Contents:
Re: Damn the Machine (Mike Hutchinson <hutchins@software.org>)
Re: wdadu/live (whit8275@cs.fredonia.edu (Chris White))
T-SHIRTS - HERE IT IS (Jason Hough <jason@jester.cts.com>)
beginning of take the time (lerxst@Esy.COM (A Lerxst in Wonderland))
Live in Long Island (stefan-a@dsv.su.se)
RE: Lee and Myung (63826688@uwwvax.uww.edu)
RE: wdadu/live (I LOVE PICKLES <SCRIVANO_GAR@CCSUA.CTSTATEU.EDU>)
Re: P vs. P (JUST TAKE MY HEART WHEN YOU GO <AMENEGAT@VAXC.STEVENS-TECH.EDU>)
Rush vs. DT (JUST TAKE MY HEART WHEN YOU GO <AMENEGAT@VAXC.STEVENS-TECH.EDU>)
Re: Rush vs. DT... ENOUGH!!!! (AMG0033@VAX2.QUEENS-BELFAST.AC.UK)
Re: P vs. P (ccoprdr@acme.gatech.edu (Dave Re))
Re: P vs. P (ccoprdr@acme.gatech.edu (Dave Re))
various from YTSE 341 (Michael Burstin <mikeb@cs.brandeis.edu>)
Re: Rush vs. DT... ENOUGH!!!! (ccoprdr@acme.gatech.edu (Dave Re))
various... reply to YTSE 342 (Michael Burstin <mikeb@cs.brandeis.edu>)
Barf Bag (William T Bajzek <impaler+@CMU.EDU>)
Re: Is Learning To Live a "perfect song" (ASILVERM@umiami.ir.miami.edu)
Re: Rush vs. DT... ENOUGH!!!! (ASILVERM@umiami.ir.miami.edu)
Re: YTSEJAM digest 341 (mozo21@aol.com)
new bootleg (William T Bajzek <impaler+@CMU.EDU>)
Porntoy vs. Ulrich? (zack@lsil.com (Zack Gemmill))
Re: P vs P (ccoprdr@acme.gatech.edu (Dave Re))
----------------------------------------------------------------------
Date: Thu, 10 Mar 1994 10:30:50 -0500
From: Mike Hutchinson <hutchins@software.org>
Subject: Re: Damn the Machine
> Seats? I remember seeing DT at the Manhattan Center (w/ Damn
> the Machine) - and there were no seats.....the crowd was insane when DT
We've probably been through this before, and it's not particularly
DT related, but what does everyone think of Damn the Machine?
I get the impression that they're in the same heavy-progressive vein as DT,
but I've never heard any of their tunes and their album is hard to locate.
I'm thinking of picking it up from the Columbia CD club, so if anyone could
comment on their style of music, abilities of the band members, lyrics etc.
I'd appreciate it.
Thanks
Mike
------------------------------
Date: Thu, 10 Mar 94 10:48:28 EST
From: whit8275@cs.fredonia.edu (Chris White)
Subject: Re: wdadu/live
Both LatM (Live at the Marquee) and WDADU are AWESOME albums to get!
Especially WDADU in my opinion. Only because it has different songs than I&W
though. But if you have the cash, get them both! You won't be sorry! :)
Chris
------------------------------
Date: Wed, 9 Mar 1994 22:52:24 -0800 (PST)
From: Jason Hough <jason@jester.cts.com>
Subject: T-SHIRTS - HERE IT IS
(I posted this almost a week ago, but since listserv was down it didnt
make it through. sorry!)
HERE IS WHAT WILL BE ON THE SHIRT. LIKE IT OR NOT! :)
Front:
3"x3" majesty logo on left breast. In red.
"Ytse Jam
-
The Internet Mailing list" centered underneath in small black text.
Back:
"DREAM THEATER" in the usual DT font, in black text.
"Let the light surround you..." in glow with black outline underneath.
Shirt colors: White or Ash
Shirt Sizes: S to XXXL. (anything above XL is $2 extra)
Cost: Approximately 12$ each, includes shipping in the USA.
I think it would be MOST cool everyone paid $15 each and we used
the extra cash to send a shirt to each of the band members.
If you'd like to do that then please let me know in your order and I will
see if we can get enough.
NOTE: I can't please everyone, but I can tell you that we can easily get
other shirts made. For reasons that are at least obvious to me I don't
want to do more than one shirt at a time.
If someone out there wants to organize a "Balls and Chunk" shirt, create
the design, take the orders, and then contact me, I'll get them made and
send them out.
ORDERS: Send mail to ME, NOT THE LIST.
either to: jason@jester.cts.com
or : jhough@qualcomm.com
please put SHIRT ORDER as your subject.
I will take orders until MARCH 16th. Once I get the total count and see if
there is enough interest in making shirts for the band too, I will post
the final cost and address to send your checks, cash, etc.
Thats all for now!!
Jason Hough
ytsejam-owner
-----------------------------)
Jason Hough - jason@jester.cts.com
Nextmail is fine
"I'm ashes on the water now, somewhere far away..." -Marillion
(-----------------------------
------------------------------
Date: Thu, 10 Mar 94 10:03:12 CST
From: lerxst@Esy.COM (A Lerxst in Wonderland)
Subject: beginning of take the time
the last time i saw dt in houston, they played that new intro to take the time.
supposedly kevin thought the old intro was too cheesey. anyway, on the set
list that i snagged, it is called "pup", dunno if this is an acronym for some-
thing, like when we say "pmu" for "pull me under", or maybe it is something
like "too many puppets" :) obscure primus/metallica allusion there....
anyway, that is what it was labeled, but everything else is abbreviated on
there, like "live", "time", "stat", etc, so it probably is something longer...
"throw off those chains of reason, and your prison disappears." np '78
****************************************************************************
*Brian V. Cox *"You and I long to live like wind upon the water*
*Texas A&M University * If we close our eyes, we'll maybe realize *
*(214)553-9159 * There's more to life than what we have known *
*lerxst@esy.com * And I can't believe I spent so long *
*************************** Living lies I knew were wrong inside *
* "What you believe is * I've just begun to see the light..." *
* What you are...Therefore* -Queensryche "Anybody Listening?" *
* I am nothing" -Brian * "Machines have no conscience..." -Qryche NM156 *
****************************************************************************
------------------------------
Date: Thu, 10 Mar 94 17:20:35 +0100
From: stefan-a@dsv.su.se
Subject: Live in Long Island
Hello!
I have a copy of "Live in Long Island" that I want to trade. I'm interested in
demos with DT. If interested, please e-mail me at: stefan-a@dsv.su.se
Here's some more info on the disc:
- Live in Sparks Club 04.10.1992
- Sheet contains band history written in German (!)
- Track listing:
1. Intro
2. Metropolis part 1
3. Under a glass moon
4. Only a matter of time
5. Surrounded
6. Pull me under (mislabeled as "Status seeker"...)
7. The ytse jam
8. Guitar solo
9. Another day
10. The killing hand
Stefan
------------------------------
Date: Thu, 10 Mar 1994 10:37:32 CST
From: 63826688@uwwvax.uww.edu
Subject: RE: Lee and Myung
Hey All! First off, this letter/critique was very neutral & very honest. It's
about time someone can do that. The only argument that I have is w/ the choice
of the "should have stuck w/ the Steinberger". I have to disagree w/ that. I
myself play a Rickenbacker 4001 just like the one Geddy used to play. The sound
that you get from the Rick is beautiful. In the albums up to about Grace Under
Pressure, Geddy used this sound to make his recordings. In concert was the
only time when he used the Steinberger. W/ the Rickenbacker, you can
easily tell that Geddy is being played.
Rush does have a very distinctive sound. The only time they don't
is during the transition period of 1984 & 1985. Geddy only used the Steinberger
for the P/G tour. After that, he was inroduced to the Wal bass by Peter Collins,
who produced Power Windows, Hold Your Fire & the latest effort, Counterparts.
>From that point on, Geddy had found another distinctive sound.
Just another friendly opinion from the state that brings you Miller
products. Keep on Rockin...
Take It Eazy
Nikolai
------------------------------
Date: Thu, 10 Mar 1994 11:43:18 -0500 (EST)
From: I LOVE PICKLES <SCRIVANO_GAR@CCSUA.CTSTATEU.EDU>
Subject: RE: wdadu/live
live at the marquee is really good, also WDADU is good only they have a
differnt singer Charlie dominicci
------------------------------
Date: Thu, 10 Mar 1994 12:05:02 -0400 (EDT)
From: JUST TAKE MY HEART WHEN YOU GO <AMENEGAT@VAXC.STEVENS-TECH.EDU>
Subject: Re: P vs. P
True Zonder is one of the greatest drummers that i have ever heard.
One his songs with fates warning he adds a lot of little subtle percusive
effects. Some of these he does not include in his live shows but he still
blew my mind away. The reason he doesn't include these parts in is that he
beleives that when you play live most of them aren't heard anyway. He still
plays great and the parts he does on the album that he doesn't do live are
miniscule and not missed live.
Tom
------------------------------
Date: Thu, 10 Mar 1994 12:16:02 -0400 (EDT)
From: JUST TAKE MY HEART WHEN YOU GO <AMENEGAT@VAXC.STEVENS-TECH.EDU>
Subject: Rush vs. DT
No one is saying that Rush didn't have any in luence on thousands of
other bands and musicians. just because the started a trend doesn't mean that
noone has been able to expand on their theme. All these bands that have done
so aknowledge the fact that Rush has been a big influence on them. This does
NOT mean that they are the be all end all to progressive music. Can you imagine
if Rush was the last good thing to come from the Prog metal scene? It would die
so quickly!
As for Yngwie.... I know that Johansen isn't with Malsteem any more.
The point I was trying to make was that Kevin Moore cited Johansen as one of
his biggest influences. Johansen also ranks up there with Moore. The only
differnece is that he wasn't in a situation that he could express himself
as much as moore has. Remeber the band was called 'yngwie malmsteem' and he
was the main focus of the band. I also agree with the fact that his albums
haven't been as great since Eclipse but i still like his style. Jsut my opinion
See ya
Tom
------------------------------
Date: Thu, 10 Mar 94 14:54 GMT
From: AMG0033@VAX2.QUEENS-BELFAST.AC.UK
Subject: Re: Rush vs. DT... ENOUGH!!!!
>Every DT member (with the exception of Moore and LaBrie) was influenced
>by Rush...
>in the cases of Myung, Portnoy, and Petrucci, the three of them were
>influenced by Lee, Peart, and Lifeson (respectively).
OK, Portnoy is obviosuly influenced by Peart, but I don`t hear too many
Lee influences in Myungs playing, and no Lifeson influence in Petrucci`s
playing... I do hear influences of Yngwie Malmsteen and Al DiMeola(an
awesome Jazz Fusion guitar instrumentalist) in Petrucci`s playing though,
and he has said this... I still think Petrucci is a better all round
guitarist than both though.. actually Malmsteen has done 2 great albums
Rising Force and Trilogy, but everything from Eclipse onwards has
nosedived into mediocrity....
Also, I don`t think it`s necessary to appreciate Rush to like DT and
vice versa... I really like Dream Theater, but can`t stand too much
Rush, in fact of the 6 Rush albums I`ve heard, I only like Counterparts,
I found the others rather boring...
I haven`t heard any Rush material as complex and interesting as say
"Take The Time", "Learning To Live" or "The Killing Hand" ... of course
this is not to say there isn`t.. just I havent heard it yet...
As for who`s the better bassist/drummer, well does it really matter?,
I enjoy Myung over Lee but doesn`t mean he`s a better bassist... aslo
I totally hate drum solos, no matter who it is, and this includes Lee
(ooops, I meant Peart) and Portnoy... both do a great job for the
respective bands.... but neither is my favourite drummer, that goes
to Ted Kirkpatrick from Tourniquet...
Also does anyone know if A change Of Seasons appears on any other bootlegs
apart from Dance Of Eternity and Live In Long Island??
Clive.
------------------------------
Date: Thu, 10 Mar 1994 13:39:51 -0500 (EST)
From: ccoprdr@acme.gatech.edu (Dave Re)
Subject: Re: P vs. P
> old and AMAZING) had the following comment about Portnoy: "Play a FILL
> for once, would you?!?!" Portnoy is very accurate with rhythms and timing,
Meaning: "Play a fill" or "Just play a fill, not a solo"??? I'd say
if its the former, your drummer just isn't listening to what's going on.
Mike is all over the damn place. So what if doesn't play a fill every ten
seconds of the damn song. His transitions are carried off beatifully. He plays
plenty of fills. In some people's opinions, too many.
> all of DT has shown great ability to play extremely tight on very complex
> (for rock) material, but the scope of what Portnoy does is rather limited.
The scope of what DT does is *limited*. They're not free form fusion
jazz. That's about the only kind of music where Mike could play *more* and
get way with it.
> It usually doesn't stray too far from the bass and snare, and the rhythms are
> usually locked in with the rest of the band.
And what's wrong with that?? It makes the band sound tighter as a whole.
There's definately something to be said for guys who can play a really
complicated rhythm along with the band, and change that rhythm up to fit
his mood, and still stay tight with the band, and then make transitions
*without* playing long, extended, bogus fills. It takes a lot of talent
and listening to the rest of the band to accomplish that. Any drummer
who doesn't stay "locked in with the rest of the band" is doing exactly
one thing: overplaying. The drummer is not there to be a soloist. He has
his parts to stretch in, of course. And fills aren't evil, as long as they're
tasteful, fit in the music, and don't extend for three years. However,
not locking in with the band usually ends up with band falling flat on their
faces and the audience getting *really* disinterested.
> In my opinion you (and others in the Myung/Lee comparison thread) are not
> distinguishing what Rush CAN do as opposed to what they CHOOSE to do. There
And you appear to be one of those "Rush are gods" goons. How do *you*
know what they can do?? Did you go ask Neil if he can play everything that
Mike Portnoy can play??? Did he tell you "Yes, I can"???
Here it comes, folks, another "Neil Peart is God" jihad.....
> play, or vice versa. Whether Portnoy can "compose" his drum parts with the
> same imagination and variety as Peart remains to be seen. I'm not saying
> he can't, he just hasn't yet.
Frankly, of late, Neil hasn't played anything, *ANYTHING*, original. He's
repeating everything he's done. His new stuff bores the hell out of me.
I can still listen to Moving Pictures and get real moved by the drum parts,
but the last 4 or so albums really stink as far as "imagination and variety"
go on the drums.
Yeah, this argument is ridiculous. I just can't help flaming someone
for bashing someone who's doing what they're supposed to be doing......
-- Dave Re |"I am your master, when you're all alone. OIT/TS/ISD | You can come to me child, when you're without home. ccoprdr@prism.gatech.edu | I will share your pain, of long lost dignity. | Happiness evades you, you'll get no sympathy." | "Father of the Night", Crowdad "Huh huh. You want cash, or should we go spank the monkey again? Huh Huh." "Beating heads on the Early Warning soul train..........." "Huh huh. He's fallen, and he can't get it up. Huh huh..."------------------------------
Date: Thu, 10 Mar 1994 13:41:48 -0500 (EST) From: ccoprdr@acme.gatech.edu (Dave Re) Subject: Re: P vs. P
> it don't matter who's better, Peart or Portnoy... cause Zonders is far > more technically better than either of them...
"Technically", meaning "chops", I'd have to agree. As far as tasteful playing goes, however......
-- Dave Re |"I am your master, when you're all alone. OIT/TS/ISD | You can come to me child, when you're without home. ccoprdr@prism.gatech.edu | I will share your pain, of long lost dignity. | Happiness evades you, you'll get no sympathy." | "Father of the Night", Crowdad "Huh huh. You want cash, or should we go spank the monkey again? Huh Huh." "Beating heads on the Early Warning soul train..........." "Huh huh. He's fallen, and he can't get it up. Huh huh..."
------------------------------
Date: Thu, 10 Mar 1994 13:54:35 -0500 (EST) From: Michael Burstin <mikeb@cs.brandeis.edu> Subject: various from YTSE 341
Well, as always, it seems like I have alot of comments to make, so here goes...
> Date: Tue, 8 Mar 94 11:05 GMT > From: AMG0033@VAX2.QUEENS-BELFAST.AC.UK > Subject: Re: A Change Of Seasons > > It`s on the Live In Long Island bootleg, the very last live song on > disc 2, just before the 4 majesty demo`s > I know it`s been done at least a few times live... > Well, I have not heard the disc, but I have a copy of the show from a video, and they don't do ACOS there... As I said, I have not heard this disc, but it it possible that the makers of the CD stuck on ACOS from another show, as they did with the majesty stuff?
> ------------------------------ > > Date: Tue, 8 Mar 94 11:47 GMT > From: AMG0033@VAX2.QUEENS-BELFAST.AC.UK > Subject: RE: wondering stuff... > > > Anybody know what the bit at the start of Take The Time on the video > is called?
It is either Pup, or Puppies on Acid, depending on where you see it, or who you talk to... I normally just call it Pup...
> > Also, does anybody else think, that the choice of songs for the video > could have been better?.. i.e *I`d* like to have seen The Killing > Hand and Learning To Live rather than the drum solo and Fortune In Lies. > Well, I too would much rather have seen Learning To Live instead of Under A Glass Moon...
> ------------------------------ > > Date: Tue, 08 Mar 1994 09:02:37 -0400 (EDT) > From: JUST TAKE MY HEART WHEN YOU GO <AMENEGAT@VAXC.STEVENS-TECH.EDU> > Subject: Re: AOL's opinions on DT > > > If you are going to take the time to give us your opinion at least get > the facts straight. Lets start with your statement about Kevin Moore.
Let me just say one thing before you start flaming people is that I copied the text from AOL, and that the origional posters of the messages are not here (I don;t think so, at least) to defend themselves. With that, I'll leave this topic alone...
> ------------------------------ > > Date: Tue, 8 Mar 1994 9:40:03 -0500 (EST) > From: I LOVE PICKLES <SCRIVANO_GAR@CSUSYS.CTSTATEU.EDU> > Subject: RE: wondering stuff... > > The Gorilla Session is a John Petrucci solo. I have it on one of my > bootleg tapes. As for the Gates of Babylon well, I can't say that I know > what that is. My guess would be another guitar solo. As far as Metropolis > being their first song, every concert that I've seen them play it's been their > opening song ( I saw them play live twice ). Also all the bootleg stuff I have > of them starts out with Metropolis. Personally I've never heard the intro > to Metropolis (not that I can recall!) later, Gary > Yeah, Gorilla Session is a demo... I am not sure if Gates Of Babylon ever made it past Majesty... I have a bootleg tape of a Majesty performance (yes, that't right, live Majesty) that has it, but have never seen it anywhere else... Also, as far as Metropolis being first, on all the shows that I have (something like 25), they ALWAYS have started with Metropolis... not that this means anything... after all, w/o DoE or the videos from the same show, who would know of ACOS?
> ------------------------------ > > Date: Tue, 8 Mar 1994 11:04:06 -0500 (EST) > From: William T Bajzek <impaler+@CMU.EDU> > Subject: Re: album titles. > > actually, according to john it's "Barf Bag", because he wrote down the > arrangement on a barf bag on an ariplane coming home from his > honeymoon... this comes from his column in guitar world.
Is this (solo after Forever) really Barfbag? Never heard the name anywhere... anyone else know about this? (I usually like to have 2 sources for a song name before I call it by that name)
> ------------------------------ > > Date: Tue, 8 Mar 1994 11:47:21 -40962758 (MST) > From: Michael Bahr <garion@indirect.com> > Subject: Re: wondering stuff... > > > > > I was just curious and wanted to know if when DT does Take the Time live, > > to they always play the big solo part at the end? If not, how do they end? > > > > I know that they don't always play the long version of To Live Forever. > > Does anyone know if the end has a special name or anything? > > The long instrumental section at the end of To Live Forever on > the video, is called Moon Bubbles at other shows. It changes very little > in structure from show to show, but Petrucci improvises the phrasing. > Actually, sorry to say, but this is not Moonbubbles... Moonbubbles is the solo before Another Day (I am not sure if I sent you a tape with it, but Moonbubbles is on Sparks Theater, Home Sweet Home (same show), The Cabaret, Osaka, and The Bayou in D.C.).
> ------------------------------ > > Date: Tue, 8 Mar 1994 15:23:48 -0800 (PST) > From: The Ancient Mariner <maxk@leland.stanford.edu> > Subject: Re: various comments > > > I'd much prefer to see them in small venues. When I see DT, I want to be > > able to get a seat in the first two rows, like I did last time. > > Seat? Do you like to sit during a concert? I'd much rather see them in a > large concert hall with a huge crowd, so that the whole place could go wild > instead of "sitting" anywhere. > I think that by seat, he means room in the first 2 rows... when I saw them, it was actually in a tent! There were seats there, but everyone stood and shoved the seats out of the way... I ended up rushing the stage, and there were 2 people between me and the fence in front of the stage... INCREDIBLE!!!
> ------------------------------
-- +----------------------------------------------------------------------+ | The way your heart sounds makes all the difference | | It's what decides if you'll endure the pain that we all feel | | The way your heart beats makes all the difference | | In learning to live | | Dream Theater Learning To Live Images and Words | | Michael Burstin Brandeis University | +----------------------------------------------------------------------+ | Let's Go Pens Let's Go Pens Lets Go Pens Let's Go Pens | +----------------------------------------------------------------------+ For info about Dream Theater, finger mikeb@cs.brandeis.edu
------------------------------
Date: Thu, 10 Mar 1994 13:58:12 -0500 (EST) From: ccoprdr@acme.gatech.edu (Dave Re) Subject: Re: Rush vs. DT... ENOUGH!!!!
> As for the claim that Portney doesn't have the $$ to do what Peart does... > please! Folks, just about everything taught today about proper drumming in > rock was pioneered by Peart (Portney should know - he went to Berklee.).
Just hold on a minute here so I can laugh my ass off. This is too much. I'm sorry, but you are *HORRIBLY* misinformed. Really. First off, the cats are Berkeley could give a crap about rock. Second, what the hell is "proper drumming in rock"??? I can guaran-damn-tee that drum profs at Berkeley don't get up there and say "Ok, now here's the Neil Peart double-stroke roll applied to going around the toms". Naw. Ain't gonna happen. Sorry. Most of the guys who invented that stuff are *DEAD*. Howdya like that?? Buddy Rich, guys like that. Hey, guess what, they were *Peart's* influences. Ringo Starr. Yep, the man actually played most of his drum parts. Need I go on???
> A classic example was the one-handed snare roll. But, don't take my
Oh god. First off, THERE IS NO SUCH THING AS A "ONE-HANDED ROLL". Its a trick that takes a lot of practice, but you can still hear separations between strokes, etc. Its not a roll. Its an extened multiple bounce. Second, he didn't invent it. He didn't invent anything that he plays (except for some of his triggered sounds). Noone left alive has invented anything that they play. Some people rip-off other better, thats all.
> now. If *that* doesn't convince you, consider the fact that Portney's > entire set is the EXACT SAME set that Peart used in the Grace Under > Pressure tour (not counting MIDIs and triggers, which have obviously > improved with age).
Nope. Sorry. You're wrong there, too. Before you go throwing words like "exact" around, I suggest you think about what they mean. Beyond that, Mike is only playing an 10 piece kit. 3 toms, two floors, 2 kicks, a snare, and two timbales. Neil's acoustic kit is somewhere around 13 to 14 pieces (add in a couple concert toms and a gong bass drum). Plus, Neil has many more non-traditional drum set instruments. On the kit he played before he went electronic, he had a xylphone, orchestra bells, chimes, wind chimes, temple blocks, wood blocks, etc. Mike has an LP Jam-Blok (quasi woodblock), wind chimes, and a tambourine. Maybe a cowbell, as well. I won't even get into cybmals. Needless to say, both cymbal setups differ *significantly*.
Come on, people. Don't flame with wrong facts. Beyond that, what a person plays, instrument wise, has nothing to do with who they sound like, who their influences are, etc. Saying that, just because I play a kit with two toms upfront, two floor toms and a kickdrum means that I play just like drummer X with band Y is real stupid.....
-- Dave Re |"I am your master, when you're all alone. OIT/TS/ISD | You can come to me child, when you're without home. ccoprdr@prism.gatech.edu | I will share your pain, of long lost dignity. | Happiness evades you, you'll get no sympathy." | "Father of the Night", Crowdad "Huh huh. You want cash, or should we go spank the monkey again? Huh Huh." "Beating heads on the Early Warning soul train..........." "Huh huh. He's fallen, and he can't get it up. Huh huh..."
------------------------------
Date: Thu, 10 Mar 1994 14:06:38 -0500 (EST) From: Michael Burstin <mikeb@cs.brandeis.edu> Subject: various... reply to YTSE 342
> Date: Wed, 09 Mar 1994 09:23:13 -0400 (EDT) > From: "AN ANGEL'S KISS...NOW FALLEN...." <ABALKIEW@VAXC.STEVENS-TECH.EDU> > Subject: Re: various comments > > Seats? I remember seeing DT at the Manhattan Center (w/ Damn > the Machine) - and there were no seats.....the crowd was insane when DT came > on - it came to the point where people were actually stage-diving to stuff > like "Surrounded" - jst totally weird....even Mr. LaBrie got pissed at a > point and, after throwing one dude off the stage after being bumped into > (which was great!), he basically said "Calm down, or we won't (be able to) > continue.
I don't remember which video it was on (it might be Toad's Place in New Haven) but there was a point where people I guess were stage diving and James yells out in the middle of a song "What the f*ck is going on here?" I think that it was in the middle of an instrumental portion, so he was calm once the lyrics came back, but I would really think that something like this would be really annoying to the band if they were in the middle of a song and trying to concentrade on the music...
> ------------------------------ > > Date: Wed, 09 Mar 94 17:01:29 EST > From: mozo21@aol.com > Subject: Re: YTSEJAM digest 340 > > Mike B asks if Change of Season was done anywhere else. > > Well, I saw Theater play that song on June 9, 1990 at Sundance, Bay Shore, > NY. Here's the catch though: It was an instrumental. On this night they > also debuted their new lead singer who came out for the last song. I think > this song was Metropolis, but I'm not sure. > Anyway, The guy really sucked. I think it was Steve(?) Stone because he > sounds familiar on the Audition tapes. > I guess the reaction was pretty bad, because the guy was promptly canned! >
I am not sure if I sent the tape to you or not, but I have that show on tape... It is possible that it was Stone, but the tape that I have doesn't have any vocals at all... (Including Metropolis).
> ------------------------------ > > Date: Wed, 9 Mar 1994 19:03:42 -0500 (EST) > From: "TIMOTHY LODGE, STUDENT GOVERNMENT PRESIDENT, CCSU" <LODGE_TIM@CSUSYS.CTSTATEU.EDU> > Subject: DT: Live in Osaka > > I recently got the live show from Osaka, Japan. > The good part: There is like 0 crowd noise! Except for a really > vague crowd roar. Its like when james says "Is anyone out there!!!" > You hear just about silence. So it almost sounds like a studio recording. > Moonbubbles sounds VERY GOOD. You can pick out almost every note > petrucci plays. > The bad part: James Labrie HAD A BAD BAD COLD OR SOMETHING. His voice > is AWFUL! His voice cracks on more than 1 song and he struggles on > alot of notes. > Yeah... this was a terrific show... I don't remember any Japanese tapes where you can hear the audience at all... maybe that's why so many bands release videos from Japan...
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One last topic is that I really don't see this arguement between Myung/Lee and Portnoy/Peart going anywhere... I really think that it is completely a matter of opinion, and don't think that you will ever be able to convince anyone what you think... anyway, until later...
-- +----------------------------------------------------------------------+ | The way your heart sounds makes all the difference | | It's what decides if you'll endure the pain that we all feel | | The way your heart beats makes all the difference | | In learning to live | | Dream Theater Learning To Live Images and Words | | Michael Burstin Brandeis University | +----------------------------------------------------------------------+ | Let's Go Pens Let's Go Pens Lets Go Pens Let's Go Pens | +----------------------------------------------------------------------+ For info about Dream Theater, finger mikeb@cs.brandeis.edu
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Date: Thu, 10 Mar 1994 14:52:59 -0500 (EST) From: William T Bajzek <impaler+@CMU.EDU> Subject: Barf Bag
according to Petrucci Barfbag is the solo he plays after To Live Forever.
he said something like: "I wrote it on the airplane on my way back from my honeymoon, and the was no paper around so I scribbled the arrangement down on an air sickness bag, hence the title 'Barf Bag'" this is paraphrased from his Guitar World Column
-------------------------------------------------------------- Bill Bajzek impaler+@cmu.edu
"What's a little fallout, eh?"
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Date: Thu, 10 Mar 1994 16:15:23 -0500 (EST) From: ASILVERM@umiami.ir.miami.edu Subject: Re: Is Learning To Live a "perfect song"
Who is this Company Of Wolves band, and should I buy their stuff? I like the other groups on your list. . .
Aaron ASILVERM@UMIAMI
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Date: Thu, 10 Mar 1994 16:19:00 -0500 (EST) From: ASILVERM@umiami.ir.miami.edu Subject: Re: Rush vs. DT... ENOUGH!!!!
Sorry I feel like being an asshole, but for someone who's been playing piano for 15 years, you mentioned 5/3 time signature, could you explain what the hell that is ???? :)
Aaron ASILVERM@UMIAMI
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Date: Thu, 10 Mar 94 16:41:16 EST From: mozo21@aol.com Subject: Re: YTSEJAM digest 341
They opened up for Maiden in August 92 and the first song they played was Pull Me Under. The opening Riffs were pre-recorded and the band walked onto the stage as it was playing. Then they all kicked in when the drums started.
They also did 3 or 4 warm-up shows to prepare for the Maiden gig. These shows were very low key, In fact they played at a bar not more than 1000 feet from my house and I didn't even know it. I did catch the show at Sparks and also the Maiden show at the Ritz. This was all before the CD came out
andy
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Date: Thu, 10 Mar 1994 18:29:17 -0500 (EST) From: William T Bajzek <impaler+@CMU.EDU> Subject: new bootleg
I would like a copy of that concert that someone mentioned ( if forgot who and lost the address) that sounded like a studio recording. I have a pretty big collection of stuff, you can finger me for a list of my stuff
by the way, according to Petrucci, the solo thing after to live forever is called Barf Bag. I have a bootleg with moon bubbles and it's completely different then Barf Bag
-------------------------------------------------------------- Bill Bajzek impaler+@cmu.edu
"What's a little fallout, eh?"
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Date: Thu, 10 Mar 94 16:29:47 PST From: zack@lsil.com (Zack Gemmill) Subject: Porntoy vs. Ulrich?
How come nobody is comparing Mike to Lars? The first time I heard DT, I thought: Metallica!!! (with keyboards and better lyrics, etc...). I'd say that Portnoy's style sounds much closer to what Lars plays for Metallica (pre- Black album) rhythm-wise, double bass playing, etc, than Peart.
As for Mike's soloing ability, to the guy who said Peart's solos were boring, well, there's only so much variation one can do over the thousands of shows the've done in the past 20 years. When I saw DT, I was dissapointed in Mike's solo. After hearing Under a Glass Moon, Metropolis, Ytse' Jam, I was prepared for the solo of the century, but I was let down. His solo, IMO, of course, was sorely lacking in the power I was used to hearing in the songs. I know he is a better player than that! Hopefully, as DT matures, so will his solo ability. Of the solo from DoE, I think all but about 1.5 awesome minutes is boring and a waste of space, (same for the solo on Home Sweet Home). At the concert, I couldn't wait for the solo to end so I could listen to what he was doing a lot better in the songs.
Zach (IMO, of course)
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Date: Thu, 10 Mar 1994 20:05:36 -0500 (EST) From: ccoprdr@acme.gatech.edu (Dave Re) Subject: Re: P vs P
> intricate beats than portnoy (without a doubt more subtle- Come on, > Portnoy uses a sampler on his snare for god's sake!) So Rush is more
Heh. Yeah. This is another thing that needs to be in the FAQ. Maybe it'll start getting more accurate that way. Portnoy *DOES NOT* user a sampler on any of his drums live. The story, from his mouth, is that the producer for I&W didn't feel like "wasting time" getting the drums to sound right, and told the engineer to sample all the drums, and just throw up a couple mics to catch the cymbals. Needless to say, Mike is less than happy with the drum sounds on I&W, due to the fact that any time he tried to do anything subtle on the snare, it came out like a cannon. Basically, its incompetency on the part of the producer and engineer. "So why were all his drums mike in the video tape???" you ask?? Good question. That's how they get the signal for the trigger. You don't have to use a trigger unit attached to the drum or a drum pad to get the proper spike to trigger your signals. Probably, the studio didn't own any trigger units, else they probably would have used those, instead.
BTW- Mike is a lot more subtle live than the album seems to suggest, since the triggering wasn't done well, all of his dynamics were lost. His live snare sound tends to be higher and tighter....
> simply because it wasn't glossed over like DT. Additionally, Portnoy > resorts all too often to the same fill. An extremely elementary (yet
And Peart hasn't???? Heh. Think you need to go back and listen. Peart has a couple he fills he *loves* to play over and over. Beyond that, Portnoy rarely repeats himself. Lots of things that he plays may be similar to other things, but the thing that never ceases to amaze me about him is that he's never at a loss for a new fill to put somewhere....
> own kit? His set (as pointed out in the FAQ) is a duplicate of > Peart's old one. Also, try playing the melodic (xylophone) section of
Wrong. Period.
> Where > does Portnoy exercise anywhere near that level of intricate sticking?
Oh, god. That xylo part isn't all that hard, man. We figured it out in 30 minutes on the xylo at school way back when I was in high school. Right after Show of Hands came out. No problem for a percussionist at all. And playing a kick right along with the accents is no prob, either. BTW- that xylo part is an excerpt from a piece that Peart did for a Modern Drummer sound supplement, that he called "Pieces of Eight", as it moved through several different time sigs. He played all the instruments on it, mostly via his KAT midi xylophone. I'll show you intricate sticking. Obviously, I can't remember times of songs from memory, but, in "Take the Time", the part right after the first chorus (I think) has an *extremely* complicated sticking pattern. For Peart, go listen to certain parts of Red Barchetta, Subdivisions, et al. All of those parts are a *HELL* of a lot harder to play than that xylo part.....
> Overall, I would venture to say that Portnoy is lacking in the > finesse dept. when compared with the Professor. In conclusion, I
OVerall, I'd say you're wrong. Truly, neither of them is all that great for finesse, compared to those who invented it. Hell, Peart couldn't swing if his life depended on it, and I've heard him try. Haven't heard Portnoy attempt it yet, but I *can* tell you that the man is a whole hell of a lot more talented that you give him credit for. You want to know who to *really* listen to for finesse, send me some e-mail. I'll tell you. I'm not gonna list them here and take up even more space.....
> done everything else. Portnoy, why don't you get some African > percussion or dabble on bells? You'd probably be baffled! Don't get
Because, African percussion instruments and bells have their limitations in his musical genre. Beyond that, who's to say that he *hasn't* tried them and discarded them?? You?? As far as baffling him goes, I think you'd have to shoot a hell of lot farther than dabbling on the bells, which he had to do anyhow to graduate from Berkeley, for God's sake. Give him something by Zappa, handwritten, and see what he says. Oh, give the same thing to Neil, and I bet you'll get the same reply: "Huh??? Give me an hour or two....."
> me wrong, though, I still think DT is one of the greatest BANDS ever, > just take the drummer of the petistle until he's earned it.
Petistle???
-- Dave Re |"I am your master, when you're all alone. OIT/TS/ISD | You can come to me child, when you're without home. ccoprdr@prism.gatech.edu | I will share your pain, of long lost dignity. | Happiness evades you, you'll get no sympathy." | "Father of the Night", Crowdad "Heh Heh. I know where there's a dead raccoon!! Heh heh." "FIRE!!! FIRE!!! FIRE!!!"
"The juggernaut that is Early Warning will CRUSH you!!!!"
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