YTSEJAM Digest 3177 Today's Topics: 1) Rush Tribute by Matt Stanich 2) Re: Rush Tribute by Albert Balkiewicz 3) Yes/DT keys by "Tedesco, Matthew" 4) RE: odd sigs by "Blevins, Mike" 5) RE: odd sigs by "Blevins, Mike" 6) RE: two questions by "Blevins, Mike" 7) RE: YTSEJAM digest 3174 by "Blevins, Mike" 8) Re: odd sigs by The Phoenix 9) videos.. by Lauzon.Gary@ic.gc.ca (Lauzon, Gary: IHAB) 10) Wake Up! CD for sale (Dream Theater) by "Matt Wilson" 11) DREAM THEATER at Columbus, OH!!! by Dan Temmesfeld 12) Trading by "Buck Stodgers" 13) The irritating thing about prog by Phil Carter 14) Dickdickdickdickdick :) by "Christopher W. Ptacek" 15) Question for the guitarists. (sdtc) by Stephen Dedalus 16) FS:Lillian Axe:Love And War by "Kevin" ---------------------------------------------------------------------- Date: Thu, 30 Oct 1997 11:42:14 -0500 From: Matt Stanich To: email_address_removed Subject: Rush Tribute Message-ID: Hello all- Allow me to clear up some of the misunderstandings that occured with my recent post. album sounld not be made until a band is no longer around. He was > unhappy that one got made of Rush becauseit was as if people did not > take into account that Rush still created new music, sort of like a > fuenral(sp) before someone is dead. <"" I don't think many people agree with that at all! I don't... >Everyone knows Rush creates new music. I don't think a tribute >album will effect peoples view of their new music in anyway."" My point was not that a tribute should not be made until a band is dead, the point was that this is Pearts view of tribute albums. > Personally I feel that Portnoys > drumming is one of the few aspects of the album that actually is a > tribute to Rush. The point here is that on the album this is what I find to be one of the few positive aspects. I wanted to state hat although the ablum as a whole stinks, I do enjoy certain aspects to it. > Much of the music on that album is not a worthy tribute to > Rush. The singing is bad, and in general the people involved either > overcomplicated a song to the point of sillyness, or they tried to > imitate Rush to much. This is just saying that I believe the best way to tribute Rush is not by direct immitation. I believe the best way to tribute a band is to go and make your own music. Through this their influences will show, and we wil have new music to enjoy. > Rush and DT are different. If DT did blow away Rush, > why would they have preformed a tribute to them? Sorry all this is phrased incorrectly. I was trying to say that if DT had the mentallity that they were superior to Rush they never would have made a tribute. "And thats all I have to say about the war in Vietnam" FG Matt Stanich BTW the DT cover of Tears was far better than anything on the tribute album. -- ----------------------------- Scan That Mit (if ya know what that is either you're smart or I told you) "Nothing can survive in a time capsule" NP ------------------------------ Date: Thu, 30 Oct 1997 11:42:34 -0500 (EST) From: Albert Balkiewicz To: email_address_removed Subject: Re: Rush Tribute Message-ID: > > > I must say that this album is a 50/50 one for me. I saw this because I > enjoyed about 50% of the work on the album. I have to just ask one > question.. Who invited Mark Slaughter to work on this album? Were they > smoking a lot of crack when they thought to include him? What a joke.. > Slaughter is cool doing their own little thing, but doing Rush..yuck. I crack up laughing whenever I hear that first "YEAAAAHH!" that he does on there......my gawd, it's terrible. Anyway, I think Fates does a great job on Closer to the Heart, and I think Sebastian Bach does a GREAT f'in' job on Jocob's Ladder - I could listen to that constantly all day. Screw what Peart thinks of it - I could care less if he's a dick or not. If he can't appreciate people paying tribute to him and Rush, then fuck ''im. I got it for the music. I could give a shit less what he thinks......... wow.........and I'm in a GOOD mood today... :P -Al -- ^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@@^@^@^@^@^@^@^@^@^@^@^@^@^@ I inhale the sun...........I exhale the absence of light I am the number One..........burning. ^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^@^ email: email_address_removed email_address_removed HOMEPAGE:http://www.geocities.com/SunsetStrip/Towers/9280/index.html ------------------------------ Date: Thu, 30 Oct 1997 11:43:00 -0500 From: "Tedesco, Matthew" To: ytsejam Subject: Yes/DT keys Message-ID: Hello, all, ]From Neal Brown: >Kevmo:Derek::Tony Kaye:Rick Wakeman? Just a thought... KM's style is very laid >back, very quiet, like to lurk in the background. Derek is really aggressive and >flashy, and someone in 3172 mentioned he wore makeup, and everybody talks >about the dancing, and the lava lamps (wtf? what's he need those for anyway?!?)... >creepy. MOst of what Tk did in Yes was real laid back, background-type stuff, >letting Howe, Squire, Anderson, and Bruford have all the fun.... then they brought in >Wakeman, with the cape (wtf? what did he need that for? ; ) ), the flashiness, the >aggressiveness...some serious bombast there...hmmm... Interesting topic, but I don't entirely agree. (I've actually thought about this... weird). The flaw, I think, is the comparison between Kevin's and Derek's demeanor and Kaye's and Wakeman's apporaches to the keyboard (omitting he cape--hey, it was the 70's, I guess). If you approach the comparison from strictly a musical standpoint, the analogy is at best muddied, and quite possibly reverses itself. One prime difference between Yes and DT is that Yes, on the whole, was more compositional (this is debatable, of course)--you'll find more solos, more flash (along with a ton of substance, don't take this out of context) in DT's music. Excluding solos, Derek bears a stunning resemblance to Kaye, I'd say. For starters, both have a sound more akin to the organ--I'm thinking of Yours Is No Disgrace from the Yes Album, as point of reference. Both Derek and Kaye had jazz backgrounds, which bleeds into their playing. And while Kaye did play a more subtle role in the music, especially compared to Wakeman, in letting the rest of the band play a more prominent role, I&W and WDADU were by far more keyboard-centric than Awake and FII. Agreed? Take Kevin and Wakeman, on the other hand. Yeah, Kevin doesn't (didn't?) have the lava lamps, or anything to compare to Wakeman's bombast, but they both had a classical approach to the keys. Maybe Bombay Vindaloo is a poor example, but I hear a lot of Wakeman's influence from his solo stuff in Kevin's playing. They both stood a lot more prominently in the mix and in the music. Any more thoughts? MATt (yet another...) ------------------------------ Date: Thu, 30 Oct 1997 11:50:22 -0500 From: "Blevins, Mike" To: "'email_address_removed'" Subject: RE: odd sigs Message-ID: >> are exceptions). I guess I've just never understood the obsession with odd >> sigs that so many ppl here have. > >For me, it's not so much the fact that the meter changes. It's the fact that >here's a tool that the average band can't/won't/doesn't know how/is afraid to >use, that Rush/DT/whomever sprinkles around like... well, sprinkles, that >really ought to totally fuck up the way you tap your foot to the song, and >*doesn't*. It's not so much the Metro bridge type stuff that gets to me (in >this way) as it is the really subtle time changes in Peruvian, or the >perfectly-normal-feeling-until-you-count-it-out verses in Surrounded. > >When shit like that sounds like it's supposed to be there... that's magic. I've got to agree with that. DT and Rush are both brilliant at the subtle art of playing odd meter in rock music, as well as handling time/meter changes as a part of the song. It's not easy to write in this fashion and still get a good song out of it - I've heard way too many songs from bands that have "because we can" parts that take away from the composition... > ------------------------------ Date: Thu, 30 Oct 1997 11:53:42 -0500 From: "Blevins, Mike" To: "'email_address_removed'" Subject: RE: odd sigs Message-ID: >>> are exceptions). I guess I've just never understood the obsession with >odd >>> sigs that so many ppl here have. > > I guess when I discovered what odd meters were about, it was >something that was refreshing and challenging to learn. I'd been >so used to playing in 4/4 that I felt naked out of water doing odd stuff. >It's just another way to write different rthyms or solos. I don't purposely >write for the sake of odd meter but it may happen to turn out in 7, 13 or >whatever. Its the same way for scales. Actually, I've noticed that -in my personal writing - my love for odd times seems to have culminated in me writing heavily syncopated riffs in even time (12/8 seems to be a favorite), something (band we're not supposed to mention on the 'jam's name deleted) used to be masters at... > > ------------------------------ Date: Thu, 30 Oct 1997 11:56:27 -0500 From: "Blevins, Mike" To: "'email_address_removed'" Subject: RE: two questions Message-ID: > Two questions here: Does DT ever read this stuff when they're board >and laugh at our silly attempts to analyze their shit? And a totally >unrelated question, someone a while back mentioned some song with crazy >ass time sig and a really fast beat (something like 400 or so) by the >Mahavishnu Orch. Would you mind repeating it? I just got Innermounting >Flame and Bird of Fire, just curious. Excuse the bad sentence >structure. Just out of curiosity, what do you think? I hadn't heard either of these in years, and I recommended them to friend, who bought them. While we were listening to them, I realized I had forgotten just how crazy MO's stuff actually was. Mike NP: Chasing Time - Fates > ------------------------------ Date: Thu, 30 Oct 1997 11:58:54 -0500 From: "Blevins, Mike" To: "'email_address_removed'" Subject: RE: YTSEJAM digest 3174 Message-ID: >>I once heard that Stairway was the most played song on radio, ever. But >>I've always kind of doubted that. . . for one thing, it's eight minutes >>long. I've heard it a number of times on the radio, but _nobody_ plays >>eight minute songs anymore. . . I would have thought something else (I >>also heard something about the Rolling Stones' 'satisfaction' being one of >>the biggest songs ever, which I think is credible). Also, you hear some >>pseudo-punk pop song every 15 minutes when you listen to radio. . howcum >>they aren't the biggest? > >That was probably true through the mid to late 80s. That is a long time to >get a lot of airplay from the early 70s. I don't think that it is true now >because radio has changed so much since then. Radio is just one big >marketing ploy to buy the crap that is out there. But there are still "Classic Rock" stations in just about every market, and they're usually pretty successful. Maybe that should tell radio something? :) BTW, to add fuel to this fire, does anyone know what the most played song in FM radio history is? It's not "Stairway...", either... Mike ------------------------------ Date: Thu, 30 Oct 1997 11:07:34 -0600 (CST) From: The Phoenix To: Multiple recipients of list Subject: Re: odd sigs Message-ID: On Wed, 29 Oct 1997, James Thorpe wrote: > Exactly!! > hehe. I would always get a kick watching people try to > headbang to DT :) Or the way the people tried to clap their hands in the middle of PMU on LATM. And then the rhythm changes and they are all confused and everything :) -~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_- | Robert Taylor The world may seem flown away | | email_address_removed Almost as if it cannot be saved | | The Phoenix Will we be able to rise | | From these ashes we've sown | -~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_- ------------------------------ Date: Thu, 30 Oct 1997 12:16:44 -0500 From: Lauzon.Gary@ic.gc.ca (Lauzon, Gary: IHAB) To: email_address_removed ('DT') Subject: videos.. Message-ID: <1997Oct30.114218.1255.1160486@msmail.ic.gc.ca> >The Silent Man (only distributed in Europe). My friend claims to have seen it on Much Music (which is our MTV here in Canada). Gary ------------------------------ Date: Thu, 30 Oct 1997 12:12:06 -0500 From: "Matt Wilson" To: Subject: Wake Up! CD for sale (Dream Theater) Message-ID: <01bce556$f2c0c8c0$9bbc440c@matt> Hi, The setlist for Wake Up! is as follows: CD1 (50:19) 1. Pull Me Under 2. 6:00 3. Take The Time 4. Caught In A Web 5. Lifting Shadows Off A Dream 6. Instrumental CD2 (56:40) 1. Instrumental 2. The Mirror 3. Lies 4. John Myung's Happy Birthday 5. Another Day 6. Erotomania 7. Voices 8. The Silent Man 9. Metropolis (Part One) Recorded live at the Urawa Bunka Center, Saitama, Japan, January 24th, 1995 Soundboard Quality $35.00 Seroius inquiries only please E-Mail: email_address_removed Thank You For Your Time. ------------------------------ Date: Thu, 30 Oct 1997 12:17:22 +0000 From: Dan Temmesfeld Subject: DREAM THEATER at Columbus, OH!!! Message-ID: All I can really say is that this was the best show I have EVER been to...period. I was breathless afterwards. So tight, so insanely talented and right on in about every song. The only drawback was that there were no t-shirts, but when they started playing, I forgot all about that... plus with the extra money, I bought a ticket to go see Testament at the same place (the Al Rosa Villa) for only $8!! GO SEE DREAM THEATER IF THEY COME ANYWHERE NEAR YOUR CITY!!!!!! Even if you don't like them, per se, you will be blown away by their musicianship... for those who aren't interested, or don't want SPOILERS...ignore this. *****SPOILER******SPOILER******SPOILER******SPOILER******SPOILER***** *****SPOILER******SPOILER******SPOILER******SPOILER******SPOILER***** Here's what they played (not in order): -Lines in the Sand (w/ James singing Doug's parts on the chorus) -Under a Glass Moon -Puppies on Acid (ie- the instrumental intro to "The Mirror") -end part of The Crimson Sunrise into Innocence (from ACOS) -Scarred -Peruvian Skies -Voices -Pull Me Under -A New Millenium (w/ Myung playing a Chapman Stick bass) -Ytsejam (w/ solos) into a jam and then into... -end part of The Inevitable Summer and then The Crimson Sunset (from ACOS) -Hollow Years -Just Let Me Breathe -Burning My Soul ENCORE: -Metropolis Part 1 totalling roughly TWO HOURS!! Highlights: -John Myung's playing...wholly crap!! He's ferocious on that bass. -"Scarred," "Under a Glass Moon," "Metropolis" and "Voices" Dan ---+ +--- Dan Temmesfeld - dantemm (at) erinet (dot) com Galactic Cowboys on the Web...muh!? http://www.cedarville.edu/student/s1133627/gcowboys.htm ---+ +--- ------------------------------ Date: Thu, 30 Oct 1997 12:23:27 -0500 From: "Buck Stodgers" To: Subject: Trading Message-ID: Hello, Could those that I had trades in process with let me know if the tapes have arrived (Mika, Bellardine, Swifty). They went out a month ago and I haven't received word from you fellas on the receiving end. Sorry to clutter the jam. Buck Stodgers Milkman to the Stars ------------------------------ Date: Thu, 30 Oct 1997 12:40:15 -0500 (EST) From: Phil Carter To: A Ytse Beside Itself Subject: The irritating thing about prog Message-ID: Greetings ye 'jamanoids... I was listening to Metropolis Pt. 1 last night for what must be the 5 millionth time. I still have trouble following all the time and rhythm shifts. Insane...:) What is it about prog that makes us love time and rhythm shifts? That's kind of a really irritating thing about some prog bands: when you're listening to it for the first time and you're trying to drum (or air guitar, or air keyboard) along with it, you fail miserably because they're going in a completely different direction than the one you expect. But it can be kind of cool, too -- like when you're cruising along with your friends and blasting Symphony X's "Pharaoh," with all the rhythm shifts in that one, and you're nailing every time change perfectly, whie your friends are trying to drum along and looking confused and lost. But loving it. :) On a sort of related note: Does anybody else think Stratovarius is at their best when they're not trying to assault you with a full speed blast of metal? I'm listening to "Episode" now, and the fast songs are great, but the ones I think they really shine on are the slower ones like "Eternity" and "Babylon". Which Stratovarius disc should I get next, Ytsefolk? Cheers, Phil ===================================================================== Phil Carter -- email_address_removed (work), email_address_removed (personal) Tech Support, NorthEast Georgia Internet Access, 546-5787 "Music washes away from the soul the dust of everyday life." -- Berthold Auerbach Currently playing: Stratovarius -- "Episode" ------------------------------ Date: Thu, 30 Oct 1997 11:55:41 +0000 From: "Christopher W. Ptacek" To: email_address_removed Subject: Dickdickdickdickdick :) Message-ID: > > But I would take it one step further. Are math and languages > >really so far apart? They always seem like opposite ends of the spectrum, > >but is that really the case? > > Well, it depends. When I was in jr. high and high school, I was a wizard > at algebra, trig, and calculus, but I hated English mainly for the > literature side of it. Then I went to college and figured out that I > love grammar. ARGH! This shit can not get much more UNRELATED to the topics this list is made for. PLEASE consider taking this discussion private, for the 5 people (out of 800) who are actually reading and enjoying it. This thread is a wee bit out of control... 8 jams a day is cool, when it's DT or prog or music related discussions... but this... ? > DT rulzzzzzzz! they're like da b0mb, d00d! > > Did you see James at Toad's? his ass is soooooooo cUte! and JP is sooooooooo > h0t! Why are you posting this drivel? I would really love to see a tally of all the members of this list who think this is tasteful / amusing / intelligent. > > Come on people! This the Ytsejam! Not the Ytsewhine! This is a list > > for people who are fans of DT, who support their music and who recognize > > their incredibly brilliant talent! A list for reasonable intellegent > > discussion. But lately.....? > > If what you're asking for is blindly supporting DT then it would look like > some alternative music mailing list (I'm making a dangerous assumption, oh > well...) Ignorance is bliss. Serrousi, please get a grip on reality before posting. She's simply commenting on an observation that most have made already... that all the whining and moaning that's been going on here is not related, for the most part to DT, and is for the most part, nonsensical opinions from people who think they possess some profound understanding of the way humans function.. I think she was making a plea to your (everyone's) sensibilities, to perhaps question the reasons for posting. Too many people posting for posting's sake... you wouldn't know anything about that, would you? You're being a dick. But don't take that too seriously. Attention Chicago Show Attendees: E-mail Me As Soon As Possible! Chris Ptacek email_address_removed http://www.prognosis.com/madsman Go Home and Practice! ------------------------------ Date: Thu, 30 Oct 1997 09:51:35 -0800 (PST) From: Stephen Dedalus To: Multiple recipients of list Subject: Question for the guitarists. (sdtc) Message-ID: Greetings friens, I have two questions, one pertaining to DT. I'll ask the other first. I've asked before about how one should keep one's hands warm at a cold or outside gig. I've heard somewhere that Marty Friedman takes these pills from Health-food store which have Kayan pepper in them. They don't disturb digestion at all, but from what I've heard, they warm you up considerably. Has anyone heard of these? I have very thin fingers, so it takes more than JP's massage techniques to warm my nervous hands. My second question has to do with the Silent Man. I'm blind, so I learn most of DT's stuff by ear. I easily learned most of that song, but when it gets to the chord break right before the solow, my transcribing chops failed. Can someone enlighten me on how that chord break goes exactly? I already know half of it, up to the point where heputs a couple different triads over the D-string, but when he gets back down the neck, I can't hear whats' goin' on. If you can, I'd like more than, "Well it's a Bbsus4 that resolves to an F." I could easily come up with something like that myself. OK. Long post? I think Yeeeeah! Be well. Matt B P.S. Respond *privately* or with a custom-taylored subject oine if to the Jam. "No man is an island? Pok. Rubbish! Every one of us is an island. If it were not so, we should go mad at once. Between these islands are ships; airplanes; telephones; wireless; what you will, but they remain islands. Islands that can sink or disappear forever." (John Fowles, The Magus) ------------------------------ Date: Thu, 30 Oct 1997 12:03:29 -0600 From: "Kevin" To: Subject: FS:Lillian Axe:Love And War Message-ID: Sorry to be a bother, but if there are any Lillian Axe fans on here, I've got their second cd "Love And War" up for auction if you're interested. Very rare and very out of print. Opening bid is $15 (High bid so far). E-Mail me at email_address_removed Also, I'll go $18ppd for anyone who wants to buy the two Tempest cds from Magna Carta (or $10ppd each). Thanks, Kevin. ------------------------------ End of YTSEJAM Digest 3177 **************************