It’s time to bump one of those long-standing bands off your top three list and make room for Atco recording artists Dream Theater. This band has finally created a form of metal that achieves more than an earful of grunge and a flattened forehead. They’ve uniquely blended the creative and progressive sounds of early Kansas and mid-Rush with the metal crunch of recent Queensryche and Megadeth. Metal for those who think.

With songs that defy the three-minute verse-chorus-verse-chorus hit formula, time signatures and musical arrangements that challenge the 4-4 repetition of rock ‘n’ roll norm, whirling keyboards, the impact of contemporary metal guitar and tight alternating double bass drum riffs, Dream Theater have achieved true rock ‘n’ roll integrity. This is the step forward hard rock has needed since Rush’s Hemispheres.

Dream Theater recently returned it to America from a brief tour of Japan where their second release, Images And Words, has already gone gold. Their first performance back in the States was a sellout at San Diego’s Rhythm Cafe. The show was far more than expected.

In a twist of humor, Dream Theater’s intro-tape was none other than the theme music from “The Simpsons.” They then opened the show with “Metropolis-Part I,” an incredibly busy yet vocally melodic epic nearly 10 minutes long.

To open the show with the signature progressive piece from the latest album would seem to leave little excitement left for the remainder of the show. Not so for a band such as Dream Theater. They immediately followed the opener with “Under A Glass Moon,” an energetic cut alternating between punch and pull, choppy and rolling double-bass drum beats and note-for-note high speed runs by all.

The set also included “Pull Me Under,” the first single from Images And Words, as well as much of the rest of that album. They also performed many songs from their first album When Dream And Day Unite, including an intense instrumental piece.

Phenomenal solos were performed by each band member. First under the spotlight was drummer Mike Portnoy. Next was John Myung on the six string bass, then guitarist John Petrucci. James LaBrie’s voice held out remarkably through the entire set with smooth transitions from high to low then back again, incredible clarity and passionate authority.

The encore was comprised of a beautiful keyboard solo featuring Kevin Moore, which worked into the soft and emotional “Wait For Sleep,” then into “Learning to Live,” yet another progressive epic from Images And Words, this one nearly reaching 12 minutes. This show was definitely one of the very best Rhythm Cafe, Sound FX or the Bacchanal (all one in the same) has ever housed. It will not soon be matched.

Dream Theater’s first album is unfortunately out of print in America (certain to be re-issued), but can be ordered as a Japanese import at your local import CD store. Their second album, Images And Words, is by far 1992’s best musical news. In fact, it’s difficult to find a “best” track on the album because its every musical second is fantastic.

Best of all, the good news is still coming. Dream Theater has already completed “Change Of Seasons,” a 20 minute track slated for their next album.