Labrie, James (Dream Theater) (October 2001)

James - The Absolute Vocalist: An Interview With James LaBrie

He is the vocalist of the main prog act of the nineties, Dream Theater, but he is also the man behind Mullmuzzler and the Leonardo character featured in the great prog opera made recently by Trent Gardner. Who is he? James LaBrie, that's right, one of the best singers of our time. We were able to catch him for a friendly talk right after he finished mixing some new DT stuff. So let's hear what he had to say...

Igor Italiani: Hi James. So how are you doing right now?

James LaBrie: I'm doing great! You know, I'm back home, I've just finished recording and mixing the new Dream Theater album and ... yeah, it's going great?

II: OK. So we can start the interview - obviously the first question I would like to ask, if you don't mind, is what are your feelings right now regarding the tragic events that occurred recently in New York and Washington. Where do you think we are headed?

JL: Well, Igor, you know, it's frightening. It's tragic what happened ... I was in New York ... I just got back from New York last Friday, and I had flown to New York September 10, the day before [the attacks], so I was in New York when the tragedy happened. I have to tell you it was real frightening and it was very disturbing, because there were so many lives that have been lost and that proves that there are people that have no respect and no consideration for others. All that I can tell you is that this is a very precarious time for human beings right now, because I really don't know where we are headed ... we could have a global war, but I don't know. One thing is certain, however; terrorism must be eradicated, it has to be stopped. So I support the States and I hope that we succeed in our mission to stop terrorism. Innocent lives have been taken so immediately and so cowardly ... it's just not right.

II: OK. Thank you very much, James. Now let's go directly to music, I think it's better. I must tell you that the thing that struck me the most about your new Mullmuzzler album, is its similarity to the Steve Walsh solo record (also on Magna Carta) of last year. The cover has the same ideas, and also the songs reflect a slight departure from the music you usually play with your main band.

JL: Yeah, maybe. Obviously there's going to be some similarities with the first Mullmuzzler album, and one of the reasons is that I worked with the same writers again, but this one I think there is more depth to the songs. I really think that the songs are much more mature and are more focused, this because I had more time to develop these songs and to make more strong arrangements. I also had the time to get together physically with the other writers - you know - working in the same room and put these songs together. To me I think it's just a much better album, a much stronger one. I think Mullmuzzler 2 is a colourful album, an immediate one, but also pretty intense.

II: In fact it seems that with Mullmuzzler you are also able to show more the diverse possibilities that your voice has to offer.

JL: Yeah, I wanted to make the people hear that the vocals are continuing to grow and I'm continuing to develop and to work on my voice. I want to do this so I can show people always something different, and I can be much more expressive and even passionate as a communicator, because that's the main aspect of the vocals. I like to show these different sides of me.

II: What can you tell me about the incredible musicians that surround you on Mullmuzzler, especially Matt Guillory and Mike Mangini?

JL: Yeah, obviously they are incredible, you said it yourself. They are extremely talented ... I was aware of Mike Mangini for quite sometime; I always respected him as a drummer, and I knew that when the time would come to do a project, like Mullmuzzler, I wanted to really get the players that I had the most respect for, that I thought would do the music justice. So I approached these guys and let them know where I wanted to go from a music standpoint, and also that I wanted them to be a real part of all of this, to be very involved like it was a "real" band. I knew that these players were special, and that there would be something special to give to the people, too. Speaking of Matt, he is incredibly talented and he is a great songwriter. I always enjoy collaborating with him [Matt played on the first Mullmuzzler, too. -II] and he is very skilled as a keyboard player as well. The same with the other players you find in the album.

II: One of the songs that I love the most, and one that's really unusual for a rocker like you, is the sweet "Falling." What can you tell me about this particular song?

JL: To be quite honest with you, I listen to many, many styles of music on my own. I always listen to people that are good, that say something different in music, like recently I've been listening to an artist called David Gray, and he is incredible. He is so emotional, he may not have the most brilliant voice technically but he has a voice that speaks to you, he is really rounded, he is real. When I approached the new Mullmuzzler record, I wanted to do the same thing, and this shows especially with a song like "Falling". A lot of this comes also from artists like Gino Vannelli, and George Michael. You know, these guys come from a more straight approach to music, maybe more accessible, but at the same time I think that it is brilliant the way that they write their songs; their songs are memorable but also very strong, and I think they are very talented. So with "Falling" it was me saying to the people: "This is something completely different from what you would have expected, but at the same time I think it's a great song, very emotional".

II: This is good material for radio and MTV, don't you think? I mean it in a positive way, like a welcomed injection of great music in those two stagnant media.

JL: I appreciate what you say. That's great. Thank you. Well, let the radio people know about it, if you can [and he laughs loudly! -II]. Also when you start working for MTV. Ah, ah ... OK, well I really appreciate what you say and it's right, because I don't see why this song can't be on extended airplay. And you know what ... to be perfectly honest, it was very courageous of myself and Matt to write a song like that, because there's gonna be some people that will go "Wow, I would never have expected that from James". But at the same time I said to myself "I have to do this. I have to let the people know hear this side of me, because I DO respect people that can write songs that are somewhat simple, but very powerful." That's the key. You know, the hardest thing to do when you write music, is to find the perfect balance between mind and heart. If you go to far into the mind, the song tends to be too cerebral, too technical, too disconnected from human elements ... and if you go too far into the heart then it becomes sappy, insignificant, there is no substance, no creativity. So that's the biggest challenge in writing a song, to maintain this balance.

II: Another one I loved is "Save Me," which is the exact opposite of "Falling." It looks like a modern type of prog invention, with all the electronics thrown in.

JL: Yeah, absolutely. You know, it's kind of a hard rock song, in your face, with a great guitar riff, and ... yeah ... it's the perfect antithesis of what "Falling" is. It's a real hard-driven song.

II: The album ends with other aces. I'm talking about "Listening" and "Tell Me," perfect examples that show the incredible diversity of the CD. What about those two?

JL: Oh, well, thank you very much. Thank you. Yeah, you're right, Mullmuzzler 2 is somewhat an eclectic album, it's diverse. But you are right, there are a lot of styles that I'm influenced by and, at the same time, I wanted to keep the album grounded and to let it have a unique sound. I also wanted to experiment, and let the people know that there are a lot of things that inspire me as well. You picked it up on that one, 'cause it was exactly the thing I wanted to achieve with this record. You know ... it makes all worthwhile to me when I listen someone like you speak about the record and nailing it. At the end of the day that's what it makes all worthwhile [WOW! Thank you James. -II].

II: Now we move to Leonardo. Being Italian I'm proud someone had the idea of describing the story of a great Italian man. What was your first impression when Trent approached you about the record?

JL: My first reaction was ... extremely excited. Trent said to me that he thought my voice would represent Leonardo perfectly and I was "Wow, man. I feel honoured. That's the ultimate compliment I can have and I obviously accept the challenge." So what I did was study Leonardo and all the things he had done all of his life. The guy was incredible, undoubtedly he was a genius, he was way beyond us and also his time. But the thing that really, really interested me was the particular approach Trent wanted for the project to take shape. It was really Leonardo - The Absolute Man, because he wanted to deal with all the struggles and relationships this great man had, his relationship with his father, with his mother, teachers, students. All of his not having too much time with all the things that were going in his mind. All of these areas of frustration which he came trough. It was more Leonardo the telling of his human side, not only the talk of his magnificent inventions. So I tried once again to convey Leonardo' feelings in a passionate way, and that is the reason why I'm so proud to be part of this record.

II: And how about recording with such great artists like Steve Walsh, which I must tell you is my favourite singer, or Mike Baker? I bet you had to raise your performance a little bit, given the fact that you were the main character (Leonardo).

JL: Yeah, I mean it was great to be part of this incredible team. I tell you, I grew up listening to Kansas, and Steve Walsh is a fantastic vocalist, there's no doubt about it. I was aware of the other singers too, and everyone did a fantastic job in the end. But you know what, more than being caught up in all of this and say "Oh, boy, I gotta do this well!", I think it was more saying to myself "No. Now I'll concentrate on my performance and try to be the most sincere I can be." Then I knew that I would have done justice to the man and the music. Be true, be soulful, and what you expect will come over.

II: Before the end, can I ask you something about the new DT album as well? Marco [Petrini, head of the Italian DT fan club] e-mailed me the title this morning, and, looking at the tracks, it seems like a suite-oriented album. Are you satisfied with the final results?

JL: Yeah, I'm extremely excited about the new DT album Six Degrees Of Inner Turbulence. We're just finishing the mixes right now, and it will be ready soon. The album will go out in January 2002 and it will be extremely progressive, but at the same time it will be extremely heavy, very aggressive music.

II: Much like Awake?

JL: Yeah, I think the people are really gonna be excited and I think the fans are going to love it! They are going to embrace it fully and I think it's gonna make for real exciting live shows. Everybody in the band is real excited and we think it's just incredible music. Yeah, we think it's the best album we've done. It's gonna be pretty intense. It's real true blue Dream Theater.

II: DT will return to Italy early next year. It was mentioned that possible support acts would be Pain Of Salvation and ARK. Is this true, and what about other bands like Shadow Gallery, Dali's Dilemma or Fates Warning?

JL: Yeah, it is true that we are considering Pain Of Salvation and maybe ARK as our support acts. At this time we're still talking to them, and even if nothing is confirmed, yet, I think it will be in the next couple of weeks. Speaking of Shadow Gallery and Dali's Dilemma, I know that they are great bands, too, but they are also the kind of bands that have never toured, so I don't know how would be, if they can put time together and tour. I'm not sure to where they stand about it right now.

II: OK. That's all. Thank you very much James. Hope to see you here soon, and let's pray for a better tomorrow!

JL: OK, thank you Igor. I hope to see you, too. Well, we just have to keep praying and hope everything works itself out. Bye!

www.jameslabrie.com

Discography:
Dream Theater - Images and Words (1992)
Dream Theater - Live At The Marquee (1993)
Dream Theater - Dream Out Loud (1994)
Dream Theater - Awake (1994) Dream Theater - A Change in Season (1995)
Dream Theater - Falling Into Infinity (1997)
Dream Theater - Once In A Livetime (1998)
Dream Theater - Scenes From A Memory (1999)
Dream Theater - Cleaning Out The Closet (Xmas CD 1999) (1999)
Mullmuzzler (1999)
James LaBrie's Mullmuzzler 2 (2001)
Dream Theater - Scenes From A World Tour - Christmas CD 2000 (2001)
Dream Theater - Live Scenes From New York (2001)
Various - Leonardo: The Absolute Man (2001)
Dream Theater - Six Degrees Of Inner Turbulence (2002)
Dream Theater - Train Of Thought (2003)
Dream Theater - Live At Budokan (2004)
Dream Theater - Octavarium (2005)
Elements Of Persuasion (2005)
Dream Theater - Score (3CD) (2006)
Dream Theater - Systematic Chaos (2007)
Dream Theater - Greatest Hit (...And 21 Other Pretty Cool Songs) (2008)
Prime Cuts (2008)
Dream Theater - Black Clouds & Silver Linings (2009)
Static Impulse (2010) Dream Theater - A Dramatic Turn Of Events (2011)
Dream Theater - Dream Theater (2013)


Dream Theater - Metropolis 2000: Scenes From New York (DVD) (2001)
Dream Theater - Live At Budokan (DVD) (2004)
Dream Theater - Score (DVD) (2006)
Dream Theater - Chaos In Motion (DVD) (2008)