YTSEJAM Digest 797
Today's Topics:
1) Re: Scarred
by A Humble Dream Theater Fanatic <polzin@glibm11.cen.uiuc.edu>
2) consciously unreal
by bharath dwarakanath <bdwaraka@midway.uchicago.edu>
3) RE: keyboard review
by freel@iowa.physics.uiowa.edu
4) Re: Labrie's Falsetto
by Michael Bahr <garion@indirect.com>
5) Guitar Shit...
by Hairball <hairball@astro.ocis.temple.edu>
6) two items (1/2 DT content)
by <sz0829@rzmail.uni-erlangen.de>
7) Re: YTSEJAM digest 796
by BABS@sgenva.cc.geneseo.edu
8) Re: YTSEJAM digest 796
by "L. Jason Hartman" <lhartm1@gl.umbc.edu>
9) More meaningless crap...
by Hairball <hairball@astro.ocis.temple.edu>
10) Reusable Riffs
by zebrowski steven <szebro1@gl.umbc.edu>
11) Hairball YJ789 PHL Dates
by dneff@maaco.com (David Neff)
12) Re: YTSEJAM digest 796
by mer@sol.iii.net (Marc Respass)
13) falsetto
by bharath dwarakanath <bdwaraka@midway.uchicago.edu>
14) Re: Guitar Shit...
by jjens@site.gmu.edu (John Jens (CS 112))
15) New WWW Music Database
by jjens@site.gmu.edu (John Jens (CS 112))
16) Re: two items (1/2 DT content)
by Michael Bahr <garion@indirect.com>
17) A Kick Into a Dream, More Boots, New King Crimson
by Michael Backof <mbacko1@gl.umbc.edu>
18) CD Pressing
by Michael Backof <mbacko1@gl.umbc.edu>
19) Wheel of Fortune theme
by stern.35@postbox.acs.ohio-state.edu (Jeff Stern)
20) Subconscious
by "Douglas Slauson" <DRSLAUS@msae.engr.wisc.edu>
21) *de-lurking alert*
by "Bird, Paul" <plb@cssg.dsto.gov.au>
22) The Japan Pay-per-View
by BERTAPELLE ADAM RAYE <bertapel@ucsu.Colorado.EDU>
23) YTSEJAM digest 794
by market@clubmet.metrobbs.com
----------------------------------------------------------------------
Date: Wed, 26 Apr 1995 00:48:46 -0500 (CDT)
From: A Humble Dream Theater Fanatic <polzin@glibm11.cen.uiuc.edu>
To: ytsejam@anthor.arastar.com
Cc: Multiple recipients of list <ytsejam@anthor.arastar.com>
Subject: Re: Scarred
Message-ID: <Pine.A32.3.90.950426004603.20618A-100000@glibm11.cen.uiuc.edu>
Actually, i think i might know why. Maybe it is to get people to go to
the concerts this time around. If they would have played it last time,
they might lose people who would go to the concert again to hear
different songs. Lets say this: If it wasnt Dream Theater then would
you go to the same exact concert twice if you knew that they were going
to play the exact same set? Not everyone is as big of fans as us on the
list. What does everyone think? Is it an advertisement or what?
On Tue, 25 Apr 1995, Jeff Forte wrote:
>
> Does anyone out there know why DT isnt playing Scarred in concert...its one of
> my favorite songs and when i went to see them...i was looking forward to
> hearing it. Thats about the only thing i was dissappointed in that
> night...it was a good show.
>
> Jeff
> jforte@acl.nyit.edu
>
>
Ed Polzin
WWW: http://www.cen.uiuc.edu/~polzin/
polzin@ux5.cso.uiuc.edu
polzin@coewl.cen.uiuc.edu
polzin@par0060.urh.uiuc.edu
polzin@ripco.com
------------------------------
Date: Tue, 25 Apr 95 23:59:38 CDT
From: bharath dwarakanath <bdwaraka@midway.uchicago.edu>
To: ytsejam@anthor.arastar.com
Subject: consciously unreal
Message-ID: <CMM.0.90.4.798872378.bdwaraka@ellis.uchicago.edu>
hmmm...this is reference to the person who wrote that the DT bootleg,
Consciously Unreal, is in any way worth the money. It may well be, to
someone who enjoys analytical aspects of live performances. The music quality
is pretty horrendous, however, and the audience shouting 'hey! hey!' is more
distracting and annoying than it is edifying about the european Dt fan.
Aside from that, the mixing and the mastering are also distracting, with
guitars swooshing [that is the only verb I can think of to describe the
sound] from the back to the foreground. I cannot really give a better
explanation of why I dislike this cd, since I haven't listened to it since
the first week I bought it, and that was months ago. I'm pretty sure my
opinion wouldn't change.
Oh...this may be slightly ill-timed, but I would like to offer the
aforementioned 2 cd bootleg at a reasonable price, which we can negotiate, to
any who may still be interested. Feel free to contact me via 'jam or personal
e-mail, my address is at the bottom of this post [my first post.]
One thing about dream theater's songwriting on awake: the album seems to me
to be linked thematically, with similar motifs recurring in vastly different
musical contexts. Space-dye vest, in some way, permeates the music of many
songs...maybe I'll write more later on the specifics, but not now. My point,
though, is that this tpe of thematic linking, which contributes to the
album's continuity, is something which shouldn't be regarded as 'playful' or
'semi-accidental' but as a conscious move on the part of the songwriter to
suggest connections between seemingly disparate contexts.
mmmm. whatever.
One last thing...that third song on awake, whatever it is called...Does the
intro to that bother anyone else in its gross similarity to the Beverly Hills
90210 theme song?
heehee.
-bharath
bdwaraka@midway.uchicago.edu
------------------------------
Date: Wed, 26 Apr 1995 01:24:42 C
From: freel@iowa.physics.uiowa.edu
To: ytsejam@anthor.arastar.com
Subject: RE: keyboard review
Message-ID: <0098F6FC.F8761760.1@iowa.physics.uiowa.edu>
> music. We don't need another Kansas, guys.
Yeah, right.
>==================================
>
>i think bobby should be shot.....
Is that the meathead who wrote that? If so, I agree! :)
Chrisf
------------------------------
Date: Wed, 26 Apr 1995 00:17:28 -0700 (MST)
From: Michael Bahr <garion@indirect.com>
To: ytsejam@anthor.arastar.com
Subject: Re: Labrie's Falsetto
Message-ID: <199504260717.AAA16591@bud.indirect.com>
> I think that you're wrong about James never singing in a falsetto.
> On the Subconcious CD, James is almost certainly singing falsetto during
> Tori Amos' "Winter". I mean, there's just not even a HINT of chest voice
> during that song!! My girlfriend commented, "He sounds EXACTLY like a
And _boy_ does his note crack when he sings "ad things are gonna
chaaaaaa<creak>aaange so fast... all the white horses are still in bed..."
grin
Mike Bahr, garion@indirect.com
------------------------------
Date: Wed, 26 Apr 1995 03:47:23 -0400 (EDT)
From: Hairball <hairball@astro.ocis.temple.edu>
To: ytsejam@anthor.arastar.com
Subject: Guitar Shit...
Message-ID: <Pine.BSD.3.91.950426032043.12181C-100000@astro.ocis.temple.edu>
Well, I think everyone who already answered the question about John's
guitar on AWAKE (and I&W for that matter) covered pretty much everything.
I just thought I would add the following dissertation: <grin>
Regarding double tracking:
It is very true that phase cancellation does occur. I'm WAAAAY
too tired to think rationally about this right now, but, bear in mind
that sometimes there is constructive interaction between similar
frequencies, depending upon a whole bunch of other things.
Remember - no vocalist or guitarist can perform the same thing
EXACTLY (and i mean PRECISELY) twice. The most miniscule differences can
make a world of difference. Whether or not something causes destructive
cancellation does indeed relate to the phase of the two (or more)
signals.
Oddly enough, there is a Pink Floyd song that is not mono
compatable. I wish I could remember which one it is, but, basically, the
engineer sent the reverbed vocal signal to one side, and the regular, dry
vocal to the other. When the two signals are folded into mono, they
cancel each other out.
To counteract such an effect, one should DEFINITELY do the following:
1) Fold the stereo (or 2 or more mic signals) image into mono. If it
sounds a bit funky, it might be out of phase.
2) Should this occur, one has two options:
a) Push the Phase Reversal Switch on the board.
b) Re-wire the XLR cable so that the polarity is reversed.
This primarilly occurs when there are two mics on one source. For
example, putting one mic in front of an amp, and one behind it might
cause phase cancellation. (Incidentally, Jimmy Page liked to record his
guitar this way, but, didn't run into the problem because, basically, the
mic behind the amp was a considerable distance behind it, and the two
signals created CONSTRUCTIVE interference (hey, THAT'S the word I was
looking for!) instead of DESTRUCTIVE interference). So, if you hit the
Phase Rev. Switch, and voila! It's taken care of.
Anyway, in the case of Petrucci, there is a GFPTM issue with him
on the cover talking about how they recorded his guitar sound.
He said they used two SM-57's - one dead center on the speaker,
and one a little bit off...and a "skinny, thin mic." (or something to
that effect)...and then, put the same configuration on both sides of the
cabinet set-up.
Essentially, the two 57's captured the mids & lows, and the small
condensor mike captured the higher frequencies. (I can assume that that
small mic he refers to is similar to the ones used to record high hats
and cymbals, since the diaphram on the mics are small and move easilly -
they're better for capturing high frequencies & overtones than, say, an
RE-20, SM-7 or an AKG D112, which have large diaphrams, and are generally
used on kick drums, or (in the case of the RE-20 or SM-7) vocals/voices.
It takes a greater SPL (sound pressure level) to actually move those
diaphrams
someday, I'll explain that in greater detail, but,
essentially, microphones work as a transducer, changing acoustic energy
into electrical energy, via a magnet. The diaphram is part of what
generates that energy...and essentially, sound waves (or acoustic energy)
move (how it moves depends on what kind of mic it is, but, that's
another lecture....) inside the mics.
If it makes it any easier, think how much less effort it takes
you to push a Matchbox car, versus you pushing your 2 Ton Car when it's
stuck in mud or snow or ice. Basically, the smaller the
diaphram, the less "energy" it takes to move it. So, think of the SM-7's
and the D-112's as being your car, and the smaller mics as being the
matchbox car. Make sense?
Also, consider the power of low frequencies versus high
frequencies. See, very high freqencies are not very "strong." Low
frequencies are. Need proof? Find someone with a "kick box" in their car.
See what rattles the windows across the street. =)
Or, you can go to a band's rehearsal space, stand outside, and
see what comes through the walls. (generally, the bass and the drums)
ANYWAY - I digress.
For a better example of double/triple tracking, why not dig out
your old copy of "Blizzard of Oz?" Randy (R.I.P.) triple tracked some of
his leads...scary.
Double tracking can cause a chorusing effect, depending upon how
the signals react with each other...John's guitar WAS, in fact, double
tracked, but, it was also recorded IN STEREO at times, with stereo
effects on it. I don't know which tracks in particular, but, I remember
reading that article (in GFPTM) and John saying that he wasn't used to
committing effects to tape, since it's not generally done.
Most producers/engineers like to record the basic guitar sound,
and then add effects later. But, as long as you know what you've got
works, by all means do it...just remember, once it's on tape, it's there
until you re-record or erase it. <shrug>
It's all a matter of what you do, what you want, and the
equipment you use...and how you use it.
Hope this hasn't bored anyone. =)
-Hairball, some guy who doesn't actually know jack shit, but, has figured
out a way to fool everyone into thinking he does.
------------------------------
Date: Wed, 26 Apr 1995 13:50:07 +0200 (MET DST)
From: <sz0829@rzmail.uni-erlangen.de>
To: ytsejam@anthor.arastar.com (YTSAEJAM Digest)
Subject: two items (1/2 DT content)
Message-ID: <2f9e33a05dc6002@max3.rrze.uni-erlangen.de>
hi all - Deebor mentioned this in a recent post, and i feel that i must
speak up on the issue: the instrumental ending to Innocence Faded is one
of the most tight instrumentals that DT plays on Awake, and when my friend
and i first heard the album, we both wished it had been extended by about a
minute or two (nah, make that 10). i think DT could definitely be a little
more loose with this song live and totally jam when they get to the instru-
mental at the end. it's been said occasionally that the gods are watching;
therefore here is my request to those above: EXTEND THE INSTRUMENTAL AT THE
END OF I.F. WHEN YOU PLAY IT LIVE (i figured using caps would be like
shouting :) ). as an addendum, IMHO DT should get a little more loose in
general when they play their stuff live... it's a great experience to hear
their studio material reproduced almost flawlessly, but owing to their great
musicianship i know they are capable of some great extended group jams.
item two: there's been a good amount of talk on the 'jam about other talented
groups, and also some that have violin players. i'd like to HIGHLY recomm-
end the group WOOD, which is a trio of bass, drums, and violin. Mark Wood
(the violinist) plays in such a way that often it's hard to tell he's actually
playing a violin... overall the group is very tight, often playing a good
amount of just instrumentals. the one turn-off some of you may find is that
the singer/bassist Tom Kaz uses a semi-rap style (although not so strong as
Rage Against the Machine, for example), but this is easy to get over if you
don't like rap, as it is very well-integrated with the instrumentals.
any other 'jam members who know what Wood is up to these days, drop me a line!
oh... almost forgot: a big FUCK YEAH to Mike Bahr! :)
paul
SZ0829@rzsuna.rrze.uni-erlangen.de
------------------------------
Date: Wed, 26 Apr 1995 10:04:14 -0500 (EST)
From: BABS@sgenva.cc.geneseo.edu
To: ytsejam@anthor.arastar.com
Subject: Re: YTSEJAM digest 796
Message-ID: <01HPSHBAVS0K000437@sgenva.CC.GENESEO.EDU>
Hello, it's BABS. Thank you Steven for singing Happy Happy, Joy Joy with
me. I am in the process of shaking a little bit of salt on management's
tails to pin down all the specifics for the convention. I will let everyone
know as soon as I get all the details. I truly think that I am wearing
them down (ha ha).
-BABS
------------------------------
Date: Wed, 26 Apr 1995 10:15:22 -0400 (EDT)
From: "L. Jason Hartman" <lhartm1@gl.umbc.edu>
To: ytsejam@anthor.arastar.com
Subject: Re: YTSEJAM digest 796
Message-ID: <199504261415.KAA21217@rpc18.gl.umbc.edu>
I just had a few Subcon questions...
1) What does it look like? Is there like a book with lyrics or anything?
2) Why is it called Subconsciousdoudfoiusceou.
Why not some cool "bootlegish" name like Liquid Shadows?
Please post more reviews of it!! I hope to get mine soon and add my own
reviews. I can't wait to hear Winter!! That song rules! Maybe it will
convert a few more of you to Tori fans. :)
The selfproclaimed master of DT trivia! :)
-- ************************************************************************** * 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 * **************************************************************************------------------------------
Date: Wed, 26 Apr 1995 10:55:37 -0400 (EDT) From: Hairball <hairball@astro.ocis.temple.edu> To: ytsejam@anthor.arastar.com Subject: More meaningless crap... Message-ID: <Pine.BSD.3.91.950426102749.15387B-100000@astro.ocis.temple.edu>
>"Lifting Shadows Off a Dream," with its U2 groove and rafter-rattling > vocals.
I've been saying that since late August '94 when I first heard the album...LSoAD is (sorry) my least favorite song on the CD because it sounds like a U2 song (i.e. "With Or Without You").
> sideman derek Sherinian, _Awake_ outlines the challenge: Help raise the > band above the limits of its virtuosty into the ralm of making serious > music. We don't need another Kansas, guys.
> i think bobby should be shot..... > Anthony Kozar
Why? Because he speaks the truth?
Seriously - You can go through AWAKE and tell exactly what they've been listening to, provided you know what you're listening for. Personally, since I interviewed Mike & Kev a while back, I know what the band listened to - Extreme's "III Sides To Every Story" (thus AMBI), Kansas' "Live at The Whiskey" (well, that was mike - he'd just bought that CD the 2nd philly show, and at the third told me he didn't like it) thus "6:00" - which is very similar to "Paradox" (don't deny it - listen to the two songs back to back)...most likely, the Dixie Dregs - the jam/outro on "Innocence Faded" sounds very Morse-Influenced...
And the Galactic Cowboys. "Caught In A Web" is similar in structure as the GC's "You Make Me Smile" - the key change into the chorus, with harmony vocals, the use of the guitar riff doubled & then harmonized by the bass...
These things AREN'T BAD! Believe me - I'm not bashing them. I think it's wonderful when bands aren't afraid to show their influence. Saigon Kick is a prime example of another band where this happens. If you listen to "WATER," you'll hear Beatles influence out the wazoo ("When You Were Mine/Reprise" is probably the most blatant). And some U2...and a whole bunch of other stuff.
But, the author of the article is right in some respects. We really don't need another Kansas, but, if this new Kansas record "Freaks of Nature" sucks, I'm gonna be pissed off!
As Ozzy (and others) said, "We're all plagarists."
> albums! What's the deal with producers? Does it really make THAT much > difference? Specifically, what in WDADU makes it stand out as such a horribly > "produced" album?
hehe...oh jeez. If different producers didn't make a difference, then every album would sound exactly the same...every genre, every type.
WDADU - My main problems with it are the bass tone, the guitar tone, and the relative nastyness of the mix. It's not badly mixed, it's just that the individual components just sound bad mixed together.
I&W - Those damned triggered drums. <blech> John's bass is fuller, but, just lacks clarity.
AWAKE - my problems with this production are few & far between. The whole thing sounds HUGE. Big. Very big. As the drummer in my band put it, "They are the gods of flange & reverb."
Well produced album? I was just talking with a co-worker about that. My pick - Quincy Jones's "Back On The Block." It's probably not your style of music (though I don't know), but, the production is top notch...
Basically, you have to listen to individual components, as well as the overall sonic picture. You'll hear what I mean.
> Space-Dye Vest in LSOAD and Scarred?!!!!! Where? I've noticed it kind of in > LSOAD (Is it the guitar part in the middle?) Can someone help?!! > AAAARRRRRRGGGHHH!
I actually hear the SDV piano line, in a different key, after the line "I'll never hurt you again..." in The Mirror.
------------------------------
Date: Wed, 26 Apr 1995 11:19:24 -0400 (EDT) From: zebrowski steven <szebro1@gl.umbc.edu> To: ytsejam@anthor.arastar.com Subject: Reusable Riffs Message-ID: <199504261519.LAA00478@umbc8.umbc.edu>
I'm really having trouble finding the SDV melody in Scarred. I can hear it in The Mirror and LSoaD, but not Scarred. In Erotomania, I've heard The Silent Man, Innocence Faded and CiaW, but that's it. Then the main theme from Eroto <the 5/4-9/8 part> recurs again during the recitation in Voices. Then, of course, parts of The Mirror and Lie appear in eachother. Someone told me a while ago that SDV was in Scarred, but I really can't hear it. I keep meaning to go and listen and read along w/ Awake to find all the recurring musical and lyrical themes in the whole album, but who has the time? Help!
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> <"...Thought disorder; ___ ___ ___ _ _ ___ ___ "Balls and chunk is > <Dream control. Now | __||_ _|| __|| V || __| |_ | where it's at." > <they read my mind on |__ | | | | __| \ / | __| / / --Mike Portnoy, LiT > <the radio...But where|___| |_| |___| V |___| |___|"I think SpontanUity!"> <was the Garden of Eden?" szebro1@gl.umbc.edu --John Petrucci, X103> <--John Petrucci, Voices Radio Show> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
------------------------------
Date: Wed, 26 Apr 1995 11:30:58 -0600 From: dneff@maaco.com (David Neff) To: ytsejam@anthor.arastar.com ('smtp:ytsejam@anthor.arastar.com') Subject: Hairball YJ789 PHL Dates Message-ID: <1995Apr26.112300.1059.575@smtp.maaco.com>
Hi Jammers!
Hey Hairball@Temple, In digest789, you wondered about the DT dates in Philly ... I saw all 3 shows too. The first one I don't know since they just had those "Admit One" tickets at the Chestnut, which I didn't save :( The 2nd show was on 12/15/92. (I MUST get a tape of them doing "O Holy Night" - Wow!!) The TLA show was on 3/2/93.
So you're in a band, eh? Do you play out? Where? When? Lemme know, there's a beer in it for you ...
Dave Neff - dneff@maaco.com, King of Prussia
------------------------------
Date: Wed, 26 Apr 1995 11:40:21 -0500 From: mer@sol.iii.net (Marc Respass) To: ytsejam@anthor.arastar.com Subject: Re: YTSEJAM digest 796 Message-ID: <v01510102abc424098c80@[199.232.46.229]>
zebrowski steven <szebro1@gl.umbc.edu> wrote:
>To all the "music people" on the list: Has anyone ever noticed that "Eroto" >is in a simplified classical Sonata form? I did a term paper on sonata form >last semester, and I noticed this a while ago...
Hmmm. I don't think so. I can see what you mean though. It starts with that theme and ends with it plus the coda as in Sonata form but it's not Expo-Dev-Recap. Mainly, there's no development section. I think it's just a song with a bunch of parts all linked together that ends with the same riff it started with. Not an uncommon way to write. My friend and I just wrote a song like that. In Sonata form, you would typically go to the dominant in the development (or relative major if you started in minor). Erotomania doesn't do that. The transcription I have has a key sig of A major but it's a very chromatic line. The second theme is E mixo (same key sig). Eventually it goes to B major.
Anyway, anyone else have an opinion on it? I just got the transcription and it's really tough to read. For some reason, the simpler rythms keep hanging me up (bass parts, BTW). Great tune though! Lots of fun to play (esp. on my new 5-string :D)
Marc Respass mer@sol.iii.net http://www.iii.net/users/mer.html
------------------------------
Date: Wed, 26 Apr 95 11:54:37 CDT From: bharath dwarakanath <bdwaraka@midway.uchicago.edu> To: ytsejam@anthor.arastar.com Subject: falsetto Message-ID: <CMM.0.90.4.798915277.bdwaraka@ellis.uchicago.edu>
On the falsetto thing, it really seems to me like Labrie uses a falsetto. It is a trained falsetto, admittedly, and a very strong one. Track five of LatM, Another hand/the killing hand contains pretty good examples of his voice switching from chest to falsetto. At the section that begins "when I go back again..." you can hear breaks in his voice-- especially the part "was it really worth..." normal to "what I have learned..." falsetto. There is nothing wrong with using a falsetto especially when it is as powerful as Labrie's, so don't take this as an attack, oh ye labrie worshippers...I think he is one of the best out there also. just my 2 bits. --bharath bdwaraka@midway.uchicago.edu
------------------------------
Date: Wed, 26 Apr 1995 13:09:24 +0500 From: jjens@site.gmu.edu (John Jens (CS 112)) To: ytsejam@anthor.arastar.com Subject: Re: Guitar Shit... Message-ID: <9504261709.AA00555@arsenic>
hairball: great explanations. weird how you start these right near exam time, eh? :) anyhoo, keep the lucidity flowing.
one Q though, i thought i heard/read something about John P. recording all his tracks w/ regular effects n stuff (distortion, chorus, blah blah blah) and then went back and did them all acoustically. maybe on I&W? i dunno. maybe i'm dreaming hehe :)
-john
::::::::::John C. Jens, Jr.:::::::::::::::::::"You could make a choice,:::::::: :::::::::::jjens@gmu.edu:::::::::::::::::::::but you never learned to think.":: ::http://www.site.gmu.edu/~jjens/:::::::::::::::::::-Fates Warning:::::::::::::
------------------------------
Date: Wed, 26 Apr 1995 14:27:25 +0500 From: jjens@site.gmu.edu (John Jens (CS 112)) To: ytsejam@anthor.arastar.com Subject: New WWW Music Database Message-ID: <9504261827.AA00628@arsenic>
tis i once again, found this kool music db:
register and vote for yer fav albums. look who's currently the "Best Voted":
1. Dream Theater: Images And Words (10.0)
:)
later, again, -john ::::::::::John C. Jens, Jr.:::::::::::::::::::"You could make a choice,:::::::: :::::::::::jjens@gmu.edu:::::::::::::::::::::but you never learned to think.":: ::http://www.site.gmu.edu/~jjens/:::::::::::::::::::-Fates Warning:::::::::::::
------------------------------
Date: Wed, 26 Apr 1995 11:32:31 -0700 (MST) From: Michael Bahr <garion@indirect.com> To: ytsejam@anthor.arastar.com Subject: Re: two items (1/2 DT content) Message-ID: <199504261832.LAA01649@bud.indirect.com>
> shouting :) ). as an addendum, IMHO DT should get a little more loose in > general when they play their stuff live... it's a great experience to hear > their studio material reproduced almost flawlessly, but owing to their great > musicianship i know they are capable of some great extended group jams.
We've gotta be careful with this. Led Zeppelin always improvised, and they went beyond the level of "cool, what a twist!" to being just plain ridiculous in a lot of their musings... I'm as good a Zep fan as the next guy, but some of the solos and such on their boots are just a waste of tape.
> oh... almost forgot: a big FUCK YEAH to Mike Bahr! :)
Fuck thanks! :)
Mike Bahr, garion@indirect.com
------------------------------
Date: Wed, 26 Apr 1995 14:54:34 -0400 From: Michael Backof <mbacko1@gl.umbc.edu> To: ytsejam@anthor.arastar.com Subject: A Kick Into a Dream, More Boots, New King Crimson Message-ID: <Pine.SGI.3.90.950426143346.29957D-100000@umbc8.umbc.edu>
Hello All Ytsejammers!!
As I eagerly wait for Subconscious (and scream obscenities at the mail clerk when it doesn't arrive) I thought I would review the new King Crimson album that came out yesterday in the USA.
King Crimson Thrak ------------ This album has something for everybody. A couple of songs that have enough of a groove to play on MTV, a song that sounds like machinery banging, some ethereal Frippertronics, a song with Two theme variations on the album, and a Latin ballad. It also contains a couple of songs where the ghost of John Lennon invades Adrian Belew's body and procedes to sing some wonderful melodies. The music is purely King Crimson and you can hear Bruford, Belew, Fripp influence throughout the album. I haven't listened to it enough to be able to tell Levin and Gunn apart, but several of the tracks have interesting bass parts and none of them sound similar to bass lines in other songs on the album.
Dinosaur is the first single and one of my favorite tracks at the moment. A song that features Adrian singing of being a dinosaur and having someone "digging in his bones." Plus there are some nice Belewism dinosaur sounds coming out of his guitar.
Will a Dream Theater fan like it? This really depends on what you can handle. If you like the Beatles (the later drug induced stuff), Pink Floyd, 1970's and 1980's Crimson or Vrooom, stuff like this, this album is a must. You also have to enjoy, or be able to put up with busy music at times. Sex Sleep Eat Drink Dream has two drummers playing in different time sigs. <grin>
Boot Acquisitions ----------------- I got a few things from my boot dealer today. Dream Theater's A Kick into a Dream, and a wierd Person's Guide to King Crimson. I ordered a Floyd set but it was out of stock, which sucks. I'll listen to these after another round of Crimson.
Does anyone know the story on the Wake Up I (Japan 1/24/95) it is a 2CD I saw listed in the new catalog. I am assuming it is Myung's birthday show from the Japanese PPV.
King Crimson Recommendations ---------------------------- If you like Belew, Fripp, and Levin's solo stuff get Discipline. If you get by the first song you are in good shape. It has some great guitar solos and wild lyrics.
Later,
Mike
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Date: Wed, 26 Apr 1995 17:03:19 -0400 From: Michael Backof <mbacko1@gl.umbc.edu> To: Ytsejam Digest <ytsejam@anthor.arastar.com> Subject: CD Pressing Message-ID: <Pine.SGI.3.90.950426170039.4543A-100000@umbc9.umbc.edu>
I am interested in getting one or two CDs made from a tape master. If anyone has any information on places to contact, please let me know.
Thanks,
Mike Backof
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Date: Wed, 26 Apr 1995 15:07:39 -0500 From: stern.35@postbox.acs.ohio-state.edu (Jeff Stern) To: ytsejam@anthor.arastar.com Subject: Wheel of Fortune theme Message-ID: <199504262008.QAA23707@postbox.acs.ohio-state.edu>
>Date: Tue, 25 Apr 1995 15:41:07 -0500 (CDT) >From: Sean T Gill <stg@csd.uwm.edu> >To: ytsejam@anthor.arastar.com >Subject: Hidden songs >Message-ID: <Pine.OSF.3.91.950425153654.2067A-100000@alpha2.csd.uwm.edu> > >While some have noticed that DT puts parts of one song in another (Mirror >in Lie etc...) but has anyone else noticed in Scarred, when the guitar >goes clean sometime after the five minute mark that JP plays the old >Wheel of Fortune theme? (Not the Big band show tune they use now). >Food for thought. > Sean >
YES!!! I have. At first, I couldn't quite place why it sounded familiar, but my friend pointed it out to me. Good ears. I think this might mave been mentioned a while ago though. I also don't think that it was intentional. What does everyone else think?
------------------------------------------------------------------------------ "open to all parties, but influenced by none"
-Isaiah Thomas (no, not the basketball guy) ------------------------------------------------------------------------------
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Date: Wed, 26 Apr 1995 18:39:14 CST From: "Douglas Slauson" <DRSLAUS@msae.engr.wisc.edu> To: ytsejam@anthor.arastar.com Subject: Subconscious Message-ID: <12A6CD35933@msae.cae.wisc.edu>
Hey all, thought I would post some initial thoughts about Subconscious...
Well, first off, the quality is good from my very limited knowledge of boots. I like to crank up the lower frequencies on my equalizer when listening to music, but this doesn't work with Subconscious. (and all my other boots) So a minor change in settings and it's sounding pretty good.
I got this cd for ACoS and Mission: Impossible, so of course I am very impressed with those tracks. Others that I'm really digging right now are Don't Look Past Me, Bad Back Pain Jam, Awake Heavy Jam, and Eve with samples. This stuff is awesome.
A very special thanks goes out to Mike Bahr for his dedication to this project and making it reality. (yes it finally got here! :)
As for organs, how does a umm shit I don't know my biology, I hated that in HS!
Douglas ooooooooooooooooooooooooooooooooooooooooooooooooooo I the one you sentenced Penance unabsolved Answer me save my will have you forgotten me oooooooooooo drslaus@msae.cae.wisc.edu oooooooooooo
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Date: Thu, 27 Apr 95 09:36:00 PDT From: "Bird, Paul" <plb@cssg.dsto.gov.au> To: YTSEJAM <ytsejam@anthor.arastar.com> Subject: *de-lurking alert* Message-ID: <2F9FC91A@msmail.dsto.gov.au>
Hi fellow ytsejammers! I have lurked here for quite some time now, and thought it was time to add a few comments. I am a new DT fan, and have copies of I&W, LATM, Awake and a bootleg of a show at NewHaven. I've seen LiT once, and will soon be buying it along with WDADU and TSM single. (I think I've mastered the acronyms now :->) I've also got Kevin's demos but haven't given them a good listen yet. I think I'll get the Subconcious CD too if there any left. By the sounds of it, Mike is doing a great job :)
Anyway, just a few points:
1) Any Queen fans on this list? I am a huge fan of Queens earlier work in the 1970s and was wondering what other yjammers thought of it. After witnessing the recent discussions about "progressive" music, I wondered whether Queen's music could be considered progressive. I'd be interested to know what you ppl think. Whether progressive or not, it's great music and I would reccommend any of Queen's work up until the double album Live Killers. Their first three albums (pre Bohemian Rhapsody et al and megastardom) would be of most interest to Dream Theater fans, IMHO. These are entitled Queen, Queen II and Sheer Heart Attack respectively. Also look out for the album Live at the Beeb (released as Live at the BBC in the US I think) which was recorded before their debut album and contains great versions of the songs on the first and second albums.
2) Interesting to hear that the symbol on LATM is taken from the Australian Aborigines. Now if they'd only come down here and do a few shows :( (How about a DT convention down under, fellow Aussie DT fans?)
3) I have read a fair bit about Rush here, and the guy who introduced to me to DT is constantly informing me about his latest purchase of some obscure Rush record. I know very little about them except what I have read here. I would like to know if their back catalog is available on CD (I don't have a record player), and what album would be a good initial purchase.
4) ditto above for Queensryche.
5) Re the recent statements about the quality of this list: despite the occasional foolish posts, flames, useless threads, etc; I find this list to have a better signal to noise ratio than many other forums. On the whole, the contrinutors seem fairly intelligent and well educated, and the dedication and spirit of the fans here (e.g. Mike Bahr's efforts) is extraordinary. Well, there's my piece of ass kissing for the day :)
6) Is there an specific Dream Theater newsgroup - my news server has alt.rock-n-roll.metal.progressive, but nothing specific to Dream Theater.
l8r ppl, sorry for the length of this post!
Paul Bird Paul.Bird@dsto.defence.gov.au "Mmmmmm, waffle runoff." - Homer Simpson
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Date: Wed, 26 Apr 1995 19:03:45 -0600 (MDT) From: BERTAPELLE ADAM RAYE <bertapel@ucsu.Colorado.EDU> To: ytsejam@anthor.arastar.com Subject: The Japan Pay-per-View Message-ID: <199504270103.TAA29299@ucsu.Colorado.EDU>
Where can I get a copy of this video? It's been mentioned here. Is somebody willing to trade, or is it in the stores? And how does it compare to Live In Tokyo? -ADam
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Date: Wed, 26 Apr 95 22:00:22 EST From: market@clubmet.metrobbs.com To: ytsejam@anthor.arastar.com Subject: YTSEJAM digest 794 Message-ID: <9504262200.D3119Rj@clubmet.metrobbs.com>
Mike Bahr- Do you have "sub" cds for sale still? You have copies ready to go? Just wondering.
TELNET:198.69.223.40 if you TELNET then write (me) "Dream Theater" e-mail.
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End of YTSEJAM Digest 797 *************************
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