Written by Guitarist Steve Vai explains hooking up with ex-King Crimson pair guitarist Adrian Belew and bassist Tony Levin plus drummer Danny Carey of Tool in BEAT to revisit a trio of Crimson albums from the 80s: Discipline, Beat and Three Of A Perfect Pair.
Tell us about your own induction to the church of King Crimson.
My childhood friend John Sergio turned me on to progressive rock by playing me that incredible first King Crimson record, but then I went through a period of dryness with Crimson until Discipline, Beat and Three Of A Perfect Pair. Those three records were like jewels. I had never heard guitars interlocking that way until Robert [Fripp] and Adrian [Belew] did it, and equally unique was their use of guitar synthesisers. They created tapestries of audio colour. The arrangements were so complex, but there were beautiful melodies on top. So when Adrian called, I knew we could do some pretty whacked-out stuff together.
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That was your first thought. What was your second regarding being part of BEAT?
I needed to know whether Robert gave the project his blessing, and Adrian said right away that he did. I’ve been involved in projects where there’s drama and nefariousness, and I didn’t want that again. Robert even suggested the name.
My third thought was: “Can I even play this stuff?” Y’know, a sixty-five-year-old Steve Vai taking on Robert Fripp at thirty-five and at the top of his game? I went back to the music and decided to accept the challenge. [Laughing] I worked with Zappa, and then Dave Roth after Edward [Van Halen]. I’m addicted to challenges.
And how difficult has it proved?
I went into this project knowing I had to be a dutiful soldier, because the Crimson fan base is so loyal. And protective. And snobby [laughs]. I know that because I’m snobby too. It helped so much that Trey Gunn [former Crimson guitarist] sent me a forensic transcription book of those three records. That was a godsend.
How closely are you following Fripp’s parts?
On about ten per cent of the material I changed the [finger] position to suit my style, but I’m playing the same notes. There were two pieces that presented problems. One was Three Of A Perfect Pair – you had to play it the way Fripp played it. I couldn’t cheat, I had to learn it Robert’s way. The only riff I had to change was in Frame By Frame. That one was just not within my wheelhouse.
The BEAT concept is proving popular, with an extra date added in Wolverhampton due to public demand. Has the possibility of making new music been discussed?
It’s there in the back of our mind, because this band is so great. I mean, Tony and Danny are about as good as it gets. I know that we could make a pretty stellar record, but the question remains: What is BEAT? The audience comes because they love the music of King Crimson. Would Crimson’s audience be moved by a new song from Steve Vai?
Also, there are logistics to consider. Right now, I’ve been on tour with Satch [Joe Satriani, as The SatchVai Band] and BEAT since May of 2022. I’m not due to end until September of 2027. As a creative person, I must return to being master and commander of my own ship.
What do you have lined up?
The next thing I want to do is a solo acoustic guitar and vocal record. It’s already sitting on the shelf. Four full-length orchestral records are also done. It’s not what everyone wants to hear from me, but there will be some, and that’s enough.
BEAT’s European tour kicks off in Wolverhampton on June 7 and ends in Bari, Italy, on July 3. For dates and ticket links, visit the BEAT website.
