YTSEJAM Digest 1690
Today's Topics:
1) Fates, dreams, tracks
by akyuz@ltp.dmx.epfl.ch
2) re: Categorizing Prog Metal
by <CNG@tcco.com> (Chung Ng)
3) merlo
by Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
4) Drugs'n'stuff
by nga@software-ag.de (Neil Gallop)
5) magna Carta
by Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
6) associating songs
by akyuz@ltp.dmx.epfl.ch
7) Pumpkins progressive?
by Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
8) Angra, Different Strings, 2112/Communism, Citizen Cain and Pendragon
by rterry@inforamp.net (Rick Terry)
9) Ray Alder/John Arch/James LaBrie, Smashing Pumpkins
by rterry@inforamp.net (Rick Terry)
10) Drugs and music, Fates, Defining Prog, Smashing Pumpkins CAN play?
by rterry@inforamp.net (Rick Terry)
----------------------------------------------------------------------
Date: Mon, 15 Jul 1996 14:47:34 +0200
From: akyuz@ltp.dmx.epfl.ch
To: ytsejam@ax.com
Subject: Fates, dreams, tracks
Message-ID: <v02130500ae0fe918496e@[128.178.99.94]>
>also- i like the Arch FW stuff better than the later stuff... the music
>is kind of neo-thrash... and growing up with a lot of 80s metal bands
>with considerably bad vocals i have NO problems whatsoever with Arch or
>Dominici, i think these guys are great... and if you think they suck for
>singing high, i think youre just closed minded... you cant even respect
>the ability to hit a high note on key and give them the graditude of
>being talented vocalists.
I can make through the "Arena", but my voice gives up on "Fata Morgana".
Arch doesn't sing it 100% right (I'd say 80%) pitch-wise, but he makes it.
I've got a boot CD with Ray singing "Fata". He just fucks up all the way
through. I think that singing as high as Arch IS somewhat a talent. OK King
Diamond sings that high, and right but Arch has this fragility that gives
this extra feeling (sounds like a condom ad).
>hey, any old sepultura fans out there? i'm talkin' the Beneath the
>Remains and Arise era stuff.. I just dug out an old Sepultura single
>and its pretty damn good... i like the rhythym they put into it. still
>havent heart Roots yet, mebbe I check it out :)
ME ME ME!!! I started with Beneath, then Shizophrenia, then Arise. I've
only recently bought Chaos.
BTW, was that your cow typing that last paragraph!? :-)
someone wrote:
>thought it out to a basic simple answer: Dreams are better than reality
>because you have control, to some extent. Your mind creates everything. I
>don't think they mean it as totally an escape from reality, because they say
>we'd take dreams over reality even if the dreams were sorrowful. I think
I wouldn't separate dreams from nightmares because they're seldom distinct.
As to whether you have control of your dreams, I'm not sure. In dreams,
your subconsciousness takes over in two ways:
1. you dream of the reality you long for
2. you dream of the reality you are unaware of
In 1. you can control things, in 2. you cannot. When you have a type-2
dream, then you wake up with a new look on your life, unless you dont' give
any importance to your dreams. By experience, though, you quickly learn to
give importance to them, because they are dictated by your utmost
sincerity.
Does that make sense? hope so. If not, sorry for the bandwidth.
Now to Kevin:
>If they put indexes on the CD, just about all CD players I've seen
>don't do indexes so most probably wouldn't even notice.
In fact, I meant indexes or tracks! I wrongly use the term "index" for both.
John Jens:
>~ indices on the new FW: i say no. i want FW to piss me off! :) i would love
>to be able to jump to a certain section, put it on repeat and listen over
>and over. but by doing that i wouldn't be "getting the point". music is art
On some CD players, you can just do that.
........................................................................
D A V E K I N G
vox & bass MT-20
"holding on is easier than letting go" (fw)
------------------------------
Date: Mon, 15 Jul 96 9:04:15 EDT
From: <CNG@tcco.com> (Chung Ng)
To: <ytsejam@ax.com>
Subject: re: Categorizing Prog Metal
Message-ID: <vines.3hH8+b0YulA@tcx.tcco.com>
>In fact, I'd classify prog bands into 4 categories (some
>examples):
>1. metal: Fates Warning, Elegy, Sanctuary
>2. jazz/blues: Dream Theater
>3. classical: Shadow Gallery, Angra, Conception, Mekong Delta
>4. rock/pop: Rush
I don't know about anyone else, but I totally disagree with this categorizing
progressive metal. I think the reason that these bands are "progreesive" is
being they span so many genres of music. The fact that they can shred with
the best of em, rip some classical passages or just get downright funky at any
given moment is what makes me listen to them.
------------------------------
Date: Mon, 15 Jul 1996 09:24:15 -0400 (EDT)
From: Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
To: Dream Theater Mailing List <ytsejam@ax.com>
Subject: merlo
Message-ID: <Pine.SOL.3.91.960715091825.1398A-100000@bdmserver>
> Date: Fri, 12 Jul 1996 21:45:25 -0400 (EDT)
> From: The Digital Man <cmerlo@cs.uvm.edu>
> To: Ytse Jam <ytsejam@ax.com>
> Subject: Trading linguine
> Message-ID: <Pine.3.89.9607122148.A17092-0100000@griffin.emba.uvm.edu>
>
>> From: Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
>> Subject: Al Balkewicz-BAD TRADER_WARNING
>>
>> I see that this turd has returned.
>
> Ah, Pat's back to his usual self.
>
> Welcome back, Al.
What do you expect from me Merlo? Do you expect me to welcome him back
with open arms? Why dont you trade with him and see how it feels to be
ripped off. At least Jeremy Haynes had the decency to log off forever...
Although he did have a sex change and come back as Sue Moscardino then
she logged off forever...
I dont see where you get off criticizing me for stating the fact that Al
Balkewicz is a ripoff. There are a lot of new jammers who have not heard
the fact that Al Balkewicz is a ripoff.
I dont see how anyone can welcome back a known bad trader ripoff. I guess
that shows the type of person you really are.
|-----------------------------------------------------------------------|
| Pat Daugherty pdaugher@bdmserver.mcl.bdm.com |
|=======================================================================|
| "Every breath leaves me one less to my last" --Dream Theater |
| "That is not an option, Mr. Mulder" --X-Files |
|-----------------------------------------------------------------------|
|The Baltimore Orioles-The team to beat in 1996!!!!!!! | Go DC United! |
|-----------------------------------------------------------------------|
------------------------------
Date: Mon, 15 Jul 96 15:35:16 +0200
From: nga@software-ag.de (Neil Gallop)
To: ytsejam@ax.com
Cc: nga@server3.software-ag.de
Subject: Drugs'n'stuff
Message-ID: <9607151335.AA00322@sundoc13.software-ag.de>
Hi all
So, another musician has shuffled off this mortal coil with the help of some
substances that certain people wish to keep illegal (see past jams). What's the
big deal? If people want to use these substances, let them, especially if they
know the risks involved. Strange, but I haven't seen many posts to the jam
saying "how can he (insert name of token musician) be so dumb as to drink?".
Don't forget, alcohol is an illegal substance in large parts of the world. Or
have I missed all the posts saying "how could he be so stupid as to drive a car,
he knew the risks?"? Is it purely coincidence that the guy who wants to sell you
a new Ford is called a dealer? Hmmm.
A lot of people use drugs (I mean it in the widest term) as a mean of escapism.
Ever stopped to think about, for example, a young unmarried mother living in
a shitty flat somewhere, no job, no real income, a baby to feed, no real past
and no future - I can understand why some people take drugs. Be honest, how many
of you people out there in Cyberland don't use drugs in one form or another
(coffee, tea, alcohol, illegal substances). How many of you couldn't get by
without your daily 'fix' of Dream Theater? It's often just a question of what
is considered 'normal': if your drug is socially acceptable and you relationship
to it doesn't stop you fulfilling your accepted role in society, then everything
is hunky dory. Step outside these boundries, however, and you are done for,
regardless of what you take or do to get your kicks.
Well, I'm just about to leave the office (home of workaholics), drive to my
local cafe to have a few coffees (known to be addictive), and follow them by
a few beers (oh shock, throw this person of the jam). Who knows, I might even
get laid by the waitress (and we all know how dangerous erotomania can be).
stay safe and happy listening (I mean it)
Neil Gallop
(nga@software-ag.de)
Currently playing: Prong - Rude Awakening (this album kicks serious butt)
------------------------------
Date: Mon, 15 Jul 1996 09:54:53 -0400 (EDT)
From: Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
To: Dream Theater Mailing List <ytsejam@ax.com>
Subject: magna Carta
Message-ID: <Pine.SOL.3.91.960715095339.1398F-100000@bdmserver>
I checked the status or my order at Cdconnection and the Rush Tribute
received an Out of Stock. I guess it is not really out yet then...
Does magna carta have a homepage?
If so, what is it?
|-----------------------------------------------------------------------|
| Pat Daugherty pdaugher@bdmserver.mcl.bdm.com |
|=======================================================================|
| "Every breath leaves me one less to my last" --Dream Theater |
| "That is not an option, Mr. Mulder" --X-Files |
|-----------------------------------------------------------------------|
|The Baltimore Orioles-The team to beat in 1996!!!!!!! | Go DC United! |
|-----------------------------------------------------------------------|
------------------------------
Date: Mon, 15 Jul 1996 15:56:49 +0200
From: akyuz@ltp.dmx.epfl.ch
To: ytsejam@ax.com
Subject: associating songs
Message-ID: <v02130505ae0ffaab6abd@[128.178.99.94]>
Pat Sullivan wrote:
>I don't know about the album cover art having that kind of effect, but I
>know there's several songs that remind me of things because something
>memorable happened while I was listening to it once. It's kind of like
>having a relationship with someone when you have a specific song that's
>"your song". Years later, even after you're not with that person anymore,
>you can hear that song and it will take you back.
That's very true, Pat. I always associated songs with moments, pictures in
my mind. For instance, I remember my first ever hard-rock tape: Maiden's
"somewhere in Time". I put it in my walkman and there was on TV "Once upon
a time the revolution" (or something like that), a western with james
coburn. Ever since, each time I put it on and close my eyes, I see frames
from that movie. To FW's "Perfect symmetry", I associate SimCity 2000!!!
etc. etc. These days however, I'm refraining from listening to a whole load
of CDs because they'd remind me of my girlfriend who just dumped me. Fuck.
Rip wrote:
>i hate to just bring down your plan right after you've posted it, i
>mean, if you spend years building a utopia, and some dick comes and
>wrecks it in a day..... BUILD ANYWAY! - Nuge. dont lemme stop you, i'm
>just kicking out side two of the story :) this is definately no flame
>to the people who pulled it together or anything of that matter-
I'm sorry to get you on this, but why take even more bandwidth than the
poll itself (which hopefully will be done privately if not I YELL), arguing
the irrelevance of it. If you think it's stupid, just don't answer or at
least wait until people come out answering it on the jam. I bet it took you
more time shooting the poll down than it would've filling it in and posting
it.
Don't take this bad, man. I was just surprised by your (over-)reaction.
Life's a bitch and then you die.
........................................................................
D A V E K I N G
vox & bass MT-20
"holding on is easier than letting go" (fw)
------------------------------
Date: Mon, 15 Jul 1996 10:14:31 -0400 (EDT)
From: Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
To: Dream Theater Mailing List <ytsejam@ax.com>
Subject: Pumpkins progressive?
Message-ID: <Pine.SOL.3.91.960715100607.1398I-100000@bdmserver>
Well on this topic.
I just saw the Pumpkins last Wednesday at the US AIR Arena. I think this
was the eventual last show of the tour due to the keyboard player's death
and the drummer being arrested.
I dont think I can consider them progressive. I think they have too much
of a noisy sound to them.
if anyone hasn't seen them, they end the show with this half hour+
instrumental with occasional one word screams. I found this a little
boring. I guess I would rate the show with an ok.
Next concerts:
August 25-King Crimson
August 31-DMB
|-----------------------------------------------------------------------|
| Pat Daugherty pdaugher@bdmserver.mcl.bdm.com |
|=======================================================================|
| "Every breath leaves me one less to my last" --Dream Theater |
| "That is not an option, Mr. Mulder" --X-Files |
|-----------------------------------------------------------------------|
|The Baltimore Orioles-The team to beat in 1996!!!!!!! | Go DC United! |
|-----------------------------------------------------------------------|
------------------------------
Date: Mon, 15 Jul 1996 14:55:41 GMT
From: rterry@inforamp.net (Rick Terry)
To: ytsejam@ax.com
Subject: Angra, Different Strings, 2112/Communism, Citizen Cain and Pendragon
Message-ID: <31ea569d.68216@mail.inforamp.net>
Hi folks,
>Date: Fri, 12 Jul 1996 20:58:35 -0400
>From: raika@megatoon.com (Simon Asselin)
>Labrie (yes, it's a wide comparison, but it's the same style of high-pitched
>singer). He also plays piano and keyboard. The guitarists play amazing
>melodic and complex power metal riffs and one of them, Kiko Loureiro, is a
>shred-style arpeggio/speed picking virtuoso. Drumming and bass playing is
>typical of a power metal band, with lots of double-bass drum lines.
Oh, oh! I feel another bout of CD purchasing coming on. I'd
better go and cut up my bank card. 8-| ) >>
I have seen there albums several times at HMV in Toronto but
have never purchased one due to the cost (around $30 CDN).
After your inspiring description, perhaps now is the time to
experiment.
>Date: Fri, 12 Jul 1996 21:45:25 -0400 (EDT)
>From: The Digital Man <cmerlo@cs.uvm.edu>
>> Permanent Waves had 2 radio singles, The Spirit Of Radio and
>> Different Strings. My favorite tracks on the record are Freewill and
>
>That was a single? Hm, you learn something every day.
Yup. It had limited radio airplay in Toronto and the rest of
Ontario and enjoyed modest success as a single. I believe the b-side
was Entre Nous.
>Date: Fri, 12 Jul 1996 20:48:31 -0700
>From: Ben Laussade <laussade@enet.net>
>Nah....2112 stops and starts. Haven't heard the other two, though.
Yes, but 2112 has to have breaks in order to allow the story
to flow smoothly. Remember that after confronting the priests, he is
very distraught and collapses from exhaustion into the dream.
In order to have 2112 continue without a break, someone would
have had to bludgeon him over the head with a club. I can't see there
being any other way to put him into the dream without a pause. That
way the record would run music, music, music, asleep due to head
trauma, revived via smelling salts, more music, etc. :)
>Date: Fri, 12 Jul 1996 22:03:45 -0700 (PDT)
>From: Mithrandir <mithrandir@pb.net>
>......................................RUSH's 2112 is best summed up in these words
>"Interstellar communism". At least that is my take. As for other long great
>songs, what about " The fountain of Lamneth"? I think that is the forgotten
>RUSH epic. Also Echolyn's 28 minute song on Suffocating the bloom, Fanfare
>for the everyday man( forgive me if I got the name wrong). Another great
>long song is Pink Floyd's " Shine on you crazy diamonds"
I'm not sure if communism would be as accurate as fascism. I
see far more of Hitler than the cold war era Soviet rule in 2112. The
priests are somewhat akin to the German propaganda ministry under
Goebbels. It is also important to remember that Marx version of
communism had none of the imperfections of the contemporary Soviet
version. However, I can DEFINITELY see the linkage between 2112 and
the Soviet Union under Kruschev.
Note, this is just a comment. I'm not looking to get into a
lengthy debate over political ideologies. :) If I had narcolepsy, a
discussion like that would KEEP me awake! :)
And now for something completely different.......
I attended a trade show today in Toronto and found a guy there
with a WHOLE TABLE of nothing but progressive stuff!!! I was pinching
myself to see if I was dreaming at first.
I listened to a TON of stuff but finally settled on three
discs.
They were:
Serpents In Camouflage - Citizen Cain
The World - Pendragon
The Masquerade Overture - Pendragon
SIC is heavily influenced by Marillion and 72-76 era Genesis.
People who thought Fish sounded like Gabriel have GOT to hear this
stuff. The record has great production and musicianship and the songs
make for great listening. The keyboards are particularly reminiscent
of Marillion and there are similarities in the lead guitar style as
well, although his sound is somewhat more distorted than Rothery's. If
you are a Marillion fan, I'm sure you'll enjoy this. Unfortunately, it
is a Korean import and the lyrics are not printed in English. Sorry
folks, but Korean is a language which I have yet to master.
The World also has a strong similarity to Marillion. It's
interesting in one respect though. The singer bares more similarity to
Hogarth than Fish. However, the songs are the types of songs that we
might have heard Fish doing around the Misplaced Childhood period. The
record puts me to mind of the lost Misplaced Childhood tracks that had
Hogarth on vocals mixed with a touch of the singer from Echolyn. The
guitar playing here reminds me more of Steve Hackett and his solos fit
perfectly with the lush keyboard backdrops. There are also lots of
Moog Taurus pedals on this record for nice deep bass. The record is
relaxing, but not in an elevator music manner. More along the lines of
Rush' Analog Kid ("You move me, you move me" bridge) or Ghost of a
Chance. This is not to say that it is slow paced at all. There is
plenty of engaging material here, and I am certain that these guys
would be great live. I strongly recommend this. Although you won't
find the same level of lyrical development here as is present in a
Marillion release, the record does develop the themes of alienation,
loneliness and the struggle to maintain harmonious relationships.
TMO, continues in a Marillionesque style, but the guitar sound
is somewhat more representative of David Gilmour of Pink Floyd, with
thick reverb, chorusing and even some slide playing. This one is hard
to put a label on thematically. I feel that it deals with the stress
that occurs in life when things are not what they seem and the
necessity of making the most of our one chance at life. This record
has slightly better production, but either would be an excellent
choice. The version of the disc that I picked up is a two disc set,
with the second disc containing radio edits of two tracks and two
bonus tracks which are as good as anything on the actual release.
Well, that's it for this review. Tune in next time, same DT
time, same DT channel for another spine tingling record review. :)
Cheers,
Rick
Toronto
------------------------------
Date: Mon, 15 Jul 1996 14:55:57 GMT
From: rterry@inforamp.net (Rick Terry)
To: ytsejam@ax.com
Subject: Ray Alder/John Arch/James LaBrie, Smashing Pumpkins
Message-ID: <31e9a865.3841015@mail.inforamp.net>
Hi everybody,
>Date: Sat, 13 Jul 1996 15:34:03 GMT
>From: KWMadden@usa.pipeline.com (Kevin Madden)
>I still attribute the lack of vocal melodies to the fact that (from what I
>have read)
>No Exit was written with no singer. Ray then had to put in his own
>melodies, which
>had to fit the music. I could be wrong...
Agreed. It is my understanding that Ray came in after the bulk
of the arranging had been done for the disc. This is not an easy task
and I think it works for most of the record, but there are better
vocal performances by Ray.
While Parallels uses the least of Ray's range, it does place a
strong emphasis on integrating the vocal melodies and chordal
structures. I also liked Broon's production on that record quite a
bit. Terry was a big part of the Rush sound for years and I feel that
he had a very positive effect on their writing and arranging.
Occasionally, when comparing these two records, I get the
feeling that Ray was wondering, "What the hell should I put here?".
Parallels just sounds like he was more relaxed and in sync with the
album as a whole.
>3b. Rick also said, regarding John Arch:
>
>> Of the older material, Perfect Symmetry has better vocal
>>melodies. And the stuff with Jon Arch I just can't get into at all. I
>>find his voice to be nasal in the extreme even though he has lots of
>>range.
>
>I hate to get nit-picky, but John Arch's voice is NOT nasally. He actually
>sings
>in the exact opposite manner of what would be considered "nasal." Do an
>experiment: plug your nose like you were going "pu" then try to sing.
>Sounds like
>John Arch, right? (well, not as good) but, when you do that, you are
>ELIMINATING
>your nasal passage in the act of singing, therefore it is NOT nasal.
>Therefore, the
>popular definition of what is considered "nasal" is the exact opposite of
>reality.
>If you were singing through your nose, so to speak, you would sound normal.
Actually, by nasal, I meant that the bulk of his resonation
occurs in the back of the throat and nasal cavity rather then stemming
from the chest and throat, which is clearly where James resonates
from.
Singing from the throat will create a more harsh vocal tone
with a greater amount of midrange overtones. You can experiment with
this by singing single notes and emphasizing where you project from.
To sing low notes with any kind of volume you have to push from the
diaphragm. Geoff Tate is a master at this. Similarly, James smokes at
pushing the high notes out from his upper chest, with a healthy
nitrous boost from his diaphragm. :)
Perhaps I should have said harsh so as not to offend your
sensibilities. :) Semantics can be a tricky thing!
Furthermore, unless you have a copy of our demo, you would
have no idea whether I sing as well as Arch or not. :)
In all seriousness, I have been told that my voice is much
more pleasant to listen to in the higher registers than John's. I owe
a great deal of that to listening to singers like James who have
learned how to control their breathing and projection. Listen to James
live performances carefully. That guy moves, and uses up a TON of air!
Now, if only I could get that high register raunch that Ronnie
James Dio has (without ripping my tonsils apart), I'd be ecstatic!
>However, there are no guarantees with talking out of your ass...
I've never tried that before. Maybe that's why some people are
told they have chronic bad breath. :) Hmmmm.... no smiley after that
comment? Should I recharge the flame thrower? ;)
>Date: Sat, 13 Jul 1996 12:10:30 -0500
>From: RipZero <ripzero@dreamt.org>
>To: Heavy Metal Computer Nerds <ytsejam@ax.com>
>i can only see smashing pumpkins progressive in 2 ways-
>
> 1- they've progressively gotten worse since their first album, Gish.
> 2- they suck so bad that they cant even play in time signature.
So, don't beat around the bush. What do you really think? :)
I hate to be closed minded but I agree with you. I don't hear a great
deal to impressed with there. Bad vocals, particularly live, and
trendy arrangements without subtlety. Not my cup of tea either I'm
afraid.
But, since everyone has to listen to something, if it keeps
you sane and doesn't hurt anyone, GO FOR BROKE!! :)
>there ya go ;)
Where am I going? ;)
Cheers,
Rick
Toronto
------------------------------
Date: Mon, 15 Jul 1996 15:34:12 GMT
From: rterry@inforamp.net (Rick Terry)
To: ytsejam@ax.com
Subject: Drugs and music, Fates, Defining Prog, Smashing Pumpkins CAN play?
Message-ID: <31ea5c5d.1538559@mail.inforamp.net>
Hi all,
>Date: Sun, 14 Jul 1996 22:22:17 -0400
>From: Jon Byrne <rael@access.mountain.net>
>True, not only have drugs always been a part of rock, but they have always
>been a part of music, period. Think of some of the great composers. Mozart
>was a chronic alcoholic, and Berlioz's "Symphonie Fantastique" (which is
>fantastic, BTW) is the result of an opium-induced dream. Add to those rock
>folks you mentioned above some of the recovered alcoholics/addicts (Roger
>Waters, Fish, etc.). Just goes with the territory, I guess.
Unfortunately, I think that there a lot of precedents for
linking substance abuse with good music.
The case that comes immediately to mind is Aerosmith. Don't
get me wrong, I'm glad that Steven and Joe have cleaned themselves up
and are no longer the "Toxic Twins" they were in the 70s, but when
they lost their habits, the music lost something too, its heart and
bite. Go back and listen to a record like Rocks or Toys in the Attic.
The songs are full of intensity, drug motivated or not. What have we
heard from them in the last couple of years? Love in an Elevator,
Crazy, Amazing, Blind Man?!?! What the hell is this? The new written
for success Aerosmith. It would appear so. Get A Grip sold in huge
numbers in North America. When they played in Toronto on that tour, 1
in 27 people had purchased a copy of that record! Yet, they didn't
play one track from Rocks. I really don't think they have the
intensity to pull that stuff off anymore without the drugs. I hope I'm
mistaken about that, but I truly feel that when they lost the buzz,
they lost some of the "in your face" attitude that made them a great
rock band in the mid to late 70s.
On the other hand, I'm certain that DT's music would suffer
immensely from intense substance abuse. Most prog requires extremely
precise timing and I doubt that they could play stuff like Metropolis
live if they were in the bag. Then again, it would be interesting to
see how something by them in 4/4 would sound if they were drug
influenced during the writing period. This would only work if they
decided to record an 80s style metal album though.
It would probably sound more like Judas Priest meets Dio era
Black Sabbath. :)
>Buzzin' on caffeine...
Buzzin' on life!
>Date: Mon, 15 Jul 1996 11:20:30 +0200
>From: akyuz@ltp.dmx.epfl.ch
>I love Ray's intonation on the beginning of Monument. His vocals are a bit
>undermixed.
Actually, I listened to IO last night and it is much better
vocally than I appraised it at. Part of the problem may have been that
I last listened to it right after Parallels. The vocals are
dramatically different than IO and the transition in style is a shock.
Did anyone else find this to be the case when doing this?
>> I would interpret progressive music as music that uses
>>existing musical and lyrical ideologies and attempts to take them to
>>the next level of evolution.
>
>You're not taking risks there, are you?
Nope. :)
Discussions on this topic can become runaway trains in a
heartbeat. Since no single definition is more accurate than another, I
would rather just play it safe to avoid justifying my statement well
into the next millenium. :)
>Date: Mon, 15 Jul 1996 12:53:02 +2000
>From: <raitz@guvatrak.ee> "Raivo Hool"
>i don't know much about their music (somebody stole my siamese dream
>seedy after first two listens) but those guys can definitely play
>their instruments. i read somewhere that the the corgan-dude has been
>playing since early childhood and he comes from an extremely musical
>background, so there you have it.
That may be true, but why is it that we never hear it on the
records? This is not to say that if you have superb chops and
techniques you HAVE to use them, but if I was as skilled as JP and had
a chance to play grunge for a living, I'd rather cut off my fingers
than play material that lacking in complexity.
Take care folks!
Cheers,
Rick
Toronto
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End of YTSEJAM Digest 1690
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This archive was generated by hypermail 2b30 : Thu Apr 01 2004 - 17:55:36 EST