DREAM THEATER

I've had Live At Budokan for eight years now. What a pleasure it was to revisit the CDs this week. I listened to disc 1 Wednesday morning, disc 2 on Thursday morning, and on this morning of Friday May 17, 2013, I listened to disc 3.

My five-star rating of this mammoth live release comes from comparing it to other live releases. I am not pitting Live at Budokan against prog classics like Close To The Edge, but I am weighing it against live albums such as Yessongs. That being said, Dream Theater's Live at Budokan is a lot more fun than Yessongs.

Dream Theater are the kings. //"Kings of what?" you say... //Well, a lot of things. You can let your imagination run wild with that notion. And even in THEIR catalog, Live at Budokan stands tall.

Live at the Marquee is too short to compete with Dream Theater's other releases. Once in a LiveTime and Live Scenes From NY contain some spotty vocal performances, albeit containing an incredible selection of songs. Score is superb in most regards but feels a little stiff and I think it's no secret that the orchestra doesn't really add anything except for some out-of-tune notes. Chaos In Motion is a lot of fun. It has it's mix and vocal issues though. Also: points off for me having to carry around a big, fat DVD case if I want to listen to it in my car.

So Budokan is THE ONE. It is exciting... It contains some passages not heard on the studio releases... All members perform quite well... The mix keeps your attention... There is a vast array of songs on the setlist.

I have the highest expectations for the upcoming Live at Luna Park CDs. My prediction is that Luna Park will top Budokan. The improved technology, the selection of songs, the improvements James LaBrie has made in his live performance... I think these elements will combine with other elements to form the most spectacular live album package. However, in the meantime Live at Budokan is still the standard bearer for live progressive metal albums, and if Luna Park cannot live up to the 'majesty' of Budokan... I would understand.

Live at Budokan IS essential. It IS a must buy. Buy the CDs. Buy the DVDs.

When I first heard this album, I went in expecting an album, that while good, was strongly hampered by the fact that it was changed and cut due to record label pressure. What I got was an excellent work, although definitely more commercial in some respects, manages to retain a very heavy prog sound throughout and sounds more like prog rock than prog metal. After the darker and heavy album that was Awake, this album brings in a much more softer sound with moments of metal. Let's get into it.

The album kicks off with a keyboard driven introduction, and proggy song New Millenium. This is an alright song, but I feel like it's one of the weaker tracks here, but works ok as an opener. It's not the proggiest song here though, that will come in later with the tracks Lines in the Sand and Trial of Tears. Lines in the Sand has a nice jazz feel to it, and flows so well. JP has an insane solo, while rather basic, sounds so nice. Vocals here are strong, and every member contributes well. This song comes right after Hell's Kitchen, a instrumental piece which was suppose to be in LITS but was made it's own song presumably due to record label pressure once again. An insane instrumental with lots to like, it leads into Lines great. Trial of Tears starts with a nice ambient introduction and gets into a more rock sound slightly later. In the middle of this song, we have great instrumental unison that shows how good each member here is. The lyrics are written by John Myung, and are very cool to say the very least. A great ending to the album. The other proggy tracks here are Peruvian Skies, which uses a rift off of Pink Floyds Have a Cigar, and is a very quiet song which transforms into a hard rock-fast paced jam. Great lyrics about a girl facing lots of abuse.

Going into some of the less progressive stuff we have Take Away My Pain, a sad song about JP's father dying, and how he needs to get on with his life and not dwell on it. Burning My Soul is a rock track, but there's not much to say. Meh lyrics, and lame structure makes this one forgettable. Beautiful sonng however is Anna Lee, a song James LaBrie wrote about an article he read about sexual abuse of children. A sad song, but a very good ballady one. DS has good keyboard work here, and makes the song. Just Let Me Breathe is another rock song, and probably the weakest one here. Lame lyrics, bad buildup, not much here. Hollow Years is the softest song here, with very little progressive stuff but a great flow and good lyrics. Finally, You Not Me is a decent rock song, but was edited quiet a lot by getting a second writer from the label. An early version can be heard on the demo disc, but with that said it's still a nice song. The ending is sick, with lots of cool moments from JP and DS here.

Overall, this isn't as bad as an album as most people say. I recommend it for anyone going through Dream Theater's discography or anyone looking for softer work by them. Great album with only a few bad moments. Solid four out of five.

The album that got me into Prog.

Everyone has a story about how they were introduced to this type of music. As a teenage back when this album came out, I was more influenced by the Pop and Punk traditions of the day. I remember talking to my mate about who the best guitarist was. Having no idea at the time I threw out many a bad name only to be recommended I try John Petrucci of a band called Dream Theater.

One look at the tracklisting and I knew I was in for something completely different (how the hell can you write an 11 minute son..... 24 MINUTES!?!?"

At the time it was huge for me to be listening to music on such a different level to what I had been listening to. Concept albums, Easter Eggs, Shredding. I was new to it all. Looking back now that I am close to 10 years through my musical journey, it's good to put everything into perspective.

1. The Root of All Evil - It still rocks to this day with a heavyish drive and great musicianship. Brilliant way to start the album

2. The Answer Lies Within - When I first heard it I thought it was fantastic! Listening back through it now though and it feels a little tedious. Just your average ballad to calm things down from the first track.

3. These Walls - Much like "The Answer Lies Within" it was a regular on my playlist back in the day. These days it is just a song that contributes little to the prog world. A very good rock/angst track.

4. I Walk Beside You - Again with the tediousness ageing of songs. It's a U2 rip-off and I'm not a U2 fan.

5. Panic Attack - Awesome piece of music. Much like what the track name is it sums up the feeling one would have if suffering from anxiety or any type of nervous shock. Great musicianship to drive the point home and Petrucci is awesome

6. Never Enough - Reading a lot of reviews on here this is a Muse knock-off. If this is how Dream Theater knock off Muse I'd happily listen to an album full of Muse knock-offs. The riff is brilliant, the solo kicks arse, James actually sounds good and if I didn't find out this was actually a bitch to the fans by Mike Portnoy, I would enjoy it a lot more

7. Sacrificed Sons - On first listen - WOW 11 MINUTES! Now: It kind of meanders and doesn't get to the point quick enough. Sure it's still a good song, I just find it hard to remain focussed on the song when listening to this album again.

8. Octavarium - I'll let a lot of the other reviews speak for this one. It's simply a masterpiece. No ifs or buts about it I still listen to this song in full on a weekly basis.

The idea that the one test a new album hasn't faced yet is time is a good point. When I first listened to this I had prog-coloured glasses on losing myself in it. Put it perspective however, it is still a very good album with some kickarse songs on it, and the title track alone is why one should buy this record.

Well, this is quite disappointing. This is meant to be a compilation which has Dream Theater's best songs. A quick glance at the tracklist and I know something's wrong. Why am I seeing songs such as To Live Forever and Peruvian Skies, and not seeing Metropolis, not seeing anything from the 24 minute masterpiece song Octavarium, and most importantly, not seeing A Change of Seasons. Ridiculous. Don't get me wrong, the songs that are included on the album are certainly good songs, which is why I give this album 2 stars, but they could have picked much better ones. This is really just a collection of Dream Theater's most accessible songs that would appeal to the average person, but not giving an accurate impression of what lots of the band's music is like. Dream Theater is known for their long songs, and yet the longest track that we have here is Endless Sacrifice, at 11 minutes. It's a great song, but it's basically just a verse-chorus- verse-chorus song with a big instrumental section. This is really just a bad representation of Dream Theater, which is exactly what it wasn't meant to be. 2/5

Before writing this review I took a minute to read over what was written about the album by reviewers who assigned it a low rating. Words like "unemotional" and "cheesy" seemed to pop up fairly often. For the life of me I simply can't fathom how someone couldn't be stirred by these songs. Sure, some people make the statement that feeling is sacrificed as technical proficiency is increased, but I've never believed that idea even for a split second. This album hits emotional peaks in each track, stirring my feelings in a truly unique and profound way. This album balances the drive, bombast, and wild technical figurations of metal with the atmosphere, diversity, and adventurous spirit that are to me quintessential elements of prog. If this marriage sounds too cheesy for one to appreciate, that's just a reflection of their taste, and that cannot be disputed. But don't ever say this music is unemotional, even for a second. At the end of the day, pushing the envelope is a quality integral to the progressive genre, and this album did just that. It leads you into a world all its own. Every time I listen to it, I discover something else, feel emotionally satisfied, and can barely believe that much time passed, as it only seems like I've been listening for mere moments.

Pull me under starts with a dark and melancholy atmosphere. The energy picks up as the track winds through multiple changes of mood and texture, demonstrating strong form and technique. Even though it may have hit-like qualities, given its verse-chorus-solo-etc structure, there's enough going on to keep you from getting burnt out with repeated listens and is an undeniably appropriate and effective album opener.

Another Day is a song I have a real soft spot for. This song opens with such a powerful, uplifting theme on the guitar that is later repeated by soprano sax. The mood is very calming and reflective throughout, crescendoing to a powerful climax with Petruci's solo, perfectly marrying technique and emotion. The atmosphere evokes such powerful images every time I listen to it, and while some find it cheesy for whatever reason, I believe it to be an indispensable track.

Take the Time is one of the grooviest metal songs ever. The rhythm section and sparse guitar comping in the verse is really tight. This song, like several others on the album, showcases the unique talents of each member while presenting a tight, unified tune where the whole of the mix is ultimately greater than the sum of its parts. The unison guitar and keyboard work is really tight, and the balance in each passage is remarkable considering the activity of each part. This is a track you're guaranteed to continue learning new things about with each listen, and your appreciation for it will undeniably increase every time.

Surrounded took me a few listens to appreciate admittedly. The 9/4 meter after the beautifully calming and reflective keys and vocal intro didn't quite gel with me at first, but after I got used to it the song became more cohesive. The lyrical delivery by LaBrie is quite remarkable here, not because it's overtly technical or virtuosic, but because it fits with the more subdued (by comparison) approach exhibited by the band, giving the words a chance to stand out more. The rhythmic delivery is quite catchy and seems very natural, which is an impressive feat considering just how precise the articulation becomes in the second verse over the asymmetric meter.

Metropolis Pt 1 is an over-the-top display of virtuosity by each instrumentalist between the vocal passages, and I love every minute of it. The level of playing on the whole album is already top-notch, but this is a milestone achievement in all of music for both individual and collective technical talent. I won't take the time (pun intended) to dissect the song given its dense nature and innumerable changes in meter, key, and texture, but I will say it's a truly remarkable song with some of the best playing you'll likely ever hear. It's an auditory workout, for sure, and absolutely impossible to digest on the first, or even tenth, listen, but it's fascinating on all accounts and shouldn't be missed by any prog fan, whether or not you like the metal aspect. I feel it's important to see just how far the envelope is being pushed by this powerful sub-genre.

Under a Glass Moon is a track I absolutely love. Of all tracks on the album, this one has the greatest sense of drive and focus while retaining that adventurousness characteristic of all the others. Each section has a unique power all its own, propelling the action forward to one of the most exciting breaks on the whole album, if not the most exciting one. The unison key and vocal part peaks above Myung's most solid groove ever as the guitar adds a colorful counter-melody in the background. The guitar solo that comes later is one of Petruci's best, and the support by the rhythm section is so solid. Of all the songs I've listened to in my life, this is undoubtedly one of the best examples of balance within a solo passage. The solo is powerful, inventive, and memorable. I don't think it could've been any better with 100 more takes. To exit the passage, the band regains their unified status and keeps the energy going up in a driving 7/8 passage with the keyboard soaring above the action, pulling you further and further in. What a tight song! So strong yet so balanced. Every member contributes something truly exemplary to the track, but if I'm picking an MVP, it's Myung. His bass groove was so tight in the pre-solo and solo-sections. It's one of my favorite grooves ever and it stands out so well without dominating the mix. Basically, if you're a bass-lover like me, you'll latch on to that and love every second, but if you want to focus on everything else, you won't have to feel like it's standing in your way.

Wait for Sleep brings you to a whole new emotional place. Its melancholy atmosphere wraps around you, as opposed to the forceful delivery of every other track. The only instrument to accompany the vocals is keyboard in a frequently shifting meter that somehow doesn't detract from the more reflective, ambient quality of the music. LaBrie delivers the vocals in a restrained, emotional style similar to the other more laid-back songs on the album. Even though I liked the power behind his higher wails, it was great getting to hear this instead to show he has a broader expressive range, and I really connect with the somber approach he adopted here. The keys end on a minor chord and the atmosphere dissipates before the final track begins.

Learning to Live is a truly phenomenal track from start to finish. It serves as a terrific culminating statement for everything this album encapsulates. The first section begins in a driving, asymmetric 15/8 meter where the keys play a theme that will serve as a foundation for future passages. The activity subsides and the vocals begin over a calm pad of background keys, a leaping bass part, subdued yet still interesting drums, and interjections of guitar between lyrical phrases. The vocals here are the best on the album. LaBrie's layered part is so strong, so compelling. Every time I hear it, I reach an emotional peak unlike any of the other tracks. The range of feelings and expressions he uses from verse to chorus to following verse to bridge is so great that you can't help but run the gamut from positive to desperate feelings with everything in between. Following many transitions and unique instrumental passages demonstrating just as wide a variety of moods and textures as the preceding vocal ones, we are treated to one final reprise of the chorus and an outro that sums up not only all we've heard in this track, but the prevailing atmosphere and energy of the album as a whole. As the final passage fades while the lead guitar strums its penetrating part over the focused rhythm section, ambient keys, and layered vocal harmonies in the background, you are brought out of the magical world this album creates with a sense of satiation and invigoration. Paradoxically, it seems to beckon you back again just as easily, as if to say you'll never truly discover all its secrets, but you're welcome to try.

I've heard other dream Theater albums since, but this one still sits above each of them in my list of personal favorites. This album represents the perfect union of the boundary- pushing spirit of the early prog masters and the drive of the newer generation. I can't recommend this album highly enough, and insist that each listener be willing to give it more than one honest listen. There's a lot to discover here, and it continually rewards those dedicated enough to revisit this wonderful album. There's a lot of depth here, no matter how some people like to make a habit of maligning such a high degree of technical prowess by writing it off as unexpressive and unnecessary. 5 stars for this sensational masterpiece.

This EP is well worth seeking out as it captures Dream Theater in all their glory when the band were at their most inventive and one look at the track list would spell this out as it begins with a massive 23 minute epic, the incredible 'A Change of Seasons' that is segmented into 7 parts like the old vintage epics that used to swallow a side of vinyl. This track alone is worth the price of purchase but the EP also has some intriguing covers such as 'The Elton John Medley' and a brilliant version of Deep Purple's 'Perfect Strangers'.

I love the 'Led Zeppelin Medley' reminding me of the melodies of 'The Rover', 'Achilles Last Stand' and 'The Song Remains the Same'. However the real surprise package is found in the live medley at the end simply called, 'The Big Medley'. It features wonderful covers from Pink Floyd, 'In the Flesh?', and Kansas with 'Carry On Wayward Son', Queen's 'Bohemian Rhapsody', the best bits, and then others include 'Lovin, Touchin, Squeezin', 'Cruise Control' and the wonderful 'Turn It On Again' by Genesis.

Overall it is a great EP with terrific musicianship and energetic covers, along with the colossal title track, all jammed into just under an hour.

This one is a tough one to rate since half the album is comprised of cover songs. Therefore I will focus my rating on the original song from Dream Theater.

Change of Seasons is one of prog's greatest epics, and my second favorite from Dream Theater after Octavarium. The song has many parts and ideas, all of which are connected seamlessly. Like always, the musicians are at the top of their game. Derek Sherinian adds an interesting sound to the album unlike any of their others (except Falling Into Infinity of course).

The song is split up into seven parts, all of which offer some unique to the song. The Crimson Sunrise and Innocence are an energetic and heavy intro to the album. Carpe Diem and Another World are LaBrie at his best delivering some emotional vocals. The Darkest of Winters contains some of Dream Theaters best riffs, while the Inevitable Summer has some more atmospheric guitar from John Petrucci.

If I had to nitpick at the song it would be the production of the snare drum. it sounds too harsh and loud. Other than that, this is pretty much a perfect song.

10/10

This here is something of a Holy Grail for the early DT fan. A complete show from the Images & Words tour, before Kevin Moore left the band, before James LaBrie busted his voice for years, and before they finished writing a certain song that is arguably (argued by me) their single crowning achievement, and instead played it as a work-in-progress version.

The more I listen to Images & Words and the rest of their output, the clearer it becomes that it stands head and shoulders above the rest of their full length albums. The reason most likely is that because of the label problems and the frustratingly unfruitful search for a new vocalist they had years and years time to hone the material, making it extremely colourful and sophisticated. Pure instrumental magic, and when they did in the end find their vocalist, he fit the material perfectly.

Recorded at home turf slightly before the Marquee show, the band in general are in good shape, if that's a surprise to anyone. There actually are some rare sloppier moments and plain [%*!#]-ups, like in the beginning of Take the Time when Moore misses his cue, but they're quite few and far between. The setlist is obviously mostly excellent given the album they were promoting, and a couple of future B-sides make an appearance as well. Detracting from the excellence is The Killing Hand, which could've been replaced by four or five better tracks from the debut album, and the less said about the drum solo interrupting The Ytse Jam the better.

LaBrie isn't having his strongest night here. Far too often he ends up wobbling somewhere around the correct pitch even in lower registers (in all fairness that's probably due to monitor problems rather than lack of skill, but for the listener it makes very little difference), and when his tour-strained range is not enough for the higher notes, he usually resorts to a croaking, ugly falsetto. But what he missed in accuracy he surprisingly well makes up in raw, gutsy delivery, and while he may at times come off as a slightly feminine choirboy with no real threat to his snarl, here he manages to be quite convincing. The chorus of Pull Me Under is my favourite example of this.

Historically the most interesting song is obviously the halfway-there-version of A Change of Seasons. And I say it was very very wise of them to leave it on the shelf for a few years. The structure of the song is very much ready, but the intro would be fleshed out a couple of minutes worth, a lot of the lyrics would be reworked, vocal arrangements would go through a lot of refining, and some soloing sections would be completely replaced. It might me just the force of habit of listening to the final version, but I'm still going to say that every single change they made was for the better, and this version is valuable mostly for being historically interesting.

When you see the word "bootleg", the first question is obviously the sound quality. And as far as bootlegs go, official or not, this one is rather a good one. A quite clear soundboard recording, with some variance in quality. Most of the time the instruments are well in balance, but at times it may feel difficult to find Petrucci in the mix. But most of the time it's fine.

If you have a choice betweeen Live at the Marquee and this one, don't hesitate to spend a few extra bucks, euros, what have you. The slightly inferior sound and performance quality are made up in the extensive set list. This is a very good live album.

(Star rating rounded up from the three and a half originally given at MMA)

Dream Theater "Metropolis Part 2: Scenes From A Memory" 9/10

This incredible composition of the art that is arguably one of Dream Theater's best is my entry into the world of progressive metal. It was the summer of 2004, and my father put it on saying a buddy of his recommended it. This awesome album dragged me into the undeniably fantastic world of prog metal, and did not let go; The incredible riffs and technical aspects accompanied by a gospel section and truly excellent storyline. Yes, this play-in- music concept album had me hooked. There is little I have a problem with on this release, as it is expertly delivered by prog metal gods John Petrucci (guitar), John Myung (bass), Mike Portnoy (drums and percussion), Jorden Rudess (keyboard) and James LaBrie (lead vocals). The instruments are all played with extreme finesse, professionalism, and soul- lifting talent. It it quite evident these boys really clicked on this LP.

The storyline on this concept album is simply based on a man finding out about his past life and the tragic love-life and end it beheld, and how it affects his current life. Simple, yet the delivery of the story carries the listener over and intense ride of simply genius prog riffs and melodies, leaving them baffled. At my discovery of the album I had not heard of a concept album before, and I thought it was an incredible and awesome thing to do, especially how Dream Theater set it up, i.e. Act I Scene I, II, III etc. Very creative track listing technique. Throughout the album, the "voice" of LaBrie switches from the modern character "Nicolas" and past life regression "Victoria" which is a creative idea, and helps carry the concept.

Scenes From A Memory is ripe with the incredible technical aspects found in prog, drawing specific attention to the album's second instrumental, "Dance Of Eternity" I stumbled upon a video of drummer Portnoy going over a chart he made up that was used in the song's recording. The chart is used to detail what the time signature is for each bar towards the ending of the song, and the changes are intense. The time signatures change almost every bar, with examples such as 5/4, 9/8, 7/8, 3/16 etc. The complexity is astonishing and the performance is incredibly immaculate. If you have not been convinced of this band's talent yet, this song is sure to convince you at least, if not blow your mind.

With the attention drawn towards technical ability, we bring in Portnoy again. He has mastered the progessive metal drumming found on this album. Thinking of the track "Home", at roughly the halfway point of the song, he puts out an incredible amount of technicality into his playing, which ends up sounding like he has at least three arms. Portnoy is not the blast-beat death-metal style technical drummer, nor does he need to. He easily accomplishes an astounding amount of awesome through his style, and does an excellent job displaying his ability on this album. Even with the more simple beats and rhythms he does, I find myself incredibly interested; His delivery is fantastic. Additionally, found on the final track "Finally Free" is small drum solo played very well with the music. It involves both simple and technical aspects Portnoy possesses, and displays very well his ability to throw even more talent at this album. Played over a menacingly heavy riff, the drum solo adds the metaphorical cherry to this piece of art; The solo is perfectly placed, and compliments the mood quite well.

To help accent the technical parts of the album, we find light and/or acoustic and/or piano sections filling the gaps. The beautiful tracks "Through My Words", "Through Her Eyes", "One Last Time" and "The Spirit Carries On" hold on to some impressive sounds proving Dream Theater's ability to play both heavy and technical, as well as light and simple, and to do it well. The songs "Through Her Eyes" and "The Spirit Carries On" contain some incredibly beautiful and definitely enjoyable gospel sounds, featuring the astonighing voice of Theresa Thomason. Her delivery, assisted by the gorgeous sounds of Petrucci's guitar, is beyond awesome. Truly among some of the great moments of Dream Theater, especially when listening to/viewing live versions.

The songs final track begins with the concept album's hypnotherapist, played by Terry Brown, speaking to Nicholas, and ending the session of regression. The song begins a dark atmosphere, transitioning into a desperate sounding piano section with LaBrie singing over top. The song's lyrics seem to summarise the events from Nicolas' past life throughout each section. Following the lyrical section is the dark, heavy and menacing section I mentioned containing Portnoy's solo. This continues till the music fades to left side, before cutting out. A fantastic way to end the musical section of the album. The album continues, with the sounds of a man, Nicholas, getting out of his car and entering his home. He proceeds to listen to the news, which is taken from an actual news report from the JFK assassination. He pours himself a drink, sits back, and enjoys a piece of music on vinyl. "Open you eyes Nicolas" cuts in, and the sound of static takes over, which very likely is intended to be the transition to their next album, "Six Degrees Of Inner Turbulence" (2002)

This album easily nets a 5 star rating, as it delivers the progessive metal genre incredibly well. Dream Theater did a fantastic job when writing\recording\producing this album. I am thankful for this release leading me into the real world and leaving me feel helpless and in need of an adult.

Images and Words is a masterpiece from the prog band Dream Theater. This album combines beatiful ballads, heavy songs and epic ones, plus virtuoso parts and a wide palette of sounds.

Pull Me Under it's the most popular DT track. It's a heavy song with a dense atmosphere and various solos.

It's remarkable the vocal range of James LaBrie on this album, specially in "Take The Time". This song is a rollercoaster of solos, fast arrangements, all packed in odd meters. The intro's arrangements reach a level of musical synergy never heard before.

Metropolis Pt1 it's another classic track. Played in the majority of live gigs, it's a powerful and complex song. The drums sounds really hard (or harsh, maybe) but, musically, Portnoy makes and excellent job.

Learning To Live is the epic song of I&W. Just listen to Kevin Moore's arrangements, Petrucci's solos and Portnoy's sensitive drumming. The outro is amazing too and invites you to play the album over and over.

I give it 5/5.