Life, Death, And An American Guitar

The past year or so for John Petrucci has been pretty topsy turvy, to say the least. The birth of beautiful twins, the loss of family on both sides, illness, and the small matter of a new Dream Theater album! Not to be phased by these upheavals, he has still had time to gather his thoughts, and come up with some dynamic music and lyrics for the new album.

After a fairly lengthy, if not interesting train journey, and lunch at John and wife Rena’s lovely new home on Long Island, we go into John’s basement area, which is already taking on the guise of a home studio. This, as John advises me, he plans to convert into a fully functional studio where the band can rehearse and record in the future.

So, the new album – how’s the writing been going? Obviously, judging by the material that I heard, very well, but your own feelings?

Well, it’s gone through different stages. I think it has gotten a lot better, a lot more comfortable, and I feel like we’re in a positive swing. The last few songs that we wrote are some of the best stuff we’ve written! First convening to write, there was a lot of anticipation, and also writing with a new band member officially... there’s always been a chemistry, but it does take a while to get into a thing with somebody. So I would say that the writing has been getting progressively a lot better, a lot easier. We’ve been recording our demos; in the beginning we didn’t really know what we were doing with that, but we’ve gotten better at that, and that’s fun.

How did you feel that Derek’s first major contribution, and James’ additional input this time has helped shape the new material, the sound and harmonies?

So far as Derek, it’s been great. He totally clicks as a writing member. He’s from a different background, not as classical, more rock, more jazz, more blues, more progressive stuff, so we’re having a lot of fun. He’s also into staying focused on things. As far as James’ additional input, it could have been more. It’s still been he’s in Canada and we’re here, but I think it has been going well. The way we’ve been doing things, which we did this a little bit but, I really feel good about the way when we write a song. Usually we write the music, and as we’re writing it, lyrical ideas pop into our heads automatically. Instead of demoing the song right away this time, we just do a live demo, send it to James, and then he would come down to rehearsal and would sing any vocal ideas that he had or we had, and in a live atmosphere do a live demo of vocal melodies and maybe mock lyrics and stuff. And then when we knew what was right, then we’d write the lyrics, so that has been working out really well, because you know that everything kinda clicks, most of the time! Sometimes when you just record a song the way it is, and put the vocals over it, you run into some weird point. But this way, we could say: ‘I think that part should go another two times,’ or ‘we don’t really need that part’ or ‘the solos should come after the vocals not before.’ So we’re not stuck into a demo already. So that’s been working out really cool.

Have you approached the new work with a certain philosophy in mind?

Yeah, I think so. On certain songs. Different songs have different philosophies. Songs like ‘Lines In The Sand’, Metropolis II’, which you haven’t heard, the philosophy is anything goes. I think on songs like ‘Just Let Me Breathe’, ‘Peruvian Skies. ‘Take Away My Pain’ – even the U2-ish song ‘The Way It Used To Be’ – the philosophy is focus. The philosophy is “let’s try not to go off on too many meandering tangents...”

Something you’ve been criticized for in the past.

Yeah. I mean it’s fun to do that, but it could also ruin a song.

The way Derek put it the last time I spoke to him was “trimming the fat.”

Yeah, totally! ‘The Way It Used To Be’ used to have a whole section in the middle that was just like this free-form, and James said that when he heard it, that he nearly threw the tape out of the window, cos he thought the song was so good. So we’ve been trimming the fat on certain things. I think the philosophy is when a song has a certain vibe, we don’t want to ruin it for the sake of extending it, as we normally do. So, there’s plenty of songs that have self-indulgent sections, but when we have an idea that we think is cool, we’re trying to focus and stay down a path.

The songs you have written lyrics for: without giving too much away, would you care to give a brief explanation of their subject matter? Or would you prefer to leave it to the listeners’ own interpretation?

Well, I like leaving stuff to interpretation, but I can give general ideas. ‘Take Away My Pain’ – that’s obviously about a very personal thing.

It comes across that way as well. When you listen to it, you feel the emotion. It almost brings a tear to the eye.

Cool. That’s the way I want it to be. I really think it’s a universal subject matter because almost everybody you talk to has dealt with the loss of a parent, or taken care of a sick parent or child. And obviously death is a big part of everybody’s life, so I think it’s a thing that a lot of people can relate to. The concept of not wanting to have that pain.

‘Lines In the San’ is about... oh my God, you’re gonna think I’m crazy, but I’ve got to see the lyrics because I wrote it a while back. What else did I write?

‘Where Are You Now’

‘Where Are You Now’ – that’s about... I have a low tolerance for like big egos in this industry, cos you run into them all of the time. They’re so self-absorbed you know, and it’s kind of about that; it’s a little cynical.

‘You Or Me’

That’s about the craziness of life. The race that we’re all in and how some people might have one perspective on things, and someone else another, but we’re all in the same boat.

‘Peruvian Skies’

‘Peruvian Skies’ – did you pick up on any of the lyrics on that one? Well that is about child abuse. About a girl named Vanessa and how the father was abusing her, and a perspective of listening to things going on, and how she’s trapped in that, and how she’ll take all of this into her own child’s upbringing.

It’s an interesting title. It’s like “what is this gonna be all about?”

Well, the character is South American.

There seems to be a more melodic sound in general on this, more backing vocals which is evident on some of the songs.

Also with the backing vocals, on a lot of them, we’re trying to make it so that they’re in our ranges, so we’ll be able to do them live. I sang on some of the demos as well.

Was this a conscious thing, to introduce more melodies and backing vocals?

Definitely. James and I had several talks on how we wanted the vocals to be very striking, and have a strong melodic sense. Take an edge off his voice, have him sing not so raunchy.

The first three songs that I heard back in April, came across to me as being much more accessible, and lighter sounding. But having heard all the material now, that first thought has partially gone out of the window. There is new stuff that has stayed in that lane of not being that accessible.

Yeah, there is. I think that if this band could have a record where there are songs on it that are accessible to more people, I think we need to gain that audience. We have a great fan base, our fans are always there, appreciate what we do, and we’ll always do that type of music that got them there in the first place, because it is in our hearts, too. But another thing that’s in our hearts is that we want to be able to do this for a long time. We want to be a successful band. We’ve grown up influenced by successful bands. All of our influences, including Rush, have had very successful careers, and you need strong songs to do that. You need songs that have a focus, songs that can reach people.

With so much new material written so far, and possibly more to come before you get to record, there’s no way you’ll fit it all on one album. Mike has expressed interest in the possibility of a double CD. Okay, that would be great for the fans, but commercial suicide?

Probably! It probably will never happen.

You’ll have a load of material left over to find a home for.

We need extra stuff, as there’s always B-side things that come up. It’s actually cool this time, cos we’ve never been in the situation where we had too much stuff; this is the first time. And I think it’s a real healthy thing, because we’re having a lot of people listen to this stuff, and we’re coming back with a lot of unanimous opinions on what songs are strong.

Do you feel that this album is a major stepping stone for the band? A kind of make or break into the big-time?

I think so. I think we’ll always have a career, but I think because of the position that we’re in, like the way that ‘Images’ did so well. ‘Awake’ did better in other countries, not as good here. I think this is a crucial point.

Are you at all skeptical about the reaction towards the material from the media and fans alike, the anticipation?

I’m a little self-conscious about my music. When certain songs are right, I have all the confidence in the world. And I think we’ve gotten to that point. Towards the beginning of writing, I was a little skeptical. Just think what we were churning out: ‘Anna Lee’, ‘Raise The Knife’, and ‘Where Are You Now’. These are songs that I was like “what’s happening?” But I feel so much better now. I feel a certain confidence with some of the music, where I feel the fans will like the stuff, and I feel that people listening for the first time will be interested. And when we did ‘Images And Words’ I had the same feeling.

Are we any nearer now as to a producer?

I don’t know the answer to that. I mean I know who we want; we’re talking about Peter Collins, Paul Northfield. I wish I knew the answer to that.

Will you be using any different equipment?

Yeah. I’m using a Mesa Boogie Heartbreaker head. A new head and I love it; it’s awesome. I’ve been using it on the last few songs we did. That’ll be my new live thing. I have the double-neck that you saw. That’s all for now. I’m sure I’ll use other stuff. Also, I didn’t have a PCM-80 Lexicon piece last record.

Guitar clinics: you did some in Germany and have been doing some in the states. How did they go?

They go great; it’s a lot of fun. It’s a good thing that the state we’ve been in, it’s a good chance to maintain the fact that we exist! They’re fun to do, and it’s great for my relationship with the endorsers, and it’s great for the promotion of the sale of my signature model.

Onto ACOS. How do you feel it did generally? Were you pleased with the response?

I was definitely pleased with the response. Recording of it, I thought it would have come out better. I was a little disappointed with the production, because Prater obviously did ‘I&W’. I loved the way that sounded and I thought it would sound as good, and I was kinda disappointed in that. With that, it is what it is, take it or leave it. So yeah, the response has been great. I’m satisfied.

“I’m lying here in bed, swear my skin is inside out, just another Sunday morning.” Were you inspired to write these lyrics after having a particularly heavy drinking session the night before?

No, no. That’s so funny. That song – that character is a delusional character, and a lot of the subject in that song are real paranoias that delusional patients have. And one of them is that they feel like that their skin is inside out. There’s a lot of that throughout the whole song, where they feel like they’re hearing voices in their head, that certain people are messiah figures, that everybody knows everything about their lives, and their diary is on the newsstand and everybody knows about them.

What usually inspires your lyrics? A lot of them are very mystical, but always thought provoking and profound! What makes you tick?

Usually a very specific inspiration. I think they’re just things that I pick up in everyday life. Sometimes it’s a phrase. That’s one of the ways that I heard that Neil (Peart) uses; he writes down catchy phrases. ‘Lines In The Sand’ is one of those; I heard it on a TV show. It was like ‘lines in the sand’ – that’s cool, I’ve got to write something about that. Obviously, some of them are from life experiences, they’re just an emotional state that translated into a song.

Prior to going onstage, what is your usual routine?

I warmup. I always play before. I usually have something to eat, I get dressed – I try to make myself really as comfortable as possible; get washed up and brush my teeth, get focused, just so there’s a confidence. It’s not just running out there.

How did the Rock Discipline video come about, and how has it gone?

Actually, they approached me about doing it, and I said “of course”, and I loved doing it. And it has gone pretty good.

What are your particular favorite DT songs?

This doesn’t include new ones that we wrote. But I like ‘Voices’, ‘Lifting Shadows’, ‘Pull Me Under’ and ‘Learning To Live’. I really like ‘Eve’ also. I’m not sure if a lot of people have heard that.

What has been your proudest and most memorable moment professionally?

There are several spots along the way, but I think what sticks out in my head was when we really started to gain some success on ‘Images And Words’. I don’t know if I could pinpoint the moment, but there was a point when we had started touring in the states, then went to Japan, and then came back, and there was like an explosion.

I remember that feeling that there was so much excitement. We went from playing 200 people, to 500, to 1000, 3000, theaters, selling out theaters across the states, and there was a real excitement about it. “Yeah, we’re doing it. We’re professional now.”

The Rush tribute album: what was that like to work on?

I had very little involvement. They sent me a list of songs that were available for solos. I picked ‘Jacob’s Ladder’ – it has a very short solo section in it, but out of all the choices, that was my favorite. They sent me the tape, I did it in the studio, and Mike produced me doing it. He ran the machine and gave me hints and stuff. And I sent it back and I never talked to anybody about it!

Have you any other appearances lined up for tribute albums or guest appearances?

I did one for the Queen tribute album – I did ‘Another One Bites The Dust’ – I did all the guitars, and it was a lot of fun. I made it very funky and heavier. I’m also doing a thing with Steve Morse, he’s producing a record for Windham Hill, of rock guitar players – I can’t remember all the artists on it – but playing classical music.

What’s the connection with (Mark) Wood? You and John got a mention on the album ‘Against The Grain’. Did either of you actually play on it?

Do we really? I met him once! That’s bizarre. I wonder why.

What kind of stuff are you currently listening to?

Baby songs, Sesame Street. I haven’t been really listening to much to be honest with you. Between moving, the kids and everything else, I really haven’t listened to a lot of new music recently.

How are things going with the twins? From what I’ve just seen, they’re fun.

The twins are amazing, they’re absolutely incredible. They’re amazing to watch, and don’t let anybody fool you – they’re tons of work.

Are they subject matter for some songs?

I did. I wrote a song. It wasn’t recorded. I have a whole bunch of stuff that I never recorded that I’ve been writing along the way, that I want to do something with. But it is called ‘When’ and it was about before they were born.

The possibility of a John Petrucci solo album?

I’d love to do one. I have a lot of material, and it is stuff that I couldn’t picture us doing.

What do you feel the future holds now for the band?

Well, obviously we’ve got to record this music, and get out there and support it. That’s a big part of our future. Of course we’re gonna want to expand; we wanna hit and explore markets that we haven’t so far, and try to gain more success here. I think that’s going to be an important part of our next game plan.

Finishing up, have you anything you’d like to say to the members of the fan club?

Yeah. I’d like to say that I’m glad to see that fan club interest is picking up, despite the fact that we haven’t had a record out. I’m psyched about that. All I can say is that there has been some wait, but I think we have some good stuff.