Tom Bombadil's Top 50 DT Songs- COMPLETED!

[Destiny Of Chaos]

Please wrap this up. You'e about to hit a month. Thank you.

[Tom Bombadil]

will do.

[Tom Bombadil]

Ok moving on:

7.  Learning to Live- Much unlike the previous song, Learning to Live is definitely a grower. For the longest time I thought it was the weakest track on I&W, and I couldn't understand the popularity. Given it's reputation, though, I kept trying. Then sometime about 2 and a half years ago, it clicked. This one clicked more than any other one, though. It was like "how the hell did I not see this?" This song is truly a masterpiece of prog. It's so intricate, so complex, that it really takes multiple listens to soak it all in. A whole section by section breakdown is really pretty impractical, it would take up so much space, because there are so many different sections. They twist and turn all over the place, and yet they all fit the puzzle perfectly. Now here's a bit of a bold statement that most probably will disagree with: I think this is the most challenging Dream Theater song to drum. It really doesn't sound like it would be so hard, but with all the time signature changes, and different feels combined in this song, it's truly mind blowing. It's actually one of the only songs in their catalogue that I really don't even get close. I really can't say enough about the complexity of the drum parts. Now, I'm sure that the other instruments are probably playing stuff just as hard, but being a drummer, I tend to single out drum parts.

I don't even think I can single out many points that I would consider my favorites, because the entire song is just so good. I can definitely say that the ending is a thing of pure beauty, and that addition of the Wait for Sleep line makes it that much more interesting. And for all my talk about long, boring, too ridiculous instrumental sections, well now there's this one. Pretty much perfect. That's really all I got for this song, saying any more would just get redundant, it's a killer of a song, and now I see it for what it truly is: an absolute masterpiece.

6. The Mirror- Ah, I betcha didn't see this one coming. Every time someone tries to tell me that DT "just plays a million notes a second and shows off all the time" I tell them to listen to the Mirror and then get back to me. The main riff: one note, played in groups of three. Doesn't get much simpler than that. Now yeah, it wouldn't be the same song without the awesome background keyboards, but that simple guitar riff is the centerpiece. It's what drives the song, and wow, does this song drive. So much power just from that one note. Not only JP, but MP's drumming is also very simple, but it's also perfect. JLB is at top notch here. It's hard to even describe how good he is on Awake, and this song in particular. He sings the soft parts with this airy feel, and the heavy parts with grittiness that really never again appeared on an album. Some of the notes he hits in this song are ridiculous.

Now when I say that a lot of the song is simple, I'm talking about the notes. The song structure is actually very complex, and extremely progressive. After the first face-melting couple of minutes, it moves into a more atmospheric section. The great part is that it is equally as awesome. Kevin Moore's contributions to the band are very evident here. I really love Jordan, but KM does some things in this song that I honestly think are better than anything that's happened since Awake. Just the atmosphere that he creates with a lot of his playing adds such a great factor that I feel is missing in some of the later albums. Anyway, this softer section quickly dissipates when James comes back in "How the Hell could you possibly forgive me". Possibly my favorite part of the song. It just snaps you right out of that earlier feel, and yet it feels correct, it doesn't seem sudden. I'm also a huge fan of the lyrics. They're pretty fabulous, what else can I say? The outro is also pretty sweet, it's something totally new, but it does a great job of bringing this song into Lie. However, just like with Hell's Kitchen/Lines in the Sand, the song sounds perfectly fine when listened to separately, which is what I usually do because Lie isn't half as good as this song. So yeah, this song frikin rocks. It's so heavy and simple, and atmospheric and progressive all in the same song. Not much else gets that diverse, or that good.

[Ruba]

The Mirror is a very common song on top lists, but rarely that high. I love both LTL and The Mirror though.

[Prog Snob]

I did NOT see that one coming.  Great song, but... 

[jayvee3]

The Mirror is in my top 5, and could be top 3 on any given day. I absolutely love the use of the SDV melodies used throughout the song, in sped up or slowed down form. Just a killer track! 

[Tom Bombadil]

Moving right along.

5. Octavarium- A pretty obvious right here. This is a song that contains just about every aspect of an epic that you could wish for. The intro seems to be a mixed bag around here, but I think it's pretty fantastic, other than it being a little bit too similar to Shine on You Crazy Diamonds. I think the atmosphere created is very mysterious, it draws you in and keeps you intrigued. Then that main Octavarium riff comes in, which is so epic, especially if you first listened to The Root of All Evil before first hearing this song. It's like "holy shit, it all makes sense now." Then the acoustic section with the beautiful flute comes in. It's so Genesis like, which for me is a really good thing, since they're my 2nd favorite band. Anyway, a definitely like how the parts in this song fit together so well. The segues into the different sections are excellently done, making the whole thing flow like one cohesive unit. The section after the beautiful "someone like him" is slightly more upbeat, but keeps the same kind of mood. It just seems like a natural progression to go from the mysterious intro to this somber acoustic section to this more moving part. JP's guitar work here really reminds me of Awake, which for me is also a very good thing. And then Jordan comes in with one of my favorite keyboard melodies of all time. It's so uplifting and joyous, and is certainly one of the highlights of the song. Hard to even describe how much that small section adds to the overall quality of this song.

Now you get to the only part I'm not a big fan of, Full Circle. I'm just not sure I understand the point of all those song references in there. I mean, sure, it's cool when you hear something like "Supper's Ready" and you're like "did I just hear that correctly? Is he mentioning Genesis?" But it doesn't feel like something that needed to be included. I do like the "spinning round and round" part, though. It reminds me of the Glass Prison, and just like that song, the music almost makes you feel like you're spinning while he's saying it. Now, once you get to the instrumental section of Full Circle, that's when it really start's to pick up again. It's a perfect example of everything that I like in an instrumental section. It's constantly moving all over the place, but no out of place solos or anything that to me are a big turn off. In fact, my favorite part of the song just might come during this section: around 18:07 this soaring guitar part comes in that just rocks my socks off. It's only for about 10 seconds, though, which makes it pretty cool cause it's just this brief glimpse. Shortly after that we get into Intervals, which is a truly incredible build-up. I think it's awesome how it goes through the different tracks on the album during the build-up, all culminating in perhaps the most memorable JLB line.  I don't even need to write it, you all know what I'm talking about. Well then you get to that lovely little thing called Razor's Edge. It's really the perfect ending to this song. So majestic and beautiful, it feels like you really are soaring to the top of the mountain. There's just so much to like about it.

Ok. We've only got 4 more to go!

[Tom Bombadil]

4. Voices- Damn, the atmosphere of this song gets me every time. It's so dark and mysterious, especially in the beginning, which is one of the best intros ever written. JM's laying down this hot  rhythm, and JP just comes in with this chord that essentially splits the world in two. Add that to KM's "sound" which gives a feeling of approaching dread, and you've got yourself a pretty incredible intro. Then they lay down the first heavy riff, but quickly back off as they get to the verse, going once again into a more atmospheric sort of sound. KM is absolutely brilliant here. His backing piano is perfect behind JLB. Speaking of JLB, this is one of best performances ever. He sounds fantastic in the chorus, which is excellent all around. But after it is wen he really goes off. The "thought disorder" part is a display of prowess that is pretty amazing for a singer. There are very very few places where JLB tops this point. Absolutely mind blowing.

One of the things that makes this song so interesting and unique is how often it changes between loud, soft, heavy, and dark music.  It's constantly going back and forth between these feels. Also, the lyrics are some of DT's best. They really fit with the tone of the song, so when you really listen to the lyrics in combination with the music, it all works together perfectly. JP's guitar solo is excellent. Not his best, but certainly up there. Still, I have to credit the majority of this song to JLB and KM. They are really in top form, and this song would be nothing without their incredible contributions.

3 more to go!

[?]

Voices!

[Shine]

One of their absolute bests!

[Nearmyth]

Voices is so incredibly good. 

[Tom Bombadil]

3. The Count of Tuscany-"Why the hell would a song with this bad lyrics be #3 on your list?" I'll tell you why: the music is just that good. Yes, the lyrics are pretty bad, but they are totally overshadowed by the awesomeness of the music in this song, especially the beginning and ending. The first 5 minutes are pure magic. Even the very first line had this epic feel to it. JP has a beautiful, but brief, solo that gives us a hint of what's to come, and this is followed by probably my favorite JR solo of all time. It blows me away with each listen. Easily my favorite opening to one of DT's epics, and perhaps the best in their entire catalogue. After this incredible instrumental introduction, JP comes in with a riff that essentially is the drive of the next 5 or so minutes. And drive it does. The verses are pretty awesome, and the chorus even more so. LOTS of energy in that chorus.  Despite some really poor lines here and there, I have to say that I enjoy how the lyrics take you on an expedition while you're listening. It forms a very clear picture in your head, which doesn't happen all that often with DT songs for me at least, so I have to give JP that in regards to the lyrics.

The only tiny weak spot to this song is about 30 sections of wankery between the second chorus and the ambient section. It's 30 seconds in a 19 minute song, though. Certainly not a big deal, and JM is very audible so I always just focus on him. JP gives a nice little segue, and then you hit this ambient section, which is like a breath of fresh air. After the pretty heavy verse/chorus section, with all it's talking of "I may not survive", this is like the character in the story finds calmness in accepting his doom. It's really quite a beautiful section, and I especially like how it brings the melody from the ending in there.

And then you get there. Possibly my favorite ending of any song ever (Supper's Ready might beat it out). JP's acoustic playing is nothing short of beautiful. JLB has the perfect tone in his voice. Then JR comes in with three very simple notes over and over, and yet they make such an impact. It's all slowly building up to the "Now wait a minute man" part, which feels like the top of the mountain. JLB is once again amazing in the way he delivers. Well, it feels like the top of the mountain, but it's not. JP comes in with the best solo of his life. This section is so ridiculously epic it's hard to describe. JP with his soaring notes, the strings playing in the background, and the beginning rhythm in the background add up to make this one hell of a finale. I absolutely love Razor's Edge, but in my my opinion the end of this song blows it out of the water. It's that good. JLB sends it home with a "whoa" section that actually sounds good for a change. In fact, it sounds excellent, and it brings the song to a wonderful conclusion.

Craziest part is, there are still 2 songs I like more than it.

[Tom Bombadil]

2. Space Dye-Vest- This song is so hit or miss with Dream Theater fans. Well, I love it. It's unlike anything the band has ever done. This song has no crazy instrumental sections, no guitar solos, no chorus. All are signature to most DT songs. This song, however, is all about mood and atmosphere, and in my opinion KM has always been the best DT member at creating those two things. Therefore, this song, written %100 percent by KM, and centered around mood and atmosphere, is right up my alley. I'm also a big fan of dark sounding music, another big reason Awake is my favorite album, and this song is very dark. No, it isn't heavy in the least, but that doesn't mean it's not dark. The lyrics and the music all add up to an overall feel of despair and hopelessness, and I get swallowed up in it every time. There are certainly some times where samples in DT songs sound out of place, but this is not one of them. It really sounds like they were meant to be here, like they are part of the song, instead of just being thrown in with the song.

The entire song is incredible, but probably my favorite part is "there's no one to take my blame, if they wanted to". JLB conveys the message perfectly. Even if the words were "Purple unicorns high in the sky", if JLB sang it like he does here, it would sound dark and despairing. It really hits me big when he gets to that part. Then MP comes in and just blends his sound right in without missing a beat (very punny). KM's synth part on top of the piano chords is exquisitely done. And JLB delivers his 2nd biggest line "and I'll have no more dreams to defend" to put the icing on the cake. Then KM finishes off the song the same way it began. A sad, but beautiful piece to end his career in DT with.

Well only one more to go!

[Scorpion]

Yes! Great choice, I wouldn't put it that high, but it definitely deserves every ounce of praise that it gets.

On a semi-related note (well not really), nice new avatar.

[Tom Bombadil]

Yes! Great choice, I wouldn't put it that high, but it definitely deserves every ounce of praise that it gets.

On a semi-related note (well not really), nice new avatar.

Haha. thanks. Rorschach is the best.

[?]

Can't disagree with that pick

[Tom Bombadil]

50. A fortune in lies
49. Caught in a web
48. The ministry of lost souls
47. Where are you now?
46. Pull me under
45. Ytse Jam
44. Finally Free
43. Peruvian skies
42. Beneath the surface
41. The Great Debate
40. Erotomania
39. Lifting shadows off a dream
38. Another day
37. Don't look past me
36. This is the life
35. To live forever
34. As I Am
33. Honor Thy Father
32. The Glass Prison
31. One Last Time
30. Surrounded
29. Outcry
28. Trial of Tears
27. Innocence Faded
26. Overture 1928
25. The Root of All Evil
24. Beyond This Life
23. Under a Glass Moon
22. 6:00
21. The Silent Man
20. Bridges in the Sky
19. The Spirit Carries On
18. Disappear
17. Endless Sacrifice
16. Breaking All Illusions
15. Home
14. Hell's Kitchen
13. Blind Faith
12. Take The Time
11. A Change of Seasons
10. In the Name of God
9. Misunderstood
8. Lines in the Sand
7. Learning to Live
6. The Mirror
5. Octavarium
4. Voices
3. The Count of Tuscany
2. Space Dye-Vest
1. ?

Any guesses?

[j]

Metropolis?

-J

[Estiui]

Yeah, Metropolis seems to be right there. He might be one of those who dislike Metropolis, though 

[Viking of the Sagas]

The Dark Eternal Night definitely.

[Outcrier]

Status Seeker maybe 

[Outcrier]

Notable Songs that didn't make the cut:
Metropolis Part 1- The Miracle and the Sleeper-

[Elite]

Scarred?

[Lucien]

These Walls, just because its my #1 

[Evermind]

Sacrificed Sons maybe?

[Bolsters]

Got to be Raw Dog.

[adamack]

So I've made my way to your thread! Awesome top 20 man...lots of gems in there. Especially the latter half (11-20).

As Evermind believes, I am going to guess Sacrificed Sons as your #1 as well. I have relatively similar taste as you, so I am thinking that if it hasn't made your top 49, it's gotta be 1. However, I would not be surprised at all if it wasn't, as the song is so hit-or-miss with people.

Anyway, off to read some of your write-ups now....and I'm eagerly anticipating the revealing of your Holy Grail!

[volwrath]

I see a few on my top 50 list that are not on yours: stream of consciousness, panic attack and or hollow years.

Overall very strong list though.

[Tom Bombadil]

Ok here we go. The #1 Dream Theater song of all time.

1. Scarred- I'm fully expected to take some heat from Blob on this one, but I just can't help it. It's the greatest song I've had the pleasure of hearing. Everything is crafted together so perfectly- it sort of reminds me of Learning to Live, but with that classic Awake feel. The intro took a little while for me to "get", but now I can't say enough about it. It's got that jazzy feel, but it also sounds really dark. Not really sure how they managed to do that, but it sounds damn good. The trade off between JP's chords and JM's two notes are so simple, but so effective. JP's little jazzy solo in the beginning is excellent, and very unique. I love the guitar tones when JLB comes in. I truly feel like JP used that kind of style much more often on Awake, and I love it. Then we've got the first verse, which is very melancholic and airy. It's all about setting the mood, and it does it extremely well. Then it suddenly goes real heavy, really quickly. That second verse is so powerful, and JLB is at the absolute top of his game. The "I never lost my devotion" section is one of his finest moments, up there with the likes of Voices and Take the Time.

One of my favorite things about this song is just how effectively it communicates the point of the lyrics, which are probably my favorite lyrics of any DT song, having to do with a broken marriage. The tone of JLB's vocals around the "you don't understand, you're closing me out" section are so angry, and painful. Lots of people say JLB doesn't sing with a lot of emotion, and that may be true for some songs, but certainly not here. You can just sense the pain in his voice, it's almost palpable. Now, not only does he do this in the angry, heavy sections, but also in the softer parts. Which brings us to my favorite section of any Dream Theater song. That soft middle section is unlike anything the band has done. If it felt like JLB was conveying the pain of a broken marriage before, this is on a whole other level. Each time I hear "And how come you don't understand me" I get shivers. I'm listening to it now while writing this, and it still does.  Something about that part just hits me like no other song ever has.

And just when you've finished digesting that incredible part, it switches tones again, and now we're back to being angry. That riff leading into the instrumental section is as heavy a riff as they've done, and one of their finest too. Then there's this lightning fast unison between KM and JP, which I always find to be similar to Blind Faith, which is a good thing. Then it's KM's time to shine. I've always found his solos to be very tasteful, and this is no exception. It fits right in, and some of those chords he uses are incredible. And not to be outdone, JP has one of my favorite guitar solos next. All in all, definitely one of DT's best instrumental section. There's no boring sections, and no insane wankery sections. It's just good, solid playing all the way through. Also I have to add that JM is very audible in this song, and his contributions to this piece are noteworthy. It really wouldn't be the same without him back there. Also, MP doesn't do anything too crazy, but he plays perfectly. Everything he does is right in the correct spot, and he even helps with the tone of the whole song, which isn't always easy on the drums.

I haven't mentioned the choruses yet, and that's because they aren't spectacular. However, they are still very solid, and certainly don't detract from the song, they just aren't quite on the same level as some other points. And then there's the outro. I've heard a lot of people say that it seems out of place, but I honestly don't see it. I think it fits right in, and it brings the song to a perfect conclusion. KM is really the driving force in the outro, and his melody there is really something. As I've said before, I love Jordan Rudess, but I just don't see him coming up with something quite that good anytime soon.

All in all, out of all DT songs, this song has my favorite vocals, lyrics, guitars, and possible keyboards. That's stunning. It's #1 in my book by a very wide margin, nothing comes close. If I had to list my top 10 all time songs at any point, almost all of them would change over time, but Scarred would always be in the top 5, every time.


Ok, well there you have it, guys. Thanks to everyone who followed this list, it was certainly a pleasure to make.
 Kudos to Elite for guessing #1 correctly  - he must've noticed there was one important Awake song missing- since I continually raved about that album.

Thanks again, guys!!

[The Stray Seed]

It's just superb. Perfect pick.

[Scorpion]

It's just superb. Perfect pick.

[?]

It's just superb. Perfect pick.

[Lucien]

Still hasn't grown on me. Eh.

[Nearmyth]

It's just superb. Perfect pick.

[TAC]

Three of your Top 5 are also in my Top 5.


Metropolis doesn't even make your Top 50?