claudio carpentieri

I also find that this is a work which, unlike the previous one, doesn't have an "entrance piece" like "What It Is" was for "Sailing..."; an album that completely distances itself from the atmosphere of "Golden Heart" and is nonetheless a courageous performance for someone who doesn't want to rest on the laurels of the past while putting themselves on the line. For those who have the opportunity, listen to the live version of "Why Aye Man" from the tour in support of "Shangri-Là"; it could very well sneak its way into a Dire Straits album without anyone noticing. ............anyway, it did help ease my stomach ache.

A good record that could trigger the overwhelming machine of the "comeback" of a great band, overlooked for too long, yet still active live.

For easycure: I haven't asked you anything, so I don't understand why you feel the need to respond to my statement. I remember that it's good manners to reply when questioned or directly addressed.
Putting aside this little and perhaps unnecessary prologue, I still have my good reasons for COMPARING Dream Theatre (from whom I've been able to enjoy some excellent work released in the last 10 years) to the (former) gentlemen Genesis, from whom I haven’t heard (as far as I'm concerned) a good album in at least 30 years (in fact, my discography only goes up to "Seconds Out" and stops there). Hats off to Phil Collins for his musical skills (great with Brand X, a true band of monsters!!) and Steve Hackett, but the others do not go beyond sufficiency. On the contrary, regarding the qualifications of all the members of DT, there isn’t one who hasn’t attended conservatories and demonstrated competence with all the musical instruments present in the group.
Furthermore, it was the year 1998 when Genesis came to promote "Calling All Stations," and two months later, DT arrived in Italy as well: I won't say which of the two groups stood out for having true musicians within, out of respect for a band that I covered for at least three years with my group. (I never imagined I would be able to say this) Dream Theatre beats Genesis 2-0... and without a kickoff. Ah, I almost forgot... easycure, SAVE YOURSELF, this isn't a question for you, that way you'll avoid wracking your brain to create more unnecessary and pretty words.

Therefore, without trying to interpret all the letters written—also because we risk stifling the freedom of expression on this page—when you referred to the individual pieces that the DT would have drawn upon, I don’t think your consideration had the intent you explained afterward.
It's nice that you enjoy discussing music (and I’m interested in it too), but perhaps try to do so in a slightly detached manner, without flaunting the knowledge you have on the subject, approaching it with a bit of detachment and coherence (after all, the DT, the Pink Floyd, and your beloved Concato;-) don’t even know we exist (even though we are the ones determining their success as the end); this just to wrap everything up and because I am—like you said, elegantly sugarcoating the pill—good, good… good.
See you soon and without any further polemics; perhaps we’ll meet again for another album…

I firmly believe that what you assert regarding "our" reviewer is unfair, especially since he himself provides the considerations based on which he gives a 5 to the album, commenting clearly on the various tracks. Perhaps he doesn't overuse terms like argue or kaleidoscope, but he is still very transparent.
To bring us to the conclusion of this ping-pong, I would never dream of telling you that "you don't understand" just because you don't think like me (as you have done) - regarding the considerations of Portnoy and Petrucci, which you have interpreted (this is really pushing it...) and that "you don't listen to DT" simply because you think that your reasoning is so logical to you, but perhaps you can't conceive that what you think is a personal opinion and not an absolute principle since we are merely enthusiasts and not journalists (at least I believe so).
Now here comes part III... AND I’M DONE.

As far as I'm concerned, "Metropolis.." may not be perfect, but it's a good work and perhaps even more accessible for the younger generations than "Selling England By The Pound," which represents an almost embryonic form of the progressive genre. The fact that you believe that the DT draws from the "greats" to give a cool touch to their albums, I see it as if you want (un)intentionally to elevate musicians who, in terms of creativity and ability – as skilled as the Genesis may have been – certainly have nothing to envy them. This is especially true because it's a natural evolution: the further we go, the more talented (and also younger) the composers who emerge are.
A MOMENT BECAUSE IT CONTINUES.....

Dear Bowie, you’re getting upset with Marco because he’s 17 and infatuated with a band that knows how to play, and beyond certain mental hang-ups (in a good sense, of course) you have when saying they only make references instead of offering a musical kaleidoscope, well, that seems a bit exaggerated to me.
Also, thinking that saying the tracks of Dream on "Scene..." recall other songs doesn’t seem to represent such a grave scandal, since many great bands are perfectly capable of drawing from others without being clones. Furthermore, it seems a bit offensive to make such specific references to the tracks, which honestly makes it clearer that you’ve listened to a lot of music and perhaps you want to let us know (don’t take this as an insult), also because I’m convinced that if you had the chance to talk to a Petrucci or a Portnoy, they wouldn’t tell you that Natural Science is close to Money or Through The Eyes even to Guido Piano.
Anyway, I don’t want to monopolize this site, but remember that as much as songs may resemble each other, the world, in the end, is made of only 7 notes... and happy listening.

A noteworthy album commentary, although I would have mentioned the involvement of musicians like Mark Knopfler and Pick Withers (then still young debutants) to further characterize Dylan's sound - who insisted on the participation of both instrumentalists. Nevertheless, a nice album that I would recommend to many.

GOOD REVIEW
I would have given it an extra half point, both for the courage and because I can’t consider the songs on the album to be bad; perhaps it would be better understood if we imagined the "Pop" songs as the real U2.

errata corrige to expect you.