Best track on each album?

[Detective Clarence Beauregard]

I don't really find myself disliking anything in the Symphony X catalogue. But the long debate between the Divine Wings of Tragedy and the Odyssey I would say some down to personal opinion. I prefer the Odyssey, I find it plays smoother. And the song is based on a journey, so it makes sence that you're taken on one. I don't find it gets old or tiring. However the ending of DWOT is fucking sweet, and many other parts. But I just find it sounds to empty at times. Still one of my faves, but when comparing it to the Odyssey, the Odyssey wins!

I do think The Odyssey is a better written song, but Divine Wings simply has a special meaning to me, so I prefer it. Either way, they're both awesome, as is TTLG.

 

[_Gentleman of_the Snow_]

It is really tough to compare the two. I love the warmth Divine Wings has, but I also love the complex and full sound of The Odyssey. If I had to choose, I guess I'd have to say I prefer The Odyssey. Rediscovery is another epic that cannot be missed. It was my favourite song for a long time.

 

[Postulate]

I've been listening to the Odyssey more lately, and I'm starting to agree that I originally misjudged it pretty badly. It's getting to the point where it's appealing enough for me to want to start listening agin right after finishing. However, I still feel that DWoT has much more atmosphere and emotion, and so it's still my favorite.

...And the lyrics are still dumb. :Smug:

 

[Proghead3]

The Edge of Forever
The Accolade
Orion the Hunter
Egypt
The Odyssey
Set the World on Fire

 

[schenkadere]

it's just the opposite for me - i think the odyssey is their weakest epic, it felt long just to be long with no real connection in themes between the parts that made DWoT so great, and the lyrics, let's face it, are just stupid at points. 'to return would make my dream come true?' give me a break... also not much was done with the sirens, circe, cyclops, etc. to set any sort of mood that reminded me of them. it just sounded like a really long dream theater song with no point. the start and finish are much better than the middle, however.

+1

 

[razoredge]

I'll be waiting for properly written epics from the critics

Till then I will say I listen to all my music beginning to end. I would have a hard time picking a favorite. Some are heavier for that mood, some take you through various moods, some are just friggin epic. I could easier identify the very few songs that are lesser to me, but not a one has been an insufferable moment.

 

[BlackTron]

To jump in on the discussion about the Odyssey: the song is without a doubt magical and is the last thing I would call "weak". And while it may be one of my favorite songs ever, I think we should admit that many opportunities were passed up with its composition. I agree with the comment that the beginning and end are done very well. Part 1 is brilliant (ditto), and it's contrast with part 2 is compelling. However, from this point on, we are left with much of the same "jamming" until about 18 minutes into the song, where it once again assumes its bombastic character. The vast middle portions are good metal in their own right, and there are some sick solos and melodies, but they don't really go beyond what's called for like the beginning and conclusion do, which just kick your ass.

Most specifically, the song goes too long after part 2 without enough of a dynamic range to stay as compelling. And parts of the story that deserve particular treatment, such as the cyclops, hardly got a proper musical interpretation. The dangerous but captivating song of the Sirens would have been a great opportunity to do something different as well. For the Circe part, MJR plays a scale; that was some sweet shredding, but does it add anything atmospherically to the depiction of this chapter?

I don't want anybody to think I'm being critical of this song, because I'm not: I love it. The fact that SX came up with the material we do have is astounding. Just to be on-topic:

SX: Masquerade
Damnation Game: Winter's Dream
Divine Wings: The Accolade. Holy crap.
Twilight: Through the Looking Glass
V: It's sadistic to pit this album against itself. I'll reluctantly say Oracle
The Odyssey: Surprise! Accolade II
PL: The title track contains awesome material but also some baffling elements. I'll say Babylon.

 

[Detective Clarence Beauregard]

The vast middle portions are good metal in their own right, and there are some sick solos and melodies, but they don't really go beyond what's called for like the beginning and conclusion do, which just kick your ass.

I respectfully dissent. The whole song kicks my ass.

 

[Postulate]

To jump in on the discussion about the Odyssey: the song is without a doubt magical and is the last thing I would call "weak". And while it may be one of my favorite songs ever, I think we should admit that many opportunities were passed up with its composition. I agree with the comment that the beginning and end are done very well. Part 1 is brilliant (ditto), and it's contrast with part 2 is compelling. However, from this point on, we are left with much of the same "jamming" until about 18 minutes into the song, where it once again assumes its bombastic character. The vast middle portions are good metal in their own right, and there are some sick solos and melodies, but they don't really go beyond what's called for like the beginning and conclusion do, which just kick your ass.

Most specifically, the song goes too long after part 2 without enough of a dynamic range to stay as compelling. And parts of the story that deserve particular treatment, such as the cyclops, hardly got a proper musical interpretation. The dangerous but captivating song of the Sirens would have been a great opportunity to do something different as well. For the Circe part, MJR plays a scale; that was some sweet shredding, but does it add anything atmospherically to the depiction of this chapter?

I don't want anybody to think I'm being critical of this song, because I'm not: I love it. The fact that SX came up with the material we do have is astounding. Just to be on-topic:

SX: Masquerade
Damnation Game: Winter's Dream
Divine Wings: The Accolade. Holy crap.
Twilight: Through the Looking Glass
V: It's sadistic to pit this album against itself. I'll reluctantly say Oracle
The Odyssey: Surprise! Accolade II
PL: The title track contains awesome material but also some baffling elements. I'll say Babylon.

Ah, thank you! This is exactly what bothers me about the Odyssey that I couldn't explain myself. The opening and closing sound like an epic. The middle sounds like a jam.

TDWoT by contrast, to me at least, all feels like it fits together, especially since the lyrics constantly make reference to different parts of the choral overture thing at the beginning. And the solos give atmosphere that the Odyssey just lacks. I can picture paradise regained when I hear the long middle sections of DWoT. When I hear the Odyssey what I am hearing first and foremost are the sounds of instruments and people playing them, not the feeling behind them, which to me is the difference between technically proficient playing and fantastic music. I mean, it's complex and hard to play, but so is Liquid Tension Experiment, which (I'm sorry if I offend any fans) is vomit-inducingly bad.

 

[Slaydon]

Ah, thank you! This is exactly what bothers me about the Odyssey that I couldn't explain myself. The opening and closing sound like an epic. The middle sounds like a jam.

TDWoT by contrast, to me at least, all feels like it fits together, especially since the lyrics constantly make reference to different parts of the choral overture thing at the beginning. And the solos give atmosphere that the Odyssey just lacks. I can picture paradise regained when I hear the long middle sections of DWoT. When I hear the Odyssey what I am hearing first and foremost are the sounds of instruments and people playing them, not the feeling behind them, which to me is the difference between technically proficient playing and fantastic music. I mean, it's complex and hard to play, but so is Liquid Tension Experiment, which (I'm sorry if I offend any fans) is vomit-inducingly bad.

I am really sick of the 20+ minute "epics". Why can't a prog metal band just make regular, 5 to 10 minute songs and be happy with it?! Why does everyone have to play Beethoven? Its so exhausting to listen to all that stuff. Some of it is good, but there is a limit to how many 20-minute songs you can make without starting to repeat yourself and become dull.

I'm not just talking about SX here, but also Dream Theater and all other prog metal bands. When you start making songs that last 24 minutes, it may be a sign that you are beginning to take yourself too seriously.

 

[sm0kenmirrhurz92]

Well I don't have the first album and from what I've heard it's not that great, but Masquerade on The Odyssey is good, but nonethless heres everything else.

Damnation Game - Savage Curtain
Divine Wings - Eyes of Medusa
Twilight - Church of the Machine (even though my name is Smoke and Mirrors lol)
V - Communion & The Oracle or Evolution (idk)
The Odyssey - The Odyssey
Paradise Lost - Revelation

 

[proulxski]

thats a very unique list of favourites dude, welcome to the forums!

 

[sm0kenmirrhurz92]

thats a very unique list of favourites dude, welcome to the forums!

Thanks

Btw lol "unique"

 

[BlackTron]

Ah, thank you! This is exactly what bothers me about the Odyssey that I couldn't explain myself. The opening and closing sound like an epic. The middle sounds like a jam.

I am really sick of the 20+ minute "epics". Why can't a prog metal band just make regular, 5 to 10 minute songs and be happy with it?! Why does everyone have to play Beethoven? Its so exhausting to listen to all that stuff. Some of it is good, but there is a limit to how many 20-minute songs you can make without starting to repeat yourself and become dull.

The long epics are a good thing, so long as they maintain their character, which the Odyssey doesn't. In the case of that song, I think they could have done a better job by making the song shorter, probably 20 instead of 24 minutes, and rearranging/redoing some of the middle parts. SX simply didn't have the resources, be it in time, creativity, or just songwriting endurance, to make a 24 minute song that was consistently perfect. It's not a bad thing, and it means maybe we should have shorter songs, but there's nothing about a song being 24 minutes that makes it a bad idea: do it, but only if you can make it work. SX came so close to the perfect composition that it nears tragedy, lol.

The problem, when you make a super-long track that isn't consistently good, is that listeners have to be exposed to the jarring sections just to hear the inspired parts. At that point, you're writing loads of quality music, yet dragging it down for no good reason, just to achieve some track length. I feel Accolade II is perfect, it probably came out that way because it's easier and more realistic to write and structure 8 minutes of music as opposed to 24. I like parts of the Odyssey more, but the good elements are part of a larger work that was just too ambitious. I already said this, but I'm especially surprised and baffled that something different wasn't used for the Sirens; the one part of the story that is actually about a a captivating song, and it's the same metal style that had been going on for the past 8 minutes. I hope it's understood why I find this baffling, without being critical or saying they made a mistake.

 

[Postulate]

I am really sick of the 20+ minute "epics". Why can't a prog metal band just make regular, 5 to 10 minute songs and be happy with it?! Why does everyone have to play Beethoven? Its so exhausting to listen to all that stuff. Some of it is good, but there is a limit to how many 20-minute songs you can make without starting to repeat yourself and become dull.

I'm not just talking about SX here, but also Dream Theater and all other prog metal bands. When you start making songs that last 24 minutes, it may be a sign that you are beginning to take yourself too seriously.

Well, you're wrong.

 

[BlackTron]

Well, you're wrong.

I don't entirely agree with him 100% either, but music taste being highly subjective, I don't think you can say somebody is wrong. You can respect or not respect the opinion, sure, but you won't get anybody to respect yours with that attitude.

 

[Detective Clarence Beauregard]

I mean, it's complex and hard to play, but so is Liquid Tension Experiment, which (I'm sorry if I offend any fans) is vomit-inducingly bad.

Honestly, to me, Symphony X has never, not even once, reached a "vomit-inducing" level with their hard-to-play, technical sections. Bands like DT or LTE seem to write hard-to-play music simply for the sake of writing it, being able to play it, and showing off. I feel Symphony X has never reached this. Michael Romeo, to me, knows exactly what should come before or after a technical section in order to make a smooth, flowing transition. What I'm saying is, I couldn't see Romeo and the guys sitting in a room and saying "Let's put this section in 19/8 because people will be like 'whoa, how do they play that?!'". They would make it complex because at that point, the song feels (through the lyrics and such) like it should be complex.

I may be wrong. But if I am, Symphony X does a damn good job of masking it.

 

[BlackTron]

Honestly, to me, Symphony X has never, not even once, reached a "vomit-inducing" level with their hard-to-play, technical sections. Bands like DT or LTE seem to write hard-to-play music simply for the sake of writing it, being able to play it, and showing off.

The whole way I got into this genre was when I went to a Dream Theater concert with a friend. Then I looked at Symphony X. Symphony X is still my favorite act, and I still only like about 5% of DT's stuff. I agree entirely here. Too often, DT uses their instruments as tools to convey technical mastery. Unfortunately, music to me happens to be about emotion.

When somebody tells me that Rudess is a better player than Pinella, it's difficult to argue with them logically (I also roll my eyes inside, reminded of a kid going, "hey, who would win in a fight, Vegeta or Darth Vader?!") But then too, define "better". Better in terms of technical mastery, or better in how you feel when you hear them play? I love Pinella because of the mood and emotions his arrangements generate. Rudess does some awesome playing, but it rarely sets a mood or makes a real emotional statement.

 

[Detective Clarence Beauregard]

I love Pinella because of the mood and emotions his arrangements generate. Rudess does some awesome playing, but it rarely sets a mood or makes a real emotional statement.

I agree completely. I'd much rather listen to Pinnella and his sweet sense of polyrhythmic melody, even if Rudess is so technically proficient.

 

[EyeballKid]

The whole way I got into this genre was when I went to a Dream Theater concert with a friend. Then I looked at Symphony X. Symphony X is still my favorite act, and I still only like about 5% of DT's stuff. I agree entirely here. Too often, DT uses their instruments as tools to convey technical mastery. Unfortunately, music to me happens to be about emotion.

When somebody tells me that Rudess is a better player than Pinella, it's difficult to argue with them logically (I also roll my eyes inside, reminded of a kid going, "hey, who would win in a fight, Vegeta or Darth Vader?!") But then too, define "better". Better in terms of technical mastery, or better in how you feel when you hear them play? I love Pinella because of the mood and emotions his arrangements generate. Rudess does some awesome playing, but it rarely sets a mood or makes a real emotional statement.

I think I like you.

In a totally heterosexual, guy-to-guy way.

Also, it's always good to see the Detective bashing some DT.