JOEL TALKS About His Technique
Joel talks to Jason Sidwell about technique, studying, reading music and his recent album, Running Games.
1) What aspects of guitar technique did you find the most interesting, easy or difficult when you were starting out?
I just enjoyed learning in general. Songs were very important early on for me. I was thrilled to be playing the magical music I was in love with. Learning the modes was something that made a big impact on me when I was 12-13 years old. I was also lucky to have TJ Helmerich as my second teacher and learn eight-finger tapping from him when I was only 13-14 years old. That’s something that really paid off for me years down the road in that it helped me to get the Night Ranger gig.
2) You went to GIT in LA; what did you most enjoy about your time there?
I had studied a fair amount of their core curriculum before I attended. What really made an impact was being away from home for the first time in a crazy place like Hollywood, surrounded by musicians. I know I spent a lot of my time there actually just practicing/recording in my place. I practiced a lot...I’d say 6-8 hours every day. Everything was ahead of me, so despite the fact that things have gone well for me, I miss that feeling of not knowing what was ahead. It was a very exciting time.
3) You’ve had a very colourful career that includes Trans-Siberian Orchestra, Night Ranger, Whitesnake, Rock Of Ages on Broadway, Cher’s touring guitar as well as your own band and solo recordings. What aspects from these have had the most impact and/or influence on you as a musician?
Well, they’ve all been a part of my story. I’ve done my best at every stop. That’s the main lesson. My best advice would be to develop a daily philosophy that will improve your situation. Otherwise, it’s very convenient to say or think “I’ll do that tomorrow... or in the future”. For many, those achievements never happen.
The window is constantly shutting when you’re young and you have to work hard to make it through before it shuts. It has to be ‘Now, Every Day’.
4) What are your thoughts and appreciations about reading traditional music notation?
I learned to read on cello and piano as a young boy. I also studied the Mel Bay books as a beginner. Then I took classical guitar lessons age 15-19. Throw in the reading at GIT, some Real Book reading getting my basic jazz playing together and then some working as a pit musician in New York City. I wish I could tell you I work at it consistently these days, but it’s been something that’s taken a back seat. I always think it’s best to stay open-minded and learn everything you can. It’s hard to say what direction life will take you in when it comes to building and sustaining a career in music.
5) How did you approach writing, recording and choosing gear for your latest album, Running Games?
Most of the songs started with writing a chorus riff and vocal. Some of them began with just a riff. There were a couple that started as the chorus melody in my head while walking around and I wrote the guitar parts after the fact. I recorded the guitar rhythms to a ‘click’ along with a track of me playing the vocal melody for Vinnie Appice and Tony Franklin to record to. At that point, I finished the lyrics and sang a guide vocal of the whole album for Russell Allen. Then he just records himself singing it a whole lot better than me! So that’s the general idea of how it came together. I recorded my tracks at home due to Covid, so it’s all Neural DSP sounds. I played my Goldtop Les Paul for the whole record, used my Jackson PC-1 when I wanted a Floyd Rose or a Sustainer part. I used a Fender Strat for all the clean sections and a Taylor six and 12-string for any acoustics.
6) Is there a solo on the album that you’re particularly pleased with, and if so why?
There’s not really one that comes to mind. I just did my best with each in the moment. I feel like I’ve started playing better during this pandemic as it’s had me on my guitar 6-12 hours a day. Part of me wishes I had another crack at the solos on Running Games, but that feeling is endless. It’s funny how there’s no point of arrival with playing. I can’t say I’ve ever been particularly pleased with how I sound and play!