YTSEJAM Digest 1785
Today's Topics:
1) Re: MMTBH
by mriodom@ix.netcom.com (Jennifer Albert)
2) Re: YTSEJAM digest 1783
by "Rebecca L. Taylor" <rtaylor@potlatch.esd112.wednet.edu>
3) No DT. . .Pats list. . .
by nishiki@juno.com (Aaron Silverman)
4) Quoting, album delays
by psull@ici.net (Pat Sullivan)
5) RUSH bashing
by jpenna@trc.tosco.com
6) Re: Gary Cherone new Van Halen singer?
by dantemm@erinet.com (Dan Temmesfeld)
7) Re: No DT. . .Pats list. . .
by frank.porcelli@rosshardies.com
8) Traders!
by "Chris Ptacek" <someone@enteract.com>
9) the clairvoyant/wait for albums
by Monty Newberry <mjnewb@mo.net>
10) Rush Tribute
by Adam Barnhart <adamb@cfmc.com>
11) Autoreply Message
by svjohnson@amoco.com
12) oh boy.
by RipZero <ripzero@dreamt.org>
13) Kevin Moore demo
by <CNG@tcco.com> (Chung Ng)
14) Stabbing Westward
by "Andrew Keith Garinger" <garinger@pilot.msu.edu>
----------------------------------------------------------------------
Date: Fri, 30 Aug 1996 00:28:26 -0700
From: mriodom@ix.netcom.com (Jennifer Albert)
To: ytsejam@ax.com
Subject: Re: MMTBH
Message-ID: <199608300728.AAA20721@dfw-ix5.ix.netcom.com>
Hi jammers,
Yes, this is really "Air Dance," I'm just posting under another account because my main
computer is/has been down a lot lately since I'm trying to upgrade it to a Pentium. I've been
through three motherboards (among other things) already trying to get this thing up-and-running
permanently, so wish me luck!
It's been quite awhile since I've posted here or kept in touch with most of you (especially
since my friend died awhile back), and I apologize for that. (Some of you have been very
patient with me & I appreciate it! I'm catching up now as best I can!) I haven't been keeping
up with the mailing list at all because I've been too busy (in both good and bad ways) in my
"real" life. I was made aware of Susan's note about the demos privately when a jammer
forwarded it to me and asked what the hell was going on. Once I'd read it, I figured I should
reply publicly of course.
First I guess I should say that Susan <spatz13@msn.com> has formally apologized to both Kevin
and I privately for her posting here on the list because it wasn't entirely accurate. As far
as I'm concerned, there are no hard feelings whatsoever. She has also informed me that she
plans to apologize to us both publicly on Ytsejam in the near future, and I appreciate her
efforts to make amends. She seems to be a person of good character who simply made an honest
mistake.
As for the quoted material from Kevin's e-mail that Susan posted, it is certainly all true. As
you all know, yes, Kevin did give me his consent to distribute his demos to his fans. That has
never been an issue and Susan simply falsely misinterpreted what he said in his note to mean
that he didn't consent to it. It is also true that Kevin didn't particularly like the way I
chose to distribute the demos, nor did he like the title I chose. He has actually indicated to
me before that he didn't approve of the initial tape tree method of distribution, but him
disliking the demo's title is definitely news to me. (In case anyone here doesn't know, the
title was derived from a letter Kevin wrote to me in which he offhandedly referred to his music
as "Music Meant To Be Heard, Etc."). Regardless of any dissatisfaction on his part, Kevin has
never indicated to me in any way, shape, or form that he wanted the demo dubbing project halted
at any time, past or present. As Susan said, if he is dissatisfied with it now and wants it
stopped, he's going to have to ask me to do that himself. At this point in time, he has not.
What Kevin's reply to Susan did _not_ mention is that this is not the whole story of what
happened with the demos.
When Kevin originally told me that I could copy his demos for his fans here on the mailing
list, he never gave me any instructions/stipulations as to how he wanted them distributed, nor
did he offer a particular title for the demo compilation. I asked him if there were any
specific things he wanted me to do in regards to the distribution of the demos, but he made no
suggestions. I was kind of disappointed by this because I really did want his input on the
matter.
After he gave me the go-ahead, I knew that it would be impossible for me to make copies for
everyone who wanted them by myself, and I certainly didn't want anyone to get cheated out of
hearing them because they didn't have anything to trade for them in return (because some
traders don't trade for blank tapes). Worst of all, I feared that a bootlegger might get ahold
of them and make people pay money (that would not be going into Kevin's pocket, obviously) for
copies. I knew Kevin wouldn't want that to happen, so the only logical thing I could see to do
was to set up a tape tree, which is exactly what I did. I'm proud to say that the whole
operation ran very smoothly from day one, and although I did personally lose a little bit of
money in the end, putting the tree together was a positive experience for me overall, and it
showed me how great the people on this list are. It was a labor of love for me right from the
beginning although I didn't gain anything from it other than the happiness of knowing that
everyone was now getting the chance to hear these wonderful songs _with_ Kevin's approval.
Then AFTER the dubbing project was already underway, Kevin told me there were certain songs he
hadn't wanted released for public consumption (the songs he worked on jointly with Rich Kern)
and that he had never intended for the demos to be distributed in the particular way that I did
it. Needless to say, I was quite a bit upset at hearing this because he'd never told me these
things before. If I'd known he had reservations about doing it, or wanted the whole thing
handled in a certain way, naturally, I would have followed his directions to the letter. At
that point in time, I asked him if he wanted me to stop the dubbing and he said "what's done is
done." I apologized to him at great length for the confusion and have continued to apologize
to him about it ever since.
Even though he changed his mind about the demo thing after the fact, something which was
completely out of my control, I felt very badly about what happened and still do to this very
day because I obviously upset him. It had never been my intention to hurt Kevin in any way or
take away his control over his artistic freedom, and I've told him this as well to make sure he
knows it. Although he has assured me many times that this issue has been laid to rest, the
note he wrote to Susan about the demos, which contained an opinion he has never even expressed
to me personally before, indicates that he has never been completely honest with me about his
feelings over what happened. It saddens me very deeply that he would grumble about the dubbing
project behind my back rather than working it out with me face-to-face. For the record, I have
tried discussing this situation with Kevin several times since it initially occurred in the
hopes of resolving his problems with it, but no progress has ever been made. I don't really
understand why he would choose to express his dissatisfaction to someone who wasn't even
involved in the dubbing project rather than to me, the person who actually supervised the whole
thing on his behalf, but I do know Kevin well enough now to tell you that, unfortunately, this
kind of behavior doesn't exactly surprise me.
What it comes down to is that Kevin said I could copy his demos for others, I did just that (in
the best, most efficient way I knew how), then after the fact, he said that it should have been
handled differently, yet he never made any attempt whatsoever to alter or correct what went
"wrong." If he had spoken his mind to begin with, I wouldn't be writing this note to this list
right now. If it wasn't his intention to have the tapes circulated the way they were and he
didn't like the way I was handling things, he could have told me to halt the demo dubbing
project immediately after it's initiation, but he did not. If he had insisted on supervising
the release of the demos in the first place, which would have been quite easy for him to do and
his input would have most certainly been welcome, none of this ever would have happened. Kevin
has had plenty of opportunities to do something about the dubbing project in the past; all he
ever had to do was simply pick up the phone and call me. But to this day, he has chosen to do
nothing, so if he's found it dissatisfactory in any way, it's his own fault because he didn't
get involved.
Sorry to say, if I had it to do all over again, I would NEVER have copied his demos for anyone,
regardless of whether he gave me his ok or not. Our friendship is now in a shambles despite my
best attempts to patch things up between us, and I have suffered (and still am suffering) a
great deal of pain personally because of that. It's the worst thing that's ever happened to me
besides my friend, Kevin Gilbert, dying this May. :(
If anyone has any questions about this, please e-mail me personally (mriodom@ix.netcom.com);
otherwise, I may not see your notes or be able to answer them for awhile, depending on the
situation with my main computer.
Best wishes to you all, and thanks for your support,
Jennifer
<mriodom@ix.netcom.com>
"the Moon sings in a minor key, because everything passes..."
-Liz Greene
visit my Vicky Pratt Keating home page:
http://members.aol.com/mothersea/vpk.html
------------------------------
Date: Fri, 30 Aug 1996 02:27:00 -0700 (PDT)
From: "Rebecca L. Taylor" <rtaylor@potlatch.esd112.wednet.edu>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Re: YTSEJAM digest 1783
Message-ID: <Pine.GSO.3.92.960830020939.7241B-100000@potlatch.esd112.wednet.edu>
> > > >Listen to
> > > >Hemispheres and then listen to anything Rush put out in the 80's and then
> > > >say that they didn't go commercial.
> >
> > > They didn't go commercial.
>
> They went commercial in 1974 when they released "Rush."
>
> > That's just denial, man.
> > You don't have to say they sold out... they had a financially based
> > artistic crossover... but once they hit, they became a different
> > band. There's just no way to say that they didn't change when they
> > money came in. Hey, don't get me wrong... most of my favorite Rush
> > tunes came AFTER they were huge... but they are human.
>
> OK, but here's something to ponder. True, the sound of the band changed
> when the money started coming in. But are those two events related?
> Could it just be coincidence?
>
> Allow me to explain another way. Hemispheres didn't do much
> commercially, therefore Rush wasn't doing much commercially before PeW
> came out. So, releasing PeW was more of a gamble then it was a sellout.
> I'm sure they had no idea that it would sell the way it did - they
> probably just wanted to play different stuff. And when the band you're
> in starts playing different tunes... oh, sorry. Wrong band. :) If MP
> had sounded more like PeW, you could say that Rush "sold out" or "went
> commercial." But H -> PeW wasn't a sellout, it was just a change.
>
I don't think they "sold out" either. One of the coolest things about
Rush's music is that it has constantly evolved but has always been
distinctly Rush. If they truly "sold out" or whatever, why did their
music change so much from album to album? I think that a lot of bands
that are labelled as "sell outs" meerly took influences they had at the
time and applied them and people liked them. I think if you gop back and
listen to everything from "Rush" to "Counterparts" you'll see a
progression... almost a pendulum. Anyway.. food for thought.
"If you choose not to decide you still have made a choice.." - Neil Peart
------------------------------
Date: Fri, 30 Aug 1996 09:27:02 PST
From: nishiki@juno.com (Aaron Silverman)
To: bruins@argo.hks.com, ytsejam@ax.com
Subject: No DT. . .Pats list. . .
Message-ID: <19960830.092737.9998.0.nishiki@juno.com>
Can anyone tell me of a Bar near the Garden State Arts Center that would
be showing the Pats/ Miami game this sunday?
Thanks!
PS Also, the address of the Patriots mailing list. . .
------------------------------
Date: Fri, 30 Aug 1996 11:08:27 -0400
From: psull@ici.net (Pat Sullivan)
To: ytsejam@ax.com
Subject: Quoting, album delays
Message-ID: <199608301513.LAA12173@uhura.ici.net>
>Sorry for the ignorance, but does anyone know how to quote only part of
>the digest at a time using netscape 2.01 mail? When I hit quote
>original, the whole damn digest comes up, while cut and paste destroys
>the formatting.......?
I had the same problem using Eudora, so I just copy and paste into a new
meesage, rather than quoting. (Eudora has an option to Paste As Quotation,
dunno if Navigator has something similar?)
And, I would personally like to thank you for taking the time to edit and
NOT REPOST THE ENTIRE JAM IN A QUOTE. :) (That brings back memories from the
Arastar days... )
-----
>True. They gave us ACOS, and other bands have had longer gaps between
>albums - Boston, Metallica, uh, lots of others... Someone else did mention
True, but both of these bands (and probably a good portion of the "other"
long-gap bands - Def Leppard comes to mind) already had a fairly large
following when they had long layoffs between albums. I think it's different
when you don't have a *huge* core waiting on the release. DT has us in the
'jam, but if we're the only ones that buy the new album, EastWest will be
unhappy, to say the least. :)
>that they felt the wait was good since it builds up suspense and gives the
>band more time to insure a quality product... I'm pretty middle-of-the-road
>here. While some build-up of anticipation is good, there's such a thing as
>waiting *too* long between albums, and crankin' 'em out really fast will
>surely result in a few duds...
Agreed, but I don't know that DT is in a position where they can afford to
take a lot of time to be overly creative. Knowing what perfectionists the
guys in the band are, I shudder to think how long they would take if they
were given free reign to take as much time as they wanted. :)
-----
__<psull@ici.net>__http://www.ici.net/cust_pages/psull/psull.html___
This space for rent...No pithy quotes need apply
____________________________________________________________________
------------------------------
Date: Fri, 30 Aug 96 11:22:08 EST
From: jpenna@trc.tosco.com
To: ytsejam@ax.com
Subject: RUSH bashing
Message-ID: <9607308414.AA841429450@trcinternet.brc.tosco.com>
good day, eh...
i've been on this list for some time now. haven't posted in quite a while. i
love DT. they are fantastic musicians. have seen them live. will see them again.
will probably be at the ytsecon. but my first love is that power trio from the
great white north we all know as RUSH. i have been a RUSH fan since King Tut
ruled Egypt. now, all this RUSH bashing is really starting to get old and
annoying.
first and foremost, they have NOT sold out! they have EVOLVED. RUSH influenced
the guys in Dream Theater, if they're good enough for DT, they should be good
enough for us. DT started when, in the mid 80's, right? that was mid-80's RUSH
time.
you think RUSH'd still be around today at all if all they kept writing is 20
minute epics? that would be selling out; just doing the same old thing that
sold. all of those epics are great, i love them as well as the more recent
stuff. but the longer stuff was very self indulgent, like DT is right now. it
took Neil longer to get his lyrical point across with symbolism and such. they
wrote music to prove they could do it. then it got to the point where they
wanted to write more concise compositions, that is, get their point across
quicker. as Geddy was said, "it has become easy for us to write long complicated
pieces of music, therefore, it pointless to do so...". it was more of a
challenge for them to write shorter songs. and Neil's lyrics also got more
concise. if they truly sold out, they would've kept remaking Moving Pictures.
but that wouldn't have been right, for them and their fans. granted, i like some
albums better that others, but i expect each album to be a bit different. you
can see the transition from each album to where they are now. RUSH have also
stated that they are like sponges in that they are influenced not only by styles
and music of the past, but of the present musical trends as well. this accounts
for their big keyboard era of the '80's and now the move back to a more basic
raw, aggressive sound which is prevalent today. either way, if you think they
sold out or not, the fact remains that RUSH doesn't get the airplay they
deserve. if you heard a RUSH song every hour, like a friggin' STP song, then
they'd be a sellout, but you don't. who knows? in 20 years, you think Dream
Theater is gonna have 15 or 16 albums behind them with nothing but ACoS or
Metropolis clones on all of them? i doubt it. they will begin to evolve in time
as well. that's what some of you expect from RUSH, a Moving Pictures II or
Hemispheres II, it ain't gonna happen. remember what Neil wrote once: "the
changes aren't permanent, but change is..."
--JP
the mad immortal man...
------------------------------
Date: Fri, 30 Aug 1996 11:38:14 -0400
From: dantemm@erinet.com (Dan Temmesfeld)
To: ytsejam@ax.com
Subject: Re: Gary Cherone new Van Halen singer?
Message-ID: <v01520d00ae4c74f04970@[199.171.22.189]>
(skooc@earthlink.net) in Y'Jam #1783 wrote:
> This is the best move VH could make, anything is better than
> their first singer.
Arggghh!! I hope the following isn't true. Exreme is supposed to be
working on a new album for 1997. Extreme- another band that takes approx.
2+ years in between albums, and it hurt them...hope the same doesn't happen
to DT.
>---------- Forwarded message ----------
>Date: Thu, 29 Aug 1996 09:59:54 -0400 (EDT)
>To: vanhalen@lists.fdt.net
>Subject: Boston Herald article
>
> GOING TO AN EXTREME
> Don't breathe a word of this. Because no one's supposed to
>know. But we hear Gary Cherone, late of Extreme, is winging his way
>to La-La today to audition for Van Halen.
> Word is David Lee Roth, who reunited with Eddie Van Halen
>& Co. for two songs on the band's new greatest hits album, didn't
>get the gig permanently.
> Hence Gary's big try-out.
> And it sounds to us like the Hudson hunk has a good shot
>at heavy-metal superstardom. Because we hear he's bedding down at
>the Van Halen homestead with Eddie and the lovely Valerie
>Bertonelli all week!
> Which must make Gary Jump for joy.
>
Dan
---+
Dan Temmesfeld --- email: dantemm@erinet.com
http://www.cedarville.edu/student/s1133627/gcowboys.htm
"Home of the Unofficial GALACTIC COWBOYS Page"
---+
------------------------------
Date: Fri, 30 Aug 1996 11:29:10 -0600
From: frank.porcelli@rosshardies.com
To: bruins@argo.hks.com, ytsejam@ax.com, nishiki@juno.com
Subject: Re: No DT. . .Pats list. . .
Message-ID: <199608301633.MAA09336@relay2.smtp.psi.net>
______________________________ Reply Separator ____________________________=
_____
Subject: No DT. . .Pats list. . .
Author: PC:nishiki@juno.com at INTERNET
Date: 8/30/96 8:39 AM
Can anyone tell me of a Bar near the Garden State Arts Center that would
be showing the Pats/ Miami game this sunday?
Thanks!
PS Also, the address of the Patriots mailing list. . .
If the game is blacked out in boston, i can tape it-it is being shown in=20
chicago. if interested e-mail me at frank.porcelli@rosshardies.com
------------------------------
Date: Fri, 30 Aug 1996 12:25:22 +0000
From: "Chris Ptacek" <someone@enteract.com>
To: ytsejam@ax.com
Subject: Traders!
Message-ID: <199608301725.MAA25428@enteract.com>
Jeff Stewart,
Larry Odneal,
Andrew Miller,
Trey Allen
I just wanted to take a moment to say something about trading...
A lot of jammers are apprehensive about making trades deals with a
jammer they haven't met. I understand this hesitation, but I will
say that I have never had a bad experience (that wasn't my own fault)
trading on the jam. Recent tradeers I've worked with were Andrew
Miller (SubtlRage) Jeff Stewart, Tray Allen (sorry that whole Silent
Man deal got so phucked. I hope I made it up to ya), and Larry
Odneal. All of them have come through right on time with their end
of the bargain.
I say all of that in an effort to get more of you to sign up for this
big tape trade thing. Basically you mae a comilation tape of your
favorite prog/metal/cool music that you think people haven't tapped
into yet, and then you make two copies of that compilation. You are
assigned 3 people, and you send the tapes to each of them, and
receive one from each of them. We're standardizing it to 90-100
minute tapes, on High Bias. It's gonna rock. Out of 300 minutes,
you're bound to be introduced to SOMETHING new that you'll like.
We're even going to get the e mail addresses of those you'll be
trading with if you want to try and get them to customize your tape.
Bottom line: This is going to be great. Email Ed (the dude running
this swap) at tapeswap@reich.uark.edu to get involved.
Jam on!
Chris Ptacek (312) 248-8511
EnterAct, L.L.C. Check www.cnet.com
someone@enteract.com for *YOUR* ISP Ratings!
--------------------------------------------------------
------------------------------
Date: Fri, 30 Aug 1996 12:25:46 -0600
From: Monty Newberry <mjnewb@mo.net>
To: ytsejam@ax.com
Subject: the clairvoyant/wait for albums
Message-ID: <3227322A.4F32@mo.net>
>Obviously the date was a typo or we have a clairvoyant in our midst:)
"Feel the sweat break on my brow. Is it me, or is it shadows that are
dancing on the walls?"
About the wait for a new album thing, I don't think we've had THAT long
of a wait when compared with other bands. I mean, I have an overactive
sense of anticipation, so it seems like it's been decades, but it's only
been like, what, two years since Awake. ACOS did help my appetite a bit
(as well as all those keen Mike Bahr discs :). And I agree that some
bands can get away with this (i.e. Metallica, U2 (new album due out on
Nov. for those of you who care), etc.), but for the most part, waiting,
like, 5 years between albums would not seem to be the best idea for a
band/performer. I figure that in DT's case, however, the wait (however
long it will end up being) will be more than worth it. Cheers.
Dale R. Newberry
------------------------------
Date: Fri, 30 Aug 1996 10:19:50 -0700
From: Adam Barnhart <adamb@cfmc.com>
To: rush@syrinx.umd.edu, ytsejam@ax.com
Subject: Rush Tribute
Message-ID: <199608301719.KAA15315@main.cfmc.com>
Okay, I've had the CD now for a week and a half or so. As a result, I will,
belatedly, give me own little (well, maybe not so little) review of said
album. My two cents, really, since everyone else seems to have tossed theirs
into the fountain....
Working Man: A fair enough start. As has been virtually universally
observed, Sheehan and Portnoy are a tremendous rhythm section. It's a
jam-oriented tune, so Jake E. Lee suits the song better than he would, say,
Mission. It moves and breathes and sounds pretty good all the way around.
By-Tor and the Snow Dog: The arrangement, coming out of "Working Man," is
interesting. I still miss the other half of the song. Sebastian Bach and
James LaBrie on, essentially, the same tune, is interesting. The Jake E.
Lee comment continues here. Brendt Allman is predictably solid.
Analog Kid: Yes! Jack Russell isn't bad, but Sheehan and Portnoy are
mindblowing. Michael Romeo's got some chops, eh?
The Trees: Brendt Allman is braver from a sonic perspective on this tune...
great guitar sounds -- and not doing a note-for-note of the beginning is
interpretation for me, blasphemy for many others. I'd like a more
aggressive keyboard tone, but Portnoy gets an "A" for the "YYZ" reference.
La Villa Strangiato: Steve Morse and James Murphy are awesome, which
underscores how great Lifeson is, since they really don't do any better with
the tune. Billy, again, gets the points for copping Geddy's two-bar figure
at the end of the tune.
Mission: Eric Martin sounds good to my ears on it, but it's odd to hear a
classic hoarse rock n' roller singing THIS tune. I wouldn't have done it,
but I'm not complaining. Robert Berry does better with this one than
"Roundabout," let's say...I like the increased bass presence in the bridge a
lot.
Anthem: If we thought Geddy's singing, in some way, lacked guts, hearing
Mark Slaughter on this one brought Geddy's talents home. Like a lot of
people, I wasn't surprised when some of the instrumental performances lagged
behind the originals -- I WAS surprised to miss Geddy singing as much as I
did at times. No time more than here. Still, James Murphy, Stu Hamm, and
Deen Castronovo do a good job, and George Lynch's soloing doesn't strike ME
as inappropriate.
Jacob's Ladder: Pretty sharp. Sebastian Bach, of all people, provides a
great vocal performance...arguably, better than the original. Whod've thunk
it? Petrucci, predicably, is awfully good. Matt Guillory comes up with
some good synth sounds, to boot.
Closer To The Heart: I'll just join those folks raving about this one.
Biggest surprise -- Joey Vera NAILS it...one of Geddy's most melodic bass
lines, and he just NAILS the tune. Ray Alder's great, too. Underscores
what a lot of us were thinking -- more whole bands on the album would have
been cool.
Natural Science: This one sounds great. Devin Townsend offends a lot of
people. I appreciate the effort and interpretation involved. Matt Guillory
really shines on this one. Really strong guitar work, as well.
YYZ: My other candidate for the highlight of the album. Stu Hamm is the
master of syncopation here -- gives maybe the best bass performance of the
album here. James Murphy's a pleasant surprise here -- you wouldn't
necessarily think this tune's up his alley. Castronovo is, of course,
Castronovo.
Red Barchetta: I've heard a lot of folks raving about LaBrie's vocals on
this one. I dunno....the man's obviously tremendous with Dream Theater
tunes, but I'm not as convinced that I'd opt for this one over "Learning To
Live" from a vocal performance persepective. Murphy and Morse are, again, a
great guitar team on this song (with a little boost from David Townson).
Seans Malone and Reinert handle a tough tune with great aplomb.
Freewill: Marcel's the life of the party here. It's a pretty
straightforward reading, otherwise. Not bad, a more contemporary sound and
clean playing, but Marcel's solo is awfully good...as was observed before,
contemporary prog playing at its finest, a la Petrucci.
So that's Adam's long-winded assessment. As a bass player, I'm thrilled to
hear a lot of Sheehan and Hamm, but I'd rather hear more bands -- Fates
Warning's reading of "Closer To The Heart," is on par with "YYZ" as my two
highlights on the album and makes me wonder how it would have been to hear
an album with Dream Theater, Shadow Gallery, and Mr. Big on it, rather than
various collections of great players. I'd also, of course, have been
thrilled to hear some other bands on the album -- Primus, Testament,
Metallica, Fishbone, Zen....they'd have been really interesting to hear on
the album, as well.
Adam D. Barnhart
adamb@cfmc.com
ydnt85a@prodigy.com
------------------------------
Date: Fri, 30 Aug 96 13:27:24 -0500
From: svjohnson@amoco.com
To: ytsejam@ax.com
Subject: Autoreply Message
Message-ID: <199608301827.AA23711@interlock.amoco.com>
I will be on vacation until Monday, September 9. On the 9th =
and 10th I will be on official business. If it is urgent, =
please contact Neil Geary at (312) 856-5373. I will be =
returning calls/messages on Wednesday, September 11.
Steve
------------------------------
Date: Fri, 30 Aug 1985 13:39:54 -0500
From: RipZero <ripzero@dreamt.org>
To: Heavy Metal Computer Nerds <ytsejam@ax.com>
Subject: oh boy.
Message-ID: <2.2.32.19850830183954.006775d4@mail.inlink.com>
>>From: svjohnson@amoco.com
>>To: ytsejam@ax.com
>>Subject: Autoreply Message
>
>NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!
>
just be glad this guy's not in ack mode >:)
~Rip
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Date: Fri, 30 Aug 96 14:58:55 EDT
From: <CNG@tcco.com> (Chung Ng)
To: <ytsejam@ax.com>
Subject: Kevin Moore demo
Message-ID: <vines.3hH8+Ban7mA@tcx.tcco.com>
This is going to sound silly to most of you, but how can I get a Kevin Moore
demo? All of the names listed as "Dub Sites" are not responding.
Just wondering. Thanks
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Date: Fri, 30 Aug 1996 15:20:25 -0400 (EDT)
From: "Andrew Keith Garinger" <garinger@pilot.msu.edu>
To: ytsejam@ax.com
Subject: Stabbing Westward
Message-ID: <199608301920.PAA17486@pilot10.cl.msu.edu>
Boy, I never thought the day would come when THIS band would be the topic
of discussion! They are definitely in my top 5 list of bands along with DT,
Rush, Enchant, and Type O Negative. Anyone who likes a more industrial sound
should check them out. They are also the subject of the one other mailing
list I am a member of. They are very appreciative of their fans and the
mailing list members(it doubles as the official fan club). SW is VERY
intense live and makes alot of stylistic and improv changes to their live
set. If you can see them live, do it !
BTW, if anyone wants more info on the mailing list, let me know.
Andrew
-- garinger@pilot.msu.edu Zeta Beta Tau-Beta Epsilon Chapter"Sanity is a full-time job." --- Bad Religion
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End of YTSEJAM Digest 1785 **************************
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