MUSIC REVIEW: Dream Theater - Scenes from a Memory (reconsidered)

"Progressive metal's finest hour (or 78 minutes)."

There are a lot of great progressive metal bands around these days. There's the symphonic and stylish Symphony X, the increasingly evolving Fates Warning, the original and daring Pain of Salvation, the technical powerhouses Power of Omens, and many others.

But among them all, Dream Theater remains the best. To me, no one else defines progressive metal like these five brilliant musicians. They strike an incredible balance of power, technique, emotion, and melody with a unified vision possible only with the remarkable degree of chemistry these guys share. And, in many ways, Scenes From A Memory is their best work.

Here's the skinny: It's a 78 minute concept album whose story stems from the original "Metropolis" mystique from their breakthrough album Images And Words. This is the album Dream Theater wanted to make all along, with no pressure from their label, and no regard for commercial success. It's a feast for the music lovers, with a good enough ear for composition and melody that the technique never overshadows the song. Dream Theater's critics love to attack them for going overboard with solos and instrumental sections, but it's never bothered me simply because they play with a lot of heart. John Petrucci is an outstanding guitar player who never restrains his technical ability, but most importantly he plays with a tremendous amount of soul. The encouraging heroics of his solo on "The Spirit Carries On" encapsulate this idea better than anything. It's pure beauty in music.

DT may not be able to repeat the greatness of SFAM in the future, but if they continue to make the music they love, there will never be another good-but-flawed Falling Into Infinity. They will continue to take great strides beyond their peers and continue crunching the mold to their image while making some of the best music out there.

MUSIC REVIEW: Dream Theater - Metropolis 2000, Scenes from New York (DVD)

"Astonishing live prog metal."

Dream Theater's concept album Scenes From A Memory is jaw-dropping on CD, but one gains a whole new level of appreciation for the work when one sees it performed. I mean, Dream Theater plays some really complex stuff here, and it's awesome to watch. "The Dance of Eternity" is insane, and the instrumental section of "Beyond this Life" has some really tough harmonization and unison lines. John Myung's dexterous bass playing is especially incredible to see because it's sometimes difficult to hear him in the mix on the CD. Jordan Rudess is truly a god among keyboardists, and I don't doubt that in a few years we'll regard him with the same deference as legends like Rick Wakeman and Keith Emerson. It's almost uncanny how easily he plays everything. What's also interesting about him is that he doesn't use racks of keyboards; he controls everything from just one, and switches between sounds with a pedal. Very cool. For much of the show, I just sat there with my jaw constantly hitting the floor thinking, "How the freakin' heck do they do that?"

The band puts on an incredible show. The band usually has a sort of calm stage presence, but here they're gushing energy. LaBrie's vocals never miss their mark, and in some ways his performance is better here than on the CD. I hadn't realized he had this much live power (let's not forget that he's an operatically trained vocalist, too). The band recreates SFAM's story using images on the big screens, which is good for those who didn't quite grasp the plot. (I understood the story, but it was nice to finally see what the breaking glass was on "Finally Free.") The band also brings in the hypnotherapist, the gospel choir for "The Spirit Carries On," and Theresa Thomason to sing Victoria's lines on that same song. Here, they've essentially recreated the album better than I could have imagined.

The bonus material is great. Personally, I found the "Making Of" section very interesting, and the band's audio commentary for the concert is really quite funny. The "Deleted Scenes" are a dream come true. I never expected to see the band perform "A Mind Beside Itself" in its entirety, and the electric version of "The Silent Man" is an intense extension of the original song. "Learning to Live" is a great anthemic song, even better here because of LaBrie's vocal improvisation during Petrucci's heroic guitar solo (the one right after LaBrie's hits that high F). And the best of all... "A Change of Seasons" as an encore, with some fun embellishments during "IV. The Darkest of Winters.

What I'm getting at is...this DVD is incredible. If you're a DT fan, you absolutely need this.

MUSIC REVIEW: Dream Theater - A Change of Seasons

"Dream Theater's ultimate epic."

I think we can thank the bootleg The Dance of Eternity for this fantastic release. The Dance of Eternity was recorded during the I&W tour, and at that show they played "A Change of Seasons" in its entirety. As the bootleg was distributed, demand grew for an official recording of the band's magnum opus. The band finally conceded and released the song a few years later with some bonus live material.

This 23-minute track encapsulates Dream Theater's greatness. Emotionally powerful, often heavy, sometimes soulful, audacious, and technically challenging music. The production here is very good, perhaps Dream Theater's best studio recording up to that point from that perspective. More importantly, the band understands how the write a captivating epic that never seems boring... in fact, it's so enthralling that you barely realize it's over. Written in seven movements, the seasons parallel an semi-autobiographical story about growing up and coming to terms with mortality. It is very touching at times, especially with the heart-wrenching licks of Petrucci's solo on "V. Another World." The virtuosity also makes an impression, especially the lightning fast solos and unison lines on "IV. The Darkest of Winters." LaBrie's vocals never miss their mark, and he further establishes himself as one of progressive rock/metal's most emotive singer. What you have here is perhaps the best song by progressive metal's greatest band.

The bonus live material is great. It's very cool hearing an Elton John song (of all things) that gets Dream Theater's magic treatment. I'm no Elton John fan, but the cover is good! "Perfect Strangers," (Deep Purple) is a perfectly fitting song for DT to play, while the Led Zeppelin covers and the "Big Medley" are also enjoyable. They had a bunch of room left on the disc, so I'm disappointed that they didn't include more songs from this show. I would have liked to see Metallica's "Damage Inc." and Tori Amos' "Winter" included here, and maybe the excerpts from Yes' "Starship Trooper" and "Siberian Khatru." Ah well...there's always the bootleg...

(Ignore people griping about the covers. Like them or not, it's just bonus material...concentrate on the actual song from which the EP draws its name. It's stupid to judge an album based on bonus material.)

Quite simply, you cannot qualify as a Dream Theater fan until you add this disc to your collection.

MUSIC REVIEW: Dream Theater - When Day and Dream Unite

"The sensational (and underrated) debut."

The fact that Dream Theater's nucleus (guitarist John Petrucci, bassist John Myung, drummer Mike Portnoy, and keyboardist Kevin Moore) were able to produce an album like this in their very early 20s is astonishing. Implementing various influences, such as Rush, Iron Maiden, and Queensryche, Dream Theater became one of the torchbearers for the progressive metal movement. The instrumental faculty they display at this early stage in their careers in amazing, and their creativity is incredible. From the progressive metal trappings of "A Fortune in Lies" to the dazzling feat of virtuosity that is "Ytse Jam" to the grandiose, gorgeous epic "The Killing Hand," Dream Theater shows that they are a band with talent, brains, and ingenuity.

There's a slight element of 80s' cheese, especially with Charlie Dominici's vocal style and the amusing pop-metal banality of "Status Seeker," but it doesn't undermine the album's inherent quality. It's not like Warrant's "Cherry Pie" or some shit like that. Dominici's voice, however, lacks the skill, power, and emotion that Dream Theater's music necessitates. (He's not HORRIBLE, he just doesn't fit the music very well at all.) It's also unfortunate that the record's production can't complement the band's fervor. Terry Date is generally a fine producer, so I attribute the rotten production to the low budget with which this album was made.

If you're a Dream Theater fan, you owe it to yourself to own this one. It has some of their best songs (especially the phenomenal "The Killing Hand"), and you can gloss over the shortcomings with your love for this band. If you new to Dream Theater and looking for a place to start, then dear god DON'T BUY THIS ALBUM! The crappy production and iffy vocals may turn you off of the finest progressive metal band on the planet. Get Images and Words or Scenes from a Memory to start with instead. Those are good places to begin.

MUSIC REVIEW: Dream Theater - Falling Into Infinity

"Some of their strongest material, but a lot of their weakest as well."

Mike Portnoy says that the recording of Falling Into Infinity almost broke the band up. Pressures from their record company to make a commercially appealing album were teeming here, evidenced by some very commercial rock songs and some standard ballads. In interviews, the band expresses considerable displeasure with their work here, with only a few songs ("Lines in the Sand", "New Millennium", and "Just Let Me Breathe") making the band members happy.

I can see why the band regards this album contemptuously. There was obviously a lot of strain between the band and their label. At the same time, it's strange: even though the band was clearly being burdened, they churned out a pretty good record on the whole. It's not my favorite DT album; it's notably more commercial, the production isn't so hot, and LaBrie's singing seems to be lacking some energy. But it doesn't need to be "the best", because I still enjoy it, and there's some truly great moments that are easily among the best they've ever done.

The three epics are probably the best offerings here. First, we have "New Millennium", an energetic progressive rock piece with some weirdly cheesy lyrics. "Lines in the Sand", is a phenomenal 12 minute piece that feels extremely short. Petrucci's evocative and metaphorically rich lyrics shine here, as does his incredible slow tempo solo in the song's middle section. The album closer, "Trial of Tears", is thoroughly excellent. It's lyrically introspective though very straightforward, but musically it's highly engaging. Particularly excellent is the stunning instrumental section in the middle. Derek Sherinian's best contribution to the band is here in the form of an incredible keyboard solo that moves me every time I hear it.

The shorter tracks show more of a dichotomy of quality. "You Not Me" is an awfully generic rock song. The original version of the song (available on the "Hollow Years" CD single) is much, much better. (Desmond Child came in and messed with the original.) Still, I think that the song could have done well on radio. The band would have sold quite a few additional albums if this had been a single release. The chorus' melody is catchy and the lyrics have a good hook or two. The next song, "Peruvian Skies" compensates for that lapse of mediocrity. It has a "Black album"-era Metallica feel, starting slow, then upping the tempo and rocking through the remainder of the track. "Hollow Years" is a pretty ballad with classical guitar (hooray!), if slightly repetitive lyrically. "Burning My Soul" is a tad insipid, with embarrassing lyrics and uninteresting mid-tempo metal. The stunning instrumental "Hell's Kitchen" serves as more than a lengthy segue into "Lines in the Sand". It's slow and beautiful, with grandiosity surging with the ending. "Take Away My Pain" is a good, emotional ballad, but I think the production weighs it down (cuz it's a great live song). "Just Let Me Breathe" is a rocker with catchy riffs, but the lyrics are dumb and and it's too long. The best part about it is Sherinian's keyboard solo, which is probably that dude's best contribution during his time with the band. Good live song, as well. Few people seem to enjoy the ballad "Anna Lee", but I like it a lot. It's a touching song about child abuse or something, with a beautiful chorus and a fine main piano melody.

I don't enjoy FII as much as I used to, because the songs have more energy live. The album almost feels tired, as if the band was bored while recording it. That missing energy is captured in the live setting though. Still, I regard FII overall as an fine release from progressive metal's reigning band. But who knows...maybe I'm just more forgiving than other people. All I know is that everyone in Dream Theater is a tremendously gifted musician, and despite the difficulties they made an album that is still better than most progressive metal bands can make.

MUSIC REVIEW: Dream Theater - Scenes from a Memory

"A stunning tour-de-force -- the best prog metal album of all time."

In a time when most bands have stopped trying, Dream Theater continues to challenge themselves. Simply put, no band has Dream Theater's bombastic musical audacity...at least, no band with signed with a major record company. After nearly breaking up following the stressful recording of Falling Into Infinity, the band managed to convince their label to let them produce the record they wanted all along. As a result, the band has made their finest work.

Extrapolating the saga of Images And Words' "Metropolis Pt.1" is the stunning concept album Scenes From A Memory, an epic suite divided into twelve parts. The original concept was delightfully obscure and nebulous...almost mythical. The band has taken the concept and fleshed out the core ideas, producing a slightly unusual two-act murder mystery. Lyrically, the album sometimes comes across flat. Judging from earlier albums, we know Dream Theater can shine lyrically, but given the story approach, their diction is straightforward, generally lacking the profundity of their earlier lyrical work. In terms of writing, this is no Operation: Mindcrime. Nonetheless, the tale is reasonably compelling, with a striking revelatory moment when the listener unravels the mystery of the plot. Despite the sometimes prosaic style of writing, between the plot, story, and music, it's barely a fault.

Musically, the band seems to be going all out. The album begins with a tepid acoustic number "Regression" but then floors the listener with the stunning instrumental "Overture 1928." From there, the album's 77 minutes of music covers plenty of ground, from heartfelt piano ballads to eastern chord progressions, from furious assaults of shredding to synthed orchestral sections and a gospel choir. All the musicians make an impression, particularly on the insane instrumental, "The Dance of Eternity." This frenetic six-minute flurry of notes that changes time signatures every bar (with weird stuff like 19/16 and 15/8), swaps between piano and guitar leads, stuns with a mind-boggling bass solo, and a seamlessly incorporates a ragtime piano section. (Fans with keen ears will even pick up a section from "Metropolis Pt.1" played backwards.) Scenes From A Memory does an outstanding job establishing musical cohesion by intermittently using familiar riffs, both from this record and "Metropolis Pt.1". This is an important artistic choice as it forms continuity, and it is done with notable success here.

Special mention goes to Jordan Rudess, the band's new keyboardist, recruited after Petrucci and Portnoy worked with him on Liquid Tension Experiment. Whereas most keyboardists (in progmetal) do little other than offer a string synth and occasional solo to support the guitar, Rudess is the one of the more interesting and original keyboardist of the genre... he shares the spotlight with the guitar rather often. He exacts a perfect tone during solos, which eliminates the "cheese" sound often attributed to the instrument. He employs sitar samples, fairly genuine sounding orchestral synths, stunning piano, and other quirky sounds (like this strange trumpet thing on "Beyond This Life"). His technical brilliance is superlative...seriously one of the best keyboardists on the planet.

The album enjoins a gamut of emotional reactions from the listener. Particularly distinct are the emotions in the respectively heartbreaking and joyful ballads "Through Her Eyes" and "The Spirits Carries On" as well as the underscored anger and hopelessness in "Home" and "Finally Free." This is mainly attributable to vocalist James LaBrie's emotive performance. Compared to his earlier works, his vocals here are less high-key but very refined and expressive. I get uncontrollable chills whenever he sings the final section of "Through Her Eyes," or The Miracle's sinister soliloquy during "Home."

Finally, I will quickly address the accusation that Dream Theater cares more about showing off than writing good songs. This is absolutely untrue. As a metal band, they can be intense, but a solid melodic element is intact. Their solos are not masturbatory; they inject the songs with a high-point of emotion or intensity. Even moments of striking dissonance prove to be engaging.

I think it's understood by now that I regard this album with reams of deference. It's completely awesome. Buy it...it's astonishing. This was released in 1999, and to date there has never been a better progressive metal album.

Dream Theater - Images and Words

"The defining moment for progressive metal."

Dream Theater is typically scorned or adored by progressive rock fans. They certainly have their critics; there's no shortage of people derisively accusing them of overindulgent musicianship and pompous compositions. Concurrently, they have a fiercely devoted legion of fans who praise them as the torchbearers of progressive metal. Their definitive brand of progmetal spawned a good number of copycat bands, none of which can equal the preeminent originality and overall musicianship of Dream Theater.

With a ton of new material and new vocalist James LaBrie, Dream Theater hammered out an incredible piece of work with Images And Words, their breakthrough album, often lauded as their best. LaBrie was the ultimate choice to replace former singer Charlie Dominici; his operatic training, tempered with the aggressiveness of metal, was perfectly suited to DT's theatrical and soaring compositions. Whereas Dominici could not support the band's intensity, LaBrie's powerful tenor and ability to change notes on a dime surpasses all but the greatest singers in the metal genre.

I&W's predecessor, When Dream And Day Unite, was merely a vague indication of where this band was headed. By way of comparison, Images And Words is more complex, engaging, unique, and sincere. The myriad style influences, lengthy and elaborate instrumental passages, deep lyrics, curious meter measures and shifting time signatures imbued the band with a quality infrequently experienced. John Petrucci is possibly the greatest rock/metal guitar virtuoso to emerge in the 90s; Mike Portnoy's drums clearly mark him as the next Neil Peart; John Myung's impossibly complex bass lines are unmatched in their intricacy; Kevin Moore's weaving keyboard dynamics support the heavy guitar focus, but sometimes his lyrical piano leads take center stage, and he proves that just how emotionally powerful that instrument can be. Independently, they are incredible musicians. Together, they form a single, cohering unit whose rapport is unmatched.

And the songs? Complex enough to dazzle, but not enough to sacrifice engaging melodic elements, this album is simply replete with good songs. Every song is indubitably superb, but special mention goes to "Metropolis Part I," a mesmerizingly complex track that establishes the foundation for "Metropolis Pt 2 - Scenes From a Memory," the mind-blowing mega-song / concept album that would be released seven years later.

Dream Theater - Awake

"So good, it HURTS."


Dream Theater's follow-up their breakthrough album Images and Words characterizes a markedly different change in style for the band. Just by looking at the song names, with those enigmatic and dismal titles, you can tell that Awake is a more darker, more serious record than the relatively positive and hopeful feeling I&W. Some would say that this is the inferior album, but I think that the somber arrangements yield more emotional intensity, with more profound and honest performances by all the band's musicians.

Vocalist James LaBrie's voice is tempered by a vicious element that lends a deep sense of anger to many of the songs, but at other times he can be wonderfully delicate and soulful. He retains all of his best qualities from I&W, but he expands his vocal vocabulary by better utilizing his ample range. John Petrucci's guitars are dazzlingly technical, but what makes him so special is that he can isolate and preserve the emotion in the music. For example, the dissonant notes in the solo of "Voices" perfectly encapsulate the feeling of confusion expressed in the lyrics. In a lot of cases, solos present in songs because most people think they have to be. In a Dream Theater record, the solos serve as emotional peaks for the songs. The keyboards imbue the songs with an important sense of atmosphere. Just listen to the haunting "Space-Dye Vest," a beautifully somber song anchored by a piano riff that, while quite simple, speaks to you in more ways than other songs in their entirety.

Some people care little about lyrics, but let me point out that Dream Theater writes great songs; they are loaded with metaphorical references and vivid imagery supporting a deep emotionally based theme. Sometimes a metal band can have brains.

To conclude simply, Awake is an incredible album by progressive metal's greatest band.

Transatlantic - SMPTe

"Grade A prog rock!"

Being a moderate-to-HUGE fan of all the musicians involved (from Spock's Beard, Flower Kings, Dream Theater, and Marillion), I knew this was something I had to pick up. I was absolutely blown away! This entire album simply oozes excellent musicianship out of every pore.

SMPTe is a fine homage to the progressive greats of the past -- you know 'em, Genesis, Yes, ELP...all those folks. Indeed, it does sound a _little_ derivative in parts... but the songs are so excitingly arranged and performed that it's less deleterious than it could be. Despite Mike Portnoy's (drummer, Dream Theater), there's absolutely no metal present in this album. He proves that he's a very versatile drummer capable of playing any kind of song. This is definitely rock... however, because of Neal Morse (head honcho from Spock's Beard), there's a pop element present in vocal melodies unusually catchy and "light."

Of course, this album is bound to offend some people. There are those that think only the 70s prog bands are prog, and therefore anything coming afterward is not prog and is automatically awful. If that's you, don't buy this. There's also those that think prog shouldn't have a trace of pop melodic craftsmanship or charm. With TransAtlantic's pop-like vocal melodies and harmonies, you'll also hate this, so stay away.

This is some of the best progressive rock I've heard in years...a solid digression from "try-hard" prog that just doesn't quite cut it. The 30 minute masterpiece "All Of The Above" alone warrants purchasing this album. It's one of the best prog epics in decades! Recurring musical themes, topnotch musicianship, great melodies and arrangements. Also, don't be fooled by the fact that there are only five songs - this CD clocks in at 77 minutes. Just like the good ol' days, huh?

Another merit of this album that isn't so obvious is that it may lead you to some great bands. For example if you're a Flower Kings fan picking this up because of Stolt's involvement, you may go on to explore Neal Morse's band Spock's Beard. There's all kinds of opportunities here! Buy this...it's a little more old-fashioned than the contemporary progressive music scene, but the music is great, and that's what matters.

Dream Theater - Scenes from a Memory

"Ineffably superlative prog-metal masterpiece."


...Let's just get one thing out of the way: Dream Theater is not for everyone. Let's forget musical nomenclature (progressiverock/metal and what not) and just say this: Dream Theater has a very distinct prog-metal style that is that is overflowing with their amazing musical talent. While this talent is always prevalent and evident, DT is often accused of being overly technical while sacrificing melodic songwriting qualities. You might hear the term "musical masturbation" tossed around.

All of DT's members are gods and considered by many to be their personal heroes. But sure, maybe they are pretentious instrumentalists... one might say the emphasis on instrumental sections of extended virtuosity show this. For those who become bored easily without someone constantly singing, or cannot appreciate everything depth of the music (polyrhythms, meter shifts, etc), think twice. You can aboslutely love this album without being a musician yourself -- that might just make you appreciate them more easily.

I think Dream Theater is one of the most talented bands in music today, and this comes from someone who listens to everything: classical, jazz, metal, death metal, prog, pop...you name it. While others see complain that Dream Theater's music is just "musical masturbation," I think it is important for a band like this to strike a balance between vocals and instrumental components. When you have a band this talented, they just need to play.

Of course, the "musical masturbation" complaint might be justified if Dream Theater -- like many bands -- sacrificed intensity and melody for "wank-factor." Dream Theater doesn't do this. This is important: They write awesome songs. Petrucci's music on the guitar is a thing of beauty -- like Joe Satriani, he is "not of this Earth," able to combine technique and emotion and melody into a wicked cocktail. DT's new man on the keys, Jordan Rudess, is absolutely stunning. His piano work is simply beautiful, and his synths are expertly mixed and add wonderful elements to the music. UNlike many keyboardists, Rudess eschews cheesy "laser sounds" and other sounds that often accompany keyboards. Mike Portnoy is hands-down one of my favorite drummers, and bassist John Myung -- a subtle player who is easy to overlook -- is also a complete virtuoso and lays down wicked bass lines.

Of course, it wouldn't be complete without James LaBrie's stunning vocals. LaBrie has heaps of talent, and he sounds different than the usual Geoff Tate wanna-be that seems ubiquitous in prog-metal. With unrivaled range, hunger, and emotional intensity, his voice really captures the emotion of the song, especially in the heartbreakingly beautiful ballads "The Spirit Carries On" and "Through Her Eyes."

Many people are dismissing SFAM's lyrics as disposable, and these woeful individuals are missing the point. What we have here is a concept album that is telling a wonderful story about death, deceit, and love (sound corny? Don't worry, it's not). The lyrics are mostly handled by Petrucci and Portnoy, and it's not divine poetry but it's pretty good. Fans of "Metropolis Pt.1" will recognize familiar bits from said song. Lyrics are articulate and always sound, well, good! Especially given how touchy it is to wield subject matter like this. People have compared this to The Wall (Pink Floyd), Operation: Mindcrime (Queensryche) and other concept albums, but this isn't a very good comparison. SFAM stands on its own and is simply beyond words...absolutely incredible. There isn't a concept album with this kind of over-the-top musicality and operatic scope. Complaints about the ending are also missing the point: It's supposed to leave the listeners hanging...we'll have to wait until part III to find out how it continues...(if they release a part 3, that is).

In the end, Dream Theater really shows what it's made of with SFAM...a band with heart, skill, and impact. The musicianship, studio recording quality, and story line are beyond reproach. Some people may find the instrumental bits a little overbearing, but if you appreciate the talent and the melodies that are in action, you probably love it as much as anyone else who's given it five stars.

Finally, make sure you do your best to figure out the story line. The album transcends mere music to something so much more once you develop an emotional attachment to the events portrayed in SFAM. This is how it is with most people.

Highly recommended.

Dream Theater - Once in a LIVEtime

"Pretty awesome, marred by some weak performances and sound issues."

Although a very worthwhile purchase, Once in a LIVEtime, a 150-minute double live album, suffers from some unfortunate problems. The sound quality, which is always touchy with live albums, is visceral and raw, but the keys and guitars sometimes drown each other out. Also, Portnoy's bass drums are too loud have an annoying "slappy" sound here that I could do without. Then there's James LaBrie's voice. Half of his performances are sincere and powerful, others sound tired and strained. Heck, he even sounds like total CRAP on a few songs, where he actually sounds like he's losing his voice. This tends to manifest on some of the more aggressive moments like the mid-section of "Voices" or "Pull Me Under." On the second verses of "Take the Time" (the ones sung high), his range just falls apart and you can barely make out what he says. Still, he performs excellently on many songs, especially the slower ballads. "Trial of Tears," "Hollow Years," and especially "Take Away My Pain" are all very beautiful here, with an added feeling of emotion that wasn't present on the sterile studio performances. "Take Away My Pain" is one of my favorite performances on this release. Jay Beckenstein contributes some live saxophone, LaBrie's pipes flare, and it slaughters the original. "Scarred" is an awesome live song, and here the band adds a new intro rich in atmospherics and tone (BUT they cut the awesome outro). A mammoth jam is tagged onto the end of "Take the Time," which only a DT fan can appreciate, but they'll love it. Mike Portnoy's drum solo is just...impossible. Petrucci's guitar solo on disc two is incredible. Impossibly fast, charmingly melodic, quoting Liquid Tension Experiment's "Paradigm Shift," and it's tough not to smile when he brings in "Flight of the Bumblebee." I think my favorite moment on the album is the final medley of "Metropolis pt.1/Learning to Live/ACOSVII - The Crimson Sunset." The segue between LTL and ACOS never fails to give me chills. It's so perfect, so beautiful, as if they were meant to be connected. A must for fans, but DON'T buy this if you've never heard this band before.

Dream Theater - Live at the Marquee

Very worthwhile, despite limited content

A Dream Theater live album under 50 minutes? Only six songs? All I can say is... "TOO SHORT!!!" Live at the Marquee isn't exactly a bang for your buck, but nonetheless, it is very worthwhile. My biggest beef (aside from the fact that it's not beefy!), is the performances are so polished. Overdubs saturate this album, which is basically note for note perfection of the studio songs. I've heard bootlegs from the _Images and Words_ tour, and they don't sound too much like this. The bootlegs are more raw, more intense. Nonetheless, it is still essential to have it in your collection. That's because it's one of the few official releases where you can hear some of this stuff. It's also incredible hearing LaBrie's sing songs from the debut, When Dream and Day Unite. "A Fortune in Lies" gains a whole new level of intensity, and "The Killing Hand" is more epic, more powerful with LaBrie's operatically trained voice. "Bombay Vindaloo" is a menacing instrumental jam that shows off the band's incredible synergy. This is also the only official live release as of this writing where you'll get the chance to here "Surrounded," which isn't much of a concert staple for the band these days. (And it's one of my favorite DT songs!) Unless you want to hunt down bootlegs from the I&W tour (an expensive and frustrating endeavor), this is good to have. It's just too bad it couldn't have been so much more.

Dream Theater - The Silent Man [Single]

An essential release for "Eve" alone!

"The Silent Man" is a great song. This version of "Take The Time" is also pretty good. But "Eve"...the English language is inadequate to describe this song...it's so good that our vocabulary would need endless synonyms for "beautiful" to accurately convery the sheer beauty of this tune. It is without a doubt one of the greatest instrumental rock songs I've ever heard in my life, and it is brimming with emotional power. It exudes a slow, silent intensity and is tremendously vocal despite the fact that James never even says a word. Simply beautiful. I'd happily pay five times the cost of this disc for "Eve" alone.