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© Scott D. Smith/Retna ./Retna Ltd./Corbis
“The song is about how you deal with people who are lying to you – what are lies and what are truths, both in the world and on a personal level. That’s why the song has a night and day aspect to it: the chorus is more uplifting with a little bit of melancholy – it’s the truth side – but the verse is disjointed and rough, because that represents the lies.
“I played a neat little experiment on everybody with this song. I could seed the environment of the tracking sessions by revealing certain song titles but not all of them. The working title of this one was ‘Fast Robot.’ It had nothing to do with what the song is about, but I think it had something to do with the original demo’s Pro Tools file that I had built upon.
“I thought it would be funny if I played the song for somebody and they looked at the title ‘Fast Robot’ – they would have a certain feeling about what to expect musically from those words. So I decided that I wasn’t going to tell people that the song is called Lies And Truths until we’ve arrived at some particular spot.
“So we’re making the record, and on the morning we were to cut this song, Vinnie showed up, sat down and arranged his drums, adjusted cymbals, and while he did this he listened to the demo to get his ideas down. He not laboring over it; he’s just vibing and getting into it, getting ready to play. But he sees that it’s called Fast Robot, and he starts playing like that. At the end, he was playing like a robot gone haywire. Inside, I’m saying, ‘This is working. This is great.’
“Everybody was playing in a certain way, except for Mike Keneally, who has this weird, Jedi-like ability to read into my inner psyche and figure out what the song is really all about. When the guys read about this, they’ll probably say, ‘Damn, that Satriani!’” [Laughs]
“In one part, I play a thing on the guitar that harkens to the days when I did a lot of tapping on the neck. I like using the edge of the pick – it sounds a bit like icicles. Because of the key we were working in, I had to go up really high. I had my JS2400, so I could go all the way up to the 24th fret. I was using a SansAmp, so I was just monitoring it through Pro Tools – the guitar was DI. When I sat back and listened to it, I was like, ‘Whoa… that’s the part!’ It turned into this really beautiful centerpoint.”