DREAM THEATER

Dream Theatre absolved!

As you guessed from my Images and Words review, this kind of progressive metal isn't really my kind of thing. But before you think I'm a Dream Theatre hater you should know that I am a very relentless music pit-bull and that I won't condemn or give up on a band just because they disappointed me once.

I've always thought Dream Theatre found their true voice on Awake. The playing is tight and functional, the production is excellent, the song writing is consistently strong. Ok, there still are cheesy moment as on Innocence Faded and Lifting Shadows, but it are exceptions. The music is cleared of its excesses; it's harder edged, with Metallica as a dominant inspiration.

For me, the most surprising element is Labrie. As much as he got on my nerves on Images and Words, as much he is in control of his voice here. Ok, he's still the type of vocalist that confuses hitting high notes with emotion, but his melodies are strong now and there is true passion and bite in his delivery.

If it wasn't for the occasional moments where they still remind me of the melodrama of the previous album, I might rate this with 5 stars.

I will have to add my voice to the other 1 and 2 stars here. It will be challenging though. I mean, how to review this album without using the word cheesy and horror ten times? Hang on, let me get my synonym dictionary!

Around the time of this release I had a short flirt with Dream Theatre, which was entirely based on the opening track Pull Me Under. Most of the other songs didn't appeal much to me and guess what? They still don't.

Another Day is a cheesy ballad complete with syrupy saxophone and sticky vocals. Horrible. Take That Time isn't much better but at least it tries to be complicated, something Dream Theatre often confuses with progressive. The music isn't very remarkable though, something between Rush around the time of Hold Your Fire and the kind of cross-over that was popular back in 1992. The vocals are terrible: annoying timbre and tacky melodies. Surrounded is another attempt to beat Elton John at cheesiness.

Metropolis. The intro is nicked from Saga, the melodies aren't very convincing and the composition is worthless. Well at least they try to make the music interesting, something that works reasonably well till they head off for that instrumental section around minute 6. Warning! Pointless solos and instrument abuse alert.

Under A Glass Moon is a decent track with some good rhythm guitar. Again the vocals could have been better and the solos are pointless and self-important. Well, we've had so much dreary stuff already that anything is an improvement. The same can be said about Learning To Live.

As a prog lover I've always found this album to be one of the worst things that ever happened to the genre. By the focus on virtuosic self-indulgence, Dream Theatre extracted everything that was dreadful about 70's prog and discarded everything that had made it so wonderful. If you look for originality, creativity, innovation, adventure, emotion and substance, you shouldn't pick up this album.

It is very unfortunate that exactly this very album served as an example for a whole generation of neo-prog-metal bands that clutter the genre. Mind you, I don't care that they exist, if you like them then that's all the better for you, I just wished this wouldn't be called progressive rock, not for any formal or technical reason, but simply because they lack all the qualities of it. Pull Me Under saves the album from one star.

Being the die hard Floyd fan that I am, it was pretty hard to hear DSotM being performed by anybody other than Pink Floyd. With that being said, Dream Theater did better than I expected them to. I found that they were able to stay very true to the album and did some good covers, although nothing really blew me out of the water. Like most listeners, I was impressed by how well they were able to do Great Gig in the Sky, which I did not expect to hear out of Dream Theater, and I also particularly enjoyed LaBrie's singing on Brain Damage, although throughout the rest of the album his singing wasn't very impressive. The biggest issue with the album I found was Any Colour You Like, personally I didn't like Dream Theater's version at all. I found that they gave it too much of a metal feel with the distorted guitar and it ended up feeling much too choppy and inconsistent. Where the Pink Floyd version works beautifully as part of the album, it seemed to me like Petrucci took way too much control over the song on Dream Theater's version.

I appreciate that Dream Theater pays tribute to their influences and helps spread the sound of Pink Floyd to more people who may not usually listen to it. However, in the end it was nothing more than a decent cover that pales in comparison to the masterpiece that is the original album.

This is not just underrated album, but by many, it's also hated album. Which is quite sad, because this one has a lot to offer. It is melodic, indeed. Nothing experimental (and evil) like SDoiT CD 1 (where I love disc 2, but this first one is quite different. Very different). Nothing happening here.

So what, I don't care if Nightmare To Remember borrows here and there some elements, because this song after all is all that counts, sources of inspiration are only second category with not so weight. Is it progress, as it's mastering older themes together and doing something quite new (even it can remind older ones) and having great atmosphere (with exactly the feeling it want you to feel). All these tracks have, each is different and achieving this masterpiece status with slight alternated approach. After all, even The Shattered Fortress is right, isn't it ? It's not stealing and reusing their own ideas again, it's intended to be like that, it's purpose and serves in higher meaning. You know the story of this track, don't you.

But The Best of Times, let's grant entire paragraph just for this terrific song. It's one of the best prog metal songs I've ever heard, beating all their previous songs by sheer emotional overdose here. It reminds me my relationship with my own father a lot. Word by word, reminds me of my bond with him, even we're just 27 years from each other. Of course, I'm younger than Mike, but even I mourn for his father's departure and can't understand it as good as he did, this is one of the most beautiful "requiem" songs I've ever heard (OK, I didn't hear much of them, just Candle In the Wind which I hate and few others, but this one, oh yeah, I can enjoy it very well).

5(-), OK, not much to be said here, except clichés. You want some of them ? As you wish, so: I'm aware that every album has its own "deaf" places (not so good as other parts), but here, they're overshadowed/intelligently hidden.

What else can I give, except masterpiece rating. There's even no song that I hate and qualities are clear. And who wants to see mistakes will see them, be sure about that.

Erm, what the ? I threw my eye on this album because everyone was saying how good it is (I started with Score best of album). After all, this is early Dream Theater, they should be good here. And I've tried to be critic, not to easy fall for this and rate blindly with best mark as a lamp in herd. But nope, I was unsuccessful. I had to refuse this futile attempt on changing the way, because this album is simply perfect. Facts (all these epic tracks, not one best and others average, but every one of them great, some of them more, some less) proven persuaded me. From melodic Another Day, Take the Time with unusual singing in the first part of the song (but later improving with guitar solos). Or very special track for me, Under a Glass Moon, first track from DT I've ever heard few years ago, great show of John Petrucci skills (and probably the main reason why he's considered as one of the best guitarists). Not talking about prequel to my favourite album SFaM which is quite satisfying.

5(-), only bad thing would be keyboards, which sometimes sounds, well, weak, strange, not familiar. But other good things are enough for me to give this. Unusually melodic album though.

If we look at this album for what it is, it makes for a very promising release!

it is an Official Bootleg so we cannot assume the highest of qualities and this should be clear since it is stated in its own title. As a fan of DT i am always eager to hear different versions of songs and to get another look into the workings of an excellent band. It is a show from the Falling into Infinity era, so we can allow much of Falling Into Infinity to be played!

I would not recommend this to someone who is not already familiar with Dream Theater's studio and officially released live albums but for someone looking to experience that little bit more, this is a welcome addition to your collection.

The reason i give this 4 Stars instead of 3 is because of its flaws, we get to see a band not polished in the studio but live and more raw. This shows us a side of the band not available elsewhere (other official bootlegs aside)

If you are looking for more DT, get this, if you are new to DT perhaps look to other releases first

I've noticed I had not review this album yet... My mistake...!!!

I want to add something usefull to the mix of reviews, so I will start with a worry: why DT tend to make that amount of criticism...??? possitive or negative, but at the end DT seem to be a band to love or hate, but nothing in between... I feel that some progheads still refuse to admit metal is a good part of prog and still try to let down THE icon band of prog metal... but it is ok... Prog rock is still alive on the mainstream notion because of Dream Theater success...

In Octavarium DT brings a lot of different inlfuences that build a very moody album, the first half oriented into a more "pop" routes while the second part is heavily focus on prog-metal but with more "futuristic" sound... I've heard that they stole songs of Muse and U2 in this album, and thats of course, again a liar from the DT haters... everbody has their influences and DT has never denied theirs, so, if you like U2 o Muse, well, hear the songs and decided if those are good or bad but not come with exagerated statements... please...

This album is Dream Theater leaving their 80's sound behind and bringing a complete fresh sound of the new millenia... and that's it... a little more electronic noises and ambients, a wonderful quality of sound, good lyrics and less solos and "showing off" that seems to put many people nervious... So I find it very interesting cause it's very untypical on them -there are songs without solos at all!!!!!- and Octavarium is one of the most impressive songs I've ever heard... so, I feel this album is great... What I've always respect from these guys is trying not to do what is expected but what they like... and this is surely one of their most solid albums... maybe not at the Images and Words standards but quite ok...!!!

Dream Theater believes in giving their fans what they want and one of the focuses of their drummer Mike Portnoy is to give back what they have received. That philosophy is felt in equal measures with the rest of the band. What DT fans enjoy most are the epic tracks that offer everything the band has at its disposal. Featuring a literal all star cast at every position, this band knows how to please each other creatively during the recording process and in turn the listeners reap all the benefits when they release a new album.

John Myung (bass), John Petrucci (guitar), Jordan Rudess (keyboards), James LaBrie (vocals) and Mike Portnoy (drums) are conceivably the most unified and talented band currently recording and each member is a key ingredient in the Dream Theater machine. Although I put a lot of focus this time out on Mike, he truly deserves it. He is a thought leader musically, creatively and handles their business smartly. He is the heart and soul of this band and that cannot be denied.

Black Clouds & Silver Linings (Special Edition) was released in early June this year to coincide with Portnoy's brilliantly managed Progressive Nation Tour. Again this was designed to give it back to the universe by offering new bands to the genre some needed ears in a live setting. In a genre so specific with a smaller fan base worldwide (in comparison to rock or pop stars), everyone needs all the help they can get. It all works very well and I have been turned on to some new sounds in the past two years by attending the concerts. If it wasn't for Portnoy's belief in the bands that tour with them, it never would happen.

This is a three disc set, offered in various configurations, to hopefully please all the needs and tastes of their faithful followers and ever growing newcomers. A lot has to be said for a band with nearly 25 years together that is still new to so many listeners; the DT nation is growing daily and this release increased their incredible exponential growth. The first CD breaks down into six tracks of vintage DT metal and prog. I think with the passing of time it is safe to say that this is already being considered as a classic rendering of the metal-prog genre, giving further authority to the fact that this band has set the gold standard for everyone else to follow. The lead off track "A Nightmare To Remember" comes roaring out of the gate, setting the stage and atmosphere for what is to come. "A Rite of Passage" is a dark and ominous track with a first class video to accompany it. Every aspect of the DT process in regard to delivering their media has continued to get better with each passing year. Portnoy finishes out his story about AA and his battle's with the disease in "The Shattered Fortress" fittingly reviewing some of the other songs that made the story over the years by adding the lyrics in between all the instrumental anarchy. He also offers a touching tribute to his dad, who passed away recently with "The Best of Times." This is one of the more classic rock and pop influenced tunes I have ever heard DT perform and it's a fine song at that. The meaning is very special because of what Mike's father meant to him and the music seems quite fitting for the lyrics. The status quo attacking prog- metal would not work well with the subject matter of this song. '"The Count of Tuscany" is the magnum opus of the recording clocking in at an incredible 19:16, nearly an entire side if it was on a vinyl LP! (The vinyl version is available on the Roadrunner website). This song features a band in sync hitting on all their cylinders; it's like hearing a concert all wrapped up into one track. They are very good at setting the stage and taking you through complex time signatures and changes, offering different musical chapters to go along with the story they are portraying through the music. Let's not forget the ballad-like "Wither" that stands tall in the middle of this session. James LaBrie's voice is outstanding throughout but particularly smooth, succinct and emotionally powerful on this track.

The second disc features some excellent takes on classic rock tracks that had a hand in influencing all the members of the band. These are not the filler cover tunes or throw in bonus tracks you will find on many CDs; these are legitimate solid covers of great songs. Rainbow's "Stargazer" is superb, my favorite out of all six.

Now the ultimate addition to the package is disc three which are all the tracks on disc one without the lyrics. Now all of you James LaBrie wannabes can throw on this CD and sing along. In the same instance, all of the tech freaks and players of instruments will cherish this opportunity to play along or use the tracks to create their own special mixes. Dream Theater you have given us another classic prog-metal release, except this time it is loaded with all the extras that everyone loves, especially big fans of the band. What is not to like here?

5/5 Stars Keith "MuzikMan" Hannaleck November 6, 2009 ©MuzikReviews.com

There were the days when no one had ever heard of Dream Theater. Way before they got James Labrie on vocals, and Jordan Rudess on keyboards. A time when most of these gentlemen had just came out of Berklee School of Music and had layed down some rough tracks to become "When Dream And Day Unite".

I'll be the first to admit, nowadays I am totally lost at how many live and collaborative albums Dream Theater have put out. Everytime I turn around, I see DSOTM here and now Larks Tongues in Aspic. It just seems to me Dream Theater are becoming a little overindulgent with the whole idea of playing someone else's material.

Anyway, back to WDADU. When I first heard this album I gave it a lot of praise, Not because it was refined and the production could of really used some work. One thing is for sure it was fresh, it was raw, and it also exploited the talents of these very fine musicians. They were a bit sloppy but I found the songwriting to be really creative. I was blown away at songs like Light Fuse and Get Away, A Fortune In Lies, and espescially Only A Matter Of Time. It wasn't just the musicianship it was the structure of the songs. We definetely realize at this point that Kevin Moore was not only their best keyboard player,but also a clever songwriter. It's too bad he moved on to do different thingss. Portnoy, Pettrucci, and Myung showed off their technical prowess to great effect, and Charlie Dominici never has got the praise he deserves as their debut lead vocalist. There is definitely the inevitable Rush influence of this record. When you hear the drum fills on The Ytse Jam you'll say, God that really sounded like Peart. But that's what makes sitting down and listening to this album so enjoyable. And for years I always tried to get these guys out in the limelight. A Bit Rough and Sloppy at times, but memorable and fun.

After playing this album repeatedly in the old school casette player for a couple of years, those of us that were now fans chomped at the bit for 3 years to wait for "Images and Words" to debut. That's how much influence this album had on me as a young man still learning about the world of Prog Rock.

Was the first step of a long journey... Obvious precuel to the masterpiece...!!!!

The sound and production was really bad. If you think that they record it in 3 weeks, with all the complex riffs and instrumentation, is was really in a rush, so, maybe some arrangements wasn't that good, and the low budget reflex in the quality of the sound. It kills me, how good it might be if they record it with good support of their label... well, that's the bad things... lets start with the good points of the album...

The music is really like an earlier I&W... Kevin Moore dominates the moods with his great taste to develop moods and sounds rather than only soloing and show off. Petrucci was already a master, but eventually will become better. Portnoy shows quite well his capacities, and Myung was more present, more alive back then, his bass lines were really sad and moody... so It was a really interesting propuse... Dominici was way evident singing out of his range... sometimes he force his voice too much, it isn't bad, but I doesn't mean that shines, too much 80's for my taste...

Then, the songs are really DT trademark, with evident references to Rush and Queensryche... There are really monster songs that really deserve a better place in prog history... Only a Matter of Time is one of the better songs of DT, and of the prog of the last 25 years, easily... Kevin Moore lyrics were brilliant, and the music was a middle to an end... just great... of course, the trademark, the anthem YSTE Jam is really amazing and alive. I would say The ones who help to set the sun is one of their best songs... so you will enjoy this album, once you comprehend that the quality of production is low, and that Dominici was really out of this range here... is nice to try it, even for those DT haters... really, there's a lot of soul on this songs... really... too underrated album... but, hey, they become better with time... thanksfully, DT mark the path to this generation and is still here... nice beggining...!!!