This article or section should specify the language of its non-English content, using {{lang}}, with an appropriate ISO 639 code (see why). (April 2012)

A cairn to mark the summit of a mountain

Cairn is a term used mainly in the English-speaking world for a man-made pile (or stack) of stones. It comes from the Scottish Gaelic: càrn (plural càirn). Cairns are found all over the world in uplands, on moorland, on mountaintops, near waterways and on sea cliffs, and also in barren desert and tundra areas. They vary in size from small stone markers to entire artificial hills, and in complexity from loose, conical rock piles to delicately balanced sculptures and elaborate feats of megalithic engineering. Cairns may be painted or otherwise decorated, e.g. for increased visibility or for religious reasons.

In modern times, cairns are often erected as landmarks, a use they have had since ancient times. Since prehistory, they have also been built as sepulchral monuments, or used for defensive, hunting, ceremonial, astronomical and other purposes.

Modern cairns[link]

Line of cairns used to mark the way above the treeline on Mount Washington, New Hampshire

Today, cairns are built for many purposes. The most common use in North America and Northern Europe is to mark mountain bike and hiking trails and other cross-country trail blazing, especially in mountain regions at or above the tree line. For example, the extensive trail network maintained by the DNT, the Norwegian Trekking Association, extensively uses cairns in conjunction with T-painted rock faces to mark trails. Other examples of these can be seen in the lava fields of Volcanoes National Park in Hawaiʻi to mark several hikes.^[1] Placed at regular intervals, a series of cairns can be used to indicate a path across stony or barren terrain, even across glaciers. Such cairns are often placed at junctions or in places where the trail direction is not obvious, and may also be used to indicate an obscured danger, such as a sudden drop, or a noteworthy point such as the summit of a mountain. Most trail cairns are small, a foot or less in height, but may be built taller so as to protrude through a layer of snow. Hikers passing by often add a stone, as a small bit of maintenance to counteract the erosive effects of severe weather. North American trail marks are sometimes called "ducks" or "duckies", because they sometimes have a "beak" pointing in the direction of the route. The expression "two rocks do not make a duck" reminds hikers that just one rock resting upon another could be the result of accident or nature rather than intentional trail marking.

Coastal cairns, or "sea marks", are also common in the northern latitudes, especially in the island-strewn waters of Scandinavia and eastern Canada. Often indicated on navigation charts, they may be painted white or lit as beacons for greater visibility offshore.

One of many cairns marking British mass graves at the site of the Battle of Isandlwana, South Africa.

Modern cairns may also be erected for historical or memorial commemoration or simply for decorative or artistic reasons. One example is a series of many cairns marking British soldiers' mass graves at the site of the Battle of Isandlwana, South Africa. Another is the Matthew Flinders Cairn on the side of Arthur's Seat, a small mountain on the shores of Port Phillip Bay, Australia. A large cairn, commonly referred to as "the igloo" by the locals, was built atop a hill next to the I-476 highway in Radnor, Pennsylvania and is a part of a series of large rock sculptures initiated in 1988 to symbolize the township's Welsh heritage and to beautify the visual imagery along the highway.^[2] Some are merely places where farmers have collected stones removed from a field. These can be seen in the Catskill Mountains, North America where there is a strong Scottish heritage, and may also represent places where livestock were lost. In locales exhibiting fantastic rock formations, such as the Grand Canyon, tourists often construct simple cairns in reverence of the larger counterparts.^{[citation needed]}. By contrast, cairns may have a strong aesthetic purpose, for example in the art of Andy Goldsworthy.

History[link]

Europe[link]

The building of cairns for various purposes goes back into prehistory in Eurasia, ranging in size from small rock sculptures to substantial man-made hills of stone (some built on top of larger, natural hills). The latter are often relatively massive Bronze Age or earlier structures which, like kistvaens and dolmens, frequently contain burials; they are comparable to tumuli (kurgans), but of stone construction instead of earthworks. Cairn originally could more broadly refer to various types of hills and natural stone piles, but today is used exclusively of artificial ones.

Cairn of the Neolithic-era passage grave on Gavrinis island, Brittany.

The word cairn derives from Scots cairn (with the same meaning), in turn from Scottish Gaelic càrn, which is essentially the same as the corresponding words in other native Celtic languages of Britain and Ireland, including Welsh carn (and carnedd), Irish carn, and Cornish karn or carn. Cornwall (Kernow) itself may actually be named after the cairns that dot its landscape, such as Cornwall's highest point, Brown Willy Summit Cairn, a 5 m (16 ft) high and 24 m (79 ft) diameter mound atop Brown Willy hill in Bodmin Moor, an area with many ancient cairns. Burial cairns and other megaliths are the subject of a variety of legends and folklore throughout Britain and Ireland. In Scotland, it is traditional to carry a stone up from the bottom of a hill to place on a cairn at its top. In such a fashion, cairns would grow ever larger. An old Scottish Gaelic blessing is Cuiridh mi clach air do chàrn, "I'll put a stone on your cairn". Cairns in the region were also put to vital practical use. For example, Dún Aonghasa, an all-stone Iron Age Irish hill fort on Inishmore in the Aran Islands, is still surrounded by small cairns and strategically placed jutting rocks, used collectively as an alternative to defensive earthworks because of the karst landscape's lack of soil.

In Scandinavia, cairns have been used for centuries as trail and sea marks, among other purposes. In Iceland, cairns were often used as markers along the numerous single-file roads or paths that crisscrossed the island; many of these ancient cairns are still standing, although the paths have disappeared. In Norse Greenland, cairns were used as a hunting implement, a game-driving "lane", used to direct reindeer towards a game jump.^[3]

In the mythology of ancient Greece, cairns were associated with Hermes, the god of overland travel. According to one legend, Hermes was put on trial by Hera for slaying her favorite servant, the monster Argus. All of the other gods acted as a jury, and as a way of declaring their verdict they were given pebbles, and told to throw them at whichever person they deemed to be in the right, Hermes or Hera. Hermes argued so skillfully that he ended up buried under a heap of pebbles, and this was the first cairn. In Croatia, in areas of ancient Dalmatia, such as Herzegovina and the Krajina, they are known as gromila.

In a legend of Portugal, a cairn is called a moledro, the stones of which are enchanted soldiers, and if one stone is taken from the pile and put under a pillow, in the morning a soldier will appear for a brief moment, then will change back to a stone and magically return to the pile.^[4]

Cairns are also common on the Mediterranean island of Corsica.,^{[clarification needed]}

North and Northeast Africa[link]

Ancient cairns in Qa’ableh, Somalia.

Cairns (taalo) are a common feature at Elaayo, Haylaan, Qa’ableh and Qombo'ul, among other places. Northern Somalia in general is home to a lot of such historical settlements and archaeological sites wherein are found numerous ancient ruins and buildings, many of obscure origins. However, many of these old structures have yet to be properly explored, a process which would help shed further light on local history and facilitate their preservation for posterity.^[5]

Since Neolithic times, the climate of North Africa has become drier. A reminder of the desertification of the area is provided by megalithic remains, which occur in a great variety of forms and in vast numbers in presently arid and uninhabitable wastelands: cairns (kerkour), dolmens and circles like Stonehenge, underground cells excavated in rock, barrows topped with huge slabs, and step pyramid-like mounds.

Asia and the Pacific[link]

Cairn on Chandrashila Peak, above Tungnath, India.^{[clarification needed]}

Starting in the Bronze Age,^{[clarification needed]} burial cists were sometimes interred into cairns, which would be situated in conspicuous positions, often on the skyline above the village of the deceased. The stones may have been thought to deter grave robbers and scavengers. A more sinister explanation is that they were to stop the dead from rising. There remains a Jewish tradition of placing small stones on a person's grave as a token of respect. Stupas in India and Tibet probably started out in a similar fashion, although they now generally contain the ashes of a Buddhist saint or lama.

A Mongolian ceremonial cairn (ovoo)

A traditional and often decorated, heap-formed cairn called an ovoo is made in Mongolia. It primarily serves religious purposes, and finds use in both Tengriist and Buddhist ceremonies.

In Hawaii, cairns are called by the Hawaiian word ahu.^{[clarification needed]}

The Americas[link]

A cairn marking the peak of Bald Mountain, Adirondacks.

Throughout what today are the continental United States and Canada, cairns still mark indigenous peoples' game-driving "lanes" leading to buffalo jumps, some of which may date to 12,000 years ago.

Natives of arctic North America (i.e. northern Canada, Alaska and indigenous Greenland) have built carefully constructed cairns and stone sculptures, called by names such as inuksuit and inunnguat, as landmarks and directional markers since before contact with Europeans. They are iconic of the region (an inuksuk even features on the flag of the Canadian far-northeastern territory, Nunavut), and are increasingly used as a symbol of Canadian national identity.

In North America, cairns are often petroforms in the shapes of turtles or other animals.^{[citation needed]}

Cairns have been used since pre-Columbian times throughout Latin America to mark trails. Even today in the Andes of South America, the Quechuan peoples use cairns as religious shrines to the indigenous Inca goddess Pachamama, often as part of a synchretic form of Roman Catholicism.

Cairns and anthropomorphism[link]

Inuksuit at the Inuksuk Point (Baffin Island), Canada

Although the practice is not common in English, cairns are sometimes referred to by their anthropomorphic qualities. In German and Dutch, a cairn is known as steinmann and steenman respectively, meaning literally "stone man". A form of the Inuit inuksuk is also meant to represent a human figure, and is called an inunguak ("imitation of a person"). In Italy, especially the Italian Alps, a cairn is an ometto, or a "small man".

Chambered cairns[link]

Clava cairns[link]

Court cairns[link]

Sea cairns[link]

Sea mark in Finnish coastal waters.

Coastal cairns called sea marks are also common in the northern latitudes, and are placed along shores and on islands and islets. Usually painted white for improved offshore visibility, they serve as navigation aids. In Scandinavia they are called kummel in Swedish and kummeli in Finnish, and are indicated in navigation charts and maintained as part of the nautical marking system.^[6] Inversely, they are used on land as sea cliff warnings in rugged and hilly terrain in the foggy Faroe Islands. In the Canadian Maritimes, cairns have been used as beacons like small lighthouses to guide boats, as depicted in the novel The Shipping News.

See also[link]

• Dry stone
• Cairn terrier
• Dolmen
• Hörgr
• Kerb (archaeology)
• Rujm
• Stele
• Callander

References[link]

 This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

External links[link]

Wikimedia Commons has media related to: Cairns

Wikisource has the text of the 1911 Encyclopædia Britannica article Cairn.

• Notes on Building a Cairn (pdf), by Dave Goulder for the DSWA, Dry Stone Walling Association of Great Britain. Practical notes to help those embarking on a cairn-building project.

Joe Satriani
Satriani live in New York in 2010
Background information
Birth name	Joseph Satriani
Also known as	Satch
Born	(1956-07-15) July 15, 1956 (age 55) Westbury, New York, United States
Genres	Rock, instrumental rock, hard rock, blues, heavy metal
Occupations	Musician, songwriter, producer, guitar instructor
Instruments	Guitar, bass, keyboards, vocals, harmonica, banjo, harp
Years active	1970–present
Labels	Sony, Epic, Relativity
Associated acts	Alice Cooper, Mick Jagger, Deep Purple, Steve Vai, G3, Sammy Hagar, Chickenfoot, Jason Becker, Greg Kihn Band
Website	Official website
Notable instruments
Ibanez Joe Satriani Signature model

Joseph "Joe" Satriani (born July 15, 1956) is an American instrumental rock guitarist of Italian origin, multi-instrumentalist and multiple Grammy Award nominee. Early in his career, Satriani worked as a guitar instructor, and some of his former students have achieved fame such as Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan and Alex Skolnick. Satriani has been a driving force in music credited to other musicians throughout his career, as a founder of the G3 tour, as well as performing in various positions with other musicians.

In 1988, Satriani was recruited by Mick Jagger as lead guitarist for Jagger's first solo tour.^[1] In 1994, Satriani was the lead guitarist for Deep Purple.^[2] Satriani worked with a range of guitarists, including Steve Vai, John Petrucci, Eric Johnson, Larry LaLonde, Yngwie Malmsteen, Brian May, Patrick Rondat, Andy Timmons, Paul Gilbert, Adrian Legg, and Robert Fripp through the annual G3 Jam Concerts.^[3] He is currently the lead guitarist for the supergroup Chickenfoot. Since 1988, Satriani has been using his own signature guitar, the Ibanez JS Series, which is sold in music stores worldwide.

Biography[link]

Early life[link]

Satriani was born in Westbury, New York. He was inspired to play guitar at age 14, after hearing of the death of Jimi Hendrix.^[4] He has been said to have heard the news during a football training session, where he confronted his coach and announced that he was quitting to become a guitarist.^[5] In 1974, Satriani studied music with jazz guitarist Billy Bauer and with reclusive jazz pianist Lennie Tristano. The technically demanding Tristano greatly influenced Satriani's playing. Satriani began teaching guitar, with his most notable student at the time being fellow Long Island native Steve Vai. While he was teaching Vai, he was attending Five Towns College for studies in music.

In 1978, Satriani moved to Berkeley, California to pursue a music career. Soon after arriving in California, he resumed teaching. His students included Steve Vai, Kirk Hammett of Metallica, David Bryson of Counting Crows, Kevin Cadogan from Third Eye Blind, Larry LaLonde of Primus / Possessed, Alex Skolnick of Testament, Rick Hunolt (ex-Exodus), Phil Kettner of Lääz Rockit, Geoff Tyson of T-Ride, Charlie Hunter and David Turin.

Music career[link]

Satriani started playing in a San Francisco-based band called the Squares,^[6] where he continued to network and make musical connections (Squares sound man John Cuniberti co-produced his second album). He was invited to join the Greg Kihn Band, who were on the downside of their career, but whose generosity helped Satriani pay off the overwhelming credit card debt from recording his first album.^[7] When his friend and former student Steve Vai gained fame playing with David Lee Roth in 1986, Vai raved about Satriani in several interviews with guitar magazines, including Guitar World magazine.

In 1987, Satriani's second album Surfing with the Alien produced radio hits and was the first all-instrumental release to chart so highly in many years. In 1988 Satriani helped produce the EP The Eyes of Horror for the death metal band Possessed. In 1989, Satriani released the album Flying in a Blue Dream. It was said to be inspired by the death of his father, who died in 1989 during the recording of the album. "One Big Rush" was featured on the soundtrack to the Cameron Crowe movie Say Anything.... "The Forgotten Part II" was featured on a Labatt Blue commercial in Canada in 1993. "Can't Slow Down" featured in a car-chase sequence in the Don Johnson starring show Nash Bridges.

Joe Satriani also sang backing vocals on the self titled Crowded House album. Satriani was a friend of Michel Froom. Neil Finn of Crowded House confirms this in an interview with FlixelPix photographer David Cleland http://www.flixelpix.com/blog/archive-neil-finn-interview/

In 1992, Satriani released The Extremist, his most critically acclaimed and commercially successful album to date. Radio stations across the country picked up "Summer Song," which got a major boost when Sony used it in a major commercial campaign for their Discman portable CD players.^[8] "Cryin'," "Friends," and the title track were regional hits on radio. In late 1993, Satriani joined Deep Purple as a temporary replacement for departed guitarist Ritchie Blackmore during the band's Japanese tour. The concerts were a success, and Satriani was asked to join the band permanently but he declined, having just signed a multi-album solo deal with Sony, and Steve Morse took the guitarist slot in Deep Purple.^[9]

In 1996, Satriani founded the G3, a concert tour intended to feature a trio of guitarists. The original lineup featured Satriani, Vai and Eric Johnson. The G3 tour has continued periodically since its inaugural version, with Satriani the only permanent member. Other guitarists who have performed in G3 include among others: Yngwie Malmsteen, John Petrucci, Kenny Wayne Shepherd, Robert Fripp, Andy Timmons, Uli Jon Roth, Michael Schenker, Adrian Legg, Paul Gilbert, and Steve Lukather. In 1998 Satriani recorded and released Crystal Planet, which went back to a sound reminiscent of his late '80s work. Planet was followed up with Engines of Creation, one of his more experimental works featuring the electronica genre. A pair of shows at the Fillmore in San Francisco were recorded in December 2000 and released as Live in San Francisco, a two-disc live album and DVD.

2000s and future[link]

Satriani playing in Chile, 2003.

Satriani regularly recorded and released evolving music, including Strange Beautiful Music in 2002 and Is There Love in Space? in 2004. In May 2005, Satriani toured India for the first time, playing concerts in Delhi, Kolkata and Mumbai. In 2006, Satriani recorded and released Super Colossal and Satriani Live!, another two-disc live album and DVD recorded May 3, 2006 at the Grove in Anaheim, CA. In 2006, Satriani signed on as an official supporter of Little Kids Rock, a non-profit organization that provides free musical instruments and instruction to children in underserved public schools throughout the U.S.A. Satriani has personally delivered instruments to children in the program through a charity raffle for the organization and, like Steve Vai, sits on its board of directors as an honorary member.

On August 7, 2007 Epic/Legacy Recordings re-released Surfing with the Alien to celebrate the 20th anniversary of its release. This was a two-disc set that includes a remastered album and a DVD of a never-before-seen live show filmed at the Montreux Jazz Festival in 1988.^[10] Satriani's next album Professor Satchafunkilus and the Musterion of Rock, was released on April 1, 2008.^[11] Satriani released a live DVD recording of a concert in Paris titled Live In Paris: I Just Wanna Rock and a companion 2 CD set on February 2, 2010.^[12] In March 2010 Satriani participated with other guitarists in the Experience Hendrix Tribute Tour, performing music written and inspired by Jimi Hendrix.^[13][14]

Joe Satriani with Stu Hamm in Rijnhal, Arnhem, 2008.

On 29 May 2008 it was revealed that Satriani was involved in a new hard rock band called Chickenfoot with former Van Halen members Sammy Hagar and Michael Anthony, and Red Hot Chili Peppers drummer Chad Smith. The band features Hagar on vocals, Satriani on guitar, Anthony on bass and Smith on drums.^[15] Their debut album was released on 5 June 2009.^[16] The first single and video released was the track "Oh Yeah," which was played on the Tonight Show With Conan O'Brien on 5 June 2009. Satriani received a co-writing credit on all the songs on the band's debut album.^[17] Broken Records magazine asked Satriani about his new band, and he enthusiastically mentioned that "it was great fun" and it gives him a "kick in the music bone" to be playing with such great talent. He said it felt quite natural to step back and play more rhythm guitar than solo guitar. Chickenfoot's second album was titled III, and was released on 27 September 2011. Its first single was the track 'Bigfoot'. On its first week of release, it reached a chart position of #9.

In April, Satriani and Chickenfoot voiced themselves in an episode of the animated television series Aqua Teen Hunger Force. In May 2010, Satriani announced he was about to enter the studio to record a solo album, and dates were released for an autumn tour. He also said that demos had been recorded for a second Chickenfoot album. In May 2010, Satriani joined Sound Strike, a movement led by Rage Against the Machine singer Zack de la Rocha protesting Arizona SB1070.^[18][19] As a result, Satriani refuses to perform live in Arizona. Satriani released his 13th studio album Black Swans and Wormhole Wizards, on October 5, 2010.^[20]

On December 4, 2008 Satriani filed a copyright infringement suit against Coldplay in the United States District Court for the Central District of California. Satriani's suit claims that the Coldplay song "Viva la Vida" includes "substantial original portions" of the Satriani song "If I Could Fly" from his 2004 album, Is There Love in Space?. The Coldplay song in question received two Grammy Awards for "Song of the Year."^[21] Coldplay denied the allegation.^[22][23][24] An unspecified settlement was reached between the parties.^[25]

Satriani released the DVD/Blu-ray of his 3D concert film Satchurated: Live in Montreal on April 24th 2012 after its limited showing in theaters. The film was shot in December 2010 in Montreal and was directed by award-winning filmmakers François and Pierre Lamoureux. ^[26] Satchurated is the first Blu-ray concert film available in 3D with Dolby TrueHD 7.1.

Other work[link]

Satriani is credited on many other albums, including guitar duties on shock-rocker Alice Cooper's 1991 album Hey Stoopid, Spinal Tap's 1992 album Break Like the Wind, Blue Öyster Cult's 1988 album Imaginos, band members Stu Hamm and Gregg Bissonette's solo albums. He was credited with singing background vocals on the 1986 debut album by Crowded House. In 2003, he played lead guitar on The Yardbirds's release Birdland. In 2006, he made appearances on tracks for Deep Purple vocalist Ian Gillan's solo CD/DVD dual disc Gillan's Inn.

On Dream Theater's 2007 album Systematic Chaos, Satriani contributed spoken lyrics to the song "Repentance." Satriani contributed a guitar solo to Jordan Rudess' 2004 solo release Rhythm of Time. He composed much of the soundtrack for the racing video game NASCAR 06: Total Team Control and contributed to Sega Rally Championship. He has in feature films, including 2006 Christopher Guest film For Your Consideration as the guitarist in the band that played for the late-night show.^[27] Other films include Moneyball in which he appears as himself playing Star Spangled Banner.

Satriani in 2005

Style and influence[link]

Satriani is considered to be a technically proficient guitarist,^[28] and has been referred to as a guitar virtuoso.^[29][30] Satriani has mastered all performance techniques on electric guitar, including legato, two-handed tapping and arpeggio tapping, volume swells, harmonics and extreme whammy bar effects. During fast passages, Satriani favors a legato technique (achieved primarily through hammer-ons and pull-offs) that yields smooth and flowing runs. He is also adept at other speed-related techniques such as rapid alternate picking and sweep picking. Satriani was influenced by blues-rock guitar icons such as Jimi Hendrix, Eric Clapton, Jimmy Page, Ritchie Blackmore and Jeff Beck,^[2][31] as well as jazz fusion guitarist Allan Holdsworth.^[32] Satriani created his own recognizable style and is an influential guitarist.^[33] Satriani has received 15 Grammy nominations^[34] and has sold over 10 million albums worldwide.^[35]

Equipment[link]

Satriani has endorsed Ibanez's JS Series guitars, and Peavey's JSX amplifier. Both lines were designed specifically as signature products for Satriani. The Ibanez JS1 (the original JS model) was based on, and replaced, the Ibanez 540 Radius model that Satriani first endorsed. Many of his guitars are made by Ibanez, including the JS1000, and JS1200. These guitars typically feature the DiMarzio PAF Pro (which he used up until 1993 in both the neck and bridge positions), the DiMarzio Fred (which he used in the bridge position from 1993 to 2005), and the Mo' Joe and the Paf Joe (which he uses in the bridge and neck positions, respectively, from 2005 to present day).

The JS line of guitars is his signature line with the JS1000, JS1200, JS2400, JSBDG, and JS20th using Ibanez's original Edge double locking tremolo bridge. The JS100 and JS120s both use Ibanez's Edge 3 tremolo bridge. The JS1600 is a fixed bridge guitar with no tremolo system. The guitar he was most associated with during the 90s was a chrome-finished guitar nicknamed "Chrome Boy." This instrument can be seen on the Live in San Francisco DVD. However, the guitar used for most of the concert was in fact a lookalike nicknamed "Pearly," which featured Seymour Duncan Pearly Gates pickups.

Satriani uses a number of other JS models such as the JS double neck model, JS700 (primary axe on the self-titled CD and seen on the 1995 tour "Joe Satriani," which features a fixed bridge, P-90 pickups, and a matching mahogany body and neck), JS6/JS6000 (natural body), JS1 (the original JS model), JS2000 (fixed bridge model), a variety of JS100s, JS1000s and JS1200s with custom paint work, and a large amount of prototype JSs. All double locking bridges have been the original Edge tremolo, not the newer models, which point to a more custom guitar than the "off the shelf" models. Joe played a red 7-string JS model, seen in the "G3 Live in Tokyo" DVD from 2005. He also has a prototype 24-fret version of the JS—now called the JS-2400—which he has used with Chickenfoot. As of late he has used other prototypes featuring a Sustainer or a JS model with three single coil-sized humbucker pickups.

Satriani's guitars are usually equipped with his signature DiMarzio humbucker pickups, Mo' Joe and PAF Joe, although his 24-fret JS model features a Pro Track single coil-sized, humbucker pickup in the neck position. Some of his guitars are still equipped with the pickup models he favored in the past, the DiMarzio FRED and PAF Pro pickups. Satriani has used a wide variety of guitar amps, using Marshall for his main amplifier (notably the limited edition blue coloured 6100 LM model) up until 2001, and his Peavey signature series amps, the Peavey JSX, thereafter.

Satriani in New York, 2010.

The JSX began life as a prototype Peavey XXX and developed into the Joe Satriani signature Peavey model. However he still used distortion pedals with the clean channel rather than the built in od channels. Satriani has used other amplifiers over the years in the studio, such as the Peavey 5150 (used to record the song 'Crystal Planet'), Cornford, and the Mesa/Boogie Mark IIC+ (used to record the song 'Flying in a Blue Dream'), amongst others. He has recently switched to the Marshall JVM series, having used a modified JVM 410H in his Black Swans and Wormhole Wizards tour in 2010 and with Chickenfoot in 2010 and 2011.

These modified JVM Marshall amps were prototypes for a signature amp which was scheduled for release in 2011. The reverb has been replaced by noise gates which cancel any lag when switching channels. The clean channel has been replaced by the clean channel of a 6100 LM model which he likes as an option to use distortion pedals with. The orange od channel and the modern red od channel have been better matched with each other as he still claims to prefer the organic od channels of the JVM amp rather than pedals. The red od channel has been modified to be based more on beefy rock than a nu-metal sound. The fx-loop has been simplified to be serial only.

His effects pedals include the Vox wah, Dunlop Cry Baby wah, RMC Wizard Wah, DigiTech Whammy, BK Butler Tube Driver, BOSS DS-1, BOSS CH-1, BOSS CE-2, BOSS DD-2 and a standard BOSS DD-3 (used together to emulate reverb effects), BOSS BF-3, BOSS OC-2, Barber Burn Drive Unit, Fulltone Deja Vibe, Fulltone Ultimate Octave, and Electro-Harmonix POG (Polyphonic Octave Generator), the latter being featured prominently on the title cut to his 2006 Super Colossal. Satriani has partnered with Planet Waves to create a signature line of guitar picks and guitar straps featuring his sketch art.

Although Satriani endorses the JSX, he has used many amps in the studio when recording, including the Peavey Classic. He used Marshall heads and cabinets, including live, prior to his Peavey endorsement. Recently Satriani used the JSX head through a Palmer Speaker Simulator. He has released a Class-A 5-watt tube amp called the "Mini Colossal." Satriani has been using a Marshall JVM410 head in live gigs since 2009.^[36][37] He is currently working with Vox on his own line of signature effects pedals designed to deliver Satriani's trademark tone plus a wide range of new sounds for guitarists of all playing styles and ability levels. The first being a signature distortion pedal titled the "Satchurator," and the "Time Machine," which will be a delay pedal, with more to follow, including a wah pedal called the "Big Bad Wah."^[38] On March 3, 2010 a new pedal was announced on Satriani's website regarding the new Vox overdrive pedal called "Ice 9."^[39]

Recurring themes[link]

Satriani during a concert in Rijnhal, Arnhem, 2008.

Satriani's work frequently makes references to various science fiction stories and ideas. "Surfing with the Alien," "Back to Shalla-Bal," and "The Power Cosmic 2000" refer to the comic book character Silver Surfer, while "Ice 9" refers to the secret government ice weapon in Kurt Vonnegut's Cat's Cradle. "Borg Sex" is a reference to Star Trek, which features a homogeneous cybernetic race known as the Borg. His albums and songs often have other-worldly titles, such as Not of this Earth, Crystal Planet, Is There Love in Space?, and Engines of Creation.

On the album Super Colossal, the song titled "Crowd Chant" was originally called "Party on the Enterprise." "Party on the Enterprise" featured sampled sounds from the Starship Enterprise from the Star Trek TV show. But as Satriani explained in a podcast, legal issues regarding the samples could not be resolved and he was unable to get permission to use them.^[40] Satriani then removed the sounds from the song and called it "Crowd Chant." The song is used as goal celebration music for a number of National Hockey League teams and MLS teams including the Minnesota Wild and New England Revolution.^[41] The song is also used in the EA Sports hockey video game NHL 10.

"Redshift Riders," another song on the Super Colossal album, is "based on the idea that in the future, when people can travel throughout space, they will theoretically take advantage of the cosmological redshift effect so they can be swung around large planetary objects and get across [the] universe a lot faster than normal," Satriani said in a podcast about the song.^[42] On the album Professor Satchafunkilus and the Musterion of Rock the song "I Just Wanna Rock," is about a giant robot on the run who happens to stumble upon a rock concert.^[43]

Awards and nominations[link]

Nominations[link]

Satriani has the second most Grammy Award nominations (15, after Brian McKnight), of any artist without winning. See further artists^[44][45]

Discography[link]

• Not of This Earth (1986)
• Surfing with the Alien (1987)
• Flying in a Blue Dream (1989)
• The Extremist (1992)
• Time Machine (1993)
• Joe Satriani (1995)
• Crystal Planet (1998)
• Engines of Creation (2000)
• Strange Beautiful Music (2002)
• Is There Love in Space? (2004)
• Super Colossal (2006)
• Professor Satchafunkilus and the Musterion of Rock (2008)
• Black Swans and Wormhole Wizards (2010)

References[link]

External links[link]

Wikimedia Commons has media related to: Joe Satriani

Wikiquote has a collection of quotations related to: Joe Satriani

• Official website
• Real "Guitar Hero" Joe Satriani turns Teacher at WorkshopLive.com
• Audio Interview with Joe Satriani on Guitar Jam Daily, June 2007
• Part 2 of Audio Interview with Joe Satriani on Guitar Jam Daily, July 2007
• Joe Satriani 2006 Modern Guitars Magazine Interview with Brian D. Holland
• MusiciansFriend Interview with Joe Satriani
• Joe Satriani live pictures
• Early Joe Satriani Photo
• Joe Satriani guitar video workshop
• Joe Satriani Artist Page at Guitar Video Channel