scenes from a memory act 1

novembre '99, by Fabien Labonde, a french fan

code used for notation :
notes : from 1 to 7 (example : G minor scale : 1 2 b3 4 5 b6 b7 = G A bB C D bE F)
chords : A = (135) Am = (1b35) A4 = (145) A7=(135b7) Amaj7 = (1357) Adim = (13b5) Amdim =(1b3b5)

words written in bold : references to Metropolis Part One ( MP1)
riff numbers written in bold : "re-usable riffs" : riffs heard in several songs.
words : repetition in the lyrics.

0’00 1.1 fade in : pan clock tick . SCENE ONE
Close your eyes and begin to relax.
Take a deep breath and let it out slowly.
Concentrate on your breathing.
 0’21  1.2 tick with echo and reverb (8th notes)  With each breath you become more relaxed.
Imagine a brilliant white light above you, focus in on this light as it flows through your body.
 0’32  1.3 D chord with bass strings sound. excerpts from 8.1 Allow yourself to drift off as you fall deeper and deeper into a more relaxed state of mind. Now as I count back from 10 to 1, you will feel more peaceful and calm.
0’43 1.4 choir samples ( Cf.11). fade out tick.  10, 9, 8, 7, 6…
You will enter a safe place where nothing can harm you…
 0’55  1.5 Guitar appears in (2 bars each except the last two chords) Bm Bm/A E/G# A4 A 5, 4, 3, 2.
If at any time you need to come back,
all you must do is open your eyes…1….
   1.6 voice, acoustic guitar and synth sound (piano/organ/woods)
D D/F# G D Dmaj7 Bm Bm/A E/G# A4 A (twice)

G A A4 D

Safe in the light that surrounds me.
Free of the fear and the pain.
My subconscious mind
Starts spinning through time
To rejoin the past once again.
And nothing seems real.
I’m starting to feel
Lost in the haze of a dream.
And as I draw near,
The scene becomes clear,
Like watching my life on a screen.
"Hello Victoria, so glad to see you my friend."
0’00 2.1 flanged keyboard intro in D minor ( 2 b3 1 : Cf Metropolis part one in E minor : 0’16), reversed samples SCENE TWO
0’09 2.2 fade in : riff in D played by bass, guitar and snare, last bar 2/4, Cf. Metropolis part one.  
0’29 2.3 4/4 riff D Ddim, binary drums, alternate cymbal  
0’44 2.4 1 measure break : 16th /sextuplets  
0’47 2.5 chords A B A F# A B C D, string melody, drums : toms pattern, cymbals on 1st beat). Guitar : persistance of b-string.  
1’04 2.6 riff in E scale tone/tone (one tone between each degree of the scale : 1 2 3 #4) last bar 2/4  
1’18 2.7 break =1 bar 2.2. synth solo begins on the last beat.  
1’20 2.8 keyboard solo ( with many arpeggios) on = 2.3 , snare hits the beat, last three chords ending coming from Metropolis part one (0’43) as in 2.1 : 2 b3 1 .  
1’37 2.9 half tempo feel, piano/guitar melody on MP1's chords (8’32 Bm G Em D A). (Notice : these same chords have been re-used in Lifting Shadows Off A Dream : He pours his soul into the water, transposed in D) Interesting use of the snare ( just before the 1st beat)  
1’55 2.10 jazzy guitar F# [7/4 8/4 7/4 8/4] with sweeping and octave lead. piano. double bass drum. Notice the bass.  
2’11 2.11 chords =2.5, choir/string melody, drums : binary pattern with 8th notes cymbals .  
2’28 2.12 guitar melody. chords C#m B G#m A C#m B G#m A B  
2’48 2.13 unison break (guitar and piano, then bass) 7/4 8/4 5/4 5/4  
3’01 2.14 riff in E (Metropolis Part One 7’20) 8/8 7/8 8/8 7/8 7/8  
3’10 2.15 G#. keyboard plays a three note melody (5 #4 3) on two bars . this melody is also played by the guitar chords  
3’19 2.16 = 2.15 F melody played in guitar chords, keyboard lead sextuplets + strings  
3’27 2.17 = 2.15 melody (faster : on one bar) chord progression B C#  
3’37 2.18 riff G# - G#dim  
0’00 3.1 riff = 2.18 verse G# G#dim (similitude with 2.3) STRANGE DEJA VU
Subconscious strange sensation.
Unconscious relaxation.
0’17 3.2 =3.1 transposed in F (same interval as between 2.15 and 2.16) What a pleasant nightmare
and I can’t wait to get there again.
0’24 3.3 = 3.1 + 3.2 Every time I close my eyes,
there’s another fear, vivid surprise!
Another whole life waiting.
Chapters unfinished fading.
0’41 3.4 pre-chorus1 G# then F# 7/4 7/4 7/4 8/4 . background vocals on "I’ve arrived" Closer now!
Slowly coming into view. ( Cf. THE MIRROR)
I’ve arrived
blinding sunshine beaming through.
0’58 3.5 verse (with same transpose as between 3.1 and 3.2) voice doubled. Guitars sounds like 2.15 and 2.16. Double bass drums on seconde half. There’s a house I’m drawn to.
Familiar settings nothing new.
There’s a pathway leading there
with a haunted chill in the air.
There's a room at the top of the stairs
every night I'm drawn up there
There's a girl in the mirror
Her face is getting clearer
1’32 3.6 =2.17 Snare hits the beats. Young child won't you tell me why I'm here ?
1’41 3.7 pre-chorus1 = 3.4 with background vocals on the end. Notice the tambourine/cymbal alternance. In her eyes I sense a story never told
Behind the disguise There's something tearing at her soul...
1’57 3.8 pre-chorus2 C#m A G#m F# C#m A G#m F# B doubled by a piano/string melody. 4/4 except 12/16 during F#. Drums : Notice the hi-hat and the final toms fill. Tonight I've been searching for it
A feeling that's deep inside me
Tonight I've been searching for it
The one that nobody knows
Trying to break free.
2’16 3.9 chorus = 2.5 with string melody and guitar with e-string and b-string ringing. background vocals I just can't help myself
I'm feeling like I'm going out of my head
Tears my heart into two
I'm not the one the sleeper thought he
2’33 3.10 4 measures bass transition in E. strong synth filtered sound ( white noise).cymbals hit the beats. Knew.
2’41 3.11 faster. break - penta riff in E 8 measures - 2/4 break- riff on guitar and funky keyboard sound, guitar progressively doubled . Back on my feet again eyes open to the real world
Metropolis surrounds me the mirror's shattered the girl
Why is this other life haunting me everyday
I'd break through to the other side
If only I'd find the way.
3’23 3.12 other penta riff in C# Something's awfully familiar
The feeling's so hard to shake
Could I have lived in that other world
It's a link that i'm destined to make
3’36 3.13 other riff in G# ( beginning of riff sounds like variation of 3.11. 4/4 7/8 4/4 4/4 (twice) I'm still searching but I don't know what for
The missing key to unlock my mind's door
( Cf.7.9 : the door has open wide)
3’50 3.14 a tempo. piano transition on 3.8's first chords : C#m A G#m  
3’57 3.15 pre-chorus2 = 3.8 transposed in F#m D C#m Bm F#m D C#m B E (voices doubled). 4/4 except 12/16 on Bm Today I am searching for it,
a feeling that won’t go away.
Today I am searching for…
the one that I only know.
Trying to break free.
4’16 3.16 chorus voice doubled = 2.5 twice (second time C and D chords are longer). On "I don’t mind" : guitars echo the voice line. I just can’t help myself.
I’m feeling like I’m going out of my head
Tears my soul into two.
I’m not the one I thought I "halways" knew.
I just can’t help myself.
I'm feeling like I’m going out of my head.
Uncanny strange deja vu,
but I don’t mind.
I hope to find the…
4’58 3.17 end G major guitar and strings fade ou, piano fade in truth.
0’00 4.1 piano arpeggio GM7 (four times) Cf. Another Hand (Live At the Marquee / Bootleg Live Dance of Eternity) SCENE THREE
0’11 4.2 = harmonic progression based on 4.1 : piano and vocals GM7 Bm Em C GM7 D/A Em C Em D GM7. right hand chords often syncoped. All your eyes have ever seen.
All you’ve ever heard
is etched upon my memory,
is spoken through my words.
All that I take with me
is all you’ve left behind.
We’re sharing one eternity,
living in two minds.
Linked by an endless thread
impossible to break.
  4.3 = 4.1 ending on a transition to E minor.  
0’00 5.1 piano and vocals Em Emdim (notice the harmonic similitude with 2.3 and 3.1) FATAL TRAGEDY
Alone at night.
I feel so strange.
I need to find
all the answers to my dreams.
0’20 5.2 B B/A G Em B F#m piano long and deep breath -
When I sleep at night
I hear the cries.
What does this mean?
0’38 5.3 disto chords: E Emdim = 5.1 (Cf. Metallica’s Call of Ktulu !!!)  
0’45 5.4 = 5.2 tutti.  
0’50 5.5 E Emdim = 5.1 . vocals doubled, piano and drums gives beat, guitar and bass playing elaborated 5.1 (sounds like inspector gadget!). Riff based on the first three degrees of the minor scale (1 2 b3, 1 2 b3 5 b5). I shut the door and travel to another home.
I met an older man, he seemed to be alone.
1’03 5.6 = 5.2 shorter (5/4 instead of 2 4/4 bars) I felt that I could trust him.
He talked to me that night.
1’10 5.7 = 5.5 with guitar trills a la Brian May "Lad did you know a girl was murdered here?
This fatal tragedy was talked about for years".
1’21 5.8 =5.2. notice the bass and the guitar harmonies. Background vocal chords. Victoria’s gone forever,
only memories remain.
She passed away;
she was so young!"
1’35 5.9 pause in Em. Harpsichord arpeggio. choirsound plays Metropolis Part One's chords (0’14) = 2.1 .  
1’49 5.10 Half time feel. F#m A C#m G#m B twice (2nd 6/8 and ending on A then B). piano doubles the vocals. background voices. Without love, without truth, there can be no turning back.
Without faith, without hope, there can be no peace of mind.
2’08 5.11 organ / guitar interludes a la Brian May B major. 11/8.  
2’17 5.12 9/8 rhythmic break with harpsichord . Then one-note riff : 5/8 + 5/8 + 3/4 ( = 2 bars 4/4 !!!) twice  
2’27 5.13 riff (= 5.12 in a 4/4 mood) in Em F# F Em (harmonies given by organ). glissando of organ to next riff. As the night went on
I started to find my way.
I learned about a tragedy,
a mystery still today.
2’54 5.14 magnificent riffed elaboration of 5.2 played by bass guitar and piano. Notice the cymbal rhythm on the end. organ plays 5.2 chords. I tried to get more answers
but he said "  you’re on your own "
Then he turned away and left me
as I stand there all alone.
He said, "You’ll know the truth
as your future days unfold."
3’15 5.15 = 5.9 with piano speed arpeggio and guitar picknoises. fold.
3’28 5.16 = 5.10 Without love, without truth, there can be no turning back.
Without faith, without hope, there can be no peace of mind.
3’50 5.17 transition (guitar and bass play same degrees as in 5.5 : 1 2 b3) chromatic descending chords on piano . Notice the drum fills.  
3’53 5.18 Em riff on three notes 1 2 b3 (!!). The fill at the end of the riff plays piano's chromatic tones of 5.17  
4’00 5.19 = 5.18 with Portnoy sounding Like Ricardo Confessori in Nothing To Say  
4’13 5.20 Em. Keyboard solo beginning ( funky flanged sound), riff and snare announce 5.21's rhythm  
4’24 5.21 Keyboard arpeggio (Em F# Em chords renversment)+ speed scale. riff = 5.20  
4’34 5.22 4 measures riff Kb solo in F# = 5.20  
4’41 5.23 riff in Em =5.18 (3 measures + fill) guitar solo beginning : 2 riffs alternate, getting SHORTER at every repetition  
4’48 5.24 4 measures =5.22 guitar solo in F#m, doubled by keyboard from 4’49 to 4’51  
4’55 5.25 Em = 5.23 (2 measures + fill)  
5’00 5.26 3 measures F#m = 5.24  
5’05 5.27 Em = 5.18 (1 measure + fill)  
5’08 5.28 2 measures F#m =5.24  
5’12 5.29 =5.18 fill only  
5’13 5.30 1 measure F#m =5.24  
5’15 5.29 4 measures B kb/guitar solo ( Cf. MP1 6’07)  
5’22 5.30 kb solo beginning, 2 riffs alternate, getting longer at every repetition =5.18 fill only  
5’24 5.31 =5.23 1 measure F#  
5’26 5.32 =5.18 (1 measure + fill) Em  
5’29 5.33 =5.23 2 measures F#  
5’32 5.34 =5.18 (2 measures + fill) Em  
5’37 5.35 =5.23 3 measures F#  
5’43 5.36 =5.18 (3 measures + fill) Em  
5’49 5.37 =5.23 4 measures F#  
5’56 5.38 B unisson  
6’03 5.39 16 bars speed B A E (bass gives the chords) fast arpeggio with B pedal. Notice the cymbals.  
6’30 5.40 8 bars Em arpeggio with E pedal (and John Myung expressing himself at last).  
6’42 5.41 piano plays 5.5 Now it is time to see how you died. Remember that death is not the end, but only a transition.
0’00 6.1 heavy 5/4 riff by guitar G#m SCENE FOUR
0’09 6.2 =6.1 twice with bass, drums and kb. Snare hits the beat,  
0’23 6.3 15/8 G#m penta riff + 5/8 ending  
0’34 6.4 =6.2 double bass drum, kb playing arpeggio  
0’48 6.5 verse : radio voice. bass (followed by havily filtered guitar) play 6.1. Keyboard plays flanged analog strings, notice the hi-hat. tom first, then snare on second half.  Headline. Murder. Young girl killed.
Desperate shooting at Echo's Hill.
Dreadful ending Killer died.
Evidently suicide.
1’14 6.6 prechorus with organ C # E + 6.1 + C# E D# A  A witness heard a horrifying sound.
He went to find a woman dead and lying on the ground.
1’28 6.7 = 6.3  
1’40 6.8 verse with heavily filtered guitars bass plays 6.1. Double bass drums and nice cymbals.  Standing by her was a man.
Nervous, shaking, gun in hand.
Witness says he tried to help,
but he turned the weapon on himself.
2’07 6.9 =6.6 then C # E + 6/8 Eb F G A  His body fell across that poor young girl.
After shouting out in vain
the witness ran to call for assistance.
A sad close to a broken love affair.
2’28 6.10 acoustic guitar 6/8 arpeggio D minor.  bass plays : D B G # G G# D B A# E. Woodblocks and shaker. Interesting etherian keyboard sounds + mellotron flute.  Our deeds have traveled far.
What we have been is what we are.
Our deeds have traveled far.
What we have been is what we are.
3’00 6.11 =6.1 acoustic (last 5 beats disto)  
3’14 6.12 guitars Slayer-like solos on 6.1. two guitars on second half.  
3’28 6.13 N. Bettencourt-like 4/4 riff G#m with organ  She wanted love forever,
but he had another plan.
He fell into an evil ways, she had to let him down.
She said, "I can’t love a wayward man."
3’47 6.14 riffed elaboration of 6.6 (the central 6.1 is replaced by a fill = Cf.6.27)  She may have found a reason to forgive
if he had only tried to change.
Was their fatal meeting prearranged
4’05 6.15 violent verse in G# and B. 5/4 (except 4/4 on "unaware")  Had a violent struggle taken place?
There was every sign that lead there
Witness found a switchblade on the ground.
Was the victim unaware?
They continued to investigate,
They found a note in the killer's pocket.
It could have been a suicide letter.
Maybe he had lost her love
4’27 6.16 ternary version of 6.3 (4 bars 15/8 + 6/8) mixed with bits of 6.6 (2 bars ) (2 bars 15/8) (2 bars , 2 bars 12/8)  I feel there’s only one thing left to do.
I’d sooner take my life away than live with losing you.
4’52 6.17 =6.10 . Mellotron flute play a waltz rhythm.  Our deeds have traveled far.
What we have been is what we are.
Our deeds have traveled far.
What we have been is what we are.
5’25 6.18 chorus D Bm G Em D Bm/G# G A, flangered snare drum, very present bass. In the guitar arpeggios, repetition of the first three degrees of D major scale (2 3 1) = 2.1 or 2.8's final chords , but in MAJOR..  All that we’ve learned this time
(what we have been is what we are)
is carried beyond this life.
All that we’ve learned this time
(what we have been is what we are)
is carried beyond this life.
5’57 6.19 filtered guitar plays 6.1, pan alternance second time  
6’12 6.20 12/8 (For whom the bell tolls, time marches on !!) version of 6.1 (again 6.1 !!)  
6’28 6.21 Keyboard blues oriented solo on 6.20 ( i.e. on 6.1 !!) 8 bars of 6.20,  
6’45 6.22 solo 4 bars 6.20 C# , notice the blue note anticipation of G# (next riff) by F# and G  
6’53  6.23 = 6.21 solo 4 bars  
 7’01 6.24 solo A# A  
 7’05 6.25 = 6.21 solo 2 bars  
 7’09 6.26 solo A# B  
 7’12 6.27 4/4 penta riff G#m (strangely deja vu as a fill in 6.14!)  
 7’23 6.28 = 6.27 Bm guitar solo, rock organ. Wah used as a filter.  
 7’43 6.29 = 6.27 guitar solo in Em, then 6.28 again  
 8’04 6.30 = 6.24 in C# C guitar solo  
8’08 6.31 = 6.28 2 bars guitar solo  
8’13 6.32 = 6.26 in C# D guitar solo  
8’18 6.33 9/8+8/8 riff in Bm, drums play same rhythm as riff  
8’30 6.34 jazz dissonant horn solo on 6.33 in Dm, drums are regular (?)  
8’49 6.35 = 6.33 solo in Fm, horn doubled by xylo. drums play rhythm . Notice the cymbals .  
9’08 6.36 G# 4/4 unison solo guitar/synth ( Cf.MP1 5’52)  
9’25 6.37 Deeply Purplish variation of 6.27  
9’46 6.38 = Unison solo on 6.6 with 6.27 used instead of central 6.1, followed by end of 6.9 : 6/8 Eb F G A  
10’07 6.39 = heavy 6.10 Our deeds have traveled far.
What we have been is what we are.
Our deeds have traveled far.
What we have been is what we are.
10’36 6.40 = 6.18 with fat mellow strings and double bass drum fills.  All that we’ve learned this time
(what we have been is what we are)
is carried beyond this life.
All that we’ve learned this time
(what we have been is what we are)
is carried beyond this life.
11’07 6.41 = 6.18 D chords fade out, acoustic guitar concludes  
0’00 7.1 = 1.6 with female hmm hmm vocals, synth choir pad, SCENE FIVE
0’15 7.2 = 1.6 (continuing) + finger blues guitar with echo  
0’59 7.3 hi-hat and shaker fade in  
1’08 7.4 = 4.2 GM7 GM7/F# Em C GM7 D/F# Em C
drums : bass drum, hi-hat, shaker, soft (or triggered) snare , piano, acoustic guitar, fretless bass
1’41 7.5 = 7.4 with vocals. no more piano. GM7 GM7/F# Em C GM7 D/F# Em C ( twice)
Em D
 She never really had a chance
on that fateful moonlit night.
Sacrificed without a fight,
a victim of a circumstance.
Now that I’ve become aware
and I’ve exposed this tragedy,
a sadness grows inside of me.
It all seems so unfair.
I’m learning all about my life
by looking through her eyes.
2’24 7.6 guitar melody on 7.4  
2’38 7.7 = 7.5  Just beyond the churchyard gates,
where the grass is overgrown,
I saw the writing on her stone.
I felt like I would suffocate.
In loving memory of our child,
so innocent eyes open wide.(Cf. 3.11 eyes open to the real world)
I felt so empty as I cried,
like part of me had died.
I’m learning all about my life
by looking through her eyes.
3’23 7.8 same feeling but new chords Am C G D Am C Em D. piano sounds like Derek’s in Lines in the sand guitar solo  And as her image wandered through my head
I wept just like a baby as I lay awake in bed.
And I know what it’s like to lose someone you love,
and this felt just the same.
3’56 7.9 = 7.5 no more piano nor organ (where’s Jordan ?) until 4’31. Voice doubled on last three lines.  She wasn’t given any choice.
Desperation stole her voice.
I’ve been given so much more in life.
I’ve got a son. I’ve got a wife.
I had to suffer one last time
to grieve for her and say goodbye.
Relive the anguish of my past,
and find out who I was at last.
The door has opened wide.
I'm turning with the tide,
looking through her eyes.
4’44 7.10 = 7.6 variation + oh oh oh by James. Fade out  

Back to Scenes from a memory

Next page : Scenes from a memory Act II