YTSEJAM Digest 4144
Today's Topics:
1) Re: YTSEJAM digest 4142
by Paul Weiss <paulw@bass.org>
2) Supertramp..
by "Lauzon, Gary: IHAB" <Lauzon.Gary@ic.gc.ca>
3) Tesla
by "Nafe, Tim" <tnafe@BestBuy.com>
4) Carvin LB75
by TEDESCO MATTHEW A <Matthew.Tedesco@Colorado.EDU>
5) Re: Neil Peart
by Matt Johnston <matt2518@gladstone.uoregon.edu>
6) Do you pray with those lips?
by Christopher Ptacek <someone@enteract.com>
7) DS vs. KM
by "Giannotti, Nick" <GiannottiN@hanscom.af.mil>
8) The #ytsejam drinking game?
by Matt Johnston <matt2518@gladstone.uoregon.edu>
9) JPC, MWC [attn. guitarists]
by Nathan Rood <horizen@bellatlantic.net>
10) attn Phish fans [NDTC]
by Nathan Rood <horizen@bellatlantic.net>
11) Re: Shocked
by "Bryan Keyser" <kez@spectrum-internet.com>
12) Absolutely no DTC... some Prog Content... some anime content...
by Matt Johnston <matt2518@gladstone.uoregon.edu>
13) Strong PROGress on NOW!!!
by WSUM Live <wsumlive@macc.wisc.edu>
14) Derek/Hampton Beach show
by "Vince French" <vfrench@hotmail.com>
15) Why The World Will End When/If James Writes Metropolis Part II (fwd)
by Keith Aspinall <big.smooth@asu.edu>
----------------------------------------------------------------------
Date: Thu, 6 Aug 1998 10:27:36 -0400 (EDT)
From: Paul Weiss <paulw@bass.org>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Re: YTSEJAM digest 4142
Message-ID: <Pine.BSI.3.95.980806101743.20385C-100000@gs.bass.org>
On a previous installment of "The Ytsejam and the Restless":
>
>
> music workI am trying to gather information about what it would take
> to get into session playing. If anybody knows what to do, please let ,
> , me know. I know this is crossposted, and I appologize, but these ,
> are , the two mailing lists I am on that deal with music. , I am ,
> looking to get into music recording and production, and also ,
> session playing. I , like to write music, some progressive, some ,
> not, and as a keyboard , player, I am just trying to think of some ,
> ideas that would make me , some money. If anybody has some ,
> thoughts, email me privately at , damon@monmouth.com. I kind of am ,
> trying to get advice from one Mike portnoy as well, so Mike, if you ,
> , are reading this, help me!!!
Help! Make it stop!!
But seriously, how does anyone get into the music business?? It's not what
you know, it's who you know. Make contacts. Play with other session cats.
If they like what they hear they may mention your name to contractors.
Play one of those cruise line gigs, you can meet some cool people who may
be able to give you a helping hand. I would kill to be able to get off my
ass and actually play somewheres professionally. I play with this and that
group and I just hope I'll find a permanent gig someday. <sigh>.
Word up. Good luck.
CP: Diana Krall--All for You
------------------------------------------------------------------------
Paul's thought for the Month:
Hey Hey, My My, Rock-n-roll will never Die!
------------------------------
Date: Thu, 6 Aug 1998 10:41:00 -0400
From: "Lauzon, Gary: IHAB" <Lauzon.Gary@ic.gc.ca>
To: "'DT'" <ytsejam@ax.com>
Subject: Supertramp..
Message-ID: <199808061442.HAA15154@odin.ax.com>
Babs wrote..
>Hello everyone, it's BABS. After posting the other day from my long
absence from the 'jam I got itching for more. This may have been
previously discussed a long time ago, but here goes. I was listening to
a
classic station the other day and they were playing some Supertramp - I
think it was called "Coming Along or School", I really have no idea if
that's the title or not? It's the tune that starts off with "I can see
you
in the morning when you go to school..."<
the name of the song is School.. from their debut album.. Crime of the
Century.. that song is their best IMHO
> Anyways, while listening to it I
was reminded of Marillion - the early days with Fish. So I was
wondering
if there was ever any relation between the bands. Like either
Supertramp
being influenced by Marillion or vice versa. I'm not good with the
history
- seems to me that Supertramp was around long before Marillion. Does
anybody out there have any feedback to give - or is it just a fluke?<
Umm well I don't believe so.. I know Supertramp released like i said up
there ^^^ their 1st album in '74.. and i think they were out before
maybe.. and Marilliion.. released their 1st album in the early 80s i
believe... so i think it was just a fluke.. =)
hope this sorta helps..!
Gary (DT in 12 days!!!!)
------------------------------
Date: Thu, 6 Aug 1998 10:04:42 -0500
From: "Nafe, Tim" <tnafe@BestBuy.com>
To: "'ytsejam@ax.com'" <ytsejam@ax.com>
Subject: Tesla
Message-ID: <3CBB14EE9DB4D111B21100805FA71952D56DAA@cs01_exchange>
Are there any Tesla fans out there? I was just wondering if
anyone
knew if any members have surfaced in any new bands. Since the
break
up I have lost track of what they are doing.
Thanks,
Tim
NP - Tesla "Lodi" from Five Man Acoustical Jam
------------------------------
Date: Thu, 6 Aug 1998 09:02:22 -0600 (MDT)
From: TEDESCO MATTHEW A <Matthew.Tedesco@Colorado.EDU>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Carvin LB75
Message-ID: <Pine.GSO.3.96.980806085248.17211D-100000@ucsub.Colorado.EDU>
Hi all,
I would've sent this privately, but someone (Pogo? I forget...) posted,
steering bassists away from Carvin.
I bought my LB75 about five years ago, and I couldn't be happier.
Contrary to Mr. Pogo's opinions, the neck-through-body construction does
support the B adequately. The reason the price is so low is not due to
any skimping on construction, but rather that they sell factory-direct
only, cutting out the rather large mark-up usual to the sales process
through music stores. The tone is incredibly warm and full, definitely
equal to basses priced well over $1,000.
Oh, and though the price is listed as around $700, Rob is right to plan
for more... the $700 is the base price, but added features (locking
tuners, picking a color that floats your boat, etc.) all add up. Not to
$1,000, but you will certainly end up spending a nominal fee above the
base price.
For further (and much more detailed) reviews, check out the product
reviews that Bass Player magazine puts out each year. The Carvin LB75
frequestly ranks as one of the finest 5-strings they test, and always
ranks as te best value for a bass with top-notch sound.
I don't work for Carvin or anything... just thought the bassists out there
would appreciate!
--MATt
------------------------------
Date: Thu, 6 Aug 1998 08:12:33 -0700 (PDT)
From: Matt Johnston <matt2518@gladstone.uoregon.edu>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Re: Neil Peart
Message-ID: <Pine.GSO.3.96.980806081152.4486A-100000@gladstone.uoregon.edu>
On Thu, 6 Aug 1998, Pat Daugherty wrote:
>How does anyone know how he is feeling? Everyone handles bad events
>in their lives differently. No one can even come close to knowing
>how he really feels.
"Now, what he's going to have to do is get some help here. I mean, no on
can say they know how he feels..."
--Matt
---------------------------------------------------------------------
"..." --James LaBrie, "Hell's Kitchen"
---------------------------------------------------------------------
------------------------------
Date: Thu, 6 Aug 1998 10:35:03 -0500 (CDT)
From: Christopher Ptacek <someone@enteract.com>
To: ytsejam@ax.com
Subject: Do you pray with those lips?
Message-ID: <199808061535.KAA09345@enteract.com>
> From: Deedlit <ebonomi@scott.skidmore.edu>
> Subject: You mean shredded cheese!?
Uh oh...
Vince:
> > Hmm....well there's SYMPHONY X, Stratovarius, SYMPHONY X, Angra, SYMPHONY
> >X, Helloween, SYMPHONY X, Cacaphony.....oh yeah, did I mention Symphony X?
> > Peace and love, and good happiness stuff, ~Vince
Deed:
> Ahhh, only if you want ultra 80's cheese and neoclassical cheese.
/me actually considers bringing out the blow torch
What the fuck? I mean that sincerely. What the fuck? Helloween:
The shreddier stuff they did WAS in the 80's. Yeah, you know what? It
DOES sound like the 80's. Stratovarius is typical power European power
metal. You don't like that? Fin. But Angra? You're gonna call that
80's cheese? Holy Land is more like I&W than anything DT has done since
I&W... we can go into comparisons if you care, but I suspect you do not.
You have not LISTENED to Holy Land, if you have heard it at all. I don't
want you to like it. I don't want you to change your opinions. I would
like to know how you can like DT and not Holy Land. That I don't get.
Cacophony? It was done in the 80's as well. 87 and 88. But you
seem to miss an important point, Erica. The original questioner asked
about the more self indulgent shred stuff available. The list he named
hails from the 80's greatly, and the 80's were certainly more shred heavy
times. Why is it so odd to you that 80's bands would be named in answer
to his questions?
> If you
> mean the shreddier side as in their heaviest stuff, i.e. the Awake era,
> then you would have to be listening to totally different music, like
> *etallica and Megadeth.
He defined his term clearly as the more note-y complex technical
stuff. What Vince responded with would be paradigm examples of that.
> ambience, try Ocean Machine! And early Solitude Aeturnus is quite
> progressive, while doomy, if you can find one of their first 2 CD's (out of
> print).
Solitude Aeturnus rules utterly, but it's actually not out of
print. Perez and Remirez own the rights to the albums, and sell them on
their own small label. If anyone needs ordering info, please drop me a
note.
> Now I'm not saying that you can't like S-X and all those bands,
Clearly not.
> but to me
> they a) all sound the same (neoclassical wankery) with even SINGERS who
> sound the same (everyone really likes to imitate Geddy Lee, huh),
None of the singers from the above bands sound like Geddy Lee at
all. Stratovarius and Helloween both sound (well Helloween used to) like
they have Kiske singing for em (and of course, he DID sing for Helloween,
but he's one of the vocalists people are compared to often). SX sounds
like older Dio. Cacophony's vocals just sound like open ass, but no one
bought those records for the vocals.
> and b)
> don't necessarily shred, but just play fast riffs (tho Angra's guitarist is
> pretty good).
This here is probably why I responded. This is just a ridiculous
contention. Cacophony is the DEFINITION on shred. That's why so many
people hate them. It's just self indulgent shred to a sick extreme (and I
think it's beautiful). Symphony X employs more shred than almost any band
in the genre. Michael Romeo is a technical master and is well on his way
to being a compositional master as well. There is no denying that Romeo
shreds. Fast riffs? Yeah... all those bands have riffs. So does DT. So
does Solitude Aeturnus. So does Lemur Voice. Unclog your ears and go
back and listen. If you don't like what you hear, cool. Clearly, though,
you didn't HEAR the recordings you're commenting ong.
> I think it's because I play a classical instrument (oboe) but playing
> classical music on electric instruments makes me want to burn things...it
> totally irks me. Am I the only person who feels like this??!
Not necessarily. But many people do like this stuff, and clearly
the person who originally asked the question does (citing Moore,
MacAlpine, Malmsteen et al as favorites). How do you handle the neo
classicisms in Petrucci's playing? Or in the solos from the guys in
Solitude Aeturnus?
- Chris
------------------------------
Date: Thu, 6 Aug 1998 12:03:44 -0400
From: "Giannotti, Nick" <GiannottiN@hanscom.af.mil>
To: "'ytsejam@ax.com'" <ytsejam@ax.com>
Subject: DS vs. KM
Message-ID: <36E02D8151FFD1118C1C00600808ACE534EFAE@HAMSXHA2>
Syrinx wrote,
> i'm saying that Derek is a rock keyboardist trying to be in a prog
band.
Actually, Derek is a keyboardist who *is* in a prog band (and doing a hell
of a job, IMO).
And isn't this whole 'Kevin vs. Derek' argument moot? Why banter about what
might have been when you can appreciate what you now have?
Nicholas Giannotti
Joint STARS Contracting
giannottin@hanscom.af.mil
"A day without sunshine is like....night."
------------------------------
Date: Thu, 6 Aug 1998 09:38:33 -0700 (PDT)
From: Matt Johnston <matt2518@gladstone.uoregon.edu>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: The #ytsejam drinking game?
Message-ID: <Pine.GSO.3.96.980806093759.930B-100000@gladstone.uoregon.edu>
I remember a while back seeing this little gem on the web. If anybody has
it, could you e-mail it to me please? Thanks.
--Matt
---------------------------------------------------------------------
"..." --James LaBrie, "Hell's Kitchen"
---------------------------------------------------------------------
------------------------------
Date: Thu, 06 Aug 1998 12:39:02 -0400
From: Nathan Rood <horizen@bellatlantic.net>
To: Screaming in Ytse <ytsejam@ax.com>
Subject: JPC, MWC [attn. guitarists]
Message-ID: <35C9DC25.FB6A7B69@bellatlantic.net>
Hey all,
Going out on a limb here, but does anyone know where I can find the
John Petrucci Rock Discipline video (or whatever the hell it was
called). And yes I know, already checked the local music store, no go.
Also, has anyone bought the Michael Wilton 'Power Tools for Guitar'
instruction book? If so, could a review be either posted or emailed
privately to me? The only review I've read is the stroke job on his
official website, and no offence to anyone but you haveta figure that
any review released 'officially' has got to be some sort of stroke job.
-Nate
-- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nathan Rood / handle: Horizen new! email address: \ ICQ: 6170743 mailto:horizen@bellatlantic.net / ===================================================================== "There are two ways to get through life easily; to believe everything, or to believe nothing. Both release the mind from thinking." Earl Hindman ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~------------------------------
Date: Thu, 06 Aug 1998 12:47:40 -0400 From: Nathan Rood <horizen@bellatlantic.net> To: Screaming in Ytse <ytsejam@ax.com> Subject: attn Phish fans [NDTC] Message-ID: <35C9DE2B.6332B6F5@bellatlantic.net>
Hey,
Sorry for the waste of ytse bandwidth, I realize the ytsejam is not the classified ads. I have 2 tickets to the Phish concert in Virginia Beach this Sunday the 9th that I must get rid of. These are bona-fide tickets-by-mail seats (I think they're front section seats, not sure off-hand), nothing counterfit. I will sell them for face value, as I'm not looking to make a profit......just cover my loses. I will be at the Columbia, MD show on Saturday the 8th, so either email me privately or look around for me at the show if interested (will probably be sporting my beat-up Awake shirt). Ahh, email me privately anyway, I'd love to meet up with some jammers at the show.
-Nate -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nathan Rood / handle: Horizen new! email address: \ ICQ: 6170743 mailto:horizen@bellatlantic.net / ===================================================================== "There are two ways to get through life easily; to believe everything, or to believe nothing. Both release the mind from thinking." Earl Hindman ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
------------------------------
Date: Thu, 6 Aug 1998 12:48:08 -0400 From: "Bryan Keyser" <kez@spectrum-internet.com> To: <ytsejam@ax.com> Subject: Re: Shocked Message-ID: <00cb01bdc159$fddfe1c0$2519efce@KezWork>
> I didn't have a clue who I was listening to and I simply couldn't work it out >- it was one of the least inspiring and dull albums I'd heard for a long >time. When he gave me the case (after about 15 minutes) you could >have knocked me down with a feather - Chroma Key. To call this >album disappointing would be flattering, so be warned if you are >thinking of buying this. This is one to buy if you simply must have >everything that is connected with Dream Theater and Fates Warning >in your collection, otherwise go spend your hard-earned cash (or >whatever the student equivalent may be) on something else. > >stay safe and happy listening >Neil Gallop (nga@software-ag.de)
This is exactly how I felt after downloading and listening to each of the clips that were available, though I know that full judgement cannot be made based on clips. But, it's not likely that I WILL here the whole songs, 'cause I ain't buying them, based on the clips, and comments read here. I'm pretty sure it would not appeal to me. If I want mood music, I'll put on Metropolis or LiTS. That's all the mood I need. :)
My belated $0.02. Kez
------------------------------
Date: Thu, 6 Aug 1998 09:56:16 -0700 (PDT) From: Matt Johnston <matt2518@gladstone.uoregon.edu> To: Multiple recipients of list <ytsejam@ax.com> Subject: Absolutely no DTC... some Prog Content... some anime content... Message-ID: <Pine.GSO.3.96.980806094908.5387A-100000@gladstone.uoregon.edu>
Something weird happened to me last Saturday night...
I was bored, and watching my fav anime laserdiscs ("Oh My Goddess"), and I decided that it would be cool to do a music video for "The Revealing Science of God" using Oh My Goddess as the show. The titles had a nice ring together.
Instead of trying to time out RSoG first, I just decided to start the song and anime at the same time, to see if anything matched up. Things matched up. Too well, in fact.
Now, I'm not a big conspiracy theorist (I was skeptical about the whole Dark Side of Oz thing until I saw it), but this thing works. If you can find the LDs of Oh My Goddess, and have Tales From Topographic Oceans, you'll find that not only does RSoG fit with Episode 1, but the whole album fits with the first 4 episodes of the series (there are 5 eps -- I'm still waiting on ep. 5, which is 40 minutes long, and, I believe is timed to Relayer).
If anybody wants detailed directions, e-mail me privately, and I given 'em to ya.
--Matt ("Red rover red rover, Bob Lazar's coming over, so honey clear the airstrip and light up that stove")
--------------------------------------------------------------------- "..." --James LaBrie, "Hell's Kitchen" ---------------------------------------------------------------------
------------------------------
Date: Thu, 06 Aug 1998 11:57:48 -0500 From: WSUM Live <wsumlive@macc.wisc.edu> To: (Nuclear Blast) <radio@nuclearblast-usa.com>, Subject: Strong PROGress on NOW!!! Message-ID: <28080611580926@vms2.macc.wisc.edu>
Howdy all!!
It's time for your weekly dosage of Strong PROGress.
Tune in to http://msr.wisc.edu
------------------------------
Date: Thu, 06 Aug 1998 10:10:40 PDT From: "Vince French" <vfrench@hotmail.com> To: ytsejam@ax.com Subject: Derek/Hampton Beach show Message-ID: <19980806171041.20770.qmail@hotmail.com>
Hey jammers,
The Hampton Beach show rocked!!!!!! It was my first time seeing them (since they never really seem to tour extensively in Canada), and I was not disappointed!!! However, the only thing I had wished they'd played was the middle part of Metropolis...they played half of it, but not where it gets really chaotic, and then branches in to the final verse. Instead, they branched into Learning To Live, then ACoS the last two parts. But it was still amazing!!!!!
I was lucky enough to meet the whole band and get a picture with each member individually, which was really cool.
Now, what I'm about to say is based on my personal experience, so please don't flame me. I really was not impressed with Derek. Fine, he played keyboards and seemed to be playing great. But it was the conersations with him before the show that led me to believe he was just a cheesehead/poser guy. He may have the skills, but it doesn't matter. Here's an excerpt of the conversation:
Someone: So how do you like playing with DT Derek?
Derek: Well, it's good music, but there's like no chicks man, you know? (not with a smile or anything, but very serious)
Me: Saw you played on the Age Of Impact CD.
Derek: Yeah, just a shitty solo. Actually, haven't even heard the CD...any good?
Me: Yeah, pretty impressive.
Derek: Well, I hate that kind of music anyway, you know, it's not chick music. (again not looking like he's kidding, or semi-joking)
Someone: Who were you playing with before?
Derek: Alice Cooper...lots of chicks man!!
Someone: Nice tour bus!
Derek: It's a piece of shit man. (not laughing)
And all night on stage, he looked like he was thinking of which chick he was going to bang that night, or if he were actually in the middle of it at that moment. He really came across to me as an 80s poser who hasn't grown out of that ridiculous mentality that musicians get chicks every night, and that's what they live for. Fine, if you love women, that's one thing, but to constantly talk about the lack thereof because you're in DT, or to act like you were God's gift to women on stage, man, GET OVER IT! The 80s are gone and they're never coming back. I really was not impressed with Derek. Sure, he can play keyboard, but he's expendable. Replace him man. Get Jordan Rudess....he rocks. I was just really disappointed because none of the other guys were like that...they all seemed very in focus, and even if they did think like that, there's no reason to constantly mention it....unless you thought it was cool. Two thumbs down for Derek.
Any thoughts? Please don't flame me....I just didn't find him very nice on a personal level....it has nothing to do with his musical abilities, although I do think DT can find someone just as good, or better, and with a better personality.
Vince
______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com
------------------------------
Date: Thu, 06 Aug 1998 10:22:12 -0700 (MST) From: Keith Aspinall <big.smooth@asu.edu> To: ytsejam@ax.com Subject: Why The World Will End When/If James Writes Metropolis Part II (fwd) Message-ID: <Pine.GSO.3.96.980806102002.11856A-100000@general3.asu.edu>
Sorry for the long ass post, but I forwarded Mike's message about the Kevin/Derek debate to the recently jam-departed Mad dog. This is what he came up with. You'll have to trust me on this one, it is VERY worth it. and because of size, it will be posted in two parts.
keith
---------- Forwarded message ---------- Date: Thu, 06 Aug 1998 02:57:38 -0700 (MST) ]From: Mad dog <jhaveman@u.arizona.edu> Subject: Why The World Will End When/If James Writes Metropolis Part II
Keith, if you are able to, please forward this to the 'jam. I would, but by doing so, I would jeopardize my own life, which would hurt the movement, while you, you are expendable.
> ---------- Forwarded message ---------- > <<<OK, with all of this talk about Derek vs. Kevin and LitS vs PMU, I > thought I'd throw in a different twist on this. > > Now that the Chroma Key disc has been released, I have been comparing > it to FII. My conclusion: The "Baby" that was Dream Theater (I&W, > Awake) has been split right down the middle.
As was prophesized in "Metropolis Part 1 'The Miracle And The Sleeper'"
[Stunning analysis snipped. It does however deserve an Honorable Mention for the seperation of "Dream" (aka The Sleeper) from "Theater" (aka The Miracle.) And I'm serious here.]
> This may describe some of the different opinions out there about Derek > vs Kevin, and FII vs earlier DT. Fans who loved DT because of the > chops will like the addition of Derek. He's a chops/jam kinda player. > > Those that were drawn to DT by "mood" songs like WFS, Space-Dye Vest, > LSoaD, LTL, and Surrounded may miss Kevin.
Interesting analysis, but you missed the point.
Ok. Since ususally the whole band does the music, I'm going to attribute the sound/feel of any particular song to the lyricist. And using this, I hate to break it to you, but Myung wrote LSoaD and LtL.
Myung's other solo lyric credit comes from "Trail of Tears," after Kev left. ToT as song probably comes from Theater (Miracle), but is not very far removed from the other half. LtL, I'd place as a Sleeper song, but once again, not too far removed. LSoaD I'd call clear cut Sleeper. This means that Myung's lyric credits place him alongside Kevin Moore as part of the Sleeper child, the Dream half of DT.
Portnoy? I don't think there's any doubt on this one. Chalk one up for The Miracle.
Petrucci? His credits include "The Killing Hand," "Metropolis Pt 1," "Under A Glass Moon," "Voices" and "Lines In The Sand." At first glance, it sounds like more of a landslide that with Portnoy, but then we remember that he also wrote "Another Day," "Innocence Faded" "Hollow Years." And he's a guitarist. Miracle/Theater. [Though, as a side note, it seems that his work is either psycho-prog or mellow-pop. Or, in the case of "Peruvian Skies," both.]
Derek has yet to write any songs, so we must tread lightly. His use of the keys, however, seems to place him firmly in the Miracle/Theater camp. Accepting this, this makes the total so far 3-1 for current members, and 3-2 including alum.
And when we're talking about alum, how could we forget our chum, Chuck D. Unfortunately for our analysis, Mr. Dominici left after only one album, penning only one and a half songs. "Afterlife" solo, and "Status Seeker" with Petrucci. From my vantage point, he goes in the Theater/Miracle bin, but not that solidly. It almost seems as if we need a seperate bin for his work. Hmm...
Anyway, this leaves the final tallys at Miracle - 3 (4 including alum), Sleeper - 1 (2 including alum.) James? James doesn't count.
Allow me to explain. James has only one solo credit, "Anna Lee," which has Sleeper written all over it. However, he also wrote "Caught In A Web" with Petrucci, which has Miracle stamped clearly on the forehead. These, unlike all previous cases, cancel each other out, making James both twins. He is The Miracle _and_ The Sleeper. He is Dream and Theater, in one.
Thus he is the logical choice to write Metropolis Part II - Armageddon.
Yes, Armageddon. There are two reasons for this. Firstly, "Metropolis Part II - Electric Boogaloo" doesn't sound quite right. And, secondly, this song will mark the end of the world as we know it.
When DT first formed, they were out of balance, with the Miracle/Theater twin having a slight edge, due to Dominici's influence. But, after that first album, he left the band. Before doing so, he spoke of the one that was to come.
"I touched with one/ who made me run" - Afterlife
He spoke of James LaBrie, who apparently appeared to Charlie well before Charlie chose to run. The title of the song also serves as an important clue.
"You're running in circles/ And I'm turning away You refused to believe/ Now I'm turning away" - Status Seeker
The word 'circles' is a reference to how James will complete the cycle of the Dream Theater, sparking Armageddon.
Charlie also prophesized about James by being a 'type' of James, in other words, his life paralleled James's own. Dominici wrote one and a half songs, "AfterLife" Alone, and "Status Seeker," the second song on the album, with Petrucci. James, so far, has written "Anna Lee" Alone, and "Caught In A Web," the second song on his second album, with Petrucci.
James stabalized the band's Dream/Theater or Miracle/Sleeper balance, allowing for an unprecedented reign of glory, hence _Images and Words_ and _Awake_.
Even before James wrote his collaboration with Petrucci, John was smart enough to see what was going to happen. This is why he penned "Metropolis Part I - 'The Miracle and The Sleeper'" about this very subject.
Let us search the text.
In the first verse, he speaks of Charlie and WDADU, "The smile of dawn..." - the beginning of the band; "She carried a gift from her home..." - 'She' is Dream Theater, the Mother, and Her gift is the twins, Miracle and Sleeper, Theater and Dream, i.e., once again, the band. They first chose the name 'Majesty' as a more oblique reference to Her, but since that was taken, they had to settle for using Her actual name, Dream Theater.
"...And of sorrow and pain/ She'll never outgrow" - Could this be refering to anything other than WDADU? [Sorry.]
"Death is the first dance eternal" - this 'death' is actually Charlie leaving the band. Delving deeper, we realize that there's more: this prophesizes Armageddon using the twin concept, contrasting 'death eternal' with 'the first dance.' The other word there? 'Is.' Need I say more?
"There's no freedom/ the both of you will be confined to this mind" There's a lot in these two lines. 'No freedom' prophesizes Kevin Moore leaving so that he can go off his own direction, because there is no freedom within the Dream Theater. However, we also have the second line, which is even more chilling. 'The both of you' refers to the twins, Miracle and Sleeper, who will be 'confined' to only one mind. Yes, that's right, James LaBrie.
The second verse (note once again the occurance of the number 2, pointing ahead to Metropolis Part II) references the twins, using the words "miracle" and "dream." There is also a reference to one version of Armageddon, with "swimming in a lake of fire." Note once again the use of a duality, 'lake,' normally referring to water, and 'fire.' Petrucci knew what he was doing.
"Deceit is the second without end." - There is an explaination for this quote, but it is far too shocking to bring up now. It must wait until more is revealed.
The third verse, refering to the future is more difficult to decipher. The future at the time this song was written, however, included _Awake_, ACOS and FII. From the text:
A Change of Seasons - "Before the leaves have fallen" Falling Into Infinity - "...have fallen" "this one will last forever"
Awake is not specifically referred to within these lyrics, but I believe it's clear what that title is about. The Sleeper twin, most strongly personifed by Kevin Moore, woke up. Kevin realized what was going on, hence the album beginning with his "Six o'clock and the siren kicks him from a dream" and ending with the depressing "Space-Dye Vest," where Keving told everyone his response to the "Lie." To wit: "And I'll have no more dreams to defend."
He decided that he was not going to defend the Sleeper twin anymore. Why? Because "the siren [kicked] him from a dream." 'Siren' must of course refer to James/Charlie, who is the same person, who is The Miracle and The Sleeper in one, who is Dream Theater. He knows all about the honor of God, Mary Jane, but he also knows when he's hopelessly outmatched.
to be continued...
------------------------------
End of YTSEJAM Digest 4144 **************************
This archive was generated by hypermail 2b30 : Thu Apr 01 2004 - 18:09:11 EST