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Dream Theater: Metropolis Pt. 2 - Scenes from a Memory

 A l b u m   D e t a i l s


Label: Elektra Records
Released: 1999.10.26
Time:
 77:06
Category: Progressive Rock
Producer(s): Mike Portnoy, John Petrucci
Rating:
Media type: CD
Web address: www.dreamtheater.net
Appears with:
Purchase date: 2016
Price in €: 1,00





 S o n g s ,   T r a c k s


Act I.

[1] Scene One: Regression (J.Petrucci) - 2:06
[2] Scene Two: I. Overture 1928 (Dream Theater) - 3:37
[3] Scene Two: II. Strange Deja Vu (Dream Theater) - 5:12
[4] Scene Three: I. Through My Words (J.Petrucci) - 1:02
[5] Scene Three: II. Fatal Tragedy (Dream Theater) - 6:49
[6] Scene Four: Beyond This Life (Dream Theater) - 11:22
[7] Scene Five: Through Her Eyes (Dream Theater) - 5:29

Act II

[8] Scene Six: Home (Dream Theater) - 12:53
[9] Scene Seven: I. The Dance of Eternity (Dream Theater) - 6:13
[10] Scene Seven: II. One Last Time (Dream Theater) - 3:46
[11] Scene Eight: The Spirit Carries On (Dream Theater) - 6:38
[12] Scene Nine: Finally Free (Dream Theater) - 11:59

 A r t i s t s ,   P e r s o n n e l


James LaBrie - Lead Vocals
John Petrucci - Guitar, Background Vocals, Programming on [7], Production
Jordan Rudess - Keyboard, Choir Arrangement And Conducting
John Myung - Bass
Mike Portnoy - Drums, Background Vocals, Production

Theresa Thomason - Additional Vocals on [7,11], Additional Background Vocals on [11]
Mary Canty - Additional Background Vocals on [11]
Shelia Slappy - Additional Background Vocals on [11]
Mary Smith - Additional Background Vocals on [11]
Jeanette Smith - Additional Background Vocals on [11]
Clarence Burke Jr. - Additional Background Vocals on [11]
Carol Cyrus - Additional Background Vocals on [11]
Dale Scott - Additional Background Vocals on [11]
Terry Brown - Voice Of The Hypnotherapist
David Bottrill - Voice Of Edward

Doug Oberkircher - Sound Engineering
Brian Quackenbush - Assistant Engineering
Michael Bates - Assistant Engineering
Terry Brown - Vocals Co-Production
Kevin Shirley - Mixing on [2-8,11]
Rory Romano - Mixing Assistance on [2-8,11]
David Bottrill - Mixing (Tracks 1, 9, 10, 12)
Shinobu Mitsuoka - Mixing Assistance on [1,9,10,12]
George Marino - Mastering
Eugene Nastasi - Mastering Assistance
Lili Picou - Art Direction, Design
Dave McKean - Cover Illustration
Ken Schles - Still Life Photography
Andrew Lepley - House Photography

 C o m m e n t s ,   N o t e s


1999 CD Elektra - 7559-62448-2
1999 MC Elektra - 7559-62448-4
2ö14 LP Music On Vinyl - MOVLP1001

Recorded in 1999 at the BearTracks Studios in Suffern, New York.



Dream Theater is almost aggressively out of fashion in 1999. Few bands subscribe to their dense blend of progressive rock and post-Halen metal, and those that do usually don't have major-label contracts, the way Dream Theater does. There was a point where they tried to straighten out their sound somewhat, as they flirted with straight-ahead, laid-back metal on 1997's Falling into Infinity, but with its 1999 studio sequel, Scenes from a Memory, Dream Theater delves straight into old-fashioned prog rock. Scenes from a Memory is an unabashed concept album, told in two acts, about the 1928 murder of a young woman and how a modern man is haunted by the crime. A convoluted, difficult tale is told in a convoluted, difficult fashion, with no less than four tracks clocking in at well over ten minutes and three others ranging from 6:30 to 8:50. Clearly, this is intended as some sort of masterwork, and what's remarkable is that Dream Theater comes close to creating a masterwork with Scenes from a Memory. The album plays more like a suite than a collection of individual songs. At times, that means the album can bog down slightly in its own flights of fancy and long instrumental sections, but concentrated listens reveal the intricacies of the song structures and the musicianship. Occasionally, it can seem as if James Labrie oversings, but that's a minor point - the overall end result of the album is quite impressive indeed.

Stephen Thomas Erlewine - All Music Guide



Progressive rock has long been the most devalued currency in popular music, perhaps due to the culture's dumbing down, too many conceptually knotted triple-albums, or merely a Greek chorus of critics parroting the emperor from Amadeus: "Too many notes!" Maybe that's what makes Dream Theater's Scenes such an audacious rush (no pun intended). Here we have a two-act murder mystery examined from a hypnotic dream state and parlayed by "The Orchestra," as the band refers to itself here. Andrew Lloyd Webber hasn't written anything as focused - or musically audacious - in decades. And if the band attacks feverish shift meters and plows through enough structural modes and, yes, notes, to make the aforementioned emperor's head spin, they manage to keep things concise, focused, and largely effective. The addition of keyboardist Jordan Rudess has freshened the band's tack, infused now with the odd, playful ragtime piano quote and sitar sample. Vocalist James Labrie, meanwhile, amply proves that Queensryche's Geoff Tate isn't the only drama queen in prog metal.

Jerry McCulley - Amazon.com



Although legends like Led Zeppelin, Iron Maiden, Queensrÿche, and Fates Warning certainly played a part in its development, modern progressive metal simply wouldn’t exist without Dream Theater. Formed in 1985 at the revered Berklee College of Music by bassist John Myung, guitarist John Petrucci, and drummer Mike Portnoy (who left in 2010), the group is undoubtedly among the most influential bands of the last 30 years. By combining their love for ‘80s metal staples like Metallica and Judas Priest with their passion for classical music and ‘70s prog rock giants like Yes, Rush, and King Crimson, the trio more or less invented a new style of music. The template they forged has inspired countless protégés (many of whom merely emulate instead of innovate, but that’s another story) and changed the course of progressive music forever.

Naturally, almost every Dream Theater record (of which there are now 12) showcases a different side of the group. Be it the sheer freshness of Images and Words, the ambitious suites of Six Degrees of Inner Turbulence, the spacey homages within Octavarium, or the rejuvenated approach of A Dramatic Turn of Events, each LP seems to resonate most with certain fans. However, few would disagree that the quintet’s fifth full-length, Metropolis Pt. 2: Scenes from a Memory (commonly referred to as SFAM), is their best. Released in the fall of 1999, the concept album erupts with a level of songwriting, instrumentation, creativity, quirkiness, cohesion, and storytelling unmatched by anything else they’ve ever done. Not only is it Dream Theater’s truest masterpiece, but it’s arguably the greatest progressive metal work of all time.

Fascinatingly, the foundation for SFAM was laid out seven years prior to its release, on 1992’s Images and Words. The fifth song on the collection, “Metropolis Pt. 1: The Miracle and the Sleeper” which, according to guitarist/lyricist John Petrucci, was never meant to be developed further, was initially thought to be related to the story of Romulus and Remus, twin competitive brothers from Roman mythology. “Metropolis Pt. 1” sets the stage for a love triangle between several characters: the Miracle, the Sleeper, and two unnamed subjects, all of whom are given names in the sequel (Senator Edward Baynes, Julian Baynes, Nicholas, and Victoria Page, respectively). One of the major themes of SFAM, reincarnation, is also introduced here, as the narrator (Nicholas) suggests images of a past life, as well as of betrayal and murder, in his dreams.

Lyrically, “Metropolis Pt. 1” connects to its follow-up several times. For example, the song is focused on three “dances” (death, deceit, and love), and vocalist James Labrie’s final words, “Love is the Dance of Eternity”, is obviously referenced on Scenes from a Memory. In addition, Labrie sings several lines that are reprised almost verbatim on the full-length successor, including: “I was told there’s a new love that’s born / For each one that has died”, “The city’s cold blood teaches us to survive”, “Metropolis watches and thoughtfully smiles / She’s taken you to your home”, and “Somewhere / Like a scene from a memory”.

Specifically, the “watches and thoughtfully smiles” phrase replaces “Metropolis” with “Victoria” on SFAM, confirming what the pseudonym meant seven years prior. In this way, “Metropolis Pt. 1” was an extremely intricate, captivating, and abstract mystery that fans revered yet never quite grasped, and they couldn’t help but anticipate the answers that would surely come (as the track indisputably set up so much to be resolved). Luckily, the ways in which SFAM offered explanation of, development of, and closure to its prelude was ingenious.

Both Images and Words and Scenes from a Memory also served as the debut discs for new members of the band. In the former, Labrie replaced Charlie Dominici, who sang on Dream Theater’s first effort, 1989’s When Dream and Day Unite. Likewise, Scenes from a Memory introduced keyboardist Jordan Rudess, who followed in the footsteps of both Kevin Moore (1985 – 1994) and Derek Sherinian (1994 – 1999). Although their predecessors did fine work in helping to establish the potential of Dream Theater, both Labrie and Rudess outshined them, proving to be two irreplaceable elements of the band’s chemistry. Naturally, they’ve never been better than on Scenes from a Memory.

Story-wise, SFAM is simple on the surface: A man named Nicholas goes to a hypnotherapist to explore dreams he’s been having about a woman (Victoria), whom he believes he actually was in a former life. He knows that she was involved in some sort of fatal love affair between two brothers (Edward and Julian), and wants to figure out what happened to her so that he can understand her situation and move on with his present existence. As ambitious and intriguing as this outline is, the real brilliance of this narrative is how emotionally rich and universal the tales of Nicholas and Victoria are, once all is exposed. Really, it’s one of the most touching, multilayered, and cinematic concept albums ever written, and its plot twists (especially the final one) are wonderful.

The cover (which was designed by Dave McKean) is also quite suiting, as it depicts the face of a man (probably Nicholas) comprised of various snapshots (memories). Although fairly simple in theory, the image is nonetheless influential for capturing the journey he goes on in a visual form. After all, we are all made of what we remember and of what we’ve been through, so any one of our profiles could be represented in a similar way.

Of course, none of the aforementioned context would matter if the contents weren’t up to par; fortunately, as hyperbolic as it sounds, Dream Theater touches upon perfection from the first moment to the last on this collection. Broken into two “acts” and nine “scenes” ,the full-length starts expertly by setting up the journey and purpose of Nicholas’ “Regression” into his subconscious. The track begins with the ticks of a clock oscillating between stereo channels which, coupled with the overall psychedelic nature of the piece, recalls Pink Floyd with ease. Simultaneously, the hypnotherapist instructs Nicholas to close his eyes, relax, and “fall deeper and deeper into a more relaxed state of mind.”

As he counts down, Petrucci’s endearing acoustic guitar chord progression becomes louder, introducing Labrie’s equally warm melody. He (as Nicholas) tells us that his “subconscious mind / starts spinning through time / to rejoin the past once again”. As he drifts further away from reality, “The scene becomes clear / Like watching my life on a screen”. He concludes by saying, “Hello Victoria / So glad to see you, my friend”. Petrucci’s final chord is strummed as Labrie says the last word, and with this admittance, listeners know that he and Victoria have “met” before, enticing them to continue onward to find out about the duo’s past, present and future.

From there, “Overture 1928” segues in and astounds (especially since snippets of two subsequent tracks, “Home” and “The Dance of Eternity” can be heard before drummer Mike Portnoy charges in). As its title suggests, it incorporates several melodies and other allusions from later pieces (as well as from “Metropolis Pt. 1”) into its concoction of dizzyingly complex arrangements. As far as progressive metal instrumentals go, this is easily one of the best ever written, with every measure and formation complementing its successor beautifully. Portnoy and bassist John Myung innovate at every turn, offering unique syncopation and rhythms without fail.

Meanwhile, Petrucci and Rudess exchange one gripping motif after another, all the while implementing perfect dynamic shifts to construct a musical rollercoaster. At one point, Rudess’ flashy solo bleeds into Petrucci replicating the “Victoria watches…” melody on his guitar, which is fantastic. Afterward, there’s a start/stop break that’s utterly enthralling. All in all, aside from revving up its audience even more, “Overture 1928” nullifies the semi-popular argument that Dream Theater is only concerned with showcasing virtuosic trickery, as every note, melody, transformation, and reprise here is crucial and memorable.

Next, “Strange Déjà vu” serves as the first real song, and it’s riveting and revealing. Nicholas sings the relatively straightforward verses, during which he describes being drawn in his dreams to a house and a girl. The bridge finds Labrie (and the rest of the band) becoming a bit more intense, telling us, “In her eyes / I sense a story never told / Behind the disguise / There’s something tearing at her soul”. Interestingly, Labrie then switches to a falsetto to represent Victoria for the soothing chorus; he sings, “Tonight I’ve been searching for / The one that nobody knows / Trying to break free” and “Tears my heart into two / I’m not the one the Sleeper thought he knew”. Here, Victoria tells us that she’s been hoping to find someone with whom she can speak about her story; she also insinuates that Julian Baynes doesn’t know that she’s been unfaithful to him (with Edward).

Musically, the track becomes fiercer after this, with Nicholas wrestling with the purpose of meeting Victoria. He says, “Metropolis surrounds me” and “Something’s awfully familiar / The feelings so hard to shake / Could I have lived in that other world / It’s a link that I’m destined to make”. After Rudess’ short but tasteful piano break, Nicholas echoes Victoria’s melody, uttering her words but finishing with, “I’m not the one I thought I always knew”. He concludes by promising to “find the truth”. Like “Regression”, Strange Déjà vu” develops the story clearly and compellingly, helping to demonstrate why Scenes from a Memory is easier to comprehend and connect with than most other concept albums.

Scene three begins with a ballad, “Through My Words”, which also acts as a lead-in to the next track, “Fatal Tragedy”. It consists solely of subtle yet serene piano work and Labrie’s tender delivery. Nicholas speaks to Victoria with interest, compassion, and even a hint of guilt, admitting that he knows now how they’re bonded. He tells her: “All your eyes have ever seen / All you’ve ever heard / Is etched upon my memory” and “We’re sharing one eternity / Living in two minds / Linked by an endless thread / Impossible to break”. Aside from offering another brief development in the story, “Through My Words” showcases a level of softness and quality songwriting that the band rarely ever matched.

“Fatal Tragedy” continues from the previous song for a moment before evolving into a heavier beast, with Petrucci’s riffs leading the charge. It’s in this song that Nicholas discovers more about what happened to Victoria. He meets an “older man” who tells him that Victoria “passed away / She was so young”. He also says, “Lad, did you know a girl was murdered here? / This fatal tragedy was talking about for years”.

Afterward, the chorus of the song – during which Petrucci and Portnoy provide background vocals—proves to be among the most appealing on SFAM. Structurally, the arrangements become more difficult each time the chorus is sung, which is interesting. The final minutes focus on a mind-blowing instrumental freakout bursting with intense percussion and blisteringly fast guitar and keyboard solos. It’s not as diverse or nuanced as some of the other jams on the disc, but it’s thoroughly captivating, nonetheless. At the end, the hypnotherapist tells Nicholas, “Now it is time to see how you died / Remember that death is not the end, but only a transition”.

Rating: 9/10

Jordan Blum, 23 January 2015
© 1999-2016 popmatters.com



Jaaaaa!!! Das Wunder ist tatsächlich geschehen!! DREAM THEATER haben es mit ihrem neuen Album nicht nur geschafft, ihre Frühwerke zu toppen, nein, es ist ihnen sogar gelungen, zu Konzeptmeisterwerken wie Queensryches "Operation: Mindcrime" oder Pink Floyds "The Wall" aufzuschließen. Schon das von einer Akustikgitarre getragene Intro 'Regression' läßt Großes erahnen, bevor im makellosen Instrumental 'Overture 1928' durchaus beabsichtigt zahlreiche 'Metropolis - Part I'-Zitate auftauchen und man bei 'Strange Deja Vu' endgültig in eine dieser komplexen, mitreißenden Geschichten eintaucht, die uns in den letzten Jahrzehnten von Rockbands viel zu selten erzählt wurden. Zu diesem Zeitpunkt hat man auch bereits ausführlich Bekanntschaft mit Tasten-Neuzugang Jordan Rudess gemacht, der seinen Vorgänger Sherinian schon mit den ersten Klavierläufen aussticht und die Songs genauso prägt wie Petruccis göttliche Gitarre oder LaBries angenehm gemäßigte Vocals. Doch es soll noch besser kommen: Die ultraharten, perfekt zurechtgeschneiderten - ach, was rede ich! -, schlicht und einfach unfaßbar genialen Zwillingsnummern 'Fatal Tragedy' und 'Beyond This Life' spülen einem 18 Minuten lang Glückshormone durch die Seele und präsentieren DREAM THEATER auf einem so schwindelerregend hohen kreativen Niveau, daß selbst die besten Musiker der Konkurrenz Fernrohre brauchen, um bis da oben gucken zu können. Mit der souligen Überballade 'Through Her Eyes' sowie dem 13minütigen Nervenzerfetzer 'Home' können die New Yorker dieses Level anschließend unglaublicherweise sogar halten. Und dann das Instrumental 'The Dance Of Eternity'! So selbstverständlich und scheinbar absolut mühelos hat seit den frühen Emerson, Lake & Palmer niemand mehr völlig ohne Gesang große Gefühle geweckt und silbenlose Worte, Sätze, spannende Stories durch den Raum schweben lassen. 'One Last Time' läßt einen nach dieser Achterbahnfahrt auf sehr angenehme Art kurz verschnaufen, bevor 'The Spirit Carries On' das große Finale einläutet. Der Song beginnt ganz sanft mit Klavier und Akustikgitarre, steigert sich zu einer Mitsinghymne und endet als lebensbejahender, strahlend weißer Bombasthammer, nach dem eigentlich nichts mehr kommen kann. Denkste! Im zwölfminütigen 'Finally Free' stürzt alles wieder in sich zusammen, wird die Story durcheinandergewirbelt, tun sich plötzlich grauenhafte, furchterregende Abgründe auf. DREAM THEATER nehmen ihre Fans mit auf einen Zeitraffertrip durch die Hölle und zurück, ohne auch nur ansatzweise vom richtigen Pfad abzukommen. Kauft diese CD, verschlingt sie, saugt sie in euch auf, laßt sie nie wieder los!

Michael Rensen - RockHard Magazine



Metropolis Pt. 2: Scenes from a Memory is the fifth studio album and first concept album by American progressive metal/progressive rock band Dream Theater, released on October 26, 1999 through Elektra Records. It was recorded at BearTracks Studios in New York City, where the band had previously recorded their second studio album Images and Words (1992) and the EP A Change of Seasons (1995). The album is the sequel to "Metropolis—Part I: "The Miracle and the Sleeper"", a song previously featured on the band's 1992 album Images and Words. It was also the first album to feature Jordan Rudess on keyboards, and the last for which John Myung wrote lyrics until A Dramatic Turn of Events (2011). In late July 2012, Metropolis Pt. 2: Scenes from a Memory was voted as the number one all-time progressive rock album in a poll conducted by Rolling Stone, beating Rush's 2112 and Close to the Edge by Yes, after posting a link to the poll on their website.

Fans had previously requested the band to make the sequel to the first part of the song "Metropolis—Part I" from Images and Words, but they had not yet been able, nor had they originally intended one to be made. With the sessions for Falling Into Infinity (1997), the band recorded a 21-minute instrumental demo of "Metropolis Pt. 2" (which was later released by Mike Portnoy via his Ytsejam Records site along with the other Falling Into Infinity demos), but this did not make it onto that album. The demo, which included several musical citations from "Metropolis—Part I" and featured many motifs that would later appear on Metropolis Pt. 2: Scenes from a Memory (most notably the majority of "Overture 1928" and "Strange Deja Vu" and parts of "The Dance of Eternity" and "One Last Time"), was however significantly different from the finished album version in most part.

After participating with keyboardist Jordan Rudess in Liquid Tension Experiment, a supergroup composed of various members of famous progressive rock bands, Mike Portnoy and John Petrucci found themselves writing music and working together with Rudess quite easily. They convinced the rest of the band to offer Rudess the position of full-time keyboardist for the band's upcoming album. He accepted, and current keyboardist Derek Sherinian was fired from the band via a conference call between the four members in New York and him in Los Angeles (Portnoy and Petrucci have stated that while it was an uncomfortable and unattractive situation, they didn't want to ask Derek to fly out from L.A. to New York only to be fired).

After his departure, the band went back to BearTracks Studios in Suffern, New York to record their new album, previously the site of recording for Images and Words (a photograph of Beartracks is featured on the album's back cover, meant to represent the house in the album). After the commercial failure of Falling Into Infinity, their record label gave the band free rein over their new album's direction, which led the band to finally finish the story. The final version of the story became a concept album, dealing with the story of a man named Nicholas and the discovery of his past life, which involves love, murder and infidelity as Victoria Page, and as such was heavily inspired by the 1991 film Dead Again, more so than the original "Metropolis—Part I". Following the album's release, the band embarked on an extensive world tour, and at a show in New York City the band actually hired actors to perform the narrative elements of the album whilst they played. The performance was recorded and was released in 2001 as the Metropolis 2000 Live DVD. In 2011 the album was released on LP for the first time to celebrate Record Store Day.

Metropolis Pt. 2: Scenes from a Memory opens to Nicholas, a troubled man going through past life regression therapy. In a hypnotic trance induced by his hypnotherapist, he begins to see a girl named Victoria and a life that feels strangely familiar, despite the fact that he has never been here. ("Regression") He learns that she was murdered, and that he was Victoria in a past life. ("Strange Deja Vu") He begins to believe that Victoria is haunting him to reveal the truth about her murder. ("Through My Words") Nicholas is able to recall that Victoria began distancing herself from her lover Julian because of his drinking and gambling addictions; she sought comfort in Julian's brother Edward and began an affair with him. Nicholas assumes that Julian murdered the two of them out of jealousy, a story backed up by a newspaper article covering the events, which cites a witness' testimony. However, Nicholas begins to doubt this series of events, and converses with an older man who was more familiar with the case. He realizes that he will never be able to get on with his own life until he solves her murder. ("Fatal Tragedy"; "Beyond This Life")

The second act begins by describing Julian's addictions to cocaine and gambling, which drives Victoria away from him. ("Home") Edward feels guilty about deceiving his brother, but decides that his love for Victoria is greater than his guilt, and he seduces her when she is vulnerable following her breakup. ("The Dance of Eternity") After visiting Edward's old house, Nicholas believes he has solved the mystery: Julian had tried to beg Victoria for forgiveness, and when rebuffed, killed both her and Edward, and positioned himself as the witness in the newspaper article. ("One Last Time") Nicolas comes to terms with what has happened, and bids farewell to Victoria. The hypnotherapist ends the session at this point, despite pleas from Victoria's memories. ("The Spirit Carries On") The narrative then cuts to Edward's perspective, revealing that he wished his romance with Victoria was more than a simple affair. As Victoria begins to reconcile with Julian again, Edward confronts the two of them, murders them, then stages the scene and assumes the role of the witness for the newspaper column. The flashback includes Edward telling Victoria to "open [her] eyes" before killing her, echoing the same choice of words the hypnotherapist used to wake Nicholas from his hypnotic trance. ("Finally Free") In the present, Nicholas arrives home, followed by the Hypnotherapist. Nicholas is startled by another request to "open [his] eyes", before the album cuts to (and concludes on) phonographic static. The band confirmed on the Scenes from New York live DVD that the hypnotherapist is Edward's reincarnation, and has killed Nicholas to complete the cycle yet again. The static that closes this album continues at the beginning of the first song, "The Glass Prison", on their next album, Six Degrees of Inner Turbulence.

Scenes From a Memory showcased a traditional progressive rock sound. According to the "Making of Scenes From a Memory" video, some of the influences for Metropolis Pt.2 are the following concept albums: the Who's Tommy, Genesis's The Lamb Lies Down On Broadway, Roger Waters' Amused To Death, Radiohead's OK Computer, the Beatles' Sgt. Pepper's Lonely Hearts Club Band, Marillion's Misplaced Childhood and Pink Floyd's The Wall and The Final Cut. These albums are shown on a table Mike calls "Inspiration Corner".

The album received critical acclaim, reaching #73 on the Billboard 200 albums chart, #2 on the Billboard Top Internet Albums, #6 on the Finnish Albums Chart and #8 on the German Albums Chart. The album was ranked number 95 on the October 2006 issue of Guitar World magazine's list of The greatest 100 guitar albums of all time. It is ranked as the 15th Greatest Concept Album (as of March, 2003) by Classic Rock Magazine. The German Rock Hard magazine voted it Album of the Month, giving a perfect score, and eventually ranked it number 410 in their book The 500 Greatest Rock & Metal Albums of All Time in 2005. In 2012, the readers of RollingStone.com voted the album into the #1 position of their "Your Favorite Prog Rock Albums of All Time" poll.In 2015, The Prog Report ranked it #3 in the Top 50 Modern Prog Album 1990-2015. Images and Words was ranked #1 on the same list.

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