Mike Portnoy was not happy when the song “A Change of Seasons” was pulled from being recorded in the studio for the “Images And Words” album.
So Portnoy kept asking Derek Oliver to provide funding so the band could record it. Portnoy tried to include it with the “Awake” album and again, Oliver said “no”.
And that’s when the fans stepped in. Dream Theater fans started to connect online via the Ytsejam Mailing List and suddenly, a petition was created to convince the label to give the go ahead for the band to record the song.
Yep, Dream Theater was one of those bands to have a direct to fan connection via their fan club and message boards in the early days of the Internet. Mike Portnoy was key here, as a fan of Marillion, who was also another band which kept engaging with their fans via their fan clubs and much later, Marillion were one of the earlier bands to get fans to fund an album before it became a thing.
At 23 minutes, it was their longest song at that point in time, but the way it is written and constructed, the seven parts of the song, can be listened to individually as separate tracks, if you wanted to splice the track. Lyrics are written by Mike Portnoy.
If the band wanted to record this track in the studio, Derek Oliver said the track must be produced by Dave Prater. As described in the book “Lifting Shadows” by Rich Wilson, Oliver believed that Prater really understood what Dream Theater was about and when Prater zeroed in to the bands weakness, the band couldn’t hack it, hence the animosity. Prater was the producer for the “I&W” album and he was having serious run ins with Mike Portnoy over triggered drum sounds and with Kevin Moore over his reluctance to do anything that the Producer asked.
While the band disagreed with the Prater suggestion, they relented. as the only way to get funding was to do it the label way. Since Prater was told to not use triggers on the drums, it meant Portnoy wouldn’t be an adversary anymore and his main adversary during “I&W”, Kevin Moore was not in the band anymore. But Prater and James LaBrie didn’t connect this time around and they started to argue. But, in the end, LaBrie’s vocal performance on the track is excellent, so all the pushing and yelling, ended up in a fantastic vocal take.
The EP was released on September 19, 1995, through East West Records.
Apart from the title track, it has a collection of live cover songs performed at a fan club concert on January 31, 1995 at Ronnie Scott’s Jazz Club in London, England. It’s also their first recording with Derek Sherinian on keyboards.
I know what most people are thinking,
23 minutes of a million notes a minute over complex time signatures. If you are thinking that, you are mistaken. The sections are all songs within a song and one thing that producer Dave Prater has going for him was his questioning of why they want to overplay certain parts.
Like when he said to John Petrucci (as mentioned in the book “Lifting Shadows”), “why are you trying to impress Steve Vai” with those fast technical licks as your first improvised take of the lead was way better than the stuff you worked out days later.
I. The Crimson Sunrise (instrumental)
The song begins and ends with an acoustic guitar. A seven string acoustic guitar with the low B and while I am critical of the 7-strings on fast picked stuff, I really like em on groove orientated stuff, and this is what this song is. A Groove Heavy Rock beast with progressive elements.
As soon as I heard the first notes of the intro acoustic riff I was hooked.
Did they try and recreate “Pull Me Under” with this whole intro piece?
Because there is melody, power and aggression here in the acoustics and when the distortion kicks in, you definitely feel it in your bones.
The first 3 minutes is essential listening. All instrumental but never boring.
It begins at the 3.50 mark.
And how good is that arena rock chorus, that begins with “Innocence caressing me / I never felt so young before / There was much life in me / Still I longed to search for more” and when it repeats the second time, it’s worded a bit different. “Ignorance surrounding me / I’ve never been so filled with fear / All my life’s been drained from me / The end is drawing near.
III. Carpe Diem
It begins at the 6.54 mark with the start of the acoustic guitar arpeggios, almost classical. Portnoy is now referencing the last moments he had with his mother before she left to catch a plane which crashed.
The last few lyrical lines, “preparing for her flight / I held with all my might / fearing my deepest fright / she walked into the night / she turned for one last look / she looked me in the eye / I said “I love you, / goodbye”.
IV. The Darkest of Winters (instrumental)
I’m pretty sure this section kicks in at the 9.47 mark. It’s got metal and a jazz fusion like lead from Petrucci. There are a lot of elements from “I&W” here especially from the songs “Metropolis” and “Take The Time”. The riff at 11.50 would have been a foundation for a song for any other band. But from Dream Theater, it’s just a riff in a 23 minute song.
At 12.54, Petrucci starts the melodic lead that leads into “Another World”.
V. Another World
It kicks in at 13.03. It’s the big power ballad part of the song with LaBrie delivering one of his best vocals and Petrucci on the lead at 15.39 is perfect with his phrasing, delivering big bends and vibrato lines with short bursts of alternate picking.
VI. The Inevitable Summer (instrumental)
It starts at the 16.58 mark. Myung plays this bass groove which allows Petrucci to bring out the Lydian and Mixolydian scales. This section reminds me of the solo section in “Under A Glass Moon” from “I&W”. Even Sherinian gets a solo moment.
VII. The Crimson Sunset
The final section. It starts at the 20.12 section with a melodic lead that should have been harmonised, Maiden style.
“I’m much wiser now a lifetime of memories run through my head”.
Then there is a complete tempo and feel change for the final verse and the intro acoustic guitar riff appears to bookend a masterpiece.
And while everyone purchased this EP for the original song, the live recordings also deserve a mention.
“Funeral for a Friend/Love Lies Bleeding” (Elton John cover)
I didn’t know about this songs until I heard them here. Written by Bernie Taupin and Elton John. At 10:46, the song was originally recorded by Elton John as the opener on the “Goodbye Yellow Brick Road” album from 1973, which I then purchased after hearing this version.
And it’s even longer on the Elton John version at 11.09, which came as a surprise to me, as Elton John’s 80’s hits are all within the 4 minute range of commercial radio. I can definitely hear how this song influenced Jim Steinman and “Bat Out Of Hell”.
Who said that cover songs take away from the original?
“Perfect Strangers” (Deep Purple cover)
Written by Ian Gillan, Ritchie Blackmore and Roger Glover. It’s the title track from their 80’s comeback album in 1984. This version is very faithful to the original version, and guess what, I went out and purchased this Deep Purple album based on this cover.
“The Rover” / “Achilles Last Stand” / “The Song Remains the Same” (Led Zeppelin cover)
The songs used here for the medley are written by Robert Plan and Jimmy Page. Dream Theater took the best bits of these songs and made a 7.30 minute track that is worthy.
“The Rover” is a song from the “Physical Graffiti” album, with a good bluesy groove which is played to lead into “Achilles Last Stand” which is from the “Presence” album. Here we get most of the singing section of the song, the interludes and that progressive like riff which is played during the solo. Finally, the song is rounded out with some sections from “The Song Remains The Same” from the “Houses Of The Holy” album.
LaBrie proves that you can still pay homage to Robert Plant without sounding like him (remember Lenny Wolf) and Petrucci must have made a deal with Aliester Crowley as he is basically Jimmy Page.
“The Big Medley”
The last song. A mash up of songs from a diverse list of artists that clocks in at around 10 minutes.
It starts off with “In the Flesh?” a Pink Floyd cover.
At the 2.30 minute mark, the awesome riffage of “Carry On Wayward Son” from Kansas kicks in.
“Bohemian Rhapsody” from Queen kicks in 4.35 that whole hard rock section after the operatic vocals. Petrucci then goes into the lead break.
“Lovin’, Touchin’, Squeezin'” from Journey kicks in at 6.00. It shouldn’t work here, but it does. Its 12/8 bar room boogie riff works perfectly after “Bohemian Rhapsody”. LaBrie croons as good as Steve Perry and what else can be said about Petrucci who can move between Jimmy Page, Richie Blackmore, Dave Gilmour, Brian May, Kerry Livgren and Neal Schon so effortlessly. And then he covers Steve Morse and Steve Hackett easily.
“Cruise Control” from Dixie Dregs kicks in at 8.11. This music was new to me back then.
“Turn It On Again” (Genesis cover)”
This part kicks in at 9.14. The riff is immediately memorable, yet familiar as I feel that it influenced some sections on “Innocence Faded” from the “Awake” album.
By the end of the medley, I was out and about seeking albums from Genesis, Dixie Dregs, Journey. I already had the Queen and Kansas albums that had those songs.
If you haven’t heard this EP (which by the way is an hour long), press play on it.