The Glass Prison
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"The Glass Prison" | ||
---|---|---|
Song by Dream Theater | ||
from the album Six Degrees of Inner Turbulence | ||
Released | 2001 | |
Genre | Progressive metal | |
Length | 13:52 | |
Label | Elektra Records | |
Writer(s) | Mike Portnoy | |
Producer(s) | Mike Portnoy and John Petrucci | |
Six Degrees of Inner Turbulence track listing | ||
"The Glass Prison" (1) |
Blind Faith (2) |
"The Glass Prison" is a song by the progressive metal band Dream Theater. It is usually argued that "The Glass Prison" is one of the most aggressive and heavy tracks the band has ever released. It runs 13:52 and is the first track on the Six Degrees of Inner Turbulence album. A shorter version running 5:22 appeared on the Standard Dream album.
It is the first track from their 2-CD album Six Degrees of Inner Turbulence (2002), and is about the first three of the famous 12 steps created by Bill Wilson. The lyrics were written by the band's drummer, Mike Portnoy, about his experience with alcoholism.
This track was often used to begin concerts since the World Tourbulence tour.
Two sequels to "The Glass Prison", entitled "This Dying Soul" and "The Root of All Evil", appeared on subsequent albums Train of Thought and Octavarium respectively. As well, these follow-up songs have lyrical and musical references to the previous ones. Also, this entire suite of songs can be considered a sequel of sorts to "The Mirror" and "Lie" (both found on 1994's Awake), as they reflect numerous thematic and lyrical ideas found in that song. Though it is clear that Mike has stated that the songs reflect his alcoholism, it is unclear how deep it ran with him. Fans wonder but highly respect his right to privacy; he has (to date) never made an official statement regarding the degree of the subject.
Mike Portnoy has also stated his intention to release all 12 steps on a future live release. This will happen as soon as the songs for steps 8-12 are finished and recorded in the studio.
This is the only Dream Theater song to feature the sound of turntables, although the effect was actually achieved by keyboardist Jordan Rudess manipulating the pitch-ribbon of his keyboard, not with actual turntables.