Interview: John Myung

This interview was conducted prior to the concert in Wolverhampton, 10th November 2007. John Myung is not really comfortable in interviews and had not done any during the European tour; so I am grateful to him agreeing to discuss his back catalogue with me. In conversation, he answered my questions slowly and thoughtfully and I want to thank him for his time.

TFG: Where did the idea for the instructional video come from?

JM: Well, they approached me about doing something and I thought about it. I thought it would be a cool programme to put yourself through. It was a challenge for me to do because I don’t really like doing that kinda thing. Management came to me and said “there is an offer to do this” and it was just where I was at the time. I had everything mapped out, as I didn’t want to go in and do it on the fly.

TFG: Who was it who came to you with the idea? Was it Rittor Music or someone else?

JM: Yeah, it was them.

TFG: And they are a Japanese label?

JM: Yes.

TFG: Did you enjoy the process of doing it?

JM: Yes. Maybe not so much the day we filmed it. but it was good being able to organise what it was I was thinking of at the time. To put it in a programme was a great way to... whether or not I’ll do another one of these things... if you want to get from point A to point B, it is cool to do the research and work to create the programme for yourself. So it was a good learning tool.

TFG: And have you been asked to re-issue on DVD at all?

JM: Yeah, they asked me to do that, but you know what, I...

TFG: That would really promote it again, I guess?

JM: Yeah, but I just want to let it go.

TFG: So, you’re happy that you did it, but you don’t want to keep it going?

JM: Yeah.

TFG: How many sold?

JM: I know it did really well when it first came out, maybe three, four thousand.

TFG: So you don’t have any plans to do another?

JM: No, at least not right now.

TFG: On the video, you have a track called ‘Solar Groove’ which you used to demonstrate all of the techniques together. Do you have any other pieces of music that you have written that have not been recorded?

JM: No, not really, just lots of ideas. Right now, I feel that I’m in a transition phase. For me, the capacity to be creative depends on a lot of things that you have to have in place. I don’t know, I feel like I’m getting towards a more creative place right now.

TFG: So we can expect to see some more things in the future?

JM: Absolutely. This year, I’m playing a prototype six string made by Ernie Ball and it’s like a dream come true for me, because I’ve always been a six string player. I’m really a Fender person at heart, but I’m caught in a six string environment and having this (guitar) takes care of that problem. I have six strings but at the same time, I have that Fender-type sound.

TFG: So, is that getting you thinking about doing something again?

JM: Yes, it was an important piece of the puzzle for me, having this instrument. It has a really thin neck so it is easy to play. Creatively, it is a bunch more user-friendly. It has just hit me that way. Especially on tour; my whole business is the thing I do with my hands and... you know, I’m just going to stop there.

TFG: Okay. It is quite noticeable that John Petrucci does a lot of promotional stuff as part of his endorsement. Young Guitar magazine in Japan, and stuff like that. Is that part of what you will be doing now you are with Music Man as well?

JM: No, I’m not sure.

TFG: So they haven’t twisted your arm and said “Can you do a guitar exercise DVD for Young Guitar” or something like that?

JM: No, I guess I’m not as high profile as that.

TFG: Can we go back in history? Platypus was one of the first things. How did you end up joining them?

JM: There was an idea to put something together and the circle of people was Derek, Ty and Rod. There was an idea of doing a side project and that led to some phone calls.

TFG: But you were happy to do it?

JM: Yes, I got in touch with Rod and got in touch with Ty and they were really into the idea. Derek was also into it. and it was just a cool little side project to do.

TFG: And what changes did you notice when Derek left, as he was the difference between Platypus and The Jelly Jam? Did that change the dynamic internally in how it was working?

JM: Yes, Derek influenced things a certain way on the Platypus records, with parts and ideas. The Jelly Jam was just a trio and it had more, it was heavier; it had more... I really cannot put it into words.

TFG: There are a lot more songs with lyrics on the Jelly Jam discs than Platypus.

JM: Yeah.

TFG: And there is a lot more song structure as well. There are more instrumentals on the Platypus records as well. Is there a plan to do anymore?

JM: We’ve talked about it.

TFG: So it is not a dead project? It is something that you want to carry on with?

JM: Yes, I had a blast working with Ty and Rod and I would love to do it again.

TFG: Is it something that you would like to contribute lyrics to?

JM: Yeah, I would have been up for that. Again, it’s always a challenge putting that kinda stuff in. But I think it’s great. You definitely get a different kind of take, you definitely learn every time you do it.

TFG: They certainly are very different from Dream Theater.

JM: I really like this one [The Jelly Jam 1]. Out of all of them, there are tracks I like...

TFG: The stand-out tracks are?

JM: I think, the whole album. Of these four; that record, creatively, it was everything...

TFG: ...that you were hoping to achieve, effectively?

JM: Yeah, to me that’s the one.

TFG: I am going to have to change my article slightly, as I prefer Jelly Jam 2, not by much.

JM: Really?

TFG: I quite like that one; I guess it is the first song. I do like ‘Not Today’ on that second album. It just sets up the album nicely.

JM: How does that start again?

(laughter all round)

JM: It’s been a while.

TFG: I think Ty is using a vocal effect on it as well and that seems to get it going. I have spent so long playing Dream Theater recently. I did listen to these albums again while writing the article, but I couldn’t sing that one to you, but I know I like it.

JM: So you like Jelly Jam 2 more than 1?

TFG: Yeah, it is slightly rockier I guess. For fans of Dream Theater, we do like a little bit of rock, so I like that one for that reason.

JM: You know what? That’s cool because it is total truth that everything is so subjective.

TFG: It’s in the ears of the listener, isn’t it?

JM: Yeah.

TFG: Can I ask you about Explorers Club which is something very different. How did that come about?

JM: Oh, can we delete that one?

TFG: Okay, we will delete that one.

(more laughter)

TFG: So that was not a fun project in the same way?

JM: No.

TFG: Sean Malone’s project. You did a small amount of work on a couple of tracks on there. What interested me on that was that on here, you are playing Chapman Stick, but Sean also plays Chapman Stick. So why did he ask you to come in and what were you able to bring?

JM: He was building layers. It has so many layers and I was just there adding another layer. It was very reactionary. He played me – I am not exactly sure what happened – he may have sent me a tape. He sent me an idea of what I was in for and then when I was in the studio, he let me react to what I was hearing. I just added a layer on top of what was going on and that was really cool. I had not been playing (stick) that long.

TFG: So you just jammed?

JM: I kinda reacted to it and tried to create something that added another dimension.

TFG: Were you in the studio with just Sean or with everyone together?

JM: Just Sean.

TFG: Why don’t we see more of the Chapman Stick? I have got to ask that question because I think it’s a fantastic instrument?

JM: Maybe you will... I think a lot of it is... well, there’s a lot of different dynamics. It might be cool to have on certain select tracks and stuff, but as a whole the ground that needs to be covered has to be covered with a bass guitar. I just feel more confident. The stick is great and it’s more experimental. I don’t know, it’s hard for me when we are [writing] records to default to something that doesn’t really feel natural. It’s like, every record has a momentum to it, and things progress... In terms of it being a creative instrument and a creative outlet, I still love it.

TFG: It would be nice to see more of it as it is very cool.

JM: Yeah, I like it.

TFG: I can remember the first time I saw you with it, my jaw was on the floor.

JM: I definitely want to use more of it.

TFG: You know what you need to do? When Mike is doing the set lists, you say to him, “Jordan has a little keyboard solo, delete that tomorrow night, I’m doing a Chapman Stick solo.”

(more laughter)

TFG: Okay, maybe not.

JM: You know what? Have you ever heard of Maslow?

TFG: What, Hierarchy of needs? [Abraham Maslow]

JM: Yeah.

TFG: I thought you might be talking about a bass player, but now I’ve got you. It’s quite a famous theory about moving through the stages of need to self-actualisation.

JM: A friend of mine turned me onto it. It really clicked and it explains a lot of things about myself and it gave me an idea of what was going on and what could be done. It gave me a road map that I really related to... it kind a laid things out in a way that made sense. It showed me the way things worked. I walked away feeling... the thing is there is a lot of things personal that I choose to keep personal. But in terms of being creative and being excited about going forward and looking forward to doing things that I’m really proud of, that’s what I’m trying to express. That I’m very into everything that is going on.

TFG: And the stick is part of what you are using to experiment and be creative with? And we are just waiting for the day when it comes back into the Dream Theater orbit.

JM: I think I will probably... (long pause)... I’m always trying to think of something... “if I read that, will I be happy with that answer?” Let’s move on. It’s a great instrument and I have not forgotten about it.

TFG: Excellent. That’s what I wanted to hear. Now, a couple of quick questions. Do you get calls from people asking you to contribute to their work? People ringing up through the management saying “Will you do us a bass lick or a groove?” Mike and Jordan said that they get loads of calls, maybe because they are prolific themselves.

JM: No, I can say no.

TFG: Do you have any side projects planned or is it just, one day you will get back to the Jelly Jam? Anything else, you’re not running off and forming a jazz combo or anything like that?

JM: No. No. Right now I need to take in everything that has happened so far. It’s been totally amazing. Just taking in all the goodness and the appreciation that I have for my new six string and just being able to appreciate everything that is happening in my personal life.

TFG: Is there anyone, who if they came knocking and said “John, I would really like you to join us” you would really struggle to turn down?

JM: I would be more interested in someone who really felt strongly about me being part of something, then I might go for something like that.

TFG: So, you would be flattered if someone said “It must be Myung because he is the best?”

JM: I can’t really think...

TFG: People would have to bring something to you, you are not looking?

JM: Yep.

TFG: Are there any historic recordings that are not on this table, that have not seen the light of day, perhaps from high school? Something else that you think “thank God they have not found?”

JM: No, nothing.

TFG: Last, really silly, question. Do you sing? You weren’t tempted to do the backing vocals on the Jelly Jam and stuff like that?

JM: No.

TFG: So who did all that?

JM: Ty did it all. Rod did some.

TFG: So they didn’t give you a microphone and say “John, get over here!”

JM: No, I don’t see that happening! (more laughter)