Mike Shouse – The Instrumental Tour De Force

1. It’s been 15 years since your last release, Alone on the Sun. What inspired you to return with Jaded, and how does this album represent a new chapter or “rebirth” for you personally and musically?

I retired from the day job and moved. Then my parents got bad off and I moved home to help out. It’s a very small town and I had to do something to keep from going crazy. I’d had a lot of little ideas I’d recorded on my phone from just banging on the guitar over the last several years. So, I got to work and got a lot of great musicians on board to collaborate. 

2. Jaded features legendary guest guitarists Michael Angelo Batio, Ron “Bumblefoot” Thal, and Tony MacAlpine. How did these collaborations come together, and what unique qualities did each of these guitar icons bring to the album?

I’d known Michael and Bumblefoot since the 2010 release. So, when it came time I just messaged them personally and they both said yes. I wanted one more and I emailed Tony’s agent and he also agreed. I got James Pulli in the beginning, as he’s doing session work on the side from playing with Impelliteri. I had each artist play the 2nd solo on tracks I felt they’d be best suited for as for style. So, MAB was perfect for “Romeo is gone” which was a pure shred-fest.

3. You’ve assembled a powerhouse lineup with Charlie Zeleny on drums and James Amelio Pulli on bass. What was it like crafting instrumental rock with musicians of that caliber, and how did they help shape the energy of the record?

I’d used Charlie on the last release so I knew he was the only choice for me. He’s a human metronome. Me, recording with a click track it’s an absolute necessity. He’s so creative and kind of knows what I want at this point. It’s the first time working with James but I knew playing with Impelliteri and being a Musicians Institute grad, that he’d bring the innovation and skill I was looking for.

4. The album has been praised for blending genres while maintaining technical brilliance. How do you approach balancing virtuosity with emotion and melody in your compositions?

I play from the soul. Whatever that wants to come out I let out. I try not to second guess my choices. I’m a Satriani disciple and want to be led by melody but also find places within the track between the melody that I can branch out and be technical and creative.

5. The single “Bucket of Bolts” gives a great taste of the album’s attitude and precision. Can you tell us the story behind that track and what you wanted to express through it?

In its infancy it felt like a track based in outer space so I went with it. I’ve done sound fx for video and had lots of sound effects to help create the space ship ambience. You can’t do space without an augmented chord with a whole tone scale over top so there are lots of those elements within to help keep that theme going.

6. Having studied at GIT in Hollywood and written for outlets like Chops from Hell and Guitar9, how do you think your approach to guitar technique and tone has evolved since your early career?

I haven’t played anyone else’s stuff since 1987. You can’t get your own sound playing other people in my mind. So, I try to always create totally original licks and theory based progressions. It’s not easy as there is a lot of stuff out there and finding a spot not taken is really hard. I hope I’ve done that.

7. Many critics describe Jaded as both nostalgic and modern — a return to the era when instrumental rock “felt bigger than life.” How do you capture that classic spirit while keeping your sound fresh for today’s audience?

I record my Marshall amp or straight in to the interface. I do not use any plug ins. I also record in 2 days and don’t over perfect the takes. I hear some great players that use both and sound like a robot or it’s created with midi. It loses that personal quality that imperfection brings.

8. You’ve worked with Nashville legend Billy Decker for mixing and mastering. What did his production touch bring to the album’s final sound?

Billy is the best and a great guy. I got so lucky getting to work with him. I hate recording dry, no effects, but I know that when I send everything to him he’s going to take the track to the next level. I don’t know how he does it. That’s why he’s got so many number one hits under his belt.

9. Looking back at your first albums, Enter the Soul and Alone on the Sun, what lessons or experiences from those projects influenced how you approached Jaded?

The first release was mostly me and my first venture going into a studio. Paying by hour and being on a budget causes you to rush and I wasn’t happy with not having control. That got me to get protools at home where I could record on my own time with no clock ticking. Being where I’m from, there are no legendary session players so I branched out online, which was a new thing in 2010, and had 8 bassists and 3 drummers from all over the world. Each player tracking at their home studio. Then Billy putting it all together. So, on Jaded, I had the drummer I wanted and knew and decided to stay with one bassist and James was so well rounded I could stick with just one this time around.

10. After this long-awaited return, what’s next for you? Do you see Jaded as a standalone statement, or the start of a new creative period for Mike Shouse?

I don’t know. I’m in a kind of limbo being home taking care of my parents. But, the juices are flowing again and I’ve got 5 tracks finished toward a new album next year. This time I’ve got vocals from a female singer from Spain and male folk singer from Portland. Greg Howe has agreed to play a guest solo on a track and I plan to get Stu Hamm on bass for that one. I met Stu in Hollywood while at GIT and loved him from his early Satriani stuff. I hope to have another one or two guest legends so we will see how it all works out. 

Website: http://www.mikeshousemusic.com