YTSEJAM Digest 775
Today's Topics:
1) Re: Take the Time (tab)
by Richard <rfguy@is.dal.ca>
2) Re: Skid Row
by "GENE (IT'S GOOD TO BE THE KING) SZUCS" <SZUCSEUE@udavxb.oca.udayton.edu>
3) little green bag
by "Brian V. Cox" <bvc8995@tam2000.tamu.edu>
4) DT Content - James Interview
by BOB HOLDER <BH7314@LUNDY.NIAGARAC.ON.CA>
5) Just one more thing
by BOB HOLDER <BH7314@LUNDY.NIAGARAC.ON.CA>
6) Re: Japanese TV vid 1/95, etc.
by zack@lsil.com (Zack Gemmill)
7) Re: yo
by Krysten DeBroka <kryt@expert.cc.purdue.edu>
8) progressive
by Alex Lifeson <TRMD@grove.iup.edu>
9) Keyboards and Guitars
by "Dan Tshin" <danman@io.org>
10) Green Day Sucks!
by RhAnn26262@aol.com
11) DT/Marillion
by YBBX10C@prodigy.com (MISS JAIME K KIMPTON)
12) Dt all over
by Michael Van Opstall <mavanop@grfn.ORG>
13) Re: YTSEJAM digest 774
by YBBX10C@prodigy.com (MISS JAIME K KIMPTON)
14) Whoa...
by Michael Van Opstall <mavanop@grfn.ORG>
15) Jeremy Haynes
by "L. Jason Hartman" <lhartm1@gl.umbc.edu>
16) Re: yo
by Hailey <pass@u.washington.edu>
17) problems posting (was Napalm Death)
by kbibb@arastar.com (Ken Bibb)
18) 10-Point Commentary
by Steve Borzilleri <silenzio@elwha.evergreen.edu>
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Date: Thu, 6 Apr 1995 19:54:05 -0300 (ADT)
From: Richard <rfguy@is.dal.ca>
To: ytsejam@anthor.arastar.com
Cc: Multiple recipients of list <ytsejam@anthor.arastar.com>
Subject: Re: Take the Time (tab)
Message-ID: <Pine.3.89.9504061912.A4846-0100000@is.dal.ca>
On Thu, 6 Apr 1995, William Kriski wrote:
> To anyone with the I&W tab:
>
> Have you the noticed the huge omission at the end of TTT? At the outro
> solo just before the big scalar-type run, they've left out a one bar run
> along with ONE HALF of the scalar run. Check out the tab in GFTPM if you
> want to compare. It's a huge mistake considering that I'd like the
> "real" tab for that scalar part. For now I've combined the two tab
> notations but that's annoying.
I noticed that too, but didn't sweat it because I thought the version in
GFTPM sounded right. And I already knew that.
Richard
-- At times I journey far into my mind------------------------------
Date: Thu, 06 Apr 1995 18:39:46 -0400 (EDT) From: "GENE (IT'S GOOD TO BE THE KING) SZUCS" <SZUCSEUE@udavxb.oca.udayton.edu> To: ytsejam@anthor.arastar.com Subject: Re: Skid Row Message-ID: <01HP11F8IODI0035IS@udavxb.oca.udayton.edu>
Skid Row was on Rockline last week, and someone called in and asked about their favorite bands, and DT was not one of them, unfortunately. They are more into the new "punk" movement (Green Day), as well as Pantera- gee, what else is new (sorry all you Pantera fans out there, I just really have no respect for those guys), and some other bands (one of which might've been Marilyn Manson).
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Eugene E. Szucs | "If You Pick Up The Beat | "Animation Breathes A | ::::::::: UniVersity of | You Can Forget About | Cloudless Mind, | Dayton********* | The Heat" | Fascination leaves | *************** | @@@@@@@@@@@@@@@@@@@@@@@ | The Doubting Blind" | szucseue@udavxb.oca.udayton.edu| -Rush | -Dream Theater |
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Date: Thu, 6 Apr 1995 17:48:37 -0500 (CDT) From: "Brian V. Cox" <bvc8995@tam2000.tamu.edu> To: ytsejam@anthor.arastar.com Subject: little green bag Message-ID: <199504062248.RAA17417@tam2000.tamu.edu>
> From: John B Ashcraft <jbashcra@uncc.edu> > Subject: Resevoir Dogs > > If any of you have the Houston 11\18\94 bootleg let me ask you a queston. > At the beginnig or the intro that is Steven Wrights voice. It was taken from > the movie Resevoir Dogs. Does anyone know if DT had anything to do with > that being played or was it just 'The Tower Theatre" > Just wondering
well, i assume they played this as the intro at all the shows. they played it at all 5 i went to. when i scoping out the DAT recorder on the side of the soundboard (evil grin) i saw the analog tape deck. the whole music segment in between fates and dt, up to the intro to PMU, are all on one maxell XLII90 which was labelled "dream tape". they had another one laying there labelled "metropolis". it really surprised me that they played the intros on regular tapes, and not DAT. it also surprised me that the DAT (it was mike's) was not running during any of fate's sets that i saw. they must not wanted him to record or something.
anyway, to answer your question, it was picked out by dt, probably mike himself. he seems to have alot to do witht he intro/exit music (simpsons them, twin peaks them, etc).
the song is called "little green bag" and is on the reservoir dogs sndtrk.
if you have the houston tape, listen during the clock ticks right before "wake up!". there was a guy walking in front of me, from left to right, that says "let me see your cigarette lighters" in an ozzy accent. really funny reference to the ozzy randy rhoads tribute. it came out well on the tape, too.
**always looking for rush/dream theater/queensryche/king's x bootlegs** ============================================================================= Voices repeating me, Brian V. Cox Voices discussing me, "Feeling threatened? lerxst@tamu.edu "Others steal your thoughts We reflect your hopes Dream Theater- They're not confined and fears." A Mind Beside Itself: II. Voices Within your mind." ============================================================================= check out my new homepage: http://tam2000.tamu.edu/~bvc8995
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Date: Thu, 6 Apr 1995 19:02:42 -0400 (EDT) From: BOB HOLDER <BH7314@LUNDY.NIAGARAC.ON.CA> To: ytsejam@anthor.arastar.com Cc: BH7314@LUNDY.NIAGARAC.ON.CA Subject: DT Content - James Interview Message-ID: <950406190242.21003b01@LUNDY.NIAGARAC.ON.CA>
I was going through some old files/Spring Cleaning (although it's snowing outside here) and found a file given to me by a friend/DT fan which is from a local magazine here in Southern Ontario called Pulse Niagara. It was an interview done by Jenifer Cass (the publisher) with James. I'm sorry it wasn't posted earlier but I got this just before I found Ytsejam. Volume 8 Issue #20 Oct 19 - Nov 2, 1994 ======================================== Jen: "Awake" is even more progressive than "Images & Words". What was the group's state of mind when you decided to go in this direction? James: Well I would say that it's not that one-dimensional. I mean I'm not putting down what you're saying. It's much more than just progressive. I think that the album has very many elements that differ. It's very diverse and the complexities are there as well. There's definitely always going to be elements of progressiveness in Dream Theater's music, but at the same time I think that this time we tried to be -- well, didn't try, it just actually happened -- and the diversity was there as well with all the different influences. So we went into it with the frame of mind we wanted to write some really hard songs, but at the same time keeping that Dream Theater kind of signature there as well. I think another thing too is that when we started writing this I said to the guys that vocally I want to come in and I want to show the people more dimensions in my voice. I want them to see the versatility that I have with my voice. I think that one thing that was most important to most bands and most definitely with Dream Theater is that we wanted to evolve and we all grew individually, we grew as a band and we wanted our music to reflect that. Jen: The musicianship in a group like Dream Theater, where everyone is a master of their own instrument, how does that work when you're writing and performing? James: It works great. You know I was classically for four-and-a-half years in opera with Patricia Burns from Toronto. These guys went to Berkeley for a couple of years, a big jazz school in Boston, and I think that what it does is that it really lets you respect the craft itself that you're a part of. And at the same time it allows you to be a little bit more open minded and a little bit more mature and professional when it comes to collaborating with others. That was really advantageous. We've all been with our instruments since -- well, I know myself, since I was five years old. The other ones are the same you know, like eight years old and stuff like that. We're all like constantly making sure that we're going to carry our own weight when it comes to a live show and make sure that we put on the best possible show. I think that when we were younger, like 18, 19, 20 all you want to do is show yourself off and how people just how much you can do and what you're capable of, but I think once you get older it becomes more of a team work, and it becomes more song oriented instead of individually oriented. I think that's what Dream Theater focuses on more than anything right now - the songs themselves and to really keep them as close as possible to what the album was, but at the same having a little bit of fun to show the people that live we might just throw in a little something different here and there to make it a little interesting. Jen: Your songs are very long and they're almost like classical pieces of music. How would the writing process differ for Dream Theater as opposed to a band like say Poison? James: Ouch! You went from end to the other. Well I don't know what Poison writes, but I know that the way we write is.. ..there's two methods: one, each guy individually, he'll have ideas that he's put down on tape that he's been working by himself and brings to the band. He'll say, listen guys some parts are some parts I've written and what do you think and we'll take it from there and we'll elaborate on it and expand on the idea an build it into a song. Another way that we write is just when we're in the rehearsal studio. We just jam and we come up with ideas and we always constantly have a tape on from the time we come in to the time we leave. It doesn't matter if it's just us tuning up or just individually warming up. It's just always running so that if anybody happens to get on a groove and then the spontaneity is there and then BANG we just start into something. So that's another way we do it. And soon enough we come up with a strong groove or idea and then we expand on it and sooner or later you have a composition. Jen: In your bio you say that you had a lot of feelings of pain and frustration when writing this album. Where was that coming from - personal conflict or musical frustration? James: I don't think it was that blunt. Maybe whoever wrote the bio took it for face value. I think I meant it in more of a metaphoric sense and that the pain and frustrations were more like growing. You're constantly growing and becoming more aware of your own existence and I think that a lot of times it's almost theraputic to put it down on paper. It has a lot to do with your environment and surroundings and the people that you constantly come in contact with, the communications that you have with others. There are a lot of communications done amongst people where you really don't understand people or you prejudge somebody before you even know the person. Just where you come from, your environment, really affects the way you think and the way that you approach everything in life. When we were out on the road and coming in contact with all these different cultures around the world, I think that what really hit me was that, without sounding corny, is that people just want to be accepted and loved and it's really quite evident when you're anywhere else in the world is that there's a lot of very insecure and lonely people. Jen: It must be gratifying to tour and see it appreciated. How is the response to Dream Theater in countries like Japan? James: It's incredible. We found out that the first four or five days in Japan we sold 75,000 albums and it's doing that worldwide, it's just exploding. I don't know what it's doing in Canada. I hope that this time in Canada we're going to get much more of a push and become a little bit more evident to the people in Canada. Last time it doesn't seem that we got a lot of push and a lot of people weren't aware of us and I'm hoping that (awareness) happens in Canada. It would be nice because I'm Canadian. Sure the other guys are American, but it would be nice to be known an appreciated for what I've done in my own home country. Jen: Aside from the obvious financial element, how important is commercial success to Dream Theater? James: The only way that I can look at commercial success is that I think as long as the success that we acheived allowed us to live and to be able to continue to write and do albums and to continue writing and creating music I think that would be incredible. But if we became huge, sure that's everyone's dream, if we became a huge band, that would be unbelievable and the benefits in other areas go with it. But I think that if we just kept the steady audience and we just kept growing gradually with every album to the point where maybe we would be like a Rush or Yes or a Metallica, where you're getting to the point where it goes unsaid that you have such loyal fans that you're guaranteed to sell a couple million copies of the album. But as long as we can go on and we're selling enough albums that enable us to continue, that would be the first one I'll take. Jen: You seem to attract the metal audience and at the same time progressive "modern" dinosaurs type audience. Is progressive rock the alternative now that grunge is the mainstream? James: The fact is there's a lot of alternative music out there. I mean when you talk about Nine Inch Nails and Ministry, I look at those bands more like the alternative. It's funny because people label Dream Theater progressive, and I think that's such a misconception because I think that, like I was saying earlier in the interview, that's one element of Dream Theater's music. The diversity within our music proves that it's just not all a Yes thing or a Rush thing; it's much more than that. There are influences of Aerosmith, Van Halen, U2, Judas Priest, Iron Maiden and so on. There's classical influences too. So when people say progressive, I think it's a long title to give us. I like to consider ourselves a hard edged band, not necessarily a heavy metal band but hard rock. And that's howI'd like to think people should label us, with all these other influences that give us that Dream Theater sound. Whether you agree or not.. I wish people would look at us and not compare us to Rush and Yes. I refer to us as a hard rock band. Jen: As the token Canadian do you ever want to put the "R" before the "E" in theater? James: The Germans love it. I think that's how they spell theater. I think that when we were over there, they were like "Did you get your name from around here?" And we were like no, actually there's a theater in California called The Dream Theater and Mike's father Howard lives out there and they show old movies and thought it was cool. And he mentioned it to Mike and that's how the whole name came about. Dream Theater will be performing live at the Armoury in Buffalo on Monday, October 24th and at RPM's, in Toronto Tuesday, October 25th. Sorry about the length all, but, it is DT content. See Ya, Bob "How can I see tomorrow if you keep me in the dark" Face against my soul - sUBHUMAN rACE - Skid Row
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Date: Thu, 6 Apr 1995 19:14:06 -0400 (EDT) From: BOB HOLDER <BH7314@LUNDY.NIAGARAC.ON.CA> To: ytsejam@anthor.arastar.com Cc: BH7314@LUNDY.NIAGARAC.ON.CA Subject: Just one more thing Message-ID: <950406191406.21003b01@LUNDY.NIAGARAC.ON.CA>
IMO Ytsejam is pronounced "Yit-see-jam". To back it up, the only pronunciation that I've heard for Ypsilanti, MI (I think that's the spelling) is "Yip-silanti" |) Anyone else? See Ya, "They're screaming, Blue Murder" Bob Blue Murder - Blue Murder "How can I see tomorrow if you keep me in the dark" Face against my soul - sUBHUMAN rACE - Skid Row
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Date: Thu, 6 Apr 95 16:33:06 PDT From: zack@lsil.com (Zack Gemmill) To: ytsejam@anthor.arastar.com Subject: Re: Japanese TV vid 1/95, etc. Message-ID: <9504062333.AA27738@tengs1.teng>
<<stuff annihilated>>
> Similar question regarding the boot MAJESTIC HARMONIES. I have the > dealer's address -- is it worth $25?
I'd say so. I paid the same for it. I believe that this is part of the LITS boot. It's worth getting just for Mission Impossible and Afterlife, plus, the Majesty demos included at the end sound a little better than those on the "official" Majesty demo disc. It's about 79 mins total. > -- > Paul W. Cashman, vanyel@crl.com Rush Dream Theater Queensryche Metallica [Fates Warning] ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ (what else is there?) Zach
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Date: Thu, 6 Apr 1995 20:33:33 -0500 (EST) From: Krysten DeBroka <kryt@expert.cc.purdue.edu> To: ytsejam@anthor.arastar.com Subject: Re: yo Message-ID: <199504070133.UAA27859@expert.cc.purdue.edu>
> Quoth Steve Z (to Babs): > > Thanks for the kind words, Babs. It's really not a bad > > situation. The main thing she hates is James, so during > > those long instrumental passages I can usually get away > > w/ it. :P > > Personally, I'd agree with you girlfriend. <g> No, that's > not quite true. I don't _dislike_ JlaB's voice, it just > doesn't do anything for me. I think he's very skillful, > but, to me, his voice just has a generic hard rock sound, > as if he were a white shirt with a blue stripe and block > lettering reading "rock singer".
I'd like to hear _you_ try to sing any better than James does. :P *grin* Personally, his voice does a lot for me, I think it's just right for the band. > Funny things, opinions. Someone else said that they > thought he was the most irreplaceable member, while I think > he's the first one they could lose. (I don't count Derek, > because he's new and still finding his way, so he gets a > break. <g>)
I don't think _any_ member can be considered "replaceable". I mean, with Derek in the band now, they aren't going to be the same, and we can't expect them to be, they will just evolve and surprise us with new things next time. And besides, Derek is a really cool person. I for one am glad that he is a member of the band.
> I suppose with enough forced listening I could brainwash > myself into liking his voice, but that seems too similar to > learning to like being hit in the head with a 2x4... For > now, his voice is the one part of DT that doesn't speak to > my soul, and I'll just leave it at that... (A force-fed > soul is not a pretty thing. <g>)
Kinda like forcing yourself to be daring and have wild sex in public places... Did I say that out loud?? *evil grin* > -- Tim Hi Tim! :)
---Kryt
-- -------------------------------------------------------------------------------- Someone once told me that time is a predator that stalks us all our lives. But maybe time is also a companion who goes with us on our journey, and reminds us to cherish the moments of our lives because they will never come again. We are, after all, only mortal. - Captain Jean-Luc Picard "Live for yourself, there's no one more worth living for." - Rush "Choose to chance the rapids, and dare to dance the tides." - G. Brooks -------------------------------------------------------------------------------- [kryt@expert.cc.purdue.edu]
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Date: Thu, 06 Apr 1995 21:49:44 -0500 (EST) From: Alex Lifeson <TRMD@grove.iup.edu> To: ytsejam@anthor.arastar.com Subject: progressive Message-ID: <01HP17Y6LB6G91W7WT@grove.iup.edu>
Well, not that I listen to Greeenday or Metallica, but when Michael Van Opstall wrote something about having to transcribe a song 'from memory' to prove to his friend that they are not progressive. If progressive means only that the music is technically hard, then some prog group aren't REALLY prog groups, I guess? I guess that there are no good songs that have a I-V-vi-iv chord patterns. I guess you have to be a musician to enjoy good music, and to realize what is progressive. I am a music major, and also can transcribe "from memory." What I'm trying to say here is that it takes more than complex music to make a progressive band, and one doesn't have to be a music major to know that. OK? Thanks. "Enough angry stuff" briaN M eichorN
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Date: Wed, 5 Apr 1995 23:17:41 -0500 From: "Dan Tshin" <danman@io.org> To: ytsejam@anthor.arastar.com, Simon Smith <sjs@st-andrews.ac.uk> Subject: Keyboards and Guitars Message-ID: <199504070225.WAA10028@io.org>
>Are there any more keyboardists out there? There seems to be a lot of guitar discussion here, but little keyboard stuff (not that I'm putting guitarists down :) ) In particular, does anyone know if the full transcriptions of the keyboard parts will be in the Awake book? Is it going to be everything, or will it just be tab and melody? I've got most of Space-Dye Vest figured out, but there's a couple of chords that I can't quite figure. Any help much appreciated....
Yup, I've asked for keyboard music before, but haven't really gotten any answers yet :(. I have Grade 10 training and want to expand that to some jazz and rock.
Can you please send me the parts you have figured out to SDV? I'll try to figure it out, when I find some time.
BTW: I'm also a guitar player. I've got most of the Silent Man down. I've tried the tab for other songs (Metropolis, AnotherDay, etc,etc.) And all I have to say is: WOW!
And a last note about the Subconcious CD... I can't wait for it! Kudos to Mike, he really did a service for ytsejammers!
Seeya! ---------------> Dan Tshin >>>>> danman@io.org <<<<<-----------"Ryche"-+ Shad Valley Carleton '94 SuRvIvOr | _ _ | Homepage URL: http://www.io.org/~danman | ( /V\ ) | "Peace comes through thinking with our hearts and not with | M | words. Until then we'll light another candle for this world."| | | The faithful live Awake/The rest remain misled-Dream Theatre | | |
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Date: Thu, 6 Apr 1995 22:41:49 -0400 From: RhAnn26262@aol.com To: ytsejam@anthor.arastar.com Subject: Green Day Sucks! Message-ID: <950406223923_74619230@aol.com>
Green Day Sucks and no one knows who Dream Theater is. Life isn't fair. April 3rd was my birthday. The only Music I got was a present to Obsessed with Music and the soundtrack to Andre. Does anyone here like Ozzy Ozborne? Well, no one knows about them either.
Bye, Radical Rhea
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Date: Thu, 06 Apr 1995 22:00:54 EDT From: YBBX10C@prodigy.com (MISS JAIME K KIMPTON) To: ytsejam@anthor.arastar.com Subject: DT/Marillion Message-ID: <013.05233279.YBBX10C@prodigy.com>
Someone asked a while ago about Dream Theater opening for Marillion, and I thought I'd post an excerpt from a letter appearing in Metropolis Watch.
>I consider myself to be one of the lucky ones. I've been fanatical since >When Dream And Day Unite came out in 1989. [snip] >I never thought I would see Dream Theater live back then because they >didn't really exist on radio or in print. > >I was going to attend my first post-Fish Marillion gig (Or how to ruin a >band in three easy albums...or Hogarth's Folly) on 11/14/89 at The Ritz in >New York City. I had just walked around the corner and faced the marquee >that read "MARILLION with Dream Theatre" (Misspelled for historical >accuracy) I completely lost it! I might have been the only one to buy a >Dream Theater tour shirt that night (I still have it!). I must have >looked like a fool singing every word with Dominici. > John Sievers
I trade issues with the president of The Company North America, and he made me a mix tape with most of Marillion's "Script For A Jester's Tear" and Fish's "Suits", since I had never actually heard either before. I was really quite impressed, which surprised me since I generall prefer prog _metal_ to prog _rock_. I may pick up "Brave" one of these days, since I've heard a lot of good things about that. Or maybe it's just my fondness for Scottish burrs. <G>
Jaime the Dragon
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Date: Thu, 6 Apr 1995 23:30:36 -0400 (EDT) From: Michael Van Opstall <mavanop@grfn.ORG> To: ytsejam@anthor.arastar.com Subject: Dt all over Message-ID: <Pine.SUN.3.90.950406232455.9266A-100000@freenet.grfn.org>
I've got LtL on the bootleg Milan '93 if anyone cares, but the 2CD set is really only worth it for TLF, Barfbag and Eve (OAMT is sad, so is Afterlife).
Concerning earlier JP ads, he used to be in an Ibanez ad, something like "John Petrucci, a man about Manhattan and Beyond, a new world musician with an old world passion for guitar. Hear him on Dream Theater's new release, Images & Words" etc...It was on the inside cover of some issues late '93, I think (of GW).
Anyone ever try to transcribe WFS? It's a trip. Can anyone confirm the time sig's for me? I've got 5/8 (3ms) 4/8, 6/8(3ms) 4/8 back again, when that part changes, I believe it's in 6/8. Is this right? the notes are easy after a while, but the times had me screwed up for a second. It's also in the key of F major, sort of implying the B lydian mode. Great .
BYe, I just got new mail from Charlie Dominici!!!
M.A. VanOpstall mavanop@grfn.org
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Date: Thu, 06 Apr 1995 23:23:18 EDT From: YBBX10C@prodigy.com (MISS JAIME K KIMPTON) To: ytsejam@anthor.arastar.com Subject: Re: YTSEJAM digest 774 Message-ID: <013.05237500.YBBX10C@prodigy.com>
Paul W. Cashman: >Japanese TV vid 1/95 >Anyone have this yet?
I do. It's not a particularly impressive show for James, he was cracking like an adolescent through the whole thing. I find it ironic that his major reason for disliking bootlegs is that he doesn't want the whole world to know if he has a bad night. He knew this would be broadcast publicly all over Japan <and eventually to the rest of the world> and he sounded worse in this show than in any bootleg I've heard. <G>
>vanyel@crl.com Lackey fan! Lackey fan! <VBG>
Babs: Oh, Long Island is only another ten or twelve hour drive up the coast from home, I'm sure I could keep from murdering my brother after that much time in the van. <G> If I was back in Rochester, I might be able to make it, but I'm down here in the Bible Belt for another three or four months. I'm not quite of legal NY <or VA> drinking age, but thanks for the offer. <G>
Jaime the verbose Dragon
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Date: Fri, 7 Apr 1995 00:19:23 -0400 (EDT) From: Michael Van Opstall <mavanop@grfn.ORG> To: ytsejam@anthor.arastar.com Subject: Whoa... Message-ID: <Pine.SUN.3.90.950407001515.12772A-100000@freenet.grfn.org>
Whoa...that was weird.
As I just said, I just got email from a certain Charlie Domenici. Some people would say - "Whoa, that's Dream Theater's original vocalist" Well, hard to say. Charlie wasted me and told me Charlie and James styles were different and the music was different on WDADU and the other releases. I have no idea what that I said that he was referring to. I also want to know who this guy really is. I finger'd the address, and it IS Charlie Domenici. You;ll notice however the name is spelled differently that on the album cover. He also signed the note Charlie. I don't know if this is the guy, but I'm trying to find out.
Also, I just said something about the KEY signatures for WFS. What the heck was I talking about? I didn't get a chance to prrofread. oops again. I meant the key of G with E Aeolian (or B Phrygian) feel. What a day...
M.A. VanOpstall mavanop@grfn.org
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Date: Fri, 7 Apr 1995 00:32:48 -0400 (EDT) From: "L. Jason Hartman" <lhartm1@gl.umbc.edu> To: ytsejam@anthor.arastar.com Subject: Jeremy Haynes Message-ID: <199504070432.AAA11776@umbc9.umbc.edu>
Hi all! I too was begining to feel ripped off by Jeremy. I mailed a few tapes to him more than 5 weeks ago. I had written him a few times and he said he was sorry and would be sending it soon. Then he told it HAD been mailed and I still never received it. I wrote him a few days ago and he responded saying that he was in over his head with trades. He promised that I would have my stuff no later than the 10th (I think thats what he said, maybe the 14th, I'm not to clear).
So lets be patient and see what happens in the next week or so. If we STILL don't see our stuff, THEN we can kill him. :)
-- ************************************************************************** * Jason Hartman "I am the Killing Hand!" lhartm1@gl.umbc.edu * * * * You're fighting the weight of the world, * * and no one can save you this time. * * Close your eyes - you can find all you need in your mind. * * * * "Take the Time" - Dream Theater * **************************************************************************
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Date: Thu, 6 Apr 1995 22:09:18 -0700 (PDT) From: Hailey <pass@u.washington.edu> To: ytsejam@anthor.arastar.com Cc: Multiple recipients of list <ytsejam@anthor.arastar.com> Subject: Re: yo Message-ID: <Pine.A32.3.91c.950406214605.126750B-100000@homer11.u.washington.edu>
On Thu, 6 Apr 1995, TDB observed:
> Quoth Steve Z (to Babs): > > Thanks for the kind words, Babs. It's really not a bad > > situation. The main thing she hates is James, so during > > those long instrumental passages I can usually get away > > w/ it. :P > > Personally, I'd agree with you girlfriend. <g> No, that's > not quite true. I don't _dislike_ JlaB's voice, it just > doesn't do anything for me. I think he's very skillful, > but, to me, his voice just has a generic hard rock sound, > as if he were a white shirt with a blue stripe and block > lettering reading "rock singer".
odd because I name him one of the biggest influences on my own ((veryvery) amateur) singing style (the other being freddie mercury) > Funny things, opinions.
aye, in sooth
> Someone else said that they > thought he was the most irreplaceable member, while I think > he's the first one they could lose. (I don't count Derek, > because he's new and still finding his way, so he gets a > break. <g>)
I am a bit disturbed by all this talk of so-and-so being expandable (or expendable) and he's the first one they could lose and such statements of that ilk
for the love of God this is a band not a few lumps of moss on a progressive (rolling?) stone *any* change will affect the band moulding it into something different not necessarily better than what it is now and I for one am satisfied with *this* band not one several line-ups from what it is now
and any changes will not only affect the band but will also affect the fans ask not for whom the bell tolls it tolls for thee
-change is good- sometimes but not change for the sake of change
eagerly waiting to see what derek will do or won't
chris no the other one
r.christopher hailey pass@u.washington.edu egostatic@aol.com -= through nature's inflexible grace I'm learning to live =-
complaints concerning the form of this post are referred to the estate of James Joyce
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Date: Fri, 7 Apr 1995 02:01:09 +0800 From: kbibb@arastar.com (Ken Bibb) To: ytsejam@anthor.arastar.com Subject: problems posting (was Napalm Death) Message-ID: <9504070901.AA08097@anthor.arastar.com>
> From: Rob Weychert <weyc9212@kutztown.edu> > Subject: Napalm Death > > P.S.--If anyone can tell me why I've been having a bitch of a time > sending stuff to this list, I'd love to hear from you. When I try to > send stuff to ytsejam@anthor.arastar.com, it only gets through less than > half the time; in fact, if you're reading this, it was one of the lucky > times...
Try sending to:
You'll occasionally run into trouble if you're trying to post to anthor, so it's much better to let the MX records handle where your mail should go.
Also, a lot of bounces occur when people email ySTejam@arastar.com instead of yTSejam@arastar.com, so double check the address :)
If you continue having connectivity problems, email ytsejam-owner@arastar.com and one of the list managers will look into your problem.
-- Ken Bibb "Upon a wave of summer kbibb@arastar.com A hilltop paved with gold jester@crash.cts.com We shut our eyes and make the promises we hold" David Sylvian--"Wave"
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Date: Fri, 7 Apr 1995 04:31:50 -0700 (PDT) From: Steve Borzilleri <silenzio@elwha.evergreen.edu> To: Dream Thespians <ytsejam@anthor.arastar.com> Subject: 10-Point Commentary Message-ID: <Pine.3.89.9504070454.A3295-0100000@elwha.evergreen.edu>
Time for the every-five-ytsejams 10-page Bafu Vai commentary:
1. Jon: I don't have that interview, but I can tell you that the photos by Raphael Fuchs were magnificent! I wrote to Raphael inquiring about ordering copies, but he never wrote back. Oh well. Check around at a local guitar store, sometimes they have back issues of the guitar mags.
2. Joseph: According to Mike Portnoy, all three syllables of "Ytsejam" are given equal accenting. Thus, it is pronounced "yit-say-jam." Nice and even. Not "yitseejam" or "yitSAYjam." Then there is the now-infamous James LaBrie-pronounciation, which is "YEET-SAAY-JAAAAAAAAAAAAAMMMMMMM!!!"
3. BABS: Yeah, I wonder what happened to that guy. I bet you did scare him off, what with how you bared your fangs at him! :) What I'M waiting to see is the big shouting match between Sloppy Joe 69 and this Frank character!
4. Coroner: From what's been said on the last few Jams, I think this is a band I have to hear. It's more than enough to pique my interest when someone refers to a band as "Dream Theater meets Pantera!!"
5. To the non-dancing musicians: a simple definition of "ska" music is music of a fast tempo, where the accented beat is on the upbeat. Speak "un-TA un-TA un-TA" like you're mimicing the music from a fast polka, and that's the general rhythm. That rhythm originated in Russia, where there was a style of dance that I'm sure everyone here is familiar with, where a row of men would squat very close to the ground and kick their legs out in front of them. It was this extremely fast, extremely rigorous style of dance/music that moved over Europe, into the Carribean, into America, and is now known as "ska." But somewhere along the passing-down of this fast-tempoed music, the squatting and kicking that used to go along with it got phased out... Anyway, ska fans will probably proceed to flame me now for attempting to define it, but oh well.
6. John Hough: Well-stated. I wouldn't have blasted Frank with as many abrasive words as you did, but nevertheless, well-stated. Did Type O Negative have a song on the radio called "Christian Woman?" I remember hearing it and really liking it.
7. Pat: Good question. Just how long should one wait before one begins to raise hell about trade-items that are taking an unusually long time to move through the mail? No, the postal service doesn't take two weeks to move mail across two states, the delay is on the part of the trader involved. I'm wondering because I have a few items myself that I have been waiting for for quite some time. I received three items from Mr. Jason Hartman rather promptly, and I would gladly trade with him again. In fact, I was the late one on that trade. (and this note is not directed towards Mike Bahr, I know the project he is undertaking, and it's worth the wait!)
8. No, you will never see me use the acronym IMHO because quite FRANKly (no pun intended. Well, maybe a little.) when I post something, it's coming from me, I'm the one typing it, it's me talking, therefore it's my opinion. I feel no need to justify that the words on the screen are coming from my mind. I say this because I see a lot of uproar now and then about people not using it, or about people trying to defend themselves by saying they used those letters (IMHO), therefore they are flame-proof. So if I say something like, "John Petrucci couldn't play Smells Like Teen Spirit if his life depended on it," it's definitely me saying it, and it's definitely my opinion, so flame on if something I say offends you!
9. Does anyone have any inkling as to what "Under A Glass Moon" is about? This is probably the last time I'll ask, because it wouldn't strike me as particularly odd if Petrucci has never let the cat out of the bag on this one! So is everyone just as clueless as me? I know it would make me feel better, 'cause lyrically this song leaves me completely lost! If only the level of difficulty was the same between playing the music and understanding the lyrics...
10. Mike Opstall: I'm pretty sure the red eyes in the ad was intentional. That's why I called it demonic. I think it adds a lot to his gaze, looking straight ahead with the outstretched hand! :) Anyway, I do these long posts so you don't see me on the list in three or four different places. I condense all my replies into one big mass of lard, suitable for dipping fried frogs legs into. And that remark about Mr. Petrucci in #8 was a joke, people. :)
Bafu Vai
p.s. do you suppose the "John" that Janine was referring to was John M. or John P. from the band?
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End of YTSEJAM Digest 775 *************************
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