YTSEJAM Digest 1951
Today's Topics:
1) G3 in San Antonio
by "Roland (Shred) Rupp" <al765518@academ01.mty.itesm.mx>
2) Music and emotion, James connection to forest creatures
by rterry@inforamp.net (Rick Terry)
3) He who inquired about Phish
by svjohnson@amoco.com
4) BAD TRADER
by Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
5) guitar polish
by "Susan Ostroske" <spatz13@msn.com>
6) RE: Guitars and synths
by "SchuBert" <H.M.Peeters@stud.tue.nl>
7) RE: A newbie Jammer writes...
by "SchuBert" <H.M.Peeters@stud.tue.nl>
8) Hi, DT fans!
by Ann M Sutton <asutton2@Bayou.UH.EDU>
9) Magna Carta Update
by Ryan Good <rtgood@students.wisc.edu>
10) Re: BAD TRADER (keep it up Pat!)
by skooc@earthlink.net
11) Re: Galactic Cowboys cd's
by skooc@earthlink.net
12) Time Changes
by corey29@mail.idt.net (Cory)
13) Galactic Cowboys / King's X
by dantemm@erinet.com (Dan Temmesfeld)
14) Re: I Mother Earth
by Mark Major <mmajor29@mail.idt.net>
15) When Dream and today unite
by metal@mail.tij.cetys.mx (Juan Manuel Valverde Jaime)
16) time signatures, the rush show, and other gasmic grumblings
by WildKoba@aol.com
----------------------------------------------------------------------
Date: Mon, 21 Oct 1996 11:32:54 -0600 (CST)
From: "Roland (Shred) Rupp" <al765518@academ01.mty.itesm.mx>
To: Dream Theater <ytsejam@ax.com>
Subject: G3 in San Antonio
Message-ID: <Pine.A32.3.91.961021113128.23227C-100000@academ04.mty.itesm.mx>
It was great, I could taped the show with no problems, I didnt bring my
camera, if anyone taped that show or any other show or if you have
pictures of it, please tell me, I will pay for some, thanks!
Visit The Great Extreme Page (With news, sound clips and the mailing list) at:
http://mars.superlink.net/user/jkramer/extreme.html
------------------------------
Date: Mon, 21 Oct 1996 17:43:36 GMT
From: rterry@inforamp.net (Rick Terry)
To: ytsejam@ax.com
Subject: Music and emotion, James connection to forest creatures
Message-ID: <326bac4f.532223@mail.inforamp.net>
Hey peoples!
>Date: Mon, 21 Oct 1996 07:13:53 -0500
>From: Madelaine <maddy@enteract.com>
>Okay, let me step in and disagree... :) I think that music in itself can
>reveal MUCH emotion. Look at opera : often, it's in a foreign language that
>most people don't understand (like Italian or French or German, etc) but
>still, just the intensity of the music can be *very* emotionally stirring to
>some people.
I would agree with that statement, but even if the language
used is unknown, the voice is capable of such intense dynamic changes
that it conveys emotion.
Perhaps I should have originally qualified my statement by
saying that I feel that the human voice is more adept at conveying
emotion than other instruments. I do consider the voice to be an
instrument in opera, since I don't speak Italian and my German is
getting rustier by the day. :)
Incidentally, when this discussion commenced, I didn't notice
that the original post was referring only to the musical side of
things. (Oops, DOH?!?!)
However, I don't think that a piece has to be infinitely
complex to provoke thought. In spite of the fact that I love the
instrumental sections in Met, I think that SDV is a far more emotive
song. You can feel the pain in that simple piano line. Similarly, I
think it's easier to feel the sinister underpinnings in the intros to
Voices and The Mirror than in parts of ACOS. Occasionally, I think the
emotional content of music becomes lost in arrays of notes.
That has always been one of my big complaints about Yngwie's
playing. The guy can smoke the frets off of any instrument he picks
up, but when does an excessive number of notes become nothing more
than ego masturbation? JP's solos don't suffer from that, and to this
day, one of my favorites is the slow legato section of Voices with the
wah. The phrasing and bluesy feel of that lead really make it stand
out as a unique entity on that record. I love the whole record, but
that passage particularly impressed me.
>Same with music from the "Three B's"... Have you listened to
>Mozart's Requiem and not felt at least *something*?
Oh most definitely. I love Mozart, Mahler, Bach, Chopin and
many others. The thing that makes that music so impressive and
emotive, is it's utilization of dynamic changes. Stringed orchestral
instruments have a great ability, particularly the violin, to mimic
the sound of the voice. The violin can laugh, cry and scream all in
the same piece.
I think much of today's music suffers from overusing intensity
rather than subtlety. Often, one can say more with a few well played
notes than with a flurry. Then again, I love a good shred when I'm in
the mood for that intense, aggressive, free-for-all kind of playing.
I guess that's where the mind comes into play. So much of our
interpretation of music is affected by what happens with us on a day
to day basis, that it's hard to approach anything unbiased. Different
pieces produce different reactions at different times.
What can I say, I'm just a "song" person and can't separate
the components without losing something. It's a case of the sum of the
parts is greater than the whole. I've never heard the instrumental
version of ACOS, but after having heard the lyrics, and knowing what
the song is about, I really think it would lose much of the emotion
and tribute it offers to the memory of Mike's mother without them.
Maybe some pieces are meant to have lyrics and others aren't.
Then again, maybe I don't know what the hell I'm talking
about. :)
>Date: Mon, 21 Oct 1996 11:42:59 -0500 (EST)
>From: babs@sgenva.cc.geneseo.edu (Barb Battaglia)
>Geez, I thought that he kind of looked like Mel Gibson in Bravehart - only
>w/ more hair. Must be me or something....
I saw that picture last night for the first time, and my
initial thought was, "Why does James have a porcupine on his head?" :)
Oh the things we do when we're young and foolish. I have a few
bad hair pictures of my own and guarantee that they will NEVER make it
onto the net. :)
Now you can all sleep comfortably and without nightmares. :)
Cheers,
Rick
Toronto
------------------------------
Date: Mon, 21 Oct 96 12:50:49 -0500
From: svjohnson@amoco.com
To: ytsejam@ax.com
Subject: He who inquired about Phish
Message-ID: <199610211751.AA24659@interlock.amoco.com>
I've heard these guys a little bit. They do what I wich DT would do
more of and that's elongate some jams. But it's a whole different
breed of music. A few songs are very Dead-ish and those I hate, but I
respect the hell out of these guys for musicianship. They are well
know for bootlegs as they are a jam band.
For good insight on the band, check out the cover-stroy _Musician_ mag
does on the (Dec. 1996). Good stuff. LATER-
Steve
------------------------------
Date: Mon, 21 Oct 1996 13:59:51 -0400 (EDT)
From: Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
To: Dream Theater Mailing List <ytsejam@ax.com>
Subject: BAD TRADER
Message-ID: <Pine.SOL.3.91.961021134321.19910B-100000@bdmserver>
al balkewicz bsed:
> First of all, this shouldn't be on the 'Jam because I *know* no
>one wants to hear about this anymore. I'm not a Jeremy who goes out and
>specifically is looking to screw people over (I think he's done it to at
>least 5 or 6 people) - I don't trade with anyone now not because they
>wouldn't (I'm sure I can find people who would do trades from either the
>'Jam or not) but because I know that I wouldn't be able to give anything
>in return. You're the only person that I never sent anything back to.
>As for getting a bad rap as a trader, fine, I don't do trades anymore.
>As for getting a bad rap as a *person*, I wouldn't think that's the case
>at all....and if it is, well then you don't know me one bit (hopefully
>some of the other people on the 'Jam that I've spoken with would agree).
Just like a lot of people I thought this whole mess was over. I was
convinced that I was ripoffed and had faced that I would never receive
anything for the time and effort and tapes that I sent you. I had also
thought that I would never hear from you again. Here you go and resurface
on the jam, acting like you are a great trustworthy and honest person
when in fact you are not but a dishonest and untrustworthy person.
I mean we made a trade. At that time you said you would get the tapes you
owed me out that weekend. Well that weekend came and went and all I got
was excuses. Months of excuses followed. Then you were in an accident
(supposedly). By that time I was really pissed off then I wrote you a
nasty letter. You then said that I would never get my tapes since I pissed
you off. This was after you had healed and were back on the jam. Somehow
later you said you would send me the tapes. MOnths later nothing but
excuses, then you were off the jam for months. No contact was given by
you. Now you come back to the jam acting like you are this great person.
Once again you have said you would send me something. I doubt I will ever
see anything from you except more excuses. To me and I hope others that
you have a bad rap as a person. And I do know you. Anyone who continually
lies to me is not a good person and you are a habitual liar. How can you
say you are a good person after you have lied to me for 2 years?
I rate you worse than a Jeremy Haynes. I was convinced long ago that I
would never get anything back from Jeremy. you on the other hand have
given me nothing but excuse after excuse after excuse. I mean it doesn't
take a brain surgeon to copy two tapes. Push play on one VCR push record
on another. Come back later, wrap up the tape and go to the post office.
Wow! Is that tough?
I dont really care anymore. I apologize to the numerous jammers who have
seen this crap time and time again. This is the last I will post on this
subject since it is really not worth my time and effort. I dont expect to
ever get anything from al. So dont ever trade with al.
once again I am sorry to those who hate seeing this over and over (ben, bafu,
etc..)
|-----------------------------------------------------------------------|
| 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 |
|-----------------------------------------------------------------------|
| Hail to the Redskins 6-1 ** Congrats to the 1996 MLS Champs-DC UNITED |
|-----------------------------------------------------------------------|
------------------------------
Date: Mon, 21 Oct 96 17:58:50 UT
From: "Susan Ostroske" <spatz13@msn.com>
To: ytsejam@ax.com
Subject: guitar polish
Message-ID: <UPMAIL08.199610211802310180@msn.com>
>Date: Sun, 20 Oct 1996 13:21:19 +0000
>From: "IbnzRG570" <ibanez@mailhost.cyberhighway.net>
>Subject: Guitars and synths
Ok, since a lot of Jammer's play guitar...
>Hey, all, I was just wondering, after doing so again today, what
>people use to clean their guitars with. I usually use baby oil, but
>someone told me that's not good for it. Being a person who hates to
>damage my guitar any more than it already is, could someone
>enlighten me?
Baby oil, or ANY oil anywhere but on the fretboard, is a definate no-no!! If
you have a painted finish, oils will soak through it and, over time, seperate
it from the body of the guitar. If you have natural wood, i.e. an acoustic,
the wood itself will become "water-logged" and begin coming apart.
For the BODY:
Three words: Martin guitar polish. It's got some wax in it, so do small areas
or it'll dry too fast on you. Over time, it builds up a nice shiny protective
coating; once it's on, it'll make your geetar gleam. If you have a REALLY
grimy guitar, (DO NOT DO THIS ON AN ACOUSTIC!!!) you can use lighter fluid to
clean it up... but be careful where you put it! It will suck all oil from
your metal parts, etc., so if you use it there (not a great idea -- but
doable) have the WD-40 ready... speaking of which, WD is the BEST for removing
rust IMHO... Something obvious: always use a clean soft cloth. Duhh...
For the NECK:
Apparently a lot of people don't clean their necks... you can use "0000"
steel wool (finest grain) to clean your frets and smooth out the nicks that
will inevitably appear there, but PLEASE go to the bookstore and flip trough
something like the _Guitar Player's Repair Guide)_ first cuz I'm NOT typing
out all the specs and things to avoid. The wood needs cleaning as well. I
wipe it down with a dry cloth the remove the grit and then hit it with lemon
oil... I have used peanut oil before, but it's not a great idea since it's a
very heavy oil, and fretboards can seperate just like bodies... How often you
do the neck stuff depends on you... I clean (thouroughly, including steel
wool on the frets) and restring my guitars weekly at LEAST... but that's also
how quickly I deaden strings... go easy on the lemon oil at first -- you can
have anything from a clean to dripping fretboard, so figure out what you
like...
So there's my speech for the month... Whew!
Suz
sorry for the bandwidth to those of you who don't care about this stuff...
------------------------------
Date: Mon, 21 Oct 1996 20:04:58 +0100 (MET)
From: "SchuBert" <H.M.Peeters@stud.tue.nl>
To: ytsejam@ax.com
Subject: RE: Guitars and synths
Message-ID: <72300.H.M.Peeters@stud.tue.nl>
> Also, I was flipping through the FAQ and nowhere does it say what
> kind of gear Derek uses. I was kinda curious to find out what synths
> he uses and what he runs them through. If I could get this info,
> that would be great, too.
>
Yeah, me too, so please send this information to the list!
------------------------------
Date: Mon, 21 Oct 1996 20:05:07 +0100 (MET)
From: "SchuBert" <H.M.Peeters@stud.tue.nl>
To: ytsejam@ax.com
Subject: RE: A newbie Jammer writes...
Message-ID: <72309.H.M.Peeters@stud.tue.nl>
> Also, I've been looking for a Galactic Cowboys album to buy (heard about em,
> haven't heard em except for their rendition on Live in Tokyo of Take the
> Time) but the only one I've been able to find is 'Machine Fish', or
> something... is this any good?
>
Yeah!! It rokz pretty hard, I think. I just LOVE vocal harmonies!
------------------------------
Date: Mon, 21 Oct 1996 13:11:47 -0500 (CDT)
From: Ann M Sutton <asutton2@Bayou.UH.EDU>
To: ytsejam@ax.com
Subject: Hi, DT fans!
Message-ID: <Pine.OSF.3.93.961021130350.24166A-100000@Bayou.UH.EDU>
Hey! I'm new - I just subscribed. I'm not really knowledgeable about Dream
Theater. I have 2 CDs - _Awake_ and _Images and Words_. They're awesome,
and so darn technical, but, not being a musician, I can't get into the
tech talk on here. It took way too long for me to realize what "The
Mirror" was about. But now I do, and I'm happy. :-) I hear they have a new
CD coming soon? Does this mean there will be a tour?
Well, take care, ye thespians of dreams. Just thought I'd let ya know I
was here!
~NetGirl~ (Ann)
P.S. Just saw G3 - Satriani blew me away!
------------------------------
Date: Sun, 20 Oct 1996 13:32:51 -0500
From: Ryan Good <rtgood@students.wisc.edu>
To: ytsejam@ax.com
Subject: Magna Carta Update
Message-ID: <199610211828.NAA106954@audumla.students.wisc.edu>
Greetings-
I received this e-mail from Magna Carta just the other day, and
thought you all should be informed....
Look for new CDs by Magellan, Shadow Gallery and Cairo within the first few
months of 97.
In Dec 96, Magna Carta will be issuing copies of the 1st Magellan "Hour Of
Restoration" (previously on Roadrunner US back in 91) and the 1st Shadow
Gallery "Shadow Gallery" (for the first time in the US).
Here is our latest release:
"Steinway To Heaven"
Magna Carta MA-9011-2
..Looks good, eh? I'm excited to hear the old Shadow Gallery, and since I
already have the tape of the old Magellan, it will be nice to have it on
disc. If people out there like the newest Magellan (Impending Ascension)
you will really dig Hour of Restoration. I guess Enchant already has a new
one available in Japan....if anyone out there has it, can you contact me so
we can work something out (like a trade or something??)
Enjoy your day. Remember, Rime of the Ancient Mariner by Iron Maiden is
STILL an awesome song!!!
------------------------------
Date: Mon, 21 Oct 1996 11:34:50 -0700 (PDT)
From: skooc@earthlink.net
To: ytsejam@ax.com
Subject: Re: BAD TRADER (keep it up Pat!)
Message-ID: <199610211834.LAA26065@armenia.it.earthlink.net>
>I rate you worse than a Jeremy Haynes. I was convinced long ago that I
>would never get anything back from Jeremy. you on the other hand have
>given me nothing but excuse after excuse after excuse. I mean it doesn't
>take a brain surgeon to copy two tapes. Push play on one VCR push record
>on another. Come back later, wrap up the tape and go to the post office.
KEEP TALKING ABOUT IT PAT!!!! We get new Jammers here all the time and they
need to be told about scum like this. I have been trading for years now and
work my ass off to keep a good reputation. All it takes is one Asshole like
this and I get these "I was screwed by blah, blah, blah so if you want to
trade send me your stuff first." I don't mind this from time to time, but
all it takes is one asshole like Dear ole Al to fuck it up for the rest of us.
Scott
GO PACKERS!!!
------------------------------
Date: Mon, 21 Oct 1996 11:38:15 -0700 (PDT)
From: skooc@earthlink.net
To: ytsejam@ax.com
Subject: Re: Galactic Cowboys cd's
Message-ID: <199610211838.LAA26343@armenia.it.earthlink.net>
At 11:12 AM 10/21/96 -0700, you wrote:
>> Also, I've been looking for a Galactic Cowboys album to buy (heard about em,
>> haven't heard em except for their rendition on Live in Tokyo of Take the
>> Time) but the only one I've been able to find is 'Machine Fish', or
>> something... is this any good?
>>
>Yeah!! It rokz pretty hard, I think. I just LOVE vocal harmonies!
Machine Fish is a great cd, but the new guitar player couldn't play a solo
to save his life. Either one of the first two (Galactic Cowboys, Space in
Your Face) are part of Geffen's Goldline series and are available at a
retail of ONLY $6.99; if you can't find them at Virgin Megastore or Best Buy
or wherever, ask them to order it for you. Trust me, they're worth the $7.
Scott
------------------------------
Date: Mon, 21 Oct 1996 14:56:24 -0400 (EDT)
From: corey29@mail.idt.net (Cory)
To: ytsejam@ax.com
Subject: Time Changes
Message-ID: <v01540b01ae91272f95e5@[199.86.40.1]>
On Mon, 21 Oct 1996 01:15:01, Matthew Sirois wrote:
>hey...
>
> can someone on this list lay down for me in concrete terms what he
>big deal is with time changes? everyone keeps raving about how wonderful
>various bands are because the keep making time changes... does that ability
>alone really add so much to music? what's the deal? does classical music
>utilize time changes? (say Mozart or Beethoven, as "classical" is kind of
>broad) how about jazz? (say Miles Davis)
Matt,
Thanks for providing me my first opportunity to post on this list. I've
been reading for the past few weeks and haven't been interested in
responding until I read your letter. As a percussionist in my high school's
band as well as an avid drumset player in all styles, including progressive
rock, contemporary Christian, show tunes, and jazz, I consider myself
knowledgeable about the subject of time changes in music.
Here's the lowdown on time changes. The ability to utilize time changes
does indeed add to any type of music. It is not the skill that is required,
nor is it the fact that changing time signatures are particularly musical.
Rather, having changing time signatures opens up an entirely new realm of
rhythyms, harmonies, and melodies.
The best examples I can think of in Dream Theater's music are "Learning
to Live" from Images and Words, "Lie" from Awake, and "A Change of
Seasons." LTL is almost constantly changing time signatures not just to
maintain listener interest, but set the mood of the whole song. "Lie" takes
the same rhythmic figure and transposes it over a few time signatures. It
would be extremely boring to hear "da-da-da da-da-da da-da-da da-da-da"
over and over in 4/4. Finally, in ACOS, the different time signatures are
chosen to be appropriate to the lyrics. For example, where the lyrics
"Preparing for her flight, I held with a my might" are, 5/4 is chosen
because it fits the lyrics very well. In none of these cases is deciding to
change time signatures done just for the sake of changing time signatures.
It is a musical choice dictated by the needs of the song.
In response to the question "does classical music utilize time
changes?" the answer is positively yes. I am particularly apt at memorizing
composers and their pieces, but I know from plenty of school band
experience that classical music does have time changes. Currently, we are
playing a piece called "Ireland: Of Legend and Lore" that jumps from 4/4 to
6/8 to 3/4 to 5/4 to 12/8. It is a challenge to play, but the sound it
creates is tremendous.
Jazz is the same way. In truth, most jazz is basic 4/4 stuff, but there
are those who take it a step further. Most notably is Dave Brubeck. He
delved into all kinds of time signatures and did a tremendous job a
creating jazz with them. The listener often cannot pinpoint the beat, but
the feel of jazz is still there. In fact, there is one song called "Blue
Rondo ala Turk" (I think, could be mistaken) that sounds like part of
"6:00" on Awake. When I heard this song, I couldn't stop smiling in
amazement at the similarities between the two.
As you can see, time changes are not looked at in awe simply because
they are done, but because of the different and progressive types of music
they can help create. A true sign of a musician is demonstrated by how they
can "feel" songs in odd time signatures. When one can stop counting and
start playing by feel in those time signatures, magic results. That is why
we love time changes so much.
Cory
P.S. Expect long, drawn-out responses from me in the future. Although with
my time constraints reading Ytsejam alone is nearly impossible, not to
mention responding.
I also agree that the new Tool CD is incredible.
Another chance to lift my life
Free the sensation in my heart,
To ride the wings of dreams into changing horizons
It brings inner peace within my mind,
As I'm lifted from where I've split my life
I hear an innocent voice
I hear kindness, beauty and truth.
"Learning to Live" from Images and Words by Dream Theater
------------------------------
Date: Mon, 21 Oct 1996 14:55:57 -0400 (EDT)
From: dantemm@erinet.com (Dan Temmesfeld)
To: ytsejam@ax.com
Subject: Galactic Cowboys / King's X
Message-ID: <v01520d00ae91325a6988@[207.90.116.83]>
> Also, I've been looking for a Galactic Cowboys album to
> buy (heard about em, haven't heard em except for their
> rendition on Live in Tokyo of Take the Time) but the only
> one I've been able to find is 'Machine Fish', or something...
> is this any good?
MF is a good album. I'd also try looking for Space In Your Face. SIYF is
their most proggy stuff. Machine Fish is good too. I guess IMO you can't
go wrong with GC...
> is the X pronounced 'Cross', or as the letter X (as in,
> King's Ex)? I know it's probably a silly question...
Like the letter. King's X...not King's Cross.
Later,
Dan
---+ +---
Dan Temmesfeld - dantemm@erinet.com / s1133627@cedarville.edu
"Home of the Galactic Cowboys Page"
http://www.cedarville.edu/student/s1133627/gcowboys.htm
---+ +---
------------------------------
Date: Mon, 21 Oct 1996 14:04:11 -0700
From: Mark Major <mmajor29@mail.idt.net>
To: ytsejam@ax.com
Subject: Re: I Mother Earth
Message-ID: <326BE54B.7627@mail.idt.net>
> From: "Mike Patrick" <mpatrick@netusa1.net>
> Finally, is I Mother Earth as great as I think they are? I saw them
> open for DT in Chicago, and while most the DT fans there looked as if
> they could have cared less, I thought IME could lock into a HUGE
> groove. They blew me away. The sounds samples on their web page from
>'Scenery and Fish' are great. Tell me I need to buy this one.
Yes, you need to buy it dude. I've got both 'Dig' and 'Scenery' and
they both rock with heavy RHCP-like grooves. They might get labeled
grunge, but in my book they are simply great muscians with a unique
sound.
Of particular note, Alex Lifeson guests on 'Scenery'. It doesn't say
which song, but I think its in the closing song 'Earth, Sky and C' which
has Santana influences to my ears.
Speaking of the DT tour where I Mother Earth opened, by the time the tour
got to SA IME was history and FW opened. A rift with DT was implied.
Does anyone know anything about this?
Speaking of FW, I just don't get it. Ytse-jammers seem to be generally
and genuinely impressed with these guys but based on the concert I saw,
FW is untalented and aweful. The epitome of an undeserving record
contract. I really tried to listen for something of merit at this show,
but thought that the continual falsetto was ridiculus. And the guitar
players didn't sound worthy *or capable* of tuning up JP's guitars.
JMark
"What you own is your own kingdom, What you do is your own glory,
What you love is your own power, What you live is your own story"
Neil Peart, (You don't get) Something for Nothing, 2112
------------------------------
Date: Mon, 21 Oct 1996 12:00:35 -0700
From: metal@mail.tij.cetys.mx (Juan Manuel Valverde Jaime)
To: ytsejam@ax.com
Subject: When Dream and today unite
Message-ID: <19961021190034772.AAA486@serial2.tij.cetys.mx>
HI!
I just want to know what does this cd include...
what songs??
where can i get it and how?
can you ship it to tijuana mexico????
just some questions ! thanx
dream theater fan no ##### who knows!!
------------------------------
Date: Mon, 21 Oct 1996 15:43:59 -0400
From: WildKoba@aol.com
To: ytsejam@ax.com
Subject: time signatures, the rush show, and other gasmic grumblings
Message-ID: <961021154352_1112735550@emout16.mail.aol.com>
hi there. your beloved koba again, trying not to step on anyone's shit or
chicken parts (love how people get along so well, but whatever)..........i
got some better shit to discuss with y'all.
like the rush show- like i mentioned the other night, i think neil left a
drumstick up my ass (he phat raped my brain THAT HARD). i might have even
shat it out, but anyways...
although they play some really great tunes, i was hoping they'd have played
more older stuff (i mean, did we really have to hear them play 3
instrumentals?). i mean, they could've played "jacob's", or even "fly by
night." hell, i would've gasmed repeatedly if i had heard "by-tor..."
i was also kinda bummed that they played a lot shorter 2nd half (1:35 to
1:14, for those with stopwatches who were timing).
and the sound at the knickbocker- it was about yay close to looking like the
shit after neil's drums were inserted. it was preety foul, basically.
luckily, i had my trusty earplugs to cancel out that mud shit they were
flinging, but still- I SHOULDN'T NEED FUCKING EARPLUGS IN SECTION 103!!!!!!!
and did anyone else catch alex fall about 48234809 beats behind in yyz (right
after the slow part, to be exact)? slick how he manuevered out, but he still
blew it.
all these gripes- god, that kobayashi guy is such a racist asshole; he
actually had criticisms about rush. damn that infidel!
which serves as a wonderful segue to what i did like a lot about the show.
let me count the ways.........
a) neil had to be smoking the fattest bag of crack. he was well on,
playing-wise, and his solo made me cry, or puke (in no order). what was
especially an amazing feat, was all the stick-throwing, all the fill rapage,
and HE KEPT THAT FUCKING HAT ON HIS HEAD AT ALL TIMES! god damn!!!!!!! what a
guy.
b) the trees- they might as well have thrown me off of one. that song just
hurt my head so hard. owww.
c) alex lifeson's BLACK LEATHER PANTS; what a fashion statement. right out of
the pages of marilyn manson and his buddy ol' trenty there. muy trendy. so
what if it looks like he put on a couple of pounds (speaking on behalf of all
other pleasantly plump humans, such as myself)? the pants were amazing, even
as far back as i was.
d) neil's rapage of my skull, part 2; that drum solo. i woke up sunday
morning with a headache the size of the knick itself, and then i said "wait a
minute- what's that thing sticking out of my....? oh, the sticks he used on
the solo- i should go bronze these now."
i never knew bronze was so fucking expensive. damn
e) no candlebox. that alone kept my pants humid.
f) the jamming (what the fuck was up with "wipeout"?!?!) on songs like "el
barchetta rojo", and "manejado" (all you HISPANIC PEOPLE can so kindly
translate for the other fellow jammers.
g) and lastly, no raw chicken parts onstage. just kidding
g.2) 2112; 2112; 2112; 2112; 2112; 2112; 2112; 2112; 2112; ironically, they
started it at exactly 21:12, or thereabouts, for superstition's sake, we'll
say it did, and we'll all go crazy now (as the sheep cry, "what does it
mean?" you know, kinda like the enigma publius of the pink floyd net fame).
enigma: "there is a secret behind it all. the one who solves it shall win a
special present." whatever- he was a fucking putz 13 year old in utah or
something.
i mean, sure they did modulate it down a full step b/c geddy is in fact 64
years old (i loved the quote "we're gonna go take our geritol but we'll be
back"), but who cares? it was still beautiful, and the sights and sounds
smelled like the sweet aroma of......
so that's my anal-ysis of the show.
on to other things.
the new mmw and manson albums are much of the skull-fucking quality as well.
i almost died when i found manson on the shelf, looking at me so sweetly,
telling me to take him home. how could i refuse?
and mmw is, well........mmw. funky fresh in da house.
alright boys, girls and bafu vai's. see ya next time around.
before i do go, geddy put it best about time signatures:
"when people try to dance to our music, i want them to break their legs."
when you can do that on your own, you know you can now accomplish phat
rapage.
love, kisses, and a healthy does of laether (another great album).
the wild koba
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david kobayashi
wildkoba@aol.com
dkoba8375@aol.com
"energy, intensity, eclecticism" - robert fripp
"the present-day composer refuses to die." -e. varese
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End of YTSEJAM Digest 1951
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