Dream Theater
Images And Words

Reviewing an album that has practically defined an entire genre, that of prog-metal, is not easy, but I'll do my best.

The band is recovering from the half disappointment of their debut album "When Dream And Day Unite"; an album that, although partly outlining the characteristics of Dream Theater's music, was not enough to bring the band the success they would later achieve. But to realize the "dream," only the second album is needed. A clearly unexpected success, given that usually what starts poorly is destined, according to many, to continue equally poorly.

Images And Words is undoubtedly the masterpiece of progressive metal: anyone who wants to get a general idea of what it is must start with this album! The album indeed contains all the characteristics of the genre: superb technique, experimentation, long and intricate tracks but also a strong melodic sensibility. Decisive among the group's choices was the departure of Charlie Dominici, the vocalist of the first album, who, after unimpressive performances in the band's initial live shows, was replaced by a voice surely more mature and powerful: that of James LaBrie. Among all the lineup changes the band has undergone, perhaps this was the most decisive; who knows how things would have turned out without such a change! Would they have continued to be a garage band? Or maybe just collectors? But that's not what interests us; we're only interested in what Dream Theater is now: one of the most followed bands in the world, with thousands and thousands of fans registered in the various fan clubs, performing three-hour concerts and, unfortunately, also receiving numerous criticisms!

The album starts with "Pull Me Under", a song not excessively complex, rather straightforward, based on Petrucci's powerful guitar, but offering some excellent melodic moments thanks to Kevin Moore's keyboards; the ending might shock the listener: the track ends abruptly as if the plug had been suddenly pulled; at first glance, one might think it is a recording error and even consider returning the album to the store, but that's exactly how the track concludes.

Then comes a ballad, an element that will henceforth appear on every album of the band. It's "Another Day", based mainly on the melodic line of the piano; noteworthy is also the presence of a saxophone, playing both in the second verse and the ending; Petrucci shines before the finale with a good solo.

But here is finally a true example of technique: "Take The Time". The first three minutes are characterized by frenetic guitar riffs and heavy funky rhythms supported by Myung's bass, then comes a delightful instrumental part where guitar and keyboard express themselves at their maximum potential, sometimes playing in unison, sometimes separately; the ending is crafted by Petrucci fading away with yet another solo after the last chorus.

"Surrounded" starts slowly, with a beautiful piano accompanied by keyboards, then Petrucci enters and the guitar sound becomes harder and harder, reaching a peak of power after which the track slows down again, ending once more with the piano accompanied by keyboards.

And here's the signature track of the album, "Metropolis pt. 1". Signature track of the album? No, of their career! We are facing the band's classic par excellence, the one that will always be requested by fans in live performances, and whose absence will inevitably leave a bitter taste for those leaving the arena (trust me, it happened to me too when I went to see them at the Datch Forum last October 29th). The start is very theatrical with all instruments entering one by one, the first four minutes characterized by a bright and linear melody... Then, for about four minutes, guitars and keyboards create all sorts of effects literally making your head spin! Then the tempo slows down, leading to an equally cinematic ending.

Underestimated, perhaps unjustly, is number 6 "Under A Glass Moon". It also starts very cinematically, worthy of Spielberg's finest film. Undoubtedly the most aggressive track of the album, but Kevin Moore also contributes to giving this track a melodic aspect. In the instrumental part, Petrucci gives us one of his most beautiful solos. To relax a bit, a nice "Wait For Sleep" is necessary, a short but touching ballad: two and a half minutes of piano and voice carrying the excellent signature of Kevin Moore.

And to conclude, here's the track that best highlights the band's progressive vein: "Learning To Live", a track where multiple styles succeed each other. The beginning is aggressive with excellent keyboard melodies, then it slows down to where the keyboards offer a soft and touching melody; the tempo keeps building until it becomes aggressive again, then slows down once more to make way first for excellent keyboard melodies and then for a more blues section marked by a beautiful acoustic guitar playing over a keyboard background; the tempo increases again until reaching the last part, less aggressive and more melodic, with keyboards taking the lead; note also a reprise of "Wait For Sleep". A very well-crafted conclusion, first with the bass, then with a guitar riff playing infinitely.

Ah, what an effort, eh? I conclude by saying that "Images And Words" is an incredibly difficult album to imitate; in my opinion, one of the best albums ever, not just of this genre. Are you in shopping season and don't know what clothes to buy? A tip, forget the clothes and go buy yourself a nice CD: a masterpiece like this certainly wouldn't do you any harm!