DREAM THEATER LYRICS "When Dream And Day Unite" (1989)

1. A Fortune In Lies[music by Dream Theater, lyrics by Petrucci]

"For the first time in a long time

...everything was right in my

world... and then I woke up.

I can remember when,

In the unity of our five-day sessions

Not even once did we hear the siren

song

What kind of imagination

Asleep in some lyrical coma

Who's vain futile memory

Could have been so wrong

You can make a fortune in lies

You can keep a giant alive

You can ride the red

Until everybody smiles

A trifling euphoria

was such an untimely religion

maybe your life can explain

the reason for my indecision

Here is a poor man

the heart of this monster creation

He said we both will be heroes

and I was led into temptation

You can make a fortune in lies

You can keep a giant alive

You can ride the red

Until everybody smiles

Can you show me your gold

and your silver?

A hero in frozen water

Now you've made a fortune in lies

and you kept a giant alive

You rode the red

You rode the red

2. Status Seeker[music by Dream Theater]

[lyrics by Dominici and Petrucci]

Heart sick at the sight of the

Status Seeker

In a sense I'm not beyond reproach

the aspiration to drop a name

When any rose might smell the same

Maybe you'll figure it out someday

"I want to know you now...

You know I've always believed in you."

Nothing is sacred...

You draw the bottom line

with a dollar sign

Change of opinion...

At the drop of a dime

Graceless intrusion...

Are you sanctified in your

judgment of me?

All that I deserve is what you were

unable to see

In a garden where the seeds were

spilled

I favored the few that stood strong

in the sun

As I reached for the profit of my prize

I found I had trampled the forgotten

ones

Nothing is sacred...

You draw the bottom line

with a dollar sign

Change of opinion...

At the drop of a dime

Graceless intrusion...

Are you sanctified in your

judgment of me?

All that I deserve is what you were

unable to see

You're running in circles

And I'm turning away

You refused to believe

Now I'm turning away

Nothing is sacred...

You draw the bottom line

with a dollar sign

Change of opinion...

At the drop of a dime

Graceless intrusion...

Are you sanctified in your

judgment of me?

All that I deserve is what you were

unable to see

You're running in circles

And I'm turning away

You refused to believe

Now I'm turning away

3. The Ytse Jam[Instrumental]

[music by Moore, Myung, Petrucci and Portnoy]

4. The Killing Hand[music by Dream Theater, lyrics by Petrucci]

[I. The Observance]

An Angel's kiss now fallen

Descending scarlet cuts the sky

Faded names left on the wall

Honor the fighting leave life to

die

Remembered is the sacrifice but

No praisal of blood still flowing

Who were the leaders?

what controlled the Killing Hand

that caused this mouthing?

Crossing over...

[II. Ancient Renewal]

Lowered deep into the sea

Being a waits to cleanse his soul

senses weakening time is still

Motionless by stiffening cold

The wheels race back and

Scorch his mind

Travelling all to find the land

Revelation warms a touch

And now he will begin to

Understand

[III. The Stray Seed]

Extended a view to yesterday

Manifestation for none the same

Walking amidst a frightening still

No sound, no smoke, no scorching

Flames

He is risen...

Sipping his poison the raven sings

Yet another to add more bodies

fallen

King from below

this one controls

the Killing Hand that caused this

mourning

Is it all over?

[IV. Thorns]

Evil genius this secret plan

Mercy dealt with the losing hand

Will he ever fall?

Can he end it all?

Our savior must make his stand

Only a Propher of years to come

Wanting mortality I'm all alone

He heard my voice

It was my choice

I've stopped the Killing Hand

[V. Exodus]

When I go back again

Will it be the same?

I've stopped the cries

But now they know my name

The sea is calling me

my spirit must return

As I get closer,

was it really worth

what I have learned?

I'm in the valley

And the saddened chimes I hear

Race towards the wall to find

one more name appears

No one is left now

my one and only land

I laugh at what I've done

I am the Killing Hand

5. Light Fuse And Get Away[music by Dream Theater, lyrics by Moore]

Would you like to sit and talk to me

about the way things change so

suddenly

when your senses come and the feeling

goes?

can you remember feeling much

too close?

Stop your hands from shaking.

Look at me.

Are your senses racing endlessly

tracing

past impressions? So were mine.

Have you ever been used

or will this be the first time?

It's come so clear to me

Light fuse and get away

No gain, no pain

It's a fatal game

and the true lose everything

I can see

what trust and loyalty have done

for me

falling miles from the mark

with a thirst for revenge

and a dangerous heart

I've tried to wash from memory

feelings of betrayal and the incidents

that plague me since I lost my sense

of innocence

A history of changes now I'm loving

now I'm losing keeps me constantly

in fear of hearing "I can't see where

this is going"

You lie alone with the memory

feeling the ceiling and walls closing

in on

Your Conscience - my ally

the guilt - your affliction

from preying on praise as you fed

an attention addiction

Someone told me

Light fuse and get away

No gain, no pain

and when it's lust to dust you can

crawl from the wreckage

I can see

what trust and loyalty have done

for me

lying bleeding in the dark

with a thirst for revenge

and a dangerous heart

It's come so clear to me

Light fuse and get away

No gain, no pain

It's a fatal game

and the true lose everything

I can see

what trust and loyalty have done

for me

falling miles from the mark

with a thirst for revenge

and a dangerous heart

6. Afterlife[music by Dream Theater, lyrics by Dominici]

I touched with one

who made me run

away from my own soul...

In this world with its

many illusions

We are moving like mice through a

maze

And now I find

what's left behind

has served to make me whole

full of doubt, deception, and delusion

seeking purpose to all earthly days

I search within

beneath a skin

that bears both pleasure and pain

In a world full of constant confusion

I will not be a par to the craze

In the Afterlife

will dark be bright?

will cold be warm?

will the day have no night?

In the Afterlife?

will the blind have sight?

In the Afterlife

Behind closed eyes

some comfort lies

In knowing the truth never spoken

Through this world with us

hidden conclusion

we'll keep moving like mice through

a maze

In the Afterlife

will dark be bright?

will cold be warm?

will the day have no night?

In the Afterlife?

will the blind have sight?

In the Afterlife

In the Afterlife

will dark be bright?

will cold be warm?

will the day have no night?

In the Afterlife?

will the blind have sight?

In the Afterlife

7. The Ones Who Help To Set The Sun[music by Dream Theater, lyrics by Petrucci]

Watching my window I was led like a

child

As the roadway lamplights

misguided my mind through the night

a shadow of limits

We were racing the rain

my hands held the wheel

My eyes tried to hold their place

there must have been a time

when I thought that you were

watching

It had to be when my senses lost

control

I thought I'd slipped away

I thought I could still feel us

moving

It must have been a cloud

no bigger than a man's hand

Every reason I risk my life

To come back to you

Is locked behind your door

You're my immunity

Outside I watched you burn

Heavy hearts were bleeding

A cry for help, a familiar voice

My melting hands streaked the glass

As I walked away

I wondered what had really

happened

had I run out of time

did I push myself too far

As my last step fell

I felt my hands upon the wheel

had I come back to life

or did I ever leave at all

In higher lives

We seem to be

always a moment too late

We're past the time

when we looked on

Now we're

THE ONES WHO HELP TO

SET THE SUN

this time for real

I locked the door behind me

My mind was still a wreck

from what I saw

For when my hands are still

I'll recognize the message

never again will my senses lose

control

In higher lives

We seem to be

Always a moment too late

We're past the time

when we looked on

Now we're

THE ONES WHO HELP TO

SET THE SUN

8. Only A Matter Of Time[music by Dream Theater, lyrics by Moore]

A suited man smiled said:

"It's just a matter of time

You can have the world at your feet

by tomorrow

just sign on this line."

Hold tight... limelight!

Approaching the paramount

with the sun in our eyes

fearing family ties, legalies,

compromise

In a dimly lit room with a stool as his

stage

a dream-stricken prince of a pauper's

descent

haunts the eavesdropping silence

that presses his window

as he sweats a performance

to an audience that ticks on the wall

To the practical observer

It's just a matter of time

"You can deviate from the com-

monplace

only to fall back in line."

I understand mine's a risky plan

and your system can't miss

But is security after all a cause

or symptom of happiness?

Brave, yet afraid, his eyes on horizon

in a steady-set gaze

a mariner soon from an open cocoon

takes a moment to summon his courage

to stifle his grave apprehension and

trembling, approaches the surf

A father's benediction as his hopeful

son departs

to brave the sea of rage and conquer

at all costs

lingers in his memory

and visions still surviving in a logic-

proof shell

that should have been held sacred, safe

and hidden well

are compromised in usury

with every rising sun that yields no

sight of land

the hesitation cultivates within the

tired man

and rumors spread of mutiny

and though the time will come when

dream and day unite

tonight the only consolation causing

him to fight

in fearless faith in destiny

Even when plans fall to pieces

I can still find the courage

with promise I've found in my faith

Likely or not, it's a dream that we keep

and at odds with our senses we'll climb

But if faith is the answer, we're already

reached it

And if spirit's a sign

then it's only a matter of time

Uses

Popular music

Popular music and rock groups often use the electric guitar in two roles: as a rhythm guitar which provides the chord sequence or "progression" and sets out the "beat" (as part of a rhythm section), and a lead guitar, which is used to perform melody lines, melodic instrumental fill passages, and guitar solos. In some rock or metal bands with two guitarists, the two performers may perform as a guitar tandem, and trade off the lead guitar and rhythm guitar roles. In bands with a single guitarist, the guitarist may switch between these two roles, playing chords to accompany the singer's lyrics, and then playing a guitar solo in the middle of the song.

In the most commercially available and consumed pop and rock genres, electric guitars tend to dominate their acoustic cousins in both the recording studio and the live venue, especially in the "harder" genres such as heavy metal and hard rock. However the acoustic guitar remains a popular choice in country, western and especially bluegrass music, and it is widely used in folk music.

Jazz and jazz fusion

Jazz guitar playing styles include rhythm guitar-style "comping" (accompanying) with jazz chord voicings (and in some cases, walking basslines) and "blowing" (improvising solos) over jazz chord progressions with jazz-style phrasing and ornaments. The accompanying style for electric guitar in most jazz styles differs from the way chordal instruments accompany in many popular styles of music. In rock and pop, the rhythm guitarist usually performs the chords in rhythmic fashion which sets out the beat of a tune. In contrast, in many modern jazz styles, the guitarist plays much more sparsely, intermingling periodic chords and delicate voicings into pauses in the melody or solo. Jazz chord voicings are usually rootless and emphasize the 3rd and 7th notes of the chord.

When jazz guitar players improvise, they use the scales, modes, and arpeggios associated with the chords in a tune's chord progression. Jazz guitarists have to learn how to use scales (whole tone scale, chromatic scale, etc.) to solo over chord progressions. Jazz guitar improvising is not merely the recitation of jazz scales and rapid arpeggios. Jazz guitarists often try to imbue their melodic phrasing with the sense of natural breathing and legato phrasing used by horn players such as saxophone players. As well, a jazz guitarists' solo improvisations have to have a rhythmic drive and "time feel" that creates a sense of "swing" and "groove".

Most jazz guitarists play hollow body instruments, but solid body guitars are also used. Hollow body instruments were the first guitars used in jazz in the 1930s and 1940s. During the 1970s jazz fusion era, many jazz guitarists switched to the solid body guitars that dominated the rock world.

Contemporary classical music

Until the 1950s, the acoustic, nylon-stringed classical guitar was the only type of guitar favored by classical, or art music composers. In the 1950s a few contemporary classical composers began to use the electric guitar in their compositions. Examples of such works include Karlheinz Stockhausen's Gruppen (1955–57); Donald Erb's String Trio (1966), Morton Feldman's The Possibility of a New Work for Electric Guitar (1966); George Crumb's Songs, Drones, and Refrains of Death (1968); Hans Werner Henze's Versuch über Schweine (1968); Francis Thorne's Sonar Plexus (1968) and Liebesrock (1968–69), Michael Tippett's The Knot Garden (1965–70); Leonard Bernstein's MASS (1971) and Slava! (1977); Louis Andriessen's De Staat (1972–76); Steve Reich's Electric Counterpoint (1987), Arvo Pärt's Miserere (1989/92), and countless works composed for the quintet of Ástor Piazzolla. Alfred Schnittke also used electric guitar in several works, like the "Requiem", "Concerto Grosso N°2" and "Symphony N°1".

In the 1980s and 1990s, a growing number of composers (many of them composer-performers who had grown up playing the instrument in rock bands) began writing contemporary classical music for the electric guitar. These include Shawn Lane, Steven Mackey, Nick Didkovsky, Scott Johnson, Lois V Vierk, Tim Brady, Tristan Murail, John Rogers, and Randall Woolf.

Yngwie Malmsteen released his Concerto Suite for Electric Guitar and Orchestra in 1998, and Steve Vai released a double-live CD entitled Sound Theories, of his work with the Netherlands Metropole Orchestra in June 2007. The American composers Rhys Chatham and Glenn Branca have written "symphonic" works for large ensembles of electric guitars, in some cases numbering up to 100 players, and the instrument is a core member of the Bang on a Can All-Stars (played by Mark Stewart). Still, like many electric and electronic instruments, the electric guitar remains primarily associated with rock and jazz music, rather than with classical compositions and performances.R. Prasanna plays a style of Indian classical music (Carnatic music) on the electric guitar.

In the 21st century, European avantgarde composers like Richard Barrett, Fausto Romitelli and Karlheinz Essl used the electric guitar (together with extended playing techniques) in solo pieces or ensemble works. Probably the most ambitious and perhaps significant work to date is Ingwe (2003–2009) by Georges Lentz (written for Australian guitarist Zane Banks), a towering 60-minute work for solo electric guitar, exploring that composer's existential struggles and taking the instrument into realms previously unknown in a concert music setting.