Mike Mangini interview (excerpts)

Sarah Hagan: I want to talk about some of the good things that have happened to you recently. One of them is the cover of Modern Drummer in January of this year. And you just won a Grammy with Dream Theater.

Mike Mangini: There’s so much going on with Dream Theater and the touring, but the cover of Modern Drummer was nice because the article was like a group kind of thing with our engineer, Jimmy T, and how he and I got that sound, which is the first time for me. I was really happy because this record sounds more like me; the other ones through my career don’t. I mean, I don’t sound like the way I play. There’s sound layers put on me that I had nothing to do with all that stuff. None of it really sounds like me, even with the editing people do the changing of things. But that’s been what I’ve been hired to do for a long time. So what am I going to say? You know what I mean? But this one in particular was a buildup because Jimmy T and I had been working together a lot because he was our monitor engineer, and I trusted him to take my solo album to another level. But the thing is we talked a lot. So this Modern Drummer article focused on the things that we did together such that he and I got that sound. He and I got that. So what you’re hearing is largely happened to us and all that work that we did. This time, Petrucci’s still been the producer in Dream Theater. He turned over the next step to Andy Sneap, who did a really fantastic job putting some icing on the cake. So it was a group thing, and it was really nice. So that article was fun to have that out there.

You’d mentioned the Grammy, and I’ll tell you what. [pulls out a Pearl carrying case that has the Grammy award inside] This is funny because this has been like taken around the Stanley cup. It’s no joke. It’s not like it’s some trophy from a balloon popping contest or something, But anyway, this has been fun. I’ve been carrying it around to parties and events. People are having an absolute blast. What was cool about it, as I open this, is that “ta da”! [shows the award] And it’s heavy. It’s no joke. This thing’s like a piece of hardware where everyone that picks it up says, “Oh my gosh!” And I have to let them know so that they don’t drop it. I don’t want it to be like the old school Bruins return the Stanley cup with 45 dents in it.

So it’s been a lot of fun and it’s been very rewarding because again, it’s group things seem to be the most fun celebrations in life for me, with sports and even school band and groups and things celebrated together. But my handing this to people, friends and family, it’s like what’s cool about it is most of them have had something to do with that, throughout my life, making sacrifices for me, providing for me, giving me guidance, letting me know what they really think and what they think is best for me and not what I want to hear. So many people. So it’s like that feels nice with those people that I hand it to, I kind of feel that. It’s like, “There you go. You have a piece of that.” So that’s been a lot of fun.

The last thing is that it was a group win. It was for performance. It wasn’t for best song. You know, you’re not like singing a classic vintage Police tune or all these Foo Fighters songs. It’s not the same thing. This was a Grammy for performance, very specifically for performance. So nobody had anything to do with it other than us five in that room performing. Nothing that preceded it has anything to do with it because it was for that moment. So whatever we had done before, it’s like it doesn’t have anything to do with that moment. And what that moment was for me, as I remember, walking through the double doors, into the live room where my drums were – it was the recording room too “Let’s get in there and play like we’re 18 years old and we don’t care. Don’t care about anything or anybody except us having fun knowing that we know what to do together. Let’s just go have fun. That’s it. I don’t even want to overthink it.” I went in and played this kind of skeleton beats for ‘The Alien’ as I was showing Jordan. I said, “I got this idea with 17 and these all these things that we can do with 17,” and started playing it, and from there everyone did their thing. Everyone did. I mean even James on the monitor because he was in Canada zooming in, which [he] could do because you can’t do that as musicians because it’s all out of time, but he was able to zoom in. He was going to fly all that way and do what? Sit in the room and once in a while chime in some things. Why not just be home? So anyway, that’s what it was. It’s a really nice feeling. It felt better than I thought it ever could or would, not only because it’s heavier than I thought it was, but because it’s nice handing it to people that had something to do with helping me out. And it was a group win.

SH: That is so sweet. I love that you’re sharing that. There are lots of people in our lives who have a lot to do with our success. And it’s nice to recognize that. But congratulations, though. What a big, big win.

MM: Thank you. And those two things that you mentioned, the Modern Drummer article and the Grammy, are group things, and it makes them feel really nice because you can share them. So I’m excited about it.

SH: The other thing that you mentioned is the touring. You just got back from a run with Dream Theater and it seemed like, not business as usual, but it feels like things are getting back a little bit. And I’m wondering how it feels to be out on the road, like the energy from the crowd. Is it different? Does it feel different than pre-pandemic?

MM: I guess perception changes things. I can’t speak for anybody else, but I know that I’m very, very grateful for being out there. I’m quite sure everyone in our group is and other groups and things like that, but just being grateful makes you see it a little differently. So that was extra special, but I lost – I can’t be alone here – but I lost my stage chops. I mean, just the familiarity, I lost my chops. Being a frequent flyer, I was like, “Where’s my adapter?” I started packing two weeks before just so I wouldn’t forget. I went over list after list after list, and sure enough, there’s a little something I forgot here and there. But I lost my chops for flying, the airport chops, the transportation chops, being on stage and getting in the bus. I’m like, “OK, I gotta have my stuff in my bunk and put my things over here.” But we went back to where we always were. Like we each have a bunk and like it’s unspoken; you know where your bed is – it’s fun like that. So it was nice to have it back; we were all grateful for it. Great seeing smiling faces and seeing faces – that was the best, in most places; in a couple places they did that other thing. That was like, “ehhhhh.” But everyone did the best that they could with what they could control. It was really nice. The familiarity, just running a show like that – we have such a detailed production. I mean, it’s like to the nanosecond, everything’s working. And that’s on my back because I’m the timing person that links to the external time that makes these things work and all of that stuff. But being grateful really had a nice effect on the perception.

SH: That’s so great. And I love that you’ve been sharing all this behind-the-scenes content on tour and showing what happens backstage and during soundcheck, and your content with the other band members. It’s been really enjoyable.

MM: Good, because I have fun. It’s like we were out on the road for a long time. I’m not a prankster, but I’m silly. As you know, I’m always good for something zany. That’s my whole thing is real life. Zany, I don’t tell jokes. I have a ton of fun with things that don’t seem funny at first. Make them funny and make it enjoyable for everyone. I like to have a good time and I like to make people laugh when I can.

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SH: The other thing that you recently shared on Instagram was a picture with you and Mike Portnoy together backstage at a Dream Theater show. For the public to see that display of friendship, between you and Mike. I thought that was so important.

MM: Yeah, of course it is. It’s a good thing. The whole thing is that we were friends before I got this job. I mean, literally, he’s in my place in LA. We’re hanging out. He was the one that invited me to all the Dream Theater shows. He was the person I was closest with. He said all kinds of nice things about me all the time to people and in magazines. And so the audition thing happened, and he had left and our relationship kind of went into a holding pattern and that was that. Whatever that means, it might’ve been awkward for him or whatever. I don’t know. But what’s interesting is, with my audition, I wasn’t friends with them. I knew James because I had done three records with him and would consider him a friend to a point, but we didn’t yap other than that. Portnoy was the one that was my friend. So the guy that left was the person I was closest with. Right. Even for the audition, James had his current drummer, Peter Wildoer, into the Dream Theater audition. You know what I’m saying? So I kind of had no... It was nothing. Anything that was suggested that I was friends with them and I was just given the job or anything like that, because it’s totally not true. Totally false, totally made up by whoever wants to make things up that they want to think. But it’s funny because I’ve explained this numerous times and I don’t get listened to. It’s like, I was there. It’s me. I’m saying exactly what happened. And there’s plenty of, “Oh no no no. That’s not how it went. That’s not what I heard.” But I’m telling you what happened. And it’s interesting because you witnessed me coming out of there, because you were at a Zildjian event at SIR. I asked you for some cymbals and I didn’t tell you what it was for. I didn’t leak anything out and you didn’t pester me at all. I had to really pull myself out of being reached by a lot of people, because a lot of people figured out that I went there. Most people get very intrusive, very nosy, and it’s very uncool, but it’s very understandable.

SH: People want to know the scoop, right? But yes, I was there. I didn’t know what exactly was happening, but I did know that you were auditioning for something big and I was just so excited for you.

MM: You were helpful with picking those cymbals out and providing them for me. But you also witnessed me after, and I was truly I wasn’t nervous about what would happen, because I had such a good day that day. But I didn’t know. I was like, “My gosh, I’m nervous. I really would like to do this and who knows?” I mean, all the other drummers, if they weren’t already my friends, became my friend after that. So I have close relationships with everybody. And I was nervous because I know that each of the drummers does something amazing that the other one doesn’t do. That’s the beauty about art and music is everyone has things that just is their own. And I know how great they all are. So I’m like, “I don’t know.” All I know is that I didn’t do anything that was a mistake to the point that it was noticed. I mean, it’s a better way for me to describe it than for me to say, “I didn’t make any mistakes that day” or whatever. Well, I have to be clear that... I don’t know that I hit this drum and I should have hit that drum. That’s not what I mean. What I mean is I didn’t [do anything to] cause us to stop. Nothing was out of place. I got every single test the first time. The jam was pretty good; it’s fun. I played the songs correctly and had zero stops. It was that kind of thing, like nothing was out. Whether or not I went to hit a cymbal and my hand went flying through the kit and smacked it or whatever – which didn’t happen – but even if I did, that’s not what I’m talking about. It was a day I was on.

What’s interesting, there’s a technique that I use for auditions, because I have had so many. I had so many before that in the neighborhood of over 50 after losing one when I was 13. And I remember the reason I didn’t get this particular school band thing: I was thinking all the wrong things. So it’s not about not thinking. You can’t shut your mind off. It’s about the right things to think at the right time. So when I auditioned after that age 13 audition debacle where no one in my school band could believe it. They’re like, “What do you mean you didn’t get the...” It’s a little dinky kind of snare drum part. It was so easy to read and play. I was not there. I was somewhere else and thinking all the wrong things. So before the Dream Theater audition, I use these techniques and put myself in the room. What if this happens? What if that happens? And I wrote things down. I wrote down what if. And so it was comforting because I showed up with a duffel bag – I had like 20 other songs transcribed. I didn’t know if they were going to ask me to play something else. I had extra sets of headphones. I had extra inner ear extensions. I had towels, pencils, paper, all the stuff that you could easily forget, until you get your butt handed to you one day, because you didn’t bring something that you really needed. So I really prepared. Anyway, my point was that it was a great day. I was very prepared in every way you can imagine. I didn’t make any noticeable mistakes or anything that was out. And I was very honest when I spoke to them and you witnessed it. I didn’t know. I hope so, but I don’t know.

SH: Right? So this was at SIR in New York, and I was there hosting a Zildjian event, and Mike was there auditioning for Dream Theater, and it was super top secret. So we didn’t know what was going on in the other studio. We just knew it was super top secret. But I ran into you and you were nervous, but like really excited too. And I was just excited because I wanted to hear what it was and how everything went. I just remember your energy that day and it was super positive. And then hearing about it afterward, when you got the news and you could finally share what it was and all of that, it was incredible. You’re so perfect for that gig. It’s so great.

MM: Thank you. Well, there’s a lot more than just playing drum parts, but it does come down to the music and playing them, so I try to honor them. I mean, nobody’s going to sound like anybody else. That’s crazy to even bother trying, but you can match things and mimic them to a point.

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MM: That’s not how I do it. I actually write notes on a keyboard because that way I can communicate to people. I just ask, “What key signature are you in? Where are you?” And then I can come up with ideas and offer some here and there. I’m not a main person in the band with that end of it, because look at who’s in my band. I mean, these guys are so quick. By the time my fingers are on a keyboard trying to figure out if it’s O minus I have to hit or M plus, whatever it is, and I’m thinking of something – because I hear things – by the time I do it, they’ve got three ideas on the table already. John and Jordan is napping back and forth and, John Myung’s raising his hand. And then James will chime in because he’s singing notes and then offering key or progression ideas based on what he’s singing, and I’m like “ahhh!” But it helps me communicate.

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MM: The Facebook page is where I’ve been interacting about my philosophies and classes and people’s thoughts. And it’s been nice to engage, because I didn’t do it for most of my tenure with Dream Theater. Well, it wasn’t something that basically was wanted from me in that group was to be online, and posting and chirping about this and that and putting this out and that out or whatever the people did, I just didn’t do it. So much later on, I’m like, “Wait a minute. I wanna do this.” I actually went and engaged one day from seven in the morning until like eleven at night, and it was really interesting. [laughs]