. He is a powerful, loud singer, with tone like no other.
Last year, I had the pleasure of meeting Graham for the first time, having booked a gig billing my solo band, Alcatrazz Featuring Graham Bonnet, and Uli Jon Roth. Graham was very approachable, friendly, and funny! Catching a bit of his sound check and set that night, I have to say Graham is at the top of his game. His vocals are stronger than ever - I was impressed!
That show went well, so we decided to play together again a few months later in San Diego, where my band and Alcatrazz blew the doors down.
We'll be at it again on Friday, February 10th at Marquee 15in Corona, CA.
I recently caught up with Graham and conducted a short interview, please enjoy!
Adrian Galysh: Do you remember how old you were when you first started singing? Do you remember what prompted you to pursue singing more seriously?
Graham Bonnet: I started singing when i was four and listened to operatic music back in the fifties with all that, there was no rock music... until Buddy Holly and Little Richard came along.
AG: Do you remember your first performance?
GB: Cub scouts in the early 50's... I was seven years old, and the kids were always asking me to sing "Diana", the Paul Anka song, as I used to sing it on the school bus. I ended up singing it on the Cub Scout annual show, and getting my picture in the local paper, for my performance. I sang another song that mom's and dad's liked called "Good Companions". I don't know where the song came from... I think it was a show tune - I hated it!!
AG: Did you take singing lessons and were your parents supportive?
GB: No lessons. I am not that disciplined, but my parents always supported me.
AG: When did you know that you wanted to pursue music professionally?
GB: When I moved to London, when I was 18, I was lucky enough to play at a club with my five piece band, including my cousin playing guitar. In the audience, of this very nice club in the center of London, "The Revolution Club", was the Bee Gees old manager and came up to my cousin Trevor and said,"I am sure the Gibbs would love to see you Trevor."As they had moved to England, and my cousin, their ex guitarist /singer ...was in a band with me. The Bee Gees had two or three hit records at that time, so Trevor went to see the Gibb boys and told them I sang also, but we had a band together and lived in Wembley in London. Well, I was invited to meet the Bee Gees with their manager, Robert Stigwood, and we all were singing together with the Bee Gees, me and my cousin... at Stigwood's house [singing] Beach boys tunes and Stevie Wonder songs, and of course Beatles [songs].
Next thing i know, we were told we were going in the studio, and Barry was asked to write a song. But they didn't want our band. So we were in the studio and months later in the top three of the charts with a song called "Only One Woman", just under Joe Cocker's, "A Little Help from My Friends" - he made number one! When people like Barry Gibb said he couldn't believe my unusual voice, and how good i was - that was the turning point to persue a music career....In a nut shell!!
AG: The Marbles only seemed to be together for a couple years, from 1968-69, with just one album, why was it so short lived in your opinion?
GB: Because the company didn't want to work with my cousin, and they wanted to have me be like a Tom Jones type singer. So I left Robert Stigwood's company.
AG: You have worked with some of the most respected rock guitarists in the business, including Ritchie Blackmore, Michael Schenker, Yngwie Malmsteen, Steve Vai, and Chris Impellitteri. Is there an affinity you have for the instrument, or was it just timing and luck that brought you together with these guitarists?
GB: I was looking for guitar players like Ritchie after i left Rainbow, but was asked by Ritchie to join his band. At first I didn't want to, because it really wasn't my thing, but came to enjoy it later when I got into recording.
AG: The albums you recorded with the above mentioned guitarists are considered classics. Writing and recording with these guitarists, do you recall knowing at the time that these albums were special?
GB: Not really, the business was like it is now: all over the place. I looked at everything I did as an audition!!!
AG: Do you still stay in contact with Ritchie, Michael, Steve, or Yngwie?
GB: Steve... sometimes, Ritchie ...Never ...Yngwie never....They have all their own thing going on.
AG: Would you have any interest in working with any of them again?
GB: I would love to do something with all of them again, but times have changed and musicians are fighting for positions in the wonderful world of rock music. They make more money being the star so to speak, by doing their own thing, with lesser known players. You know, it makes sense!
AG: Were any of the albums particularly easy to write and record, considering who you were collaborating with?
GB: They were all hard work. I liked to write good melodies and good words so they all took work!
AG: Please list your top 5 musical influences.
GB: Buddy Holly, Little Richard, the Beatles, Paul Anka, Jerry Lee Lewis, and Ronnie Spector.
AG: Do you get a chance to listen to any new music? Who do you find yourself usually listening to?
GB: I never listen to music. It's my job. If i listen to anything, it's Beach Boys and the Beatles. Nothing of the new, so called, has anything that is different to things I have heard before. So my work is music, and I don't take my work home with me.
AG: If you couldn't sing for a living, what do you think you would be doing? Are there any hobbies or non-musical interests we may be surprised to know about?
GB: Art, or a newspaper reporter.
AG: Most people have a “Spinal Tap” moment or two in their careers, any strange or funny road stories you can share?
GB: Nothing funny happened to me, really ...except firing Yngwie.......
AG: I imagine you have had many great experiences over the years, but is there a particular career highlight that stands out that you can share?
GB: The first Castle Donington "Monsters of Rock", in England with Rainbow headlining (over 35,000 in attendance headlining over Judas Priest, Scorpions, Saxon, and Riot).
AG: Being in so many musical situations, from your solo records that reflect your early rock and r&b influences, to harder rock outings with Rainbow, MSG and Impellitteri, where do your ideas for lyrics come from?
GB: Every day observations, and my imagination. So I don't make up words like KISS would, or others. I like the english language, and telling a story.
AG: You've been working with Alcatrazz's current guitar monster, Howie Simon, for over 8 years now, how did you find him?
GB: Howie was introduced to me by our bassist, Tim Luce. We are still working on songs, but we have all been out there making money playing live, as there is no money being made when you are recording. As you know, bills have to be paid. There are no record company advances being handed out like in the past.
AG: What kind of advice would you give younger musicians who may be starting their careers?
GB: Get a real job. Music is becoming a hobby that doesn't always pay well. But always give it a shot. There are too many musicians, well people who play things, not all the time very musical. Real musicians are born, they don't have to be told how the machine works! ...If you know what i mean!
Click here for more info on Graham Bonnet and Alcatrazz featuring Graham Bonnet:
Corona, CA - Marque 15 will host an evening of blistering classic metal and hard rock with Alcatrazz featuring Graham Bonnet and special guest Adrian Galysh on February 10th.
Alcatrazz featuring Graham Bonnet will be performing all their hits, as well as those from Rainbow and MSG, including "Since You’ve Been Gone", “Assault Attack”, "God Blessed Video", "All Night Long", and "Night Games". Graham Bonnet was recently a guest on VH1 Classic’s popular program, “That Metal Show”, and he and the band have just returned from a successful tour of Europe, sharing the stage with hard rock heavy weight, Whitesnake. Alcatrazz are now ready to imprison California's inland empire. Special guest, Los Angeles guitarist, Adrian Galysh, will perform a full set of intense and melodic instrumentals. Called “A virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine, Galysh has been dazzling southern California audiences for over a decade, whether he’s backed by his band or as sideman for ex-Scorpions guitar legend, Uli Jon Roth. After a 2011 show that saw these two artists teamed together, Graham said to Adrian, “I had to come side of stage when you played, and my bass player found me there watching. He mentioned he has never seen me do this, which is true, I usually don't like even being in the venue before going on stage....you were the only guy that was worth watching as I had never seen you play before...I was beyond impressed”. Considering the guitar talent that Graham Bonnet has worked with, which includes legends like Ritchie Blackmoore, Michael Schenker, Yngwie Malmsteen, and Steve Vai, that says a lot. When: Friday, February 10 Where: Marque 15, 9022 Pulsar Ct., Suite H, Corona, CA 92883 Contact Venue: 888-811-6303
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