For me, the only great thing to come out of the Mike Portnoy/NHS controversy (which doesn’t seem like it should have been a controversy, at least to this American) was that it re-awakened my interest in Portnoy’s time in Dream Theater. I’ve followed him almost religiously in his non-DT efforts (Transatlantic, Neal Morse Band, Flying Colors), and I think the world of him—as a person and as a drummer. Yeah, he’s got a bit of a temper—but he seems to let it run wild only when life calls for it to run wild. I can’t really blame him. Plus, the guy is so outstanding in what he does, I can’t help but admire him. I would give a lot to have his restraint, frankly.
But, my point in this post is not about that “controversy.” Instead, that moment in England caused me to pull out all of my Portnoy-era Dream Theater, 1992. I’m not what you’d call an intense fan of Dream Theater, but I have purchased every single album (studio, live, ep) as it’s has come out since IMAGES AND WORDS.
When I first got IMAGES AND WORDS, I was impressed with it. I listened to it with fervor, but, even then, I really loved side two and I really didn’t love side one.
1992 was a great year for music, but it was an uncertain year for prog.
At the time, The Cure’s WISH seemed as likely a candidate for inheriting the mantle of prog as did Dream Theater’s IMAGES AND WORDS. In hindsight, it’s easy to give the award to Dream Theater, but not so easy in 1992. Go back and listen to “From the Edge of the Deep Green Sea,” but also listen to “Open,” “Cut,” “To Wish Impossible Things,” and “End.” There’s a LOT of prog on that Cure album. Plus, I would consider DISINTEGRATION a prog album. My point: if you listened to Dream Theater (metal prog) and The Cure (pop prog), it was impossible to determine who was more prog. At least in 1992.
Add the albums from Phish, Pearl Jam, and U2 that year.
A lot could’ve happened.
Well, here we are 23 years later. Thanks, Mike. You paved the way then and you continue to do so.