Lifting Shadows Off The Theater Of Dreams

Dream Theater. The name inspires visions which are beyond the fathoming of everyday reality. It suggests performance...art and sophistication. Any musician worth their strings or sticks respects Dream Theater’s undeniable skill and progressive philosophy. These traits are clearly apparent on Dream Theater’s latest release Awake. (See review on page 14)

On November 4th, Dream Theater will be bringing their hard hitting art-rock to Milwaukee’s The Rave in support of their Awake release. Rock Central, in anticipation of the event, interviewed the band’s soft-spoken bassist John Myung who shared his feelings about their new CD, his bass playing and Dream Theater in general.

What is your opinion of Dream Theater’s latest release Awake?

I had a positive experience making this record. It was great to come off a tour and go straight into writing. We haven’t been creative as a band for such a long time...ever since the release of Images And Words that was followed by a year and a half of touring. So it was really refreshing to go back in and write new stuff. Going to the studio was a very positive experience because I felt really relaxed when we were doing this record. I’m sure that goes as far as the rest of the guys. Our producers John Purdell and Duane Baron were excellent. They made us feel at home. They made sure that we were happy every step of the way. When it came to sound, I thought individually we all made major steps in sound improvements. All of that put together worked really well.

Your last album was produced by David Prater. Why did you switch producers?

Well, for a couple different reasons. We wanted to do something different, you know? Moreso, there were reservations about using him (Prater) because we’ve had some problems working with him in the past. He’s not the easiest person in the world to work with, which is why we decided to try something different.

Did Dream Theater approach the writing of Awake with a certain philosophy?

Um, no. It wasn’t preconceived. We just sort of do what we always do. “Scarred” was like the first song that happened within the first day. That song, just like started writing itself; it took on a mind of it’s own. Then we did “6:00”. And that set the pace for the whole writing process. We just sort of take from that level. After we write two heavy songs in a row, we’ll take a break and do something different. You know, build some variety. It also depends on the ideas we have because every idea is different. Once you’re working onto a song you can sort of tell if it’s going to be really long. “Scarred” is like twelve minutes or something. Whereas “Lie” is a lot shorter; I think that’s only six minutes. It really takes on it’s own identity. You sort of just follow it and give it what it needs.

How would you compare Awake to your previous CD Images And Words?

I think sonically, it seems richer. It has more of a “band” feel. It’s very live, whereas the last record was sort of sterile. On this record it feels raw; it feels like a real band. It has a very strong band vibe.

Speaking of band vibes, recently keyboardist Kevin Moore decided to split the band. What happened and who’s going to replace him?

This is something that happened at the close of the Awake sessions. It was something that Kev felt very strongly about. It wasn’t something that came out of the blue, you know. He wanted to follow his own direction...something that he would not have been able to do in Dream Theater. He felt the time was right, so it happened. We’re still friends...which is more important anyway. It helped the whole transition between keyboard players. We have a new guy Derek Sherinian playing with us. He’s toured with Alice Cooper and Kiss. He’s a very professional, very excellent keyboard player, and we’re breaking him in slowly to the music. He feels real comfortable with everything and we’re looking forward to touring with him. As to whether or not he’s going to be a full member is something that only time will tell.

Was it hard to find someone who could keep up with Dream Theater musically?

Yeah, definitely. It wasn’t an easy task, but we did.

Did you try out a lot of guys?

No, we didn’t. We had auditioned only like five people.

How does it feel to be one of the world’s most talented acts?

It feels pretty good. I don’t feel any more special than I did yesterday. (Laughs) It doesn’t really change my outlook too much. Plus, we’re not super-huge. (Laughs) We’re not like incredibly big yet. We’re just sort of starting out, we’re still sort of a baby band. We still have a lot of music to write.

Regarding the bass work on the CD, did you play all six-string basses?

Yeah.

What kind of basses do you use?

I’m playing a new bass on this record. It’s called a Tung bass. It’s a small company that’s based out of California. I got turned onto this bass not too long before we went into the studio. And I was just really blown away by it. It sounds like a bass...big and heavy. So that’s what I’m using right now and I’ll be using it on tour. We’ll see how it holds up. If it does, I’ll be using it for a while.

What kind of pickups are in that bass?

They’re Bartolini pickups. Are you a bass player?

Yes.

It sounds like it. (Laughs)

Who or what originally inspired you to play bass?

It was probably a combination of R&B, Rush and Yes. I was really into that whole scene. I became very interested in wanting to play bass. There’s also a couple of other factors involved. My neighbor needed a bass player. (He said) “Well, you know how to play violin; basically it’s just four strings. You should be able to pick it up pretty quick. You probably know how to play already!” My friends were really supportive...all my friends were musicians playing in bands, you know? They just really supported me. So I picked up the bass and started playing. It just took over. I got really obsessed with the instrument, and with other bass players...Billy Sheehan and Jeff Berlin. Just when I thought I heard something that was really good, I could find like a whole well of bass players that were so amazing and were doing such incredible things. That’s when I said, “This should tie me over for a while.” (Laughs)

Have you ever had the chance to meet, let’s say, Chris Squire, Geddy Lee, Sheehan or Jeff Berlin?

I went to a Jeff Berlin clinic. I never really talked to him. I sort of stood in line and got his autograph real quick. I met Billy Sheehan in passing at a King Diamond show at the Ritz in New York. One of those really brief things, you know? I never really had a conversation with any of them though.

On your first CD, When Dream And Day Unite, your tone was very heavily chorused...similar to Sheehan’s tone in the Talas recordings. Was that a direct emulation?

Yeah. That was my “attempt” (Laughs) to do something like that. I was very into Billy’s sound. The way he had two separate pickups and two separate outputs. One pickup, an EBO, acting like a sub, and the P-pickup acting as the tone. I’ve seen pictures of his rack, and he’s just so into it. (Laughs) I’ve never had the time or the knowledge, or the money for that matter, to go experimenting that way. I’ve just had to make due with what I’ve had. Things have progressed. I’ve had a lot of cool offers from bass companies. I’ve played Tobias for a while on tour. And then...it was like a blessing...this bass fell from the sky. This guy said, “Man, it’s called a Tung. I want you to play it.” I tried it and loved it.

Do you use a lot of different effects live?

No. Tracks on the new record are pretty much effectless...very dry except for the chorus which was used in different parts sparingly. There’s some chorusing going on in “Lifting Shadows Off A Dream”, for the harmonics. But for the most part it’s a pretty dry tone, which is important. I really appreciate it, because when everything else is wet...like the guitars and keyboards and everything else...you need something to hold everything together. I think it kinda helps when you have a dry bass tone. You have to have something that sounds good though, you know? (Laughs)

It seems as though your playing has progressed. You seem to be more in control, both tonally and harmonically. Have you sensed a progression?

Um, yeah. I have a little bit. I guess it just comes with the experience we’ve had. We’ve been under a lot of pressure from touring to coming off the tour and having to do the record. All these pressures forced us to learn more about ourselves and what we’re capable of. The whole thing that goes on there makes you learn more, makes you progress. It’s important.

How often do you practice?

I try to practice as much as possible. I like to take a whole day to practice. Sometimes it’s not like that, so I take whatever I can get. (Laughs) I play as much as possible. But if I had my way I’d be practicing all day, all the time.

Before you got very involved with Dream Theater...as far as recording, touring, all the business aspects...how often did you practice when you first started playing?

Oh man. Like about six hours.

Everyday?

Like a lot. Six hours was my goal.

On “Metropolis Part One” off of Images And Words you play a very wicked two-handed tapping section. What are you playing?

It’s like a sixteenth-note octave-type thing going. It’s like an octave tap with a fourth in there. It’s a sixteenth-note pattern with a thirty second accent. (He “sings” the bass part) It’s a very mechanical sound.

So basically, you have a root note, an octave higher, and a forth?

Yeah. Exactly.

Have you ever heard of Michael Manring?

Yeah, I’ve heard his stuff. It’s very interesting. It’s inspirational to see a guy do that kind of stuff. He’s doing uncharted stuff.

What advice do you have for aspiring bassists?

Just put in the time for the work...the hard work. Really apply yourself. (Get) information on things that you’re interested in. That’s pretty easy today. There are a lot of books, a lot of tapes, such a history of music to draw from and learn from. Those are very valuable tools. Stay in tune with where your heart wants to go.

What advice do you have for unsigned bands?

The same thing. (Laughs)

What’s next for you and Dream Theater?

We have a tour to do that starts on October 20th. The first part is going to be in the States. The middle part is going to be in Japan. The third part’s going to be in Europe. That’s pretty much the first six months.

Are you looking forward to getting out on the road?

Yeah, I am. I’m really interested in going out and playing the new stuff. The whole record is very live to begin with. It’s going to carry over the performance.

You’re playing Milwaukee at The Rave on November 4th. Last year you played Milwaukee’s Summerfest, and at Starz. What do you think of Milwaukee crowds?

Well, it’s hard to remember what a certain crowd was like. Overall, the crowds were very supportive, and very into what we’re doing. But I remember that outdoor thing that we did. I really enjoyed that. For the most part crowds differ...some crowds are more rowdy than others. But that was a cool show. That was really weird because it was more of an event. I didn’t think that everyone there knew who we were. It was actually a little weird. We didn’t get the most emotional response that I’m normally accustomed to. With shows like that, it’s a little tougher.

Do you have any closing comments?

I’d like to say that I really enjoyed making the new record, and we’re really, really dying to get out and play.