YTSEJAM Digest 3298
Today's Topics:
1) Pt 2: John Myung in Bass Frontiers (LONG)
by jOHN jENS <jjens@darkhorse.triad.net>
2) Triumph
by Steven Thum <sthum@sunflowr.usd.edu>
3) Re: Late Goosebumps.
by Stephen Dedalus <mattb@mbay.net>
4) MEETING BEFORE LONDON GIG
by A P Longley <ap7032@qmw.ac.uk>
5) Replies Spew Forth from my Inbox
by Chad Allen Klunck <cak6981@omega.uta.edu>
6) YtseCon IV(?)
by Chad Allen Klunck <cak6981@omega.uta.edu>
7) Re : Xmas CD 96
by Arash Ashouriha <ashouria@FH-Niederrhein.DE>
8) DTIFC
by edwilk@juno.com (Ed Wilk III)
9) Goosebumps
by "Stephanie Beaulieu" <serenawiththepic@hotmail.com>
10) Another Goosebump moment
by "James Thorpe" <thirdhvn@community.net>
11) buncha stuff
by "Scott/Curt Hansen" <curth@execpc.com>
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Date: Wed, 26 Nov 1997 23:33:44 -0600 (CST)
From: jOHN jENS <jjens@darkhorse.triad.net>
To: ytsejam@ax.com
Subject: Pt 2: John Myung in Bass Frontiers (LONG)
Message-ID: <Pine.LNX.3.95.971126233050.21889C-100000@darkhorse.triad.net>
BF: In the past you've written songs with longer arrangements that tend to
be progressive in nature. Do you enjoy playing those songs more than the
others?
JM: Well, I think you need variety. I love playing every song. I mean, I
shouldn't say that! (Laughs) In the past we've always been traditionally
known for our longer type arrangements, but, I think with this record
we're trying to strike a better balance between self-indulgence and
powerful songwriting. They are two different types of songs with two
different personalities that are both valid and have a purpose. The more
song-oriented stuff gives the band opportunity to get played on radio,
which is really important because kids buy what they know. If they don't
hear you then they don't know about you. It is important that you are
able to feel really good about what you do and be honest with yourself
knowing that it's definitely the type of music you want to be playing.
There's a whole other type of satisfaction that comes from that because
when you're playing, people can see your conviction. When you can reach
people on that level, I think they will talk about you and will spread it
that way through word-of-mouth.
BF: A lot of musicians are into you guys. Do you ever look out in the
audience and see all the musicians looking on to see what you're doing
next? Do you notice that?
JM: I definitely notice it. But when I'm playing it doesn't enter my head
space. I'm just more like thinking about my parts and what I'm doing.
BF: You've been playing with your drummer Mike for such a long time now.
How would you describe that relationship? While performing are you
conscious of the other instruments you are playing in synch with?
JM: In the band, in a way, we're all drummers. We're all filling in
certain, rhythmic holes. It just happens to be that the bass provides a
very supportive type of rhythm. It's like the glue of a song. I think
it's the thing that if you don't understand what's going on with the
complexities of the instrument, it's the one instrument that can take you
through the song, hopefully. (Ponders) But my relationship with Mike ...
it's a good relationship. I love Mike, and I think it's a real rewarding
relationship. I think he definitely inspires me to always improve and to
get better, and that's important to have.
BF: What do you practice when not playing Dream Theater songs?
JM: I practice whatever my hands feel like doing that day. I practice
scales a lot. Then if I get scale-heavy I'm like 'I don't want to do this
anymore, let's do something else', so I'll concentrate on chord tones and
practice different shapes that I know and then try to discover a few more
shapes that I'm not naturally able to play and build those up. Sometimes
I just play along to tapes and when I get tired of that I record some
ideas.
BF: How do you approach a day of practice?
JM: I try not to set expectations so that when I sit behind the instrument
I try to lose myself and not think of it so much as a win/lose situation.
'Is it going to be a great day? Or is it going to be a bad day?' It's
just going to be a day of practice and whatever happens will happen. I
don't mean to be too carefree, but sometimes when you expect too much from
yourself you choke and you don't really wind up accomplishing anything.
If you expect everyday to be a great day behind your instrument, you're
setting yourself up for a lot of disappointment. I used to psyche myself
out a lot that way. When I just accepted it as a part of my
life-something that I do-it's a whole different world. Then you don't
feel pressured and that's when things start coming to you.
BF: A lot of the songs on this new album seem to deal with some hard
topics. You composed a song called "Trial Of Tears". That one really
made me think and want to analyze it. Can you tell me more about that
song?
JM: That was the first song that I did a sketch for where I played guitar
and keyboards and bass on it, and I presented it to the band. It was a
song that went through many different stages. The first demo that I made
was a really raw version of that and then we worked on it as a band and
took it to another level. It turned out to be this incredible song that
went from the version that I did to something that incorporated the band,
which is a really great thing because you can still have independence and
choose a direction, but then be able to synergize what that song is with
your bandmates and be interdependent with them. That's when the magic
happens. That's when the song really starts to transform and take on a
strong personality.
Lyrically, that was a real therapeutic song for me. It deals with ego and
my perception of it and understanding how it can cage you and really alter
your perspective, but then realizing that life is really short so you need
to make a decision. You also need to learn how to deal with regret while
still moving forward. There's one line that talks about, 'you're not much
better than the man you hate.' That's pretty much a play off one of the
commandments "Love thy enemy". You know, "Open up, you're not the only
person here." Also, my view of heaven being here today and not some
distant galaxy, but based upon how centered and conscious you are will I
affect your experience and your perception. Understanding that is a
really hard thing to do. It's just a whole bunch of different things that
I was going through, just put into a song.
BF: The great thing is everyone will walk away with something unique from
that song and make a connection to it.
JM: Which is cool. I appreciate that when people can connect with it
personally. I think that's a big part of why you're into a certain
artist. I'm a big Sting fan. I love all his stuff and even though I've
never met him personally, I still always find myself putting on his CD's
because I feel that there's a personal connection there. I really relate
to what he does musically. That's a really important part, I think, of
being successful is to have those types of relationships with people that
hear your music. Hopefully, if you have it all together you are reaching
people that way.
BF: Is it hard being in a band sometimes? Is everything a group decision?
JM: It's weird. In a band certain things default to certain people. It's
not like you always have to decide as a group on every little point. At
some point whoever feels really passionate or strong about a situation or
about something that we're dealing with, there's always usually one person
that kind of oversees something. Sort of like the producer of something.
It's a strange animal being in a band, you know. It's kind of funny.
BF: Is it like being part of a family?
JM: It's very much like a family. You're like brothers and if you see too
much of each other, sometimes there might be a few squabbles. But, I mean
it's all in good fun, though. We appreciate who we are and what we've
accomplished with each other and we don't want it to stop. We want it to
keep developing.
[end part 2 of 2]
-- jOHN jENS + jjens@shell.webzone.net + www2.webzone.net/~jjens------------------------------
Date: Thu, 27 Nov 1997 00:49:34 -0800 From: Steven Thum <sthum@sunflowr.usd.edu> To: "ytsejam@ax.com" <ytsejam@ax.com> Subject: Triumph Message-ID: <347D341E.7B8A@sunflowr.usd.edu>
At 10:18 AM 11/25/97 -0800, someone wrote: >WOW I love Triumph. This is the other Three man band. I would call them Progressive. Unfortunately they called it quits in the late 80's. > >I would suggest: > >Thunder Seven >Allied Forces >Surveillance(spelled correctly ?) (I believe this is their last studio project) >Progression of Power >Sport of Kings (This one is main stream and did receive alot of radio play)
In addition to those, I'd suggest _Just a Game_, which is a fantastic album. It shows a great deal of variety on the part of guitarist Rik Emmett. Their live album, _Stages_, is also pretty good and has a good sampling of stuff from various albums.
Agreed. I would add "Never Surrender" to the list. But start off with "Just A Game" and go from there. "Classics" gives a good overview of the band. "Stages" is a good live album, and check out the King Biscuit Flower Hour CD, if you can find it [it was recorded on the '81 Allied Forces tour, and has a great cover of "Rocky Mountain Way"]
Triumph made a lot of good music for a lot of years, it's too bad they went by the wayside. Rik Emmett is still releasing music, which is a lot different from the stuff he did with Triumph.
Steven Thum
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Date: Thu, 27 Nov 1997 00:01:04 -0800 (PST) From: Stephen Dedalus <mattb@mbay.net> To: Multiple recipients of list <ytsejam@ax.com> Subject: Re: Late Goosebumps. Message-ID: <Pine.LNX.3.95.971126235407.25387A-100000@otter.mbay.net>
OK. I'm gonna agree with a lot of people here. My first set of goosebumps come from LATM when James sings the Killing Hand. OOOOO... Damn, sounds awesome!!! Next is the long guitar solow from PMU. Rocks my ass. Next is the quote from Silent Man during Erodamania ( or however the fuck you spell it.) Here's a strange one. At the very end of the vocals of IF, James does this long melisma ending with a yeah with a lot of vibrato. I could listen to that song just for that "Yeah." Then I'd have to say all f Silent Man and all of Hell's Kitchen. The crunchy part of Peruvian Skyes. All of Hollow Years. The stick and drumbs part of ANM. Gotta love Meyung's wa! And lastly, on Another Day live at Birch Hill, I think, (whatever bootleg everyone has from the tape tree) where JP bends the note at the end of his little shred a note too far. God, that's intense and just brings those ears to ecstatic climaxes of sonic bliss. That's all. Carry on. Be well. Matt B
"That is the truth. Not the hammer and sickle; not the stars and stripes; not the cross; not the sun; not gold; not yin and yang, but the smile... Because they died, we know we still live. Because a star explodes and a thousand worlds like ours die, we know this world is. That is the smile, that what might not be is." (John Fowles, The Magus)
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Date: Thu, 27 Nov 1997 09:58:15 +0000 From: A P Longley <ap7032@qmw.ac.uk> To: ytsejam@ax.com Subject: MEETING BEFORE LONDON GIG Message-ID: <2CC769D46EC@qmwcc5.qmw.ac.uk>
Hey,
Just to let everyone coming to the concert at the Kentish Town Forum in London, England on 9th Dec know, we will be meeting up for a drink etc. in the Bull and Gate pub ( next door to the Forum) at 2pm.
There are already loads of people I've spoken to meeting up there, so any of you planning on coming down in the afterenoon should join us and make it a bit of a DT party. If there's enough of us, we could take over the pub, tie up the landlord, and force them to put DT in the juke box!
See you all there,
Adrian.
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Date: Thu, 27 Nov 1997 04:21:15 -0600 From: Chad Allen Klunck <cak6981@omega.uta.edu> To: ytsejam@ax.com Subject: Replies Spew Forth from my Inbox Message-ID: <347D499B.71E894D3@omega.uta.edu>
> Hey, does anyone out there remember the band, "Gorky Park?" They were a hard > rock / metal band from the former USSR. Jon Bon Jovi discovered them and > brought them to the States. He and Richie Sambora produced the band's > self-titled 1989 debut, which had a big hit with, "Bang." The song contained <snip>
Holy Shit! I thought I was the _only_ person who ever heard of these guys! :) I don't know what they're up to now, but I have the CD you spoke of...80s glam / metal would be an appropriate description, for sure. Can you say "hair"?
> -It dawned on me one day that I should not be making sandwiches for a living- > --- John Petrucci---
I wonder how much one of those sandwiches would go for these days? (Autographed brings in more, of course...just don't eat it!)
-- Chad +---------- raytheon@dreamt.org | I don't need one thousand reasons | When someone starts to cry | When someone says, "My heart needs lifting" | Don't ask how come, ask how high | - Dream Theater +---------- http://archdevel.uta.edu/
------------------------------
Date: Thu, 27 Nov 1997 06:08:37 -0600 (CST) From: Chad Allen Klunck <cak6981@omega.uta.edu> To: The Jam to End All Jams <ytsejam@ax.com> Subject: YtseCon IV(?) Message-ID: <Pine.OSF.3.96.971127055905.18868A-100000@omega.uta.edu>
Okay, disclaimer: All criticism will be ignored unless it is constructive. This is one of those "if you can do better than put up or shut up" moments.
I am willing to organize a YtseCon for sometime during the "real" TII (Touring Into Infinity, for the acronymically challenged) tour, which is supposed to be during the summer/fall of 1998. This is a thought which just occurred to me recently, so I haven't thought about any of the details (hey, I got 6 months, at least!).
I would like suggestions, from location to activities to past experiences. My ideal goal (in an ideal world) would be to have it on an open day after a concert (e.g. OOFB(fs) plays in city Xyzabc on Tuesday the 12th. No show is schedule for the Wednesday the 13th; we have our little gathering, invite the band (of course!), do our thing; the band goes about its regular business the next day). Not only would this be a way for some of us to get "up close and personal" with the guys, but it might give them a well-needed rest day without travel, albeit putting up with us! ;)
I have not decided on a location yet; I was thinking somewhere in the Midwest, or at least in the mid-region of the country. This would somewhat centralize things for our geographically dispersed friends, but would be open to change if, say, nobody from a certain region wanted to show up, or interest was concentrated in a particular area. Oh, and contrary to popular belief, I will NOT try to get it here in Texas. Don't want you guys to have to put up with the country music and cowboy boots. I will eventually dedicate web space to it (surreptitiously, of course).
Anybody who has any suggestions, ideas, implementation plans, etc. please mail them to me at raytheon@dreamt.org, with an appropriate subject line. Or talk amongst yourselves.
Chad raytheon@dreamt.org
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Date: Thu, 27 Nov 1997 18:04:06 -0800 From: Arash Ashouriha <ashouria@FH-Niederrhein.DE> To: ytsejam@ax.com Subject: Re : Xmas CD 96 Message-ID: <347E2696.7D39@kr.fh-niederrhein.de>
Hi!
I wrote :
Can someone tell me the tracklisting of the DT-Xmas 96 CD ?
>No! Hey, christmas gifts should be surprises, shouldn't they?
>Steffen - THE MIRROR
>The 96 CD yes I can. >If you mean the 97 CD, besdies the band no one seems to know and as >Steffan said some of us like to be surprised. >If I remember from last year, the fanzine/CD arrived in mid December, >surely you can wait >a few more weeks ?
>graham
I've wrote Xmas 96 <-------- Which means the CD from the LAST year.
Please tell me the tracklisting.
Thank you
Arash -------------------------------------------------------------------------- | PROG OR DIE - The Progressive Music Page | | | | DREAM THEATER - FATES WARNING - ROYAL HUNT - SHADOW GALLERY | | | | http://lionel.kr.fh-niederrhein.de/~ashouria/index.htm | | OR | | http://www.geocities.com/SunsetStrip/Venue/1748/ | | | | by Arash Ashouriha | | | | ashouria@kr.fh-niederrhein.de | --------------------------------------------------------------------------
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Date: Thu, 27 Nov 1997 12:36:35 -0500 From: edwilk@juno.com (Ed Wilk III) To: ytsejam@ax.com Subject: DTIFC Message-ID: <19971127.125046.11374.0.EdWilk@juno.com>
Hey,
I sent in my money for the DTIFC subscription in early August.. I sent it to the NY address.. Any idea on when I'll be getting my stuff? And if possible, what's the e-mail adress for Neil Elliot (I believe he's in charge of the club, no?)? In NDTC, I picked up Hammerfall- "Glory to the Brave" the other day. I wasn't too thrilled at first, but I'm really starting to like it. The title track really surprised me- the chorus of basses is great... I didn't know what to expect, but now I'm happy I bought it. Any Hammerfall fans here? I know NOTHING about the band, and previous releases, so some info would be nice...
Ed-San
"I was standing at the edge of my bed... Staring at the paper through my tears... It read, "Say goodbye to Jesus.. the world he left will never be the same. You took away my hero- now take away my pain." - Dream Theater, "Take Away My Pain"
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Date: Thu, 27 Nov 1997 11:18:34 PST From: "Stephanie Beaulieu" <serenawiththepic@hotmail.com> To: ytsejam@ax.com Subject: Goosebumps Message-ID: <199711271918.LAA27455@f111.hotmail.com>
Most of mine have already been listed, but I am surprised that no one talked about the instrumental opening of TOWHTSTS... It is so... unreal. I don't know how to say. There is also many parts in Voices that I think are worth a couple goosebumps, including the "ding ding ding" keyboard part after "Now the widow makes the rules". Or "the devil in my BEEEEEEEEEEEEED!", but I think the coolest is when after that really calm part, the music suddenly starts again with "Like a scream but sort of silent". As for non DT goosebumps, go and listen to Michael Ball (OK, I know, quite far from DT!!) singing Empty Chairs At Empty Tables on the London cast recording of les Miserables... It almost makes me cry every time I listen to it. And do anybody remember, about 10 years ago, a song called A Criminal Mind, by Gowan? That was pretty powerful too...
Steph =:)
(Who's been back from vacation since Monday but just catched up with the posts...)
______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com
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Date: Thu, 27 Nov 1997 11:36:35 -0800 From: "James Thorpe" <thirdhvn@community.net> To: <ytsejam@ax.com> Subject: Another Goosebump moment Message-ID: <01bcfb6b$c5a48fe0$79e2ae8c@mpeywdzn>
The whole song 'Eve'. Unbelievable melody with Perfect samples!!
--james--
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Date: Thu, 27 Nov 1997 21:41:55 -0600 From: "Scott/Curt Hansen" <curth@execpc.com> To: <ytsejam@ax.com> Subject: buncha stuff Message-ID: <199711280341.VAA28430@mailgw01.execpc.com>
Hi all,
Well, I remembered just a few more thingz that I found out at the Madison WI gig last week. First of all, Ryan had mentioned about Mike having something better in mind than "An Evening With..." for the summer swing through the States. Mike said he would like to bring both drum kits along (see the latest Modern Drummer is you dunno what I'm talking about) provided that the stages of the venues they play are big enough! In addition to that, I'm hoping Mike will organize some sort of PROGappalooza or something. I dunno what he has in mind for the summer tour, but I can't wait. I mentioned playing Summerfest and he said maybe they'd do it again.
Another thing that I wanted to say: I haven't seen any cutting remarks lately about James, but in case anybody thinx James is stuck up (I remember the "James has an attitude" thread happening some time ago), read this: I had the band use a white paint pen to sign such things as the 96 Xmas CD, FII, etc. James was the one who told me to be extra careful since the "paint" takes longer to dry - otherwise it may schmear. Strangely enough, when I met them in 93, I had another paint pen which exploded as Kevin M signed my CD - I said just leave it, but James insisted on wiping it clean and having them resign it! That to me shows that James is a person to who cares about the fans.
To anyone questioning whether to get into the DTIFC: sign up! Obviously, you'll get the benefit of the Xmas CD, but there are some pretty in-depth interviews within each issue that cover things that are rarely heard on the Net. Plenty of things that I've learned about the band have been because of the fanzine - not the Net. I highly recommend each one to get into it - even our blind Jammers (you'll at least enjoy the Xmas CD - remember regular CDs run from $10-$15 anyway so esentially you'll be paying $15 for the Xmas CD). Keep in mind that I'm in no way connected with the DTIFC - just a satisfied fan.
In regards to the 97 Xmas CD, Mike was working with ADATs on the bus when they were in Madison. Mike told me personally that he had ADATed all the Fix shows, the Chicago TII show and I'm guessing maybe the Euro-spring 97 shows as well. While he wouldn't confirm it, me, Ryan and Mattymo got the *strong* impression that the 97 Xmas CD would consist of material from these shows. Of course, it shouldn't be long before we should be finding out for sure.
Wes Beavis Fol wrote: > same time, and all of a sudden thought, "hmmm I wonder what it would sound > like if Dream Theater did a cover of Milano Mosh or Speak english Or Die." > hehehe I wonder: would that be cool? hehe...I guess it would in some ways, > but I just can't picture James doing that. It would be funny though. Funny you should say that cuz DT (as Majesty) actually did an SOD "cover" in the early days. In fact they played "The Anti-Procrastination Song" at their very first gig and I think they may have done it once or twice more (can't remember off the top of my noggin). A "studio" version of it appears on the InstruMental III/No Sleep Since Brooklyn bootleg. Obviously, their playing this was more of a joke than anything (I think it lasts all of 2-5 seconds).
Mike Burstin wrote: > the actual CD (FII) looks identicle to the American one, the Awake CD > is actually a different color for the Japanese one (lighter, not blck). Well....if ya wanna get anal about it, the Jap copy's label is not as shiny and is missing the Majesty symbol as well (no big thing, but some minor ditties I happened to notice) - and of course the copyrights are different too. :)
In regards to Speak to Me, it definitely soundz like U2 though the guitar in the beginning actually kinda reminds me of Dokken's Dream Warriors.
To Jon Jens - thanx for the repost of the bass article!!!
One last thing - there's the argument about The Unforgiven and it's sequel. To be honest, I heard the sequel several times (on the radio) before I ever found out what it was. I personally prefer the first to the second, but to me, the song is almost completely different. It is no different for them to reuse and change a riff than for DT to have used the same riff in more than one song (WFS and JLMB, The Mirror and SDV, etc.) If M2 contains a couple riffs from the original, I'm sure I'll have no problem accepting it. I have faith that by no means will M2 be a rehash of the original. Back to Unforgiven 2, the guitar during the first verse sure sounds a lot like GNR - anyone else agree?
I guess this post is long enough. In case anyone cares, I'll begin to transcribe the FII studio log within the next coupla dayz - hopefully D-Man will be ready to put it up on his web page. Take care everyone.
Scott Hansen curth@execpc.com
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End of YTSEJAM Digest 3298 **************************
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