DREAM THEATER

Celebrating 25 years of arguably their best and most important album, as well as THE album that set the blueprint for all of progressive metal to follow, Dream Theater played the entire 'Images and Words' album throughout 2017, and as recorded and released here, this was the performance in Japan, a country which has been very kind to the band over their careers.

With that said, I don't really know what to make of this. 'Images and Words' is without doubt, my favourite album of all time. It changed my life when I first stumbled across it back in 2003 at the age of sixteen, and to this day I still consider every track an absolute masterpiece. And yet, this particular release doesn't really do anything for me.

I mean, there are some obvious detriments, for one thing, James LaBrie absolutely struggles to sing a lot of this now. Age, and a well-documented vocal incident in the 90's, hasn't helped. Of course, being a live recording means that the sound isn't as polished and clear as the studio album either. Then there's just the general question? why? Why bother releasing this at all?

The answer is simple. Because there are prog nerds such as myself that would snap this up in an instant, if for no other reason than because it's another Dream Theater CD! But it's not all bad, for what it's worth, 'Images and Words' IS indeed an absolute classic, and the band have added a few small touches here and there. It makes the album listenable, but only just.

So with that said, buy it, don't buy it. Whatever. This is one for the die-hard fans. By all means, if you don't have 'Images and Words' then why are you even reading this? Get the bloody thing! It's only one of the greatest albums ever! But 'Images and Words ? Live in Japan'? it's basically what it says it is, and not worth owning unless you're a nerdy collector like me, who must own everything, then proceeds to never listen to it.

There are many beautiful tributes to Charlie around the internet, so I decided to write a few words about the album which was so important to me, especially at that time when prog metal was ignored even by rock and metal press in my country and the only valid pieces of information were delivered from real enthusiasts and their fanzines. I remember like today the day i got the album on cassette from my friend. After the audition I was shocked, all those background effects and the keys sounded like some kind of 80s video game to me. I was blown away by the musicianship and loved Dominici's voice..I watched the making of When Dream and Day Unite for the first time many years later. Didn't realise how good he was live in most of those tunes. The production may not be as good as their other albums, but you cannot fault its consistency. Bearing in mind that the band (except Dominici) were barely in their 20's when they recorded it is quite staggering. Yts' Jam remains one of my favorite instrumentals from the band; whilst Afterlife and A Fortune in Lies contains some of my favorite John Petrucci solos The Killing Hand is my favorite song from the Charlie era of the band. Status Seeker may be more accessible, but it's a great fun song to listen to. To conclude WDADU is a wonderfully groundbreaking album connected with many great memories from my youth.

I first heard this album when I was 12years old and first discovering my musicial identity. I lent into Prog heavily back then and this album was in heavy rotation. Of course, at the time, I was rather impressionable and liked most of what I heard. As the years went on, I broadened my horizons and shifted away from Prog Metal to more general Prog (amongst other genres).

Well, I have now circled back and listened to this album again as a mid 30-something year old. My goal was to revisit childhood albums and critically evaluate them. Let me just say - this album is a masterpiece. From the album's concept and storytelling to the instrumentation to the transitions to the general "mood" that is evoked throughout, there is something magical here.

I haven't listened to much DT beyond Octavarium, but with the recent news of Portnoy returning to the original lineup I am most definitely excited to see what they have in store.

The first DT album that divided both critics and fans, as well as the first album on which it was felt that the creativity of Kevin Moore is irreplaceable. The story begins when the new management of East West Records asks the band to start making "more acceptable music" in fact that simplifies the structure of songs so that they can be broadcast on radio stations. In general, there is nothing wrong with that, the black album Countdown to Extinction as well as Empire were also recorded according to this pattern. For this purpose, the famous hitmaker Desmond Child was hired, who started his career in the cult film "The Warriors" and in the 80s became famous by writing the biggest hits for Bon Jovi, Kiss, Alice Cooper and many other rock and pop artists. He and Petrucci spent time in Florida where they made a new version of "You not Me". Regardless of what was thought and what today, many fans claim, in my opinion, it didn't happen, because their quality as musicians prevented the quality of the material from being diluted in some way, and since its release, I've been of the opinion that this is an excellent album, of course not at the level of the previous two, but still I prefer it to the praised "Metropolis 2". There are songs (just one or two) that are quite "radio-friendly" although not worse than others but also some of the best songs like Hell's Kitchen, Anna Lee, but first and foremost, Peruvian Skies.Even the production of the album, which was done by Kevin Shirley, known for working with some of the most successful groups, was more adapted to the band itself than he tried to change them. Every DT record from the 90s is fantastic and different from the previous one, and this is one more reason why they are special.

I have always enjoyed the album. I'd call it ONE of my favorite DT albums, but, not my #1 DT album.

So, here we go?.

Track 1 - 6:00

One of my faves from the album, I often get it stuck in my head randomly. ("6:00 on a Christmas Morning?) I love the underlying rhythm of Portnoy's drums, with the Petrucci/Myoung riff over the top. Then that change at "Melody walks through the door?."always gets my attention. As with all things DT, the musicianship is amazingly precise and stunningly good. Odd meters all around. I have read previously that DT takes a day to just create a click track for each song before recording, due to all of the time changes. I'm going on record that I LOVE James LaBrie's vocals! I have heard his voice criticized frequently. The song ends with a bit of a chaotic crescendo with spoken word parts underneath.

Track 2 - Caught In a Web

I love the contrast between the rhythmic verses and the melodic choruses. Excellent vocal harmonies on the chorus.Great precision instrumental break, but of course, that's what DT does better than most. Simply monstrous song.

Track 3 - Innocence Faded

This track isn't AS heavy as the first two. It almost sounds as though this one was possibly intended to get more radio airplay. Even so, there's no doubt that it's a DT track. LaBries vocals hit the stratosphere on this one. Nice keyboard beds from Kevin Moore on his final DT album. Nice melodies throughout. I can feel the Rush influence in this one. Excellent guitar solo at the end from Petrucci.

Track 4 - Erotomania

Great instrumental track, which somewhat works as an "overture" for the album (even though it is 3 tracks in). We hear some themes of songs that are still upcoming on the album, particularly "The Silent Man". Of course, it almost goes without saying that there are outstanding performances from the 4 instrumentalists in the band. I love the organ at approximately 4:20. And jeez Petrucci starting around 5:10! Then the amazing Portnoy drum fills. It ends with a nice "wind-down."

Track 5 - Voices

At just under 10 minutes, this is the second longest track on the album, and it is quite epic in scope.

Beginning with a Myoung bass riff, accented by guitar & drums, we go into some odd meter ensemble playing before it drops down to quiet vocals and piano. The music slowly builds with guitar flourishes and bass/bass drum accents. Then things go up a notch or two going into the chorus.Once again, outstanding soaring lead vocals on the chorus from LaBrie. There are some underlying spoken word parts beginning around 4:30 as the instrumental parts become more intense.Then around 5:10 things drop back down for a quiet verse, this time accompanied by a clean guitar part. We get a wah-wah guitar solo starting around 7:25.EVH style tapping begins around 8:05. An intense vocal section follows the guitar solo, into a chorus. There is a big finish with a mellow tag at the end. This leads directly into?

Track 6 - The Silent Man

This is an acoustically based ballad. The melody was previewed earlier in Erotomania. We have a nice "sing-songy" melody in the chorus. A brief acoustic solo happens between verses. At 3:48, this is the shortest track on the album.

Track 7 - The Mirror.

Starts with a bit of a prog-metal shuffle, for lack of a better term, before turning into a more syncopated rhythm with keyboards and, later, lead guitar on top. The vocals start in a low range and build. The song builds in intensity before returning to the syncopated verse. Spoken word parts that are low in the mix return as a recurring feature on the album. Big change at 5:20 ("I'll never hurt you again."). A Portnoy/Myoung rhythm bed sets the stage for the guitar solo with keyboard flourishes. The song abruptly ends and then?.

Track 8 - Lie

?takes over at a much faster tempo. Intense keyboards build over a Bass/Guitar/Drums rhythm bed leading to the first verse in a low vocal register. The chorus jumps up an octave ("Don't tell me?"). I like the vocal rhythm and wordplay that begins around 1:40 with "Mother Mary, quite contrary?" There is a sudden rhythm and feel change at around 2:35. This may be the "heaviest" track so far. Morse code rhythms start at about 3:40 to back the mind- blowing guitar solo. This is followed by another chorus. Precision rapid fire instrumental section just before 5:00, then a slower section guitar solo over the opening rhythm pattern. Lots of Petrucci guitar wizardry closes out the song.

Track 9 - Lifting Shadows off a Dream

This one begins with mellow electric guitar harmonics over bass & keys with a subtle drumbeat. Moore introduces a keyboard melody before the vocals begin. This one again seems a bit more "radio-friendly." The vocals of the chorus are melodic, and Petrucci gives us a riff that utilizes delay-effects. This gives way to sustained power chords under the next verse. Then the U2 style delay guitar returns for the next chorus. The melody changes before going into the instrumental break, which is melodic over a mid-tempo beat. Vocals return culminating in a long-held note before the next chorus. One thing that DT does effectively, is making things different each time a section of a song returns.

Track 10- Scarred

At nearly 11 minutes, this is the longest track on the album. We begin with a bit of a jazzy feel here?well, jazzy for DT, anyway. Sustained lead guitar lines with volume swells lead into a more bluesy guitar solo. The first verse starts in a low octave before jumping up an octave in the second half of it. The rhythm and intensity changes around 2:10, getting heavier. The second verse becomes more syncopated. Moore provides nice keyboard textures under the vocals. The music is gradually becoming more and more intense as we go along until the tension releases around 4:20, followed by a major tempo and groove change around 4:35. Another timing change at around 7:00 for the guitar solo, which goes through various rhythm/texture changes. Petrucci never fails to impress with his guitar skills. Another timing shift happens at just after 9:30. Excellent arranging skills on display.

Track 11- Space-Dye Vest

This is a top 10 DT track for me. Kevin Moore's masterpiece as far as I am concerned. Unlike anything else on the album, this is less about virtuosity (although the meter changes are very complex), and more about melodies, textures, and emotional response. We have the return of the spoken word vocals in the mix. This song is so "hauntingly beautiful." I pull it up frequently.

OVERALL IMPRESSIONS:

What a fantastic album? quintessential Early DT. Kevin Moore may have been overshadowed by Derek Sherinian and especially Jordan Rudess, but shows that he had enormous amounts of talent, even if not as flashy as his 2 successors. Great playing, vocals & songcraft all around. While I have a special connection with Images & Words, and think some of the albums yet to come are even stronger, there is no denying how great this album is. To me, DT are the quintessential Symphonic Prog-Metal band. They are the standard by which I measure symphonic prog- metal bands. I give this a 4.5 out of 5 stars.

"Dream Theater" is the twelfth eponymous studio album by the influential progressive metal band Dream Theater. Released in 2013 under the Roadrunner Records label, this album was produced by John Petrucci and sound engineer Richard Chycki. The album was recorded at Cove City Sound Studios in New York, and the cover was designed by Hugh Syme, known for his work with artists like Rush.

As for the album's quality, "Dream Theater" showcases the band's exceptional technical ability, with virtuosic instrumental performances and James LaBrie's distinctive vocals. The positives aspects include intricate and challenging compositions, high-quality production, and excellent musical performances. John Myung's bass sound more powerful than ever here!

However, the album may lacks the freshness and innovation of the band's earlier works and could feel somewhat repetitive in terms of style and song structure. It's also a letdown in comparison to the previous "A Dramatic turn of Events", which was their best album in a while, being much superior that this "Dream Theater".

In summary, "Dream Theater" deserves a rating of 3 out of 5 because, while it showcases the band's technical mastery and has standout moments, it fails again to innovate or surprise, resulting in a work that feels largely derivative and does not satisfies the high expectations that i had of Dream Theater after the freshness of their previous record.

Best Tracks: The Enemy Inside (powerful and catchy) and Enigma Machine (a fine instrumental song)

Review Nº 655

"Six Degrees Of Inner Turbulence" is the sixth studio album of Dream Theater that was released in 2002. Like their previous studio album "Metropolis Part 2: Scenes From A Memory" this is another conceptual album. It was released as a double disc and besides their EP "A Change Of Seasons", it's the first Dream Theater's album to feature a title track.

The title of the album may allude that each track could be as a different form of inner turbulence, with the six tracks making reference to the six degrees, with the apparent reference to the six degrees of separation. The six degrees of separation is the theory that everyone and everything is six steps away from any other person in the world. So, any two persons can be connected by a chain in a maximum of six steps. The theory was originally set out by Frigyes Karinthy.

The line up on the album is James LaBrie (lead vocals), John Petrucci (backing vocals and guitars), Jordan Rudess (keyboards), John Myung (bass and chapman stick) and Mike Portnoy (vocals, backing vocals and drums).

"Six Degrees Of Inner Turbulence" can be divided into two parts, the CD 1 and the CD 2. The CD 1 is composed by five tracks "The Glass Prison" which is divided into three parts "Reflection", "Restoration" and "Revelation"; "Blind Faith"; "Misunderstood"; "The Great Debate" and "Disappear". These five songs explore different themes of lifetime struggle, such as alcoholism, loss of faith, self isolation, sanctity of life and death. The CD 2 has the title track which is divided into eight parts "Overture", "About To Crash", "War Inside My Head", "The Test That Stumped Them All", "Goodnight Kiss", "Solitary Shell", "About To Crash (Reprise)" and "Losing Time/Grand Finale". The track explores the stories of six characters suffering from several mental illnesses. Particularly represented is the bipolar and post-traumatic stress, the disorder, the schizophrenia, the post-partum depression, the autism and the dissociative personality disorder.

As we can see, the concept of the "Six Degrees Of Inner Turbulence" deals with some of the most complicated but common things that we can live in our world. Many of us had certainly to deal with some of them and particularly one of them, the alcoholism, is very autobiographical for one of the band's members Mike Portnoy. The first track of the album "The Glass Prison" deals with Mike's story of rehabilitation from alcoholism that continues in tracks of the band's next studio albums such as "This Dying Soul" on their seventh studio album "Train Of Thought", "The Root Of All Evil" on their eighth studio album "Octavarium", "Repentance" on their ninth studio album "Systematic Chaos" and "The Shattered Fortress" on their tenth studio album "Black Clouds And Silver Linings", the last album with him in the band.

As happened with most Dream Theater's albums, "Six Degrees Of Inner Turbulence" tends to be pretty controversial within their fan base. There's a pretty distinct split between those who consider it an experimental prog masterpiece, and those who think it's a kind of a hyper extended wankery. Personally, I think "Six Degrees Of Inner Turbulence" is one of their best albums to the point that it can put many other albums to shame. Musically, "Six Degrees Of Inner Turbulence" deals with many different styles because it suffers from many varied influences. Classical, folk, jazz and metal styles are present on the album. According to the band, influences for the album's writing include bands like Metallica, Radiohead, Pantera, Megadeth, U2, Tool, Nine Inch Nails, Soundgarden, Alice In Chains, Kevin Gilbert, King's X, Galactic Cowboys and Rage Against The Machine. It also suffers from some classical musical influences from Bela Bartok and Frederic Chopin. The final result is that Dream Theater creates a very strong, intense and moving sound. So, the music on the album balances between synthesizer leads and rhythms with heavy guitar riffs. Dream Theater is known to have some sweet and sometimes fast instrumental passages and this album isn't an exception. So, technically speaking there are some really great breakdowns in a lot of songs. Dream Theater is also known as always been the guys that make the lengthy songs. This is probably what many people think when they heard the name of the band. This album isn't an exception and this is particularly evident on the title track with about forty-two minutes long.

Conclusion: "Six Degrees Of Inner Turbulence" is an astonishing album of Dream Theater. If you love "Scenes From A Memory" like me, you shouldn't have any problem in finding a place in your heart to this album. And now is the big question: Is this a better album than its predecessor? Well, to be honest I don't know. Sincerely, I think the answer is irrelevant. It's probably more a matter of taste. If you love and perceive both albums you immediately see that you are in the presence of a monumental testament of a band with two of the best prog albums ever made. The performance of Rudess is irreproachable and amazing. He proved to be one of the best keyboardists of our time and even of ever. When I reviewed "Scenes From A Memory" I wrote that it belongs to the very rare classic albums that we can rate with 6 stars and classify it as one of the greatest masterpieces of all time. For me, the same can be applied to this album too.

Prog is my Ferrari. Jem Godfrey (Frost*)

The most beautiful album I have ever heard. This album is easily the most popularizing of all of Dream Theaters albums. It either gets ranked among the top or the bottom. It's completely different than anything else Dream Theater ever did. I'm not a huge fan of double album musicals for the most part. However there are a few exceptions. The Lamb Lies Down on Broadway is an all time favorite of mine and I do really like Ayreon. But I really find it impossible to compare this album with any other Prog Rock musical.

The storyline is familiar to a couple of legendary albums 2112 and Paradise Theater. A futuristic theme of freedom and liberty vs totalitarianism. You will hear occasional drones flying around and a few casualties of freedom fighters among the militias. Anyway big tech is used once again as a complete surveillance state while censorship includes music making it illegal.

Over 2 hours in length. And an album that I find enjoyable from start to finish. Great for road trips, working, and gaming when this album gets an occasional listen. The music is phenomenal and James Labrie does an even better job here than his musical/theatrical performances with Ayreon.

A lot of songs on this album. Ravenskill, Hymn of a Thousand Voices, A Life Left Behind, Losing Faythe, Whispers in the Wind, Chosen, Begin Again all highlights.

This is something entirely different for Dream Theater. Very easy listening experience with plenty of intense and emotional moments in between. There is nothing quite like it. Everything about this album is top notch and just adds versatility and originality to the Dream Theater catalog.

It seems that Dream Theater can't get out of their own web, the one they built so carefully over time, referencing themselves and repeating the formula several albums ago. The virtuosity they display seems to be the end in itself, rather than the means to transmit a proposal that can be sustained as its own entity. And it is like this, that since "A Train of Thought" of the very distant 2003, almost as if songs could be interchanged between albums and they would probably fit, beyond some obvious production nuances particular to each work.

And that is also the feeling transmitted by "A View from the Top of the World", an album that maintains the scheme of the sublime and machine-gunned guitars of John Petrucci, the overstimulated keyboards of Jordan Rudess, and the stubborn percussion of Mike Mangini. pacing, all at the speed of light.

But still, it's not a disposable album. In fact, any group in the genre would surely be very satisfied if they ever managed to generate a work like this. Only in the case of Dream Theater, this path has already been traveled back and forth several times. And I think something more can be expected from them, because of their unquestionable quality as musicians, and because they started the path of prog metal precisely by taking elements from different styles to create something different and innovative.

What could we highlight? Well, basically the festive "Transcending Time" and its airs of eighties Rush; the choruses, short but well achieved, of "Sleeping Giant"; and the delicate and deep middle section of the excessive suite that gives the album its title.

Dream Theater continues to be the standard bearer of the genre, without a doubt, but it would be nice to get out of the box to surprise us with something more transgressive from time to time. We are waiting.

3 stars

Dream Theater's "A Dramatic Turn of Events" is a masterpiece of progressive metal that is sure to delight fans of the genre. With its intricate compositions, powerful vocals, and stunning instrumental performances, this album is a testament to the band's impressive musicianship and songwriting skills.

From the opening notes of "On the Backs of Angels," it is clear that Dream Theater has something special in store for their listeners. The track's soaring melodies, complex rhythms, and dynamic arrangement set the stage for what is to come. This is followed by "Build Me Up, Break Me Down," which showcases the band's ability to blend heavy riffs with catchy choruses but it doesn't work to well. This track is the weakest on the album and doesn't really fit into place well on this album.

However, it is the third track, "Lost Not Forgotten," that truly stands out on this album. This song is a tour-de-force of progressive metal, featuring intricate guitar work, soaring keyboard solos, and intricate time signature changes. The track builds to an epic climax that is sure to leave listeners breathless.

Yet, it is the sixth track, "Breaking All Illusions," that truly steals the show. This track is a masterpiece of progressive metal that showcases the band's incredible skill and talent. From its haunting opening notes to its explosive finale, "Breaking All Illusions" takes listeners on a journey through the depths of human emotion and experience.

The track's lyrics explore themes of loss, betrayal, and redemption, while its complex instrumentation perfectly captures the emotional intensity of the song's message. The guitar solos, keyboard flourishes, and intricate drumming are all executed with precision and passion, creating a musical landscape that is both beautiful and haunting. One of the best songs the band ever wrote!

The album's other tracks are also impressive in their own right. "This is the Life" is a reflective and introspective ballad that showcases James LaBrie's powerful vocals, while "Beneath the Surface" is a haunting and emotional track that features some of the album's most poignant lyrics.

Throughout the album, Dream Theater demonstrates their incredible musicianship and songwriting prowess. From the complex time signature changes to the stunning instrumental performances, every element of the album is executed with precision and passion.

In conclusion, Dream Theater's "A Dramatic Turn of Events" is a must-listen for fans of progressive metal. The album's intricate compositions, powerful vocals, and stunning instrumental performances make it a true masterpiece of the genre. And while every track on the album is impressive in its own right, "Breaking All Illusions" stands out as a true masterpiece that is sure to leave listeners in awe.

Overall, I would give this album 5 out of 5 stars. It is a testament to Dream Theater's incredible skill and talent, and it is sure to delight fans of the band and the genre as a whole. So if you're looking for a new album to add to your collection, "A Dramatic Turn of Events" is definitely worth checking out. Especially if you like proggy metal!