Scenes From My Memory v. Honor Thy Father

[Indiscipline]

05 - Burning My Soul:

I try, I swear, but you can micro-analyse chess, not checkers. I think a simple bullet points breakdown can do the trick, and I'm really scraping the barrel's bottom just to come up with an acceptable and always symbolic quota of 7.

1. The Intro is actually the highlight, very dramatic and sexy. Alas, it's followed by a much inferior sequence of music. Think The Godfather's wedding party scene followed by The Godfather part III.

2. Remember the bucket Baby Derek was playing with on ACOS' cover? Well, apparently Mighty Mike is using it in lieu of a regular snare, and it works!

3. The two Jonnies are not interested in this tune. Why should I be?

4. Derek writes solos like Eddie and plays them like Dimebag. I'm in love with the way he manages his synth's filters anyway.

5. The chorus desperately calls back to Pull Me Under. No one is responding but strange processed voices.

6. Big James is focking tired or he's just given up. This is the fifth straight song painfully playing to his weaknesses, and being those weaknesses no more than five I'd say great job gang screwing with your singer.

7. This is my first and last recap directly written inside the reply box, as I don't even need to bother running it through a word processor. That's this song in a nutshell. I will always consider it DT's all time low. Not musically, not lyrically, but because it screams: "Who focking cares, let's get done with this shit, we need to fill up a cd", which translates into: "Who focking cares, let's get done with this shit, I need to fill up a thread chapter". Sad beans.


As deepest darkness lead to dawning, I should have known my all time greatest DT one-two punch was waiting behind the corner.


Coming Next: Hells Kitchen / Lines in the Sand
 

[Trav86]

I’ve always really liked this song. That’s all.

[Indiscipline]

I’ve always really liked this song. That’s all.

Welcome to the thread!

If you're not familiar with it, please know it's a jestfest not meant to offend nobody's opinions and tastes but mine. *smile*

[bosk1]

Well, I'm not easily offended.  But using "Hell's kitchen" and "greatest" in the same sentence comes VERY close to the line of offending my sense of good taste.

[The Walrus]

Hell's Kitchen is definitely the greatest 6th song on Falling Into Infinity.

[Podaar]

Wow, two episodes and three songs in one weekend! I feel like Slim Pickens approaching the campfire, waiving my hat. What in the wide, world o' sports is going on here. Your ripping these off like a weight-lifter on a high protein diet riding an elevator to the 30th floor.

0:00 – 0:17: The Two Morons are removing their masks! They are Bob Rock and Lars Ulrich! Next on Monday Night Nitro, Paul Heyman spinning what the fock has happened in the last three years!

I always got a Fairies Wear Boots vibe from this opening riff.

0:17 – 0:34: I know when I'm wrong, I jumped the Black Album gun. Let me correct myself … Come in here, dear boy, have a cigar, you're gonna go far ...

This is spot on.

For me, Peruvian Skies has been almost two different songs. Both great, but only really bound together by the lyrics, and a reprise toward the end. Still, that's one of the more fun things about Prog, isn't. Throw convention out and tell the story how ever you wish.

0:38 – 1:03: Ok, now I get it: If blood will flood when flesh and steel are one ... I'm not stopping until I begin to focking believe what I'm hearing.

Kinda...okay, I'll give you this one.

Hollow Years is an irresistible sing-a-long that I try hard to resist by skipping it.

I’ve always really liked this song. That’s all.

I'm kinda with Trav on this one. I enjoy this song quite a lot, except (you knew there would be an exception) the repeated burning by soul with aforementioned "strange processed voices". I'd like the DTF Custom Shops™ to trim it down to one burning my soul to end the chorus.

It's kinda dated now but I still think it's a cool little rocker with an excellent lead break by Beaux Derrek.

[Indiscipline]

Well, I'm not easily offended.  But using "Hell's kitchen" and "greatest" in the same sentence comes VERY close to the line of offending my sense of good taste.

Let me get this straight .. after 8 years and 14 pages I manage to do that only NOW? Boy I suck.

I love Hell's Kitchen like I'm Matt Murdock, Mr Fisk.

Hell's Kitchen is definitely the greatest 6th song on Falling Into Infinity.

Can't argue with that. *grin*

And welcome to the machine, Katt!

Wow, two episodes and three songs in one weekend! I feel like Slim Pickens approaching the campfire, waiving my hat ...

There, let's leave perfection untouched.  A Wild Bunch reference and I'm a joyful bundle of bliss, my friend.

[Podaar]

Wow, two episodes and three songs in one weekend! I feel like Slim Pickens approaching the campfire, waiving my hat ...

There, let's leave perfection untouched.  A Wild Bunch reference and I'm a joyful bundle of bliss, my friend.

*cough*Blazing Saddles*cough*

[Dream Team]

FII is easily my least favorite DT album and has several of my least favorite songs, including this one (BMS). There is absolutely nothing DT about it and it could have been written by any of hundreds of generic, un-noteworthy bands.

[Indiscipline]

Holy fock what a brainfart! I literally thought of Mel's movie and typed Sam's one.

My left hand is shaking.

I'm not even editing the post 'cause it's so bizarre it's fascinating. I DO need some vacations.

Nurse!


EDIT: Hey Dream Team, long time no see!

[lucasembarbosa]

Haters gonna hate, but

BMS has the second best keyboard solo in DT's discog, closely after Trial of Tears. I seriously have a weakness for Derek's guitaristic approach to solos, and his crazy signature Monster Lead. Every time I'm listening to FII and land on BMS, I FF it all till the solo and then skip to Hell's Kitchen... xD

And thank God they decided to cut Hell's Kitchen from the original BMS, it alwalys looked like a lazy copy-paste thing.

[Indiscipline]

Haters gonna hate, but

BMS has the second best keyboard solo in DT's discog, closely after Trial of Tears. I seriously have a weakness for Derek's guitaristic approach to solos, and his crazy signature Monster Lead.

No worries, Lucas. Hate's not allowed here.

I'm with you on Derek's approach and I loved how outrageously loud he played his solos live.

Despite all the criticism he's took for the stage antics and the rockstar galore, in retrospect I believe his over the top attitude and vitality have really been a factor in keeping DT together during a fairly difficult period.

[Indiscipline]

Long long installment, refreshed by a couple of days by my beloved sea.

Dear audience, in order to better tolerate the next madcap recap, here's my personal decalogue of things that should ALWAYS be enjoyed contiguously (no particular order, we ain't raging for order.)

Cognac / white chocolate
Champagne / strawberries
This thread / exorcism
Fighting / sexing
Kill Bill part 1 / Kill Bill part 2
Lagavulin / iced water
Tour Bus / DTF
Brain Damage / Eclipse
Sleep / awakening
Hell's Kitchen / Lines in the Sand

Strongly advising a healthy correct execution of n.9, we tackle n.10:

06 / 07 – Hell's Kitchen / Lines in the Sand:


0:00 – 0:34: I hear a phased bass and I see fog, guitar slashes as sabres of gaslight, keyboards dripping condensation. That's my favourite side of prog, scenery building. You don't have to prove your musicianship, for I have better genres for that goal, you have to toss me inside a dream playground and manipulate the landscape around me.

0:34 – 0:57: The Petrucci staple progression in common top voicing is to rythm guitar what AC is to public transportation. There is a definite dramatic turning point as far as enjoyment is concerned.

0:57 – 2:01: Johnny P, if waiting five songs for you to finally show up means you come up with this masterclass in feeling and temper restraint/release (Tim, there's some Gary Moore here. I'm making a point to let you know anytime it happens), I'd say the wait was bloody well worth it. By the way, Mighty Mike (and this is his album so far) is raping the boundaries of an always brilliant 6/8 with gusto.

2:01 – 2:13: Speaking of Mike, he really can't help going for at least eight bars of awesome as response to Johnny P's outing. He's like Roger Rabbit with Shave and a Haircut.

2:13 – 2:47: TWO BIIIIIIIIIIITS!

2:47 – 3:18: Derek openly quoting Dr Moore. Images and Words is littered with keyboards melodies apparently out of synch but leading the whole band a handful of bars later. Am I being too technical? I can switch to Mel Brooks references in a heartbeat if you like.

3:18 – 3:40: Incredible drama and crescendo in relatively simple terms. I don't need my instrumentals to schizo-skip time signatures like grasshoppers. The subtle erosion of a couple of 1/8 beats now and then is more than enough to sexy up the pace. Ok, fock it, PUT THE CANDLE BACK! Better.

3:40 – 4:20: Grandpa would scream: GUSTAV MAHLER! Incredible instrumental, you really catch lightning in a bottle when you let a jamming beautiful progression bloom organically. This is already LTE writing.

4:20 – 5:29: The yang to the previous tune's ying, featuring monophonic moogish bliss and a genious telluric bass. You don't notice it's there, but boy you're gonna notice if you take it out.

5:29 – 6:08: Glad to hear the glorious spirit behind Lucky Man's solo has carried on somehow.

6:08 – 6:20: I love music. You can draw a line from Jailhouse Rock, joining Speed King with Sweating Bullets, and find yourself right here. Like Billy said, it's all rock'n'roll to me.

6:21 – 6:44: JOHNNY M IS CARRYING THE SONG! JOHNNY M IS CARRYING THE SONG! Don't ask me why, but I firmly believe the best riffs (and vocal melodies) are his.

6:44 – 6:55: Best ten seconds on the album so far. Ballet for four instruments: twist, turn, glide and stop on a dime. No jockstraps I hope.

6:55 – 7:35: Images and Words is proving to be a blessing as well as a curse for these guys, the inspiration fountain and the measuring stick. You get to choose which is which regarding this Take the Time poltergeist. 

7:35 – 8:30: What a focking wild turgid rocker, and I would pay to listen to 1974 Coverdale and Hughes singing this chorus. By the way, I'm enjoying Doug plenty, but he's hilariously reminding me of Ike Willis' best moments. (Gregg, I'm making a point to let you know anytime it happens).

8:30 – 9:02: See, just write interesting lyrics and Big James shows up with all his might. Johnny P's catholic torments worked wonders on the previous album on that account and the trend is keeping up. On a side note, Johnny M is a focking savage.

9:02 – 9:53: Tell me, Ike, why does it hurt when you pee? On a side note, Mike is Ka-Zar.

9:53 – 10:41: Johnny P is RobbenFording the house. A window from the future, dear reader: are you loving this splendid aural vacuum letting every dynamic shine? You're gonna focking missing it badly most of the times from now on.

10:41 – 11:45: Take the wah away and this beast is walking on Mother solo's footsteps. Trust me, I'm begging you. Solos have identities beyond notes.

11:45 – 12:17: We can safely say DT has caught up with Rush musically by now, while lyrically they're usually at least a tier below. Well, this bit is in the ballpark. They catch the spirit, I'm ready to catch the spit.

12:17 – 12:49: Or maybe not.

12:49 – 13:37: I loved the interaction between Johnny P and Dr Moore, and I must say I'm loving the way my man is making things work with Derek and his amazingly efficient Elton rythms. Talent is entente.

13:37 – 14:01: I'm headbanging here, nothing to add, really.

14:01 – 14:33: Nothing can stop your headbanging so abruptly to marginally endanger your vertebrae like a BONAFIDE WEATHER REPORT MOMENT! Everytime we call the DT Custom Shop we do spit on the gods' feet.

14:33 – 15:34: Isn't it wonderful when the guys are on all cylinders with nothing but prog, rock and their musician's (and music fan's) cornucopias? I swear, sometimes – in a moment of bliss – I believe that whole metal thing is holding them back.

15:34 – 16:02: Ike, guess you only get one chance in life to play a song that goes like ...

16:02 – 16:17: And it closes like a Steve McQueen movie, a Mustang jumping on Frisco's frisky slopes. Sixteen minutes of what I love the most about DT, unchallenged until a certain huge focking whole homage to dad's prog we're not gonna examine until Scene 9.


Coming Next: Take Away My Pain

[Podaar]

That was fantastic, Alex. It's so much fun to open a second window to the song you're commenting on and read along with the time stamps.

I've always wondered why the Doug vocals were such a miss with quite a few of our fellow forumers yet they always seemed great to me. It took your mention of Ike to make me realize, I'd been conditioned to appreciate that vocal style from years of FZ! Excellent reference.

Speaking of...this made me guffaw.

15:34 – 16:02: Ike, guess you only get one chance in life to play a song that goes like ...

...Don't you boys know any nice songs?

Anyway... I wondered, I cried, I laughed. Does anybody remember laughter?

[bosk1]

I've always wondered why the Doug vocals were such a miss with quite a few of our fellow forumers yet they always seemed great to me. It took your mention of Ike to make me realize, I'd been conditioned to appreciate that vocal style from years of FZ! Excellent reference.

I have no idea what you are talking about or who Ike is.  But I have always liked those vocals, and I'm not really sure what the supposed problem is.

[Indiscipline]

@Gregg, you're too good, I'm blushing. I remember laughter, I'd be focking unemployed without it *shudders*

@Bosk, Ike Willis was one of Frank Zappa's partners in musical debauchery, and Doug's vocals make LitS 50% cooler, if possible.

[bosk1]

@Bosk, Ike Willis was one of Frank Zappa's partners in musical debauchery

Ah, okay.  If it is a Zappa reference, then my position goes from ignorance to indifference.   

...and Doug's vocals make LitS 50% cooler, if possible.

I had 52%, but no sense quibbling.

[TAC]

I feel bad, but I really can't properly respond until next week.

[Indiscipline]

Don't, bro. Thread will still be here when you're back. Enjoy your time!



















(Bosk, thread will still be here, will it?)

[Indiscipline]

Thread still here!

As my man Vizzini would say, Unconceivable!

And now, for something totally different …


… A warning, if you will. This is going campier than usual, borderline dada in fact. Remember it was 1997 and – albeit brilliantly graduated both at high school and conservatory – I was struggling to find the courage to tell my family what my (very controversial) life choices were going to be. In order to procrastinate the inevitable confrontation my mind was constantly monopolised by the following activities:

Final Fantasy VII
Falling into Infinity
The Bong
X-Men's Onslaught Saga

Add a post-graduation trip to Amsterdam and you can easily justify the utter tripe you are going to read. (incidentally, Girfriend#1 was being officially canonised as certified saint)

So:

Long Island Hold'em, featuring Take Away My Pain, Just Let Me Breathe, and Anna Lee.

Dream Factory Studios, East Rutherford, NJ. The guys sit around the gaming table, Big James as the Dealer. A curly blonde waitress paces around managing drinks while a mysterious figure stands in a corner, watching.


Hole Cards:

Johnny P: One personal tragedy, one ticket to Desmond Child's mansion in Florida

Mighty Mike: One angst ridden posture, one manufactured anger

Beau Derek: One Elton penis envy, one title doubt (Anally or Anna Lee?)

Johnny M: Unreadable


The Flop:

1. Peter Gabriel Groove, surprisingly respectful and restrained (Johnny P card connects)
2. Hypocritical reversal of Take The Time's hallmark lyric (Mighty Mike card connects)
3. Something's Leslied guitar for polished pop legitimacy (Beau Derek card connects)


“Shirley, keep the drinks coming, baby”

“You can call me Kevin, you know Mike?”

“Drinks, now. And mix'em right.”

“Can we stop the telekinesis, please? I'd rather deal the cards myself”

“Sorry”

“No problem, JM”


The Turn:

Dead artists name dropping (Johnny P and Mighty Mike card connect)


“Guys, who's the bloke in the corner?”

“Don't mind him, Derek. He's here to watch”

“Am I unsettling the rockstar?”

“Not at all, Jordan”

“Guys, is JM levitating?”

“Yeah, he does that when he's dealt a good hand”

“Sorry”

“No problem, JM”


The River:

Queen chorus plagiarism (Mighty Mike and Beau Derek card connect)


“Guys, the room is glowing cyan and temperature dropped twenty degrees”

“Sorry”

“No problem, JM”

“OK, show your hands, mates”

“I've got three brilliant apparently identical but elusively different pre-choruses and the first ever mention of Edge of the Water. Is it enough?”

“There. A rebuttal to the same MTV that basically created us and one sick Learning to Live moment. Hand's mine, fellas.”

“Stop right there. Here's A Perfect Day intro and the vocalist's lyrics. I'm making history, and you?”

“JM?”

“Sorry”

Shows the winning hand: Trial of Tears (coming next, after a probable week long ban)


EDIT: Walking on thin ice

[lucasembarbosa]

Amazing. 

Nice JR introduction, and..... I'll NEVER think of Anna Lee the same way again. Thank you very much, sir.

[Indiscipline]

Obrigado, buddy!

Yeah, I kinda ruined the song for myself too, and I genuinelly think it's the best ballad on the album by the way.

[Podaar]

I read that entire post with a bad John Malkovich Russian accent. You're right. I don't have spades.

I've always been a fan of Take Away My Pain. I don't really care for Just Let Me Breathe, except for the heavy riff after "angst ridden posture."    And Annally, doesn't work for me whether or not I'm the pitcher or catcher.

[Indiscipline]

I read that entire post with a bad John Malkovich Russian accent. You're right. I don't have spades.

Well, we're splitting oreos here.

[Indiscipline]

Life imitates art, which mocks life, wich mocks art, which imitates life. It goes Round and Round, and you don't give a Ratt's ass. Da-ba-ching!

Thank you, thank you. I'll be here all week.

Trial of Tears is the perfect score to my first big life trial, a sad ludicrous tale we all could live without reading about, nonetheless fundamental to bridge the gap separating us from Scene 06. By the way, I'm trouncing this sucker in three parts because:

A) DT did the same, focking duh.
B) I'm leaving on vacations next monday, so I'm milking this chapter for a whole week rather than starting the next one and hanging it to dry.
C) You people actually hate the long winded post, don't you?

Of course, the events I'm going to narrate transpired during a span of weeks, not 13 awsome minutes, but if you can't stand a little artistic chaotic freedom, then I really wonder what are you doing here. Furthermore, it's not like I'm dropping bombs in space …

Do we still focking hate ado? We focking sure do, hence:


Trial of Tears, Act I:


Try this at home, young'uns. Go to your uni professor mother (in a family context wherein the last relative to not attend university died in 1821) and state with a straight face:

“Mom, fock university. I'm going to Musical Theatre School!”

“Ok, where's the hidden camera?”

“Sis' bedroom, but that's beside the point.”

“You scared me for a moment. You were saying you're into heroin, involved with the mob, or both? That I could handle.”

“Musical Theatre School. Admittance auditions next May.”

“Please leave your keys on the bed before checking out. Goodbye.”

“MOM!”

“By the way, you owe me seven months of morning nausea.”
 

Lovely, innit? Let's see whether the Drumming Dad can work some magic …


“Do you still like girls?”

“C'mon, let's be serious for a second.” (Yeah, I was actually capable of such a thought)

“What of Maria? (Girlfriend#1)”

“Fock her!”

“Gladly, but I thought that was your job.”

“OK, are you gonna help me with mom or not?”

“Son, I have to live with the woman and you have to fight for your dreams.”

“Thank you. Anyway, should you need'em, she keeps your balls in the purple purse, not the crocodile one.”


I never hated my parents like on that day, I love them to death now for that day.


It's Raining (Blood, courtesy of Mom)

0:00 – 1:45: Boy this album is weird. It features the highest percentage of disappointing songs AND the highest percentage of damn perfect intros in DT's catalogue (so far).

1:45 – 2:18: Johnny M goosestepping. Please, God, let this be Learning to Live's spiritual successor ...

2:18 – 2:51: Well, lyrically it definitely is.

2:51 – 3:08: Glad to know the guys aren't above a good old fashioned line clichθ.

3:08 – 3:24: When Mighty Mike thinks outside the Metal box and Johnny M forgets about his childhood pal and focuses on the drums, they are the best rythm section in the business. Sorry Geddy/Neal, Steve/Nicko, Ox/Loon, Penguin/Bonzo, Chris/Bill …

3:24 – 3:53: Correction, this is not the lyrical successor to Learning to Live. It's (lyrically) Learning to Live, pt2: HIV Was Less Scary Than Band Identity Conflict.

3:53 – 4:47: I will say it again: Johnny M's vocal lines are Big James' meal ticket. They should start a band together.

4:47 – 5:18: We're at the crossroads where light prog, sophisticated pop and rock electronica meet, and I'm loving it. DT Custom Shop, MOAR please.

5:18 – 5:32: That was Kevin Moore, there's no other option.

5:32 – 6:00: Uh-oh. Big James is supposed to be 3 years older since Awake, not 30.

6:00 – 6:12: Two Bits without Shave and a Haircut. Someone can't lose a poker hand.


Coming Next: Act II, Introducing the Classical Grandpa

[TAC]

My plan is to try and catch up tonight.

I love this though:

Guys, who's the bloke in the corner?”

“Don't mind him, Derek. He's here to watch”

“Am I unsettling the rockstar?”

“Not at all, Jordan”

 

[Indiscipline]

Welcome back, sir!

Catch up at your leisure, I'll be waiting at the bar.

I'll be the one with the Sgt Pepper T-shirt.

[TAC]

03 – Peruvian Skies:

3:45 – 4:19: See, Kirk? That's how you Cry your Baby. And, as always happens, whenever Johnny P shifts gears, Mighty Mike throws himself into the song and competes.

4:19 – 4:38: Say your prayers, little one, don't forget, my son, to include everyone ... I am not sorry, I am late.

4:38 – 5:00: Cute. Derek thinks he's Paul Gilbert, and slightly addicted to that rush.

5:00 – 5:16: You have probably forgotten this bit, but it's actually the most interesting part of the song.

5:16 – 5:31: Alright, song saved. This riff is focking golden. A tad derivative, but golden.

5:31 – 5:54: It keeps going better and better. Thanks Mike, really.

5:54 – 6:06: … And the captain turned the Full On Helloween signal on.

6:06 – 6:40: Let's see whether is it acceptable to sum up a tune this way: “A victory by virtue of a solid crunch time performance and a spectacular buzzer beater.”

That instrumental part kicks ass. I have always loved it. This is part ! on my FII 3 song EP. And your mentions of James in the first half of the song...spot on.

04 – Hollow Years:

0:13 – 0:38: See? Notes only fock things up. Parisienne Walkaways, the elevator version! I'm on a focking roll.

Great call dude!  I even started a JP thread where I mention I have always heard Gary Moore in JP's playing, although I've never heard him mention him as an influence.


The other thing about Hollow Years...
FII version: Bottom 15 track
Budokan version: Top 15 Track

[TAC]

05 - Burning My Soul:

I try, I swear, but you can micro-analyse chess, not checkers. I think a simple bullet points breakdown can do the trick, and I'm really scraping the barrel's bottom just to come up with an acceptable and always symbolic quota of 7.

1. The Intro is actually the highlight, very dramatic and sexy. Alas, it's followed by a much inferior sequence of music. Think The Godfather's wedding party scene followed by The Godfather part III.

2. Remember the bucket Baby Derek was playing with on ACOS' cover? Well, apparently Mighty Mike is using it in lieu of a regular snare, and it works!

3. The two Jonnies are not interested in this tune. Why should I be?

4. Derek writes solos like Eddie and plays them like Dimebag. I'm in love with the way he manages his synth's filters anyway.

5. The chorus desperately calls back to Pull Me Under. No one is responding but strange processed voices.

6. Big James is focking tired or he's just given up. This is the fifth straight song painfully playing to his weaknesses, and being those weaknesses no more than five I'd say great job gang screwing with your singer.

7. This is my first and last recap directly written inside the reply box, as I don't even need to bother running it through a word processor. That's this song in a nutshell. I will always consider it DT's all time low. Not musically, not lyrically, but because it screams: "Who focking cares, let's get done with this shit, we need to fill up a cd", which translates into: "Who focking cares, let's get done with this shit, I need to fill up a thread chapter". Sad beans.

I agree with all of this. Especially #7. This song blows. What's its purpose? At least with the first half of the album so far, you can at least see them trying to suck. This song just sucks.

[TAC]

I feel bad, but I really can't properly respond until next week.

Um..that was your warning to fix the timestamps in Lines In The Sand. I mean, It's a Top 10 DT track for me, as in 6 or 7, but WTF? How can I follow along?

[TAC]

0:57 – 2:01: Johnny P, if waiting five songs for you to finally show up means you come up with this masterclass in feeling and temper restraint/release (Tim, there's some Gary Moore here. I'm making a point to let you know anytime it happens), I'd say the wait was bloody well worth it.


14:33 – 15:34: Isn't it wonderful when the guys are on all cylinders with nothing but prog, rock and their musician's (and music fan's) cornucopias? I swear, sometimes – in a moment of bliss – I believe that whole metal thing is holding them back.

So, as I said, I LOVE Lines In The Sand, and it is Song #2 on my 3 song FII EP. Every now and then, I'd spin Hell's Kitchen. It is excellent for what it is, as a lead in to Lines, but I think as a stand alone instrumental, it just...…….doesn't...……...quite...……….get...……...there.



Take Away My Pain: I totally respect its deep meaning to JP, and the lyrics are quite touching, but honestly, as a song, I have never liked it. The Fix For '96 version was much better. The mother of all father songs would come 12 years later.

Anna Lee: I don't think I've listened to this song more than 10 times since its release. I'm serious.

JLMB: If this is the worst song on the album...no problem. But better than half of the album...DT Shop? Hello?
That said, I have always enjoyed the '05 version they played live with a slightly extended JR solo.




EDIT: I almost forgot...I spent some time with Chaos In Motion while on vacation. I know it gets a lot of grief, but I consider the release a gold mine. Listening to a lot of it is a lot like the Systematic Chaos album proper. It's a band at peace with themselves, not trying to hard, and basically just exhaling after the build up to Score. Indiscipline, can't wait to hear you breakdown that album...

But the CiM version of Lines In The Sand is fantastic. Not James' strongest, but it doesn't detract for me, but the band is on fire. They are just winging it with ease, completely locked in. The used the Boston version for it (and Scarred) and it was just magical outdoors on the pier.

[Indiscipline]

I live to serve, I really focking do:

Lines in the Sand, original timestamps:

0:00 – 1:09: The yang to the previous tune's intro ying, featuring monophonic moogish bliss and a genious telluric bass. You don't notice it's there, but boy you're gonna notice if you take it out.

1:09 – 1:48: Glad to hear the glorious spirit behind Lucky Man's solo has carried on somehow.

1:48 – 2:00: I love music. You can draw a line from Jailhouse Rock, joining Speed King with Sweating Bullets, and find yourself right here. Like Billy said, it's all rock'n'roll to me.

2:00 – 2:24: JOHNNY M IS CARRYING THE SONG! JOHNNY M IS CARRYING THE SONG! Don't ask me why, but I firmly believe the best riffs (and vocal melodies) are his.

2:24 – 2:35: Best ten seconds on the album so far. Ballet for four instruments: twist, turn, glide and stop on a dime. No jockstraps I hope.

2:35 – 3:15: Images and Words is proving to be a blessing as well as a curse for these guys, the inspiration fountain and the measuring stick. You get to choose which is which regarding this Take the Time poltergeist. 

3:15 – 4:10: What a focking wild turgid rocker, and I would pay to listen to 1974 Coverdale and Hughes singing this chorus. By the way, I'm enjoying Doug plenty, but he's hilariously reminding me of Ike Willis' best moments. (Gregg, I'm making a point to let you know anytime it happens).

4:10 – 4:42: See, just write interesting lyrics and Big James shows up with all his might. Johnny P's catholic torments worked wonders on the previous album on that account and the trend is keeping up. On a side note, Johnny M is a focking savage.

4:42 – 5:33: Tell me, Ike, why does it hurt when you pee? On a side note, Mike is Ka-Zar.

5:33 – 6:21: Johnny P is RobbenFording the house. A window from the future, dear reader: are you loving this splendid aural vacuum letting every dynamic shine? You're gonna focking missing it badly most of the times from now on.

6:21 – 7:25: Take the wah away and this beast is walking on Mother solo's footsteps. Trust me, I'm begging you. Solos have identities beyond notes.

7:25 – 7:57: We can safely say DT has caught up with Rush musically by now, while lyrically they're usually at least a tier below. Well, this bit is in the ballpark. They catch the spirit, I'm ready to catch the spit.

7:57 – 8:29: Or maybe not.

8:29 – 9:17: I loved the interaction between Johnny P and Dr Moore, and I must say I'm loving the way my man is making things work with Derek and his amazingly efficient Elton rythms. Talent is entente.

9:17 – 9:41: I'm headbanging here, nothing to add, really.

9:41 – 10:13: Nothing can stop your headbanging so abruptly to marginally endanger your vertebrae like a BONAFIDE WEATHER REPORT MOMENT! Everytime we call the DT Custom Shop we do spit on the gods' feet.

10:13 – 11:14: Isn't it wonderful when the guys are on all cylinders with nothing but prog, rock and their musician's (and music fan's) cornucopias? I swear, sometimes – in a moment of bliss – I believe that whole metal thing is holding them back.

11:14 – 11:42: Ike, guess you only get one chance in life to play a song that goes like ...

11:42 – 12:00: And it closes like a Steve McQueen movie, a Mustang jumping on Frisco's frisky slopes. Twelve minutes of what I love the most about DT, unchallenged until a certain huge focking whole homage to dad's prog we're not gonna examine until Scene 9.

The mother of all father songs would come 12 years later.

You mean The Living Years by Mike + The Mechanics? It was out since 1988.

Just kidding. I still can't make it to the end of TBOT without breaking down. It's gonna be near impossible to recap, but we'll see - at this rate - in 64 years.

EDIT: I almost forgot...I spent some time with Chaos In Motion while on vacation. I know it gets a lot of grief, but I consider the release a gold mine. Listening to a lot of it is a lot like the Systematic Chaos album proper. It's a band at peace with themselves, not trying to hard, and basically just exhaling after the build up to Score. Indiscipline, can't wait to hear you breakdown that album...

In 56 years. But I can give you a snippet: "Half midlife crisis album, half pure liberatory fun"

[Podaar]

 

Again with the Gary Moore thing? If every time JP whips out a blues based lead we're going invoke Moore, we might as well go farther back and compare the passage to Albert King, Buddy Guy, Peter Green or even Eric Clapton. Moore was a great blues guitarist who happened to play in a rockin' band. There was nothing unique, original or signature about his licks.

It would be just as valid if bosk1 posted comparisons to Dave Meniketti (another fantastic blues player who happens to rock out) but just as ridiculous to suggest JP was imitating his playing.

[bosk1]

I have it on good authority that EVERY blued-based lick JP plays is based in whole or in part on Dave Meniketti's playing.

[Podaar]