YTSEJAM Digest 3368
Today's Topics:
1) DT on VIVA
by Adrian79 <Adrian79@aol.com>
2) A Lovecraft Christmas (fwd)
by Andrew Rittner <adr93001@UConnVM.UConn.Edu>
3) artists & maturing
by "Tedesco, Matthew" <tedescom@BDD.com>
4) Fates in Atlanta -- other details
by Phil Carter <satriani@negia.net>
5) Yes, you should see Yes... :)
by Steve Chew <schew@tis.com>
6) WTB: Burning My Soul (radio single)
by dantemm@erinet.com (Dan Temmesfeld)
7) Re: Compositional Process
by ernie@pananet.com (Ernesto Schnack)
8) Dream Theater boot CD silvers for sale!!
by Michael Bahr <durnik@goodnet.com>
9) Marillion, 15% DT
by Mark Bredius <bredius@globalxs.nl>
10) Jaxx Jan 3 show
by Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
11) Scott's ravings about Rush and LaBrie
by "Ted D. Rossier" <trossier@mhs.oklaosf.state.ok.us>
12) Re: YTSEJAM digest 3365
by Jon Kretschmer <jkretsch@ucsd.edu>
----------------------------------------------------------------------
Date: Mon, 15 Dec 1997 16:09:21 EST
From: Adrian79 <Adrian79@aol.com>
To: ytsejam@ax.com
Subject: DT on VIVA
Message-ID: <15b7a82f.34959cbf@aol.com>
Hi,
my friends and I were in Bonn at the DT concert on Dec.4th. It was great!
We're also on the video, middle (in front of LaBrie/Portnoy) 6/7th row. One
can only see us from the back :-(
KEEP ON JAMMIN'
------------------------------
Date: Mon, 15 Dec 1997 16:14:56 +0500
From: Andrew Rittner <adr93001@UConnVM.UConn.Edu>
To: YtseJam <ytsejam@ax.com>
Subject: A Lovecraft Christmas (fwd)
Message-ID: <yam7288.2825.35944256@uconnvm.uconn.edu>
Well. I suppose if someone can do the X-Files one, I can do this
one... chastise away.
Andy
***
A Lovecraft Christmas
by Paul M. Lemieux
Copyright 1989
(With apologies to Clement Moore)
Twas the night before Yuletide and all through the hole
Not a creature was stirring, not even a Dhole
Aldebaren hung at the right place at nine
In the hopes that Great Cthulhu would come out this time
The fungi from Yuggoth, all snug in their caves
Were plotting to turn all the people to slaves
The Deep Ones in Rlyeh, the Ghouls in their graves
Were dancing and singing and acting depraved
When what do my wondering eyes should appear
But a mouldering sleigh and eight corpselike reindeer
With a horrible driver so leprous and reeking
I knew right away that my fear was unspeaking
The reindeer were gross, as they flew up from hell
And It hoarsely whispered and chanted a spell
Ia Shub Niggurath! Cthulhu ftagn!
Nyarlathotep! I summon you on!
As decomposed flesh before the charnel stench rise
And meet with the open air polluting the skies
Up to the housetop the horror it rose
And the gangrenous odors assailed my nose
And then in a slopping noise heard on the roof
The lumbering clomping of octopoid hoofs
As I drew in my head and was turning around
The horror lurched into my room with a bound
Its eyes how they pulsate
So bulbous and gory
This blasphemous creature
So noxious and hoary
I was frozen by fear, my feet woudn't run
I threw up my cookies, this wasn't much fun
It whispered my name and said "You come with I"
I tried to refuse and it said "Then you die"
It came at my throat with its grim claws extended
But a miracle saved its victim intended
I had three Elder Signs in a slot in the floor
It screamed with a fiendish sound and went out the door
It sprang to its sleigh, and its team gave a surge
And away they all flew to the sound of a dirge
I heard it exclaim as it flew out of sight
You're lucky this time, for the stars weren't right.
--
Andrew Rittner
adr93001@UConnVM.UConn.Edu
http://www.connix.com/~rittner
------------------------------
Date: Mon, 15 Dec 1997 16:16:00 -0500
From: "Tedesco, Matthew" <tedescom@BDD.com>
To: ytsejam@ax.com
Subject: artists & maturing
Message-ID: <199712152111.QAA15411@bertelsmanncis.com>
from chad mitchell:
>OK, it seems that everyone equates shorter tunes with "going
commercial"
>I've seen this attitude for years. Hell, I *had* that attitude myself
for
>years. Lately, I've come to a different conclusion. Songwriting is
much
>like writing stories, articles, research papers, or any other creative
>process. When you start out, you struggle to meet the minimum
requirements.
>As you become proficient, you start to increase the length and
complexity of
>your compositions. Call it an "adolescent" phase of creativity. You
write
>long, flowery, compositions, simply because you can. As you really
begin to
>master the process, however, you become more concise, more able to
express
>the creative thought in shorter statements. This is the mark of those
who
>have mastered the creative art.
i'm forwarding this whole paragraph because... it deserves to be said
again. this is true not only of bands such as rush (speaking of which,
neil has expressed some embarassment over their 70s style and its
excess), but it is also true in just about every other artistic medium i
can think of. how many writers, poets, (madmen,) sculptors, painters,
this is true for...
chad was initially responding to someone who was comparing 80s rush to
things like the human league. the difference is, those shallow groups
were restricted by simplicity; for rush, the perceived simplicity is
more a result of their ability to utilize the aspects of their greater,
longer, earlier works in a more compact, efficient way. to bring this
to dream theater, i would never have imagined a song of barely 4 minutes
taking me on a journey the way hell's kitchen does.
for a good example in other genres, look at tennyson, donne, or
shakespeare in their later years...
--MATt
------------------------------
Date: Mon, 15 Dec 1997 16:30:16 -0500 (EST)
From: Phil Carter <satriani@negia.net>
To: Under a Glass Ytse <ytsejam@ax.com>
Subject: Fates in Atlanta -- other details
Message-ID: <Pine.SOL.3.95.971215160634.8319A-100000@peach.negia.net>
Greetings ye 'jamanoids...
Paul mentioned a few things about the Fates show in Atlanta:
> Divine Regale were at the show but apparently were not able -- or
> allowed -- to open. The opener was a local band, Blanket Party, who
> were actually pretty good in a somewhat-more-technical-AiC way. DR's
> keyboardist played keys for FW, of course. (and is a really nice
> guy).
I got something of a shock when I found out that the drummer for Blanket
Party is a fellow I went to school with. He was a maniac then, and he's
still a maniac. He's the high point of the band; imagine Alice in Chains
with better drums and not-so-good sound.
> I'll let the Fates experts give setlist details -- I'll just say that
> I have more of an appreciation for APSOG now. :)
]From what I recall, the setlist went something like this:
1) APSOG
encore 1:
1) At Fates Hands
2) Point of View
3) a song I didn't recognize, sorry, but with VICIOUS time changes
encore 2:
1) The Eleventh Hour
run directly into 2) Point of View
Absolutely KILLER playing from all concerned. Joey's playing on fretless
was really smooth, while Zonder, madman that he is, made it look like
having four feet and eight arms was nothing unusual. Jim was a very spare,
economical player; not a smidgen of wasted motion -- but his solos
blistered and his sound was incredible. And finally, Ray Alder -- those of
you who think the vocals on FW's albums are all done with effects, smoke
and mirrors -- you can just forget that. Ray has one of the strongest
voices I've heard in concert.
Paul also forgot to mention that the guys were all available after the
show for a while. After a thirty-minute period after the show (during
which, I bet, they were all inside the bus smirking at us and thinking,
"Look at that bunch of idiots!" :) ), Ray reappeared and braved the winter
air for signing and chatting. The guys appeared one at a time and let
everybody have a couple seconds with 'em; they were remarkably friendly
and appreciative considering that they were probably all exhausted and
wanted nothing more than to get on their warm bus again and sleep. Didn't
get to talk to Mark (he just popped out, signed a couple liners and
disappeared again like smoke) but I did catch a snippet of conversation
between him and one of the other fans that might interest: there's going
to be a Fates video released soon. It will feature material from their
European tour, and ought to be out within a couple months.
Go see Fates, everybody. Even if you don't "get" APSOG, you'll appreciate
it being played live. What a performance!
DT in Atlanta tomorrow. See you Ytses there...
Happy holidays,
Phil
=====================================================================
Phil Carter -- satriani@negia.net (work), carter@negia.net (personal)
Senior Tech, NorthEast Georgia Internet Access, 546-5787
"Music washes away from the soul the dust of everyday life."
-- Berthold Auerbach
Currently playing: Bing Crosby -- "White Christmas"
------------------------------
Date: Mon, 15 Dec 1997 16:25:27 -0500 (EST)
From: Steve Chew <schew@tis.com>
To: ytsejam@ax.com
Cc: jbeavens@ichips.intel.com
Subject: Yes, you should see Yes... :)
Message-ID: <199712152125.QAA00476@clipper.hq.tis.com>
>Subject: Should I go see Yes?
>
>>Just got done with two nights of seeing Yes here in the SF bay area
>>and if you didn't go you missed out big time.
>
>Thanks for reminding me, I've been meaning to ask the list about this.
>Yes is slated to come to Portland on January 2nd (or was it the 3rd?).
>I was wondering if a non-Yes fan would enjoy this show. It's not that
>I'm not a fan, just that I haven't heard much of their stuff. The only
>album I've really heard is 90210, or whatever the hell it's called. =)
>And of course the songs that are played on the radio ("All good people",
>etc). Note that I'm not a musician, and money is pretty tight around
>here with Christmas and all. Concert tickets are a bit of a luxury at
>this point. =)
>
>I've always felt that a live setting is the worst place to get a first
>exposure to a band's work, simply because it's so hard to make out
>everything that's going on. Any opinions on if a Yes concert would still
>be enjoyable to a newbie?
>
>Eagerly awaiting to be convinced,
>
While I agree with you that hearing the studio album first is
often the best way to go, in this case I'd still recommend seeing the
live show. In my experience, Yes always puts on a very strong performance
which can be enjoyed even if you're not all that familiar with the music.
They have a good stage presence and put on a very fun show (it helps if you
have decent seats so you can see how much fun they're having up there).
I find their music to be very powerful live.
Yes songs and a few 'obscure' Yes songs. If you want to hear their classic
stuff, just buy "Classic Yes" (a best of collection) which has a very good
selection of their songs and was recently remastered.
Good luck!
Steve
------------------------------
Date: Mon, 15 Dec 1997 16:41:32 -0500 (EST)
From: dantemm@erinet.com (Dan Temmesfeld)
To: ytsejam@ax.com
Subject: WTB: Burning My Soul (radio single)
Message-ID: <v01520d00b0bb0abe1482@[207.90.116.122]>
Hey, does anybody know where I can get the BMS single? It has BMS,
BMS (edit), and an audio bio...if I'm not mistaken.
Any help would be appreciated,
Dan
---+ +---
Dan Temmesfeld - dantemm (at) erinet (dot) com
Galactic Cowboys on the Web...muh!?
http://www.cedarville.edu/student/s1133627/gcowboys.htm
---+ +---
------------------------------
Date: Mon, 15 Dec 1997 16:42:22 +0000
From: ernie@pananet.com (Ernesto Schnack)
To: ytsejam@ax.com
Subject: Re: Compositional Process
Message-ID: <19971215113916.AAA7829@sni.pananet.com>
> What I'm curious about is, how are they able to craft their songs so
> wonderfully if they've got five conflicting ideas running about? Does
> the one who wrote the lyrics come up with a musical idea and then they
> all add their own things to it? Is it a democracy? How does this work?
The answer is simple: jamming
A member brings a cool little riff he has, and they jam on it. They
record the jam, and then they listen back, take out the cool parts,
and work that into a song. I've done that with my last band, and i
have to say it's the funnest method of composition ever. When you
listen to the tape its like "Did i play that? How in the FUCK did I
play that?? Thats Awesome!!"
Of course, in an interview w/ JM somebody posted here, he said that
ToT was the first song were he had general sketch of a song before he
showed it to the band. Then they added their ideas to it, and
helped it come to life
that's that,
Ern
------------------------------
Date: Mon, 15 Dec 1997 14:45:31 -0700
From: Michael Bahr <durnik@goodnet.com>
To: ytsejam@ax.com
Subject: Dream Theater boot CD silvers for sale!!
Message-ID: <3495A4FB.8E5@goodnet.com>
Hi all.
Well, the Xmas money crunch is upon me, and I need to go ahead and sell
a few CDs that all other things being equal, I would rather have kept. I
know I'm not asking anywhere near market value for them, because I can't
afford to haggle right now, so here's your chance to get back at me for
causing your other boot CD crack habit. :)
Acoustic Dreams #331 - $90 - single
Caught in Amsterdam '97 - $60 - double
Perfect Dreams - $90 - triple
First offers take 'em. I'll pay shipping.
In other news, local car dealer Brown & Brown Nissan in Tempe
completely undid nearly all the damage that Earnhardt's Dodge did, and
Melissa is now blissfully happy driving a 1998 Sentra, and best of
all... we never did have to fix that stupid cracked block on the
Saturn!! So I guess 1997 may have a happy ending after all. I
wholeheartedly recommend B&BN to anyone looking to buy a car; they did
what it took to seal the deal and we even got preferred rate interest.
--
- Mike Bahr / Prism Records
- durnik @ goodnet . com
- http://www.goodnet.com/~durnik/
------------------------------
Date: Mon, 15 Dec 1997 19:50:04 +0100
From: Mark Bredius <bredius@globalxs.nl>
To: "'Ytsejam'" <ytsejam@ax.com>
Subject: Marillion, 15% DT
Message-ID: <01BD09AB.D0CE98E0@ns.globalxs.nl>
Joe DeAngelo wrote :
> Anyhow, about my first Marillion experience...... I haven't listened to
> it thoroughly yet, but my first impression isn't too great. Is all of
> their stuff this mellow? It seems too.....sedate for my tastes.
No... There is very little guitar work on This Strange Engine.
Basically the point was to make keyboardist Mark Kelly "shine"
on this album. Supposedly, the next album will have a lot more
guitar work on it, and will be more "experimental". Don't give
up on them based on a first listen, though... Marillion is one
of those bands that take time to get used to. Also, there's no
way you can judge Marillion by just one album. They're all way
too different from eachother... So if you don't like this one,
try another album... If you want less mellow, try Clutching At
Straws (that one kicks ass!). If you want dark and disturbing,
get Brave. You want poppy ? Buy Holiday In Eden... Did someone
say prog ? Misplaced Childhood's a classic concept album... So
you like early Genesis ? Script For A Jester's Tear and Fugazi
will do the trick :-)
Anyway, give them a chance, and by all means, Take The Time...
But most of all, listen to them LOUD with the lights off. :-)
(preferably with headphones, trust me).
Disclaimer: Of course there is a chance that they are just not
for you. Hey, it could happen. :-) In that case, just accept
that you don't have to like everything other Ytsejammers like.
That's what amazes me about the Fates thread... So many people
are trying so desperately to get into their music, simply 'cuz
Ytsejammers are "supposed" to like them. Use album suggestions
as a chance to broaden your horizons, but don't force yourself
to like something just to fit in with the crowd.
_____
AL wrote :
> Dumb question.
> Why does a DT digest only have a 15% DT context ?
> If I wanted to hear about other bands I would be elsewhere.
> A small amount of comments relating to other bands would be fine.
> Let us get back to the topic we all signed up for in the first place...
You start :-) If there isn't enough DTC to your liking, post
some yourself ! Bitching about a lack of DTC won't help a bit.
Believe me, I've tried. :-)
Anyway, if you want 100% DT, try "Under A Cyber Moon" at :
http://www.prognosis.com/dream/
:-)
Mark
------------------------------
Date: Mon, 15 Dec 1997 17:02:26 -0500 (EST)
From: Pat Daugherty <pdaugher@bdmserver.mcl.bdm.com>
To: Dream Theater Mailing List <ytsejam@ax.com>
Subject: Jaxx Jan 3 show
Message-ID: <Pine.SOL.3.91.971215165924.2657X-100000@bdmserver>
BTW, this show is a 21+ show. They do card.
|-------------------------------------------------------------------|
| Pat Daugherty pdaugher@bdmserver.mcl.bdm.com |
|===================================================================|
| Washington Redskins 7-7-1 |
| Upon the murder scene of a NY Yankee fan at Camden Yards: |
| "I didn't know that was illegal in Baltimore"-Munch on Homicide |
|-------------------------------------------------------------------|
------------------------------
Date: Fri, 12 Dec 1997 17:37:51 -0600
From: "Ted D. Rossier" <trossier@mhs.oklaosf.state.ok.us>
To: <ytsejam@ax.com>
Subject: Scott's ravings about Rush and LaBrie
Message-ID: <01bd0756$f68a90e0$0e7f57cc@TEDR.oklaosf.state.ok.us>
[Delurk]
Sorry to discuss Rush on the Fates Warning list, but here goes: ;)
Scott wrote:
>And if you can listen to anything Rush put out AFTER Hemispheres
>and say they didn't go commercial then you're either not paying
>attention or have an IQ of a turnip! They went from writing some
>of the greatest rock songs of all time, prog or not, to becoming
>a Human League/Eurythmics clone in the 80's. That shit from Signals
>all the way through Hold Your Fire is all synth pop. I'm not saying
>it's all bad, but most of it sucks (sorry Merlo, it had to be said ;-) ).
>It wasn't until Presto that they started getting back more towards
>guitar oriented music and stopped trying to get airplay in the
>discos.
Oh, now you've done it. You've just flamed some of my all time favorite
music. Signals has some great songs, chief among them "Subdivisions" which
is my favorite Rush song, and in my top 10 of all time (all artists). Not
only that, but IMO Hold Your Fire is the best album they have put out since
Moving Pictures. But I do agree with, and like the fact, that they've moved
back into guitar-oriented rock, and gotten a more raw sound as a result.
Both Counterparts and T4E are magnificent in this regard.
I don't think it's possible to go commercial without ending up that way.
How can you sell out if the troglodytes aren't buying? Rush has never blown
through the pop charts. They don't care, and neither do I. They make a
living using their talents, and they enjoy themselves in the process. And
they are respected by their peers, other musicians. I call that successful,
but not commercially so.
>Why do you think they don't play WDADU songs in concert anymore
>(except for Ytsejam)? It's because James is such a fucking baby he can't
>handle
>singing songs from another singer.
I guess that's why he's singing "To Live Forever" and "A Fortune In Lies" on
my LiT video, huh? :)
Ted
--
Ted D. Rossier
trossier@ionet.net
------------------------------
Date: Mon, 15 Dec 1997 14:12:35 -0800
From: Jon Kretschmer <jkretsch@ucsd.edu>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 3365
Message-ID: <3495AB53.FE05E2C5@ucsd.edu>
> Why are we talking about Teenage Mutant Ninja Turtles?
>
I was actually wondering the same thing. Remember the video game? I spent $5.00
one day in an arcade to beat that thing aabout 10 years ago...haha
> Dumb question.
>
Uh huh : )
> Why does a DT digest only have a 15% DT context ?
> If I wanted to hear about other bands I would be elsewhere.
> A small amount of comments relating to other bands would be fine.
> Let us get back to the topic we all signed up for in the first place...
Well, this has been rehashed a million times since Ive been on (a little after
Subcon was released), and the only thing that I can say is that if DT was the ONLY
thing we ever talked about, we would soon be discussing KJLB's bowel movements, as
he so eloquently put it. And besides, were it not for the jam, I would never have
heard about Savatage, Angra, Superior, Echolyn, etc., etc....So if you want to
broaden your horizons a bit, stick around. You might like what you hear...
> At the begining of this masterpiece harmonics are heard. This sounds like
> guitar harmonics to me but then so does the solo when it enters and the
> harmonics are still playing in the backround. Since this is a live album i
> find myself not baffled by this but too many ways to do this that i can think
> of. So i was in hope that you fellow jammers could help me.
Ive listened to this plenty, and Im pretty confident (w/out even double checking)
that the bass starts off with the doo doo harmonics part. Is this the part that
you were talking about?
There was an article in our local newspaper recently (just getting back for C.
break) about concept albums finally getting "popular" again. This guy, much like
the "Poets, Madman" moron, goes about spewing his horse manure adjenda about
concept albums and progressive rock. The point of the story is to highlight the
latest concept albums of k.d. lang, Wycleff Jean of the Fugees, and other
relatively mainstream artists. Here is a little of what he had to say, reprinted
with absolutely no permission.
William Friar, Contra Costa Times Staff writer --
<<Guess what? The concept album is cool again. It's not surprisingthat the
concept album has made a comeback this year. Like every other idea from the '60s
and '70s, it was bound to be recycled, and the cheesier rock acts never gave it up
completely in the first place. The weird thing is that it's being revived by some
of the most respected and influential names in popular music.>>
Ged, this guy reeks with bias.
<<What's even weirder, critics and fans have applauded them for doing so.>>
Hey jackass, think its time to reevaluate your views?
<<Over time, concept albums became synonymous with progressive rock, which in turn
became synonymous with pompous, pseudointellectual excess.>>
Wow. Think this guy has something to say???
<<[Talking about D. Bowies new concept album, "Outside"] As a whole, it stank of
prog-rock pretentiousness. Which is too bad, because there's some good music on
the album.>>
If there is some good music, why bitch? Sheesh...
<<So why the positive reception to this year's neo-concept albums? Maybe because
they finally sever the cord that bound the concept album to progressive rock.>>
ARG!
This article is terrible. I would type it all, but I recently broke my right hand
and have been reduced to a hunt and peck kinda gimp. So, just thought this might
be a little something you might have wanted to read. Just another instance of
someguy getting paid to write about that which he knows very little. Oh well.
Off to Tower to buy APSoG. Wish me luck : )
Jon
------------------------------
End of YTSEJAM Digest 3368
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