Kevin Moore's influence was never filled in Dream Theater after he left. He and John Petrucci were a great match in terms of composition and song writing.
@@joeyhardin5903They modified the song when Derek was for the recording. Considering the songwriting, Kevin Moore indeed was perfectly above Derek and even Jordan. Kevin was more of an author.
It's always struck me as kind of odd, that DT never choose to fully master this song. I'm not usually the 'consumer' type, but it'd be nice to see this song, alongside To Live Forever and Don't Look Past Me in a Remix/Remaster of I&W. It's a huge shame to just have these songs just be thrown to the wind.
@@antoninuslarpus7107 Couldn’t agree more. And while we’re fantasizing it’d be amazing to get another album or even just an EP of said songs replayed with Kevin Moore on keys lmao And with JP playing one of his old ibanez guitars LOL
@spikestoyou I'd argue that something more interesting(and tenable) would be a remix/remaster of FII. The difference in quality between the demos and the finished products is atrocious. At least the 1995 verison of ACOS is still decent. The final product of FII doesn't even feel like the same music.
Man, this sounds much like WDADU and the vocal inflections remind me of some songs there. Also Petrucci's solo at 12:31 before the Yngwie section is ahead of its time. You could hear some of the licks in some modern prog bands' songs. That descending pattern at the end as well, is done at the end of ACoS at Live Scenes in New York. Cool call back from the past.
Intro is the most WDADUesque thing that isn't on WDADU (im obsessed with that one its my fave and the only DT album in my top 100 albums) and the main reason I listen to this version over the final version
@@wicheOSI Here's something for you, and see also my Community posts and Facebook posts which explain why there was a bit of a delay: mega.nz/file/V6x0UaDb#cLP21RapdAU5ExLVilHBeUeURKP0b8Hb9SVCtVxzGsw EDIT: Here, also, is a Google drive link because a few people were saying MEGA asked them for an encryption key: drive.google.com/file/d/1jhanb9SugReMVjqxldsgnPPCWGg6Hcia/view?usp=share_link
Dream Theater went from this 13:22, 13:46, 14:00 to playing circus music, or whatever Jordan tells them to play. The level of depth and craftmanship DT had with Kevin Moore went beyond the stratosphere! meanwhile Jordan thinks "Let's just play fast, masturbatory, clown music!" give me a break!
Okay, that's a pretty damn narrow-minded view of someone's playing. Jordan is a very versatile and diverse keyboardist. Any band would be lucky to have him. Yes, he has fast solos that rival Petrucci's (who does the same musical wankery but I don't see you complaining about him), but he also has a lot of soft melodic influence and his hand in music theory gave the band a much stronger assortment of chord progressions. And as for all the goofy circus, ragtime, jazzy stuff, that's called having fun! You should probably try it out. And for the record, I love Kevin Moore's playing, I'm not trying to play comparison because they are two very different kinds of keyboardists and contributed very well to DT's sound.
Also no idea what you're trying to blame Rudess for here. The studio version was released before he was in the band. He has one bit of creative control when playing the song live for that one 7 second solo, and that's it.
@@sebrura Way to completely interpret the point of that comment. I'm not gonna sit here and name every chord progression he's contributed, but as someone who follows his work, it's pretty clear that he had a very different flow with his keyboard work that was very theory-heavy, and it helped pump out songs like Octavarium, Ministry Of Lost Souls, The Dance Of Eternity, and many more classics. If you guys wanna sit in your corner pretending that you're superior taste in Dream Theater keyboards gives you the right to speak ill of someone who's just as talented, arguably more talented but that's besides the point, then go ahead. See what kinda person that turns you into, because I sure as hell saw the signs before I quit acting like I could blindly paint over a person's years of hard work and discipline just to justify me not liking something.
I'm not sure what I was going off of when I wrote that description 5 years ago. On Facebook, I recently posted an interview with Mike Portnoy where he stated that ACOS was written in 1989: facebook.com/permalink.php?story_fbid=pfbid0VouzAxFkx1STpHRY2B49n1SQLsxTQJSVuayAvnjgtmZmc8imLxPadZ2kR4BdS2P4l&id=100076330088930 I suppose the instrumental demo could have been recorded in 1990 as well. It would have been done prior to Chris Cintron's brief stint in the band in the fall of 1990, because the instrumentals are the same as the Chris Cintron version of the song.
![Dream Theater - A change Of Seasons (Live 2000) [HQ]](http://i.ytimg.com/vi/7QlWpv958Uk/mqdefault.jpg)
![Dream Theater - A change Of Seasons (Live 2000) [HQ]](/img/tr.png)
Kevin Moore's influence was never filled in Dream Theater after he left. He and John Petrucci were a great match in terms of composition and song writing.
So much this!!!
Agreed you can tell they'd been friends for a very long time
So true. Kevin Moore’s playing and soundscapes was pure magic
I think derek's playing in the album version is better than kevin in this one though
@@joeyhardin5903They modified the song when Derek was for the recording.
Considering the songwriting, Kevin Moore indeed was perfectly above Derek and even Jordan.
Kevin was more of an author.
The 'Another World' section is so good in this version!
Totally agreed! They were on another level emotionally back in those days. The first three albums are what made Dream Theater a huge band.
My favorite version of this incredible song
The intro absolutely slays! That sounds SO GOOD.... the way it morphs into the familiar riff from the production version is *chef's kiss*...
ITS SO ANNOYING THEY REMOVED IT It sounds so much like WDADU which is my fave
Jesus, the notes that Chris struggles with in his demo LaBrie just hits with ease.
goosebumps from 10:00 to 10:27 for kevin moore lines. am i the only one?
Hey, just to let you know your efforts aren´t ignored. This is so cool
funny how they snuck in a little bit of A Fortune In Lies at 17:18
I really wish we had gotten a fully mastered studio version of this. So much better than the 1995 version.
It's always struck me as kind of odd, that DT never choose to fully master this song. I'm not usually the 'consumer' type, but it'd be nice to see this song, alongside To Live Forever and Don't Look Past Me in a Remix/Remaster of I&W. It's a huge shame to just have these songs just be thrown to the wind.
@@antoninuslarpus7107 Couldn’t agree more. And while we’re fantasizing it’d be amazing to get another album or even just an EP of said songs replayed with Kevin Moore on keys lmao And with JP playing one of his old ibanez guitars LOL
@spikestoyou I'd argue that something more interesting(and tenable) would be a remix/remaster of FII. The difference in quality between the demos and the finished products is atrocious. At least the 1995 verison of ACOS is still decent. The final product of FII doesn't even feel like the same music.
Man, this sounds much like WDADU and the vocal inflections remind me of some songs there.
Also Petrucci's solo at 12:31 before the Yngwie section is ahead of its time. You could hear some of the licks in some modern prog bands' songs.
That descending pattern at the end as well, is done at the end of ACoS at Live Scenes in New York. Cool call back from the past.
I feel like in some the version from ACOS from Live Scenes from New York is the best version they ever did.
Intro is the most WDADUesque thing that isn't on WDADU (im obsessed with that one its my fave and the only DT album in my top 100 albums) and the main reason I listen to this version over the final version
I need the flac file of this so I can blast it out the proper way!! This is just too good!
Truly! I'd even settle for a good 320 MP3.
Just seeing this comment as this channel has been dormant for a few years. I'll get a lossless version out ASAP.
@@DTArchive can't wait for it! :D
@@wicheOSI Here's something for you, and see also my Community posts and Facebook posts which explain why there was a bit of a delay:
mega.nz/file/V6x0UaDb#cLP21RapdAU5ExLVilHBeUeURKP0b8Hb9SVCtVxzGsw
EDIT: Here, also, is a Google drive link because a few people were saying MEGA asked them for an encryption key:
drive.google.com/file/d/1jhanb9SugReMVjqxldsgnPPCWGg6Hcia/view?usp=share_link
Thank you so much!!!
Thanks for this!
Dream Theater went from this 13:22, 13:46, 14:00 to playing circus music, or whatever Jordan tells them to play. The level of depth and craftmanship DT had with Kevin Moore went beyond the stratosphere! meanwhile Jordan thinks "Let's just play fast, masturbatory, clown music!" give me a break!
Spot-on. Never ever liked Rudess’ playing. Kevin Moore had that magic subtle saucery.
Okay, that's a pretty damn narrow-minded view of someone's playing. Jordan is a very versatile and diverse keyboardist. Any band would be lucky to have him. Yes, he has fast solos that rival Petrucci's (who does the same musical wankery but I don't see you complaining about him), but he also has a lot of soft melodic influence and his hand in music theory gave the band a much stronger assortment of chord progressions. And as for all the goofy circus, ragtime, jazzy stuff, that's called having fun! You should probably try it out.
And for the record, I love Kevin Moore's playing, I'm not trying to play comparison because they are two very different kinds of keyboardists and contributed very well to DT's sound.
Also no idea what you're trying to blame Rudess for here. The studio version was released before he was in the band. He has one bit of creative control when playing the song live for that one 7 second solo, and that's it.
What stronger chord progressions did Rudess bring to the table? Do you think the pre-Rudess era lacks in that department?
@@sebrura Way to completely interpret the point of that comment. I'm not gonna sit here and name every chord progression he's contributed, but as someone who follows his work, it's pretty clear that he had a very different flow with his keyboard work that was very theory-heavy, and it helped pump out songs like Octavarium, Ministry Of Lost Souls, The Dance Of Eternity, and many more classics. If you guys wanna sit in your corner pretending that you're superior taste in Dream Theater keyboards gives you the right to speak ill of someone who's just as talented, arguably more talented but that's besides the point, then go ahead. See what kinda person that turns you into, because I sure as hell saw the signs before I quit acting like I could blindly paint over a person's years of hard work and discipline just to justify me not liking something.
12:06-14:26 WHY IS THIS SECTION NOT IN THE ORIGINAL SONG????
ITS SO AWESOME!!!
13:22
Really glad they waited to put this out, you really notice how they matured.
Especially the 13:00 section is just screaming teenage prog metal :D
Awful comment
Oh come on man!!! 13:10 .... Why in the world would Petrucci cut this part out of the album? That was sick
He changed this beautiful solo to some Jazzy structure but he probably couldn't do it without the unison with Kevin.
Omg this is so cool
Out of curiosity, where did you get the information that the instrumentals were recorded in 1989?
I'm not sure what I was going off of when I wrote that description 5 years ago. On Facebook, I recently posted an interview with Mike Portnoy where he stated that ACOS was written in 1989:
facebook.com/permalink.php?story_fbid=pfbid0VouzAxFkx1STpHRY2B49n1SQLsxTQJSVuayAvnjgtmZmc8imLxPadZ2kR4BdS2P4l&id=100076330088930
I suppose the instrumental demo could have been recorded in 1990 as well. It would have been done prior to Chris Cintron's brief stint in the band in the fall of 1990, because the instrumentals are the same as the Chris Cintron version of the song.
@@DTArchive oh well that's so cool. Seems like good things take time
So Kevin Moore arranged ACOS?