John Myung, the legendary bassist of progressive metal titans Dream Theater, is renowned for his complex basslines and unwavering stage presence. While his mastery of the 4, 5, and 6-string bass is undeniable, a lesser-known facet of his musical arsenal is the Chapman Stick. For fans and musicians alike, the question of John Myung and the Chapman Stick has been a topic of intrigue and speculation for years. Does he actually play it? If so, where and when has John Myung utilized this unique instrument within the Dream Theater universe and beyond?
The Chapman Stick, invented by Emmett Chapman, is an electric instrument that utilizes tapping, a playing technique where the strings are struck directly onto the fretboard. This allows for polyphonic and harmonically rich textures, distinct from traditional bass guitar. The online forum discussion reveals a community of Chapman Stick enthusiasts and Dream Theater aficionados eager to uncover the truth behind Myung’s relationship with the Stick.
One forum user, rclere, initiated the discussion by admitting to never having seen or heard John Myung play the Chapman Stick. This sentiment resonated with others, highlighting a general lack of awareness regarding Myung’s Stick playing. However, other contributors quickly chimed in to shed light on instances where John Myung has indeed incorporated the Chapman Stick into his music.
The most concrete evidence presented is Dream Theater’s “Live at Budokan” DVD. As LJones points out, this concert film clearly showcases John Myung playing the Chapman Stick on stage. Further digging into Dream Theater’s discography reveals that Myung’s foray into the Stick isn’t limited to live performances. Metalken mentions its use on “a few tracks on Falling into Infinity,” although these tracks are rarely, if ever, played live.
PaPaVB20 provides a more detailed breakdown, identifying specific songs where John Myung employed the Chapman Stick in the studio. According to this user, “New Millennium” from Falling into Infinity is a prominent example, corroborated by the Budokan performance. Additionally, “Take Away My Pain,” also from Falling into Infinity, and “Misunderstood” from Six Degrees of Inner Turbulence are cited as tracks featuring the Stick. Interestingly, the song “Home” from Scenes From a Memory was initially conceived with the Chapman Stick in mind, intended to mimic the citar-like sounds of Jordan Rudess’ keyboards. However, John Myung ultimately opted for bass guitar for the final studio version and subsequent live performances, feeling more comfortable with the bassline on that instrument.
FuzzyJammer reinforces the studio use of the Stick and recalls seeing photos of John Myung on stage with it, further solidifying the instrument’s presence in Myung’s musical toolkit, even if not as prominent as his bass guitars.
Lee Vatip, offering a unique personal anecdote, shares that John Myung visited him to learn more about the Chapman Stick, confirming Myung’s genuine interest and engagement with the instrument beyond just occasional studio use. This personal connection adds a layer of authenticity to the discussion, suggesting a deeper exploration of the Stick by Myung behind the scenes.
Ian Perge, a self-proclaimed John Myung enthusiast influenced by his early Dream Theater work, expresses a desire for more Stick-based tracks from Myung. While acknowledging “New Millennium” as the only full Stick song within Dream Theater’s main discography, Perge highlights Myung’s guest appearances on Sean Malone’s 1999 self-titled Gordian Knot album as essential listening for fans seeking Myung’s Chapman Stick mastery. Tracks like “Redemption’s Way” and “Srikara Tal” on the Gordian Knot album are presented as prime examples of John Myung’s Stick playing in a progressive music context, potentially even surpassing his Dream Theater Stick work in terms of prominence and complexity.
In conclusion, while John Myung is globally recognized as a bass guitar virtuoso within Dream Theater, the Chapman Stick remains a fascinating, albeit less spotlighted, aspect of his musical talent. While not a staple in Dream Theater’s live shows or even studio albums, the Chapman Stick has demonstrably been a part of Myung’s sonic palette. For those curious to hear John Myung explore the full potential of the Chapman Stick, venturing into his guest work with Sean Malone’s Gordian Knot is highly recommended. This exploration reveals a different dimension of John Myung’s musicianship, proving that even the most celebrated musicians have hidden depths and instrumental versatility waiting to be discovered.
