Dream Theater: American Blues Influences

Images and Words’ Heritage... Falling Into Where?

As you sure know by now, the latest Dream Theater’s record, “Falling into Infinity”, was put out under a great general expectation. Several months prior to the official release, sound samples had started to navigate on the Internet. A few shows in the US were also used as a showcase for the new material. Hearing the variation in style from one track to another, it seemed that the record would be more accused than ever. It looked, since the beginning, as if the band had been searching a more eclectic approach to writing. Words like “accessibility”, “mainstream”, “radio friendly”, “sold out”, or even “trendy” started to circulate in the form of different states of opinion among fans. The fact is, though the signs of glorious prog metal past will persist as long as their career lasts, for several of their followers, Dream Theater have mutated into a band which holds a quite different orientation nowadays.

Having expanded their potential audience and being in some aspects broader in outlook, records as “Falling into Infinity” could be interpreted as a way of their escaping from the deep legacy that “Images and Words” album created in the scene (and still creates each time a newcomer gets into this band). But, after all, the variety is what makes the music appealing, one just has to accept this sort of decisions and try to judge the product as it’s presented, without many prejudices. What happens is, many times, like in the Dream Theater’s case, prejudices can subtly flourish, subliminally inferred by the bright past we talk about.

Europe from East to West

As an anteroom for the completion of “Falling into Infinity”, East West Records company was pointed out as the main responsible entity for all the adverse vicissitudes and subsequent delays the band had to surmount before entering the studio and start working in proper conditions. However, as soon as the album in question is released, or a tour is planned and their money comes into the play, that same label can adopt a fatherly patronage role. “Two skins under the same wolf”, you could say, but I guess it should be just another hidden golden rule of this “ethically exemplary” business, right?

When Dream Theater promo tour in Europe became a reality, I decided to get in touch with Dro, the Spanish delegation of East West Records, and had the chance of meeting the band in their first visit to Madrid. They would be playing in Spain for three dates to be precise.

Let me tell you first that about three years ago, when they were immersed on the overseas promotion of their “Awake” album, a few shows had been scheduled here as well. Obviously, with Fates Warning sharing stage, the menu itself constituted something hard to refuse. Well, what happened was those gigs never saw the light. Tickets had been already printed, even had been selling pretty well and, in fact, it was possible to see names of Spanish cities, included at the back of the typical “Awaking the world - European tour” T-shirts. But, at the very last moment, the tempting offer turned into an empty can of beans. Cancelled: an evident disillusion and a full stop.

Mrs. Green, Bill, and the Scorpions Socks

Monday morning, Madrid city awakes painted in light gray. I had to meet a person named July Green from East West Records around noon, at the small cafeteria of Convención Hotel. British punctuality is not always a must, so a couple of coffees and a few glances at the newspaper did the rest until she showed up. A good looking and nice young woman, she started telling me they had just arrived a few hours ago from a music festival that had taken place the night before in Granada, a city located at the south of Spain. After the usual introductions, we carried some peanuts, a couple of cokes, and a coffee towards a set of small tables. Near there, I could see how band’s keyboardist Derek Sherinian was in the middle of a promotional interview with some acquaintances of mine from “La Coctelera” fanzine. So, more time to wait. But not a big deal.

Comfortably installed there at a sofa, July introduced me to Bill, Dream Theater’s tour manager. Veteran man from Scotland, in his mid-fifties I’d say, explained us how he also had toured in the past with bands like Iron Maiden or the Scorpions. And, if I remember well, thin black socks with the Scorps’ red logo were indeed what he was wearing! Bill continued his speech mentioning how he had been already in Spain too many many times to count them all. “I should have been 30 or 40 times earlier here, in Madrid, but I still didn’t have an opportunity to visit the city properly!”, he commented.

We talked a little about Spanish soprane Montserrat Caballé, whom he had met before in the US (“An incredible person”), her contributions with Freddy Mercury on “Barcelona” song, and with other pop artists (as a matter of fact, Bruce Dickinson sang with her also). He then went on talking excellences about a Cuban self-taught pianist named Rubén González, who had worked with the famous guitarist Ry Corder in sort of a magic jam session, which got pressed on the album that he had come across once, right at Ry’s studio. Interesting. I said I’d try to remember that name just in case. Latin music, Tori Amos’ forthcoming tour (the artist also enrolled on East West Records list), flamenco, folklore, Spanish culture, employment situation, minimum wage figures in Spain as compared to Great Britain were some of the things we had time to talk about, during this, overall, really pleasant conversation.

Some minutes later, July Green finally introduced me to Derek Sherinian. Well, at first sight, this guy may look as if he had escaped from a 70’s disco or “Saturday Night Fever” movie. At least, he should be really fond of that postmodern look, considering the huge sun glasses, gaudy shirt, and golden chains hung down his neck. The Spice Girl chandal trousers maybe didn’t fit on that 70’s template, but okay, they also contributed to creating a wisely conceived sloppy rock star appearance. Anyway, leaving aside those minor fashion details, in the following lines you can read how the chat we had with Mr. Sherinian went.

Before meeting Derek, Bill kindly went upstairs to check if James LaBrie or John Petrucci were available to join the interview. However, according to his own words, the solely noise which came out of a still inert James was closer to a snore than to anything else on this earth. We’d talk to Derek then, no problems. But frankly, as our conversation progressed, I started noticing that several of the topics I thought could be interesting to discuss with a Dream Theater member, were not applicable to this setting. Will some of his answers surprise part of you the same way it happened to me? Keep on reading.

Georgio Martin: Well, if you want, we can start talking about something a bit different from your current occupation. Tell us a little about your experience playing with Kiss. 

Derek Sherinian: Oh, okay, okay. Eric Singer, the drummer, and I played in Alice Cooper together and Eric was hired to play with Kiss. They needed an onstage keyboard player, so they called me and I did four months in America with Kiss on the “Revenge” tour and it was very cool. Got into watch how Gene Simmons operates.

GM: The whole set of lights, tricks, and other paraphernalia is quite far from what Dream Theater bring, right? 

DS: Yeahhh!

GM: Could we talk a little about how the yesterday’s show at Esparrago Rock Festival in Granada went? 

DS: [Eating some peanuts] Our first time playing in Spanish soil. The crowd was great, very receptive. We’re looking forward to playing our headline set tonight. [Chewing] In Madrid.

GM: Perhaps you’ve been told about how two years ago, on the “Awake” tour, Dream Theater were going to play here with Fates Warning and, at the very last moment, it was all cancelled. 

DS: I heard something about that.

GM: I think the club will be packed with people avid to finally see Dream Theater performing live. 

DS: I see. Anyway I mean, I was here after the facts, so I really don’t know what the truth is.

GM: I was told just some moments ago by your tour manager that it was a problem related to agents and dates which were not well planned and stuff. 

DS: Probably. That wouldn’t be the first time.

GM: Yesterday in Granada, did you have a chance to visit the famous building of Al Alhambra palace.

DS: Oh, we saw it. The driver passed it. The big castle?

GM: Yes. 

DS: I heard it’s amazing! I wish I had the chance to go and see it.

GM: You didn’t have much time. 

DS: No, no time. “No tiempo”. [Laughs]

GM: [Laughs] You learnt some Spanish? 

DS: [With a perfect pronunciation] “Un poquito”. [ = a little bit] [More laughs]

GM: Okay. After this tour in Madrid you soon will go to Paris to do a big show. You’ll play with bands like Vanden Plas from Germany and Angra from Brazil. 

DS: Yes, that’s right.

GM: How was the experience of playing in Brazil last year? 

DS: Oh, that was incredible! Great! The fans were very passionate, very much like the fans yesterday in Spain and Italy. It’s the same tilt.

GM: And what do you think about this band in particular, the Brazilian Angra? 

DS: I really don’t know anything about them.

GM: Ah really, do you? 

DS: Never heard them. I don’t know anything about them.

GM: Aha, I had seen some pictures of James with Andre Matos, Angra’s singer, taken there in Brazil, so I thought you perhaps had met them. Okay, talking a bit about your music, according to rumors, “Metropolis Part II” will be on the next album. 

DS: That’s correct.

GM: Well, it was said that you wanted to release it as an EP, because the producer or your label could be against including such a long song.

DS: No, we’ll be able to put that. We’ll be able.

GM: So it’s definitely in your plans for the next album? 

DS: Yes.

GM: Any connections with “Part I” you’d like to tell? 

DS: Just little pieces that are like intertwined.

GM: I see. 

DS: Intertwined. A bit like themes, but it’s very very progressive. Any people that think that we’ve got more mellow and more commercial with “Falling into Infinity”, when they hear Metropolis II will be...

GM:...surprised? 

DS: Yeah.

GM: I wanted to talk a bit about some of your side projects, there are a lot of them. 

DS: Aha.

GM: For instance, there’s Liquid Tension Experiment with Portnoy and Petrucci. 

DS: Yes. Actually hm... the main project that we only really want to talk about is a side project with John Myung, Rod Morgenstein on drums, and Ty Tabor from King’s X. You got it?

GM: You mean this is the most serious project? 

DS: Oh yeah, it’s a serious project. We’re all very excited about this, and will hopefully make money and even go on tour.

GM: Talking about releases, LaBrie’s old band Winter Rose album was released here in Europe. Some people find it strange that it’s pure hard rock with the glam rock feel. How does James feel about this in case you know? 

DS: Yes. [Doing a “Pufffff...!”, heavy breathing] Well, it’s as “it is what it is”, you know. I never played in progressive bands before, you know. I was playing in Alice and Kiss. They’re not progressive at all. So, everyone’s got different backgrounds.

GM: I wonder if you have had a chance to listen to any preview tape of the debut Chroma Key album of Kevin Moore, band’s previous keyboardist? 

DS: No, I didn’t hear any of this, I don’t know.

GM: I see. And what do you think of Kevin Moore’s contribution on the latest Fates Warning album? 

DS: I don’t, I don’t like... [Laughs] I don’t listen to Fates Warning, so I don’t know anything about it.

GM: What kind of music do you usually dig? 

DS: I really... I LOVED the new Marilyn Manson album.

GM: Marilyn Manson? 

DS: Yeah, “Antichrist Superstar”. I think that’s the best album of the 90’s.

[Curious: I was told later he had stated the same thing to the guys who previously interviewed him.]

GM: Really? 

DS: I loved it!

GM: Could you explain a little why? 

DS: It has power. I listen to it and it’s... [Looking to the ceiling and opening his arms like doing a gesture of embrace] ...POWER! And that’s what I like.

GM: Don’t you think there’s perhaps also a big part of this band Marilyn Manson, which is made by marketing, got to do with a carefully studied image: the decadence in society message and so forth, the status of the US society, etc. 

DS: I liked that, too. [Eating more peanuts] They’re like the whole image: I like the sound, I like the whole... thing.

GM: So you’re personally fond of industrial music? 

DS: Hm, not really! I like really Nine Inch Nails. I like Marilyn Manson. I guess this is kind of rest. [Laughs] I like what he does, I like the sounds, it’s fresh.

GM: Experimental? 

DS: Experimental. It’s fun. It’s very cool.

GM: I see. It’s not the first time that I hear opinions like yours in the progressive field. 

DS: I really will be honest with you, I really don’t like a lot of noise.

GM: I appreciate that you’re honest in this aspect. 

DS: Yeah, I mean, like this all bands: Angra...

GM: I see, very technical... 

DS: ...Symphony X... I mean in some way all these people are spinning off Dream Theater. Yeah, everybody listens to it. I will be honest with you: if I was not in Dream Theater, I don’t even know if I’d be a fan of them. That’s weird! [Laughs]

GM: That’s pretty interesting I think. 

DS: Yeah, I don’t know if I was into it.

GM: Okay, talking more in depth about that, if you try to leave aside for a moment your status as a band member, what would be your impression about “Images & Words” disc? Perhaps it’s a bit difficult question. 

DS: When I first heard it, I can tell you exactly what I thought then. I thought that the musicians were incredible. That the musicianship was incredible. I thought the songs, the songwriting structures, weren’t smooth. I think that the songwriting was very obfuscated. It wasn’t smooth. I connect it: it was obviously that the musicianship was incredible, but that’s the way the songs were done, there were not enough American blues influences.

GM: Aha. 

DS: It was very European. Too European sounding I think. And I like America. I like the rock and roll, Van Halen...

GM: It’s something curious now that you mention Van Halen, and I’ll tell you why: for some fans, your addition to the band’s own sound at the creative level sometimes made Dream Theater to sound more like a band such as Van Halen. What do you think, did you hear that before? 

DS: Aha. Yes, I think it’s great! It’s spirit. I try to put spirit into the band: all rock and roll, presentations...

GM: Could we talk a little about the problems you had to undergo with your label, before being able to enter the studio for recording the last album? You probably heard that some fans even organized a sort of petition to let you enter the studio trying to push East West Records. Some people, on the other hand, think the label could instigate a change in the sound, more forwardness. 

DS: I don’t think so, really, because with Dream Theater, the label, whether they like us or not, they know that we have a fan base of about half a million people that will buy the records. And that’s a tough attempt to make billions of dollars. So they’d like to keep some songs radio friendly. So they pretty much take to Dream Theater and say: “okay, do what you can do”. And they said about “Falling Into Infinity”: “This is the record that we want to make”.

GM: Talking about that eternal question of virtuosity versus accessibility, there’re more styles present in that album going in different directions and a lot less instrumental parts. Do you think “Falling into Infinity” is an album with which you might have won a point in accessibility? 

DS: Oh, we did. Because, first of all, there’s a new member, who is on and brought totally other influences. And another thing is that the band is five years older. We’re gonna write different things.

GM: Do you know if your band mates are still in touch with the former vocalist Charlie Dominici? 

DS: Hm, I don’t think so.

GM: Aha. Well I didn’t know beforehand I was going to talk to you, I will be honest with you at this, so I had prepared these questions like more oriented to the rest of band members who have been for more years in the band. 

DS: Nah, that’s okay, that’s okay.

GM: During this tour, maybe you have been composing or getting new ideas when rehearsing? 

DS: Yeah, like we’ve been writing in the band? Yeah, yeah. We have actually.

GM: So, how about the new songs? Can you point out any songs from “Falling Into Infinity” that would be the most close to the new material? 

DS: Hm. I can’t. It’s too hard.

GM: Too hard to compare to...? 

DS: Yes, it’s different.

GM: As I said before, for a part of Dream Theater fans, the last album was a bit more generic in terms of sound. Compositions such as “Hollow Years” or, especially, “You Not Me”, could seem good attempts targeted at Top 40. Some of your songs are better and no less accessible than some usual pop songs we hear on radio or see on TV every day. Are you happy with the coverage you have been given in MTV and other mainstream stations in the US for instance? 

DS: No, we’re definitely not. You got to leave or... First of all, America right now isn’t playing any hard rock music, let alone progressive hard rock so, it’s this rotund.

GM: I personally think there’s still a barrier present there for supporting anything with the “heavy music” label on. The fact that songs such as “Take Away My Pain” are very commercial, did it help someway? 

DS: Nope, we did write them hoping that it would, but it didn’t.

GM: So, were you possibly thinking about that when you were writing the album? [“That’s a good one Greg, ha ha!” - Ed.] 

DS: [Pause] Hm, I mean. Do you think that...? Look: every band... I know fans that like the idea of the band staying very creative, too stuck or whatever, but we want to be HUGE! You know, we want to play at big stadiums, we want to...

GM:...explode. 

DS: We want to EXPLODE man! What’s every band’s feel?

GM: Talking about this, I wanted to comment you the opinion of an unknown musician who plays drums on a semi progressive metal band. I found this reading the Dream Theater mailing list yesterday night. GM: “About writing music”, this guy said “to sell more records, well, isn’t that the point of being on a label? To sell records?!?!? You think bands get signed because of the talent? Fuck, no! It’s all about how many records the company thinks they’ll sell! It sucks, but it’s true. And it’s not ‘selling out’ to want to sell more records, it’s common logic”. 

DS: Yeah!!!

GM: “And unless you realize that, you’re gonna hate ‘Falling into Infinity’”. He then went on talking about “Falling into Infinity”, saying that, keeping that in mind, “it’s a damn good album”. He wrote how he “had learnt a lot drumwise from it”, etc. Well, I think this is an interesting point of view. Do you think it’s necessary to listen to “Falling into Infinity” with that fresh perspective? 

DS: Listening to EVERY music should be with fresh perspective. Everyone stayed [Pause] pinpointing that their first album they heard was “Images and Words”, that they want EVERYTHING to sound like “Images and Words”. For any band that you’d like, if you hear one album and that’s the way you measure, that’s what your expectations are. That’s not really fair, is it? That’s like if you had a girlfriend when you were 16 years old and she was great at bed, something just incredible. And then, every girl that you meet for the rest of your life, has to measure up till this: [Doing a sign with one hand on his chest] “Oh, but she didn’t do this... like old Betsy Dockin when I was 16!” So, you know what I mean? [Laughs]

GM: Yes. [Laughs] I guess it’s a valid comparison. 

DS: That’s not fair man! [More laughs] You got to treat each thing... FRESH.

GM: Aha. 

DS: But I’m guilty of it too, I got to be honest. I was a huge Van Halen fan. With David Lee Roth. And when he left and they got Sammy Hagar, I was like... [Putting a face of disapproval]

GM: Yeah, it happened the same to me. 

DS: I was like: I didn’t want to listen to it! And now with the new guy, I’m even like: I don’t want to hear it! Because I have...

GM: Sort of prejudices, yeah. So you listened to the new stuff with Gary Cherone already. 

DS: Yeah, I don’t like it. I really don’t like it.

GM: I see. They certainly don’t sound the same as with David Lee Roth anymore. 

DS: You know. Oh, and now there’s people who listen to Dream Theater now, who favoured “Images and Words” and say “Oh, I don’t like the way Derek plays or his influence in the band, I used to liked Kevin’s”. And then now there’s people who just got into Dream Theater for the first time, after “Falling into Infinity”, and they go back and they listen to the old Dream Theater: “I don’t like the style, it’s too European, it’s textures... I like this NEW sound”. So, you know what I mean? You CAN’T PLEASE everybody.

GM: That’s right. 

DS: I wish you could, but I don’t think there’s anyone that pleases everybody.

GM: And I think, from the musician’s point of view, it’s better to try stay aside of that when composing: not think “how to please most people possible”. 

DS: To please yourself, yes. You got to please yourself. It’s what the artist’s feel is: and that’s why people love Dream Theater, because Dream Theater has always done what they thought. And the audience sees that sincerity, and I think they appreciate it and buy the album. So we feel the songs we are writing after “Falling into Infinity” will become better songs.

GM: LaBrie voice has evolved in these last 3 three full-length studio albums. His addition to the band in “Images and Words” set a ‘before’ and an ‘after’ for Dream Theater in mine and in many fans’ minds. A big step. 

DS: Definitely!

GM: On “Falling Into Infinity” album, the texture of his voice has continued with a not as powerful line as in “Images and Words”, for instance. 

DS: Right.

GM: For some fans, there’s a stagnation in this aspect, in the sense of not exploding all his vocal range. Would you agree on that? Or, for you, an attempt to sing as in “Images and Words” on a new album, and not to experience different vocal treatments, would be the REAL stagnation? 

DS: I don’t think it’s better: “I’d like him to sing up to that height, opera shit”. It’s like 80’s: it’s over.

GM: And about vocal treatments, by electronic means, samplers, or whatever? 

DS: Hm, you know: sometimes. But I don’t like that: I just don’t like all the high-screaming vocals.

GM: Yes, but you know James voice has a pretty wide range, and lately sometimes he seems to keep on singing on a more comfortable line instead of using all his vocal capabilities. Even used to do opera coaching. 

DS: That’s great: I used to do classical studies, too, but you don’t see me playing Bach! [Laughs] Do you know what I mean? It’s not rock and roll.

GM: Now that you mention it, tell us a bit about your theoretical studies and the background. 

DS: I studied classical, jazz. Five years at Berklee. Berklee College of Music.

GM: I see. Same as Petrucci, Myung...? 

DS: Earlier though, a year earlier.

GM: I didn’t know that. How did you like the working with Desmond Child on “You Not Me” song? 

DS: I didn’t work with him. And I really just played. John Petrucci wrote with him.

GM: We talked earlier about Ty Tabor. 

DS: Yeah, what about it?

GM: Apart from Ty who’s immersed in the project, the other member of King’s X, Doug, worked with you adding background vocals on “Lines in the Sand” song. Tell us about this contribution. 

DS: Oh, Doug is GREAT! He came in with his vocals. Incredible. Very very fresh.

GM: He added a bluesy soul shade to it. I personally liked that part. 

DS: Yeah, the result was very cool.

GM: What do you think of the Internet? 

DS: I think it’s great. I love the Internet. I think that e-mail was the best invent of the world. I love it.

GM: Do you use it a lot then? 

DS: Yes, e-mail, I do. In fact my address in case anyone wants to write me is [email protected].

GM: So you use it for a correspondence with other musicians or... 

DS: Yeah, I mean: I use it for business mainly.

GM: I see. By the way, the “Del Fulvio Monks” who appeared mentioned inside “Falling into Infinity” booklet, who are those “Del Fulvio Monks”? 

DS: “Del Fulvio Monks” did all the background vocals.

GM: Who are they? 

DS: “Del Fulvio Monks” are me, Mike, and John Petrucci.

GM: Which songs...? 

DS: Pretty much all the album. Most of... All over the record.

GM: I see. It said “Del Fulvio Monks appear courtesy of....” 

DS: “...McGuiver records” [Laughs]

GM: Like the serial? 

DS: Yeah. [Laughs]

[From here on I just ran out of questions that I thought could be suitable to Derek, because as you can probably judge from his answers, he was quite unexpressive and a bit distant to prog metal genre topics]

GM: Okay. So I’d like to know what’s the stuff you’re more comfortable with playing on stage? 

DS: I can play, I play ANYTHING. I love the funk style. That’s my favourite, funk style music. [Pause] Definitely.

GM: Do you like the fusion parts, improvisations...? 

Yes, absolutely.

GM: This band gives you a lot of possibilities in that aspect, don’t you think? 

DS: Yes!

[James LaBrie passes by with disheveled puffed hair showing he has just got up from bed. Utters crow-like scream “Oh! Creeeeeeek!!” at Derek and salutes: “How’re you doin’?”]

GM: Could we talk a little now what part of Europe you’ve been so far? 

DS: Oh, we’ve been a lot in Germany, Scandinavia, Italy, France...

GM: What part of the US you come from? 

DS: L.A.

GM: Aha. I think it’s quite different from a city like this and this culture. 

DS: Oh yes! And faster. “Muy rápido”. [Laughs]

GM: So, as LA born and raised citizen, what does it mean for you personally to visit and get mixed with people of different cultures during these tours. How do you handle it? 

DS: Oh this is great! We love travelling and meeting different people, and seeing the different cultures. That’s what makes our job exciting, and not just going to...

GM: Routine? 

DS: Exactly. Yeah, it’s great, we love it.

GM: I have no more questions so, if you want we could talk... 

DS: [Standing up like his ass was on fire] Thank you! You’re coming tonight? We’ll see you then!

GM: Okay, thank you Derek. 

Getting out of the 70’s: Thrash Metal Kings and Cuban Cigars

So, here our chat with Derek Sherinian was completed. In a while, James LaBrie finished his first promotional interview in the morning and joined the band’s tour manager, Bill, and me, having a coke. As I said at the beginning of the article, the band had landed that same morning to Madrid from Granada, where they played in a 2-day festival called “Esparrago Rock”. To let you get an idea of its orientation, Iggy Pop and Faith No More were the headliners on each respective day of the multitudinous event. Dream Theater played there for about one hour at a not very reasonable time, 5pm approximately. Anyway, the reaction from the crowd was positive, as some people close to the band would state later.

Well, the point is, when James came, we just had to laugh at what the top selling Spanish newspaper, “El Pais”, had published after the first day of the festival. In relation to Dream Theater’s forthcoming performance, the journalist had written the following: “(...) Today will be the turn of Dream Theater, former kings of trash metal”. Wow. Former kings of trash metal, yeah sure. A quite incredible description, huh? It was funny to read something like that, as you can imagine, so we agreed that I would fax that press note to them someday if possible.

We then went on talking. While I tried to remember the names of some good local flamenco guitarists, other than Paco “de Lukia”, Bill referred to Paco de Lucia. A cult personality; Bill seemed to be very interested in knowing more in depth about this genre of music, and new possible promising talents. I told him that the material in question wouldn’t be too hard to find at some big music stores of the city. In fact, that same evening, the band was going to sign albums at one of those popular megastores, called “Madrid Rock”. Days later, I was told that much more people than expected attended this happening, and the event resulted to be pretty chaotic and tiring for the organizers.

Once our cokes and peanuts supplies extinguished, Bill and James decided to go for a walk through the hotel nearby streets and search for a big shopping centre. Bill said he was fond of quality Cuban cigars. I will tell you that tobacco, in general, is really affordable in Madrid compared to other European cities like, say, London. I wrote them the translation for a tobacconist’s shop (“estanco”) on a piece of paper, and we farewelled outside the hotel, as we left on opposite directions. I went towards the closest subway station, they to a La Habana delegation. We would meet that night at the venue. Bill had kindly given me a preference for getting an after-show pass. So, before leaving the hotel, I asked July Green about it, and was given two of those laminated “Meet & Greet” passes. One for me, and a second one for my friend Monica, who together with me would attend to the show. Without planning it much, everything that morning had definitely gone on a swing.

Personal Experience of the Show

Job duties at Canon lasted that day from 16:00 to 20:00, just as usual. Later, taking my tie out, I rushed towards a centric McDonalds which would serve Monica and me as a meeting point. This way, while she took command behind the steering wheel, I searched on a road map for the proper highway exit, and we finally got to “Sala Canciller” venue after 30-35 minutes or so. It was not easy to find the place, but we managed, what the hell. Rows of people were entering already, so we wouldn’t be in time for that “Meet & Greet” July Green had talked about, as it seemed. Anyway, as we passed the control at the entrance (no problems for getting our camera inside, by the way), we were told that the event had been postponed till after the show.

Walking downstairs, we could hear how the show openers, Rudess & Morgenstein, were finishing their performance. Crowd was clapping with enthusiasm. A pity we missed it, because I was told seeing these two veteran musicians (only keyboards and drums present on stage) was quite a spectacle. When Dream Theater’s turn came, they developed a very complete and intense set list, during nearly two hours. Instrumental transitions from song to song became a constant, especially at the time they faced themes like “A Change of Seasons” as encore. A really potent show.

After the gig, we waited there for people to come out of the “Canci”, until only a couple of dozens of fans, invited from various local radio contests, fanclubs, etc. remained. The stage was being unmounted quite rapidly, as Barcelona would be the next stop of their tour journey in less than 24 hours. July Green then appeared, looking a bit nervous for having so many people there waiting for the band. Since that moment, Monica and me preferred to stay at a more background position, and went to sit down somewhere a bit apart from that bustle, where we could stay more relaxed, interfering as little as possible.

A few minutes later, tour manager Bill showed up and we shook hands saluting again. He asked if I had been finally given passes and kindly filled my friend’s name in a special sticker in case she was not added in any list. A very nice person, as you can see. When I left the hotel that morning, I had the following idea: getting some cigars (affordable ones for my pocket, of course) for this man, as sort of a little present. From the job I previously called Monica and asked her if she could go to a normal tobacconist she might know, buy there a small box, and we would pay it together. She thought it was a good idea, too, and that’s what we did. Bill, in fact, commented us how he and James hadn’t found any good cigars at the shopping centre they went to. “The cigars had not been kept dry in a proper place”, he said, sounding pretty much like an expert “tobacco gourmet”. Therefore, this became all a surprise for him, and he thanked us warmly when Monica handed him that little box from the Dominican Republic. Smelling the stuff, Bill solemnly concluded: “This is GOOD material”. It was easy to read in his smile he was really happy about it. Our pleasure.

July Green then joined us and we talked there for some more time about Spanish wines and things like that. Meanwhile, a few band members (James, Mike) started to come out from the backstage area in order to meet the fans. Well, the opening act for Dream Theater on this tour was, as I said before, a project of an original conception, headed by Rod Morgenstein (drums) and Jordan Rudess (keyboards), both ex-Dixie Dregs members. What happened then was, Bill asked us a little favour: to explain a crew member of Rudess & Morgenstein the way to get out from there by car to a certain place where they were lodged . Sure. So, Bill called this Japanese man, named Kosaku, and we tried to describe him which, from our point of view, was the best way to get to the highway. However, after some talking with him, we realized that the place where their hotel was located was actually very close to the place we used to hang out at weekends: sort of a disco called “El Plantio”, which we knew quite well. Therefore, we suggested him: “What if you’d follow our car?”. He said: “Great!”. And that was it: no need to look at road map books anymore. For the moment.

We then took some photos with Derek Sherinian and John Petrucci. Together with Satriani, Petrucci represented the paradigm of a guitar idol for Monica, so she couldn’t hide all that admiration, bringing out pretty much excitement when we asked him to pose for a second. Kosaku then came again, and introduced us to Rod and Jordan. Faces which I honestly hadn’t seen before. Well, I barely remembered Rod, who played drums on Winger years ago, but nothing else. There, at this point, we could talk for a while to smiling Mr. Morgenstein. A nice character. He told me his opinion about the tribute that Dream Theater somehow had paid the Dixie Dregs on “A Change of Seasons” EP, saying “it was quite an honour”. And it surprised me a little the fact that, a musician of his long trajectory, answered in so humble way. He then went on telling us the crazy experience of arriving to the club: more than two hours were spent for a distance of 20 Kms from their hotel. Rod mentioned how, as time of the beginning of the show was coming close, they finally had to ask help at a police station to get here. Even their cab driver didn’t know the right path! Quite incredible.

Anyway, we soon left apart that sad anecdote and spent some funny moments when Rod commented he had taken some Spanish lessons at school. Suddenly he started to speak very quickly the typical academic phrases like: “Hola amigo! Como estas? Muy bien. Todo y todo.” etc., etc. We burst out in laughs because of his spontaneous performance. Then I would reply: “OK, that was lesson one Rod. Now lesson two: what’s your name?, Como te llamas?”. And he would answer: “Me... llamo... RODRIGO!” (Equivalent name for Rod in Spain). “OK. End of lesson two. Now lesson three...”, and so forth. He had told us before how it was kind of frustrant for him to be in a foreign country, and not being able to talk fluently and express freely. But actually, I think Rod’s mimic gestures and this explosive loquacity could be more than enough to communicate. Not only here - anywhere on this planet! Simply hilarious.

Kosaku then called us: a time to leave. We said bye to Petrucci, who was at our back (“You’re the burning guitar man!”, Rod told him). I hugged Lucy Green from East West records, thanking her for everything, and we left towards our cars, flanked by Kosaku and the two musicians. Once outside the venue, we came across with Derek, so we stopped briefly and said goodbye, while the space man from the 70’s was penetrating into their tour bus. Monica’s car was a bit far from the club, so they waited for us at one traffic sign. We then went back to that place and Kosaku’s car followed us for the next half an hour or so.

As a funny anecdote, I will finally tell you something that happened because we were totally unexpert about how to get out of that place, let’s say, “efficiently”. We sure knew the highway number we had to take, but the problem was getting it in the right direction: in a way that we wouldn’t have to make extra kilometers. Now we had some responsibility behind with Kosaku, Rod, and Jordan. What happened was, as our car was going inside a roundabout, just after leaving “Sala Canciller” venue, we expected to take a bypass towards the airport, because that had been the direction we had come from earlier. But then, in the middle of this process, I glimpsed a different sign from the airport’s which clearly reported: “N-VI”, which was the right road for us. So, as we were inside the roundabout already, we had to do like a SECOND turn a la Mr. Bean, in order to get that unforeseen exit (I don’t know why, but Mr. Bean in his Mini Cooper, doing the stupid superfluous circle we were doing, was the only person who came to my mind).

We laughed trying to imagine what Kosaku and company could be thinking behind us in their car, after that “confident” maneuver. Well, anyway, we finally managed to get the N-VI bypass, and we went on, not much convinced at first, with our path. After those moments of uncertainty, we finally left the strange land, and the scenery commenced to be familiar. We took the right exit and just let the car go its way as if we were heading to the pub in question, on a usual weekend’s night. We couldn’t fail now! And, yes indeed, we got there.

Their hotel was close to that place, so we parked the car aside the lane. I got out of it and said Kosaku this was “La Florida” zone they were looking for. Smiling openly from the car, they nodded saying they did know how to get to their hotel from there. “Hey, this was a good drive, huh?”, Rod mentioned. Well, I tried to explain him how we had just surrounded the city centre, instead of crossing it. In fact, I think we, unintentionally but, successfully at the end, ended up choosing the best and quickest path. “Hey man, you saved us! We NEVER would have managed to get here safe!”. Afterwards, Monica and I told them, how just some meters ahead from where we were standing, there was the club, of which we were sort of regular customers. “That should have been our inspiration to find the right way”. We all laughed there. Rod then showed us the place they had lunch at that day. Sort of “Magic Lobster” post was perfectly visible. Wow.

And we didn’t talk for much more. The night was cold. They gave us their CD as a present, we took a photo with them there as a souvenir, and then they signed our tickets. Later at the Seven Eleven store we stopped for a coffee, I could read a “Thank you so much” written on it. We farewelled these people with a quite pleasant feeling behind. It was around 2:30 am already, and guardian dogs from a chalet situated inches from our car started barking not very friendly. We skipped any eventual running-away-from-dobermann-jaws chapter and left this place without thinking much. Intense enough day it had been.