IMAGES AND WORDS

Pull Me Under, the first track. This song doesn't necessarily sum up the complete sensational objective of this album, but it definitely is a nice touch. At first, the song establishes a kind of longing sentiment that is both alluring as well as a not-too-passive beat. With John Petrucci already mesmerizing your ears, in comes Mike Portnoy's tranquil drumming, allowing you to still enjoy the guitar but subconsciously expecting what's next. This goes on for a few seconds until Kevin Moore's keyboards present a smooth entrance. John Myung's bass talent has been active throughout, though many neglect that for a common sound (bass just naturally arrives on its own, apparently). With this continuous rhythm, Petrucci shifts to another chord, leaving a paused serenity circulating for another numerous seconds, 'til Portnoy takes the stage and delivers the climatic drum entrance of the song. The four guys jam some more until Portnoy, Petrucci and Myung convey dazzling striking until Moore appears once more, and they continue through the piece where soon Portnoy invokes James LaBrie's very first line of the album, which would be: "Lost in the sky," and it's that emphasis and "sky" that I love so much about LaBrie: his ability to engross me so easily with one word. Through this, the band carries on through the song with mild alterations, and that's Pull Me Under: an eight-minute song that defines the new Dream Theater or at least the definition therein, within the song.

Now onto their second track, Another Day. This song is entirely LaBrie: without his harmonious vocals, this song would not have been what it was. Argue what you will, but that is the bitter truth. His soft undertone assembles the song up to what it initially will be, and admired by millions - though, in retrospect, Pull Me Under brought more of a response than Another Day, which truly is shocking. The majority of these masses are usually interested in soft horse feces they don't have to absorb too rashly. Although this song does not build up to anything spectacular, it is nevertheless an important piece of Dream Theater's musical puzzle.

Take the Time, third song. This song has left me speechless every time I've heard it, that's for certain. I don't know if it's Moore's dramatic entrance, or Porntnoy's (Petrucci's, also) overture, but let me tell you that what I actually flat-out adhered to were LaBrie's first seven lines of the song. And that eighth line, "I think it's time for a change," absolutely collapsed my entire muscles; I could not move or speak or think. I sat there, discman in hand, utterly thunderstruck. I tell you this, everything LaBrie did with his vocal chords - every factor of his advance. . . I have never heard LaBrie sound better than he did right then, and that's including A Change of Seasons, and the entire Metropolis, Pt. 2: Scenes from a Memory album.

Track four: Surrounded. A mediocre track with remarkable surroundings; if you were to ask me, I'd say this song shouldn't have been a piece of Images and Words - it's just not as grand as the rest, is all. It's a decent song, no doubt, but not up to Images and Words' standards, is all I'm saying.

(FAVORITE SONG ON THIS ALBUM) Track five: Metropolis, Pt. 1: The Miracle and the Sleeper. There's really nothing to say about this song. It's the first piece of the Scenes from a Memory saga; its prequel, so to speak, but not really. To me, this song summarizes the entire Scenes from a Memory album, just with far less detail. The subtle references Petrucci makes in the lyrics, such as: "Somewhere, like a scene from a memory," gives you an idea of what's to come. It cleverly disguises the complete story, but you get a glimpse of what's going to happen. The verse: "The smile of dawn arrived early May, she carried a gift from her home. The night shed a tear to tell her of fear and of sorrow and pain she'll never outgrow," secretly explains that the woman is Victoria, who will be introduced in the second half. And, "Metropolis watches and thoughtfully smiles," is later added in the song Home (track eight of Scenes From a Memory), which, again, gives you some sort of idea as to what to expect. Anyway, I've spent far too long on this song. Moving on. . .

Track six, Under a Glass Moon. I kind of feel similar with this one as I do with Surrounded, although I think Under a Glass Moon was perfect for Images and Words. It's not as great, but still worthy. The melody and such - on the whole progressive scale, I think it fits flawlessly. As always, I believe LaBrie was the one who made this song what it was. Without him, I would not have liked it as much. . . well, LaBrie and Petrucci.

Wait For Sleep, track seven. This one's almost identical to Another Day: without LaBrie, heh, no. Not a chance. Without Moore's syrupy opening, however, the song would not have been as delightful. This song was crafted in such a fine manner, the length of it meshed beautifully. It had been any longer; someone would have loosened something and lost the initial splendor. Thankfully, this did not happen.

Last song, Learning to Live. I apologize for running along, but I'm in a rush and I'm sure you all are tired of reading my words, anyway, so I beg you, just a little longer. Again, Portnoy's drumming led by Moore's straightforward keystrokes helps characterize this song as one continuous motion with minor transitions. In my opinion, what I think made this portion such a great song was that it's nothing BUT Dream Theater. All four of them playing, followed by LaBrie. On occasion - most of which, in fact - it's Myung, Petrucci and Portnoy, Moore and Petrucci, or Portnoy and Moore, or whatever. Yes, there are moments where you hear all of them playing an uninterrupted session for minutes at a time, but very rare, at least what I'm hearing. Anyway, the song is great. Another Dream Theater classic, and admired by many of the old school fans and also the green folk. Precise length, appropriate changeovers, and simplicity.

Images and Words would have to be my second favorite Dream Theater album, the first being Metropolis pt.1: Scenes from a Memory. Do as you wish, but if your predominant genus is progressive rock, then I would recommend this one.