YTSEJAM Digest 1033
Today's Topics:
1) Re: "...Cassandra Fleeting..."
by kbibb@arastar.com (Ken Bibb)
2) I am in AWE of Mike Portnoy.
by Michael Bahr <durnik@indirect.com>
3) Stuff, Take II
by Steve Borzilleri <magellan@u.washington.edu>
4) Queensryche album
by Nathan Dayspring <tsbileci@beta.loyno.edu>
5) Re: YTSEJAM digest 1022
by Nathan Dayspring <tsbileci@beta.loyno.edu>
6) YJ #1031 GRAU
by Steve Borzilleri <magellan@u.washington.edu>
7) Petrucci's Ladder, Part I
by Steve Borzilleri <magellan@u.washington.edu>
8) Petrucci's Ladder, Part II
by Steve Borzilleri <magellan@u.washington.edu>
9) Re: YTSEJAM digest 1031
by borlangw <borlangw@dcs.gla.ac.uk>
10) A Kick Into A Dream
by "Kevin G. Villines" <kvillin@comp.uark.edu>
11) Re: two tough questions
by "Daniel James Temmesfeld" <S1133627@cedarnet.cedarville.edu>
12) Metallica fan ---> DT
by "Daniel James Temmesfeld" <S1133627@cedarnet.cedarville.edu>
13) Fwd: Malmsteen
by ORBITMIS@aol.com
14) aerobics in hell
by Matthew Sirois <ms014e@uhura.cc.rochester.edu>
15) DT cd for trade
by Skooc@aol.com
16) sheesh...
by Jaime Kimpton <jaimekimpton@vwc.edu>
17) ad!
by WildKoba@aol.com
18) Re: "...Cassandra Fleeting..."
by Ken Bibb <kbibb@qualcomm.com>
----------------------------------------------------------------------
Date: Sat, 14 Oct 1995 00:32:42 +0800
From: kbibb@arastar.com (Ken Bibb)
To: ytsejam@anthor.arastar.com
Subject: Re: "...Cassandra Fleeting..."
Message-ID: <9510140732.AA21504@anthor.arastar.com>
> Date: Thu, 12 Oct 95 22:30:39 PDT
> From: zack@lsil.com (Zack Gemmill)
> To: ytsejam@anthor.arastar.com
> Subject: "...Cassandra Fleeting..."
> Message-ID: <9510130530.AA04493@tengs1.teng>
>
> This subject came up some time ago. Cassandra was the daughter
> of King Priam of Troy. I did a few searches of the Greek classics
> archived at MIT, searching for both "Cassandra" and "fleeting"
> but failed to find the exact phrase.
That's because it's not in Greek Literature--it's in Roman literature.
Virgil's Aeneid to be exact. The two main sources on Troy, remember,
are Homer and Virgil. An example (the first I was able to find):
Aeneid Book II 341-343
Even then can Cassandra chant of what will come
with lips the gods had doomed to disbelief
by Trojans.
I recall a longer passage where she predicts the fall of Troy but
none listen which may have been in a prose Aeneid...
-- Ken Bibb "If the boundary breaks I'm no longer alone kbibb@arastar.com Don't discourage me jester@crash.cts.com Bring out the stars/On the first day" David Sylvian--"The First Day"------------------------------
Date: Sat, 14 Oct 1995 01:32:44 -0700 (MST) From: Michael Bahr <durnik@indirect.com> To: ytsejam@anthor.arastar.com Subject: I am in AWE of Mike Portnoy. Message-ID: <199510140832.BAA00845@bud.indirect.com>
As the subject says, I am in absolute awe at the amount of pure class Mike Portnoy has. The day after John Nguyen gives him the complimentary copies of Acoustic Dreams, he _calls me personally_ to thank me. What a gentleman! :)
Needless to say, I'm a happy camper. I can't wait until my next chance (if ever) to talk to Mike in person, so I can express my appreciation for his having called me. Dream Theater is slowly but subtly positioning themselves for a tie at the top of my musical mountain with that trio from Canada who already has their tent pitched there.
In other news, yes, Bafu (Bah-foo or Bay-few?) I guess subtlety is not somehting I've mastered on the net... I'm pretty good at subtle humor in person, especially straight-faced jokes, but they are totally lost on a non-personal medium like this one. So I try to be a bit more blatant than I usually would be, at all times. :)
Oh yes, in other news, all you Japanese Ytsejammers can rest easy because the big huge check Kaoru sent me arrived today! :) So I will be sending her a box with 20 copies of Acoustic Dreams sometime soon, so that you can all get your CDs. Two or three of you already ordered ahead and will be getting your CDs ahead of time anyway.
Hmmm... no, I'm not gonna start rambling. I swear. This is relevant, or at least all of this should be. Or at worst, you can laugh at my grammer.
With regards to going to the 12/28 show... argh, I can't! I checked my calendar, and my band is going to be on a ski trip from 12/27 to 12/30. Grrrr. Well, I really want to do both, so naturally, they happen simultaneously. Unless the band breaks up or someone breaks a leg or something, I will have to catch up with Dream Theater in the spring, or whenever (if ever) Mike does a clinic in the Phoenix area.
Norritt + Skeleton Ship. Instill energy for extra laughs.
As I look at my interpretation of Silent Man along with the possibility that it's based on Oedipus Rex, I am truly torn of opinion... there is indeed a strong case for Oedipus. I guess the only thing to do would be to ask DT.
Another Dream Theater Moment (Tm) from Acoustic Dreams... the passage from Lifting Shadows off a Dream , starting with the interlude and leading through the verse "And the rain is pouring down, tears of sorrow washes by, drifting with the current, the stream of life pours on". Besides having the name of a Magic card in it, that verse is just utterly beautiful, especially as it was performed.
Mike Bahr, durnik@indirect.com
------------------------------
Date: Fri, 13 Oct 1995 23:53:12 -0700 (PDT) From: Steve Borzilleri <magellan@u.washington.edu> To: Dream Thespians <ytsejam@anthor.arastar.com> Subject: Stuff, Take II Message-ID: <Pine.A32.3.91j.951013235114.46244E-100000@homer08.u.washington.edu>
There was an ending to this post that somehow got cut off. Take II. (click!)
---------- Forwarded message ---------- Date: Wed, 11 Oct 1995 21:18:03 -0700 (PDT) From: Steve Borzilleri <magellan@u.washington.edu> To: Dream Thespians <ytsejam@anthor.arastar.com> Subject: Stuff
<Removed material that made it through>
Now, the REAL questions on my mind...
1. Who IS Cobra Commander?
2. Who IS that neighbor on Home Improvement?
3. Who IS Kaiser Sorza?
4. What IS the secret of The Crying Game?
I have discovered that they are all one and the same entity. . . . . .
------------------------------
Date: Sat, 14 Oct 1995 01:59:35 +0000 (GMT) From: Nathan Dayspring <tsbileci@beta.loyno.edu> To: ytsejam@anthor.arastar.com Subject: Queensryche album Message-ID: <Pine.OSF.3.91.951014015409.13315F-100000@beta.loyno.edu>
TO: Monkeyboy RE: What's the best Queensryche album to start with?
I'd start with either Operation: Mindcrime (their best IMO) or Empire. Both are excellent albums that will prime you for their weirder (but VERY COOL) stuff. After you get those two, get Rage For Order and Promised Land. Then, finish off with Queensryche (EP) and The Warning.
I pretty much started going backwards. I got Empire first, then Mindcrime, The Warning, Rage, Queensryche, and finally Promised Land (when it came out). The singles from Empire are what drew me in, but I thoroughly enjoy everything they've done.
Paul
------------------------------
Date: Sat, 14 Oct 1995 02:45:42 +0000 (GMT) From: Nathan Dayspring <tsbileci@beta.loyno.edu> To: ytsejam@anthor.arastar.com Subject: Re: YTSEJAM digest 1022 Message-ID: <Pine.OSF.3.91.951014022956.13315G-100000@beta.loyno.edu>
> Date: Tue, 10 Oct 1995 12:52:57 -0700 (MST) > From: Michael Bahr <durnik@indirect.com> > To: ytsejam@anthor.arastar.com > Cc: durnik@indirect.com > Subject: Things > Message-ID: <199510101953.MAA15471@bud.indirect.com> > > If you lay down a Black Lotus, Sol Ring, 4 Black Vices, an > Island, and play Ancestral Recall on your opponent, they die before their > first draw phase with 24 points of Vice damage during their upkeep.
WHOA! Where did that come from? Well, folks it looks like another sad case of someone with "Magic on the mind." I wonder how this wound up getting on THIS list. Maybe a couple of Phyrexian Gremlins snuck into your computer and transported that message to YSTEJAM when it was meant for MTG-L. <BG>
Ever kill anyone with Channel, Drain Life, and Initiates of the Ebon Hand? How about Ball Lightning, Blood Lust, Berserk? (I've done this one).
Hi, I'm not only a Dream Theater fan, but a Magic fanatic as well! > Once there was an ox who worked day in and day out and never got > to rest, and he was tiring and his joints would frequently buckle, and he > came to the stable one evening blathering and huffing, complaining about > his plight. A donkey in a nearby stall heard the ox complaining and > offered his advice. > "Do you want to rest tomorrow?" The ox nodded. "Then don't eat > your fodder tonight, and don't move tomorrow. The farmer will whip you > with his stick and yell and curst but you must not budge. The farmer will > then think you're sick and let you rest a few days." > "That's a good idea! I will try it. Thank you, friend." And the > next day the ox did just that. He starved himself so that the farmer > would see the untouched fodder in his trough, and then sat and snorted > when the yoke was set about his neck. The farmer whipped him and lashed > him until he bled, but finall gave up, declared that the ox was sick, and > led him back to the barn. > The next day, the farmer needed to get work done, and so took the > donkey to the fields and worked him weary. The donkey knew it was his own > fault, and concocted a scheme to get the ox to work again. When he got > back to the barn, the ox heaped praise on him. > "Thanks to you, I have rested all day and eaten well. Truly you > have the best of minds. Thank you for this idea!" But the donkey replied > in a whisper. > "I heard the farmer say he would slaughter you for fat if you > can't earn your keep! You'd better work tomorrow!" The ox's eyes widened > and he thanked the donkey. > "Thank you so much for the warning! I owe you one." Not knowing > that the donkey just wanted to get out of work, the ox slept, and then > delivered a hard day of work in the field. Meanwhile, the donkey was > grazing in the field when a bolt of lightning struck a nearby tree, which > fell on the donkey, killing it. > The moral of the story? Don't be an ass.
Wow that was cool. Minimal DT content, but still much cooler than the OJ debate.
You'll have to excuse the excessive quoting on this message. I'm sort of a quoting maniac, but at least I cut out the REST of the digest. Yes, I use Pine's ability to copy the ENTIRE the digest into my E-mail.
Paul
------------------------------
Date: Sat, 14 Oct 1995 00:50:02 -0700 (PDT) From: Steve Borzilleri <magellan@u.washington.edu> To: Dream Thespians <ytsejam@anthor.arastar.com> Subject: YJ #1031 GRAU Message-ID: <Pine.A32.3.91j.951014002122.23865B-100000@homer08.u.washington.edu>
General Responses As Usual.
----------
> just found out that Joe's got official web site now it's at > http://www.satriani.com
This page kicks ass! Thanks for posting it!
----------
> as for DT....the guitarists wve picked up ACOS does JP do this when > every one is doing that cromatic crazeness??
You were close Minhaz, but here is what I am hearing at that part in ACOS: (12:27-12:31)
E|--9-10-11-12-------------------------------------------------------------- B|-------------------------10-11-12-13-------------------------------------- G|-------------10-11-12-13-------------------------10-11-12-13-------------- D|-------------------------------------11-12-13-14-------------------------- A|-------------------------------------------------------------12-13-14-15-- E|--------------------------------------------------------------------------
E|--------------------------|----------------------------------------------- B|--------------------------|----------------------------------------------- G|--------------------------|------%---------------------------------------- D|-11-12-13-14--------------|----------------------------------------------- A|--------------------------|----------------------------------------------- E|-------------13-14-15-16--|-----------------------------------------------
Good "first shot," you were only a few frets off as far as I can tell! (clap clap clap) Your ears seem pretty well-tuned because you were obviously hearing the guitar part when you transcribed this, as opposed to the keyboard part, which is very similar in sound and pitch.
----------
> From: Corporate Community Relations <buckley@powdml.ENET.dec.com> > Subject: Re: ACOS TAB Project
> The ACOS TAB Project seems like a novel idea, but I think you'll have to > take into account inaccuracies from untrained ears.
That's why I don't own any tab-books.
> Not a particular slam on anyone, but if most of the guitar TAB i've seen > posted to the net to date is any indication of people's general > transcription skills, well, I suggest you wait until the sheet music > comes out. ;')
Yeah, I know what you mean. If most of the guitar tab I've seen written in tab-books (like "Images & Words") is any indication of people's "professional" transcription skills, I suggest we all learn things by ear. Those transcribers work in teams, sometimes including the very musicians who wrote the music, and they still can't get the written parts to match what's on the album.
----------
> Keith > (the only person on this list that doesn't seem to have some kind of > sig.!!!!!)
Geez, Keith. That must suck not having a sig.
Bafu Vai
------------------------------
Date: Sat, 14 Oct 1995 02:36:36 -0700 (PDT) From: Steve Borzilleri <magellan@u.washington.edu> To: Dream Thespians <ytsejam@anthor.arastar.com> Subject: Petrucci's Ladder, Part I Message-ID: <Pine.A32.3.91j.951014023257.458751A-100000@homer28.u.washington.edu>
This is a very long post. So long, that I would rather send it in two parts. Before I get to "Slow Motion," I feel I should explain the lick from Metropolis to provide some background.
"Metropolis, Part 1" - Petrucci's Ladder #1
The below tablature is for the ascending lick played by Petrucci, which is doubled on keys by Kevin Moore. The scale he uses will work with major and minor keys, it just depends on where you start. I have marked off two notes in particular with * and #. This tab is straight from Metropolis, and this scale happens to be for b-minor, but the basic rules for using this scale are: (1) if the key is e-major, make sure * is an e. This applies to any major key. (2) If the key is in f-minor, make sure # is an f. This applies to any minor key. Play around with it a few times and you'll see what I mean.
(Metropolis, 4:42-4:46)
------------------------------------------------------------------------- ------------------------------------------------------------------------- ----------------------------------------------------------9-11-12-------- -----------------------------------------9-11-12-9-11-12----------11-12-- ----------7-9-10---------9-10-12-9-10-12--------------------------------- -7#-9-10*--------9-10-12-------------------------------------------------
----------------------------------------12-14-15----------14-15-17------- ----------------------12-14-15-12-14-15----------14-15-17---------------- ----11-12-14-11-12-14---------------------------------------------------- -14---------------------------------------------------------------------- ------------------------------------------------------------------------- -------------------------------------------------------------------------
As you can see, there are 8 "rungs" of six ascending notes each.
The basic "Ladder Diagram" looks like this:
(O = fretted note, X = frets to keep your fingers off of!)
---------------O-X-O-O-X-O----------------------- ---------------O-X-O-O-X-O----------------------- ---------O-X-O-O-X-O----------------------------- ---------O-X-O-O-X-O----------------------------- -----O-X-O-O-X-O--------------------------------- -----O-X-O-O-X-O---------------------------------
Memorize this picture and you can move the scale around anything with ease. For a nice little bonus, try tapping on this scale, four-fingers, descending. Fret the three leftmost notes with your left hand, and tap the one rightmost with your right hand. If you build up enough speed whizzing down the fretboard, you will begin to hear Reb Beach (Winger) playing through your amp! :) This is exactly the sort of stuff he used to do, tapping over extended scales.
More to come in Part II.
Bafu Vai
------------------------------
Date: Sat, 14 Oct 1995 02:47:47 -0700 (PDT) From: Steve Borzilleri <magellan@u.washington.edu> To: Dream Thespians <ytsejam@anthor.arastar.com> Subject: Petrucci's Ladder, Part II Message-ID: <Pine.A32.3.91j.951014023639.458751B-100000@homer28.u.washington.edu>
This message is in MIME format. The first part should be readable text, while the remaining parts are likely unreadable without MIME-aware tools. Send mail to mime@docserver.cac.washington.edu for more info.
---1936833006-2078917053-813663411=:458751 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-ID: <Pine.A32.3.91j.951014023755.288043B@homer28.u.washington.edu>
"Slow Motion" - Petrucci's Ladder #2 (The Hyper-Ladder)
I'm not sure where (time-wise) in the song he does this, nor do I remember what note he starts on, as I didn't write down the time or key when I transcribed this lick. It doesn't really matter, the scale and its applications are what's important.
What Petrucci does here that differs from Ladder #1 is he doubles the amount of notes in the same amount of fretboard-space. I should also point out that there are still 8 "rungs" to work with, so this works with 4/4 time just like Ladder #1. Each "rung" here will be separated by !!.
Like the Metropolis tab, * is the major root, and # is the minor root. Either way, once you learn the diagram, it's pretty easy to adapt it to major or minor. Just shift your hand up or down a few frets! To make this easier, I started this scale on the same note as the one in Metropolis, so you can hear the difference when you start each ladder on the same note.
------------------------------------------------------------------------- ------------------------------------------------------------------------- ------------------------------------------------------------------------- ------------------------------------------------------------------------- ----------7-------------7-9-10-!!---------9---------------9-10-12-!!----- -7#-9-10*---10-9-7-9-10-----------9-10-12---12-10-9-10-12----------------
------------------------------------------------------------------------- ------------------------------------------------------------------------- --------------------------------------------9---------------9-11-12-!!--- ---------9---------------9-11-12-!!-9-11-12---12-11-9-11-12-------------- -9-10-12---12-10-9-10-12------------------------------------------------- -------------------------------------------------------------------------
------------------------------------------------------------------------- -------------------------------------------------12----------------12-14- ----------11----------------11-12-14-!!-11-12-14----14-12-11-12-14------- -11-12-14----14-12-11-12-14---------------------------------------------- ------------------------------------------------------------------------- -------------------------------------------------------------------------
----------------12----------------12-14-15-!!----------14---------------- -15@-!!-12-14-15----15-14-12-14-15-------------14-15-17----17-15-14-15--- ------------------------------------------------------------------------- ------------------------------------------------------------------------- ------------------------------------------------------------------------- -------------------------------------------------------------------------
----14-15-17------------------------------------------------------------- -17----------------------------------------------------------------------
(bottom four strings ommitted. these two strings are the high e and b.)
He doesn't actually play all the way up the scale, he stops at @ and goes into something else, but again, you can see the similarity between Ladder #2 and Ladder #1. This one just seems to have more "rungs" to deal with due to the surplus notes he crams into each one!
When you're done learning Ladder #2 as an ascending lick (going up), try it descending (going down). Just start at the last note and work your way back to the beginning. Totally different sound. This will create new licks for either ladder. Give it a try. :)
By the way, Ladder #2 should be played at the same speed as Ladder #1. Listen to Metropolis to get a feel for how fast Ladder #1 is played. Whichever one you're climbing, the notes are fired out at the same pace.
If you want more on this scale, Petrucci uses the same diagram in the outro-solo to "Take The Time." It's that last little ascending part (8:08) that goes up and up and UP!
Still want more? Okay, he does a little bit of this in "Bombay Vindaloo," (4:33) using Ladder #2.
STILL MORE??!! Geeez... In the solo to "Scarred," he plays within the Ladder Diagram, (8:38) moving downwards with terrifying speed.
Bafu Vai
p.s. printing all this out makes it much easier to follow.
---1936833006-2078917053-813663411=:458751--
------------------------------
Date: Sat, 14 Oct 1995 13:14:52 +0100 From: borlangw <borlangw@dcs.gla.ac.uk> To: ytsejam@anthor.arastar.com Subject: Re: YTSEJAM digest 1031 Message-ID: <9510141214.AA02135@beaver.dcs.gla.ac.uk>
Someone wrote:
> Graham-- > What are you thinking? How can you even accuse DT of selling out. Do > you think that Portnoy and Petrucci book all their gigs? They have a record > company and a management company. If both these people don't feel that UK > shows will be profitable, then they won't let DT do them. I don't think DT is > large enough to pressure the record company into letting them do what they > want.
I know. I'm just pissed off that I didn't get to see them on this tour.
Someone else wrote:
> There is a difference between "selling out" and doing what you need > to do to make a living. It really doesn't make a lot of sense to > spend your early years (while your desperately trying to scrape > along) touring places that show a lack of interest in you. That's > not selling out, that's being intelligent. > "If every other rock band under the sun can write bad songs, why > the hell can't Dream Theater?" Gee, there's a good reason DT should > do something.
I could be wrong, but I thought that the idea was to tour in order to BECOME popular. Most bands play live shows to build up a reputation and a fan base BEFORE they get record deals and become millionaires.
Someone else wrote:
> > First of all, it's the first lyrical work Mike Portnoy did. (of > > course, it is not the only vocal work Mike ever did... Mike had the > > dubious privilege of singing the end of "Surrounded" after James > > walked off the stage at one of their 1993 England shows) > [---snip---] > > Does anyone know the story behind this? Was James p*ssed or ill? Have > a hot date? Why would he walk off? Is there a FAQ for the FAQ?
I know someone who actually went to this gig. Apparently, some guy in the crowd was shouting really loud during the quiet bits in 'Surrounded'. James repeatedly asked him to shut up, but he didn't. James finally lost his temper and jumped into the crowd to deal with the guy. This meant someone else had to finish the singing, and Mike volunteered :-)
I THINK this is what happened, but I'm not 100% sure.
This has been my one and only long post. It's only long because I quoted so many different people :-)
Graham B. ______________________________ ______________________________________ |o o| |o o| | Graham Borland |:: | borlangw@dcs.gla.ac.uk |:: | Dept. of Computing Science |:: | http://www.dcs.gla.ac.uk/~borlangw |:: | Glasgow University |:: | +44 (0)141 357 4033 |:: |______________________________|:: |______________________________________|:: :::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::::::::::::
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Date: Sat, 14 Oct 1995 11:02:34 -0500 (CDT) From: "Kevin G. Villines" <kvillin@comp.uark.edu> To: ytsejam <ytsejam@anthor.arastar.com> Subject: A Kick Into A Dream Message-ID: <Pine.SOL.3.91.951014105809.19541A-100000@comp>
I've got a boot for sale called "A Kick Into A Dream" Recorded At The Manhattan Center, New York City(10/28/94) Disc 1 Disc 2 1. Intro/Pull Me Under 1. The Mirror 2. 6:00 2. Lies 3. Take The Time 3. Another Day 4. Caught In A Web 4. Erotomania 5. Lifting Shadows Of a Dream 5. Voices 6. The Ones Who Help To Set The 6. The Silent Man Sun (Inst.) 7. Metropolis
Send Your Offers or any questions to kvillin@comp.uark.edu Kevin
------------------------------
Date: Sat, 14 Oct 1995 12:19:00 -500 (EST) From: "Daniel James Temmesfeld" <S1133627@cedarnet.cedarville.edu> To: ytsejam@anthor.arastar.com Subject: Re: two tough questions Message-ID: <307FE32B.B99D.008C.000@cedarnet.cedarville.edu>
About the whole "Metallica sellout" thing...personally, I don't think that they are the ones who sold out (I'll get to who did later). They were just writting what was on their minds, musically and lyrically, at the time. I don't think that they sat down and thought, "let's change our musical direction so we can sell 7+ million albums." Of course, every band wants to sell millions upon millions of albums, because that's how your careers are going to have some financial support; but I don't think that the Black album was written as a sellout, though many people do because of its differnce from And Justice For All... (their best, IMO). It was just Metallica and their songs written at that time.
The one who sold out around that time would have to be Dave Mustaine, IMO. I mean, I love Megadeth and all, but he totally sold out after Metallica's Black album. Dave saw that Metallica (Megadeth's major rival in the same genre) had slightly changed their style from speed metal to a more straight-up metal. His follow-up to Metallica's Black album was Countdown To Extinction, and this was coming off Megadeth's speed Rust In Peace (their best IMO). Their were still some great songs off of CtE like "Ashes..." and such, but overall the whole thing wreaked off sellout. Maybe I'm wrong...
I don't think that Dream Theater could ever sellout in such a way as Megadeth did, IMO. I mean, DT has no major rival (the main reason for Megadeth's sellout). Basically, DT is setting the pace for other prog-metal ands in the future. What they write is just what's on their mind...and if that goes platinum, then more power to 'em. It's when they get to the point of saying, "what'll sell more albums?" then they'd be selling out. I don't think that DT will ever get to that point, though. They are far too creative. Artists should give the audience what their *not* looking for, this will keep them from selling out...
just my $1.37...
Daan Temmesfeld s1133627@cedarville.edu
------------------------------
Date: Sat, 14 Oct 1995 12:32:00 -500 (EST) From: "Daniel James Temmesfeld" <S1133627@cedarnet.cedarville.edu> To: ytsejam@anthor.arastar.com Subject: Metallica fan ---> DT Message-ID: <307FE64F.B99D.009E.000@cedarnet.cedarville.edu>
>What songs would you recommend for introducing a fan of Slayer, >Metallica, etal to Dream Theater?
I grew up through high school on metal from Metallica and the likes, and I got into DT my first year of college with IAW. Their are a lot of metal (Met/Slay) elements in DT's music coming from esp Petrucci and Portnoy.
I would recommend Awake for a metal fan, because it is much more metal than IAW. For actual songs, I'd recommend:
Under A Glass Moon (esp if he's a guitar player) Pull Me Under A Fortune In Lies (try to get a copy with LaBrie singing...a more metal voice than Dominici...) Erotomania The Mirror Lie and 6:00 if he likes heavy stuff with a lot of heavy distorted keyboards
HTH, Dan Temmesfeld s1133627@cedarville.edu
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Date: Fri, 13 Oct 1995 10:09:05 -0400 From: ORBITMIS@aol.com To: ytsejam@anthor.arastar.com Subject: Fwd: Malmsteen Message-ID: <951013100904_73684862@mail06.mail.aol.com>
--------------------- Forwarded message: Subj: Malmsteen Date: 95-10-10 16:14:18 EDT From: ORBITMIS To: ytsejam@anthor.arastar.com
Many digests ago, there was a reference to the Guitarist of the Year award given out by some Japanese magazine, and that the 1st place award was given based soley on picking speed. Then in YJ 1012 Erik Wolfe said Malmsteen produced "Useless shred." I have had it! Malmsteen is incredible, really. I hope most of you have heard him. I think his guitar solos are very well thought out. As for him being fast...nobody can say he isn't. However, I'm sure he could play faster if he just wanted to shred. The following is quoted from Guitar World, and reprinted on his "Collection" CD: "The first thing one notices about his solos, aside from the pronounced classical infulence, is Yngwie's wickedly fast technique. 'It's not playing fast in itself that appeals to me,' he says. 'Speed can be very dramatic if done in addition to playing slow--it's a great contrast. It's also important to me that what I play fast will also sound good if the same notes are played at a slower speed. The reason I play a lot of fast licks is because that's what a lot of people want to hear, to a certain extent. 'But I don't consider myself a very fast player. I'm sure other guitarists can play faster. What I do that a lot of other guys don't do is I don't play things that are rubbish. I play classical runs, arpeggios and broken chords that if played at a slower speed would sound very nice as well. But if it's done very fast and very clean, but not necessarily as fast as someone else, it'll appear much faster because it actually makes more sense.'"
I had responede to the 1st place "slam" earlier, but due to some miscommunication (Probably AOL's fault) it either never made it to YJ, or I missed the Digest it was in. Malmsteen is awesome. If you don't appreciate him his music, fine, but don't slam his playing ability, or classical-based solos.
Bryan Adams ORBITMIS@AOL.COM
P.S. Don't get me wrong...Petrucci is very very good.
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Date: Sat, 14 Oct 1995 12:40:45 -0400 (EDT) From: Matthew Sirois <ms014e@uhura.cc.rochester.edu> To: ytsejam@anthor.arastar.com Subject: aerobics in hell Message-ID: <199510141640.MAA11182@uhura.cc.rochester.edu>
Someone a few jams ago wrote about a Boston based band called Fortune. I've saw them live a few years ago. They opened from Kansas. I really didn't like them at the time, but then, I really didn't like much except for Kansas then, so who knows... I really don't think Bombay Vindaloo is something the band just played out of no where on LatM (improv. jam). Seems more like an instrumental they'd gone over before... but I could be wrong. Anyone know for sure? I'll be down in New London for the show on Dec 27 with a friend. We'd both show up at any gathering of Jammers before the show. Someone name a time and place (the person from around there?). Sounds cool - we should definitly get this together. Favorite bands aside from DT (in no real order): Tool Kansas Simon & Garfunkel Soul Asylum (before they turned into absolute shit, ie. before Grave Dancers) Fates Warning
Others: Savatage, Kings X, Anacrusis, Type O Negative, Queensryche, NIN, Galactice Cowboys, Metallica, GnR, Enigma, Deep Forest, Pearl Jam, Dixie Dregs, Moody Blues, Miles Davis, Satriani, lots more of stuff that people think sucks, but hell, it's my collection... D'oh! I'm taking up space.
Long live the Revolution! -Matt
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Date: Sat, 14 Oct 1995 15:28:23 -0400 From: Skooc@aol.com To: ytsejam@anthor.arastar.com Subject: DT cd for trade Message-ID: <951014152822_44570342@mail02.mail.aol.com>
I have a DT cd for trade, if anybody is interested. It is a 2 cd called A Kick Into A Dream. It was recorded in Manhattan 10/28/94. It is a very nice audience recording. If you have anything you would like to trade, please email me privately. I am looking for any DT boots of complete shows. I am also looking for a vinyl copy of WDADU.
Scott Cook skooc@aol.com
"Wanna buy some mandies Bob?" Frank Zappa
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Date: Sat, 14 Oct 95 14:23:31 British Summer Time--100 From: Jaime Kimpton <jaimekimpton@vwc.edu> To: ytsejam@anthor.arastar.com Subject: sheesh... Message-ID: <m0t4BFL-0000XbC@donews.cts.com>
You'd think I'd have the sense to check my email a little more often - I'm plowing through 10 digests here, and I'm already late for a rendezvous by 20 minutes...
<<Jaime.... maybe I am jealous of your sig., or maybe you designed it just so_ I_ would get a damn headache reading it. I am not usually paranoid but I think you did it on purpose. Although, I will admit I like it.:) Is a sig. possible using AOL?? Don't think so... BTW....I think God is paying you back for giving me a headache by destroying your monitor IMHPO, of course.>>
Nope, .sigs aren't possible on AOL; you have to create your own every single time. The one I created here is giving ME a damn headache, though, because it shows up misaligned every time I use it, no matter how I try to correct it! Oh well. Just deal with it, or don't read it! :) My monitor, however, is back in business, thank whatever deities are out there for small favors! It dried out after a few hours, so it's usable again. ::wiping sweat off brow::
Babs asked about Coney Hatch. I've known about James being in that band for a couple of years, but I've never been able to track down any recorded material featuring him. I asked a buddy of mine in Buffalo who's pretty well versed in Canadian bands, and she said CH was *touring* - this was about a year and a half ago. From what I understand/remember, James was evidently just one of a multitude of changing members. (But as Dennis Miller would say, I could be wrong!)
Jaime, whose computer just told her that her trashcan is full and she still has five digests to go...
***************************************************************************** Jaime "the Dragon" Kimpton - THE INCORRIGIBLE ONE - also accessible at Maraya007@aol.com writingreadingdrawingdreamingwishingpublishingbadpunsjokesriddlespunditspoet switsandMUSIC: dreamtheaterwickedmarayaparadiselosttoriamosloreenamckennittqueensrychetiama tandstufflikethat. *****************************************************************************
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Date: Sat, 14 Oct 1995 14:59:05 -0400 From: WildKoba@aol.com To: ytsejam@anthor.arastar.com Cc: ytsejam@anthor.arastar.com Subject: ad! Message-ID: <951014145904_123907431@emout04.mail.aol.com>
i want my acoustic dreams!!!! i'm dying! help me..
bummer story. i caught john petrucci at the ngsw jam in august. i was fortunate enough to talk to him, and i even got to take a picture with him. but guess what?? that roll of film has mysteriously disappeared!! i've looked everywhere for that roll, and i don't understand. it's a lost photo. (sigh!)
my favorite bands (i guess someone asked that recently, so i might as well jump in the fray)
1) pink floyd- need i say more? 2) dt- sorry, as much as i think they're amazing, not quite the top just yet. 3) frank zappa- he's changed my life. 4) tori amos- aside from the fact that she's beautiful and i wish i could...well, you know, i love that raw style 5) prince- yes, as in the artist formerly known as. not many guitarists better than him.
honorable mention- elp, yes, crimson, rush, public enemy, and a whole bunch of others that i just cn't include at this time. so i'll be seeing you. merry christmas. david
ps- to bafu vai: consider it done
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Date: Sat, 14 Oct 1995 12:16:29 -0700 From: Ken Bibb <kbibb@qualcomm.com> To: ytsejam@anthor.arastar.com Subject: Re: "...Cassandra Fleeting..." Message-ID: <199510141916.MAA13181@jafar.qualcomm.com>
> Date: Thu, 12 Oct 95 22:30:39 PDT > From: zack@lsil.com (Zack Gemmill) > To: ytsejam@anthor.arastar.com > Subject: "...Cassandra Fleeting..." > Message-ID: <9510130530.AA04493@tengs1.teng> > > This subject came up some time ago. Cassandra was the daughter > of King Priam of Troy. I did a few searches of the Greek classics > archived at MIT, searching for both "Cassandra" and "fleeting"
The exact quote isn't from the classics as far as I'm aware (since the 20th century hadn't happened yet ;)
Also, I would like to correct my previous statement concerning the source of Kassandra being Roman--in <5 mins of searching through the Illiad (text, not online) I was able to find one reference:
Cassandra, beautiful as Golden Aprodite, was the first among the men and girdled womenfolk of Troy to recognize them as they came. She had climbed to the top of Pergamus and from that point she saw her father standing in the chariot with the herald, his town-crier. She saw Hector too, lying on a bier in the mule-cart. She gave a scream and cried for all the town to hear: 'Trojans and women of Troy, you used to welcome Hector when he came home safe from battle. He was the darling of every soul in the town. Come out and see him now.'
-- Ken Bibb "Through the fire backwards kbibb@qualcomm.com Again and Again jester@crash.cts.com Return to base." Peter Hammill--"A Headlong Stretch"
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End of YTSEJAM Digest 1033 **************************
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