The real speed racer – Bruce Bouillet

Guitar wizard Bruce Bouillet needs no introduction for those who are familiar with top notch ’80s shred guitar. Along with his partner in crime Paul Gilbert, Bruce cemented his reputation as the lead guitar player in the groundbreaking neoclassical shred metal band Racer X, creating the technically most challenging harmony guitar parts of all time. After Racer X broke up, Bruce formed The Scream, a critically acclaimed blues based hard rock outfit with future Motley Crue vocalist John Corabi. Due to a chronic arm injury, Bruce moved towards to production works, which earned him a Grammy award. After a long hiatus, Bouillet joined forces with Paul Gilbert once again for a G3 tour in 2007, and also started a solo career. His latest effort, entitled Out Of Order has just been released via Mascot Records, which has all the chops guitar fans would expect from him.

In the mid '80s you studied at GIT, where you got in touch with Paul Gilbert. How do you remember those days? Did you learn a lot there?

Well at that time guitar was advancing rapidly. I actually meet Paul Gilbert the first day I arrived in Hollywood, and it wasn't long before he asked me to jam with Racer X. So within a few months of arriving in LA I was already in a band, and within a few months after joining was recording Racer X Second Heat and selling out 1000 seat clubs. Things moved pretty fast once I got there.

What were the most important consequences you experienced there?

Well, at that time you have to remember there was no cell phones or internet... hard to believe… but information still traveled very slow. So coming to a school where people from all around the world could meet and share styles and ideas was a mind blowing experience. I would say that was the biggest thing I drew from the school as well as seeing players like Paul Gilbert, Franks Gambale, Scott Henderson, Jeff Berlin, Joe Pass, Allan Holdsworth, Steve Travato, ect.... play in a close quarter setting.

Were you surprised when Paul asked you to join forces with him in Racer X?

Yes, I remember going to the school one day and he was doing an open counseling, which was always packed. I was standing in the door way and he asked me to sit in. He started doing a string skipping lick so I harmonized it, I have to admit it did sound terrifying. Everyone in the room was amazed, the next day Paul handed me a cassette tape of Street Lethal and said learn what you can and come to a rehearsal. 

Without a doubt, those Racer X records stood the test of time, and still mean inspiration for today's young shredders. What do you think about them?

I'm proud of the records we made. I would have liked to see what would have happened if we had stayed together for another few years. Considering that once I joined, the band was together for about a year and a half. It was a quick run. I think the playing on everyones behalf was amazing!

When Paul left the band to join Mr. Big, he was replaced by guitarist Chris Arvan. As can be seen on your instructional video, but this line up did not work. What do you think why?

Well from my point of view Paul was Racer X. We hired Chris who is a great player to fill in since we had a few shows left. After those shows we disbanded. Plus the band was hitting a wall at that point, we all knew it, and that is one reason why Paul decided to move on.

After Racer X disbanded, you formed Saints Or Sinners along with Racer X bass player John Alderete and future Motley Crue vocalist John Corabi. The band later renamed as The Scream, and released the bona fide classic blues rock effort, called Let It Scream. Despite the bright shined future, The Scream was quite short leaved. Was it because of John's departure?

I think had the original line up stayed intact we would have written a heavier album, but you have to remember at that time, music was changing at a rapid pace. Once John left we had an obligation to Hollywood Records to make another album. Which we did and it got shelved. So that was the end of that.

Could you please tell me a few words about the bands DC-10 and Epidemic you were involved after The Scream?

DC-10 was sort of a band that was built on the fall out of The Scream. It took on a funkier direction, which in all honesty was a little left field of what I was wanting to do. I was already dealing with a hand injury at that point, and we didn't ever have a solidified line up. Although we did cut an album which featured Abe Laborel Jr. on drums which was awesome to record and play some shows with him. After I left the band DC-10 in the early to mid 90's, I had to quite playing due to increasing problems with my hand. So I built up a couple big studios on LA and began recording and producing bands. After a few years of getting my chops together and having quite a bit of success I recorded a punk metal band that was getting ready to sign to Roadrunner Records but broke up. The drummer from the band approached me to start a new band and play guitar. We wrote one song and knew we were going to get signed. About 2 years later we did, and the band became Epidemic, we put out an album on Elektra Records and toured with a lot of bands including Seether, Sinch, Jerry Cantrell, Nickelback, Breaking Benjamin, etc... But in the end the band was dropped and disbanded.

Around that time you were already struggling with tendonitis which forced you to play in a different style, ignoring fast solos. How did you recover from it?

It wasn't till 2005 that I fully recovered. I did change my diet and started stretching, but it is still a mystery why my full ability to play came back.

Was it difficult to reach that playing level again you already achieved once? Have you ever thought givin' it up?

It was slow at first but I really missed being able to play, so in the end it was a lot of fun… I did give up playing for a few years but the thought of never being able to write music haunted me.

In 2007 you were asked to join Paul Gilbert's band for a North American G3 tour with Joe Satriani and John Petrucci. Do you have some cool behind the scenes stories regarding those gigs?

Well I've toured quite a bit through out my life, and have been fortunate enough to play a lot of big shows, from sold out clubs to huge festivals. But from a musicians stand point the G3 tour was the most fun I've ever had as a performer. For one Joe Satriani was one of the coolest persons I've met. And being able to watch him every night was quite awe inspiring. Everyone on that tour were amazing players, and the crowds were 99% musicians. So it was a real special  to play night after night in that environment. As far as behind the scenes stories...... I can say the catering was top notch, and Satches crew were awesome. There was one show in Boston were a fan climbed up some ladders in this old theater and managed to make his way over the dressing rooms. He unfortunately fell through the ceilling In Petrucci's dressing room narrowly missing John and his guitars, which didn't go over well with anybody.

The same year you started to work on your first solo instrumental stuff. How do you see, does intrumental guitar music require different attitude and approach from you?

Well I was just starting to get my chops back and had never really written an instrumental guitar album, so it was a challenge, and I didn't have a studio to record in. So the first one turned out to be more of a bedroom jam tape. The second one I spent a little more time with and fleshed out the writing a little more. For the new one I returned to my metal roots and will continue to get heavier from here on out. I think when writing instrumental music it can be a little more difficult to keep the attention, becuase of the lack of words.

Here is your latest instrumental effort called The Order Of Control. I guess this particular record brings the heaviest tunes you have ever written. Do you agree?

This album started with a message. It's about people who look like you and I but have the ability to read other peoples thoughts and memories, control emotions, place thoughts and visuals in others. They are manipulators and controllers. So the whole album is based on this premise, and will be elaborated on with the follow up "The Order Of Control  Vol 2" It needed to be a heavier album in order to convey the proper message!

It's a great shred guitar showcase, while delivers catchy hooks as well. Is it hard to maintain the balance between shred stuff and memorable melodies?

Yes, a lot of shred albums kind of sound like people are trying to showcase there fastest licks, which to my ear gets to be a little monotone. Especially if it's a lot of 32nd or 64th notes. So a well written song in the instrumental vein can be tricky. That being said I do like to hear some ripping. So there needs to be a balance!

What kind of gear did you use during the recording process?

Guitars used where FGN Fujigen Expert OS, 1978 Les Paul Standard, 1978 Ibanez Pf 300. Pickups Seymour Duncan JBs, Intex Cables which I highly recommend, Dunlop picks, Marshall, Mesa Boogie, Roland Micro Cube amps, Eleven. Boss Gt 100, Boss Super Shifter, Vemuram Triplex, Line 6 delay, D'Addario strings, Pro Tools. Neve 1073's, RCA pre's, V76's Shure 57's.

Now you are endorsed by Fujigen guitars. What should we know about these high quality instruments?

They are all handmade, play and sound amazing. They are guitar building artists. There custom shop is top notch!!!

Is it the same factory where a lot of Fenders were made in the past decades?

Yes, they are one of the oldest if not the oldest guitar company in Japan. They built alot of the famous Japanese guitars as well as the early 80's Fender Squier Strats,  which if you ever played one they where incredible. 

Pick up wise, you still prefer the beloved Seymour Duncan JB Model in the bridge position. What do you love the best in the tonal characteristic of the JB?

It's got a nice midrange I like and has a dynamic and punch without getting too distorted.

Are you a pedal type of guy or do you prefer studio effects and softwares?

I really like pedals but sometimes they are not practical. If i'm demoing some things in protools i'll use plugin's if it achieves the desired effects... I'm not that purist guy who can't do it with out pedal, I can get it done with plugins. That being said I would prefer pedals becuase in the end they have a cool sound and unpredictability. Although sometimes when I play live I prefer to use the Boss GT 100 in order to keep it simple and not have to do the pedal dance.

How is your current touring schedule?

Well, with my recent signing to Mascot Records, I believe it will be getting a lot more focused with some overseas dates in my sights.

You did a guitar seminar at MI in Japan. Do you still enjoy teaching?

Yes I still teach. And these days I'm able to teach people all over the world via Skype.  If anyone is interested please inquire at  skypeguitar1000@gmail.com. I will probably be doing some master classes and clinics in tandom with live shows through out the next few years.

As a highly acclaimed producer, years ago you earned a Grammy in the best hard rock/metal performance category for Motorhead's Metallica cover. How much were you surprised?

I knew it was a winner the day Motorhead walked into the studio,  hard to go wrong with those guys!

www.brucebouillet.com

www.mascotrecordsgroup.com