WDADU Songwriting appreciation thread

[KevShmev]

This thread is to show appreciation for the songwriting on When Dream and Day Unite.  In other words, let's not worry about the raw sound of the record or Charlie's voice.

Me, I still can't but helped but be impressed by how good their songwriting was so early on.  Songs like A Fortune in Lies, Only a Matter of Time, Afterlife and Light Fuse and Get Away are expertly put together with all of those riffs and melodies in each song interweaving with one another, forming cohesive wholes.  Ytse Jam and The Killing Hand are very well-written as well.  Even the less than great songs from a songwriting standpoint, Status Seeker and The Ones Who Help to Set the Sun, are still solid.  Not a clunker in the bunch here.

So yeah, let's appreciate the songwriting on When Dream and Day Unite!

[Skeever]

Less Charlie, and more lyrical maturity, and WDADU would have been up there with Fates Warning and the like.

[Rodni Demental]

I actually had a good proper listen to this again recently, where I got to pay attention instead of having it as background music or something. And.. I think I know what you mean with the riffs and melodies interweaving and all that, considering the music isn't exactly predictable, it still flows really well and it definitely seems like a bit of thought was put into most of the transitions. One thing I've gained appreciation for on the first album only fairly recently is the drumming. Relentless and full of energy. Not to mention the overall tightness of the instrumentation. Great album, too bad it is not as widely available as most of DTs albums but still well worth it IMO.

[bl5150]

I still listen to WDADU more than anything post- Awake , pre ADTOE so you'll get no arguments from me.  I also don't have the huge problem with Charlie's voice that most have.   It's of its time and I bought it in '92 along with I&W ......so perhaps growing up with it has made me immune to what I am hearing 

The Killing Hand and Afterlife were always favourites.

[?]

I reviewed WDADU on my blog recently: https://echotester.blogspot.com/2015/07/dream-theater-discography-1-when-dream.html

Sure some of the transitions are clunky, but they aren't any more baffling than those in the demo version of Burning My Soul or TMOLS, IMO. I also love JP's Lifeson-influenced arpeggios and atmospheric clean guitar parts that are a big part of the classic DT sound to my ears, and they're missing in a lot of newer DT stuff.

[Lowdz]

I still listen to WDADU more than anything post- Awake , pre ADTOE so you'll get no arguments from me.  I also don't have the huge problem with Charlie's voice that most have.   It's of its time and I bought it in '92 along with I&W ......so perhaps growing up with it has made me immune to what I am hearing 

The Killing Hand and Afterlife were always favourites.

It holds a special place in my heart as my first DT album. It was an instant hit with me. It's nowhere near their worst album (hello SC). Although JLB was a huge trade up Charlie did a good job. I listen to it regularly. I probably rank it higher than Awake.
Even at the time the production was an issue but the vocals weren't as CD was just the singer and no one had heard of the pirate yet.
Great riffs, no 7 string, keys that sound like keys and not guitars. Yeah, a great start.

[Calvin6s]

WDADU is on a different level than the rest of their catalog.  And not just the production laced with too much reverb or the subpar singer.  I loved it back then for lack of DT variety (or prog metal variety for that matter), but the songwriting just feels like DT before they really honed in on their trademark songwriting.

I love playing the Afterlife and A Fortune in Lies guitar riffs, but they are nowhere near my top 10 or even 20 DT songs.  The shining moment was TOWHTSTS intro, but once it is into the meat of the song, it is just ok.

WDADU sounds more like early Fates Warning with Rush influences than DT.  It is probably the absolute worst album to introduce DT to somebody.  It might have fared better back then, but it almost sounds like a less inspired version of a DT clone band than DT itself.

[Outcrier]

Even the less than great songs from a songwriting standpoint, Status Seeker and The Ones Who Help to Set the Sun, are still solid.  Not a clunker in the bunch here.

Sorry but these two songs are THE definition of clunker 

[Cable]

This album fights for top tier of three tiers among my rankings. All the points about songwriting, and songs not being as memorable and clunky are true. And the vocal melodies are not very strong as a whole, minus OAMOT and Afterlife. But OAMOT is helped out a lot for those two "choruses" IMO by JP and JM's lead lines/fills.

The album really needs to be heard via WDADR-U IMO for some doubters. I disliked this album until I heard that. With JLB helping the songs the best he could, I could appreciate the writing more on the album.

There are so many good ideas, a good amount of solid moments, ok to good lyrics (too esoteric though overall) and some heavy heavy parts. Yes, quick turns. But with everything going on, I much rather have a tone of underdeveloped ideas often vs. some of DT's later output. I still have not found everything I will get out of WDADU, where DT12 is pretty much set. Sure that doesn't mean the album is better, but as a fan, it's allows for deeper listening when SFAM & I&W have been worn to dust. The vocal melodies are really what suffer, but I cannot really fault the band. First album, with tough lyrics written by members for a vocalist they didn't have who had an octave or two higher range ideally.

As I was noting about this album vs. the moody feel of Awake in another thread, this album feels darker to me. The melodies, especially instrumentally, are not pleasant quite a bit. TOWHTSTS is downright odd in the beginning, and off putting. It's a shame to me the song loses it's mood once the vocals kick in. As an overall mood for that first minute or so, I don't really feel DT has ever repeated that. ANTR is just forced at times.

I am biased, as I'm a bassist. And up to this point, this album is Myung's shining moment. He clearly wrote himself the best parts for this album vs. all others, without losing the heaviness when needed (see Fortune in Lies, LFAGA, OAMOT, TOWHTSTS and so on). I feel the doing what's best for the band is hogwash at times, as he much more lays his influences on his sleeve on the album. But again, when JP needs those riffs thickened up, I feel JM is always there.

[Setlist Scotty]

Add me to the list of those who love this album, even with the mixing issues. While it's true that this album shows the band in its early development, that doesn't take away from the amazing songs that are on the album, and it's pretty impressive for a debut in comparison to other bands. Not sure I would say that there aren't any clunkers on the album, altho for me it's primarily Afterlife (never got into this song) and to a lesser degree Status Seeker (mostly due to the intro) - TOWHtStS is my second favorite behind Light Fuse. I'd love to see this album get a proper remix with Charlie's vocals (never was bothered by them), but I know that's a pipe dream that will never happen.

[erwinrafael]

Mike is amazing in this album.

[KevShmev]

All the players are.  Pretty crazy how their chops were already that good at 21/22.

Status Seeker often gets the most dislike, but I don't see what is wrong with it.  I love those verses with that meaty bass line and the clean guitar line; that's a great, specific kinda contrast that we don't often get from the boys.  The intro and chorus are kind of cheesy, sure, but cheese is good sometimes.

And I have to point out again that Light Fuse and Get Away has one of the best 5-second sections in any DT songs ever: 3:49-3:53.  Listening to those five seconds without air drumming is impossible.

[TAC]

There are great songs on this album. I actually don't listen to the Charlie version that much, instead opting for the WDADRu version. But there are so many killer moments of a hungry young band. Before ADTOE, I actually ranked WDADRu 3rd after I&W and SFAM.

[erwinrafael]

The chops are there. But songwriting...you can hear that they are not seasoned yet. Most of the songs have great sections (like Kev said), but they are not yet that coherent. So most of the songs, the whole is not yet greater than the sum of its parts.

[KevShmev]

See, I disagree. 

A song like Only a Matter of Time, for example, is extremely well-put together, the way some of those melodies recur at just the right times.  And I like the rapid fire delivery of some of the verses.  Given the melodic nature of the rest of the song, it kind of gives the song that bit of on-the-edge chaos, resulting in a nice dynamic contrast between the vocal melodies and musical ones.

[Ben_Jamin]

James doesn't do Light Fuse And Get Away that well as Charlie.

TOWHTSTS is my favorite behind LFAGA

[TAC]

A song like Only a Matter of Time, for example, is extremely well-put together, the way some of those melodies recur at just the right times.  And I like the rapid fire delivery of some of the verses.  Given the melodic nature of the rest of the song, it kind of gives the song that bit of on-the-edge chaos, resulting in a nice dynamic contrast between the vocal melodies and musical ones.

Great description.

[hefdaddy42]

I'm not a fan of the songwriting here.

It is obviously more advanced than the wretched Majesty Demo songs, and an important step that had to be made to get to the glory of I&W.  But that is it.

It sounds like a lot of talented musicians doing their first real work.  Which is what it was.  Nothing more, nothing less.

But The Ytse Jam is really good.

[Dream Team]

Yes!!! Great thread. Great album. No problems for me with the songwriting, unlike SC and BCSL.

[Mladen]

There's some really good stuff going on on their first album, some of which I can't even imagine the band attempting at this point in their career. For example, I really dig the verse in Only a matter of time which begins with "A father's benediction..." It's such an insane section, especially vocally, but I guess that kind of far out stuff is slightly behind them. The songwriting is a bit more refined these days and not as much chaotic.

But then again, there are a lot of underwhelming choruses and melodies on the album, such as Light fuse (I find the chorus dull, otherwise a good song) and The Ones who help to set the sun. The band was obviously yet to get REALLY good, although there are signs of brilliance.

[ytserush]

Feeling the love since 1989 in spite of its shortcomings.

 Loved this album so much when I got it that I neglected Presto after listening to it about 5 times when it came out. That situation has long since been remedied but it speaks to just how much I love this When Dream and Day Unite.

If released ten years earlier, this album would have been huge. Fortunate to have seen them open for Marillion on November 14, 1989.  Had no idea I'd been catching them live until I turned the corner and caught the band's misspelled  name on the Ritz marquee. Night was made right there.

[Phoenix87x]

I love WDADU from top to bottom, and that includes Charley's singing.

[ytserush]

I love WDADU from top to bottom, and that includes Charley's singing.

Obviously Charlie wasn't the long term solution to the band, but he holds his own on this album.

[pcs90]

I rarely listen to this album, but when I do, it's the WDADRU version. There are some great musical moments on here though, for sure.

[Setlist Scotty]

My first DT album (got it a few months after it was released) and listened to it forever until IaW finally came out (with a new sound that took a while for me to get used to!), so obviously this album has a special place in my heart. Is it their best album? No - especially due to the mix and the lack of JL. But is it their worst? IMO, no. Only two songs that I'm likely to skip when I listen to this album (Status Seeker and Afterlife - the 2 singles, go figure), which I can't say is the case with several of DT's other albums. Glad they did perform and record the album live in its entirety, and that I managed to be at the show that they did it at - giving more reason to appreciate it.

[Madman Shepherd]

As bad as the production is, when I listen to it I find myself forgetting about it pretty fast.  Charlie isn't the greatest vocalist but I think he was quite good on the album. 

As far as the songwriting goes, I think it holds up quote well with the rest of the catalog.  There are a few awkward transitions that show they had a few good ideas and relatively clumbsily put them together. 

I usually skip Ytse Jam though it is a good song.  Status Seeker I feel is one of the worst in the catalog.  Afterlife I used to love but got old fast.  Fortune in Lies is a bit overplayed but the ADTOE tour really breathed new life into it. 

The rest of the songs are great and I wish they would play them more. 

[TheGreatPretender]

More than anything, I can't help but appreciate how much fun Myung seemed to be having on that album. I mean, he almost seemed to do his own thing, completely different from the rest of the band, except it still sounded great and it worked so well. He's a lot more subtle these days, and for all the maturity that that's worth, I wish we'd hear more of that crazy Myung these days. Which was why his little bass fills all over DT12 were so great. I just wish they'd integrate stuff like that under the other instruments.

[Calvin6s]

More than anything, I can't help but appreciate how much fun Myung seemed to be having on that album.

Except the bass recording is .... blech.  I can hear every millimeter of his fingers scratching the strings.  So much so that I wondered if he used a really old pick with tore up edges.

Those shows from that era are funny for Myung though.  He was the one moving around the most on the stage.  He must have been told by the others (or watched one of the videos) to  .  His onstage persona changed so radically, that I think it is possible the true story of Dominici's departure was that he Subway'd Myung, so Myung retreated into a shell.

"Here's a bass Myung.  Just point where Dominici touched it."  Portnoy's jaw drops "I'm gonna kick this guy's ass (and balls)!!!!"

[ReaPsTA]

What's underrated about this album is how creative it is. I haven't heard another album by another band with the melodic bass quite taken to the level it is here. The songs with very atypical structures, like TKH and OAMOT, flow very nicely from point A to point B without running off the rails or being boring. The beginning of TOWHTSTS starts with a guitar/harmonic bass jam and then segues into a harmonic bass/keyboard/drum section. This album contains some of the most interesting music you'll hear. Why it's so often written off as immature is beyond me. It is immature, but that energy is what makes this album fun instead of ridiculous.

[CharlesPL]

Easily my top 5 DT albums

[Cyclopssss]

When I first heard that outro of OAMOT it was... that´s it. Show´s over! Any band that can come up with an ending like that is good in my book forever.   

[progrockman]

Only a matter of time is the clear cut stand out track. The rest all have their moments. There's definitely a lot of energy and creativity in there. Mostly they tent to play unfocused. With that said this album ranks above SC and BCSL

[Dream Team]

What's underrated about this album is how creative it is. I haven't heard another album by another band with the melodic bass quite taken to the level it is here. The songs with very atypical structures, like TKH and OAMOT, flow very nicely from point A to point B without running off the rails or being boring. The beginning of TOWHTSTS starts with a guitar/harmonic bass jam and then segues into a harmonic bass/keyboard/drum section. This album contains some of the most interesting music you'll hear. Why it's so often written off as immature is beyond me. It is immature, but that energy is what makes this album fun instead of ridiculous.

Nice post Reap. I LOVE the structure of OAMOT, and feel like they finally recaptured it a little with the way Surrender to Reason flows, without a lot of repeated parts but smooth transitions. Moore's keyboard melodies are awesome on that song. IMO the most underrated song in their catalog.

[ytserush]

What's underrated about this album is how creative it is. I haven't heard another album by another band with the melodic bass quite taken to the level it is here. The songs with very atypical structures, like TKH and OAMOT, flow very nicely from point A to point B without running off the rails or being boring. The beginning of TOWHTSTS starts with a guitar/harmonic bass jam and then segues into a harmonic bass/keyboard/drum section. This album contains some of the most interesting music you'll hear. Why it's so often written off as immature is beyond me. It is immature, but that energy is what makes this album fun instead of ridiculous.

One of the things that drew me to the album in the first place.