YTSEJAM Digest 3473
Today's Topics:
1) Precious Things
by Laussade <Laussade@aol.com>
2) CD Copying
by Chad Mitchell <kerensky@telepath.com>
3) Re: YTSEJAM digest 3472
by Richard Warren <rwarren@ixlmemphis.com>
4) Bass Solos and Solos in general
by someone@prognosis.com
5) bring the bass (ndtc)
by Scotch <anthem@virginia.edu>
6) Marillion
by "Jason Birzer" <Longshot@pressroom.com>
7) Re: bitching, me be
by Graham Boyle <icarus@sydney.net>
8) Re: YTSEJAM digest 3472
by Thrak75 <Thrak75@aol.com>
9) Re: bass soloing
by "Dale R. Newberry" <Dale.R.Newberry@Walden.MO.NET>
10) DTIFC Address Etc.
by Neil Elliott <Images_and_Words@compuserve.com>
11) various
by Graham Borland <gborland@apsoft.co.uk>
12) Ytse Tattoo
by NGA <nga@software-ag.de>
13) Another 'Deth in Philthydelphia (NDTC)
by Lobsterback <hender@wam.umd.edu>
14) swtf
by "=?iso-8859-1?B?Q2FybG9zIFRhbelzIE1vc2nxbw==?=" <carlost@sanluis.podernet.com.mx>
----------------------------------------------------------------------
Date: Mon, 19 Jan 1998 00:02:55 EST
From: Laussade <Laussade@aol.com>
To: ytsejam@ax.com
Subject: Precious Things
Message-ID: <c4935acb.34c2de82@aol.com>
Oh yeah, i forgot to mention...mail if you wanna buy my last copy of Precious
Things. And if you don't wanna buy it, then proceed to fellate yourself.
Adios, thanks in advance.
Head
------------------------------
Date: Sun, 18 Jan 1998 23:17:19 -0600 (CST)
From: Chad Mitchell <kerensky@telepath.com>
To: ytsejam@ax.com
Subject: CD Copying
Message-ID: <199801190517.XAA23613@telepath.com>
> Is it the guys making
>> a thousand copies for sale or is it the one guy who makes a copy for his
>> friend since the original is out of print?
>
> Let's look at it this way.
> Echolyn made their first 3 albums on their label.
> Echolyn sold the masters to Sony.
> Echolyn cannot make any more copies of the first three albums.
>
> no matter how you slice it, ANY reproduction of these albums ia
>violation of copywrite laws (you can talk to mike bahr about that...).
>Echolyn, in all honestly, has no juristiction. Sony owns the albums.
Not only that, but *ANY* tacit approval by a bandmember or anyone else
connected to Echolyn could be construed as encouraging a breach of contract
and infringing upon Sony's legal rights. In such a situation, they could be
drawn into a lawsuit over the issue. Nothing's ever easy in copyright law. :(
Chad Mitchell
Owner/GM - Oklahoma Outlaws
"Doctors get to bury their mistakes, Architects can only advise their client
to plant vines."
-Frank Lloyd Wright
------------------------------
Date: Sun, 18 Jan 1998 23:42:18 -0600
From: Richard Warren <rwarren@ixlmemphis.com>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 3472
Message-ID: <3.0.32.19980118234215.006e6e58@popmail.ixlmemphis.com>
>Hey, everyone. Check this out. Today I came across 2 DT boot vids at this
>store in my local mall. Having only enough money for one, I asked for a 5
>minute preview of "Milan, Italy - 8/01/97". I liked what I saw, and picked
>it up. Here's a somewhat brief review.
Are you sure this date is right? I thought they were recording FII during
this time. I have a video from Milan on 4/12/97. It is a two camera tape
of pretty good quality.
Later,
Richard Warren
rwarren@ixlmemphis.com
------------------------------
Date: Mon, 19 Jan 1998 00:14:01 +0000
From: someone@prognosis.com
To: ytsejam@ax.com
Subject: Bass Solos and Solos in general
Message-ID: <199801190606.WAA05489@odin.ax.com>
Bass Solos:
It has seemed to me for some time, that bassists in Rock music can
rarely solo well, in comparison to the guitarists in the band. Now,
whether that's because the band just says "No, don't do it" or
because they don't solo in general, that's been a fair observation.
Bearing this in mind, I was blown away when I got into jazz and
fusion playing, and found that not only can the bassists in this
genre solo, but quite often, they have the best solos in the band!
Bass + Pick = Icky.
Albums with amazing bass: Tribal Tech... ANY of their albums; Sean
Malone: Cortlandt; John McLaughlin: Que Alegria (BUY THIS ALBUM!
Listen to it all the way through... the songs sometimes start slow,
but MAN do they build!); Bela Fleck and the Flecktones: Just about
every album (Victor is now a very over-rated bassist, but that
doesn't change the fact that he's a very GOOD bassist); Greg Howe:
Introspection, and Five; that should be a solid list of some leads
to check out. Of course in jazz anything with Steve Swallow,
Christian McBride, and any of the standard jazz cats is gonna have
some great soloing!
Soloing in general
Sometimes I hear people chime in about how "That guitarist ruins the
music! He's a virtuoso, and that takes all the emotion out of his
playing!" What I want to draw attention to is the term "virtuoso."
If a dude can play fast, whoopie. I'm so impressed. Technical
mastery is only half (arguably much less than that) of the battle. A
virtuoso player will not overplay a song. To be a master of the
guitar, one must know when to go off, and when to back off.
Michaelangelo and Yngwie and these guys... they're fun to hear... but
they don't know how to lay back. Sure, they both play some slower
passages, but they both have it stuck in their heads that at some
point in the song, they have something to prove.
Forcing yourself to play something, just to impress people, can
often be the biggest drain of emotion on your playing. This is why
I'm loving Petrucci's playing on FII. It's more laid back than on
his previous albums. Sometimes players do this because they feel
they've achieved "God Status" and no longer need to practice, but in
this case, the fact that JP's chops in the (live performances of)
older tunes have only improved, tells me that he's still getting
better and better as a musician.
I guess I'm really writing this post because of some of my metalhead
friends on this list who think that the answer to their musical
problems lies in the elusive 32nd note. When the 80's incarnation of
shred met its end (both a foul and fair end, at that) some people
believed that technical mastery of their instrument was no longer
important, and some rebelled and made that the only important
facet. It's been my own experience that shred has only been getting
BETTER, because now the players realize that we can see through "how
fast can I play this scale/arpeggio, etc" type playing, and are
focusing on phrasing, and the individualistic, emotional
characteristics of their playing. The virtuoso is a rare bird. To
be one, requires one to possess both the knowledge of what to do in a
situation, and the ability to do just that.
Enough of my ramblings!
Chew Wrigley
------------------------------
Date: Mon, 19 Jan 1998 01:34:19 -0400
From: Scotch <anthem@virginia.edu>
To: Delirium Tremens <ytsejam@ax.com>
Subject: bring the bass (ndtc)
Message-ID: <l03130303b0e8931fd3b9@bootp-231-167.bootp.virginia.edu>
>>>I've *never* heard a rock song that has a
>>>bass solo that still sounds 'full' when the bassist is soloing.
All this talk about a "bass solo" being a point in the song where the
bassist plays some kind of melody solo (usually on the upper frets, or
slapped or something) -- yet probably the most incredible bass solo I've
ever heard is the entirety of Led Zeppelin's "The Lemon Song." A vastly
underrated song.
It's not a melody solo, and it's not flashy like Sheehan or Hamm, but
listen to it -- John Paul Jones plays the most incredibly intricate
blues/soul basslines throughout that entire song, undoubtedly improvised
the whole way through, mostly just bass and drums, and his bass work
outshines Page's guitar playing throughout most (not all) of the song.
Counts as a solo to me.
Same with "Travelling Riverside Blues." I mean, that shit's just so deep
in the pocket.
Just like guitar, a good bass solo doesn't depend on how fast you can play
-- and in fact, the high-frets bass solos (bass shredding and tapping)
often do sound like crap, leaving out the bottom end, which is probably
what the original person (quoted above) meant.
Anyway.
S.
[Dream Theater rulez]
------------------------------
Date: Mon, 19 Jan 1998 01:17:26 -0500
From: "Jason Birzer" <Longshot@pressroom.com>
To: "The Jam" <ytsejam@ax.com>
Subject: Marillion
Message-ID: <199801190633.WAA05725@odin.ax.com>
I was just reading George R.R. Martin's "A Game Of Thrones". One of the
characters is a bard called Marillion. I just thought that was quite cool.
--------------------------------------------------------------------------
Jason Birzer "One likes to believe in the freedom of music
"The Longshot" but glittering prizes and endless compromises
shatter the illusion of integrity."
longshot@pressroom.com Rush - The Spirit Of Radio
--------------------------------------------------------------------------
------------------------------
Date: Mon, 19 Jan 1998 17:37:42 +1000
From: Graham Boyle <icarus@sydney.net>
To: ytsejam@ax.com
Subject: Re: bitching, me be
Message-ID: <34C2F4B6.130A6C89@sydney.net>
Seroussi wrote:
> Well, I finally caught up with the jam and since I gave up on participating
> in real discussion (no time), I'd say what I feel about cluttering the
> jam...
> This isn't a mailing list where you should post everything, you can also
> use private email.
Yeah so why did you post this to the jam rather than to Roger ?
> Both posts were uneeded as this information is already in the FAQ (KS) and on
> various places on the web (APSOG). If you really want to help, do it through
> private email.
Why don't you eat your own words and paractice what you are preaching ?
> Roger, your posts tend to be only factual information rather than actual
> discussion (i.e., intellectual wasteland (yes, I only said that because
> I think it sounds cool)).
> Now, roger, if you insist on having ~5 posts in every jam why not trim
> the fat in the end (applies to many people with hugeass sigs):
Geez and I thought Skadz was the moderator around these parts, are you
putting
your hand up for the job then if it becomes vacant ?
Why pick on Roger, is he the only one who posts regularly who has a
signature
that gets on your nerves this much ?
I'd rather read Roger's mail than a whole load babbling bullshit whining
drivel from you.
> Four lines wasted.
You wasted far more with your ranting and raving.
Who the fuck are you to tell someone how to have their signature ?
Just as I thought Mr.Nobody
> I doubt anyone cares about this quote anymore.
I doubt if anyone's cares about you problem with Roger,
though I did enough to reply to this as Roger is a
cool guy and didn't deserve the slagging you gave him
here.
Over and out........
graham
------------------------------
Date: Mon, 19 Jan 1998 02:30:59 EST
From: Thrak75 <Thrak75@aol.com>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 3472
Message-ID: <ce81866f.34c30135@aol.com>
In a message dated 1/19/98 0:03:29, you wrote:
>>>I've *never* heard a rock song that has a
>>>bass solo that still sounds 'full' when the bassist is soloing.
>>
>> Get Billy Sheehan's "Kings of Sleep" (i think). Put it this way....If a
>>bass player has his OWN cd's out....you can bet he's gonna do some
>>soloing on it ! He rips !!
>
>I have it, and yes, he does rip, and, by the way, it's Stu Hamm :) But I'll
>still stick to my guns. Stu's, Billy's, Manring's, Wooten's - all of them
>are great players, all of them are, to some degree or another, influences
>on me, and all of them deserve a place in the annals of Bass Playing. But I
>still think bass solos should either be:
>
>a) unaccompanied, and thus, a song into themselves (i.e. 'NV43345' by Billy
>Sheehan or 'Monkeysuit Businessman' by Michael Manring - two compositions
>that can stand on their own), or
>
>b) non-existant in your typical rock song. IMHO, they just don't work.
>
>Remeber, as I said before - it's called bass for a reason!!
i disagree with choice b. there's a couple of examples i can think of. living
colour- now, i'm not exactly sure about this, but i have good reason to
believe the first solo in "broken hearts", off of "vivid", may be done by muzz
skillings. and one where there's no doubt at all can be found in "secret
world" off of peter gabriel's "us" album by THE MAN- the best rock bassist-
tony levin. it's not your billy sheehan/stu hamm bullshit, but that sure ain't
david rhodes (the guitarist) playing that line.
ytsegoon
************************************************************************
david y. kobayashi
the new york law school
thrak75@aol.com
"living comes much easier once we admit we're dying." -j. petrucci
************************************************************************
------------------------------
Date: Mon, 19 Jan 1998 03:22:33 +0000
From: "Dale R. Newberry" <Dale.R.Newberry@Walden.MO.NET>
To: ytsejam@ax.com
Subject: Re: bass soloing
Message-ID: <199801190924.DAA18080@Walden.MO.NET>
For some very cool bass solo stuff, check out anything by Victor
Wooten. The man is an animal, and a damn cool guy, too.
Dale R> Newberry
drnewb@mo.net
"Light travels faster than sound. This is why some
people appear bright until you hear them speak."
"The best way to save face is to keep the lower
part shut."
------------------------------
Date: Sat, 17 Jan 1998 04:49:53 -0500
From: Neil Elliott <Images_and_Words@compuserve.com>
To: "INTERNET:ytsejam@ax.com" <ytsejam@ax.com>
Subject: DTIFC Address Etc.
Message-ID: <199801170449_MC2-2FA1-7DDE@compuserve.com>
As you've probably already seen, the DTIFC has a new New York address:
DTIFC - PO Box 20206, Greeley Square Station, New York, NY 20206-0006. =
This is mainly due to the old Box lapsing because of a mix-up between the=
'old' and 'new' band management. =
Those of you who had sent in to the old address, the mail has been picked=
up and is currently being sorted (some 200 letters!), and should hopefull=
y
be passed on to me sometime next week for processing and mail-outs. If yo=
u
have had mail returned 'Box Closed' you can now send to the new address
above.
Once those letters are finalised, it is then very likely that any new
sign-ups will NOT receive the Xmas CD, as the limited number we had will
ALL be gone! =
Neil Elliott - DTIFC
------------------------------
Date: Mon, 19 Jan 1998 13:46:31 +0000 (GMT)
From: Graham Borland <gborland@apsoft.co.uk>
To: YtseJam <ytsejam@ax.com>
Subject: various
Message-ID: <Marcel-1.26-0119134631-0b0rZWN@mor.apsoft.co.uk>
There's a copy of the Winter Rose CD in my local HMV store. It's actually
a double CD, with the second disc being a prog sampler from a German label.
I have no plans to buy it (I already have it), but I'll get it if anyone
else wants it (price ukp 14.49 + postage, etc).
Or, I'll trade it for a Lie single.
This month's Metal Hammer (in the UK) is good from a DT point of view.
Firstly, the following news article:
DREAM THEATER SLAMS BRITISH PRESS!
Dream Theater, the East Coast progressive rockers who have been compared
to Metallica, have slammed the British metal press as narrow-minded. The
quintet - who are popular enough to sell out London's Forum despite the
bare minimum of media coverage and precious little airplay to speak of -
have become major stars all over the world. But here in the UK they've
found it harder than expected to shrug off their "cult muso" tag.
"The English market is pretty lame right now," claims drum maestro Mike
Portnoy. "Everywhere else around the world we're in all the magazines
and we sell records, but here in England it's pathetic. Go to Italy,
Holland or Brazil and we'll be selling more records than the Foo Fighters
or No Doubt. If it's a hair thing, well, Derek (Sherinian, keyboards) and
I both have short hair now. Thank God our fan-base is still there and is
capable of sniffing things out without the help of the press."
"With us it's not really about whether our singles make the chart, it's
more about people hearing our stuff," agrees guitarist John Petrucci. "But
as songwriters, it's frustrating to not get that recognition."
1992's "Images and Words" went Gold in America, selling around 500,000
copies, and their latest and most mature album to date, "Falling Into
Infiniy", is shaping up to be their biggest yet.
"I don't think there's anybody else out there doing anything like what
we're doing," shrugs Portnoy. "But what's wrong with originality? I wish
there was more of it around."
Later in the magazine appeared this review of the gig in London last month:
After a quick, undemanding, noisy fix? If so, then stay the hell away from
Dream Theater's upcoming UK tour. This is musicians' music; long songs
full of complex tempos and virtuoso performances; but more often than
not the Long Island quintet hit the perfect blend of raw power and technical
ecstacy. You know what to expect when the two and a quarter hour set kicks
off with a solo intro from keyboardist Derek Sherinian, and the other
instrumentalists lock together into a completely unhurried, totally unified,
state of grace. John Petrucci leads from the front with his emotive, daring
guitar work, while the keyboards of Sherinian simultaneously soothe and
probe.
If there's a better rhythm section than bassist John Myung and drum
maestro Mike Portnoy, I've yet to hear it. And if James LaBrie seems to be
singing in a slightly lower register on newer material like "Hollow Years"
and "Burning My Soul", there's a good explanation - DT wish to distance
themselves from heavy metal's cheesier protagonists.
But this sold-out crowd know quality when they hear it, and although the
band don't deliver the anticipated set-list - their best-known album,
1992's "Images and Words", is largely ignored in favour of the new "Falling
Into Infinity" - the Forum responds with enraptured appreciation. With this
much ability, musical variety presents no problems whatsoever, and Dream
Theater glide between moments of atmospheric simplicity ("Peruvian Skies")
and dense, Metallica-style riffing ("Pull Me Under", "Metropolis, Pt. 1"),
also satisfying the trainspotters with brief solo spots.
If this all sounds self-serving and po-faced, proof of the existence of
a sense of humour arrives in the swapping of instruments for a more than
creditable encore of Deep Purple's "Perfect Strangers". In short, Dream
Theater's talent knows no bounds.
8/10 Dave Ling
Lovely jubbly.
Graham
-- Graham Borland Email : gborland@apsoft.co.uk WWW : http://www.apsoft.co.uk Alternative Publishing Ltd Tel : 0141 418 0881 30 Clyde Place, Glasgow G5 8AQ Fax : 0141 418 0889------------------------------
Date: Mon, 19 Jan 1998 16:08:52 +0100 From: NGA <nga@software-ag.de> To: "'ytsejam@ax.com'" <ytsejam@ax.com> Subject: Ytse Tattoo Message-ID: <01BD24F4.89DA30C0@pcnga.software-ag.de>
Hi all
a few months ago there was some stuff here on the list about Ytse tattoos. If you are into this sort of thing, fire up your browser and point it to the address I stumbled across today:
http://www.urbanprimitive.com/bodyart/tattoo/daemon/new/210.jpg
Is this a photo of anybody on the list? If so, drop me a line.
Just 4 hours until Spock's Beard in Offenbach...
stay safe and happy listening Neil Gallop (nga@software-ag.de) (http://www.geocities.com/Yosemite/Rapids/2321) Currently playing: The Clash - London Calling
------------------------------
Date: Mon, 19 Jan 1998 02:19:49 -0500 From: Lobsterback <hender@wam.umd.edu> To: ytsejam@ax.com Subject: Another 'Deth in Philthydelphia (NDTC) Message-ID: <3.0.3.32.19980119021949.00707888@pop.wam.umd.edu>
Just got back from a Megadeth show at the Electric Factory. First, the things I didn't like. And there's so many to choose from! It's been my experience, and no offense meant to anyone reading this, that most metal fans are real idiots. My experiences tonight reinforced this thinking. Color me sissy, but I enjoy a docile concert where I can enjoy the music any day over one where I've got to keep looking over my shoulder for fear of being toppled, hobbled, or wobbled (unlike Weebles, when I wobble, I *do* fall down).
Then, there's the opening bands. Man, could they have picked a worse pair? How come South America gets Megadeth/Queensryche/Whitesnake and we get stuck with Megadeth/Coal Chamber/Life of Agony?! Life of Agony -- the singer seemed to have some sort of inferiority complex, and kept insisting that the audience jump up and down the whole time. Some sort of phallus-linked thing, I'm sure. Probably the worst 'showmanship' I've ever seen from a band -- even ones that don't hardly talk are better than ones that don't shut up. I thought they were the worst opener I'd ever seen.
But I was proven wrong when Coal Chamber came onto the stage. How do bands like this get popular? Maybe I just don't get it. The shouter was a cheap Marilyn Manson rip-off (or maybe it's the other way round) and the bassist, a frightening animatronic goth-girl, must have played all of one note (repeatedly) the whole set. The drummer was decent, but that didn't make up for the astounding crappiness of the rest of the band. After getting beaten trying to stay in a good position for Megadeth, I retreated further back, where all the older 'Deth fans lurked and joined in their yellings of "Get off the stage!", "Go home!", and other assorted hecklings.
Finally, two and a half hours after the damn thing started, Megadeth started a-playin'. Lucky for all you 'Jammers, they were friggin' good, or this 'review' would be even more pissy than it is... I won't go into the setlist in detail, but suffice it to say, they steered away from material on their newest album, "Booty Booty BOOT-TAY", and seemed to concentrate instead on its immediate predecessor, "Cryptic Writings". I was pleased. "BBB" never struck a chord with me for some reason. Why they would let Puff Daddy remix their 'greatest hits' is a mystery to me.
The show also would've been better had the Electric Factory had decent acoustics, the guitars been more audible over the reverberations of the drums bouncing off the walls, but what can one expect from a converted factory? (For those of you not familiar with Philly venues, the Electric Factory used to be where Ben Franklin, evil genius, mass-produced the robots he intended to use to topple the Canadian monopoly on Mounties and Mountie-related products.)
Parking was kinda weird. I'm convinced it was illegal, quite frankly. We opted to not park in the $8 lot, but to instead follow some guys, who were packing people in alleys and parking lots for other businesses. That sort of thing. For only $7. Nobody was watching the cars either, but I bet if we hadn't paid, a horse head would be lying on the driver's seat.
Favorite comment of the night:
"Whoah, tits! Never seen *them* before!" -- D. Mustaine
It should also be pointed out that Mr. Mustaine used the word "syke" (or its alternate spellings, "sike" and "psych") in a sentence. For this action, I salute him. That and "Busted!" are two expressions that need to be brought back into pop-English.
Brian "Sweating Bullets" Henderson
=========================== Name: W. Brian Henderson, Esq. Contact: hender@wam.umd.edu ROBOT-CENTRAL: http://www.wam.umd.edu/~hender/ ===========================
------------------------------
Date: Sat, 17 Jan 1998 13:52:54 -0600 From: "=?iso-8859-1?B?Q2FybG9zIFRhbelzIE1vc2nxbw==?=" <carlost@sanluis.podernet.com.mx> To: <ytsejam@ax.com> Subject: swtf Message-ID: <01bd2381$801d5040$f10c24c8@slp1.slp1.telmex.net.mx>
This is a multi-part message in MIME format.
------=_NextPart_000_0013_01BD234F.3582E040 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Anybody can tell me how many RARE DT cd's has been relased and where I = can found those CD's?
------=_NextPart_000_0013_01BD234F.3582E040 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN"> <HTML> <HEAD>
<META content=3Dtext/html;charset=3Diso-8859-1 = http-equiv=3DContent-Type> <META content=3D'"MSHTML 4.71.1712.3"' name=3DGENERATOR> </HEAD> <BODY bgColor=3D#ffffff> <DIV><FONT color=3D#000000 size=3D2>Anybody can tell me how many RARE DT = cd's has=20 been relased and where I can found those CD's?</FONT></DIV> <DIV><FONT color=3D#000000 size=3D2></FONT> </DIV></BODY></HTML>
------=_NextPart_000_0013_01BD234F.3582E040--
------------------------------
End of YTSEJAM Digest 3473 **************************
This archive was generated by hypermail 2b30 : Thu Apr 01 2004 - 18:07:00 EST
