An Interview with James LaBrie

Jim Harrel: The new Mullmuzzler....how was the experience different from the first one?

James LaBrie: I think it was different in the sense that, because we had worked together before, and we’d already done an album, uh, I’m talkin’ mainly with the writers. 80% of the material was written by myself and Matt Guillory, the keyboard player.

JH: Right.

JLB: Then I write the other songs. There’s usually 2 or 3 other songs on each album, that I’ll write with Gary Wehrkamp, Carl Cadden-James, and Trent Gardner. So, I guess what the advantage was, going into this album, and what was different from the first album, was that we had that experience of actually writing together, and um, you know, the experimental stages and feeling each other out as writers and players, and ideas, and everything that goes along with that, had really, we’d broken the ice. We really established and got a feel for where everyone comes from and where everyone likes to go. In what direction and that. So, we knew stylistically, immediately, well, I actually let everyone know stylistically where I wanted to go, once again, like I did with the first album. I did the same with the second album, and then, you know, from there you let your inspiration come from whatever source and you go with it as soon as it hits ya. So with this, there was a bit more of a grasp on each other that I was writing with, and when it came to the players, they had the experience of, you know, obviously, of recording with me previously so they knew how I worked, how I liked to work in the studio, and, so everything was much more, I think, much more efficient and much more proficient and we were able to make big strides in progress.

JH: On the writing, do you play an instrument, do you write some of the music, or…

JLB: Well, believe it or not, it’s as wacky as me sitting down with a tape and actually humming out ideas. Like you know, whether it be from a melody idea that I have, and then we construct music around that, or it might just be a riff that I have, like if I’m going “dang da da dang ga dang ga digga digga dang” you know... Stuff like that. And then they’ll take, you know, whom ever I’m writing with at that point, which is...

(we got disconnected)

JLB: Anyways, uh, what was my last sentence there, I can’t remember?

JH: You were talking about how sometimes, you just get a riff, and the guys help you flesh it out...

JLB: Yeah, and like I said, most of the stuff I’m writing with Matt, so I mean, he’s throwing ideas at me, and then what we do, and you know, vice-a-versa, I throw ideas back at him. Then we take the ideas that we have, and we work on what we think are the strongest ideas, and then we develop it, we shape it, to the point that we feel it’s complete, and it’s at its strongest that it can be. And that’s basically the process, you know....

JH: Do you do that before everybody gets together in the studio? Do you have sessions before everybody sits down to record?

JLB: Well, I usually, like this time I was actually able to get together with Matt for a couple of days, and we sit in the room and, you know, hash out all these ideas... And put them down in demo form. And then put like, a drum machine around it and use this and that you know.... Just kind of create the sounds ourselves and what we needed instrumentally. Then what I do, once I was done writing with the guys, and we had it in demo form, then I would take it to the actual players and I was always opened minded too, and I always have been, too, if they heard something different, or, if they had a different kind of feel they wanted to, you know, inflect, or put within the song, then I was, or inject I should say... Then I was, you know, always open to these suggestions and these ideas. I’d rather say “Yeah, I like it” or “No, I don’t like it, I’d like to leave it as is”. But, the kind of players that I have playing on the album, I mean they’re all incredible players, and very talented, uh, uh, seasoned players, you know, a lot of experience and everything so...

JH: Let’s talk about that. I’m kind of friends with Keneally. I’ve been to rehearsals with Beer For Dolphins, and I know him through Nick D’Virgilio.

JLB: Umm hmmm.

JH: I’m familiar with his music, and the BFD stuff, and it’s really a completely different style than the stuff you do.

JLB: Oh, absolutely!

JH: How did you...

JLB: Absolutely. But you know what? It’s like this, you know, when I’ve heard Mike Keneally in those environments that you just mentioned I knew that he was the kind of guy that could bring to this project that bizarre element. That part that wouldn’t be so predictable. And it would kind of add a little spice to it, it would add some flavor, in a sense that you’d maybe expect a guitar player to come from. I mean, he’s completely off the wall.

JH: Right...completely off the wall!

JLB: And I mean he’s brilliant! He’s a very intelligent individual, and um, he has a real grasp for music in every aspect.

JH: How did you hook up with him initially?

JLB: Well, I hooked up with him, it was quite simple, I was, I knew immediately that I wanted Mike Mangini to play with this project, Mullmuzzler... And when I was speaking to him, I was mentioning a couple of other guitar players that I was looking at, and, Mike said “Have you ever thought of Mike Keneally?” and I go “Yeah, I know Mike Keneally as far as his music, and what he’s done and I think he’s extremely talented” I said “Why? Do you think he might be interested? Because if you think he is, hey, I’ll give him a call in a second!” And Mangini said “Absolutely man, I think Keneally would be totally into this!” So, I called Mike, he said “Absolutely, I’m into it, let’s get together, let me hear your ideas” and you know, everything’s history from there.

JH: Yeah, the chemistry is great! The sound, I mean, the first album had a great sound to it, but this one sounds more like a group, like you’re jelled and there’s a group sound that’s identifiable. You know what I mean?

JLB: Absolutely! You know, and that’s really important to me, as I said to the guys “Hey, don’t look at this like it’s James LaBrie’s little frickin’ project, because it’s not” I mean, obviously, you put the name there, because, you know, at the end of the day it’s a business... And you know that people immediately identify with things that they are familiar with... So, they’ll see my name and go “Oh well, I know who it is...I know what his main band is, so maybe this’ll be interesting.” So, it’s just a business standpoint. But, at the end of the day, also, I mean I also wanted to, from the very beginning, to establish it as a band. I wanted to put it together as a band, I wanted it to develop, as any good band would develop. So, it’s great! I’m bringing in all these great players and, as far as I’m concerned, when I’m writing with these other guys they all have excellent ideas. Everyone’s extremely enthusiastic, very professional, really easy to get along with, and I think it just helps make it amazing when it’s all said and done.

JH: Yeah... it’s fun as well as good professionally.

JLB: Yeah! Well, you know the other thing too is, you were saying, just then, that this album sounds a bit more like everything has progressed, and I think the songs have matured, definitely... I think there’s more of a focus and direction on where the music goes. But, at the same time, I took in a guy by the name of Vic Florencia who I brought in to mix the album, he’s a Canadian...... And, I mean he’s worked with people like Fast(?) Jordan and Kim Mitchell, I’m not sure if you’re familiar with those artists.

JH: No.

JLB: And I was really able to sit down with him, when it came to the mixing, and say “I really want this album to sound huge! I want it to sonically really smash people”. BUT, I don’t want to go for that bombastic, ya know, 80’s nuclear sound... I want it to sound very organic at the same time... But, real full, real warm, real huge.

JH: You put a pretty tall order on the table for him there!

JLB: Well, it was, but you know what? He was up to the challenge. He said “I’m your man, I can do it. You give me the opportunity and I’ll prove it to you.” And he did.

JH: Yeah, it sounds great!

JLB: Absolutely!

JH: It begs the question: You were talking about how the band feels more like a band; any chance you guys will go out and perform live?

JLB: Well, I would love to do it Jim. Absolutely. I think that what it all comes down to is time. When you’re putting a tour together you need a bit of lead time. Unfortunately, time has crept up on me. Dream Theater, we have a new album coming out in January 2002, and we’re already beginning our next world tour, beginning January 24th, in Manchester UK. Ok, and we’ll be out for a good 12, 14, 16 months supporting that album going all over the world.

JH: 16 months?

JLB: Now, if at the end of that tour, it’d still make sense for me to go out and do select shows, I’ll do it. If not, I would definitely make it, so that if I record another MullMuzzler album, I would make it happen so that everything was coordinated to actually bring to stage this band, because I think it would real powerful. I think we’d all have a great time and I think the people would really enjoy it.

JH: Yeah, only you guys know how you sound live. But it seems like it’d be a kick ass band.

JLB: Oh, absolutely! I think we’d just have a riot too. I think we’d all have a lot of fun doing it. Unfortunately, I don’t think I can do it this time, because of what my schedule is leading into. But definitely, I know if I do another album, and I have to think on that for a bit, but, if I do another MullMuzzler, which everything is pointing towards that it would make perfect sense to do another one. Then definitely, I would love to take this out. Because I know everyone would love to do it, we just have to coordinate it.

JH: Yeah, and you’d certainly have plenty of material after 3 albums.

JLB: Oh yeah! That’s the other thing that would make for a good full show, and throw in some Dream Theater numbers here and there... And whatever else would strike our fancy at that point, ya know?

JH: Yeah. Did you say 16 months with Dream Theater?

JLB: You know, like the last tour was 14 months, and the tour before that was 14 months, the tour before that was, I don’t know, I think 13 months. Images and Words was something like, oh shit, 17, 18 months.

JH: Geez!

JLB: So yeah, that’s usually what the tours come down to!

JH: You get little breaks in there though, don’t ya?

JLB: Well, yeah. Usually what happens, is that you’re out there for 3½ - 4 weeks, and then you come home for 3 weeks. And then you go out for 3½ - 4 weeks, then you come home for 3 weeks. And it basically works like that. Just so you keep your sanity, you keep your family. And you always have to be thinking about between business and personal.

JH: Yeah. Are you married? Do you have a family?

JLB: Absolutely! I’m married and have two children. I have a little girl, Chloe, she’s 5½, and a little boy, Chance, and he’ll be 4 in January.

JH: Great! So, you’re busy when you’re at home, huh?

JLB: Yeah. It helps having a partner that’s real independent and strong… that understands the business as much as they want to, and kind of keeps me grounded too. Gives me a reality check.

JH: When it’s all said and done, that’s really what it’s all about.

JB: Absolutely! Absolutely! I mean, there’s got to be a reason why you’re doing things, right? And this does give you a purpose. I mean, put it this way: It’s a charmed life to begin with, when you’re doing something that you dreamed of doing as a child. And you’re actually doing it. I mean obviously, you’re in an extremely fortunate situation. So, you never take any of it for granted. but, you also evolve as a person and so do the things that surround you evolve.

JH: Sounds like you’ve got a good head on your shoulders, my friend.

JLB: Well, thank you. Thank you.

JH: Singing. You’ve got an incredible range. You sing, and you just mentioned 16 months and all the long tours you’ve done. I’ve seen you on the front and tail end of the last tour you’ve done, and then the DVD, and your voice doesn’t sound any the worse for wear. How do you keep it up every night?

JLB: Well, I appreciate you saying that, and thank you very much. I think it comes from, you know Jim, I get a lot of sleep. I studied opera for 4½ years in Toronto, with an amazing lady by the name of Rosemary Patricia Burns, so she taught me a lot of things that come with understanding the voice and enabling you to do a lot of things that task your voice, you know, that test your voice..... And, going out there, for 5, 6 nights a week for that long is definitely demanding on an organic instrument. You know, the one thing she always said to me was get tons of sleep, get plenty of sleep. That’s one of the most important things for any vocalist, and drink fluids, ya know? A lot of water, a lot of juice, well, not too much juice... Tea and honey...I drink that a lot. and vitamins, exercise, and trying to eat as well as you can, which is extremely difficult when you’re on the road because there’s so much junk.

JH: I would think that would be difficult, as well as getting a lot of sleep when you’re travelling.

JLB: Absolutely. You kind of learn, you know, get yourself a little system, and you create your own little thing that works for you, and you stick to it...... And it seems to work for me. Obviously, when you’re doing that much singing, you know I have my off nights. I have my nights where my body’s just going and the voice is going “forget it man”.

JH: Yeah (laughing)

JLB: (chuckles) And if you speak to any vocalist, any other vocalist out there, you know, some of my favorite vocalists, probably one of my favorites, Freddy Mercury, I saw him twice, I was fortunate enough to see him and the guy was amazing! The first time I saw him he was incredible, and the other time he was very tired vocally. And you could tell. It’s the same with other great vocalists that I’ve come to respect along the way. They have their good nights and bad nights and it happens to the best of us. But, if you just stick to a routine that you know if you do it, you’re more than likely to have 95% good shows and maybe the odd bad show. I mean, let’s face it, the fans are paying good money to come and see you, so the least you can do is make damn sure that you’re in as good as shape as often as you can be.

JH: It’s too bad more musicians don’t feel that way.

JLB: You know what? I think when they feel that way, you know they go “shit man, I shouldn’t have partied last night” or “shit man, I should have gotten more sleep” and they’re on stage and they’re not able to perform the way they’d like to. And that’s where it hits you. Whereas, if you’re doing everything that you should be doing, and you still have an off night, at least you can say to yourself “hey man, it’s out of my control.”

JH: That’s right. You did all that you could. It wasn’t because you were up ‘till 2 or 5 in the morning.

JLB: Right. Let’s face it, you come down with a flu, or a bad cold, and that’s one of the worst things that can happen to a vocalist.

JH: Yeah. Here’s a question you probably get a lot, but I’m going to ask it anyway. For you, right now, who’s setting the bar as far as singers? Who are the male vocalists that you really like?

JLB: Well, as far as new vocalists, I can’t really comment. I mean, Chris Cornell is always blowing my mind, I think he’s an incredible singer. My favorites have always been Rob Halford, that guy never ceases to amaze me. And Bruce Dickinson still has it there, and he’s still doing things. Steven Tyler still blows my mind. When Dream Theater, we were touring with Page and Plant, and I remember Plant was blowing my mind, he was singing really good and he seemed to have it still there that I thought he’d lost.

JH: Yeah, he’s one of those guys that seems he pushes it a little too much anymore.

JLB: Yeah, he does, but there’s definitely off nights, there’s no doubt about it.

JH: Yeah. Is that the kind of music you listen to? When you’re in your leisure time?

JLB: In my leisure time, I would have to say so. Believe it or not, I’m listening to more jazzy stuff, like Miles Davis. These days, I’m listening to this girl, Cassandra Wilson, who’s a great female jazz artist. So, that’s more of the stuff I’m listening to. As far as the singers that are out there, there’s a guy in a band called Pain of Salvation

JH: Oh yeah?

JLB: He’s a great singer.

JH: I like those guys. You’re touring with them in Europe, right?

JLB: Yeah, exactly. Then there’s another guy in a band, I believe it was Rhapsody, in Italy, I thought he had a very cool voice. I don’t know. Off the top of my head, I can’t really say there’s too many out there. I’m also into, what I listen for in a vocalist isn’t necessarily if he has an incredible range or something like that. I really listen for a sound, and the tone of a singer, I think, is the most important element within a voice. It doesn’t matter if a guy can sing a high D or if he can only hit an A. To me, it’s what the sound of the voice is. Even a guy like, you remember Kevin Gilbert? Did you ever hear his stuff?

JH: I actually do a radio show about Kevin Gilbert. Yeah, I know him, I remember him.

JLB: The guy actually had a great voice. You’d hear that guy sing, and you’re just moved by his tone, and you knew he was singing with so much sincerity, and he had great lyrics, and he had great music. These are the guys that turn my head, and I go “wow, that’s cool” that sounds like a mature vocalist. Instead of being out there trying to do calisthenics with your voice, you know.

JH: Yeah, the gratuitous range reaching.

JLB: Yeah, exactly

JH: (laughing) You mentioned the European tour, and I spend a lot of time on the internet and I’ve seen the tour dates posted there, but I don’t see any US dates.

JLB: Believe it or not, we’re talking about this right now. Before anything’s confirmed, obviously I’m not going to say anything. We’re obviously saying that it’s extremely important to us to concentrate on the US, and we really want to, you know like we did on the last album We made it a focal point. We once again want to do that. We once again want to develop and cultivate that whole market. I mean, it’s a very fickle market, for the kind of music Dream Theater plays.... But we do know that we have a very loyal fan base there. We need to respect that, and we’d like to expand on that. We want to make those numbers grow, and the only way you can do that is by making sure you’re in the people’s faces.

JH: Right. Well, that’s good to hear.

JLB: Rest assured, we are definitely going to be coming to the States and making a big bang, as big as we possibly can. I think with the next Dream Theater album, everybody’s going to be extremely stoked.

JH: Good!

JLB: Especially with the new material. It’s a double album, I don’t know if you’re aware of that?

JH: No, I didn’t realize it was a double. I know there’s the veil of secrecy all over it (chuckles)

JLB: Well, it’s a double album. The title is “Six Degrees of Inner Turbulence” and all I can say is that it’s extremely intense. The music is very aggressive. It’s very progressive. It’s diverse, exciting, and everything’s going on this, man. I’m listening to it. I know I’ve said it before...I remember when “Scenes from a Memory” came out and I said this was our best

JH: It WAS your best!

JLB: But, I believe we’ve pushed the envelope once again, and we’ve surpassed it.

JH: Wow

JLB: I really do. I think that we’ve topped ourselves and I think that’s why we’re all really psyched and excited and we can’t wait until the people actually hear it. Because I have a feeling that everyone is going to be just as happy and excited about it, and want to see it live.

JH: I’m very anxious to hear the album. Ok, I know you’ve got about 10 more minutes here, I’ll try to wrap it up. I’m going to feed you a series of questions, and you just give me the first thing that comes into your head, ok?

JLB: Sure

JH: Jeans or Sweats?

JLB: Well, it depends on the situation, ok, I’ll say jeans.

JH: So you’re a jeans type of guy. Shoes or sandals?

JLB: (big sigh) well, you know what, we’re talkin’ the summer, so sandals, definitely.

JH: Ok. Book or movie?

JLB: Book

JH: Ahh. Live or studio?

JLB: Oh God.....(chuckles) oh man, that’s a tough one. Oh geez man, ‘cuz I love both...I, I’d have to say live because you’re getting the feedback from the people. Live.

JH: There ya go. Ok, acoustic or electric?

JLB: Because I’m a vocalist, acoustic.

JH: Right. McDonalds or Taco Bell? (chuckles)

JLB: Ahhhh, well, because I spend a lot of time there now with my kids, they keep making me go there, McDonalds.

JH: Micky D’s huh? Water of soda?

JLB: Water, big time!

JH: Yeah, seriously man. Potatoes or rice?

JLB: Uh, potatoes.

JH: Ok. Camping or hotel?

JLB: Oooh, well, I’m burnt out on hotels, so I’ll say camping.

JH: There ya go. (chuckles) Well, just a little, ah, something different there to throw at ya

JLB: (laughing) Yeah, now everybody is gonna recognize me when I walk down the street, right? In my jeans and sandals and my frickin’ Big Mac, and uh.....

JH: Well hey, it was great to talk to you, I’m glad you took the time to hook up with me.