Derek Sherinian interview (excerpts)

Was becoming a solo artist always the plan? 

I’m more of a group player. I never thought of myself as a solo artist until (Shrapnel Records president) Mike Varney approached me in 1999. This was when I was in Dream Theater.

It’s interesting that a guy known for promoting virtuoso guitarists would pursue a keyboard player. 

True, but Mike saw an opportunity to make money because I was a member of Dream Theater, and a side project for his label would make money. Whatever the reason, I’m glad to have the opportunity. When I was let go from Dream Theater, all of a sudden, I was a solo artist whether I wanted to be or not. It nudged me in my own solo direction. I’m thankful. The lesson is, something in your career that might seem like adversity is an opportunity. Always be open.

Like they say, some problems are opportunities in disguise. 

Absolutely.

Before auditioning for Dream Theater, guitar was becoming your focus. Had you not landed the gig, would the world even have Derek Sherinian solo discs or Planet X releases, or would we have one more shredder on the block?! 

God, I don’t know. Joining Dream Theater forced me to ramp up my abilities because the music called for it. You had to play the lines.

Playing for Alice Cooper and KISS was one thing, but mastering Dream Theater’s songs was quite another.

Yeah, definitely.

Moving on to Planet X. What separates Planet X from Derek Sherinian solo material or even Dream Theater? 

Planet X is much more difficult music. I can’t say what (Dream Theater) has done since I left the band.

So you haven’t heard Jordan’s material? 

No. I’m sure it’s great, though.

<snip>

Any players you asked to contribute but couldn’t? 

Jon Petrucci was down to do it, but he had a tour with Yes. He told me for sure next year. I’m going to hold him to it.

So you still keep in contact with John and the rest of Dream Theater? 

Yeah, they invited me to sit on on the 15th anniversary show in Vegas and perform “Metropolis.”

Did it feel strange rejoining those guys after so much time? 

No. We played so many shows together. I was in that band for more than four years, and we went through a lot of stuff together. I went to a lot of their family functions. When you’re involved with anything for four years, there’s a certain bond.

<snip>

Let’s go back to Dream Theater. Tell me about how you got the gig and how you heard about Kevin Moore’s departure. 

I got a call from Jonathan Mover, who said Dream Theater was looking for a keyboard player. I’d heard of the band, but hadn’t really hard their music. I was unemployed and found out they were signed with Elektra. When I started listening to thier stuff, it put the fear of God in me. I’d never heard music that technical.

I’d heard Return To Forever and the Dixie Dregs, but these guys were heavier. I took it (the audition) as a challenge.

What nailed the gig?

They heard something, I guess, and I ended up getting the gig, which turned out to be a great opportunity for me.

It’s well known that, at least in terms of lifestyle, you and the band were really different. Did their relative calm, family lifestyles and your bachelor status ever clash or influence the songwriting? 

Yes.

Was that ever an issue?

Who knows. There’s always issues when people are on the same bus.

Were you brought in simply as a keyboard player to play pre-written parts, or did you join with the understanding that you’d be an equal songwriting partner? 

I was brought in as a sideman with the promise that if everything worked out, I’d be a member. They did make me a member after six months of touring.

Are there any unreleased tracks from Falling Into Infinity that you composed?

They’ve released it all in some form or another.