*Updated 1/25
Some 30 years (and counting) removed from the commercial success of their major-label debut, Dream Theater has managed to sustain and maintain their position as one of the premier names in prog-metal. With each new release, the immensely talented five-piece firmly re-establishes what longtime fans have known for years: Dream Theater is still creating relevant music.
The Dream Theater catalog is surprisingly diverse, and one where no two releases sound identical. But regardless of where it might fall on the ‘Rush-meets-Metallica’ spectrum—be it epic, prog-infused concept albums (Scenes From a Memory) or driving, metal-tinged onslaughts (Train of Thought)—just about every LP has given fans a healthy dose of both.
Per what seems to be an annual tradition, I recently took a ‘deep-dive’ into the band’s catalog, re-listening to each release chronologically. I still revisit some of Dream Theater’s records (like the breathtaking Six Degrees of Inner-Turbulence) on a fairly regular basis, while others (here’s looking at you, Black Clouds & Silver Linings), well, not so much. That said, I’m still routinely blown away by how well nearly all of these albums have aged.
With yet another complete run-through under my belt, I’ve compiled a list ranking (in my humble opinion) Dream Theater’s catalog from worst to best, albeit with a few caveats:
*Caveat Number One: To keep this a manageable read, I’ve decided to restrict my list to full-length studio releases. Obviously, this means that the numerous live albums and the Change of Seasons E.P. (all worth checking out) will not be represented here.
**Caveat Number Two: It goes without saying that I hold Dream Theater in the highest esteem; therefore, any and all criticisms should be taken with a grain of salt. As a longtime fan, I still find something redeeming on every release. Dividing their ‘best’ from their ‘worst’ is essentially an exercise in nit-picking (for the most part).
***Caveat Number Three: I’d like to file anything I’ve written below in the ever-so-subjective ‘prisoner of the moment’ category. I suspect that if I were to repeat this process six months from now, my results would change dramatically. The following list is little more than a snapshot of where I am as a Dream Theater fan right now.
One Final Note: Recognizing that anyone who reads this likely has a working knowledge of Dream Theater’s history, I did my best to keep the history lessons to a minimum. For a far more comprehensive overview of Dream Theater’s story, I highly recommend Rich Wilson’s Lifting Shadows.
Oh, and regarding Parasomnia–I plan to circle back after I’ve had a chance to properly digest it.
15. When Dream and Day Unite (1989)
Dream Theater’s oft-overlooked debut offered the world but a hint of what was to come. Notably, the band’s only release with vocalist Charlie Dominici, 1989’s When Dream and Day Unite successfully established the prog-meets-metal formula that Dream Theater would go on to define and refine.
With an off-the-charts mix of ambition and youthful energy, this record has a raw, unrefined charm that warrants revisiting. That said, from the cluttered arrangements to the cavernous, reverb-drenched mix, this is far from the band’s apex. Every list has a starting point, and for the reasons stated above, this list begins with When Dream and Day Unite.
Top of the World (Highlights):
“Ytse Jam” is still one of the band’s most effective instrumentals, and “Only a Matter of Time” is perhaps the best union of the band’s music with Dominici’s vocals.
Nightmare to Remember (Lowlights):
While there’s a lot of charm here, the overall production is, to put it nicely, lacking. As the rest of this list illustrates, for all his strengths, Charlie Dominic wasn’t a good fit for the band Dream Theater wanted to become.
Beneath the Surface (Best Deep Cut):
Practically everything here qualifies as a ‘deep cut,’ but I will forever champion “The Ones Who Help to Set the Sun” as a brilliant early lyric from Petrucci. The studio take has ‘acquired taste’ written all over it, but the live, James LaBrie-sung version (from When Dream & Day Reunite) definitely qualifies as a choice deep cut.
Erotomania (Favorite Musical Moment):
The opening minute of “Ytse Jam” is a potent blast of energy (and lead bass), and makes for a perfect approximation of this era.
Reveal the Word (Favorite Vocal/Lyrical Moment):
And if spirit’s a sign, Then it’s only a matter of time – “Only a Matter of Time”
14. Dream Theater (2013)
Complete with three instrumentals and yet another twenty-minute epic (“Illumination Theory”), Dream Theater’s self-titled effort was the first album to fully integrate drummer Mike Mangini into the writing process. According to a Guitar World interview with John Petrucci, the band “wanted to make this album a reference point for [fans] as far as what Dream Theater is all about. That was the goal and the mission, and it set the tone for the entire project.”
Well, fans seemed to be on board, at least initially. While the record is Dream Theater’s second-highest charting album and earned the band a Grammy nomination, it is unfortunately marred by some head-scratching production choices (that snare!) and a mix that leaves little to be desired. That’s not to say there aren’t good songs here, because there are, but I would be hard-pressed to make an argument for any of the album’s nine tracks belonging on a Dream Theater ‘top 10’ list.
Still, other than the reprehensible production, there’s little here that will offend anyone. It’s a whole lot of ‘good,’ but rarely ‘great.’ In fact, the band’s efforts to play it safe are likely responsible for what feels like Dream Theater’s most unmemorable release.
Top of the World (Highlights):
As far as singles go, both “The Enemy Inside” and “The Looking Glass” are near the top of the list, successfully distilling Dream Theater’s sound into a digestible package.
Nightmare to Remember (Lowlights):
Neither of the album’s two instrumentals completely hit the mark–”False Awakening Suite” feels unfinished and “Enigma Machine” overstays its welcome. And despite some undeniably impressive pieces and parts, “Illumination Theory” is one of the band’s less memorable (there’s that word again) epics.
Beneath the Surface (Best Deep Cut):
From the dynamic arrangement to the soaring chorus, “The Bigger Picture” is classic Dream Theater–the song could easily find a home on Images & Words or Awake.
Erotomania (Favorite Musical Moment):
Even if the brick-walled mastering all but removes any sense of dynamics, the outro from “The Bigger Picture” is all sorts of sublime.
Reveal the Word (Favorite Vocal/Lyrical Moment):
When I see the distant lights illuminate the night, Then I will know I am home – “The Bigger Picture”
13. The Astonishing (2016)
While Dream Theater’s second foray into ‘concept album’ territory gets an ‘A’ for effort, in my book (and in the eyes of many), The Astonishing remains a glaring late-career misstep. On paper, a high-concept musical set in a dystopian future sounds pretty awesome (I mean, it worked for Rush). In practice, however, the album instantly divided the band’s fanbase.
That’s not to say there isn’t a lot to love about The Astonishing–the sheer ambition of this John Petrucci-led project warrants a certain level of respect and admiration. Still, given the derivative nature of the story and the ever-present pacing issues, this is one of the few Dream Theater releases I struggle to listen to from cover to cover. Of course, there’s some fantastic material here, provided you are willing to sift through the rest to find it.
All of that said, The Astonishing is an impressive showcase for James LaBrie. He draws upon nearly every facet of his career to portray a myriad of characters, settings, and moods. Add to that the lush, nuanced mix and a handful of genuinely breathtaking moments (“A Life Left Behind,” “Moment of Betrayal”), and you have yourself a handful of songs that easily stand among the band’s best work. My suggestion: pluck your ten favorite tracks, drop ’em into a playlist, and enjoy.
Top of the World (Highlights):
As far as pre-release singles go, “The Gift of Music” is one of Dream Theater’s best. And with or without Lizzy Hale’s guest vocals, “Our New World” is an undeniable fist-pumping anthem (something that is otherwise in short supply on this record).
Nightmare to Remember (Lowlights):
This album’s most significant flaw is the sheer number of ballads and piano-driven interludes. The momentum established in the first act quickly wanes, rendering much of this two-hour affair a dismal slog. While brief, the NOMAC tracks essentially amount to five minutes of noise.
Beneath the Surface (Best Deep Cut):
Pairing a timeless melody with some Yes-inspired instrumental work, “A Life Left Behind” is easily my favorite track from this album (and at the top of the list for this era of Dream Theater).
Erotomania (Favorite Musical Moment):
The opening minute or so from “A Life Left Behind” is everything I love about Dream Theater–the album could’ve used more moments like this.
Reveal the Word (Favorite Vocal/Lyrical Moment):
I’m waking up, from a life left behind – “A Life Left Behind”
12. Black Clouds & Silver Linings (2009)
“Black Clouds & Silver Linings” marks the first time I found myself underwhelmed by a Dream Theater release. On paper, this record should be amazing—Mike Portnoy famously said, “imagine a Dream Theater album with ‘A Change of Seasons’, ‘Octavarium’, ‘Learning to Live’, ‘Pull Me Under’ and ‘The Glass Prison’ all on one album”—but the results are, at best, a mixed bag.
Given Portnoy’s (ahem) dramatic departure from the band following this release, it’s difficult to justify his pre-release bravado with the events that followed. For that reason, Black Clouds & Silver Linings is a good example of a record where the highs, staggering as they might be, are simply outweighed by the lows. There are a lot of die-hard fans who absolutely adore this album, but Black Clouds & Silver Linings remains the only Dream Theater record where I could take or leave moments in virtually every song.
Top of the World (Highlights):
While the singles (“Rite of Passage,” “Wither”) failed to make much of a splash, the nearly-twenty-minute “The Count of Tuscany” quickly became an undeniable fan favorite and a future live-staple. Additionally, the production is very solid, as is the playing from all five members, and the six covers included with the bonus version of this album are a real treat.
Nightmare to Remember (Lowlights):
Much of the lyrical content here fails to live up to the band’s previously established standards. Petrucci, in particular, turns in what I consider to be the band’s hokiest, most cringe-worthy lyric to date with “The Count of Tuscany”–I know, I know, it’s a classic, but all these years later lines like “sucking on his pipe” still just pull me out of the song.
Beneath the Surface (Best Deep Cut):
Sure, it might feel a tad disjointed at times, but “The Shattered Fortress” offers a fittingly epic conclusion to the Twelve-step Suite.
Erotomania (Favorite Musical Moment):
Despite the above criticism, the outro (beginning with the acoustic-guitar-driven section) of “The Count of Tuscany” is among Dream Theater’s most anthemic, uplifting moments.
Reveal the Word (Favorite Vocal/Lyrical Moment):
A tossup between the ‘Hopelessly Drifting’ section in “A Nightmare to Remember” and the “wait a minute, man” portion of “The Count of Tuscany.”
11. Systematic Chaos (2007)
We now enter the ‘toss-up’ portion of my list, as I hold the next few albums in similar esteem—an occasional listen save for a few key tracks. In the case of 2007’s Systematic Chaos, other than the two-part epic (“In the Presence of Enemies”) bookending this record, I rarely revisit much of this material.
While there’s nothing necessarily wrong with songs like “Constant Motion” and “Forsaken,” the edgy, ‘we-just signed with Roadrunner-Records’ vibe just doesn’t seem to carry the same weight it did back in 2007. At times it feels like the band was almost trying to prove they can be as heavy as their label mates, often at the expense of their progressive roots.
That said, this record certainly still sounds amazing, and other than a couple of somewhat gratuitous detours (like the second half “Repentance” and “The Ministry of Lost Souls”), the album is well-sequenced and surprisingly cohesive. If the metal side of Dream Theater was more my jam, Systematic Chaos would probably be a few spots higher.
Top of the World (Highlights):
“Constant Motion” and “Forsaken” continued the band’s run of serviceable singles, with the former showcasing their Metallica influences and the latter delivering a haunting melodic presence. However, the crown jewel here is undoubtedly the two-part “In the Presence of Enemies,” a top-5 epic that finds the band at the top of their collective abilities.
Nightmare to Remember (Lowlights):
While the song has its fair share of admirers, for this fan, the self-indulgence displayed throughout the vampire-inspired “The Dark Eternal Night” borders on absurdity. Points awarded for pushing the envelope, but it’s probably for the best that this song remained an oddity in the band’s catalog.
Beneath the Surface (Best Deep Cut):
“Prophets of War” is the oft-overlooked gem here. Sure, the musical references (Muse, Queen, etc.) may be a tad heavy-handed, but on the admittedly short list of Dream Theater’s radio-ready rockers, this is one of the best.
Erotomania (Favorite Musical Moment):
The final movement from “In the Presence of Enemies Pt. 2” (beginning with a final reprisal of the main theme via one of Rudess’ best synth patches to date) is simply perfect. The way the entire band locks in for the final “Dark Master” demonstrates why Dream Theater, even in their more commercially-oriented periods, remained masters of progressive metal.
Reveal the Word (Favorite Vocal/Lyrical Moment):
Do I still wait for my God? And the symbol of my faith – “In the Presence of Enemies Pt. 1”
10. Distance Over Time (2019)
The Astonishing had its share of fans, but the overall reaction to Dream Theater’s two-hour-plus dystopian musical was mixed at best. In response, Dream Theater opted for a ‘back to basics’ approach with album fourteen, and in the process delivered an inspired batch of stage-ready anthems.
In many ways, Distance Over Time channels the prog-tinged metal vibe that defined the band’s 1994 release, Awake, albeit with all the benefits of modern production. From the crystal-clear, balanced mix to the ‘live on the floor’ energy seeping from the individual performances, this album is quite possibly the band’s best ‘sounding’ release to feature Mike Mangini.
Add to that some incredible performances from John Petrucci and a couple of instant classics, and you have yourself what many fans considered a welcome return to form.
Top of the World (Highlights):
While the band delivered a trio of pre-release singles (“Untethered Angel,” “Paralyzed,” “Fall Into the Light”), it’s the long songs that ultimately carry the day–“Barstool Warrior” (hokey title and all) endures as a live staple and “At Wit’s End” sports one of the best Dream Theater choruses to date.
Nightmare to Remember (Lowlights):
Unfortunately, “Untethered Angel” continued Dream Theater’s trend of releasing one of the album’s weakest tracks as a leadoff single.
Beneath the Surface (Best Deep Cut):
Even if it feels like an updated take on the Disturbed-esque “Build Me Up, Break Me Down,” “Paralyzed” is a four-minute blast of head-banging fun that, for whatever reason, I always seem to enjoy.
Erotomania (Favorite Musical Moment):
The way the majestic outro from “At Wit’s End” fades into a live-off-the-floor rehearsal take is just the sort of left turn I wish this version of the band had taken more of–genius moment from an equally brilliant song.
Reveal the Word (Favorite Vocal/Lyrical Moment):
Don’t leave me now, don’t leave me now, I know that it’s tearing you apart – “At Wit’s End”
9. A View From the Top of the World (2021)
2021’s A View From the Top of the World finds Dream Theater doubling down on everything that made Distance Over Time such a welcome return to form. And given the tepid reaction to The Astonishing, who could blame them? For the second album in a row, thanks to the pristine production, everyone involved had their moment in the sun.
If you’d never heard a single note of Dream Theater’s music, A View From the Top of the World would make for a perfect introduction, a point that sums up my primary issue with the release. Dream Theater’s fifteenth full-length plays like a greatest hits compilation of Dream Theater’s various styles and approaches. Without a doubt, it’s a fun listen, but there’s little here that feels like new ground. Still, with fifteen albums under their belt, Dream Theater’s version of ‘par for the course’ is still a ridiculously solid listen from cover to cover.
Top of the World (Highlights):
“The Alien,” a sprawling, nearly-ten minute sonic adventure exploring humanity’s future amongst the stars, earned Dream Theater their first Grammy. “Transcending Time” feels like the fraternal twin to “The Looking Glass” and “Sleeping Giant” could easily fit on any number of prior DT releases. Oh, and the title track epic represents one of the band’s finest moments of the past decade.
Nightmare to Remember (Lowlights):
“Invisible Monster” is an underwhelming mid-tempo slog that made for an odd choice for a second single.
Beneath the Surface (Best Deep Cut):
The title track will probably continue to dominate future conversations (and rightfully so–it’s fantastic), but for my money, “Sleeping Giant” is easily the hidden gem here.
Erotomania (Favorite Musical Moment):
The title track’s pensive middle section is a brilliant show of atmospheric restraint that makes for a welcome respite on an album otherwise devoid of ballads.
Reveal the Word (Favorite Vocal/Lyrical Moment):
Shadows disappear at night, Buried out of fear, Driven underground – “Sleeping Giant”
8. Train of Thought (2003)
Dream Theater’s metal influences are there in some form or another on every release, but 2003’s Train of Thought is arguably the band at its heaviest. From the monochromatic cover to the ever-present brooding tone, Train of Thought firmly and succinctly established that Dream Theater is capable of churning out a modern, contemporary metal record with the best of them.
Given the album’s undeniable ‘metal’ focus, it’s tempting to dismiss Train of Thought as an indulgent detour (or misstep). Yes, there is but one brief respite from the non-stop riffage (courtesy of “Vacant”), but repeated listens reveal some of the band’s most confessional, emotional moments to date. Be it the declarative stance of “As I Am,” the scathing rebuke that is “Honor Thy Father,” or the road-weary sentiment permeating “Endless Sacrifice,” Dream Theater’s lyrical approach on Train of Thought is both blunt and cathartic.
That said, this is Dream Theater’s most unrelenting listen. When one is in the mood, Train of Thought hits (or smashes) all the right buttons. Unfortunately, the myopic focus on aggression renders this an album I only revisit under certain circumstances, hence its middle-of-the-pack placement.
Top of the World (Highlights):
“As I Am” and “This Dying Soul” might be the best opening salvo in the band’s catalog, if not the most punishing, with the former easily at the very top of the list when it comes to the band’s pre-release singles.
Nightmare to Remember (Lowlights):
I’m probably on an island with this one, but “Stream Of Consciousness” would work so much better if it were half the length. Also, the second ‘rapping’ verse of “Honor Thy Father” only grows more cringe-worthy with each passing year.
Beneath the Surface (Best Deep Cut):
At less than three minutes, “Vacant” could easily be viewed as an afterthought if it wasn’t for the beautifully understated delivery (and equally arresting lyric) from James LaBrie. A brilliant, top-tier ballad that just so happens to reside on the band’s most brutal release.
Erotomania (Favorite Musical Moment):
On an album chock full of runaway noodling, where each track seems to be in competition with the next, the entire world-music-tinged instrumental portion of “In the Name of God” is a notable cut above your standard Dream Theater solo-swapping.
Reveal the Word (Favorite Vocal/Lyrical Moment):
Striving for balance, We rise to the challenge, Of staying connected, In spite of circumstance – “Endless Sacrifice”
7. A Dramatic Turn Of Events (2011)
2011’s A Dramatic Turn of Events was a purposeful statement on the part of Dream Theater—one intended to both reassure and rejuvenate a fanbase struggling to come to terms with the departure of Mike Portnoy. Following an extensive and highly publicized audition process (documented in “The Spirit Carries On” web series), Mike Mangini was chosen as Portnoy’s replacement, making this the band’s first album with their new drummer. With that in mind, I consider Dream Theater’s eleventh full-length a success on all fronts. Setting aside the muffled production–a bit of a head scratcher given mixing engineer Andy Wallace’s prestigious work with Slayer and Nirvana–A Dramatic Turn of Events features some of the band’s strongest songwriting to date.
The Grammy-nominated “On the Backs of Angels” and “Build Me Up, Break Me Down” are a serviceable opening salvo, but the four-song run from “Lost Not Forgotten” thru “Outcry” easily ranks among the band’s best. Critics are quick to point out some obvious (and not-so obvious) similarities to Images & Words, but Dream Theater is hardly the first band to look to their past for inspiration. Whether or not it’s a deliberate nod to the beloved “Learning to Live,” the de facto finale “Breaking All Illusions” is a fantastic late-career highlight.
Based on its placement here, I clearly hold A Dramatic Turn of Events in very high regard and place it up there with the best that Dream Theater has to offer. The album ultimately helped establish Mangini as a worthy successor to Portnoy, set the stage for Dream Theater’s future direction, and proved to everyone’s favorite prog-metal institution was going nowhere.
Top of the World (Highlights):
Leadoff single “On The Backs of Angels” secured the band their first Grammy nod, while songs like “Bridges in the Sky” and “Breaking All Illusions” instantly became fan favorites and live staples.
Nightmare to Remember (Lowlights):
While it adds a little heft to the album, “Build Me Up, Break Me Down” finds the band trying a bit too hard to channel a contemporary metal vibe.
Beneath the Surface (Best Deep Cut):
“This is the Life” might be Dream Theater’s most affecting ballad, and it’s easily one of John Petrucci’s best lyrics.
Erotomania (Favorite Musical Moment):
Yes, the overall arrangement is strikingly similar to “Metropolis Pt. 1,” but “Outcry” deserves a massive shout-out here. The song pairs a strong vocal performance from James LaBrie with what can only be described as a musical tour de force.
Reveal the Word (Favorite Vocal/Lyrical Moment):
Have you ever wished that you were someone else, Traded places in your mind, It’s only a waste of your time – “This is the Life”
6. Images & Words (1992)
I know what you’re thinking: “Really? This low? WTF?” Now, before you toss your phone in anger and disgust, hear me out. First off, any band with sixteen albums (and counting) is obviously doing something right. The fact that Dream Theater’s major label debut–and first album with James LaBrie on vocals–winds up somewhere in the middle of this list is nothing more than a testament to the sustained quality of their output. For a large contingent of fans, Images & Words marks Dream Theater’s apex. The album was clearly a pretty massive game-changer for everyone involved.
Released during the height of grunge, Images & Words defied contemporary trends by embracing technical proficiency and progressive rock elements at a time when such approaches were considered, well, pretty passé. Recorded at Bear Tracks Studios in New York with producer David Prater, it’s a fantastic record, for sure, and songs like “Pull Me Under,” “Take The Time,” “Metropolis,” and “Learning To Live” deserve the praise they receive. In fact, the leap in terms of, well, everything between the band’s debut and Images & Words simply cannot be overstated.
Yes, there are some sonic elements that ‘date’ this release—the triggered snare and hyper-glossy mix immediately come to mind—but there’s an undeniable timelessness to the material. Still, for all the ground Dream Theater broke with Images & Words, it’s pretty amazing to think the best was yet to come.
Top of the World (Highlights):
It’s impossible to talk about Images & Words and not mention the massive impact of “Pull Me Under.” The lead-off single secured the band tons of airplay and screen time on MTV, introducing the previously underground band to a nationwide audience. The song remains a live, show-closing staple to this day. That said, there’s a case to be made for nearly every song here serving as an integral part of Dream Theater’s early success. For my money, “Learning To Live” is the best representation of this line-up, with “Metropolis” being a close second.
Nightmare to Remember (Lowlights):
Other than an undeniably great guitar solo, “Under A Glass Moon” has always underwhelmed me.
Beneath the Surface (Best Deep Cut):
Not sure anything here squarely fits the definition of a ‘deep cut,’ but “Surrounded” is probably not the first song to pop in people’s minds when discussing Images & Words. From the understated open to that majestic post-solo bridge, this song is a masterful display of dynamics and restraint.
Erotomania (Favorite Musical Moment):
If you wanted to cut together an ESPN-style highlight reel for Petrucci, the brilliant solo from “Learning to Live” that follows James’ ascending run of “whoa, oh, oh” would probably be my first pick.
Reveal the Word (Favorite Vocal/Lyrical Moment):
Spread before you is your soul, So forever hold the dreams within our hearts, Through nature’s inflexible grace, I’m learning to live – “Learning To Live”
5. Falling Into Infinity (1997)
Lists are inherently subjective, but I suspect that my placement of Falling Into Infinity will draw a sideways glance from virtually everyone who reads this. I’ve long considered Dream Theater’s fourth full-length an under-appreciated gem.
In addition to the lush mix, Falling Into Infinity offers listeners a healthy dose of the band’s not-so-heavy influences. With moments that evoke the likes of Yes, Genesis, Pink Floyd, and even Elton John, I’d contend that the album is one of the band’s most purely ‘prog’ releases.
It’s also the first album following the departure of Kevin Moore. While some (including me) would miss Moore’s lyrical prowess, replacement Derek Sherinian provided the band with a new palette of musical colors. Be it the Deep Purple-inspired organ work or his penchant for guitar-adjacent patches (Sherinian often cites guitar players as his biggest influence), Sherinian brought a flavor to Dream Theater that they hadn’t explored much before or since.
Unfortunately, the record’s tumultuous, drawn-out writing and recording (documented in detail in Rich Wilson’s Lifting Shadows biography) coupled with the mixed reaction from fans has marred its reputation. While detractors will cite the Desmond Child co-write “You Not Me” and the simplified arrangements of songs like “Burn My Soul” and the single “Hollow Years” as stylistic low-points for the band, you could easily argue that working with an outside producer (Kevin Shirley) forced Dream Theater out of their comfort zone, resulting in a rare show of musical restraint.
Mileage obviously varies with the songs, but Falling Into Infinity is arguably one the band’s best ‘sounding’ albums to date and sports a mix that stands up with anything they’ve released in the past decade. Taken as it is, this is a top-five release for me, but given the opportunity to re-sequence the album and include a handful of the discarded B-sides (“Cover My Eyes,” “Raise the Knife,” “Speak to Me,” etc.), I suspect it would climb even higher in this ranking.
Top of the World (Highlights):
On an album with some of Dream Theater’s most concise and radio-ready songwriting, it’s a pair of epics (“Lines in the Sand,” “Trial of Tears”) that endure as fan-favorites. “Lines in the Sand,” in particular, boasts one of John Petrucci’s most memorable solos while “Trial of Tears” is steeped in atmosphere.
Nightmare to Remember (Lowlights):
There are some interesting ideas and moments going on in “You Not Me,” but as the second track on the album, it’s an underwhelming choice. And for as much as I love King’s X, I could do without Dug Pinnick’s contributions to “Lines in the Sand.”
Beneath the Surface (Best Deep Cut):
While an Elton John-tinged ballad might not be the sort of thing most fans are looking for from Dream Theater, “Anna Lee” remains a personal favorite (and is just the sort of ‘less-is-more’ songwriting that Dream Theater would rarely revisit post-Falling Into Infinity).
Erotomania (Favorite Musical Moment):
The band might’ve hated the decision, but rescuing what would become “Hells Kitchen” from the middle of “Burning My Soul” was a brilliant move on the part of Kevin Shirley. The majestic instrumental might just be Dream Theater’s finest and serves as a potent prelude to Lines in the Sand.”
Reveal the Word (Favorite Vocal/Lyrical Moment):
He said, “What else can you do, babe? I guess I won’t be coming home again” – “Take Away My Pain”
4. Awake (1994)
Given the unexpected success of Images & Words, expectations surrounding Dream Theater’s follow-up were extremely high. While Awake failed to match its predecessor’s sales or chart success, it certainly succeeded in reaffirming Dream Theater’s status as a musical force to be reckoned with.
1994’s Awake found Dream Theater ‘amping up’ nearly every element of their sound. Petrucci’s guitars were tuned deeper and chugged harder, Portnoy’s drums suddenly sounded more in line with what you might find on a Pantera record, and James LaBrie’s vocals adopted some noticeable grit and snarl. In many ways, the album felt like a reaction to 1992’s Images & Words.
Sure, Images & Words had moments of aggression, but it’s far more indebted to bands like Rush and Yes than Metallica. On the other hand, Awake found Dream Theater exploring darker musical and lyrical themes. Be it the rat-race anthem “6:00” or the punishing “Caught in a Web,” the band made it known right out of the gate that they had no intention of simply repeating the Images & Words formula.
That’s not to say Awake is lacking in diversity. “The Silent Man” and “Lifting Shadows Off a Dream” break new ground for the band on the ballad front. Even the requisite epics (“Voices,” “Scarred”) occupy a different lane when compared to their predecessors.
I’ll freely admit that there’s a nostalgic component at work here that gives Awake an edge on this list, but the reason it’s in my top three has less to do with yesteryear and more to do with the way I still connect with these songs some thirty years later.
Top of the World (Highlights):
“Lie” and “The Silent Man” might’ve been released as singles, but it’s songs like “6:00,” “The Mirror,” and “Voices” that endure as fan favorites.
Nightmare to Remember (Lowlights):
Honestly, I wouldn’t change a note on this record. Still, if I had to remove a track, “Lie” (minus the instrumental coda) would probably get the nod.
Beneath the Surface (Best Deep Cut):
I could probably dedicate the rest of this write-up to the lore surrounding “Space-Dye Vest.” Still, for all the debate surrounding its inclusion on Awake, I’m of the (minority) opinion that the Kevin Moore mic-drop is a perfect album-closer. It’s also a sort of precursor to moody, genre-pushing songs like “Disappear” and a side of the band I wish there’d been more of.
Erotomania (Favorite Musical Moment):
A toss-up between the outro from “Innocence Faded” (my favorite instrumental stretch on the record) and Petrucci’s solo on “Voices” (an early-career highlight and features a style of off-the-cuff playing that I wish he’d return to).
Reveal the Word (Favorite Vocal/Lyrical Moment):
The final section (beginning with “I’m kneeling on the floor”) remains one of my favorite recorded moments from any band. – “Voices”
3. Scenes From a Memory (1999)
Dream Theater’s first full-length concept album, 1999’s Scenes From a Memory signaled a rebirth for the band. This album could easily be the number one entry on this list, and for many fans, this is Dream Theater at their absolute best.
Floundering in the wake of an ill-received record (1997’s Falling Into Infinity) and dealing with yet another line-up change (Keyboardist Derek Sherinian was replaced with the unparalleled Jordan Rudess, the band’s ‘original’ first choice to step in for Kevin Moore), Dream Theater was on the brink of what many (including the band itself) felt was a ‘make-or-break’ record.
In response to this challenge, Dream Theater seized control, opting to work without a producer (thus beginning the long-running collaboration between Mike Portnoy and John Petrucci) and disregarding any further input from the label. The band then hunkered down and created what might be the boldest artistic statement of their career: a concept album.
Now, to fully understand the weight of this decision, one needs to keep in mind the musical environment circa 1999. Nu-Metal and boy bands were all the rage, and few would’ve faulted Dream Theater if they’d continued to push in the direction they began with Falling Into Infinity. After all, rock bands from all genres were struggling to remain relevant at the time. Dream Theater, however, opted to challenge both themselves and their fanbase. It was a move that ultimately paid off in spades.
Rather than releasing the derivative, genre-hopping cash-grab that their record company was surely hoping for, the band delivered an all-time masterpiece–a concept record that hardly feels tethered to the period during which it was conceived (and one that now stands on par with all-time classics like Queensyrche’s Operation Mindcrime).
Had the band stopped here, Scenes would easily nab the top spot on this list. Instead, the album marks what I feel is the beginning of their creative peak.
Top of the World (Highlights):
On an album this revered, where every song feels like an essential piece to the puzzle, it’s tempting to cite the whole thing as a highlight and leave it there. “Overture 1928” and “Dance of Eternity” are among the band’s best instrumentals and “The Spirit Carries On” might be their most beloved ballad. For my money, however, “Home” is a cut above. If I had to pick a single track to play to someone who wanted to know what ‘this Dream Theater band’ was all about, this top-10 classic would be my go-to pick.
Nightmare to Remember (Lowlights):
Within the context of the album, “Through Her Eyes” serves a purpose, but I’ve been fighting the urge to skip it from day one.
Beneath the Surface (Best Deep Cut):
From LaBrie’s intimate vocal and Petrucci’s tasteful lead to the majestic climax, “One Last Time” is the rare example of a Dream Theater song that feels way too short.
Erotomania (Favorite Musical Moment):
Almost too many to count: the unison finale in “Fatal Tragedy,” the from-the-mountaintop guitar solo in “The Spirit Carries On,” and the numerous lyrical and musical callbacks to “Metropolis Pt. 1” all warrant a mention.
Reveal the Word (Favorite Vocal/Lyrical Moment):
A blinding light comes into view, An old soul exchanged for a new, Familiar voice comes shining through – “Finally Free”
2. Octavarium (2005)
Few topics inspire more spirited debate amongst Dream Theater’s passionate fan base than their epics—the handful of twenty-minute-ish-plus numbers that (arguably) make for the finest showcase of their collective abilities. For my money, “Octavarium” is not only Dream Theater’s best epic, it’s their defining musical statement.
As for the rest of the album? Well, unlike the majority of their catalog, Octavarium wasn’t love at first listen. I immediately appreciated “The Root of All Evil” (still my favorite installment from the 12-Step Suite) and the title track, but the rest took a moment to sink in.
On the heels of Train Of Thought, Octavarium felt like a deliberate reaction to its detuned, metal-focused predecessor, and one that I wasn’t quite sure hit the mark. Given the juxtaposition between Dream Theater’s seventh and eighth efforts, it’s tempting to cite the Awake/Falling Into Infinity dichotomy as a point of comparison. In reality, Octavarium set a new bar for the band in every direction. “The Answer Lies Within” is Dream Theater at their most gentle, “I Walk Beside You” is a certified pop anthem, and “Panic Attack” ranks amongst their heaviest moments.
Given the above description, you’d think Octavarium was a jumbled mess, but the album is actually one of the band’s most cohesive efforts. Yes, the songs are loosely bound together by a far-too-complex-to-describe-here theme, but there’s something else going on here as well. From start to finish, Octavarium manages to summon a (for lack of a better word) vibe that’s difficult to put into words.
I’m sure I rate this record higher than most, but I’ve grown to love this album over the years, so much so that it continues to find its way into my ‘regular listening’ rotation.
Top of the World (Highlights):
The title track has endured as a live staple and fan favorite while “Panic Attack” remains one of the band’s most prominent tracks on streaming platforms (likely due, in part, to its inclusion in 2008’s Rock Band 2).
Nightmare to Remember (Lowlights):
This is tough, as even the songs I initially considered ‘weak’ (like “The Answer Lies Within”) I’ve grown to love. Still, I’ve long thought that “These Walls” would have made way more sense as the second track (Instead of the gentle “The Answer Lies Within”). It’s a massive nit-pick, but that’s where we’re at!
Beneath the Surface (Best Deep Cut):
“Sacrificed Sons” gets the nod here. From the powerful James LaBrie lyric to the brilliant instrumental section, this moody, quasi-epic feels like something that would’ve worked on Falling Into Infinity. The title track tends to get all of the attention (and deservedly so), but “Sacrificed Sons” is right there among the album’s best moments.
Erotomania (Favorite Musical Moment):
The thing that really sticks out every time I revisit this album is Petrucci’s lead work, which is often reminiscent of his mid-’90s playing. Songs like “Never Enough” and “Sacrificed Sons” feature wah-drenched solos that feel like something you might’ve heard on Awake. There’s still a ton of hyper-technical, alternate-picked runs to be found, but I can’t help but appreciate the spontaneous, ‘first-take’ vibe that Petrucci brought to a lot of these songs.
Reveal the Word (Favorite Vocal/Lyrical Moment):
So suddenly, The only thing I wanted, To become, To be someone just like him – “Octavarium”
1. Six Degrees of Inner Turbulence (2002)
In this writer’s humble opinion, 2002’s Six Degrees of Inner Turbulence best represents the many shades of Dream Theater. If you want heavy guitars, take a listen to the album-opening “The Glass Prison.” If pensive balladry is your thing, “Disappear” is the band’s finest hour. ‘Where’s the prog,’ you ask? Um, did you forget to check out the forty-two-minute epic occupying the entire second disc? Essentially, there’s something for every Dream Theater fan on Six Degrees.
But the key to this album’s success isn’t just the sonic diversity, it’s the execution: that and the brazen disregard for expectations. As mentioned above, there’s no overarching formula to songwriting save for a barrage of memorable moments. From the instrumental passages to the solos to the vocal melodies, nothing feels out of place.
Rarely has the band transitioned so seamlessly from one section to another than on a song like “Blind Faith.” Equally rare is Dream Theater’s masterful use of dynamics in “Misunderstood.” While each player (including James LaBrie) is at the top of their game, Jordan Rudess’ second outing with the band finds the keyboardist fully integrating himself in a way neither of his predecessors could.
From a production standpoint, Six Degrees sounds amazing. Somehow, every instrument finds equal footing in the mix. Mike Portnoy’s drums, in particular, are incredible, and this album summarily highlights the subtle nuances in his playing. Frankly, the same could be said for all five band members.
Rarely does an album this long (nearly one hundred minutes) possess this level of urgency. Dream Theater had already proved their detractors wrong with Scenes From a Memory, but Six Degrees found the band doubling down on, well, themselves.
Compiling this list was anything but easy—I’m still waffling a bit on some of my placements. That said, placing Six Degrees of Inner Turbulence at the top was a no-brainer.
Top of the World (Highlights):
Whether you consider it eight loosely-connected tracks or the band’s longest song, “Six Degrees of Inner Turbulence” is an awe-inspiring tour-de-force that has aged incredibly well. “The Glass Prison” remains the bar from which the band’s heaviest moments are measured.
Nightmare to Remember (Lowlights):
I’m grasping at straws here, but shaving a minute (or three) off the “Six Degrees” Overture wouldn’t break my heart.
Beneath the Surface (Best Deep Cut):
There’s only six tracks here, but “Misunderstood” caught my ear from day one (always felt like an homage to Physical Graffiti-era Zeppelin a la “Ten Years Gone”) and remains a personal favorite to this day.
Erotomania (Favorite Musical Moment):
Trade-off solos and unison runs have sorta become par for the course, but “Blind Faith” is a shining example of an extended instrumental passage that never wears out its welcome. From Jordan’s acoustic piano break to the ridiculous Portnoy-led tradeoff leading back into the final chorus, this song is Dream Theater’s instrumental game at its best.
Reveal the Word (Favorite Vocal/Lyrical Moment):
The final verse of “Disappear” (So I’m moving on…) is just so emotional—I wish Dream Theater had a few more songs like this in their catalog.
Closing Thoughts:
Phew. Well, that’s that!
By now it should (hopefully) be pretty clear that I am, first and foremost, a fan. Compiling this (admittedly dense*) list was a labor of absolute love. If nothing else, I hope it will inspire fans new and old to revisit Dream Theater’s catalog (and maybe even spark some conversation).
Whether you agree or disagree with anything I’ve written, feel free to leave a comment below and share your thoughts/opinions/rankings.
Cheers,
James
*At over 7000 words, this list is way longer than initially imagined. Given the band in question, however, a bloated word count feels strangely appropriate.
I applaud you for the time and energy given to this ranking/review article. What I love most is that along with the extensive wealth of knowledge the reader learns about the band, your love of their music as a fan is nicely interlaced throughout. Your post is extremely helpful for someone like me with a passive familiarity of their music who’s interested in giving their catalog more attention. I look forward to doing my own deep dive into their catalog and I’m now inspired to write a similar article for the discography of my favorite band, Pearl Jam.
Right on! Thanks for the kind words and please hit me up when you’ve penned that Pearl Jam deep dive. I’ve considered setting my sights on them as well, but I’m not sure anyone wants to read a list that has Binaural (my favorite by a long shot) at the top and Ten somewhere near the bottom. There’s something to be said for articulating a divergent opinion, and then, of course, there’s borderline trolling (lol).