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Odery Curinga: Are you ready to play
Modern Drummer Magazine Current Issue

December 2009 
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11/2/09

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Web Exclusive Interview
Jon Wysocki Of Staind Cont'd

Did you take lessons when you were growing up, or are you self-taught?
I'm mostly self-taught. My first drum teacher would always be pissed at me because I would never learn my lesson until my lesson. [laughs] But I wouldn't go home and practice; I'd just practice other stuff. I was like that in school too. It got to my mom because she was a teacher. [laughs]

What was your practice routine like as a kid?
It was rudiments. I actually wish I did more of that back then, because I think I would have gotten certain things that I get now, but quicker. Like when you first think that you know how to play a certain groove, and then you realize you've been playing it wrong the whole time. The "Roseanna" groove was like that for me. I thought he was playing this double thing on a hi-hat and then just throwing in the snare hits, when it was ghost notes. When I figured that out I was like, "Ah, that's it!"

When you practice now, what will you work on?
Now I try to come up with a guitar riff first. I'll put it on tape, and then I'll just play a drumbeat around it. I have a bunch of beats on tape too that I'll put a guitar riff down to. I should probably take it to the next level and put down songs and get the whole thing done, but I just haven't taken it seriously yet because I focus on Staind. We've never had much time off. We get to the end of a touring cycle, take a couple months off, and then rehearse to go back into the studio again.

Your style of playing is very much about what's right for the song. Is that from playing along with records as a kid?
Oh yeah, because that's what I would do. I would try and copy what other guys were doing on records. I'd put on headphones and play along to their beats.

What records would you play along to?
KISS, Michael Jackson, Sly & The Family Stone, Earth Wind & Fire, The Knack, all those '70s one-hit wonders—Bay City Rollers, stuff like that. My musical taste is all over the place. I just like good music: Tool, Deftones, Korn, Limp Bizkit—all that stuff. And I'm a huge Steely Dan fan, Chick Corea band, all kinds of stuff.

Do you play any other instruments?
I play a little guitar. I can get my ideas across, though I wouldn't consider myself a good guitar player.

Staind has been together a long time now.
We've been very fortunate—it's been thirteen years! You can't be gone for too long, and with everything you put out, you've got to act like it's your first record, because the attention span is very short now.

Bands can't rest on their laurels anymore.
Exactly. There's not that following that used to be. When I grew up, you wanted to know everything about the bands. Now people are so quick to jump from one thing to the next, and a lot of bands are around only for a moment.

What do you think the secret of the band's success is?
I don't think that we've allowed ourselves to be overexposed. We've had management and people on our team who've wanted us to do certain television programs, magazine interviews, award shows—show your face here, and do this thing here—and we wouldn't do it if we felt it wasn't relevant to who we are and what we got into this for. I got into this to make a career out of playing music, not for my face to be shown everywhere. We focus on writing good songs and making records that you can listen to from top to bottom.

I noticed the band as a whole gets credited for writing most of the songs. How are you involved in the songwriting process?
Basically, the way this and pretty much all of our records have been made is very similar. It usually starts with a guitar riff, and what happens a lot is, maybe what I'm laying down for a groove will change that riff in some way. Then we'll add a bass groove. So that's why we're all credited with writing the songs; we piece everything together. We all have input into what each of us plays too. If there's something I feel could be done better or different, I'll throw it out there, and the same goes with the drums. If they hear something in their head that is going to work for the song—lay it on me and I'll try it. I always thought that Staind was very regimented for always wanting to start with a guitar riff, especially in the beginning. I was like, "Why can't we just jam?" [laughs] You can tell Led Zeppelin wrote some of their stuff from jamming. But that's how they operated. We don't operate that way. But however we do it, it works. People like our music, so we're doing something right. I'm still trying to get my band to jam more, though. [laughs]





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