Is JLB on a second wind with his singing?

[1neeto]

Because IMO he sang the shit out of DT12! I'm not the biggest JLB fan but I think when JLB just sings without trying to be "metal", he sounds the best. DT12 (and ADTOE for that matter) he sings his best since SFAM IMO. Even some of his later live performances, he has way better pitch control (when compared to Budokan which was painful). Of course he doesn't have his pre vocal chord rupture range, but he's really bringing it with his singing as of lately. IDK just an observation under a few beers.

[Sycsa]

This opinion has been lurking in the air since MP's departure, but I'm on the fence on whether or not I agree.

On the first hand, admittedly, JLB has been fantastic live on the last tour and he is absolutely exceptional on certain parts of DT12 ("Mothers for their children" - my jaw dropped, I did not expect anything that).

On the other hand, unlike most others, I think ADTOE is among his worst studio efforts ever. Wait, let me rephrase, his least best, since he's been nothing short of great on every studio album. On ADTOE he maybe plays it too safe, the choruses drag a bit (literally) and I don't like the tone of his voice as much as elsewhere. Also, Score is his best live performance by a mile. So I probably wouldn't call it second wind yet, although I definitely like the direction he's heading.

[Mosh]

I don't think it's a second wind as much as his voice has just been slowly improving since FII. He really belted it out on Score, but he was still inconsistent on that tour. Now he sounds good on most performances and he is really nailing it on record. Also really helps that the vocal production is really good on the last two albums. Was kinda dry on the first two Roadrunner releases.

[425]

Honestly, I'm not over the moon about his vocal melodies on DT12. They're good, and there are certainly moments when he impresses me (The Pursuit of Truth), but on a lot of DT albums, I'm quite impressed by the vocal melodies throughout. Really the last time I've been impressed with a majority of the vocal melodies on an album was Systematic Chaos. It also doesn't help that on DT12 his voice is doubled on a lot of the album and is drenched in effects. Now, I'm not saying his singing now is bad or anything, and I understand him playing it safe so the songs are easily doable night after night live, but the melodies on the last three albums really are on the safe side and don't hugely amaze me like they did on past releases. And I hate having to say this because James' singing has always been one of my favorite parts of Dream Theater.

This doesn't reflect on James' singing ability now, though, and I'll have to see/hear Luna Park before I say anything about that, but I did want to express my disagreement with the idea that the vocals on DT12 are better than anything since SFAM or anything. I like them better than those on Train of Thought and Black Clouds & Silver Linings, but that's about it.

[PixelDream]

I think JLB rules on Train of Thought. He shines on 'Vacant', has a good wailing on 'In the Name of God', sounds badass in 'As I Am', and gives the most all around great performance on 'Endless Sacrifice'. I never understood why folks think JLB isn't good on TOT.

I thought he was decent on Systematic Chaos, better on BC&SL, but then something changed.

Ever since they got into the chorused/double vocal production, it just doesn't work for me anymore. It's like they're trying to make it powerful by way of the production, instead of the singing power itself (ADTOE/DT12). I know they've doubled choruses in the past, but that was in a more tasteful manner I think.

[Perpetual Change]

Nah, no way. He still sounds pretty good, but his vocals are so processed these days, in a way they haven't been before. I don't really like it, since it tends to drown out the nuances of his voice.

[BlobVanDam]

I don't know what the criticisms about the vocal production are on the new album are about. It's a bit of delay/reverb, that's it. Very standard. I love it. None of it sounds like he's doubled the vocal track, I think it's just slightly delayed from the left to right speaker, and I can hear all of the nuances just fine.

I was a little disappointed with the vocals on ADTOE, as they sounded a bit rushed and rough to me (relatively speaking), but his vocals on DT12 are great for his age, and even better on his solo album. He definitely takes care of his voice.

People have been commenting on his vocals improving since at least the TOT tour, so I don't think it's any "second wind", he's always had his higher points and lower points. From what I've heard he was pretty consistently good on the last tour though, and DT12/IR both show that he's in top form right now.

[kirksnosehair]

The songs he's been handed to sing on the last two albums have not required any of those brain-bursting high notes and I think that has contributed a great deal to the relative consistency of his live performances.  Basically, the songs on ADTOE and DT12 are all mostly right in his wheelhouse as they say.  That helps a lot.


I have no problem with the way the vocals are mixed on DT12.  Sure, there are some effects on there.  But count me among those who prefer that James stay away from trying to be "metal" with his voice.  It sounds pretty contrived when he does it, because it's unnatural for him. 

[Samsara]

I think James is singing more in his comfort zone and has since Portnoy's departure. he has on his solo records as well.

The problem for me is not the quality of his voice, but the fact he doesn't seem to be stretching himself any longer in either direction (low or high). I don't need searing high notes all the time, but I do want to hear James stretch a bit more often out of his comfort zone.

The vocal melodies are not that challenging (for him), and while that leads to better performances, it's also not as cool of a listen. I'm hoping on the next album James challenges himself more, or gets more opportunity to write his own lyrics and vocal melodies.

[TheAtliator]

Dudes... He hits an D5, C5, A4, F5, D5 all right in a run of two lines.. From that information I could be talking about Illumination Theory or Innocence Faded.

That's a pretty good sign I think.

[BlobVanDam]

I think James is singing more in his comfort zone and has since Portnoy's departure. he has on his solo records as well.

The problem for me is not the quality of his voice, but the fact he doesn't seem to be stretching himself any longer in either direction (low or high). I don't need searing high notes all the time, but I do want to hear James stretch a bit more often out of his comfort zone.

The vocal melodies are not that challenging (for him), and while that leads to better performances, it's also not as cool of a listen. I'm hoping on the next album James challenges himself more, or gets more opportunity to write his own lyrics and vocal melodies.

He's pushing his vocal range in the mid section of Illumination Theory moreso than he has on a DT album in a long time, which will be a challenge for him live. He also pushed to his highest DT studio vocal ever in the chorus of BMUBMD (although only a backup vocal that is a backing tape live).

I admit these are only small sections, but I think they show that JLB (or whoever wrote those particular melodies) is trying to pepper their albums with a bit more of the higher stuff, but without risking JLB's voice too much.

Hey, I'd love to hear JLB bust out the high stuff more often too, but it's understandable that at his age they're a little more wary of consistency and longevity than they were when he was young, and belting out the crazy stuff on IaW and Awake.

[Samsara]

Everybody always assumes high notes. High OR low, I don't think James has put on a dynamic performance for awhile. It's a good performance, in his comfort zone. But I want to hear challenging vocal melodies pulled off at different areas of his range, both high and low.

I could care less if James hits a piercing scream ever again, as long as he stretches his voice in different directions and gives a captivating, varied performance. I really enjoy James' voice, and it has sat in his comfort zone for a couple DT and a few solo albums now.

I'd really like him to stretch more creatively. Whether that requires him to write more lyrics for DT and his vocal melodies, or whether it requires the producer convincing him to stretch more, I don't know. But what I have heard from James, while consistent and good, is not very dynamic.

Sure, in spots, he goes highER once in awhile. But not HIGH for extended periods, or LOW for extended periods. Nor is he quickly transitioning from high to low. I just want more a more dynamic performance.

People may disagree with that, and that's totally cool. But I want to hear James challenge himself. And I haven't heard that.

[Prog Snob]

The songs he's been handed to sing on the last two albums have not required any of those brain-bursting high notes and I think that has contributed a great deal to the relative consistency of his live performances.  Basically, the songs on ADTOE and DT12 are all mostly right in his wheelhouse as they say.  That helps a lot.


I have no problem with the way the vocals are mixed on DT12.  Sure, there are some effects on there.  But count me among those who prefer that James stay away from trying to be "metal" with his voice.  It sounds pretty contrived when he does it, because it's unnatural for him.

I agree completely.  This has been a gripe of mine for a while now.  Considering the vocal cord damage he did a while back, trying to do those gruff sounding vocals did more harm than good.

[hefdaddy42]

I think he sounds fantastic on DT12.  No, not as many soaring notes, but he uses a lot of different techniques to great effect.  Great job. 

[Samsara]

Personally, that's not what I'm saying. I'm talking about a more varied and challenging performance in his range. Not necessarily trying to change the way he sings. More about challenging himself vocally to do dynamic things using the low end and high end.

Dramatic shifts from high to low, or low to high, layering a real high vocal performance with his middle range (something like Barlow did on the new Ashes of Ares, for example), etc.

Trust me guys, I love James' voice. I enjoy hearing him sing. I'm not talking about changing. I'm talking about doing something more challenging with what he has. I don't want James sounding like a cookie monster or trying to be Freddie Mercury.

I'm just saying I want to hear the man sing a little more dynamically within his range and do some challenging things.

[TheAtliator]

Everybody always assumes high notes. High OR low, I don't think James has put on a dynamic performance for awhile. It's a good performance, in his comfort zone. But I want to hear challenging vocal melodies pulled off at different areas of his range, both high and low.

I could care less if James hits a piercing scream ever again, as long as he stretches his voice in different directions and gives a captivating, varied performance. I really enjoy James' voice, and it has sat in his comfort zone for a couple DT and a few solo albums now.

I'd really like him to stretch more creatively. Whether that requires him to write more lyrics for DT and his vocal melodies, or whether it requires the producer convincing him to stretch more, I don't know. But what I have heard from James, while consistent and good, is not very dynamic.

Sure, in spots, he goes highER once in awhile. But not HIGH for extended periods, or LOW for extended periods. Nor is he quickly transitioning from high to low. I just want more a more dynamic performance.

People may disagree with that, and that's totally cool. But I want to hear James challenge himself. And I haven't heard that.

That does make sense. Like in the way that the vocals on Dark Eternal Night sound like a monster and there's really no other song that has that sound. Or maybe like the way-freaking-out-there chorus of TTTSTA which made me do a double take when I first heard it  that part is so awesome. I wouldn't mind hearing a new style he hasn't really experimented with yet.

But on second thought, that sound that they got with the overdubbing in BITS that they also use again a bit on this album counts as trying something new in my book.. I still say DT constantly experiments with new stuff, just look at those awesome electronic drum things on ADTOE. And as for the new album, less experimenting with the vocals (closest thing maybe being "consider this question"), but a lot with the musical style, including superhero and spy agent stuff.. weirdly (and awesomely) enough, on the same list with an only-orchestra section.

[ronrule]

Most of the vocals and melodies on DT12 (and a good portion of ADTOE) sound like something that could be sung with an acoustic around a campfire. The exceptions prove the rule, IMO. There used to be "mothers for their children" parts in nearly every song, multiple times per song. I agree with Samsära -- the melodies and vocals are not nearly as dynamic, or what I like to call "acrobatic", as they once were.

[TheAtliator]

I think that's just the tone of these last two albums. It won't be like that forever. If we're talking about the same thing at least. Look at Forsaken, Nightmare to Remember, Count of Tuscany, Constant Motion.. All SC and BCSL songs with really rhythmical and dramatic vocal lines, just not necessarily as high as the old songs. On DT12 a lot of the vocal lines are a little bit slower, longer phrases, with the instrumental driving the rhythm, which is cool! And even still, it's not like that the whole album.

[Ħ]

He's locked into the best part of his voice on these last two albums and sounds incredible. Very tender and warm. He's been solid enough since Octavarium. But Train of Thought was...well, I cringe when I hear how thin and weak his voice sounds at certain parts. IIRC, he was going through major vocal problems at that time.

[kirksnosehair]

I think it's a bit unrealistic to expect James to to accomplish something he's not being asked to accomplish.  He doesn't write the vocal melodies for these songs.  He's given a vocal melody to sing.  I'm sure he has a chance to give feedback and offer suggestions, but it's not up to him where the vocal melodies take him.  It's up to the composers of each song.  He's 50 now and the character, timbre, tone, volume, inflection, etc of every vocalist who ever sang a note changes quite a bit as we age. 

[TAC]

I think on this album James actually reached more than he has in a while. The vocal range , to me, was a disappointment on ADTOE, even though he sang very well.

In fact, I've always considered his performance on Systematic Chaos as flawless, even though I am a fan of the high notes. There have been way too few  in a very long time.

[Samsara]

I think it's a bit unrealistic to expect James to to accomplish something he's not being asked to accomplish.  He doesn't write the vocal melodies for these songs.  He's given a vocal melody to sing.  I'm sure he has a chance to give feedback and offer suggestions, but it's not up to him where the vocal melodies take him.

And therein lies the problem, IMO.

[MoraWintersoul]

Honestly, I'm not over the moon about his vocal melodies on DT12. They're good, and there are certainly moments when he impresses me (The Pursuit of Truth), but on a lot of DT albums, I'm quite impressed by the vocal melodies throughout.

Everybody always assumes high notes. High OR low, I don't think James has put on a dynamic performance for awhile. It's a good performance, in his comfort zone. But I want to hear challenging vocal melodies pulled off at different areas of his range, both high and low.

I could care less if James hits a piercing scream ever again, as long as he stretches his voice in different directions and gives a captivating, varied performance. I really enjoy James' voice, and it has sat in his comfort zone for a couple DT and a few solo albums now.

I'd really like him to stretch more creatively. Whether that requires him to write more lyrics for DT and his vocal melodies, or whether it requires the producer convincing him to stretch more, I don't know. But what I have heard from James, while consistent and good, is not very dynamic.

All of this. When I listen to music with clean vocals, I'd like the vocal melodies to be interesting, emotional and catchy; on the past few DT albums I've felt like I could sing them as the music went on on my first listen with a lyric sheet in front of me if I tried.

[Ħ]

His best vocal performance in recent times is Far From Heaven. Anyone else agree?

[TAC]

His best vocal performance in recent times is Far From Heaven. Anyone else agree?

FFH is great.

[energythief]

I agree that the vocal melodies are getting more unimaginative over time, but there are still some moments of brilliance.


I thought James sounded average on my car stereo, but with headphones on, I got goosebumps for the whole album. The nuances in his singing shine through, and I think this is one of his best demonstrations of technique in a long time.

[Tis BOOLsheet]

It's not really a second wind, I don't think. His voice was obviously enhanced in the studio on this album. But his studio performances have always been more or less consistent. It's the live performances that are a whole different story- and I mean different.

[Kotowboy]

His best vocal performance in recent times is Far From Heaven. Anyone else agree?

FFH is great.

Apart from the vibrato.

" I have done all you have asked of me -e -e -e -e -e -e " . It's just a little excessive for me.

[Tis BOOLsheet]

I think his best recent vocal performance is IT.

[1neeto]

I agree that some of the melodies are a bit of the same. I hear a lot of ADTOE and BC&SL in DT12. But I can totally hear his inflections and nice tone. He did great in this album.

[?]

I love James' performance on ADTOE despite the constant doubletracking, which I'm not a huge fan of in general. He sounds good on DT12 as well, but I can't hear as much passion in his singing as on Impermanent Resonance, which probably has something to do with the vocal melodies - I find them (as well as the melodies overall) kind of lacking on DT12, whereas you can hear that the songs on IR have been written with the vocals in mind right from the start. Even SC has a couple of songs with strong vocal melodies and great performances by James, although it's my least favorite album musically.

[Fisi]

He's great, no doubt about it, but unlike many other people here, I don't really love his perfomance on the self titled album that much. Don't take this wrong, though - most of the time the vocals are just fine, and actually the Bigger Picture for example has some of my favourite JLB moments ever.

However, there are certain parts that somehow irritate me, and that's something that never happened on ADTOE. Probably the greatest example of this is something that everybody here seems to love - yeah, I am talking about the high and gritty "Mothers for their children..." part in Illumination Theory. It is powerful and impressive, no doubt about that, but for me it just sounds a bit... wrong. I can't help wondering "I'm not sure if this is actually good" everytime I hear it.

Another thing that bugs me is the beginning of The Looking Glass. I'm not sure if I'm the only one who thinks that way, but seriously, the way James sings there doesn't fit at all in my opinion. I don't know if it's the vocal style, a weird effect, doubling or what, but something just makes the whole thing sound really clumsy to me. Luckily that's the only negative thing I have to say about the whole song, and the vocals do get better later in the song as well, but I still don't get why he/they decided to do it like that?

So overall, James is definitely really good nowadays, but for me he sounded better on ADTOE than on DT12, mostly because of stylistic things. I can't wait to hear him do the new songs live though. 

[aurorablind]

I think, for a 50-year old guy who have suffered a lot of problems with his voice during his career, he is mindblowing these days! 

[The Stray Seed]

However, there are certain parts that somehow irritate me, and that's something that never happened on ADTOE. Probably the greatest example of this is something that everybody here seems to love - yeah, I am talking about the high and gritty "Mothers for their children..." part in Illumination Theory. It is powerful and impressive, no doubt about that, but for me it just sounds a bit... wrong. I can't help wondering "I'm not sure if this is actually good" everytime I hear it.

As a singer myself, I have to say that what James does in The Pursuit of Truth is totally astounding, especially for his age. The way he pulls out those high notes with such a raw, powerful and wicked voice is just... wow. I get chills every time.

[Flacracker]

I really love when James sings the "Lay down out lives for the cause" stanza in IT. One of my favorites on the whole album.