Customer Reviews

Once in a Livetime

5 star:		(37)
4 star:		(8)
3 star:		(7)
2 star:		(7)
1 star:		(2)

 

 

I would somewhat agree with the statement that James Labrie's voice sounds forced, in fact, I've never heard him sound worse. The production needs help in some places, but if you want to hear a truly horrific live recording, as far as quality goes, check out "Live Scenes from Tokyo". I do wish that they had the same live sound as "Change of Seasons". That show, Ronnie Scott's, sounds almost studio quality. Enough of the criticisms. This is an excellent live disc. John Petrucci does some really killer soloing. Check out the very end of "Take the Time" and the end solo on Metropolis before it goes into Learning to Live. Pure guitar brilliance. I like the live version of "Just Let Me Breathe" a lot more than the studio version, especially when Petrucci comes in on the low B string before the solo section. All of the other performances, other than James are great. This album gets 5 stars due to the sublime musicianship. Dream Theater needs to figure out how to get a decent sound out of their other live recordings, expecially "Live Scenes from New York". This is their best live album, other than "Change of Seasons". Petrucci shines!

Carousing through a local record store, I came across Dream Theater's new CD, Once In a LiveTime. I had heard about the release of a live CD from Dream Theater, but didn't keep an ear/eye open for the release date (my neglect). So, instead of picking up just one CD (which I had originally intended to do), I walked out of the store with three.

Yes, Once In A LiveTime is a live CD (and a double one at that), which was recorded at Le Bataclan in Paris, France on June 25, 1998. Be prepared to sit two-plus hours for this, folks, because this is a lengthy one.

Up at the plate again as producer is Kevin Shirley, the man responsible for producing Dream Theater's last studio effort, Falling Into Infinity. I can hear the groans already. It's no secret that a large majority of Dream Theater's fan base doesn't take kindly to Mr. Shirley, but that certainly didn't deter the band from using him again. I don't have the technical know-how as some other DT fans do, so I just depend upon my ears -- and the ears are liking what they hear.

Live CDs can sound too ratty, and in other cases, too overproduced (causing them to sound more like a studio album than a live album), but I think this one turned out fairly well sound-wise.

Not yet able to see this band live myself, I was even more curious to hear if the music held up in concert like it does in the studio. There wasn't much of a doubt in my mind because with a brilliant band like this, I was positive they'd be killer live. Much to my satisfaction, I was correct in my assumptions. Most of the songs on this album sound equal to, if not better than, the studio cuts.

LiveTime gets off to a beautiful start with A CHANGE OF SEASONS I (THE CRIMSON SUNRISE) and A CHANGE OF SEASONS II (Innocence), before launching into PUPPIES ON ACID. This is a marvelous way to start off a show, and I was really impressed by it. Next up at the plate is JUST LET ME BREATHE. This is a good song, but was never a personal favorite of mine. However, it held up well, and it seemed to pump up the energy of both the audience and the band. VOICES is next, and all I can say about this is that it is spine-tingling. The precision of each instrument is mind-boggling and James LaBrie's voice is nothing short of amazing.

TAKE THE TIME is next, which seems to knock the breath out of LaBrie a bit. His voice isn't quite as strong on this one, but it ends with a really cool jam before going into Derek Sherinian's keyboard solo -- which is mainly the introduction to the next song, LINES IN THE SAND. The aforementioned is one of their strongest songs from Falling Into Infinity and it's a masterpiece live. There's so much going on in this song that you have to keep listening to it to absorb everything. SCARRED is up next, sounding just as eerie and dismal, not to mention angry, as the recorded version and is truly remarkable.

A bit of instrumentation is next with A CHANGE OF SEASONS IV (THE DARKEST OF WINTERS), YTSE JAM, and Mike Portnoy's drum solo. I'm all for solos, and Portnoy, unquestioningly, knows how to pound the hell out of those skins (and the audience even gets in on the action during it), but it was a tad too long for my taste.

CD #2 begins with A TRIAL OF TEARS, which is just exquisite. At first, I didn't particularly care for this song, but the more I hear it, the more I like it. What's more, it sounds even better live than the studio-recorded version. HOLLOW YEARS is next, and this is so beautifully done -- it's nothing short of gorgeous. It's beautifully sung and beautifully played. What's more, it's a prime showcase of LaBrie's breath-taken talents as a vocalist. It's amazing how a brow-beating, progressive rock band such as this can create beautiful melodies, too. That, alone, is what makes Dream Theater such a unique and special band.

Continuing on the beauty vein, TAKE AWAY MY PAIN is played next. Once again, LaBrie's voice is perfect, and it's just as riveting as the aforementioned. However, there's some instrumentation missing in this version that makes it a tad different than the studio cut. On the studio version, there's a fuller sound, and on this live version, it's more bare-bones and acoustic. Nonetheless, it's brilliant, and the saxophone solo (played by a Mr. Jay Beckenstein of Spyro Gyra) adds an enchanting touch to the song.

Things pick up, more than a bit, with CAUGHT IN A WEB, which RIPS!! This song is wicked, wailing, and rocking. This is one of their best songs -- period. LIE comes next on the list, falling a bit short of the original version. The song drags quite a bit -- the speed should be a bit faster on this one to be more effective. The best part of this song is John Petrucci's shredding, which never ceases to amaze me.

PERUVIAN SKIES is next up at bat, and this one is a real show-stopper. This song has everything -- it starts out eerily aesthetic and trippy, and then explodes in brow-beating, mind-churning rage. Without a doubt, they should keep this one in their set list.

It is now time for John Petrucci to chomp the bit at this point of the disc with a "little" guitar solo. Huh -- hardly. This solo is a whopping eight minutes. I groaned when I saw that but, surprisingly, those eight minutes just flew the hell on by. Before I knew it, it was over and I sat stumped, going -- WOW! Petrucci is a real show-off, make no mistake about that. I'll tell you this, though. The man sure the hell knows his craft. What the hell he does with that instrument we call a guitar I'll never know, because I cannot BELIEVE the sounds he produces. After Petrucci is done with his thing, the band launches into PULL ME UNDER, which is pumped and full of energy.

Last up is a melody consisting of METROPOLIS, LEARNING TO LIVE, and A CHANGE OF SEASONS VII (THE CRIMSON SUNSET). METROPOLIS is one of my favorite songs from Images and Words, and it doesn't disappoint live. LEARNING TO LIVE is also superb, and ACOS VII allowed the band to end with a bang.

I've come to the conclusion, after listening to this CD, that Dream Theater is one band I have to see live. Their sound is incredible and you catch a lot more of the intricate instrumentation in these live songs. It truly shows how talented this band really is. I said it before, and I'll say it again: James LaBrie has one of the best voices around. He hits a few weak spots on this disc with some vocal fatigue, but he gets his second wind and belts it out twice as well as he did before. John Petrucci is one of those true talents, in all senses of the word. Throughout this recording, he was shinning like a beacon of light. You could so clearly hear his intricate, creative juices flowing and imagine him blowing the roof off of the building. This man gets sounds out of his guitar that I didn't even realize were possible. His sound and style are so distinct and mind-blowing that he stands apart from the rest. He can shred, scream (yeah, that's right. I can hear his guitar almost SCREAMING at times), and wail (and I mean, WAIL). Then again, he can also step back and create some bewitching beauty as well. Miss Kevin Moore all you wish, but Derek Sherinian plays some mean `boards'. He seems to have filled some very big shoes rather nicely. Mike Portnoy is the heartbeat of this band -- pounding, dribbling, smashing, and hitting his way throughout the set with the utmost finesse. John Myung, unfortunately, isn't really heard over everything else that is going on. He's there, part of that strong heartbeat, but he blends in more than shines through.

In conclusion, if you're a fan of Dream Theater, Once in a LiveTime is a MUST. If you're not a fan, then maybe this disc is just the right stepping stone that will turn you into one.

© Written by Diane Trautweiler on November 11, 1998.

Hello my name is Mike I would like to say a few words about the album ONCE IN A LIVETIME.I had heard the name DREAM THEATER before I bought this album but never heard them.I bought the album in 1999 a year after it was released.I only bought the album because of the album cover the use of a human beings head as a arena that was very cool but what was on the album totally blew me away.I had never heard so much raw power and such emotion poured into each song before.I know the vocals could have been just a little bit better but I give JAMES LABRIE a A+ he pours his heart and soul into every song he sings.Each song tells a story.I will say one thing for someone who disses on DREAM THEATER what one song lacks in lyrics it makes up in music and what it lacks in music it makes up in lyrics.JOHN MYUNG plays a great bass.JOHN PETRUCCI plays great guitar.MIKE PORTNOY well he's just god behind them drums.I went on to buy all the albums and I listen to them at work.DREAM THEATER's music is the best I've heard in a long time and I listen to all kinds of music.They are always putting out new material for the fans to hear and see.They don't worry about selling out or making a top fourty song they care more about making sure the fans are satisfied and that's what sets them apart from all the other groups I've heard and seen in the past.So if you've seen there name and thought of picking up one of there albums I hope this review helps you in your choosing to buy a album and maybe getting into there music like I did.Thank you from me and all the guys at DREAM THEATER for taking the time to read this review.Michael Aaron Bushnell

This cd just rocks. DT has to be the most talented band ever. Mike Portnoy is the drum-god. I have to admit i bought this cd just to hear his drum solo, but i got so much more than i expected. I actually prefer some of the live versions on this cd to the studio versions (like stuff from Falling Into Infinity). The vibe from some of these songs is absolutely amazing. I find myself listening to the intro (first to songs from change of seasons). These guys just know who to jam, and if you are interested enough in Dream Theater to look this up, you should buy this as well as many of their other cd's.

I've heard a lot of live albums, and this is undoubtedly one of the best. Dream Theater comes across loud, clear, and virtoustic in concert. The many highlights of this album include the opening and closing three song medleys, Voices, Lines In The Sand, Scarred, Trial of Tears, and the excellent Peruvian Skies. The various solos also are great, especially John Petrucci's guitar solo spot, which features one of the most astonishing solos that I've ever heard (and I've heard a lot). The frequent bursts into short cover spots, including Pink Floyd's Have A Cigar, Metallica's Enter Sandman, and Lynyrd Skynyrd's Freebird, are simply jaw-dropping. No matter who you are, this is an album you absolutely must own unless you aren't a prog rock fan.

I love Dream Theater, but Once in a Livetime is a letdown as far as live recordings go. The mixing is pretty bad, LaBrie's vocals are forced, and Petrucci's guitar is hidden most of the time. One of the best live albums I've ever heard is UFO's Strangers in the Night...that is how to record a live album, and in 1978! Anyway, there are a few good points on the album, the best being Petrucci's 8 minute guitar solo which simply blows me away as he melds some DT, Liquid Tension Experiment, and some classical music into one heart stopping solo!

The guitar solo on the second disc is un-real, buy this album for that reason alone

There is a rule that should be followed, don't buy the live album until you hear the studio ones. You should be a DT fan and know the songs before listening to it, or you may be disappointed. The solos are phenomenal and it's really impressive that they can play that long of a set. The end of the last CD that has a medley is awesome

Dream Theater Live may be a letdown for some people. Dream Theater, as always, is Dream Theater, but the live performance is not what it could have been. The vocals are the worst. If you didn't already know the songs, you'd have noe idea what the lyrics were (give Take The Time and Lines In The Sand a listen; it gets really bad). Fortunatley, everyone that plays an instrument picks up the slack. Petrucci has a huge extended solo on Disc 2, but he absolutely cuts loose at the end of Take The Time. I didn't know a human could play that fast. Same for Portnoy; he does things with the double-kick that he doesn't do in the studio. One passage from The Darkest Of Winters picks up and makes your skin tingle, he pushes the tempo so much. So don't buy this album expecting the band's greatest musicianship. But if you like Liquid Tension Experiment and other high-energy stuff, pick this one up and see what Dream Theater can really do.

Although a very worthwhile purchase, Once in a LIVEtime, a 150-minute double live album, suffers from some unfortunate problems. The sound quality, which is always touchy with live albums, is visceral and raw, but the keys and guitars sometimes drown each other out. Also, Portnoy's bass drums have an annoying "slappy" sound here that I could do without. Then there's James LaBrie's voice. Half of his performances are sincere and powerful, others sound tired and strained. He actually sounds like he's losing his voice on some of the more aggressive songs like "Voices" or "Pull Me Under." On the second verses of "Take the Time" (the ones sung high), you can barely make out what he says. Still, he performs excellently on many songs, especially the slower ballads. "Trial of Tears," "Hollow Years," and especially "Take Away My Pain" are all very beautiful here, with an added feeling of emotion that wasn't present on the studio performances. "Take Away My Pain" is one of my favorite performances on this release. Jay Beckenstein contributes some live saxophone, LaBrie's pipes flare, and it slaughters the original. "Scarred" is an awesome live song, and here the band adds a new intro rich in atmospherics and tone. A mammoth jam is tagged onto the end of "Take the Time," which only a DT fan can appreciate, but they'll love it. Mike Portnoy's drum solo is just...impossible. Petrucci's guitar solo on disc two is incredible. Impossibly fast, charmingly melodic, quoting Liquid Tension Experiment's "Paradigm Shift," and it's tough not to smile when he brings in "Flight of the Bumblebee." I think my favorite moment on the album is the final medley of "Metropolis pt.1/Learning to Live/ACOSVII - The Crimson Sunset." The segue between LTL and ACOS never fails to give me chills. It's so perfect, so beautiful. A must for fans.