Scenes From My Memory v. Honor Thy Father

[Podaar]

Pat Boone got it right:

On a day like today
We passed the crabs away
Lubed-up love matters in the sand

How you laughed when I cried
It's coarse and rough in the tide
Gets everywhere during love in the sand

[TAC]

Someone please PM me when it's safe to re-enter the thread.

[Indiscipline]

It's all right TAC, next installment is gonna be heavily sanitised because Mom-centered.

In my defense, once you mentioned Captain&Tenille any hope of containing the thread sexy was lost.

[Indiscipline]

A whole recapless week-end, gents, meaning you got to breathe clean forum air and I got to work a little and (above all) see Roger Waters rally the crowd among ancient roman ruins. Everybody focking wins!

Brother TAC and Tipper Gore asked me to scale the naughty down a bit and - you should know my motto by now, you really focking should - I'm more than glad to oblige since I'm gonna let the Material Mom take centre stage. Why, I am pretending you ask?

A) Lifting Shadows is the only Awake tune the crazy bat could remotely begin to tolerate.
B) C'mon, let's be honest. This track recap would be focking boring without a strong lift by our primadonna companion character.
C) Like you're not dying to know what happened during THAT car trip …   
D) Material Mom could actually be the current closest thing to a stable feminine presence in this thread, excluding AngelBack's glorious avatar, as far as I know.


Lifting Shadows off a Dream

0:00 – 0:18: Enchanting. They don't come more graceful than Johnny M. By the way, he sounds like the only one totally consistent with I&W in his playing behaviour. The others? Glad you asked, quick review:

Big James: A beast. New tricks: Masochist Raspiness, Southpaw Funkiness, BonoVoxitis.
Johnny P: World domination and a whole lot more sonic space occupied. New tricks: Low B-adassery, Wah Dervishness, Industrial Grunge Shenanigans.
Mighty Mike: Crazy Mofo Creativity and front mix. New tricks: Revolution Calling Snare, Rythmic China Cymbal Galore, Lead Groove Gamechanging.
Dr Moore: I guess the new space occupied by guitars belonged to him. New tricks: No solos, moody comments.


Steps. Of womanly and pissed quality.

Here she comes.

(Once Upon a Time in America Suspense Ocarina)

At least I'm not dying a virgin.


0:18 – 0:54: Kate Bush melody, strangely appropriate. May this be the udercover's suite third movement? Also, whatever the fock that new cymbal is called, I love it.


“Ale” (NEVER a good sign when she calls me like that. Usually police is heavily involved)

“Mom”

“What are you doing?” (NEVER a good sign when it's focking obvious what I am doing)

“Why, I'm recharging brain batteries connected to the stereo by this strange alien headphone device.”

“Interesting. Do you reckon cheap sarcasm is going to improve your chances with your new foster parents?” (NEVER a good sign, period)

“You win. What's the matter?”


0:54 – 1:20: I could analyse the wise clean guitar's delay pulse, I could wax poethic about the little chime indian thingy, I could write an ode to the perfectly balanced atmosphere, BUT that “breaking delicate wind” is killing me.


“That girl.” (NEVER a good sign when “that” sounds like goats shitting mustard)

“Maria. Is she alive?”

“Yes” (NEVER a good sign when “yes” sounds like homungous regret)

“You like her?”

“That's irrelevant. Do YOU like her?” (I don't even have a sound for that)

“Is there anywhere an available answer preventing this conversation to become the Spanish InquisiMom?”

“No”


1:20 – 1:39: Credit where credit's due. Larry Mullen and Adam Clayton have really improved since Achtung Baby.


“Are you SERIOUS with her?” (Mr Crowley Organ Intro)

“If I weren't so scared to investigate what you mean by “serious” I could attempt a response.”

“Are you going to marry her?” (Randy Rhoads Plane Outro)

“Mom, do pardon my vocabulary, but are you focking out of your mind? I'm 16!”

“I'm pretending I haven't heard that.”

“That I am 16?”

“Zip it. She's 17, she likes you and she's going to psychology university after high school.”

“Oh, so you waterboarded her.”

“That's classified, and beside the point.”


1:39 – 2:13: The Edge is playing his usual self though. Ok, this ain't the elusive suite's third movement. A special guests track? Maybe.


“So, are you SERIOUS?” (Jafar voice)

“Mom, I like her, but it's not like I have plans and stuff.”

“THENWHYYOUMADELOVETOHER?” (Sgt Hartman voice)

“...”

“You thought I wouldn't know?” (Vincent Price voice)

“She told you?”

“Dear, you DON'T know women” (Oprah voice)

“What do you mean?”

“Your Dad told me” (Yoko Ono Voice)


2:13 – 2:49: This salt of the earth section is great. Of all the super crazy technical bands I know, these guys reach a totally different kind of beauty when they feel like keeping things simple. 


“What do you know about LOVE?” (Tina Turner)

“You mean … the feeling?”

“You know exactly what I mean. Don't make me say it, I'm your focking mother” (Tina Turner in Mad Max 2)

“You mean … lovemaking?”

“Don't you dare having fun inside this conversation. You are supposed to be intimidated, traumatised and utterly frightened”

“I'm trying. Let's see, I asked George (Big Banging Bro) about it a couple years ago and he began talking about bees and flowers, then he said he had to go fock his girlfriend and never finished the lesson.”


2:49 – 3:33: Second album, we can say we have a trend. Myung's songs feature the best vocal lines, and it isn't as close as you may think.


“Can you resume talking now?” (Fabuolous Moolah)

“Still bleeding a bit but I think I can manage. Nice left hook, Mom”

“Why haven't we talked about IT before?” (Mrs Keaton)

“Didn't figure you liked Stephen King. OK DON'T HIT ME AGAIN!”


3:33 – 3:57: Oh Noooooo! The U2 tune is dropping its mask! My God! That's Dream Theater's entrance music! IT'S GRABBING A STEEL CHAIR!


“You were saying?” (Layla Ali)

“It didn't seem … right.”

“Oh. And did IT yesterday?” (Cersei Lannister)

“Mom, have you just Scooby-Dooed me?”

“You ARE your father's son” (Lady Stark)


3:57 – 4:32: FATES WARNING HAS ENTERED THE RING! IT'S A TAG TEAM MATCH NOW!


“You are SO young. It takes nothing to ruin both your lives.” (Cellos)

“Mom, you were 19 when ...”

“Exactly my point” (Violas)

“Oh. That's focking cold, you hurt me.”

“And you hurt me hiding your precious life experiences” (Violins)

“Now you're totally playing pissy diva just to victimise me”

“You ARE your father's son” (String Section Cluster)


4:32 – 5:25: Baby, baby, baby, light my waaaaay ... Sorry, couldn't help it.


“Anyway, I hope you are using protection” (Awkward)

“Yeah. Next time I'm checking you are actually miles away”

“Dolt” (Better)

“Kidding. We play IT safe”

“Good. Next time play IT safer. Rikki almost choked”

(I AM my mother's son)


5:25 – 6:05: Nice decent impactless thing, promising way more than it actually delivered. Not sure whether I'm eager to do it again.

That's what Girlfriend#1 is probably thinking, but I guess it covers the song too.


Coming Next: Scarred

EDIT: Fock Typo, really.

[Podaar]

My sympathies to Rikki. It can't be pleasant choking on a Fig Newton. PETA has been notified.

0:54 – 1:20: I could analyse the wise clean guitar's delay pulse, I could wax poethic about the little chime indian thingy, I could write an ode to the perfectly balanced atmosphere, BUT that “breaking delicate wind” is killing me.

Thanks, a lot! Can. Not. Be. Unheard.

[AngelBack]

Excellent chapter.  Assuming this really is the soundtrack to your coming of age, I am curious if time has lifted the shadows off that nightmare of a conversation with mum.  I can imagine keeping a low profile with her for a few months.  And your mom was pretty sharp not to take the bait when you brought up bangin bro.

And coincidentally, I have found Lifting Shadows one of the few DT songs that "warms the heart" of a sexy time candidate.

[Indiscipline]

0:54 – 1:20: I could analyse the wise clean guitar's delay pulse, I could wax poethic about the little chime indian thingy, I could write an ode to the perfectly balanced atmosphere, BUT that “breaking delicate wind” is killing me.

Thanks, a lot! Can. Not. Be. Unheard.

Really, I'm convinced that's the prime reason why they came up with the lyrics rules.

Excellent chapter.  Assuming this really is the soundtrack to your coming of age, I am curious if time has lifted the shadows off that nightmare of a conversation with mum.  I can imagine keeping a low profile with her for a few months.  And your mom was pretty sharp not to take the bait when you brought up bangin bro.

And coincidentally, I have found Lifting Shadows one of the few DT songs that "warms the heart" of a sexy time candidate.

Thanks mate. You assume right, actual soundtrack but with a little less cacophony for novelisation's sake. Regarding old mum, that incident was nothing compared to the incredible streak of juvenile blunders I was going to perform. We'll read the poor lady eventually forgiving me right around Train of Thought.

And yes, Lifting Shadows seldom fails in that regard.

[TAC]

Wow, we're on Lifting Shadows? I totally missed The Mirror and Lie, which is weird because I had posted after each installment.

Gonna have to go back and listen along.

[Indiscipline]

Yeah, I often skip those too.

*puts on Metal Wuss +2 helmet*

[TAC]

So do I, but thanks to you and your thread, I now have to listen to them tonight. 

[Podaar]

I wondered where TAC wandered off to.

[TAC]

I wondered where TAC wandered off to.

I'm here. I forgot to listen to those songs last night. I have to get back on track.

[Indiscipline]

Alright, esteemed audience, Scenes from a Memory – the thread making you feel like going through chores and taxes (IndisciplineRetroactiveSoliciting) – is going a tad old school on this one. No soap opera interference, no Dickensian scenery. We are going to record on analog tape, using original Rickenbackers, Ludwigs and Hammonds.

Just the song, because it's honestly a focking handful and my personal DT number 1 all-time grower/late bloomer (fock, it's still growing and blooming to this day), as well as the track which single-handedly redeemed and sorted a lot of the incongrous bits heard up to that moment.

Like Mufasa on the rocky edge, we're going to get:

Scarred

0:00 – 0:26: Ok, Rikki has obviously developed an opposable thumb (because the poor beast will never catch anything of mine with its mouth anymore) and switched the cd I was listening to with Billy Cobham's Spectrum. Also, Bootsy Myung? Player of the Year!

0:26 – 0:45: Let's play Wheel of Guitar Impressions with Johnny P! Round 1, the insanely undervalued Scotty Henderson. Another difference with the previous album pops to mind: whereas I&W was a work full of distinct personality wearing its beefed-up influences on its sleeve, Awake seems to be split in two: one half higly unique original style, one half style mimicking. In a word – once again – a Mirror.

0:45 – 1:07: Round 2, David Gilmour with a bit of Stevie Ray's heavy hand. I guess that's how you keep yourself interested once you've attained Instrumental Omnipotence. Can I ask for some Eric Johnson tone with an ounce of Dave Murray legato?

1:07 – 1:49: Not what I asked, but I'm still happy with a zoomed out Lifeson. By the way, the day The Book of 70's Proto-Funk Groove goes missing, I would politely suggest to begin searches at Portnoy's. Just saying.

1:49 – 2:10: This wonderful Dark Prog (if the genre didn't exist yet, they've just focking codified it) section, in my musical authistic brain patterns, is the puzzle piece The Mirror needs in order to make sense. Bloody hell, a bunch of almost equivalent bars is already present there, but the vigor is all wrong. I would pay someone to Frankenstein the thing, or fix my noggin.

2:10 – 2:28: Well, if this is not the intellectual fragmented answer to The Mirror's visceral main riff, I am not a pretentious foppish message board spammer.

2:28 – 2:36: Case in focking point. And that guitar chunk is a bonafide act of tone pioneering in 1994, if you are not accostumed to slowed down sledgehammers.

2:36 – 3:16: Fock the Mirror, THIS is the heaviest bit inside the album. This song has already changed identities at least six times, yet it's carried by a strong organic flow giving coherence to every particle, and – by a strange circular/retroactive logic - to the whole tracklist.

3:16 – 3:33: Alright, I'm feeling like surrendering to hyperbole, but I am sitting on roughly 30000 records here – not counting Big Bro's forbidden stash and Classical Grandpa's collection 30 miles away – and yet I KNOW this is the most LeavingYouBeggingForMore chorus I have ever heard (assuming it's the chorus). Perfect imperfection. I have no words, only moans.

3:33 – 4:17: A full band airstrike isn't enough to prevent Big James to steal the focking show. He's successfuly swinging a doubleaxe even though his larynx is built like a rapier.

4:17 – 4:35: Mmmmmmhhhh ….gggggghhhhhhh … Mmmmmmmhhhhhh...

4:35 – 4:53: Another Mission Impossible Instant Cooked Mask, the puzzle piece missing in Lie this time. I am focking rambling at this point, I'm acknowledging the fact.

4:53 – 5:12: The mirror eventually shattered. I was very wrong with my prediction and [out of narrative timeline] a lot of people will be in the future alluding to the next track. The supposed hidden trilogy's last movement ain't going to be a mellow one. I am hearing it right now and it's a tentacular multi-layered masterpiece.

5:12 – 5:49: This must be the Dublin New Wave Pop layer. This tune needs a map and cliffnotes while my ears need more of those Whitewalker Icy Sword guitar slashes.

5:49 – 6:26: Crafty. An obvious crescendo you just don't recognise as such until the very end.

6:26 – 7:03: It still mantains a song-y structure. Even more song-y than Learning to Live, and the scary thing is the comparison doesn't feel like blasphemy. Much.

7:03 – 7:33: Sorry track, I didn't mean to piss you off calling you song-y. Although very much appreciated, there was no need to dwarf Heart of the Sunrise.

7:33 – 8:15: Take the Time moment. Kevin Moore, me boy, now I get your suspicious soloist restraint so far. You were just waiting for the perfect segment to produce an absolutely kick-arse keyboard-played GUITAR solo.

8:15 – 8:34: Driving with Johnny P. First gear, Adrian Smith after the cure. Second gear, Steve Morse at his most selfish. Third gear, Lukather on the right drugs.

8:34 – 8:53: 3rd, 4th, 5th and 6th gears, all unequivocable Petrucci. Good luck aping that, future kids.

8:53 – 9:30: Same chorus (I guess this is the main chorus, not the brief teasing orgasmic one) hence considerations. Remember The Usual Suspects? That flick's last ten minutes gave you the urge to watch the whole thing all over again in order to fully get and appreciated it. This song is having the same focking effect on me. I am positive Awake is gonna sound on a new level of meaning after having been Scarred.

9:30 – 10:55: I am not one to tear my silly Pantheons down on a whim but  this outro is stealing *ducks lightning* Learning To Live Outro's lunch money with a staredown. Only the sneaky orchestration developement is worth an average progger's career. What can I say abmmmmmmmhhh … ggggggghhhhhhhh … Mmmmmmmmhmhhhh …

This sounded like the perfect album closer. Now, if wiser minds than mine have decided it took another tune to wrap the deal, what kind of focking supernatural song is waiting for me to salivate over?

Coming Next: Space-Dye Vest, Space-Dye Vest, Let Your Worries off Your Chest.


EDIT: More unreadable than usual

[TAC]

OK, I am skipping The Mirror and Lie for now.

First off..

Brother TAC and Tipper Gore asked me to scale the naughty down a bit

That's not true. I was asking to scale back the freaky with Podaar.


Gonna address the Material Mom portion first.

(Mr Crowley Organ Intro)

For obvious reasons, I appreciate any reference.

“Are you going to marry her?” (Randy Rhoads Plane Outro)

  

Best line of the thread so far!



Now the song...

The U2 comparisons are obvious. I don't have anything against U2. I respect them as a band. They'd be better IMO if they were heavier and had a better singer, and the DT nods to U2 are very enjoyable.

The mention of Fates Warning was an interesting observation. It wasn't until the vocals started in that section that I understood. You're right. I could hear Ray Alder singing that, just not as well. Although 1994 Ray Alder was the best Ray Alder.

5:25 – 6:05: Nice decent impactless thing, promising way more than it actually delivered. Not sure whether I'm eager to do it again.

...., but I guess it covers the song too.

Yeah, I kind of agree. Kind of comes full circle. But Lifting Shadows has totally improved with age. Loved them busting it out on the DT12 tour. James is amazing here. Just about unparalled.




Gonna hit Scarred next. My #3 all time DT track.

[TAC]

Scarred

0:00 – 10:55: Mmmmmmhhhh ….gggggghhhhhhh … Mmmmmmmhhhhhh…

Yeah, pretty much how I feel.

5:12 – 5:49: This must be the Dublin New Wave Pop layer. This tune needs a map and cliffnotes while my ears need more of those Whitewalker Icy Sword guitar slashes.

5:49 – 6:26: Crafty. An obvious crescendo you just don't recognise as such until the very end.

One of my favorite minutes' worth of music in the entire DT catalog.


This song is so immense. And that outro....It's not LTL, but on an Outro scale of 1-10, LTL is a 12 and Scarred is a 11. But like I said, only 8V sits between LTL and Scarred as my Top 3 DT tracks.


But I will also make an observation about SDV in relation to Scarred in the next installment.

[Indiscipline]

First off..

Brother TAC and Tipper Gore asked me to scale the naughty down a bit

That's not true. I was asking to scale back the freaky with Podaar.

Eheh, I kid. Tipper gave me an earful anyway.

5:25 – 6:05: Nice decent impactless thing, promising way more than it actually delivered. Not sure whether I'm eager to do it again.

...., but I guess it covers the song too.

Yeah, I kind of agree. Kind of comes full circle. But Lifting Shadows has totally improved with age. Loved them busting it out on the DT12 tour. James is amazing here. Just about unparalled.

I am absolutely positive there's something in Myung's lyrics causing vocal lines to be wonderful, causing James to sing them better everytime, forever. I don't know what it is, but it's there with every album and live performance I've witnessed.

But I will also make an observation about SDV in relation to Scarred in the next installment.

It's going to be focking interesting, because I've never connected them.

[Podaar]

OK, I am skipping The Mirror and Lie for now.

Come on, Tim. Put on your big girl skirt, whip out your tiny shovel and dig in.


@ Alex,

I mentioned before that I originally bought Awake on cassette which did not include Scarred. I didn't hear the song until I bought the CD just after Scenes From A Memory came out. As a result, I had an EP and two full albums between and they all had much better music (to my ears). I don't dislike Scarred, it's not a skip or anything but I truly don't understand the adoration for it. The intro and the outro are probably my favorite parts but in between are a lot of patched together bits that never sound like a cohesive whole.

8:15 – 8:34: Driving with Johnny P. First gear, Adrian Smith after the cure. Second gear, Steve Morse at his most selfish. Third gear, Lukather on the right drugs.

8:34 – 8:53: 3rd, 4th, 5th and 6th gears, all unequivocable Petrucci. Good luck aping that, future kids.

See this observation was probably meant as a "Wow." To me this is actually more of a criticism. When compared with all of the wonderfully crafted solos JP has created over the years, this one feels more like he just tossed together some standard licks he learned over the years called it good enough.

[lucasembarbosa]

Taste it's obviously a personal thing. But come on... Scarred gets to top 5 JP solos easily...

[TAC]

But I will also make an observation about SDV in relation to Scarred in the next installment.

It's going to be focking interesting, because I've never connected them.

Well, it doesn't connect the two songs. But it does speak to Awake overall.

[Indiscipline]

@ Alex,

I mentioned before that I originally bought Awake on cassette which did not include Scarred. I didn't hear the song until I bought the CD just after Scenes From A Memory came out. As a result, I had an EP and two full albums between and they all had much better music (to my ears). I don't dislike Scarred, it's not a skip or anything but I truly don't understand the adoration for it. The intro and the outro are probably my favorite parts but in between are a lot of patched together bits that never sound like a cohesive whole.

8:15 – 8:34: Driving with Johnny P. First gear, Adrian Smith after the cure. Second gear, Steve Morse at his most selfish. Third gear, Lukather on the right drugs.

8:34 – 8:53: 3rd, 4th, 5th and 6th gears, all unequivocable Petrucci. Good luck aping that, future kids.

See this observation was probably meant as a "Wow." To me this is actually more of a criticism. When compared with all of the wonderfully crafted solos JP has created over the years, this one feels more like he just tossed together some standard licks he learned over the years called it good enough.

I totally get where you're coming from, and I believe the cassette thing/buying sequence is a huge factor. Personally, I don't know much about Scarred general adoration or consensus. What I find uncanny is the way the song keeps growing on me after all these years, increasing its coherence every time I listen to it. About the solo, that was definitely a "Wow", but I get you, especially in hindsight.

But I will also make an observation about SDV in relation to Scarred in the next installment.

It's going to be focking interesting, because I've never connected them.

Well, it doesn't connect the two songs. But it does speak to Awake overall.

Oh, gotcha. Still focking interested!

[Ben_Jamin]

Got to love my all time DT song.

The lovely intro to the build up of the verses. Then the chorus...

The way I discovered Awake was by me randomly stumbling upon it. I playrd the CD and loved Voices and Scarred..

Scarred remains my all time favorite song. I am thinking of doing an top 50 DT song Thread again..

[Indiscipline]

Ben_Jamin, welcome to this corner of nostalgic lunacy. I'm taking advantage of your post to warmly invite the thread denizens (especially the lurkers) to share their DT discovery experience if inclined so. The Rat Pack is still doing the narcissistic rambling heavy lifting obviously, but the more the madder.   

For now we're tackling Awake's equivalent to The Crying Game's big plot twist camera shot.

Space-Dye Vest (or How I Learned to Stop Worrying and Love Awake):

0:00 – 1:05: When I was a kid I had three big wishes:

A) To grow up in a world where Marvel Comics can be effectively translated to the silver screen (and I think I focking got that one eventually)
B) To grow up in a world where the birthday gift policy is reversed: on your birthday you buy a present for everyone you know hence almost everyday you get a present from someone you know (It will never happen but it could save several struggling economies).
C) To grow up in a world where “Is this Chopin, Schumann or Saint-Saens?” is a more than viable question about a metal album's closer (Focking fulfilled on the spot)

Also, that sneaky delay is not an effect. It's class.

1:05 – 1:24: I am hearing Lie's odd melancholic bit and the curious sonic translation of synapses firing. The plot focking thickens.

1:24 – 2:01: I think I've finally found the aching limb, Dr Moore. What was confusing in absentia from track 1 to 10 is blatantly obvious right here. Now I really want to space-dye the whole album from the start, sorta like you luminol things in order to make bloodpools in the shape of a heart emerge.

On a sidenote, the masterclass in musical theatre goes on: in addition to the firing synapses sound, we now have these cadenced thundery explosions sounding like distant mind doors slamming shut. This is turning into the introspective twin to Private Investigations' narrative instrumental section.

2:01 – 2:39: My visual take on this: our protagonist is now watching a foppish flick on the tv, but his mind is elsewhere, struggling to keep noisy incendiary bitter thoughts at bay until they eventually reach white heat status. The last three chords on the piano crescendo speak volumes. You can physically perceive the percussive violence.

2:39 – 3:17: The pot has spilled and the distorted guitar is the emotional foam. In any other case I would say I'm focking mad driveling as usual, here I suspect I'm closer to home than looney bin.

3:17 – 4:05: Here we go again, and frantic zapping doesn't help.

4:05 – 4:32: The arrangement is obvious: our protagonist has placated the mental pressure, but at a price. The music is not showing someone shutting off anguish focusing on outside world signals, it's showing someone shutting off the world becoming one with his anguish. This song is so good at what it elected to do that I'm sure I wouldn't need lyrics in order to reach the same conclusions, no matter if right or wrong.

4:32 – 5:10: Well, maybe it would have been a shame to swear off lyrics. That's some brutal powerful Nick Cave / Morrissey shit. Plus, honour to Big James' sensibility, that “do you really think I need you?” just drips self-delusional venom.

5:10 – 5:29: Dr Moore wrote the testament, Johnny P is e-bowing the letter.

5:29 – 6:07: Ok, now I'm going to focking destroy the mood, but this section – to this day – is automatically pointing my mind's ear to Supertramp's School, the uptempo instrumental middle section. Bear with me.

6:07 – 6:55: And right on the closing credits we get the album's most memorable melody. It would have been great to have it sung, but it would have been wrong. You just can't keep talking seconds after stating you'll never be open again.

6:55 – 7:30: What a punch. The most unDreamTheater song so far turns out to be the one best incarnating the Dream and Theatre concepts. It completely twists my whole point of view on the album, from cover to last note. After Pull Me Under, I feel THIS should be the single able to bring the band in every living room around the world. Everyone can relate to this tune on some level, be it musical, lyrical, soundcrafty or moody.

Back to the present for a moment, I am really grateful I heard this song and album in a internet-free age. Knowing then all the details and band dynamics going on would have given me a someway cheap interpretation guide and ruined the impact and lasting memory. I will always find better to save the mystery than surrender to the secret.


Another chapter closes. The next one – assuming you're not focking tired of this gig and admin doesn't wisely decide to save bandwidth – I'm going to have a blast reminiscing. It's about my first live DT experience and collision with DT fans.

Coming Next: Scene Four: Through My Galoshes – The Deluge and The New Guy (Featuring A Change of Seasons Running Diary)

[TAC]

Indiscipline, I think we are in lockstep on Space Dye Vest. Without true data, I feel like my years on DTF have shown me that Awake is generally thought of higher by those who go back in time, rather than (already) fans listening to a true follow up to I&W. I still rate it at as a Top 5 album, but when compared to Scenes, which I rate higher as a whole, even that doesn't have the timeless standout tracks like SDV and Scarred. Even Voices. Apologies to The Spirit Carries On and Home.


I am a hard rock/metal guy. But a quick look at my favorite 6 bands shows a distinct lack of metal:
Deam Theater
Iron Maiden
UFO
Alice Cooper
Ronnie James Dio (all things)
Thin Lizzy

All of the above bands take me on a journey, if not musically, than certainly lyrically. It's music that grabs my soul and doesn't let go.

But as a metal guy, I don't need my metal from Dream Theater. I'm not sure I even want it. Sure, I love me some Dark Eternal Night and This Dying Soul, but my biggest want before the Astonishing, was my same want in forever. I want more piano and more James.

So enough of my pre(r)amble...

6:07 – 6:55: And right on the closing credits we get the album's most memorable melody.

6:55 – 7:30: What a punch. The most unDreamTheater song so far turns out to be the one best incarnating the Dream and Theatre concepts. It completely twists my whole point of view on the album, from cover to last note.

Back to the present for a moment, I am really grateful I heard this song and album in a internet-free age. Knowing then all the details and band dynamics going on would have given me a someway cheap interpretation guide and ruined the impact and lasting memory. 

I highlighted the above two passages as I totally feel the same way. I bought the CD originally, so I had the full album. My biggest issue while listening the I&W for the year and a half before was how in the world would this band follow it up. What would it sound like? Honestly, I would've been fine if they called it a day.

So on my first listen to Awake, I was quite underwelmed by the first three tracks. Liked Erotomania and Voices, though not standing out against I&W. Mirror/Lie...Zzzz Lifting Shadows..that's nice, I'll come back to it. Scarred...Dense, very cool though, great outro.

But at this point, while I&W's follow up being a disappointment was not unexpected. And then Space Dye Vest starts. When I said I don't want metal from DT, I'm not generally a keyboard driven guy either, but Kevin Moore on I&W is fantastic. But he's barely noticeable on Awake...until now.


I thought Spave Dye Vest was the first original thing that Awake had to offer.  "There's nowhere to set my aim, so I'm everywhere". Brilliant lyrics Brilliant delivery. I love how the song grows. You mention piano chord crescendos and I feel like it hits you like three times.

Spave Dye Vest ranks as my #5 DT song.

[Podaar]

When I had Awake on cassette, I always ejected it after Lifting Shadows. When I bought on CD I always ejected it after Scarred. When I ripped it to my home NAS I omitted SDV. I think Bosk said it best...

48.  Space-Dye Vest - Wait...how exactly did Space Dye Vest manage to be #48 and not #50?  I am almost as surprised as most of you.  But when I look at my #49 and #50, I have to grudgingly say, "Yeah, as bad as Space Dye Vest is, there are two songs I have to rank lower."  It's a very close call, but the way the distorted guitar is used very subtly for background atmosphere is something I can stretch to call a positive.  But as for why it's ranked so low, I find nothing to like about this song at all.  It feels so melodramatic for no good reason, and the biggest problem is that I am convinced that Kevin Moore actually views this as a serious song rather than a melodramatic song.  I have no problem with melodramatic in the proper context.  But when a songwriter intends a song to be completely serious and deep, but it ends up only being melodramatic and shallow, it just makes everything about the song seem silly and pointless.  This song at one point held the distinction of having the most pointless, childish lyrics of any song I had ever heard.  Then I had the displeasure of seeing a band called Kill Hannah in an opening slot in 2009.  Still, this song isn't far behind.  If they ever played this song live at a show I was at, I would listen and enjoy it and would be thankful to be reminded once again of how thoughtful the band is toward their fans to play something so rare that has become almost a cult classic.  But beyond that, not interested.

To which I replied with...

I agree with all of this and would add that, for me, the melodrama has always been rooted in the fact that this song is so obviously written by someone from a privileged upbringing 'imagining' what it must be like to suffer. I think that contributes to the "contrived" tag this song often gets. To quote Carmine Falcone, "You've never tasted desperate."

I stand by this assessment.

[TAC]

….whoever the hell Carmine Falcone is.


I'll see your Carmine and raise you one!

[Podaar]

Jesus, tap-dancing, Christ. I swear, Tim, you have the least exposure to popular culture I've ever seen.

https://youtu.be/Xg913f8Tjqc?t=74

[TAC]

Fucking Batman??? You're quoting Batman??


There's only one Batman!



Sorry, I don't give a shit about every new Batman movie. Oh let's see, who's gonna play him now? Ben Affleck? Cool! Christian Bale? Oh wow!

I saw the first one with Michael Keaton and I thought it sucked.

[Podaar]

As fascinating as this Caped Crusader conversation is, I think you're missing the point.

Kevmo's Gagnum Mopus comes off as a boring wankfest because the only subject he could come up with to whine about was: All my buddies married members of a female metal band and left me groping myself to a magazine model in a Spaced Dyed Vest. Wah, wah, sissie, lala.

[TAC]

As fascinating as this Caped Crusader conversation is, I think you're missing the point.

Kevmo's Gagnum Mopus comes off as a boring wankfest because the only subject he could come up with to whine about was: All my buddies married members of a female metal band and left me groping myself to a magazine model in a Spaced Dyed Vest. Wah, wah, sissie, lala.

No I get it and actually understand the point.

If you don't like Kevin Moore, and it affects you from liking the song, so be it. Personally, I don't worship Kevin Moore, but his time in the band, and his lyrics contributed to the greatest album I've ever heard in my life (I&W), and the albums that surround it (see what I did there) are both pretty damned good in my book.

Maybe the guy is a douche. Maybe you view the lyrics to SDV as douchey.

Space Dye Vest is the only "new" thing that DT had to offer on Awake.  You think they missed terribly. I think they hit a bullseye.


And who is to question Kevin Moore's integrity? I'm just playing devil's advocate, but no one has walked in his shoes, so who can judge him? Just because MP called him "contrived" in a bitter spiteful lyric. Yeah MP should be the compass we all revolve around. Sure thing.

Personally, I connect to the song because of what would soon be going on in my life. But even on Day 1, this song worked for me, and has never slipped.

[Willthescout7]

And who is to question Kevin Moore's integrity? I'm just playing devil's advocate, but no one has walked in his shoes, so who can judge him? Just because MP called him "contrived" in a bitter spiteful lyric. Yeah MP should be the compass we all revolve around. Sure thing.

What lyric is this?

[TAC]

.

[TAC]

And who is to question Kevin Moore's integrity? I'm just playing devil's advocate, but no one has walked in his shoes, so who can judge him? Just because MP called him "contrived" in a bitter spiteful lyric. Yeah MP should be the compass we all revolve around. Sure thing.

What lyric is this?

Raise The Knife

The second half of the song's lyrics MP wrote are about Kevin Moore


"Tortured artist bears his soul
Seems the pressure took its toll
Lived a life so punishing
Now he keeps the publishing
Spilling your guts out to a pad and pen
Communication to your silent friend

Raising the knife
To a picture of a life
(I once knew)
There comes a time
Compromising my life
(Just won't do)
I cannot lie
I can't try anymore
(To reach you)
I just can't fight
Raise the knife
Raise the knife
Cut through

I remember once you were the quiet type
Content to sit and watch the motions of your life
With false sensitivity
You cut yourself open so people would adore you

They all bought into your contrived sincerity
And how you wore your heart and soul right on your sleeve
Laughing sarcastically
You turned your back on the people who adored you

Self-absorbed exhaustion
Self-esteem distortion
Self-infused extortion
Self-serving abortion
I'll take the blame for these things that I say
'Cause I had the heart and the will and the courage to stay
Every day
I won't walk away

Reading through all the digests you show me
I notice the way that you"

[Willthescout7]

Wow...

I haven't listened to any of the bootlegs so I hadn't heard that.

[Podaar]

As fascinating as this Caped Crusader conversation is, I think you're missing the point.

Kevmo's Gagnum Mopus comes off as a boring wankfest because the only subject he could come up with to whine about was: All my buddies married members of a female metal band and left me groping myself to a magazine model in a Spaced Dyed Vest. Wah, wah, sissie, lala.

If you don't like Kevin Moore, and it affects you from liking the song, so be it. Personally, I don't worship Kevin Moore, but his time in the band, and his lyrics contributed to the greatest album I've ever heard in my life (I&W), and the albums that surround it (see what I did there) are both pretty damned good in my book.

Yeah, I was just trying to crack you up with that post. Maybe I should have put in a smiley? 

I don't like or dislike Moore. I don't know the guy. I loved his contributions to DT musically, and sincerely wish he would have stayed with the band through their career. I never paid that close of attention to his lyrics until SDV because there is nothing to do but listen to the lyrics when that song is playing. The music itself isn't doing anything but providing a backdrop to the words.

I'm actually surprised that someone like you isn't dismissive of SDV. You truly know what it's like to wrestle with life. And maybe you're right, I don't know what other difficulties KevMo had in his life. Maybe he really has tasted desperate. I certainly know I have. If so, he really chose a weird subject matter for pour his heart out on.

Oh, and I've never payed attention to or read Raise the Knife. Let's just say, I'm not terribly surprised that MP felt that way. 

Edit:

And as for this dig...

Just because MP called him "contrived" in a bitter spiteful lyric. Yeah MP should be the compass we all revolve around. Sure thing.

I'm actually more pleased with MP leaving the band than KevMo, to be honest.

[Indiscipline]

POW! KABANG! Z-ZWAP!

I couldn't be more proud of my brothers TAC and Podaar: one self-admittely pre(r)ambles, the other goes pop reference. If I die tomorrow I'll be alright because I believe that after I've gone the Rat Pack carries on.

Now, disclaiming there's nothing more sacred and untouchable to me than my neighbour's musical tastes and opinions, Q&A!

But as a metal guy, I don't need my metal from Dream Theater. I'm not sure I even want it. Sure, I love me some Dark Eternal Night and This Dying Soul, but my biggest want before the Astonishing, was my same want in forever. I want more piano and more James.

Add a Fock or two, a couple of Typo Demons, maybe a silly Back to the Future or Rocky reference, and that's my exact thought typed by another man's set of fingers.

I agree with all of this and would add that, for me, the melodrama has always been rooted in the fact that this song is so obviously written by someone from a privileged upbringing 'imagining' what it must be like to suffer. I think that contributes to the "contrived" tag this song often gets. To quote Carmine Falcone, "You've never tasted desperate."

That - as well as JFK's speech - is a very respectable point of view. If I read it correctly, you can't believe in the music if its author is not credible, and that's fair enough. Speaking for me, not only I have never cared about the author's intentions and backgrounds (hell, John Lennon's best outputs comes from the most weak dependent whiny pussy-whipped place you can Imagine) but I focking love melodrama. It gave me Queen, Genesis, Alice Cooper, Alice in Chains, Waters Floyd and thousand others.

Regarding Dr Moore, I am happy lack of internet made me oblivious to that drama. As a guy myself both born in privilege and self-realised in extreme adversity, I am a bit cautious to judge the man and where he comes from.

But, above all, Kevmo's Gagmnum Mopus is a wordplay I will NEVER cease to be jealous of, damn you Gregg.

Wow...

I haven't listened to any of the bootlegs so I hadn't heard that.

Welcom to the dork side, Willthescout7!

Yeah, those lyrics - read right now in 2018 -  sound funny hysterical and a little bit on the hypocritical verge too.