To The Highest Degree

Dream Theater has built a career on consummate musicianship, expansive creativity and raw talent that has been greatly appreciated by their ever-growing die-hard fanbase that spans the globe. With each release, the band pushes the boundaries of their instruments, breaking all the rules of record industry commercialism. In the center of this cosmic universe is the intense sound of John Petrucci’s guitar. Heralded as one of Long Island’s guitar greats, Petrucci has a unique style that extends beyond the typical Eddie Van Halen shredders of the world. He grew up on a steady diet of Rush, Yes and Pink Floyd, making his playing style hard to pigeonhole. On the band’s new double album, Six Degrees of Inner Turbulence, Petrucci achieves his finest moments yet, on the 42-minute title track that takes up the entire second disc of the set. The Island Ear recently spoke with Petrucci about the challenges of the new album, touring with fellow Long Islanders Joe Satriani and Steve Vai, and how there’s always room for improvement.

The Island Ear: The new album is perhaps the band’s boldest statement yet. How did the decision to take this step come about?

John Petrucci: We actually talked about it before we went into the studio. We had an idea of what we wanted to do. We were following up a concept album (Metropolis Part II: Scenes From a Memory) so we wanted this one to be special, not just a collection of songs. We had a few types of songs we wanted to write. We wanted something heavy, we wanted to be experimental with our production technique, we wanted to keep the form of some of our older material, it’s a little abstract arrangement-wise. We knew we wanted to write a really long piece, but we didn’t know it was going to be that long! I was like, “Let’s make sure it’s only twenty minutes.” Meanwhile, it’s twice as long.

How do you view each of your studio albums and the steps that you took along the way?

The first one (When Dream and Day Unite) was our first time in the studio and we were very young. Of course, we had a different singer (Charlie Dominici). That was us just breaking into the whole scene. For me it’s a little hard to listen to, but we still play some of that material live today. With Images and Words, we got James (LaBrie, vocals) into the fold and the material was written beforehand, so we had been sitting with it for a long time. It was the album that put us on the map commercially and it basically launched our career. Awake was our last album with Kevin (Moore, keyboards). It was the first album that John (Myung, bass) and I added an extra string to our guitars. The songs are pretty heavy. Many people in Europe say that is their favorite album. A Change of Seasons was a revisiting to an old song, because we had written the title track before but we didn’t have the clout to put it out because of its length. Falling Into Infinity was our first studio record with Derek (Sherinian, keyboards); it started our relationship with Kevin Shirley. For me, that album got real experimental in the recording stage with the sound. We wanted to record each song individually with its own production sound. Metropolis Part II: Scenes From a Memory was the introduction of Jordan (Rudess, keyboards) into the band, and it marks the first time we started writing in the studio instead of demoing songs, which is how we do things now. It was our first concept album and our first self-produced record. The new one was made in a similar way.

You guys don’t get a lot of radio play or any TV exposure, so how does your fan base continue to grow? How do you get the word out?

It certainly makes a big difference. When you have a song on the radio, things tend to move very quickly. But in our case, we tour extensively in support of each release. We have a worldwide audience that has grown and grown. We have been able to play all around the world. Thankfully, we have the type of fans that are very dedicated and have stuck by us this whole time. It’s not fly-by-night at all. It’s a long-term, hardcore fanbase.

Do you think Dream Theater gets the respect it deserves from the rock community?

We have never really fit in. We are not doing anything that is even close to what is happening now. But we have a big community of musicians that respects us.

Because of your musician type audience, does that keep you on your toes musically simply because they have a stronger knowledge of what you are doing above the average fan?

I don’t need people to put that pressure on me because I kind of do it to myself. I’m highly critical of my performance. I’m always trying to beat the last one and better what I do. It’s the passion that I have for the instrument.

Not many record companies will allow a band to do a concept album, follow it up with a triple live album and then a double album containing a 42-minute song on one disc. How do you have this freedom?

Well, we are not a new band trying to break through and the record company knows what we are all about. They pretty much leave us alone, but we have communication with them. There are certain things that we have to push through. Mike (Portnoy, drums) has become very good at convincing the label by sending hundreds of e-mails (laughs).

How has Jordan’s musicality affected the band?

It’s just improved by ridiculous amounts. He’s so particular in how he presents a song. He has totally increased the quality of the band.

How did Jordan come into the Dream Theater fold?

We first met him in 1994 when we put the word out that Kevin was leaving and we needed a keyboard player. He filled in and played a show with us in Los Angeles, but didn’t end up joining the band. It wasn’t the right time for both of us. But we kept in touch and we did a side project called Liquid Tension. We loved playing together, and our chemistry was undeniable.

Do you still speak to Derek and Kevin?

I see Derek every so often. He came out to one of the G3 shows. But I don’t really talk to him regularly. Kevin I haven’t spoke to in a long time. We kinda lost touch.

Will Liquid Tension continue now that you, Mike and Jordan are all in Dream Theater?

No, because it doesn’t really make any sense.

You and Mike have established yourselves as the bandleaders, with the writing, producing, etc. Is the rest of the band cool with this or does it cause friction?

It sort of evolved this way. People sort of migrate to things that they are good at. Some of these things don’t interest the other guys. Mike’s into keeping in touch with the fans and the ideas of how we are represented. Me, I’m into the songwriting and the sonic production of our music. We have our things that we like to do and it works out. People get involved as much as they want to get involved. We used to argue over stuff like set lists, but not anymore. It has become a division of power.

On the new album, you use an entire disc for the title track. How did the track take shape? Was it in different places and you put it together?

There was maybe one or two sections that were written out of order. In general, we wrote it in order but we recorded it in pieces. It’s definitely the most challenging piece we’ve ever done. The funny thing is, the band never actually played the song in its entirety before going on tour, so it should be interesting to see how it all pans out.

The new album has been compared to Rush’s 2112 and Yes’ Close to the Edge. What does it share with these progressive rock classics?

They are two great examples from two of our favorite bands that influenced us in a major way. It was our mentality to create a modern day version of those records – that was the goal.

The original artwork on your triple live album, Live Scenes From New York, which was released on September 11, 2011, showed the Twin Towers surrounded by flames. Did the image freak you out after the terrorist attack occurred on the same day?

It was really strange. We started mixing Degrees on Sept. 10th and the second day into the mix we were like, “Oh my God, look at our album cover.” We all said, “We’ve got to change it.” We got a ton of press, but nothing bad. It was just something for people to talk about.

Last summer, you toured with fellow Italian Long Islanders Steve Vai and Joe Satriani as part of the G3 tour. How did you find that experience and was it intimidating?

It was amazing. Those two guys are two of my biggest influences. I just love their music and their playing. I’m in awe of them. To be asked to play with them was a real honor. We ended up really getting along great and jamming on stage. The whole thing was definitely intimidating. I wasn’t even a solo artist! But since that tour, I’m taking that music and putting together a solo album for the first time. I have to stop working on it now because we’re on tour but it might be out by the summer, we’ll see.

Was opening the show a bit nerve racking or was the crowd welcoming?

The crowds were really welcoming, but the experience was a bit nerve racking. I wrote music specifically for the tour that was different from Dream Theater. The funny thing is, transcriptions of my songs, which were brand new and never released, appeared on the web, which proves the dedication of our fan base.

You brought Mike on tour with you for the G3 shows. What made you bring him along instead of a solo band?

It was a situation where I needed a comfort zone. I didn’t have a lot of time to prepare and I wanted someone who was going to make my music sound great and that I’d feel confident with.

Long Island seems to be such a breeding ground for guitarists. Why do you think the Island is so in love with guitar?

I don’t know what it is... maybe it’s a big suburban thing. People take karate and guitar lessons (laughs). When I was growing up, everybody in my neighborhood played and that’s what inspired me to keep going.

You’re heralded as one of Long Island’s “guitar heroes.” How do you feel about that title?

It’s interesting that I used to look up to guys like Satch and Vai and dream of having a career in music. Now that I’m at that point... it’s real satisfying yet humbling at the same time.

You used to teach guitar on Long Island, in fact you taught our editor, Mike Nelson, how to play guitar. Is that how you supported yourself?

I went to Berklee to study music and I came back and started working at a deli. Then I thought to myself, “What am I doing? I’m gonna cut my finger off!” So I started to teach and make money. Say hi to Mike, by the way.

Do you feel you have mastered the guitar or is there still room for growth?

I feel there’s major room for growth. There are certain techniques that I have developed and feel comfortable with, but as far as room to grow, absolutely. I’m constantly challenged by the instrument.

What do you listen to for inspiration?

I try to listen to different types of playing. Lately, I’ve been listening to different stuff – bluegrass, country and jazz greats. I was turned on to this stuff by Sterling Ball, President of Ernie Ball. It gives you a different perspective.

Do you have your own model guitar?

It’s an Ernie Ball Music Man John Petrucci model. It’s amazing. Not only is it cool to have my own guitar, but it’s great working with people at that company. They are all very professional. The guitars are beautiful and they sound great.

How would you describe your guitar playing?

I primarily see myself as a rock player. I tend to lean toward the heavier tones. I have a certain amount of jazz influence but I also place a lot of importance on melody.

Who’s your favorite guitarist of all time?

Steve Morse. I played with him when we toured with Dixie Dregs; that was cool. He also came out on stage at the last G3 show in Orlando, FL. At the end of the night I found myself on stage playing with Steve Morse, Steve Vai and Joe Satriani, I was in my glory. To me – that was it!