Soundspike: Rob Zombie's music is unique within the metal genre because of its clever mashup of horror and humor. I imagine that makes it easier to experiment with different sounds and styles within the writing environment, compared with a more traditional metal band.

John 5: Yes. You know, I've played with a lot of people, and I'll tell you for sure it's the best time I've ever had with anybody. I love writing with Rob and playing with him. I have to say that this is the best band I've ever been in. We collaborate really well together. We have a great bond.

There are always rumors floating around that Rob eventually wants to just dedicate himself to his film career. If that were to happen, would you consider picking up where you left off with your previous project, Loser?

Only if Rob said, "I'm done with music. I'm out. Go do what you want." But as long as he's doing his thing, I'm staying with Rob.

In his book "Outliers," author Malcolm Gladwell talks about the "10,000-Hour Rule," claiming that the key to success in any field is, to a large extent, a matter of practicing a specific task for a total of around 10,000 hours.

Wow, I hadn't heard that. That is really interesting. How many years is that?

Somewhere around six hours a day, every day, for five years. I would imagine you've blown the doors off that number.

Well, I started when I was seven and I'm almost 40.

Were you that kid who locked himself in his bedroom all through high school for five hours a day?

Oh yeah, and I'm still that kid.

When did you first know you were good?

I don't know. I never want to think that I'm good. I'm always trying to push myself.

So, kind of like the old Chinese proverb where the wise men would never admit they were wise, and thus therein laid their wisdom?

Wow, I really like that.

Typically, the thought of an instrumental guitar record makes one roll their eyes in disdain. And yet, your new album, "The Art of Malice," is phenomenally diverse. This record is all over the place and yet you can still hear your signature sound on every track. Tell me about your writing process.

I wanted to do a record that sounded like your iPod was on shuffle. You get all types of music so that you don't get tired after three or four songs. You never know what you're going to get next. I think it worked out. I think it is good to do that because I'm not just going to be a clone of Paul Gilbert or Yngwie or someone like that. Sometimes, I think the only reason I'm popular is because I do so many different kinds of music.

Are there any plans to tour behind your solo work?

I am. Whenever Rob is doing a movie, I go off and do my own stuff. It keeps me busy, keeps me happy.

So that versatility is the key to the incredible amount of work you get doing sessions?

Well, I just did a Ricky Martin album, so maybe you're right.

A Ricky Martin album?

Yeah, it was great, totally awesome. All those different tunings, it was hard music to play, reading charts, playing with orchestras. It doesn't have to be metal or rock. It can be classical or country. I just love music in general.

You've played with an incredibly diverse group of artists, from K.D. Lang to Lynyrd Skynyrd. Is there anyone out there you still want to collaborate with?

Of course our Beatles and our Stones. Any surviving members of the Beatles. I did get to play with Ron Wood once. I�d love to play with those guys.

Speaking of Ron Wood, what is it with you and Fender Telecasters?

Oh man, I love 'em. I think what it is, it's that the telecaster was the first electric guitar. They're just so well built.

The thing that you get with the tele is resonance, the older they get, the grain hollows out.

Exactly, they are like fine wine.

I understand you have quite the collection of guitar porn.

I have a very good collection. What I'm trying to do is get a tele from each year. I do have the hardest one to get, the 1950 Broadcaster. They only made 126 of them. I don't have a '51 though; I have a '50, '52, '53, '54, '58, '59, '60, '63, '64, '65, '65, '66, '67, '68, '69, '70, '71, '72, '73, '74, '75, '76, '77, '78, '79, '80, '81, '82. And then I've got tons and tons of other ones.

You might have to head to Japan to complete your collection. Apparently, all of our vintage guitars are over there now.

Yeah, they are buying everything up, buying everything.

I heard that you were once the proud owner of an impressive KISS poster collection. Why don't you have it anymore?

Yeah, I sold my poster collection once I started buying vintage guitars. I sold it for $75,000.

That must have been one helluva collection. Did you part it out to several buyers or to just one collector?

Yeah, I had some really cool stuff. I sold it all to one collector.

I imagine you can play pretty much anything someone puts before you. Have you tried playing an oud, or a dulcimer or any other stringed instruments?

I'm not that guy who is trying to play a bunch of different instruments. I kind of stick to guitar, banjo and bass. But I pretty much just play guitar.

You're not a complete drop-D tuning guy either, are you? Most of these other metal bands are strict drop D.

Sometimes, but no, not always.

Is there anybody out there that you say, "Wow, that guy can play," or someone who deserves more notice as a player?

Oh, I say "wow" to everybody. They don't just have to be shredders. I love great songwriting, I love great music in general. I know that sounds kind of hokey, but I just love it all.

Does John 5 have any superpowers that John Lowery doesn't have? Meaning, is John 5 a separate artistic entity that liberates John Lowery? Or are they one and the same?

That's a great question, actually. I think John Lowery tries to be a very nice, very courteous person, however, I think that when I go up on stage with the makeup and everything, I transform into someone else. It's just entertainment; people want to be entertained. We want to put on a show.

The speed at which you play is physically challenging. What do you do to make sure your hands stay in shape?

Practice, practice, practice.

What about carpal tunnel?

You know what? [knocks on table] I've never had any problems with that. My feet hurt, I got knots in my neck, but my hands are totally fine.

Telecasters aren't the lightest of guitars.

No, they're not. I've got a knot in my back the size of Chicago.

There is a certain level of idolatry that comes with your job; however, you have a reputation as a really genuine, unassuming fellow.

You know what? I think all that stuff is so silly. I met Gene Simmons when I was 13 years old and I loved KISS. I went to downtown Detroit to meet my hero. Here comes Gene Simmons and he got on the elevator and he's like this (folds arms and grimaces) and I snuck on behind him. Here I was a little kid and I went up to him and said, "Mr. Simmons, will you please sign this for me?" And he just stuck his arm out at first but then finally said, "OK, I'll sign it," but I just said, "It's OK," and got off the elevator. I think all that mean stuff is silly. We're all people; I'm no different than you or whoever. Everybody has a great story to tell.