Yeah, we agree on Rush, and I have similar feels about Dream Theater. A couple of musician friends of mine were OBSESSED with Dream Theater when I was kid, even though they were mainly in thrash bands, but I never understood the obsession, it didn't move me.
Funny, I'm a DT nut.
I was at their tour at The Palace in Los Angeles w/Fates Warning in '94. This must have been their Awake tour. I went alone (most folks I know who go to concerts, don't go alone, maybe that's just me).
Anyway, out in the line in the parking lot, folks milling about. Someone asked "Is anyone here NOT a musician?", and I was the only person to raise my hand. I can't play the radio.
I've been to every Rush tour since Power Windows in '86. For some inexplicable reason, the very first album I ever bought, was Permanent Waves. The next set of records I bought were Physical Graffiti, Grand Illusion, and Adam Ant. I honestly have no idea why I would have picked up Permanent Waves, but I did.
I've always enjoyed their music.
I got in to DT because of Rush, because they were always spoken of together.
When I first heard them, I did not care for them. I was not of fan of their "screeching vocals" or "crunchy guitars". Curious, coming from a Rush fan, but Labrie is you more typical operatic "metal" power voice compared to...whatever the heck Geddy Lee is. Lifeson never really did that "metal" guitar sound.
I like a good guitar, but I was never in to "metal". If anything, Rush was my gateway drug out of the New Wave era, much to the chagrin of my friends. In fact, my favorite Rush era is Power Windows, Hold Your Fire (I really like Hold Your Fire), Presto, and Roll the Bones. This was there more heavy keyboard era. I recall watching Geddy Lee on stage during the HYF tour in a "Rick Wakeman like" keyboard pit that he had to constantly bounce in and out of with his bass to get some activity on stage. He was, literally, trapped there. But, I also recall when they played "Lock and Key" with the red lighting. Moving indeed. Maybe it was just resonance.
It took several listens to Images and Words for it to "stick". In fact, historically, I've always found it takes several listens to get in to a DT album. I just know to let the thing run at least 10 times. Because, I know, there's something in there that will hook me. To this day, i still find surprised in DT music. A friend of mine, part time jazz musician, says music is all about surprise.
Since then, I've tried to see every DT tour through So Cal. I was fortunate to be at their Train of Thought tour at the Pantages in 2004. At the intermission I remarked to my wife "I wish they would play some older stuff". They came back and played the entirety of "When Dream and Day Unite" (their first album) for it's 15th anniversary. What a treat that was.
I can't speak to chord progression, or time signatures, or any of that other hoity toity technical musician stuff. I have a another friend, Masters in Music, professional piano player, theater mostly. He keeps making attempts to explain it to me, but...I don't get it. DT's not his cup of tea, but he seems to have respect for them. He really liked "Octavarium". He knew a person who referred to DT as "Circus Music". I will say, it's the best value in music, in terms of notes per dollar.
To this day, I can't say I like "Metal" music. Most of the stuff I have sampled, I simply don't care for. "Dirty singing" I simply loathe, it's just awful. Sure, there's gems out there. But not endless hours on repeat like I can listen to DT.
Their music moves me to be sure. Their music soars and flies. Their music is joyful.
I'm so grateful that they're still around. That they still produce. That they don't sit on their laurels (I happen the like "The Astonishing"). And that whatever techno music super wizardry they have, they make it accessible to rubes like me.
And, if you'll excuse me, I'm going to take a quick drive to Italy and listen to "Count of Tuscany". This song brings tears to my eyes. My wife doesn't get it either.
