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JOE STUMP on Days of Thunder: Classic Influences, Modern Firepower, and Shred Sorcery

By capitalchaostv on June 24, 2025 • ( 0 )

Guitar virtuoso and Berklee professor Joe Stump returns with Days of Thunder, the explosive follow-up to his 2017 debut Lake of Fire. With a sound forged in the traditions of Deep Purple and Rainbow, yet delivered with modern edge and razor-sharp technique, the new record showcases a band firing on all cylinders. We caught up with Joe to discuss the record’s evolution, songwriting philosophy, and the dangers of listening to his solos while operating heavy machinery.

How does Days Of Thunder differ musically and thematically from your 2017 debut, Lake Of Fire?

I’d say Days of Thunder has a more focused direction. It’s deeply rooted in the traditions of bands like Deep Purple and Rainbow. While Lake of Fire definitely had some of that, it leaned more heavily into the European power metal realm. The new record walks the line between classic European hard rock and metal—it’s a big step forward from the first album in both sound and vision.

You cite legends like Ritchie Blackmore, Michael Schenker, and Gary Moore as key influences. How do you balance paying homage while keeping the sound fresh and original?

I just channel the approach and inspiration of my heroes, but I always put my own spin on it. Sure, you can hear a lot of Blackmore’s influence on this record—but my playing style is much heavier and more aggressive. Over the years, I’ve carved out a distinct tone and approach to the guitar, so no matter who I’m drawing from, it still ends up sounding like me.

“Alone in the Desert” has been described as having a mysterious, soulful groove. Can you share what inspired that track?

That tune was heavily inspired by the epic, Eastern-flavored vibe of Dio-era Rainbow tracks like “Stargazer” and “Gates of Babylon.” It’s a longer track, with a similar kind of cinematic sweep and a lengthy guitar solo—just like those classics. It has a strong ’70s feel, but thanks to modern production, it comes across much meaner and heavier.‘

As a Berklee professor known for technical precision, how do you ensure your songwriting stays emotionally resonant and not just a showcase of skill?

Even with all my musical training and technique, songwriting for me is a very natural, organic process. I pick up the guitar, and things just flow—riffs, melodies, chord progressions, sometimes some classically inspired arpeggios. I never force it. I trust my instincts and let the music lead. A song should evolve naturally—it’s not about cramming in a bunch of complex exercises.

How was the band chemistry during the recording sessions? How did each member’s musical voice shape Days Of Thunder?

I composed and arranged all the music on the record, while Jo Amore and our drummer Mark Cross contributed the lyrics and melody lines. I’m lucky to work with such talented musicians who are also great guys. We’re all coming from the same musical school of thought, and each member brings something unique to the table. Everyone had room to put their own stamp on the material—and they all played brilliantly.

Any challenges during production or mixing, especially with such a layered sound?

The biggest challenge was balancing the guitar and keys—going for that classic Blackmore/Jon Lord dynamic. Mark and an engineer in Greece mixed the record using analog gear, which gives it a warm, vintage vibe. But the downside was that every time we wanted to make a change, we had to remix the entire track from scratch. It was time-consuming, but we’re really pleased with how it turned out.

If “The Maestro” Mistheria were an actual wizard, what spell would he cast mid-song to enhance a live show?

The Maestro is an absolute monster on the keys—and he looks badass on stage too. At certain points during the set, he whips out his custom keytar and trades solos with me. That’s when the crowd really falls under his spell. It’s pure magic.

On a scale from 1 to “face melted,” how dangerous is it to listen to a Joe Stump solo while operating heavy machinery?

Depends on the track. I do show restraint when needed—but if it’s a full-throttle, no-holds-barred shred-fest, then yeah… it can be deadly. I wouldn’t recommend driving—or operating any heavy machinery—while listening.