Instrumental Rock Albums - Page 2

Silence Followed by a Deafening Roar places Paul Gilbert’s virtuosity up front while seeking a different melody and texture in each instrumental piece.

The eleventh album, out on 14 March 2006. Its closing track, Crowd Chant, became a fixture in North American arenas.

Loudspeaker takes Marty Friedman’s sharp metal-guitar voice deep into melodies shaped by Japanese pop and kayōkyoku sensibility.

Get Out of My Yard makes Paul Gilbert’s guitar the central voice in a fully instrumental setting.

Space Ship One puts Paul Gilbert’s fluent guitar at the front while keeping the songs open and approachable.

The seventh album, the first part of what Vai calls a rock fable told across three records. Out 22 February 2005.

The tenth album, out on 13 April 2004, and the first since 1995 on which Satriani sings.

Music for Speeding joins Marty Friedman’s singing guitar melodies to changing rhythm and pop-minded hooks.

Gilbert Hotel lets Paul Gilbert fold his formidable guitar skill into short, welcoming songs rather than placing virtuosity above everything else.

The ninth album. Its title is also the name of his publishing company, and comes from a Jimi Hendrix lyric.

Burning Organ is rooted in Paul Gilbert’s astonishing guitar ability, but it places the fun of the songs first.

The eighth album, an electronic experiment Satriani himself called completely techno. Out 14 March 2000.

Alligator Farm by PAUL GILBERT: track list, Spotify player and English liner notes on METAL BOOST.

The sixth album, with tributes to Frank Zappa and Stevie Ray Vaughan, and a guest turn from B'z.

The seventh album and his first for Epic, and the first on which he recorded with a seven-string guitar.

Flying Dog gathers Paul Gilbert’s fast, precise guitar, flexible rhythmic sense and playful ideas into a lively rock record.

King of Clubs combines Paul Gilbert’s quick, vivid guitar playing with a pop-minded sense of melody.

True Obsessions centers on Marty Friedman’s singing lead voice and his distinctive use of Eastern and Middle Eastern scale colors.

The fourth album: a concept record in two halves, instrumental first and sung second, across eighteen tracks.

The sixth album, self-titled: a looser, blues-leaning record produced by Glyn Johns.

An EP written and recorded in under six weeks, stripped back to guitar, bass and drums.

Introduction is a MARTY FRIEDMAN instrumental album that weighs exotic melody, the afterglow of tone and the use of space as much as speed.

The fifth album is a double: new and unreleased studio tracks on disc one, 1988 and 1992 live recordings on disc two.

The third album, issued under the band name Vai and the first major record to feature Devin Townsend's singing.

The fourth album, his biggest: number 22 in the United States, certified Gold, and home to Summer Song.

Scenes steps away from Marty Friedman’s more aggressive guitar metal and moves toward clean tone, quiet arrangement and melodies that suggest Eastern color.

The second album, the record that set the standard for instrumental rock: number 18 in the US and certified Gold.

The third album: eighteen tracks, the most of any of his records, and the first on which he sings.

Dragon’s Kiss shows Marty Friedman using guitar not only for neoclassical speed but also for unusual melodic shapes, Eastern-flavored color and strong song feeling.

The second album, which reached number 29 in the United States - a rare feat for an all-instrumental guitar record.

The debut album, released on 18 December 1986. Its title track uses what Satriani calls pitch axis theory.

The debut album, issued on his own label in January 1984 and made in a shed converted into a studio.