Another top 50 thread v. son_ov_hades

[son_ov_hades]

Fatal Tragedy is too fucking low, that instrumental section (specially the riff) is one of the most badass DT moments ever.

You're probably right, I should have it higher. Badass is certainly a good word to describe it.

TLG is great. Maybe I wouldn't have it that high though. I would probably place FT around the same spot.

I don't understand how so many people seem to hate The Looking Glass  Oh well, we have better taste. 

[CharlesPL]

Fatal Tragedy is too fucking low, that instrumental section (specially the riff) is one of the most badass DT moments ever.

You're probably right, I should have it higher. Badass is certainly a good word to describe it.

TLG is great. Maybe I wouldn't have it that high though. I would probably place FT around the same spot.

I don't understand how so many people seem to hate The Looking Glass  Oh well, we have better taste. 

[Sacul]

TLG is the worst song on DT12. It's just so lame. The riffs, the vocals... and the horrible chorus.

We finally agree on something .

[The Stray Seed]

Two great picks!!

The Looking Glass is one of the best songs inside an awesome album =)

[jakepriest]

TLG is the worst song on DT12. It's just so lame. The riffs, the vocals... and the horrible chorus.

We finally agree on something .

[son_ov_hades]

Two great picks!!

The Looking Glass is one of the best songs inside an awesome album =)

Thank you. I agree The Looking Glass is my second favorite song from Dream Theater, I won't say my favorite because we'll get there soon enough. 


This update has three songs rounding out the bottom half of my list from here on out I absolutely love each song more than the last. These songs are all near perfect as far as I'm concerned, but I'm sure there is still a fair bit a controversy in my picks. 

#28  Finally Free





The song that ends the magnum opus that is Scenes From A Memory is bittersweet for me. On one hand the song is fantastic and serves as perfect ending to a perfect album. On the other, hearing Finally Free means Scenes From A Memory is over which is slightly depressing.

The first spoken lines of the hypnotist returning Nicholas from his dream state create a wonderful bookend to similar lines from Regression. The use field recordings like the car starting, thunder, and the slamming of a door build a dark atmosphere that continues with LaBrie and Rudess when the verse comes in. Portnoy's drum fill that precipitates the full band entrance is great and gives way to a beautiful section with lush background harmonies. Sounds of the chaos and turmoil of the murder central to the story fit so perfectly over the riff, Kevin Moore wishes he could use samples this well. The reprise of One Last Time is awesome and again ties the whole saga together. When the song climaxes at the line "Familiar voice comes shining though!" I'm taken to a new emotional place that I wasn't sure possible by the end of the spectrum that Scenes From A Memory has already visited. Gradually the music fades out and become increasingly distorted, sounding like it is coming from a bad radio transmission. Finally the sounds of Nicholas leaving his car and going in the house, turning on the TV and hearing a news report about some tragic event bring the story away from the music and into a life of its own. Finally Free's ending is so strange and beautiful, a few brass notes play and then the hypnotist's voice tells Nicholas to open his eyes and he screams. Surface noise from a record played on a turntable ends the song and album, and if you listen to it on vinyl the actual groove is locked and will play infinitely until you lift the needle. An incredible experience of a song.




#27  Overture 1928



The epic musical introduction to the centerpiece of Dream Theater's career and one of the best albums of all time, Overture 1928 is amazing in every way. The song is a true overture in the classic opera sense, each major musical theme in the subsequent story is represented here. This truly sets the tone for the album as more of a prog rock opera than anything else. Not only is this our introduction to Scenes From A Memory, it was also our introduction to then new keyboardist Jordan Rudess. The first keyboard solo has such an awesome tone and the real sense of wizardry was apparent from the first few notes. If you listen to the original Metropolis Pt. 2 from the Falling Into Infinity Demos you can hear the vast difference between Rudess and Sherinian. While I love what Derek did on Falling Into Infinity, thank whatever god you would like that Jordan joined the band before Scenes From A Memory.

This composition shows above all that the band was extremely tight and firing on all cylinders. From Portnoy's powerful snare that brings the rest of the band along in the beginning to the intertwining melodies of Rudess and Petrucci there is real sense of cohesion. The solos are succinct, tasteful, and each note serves the purpose of furthering the musical theme. That unison is far from the fastest or most complex the band has done, but it just works so well. Even John Myung manages to stand out among everything else toward the end with a really driving groove that brings the story into the next part seamlessly. Scenes From A Memory was the peak of the band's songwriting and Overture 1928 proves that with ease.     



#26  Lifting Shadows Off A Dream




The opening bass line is one of John Myung's finest moments, so subdued and emotive. I don't think I've ever heard someone play bass like this before or after. Kevin Moore is a genius, let me just get that out of the way. His atmospheric keyboards are majestic and take what would be a nice ballad into uncharted territories. This is one of Dream Theater's most unique and weird songs(I mean that as a compliment) because of Moore. By the end Lifting Shadows Off A Dream becomes more of a straight forward cohesive ballad complete with a great chorus and really well done vocal harmonies. If you were worried about the song being catchy or accessible at all, they throw all that out the window in the ending. Moore and Myung revisit the intro in with their complimentary lines and end the song on a strange note. I can't really describe why I love this song so much, but that's Awake for you.

[Invisible]

I'm somewhat late to the party but I gotta say I love DT12, I just didn't think as highly of TEI and AFTR, that's all.

As for your latest updates:

for Afterlife(not a bad song, just not my cup of tea)

In the Presence of Enemies

For Fatal Tragedy, very good on the album, don't think of it highly on its own.

For The Looking Glass, awesome rockin' track!

For Finally Free

For Overture 1928 but I can't separate it from Strange Deja Vu and as standalone track it wouldn't make it to my Top 50.

And a BIIIIIG Lifting Shadows Off A Dream! AWESOME song! One of my early favourites from Dream Theater.

So all in all, great picks! Probably different from my own in those spots, but no complaints .

[jakepriest]

Finally Free is too low.
Overture 1928 is a tiny bit too high for my taste, but it's a great song.
Not a big fan of Lifting Shadows Off A Dream though. more like a 70-60 rank song imo.

[ThatOneGuy2112]

All fantastic choices. The ending riff in Finally Free is one of the few gems in music where I could just listen to it on constant repeat and never get tired of it, no matter how much I played it.

Also, I didn't know that the vinyl ending was locked and infinite. I've only heard of that happening with GY!BE's F♯ A♯ ∞. You learn something new everyday.

[son_ov_hades]

I'm somewhat late to the party but I gotta say I love DT12, I just didn't think as highly of TEI and AFTR, that's all.

As for your latest updates:

for Afterlife(not a bad song, just not my cup of tea)

In the Presence of Enemies

For Fatal Tragedy, very good on the album, don't think of it highly on its own.

For The Looking Glass, awesome rockin' track!

For Finally Free

For Overture 1928 but I can't separate it from Strange Deja Vu and as standalone track it wouldn't make it to my Top 50.

And a BIIIIIG Lifting Shadows Off A Dream! AWESOME song! One of my early favourites from Dream Theater.

So all in all, great picks! Probably different from my own in those spots, but no complaints .

Hey only one thumbs down! That's pretty good. 

All fantastic choices. The ending riff in Finally Free is one of the few gems in music where I could just listen to it on constant repeat and never get tired of it, no matter how much I played it.

Also, I didn't know that the vinyl ending was locked and infinite. I've only heard of that happening with GY!BE's F♯ A♯ ∞. You learn something new everyday.

Absolutely that last riff in Finally free is  I was really happy when Enjoy The Ride pressed it like that with the locked groove. Apparently it was a real pain in the ass too.


So I've come to the top 25 and before diving in I've noticed a few things about the list so far that are somewhat interesting:
- Only one song from A Dramatic Turn Of Events, and only one more to come
- Three from Falling Into Infinity, you haven't seen the last of this album
- One entry from Train Of Thought, don't hold your breath for more 
- Five from Scenes From A Memory which blows the competition away so far
- Three From Awake
- Four non album tracks
- One each from When Dream And Day Unite, Systematic Chaos, and Six Degrees of Inner Turbulence(we may see more from these )
- Three from Dream Theater
- And finally nothing from Octavarium or Black Clouds And Silver Linings

#25  Take The Time




Ah yes the first song to crack my top 25. Take The Time is one of the classic Dream Theater songs from Images And Words that show again how that album was lightning in a bottle. This song has it all, great Petrucci riffs, one of Portnoy's best performances(the triggered snare doesn't bother me at all), Kevin Moore's atmospheric keys, and best of all James LaBrie in his prime. The intro with Myung providing a foundation for the heavy rhythm that Portnoy and Petrucci use to launch the song ahead is such a great moment. For those that say Images And Words isn't a metal album I suggest you go back and re listen to this part. The chorus vocals are particularly noteworthy, those screams "take the tiiiiiiiime!" are incredible. Both Petrucci and Moore's solos have that Images And Words quality to them, they're not overly indulgent but are technical and melodic nonetheless. I love how the song slows down and gets a real groove going. John Myung comes to the forefront with a very powerful pounding line that allows Petrucci to go crazy over the top but not distract from the progress of the song. Perhaps one of the reasons I love this song so much is that it has a different feel than most Dream Theater songs. Take The Time could be interpreted as an almost pop song, it has many hooks and a wonderfully catchy chorus, but unlike the bands other attempts at writing accessible songs(I'm looking at you I Walk Beside You and Wither) this one doesn't sacrifice any of the defining elements of the band.



#24  Blind Faith




Coming out of the frantic ending of The Glass Prison to the emotive atmospherics of the intro to Blind Faith was such a great decision in sequencing. There is so much space in this song's introduction, nothing crazy happens but there is a huge amount of experimentation and creativity. The ambient sounds Rudess uses, the simple highlighted bass riff, the tamped down guitar, and most of all LaBrie's extremely clean and calm voice makes for one of the best intros in the band's career. I don't really think they've done anything like this since, shame. Then holy shit they stomp on the gas for the chorus which it just completely awesome, "Blind faith we have in yoooooou! Invisible!". The riff after the second chorus at the line "and still life pushes on" is just spectacular, and very unexpected. The song gets really heavy and Petrucci whips out one of his "excuse me while I destroy this guitar" solos, only to then throw us for a loop with a wonderful piano break and jump right back in. Rudess' Hammond Organ style solo is my favorite part by far, and very reminiscent of Keith Emerson and Richard Wright. One minor complaint is the ending, I love how it reprises the intro bass/piano riffs but then Rudess gives us a real wtf moment with what sounds like a humpback whale mating call to finish the song off. 

[jakepriest]

Take the Time is overrated, bad and whatever else.

Blind Faith is PERFECTLY placed. 

[Sacul]

Take the Time is overrated, bad and whatever else.

Blind Faith is PERFECTLY placed. 

100% agreed.

Take The Time could be interpreted as an almost pop song, it has many hooks and a wonderfully catchy chorus, but unlike the bands other attempts at writing accessible songs(I'm looking at you I Walk Beside You and Wither) this one doesn't sacrifice any of the defining elements of the band.

I think IWBY, Wither and TTT are very different and they represent the elements the band had at that moment.

[ThatOneGuy2112]

Allow me to pick up the slack in the love for Take the Time.

BF is brilliant. Definitely a highlight throughout on SDOIT's first disc.

[mike099]

Love Take the Time  and the  drums in Blind Faith are some of MP's best work.

[Tom Bombadil]

Two amazing songs! Well placed

[Crow]

le comment here too
FT - yes this makes me happy
TLG - yes this makes me sad
FF - about where I had it before I realized it was much better than that.
O1928 - good but not this good, certainly not better than FT or FF
LSOAD - I approve. will never complain about LSOAD, always strikes me as an underrated song in general for w/e reason
TTT - so blatantly non-poppy that I don't know what you're saying, and far too low :<
BF - I don't have my image link with me atm but it goes here, someone post it

[son_ov_hades]

#23 Another Day





This song is so cheesy and so 1992, but that doesn't stop it from being amazing. Sure it might have some semblance of Kenny G(dat sax), and might have been a big hit for Michael Bolton, but if you embrace the song for what it is you find a truly great song. One that is perfectly placed in Images And Words, and gives the album a nice balance to the heaviness of Pull Me Under and the whacked out Metropolis and Learning To Live.

From the start we get a very nice almost Elton John like piano with some humming over the top. The band comes in and Petrucci lays down a very tasteful lick leading into the verse. Moore and LaBrie shine here, most pop stars wish they sounded anywhere near this good on their ballads. After the chorus the infamous Jay Beckenstein Sax solos show up. I know these get a lot of hate, but I quite like them, they add something different something that Dream Theater has not had on any other song. LaBrie hits crazy high notes throughout the awesome bridge which builds the song up in both tone and atmosphere. Far from shredding, Petrucci's solo fits the emotion of the song and leads perfectly into the ending with James' crazy screams and the outro sax solo. Images And Words is so damn good that even a song like this, which in theory is a terrible idea ended up being amazing.   




#22  Illumination Theory





This is one hell of a song! The big epic from the band's 12th album was very hyped up before release, and has since generated a lot of strong opinions. It seems you either love or hate this song, count me among the former. This is by far the best song on Dream Theater, which is a great album so that's quite a feat. Illumination Theory is the kind of work that I was really hoping for and I'm not disappointed.

Paradoxe de la Lumière Noire starts the song off with a truly epic, cinematic style huge sustained opening. The orchestral elements combined with the big, deliberate, and slow chords Petrucci plays set the stage for something special. Live, Die, Kill puts the pedal to the metal and throws Illumination Theory into a bunch of heavy riffs. I can't help but headbang just a little every time these incredible riffs come in. The work of Rudess as he takes the lead role in this section is wonderful and understated. When the vocals finally come in LaBrie takes control of the song with such a powerful and demanding delivery. This is one his best performances in his whole career as far as I'm concerned. I love the lead guitar at the end of this section, which is not really a solo but totally awesome.

The Embracing Circle comes after a big crescendo, which a lot of people think is an awkward transition but I love it. Initially this section transports the listener to some other world with ambient sounds. I hear some birds chirping, the wind blowing, an occasional chime of some sort, and some beautiful keyboard soundscapes. I'm always reminded of Yes' Close To The Edge here, and that can never be a bad thing. Then the best part of the whole song, and album for that matter arrives. No drums, no bass, no guitar, no vocals...are we sure this is still Dream Theater? Sincerely gorgeous orchestration is all to be found here. It is really difficult for me to describe how beautiful I find this, but it evokes a true emotional response on every listen. Completely unexpected, this is why I still love this band so much after all these years.

The Pursuit of Truth begins with simply one of the best moments in Dream Theater music, ever. Myung and Mangini jump right into a perfectly executed groove and you can just hear how well they play together. When the full band rejoins the song the riff is heavy on rhythm and light on everything else.  LaBrie blows me away in this section his voice is incredible, especially for a 50 year old man! The screams at "Rebels for their freedom A tyrant for the praise Cowards for salvation Money, love, and fame!!!!", holy fuck! He hasn't had screams this good since what Awake? Amazing. Surrender, Trust & Passion reprises the riffs and orchestral strings and keys from the beginning of the song. This time the guitar and drums drive it much more though. This gives the song a nice full circle type of feel and the narrative of the lyrics works very well in this context. The ending is wonderful too, with Petrucci soloing under LaBrie who keeps repeating "never know". After some silence Jordan Rudess comes back to a piano and lays down a melody and chord structure that Elton John would be jealous of. Guitar swells compliment this pretty well, and we have the unusual situation of Petrucci playing backup to Rudess' lead. The "easter egg" might not exactly fit with the rest of the song, but its great anyway and ends the magnificent epic Illumination Theory.

[jakepriest]

IT. Too bad it has the awful mid section that completely ruins all the tempo fo the song. A 40-rank song at best as it is. And I like Another Day, but not enough to put it in a top 50. 

[son_ov_hades]

#21  Octavarium





The epic that almost every Dream Theater fan seems to love, I'm no different. A distinct memory for me was listening to Octavarium, the album, when it first came out and being fairly disappointed. I was about ready to write Dream Theater off after the horrible Train Of Thought, and a lackluster effort that this album seemed to be. But once the title track was finished, some 24 minutes later my opinion had changed drastically.

The song starts out with an incredible atmospheric section by the wizard himself Jordan Rudess. Obviously there was a great deal of inspiration from Pink Floyd's classic epic, Shine On You Crazy Diamond. As someone who is hugely into classic prog rock this is my shit, I love it. When Petrucci comes in with the acoustic and a flute solo reminiscent of Peter Gabriel in Genesis plays over it I'm already in love with the song. I guess Someone Like Him is technically the beginning of the song, but it really comes into being when LaBrie starts singing. His vocals in the section are calm, controlled, and sound just great. I could listen to him sing like this all day. Toward the end it builds to a false climax that leads right into the next section flawlessly.

Medicate starts with John Myung's complex bass line that does so well to keep the section together and flowing nicely. One thing about Octavarium that it does almost better than any other Dream Theater song is the seamless transitions like this. I love how everything in Medicate is kind of laid back and almost has a chilled out feeling. This really allows LaBrie to stand out and tell the story without being overpowered. Rudess breaks the calm with an outstanding snyth solo that goes on for a long time but never seems to drag.

Full circle comes in heavy and fast. This is the best section of this epic by far. The numerous musical and lyrical odes to classic prog rock are simply awesome. The band loves the same music I do and that makes this section mean more than it would otherwise. Mike Portnoy's backing vocals work really well here, this was slightly before he got crazy ideas about doing vocals in head. His lyrics are nonsensical but very good for the theme. The solos in Full Circle are total over the top self indulgent wankery, and that is what makes them so great. The unison is amazing as well. What better way to pay homage to prog rock than embrace its most mocked elements Intervals brings the song into a new dark, heavy, angry dimension. The riff here is so heavy and so damn good. The best part of this short section though is obviously James Labrie and his almost Rob Halford style screams. "Trapped inside this Octavarium!!!!!!!!", oh man the first time I heard that my mind was blown.

Razor's Edge brings the song back down in both mood and tempo. This is the only transition in the song that isn't completely smooth. Additional orchestration makes this section sound full and vibrant. Petrucci's emotional guitar solo really gives the song a nice finishing touch that serves and a bookend to Rudess' introduction. I find the end of the song to be the weakest part, but not enough to detract from the overall quality of one of the band's most ambitious compositions.



#20  Home





The start of Act II, or side three as I know it, really signals a shift in direction. Both the music and narrative take on a new tone on Home as opposed to the songs that precede it. The song starts of with a quiet, subtle guitar line that is heavily influenced by middle eastern music. I think I even hear a sitar in there. This is really cool and something unexpected and totally different, something that I truly appreciate the band doing. Seemingly out of nowhere the riff kicks it up a few notches and the song gets heavy, heavier than I thought Scenes From A Memory would reach. The riff, while incredibly simple, is so effective and forceful. LaBrie's voice is combined with the harmonies of Portnoy and Petrucci in such a brilliant way they almost sound choir like. The song breaks into a reprise of one of main riffs from Metropolis Part I and I lose it, a small thread that ties together the two parts of the saga. This shows how brilliant the songwriting is on Scenes From A Memory. LaBrie's short spoken word part lays the ground for one of the most emotional parts of the whole story. "Help he's my brother but I love her", betrayal of family is so strong and and dark here. The sex sounds samples played over a repeated riff have a hypnotic effect that really brings me into the trance like state that Edward and Victoria find themselves. The solo section represents the climax of both the music and story of Scene Six, if they made a Scenes From A Memory movie this would be one hell of a sex scene. The middle eastern style solo break at the end is one of the best moments of the whole album. Complexity of rhythm and tone here is incredible. Home ends on a big sustained chord and the bells and chimes from Metropolis Part I, amazing. 




#19  Another Hand/The Killing Hand





The Killing Hand is one of the very best songs from When Dream And Day Unite, and would probably be somewhere around 25 on its own. That said, this version from Live At The Marquee is superior in every way and is the definitive recording of this great song. Another hand is an instrumental introduction to the Killing Hand that the band played live most of the time in this era. Another Hand is heavy on the Kevin Moore, very keyboard driven. It also features a great solo by John Pretucci though. All in all not that much to say about it other than it is a better intro than The Killing Hand has on its own.

This performance of The Killing Hand better than the studio version from the debut. LaBrie is a better singer than Charlie Dominici, well at least he was in these days, and that makes a big difference. The way he diverges from Dominici's original vocal melodies is a great example of how dynamic and spontaneous he is. The song was the band's first attempt at writing a multi part epic of sorts, and it worked remarkably well. The solo and unison at the end of Thorns is simply one of the best the band has ever played, and on this live album they don't miss a single step. In Exodus LaBrie stands out the most, especially the line "I'm in the Valleeeeeeey!". This is a classic LaBrie moment, even though he didn't sing on the original he clearly has made this song his own. That last riff is spectacular, the whole band is together in such a rhythmic way. Portnoy's hi hat matches Petrucci's right hand, which plays off of Moore's foundation; this is how you write a strong ending! Another Hand/The Killing Hand is definitely deserving of this spot, and maybe should be higher.   

[ThatOneGuy2112]

No 21?

Also:

The song breaks into a reprise of one of main riffs from Metropolis Part I and I lose it

You and me both.

[jakepriest]

Home is way too low and I don't get the love for The Killing Hand.

[son_ov_hades]

No 21?

I fucked up. The post has been edited to include number 21, sorry guys. 

Also:

The song breaks into a reprise of one of main riffs from Metropolis Part I and I lose it

You and me both.

Those little nuances are just magical aren't they?

Home is way too low and I don't get the love for The Killing Hand.

I love Home, but this is as high as I could possibly put it. Too many near flawless songs that have to go above it. The Killing Hand is incredible, but I know you have bad taste don't like When Dream And Day Unite. If you listened to the version from Live At The Marquee I'm sure you'd like it better than the studio one. It is superior in every way. 

[jakepriest]

horrible Train Of Thought, and a lackluster effort that this album seemed to be.

To be honest, both Home and Octavarium would make my top 10 if I made a list. I just love the songs that much.

[son_ov_hades]

Alright moving right a long, trying to get this over with. 

#18  Space Dye Vest





Easily one of the most unique songs in the band's entire catalog, one that sounds almost unrecognizable as Dream Theater is also one of the better song they ever did. While Awake is mostly very dark and heavy, its closing track has only one of those elements. Undeniably dark, in lyrics as well and musical tone, Space Dye Vest is most definitely not heavy. A dark, brooding, and very creepy song that has no real structure and just kind of meanders along until coming to an odd ending; it bears nothing but Kevin Moore.

The solitary piano opening gives me chills every time. It is simple, but the beauty lies in its emotion and its isolation. When LaBrie joins in with a distant, subdued vocal it adds even more feeling to the song. Moore's favorite thing in the world, samples, feature prominently and they add to the discord that by now is flowing out of the music. A distorted guitar can be heard droning on, as well as soft hits of cymbals and a bass drum here and there. This all just adds to the intensity of the atmosphere. Slowly the drums get more prominent and the guitar goes from big chords to lead lines and back again. LaBrie keeps repeating the most important line of Space Dye Vest, "I'll never be open again". Finally it builds to the keyboard solo, which is mostly just snyth strings. A piano break ends the song as inconclusive and strange as it started. A brilliant composition and I really wish they had done more like it, but alas Kevin Moore didn't feel comfortable playing this kind of music in Dream Theater(the feeling was likely mutual).

 

#17  6:00





That drum intro! God damn this is incredible, Mike Portnoy's best moment as far as I'm concerned. The samples are kind of weird, but maybe that's because I've never see the movie. They work though, and after so many listens I couldn't imagine hearing the song without "Six o clock on a Christmas Morning"  repeated over and over. The song is heavy and angry right off the bat, a perfect opening to the dark and heavy Awake. I can only imagine being a Dream Theater fan in 1994 and putting on Awake for the first time, quite a difference in tone from Images And Words! Kevin Moore really stands out here, as he does on much of Awake even when just providing background atmosphere. The real star of 6:00 is undoubtedly James LaBrie though. This forceful, powerful, hateful even delivery is awesome and proves that he is a more than capable metal singer. "Melody walks through the door and memory flies out the window", I could listen to that line over and over, but the best is "So many ways to drown a man, so many ways to drag him down!". Both Moore and Petrucci's solos are well placed and melodic, but still heavy enough to fit the song perfectly. This might be the best Awake song, and certainly one of the best pure metal songs the band has done. 

[Nearmyth]

6:00! Definitely higher than I would ever place it, but I can't say I disagree one badass song.

[Tom Bombadil]

Both fantastic songs. Although I'd have SDV about 16spots higher.

[jakepriest]

Both great songs but a bit too high for my liking. Still can't go wrong with seeing them on the list 

[Crow]

Another Day I can't really complain about, it feels like it should be higher than I find myself ranking it but I can't justify putting it higher because of how many awesome DT songs there are
IT is still the worst DT epic, just boring mostly
8VM is 8VM is totally fine to see here IMO
I still think the sex samples in Home knock it down a good 10 spots or so because that section would be the best part of the song if those samples weren't there but they are so it's about the worst part
Still haven't heard Another Hand but TKH is alright.
SDV and 6:00 are both awesome Awake songs hell yeah (and not in my top 3 Awake songs even because it's Awake) and I can't disagree with anything said about them 

[Laughingplace56]

Ridiculously behind on this but my views on the past 15 rankings  :

32. Afterlife- It's ok, but definitely not top 50 worthy.
31. ITPOE- I think I put it too high on my list after thinking about it (10 on mine), but 31's a little low. I'd put it in the 20's most likely.
30. Fatal Tragedy-I love it and the instrumental after the verses/chorus is awesome. It's fine where it is.
29. The Looking Glass- Too high. It's a fun upbeat song, but not top 50 worthy.
28. Finally Free- TOO LOW. More epic than ITPOE imo.
27. Overture 1928-also too low. The best opener combined with Regression that's not balls to the wall metal like TGP.
26. Lifting Shadows-Beautiful, mellow song that I can't complain about seeing where it is.
25. Take the Time- Very overrated. Like it a lot, it has a great groove, but just not as great as everyone makes it out to be. In the bottom 3 of the album for me.
24. Blind Faith-also way too low. Love the song.
23. Another Day-Least favorite off of I&W. Very cheesy. And probably one of the most 90's sounding songs ever. I love the way JP goes into his solo with the note and the opening acoustic/keyboard intro. The rest is just eh.
22. Illumination Theory-too low. I love the epic. Not their best, but not unworthy of the top 20.
21. Octavarium-I'm in the stereotypical camp of saying it's my favorite DT song so too low lol
20. Home- What's everyone's deal with the sex samples? It adds for good exposition to the story of the album I think. Also, the outro into TDoE is one of my favorite parts of the entire album.
19. Another Hand/The Killing Hand-Just recently listened to this version and it's amazing. Not worthy of this high, but worthy of the top 50 for sure.
18. Space Dye Vest-I put it a bit higher. Love it. Don't get the hate at all. It's a gorgeous song.
17. 6:00- WAY too high. It's a great and fun song an is in my top 50, but in the top 20? nah

[son_ov_hades]

Thanks for the feed back everyone! As I suspected we're into the part of the list that everyone seems to agree with at least to some extent. The next update will break into the top 15, and by the end of this list I'm sure there will be more hate.

[ThatOneGuy2112]

6:00 is cool and all, but far too high. I myself have never really thought about how I would place SDV as well, and the top 20 might be stretching it, but not a bad spot at all.

[Crow]

you guys
I had 6:00 higher
screw off 

[Invisible]

Time for my update on your picks!

-23 Another Day: As much as I relate to the subject matter, I find the music too cheesy and it didn't age very well, it's a beautiful song but top 40-50 material.

-22 IT: Some moments are Top 1 material,but others are Top 40-50 and it doesn't keep the consistency of other epics so I guess your placement is fine, I'm extremely conflicted as to where I'd put it so I'll just agree. I agree that it's one of JLB better performances on a DT album.

-21 8VM, Too low probably, but I have no problem seeing it at this ranking. I actually think Full Circle is the worst part lyrically and I find the transition from Intervals to Razor's Edge to be masterful, a HUGE build up of tension that is masterfully released by the orchestra.

-20 Home, Too high probably, is a love/hate song for me, I'm not sure why. And the "It's my brother but I love her" is one of the lyrics I used to hate on the song, now I don't mind it but it reminds me of a cheesy mexican soap opera too much for my taste. The rest of the song is stellar though.

-19 TKH, way too high for me, it's another 40-50 material song, only with JLB at Live at the Marquee, the album version definetly wouldn't make my top 50.

- 18 SDV, perfect song and a very good place for it .

-17 6:00 Yes!! Love to see it so high! Love that song! The drum work by Portnoy is so good that even the great Mangini couldn't do it full justice, yep, it's THAT great.

[son_ov_hades]

#16  Breaking All Illusions





I really enjoy A Dramatic Turn Of Events, and was completely relieved when it came out and was so much better than the previous few albums. It is a fine effort, and I played the hell out of it for awhile. That said, the individual songs don't measure up to the best of the band's catalog. The one exception is of course the absolutely awesome Breaking All Illusions. This song is the highlight of the album and one of the best Dream Theater has ever done.

As soon as the into riff hits I'm already in love with this song. So much energy and complexity from note one, and then masterfully the song breaks pace and builds atmosphere. The verse structure focuses on LaBrie, Myung, Rudess and is almost there as counterbalance to the chaos of the chorus and instrumental sections. It fills this role extremely well and makes the song perfectly cohesive. Huge, that is the best descriptor I can come up with for the chorus. On the last tour this was the best sing a long moment of the night. When the song gets crazy and breaks into the short solo sections by the Wizard and the roid monster it becomes totally stunning. Petrucci's exquisite long slow solo is perfect, nothing else needs to be said. The end of the instrumental section where it gets heavier and builds to LaBrie's return works so damn well. One tiny little thing keeps this song out the top 10, and that is the ending. It feels just slightly anticlimactic, though it works well as a segue into Beneath The Surface.   



#15  Trial of Tears





John Petrucci and Derek Sherinian were a fantastic duo, the lush keyboards and beautiful melodic guitar into eases us into this great epic(or mini epic whatever). The rhythm section comes in on a perfect beat laid down by Portnoy that plays off Myung's bass line so well. When the vocals come in they are given so much room to breathe, the other instruments are content to sit in the background. At the chorus of this section Trials of Tears builds volume and emotion. LaBrie's "raining deep in heaven!" is just a powerful moment. It's Raining's solos are completely awesome, especially Sherinian's. He may be the least appreciated keyboardist Dream Theater had, but his work here rivals the best of the other two guys.

Deep In Heaven has what is likely my favorite Myung part. In the beginning of this section the bass drives everything, and it does so flawlessly. While Petrucci is soloing over the top, which is very nice in itself, Myung is doing quite a bit of complex work himself. This is why Dream Theater never needed a rhythm guitarist, much like Rush, the bass is more than capable. Another Sherinian keyboard solo shows up and it is just as great at the last, seriously I wish he had been around longer or contributed to more Dream Theater music. The Wasteland transitions into an acoustic guitar and vocal part which serves as the perfect break from the intensity of Deep In Heaven. This part could have been the foundation for a great ballad. Calm is not kept for long though, as Mike Portnoy's snare roll signals the return of the full band. Lines from It's Raining are reprised, giving the song its final climax. To end the whole thing, the guitar and keyboard intro also serves as the outro, albeit much shorter. Trial Of Tears is a fantastically crafted masterpiece of a song.     



#14  Pull Me Under





Like most fans, Pull Me Under was one of the first Dream Theater songs I heard. The first was actually A Change Of Seasons played on a local college radio believe it or not, but that's another story . The opening notes on John Petrucci's guitar are simply magicial, I've really heard another guitar part that sounds quite like it before or since. Portnoy's drums fade in and get heavier with each hit, Moore comes in with a nice complimentary melody on top, and finally Myung provides the foundation to glue it all together. This introduction is so perfectly arranged and has the production to back it up. Speaking of production, I don't mind David Prater's triggered snare whatsoever because it sounds amazing. When Portnoy uses the snare to lead into the heavy signature riff is where I start to go crazy for Pull Me Under. This riff is simple, heavy, and grounds the band in metal. Sure they're progressive, but this isn't Jethro Tull. The new guy on vocals, as he was at the time, is incredible from the beginning. "Lost In sky" alone is damn impressive. The keyboard solo over the metal rhythmic riff here is just awesome. A huge sing along chorus really cements this song as anthemic, one of the best choruses they've ever done and a monster live. When the song breaks down into a melodic section, Kevin Moore takes over and gives a phenomenal solo. The fact that such great keyboard playing features so prominently in what's essentially a heavy metal song is quite a feat. I can't imagine too many metal heads were used to keyboards at all in 1992! The song ends with the signature riff repeated over and over seemingly getting heavier each time. A jarring, definite, almost abrupt cut off of the last part of the riff puts the song to rest. This is brilliant because it never lets up, never slows down, and really delivers a punch at the end. I totally understand why Pull Me Under was a big hit and is the band's defining song. They just happened to write 13 better ones.

[jakepriest]

Pull Me Under is a cool song, but there are way too many songs that are better in every way. Putting it above BAI and Trial Of Tears rubs me the wrong way...