>>> Dream Theater INTERVIEW Thread <<<
Moderatoren: Hans Muff, Johnnie, Axel
"do you put in superhuman parts, just because you can?" - "Absolutely!"Axel hat geschrieben:http://www.rockband.com/blog/entry/403585
nettes interview
Interview with John Petrucci
With kind permission from Lee Graham of Electric Basement we can bring you this exlusive interview!
........
To John Petrucci, balance means more than a mediocre Van Halen disc. It denotes a way of life.
From shredding fretboards to facing fatherhood, the Dream Theater guitarist enjoys the best of both worlds.
"I feel really fortunate," says Petrucci, savoring some rare tranquility at his New York home. Scampering through its hallways are SamiJo, Reny and Kiara, rambunctious youngsters enamored of Father John and his musical accomplishments.
"They know I go away for weeks at a time, and it's tough," says Petrucci. "But the whole family's into music, so that makes it easier."
One minute, Petrucci's taking out the trash. The next, he's boarding a flight to Europe. It's a balancing act that betrays a discipline rare even among the world's top musicians.
"That's the way I've always been," says Petrucci, still buzzing from weeks on the road. Promoting 'Train of Thought' inspired and drained the artist. With no support act, Dream Theater thundered through three-hour sets to the delight of shrieking fans. Their screams still echo through Petrucci's mind as he adjusts to a slower pace.
"It's something you get used to over the years," says Petrucci, whose rise to prog-rock prominence began in high school. That's where he, bassist John Myung and keyboardist Kevin Moore discovered a mutual love of all things rock.
Myung and Petrucci went on to the Berklee College of Music in Boston, where they crossed paths with drummer Mike Portnoy. Together, they formed Majesty, which evolved into Dream Theater.
Little did Petrucci realize that the quintet would built the template for '90s prog metal - and with little to no airplay. Except for "Pull Me Under," few songs garnered much notice. The band built a following the hard way - by touring, touring and more touring.
As if reinventing progressive music for a new generation wasn't enough, Petrucci sought other challenges. His creative thirst led to Liquid Tension Experiment, the instrumental project with bassist Tony Levin, Portnoy and the man who would help redefine Dream Theater. That would be Jordan Rudess.
With the Julliard prodigy on board, Dream Theater stretched its already impressive chop, churning out Metropolis Part II: Scenes From A Memory, Six Degrees of Inner Turbulence and Train of Thought.
The last platter gnashed a metallic roar, a primal embrace of all things heavy. "We wanted a really heavy album, and I think that's what we achieved," says Petrucci.
The Jeckyl to Train of Thought's Hyde is An Evening With John Petrucci & Jordan Rudess. Initially released in 2000, the mostly live set delighted listeners with seven semi-composed instrumentals.
"It was cool 'cause it left us a lot more room for improvisation," says Petrucci, happy with the disc's re-release on Steve Vai's Favored Nations label.
Three extra tracks make the package essential listening for prog heads, jazzers and lovers of quality music in general. While Dream Theater worships at the altar of precision and an almost classical attention to detail, Petrucci and Rudess' project embraces the unknown.
"Furia Taurina," "Truth" and other tracks mix acoustic and electric elements that challenge listeners and stretch the sonic envelope.
"We never really talked about the direction," says Petrucci. "Just knowing it would be a duo and picturing it being piano and acoustic, the songs just shaped up in that light automatically."
Promising more power is Suspended Animation, Petrucci's long-awaited solo debut due later this year. The disc follows a prolific career that, in some ways, is only beginning.
........
It seems only yesterday that When Dream And Day Unite introduced John Petrucci to the world. Are you surprised by your accomplishments since then?
Absolutely. A lot of that music and those ideas were written when we were just kids in high school. Certainly in college, too, we had aspirations to be professional and conquer the world. To take it live, to do what it turned out we'd end up doing.
Many musicians have the aspiration, but lack the talent to make it happen. Did it happen naturally for Dream Theater, or did you have to work hard at it?
You definitely have to work hard at it, but it takes a certain amount of talent to be good at anything.
Discipline also figures into it. I mean, your Rock Discipline DVD says it all. Have you always been so goal-oriented and disciplined?
Always. It's the way I approach things. I guess it comes naturally. No one taught me to be disciplined, but I learned early on that to be really good at something - in this case, guitar - you have to be very methodical.
Unless you're Johnny Ramone.
Yeah, but it depends on your goals. Certain types of music don't require lots of theory and knowledge, and that's great. Everyone doesn't follow the same rules. Some people don't sit there and work on it all day. But they're not trying to play a certain kind of music.
A complex style like Dream Theater’s.
Yeah.
Now you’re a family man with a mortgage. Does that make touring – or even maintaining a musician’s lifestyle – difficult?
As far as a musician's lifestyle, my wife's a musician, and it's what I do. It's what our house is full of. It's what our kids know. As far as being away from home and travel, that's incredibly difficult. You're right. We have a house mortgage, a social life, school and things normal parents have. Then again, you have to go away to work a lot.
Like when I go to Europe for five weeks at a time. It gets frustrating. That's what "Endless Sacrifice" is about.
Journey expressed the same sentiment in “Faithfully.” Obviously, your version’s much heavier!
It's just our style of music. Journey was writing a love song in the case of "Faithfully." We are Dream Theater, and we are a progressive hard-rock, metal band. We're not going to write a sappy love song. But it's cool to write about those emotions. The same song can be dark at times yet also express a lot of gratitude and passion and the same sentiment as "Faithfully."
I remember watching that video and Neal Schon's blurred fretting hand!
Yeah, great stuff. "Faithfully" was actually our wedding song.
Really?
Yeah, it’s true.
Back to 'Train of Thought'. Did frustration and anger fuel the songwriting process, or is the disc simply heavier because you love metal music?
Definitely the latter. It's not an emotional thing. It was a desire to have fun, believe it or not. I've always said my favorite songs are the upbeat and aggressive ones. It’s enjoyable to hear and see the audience’s reaction when you’re really kicking it. I wanted to write an entire album like that.
You’re among the few guitarists to really stretch out and try new things on each disc. But the critics are relentless. Either you’re too experimental with Six Degrees of Inner Turbulence, or not experimental enough. Or you play too many notes on Train of Thought or are too commercial as on Falling Into Infinity. Does that get frustrating?
That’s what "As I Am" is about. Sure, it's frustrating. We're in a lot of ways the same people we were when we started our first band.
Majesty?
Yeah. It's still ... the inspiration is the same. We have a natural chemistry and have fun doing it. Because we're in the public eye, we get criticism. You can't satisfy everyone.
Not even Guitar World. In the April issue, the writer attributed your speed to distortion as well as the neck pickup and its thicker tone. That amazed me.
Yeah, I saw that, too. What really gets me is the Web site. There’s lots of compliments, and I can certainly take criticism. But some are ridiculous.
Give me an example.
Like I play two many notes. Or it’s the wrong solo for the song. They get into my head when I’m recording? It’s absurd.
People don’t realize that songs develop over months and can consume an artist. I mean, listeners hear the five-minute results – well, in Dream Theater’s case, 20-minute results – of an intense creative process. Then they judge it in a few seconds.
Exactly. That’s the other side.
But most Dream Theater fans are supportive, don’t you think?
Yeah. We’re musicians in a band that’s been around a long time and writes our own music and works hard on the road. We spend a lot of energy and communication with our fans. That’s genuine. Our music is coming from a genuine place. We’re not writing for someone else. We’re not trying to be the next big thing.
Let’s recall your musical beginnings. Do you remember the moment guitar first grabbed your attention? A Les Paul in a store window? The Beatles on television?
I had a few of those moments. Some I recall more vividly, moments in my neighborhood. Like down the street, there was a guy playing an acoustic guitar, playing “Stairway to Heaven.” It struck me that someone could sit there and play this thing so well and make music out of it. Just seeing local musicians like that really made an impression.
Was guitar your first instrument?
Yeah.
When did you start playing?
When I was 12.
So you were a late bloomer.
(laughs) Yeah. I actually took it up at 7 or 8 for a couple of weeks and I hated it.
Because of a specific instructor?
This old guy with a pitch pipe kind of turned me off.
A geezer with a Mel Bay chord book.
(laughs) Yeah.
What artists have influenced you as a player? Not necessarily guitar players, but any artist that’s inspired your work.
Most of them are guitarists. Steve Morse, Steve Howe, Alex Lifeson. But Roger Waters and Peter Gabriel, too. The Edge and Bono.
How about Dream Theater’s influences?
As far as Dream Theater - Rush, Metallica, Iron Maiden, the list goes on.
What’s your daily practice regimen? Does it differ when you’re on the road?
My daily practice regimen is more or less maintenance. When I’m on the road, I’m more concentrated on the performance. So I have specific things I work on. It’s like mowing lawns, picking weeds, making sure I’m limber.
Pulling weeds? Did you just give away a domestic side?
No, I don’t pull weeds.
But do you at least pick up your kids from school?
As a matter of fact, yeah. Actually, one of my kids’ friends had a birthday the other day, and I drove her to that.
You, Kevin and John grew up together, but did you think – even after forming Majesty – that making a career of music was possible?
We wanted to. When you’re young, you have tunnel vision. You’re blinded to the idea of doing anything else. So we had massive faith and hope of doing it. The only doubts happened after the first album and we got rid of the singer. That was hard.
Mike’s regarded as the chief businessman of Dream Theater, if not its backbone. What role do you play?
Mike’s actually everything but a businessman.
Not even when it comes to Dream Theater?
No, his whole thing is organization. He comes up with all the set lists and DVDs. My whole thing is business. All the stuff that has to do with our administration, legal contracts, business management – that sort of stuff. That’s part of it. But I’m also a songwriter and, more recently, on the last three albums, producing. When Mike and I co-produce, he’s more into getting in there and having ideas and directing it, and I’m more into “how does this sound?” and who’s going to mix it.
Speaking of mixes, I really enjoyed David Bottrill’s mix of Scenes From A Memory. Actually, both versions sound good. But I understand you and Mike had major problems with what Bottrill did. What happened?
It was me, actually. I didn’t like it. I didn’t think it showed enough. It sounded better raw when we were recording it. I didn’t think it made the recording live up to its full power. The power just wasn’t there.
You, John and Kevin grew up together, so it must have been difficult when Kevin left. Do you feel losing Kevin and gaining Derek – and later Jordan – altered the band’s core sound, or do you feel the lineup changes produced more subtle results?
Yeah. That was a difficult thing. We grew up and had this great chemistry. The band got put on the map with Images (and Words). Jordan has become way more a bigger part of the core than any of those guys were.
Do you still keep on contact with Kevin?
I’m not in contact with him too much. He sort of went off on a different path, where most of us went in a more traditional direction.
Derek was viewed as the wild single guy compared to the rest of the band. Kevin was also a bachelor, but not in the way most people think of that term.
Yeah. Exactly. He had to follow his own artistic spirit.
Following that spirit led you to form Liquid Tension Experiment. Will there be a third disc?
You never know. As of now, no.
You joined Neal Schon and Yngwie Malmsteen for at least one date of the recent G3 tour. What was that like?
So cool. Neal was awesome. One time before when I was with G3, he played with us. It was at the end of the tour in New York. It was the second show and the day Train of Thought came out. Joe (Satriani) was gracious enough to announce that. I played “Always With Me, Always With You” and “Summer Song” with him.
How about Yngwie? I heard his guitar’s a weapon onstage.
He’s crazy.
Had you met him before?
Not before then, no. The first show Jordan played with us as a fill-in was a show at a music convention, and Yngwie played before us. And he actually lit his guitar on fire, and the fire marshal came.
He really gets into it.
Yeah, he makes sure to put on a great show.
You’re opening up for Yes pretty soon.
Yes. It’s an awesome opportunity. We can’t wait.
When I first heard of the tour, I was really excited. Then I realized you guys would probably only be allotted enough time for a half song!
We have a lot of material, so it is challenging.
Why didn't you play Dallas this year? I asked James and he didn't know. He thought it had to do with your booking agency's tour schedule.
(laughs) I don't know. We really like Dallas and wanted to play there. Maybe we'll get there with Yes.
Let's hope so. We can't wait to see you guys again.
Thanks. That means a lot.
With that, the guitarist bid farewell. A prior commitment cut short the interview. So further examination of An Evening With John Petrucci & Jordan Rudess, Suspended Animation and what chemical reaction caused most Dream Theater members to sprout goatees will wait for another day.
........
Quelle: http://www.voicesuk.net/intjpbasement.php
With kind permission from Lee Graham of Electric Basement we can bring you this exlusive interview!
........
To John Petrucci, balance means more than a mediocre Van Halen disc. It denotes a way of life.
From shredding fretboards to facing fatherhood, the Dream Theater guitarist enjoys the best of both worlds.
"I feel really fortunate," says Petrucci, savoring some rare tranquility at his New York home. Scampering through its hallways are SamiJo, Reny and Kiara, rambunctious youngsters enamored of Father John and his musical accomplishments.
"They know I go away for weeks at a time, and it's tough," says Petrucci. "But the whole family's into music, so that makes it easier."
One minute, Petrucci's taking out the trash. The next, he's boarding a flight to Europe. It's a balancing act that betrays a discipline rare even among the world's top musicians.
"That's the way I've always been," says Petrucci, still buzzing from weeks on the road. Promoting 'Train of Thought' inspired and drained the artist. With no support act, Dream Theater thundered through three-hour sets to the delight of shrieking fans. Their screams still echo through Petrucci's mind as he adjusts to a slower pace.
"It's something you get used to over the years," says Petrucci, whose rise to prog-rock prominence began in high school. That's where he, bassist John Myung and keyboardist Kevin Moore discovered a mutual love of all things rock.
Myung and Petrucci went on to the Berklee College of Music in Boston, where they crossed paths with drummer Mike Portnoy. Together, they formed Majesty, which evolved into Dream Theater.
Little did Petrucci realize that the quintet would built the template for '90s prog metal - and with little to no airplay. Except for "Pull Me Under," few songs garnered much notice. The band built a following the hard way - by touring, touring and more touring.
As if reinventing progressive music for a new generation wasn't enough, Petrucci sought other challenges. His creative thirst led to Liquid Tension Experiment, the instrumental project with bassist Tony Levin, Portnoy and the man who would help redefine Dream Theater. That would be Jordan Rudess.
With the Julliard prodigy on board, Dream Theater stretched its already impressive chop, churning out Metropolis Part II: Scenes From A Memory, Six Degrees of Inner Turbulence and Train of Thought.
The last platter gnashed a metallic roar, a primal embrace of all things heavy. "We wanted a really heavy album, and I think that's what we achieved," says Petrucci.
The Jeckyl to Train of Thought's Hyde is An Evening With John Petrucci & Jordan Rudess. Initially released in 2000, the mostly live set delighted listeners with seven semi-composed instrumentals.
"It was cool 'cause it left us a lot more room for improvisation," says Petrucci, happy with the disc's re-release on Steve Vai's Favored Nations label.
Three extra tracks make the package essential listening for prog heads, jazzers and lovers of quality music in general. While Dream Theater worships at the altar of precision and an almost classical attention to detail, Petrucci and Rudess' project embraces the unknown.
"Furia Taurina," "Truth" and other tracks mix acoustic and electric elements that challenge listeners and stretch the sonic envelope.
"We never really talked about the direction," says Petrucci. "Just knowing it would be a duo and picturing it being piano and acoustic, the songs just shaped up in that light automatically."
Promising more power is Suspended Animation, Petrucci's long-awaited solo debut due later this year. The disc follows a prolific career that, in some ways, is only beginning.
........
It seems only yesterday that When Dream And Day Unite introduced John Petrucci to the world. Are you surprised by your accomplishments since then?
Absolutely. A lot of that music and those ideas were written when we were just kids in high school. Certainly in college, too, we had aspirations to be professional and conquer the world. To take it live, to do what it turned out we'd end up doing.
Many musicians have the aspiration, but lack the talent to make it happen. Did it happen naturally for Dream Theater, or did you have to work hard at it?
You definitely have to work hard at it, but it takes a certain amount of talent to be good at anything.
Discipline also figures into it. I mean, your Rock Discipline DVD says it all. Have you always been so goal-oriented and disciplined?
Always. It's the way I approach things. I guess it comes naturally. No one taught me to be disciplined, but I learned early on that to be really good at something - in this case, guitar - you have to be very methodical.
Unless you're Johnny Ramone.
Yeah, but it depends on your goals. Certain types of music don't require lots of theory and knowledge, and that's great. Everyone doesn't follow the same rules. Some people don't sit there and work on it all day. But they're not trying to play a certain kind of music.
A complex style like Dream Theater’s.
Yeah.
Now you’re a family man with a mortgage. Does that make touring – or even maintaining a musician’s lifestyle – difficult?
As far as a musician's lifestyle, my wife's a musician, and it's what I do. It's what our house is full of. It's what our kids know. As far as being away from home and travel, that's incredibly difficult. You're right. We have a house mortgage, a social life, school and things normal parents have. Then again, you have to go away to work a lot.
Like when I go to Europe for five weeks at a time. It gets frustrating. That's what "Endless Sacrifice" is about.
Journey expressed the same sentiment in “Faithfully.” Obviously, your version’s much heavier!
It's just our style of music. Journey was writing a love song in the case of "Faithfully." We are Dream Theater, and we are a progressive hard-rock, metal band. We're not going to write a sappy love song. But it's cool to write about those emotions. The same song can be dark at times yet also express a lot of gratitude and passion and the same sentiment as "Faithfully."
I remember watching that video and Neal Schon's blurred fretting hand!
Yeah, great stuff. "Faithfully" was actually our wedding song.
Really?
Yeah, it’s true.
Back to 'Train of Thought'. Did frustration and anger fuel the songwriting process, or is the disc simply heavier because you love metal music?
Definitely the latter. It's not an emotional thing. It was a desire to have fun, believe it or not. I've always said my favorite songs are the upbeat and aggressive ones. It’s enjoyable to hear and see the audience’s reaction when you’re really kicking it. I wanted to write an entire album like that.
You’re among the few guitarists to really stretch out and try new things on each disc. But the critics are relentless. Either you’re too experimental with Six Degrees of Inner Turbulence, or not experimental enough. Or you play too many notes on Train of Thought or are too commercial as on Falling Into Infinity. Does that get frustrating?
That’s what "As I Am" is about. Sure, it's frustrating. We're in a lot of ways the same people we were when we started our first band.
Majesty?
Yeah. It's still ... the inspiration is the same. We have a natural chemistry and have fun doing it. Because we're in the public eye, we get criticism. You can't satisfy everyone.
Not even Guitar World. In the April issue, the writer attributed your speed to distortion as well as the neck pickup and its thicker tone. That amazed me.
Yeah, I saw that, too. What really gets me is the Web site. There’s lots of compliments, and I can certainly take criticism. But some are ridiculous.
Give me an example.
Like I play two many notes. Or it’s the wrong solo for the song. They get into my head when I’m recording? It’s absurd.
People don’t realize that songs develop over months and can consume an artist. I mean, listeners hear the five-minute results – well, in Dream Theater’s case, 20-minute results – of an intense creative process. Then they judge it in a few seconds.
Exactly. That’s the other side.
But most Dream Theater fans are supportive, don’t you think?
Yeah. We’re musicians in a band that’s been around a long time and writes our own music and works hard on the road. We spend a lot of energy and communication with our fans. That’s genuine. Our music is coming from a genuine place. We’re not writing for someone else. We’re not trying to be the next big thing.
Let’s recall your musical beginnings. Do you remember the moment guitar first grabbed your attention? A Les Paul in a store window? The Beatles on television?
I had a few of those moments. Some I recall more vividly, moments in my neighborhood. Like down the street, there was a guy playing an acoustic guitar, playing “Stairway to Heaven.” It struck me that someone could sit there and play this thing so well and make music out of it. Just seeing local musicians like that really made an impression.
Was guitar your first instrument?
Yeah.
When did you start playing?
When I was 12.
So you were a late bloomer.
(laughs) Yeah. I actually took it up at 7 or 8 for a couple of weeks and I hated it.
Because of a specific instructor?
This old guy with a pitch pipe kind of turned me off.
A geezer with a Mel Bay chord book.
(laughs) Yeah.
What artists have influenced you as a player? Not necessarily guitar players, but any artist that’s inspired your work.
Most of them are guitarists. Steve Morse, Steve Howe, Alex Lifeson. But Roger Waters and Peter Gabriel, too. The Edge and Bono.
How about Dream Theater’s influences?
As far as Dream Theater - Rush, Metallica, Iron Maiden, the list goes on.
What’s your daily practice regimen? Does it differ when you’re on the road?
My daily practice regimen is more or less maintenance. When I’m on the road, I’m more concentrated on the performance. So I have specific things I work on. It’s like mowing lawns, picking weeds, making sure I’m limber.
Pulling weeds? Did you just give away a domestic side?
No, I don’t pull weeds.
But do you at least pick up your kids from school?
As a matter of fact, yeah. Actually, one of my kids’ friends had a birthday the other day, and I drove her to that.
You, Kevin and John grew up together, but did you think – even after forming Majesty – that making a career of music was possible?
We wanted to. When you’re young, you have tunnel vision. You’re blinded to the idea of doing anything else. So we had massive faith and hope of doing it. The only doubts happened after the first album and we got rid of the singer. That was hard.
Mike’s regarded as the chief businessman of Dream Theater, if not its backbone. What role do you play?
Mike’s actually everything but a businessman.
Not even when it comes to Dream Theater?
No, his whole thing is organization. He comes up with all the set lists and DVDs. My whole thing is business. All the stuff that has to do with our administration, legal contracts, business management – that sort of stuff. That’s part of it. But I’m also a songwriter and, more recently, on the last three albums, producing. When Mike and I co-produce, he’s more into getting in there and having ideas and directing it, and I’m more into “how does this sound?” and who’s going to mix it.
Speaking of mixes, I really enjoyed David Bottrill’s mix of Scenes From A Memory. Actually, both versions sound good. But I understand you and Mike had major problems with what Bottrill did. What happened?
It was me, actually. I didn’t like it. I didn’t think it showed enough. It sounded better raw when we were recording it. I didn’t think it made the recording live up to its full power. The power just wasn’t there.
You, John and Kevin grew up together, so it must have been difficult when Kevin left. Do you feel losing Kevin and gaining Derek – and later Jordan – altered the band’s core sound, or do you feel the lineup changes produced more subtle results?
Yeah. That was a difficult thing. We grew up and had this great chemistry. The band got put on the map with Images (and Words). Jordan has become way more a bigger part of the core than any of those guys were.
Do you still keep on contact with Kevin?
I’m not in contact with him too much. He sort of went off on a different path, where most of us went in a more traditional direction.
Derek was viewed as the wild single guy compared to the rest of the band. Kevin was also a bachelor, but not in the way most people think of that term.
Yeah. Exactly. He had to follow his own artistic spirit.
Following that spirit led you to form Liquid Tension Experiment. Will there be a third disc?
You never know. As of now, no.
You joined Neal Schon and Yngwie Malmsteen for at least one date of the recent G3 tour. What was that like?
So cool. Neal was awesome. One time before when I was with G3, he played with us. It was at the end of the tour in New York. It was the second show and the day Train of Thought came out. Joe (Satriani) was gracious enough to announce that. I played “Always With Me, Always With You” and “Summer Song” with him.
How about Yngwie? I heard his guitar’s a weapon onstage.
He’s crazy.
Had you met him before?
Not before then, no. The first show Jordan played with us as a fill-in was a show at a music convention, and Yngwie played before us. And he actually lit his guitar on fire, and the fire marshal came.
He really gets into it.
Yeah, he makes sure to put on a great show.
You’re opening up for Yes pretty soon.
Yes. It’s an awesome opportunity. We can’t wait.
When I first heard of the tour, I was really excited. Then I realized you guys would probably only be allotted enough time for a half song!
We have a lot of material, so it is challenging.
Why didn't you play Dallas this year? I asked James and he didn't know. He thought it had to do with your booking agency's tour schedule.
(laughs) I don't know. We really like Dallas and wanted to play there. Maybe we'll get there with Yes.
Let's hope so. We can't wait to see you guys again.
Thanks. That means a lot.
With that, the guitarist bid farewell. A prior commitment cut short the interview. So further examination of An Evening With John Petrucci & Jordan Rudess, Suspended Animation and what chemical reaction caused most Dream Theater members to sprout goatees will wait for another day.
........
Quelle: http://www.voicesuk.net/intjpbasement.php
Hier ein neues Interview mit Mike Portnoy!
Gibt auch ein wenig Infos über Studiosessions!
http://www.kohlismusicpit.com/wst_page4.php
Gibt auch ein wenig Infos über Studiosessions!
http://www.kohlismusicpit.com/wst_page4.php
Na ja, die Diskussion über alte und neue Fragen in Interviews hatte ich ja gerade erst... nichts wirklich Umwerfendes in diesem Gespräch. Ich schätze auch, daß es im Moment wenig Sinn macht, mit Mike oder John ein Interview zu machen, wenn du nicht wirklich kreativ bist in deinen Fragen. Ansonsten kommt doch nur der gleiche Kram wie in hundert Gesprächen vorher... "ist Jordan jetzt ein richtiges Mitglied?" 
Eine Sache war aber doch interessant, die Liste mit Ländern, wo sie noch auftreten wollen: Russland (klar), Indien (ist ja schon lange auf der Liste) und Israel (?!!?)! In Tel Aviv zu spielen wird wohl immer beliebter in der Rockwelt
Eine Sache war aber doch interessant, die Liste mit Ländern, wo sie noch auftreten wollen: Russland (klar), Indien (ist ja schon lange auf der Liste) und Israel (?!!?)! In Tel Aviv zu spielen wird wohl immer beliebter in der Rockwelt
Gestern war Mike Portnoy bei seinem Freund Eddie Trunk im Studio und hier könnt ihr alles hören: http://mattmasi.com/metalsummit22709.mp3
Hier ein neues Audio-Interview mit Mike Portnoy: http://musicametal.blogosfere.it/2009/0 ... audio.html
MP war am 24. April in Köln und dort ist auch das schöne Video Interview entstanden welches ihr auf der TheMirror Seite findet: http://www.themirror.de
Edit: Hier der direkte Link zu YouTube: http://www.youtube.com/watch?v=r406U7VXO9I
Edit: Hier der direkte Link zu YouTube: http://www.youtube.com/watch?v=r406U7VXO9I
-
Petruccis Son
- Mitglied
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- Registriert: 29.03.2009, 15:56
- Wohnort: Dresden
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Hier ein Interview mit MP vom 25.04.2009:
http://www.faceculture.com/artist.php?id=98
Unten findet ihr zusätzlich noch ein älteres Interview mit James LaBrie vom 17.06.2007!
http://www.faceculture.com/artist.php?id=98
Unten findet ihr zusätzlich noch ein älteres Interview mit James LaBrie vom 17.06.2007!
Und wieder ein Interview mit MP, mit wem auch sonst
http://www.metalinsider.net/interviews/ ... -signed-cd
http://www.metalinsider.net/interviews/ ... -signed-cd
-
Petruccis Son
- Mitglied
- Beiträge: 182
- Registriert: 29.03.2009, 15:56
- Wohnort: Dresden
- Kontaktdaten: