P 2010 Favored Nations Entertainment

Photo by Jarrett Renshaw

in the backyard. It became Steve's first real recording studio.

"I spent five months insulating it, and I loved doing it," Steve recalls. "And because I adorned the walls with various shades of blue silk fabric, I named the place Stucco Blue Studio. I taught guitar to make ends meet and decided to have as many people as possible move into the house and pay rent so I could freely play the guitar and record all day long. It was like a home for wayward musicians."

One of them was Steve's friend from their Berklee College of Music days, Marty Schwartz. Marty was Western Vacation's bandleader, guitarist and songwriter.

Marty took up do-it-yourself residence in the property's garage, where he put in a wood-burning stove, built a loft and a skylight, installed a few windows and fashioned a cat door. Marty always slept with a squirt bottle. Every morning like clockwork, he would shoot water several feet from his bed up in the loft to derail the daybreak visits from squawking chickens that were the primary users of the cat door, as they crammed themselves through the little opening.

In 1985, as Steve was about to hit the road on one of his many tours, Steve offered Marty free rein in Stucco Blue Studio while Steve was away. "Get in there!" was Steve's parting directive.

"It was a big, big deal," says Marty. "At the time, recording studios were inac-cessible unless you had a bunch of money. It meant a lot to us that Steve wanted to hear the music recorded."

"There was something very special to me about Marty's music," Steve remi-nisces. "There was an honesty and freshness that made the melodies warm and wonderful. He was so devoted to this music, and when he joined up with Bob Harris on vocals, the music really came to life."

Marty calls Western Vacation co-lyricist and vocalist Bob Harris the "unsung hero" of the Western Vacation album — "Actually, he's the 'sung hero'!" Marty laughs.

In 1978 I was performing a gig at the Berkley School of music recital hall with my band “Morning Thunder”. The Whammy bar on my guitar was broken off so I used a rubber band to hold it in place. When the rubber band broke in the

middle of the gig I had to ask if anyone in the audience had a spare rubber band on them. “I’ve got one for you Steve”, came a voice from the darkness. And that was the first time I met Marty Schwartz. We have been the best of friends since.

We moved out to California together in 1980 Those days in Sylmar (and Stucco Blue studios) were probably my favorite time

in my life, besides right now perhaps. There was an innocence and excitement that we all possessed. We were all about music all day, all living together, healthy, bond-ing and creating. We were happy and it was magical. For me, this record captures that time and place with those wonderful friends. I'm so grateful for those days. Everything seemed kind of perfect.

We are fortunate in life when we find special friends.For me Marty embodies the fine qualities of honesty, compassion, humility and

an exquisite sense of humor. You can hear all this in his music.I have always looked up to him.He is exceptional and I am grateful. Enjoy!

Steve Vai

The 1980s, when Western Vacation's self-titled album was recorded in Steve Vai's Stucco Blue Studio, were among the happiest times for all those who were around during those early years. There was a colorful cast of

characters continually inhabiting and parading through the Vai homestead in Sylmar, California, with its ranch house, chickens, ducks, and fig, orange and olive trees, located across the road from a horse ranch.

But the best thing about the semi-rural property, Steve remembers, was the two-room converted cottage that hobbyist Ray Kawal, the previous owner, had built

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"Bob and I would get together in coffee shops and talk about lyrics. I wasn't a lyricist before that, and I was surprised and happy he was interested in working with me. Bob also took a lot of the songs that were just chord changes and wrote melodies over them."

Yet with all those once-in-a-lifetime musical advantages, Marty still had no idea whatsoever how to record. Enter dedicated engineer Paul Levy. "He really made that record," Marty says. "Without Paul at the tape machine, I never could have made something that sounded like a record. It never could have happened."

Marty brought in Chris Frazier on drums and Jac Mihanovic on bass. "A lot of people can play well, but when you find players whose vibe is very personal to them, it's in another class," Marty says. "Jac and Chris play with a lot of personality. Jac's playing is like he is — pretty flamboyant."

As for Chris, "It's my contention that almost any song sounds fantastic if you've got the right drummer," Marty says. "You can just strum a few chords, and if your drummer's wailing, it sounds great."

Guest artist and Zappa alumnus, keyboardist Tommy Mars, arrived at Stucco Blue to add what would become Marty's favorite performance on the album. "It was 4 AM, and we had just turned off all the lights in the studio," Marty remembers. "Tommy started improvising, and we hit the record button just in the nick of time."

Marty concluded, "The key to having a great record is to make sure everyone else on it is way better than you!"

He sent Steve a track to play on. From the road, Steve recorded his solo on "Western Vacation," the title track. "Because of legal obligations, I couldn't use my real name, so I identified myself as 'Reckless Fable' on the record," Steve says. "Don't ask!"

Steve created a solo that is short, but it is sweet. "Every time Steve touches a guitar, music comes out, no matter how simple or complex it is," Marty emphasizes. "There's meaning in it, even if it's only one note.”

"It wasn't like that for me, and seeing what he does always gives me awareness and appreciation of what it takes to be excellent. When Steve recorded his part, I knew it would be a Steve Vai solo, so it would be pretty incredible."

As true today as it was in 1985. And the musicianship on the Western Vaca-tion album still stands up. The project expresses what Steve calls "an innocence and excitement that only youth understands. We were all about music all day, all living together, healthy, bonding and creating. It was magical."

To an observer from back then who also sees the two men as they are today, the Sylmar years were those of life-changing formative experiences. Steve and Marty defined and refined one another's work ethic, each continuing to grow in the self-discipline that has fueled their success over the decades.

Marty has attained prosperity in real estate, using the DIY skills he first developed in the Sylmar garage as a steppingstone to rehabbing gutted houses, reinvesting in increasing numbers of properties and building wealth. Marty also is a restaurateur in Portland, Oregon. And yes, he still plays guitar.

As for where Steve's talents have taken him, if you're reading this, you probably already know. If not, that's why God invented the Internet: so humans could find answers to any question they can imagine.

In the meantime, listen to Western Vacation and see if you can be transported to the idyllic 1980s in Sylmar. "This record captures that time and place with those wonderful friends," Steve says.

"I'm so grateful for those days. For a long time, I've wanted to re-master and re-release this record, partly because of what it means to me, but mostly because I believe it's a jewel of a recording that people can truly enjoy."

So enjoy!

— Laurel Fishman February, 2010

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Western Vacation(M. Schwartz)

Western vacationThat’s were I want to goWestern vacationI know, I know, I know

Leave behind our swimming poolYou can take us. I’m no foolSee the stars between my toesI stick my feet out the window

Western vacationThat’s where I want to goWestern vacationIt isn’t any wonderWhy I want time, to go so slow

All around us are the treesWalk on the dirtOnce was their leavesFrom the rivers we see allThe colored air, from their falls

Western vacationThat’s where I want to goWestern vacationI know, I know, I know

The memory of them fadesMore keep rushing bySo few reverberateFast notes who want it fasterTheir speed is doubledAnother fl ag is addedNew fl ags and faster livingThe fl ags get heavyAnd the stem starts givingStem breaks fast note stops coldMissed one more chance to become whole

Fast note people runningFaster all the timeFast note polyrhythmic beingsMaybe you don’t– but ISo often get enchanted–Enchanted by the speedTo take the overture and runAnd leave the symphonyTake the overture and runAnd leave the symphony

Fast note people runningFast note people runningRunning Running

The sun goes downIn the WestAnd in my mindAs it setsThese things are the bestWhere the cloudsCome to rest

Nocturnal Emissions(M. Schwartz)

Instrumental

Fast Notes People(M. Schwartz & B. Harris)

Fast note people runningTo where they wanna goSee a world in triple timeBrutal to the slowConsume the seeds of the out lineNo time to grow a themeTake the overture and runAnd leave the symphonyTake the overture and runAnd leave the symphony

Fast notes come and they’re goneThe freeway and the streetsAre the staff they’re written on

Send Us More Light(M. Schwartz & B. Harris)

Mother IndiaHer women wear redNow her men wear red tooNicaragua, she too is bleedingFrom the C.I.A.’s wounds

If life’s a symphonyWithin your heart, God–I don’t understandThe melodic trips you go on

Africa NorthShe is starvingAnd may miscarry soonAnd Africa South is tied in bondageDeep in slavery’s tomb

Oh great ComposerThis world sings your commandBut some notes you’ve chosenThe ears of my heart can not stand

Will you tell me whyYou use so much discord?And all this dissonance Could possibly be for

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Will you resolve?Will you resolve?Middle East sound like tympani rumblingA cymbal spark could explodeAnd has America’s bell of libertyBegun to corrode?

Will you tell me whyYou use so much discord?And all this dissonanceCould possibly be forMaybe you’ve writtenSomething differentWe just don’t play it rightCause we can’t see the accidentalsWould you send us more light?Would you send us more light?

Patty(M. Schwartz)

Here we are in the middle of the summerYou’re in high heels and you wear leg warmersLaying around and you telling your talesIt looks to me like you are a beached whaleShe says she’s not stupidShe wants to be a slutWho says that she’s a kookJust cause she fucks Farook

Strike the sacred chimeAnd give the world an added resonanceCross the velvet line

This is only just a ceremonyA day from which to startThe union was made long before

Only they knowOnly they knowOnly they know in their hearts

Two souls should join forcesStrike the sacred chimeAnd give the world an added resonanceCross the velvet line

May you always speak from the heartAnd listen with the soulFind beauty and love’s true richness

In the silentIn the silentIn the silent overtones

May your heart be always unisonAnd yourselves in harmonyAnd the magic waiting may you fi ndAcross the velvet line

She wears short dressesOver wide edgesFirst she had her a “Rolling Stone”babyNow she goes out, with a guy named DavyMaybe he will give her a brand new diseaseLater on at Valerie’s

Patty is kind of scabbyHer dresses are short, her legs are fl abbyShe shakes her tits, to fi ll her purseShe tries to start cars, in reverse

She wears lots of make- upAnd it’s all caked up

Is there someone she can blowWhen she goes down, to the RainbowNow that you look, all blonde and gaudyYou look to me, like your little doggy

Pia thought, she was a peachBut she turned out to be a leachAround the house, were all her dishesShe stretched out Pia’s favorite dresses

The Velvet Line(M. Schwartz & B. Harris)

Two souls join forces

An Indian told me the astral beingsLook upon this world and laughBut today I bet they send their blessingsAs this union comes to pass

May your heart be always unisonAnd yourselves in harmonyAnd the magic waiting for you may you fi ndAcross the velvet lineAcross the velvet lineThe velvet lineThe velvet line

Delicious(T. Mars)

Improvisation

Borrowed Time(M. Schwartz & B. Harris)

No song been bornFor such a long whileI don’t knowSometime it’s closeAnd then it’s miles away

Is it ever gonna stopAnd stay with me ever gonna stopRunning awayI think this song

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Got a mind of its ownOf its ownAnd they’re only Borrowed timeBorrowed time

Song’s always in my heart, I knowBut I don’t understandSometimes it just gets lostBetween my heart and my hand

Is it ever gonna stopAnd stay with me Ever gonna stopRunning awayJust as soon asI think that I own themThey show me that they’re onlyBorrowed timeBorrowed time

I can feel insideAs they come and goLike an ebbing tideAnd they’re borrowed time

No song been bornFor such a long whileI don’t know Sometimes I think

Recorded by Paul Levy at Stucco Blue Studios and Sunset Sound. Mixed by Martin Schwartz and Paul Levy at Stucco Blue Studios. Burning Flame tape re- furbished by Charles Laurence. Mix by Martin Schwartz & Roger Curley at Jamland Studios. Mastered by John Matousek at Hitsville. Assisted by Paul Levy. Digital re- master & editing by Bob Stone. Produced and Arranged by Martin Schwartz. Vocal arrangements by Bob Harris. Co- arranging by Jac Mihanovic, Chris Fazier & Bob Harris. Original sleeve, cover & label designs by Martin Schwartz. Drawing by Martin Schwartz & Marilee Canaga. Airbrush & label art work by Marilee Canaga (Marilee also designs & makes clothes, builds muppets & barns, moon roofs, puts in sewers, digs ditches, sculpts, welds, fi xes everything, works on guitars, makes jewelry out of tampons, & she can pull a car engine out, rebuild it & put it back in, in three hours). Photography by Jarrett Renshaw & John Boegehold. Propulsion by Art Wright. Reality Interface by Gregory C. Pearson. The Law by Pamela Koslin. Graphics by MedicineMan, Rockford, IL.

Much of the equipment we use is manufactured by Fostex, Carvin, Korg, Roland, Jackson, Tama, Zildjian, Yamaha, Fender, Kaman, Kubicki, D’Addario, & Guild.

It’s only songThat really makes me smileIs it ever gonna stopAnd stay with me Ever gonna stopRunning awayI think this songGot a mind of its own

Burning Flame(M. Schwartz & B. Harris)

This may surprise you what I’m going to sayMy whole life changed the day I heard you playI never thought that a human could make those soundsMusic came through you and opened my doorAnd I knew I’d met the friend I’d been searching forIf I was a candle now I’m a burning fl ameThis feeling feeds me these feelings my fuelAnd I know that I’m not the only one whoWho has been changed into a fl ame

Thanks to: all the musicians, Paul Levy, Cliff Cultreri, Bob & Suzannah Harris, Paul T. Roberts, Jarrett Renshaw, John Boegehold, Marilee & Mae Canaga, Billy & Charlotte James, Pia “KoKo” Miaocco, Mademoiselle Corinne Hellwood, Stig, Bob McDonald, Chris & Jack, Joe & Mary, Ellen Kearney, Don & Jeanne, Mom & Dad, Lillian Vai, Mike O’Brien, Laurel Fishman, Union Music, Rick Falco, Randy Case, Scott Thunes, Pam Vai, Stella Martin &“The Black Sedans,” Pamela Koslyn, Reinhard Preuss, Mark Peabody, and Bob Stone.To a degree this music refl ects the infl uence that these friends have had on me: Duke Levine, Jim Moriarty, Barry Masterman, Mark “Stig” Daughney, John Galleger, Bruce “Beastey” Riordan, Scotty Mathews, Mike Leary & Reggie Jeffries.

M.S.Lyrics and melodies on collaborative songs by Bob “Pancake” Harris.

Special thanks: This album was made possible through the generous support of Steve Vai.Thanks, Steve!

Executive Producer: Steve VaiArt Direction & Design: Maria VillarProject Assistance: Dean Schachtel, Pamela Dancy, Sean Carpenter, Greg Wurth, Lindsey Hess & Neil CitronFavored Nations Wishes To Thank: All of our fantastic distributors all around the world, Ruta Sepetys, John Sepetys, Michael Mesker, Jason Feinberg

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