Vocalist/guitarist Aaron Lewis from Massachusetts band Staind, which is backing its August album "Chapter V" by heading up the Fall Brawl tour with P.O.D. and Taproot, have spoken with liveDaily.com from Spokane, WA. Read few excerpts from the interview, conducted by Don Zulaica, below:
Aaron Lewis: I just remember it being a good tour. I don't really have any bad tour memories. Everybody has been pretty cool to tour with.
It'll usually start with a riff that Mike has, or if I bring it to the table, usually it's pretty much a whole song. Because I've figured it out on the acoustic already and usually have words for it.
What I talk about in the songs, I have a really hard time expressing that otherwise. I tend to stuff things down and internalize it until it's causing me harm. So, instead, I allow it to come out in my lyrics. I've never really needed an outlet for things that make me feel good, or happy thoughts. I don't need to get those off my chest. The stuff that I tend to get out in the songs that I write, it's necessary to do so.
Growing up I went through phases of Led Zeppelin, The Doors, The Who, and older stuff like that, to Black Sabbath, and early Van Halen. Then I kind of skipped out on the whole '80s thing, although there were a couple of bands that I thought were pretty good. I always liked Motley Crue and Skid Row, but there was some stuff that was really bad, which really caused me to not pay attention to some music. When the '90s grunge thing happened, the biggest thing for me was that they were singing in a voice that I possessed. I mean, I can sing like the '80s guys now, but I couldn't back then. So when the '90s came along, it was a movement of music that was being sung in a register that I could sing.
I've got to give a lot of credit to Jonathan [Davis] from Korn. That first record that they did [self-titled, 1994], I think I wore two copies of that record out, just listening to it so much. The strength that he had to put forth what he was saying lyrically on those songs, to have the balls to say what he was saying, it was really significant. He definitely helped me to feel that it was okay to dig as deep into myself as I was.
Over the years, we've learned to work more efficiently with each other. He knows what I'm looking for. We've figured out what we need to do for each other, in the writing.
A lot more now. I think there's only three or four songs now that I don't play on. There's always been a lot of overdubbed and layered stuff. We've just never attempted to recreate it live. On 11 of the 12 songs on the new record, I'm playing guitar. And then on the older songs, I'm just figuring out stuff that was there already, that wasn't being recreated live.
My tech's name is Grady Champion. His claim to fame is that he was Dimebag [Darrell]'s guitar tech from day one up until the separation of Pantera. Then he did a little bit of stuff for [Pantera bassist] Rex [Brown], for some side project he was doing, and then came and worked for me. He actually started with us as our bass tech, but right before this tour, once we decided that I was going to need a guitar tech, we gave him the opportunity to choose what he wanted to continue doing for us, and he chose to be my guitar tech. Lucky for me.
He clicked the mute on a guitar that was in full distortion mode -- he strummed it [accidentally] while I was finishing an acoustic song, where there was nothing but me and my acoustic guitar going on. All of a sudden, there was this heavy guitar chord coming from right behind me and my cabinets -- he had just finished tuning it. [laughs]
I have a couple acoustics and eight Les Pauls. I've got a thing for Les Pauls. They're all older. I have three or four Heritage Standards and a few Heritage Standard Elites. Basically, if they came through stock with Tim Shaw humbuckers in them, I'm interested in what you've got. I just left my '55 Les Paul at home. I normally bring that on tour. And I have a couple '68s.
I use four different tunings that I play in, and have a backup for each one.
Mike has a very blended thing; he uses a Marshall 9200, for one thing, and a Diezel DH4 for the distortion. I use Genz Benz El Diablo, a 100-watt boutique amp. I'm very lucky that I'm one of a few guys that endorse those--they're very good to me.
Find a bit more at this location.