Originally published in Player’s Pick podcast · March 2022
John Petrucci interview (excerpts)
InterviewJohn Petrucci4 min read
Chrys Johnson: If you were trying to make music that was appealing to the masses, you wouldn’t be doing the thing you’re doing, right?
John Petrucci: Exactly. I would have chosen a different style. [laughs] The biggest thing when making new music and putting out new records, is I always kind of use this barometer: am I unbelievably psyched to show it to people? So proud of it like, “Man, you gotta hear this, I want to put this on for you!” And if the answer is “Yes,” then it’s a success; if the answer is “Not quite,” then you’re not there yet. I feel like that with all of these things, whether it’s with the pick, the guitar, whether you like Dream Theater music or not, or whether you like the art that’s associated with it or not, I feel like, “You gotta check this out.” Like, I feel so pumped about it, and that sort of enthusiasm comes from knowing that you did everything that you could possibly do to make it the best that you could release. You put the time in, you ask the questions, and said “no” a million times, and “yes” here and like, “Why can’t we do this, this could be better?” Again, all the people that have success like that have that similar mindset.
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CJ: Is there an album, is there a song, is there a project where you look back in retrospect and you’re like, “Not my favorite thing”?
JP: There’s stuff like that, of course. People will say the failures are what make the successes more enjoyable and what leads to them. Because you’re learning lessons along the way of what to do and what to not do and what can be done better. Sometimes it might be a mix on a song, it might be an artwork, it might be the arrangement. “Oh, we really shouldn’t have done this way, this kind of went on a little too long,” or whatever, and that sucks, but it’s also part of the story. It’s also the part of, ultimately, what your makeup is gonna be. So it’s OK. That type of stuff is OK; the failures are OK as well.
CJ: Do you have the least favorite Dream Theater album?
JP: A least favorite Dream Theater album? I don’t think I do. I think that would be a weird thing to say! [laughs]
CJ: So you hold them all at the same level – they’re all equally as badass?
JP: I think that some are better than others. The funny thing is that sometimes you look back at some of the stuff you did when you were really young. When I think about the first Dream Theater record, when we wrote that and how old we were, and our first time in the studio, you’re kind of like, “Oh! This could be a little bit better!” So if I had to go back to the first one, I’d be like, “Maybe that could be remixed,” or “Maybe I could have done that better,” or whatever. But you know what? Again, it’s all part of the history of the band. Albums, for a band, encapsulate whatever time period that was for you and what you were going through in your life and how old you were and everything. So they’re all incredibly meaningful. I know it sounds cliché. I’ve heard people say, “They’re like your kids.” And it’s kinda true. You can’t pick a favorite.
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CJ: When I interact with you, when I see you, always so calm and cool, and I’m just like, “Man, does Petrucci ever get mad?” It’s like what upsets this guy? Does anything upset this guy? How does he keep his calm?
JP: You don’t want to see me when I’m mad.
CJ: Tell me about that. What’s that like?
JP: First of all, I think that, obviously, we all get mad. [laughs] When I was growing up, I had bands that me and John Myung were just so into, like Iron Maiden and Rush and stuff like that. Not that I ended up meeting those guys at an early age, but I would see how they would interact with people. They’re always so humble and always so giving and realize the importance of the relationship between people making music and people coming to the concerts and appreciating it. I just feel like we’re all part of the same thing. It doesn’t matter just because you’re on a stage and you’re higher on a platform... what does that mean? [laughs] Somebody’s watching you play. We’re all into music, whether we’re playing it or going to see it. I’m that guy that’s in the audience looking up and loving it. So I think it’s important to have that humility. And I’ve had a similar experience where I’ve met people that I really looked up to, and they’ve just [been] the coolest people.
I remember doing G3, and just playing with Joe and Steve and Eric Johnson and all these guys. It’s like, one guy’s nicer than the next. And there’s no reason to not be that way. Of course, you hear stories with certain artists here and there. Everyone’s different, but, to me, having that sort of level-head and approach where it’s like, “I’m not gonna think this makes me above anybody in any way,” because that’s just silly. It’s also like, you never know who you’re talking to. There’s so many unbelievable players and artists and musicians of all different ages, and you don’t want to come off as you’re talking like you’re the s***. Meanwhile, this kid blows circles around you. You gotta realize we all love music. If we’re talking guitar, we all love guitar. I think it’s important to have that sort of humility. I really do. Especially in any sort of entertainment industry, you gotta watch that too. You don’t want to be disconnected and detached that way. I don’t think that’s healthy.