Yit Say Jammer's incredibly fanboyish and unnecessarily detailed TOP 50 thread

[Yit Say Jammer]

Last update before the top thirty.

There's a bit of controversy in this post namely because one song I even admitted probably shouldn't even be in my top fifty. Anyway, enjoy.

Warning - this next post is a little self-indulgent. I apologise for that.

Number 34 - Afterlife - When Dream and Day Unite

"In a world full of constant confusion,
I will not be a par to the craze,"

Why it made the list - I suppose this is sentimental. For me this was the first Dream Theater song I ever heard. It was a song that made me curious and want to check this band out more. The fast guitar intro punctuated by the cymbals of Portnoy and the wacky keyboards of Moore really packs a punch. Dominici's best vocal performance of the album is also the best song on the album. And as is the case for much of this album, the bass is not only audible but quite noticeable.  The solo is hands down the best off the first album. Especially the unison part just before the final chorus. So there's really a lot to like about it.

Why it didn't finish higher - the thing about the first time I listened to WDADU is most of the songs sounded samey and nothing really jumped out. I'd just listened to Light Fuse and Get Away and then this starts and as I heard the intro of that I realised it was very similar. It didn't impress me. At this point id forgotten about the song I heard all those years ago. Then when I heard the chorus and I realised this was that song. The trouble is, despite this being such a great track, it did wear off a fair bit. At this point I would say it should be far lower on the list but I can't reshuffle it after I've airway posted it.

Why it's the best song from WDADU - most has been said but production wise it's probably the best sounding  song. Dominici actually sounds good here and this song suits his voice. The drumming is pretty badass on this track too and since that's my favourite instrument it's only fair I take that into consideration.

Best part - I actually think the chorus is awesome. One of my favourite choruses they have done.

Number 33 - Vacant - Train of Thought

"Alone, helpless, confused.
Head swayed, eyes glazed and mine teared."

Why it made the list - LaBrie's shortest lyrical entry in the DT catalogue is also his most heartfelt. Listen to the lyrics AND the way he sings it. You can hear so much emotion I. What was clearly a really harrowing time for LaBrie. Naturally Ruddess has to be commended for his piano work. It sounds so melancholy and captures the tone of this piece perfectly. The subtle guitar from Petrucci and the violins and bass in the background just add layers to this song. One last thing is that this stands alone from Stream of Consciousness. They are separate songs obviously since this one is almost a LaBrie solo and the other one features the rest of the band. But despite the similar theme playing in both tracks, they are as different as could be. One is a beautiful soft ballad, the other is a heavy hard rocker. One is about a tumultuous event, the other is a collection of different musical themes arranged on a chaotic manner. One is filled with raw emotion, the other is awesome but elicits probably no emotional response.

Why it didn't finish higher - it is pretty hard to rate this higher when there is so much quality above it. Nothing it could have knocked out. Also considering half the band is virtually absent on this track, (no Portnoy on a track on what is considered their heaviest album) I can't exactly rate it higher.

Best part - the chord progressions are gorgeous throughout but especially the last three before the outro.

Number 32 - Sacrificed Sons - Octavarium

"Words they preach,
I can't relate,
If God's true Love
Are acts of Hate,"

From the shortest LaBrie creation to the longest, this song is a very tasteful account of the tragedy of 9/11. Well we're discussing lyrical content so I'll have my say about this too. I have to say, and I hope I don't offend anyone here but in Australia, this was a massive deal. Usually when something happens in the states we roll our eyes and say "Only in America" (this usually refers to a school shooting/mall massacre, etcetera) although it is slightly ironic that the worst single person massacre in history occurred in Tasmania, Australia - the Port Arthur massacre. (He was a fucking psycho too - killed 34 people and then laughed about it to his mother when calling her from jail). Because of our gutless judiciary system here (no death penalty) - he is simply rotting in prison for the rest of his life. That was in 1996, and was a pretty surreal experience.
But this was one thing where you just stood transfixed watching the television and wondering what the fuck was going on. I had never experienced such numbness as the day this happened.  I was actually still in school - in year 11. Half our teachers didn't come in that day so all classes were cancelled (of course they had no way of letting us know that so most of us turned up anyway). It was one of the most surreal days of my life. It didn't even feel like it was real. To this day I'm convinced despite the overwhelming proof otherwise that this day was a horrible nightmare I had. Anyway, so many people and artists have had their day about it but DT didn't do it straight away and waited til it was slightly less topical and when they did it, the song was more about the disbelief and lack of faith. I'm not a religious person at all but in the aftermath of this I seriously questioned those that held faith in such high regard as justification to perform such acts.

Why it made the list - as mentioned above, the lyrical content was handled in a much more subtle way. It is a beautiful song. The haunting piano chords and the slow ballad-like tempo gives it a really perfect sort of feel considering what it was about. A perfect fit. The instrumental section where everyone jumps in and goes crazy is just terrific. Arguably one of the highlights of the album. The orchestra coming in the end adds something more to it too.

Why it didn't finish higher - this song doesn't need to be almost eleven minutes long. The intro with all the samples is great for the scope of the tragedy and all that but it sort of detracts from the song by being just a bit too long. And the outro drags out just that bit too. And a chunk octave instrumental section could have been cut off too. It just drags that little bit which really hurts this song. It could have been top ten otherwise.

Best part - either the second or third verses with the heavy chugging guitar riffs and harmonics too.

Number 31 - The Ministry of Lost Souls - Systematic Chaos

"I was the one who would not abandon you,
Even in death I was the one who would not leave you,"

Why it made the list - let's get this out the way because I'm not normally negative of a song in this part but this song is fairly ordinary apart from the instrumental. The intro doesn't grab me and the outro - well it doesn't lose me but I don't think it's the greatest thing since sliced bread either. But that instrumental section - oh boy! Lots to love there. The best thing is it almost comes out of nowhere. There is a slight build up to it but then the tempo change with the drumming in the background is just awesome. The alternating between Petrucci and Ruddess is also very cool with each getting plenty if turns to shine. This is one of those sections where it starts off good and gets better and better - the unison section leading back into the main theme is amazing. And let's not forget that outro solo. To me one of the best slow outro solos Petrucci does.

Why it didn't finish higher - I've already said it but here I'll go into more detail. The slow start makes it really hard to get right into this song. I mean it's great and everything but it almost feels like I only like listening to this to get to the instrumental part. There's just something about t that isn't captivating. Having said that, I do love the acoustic guitar in the verses. The outro is okay too but apart from the solo with the constant key changes it's kind of dull.

Best part - the guitar solo at 9:25 just before the unison section which is also awesome.

[fischermasamune]

Exactly which of them shouldn't be in the top 50? Looks all of them for me! I wouldn't rank any of those among the best two thirds of DT catalog. I'm realizing (more and more) that you won't have space for the ones I like the most.

[Yit Say Jammer]

Here we are. The top thirty. These songs are incredibly close together. I think from here on in the controversy is going to be less. I have a feeling that my list has been less controversial than I thought it would be because of my detailed explanations. Things like nightmare, dark eternal night and dying soul seemed higher than most while illumination, disappear, count and others are lower. But so far I am yet to see a post saying "OMG, how could you put song x at number y?!! It should at least be z!!!"

Anyway my taste has been pretty clearly established at this point so who wants to have an early stab at my top ten?

We move to the next set of updates which will now be groups of three until I get to the top fifteen. All the following songs (and a few prior) scored at least 9 points out of ten. For all of them, I have extremely pedantic issues with them. Little naggy things that cost it a place.

Number 30 - The Dance of Eternity - Scenes from a Memory

Why it made the top thirty - This is a great indication on how to do an instrumental. Every member gets their chance to shine on this track. Except obviously LaBrie but we'll get to that. I love the way the song takes you everywhere and nowhere at the same time. To me, progressive music is all about the journey and this takes you on a journey to no place in particular. Even though it seems to have no cohesion, like many other instrumentals, the truth is it makes sense. I don't know or particularly care what the music represents. It's been debated and speculated to death. I'm here to talk about why it rocks. Okay so after the first few "verses" we come to an awesome section where the drums start really taking off. Then at about 1:50 the riff that starts is great before the theme introduced at around 2:06 leading into the ragtime section. I actually love at 2:31 the little slide on the guitar (unsure of the technical term for this) before the awesome guitar solo immediately followed and then the equally awesome bass solo after that. A little later there is that built up little riff at 4:23 with the strings/synth in the background. It really is quite an addictive track and as I said everyone gets their chance to really shine. The constant time signature changes just add to the crazy style of the track and how impressive it actually is.

Why it didn't finish higher - it's hard to rate it any higher when there is no LaBrie present. And considering it's Petrucci, Portnoy, Ruddess and Myung, it might as well just be a Liquid Tension Experiment song. Not that there's anything wrong with that. I mean it's still a kick arse song. Just missing that extra element that makes DT so good. As a result there are several other songs featuring all of the band that are actually better than this one. But no tracks better with only music.

Why it's the best instrumental - it's crazy, zany, impressive and filled with complex time signatures. There's less repetitiveness with it and the journey feels more cohesive and relevant than other instrumentals. It also fits so well no matter where you play it. On my playlist this runs into the next song on my list perfectly. On the actual album it runs into One Last Time perfectly.

Best part - everything from just before the ragtime part and the guitar solo and bass solo parts. Terrific section.

Number 29 - Beyond This Life - Scenes from a Memory

"I feel there's only one thing left to do,
I'd sooner take my life away than live with losing you,"

 Why it made the top thirty - this is a solid rocker, pretty much from the get-go. I love how the verses just quiet down a bit before exploding again and then mellowing out at the chorus once again. Then of course there is the awesome instrumental section, with such great build up as every part seems to better the part that precedes it. The groovy riff below the first synth solo of Ruddess  then the first guitar solo with that way wah effect at the 7:22 mark - this is pretty cool. Then a new groove starts and a new riff with a slightly quicker tempo. This is of course where the infamous "horn section" appears. I personally don't mind it. I don't understand why it needed to be out there but it works for me. Underlying this is yet another solid riff and bassline. Then the keyboards and last guitar solo before that unison section all with some amazing drumming. After it all, the main theme returns and the song ties up nicely. Great energy throughout.

Not higher - to be honest, it drags a little, with so much riffing and wankery. Also it feels like it ends twice before it actually does - both times the actual "All that we learn..." part finishes it feels like that will be it. I think it's more that it gets a bit repetitive after that as the central theme is repeated so much.

Best part - I love the first full chorus just before the instrumental. The bass and the guitar and keys in particular are awesome here. The drumming is amazing throughout but in that final chorus it really takes off.

Number 28 - Blind Faith - Six Degrees of Inner Turbulence

"But we do all that we can,
Justify the means to an end,"

Why it made the top thirty - well it's an impressive track with plenty going on. This has some terrific keyboard effects and the swapping between piano and organ and keyboard is prominent which I quite enjoy. The bass is also quite pronounced in this first section. The build up this track has is incredible. It starts off very slow and picks up more and more gathering plenty of momentum before the heavier bridge leading into yet another impressive instrumental section. I like the alternating between guitar and keyboard solos and the two different riffs by Petrucci - the slower one and the more upbeat one. Towards the end of it, as it feels like the song is making a return to the original theme, Portnoy's drumming goes right off. The final chorus is just electrifying! Throughout the song, LaBrie blows me away with his vocals, something he doesn't really do a lot since the Awake era.

Not higher - It's just that little bit too slow at the start and takes a while to really get going. Like so many songs, it is worth the wait though. But if I'm being completely honest, the slow start to it does detract from it slightly. But what really lets this song down is the chorus. It's sort of underwhelming compared to the rest of the song. The radical exception to this is the final chorus but that's mainly because of the heaviness the song has reached by then. I'm also a bit uncomfortable of the subject matter - as I always am when its centered on religion. As mentioned earlier, I'm not religious so can't really relate to the lyrics and feel a little awkward when I overthink them.

Best part - the drumming during the end of the solo and into the final chorus takes this song somewhere else. Absolutely intense!

[Podaar]

I've been reading this thread pretty consistently but haven't piped up...thus, I want to say great job YSJ!

While I may personally disagree with some of the placement of songs it's not anything I've felt strongly enough about to cause me to chime in. Also, after years of reading these threads, nothing really surprises me anymore about differing opinions.

Anyway, the detail of your write-ups is more interesting than the actual song placement.   

[Yit Say Jammer]

There's not much left but the really good ones. These updates are getting longer and longer.

Number 27 - Panic attack - Octavarium

"A stifling surge,
Shooting through all my veins,
Extreme apprehension,
Suddenly I'm insane,"


Why it made the top thirty - BANG! This song hits you right in the face straight away before you can blink. The opening bass intro is pretty cool before the guitars come in and take this song to another level. By far the most in your face song on the album. This is a terrific track for Portnoy too. He just slays. There are some killer riffs here as well. The main one obviously, as well as the one that introduces the instrumental part. That solo is incredible too. Ruddess' is a little quiet but Petrucci's is fantastic before they have the little unison section. The thing I love about this song is that they did Muse again although more subtle than never enough. The intro riff is almost the same as Assassin (only with double bass instead). In fact the chorus ("Helpless hysteria") sounds quite Musey too. As do the vocals on "Run. Try to hide..." I think one of the best things about this track is the bass throughout. Take it out and you'd be left with a fairly good song as opposed to an awesome one.

Why it didn't finish higher - The vocals are okay. But that's it. Only okay. I know LaBrie has the ability to hit those higher notes because he's done it before but when he sings "Run. Try to hide" in falsetto like Bellamy, that to me is a bigger nod to Muse than anything on Never Enough. Not that there's anything wrong with that. I told you I'd be picky. Oh speaking of picky. The outro (after the riff and killer double bass) is shit. What an anti climax. Then that stupid techno shit which I know is supposed to run into the next track to show the slight transposing of key but fuck me that is horrible.

Best part - plenty to love here but in particular I love the unison in the solo just before the final chorus.

Number 26 - Endless sacrifice - Train of Thought

"Like a child that's run away,
And won't be coming back,
Time keeps passing by,
And night turns into day,"


Why it made the top thirty - this song just has an awesome build up, with it's Metallica-esque start and the slow drumming. Leading into the chorus with those fantastic harmonics, and of course some terrific bass. I really love the second version of the chorus - the "Moments wasted..." one. Petrucci slays during that part leading into the instrumental. That riff is so cool and builds the solos nicely. First we have a Ruddess keyboard solo before a new riff is established at around 5:57. Then the initial riff comes in for eight bars before that amazing keyboard/piano interlude and then the typical Ruddess guitar patch (I presume it's a guitar patch) before the first killer solo from Petrucci, one more solo from each if them, half the size of last time and then the crazy unison section. The drums get heavier here too as the whole band vines together for the last vocal section before the final epic chorus. The outro is awesome too with that drum fill (Portnoy doesn't do this very much. I think it's one of maybe three songs in the catalogue that finish like that. Supposedly a popular way to wrap up metal/rock songs) and the general cacophony.

Why it didn't finish higher - it is a little slow. Like most tracks that build up. But I honestly can't think of anything that knocks it down this low. To be honest there's just a lot of songs I prefer.

Best part - the crazy keyboard section of the instrumental as well as the trade off unison section.

Number 25 - Lines in the Sand - Falling Into Infinity

"In this stream of consciousness,
There is a river crying,
Living comes much easier,
Once we admit,
We're dying,"

Why it made the top thirty - FII was pretty hit and miss to me. There were a lot of misses - You not Me, Take Away my Pain, Burning my Soul, Just Let Me Breathe, but this one was a huge hit. First of all, the intro is amazing. I love the way this blends in from Hell's Kitchen. It's so atmospheric and helps to really build up the song. I think Derek Sherinian does an incredible job here. In fact I think he is probably my favourite keyboardist. Moore was a great lyricist but almost all of his keyboard moments (save for one I don't want to spoil) were a bit samey. Ruddess is impressive too but I find him to be a bit annoying with the signature sound he has. But Sherinian is very unique. The first time I heard FII I realised how different the keyboards were. It would have been nice to stick with him for another album so we got a bit more to work with. Anyway, I love the piano in this track. That's a sexy little piano riff that plays just before the verses. Not to mention the bass and drums too. I think the two weak links in this track are LaBrie (his vocals are again only okay) and surprisingly Petrucci, which is more due to his lack of air time. Simple riffs (although the pre-chorus one is fantastic as is the chorus one) but only one real solo - it's a killer solo though (well is it ever not killer?) especially followed by the cool drum beat afterwards when the bridge comes in. This my favourite vocal off the album. Full of power and punch like a lot of FII. Then followed by an actual piano solo - there aren't many in the catalogue - not actual piano anyway. But this is amazing. And the guitars and drums under this are terrific too. Before another piano solo built around the initial piano riff - the bass under this is to die for. Love the backing vocals too - both during the verse and the chorus. Doug Pinnick really adds that extra layer to the chorus that I doubt anyone else could have added. So much to like really.

Why it didn't finish higher - to be honest I'm not actually the biggest fan of the chorus  - compared to the rest if the song it's lacking the punch of the rest of the song. It's actually quite rare for me to like a chorus more than a verse or pre-chorus. But Pinnick's performance is amazing, possibly almost as good as LaBrie, especially that final chorus.

Best part - Derek owns this song. His too piano solos are outstanding. Blows me away.

[npiazza91]

Just started following.  Very consistent list.  While I have found some that should have been higher or lower, there was really nothing too big a deal, except for I think ANTR should b much higher.  But other than that this list is very solid.

Love the write ups too, keep it up!

[Yit Say Jammer]

Just started following.  Very consistent ear list.  While I have found some that should have been higher or lower, there was really nothing too big a deal, except for I think ANTR should b much higher.  But other than that this list is very solid.

Love the write ups too, keep it up!

It was top ten until I read this forum.

I'll do one of these every year to see if any songs change places. But yer...

Anyway, bonus update now because (spoiler alert) the next update contains two multi movement songs.

So to limit the amount of space, here's songs 24 and 23.

22 will be up tomorrow.

Number 24 - The Glass Prison - Six Degrees of Inner Turbulence

"Fatal descent,
Spinning around,
I've gone too far,
To turn back round,"

Another multi movement song so let's discuss the journey:

Part I: Reflection

What a perfect intro to the suite. The opening three minutes is in your face. From the sound of static until the opening guitar riff and then the quick keyboard introduction. Then that amazing riff we all love starts up punctuated by some equally amazing bass and double bass from the master. Then of course that insane solo at about 2:24. This is some sick work by Petrucci. It's hard to believe all this happens before three minutes are in.  The vocals come in and the first vocals are by Portnoy not LaBrie. Even though the singing style is far different from what we are used to at this point, it still works and besides, the rest of the band holds up the track really well. After the first verse, we have the repeated solo from before this time played by Rudess on the keyboard. Then we have the first chorus which has just as much energy. Before the main theme from the opening minute reprises into:

Part II: Restoration

While the first movement is awesome, the second part lacks a fair bit of what part I had. The tempo change is okay because it still retains it's heaviness and I just love the riff here, as well as the keyboards under the "Help me... Save me" parts. Also LaBrie's vocals are quite impressive on the high notes here. Portnoy's vocals are a little annoying here I admit too. But I think overall this part is just a bit of a let down.

Part III: Revelation

This starts with a killer bass solo, then some typically awesome trading off between Petrucci and Rudess. After a brief period of unison there are a few random riffs and themes which turn out to be reprised from the start of the song. Nonetheless this is terrifically energetic underlined by some awesome drumming and some killer bass work. Finally after all that chaos, we have the outro verse - probably the best verse. LaBrie's performance here is unbelievable. He hasn't shown much sign of being capable of this throughout the whole song. The sudden finish to the song punctuated by breaking glass is perfect.

Why it didn't finish higher - the second movement lulls the momentum. I can't understand the hate for this song as a whole. A lot of people think it's overrated whereas I think it deserves a high place on the list but there are still plenty of songs better than it.

Best part - the fast Petrucci solo when the song starts to take off.

Number 23 - Pull Me Under - Images and Words

"I'll take seven lives for one,
And then my only father's son,
As sure as I did ever love him,
I am not afraid."

Why it made the top thirty - I love the 80's. I grew up on it. I mean I was born in 1984 but the 80's music style didn't die out until about 92 and most Aussie bands were still making music with 80's style sound. The triggered snare, the synth, the proggy feel. There is so much to love about this song. From the first time I heard it, I knew I was going to love this band. Like many here, this is the song that got me into DT. It's not the first DT song I heard though, it's the 2nd. Anyway, the opening two minutes without a vocal are amazing, building up beautifully. As the drums come in and then the keyboards then that amazing riff. The vocals in this are very impressive. As a singer (not professionally but it's one of my hobbies and I do plays and shit), I can really appreciate an excellent vocalist and this is a fantastic introduction to yet another brilliant voice. That second verse in particular is phenomenal. And the chorus. It is not easy to consistently hit high notes like that and there are few who are capable of it. DT pride themselves on being technical masters of their craft. Well this song proves they all are. Then there's the solo with a great keyboard solo by Moore (similar to Light Fuse and Getaway which is funnily enough my favourite Moore solo - listen to it. It's actually really good) and an equally impressive solo from Petrucci. The drumming and bass before that final chorus is incredible too. Progressive, clean and technical brilliant. This song screams instant classic. What a shame it just -

Why it didn't finish higher - -ends. Yes, the sudden ending. Love the idea but it was going so well and then it just dies. That's a little disappointing. I understand it was because they knew they were into something and weren't sure how to end it but still, I want moar!!!! Otherwise a perfect song. Also, the song is a bit dated. As in being one of the first I've heard and one I've listened to the most, plenty fresher songs have earned themselves a higher place. Unfair.

Best part - "watch the sparrow falling..." That whole second verse is outstanding. LaBrie is terrific obviously but listen to Portnoy's drumming and the bass and guitar underneath it too.

[Yit Say Jammer]

I'm almost tempted to stop posting such long entries. It appears there's not much interest in this anymore.

 

Number 22 - In the Presence of Enemies - Systematic Chaos

"I can lead you down the path and back to life,
All I ask is that you worship me,
I can help you seek revenge and save yourself,
Trust me you will be the chosen one,"

Another Bonus update. First of all, bit controversial but I'm counting this as one track. Cheating? Maybe but it's my list so I can do what I like. You think this is cheating? Wait until you see what's coming up.
Anyway, let's begin with the journey.

In the Presence of Enemies Pt 1

Part I: Prelude
This packs a punch right away. You have some epic guitar work and drums before the keys and bass come in. There's a really cool and groovy piano/bass riff here just before the wacky typically Rudess solo. In particular I love the fast guitar solo from 1:42 with those frantic keys and that sublime double bass work from Portnoy. This leads to that slow guitar theme that pretty much wraps up the entire track. This solo is pretty incredible to be honest. It really establishes the mood perfectly. A great first part - possibly the best part of the song.

Part II: Resurrection
After a quiet intro we hear the drums come in leading us to that terrific riff that takes us to the first verse. I actually like the lyrics here and the bassline is of course super cool. The chorus is pretty awesome as it starts to build up as is the drumming. There are sine pretty cool chords here. My favourite part of this section is the bridge just after the chorus and another cool solo by Petrucci just before the end of the track. This song is off to a great start!

In the Presence of Enemies pt 2

Part III: Heretic

The quiet start with the eerie piano and guitar reminds me of the start of Shine On You Crazy Diamond parts VI-IX. The only problem is unlike SOYCD, which actually has a lengthy introduction to reintroduce the theme, ITPOE2 just pretty much dives straight in. The vocals here are a little restrained and gentle before building up more and more. You know my thoughts on build up. Yes the Dark Master stuff is corny as balls but I can put up with it because if the awesome music underneath. The bass is sick and the guitar and piano work is also great.

Part IV: Slaughter of the Damned
This part starts with the drums picking up and of course the Heils. I must say despite the Megadeth influenced singing style, I really like this part. The music during the "I judge us..." part is awesome. The drumming throughout is brilliant. It is this point when the second part stats to pick up some momentum and it doesn't really let up for the rest of the song.

Part V: The Reckoning
I think this is the part that loses most people and I can sort of understand why. The bizarre keyboard and the strange time signatures at the start make it hard to follow. There's another sick guitar solo as well as the keyboard solo based on the same tune and a couple of pretty good riffs here I really enjoy this part. 

Part VI: Salvation

The final part starts with that unison solo from early in part 1 before leading into that brilliant slow wind up to the song. I love the way the whole song maintains it's epic feel and momentum despite the drastic change in tempo. Then it finishes with an orchestral crescendo. The ending to this song is actually really good. Some of the epics don't quite get their endings right but this one nails it.

Why it didn't finish higher - the song is ultimately let down by being split into two parts. Part one doesn't run well into Forsaken at all. And unlike Shine On You Crazy Diamond, itpoe II jumps straight back in without easing you in to remember the actual tune. The lyrics are actually not so bad but "Dark Master" is corny as hell.

Why it's the best song on Systematic chaos - well there's really no competition. Apart from TMOLS, almost everything else is average (prophets of war, constant motion) or plain shit (Forsaken). But it is still an epic song.

Best part - another fast solo by Petrucci in the intro. And repeated again at the end. I also love the bridge in Resurrection.

[ThatOneGuy2112]

Regarding the last few entries, I'd be hard-pressed not to have some of those in my own top 30 as well.

ITPOE gets a lot of shit around here, but I still enjoy it quite a bit. It works really well as a whole, as an opener, and a closer. The way they organized it onto SC is, IMO, the best way to have had it. There's some seriously awesome instrumental passages in there. It's marred only slightly by its lyrics. Only slightly.

The Glass Prison is fantastic throughout. One of my favorites on SDOIT for sure. As for Panic Attack; I used to absolutely adore it, and while I still like it, I feel that it could be a bit shorter.

[mikemangioy]

ITPOE 

[Yit Say Jammer]

ITPOE 

I love ITPOE! Just such amazing energy. No other epic keeps the energy going as long as it (well that's not fair because there's only one ding in the discography longer than it but you catch my drift.
Shine on... Is my favourite Pink Floyd song. That worked well the way they did it. I like that it divided the album but IMO, they should have out CM after part 1 and ran Forsaken into part 2. This is the only album the flow doesn't quite work for me.

I know I'm being picky but this is what I feel

[yeah_93]

Resurrection and Heretic are the best parts of ITPOE. I feel like I could just listen to those parts alone.

Just listen to the unison solo at the end of Resurrection and the second chorus of Heretic. Pure DT beauty.

[fischermasamune]

Apparently it takes me longer to read the reviews than to you to write them, but I'm following.

What do you think about LITS intro?

[Yit Say Jammer]

Resurrection and Heretic are the best parts of ITPOE. I feel like I could just listen to those parts alone.

Just listen to the unison solo at the end of Resurrection and the second chorus of Heretic. Pure DT beauty.

Completely agree.

[Yit Say Jammer]

Apparently it takes me longer to read the reviews than to you to write them, but I'm following.

What do you think about LITS intro?

Love it. As mentioned above it blends in from HK so well. The sound of the keyboard here is so unique and a huge reason why Derek is my favourite keyboardist. The drums starting off all slow when they come in and then the way it picks up. Absolutely amazing.

[Yit Say Jammer]

Here's a bit of fun. What song am I referring to in my upcoming part?

"(And I love the harp in the background)"

Answer will be revealed this evening.

[yeah_93]

Harp? Well, is it Home? I don't think it's a harp, but it's close.

[Yit Say Jammer]

Harp? Well, is it Home? I don't think it's a harp, but it's close.

Hmmm, well not quite. That's a sitar I think you're probably referring to. While you didn't get the song I was referring to, you are correct that Home makes an appearance at number....

Now...

Number 21 - Home - Scenes from a Memory

"I never thought that I,
Could carry on with this life,
But I can't resist myself,
No matter how hard I try,"


Why it made the top thirty - What a terrific song! There are few songs in the DT archives that can sustain the power this one has. It's not one of their heaviest tracks but it feels pretty heavy. I think part of that is to do with the WOMP WOMP that comes in after the intro. This song has amazing build up. Does it beautifully. The riff after the WOMP WOMP is so awesome and groovy. Love those cymbals between the bars if that riff when it starts. All this before the vocals even start. Sometimes songs like these can be a letdown by the time the vocals start (most of those songs are from SDOIT onwards) but this just keeps plodding on. I also love the slow snare fills just after the fourth line of the first verse. The song gathers steam as it goes into the first chorus. Now I mentioned earlier that it is rare for me to enjoy a chorus so much but this song's chorus is so epic. Again, the second verse doesn't let you down. Actually let me take a moment to say the story this song tells is really great too. You can see how the Sleeper is pushing Victoria away and how she feels absolutely defeated which is what pushes her into the Miracle's arms. This of course leads into the solo/unison section. The keyboard solo is pretty impressive. Rudess shows his worth on plenty of tracks in this album and this is a big one for him. The guitar solo is okay but nothing really blows me away in it. There are some great guitar solos out there and this doesn't compare to them. Then we have the outro which is also pretty cool. I enjoy the last minute or do of this song and it wraps up well. One of only a few tracks that can be listened to by itself off this album.

Why it didn't finish higher - I skipped in the part above the obvious thing. The orgasm noises are a bit off putting and detract from an otherwise awesome song. In fact this used to be my favourite from SFAM but after hearing the sex noises (didn't catch them on my first few listens) I stopped listening to it as much (it made me feel awkward even if nobody else was there) and it sort if slipped a bit. The thing that bothers me most is they aren't really necessary. The story pretty clearly maps out what happened. It's implied they slept together so it makes sense. Apart from that the track is near perfect. This is how you do build up in a song. There's not really a weak moment it boring moment in the track. Nit picky I know but there's just an awkward moment.

Best part - That first time you hear the WOMP WOMP and you aren't expecting it. Is there anything better?

Number 20 - Finally Free - Scenes from a Memory

"Sole survivor,
No witness to the crime,
I must act fast to cover up,
I think that there's still time,"


Why it made the top thirty - soo much to like here. First of all, the story from a triple perspective, is really cool and I love the twist ending. The song starts off sort if happy and feels like everything has been resolved. Then after a moment you hear the music turn sinister (as the weather does too - great symbolism) and from here until the last second, this track just pleases me. The piano in the verses and chorus is beautiful here. We find out the Miracle is guilty of something. It's quite intriguing to learn what is happening if a little confusing. Then the Victoria verse starts and I have to say this is very emotional. I love the bridge section with the gorgeous backing ahs before the abrupt change in tone leading to the struggle then the sickeningly dark "Open your eyes, Virginia" before Edward shoots her too. Absolutely chilling. Then the plaintive "One last time" by Julian before what can be described as the only solo in the song - very short and sweet. The absence of a proper solo is not a problem though because there's so many terrific themes and motifs present to make up for it. The last moments of music with that incredible drumming and that wonderful riff is just heavenly. Best part of the song I reckon. Just an all round perfect album closer.

Why it didn't finish higher - as picky as this sounds, the ending leaves me wanting more. Don't get me wrong - I love it but the ambiguity of it really irks me. Even though I knew about the whole meta album thing (spoiled by Wikipedia. My own fault really), I still listened to all thirty seconds of static to see if there was anything else. Any explanation. Also, the first time I heard it I thought the character relaxing was Edward not Nicholas so the final line: "Open your eyes, Nicholas" was a little surprising to me. That one's on me though.

Best part - I particularly love the churchy keys before the one last time reprise. Also as mentioned above, the entire fade out/musical outro is amazing!

Number 19 - Bridges in the Sky - A Dramatic Turn of Events

"Feeling myself slip away,
Suddenly dreaming awake,
Hidden memories,
Flooding back."


Why it made the top thirty - this song is hard and heavy and hits you in the face like a ton of bricks. After the lengthy voodoo chanting intro, that sick riff with the equally sick bassline and double bassing. There's also a pretty typical Rudess solo in there that sounds completely out of place yet fits like a glove (as most of them do). The vocals come in after yet another three minute intro and immediately the song gains power. I love the riffing and music here but what is amazing are the strings in the background. Stuff like that make DT different from other metal bands. So much more atmosphere and power with that backing orchestral sound.
I live the little guitar riff before the second chorus - just a slight variation yet still so cool - then of course we have the bridge (or would you call it a second chorus) with that ever memorable "Shaman take my haaaaaaaaaand" then the amazing solo section. To me this is one of if not the best unison sections of the post Portnoy era. It is simple yet it so catchy. The solos themselves are okay (Rudess' is pretty cool actually, the first half anyway with that organ sound) then my favourite riffs before it goes seamlessly into the type one chorus (I honestly don't think you can have a bridge twice in a song) leading back into the alternate chorus to finish. Amazing song. You know what I love just about it though? How despite being ten minutes long it feels like only six or seven. So much happens during the song but it is all just so impressive. This is also by far the best drumming performance of the album.

Why it didn't finish higher - I'm getting more and more picky here but I don't like the vocal intro. The chanting is alright (and I love the harp in the background) but those "Ahhhh"s at the start (and end) sound like a big burp. I don't know. I do like it but I had to pick on something and everything else is perfect.

Best part - mentioned above but I love that extra riff in the instrumental section


--------
So that does it for this update. Next update should be tomorrow night unless this last song takes longer than i thought to write up.

[Ravenfoul]

Just wanted to say this thread is cake. a+.

[Yit Say Jammer]

Just wanted to say this thread is cake. a+.

Cake? More like the recipe.

Actually more like the cookbook.

Actually more like the warehouse that printed the cookbook.

Actually... You get the drift.

Thanks though. 

[Yit Say Jammer]

Number 18 - The Mirror – Awake

"Reflections of reality,
Are slowly coming into view,
How the hell can you possibly forgive me,
After all the hell I put your through?"


Why it made the top thirty - Portnoy's first venture into songwriting was a successful one. The lyrics to this song really capture the emotion and regret he was feeling at the time. You could at the same time see him spiralling out of control. It is clear from the content if the next couple if albums that there was quite a lot going on and really this was only beginning. An unofficial member of the twelve step suite, this is in a lot of ways better than a majority of that. It feels somehow more true and real.

There is an incredible amount of honesty and pain in these lyrics. Let's talk about the music. Awake is a dark album. But of all the songs on the album there are none darker than this one. The chugging riff at the start is just pure and when the strings come in it starts to really pick up. Then the organ in the background of the intro which is also really awesome. The build up this song has is incredible. The drumming is pretty solid throughout but there are a couple of points where it is even better such as towards the end if the intro when his double bassing reaches possibly the fastest point it has been this far in the discography.

The first verse vocals are harsher before the little musical interlude with those keys . Then the second verse the vocals are outstanding when he screams "trusting in yoooooouuuuuu" it's hair raising. The best is yet to come though. After the chorus (which is only average to be honest) the song slows down a bit as we have a mini instrumental break with some samples in the background before it heads for that bridge. I love this part the most I think. The guitar in the background is terrific as are the keys. Anyone who says the keys on awake are shit obviously didn't listen to this song.

After the next chorus, we have the Space-Dye Vest motif which I love – the back half of this album seems to self reference each other which I really enjoy. Leading into that extended outro with what can be described as the closest we have to a guitar solo. The thing about this song is despite having any real solos, it is incredibly proficient. The lack of wankiness also helps it achieve a higher mark than most here would put it.

Why it didn’t finish higher – It’s weird because the song sounds so good, it can get away with it but this is one of few songs in the discography without an actual solo. I think it’s one of the longest too. I suppose its testament to how good the song is to finish this high despite not having a solo and also that it was only recently I realised it didn’t have one. Not really. Actually initially I had this in my top five before I listened to several other songs that are actually much better than it. So that’s another reason. As mentioned earlier, pretty much everything is perfect now so its just a case of which songs I prefer.

Best part – Absolutely the bridge. Everything about it is amazing, great vocals (and lyrics), drums, bass, guitar and keys all melding together to form something that is incredibly beautiful, yet still

Number 17 – Trial of Tears – Falling Into Infinity

“Still awake,
I continue to move along
Cultivating my own nonsense,
Welcome to the wasteland,
Where you’ll find ashes, nothing but ashes,”


Why it made the top thirty – This song is honestly just epic as hell. The start is so twinkly and beautiful and one of those atmospheric intros that they love doing so much. Then the guitar comes in with the mini riffs before the main riff comes in with the drums. And the vocals are absolutely amazing in this song! By far the best vocals on ANY song post Awake (or post food poisoning if you like). I just adore the way this song takes you away to a far away land. I can’t possibly single out any instrument because it is all perfect.

I mentioned earlier that it is rare I actually like a chorus but this is a radical exception – I think this might be my favourite chorus of DT. I am not a hundred percent sure because I can’t think of anything else off the top of my head and something might come to me later but it’s right up there. When the instrumental part (I assume this is where the supposed Deep in Heaven section starts since its all instrumental) begins at around 6:13 or so, it is amazing. First there is the simple and slow drums, punctuated by the really groovy bass, the incredible guitar solo (one of Petrucci’s best and I’m not kidding, I think this is top five – it has everything, it’s slow at first then builds up and becomes crazy at the end – impressive and fun) the keyboard chords in the background, gradually inkling the scale while the song maintains the same key.

Then there’s a brief break for a few bars while Myung plays another groovy bassline and then Sherinian comes in with a sick keyboard solo. He really can shred those keys. Rudess was more technical, Moore was more elegant but Sherinian had an unmatchable energy and you can feel him really enjoying what he’s creating. This solo just blows me away though. Then the song quiets down and we have the final refrain. I love the drum fill that comes in just after the “Nothing but ashes” bit. Finally we have the outro, just as twinkly and beautiful as the intro.

Why it didn’t finish higher – To be honest, there’s nothing about this song I don’t like. I enjoy the intro which I know is a little slow and takes time to get going but it always builds up nicely. I can’t think of anything nit picky to mark it lower. Just that everything above it is better I guess.

Why it’s the best song on Falling Into Infinity – On an album of hits and misses, this is the song that hits the most and misses the least. It’s got a lot more than the other tracks on the album, with the only real contender being Lines in the Sand – every time I listen to these two songs, I always think LITS is better but I enjoy this one more. I can’t explain that.

Best part – The entire solo section is incredible. The bass is perfect, the guitar solo is unreal, the drums just compliment it beautifully and those constant changing chords of the keys give it more volume.

Number 16 - Space-Dye Vest – Awake

"Never come near me again,
Do you really think I need you?"


Why it made the top thirty - this is purely and simply musical and lyrical perfection. It is testament to Kevin Moore that he can create something so beautiful and use so little. I mentioned earlier that there is one particular Kevin Moore keyboard moment that doesn't sound like everything else - this is it. Nothing they had done and nothing they have since will ever be the same as this. What an absolutely perfect sign off for Moore. I cannot say more than that. It is so beautiful, I can't even dissect it. It's unnecessary.

Why it didn't finish higher - there is so much I shouldn't like about this song. It's not my style. It doesn't build up. The drums are practically in half the song and very simple (by DT standard), there is virtually no guitar, the vocals are the most simple in the entire catalogue.... But I can forgive all of this because that is how the song was supposed to be. The one thing - the tiny nit pickiest thing with this song is the samples. I don't mind the samples but I feel they would have felt better at a different point of the song as it sort of detracts from the piano or the piano detracts from it. That's the thing. I don't know what should be more important here. I feel like it should be the piano because the samples are so much quieter but then at other points it feels like the samples are louder and detract from the piano. I love the song for what it is but at the end if the day, I love the others more.

Best part - I cannot choose between the lyrics at the end: "I could never be open again" etc and the absolutely beautiful piano intro. Either way, Kevin Moore take a bow. You will be missed.       

[ThatOneGuy2112]

I probably wouldn't put The Mirror this high myself, but it's a great song. ToT's spot is well deserved, however.

Space-Dye Vest has always touched me personally. Fantastic song.

Keith Moore take a bow.

I'm now wondering if Keith Moon and Kevin Moore were really the same person all along.

[Podaar]

Still following and enjoying the write-ups.

Great choices in The Mirror and Trial of Tears 

I try, I really do, but I will never get the adoration for Space Dye-vest. It's just so...limp and the "emotion" comes off as so incredibly contrived that it's nearly laughable. *sigh*

[mikemangioy]

Three great songs, although admittedly The Mirror is a bit high, for me at least.

[Yit Say Jammer]

Still following and enjoying the write-ups.

Great choices in The Mirror and Trial of Tears 

I try, I really do, but I will never get the adoration for Space Dye-vest. It's just so...limp and the "emotion" comes off as so incredibly contrived that it's nearly laughable. *sigh*

Space-Dye vest is one of those songs that I think has nothing going for it until I actually listen to it. So I can understand this opinion. At the end of the day, it's not the type of song I would love either but for some reason I can't explain, I find myself captivated by it.

[Podaar]

Still following and enjoying the write-ups.

Great choices in The Mirror and Trial of Tears 

I try, I really do, but I will never get the adoration for Space Dye-vest. It's just so...limp and the "emotion" comes off as so incredibly contrived that it's nearly laughable. *sigh*

Space-Dye vest is one of those songs that I think has nothing going for it until I actually listen to it. So I can understand this opinion. At the end of the day, it's not the type of song I would love either but for some reason I can't explain, I find myself captivated by it.

On the surface, it's not very Aussie is it! 

[Tom Bombadil]

Your last update is so 

Late to the party but I'm following.

[Yit Say Jammer]

Well guys, this is it. The top fifteen. We’re really approaching end game now. I want some early guesses for top ten. You can rule three out now because they make the list here. After this post, everything will be in groups of two until we get to the Top four which all have their own post. I’ve written this in advance so I can just post these as needed. Some have moved up and down amongst the fifteen as I listen to the tracks and realise I like some more than others but I’m happy with the final order I’ve settled on now. So as not to spoil anything, I’m not going to have explanations for why it’s the best song on an album, etc it’s just going to be an explanation of what I love about the song, why its where it is on the list and my favourite parts (since from now on there’s multiple parts I love)
 
FIFTEEN – Under a Glass Moon – Images and Words
 
“Nervous flashlights scan my dreams,
Liquid shadows silence their screams,
I smile at the moon,
Chasing water from the sky,
I argue with the clouds,
Stealing beauty from my eyes,”

 
Okay first of all, what the hell is this song about? Can anybody tell me? I’ve analysed the lyrics time and time again, over and over and just can’t seem to work it out. It’s amazing though. The intro is a little different. It’s one of those songs that doesn’t draw you in with the intro and therefore makes you think it won’t be anywhere near as good as it ends up being. Come to think of it, most of Images and Words does that. All the 80’s sounding motifs and themes and everything. Another Day, Wait for Sleep and to a lesser extent Pull Me Under are the only tracks on the album that don’t have that slightly dated sort of intro.
 
Anyway, there is plenty to love about this song – the double bass drumming is the most impressive on this album. I remember watching the video of Portnoy showing how to do double bass drumming and not realising how complex the rhythm was for the drums in this song. The keys and strings in the background are as usual great and the vocals are unsurprisingly amazing. The way he hits that note in the chorus for “time” is just incredible. It’s great to hear some little solo licks of Myung too (like the small bit just before the guitar solo)
 
Let’s talk about this solo. Now a lot of people think it’s the greatest thing since sliced bread and a lot of people think its overrated. I’m going to say it’s neither. It’s a terrific solo, right up there and certainly one of his most technically proficient ones however there are others I prefer more. It does have everything though, perfect tone and every note is audible, it isn’t just mindless shredding like later ones are but it has a wicked pace and it really works.
 
After that we have the keyboard solo which is good but like most of Moore’s solos, sounds similar to many other ones he has done. If I were to be completely nit picky, this is one of those songs that ends out of nowhere, not in the same case as Pull Me Under which literally ends out of nowhere but it still shocks me when this song comes to an end. But there’s so much to like I can’t begrudge it.
 
FOURTEEN – The Spirit Carries On – Scenes from a Memory
 
“I used to be frightened of dying,
I used to think death was the end,
But that was before,
I’m not scared anymore,
I know that my soul will transcend,”

 
Now this is a ballad. Unbelievable build up and some real emotion. I don’t think there’s another song in the discography that elicits the emotion from LaBrie’s voice as much as this one. The thing about this song is despite the sound of it, the lyrics are not that cheesy. It’s sort of a profound topic – one that I hold in high regard, the subject of death (I think I mentioned this earlier in Disappear’s write up) and the fact that something happens after death – the afterlife, ascension of one’s soul, reincarnation. There is more to this life. Look at me getting all philosophical. Shut the fuck up YSJ and get on with it.
 
Anyway, you hear this theme about fifty times in SFaM but it isn’t until this song that you actually can relate it to something. Actually one thing I notice about a lot of DT is they have plenty of songs that sound like they have been done before yet maintain complete originality – so you get that feeling of familiarity without being subject to repeats all the time.
 
I can’t actually get over the first two verses though and how LaBrie sings it. It is just so perfect. It really is a solo by him until the middle part. Even when the drums and strings and choir come in, you can’t hear anything but LaBrie’s beautiful voice. Anyway, when the bridge comes in “Move on, be brave…” you can feel the shift in momentum of this song and from there it becomes a fucking monster. First there is that solo – to DIE for. The best, repeat BEST slow guitar solo in the entire discography. So much emotion and passion in it, yet still maintains the power and energy that his solos are recognised for.
 
Then the final chorus with the backing of the choir and the outro which wraps things up beautifully. It is absolutely perfect. The slow outro guitar solo is also pretty good (but nothing compared to the earlier one) and then it gets gentler and gentler. Of all the songs that have great build up, none of them wind back down as well as this one. Just a pleasure to listen to. The other great thing about this track is it stands alone better than anything else from the album. Yet it is placed in the perfect position on the album too.
 
 
THIRTEEN – This is the Life – A Dramatic Turn of Events
 
“Feed the illusion you dream about,
Cast out the monsters inside.
Life begins with an empty slate,
Fragile left in hands of fate,
Drive by love and crushed by hate,
Until the day, the gift is gone,
And shadows remain,”

 
Two simple words – Build. Up. This song has it. In spades. It starts off with that acoustic intro which is beautiful and then immediately that massive riff comes in – one of the best riffs they have ever come up with in my opinion. It quietens back down and almost becomes an a Capella first verse. I think Labrie does a terrific job here too by the way. Anyway, the first chorus is followed by the central riff in acoustic and then a pretty out of place keyboard solo (is that Moog or just some other keyboard sound. I don’t know. But it sounds kind of cool)
 
The second chorus is a bit heavier with the addition of drums, then it leads into the bridge which is my favourite part of the song. It is at this point precisely where the song stops being just another ballad and becomes an absolute beast of a track. This is followed by yet another fantastic slow guitar solo from Petrucci. This eventually leads into the final chorus which is full of more emotion.
 
The final part where he sings “What will they say after we’re gone? This is the life we belong to. A gift devine,” is just mind blowing. It literally gives me goosebumps and I feel all tingly and gooey. So so amazing. It feels like the entire song is building to this point – that’s how you do it. That’s how you fucking do it!
 
Finally we have the guitar riff once again but this time, its double the length and the second part has some unison (although it could possibly be guitar unison so just programmed that way – still sounds awesome) before it finishes with the acoustic riff from before with the gentle drum fills taking us out. How a ballad can have such incredible energy I don’t know. A-fucking-mazing!

[yeah_93]

"Terrific solos" batch.

[Yit Say Jammer]

I hope everyone here had a good festive season and best wishes!!

Heres an update. Twos now until we get to the top five

TWELVE – Fatal Tragedy – Scenes from a Memory

"I met an older man; he seemed to be alone,
I felt that I could trust him. He talked to me that night:
'Lad did you know a girl was murdered here?
This fatal tragedy was talked about for years,'
Victoria's gone forever, only memories remain,
She passed away; she was so young,"
 

The great thing about this song is that it starts straight away. The piano and the tone from the start is fantastic here. Actually, throughout this song LaBrie gives a terrific performance. When the drums and the choir comes in the background, the song starts to take off. Love the riff here. Then the second verse comes in and the song starts to pick up. Actually from the start it's hard to believe this becomes one of the heaviest songs on the album.

Anyway, after the chorus, there is more build up to another new riff and  it starts to increase in tempo too. Portnoy starts to really become impressive here. His double bass during the second half of the third verse is awesome. The chorus here is even bigger than before. Then of course we have the instrumental section.

Now this isn't the greatest section when it comes to classic instrumental sections but it's up there well and truly. Before it actually starts there is a terrific triple fill by Portnoy. Then we lay into the actual break.

First there is a brief keyboard interlude as a sick bass and guitar riff is underneath it before Petrucci lays into one of the most insane shredding solos of his repertoire. It maintains it's energy for the entirety while actually sounding melodic. Rudess comes in with the keyboard side of the solo which is also amazing.

Bang on 6:00 though comes the BEST unison between these two. Just balls out fucking amazing punctuated by some sick drumming and brilliant bass. The song ends almost suddenly with those thumping piano chords as the hypnotherapist explains death is not the end but a transition.

Poignant words to close off this outstanding track. To be honest, it feels like that should be followed with beyond this life but because of the resolved sounding finish to the track it doesn't need it. So the song stands by itself brilliantly. This is my favourite track of Scenes because it builds up, has terrific energy and never fails to maintain my interest.

 
ELEVEN – The Root of All Evil – Octavarium

"Self-centered fear has got a hold of me,
Clutching my throat,
Self righteous anger running all through me,
Ready to explode,
Procrastination paralysing me,
Wanting me dead,
These obsessions that keep haunting me,
Won't leave my head,"


I. Ready
How good is this intro? Opening with that brilliant drum, the creepy synth in the background and - nuggetz - those footsteps towards the end of it, as well as the subtle echoing guitar strums.

It gets better and better, before that riff starts. Such a sexy, distorted riff. It actually reminds me of Futurism by Muse. The riff in that has that sort of distorted bass sound mingled with deep piano and chugging guitar as does this one.

Now here's something strange. The verses are alright in this song but they are actually my least favourite parts. It's okay I suppose but the chorus is actually better. I know earlier I mentioned it's rare for me to like a chorus much but this one is awesome. That's not to say I don't like the verses because I do but if anything it is a mark of how good the chorus is.

The chorus is a bit more challenging vocally. It's also a bit Musey, the chord progression sounds very MCG like them. Being this was released in 2005,  I remember when I first heard this song I thought it sounded a bit like Muse. I also thought the lead singer had changed and had to abruptly stop mowing the lawns and look it up on Wikipedia. Keeping in mind that I heard images and words then straight onto this album, So this was only the tenth song i'd heard by them.

II. Remove
This part starts with the slower verse which has the reprise of the This Dying Soul chorus leading into several bars of what could really only be described as techno. Or perhaps dub step. It turns into a killer keyboard solo from Rudess though.

After that there is a guitar solo which to be honest doesn't do much for me. I mean it's pretty tame by Petrucci's lofty standards. It seems muted too. It brings us back to the chorus and then that outro. Heavy and brutal before leading into that Octavarium theme. Absolutely terrific ending.

This is my favourite song from the suite because it doesn't drag. Every other song seems to overstay it's welcome at some (or several) points. Whereas this has great music throughout. It also has the best lyrics of the suite but that doesn't give it any extra points because I try not to focus too much on lyrics.

[Elite]

That's probably the highest I've ever seen The Root Of All Evil in a top 50 thread. Good choice, the song is fantastic. I rarely, if ever, read these threads anymore, but I must say, your write-ups are pretty damn great!

[Evermind]

That's probably the highest I've ever seen The Root Of All Evil in a top 50 thread. Good choice, the song is fantastic. I rarely, if ever, read these threads anymore, but I must say, your write-ups are pretty damn great!

I might be mistaken, but I think someone went as far as having it at #1.

[Yit Say Jammer]

That's probably the highest I've ever seen The Root Of All Evil in a top 50 thread. Good choice, the song is fantastic. I rarely, if ever, read these threads anymore, but I must say, your write-ups are pretty damn great!

I might be mistaken, but I think someone went as far as having it at #1.

Correct.

I remember seeing it there and thinking "It's not even the best in the Suite".

I take that back wholeheartedly now. It was only recently I realised it was my favourite in the suite. Whereas TGP has maybe two or three minutes that sort of drag it down a bit (and the instrumental bit towards the end is just a collection of riffs repeated and not doing much for me), the root of all evil is eight minutes of pure

OKay, I owe you all an apology. I have been incredibly slack since Christmas and new year - to be honest I've been going through some pretty intense personal stuff and its been quite frankly a harrowing time. But I have a lot more time to myself now so I can focus more attention on this.

So over the next week I'll start to make more updates

[Yit Say Jammer]

Ok heaps happening here. Need to just get this over with. I wanted to go ahead and do a full write up but just struggling to come up with time.

10 - Breaking All Illusions

9 - In the name of God

8 - six degrees of inner turbulence

7 - A mind beside itself (yep cheating I know, sue me)

6 - Metropolis pt 1: the miracle and the sleeper

5 - scarred

4 - a change of seasons (has been getting higher and higher)

3 - learning to live

2 - Octavarium

1 - ??

Got to leave one more for you guys to guess.

Who has an idea?

[tweeg]

Ok heaps happening here. Need to just get this over with. I wanted to go ahead and do a full write up but just struggling to come up with time.

10 - Breaking All Illusions

9 - In the name of God

8 - six degrees of inner turbulence

7 - A mind beside itself (yep cheating I know, sue me)

6 - Metropolis pt 1: the miracle and the sleeper

5 - scarred

4 - a change of seasons (has been getting higher and higher)

3 - learning to live

2 - Octavarium

1 - ??

Got to leave one more for you guys to guess.

Who has an idea?

Take the Time?