Product Description

No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 26-OCT-1999

Track Listing

1. Scene One: Regression
2. Scene Two: Overture 1928
3. Strange Deja Vu
4. Scene Three: Through My Words
5. Fatal Tragedy
6. Scene Four: Beyond This Life
7. Scene Five: Through Her Eyes
8. Scene Six: Home
9. Scene Seven: The Dance of Eternity
10. One Last Time
11. Scene Eight: The Spirit Carries On
12. Scene Nine: Finally Free

Product Details

• Amazon Sales Rank: #7145 in Music
• Brand: DREAM THEATER
• Released on: 1999-10-26
• Number of discs: 1
• Dimensions: .22 pounds

Amazon.com
Progressive rock has long been the most devalued currency in popular music, perhaps due to the culture's dumbing down, too many conceptually knotted triple-albums, or merely a Greek chorus of critics parroting the emperor from Amadeus: "Too many notes!" Maybe that's what makes Dream Theater's Scenes such an audacious rush (no pun intended). Here we have a two-act murder mystery examined from a hypnotic dream state and parlayed by "The Orchestra," as the band refers to itself here. Andrew Lloyd Webber hasn't written anything as focused--or musically audacious--in decades. And if the band attacks feverish shift meters and plows through enough structural modes and, yes, notes, to make the aforementioned emperor's head spin, they manage to keep things concise, focused, and largely effective. The addition of keyboardist Jordan Rudess has freshened the band's tack, infused now with the odd, playful ragtime piano quote and sitar sample. Vocalist James Labrie, meanwhile, amply proves that Queensryche's Geoff Tate isn't the only drama queen in prog metal. --Jerry McCulley

Customer Reviews

A stunning tour-de-force.
In a time when most bands have stopped trying, Dream Theater continues to challenge themselves. Simply put, no band has Dream Theater's bombastic musical audacity...at least, no band with signed with a major record company. After nearly breaking up following the stressful recording of Falling Into Infinity, the band managed to convince their label to let them produce the record they wanted all along. As a result, the band has made their finest work.

Extrapolating the saga of Images And Words' "Metropolis Pt.1" is the stunning concept album Scenes From A Memory, an epic suite divided into twelve parts. The original concept was delightfully obscure and nebulous...almost mythical. The band has taken the concept and fleshed out the core ideas, producing a slightly generic two-act murder mystery. Lyrically, the album sometimes comes across flat. Judging from earlier albums, we know Dream Theater can shine lyrically, but given the story approach, their diction is straightforward, generally lacking the profundity of their earlier lyrical work. In terms of writing, this is no Operation: Mindcrime. Nonetheless, the tale is reasonably compelling, with a striking revelatory moment when the listener unravels the mystery of the plot. Despite the prosaic style of writing, between the plot, story, and music, it's barely a fault.

Musically, the band seems to be going all out. The album begins with a tepid acoustic number "Regression" but then floors the listener with the stunning instrumental "Overture 1928." From there, the album's 77 minutes of music covers plenty of ground, from heartfelt piano ballads to eastern chord progressions, from furious assaults of shredding to orchestral sections and a gospel choir. All the musicians make an impression, particularly on the insane instrumental, "The Dance of Eternity." This frenetic six-minute flurry of notes that changes time signatures every bar (with weird stuff like 19/16 and 15/8), swaps between piano and guitar leads, stuns with a mind-boggling bass solo, and a seamlessly incorporates a ragtime piano section. (Fans with keen ears will even pick up a section from Metropolis Pt.1 played backwards.) Scenes From A Memory does an outstanding job establishing musical cohesion by intermittently using familiar riffs, both from this record and Metropolis Pt.1. This is an important artistic choice as it forms continuity, and it is done with notable success here.

Special mention goes to Jordan Rudess, the band's new keyboardist, recruited after Petrucci and Portnoy worked with him on Liquid Tension Experiment. Whereas most keyboardists (in progmetal) do little other than offer a string synth and occasional solo to support the guitar, Rudess is the most original keyboardist around...he shares the spotlight with the guitar rather often. He exacts a the perfect tone during solos (it almost sounds like guitar), which eliminates the "cheese" sound often attributed to the instrument. He employs sitar samples, genuine sounding orchestral synths, stunning piano, and other quirky sounds (like this strange trumpet thing on "Beyond This Life"). His technical brilliance is superlative...seriously one of the best keyboardists on the planet.

The album enjoins a gamut of emotional reactions from the listener. Particularly distinct are the emotions in the respectively heartbreaking and joyful ballads "Through Her Eyes" and "The Spirits Carries On" as well as the underscored anger and hopelessness in "Home" and "Finally Free." This is mainly attributable to vocalist James LaBrie's emotive performance. Compared to his earlier works, his vocals here are less high-key but very refined and expressive. I get uncontrollable chills whenever he sings the final section of "Through Her Eyes," or The Miracle's sinister soliloquy during "Home."

Finally, I will quickly address the accusation that Dream Theater cares more about showing off than writing good songs. This is absolutely untrue. As a metal band, they can be intense, but a solid melodic element is intact. Their solos are not masturbatory; they inject the songs with a high-point of emotion or intensity. Even moments of striking dissonance prove to be engaging.

I think it's understood by now that I regard this album with reams of deference. It's completely awesome. Buy it...it's astonishing.

Best Dream Theater Ever
This CD is jaw-dropping! Hearing 5 guys play music like this is astonishing! Compare this talent to any other group and Dream Theater will blow them away. To really appreciate this masterpiece, an understanding of music and knowledge of all its complexity is beneficial. Yet those who do not fit into this category will still love every minute. Not only does the music blow you away..the storyline accompanying it is also well-written..the style of the stanzas...the mystery it leaves the listener to decipher..all truly adds to the hard work and thought put into this album. "Scenes From a Memory" (Metropolis Pt. II) continues the story left off from its predecessor, Metropolis Pt. I, which was on DT's 1992 release, "Images and Words". This isn't some "oh i bet i can play that" album that any garage band could replicate..this takes chops! Each member owns their instrument...dominates it. Mike Portnoy's "head shaking" drum patterns, John Petrucci's "eye-widening" guitar solos, John Myung's blazing bass licks, Jordan Rudess' complex, yet melodic piano wizardry, and James LaBrie's breath taking vocals all make this piece of art a must for any music lover, not just the progressive rock audience. Fans of Pink Floyd's "The Wall" will certainly appreciate "Scenes From a Memory". Albums of this caliber are few and far between.

Progressive metal in its finest hour (or 78 minutes).
There are a lot of great progressive metal bands around these days. There's the symphonic and stylish Symphony X, the increasingly evolving Fates Warning, the original and daring Pain of Salvation, the technical powerhouses Power of Omens, and many others.

But among them all, Dream Theater remains the best. To me, no one else defines progressive metal like these five brilliant musicians. They strike an incredible balance of power, technique, emotion, and melody with a unified vision possible only with the remarkable degree of chemistry these guys share. And, in many ways, Scenes From A Memory is their best work.

Here's the skinny: It's a 78 minute concept album whose story stems from the original "Metropolis" mystique from their breakthrough album Images And Words. This is the album Dream Theater wanted to make all along, with no pressure from their label, and no regard for commercial success. It's a feast for the music lovers, with a good enough ear for composition and melody that the technique never overshadows the song. Dream Theater's critics love to attack them for going overboard with solos and instrumental sections, but it's never bothered me simply because they play with a lot of heart. John Petrucci is an outstanding guitar player who never restrains his technical ability, but most importantly he plays with a tremendous amount of soul. The encouraging heroics of his solo on "The Spirit Carries On" encapsulate this idea better than anything. It's pure beauty in music.

DT may not be able to repeat the greatness of SFAM, but if they continue to make the music they love, there will never be another good-but-flawed Falling Into Infinity. They will continue to take great strides beyond their peers and continue crunching the mold to their image while making some of the best music out there.