YTSEJAM Digest 3815
Today's Topics:
1) You don't like the meatballs?
by Eckie <eckie@imap1.asu.edu>
2) Stick Stuff
by Phil Carter <satriani@negia.net>
3) Fastest Guitarist
by "David M. Campbell" <campbell@dickinson.edu>
4) Continuing the "aging" thread for IAW and Awake.
by Jonathan Case <jcase@ROSSBY.METR.ou.edu>
5) Re: Rockin' Japan / Petrucci
by Brian Larkin <ambicwts@postoffice.ptd.net>
6) Guitarists
by "David M. Campbell" <campbell@dickinson.edu>
7) Re: Mellotrons
by cluesump@sirius.com (Charoenkwan Luesumphan)
8) Re: The guitarists thread, revisited
by Mauricio Martinez Villarreal <al769526@mail.mty.itesm.mx>
9) Moaning Women......
by Xanadu Records <rsch1@idt.net>
10) SF show
by Mike Stoner <mdstoner@pcocd2.intel.com>
11) Dallas Observer Awards
by cmustard@netdot.com (Mark Lampert)
12) Poop on a Stick
by K I L L M A R Y <caschulze@mindspring.com>
13) fastest guitarist
by Nathan Rood <nrood@utkux.utcc.utk.edu>
----------------------------------------------------------------------
Date: Wed, 29 Apr 1998 12:29:13 -0700
From: Eckie <eckie@imap1.asu.edu>
To: ytsejam@ax.com
Subject: You don't like the meatballs?
Message-ID: <35477F89.3B315CE8@imap1.asu.edu>
Christopher A Milne snarled, growled, and writhed in his cage:
> I don't know what you're talking about. I think Petrucci's feel seperates
> him from 90% of all the instrumental guitarists out there. And as for
> Satriani, i've been listening to instrumental guitar music for at least
> 10 years and he has been the one i've liked the least.
Oh yeah? I DISAGREE! >:) Satriani is THE guy who got me into guitar
rock (well, he was the first "the guy"). After hearing Summer Song, I
thought to myself, "How cool is that? He made his guitar sing! I WANNA
DO THAT!" Many moons later, I still try, but anyways...
Surfing with the Alien is just such a mind blowing trip to guitar land
(aka Planet Satch) it's hard to just sit back and say, "he's okay". And
as the years passed on and on and on, he sort of mellowed down a little,
leading up to the self titled album which I didn't care for...in fact, I
sold it so I could afford Crystal Planet. :) Anyways, this banter
really doesn't mean anything, you have your opinion, and I have mine.
> Vai's a hell of a player,
> but I never got into his solo albums much either. The coolest thing > Vai ever did was his solo from Crossroads.
Oy, you NEED to go and listen to Fire Garden, and I don't mean as
background music, but sit down and listen to it, the entire first half
of the CD is simply the essence of Vai...and the second half rules even
more when he starts singing on the tracks (see also: Little
Alligators). The first track is an awesome rocker, prepping the
listener for MORE MORE MORE! From that track on, it's all soul, funk,
metal....it's all Vai. :) Sure, his solo from Crossroads was pretty
cool, but it was a Paganini arpeggio he transcribed for the guitar. If
you don't have Passion and Warfare in your collection by now, shame on
you! I need not say more....
> And as far as Masters go...before
> people get to hung up on how great people like Vai and Satriani are don't
> forget there are people like DiMeola, Lucia, Remero, and countless
> classical players that could play circles around these guys.
Ouch. I'll give those guys credit, they're awesome guitarists, but if
you're going to say they "play circles around [Vai and Satch]" you'd
best try to look at the overall picture of the guitarist's approach to
music; Satch and Vai were more concerned with playing with as much soul
as possible, keeping the shred factor high, but tastefully reserved when
need be (okay, Vai's a bit of a wanker, but if I could do what he does,
so would I). They developed their own unique styles, a style that's
recognizable to the fans' ear that when they hear just a couple notes
from any given song, will be able to deduce who made that sound.
There are many a classical guitar player who could probably play
Paganini, Sor, or Bach much better than Satch or Vai, but S&V aren't
classical guitar players...THEY'RE ROCK GUITARISTS! :)
It's a little understandable for me to read somebody's opinion on how
they get more emotion out of listening to Satch than they do Petrucci,
but between these two, it's a matter of "what song are you talking
about?" The solos to TLF, LTE, Lie, and a bunch of other ones I can
refer you to in just about all of DT's albums are filled with emotion,
in a Petrucci-ized guitar voice.
Maybe it's just not as much of an impact when you have that damn drummer
going OFF in the background (we love ya Mike, keep up the great work!),
the intricate keyboards deuling and doubling the guitar, and that bad
ass bass player JM sharing parts, whereas Satch is more of a lead
player, creating pretty simple rythm figures (many times, just being a
bass and a drummer) to fly off of. They're different, but they both
rule my world.
> Now that i've stepped on everyone's toes...have a nice day. And it sounds
> like your a guitar player so if it isn't because of Petrucci, how did you
> end up a big enough dream theater fan to be on this list?
The drummer.
}:^)
~Eckie Again
------------------------------
Date: Wed, 29 Apr 1998 15:47:09 -0400 (EDT)
From: Phil Carter <satriani@negia.net>
To: Liquid Tension Ytse <ytsejam@ax.com>
Subject: Stick Stuff
Message-ID: <Pine.SOL.3.95.980429154244.16271B-100000@peach.negia.net>
Greetings ye 'jamanoids...
Matt remarked:
> The reason I was confused on the times (as in completely lost) is because
> my only other exposure to the Stick was Sean Malone's work in Cynic, and
> there he played up pretty high. With Derek's keyboards going full blast,
> there are many times where Igo, "is that it? No... is that?"
Not to mention the fact that a Stick, like a guitar, can have extremely
different tones due to finger pressure, muting, mic'ing, etc. Bob
Culbertson, for example, a superb Stick player, has a wonderfully rich
Stick tone which sounds like a whole chorus of acoustic guitars at once --
but it's just him and the stick. Try his site at
http://www.stickmusic.com/ for sound and video samples, or just pick up
one of his discs ("A Moment In Time" is pretty representative of his style
and sound).
Ta,
Phil
=======================================================================
Phil Carter -- satriani@negia.net (work), carter@negia.net (personal)
Senior Tech, NorthEast Georgia Internet Access, 546-5787
"Jesus saves....
...but Jagr picks up the rebound and SCORES!!!!!"
GO PITTSBURGH PENGUINS!!!
Currently playing: Conception -- "Parallel Minds"
------------------------------
Date: Wed, 29 Apr 1998 15:54:59 -0400 (EDT)
From: "David M. Campbell" <campbell@dickinson.edu>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Fastest Guitarist
Message-ID: <Pine.OSF.3.96.980429155241.20813A-100000@alpha.dickinson.edu>
Malsteem and Impelleteri are both very fast, but the fastest guy I ever
heard was a guy named Shawn Lane. He has a passage in one particular song
(can't remember the name) on his album "Powers of Ten" which truly has no
parallel. Unfortunately, this album is out of print.
Dave
------------------------------
Date: Wed, 29 Apr 1998 14:55:40 -0500 (CDT)
From: Jonathan Case <jcase@ROSSBY.METR.ou.edu>
To: ytsejam@ax.com
Subject: Continuing the "aging" thread for IAW and Awake.
Message-ID: <Pine.SUN.3.90.980429144412.13163A-100000@rossby>
I'd like to continue the aging song thread for both IAW and Awake, based
on my own opinions (naturally!)
IAW:
Pull Me Under:
initially: A-, now A-
Another Day:
initially: A-, now A
Take the Time:
initially: A+, now A+
Surrounded:
initially: A, now A+
Metroplis:
initially: B+, now A
Under a Glass Moon:
initially: B+, now A+
Wait for Sleep:
initially: A, now A+
Learning to Live:
initially: A, now A+
Awake
-----
6:00:
initially: A+, now A+
Caught in a Web:
initially: B, now A-
Innocence Faded:
initially: A-, now A
Erotomania:
initially: A+, now A+
Voices:
initially: B, now A-
The Silent Man:
initially: B, now A-
The Mirror:
initially: A-, now A
Lie:
initially: B-, now A-
LSoaD:
initially: B+, now: A
Scarred:
initially: A+, now A+
Space Dye Vest:
initially: D, now C+
Finally, ACoS:
initially: A+, now A
-Jon Case
jcase@rossby.ou.edu
P.S. --> I'm planning on being at the Fort Worth concert the 23rd. I'll
have prob. 4-5 others with me. The caravan of dreams is a pretty small
place, since I was there for the Fates concert in AUg. It concerns me if
they don't open up the place somewhat (I don't think they can though).
The stage was very small from what I remember. However the best thing
about this place is the AWESOME acoustics. I think Fates had the best
sound that I've heard in a concert when I saw them in Fort Worth.
------------------------------
Date: Wed, 29 Apr 1998 16:04:17 -0400
From: Brian Larkin <ambicwts@postoffice.ptd.net>
To: ytsejam@ax.com
Subject: Re: Rockin' Japan / Petrucci
Message-ID: <3.0.3.32.19980429160417.00a85d28@postoffice.ptd.net>
George Nowick wrote:
>Was wondering if anyone else picked up a CD in ye olde local music
>shoppe called "Dream Theater: Rockin' Japan".
Hey, now that's a coinkydink! I just picked up the same CD on Monday, as
well as the video recording of the same concert! I know the liner notes in
the CD have KevMo pictured in them, but I don't know why . . . This was the
Pay-Per-View special DT did in Japan on January 27, 1995. Sherinian was
touring w/the band, but I don't think he was an official member yet.
As far as quality, I only own one other live boot, so I can only say that I
can't complain.
James Thorpe quoted and then wrote:
>>>I don't really know what to think about John Petrucci... I mean, he's an
>>>inevidable asset for the band DT, and he sure as hell got the *speed*
>>>and the *perfection*... but has he got the *feeling*?
> Hell Yeah!! His note choice and precision is impeccable.
>He has alot of feeling! Listen to 'Kindred Spirits' and 'Freedom
>of Speech' on Liquid Tension Experiment. That has so much
>*feeling* it makes you want to weep.
Well, if yer gonna go there, why not mention the solo in "Another Day", the
whole LTE song "State of Grace", the post-"Whoa!" solo in "Learning to
Live", or the one in "Scarred"? The emotion that JP puts into his playing
was probably the first thing that attracted me to it, aside from the
technical prowess. You've *got* to hear it, man.
>>>me, but Petrucci's play doesn't have the *sparkle* or the *move* that
>>>JS and SV have. Oh, what an UNFAIR comparison, you think...
> For me, JP has taken Satriani's Style of Melodic play to another level.
>He utilizes melodic content (note choice) at the right spots. Satch is
>who got me into guitar so I will always admire him in a special way.
Uh, you want *sparkle* and *move*? Four words: "Under a Glass Moon". Or
"Scarred". Or "A Fortune in Lies". I could go on . . .
I don't really hear Satch in JP's playing. I will agree that both
guitarists have excellent senses of phrasing and note placement, but their
styles are way different.
Enough out of me anywayz,
Brian
+=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-+
| Brian Larkin - ambicwts@postoffice.ptd.net |
| "Withdrawn and introverted, infectiously |
| perverted / Being laughed at and confused |
| keeps us pleasantly amused enough to stay" |
| - John Petrucci |
+=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-=~=-+
------------------------------
Date: Wed, 29 Apr 1998 16:10:11 -0400 (EDT)
From: "David M. Campbell" <campbell@dickinson.edu>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Guitarists
Message-ID: <Pine.OSF.3.96.980429155606.20813B-100000@alpha.dickinson.edu>
Just me two cents on Petrucci, Vai and Satriani:
I agree with the guy who thinks that Petrucci's playing separates him from
a lot of guitarists out there. Petrucci has chops, style and rhythm; and
even better, uniqueness. In saying this, I can take nothing away from
Satriani or Vai. Satch is truly one of the great modern day masters of
rock guitar. He is as fast and technical as anyone out there, and has
more style and melody than almost anyone else. Many people think his
music is just simple melodies. But can you argue with the catchiness of
these melodies? This is truly a talent where he has no equal. As for
Vai, there is simply no one who can do the things this man can do with a
guitar. He can be slow and blusely, or fierce and bizzaire. He also has
more creativity with the guitar as an instrument than anyone I have ever
heard.
Dave
------------------------------
Date: Wed, 29 Apr 1998 13:26:17 -0800
From: cluesump@sirius.com (Charoenkwan Luesumphan)
To: ytsejam@ax.com
Subject: Re: Mellotrons
Message-ID: <v01540b00b16d459e1d20@[205.134.245.43]>
"Alex O'Connell" <auocon@maila.wm.edu> wrote:
>what the hell is a mellotron?
>(I know it's an instrument, shut up...)
Beneath of its 35 keys is a 6' long, 3/8" wide strip of magnetic tape. When
you play a key, a rotating spindle inside the Mellotron catches the front
end of the appropriate tape, pulling it over its dedicated playback head
for up to approximately eight seconds before coming to the tape's end.
Bradley's spring-based system quicky pulls it back in preparation for the
next note.
During the eight seconds, you would hear one of the sweetest flutes, string
sections, or boys' choirs that you might - in those pre-sampling days -
have imagined. Tnstead of bland electronic representations, the Mellotron
played analog recordings of acoustic instruments.
What did it sound like? Listen to the Beatles' "Strawberry Fields Forever"
- the Mellotron first hit single. Paul McCartney played the flute
introduction and the brasssounds at the end. John Paul Jones played
Mellotron strings in Led Zeppelin's "The Rain Song" on Houses of the Holy.
Long-term fans of the Moody Blues, King Crimson, and Yes know exactly what
the Mellotron sounded like.
In addition, there were other sonic possibilities at your fingertips with
the Mellotron, soundsl ike bras, tenor sax, and Hammond organ. If you've
got a working Mellotron roday, you have access to marimba, glockenspiel,
and timpani rool tapes. Or maybe you would prefer canned laughter, cuckoo
clocks, frogs and toads, ship hooters, or a thunder storm. Such sonic
demonstrations are familiar today. Tn essence, the Mellotron was an analog
sample-playback keyboard.
(This info is taken from Mellotron - "Pillar of a Musical Genre" by Mark Vail.)
Robert Fripp of King Crimson has 5 Mellotrons (Mark II, Model 400 and
others) including the hard to find model.
The most popular Mellotron is the Model 400.
I hope this can answer your question. If you want more details I can send
you the copy of the Mellotron info I have. And if you want to listen to
some good example of Mellotron sounds (it's a trademark sound of prog music
in the 70's)...
Most of King Crimson albums in the 70's
Moody Blues - Night in White Satin
Anekdoten - Vemod
Anglagard - Epilog/Hybris
Patrick Moraz (ex-Yes keyboardist) - solo albums in the 70's
etc....
This is long enough.
Regards,
AE
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"Prog Maniac" homepage: http://www.sirius.com/~cluesump
------------------------------
Date: Wed, 29 Apr 1998 15:23:03 -0500 (CDT)
From: Mauricio Martinez Villarreal <al769526@mail.mty.itesm.mx>
To: ytsejam@ax.com
Subject: Re: The guitarists thread, revisited
Message-ID: <Pine.A32.3.91.980429152210.28106G-100000@academ07.mty.itesm.mx>
somebody stop this before this thread gets off again!!!:)
Mauricio
On Wed, 29 Apr 1998, Alan Estrada Adler wrote:
>
> > > I have no doubt in YM being the *fastest* guitarist on Earth,
> >
> > Two words: Joe Stump.
> > Two more words: Chris Impelliteri.
> > And the final two words: MICHAEL.ANGELO.
>
> you forgot 2 final words: Paul Gilbert
>
------------------------------
Date: Wed, 29 Apr 1998 16:36:52 -0700
From: Xanadu Records <rsch1@idt.net>
To: ytsejam@ax.com
Subject: Moaning Women......
Message-ID: <3547B994.3C5F@idt.net>
Maybe I'm too late to add my 2 cents, but for what it's worth....
Rod Stewart - Tonite's the Night
A FANTASTIC moan in FRENCH no less!! Plus a little extra talking!
Very tasteful....
-- John DiBella President/Xanadu Records http://idt.net/~rsch1/index.html** Love is an act of blood and I'm bleeding A pool in the shape of a heart Beauty projection in the reflection always the worst when it starts **
Dream Theater
* I find it VERY difficult to worship a man who was killed by a toilet bowl... *
John DiBella referring to Elvis in a conversation with his mom regarding whos generation of Rock Stars was more worthy of praise
------------------------------
Date: Wed, 29 Apr 1998 13:36:07 -0700 (PDT) From: Mike Stoner <mdstoner@pcocd2.intel.com> To: Multiple recipients of list <ytsejam@ax.com> Subject: SF show Message-ID: <Pine.A32.3.96.980429132428.45299A-100000@frc999>
This may have gotten batted around before, but has anyone ordered tickets over the phone directly from the Maritime Hall?
I did this yesterday and they left me a message later that said I'd have to wait until 8pm the night of the show to pick up my tickets from Will Call. That sucks!! Does that mean that when doors open (at 8) I'll have to go the WC window while most everyone else rushes the stage? I don't want to find this out after I've waited in line for two hours...
Also, anyone else from Sacto going to this show??
Mike
------------------------------
Date: Wed, 29 Apr 1998 15:33:55 -0500 From: cmustard@netdot.com (Mark Lampert) To: "Ytsejam" <ytsejam@ax.com> Subject: Dallas Observer Awards Message-ID: <01bd73ae$2187e5e0$642227d1@cmustard.vonl.com>
Ahoy,
This just in from Michael Harris, guitar shred master:
>By the way, if you know anyone in Dallas that would want to, tell them to >vote for the Dallas Music awards - it's quick and easy online and they'll >automatically be registered to win a 1998 Jeep Wrangler! The deadline is >Saturday though! >The main objective is to keep the alternafuck bands off the ballot next yr., >but if they can vote for THE MICHAEL HARRIS PROJECT in any or several >categories, they will forever be on my list of COOL PEOPLE!!! >Thanx!!! www.dallasobserver.com/musicawards >-MFH-
· • Colonel Mustard • ·
------------------------------
Date: Wed, 29 Apr 1998 16:50:21 -0400 (EDT) From: K I L L M A R Y <caschulze@mindspring.com> To: ytsejam@ax.com Subject: Poop on a Stick Message-ID: <199804292050.QAA15310@camel8.mindspring.com>
Hey, for you guys having questions about the Stick in New Millenium and Take Away My Pain...
John Myung's approach to the Stick is NOT the same as Sean Malone's in Cynic (or any of his other stuff). Sean uses the stick as a solo instrument as well as a rhythmic instrument. The type of stick he uses has two outputs: the "bass part" (I think that's how he calls it, which goes through one rig (his regular bass rig), and the "melodic part" which is what he uses the stick to play leads. This one goes through stuff like a distortion pedal and an Eventide Harmonizer (which he bought from me, hehehe). There's a web page somewhere that explains Sean's rig.
John Myung, on the other hand, has a different approach. He only uses the stick to come up with bass parts. I read on Bass Player that he chose to stay within a specific range because with guitar and keyboards there was no need for him to go up higher in range and clog up their space. So he decided that his role with the stick would be only rhythmic. Therefore, don't try to listen to stuff like Sean Malone does in DT songs because it's not there.
I hope I didn't bring more confusion than what existed previously :-)
Christian. ____ ____ ____ /\ /\ /\/\ /\ / / /\/ /\/ /\\ /\ /__/ / / \/ \__/ / / /___/ /___/ \\/ \____ /\ \ / / / \/ / / / / /\ \ // \ / / \ / / / / / / / / \___\// / / / / / /__ /__ / / / / / /\ / / / \ \ \ \ \\ \ \ \ \ \ \ \ \ \ / / \___\_\_\__\\__\__\___\_\___\_\___\_\__\__/ / \_________________________________________/ None of us is as strong as all of us.
------------------------------
Date: Wed, 29 Apr 1998 17:01:25 -0400 From: Nathan Rood <nrood@utkux.utcc.utk.edu> To: ytsejam@ax.com Subject: fastest guitarist Message-ID: <35479525.F09CB702@utkux.utcc.utk.edu>
ytsejam@ax.com wrote:
> > > I have no doubt in YM being the *fastest* guitarist on Earth, > > > > Two words: Joe Stump. > > Two more words: Chris Impelliteri. > > And the final two words: MICHAEL.ANGELO. > > you forgot 2 final words: Paul Gilbert
I still don't understand why Nuno is not usually ranked up there with these guys. This is spoken with special regards to the intro solo to 'He-man Woman Hater'. Now I know that he's hammering on/pulling off most of the solo and not picking that fast, as well as the EQ being pushed all the way toward treble to get that fingers-scratching-the-chalkboard sound and all, but good lord, he flies through that solo faster than Yngwie goes through a doughnut box. yuck, yuck. And about JP's covering the emotionative playing department, what about Jim Matheos? While not fastest shred guitar, he can handle technical playing with ease (read: 'At Fates Hands') while penning some of the most incredible lyrics that in a different context could be compared to the prose of great classic literature. You can just hear the emotions running through his fingers when he plays. Besides, all of the guitarists mentioned above wouldn't have much of a clue how to fit their exotic scales into the context of a rock song if Steve Morse and Frank Zappa hadn't of done it first. :-) A final word, if there's a slim chance that anyone on this list is going to see Waryne Hayes' Gov't Mule here in Knoxville this coming Monday, email me privately please.
-Nate -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nathan Rood / IRC and VP chat room alias: Horizen mailto:nrood@utk.edu \ Excite Message Board alias: Quietus or try:nrood@utkux.utcc.utk.edu / ICQ: 6170743 ===================================================================== "There are two ways to get through life easily; to believe everything, or to believe nothing. Both release the mind from thinking." Earl Hindman ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
------------------------------
End of YTSEJAM Digest 3815 **************************
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