YTSEJAM Digest 4046
Today's Topics:
1) White Lion Reunion?!?!? Confirm/Thoughts????
by Ytsejamer1@aol.com
2) Rock Discipline
by "Schnipp" <schnipp@vossnet.com>
3) John Myung Progressive Bass Concepts
by "Schnipp" <schnipp@vossnet.com>
4) Guitar distortion and Overdrive
by "Mark Philpot" <griphiam@ccnet.com>
5) Re: More "Lines" lines.
by Mike Stoner <mdstoner@pcocd2.intel.com>
6) The Shafting of Lemur Voice
by "Mike Patrick" <mepatric@indy.net>
7) Re: 4045 - about boots but NOT about Prism. Peace?
by Michael Bahr <durnik@ANTISPAMgoodnet.com>
8) Kickass String Quartets
by "Jon Kretschmer" <jkretsch@sdcc17.ucsd.edu>
9) Neil sick?
by "Jon Kretschmer" <jkretsch@sdcc17.ucsd.edu>
10) My new homepage
by JE78674@ltu.edu
11) Queen Mary and Mr. Peart
by "KorgX3" <korgx3@safelink.net>
12) REVIEW: Explorers Club -- "The Age of Impact"
by AURACLE@aol.com
13) The perfect guitar?; QR videos; music review
by "Andrew Forcier" <thomas.o.forcier@worldnet.att.net>
14) Unfinished Symphony (**1/2) (fwd)
by belhai <belhai@drew.edu>
15) perfect guitars
by Thrak75@aol.com
----------------------------------------------------------------------
Date: Tue, 7 Jul 1998 19:12:40 EDT
From: Ytsejamer1@aol.com
To: Ytsejam@ax.com
Subject: White Lion Reunion?!?!? Confirm/Thoughts????
Message-ID: <63430931.35a2ab6a@aol.com>
hello all. My prayers may have been answered. In a french magazine, Mike
Tramp said that White Lion really never got to say goodbye to its fans the way
they wanted to. So, they are planning to record a NEW album!!! He says that
it won't be a watered-down, 98 version of the band, but the real band. What
they were on the last few records. This is great news! Has anyone heard
about this. You can check out a white Lion page @ www.elvod.yu.co/~milan/
for more information! Keep in touch!
Tony
------------------------------
Date: Wed, 8 Jul 1998 00:12:48 +0200
From: "Schnipp" <schnipp@vossnet.com>
To: <ytsejam@ax.com>
Subject: Rock Discipline
Message-ID: <01bda9f4$603bfb60$LocalHost@schnipp>
=B4Hi Paschos,
as far as I know the book is a complete transcription of the video, meani=
ng
it includes not only the exercises but also the bits he plays on and on e=
ven
when the ex is alr=E9ady finished. If you know how to read notes, good to=
get
that.
schnipp
------------------------------
Date: Wed, 8 Jul 1998 00:22:07 +0200
From: "Schnipp" <schnipp@vossnet.com>
To: <ytsejam@ax.com>
Subject: John Myung Progressive Bass Concepts
Message-ID: <01bda9f5$ad35ae60$LocalHost@schnipp>
Hi,somebody lost the deal, so here it is again.
I have the JM instruction video Progressive Bass Concepts and I want to sell
it!
I am a guitarist, but as a fan and guitarist I thought I could learn
something. If I did so,ok, but now I want to trade it. New it was
49.95$(85DM actually) and I'd sell it for a reasonable price or swop(SP?)
for DT boots. Contact my private and I'll get back immediately.
Bottom line
schnipp
------------------------------
Date: Tue, 7 Jul 1998 17:00:00 -0700
From: "Mark Philpot" <griphiam@ccnet.com>
To: <ytsejam@ax.com>
Subject: Guitar distortion and Overdrive
Message-ID: <000701bdaa03$5a08ec80$a48c15cf@markphil>
Jam,
Can anyone explain the difference between Overdrive and Distortion? Is a
Distortion pedal worth getting and if so, what is a good pedal?
Thanks
Mark
------------------------------
Date: Tue, 7 Jul 1998 17:21:50 -0700 (PDT)
From: Mike Stoner <mdstoner@pcocd2.intel.com>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Re: More "Lines" lines.
Message-ID: <Pine.A32.3.96.980707171531.32054D-100000@frc998>
Don't know if we ever resolved this, so I gave it a listen last night and
came up with...
> > > E----x----x--------------------------------
> > > B----3----3--------------------------------
> > > G----2----2-----0--5-----------------------
> > > D----0----0-----------3--------------------
> > > A----0----0--------------3--5--0-----------
> > > E----x----x--------------------------------
I feel pretty confident that is how it's played. Don't flame me just
because it's more difficult!
- Mike
------------------------------
Date: Sun, 5 Jul 1998 09:59:51 -0500
From: "Mike Patrick" <mepatric@indy.net>
To: "DT" <ytsejam@ax.com>
Subject: The Shafting of Lemur Voice
Message-ID: <199807080055.TAA18294@indy1.indy.net>
OK, everyone, off your butts. Email Magna Carta at magcart@aol.com. Let
them have it - God only knows that prog metal fans owe that lable TONS -
but to completely blow off Lemur Voice?!? Come on.
I am, however, confused. Couldn't these guys get a record deal at the drop
of a hat? What's the problem?
Mike Patrick
Indianapolis, IN
mepatric@indy.net
------------------------------
Date: Tue, 07 Jul 1998 18:21:37 -0700
From: Michael Bahr <durnik@ANTISPAMgoodnet.com>
To: ytsejam@ax.com
Subject: Re: 4045 - about boots but NOT about Prism. Peace?
Message-ID: <35A2C9A1.6244@ANTISPAMgoodnet.com>
ytsejam@ax.com wrote:
> I disagree a bit with this. I spose it kind of depends on what you define
> a "bootleg" as. Everything people have listed are CDs that have been
> mastered, named, packaged, and sold. There are so many excellent bootlegs
> that haven't been released as a "named" bootleg. Sure, on Mind
Well, that was the context of the original question. Otherwise I would
also have named such stuff as the Denver 11/94 show that is soundboard
quality, present in complete form on tape and DAT, but was not put to a
complete CD boot (Tap the Rockies is missing three tunes from that
show). Also, I'd have named all four HFTH '95 shows.
> A last example is the 4/16/97
> show from Tilberg, Holland. Sure, CIA (4/14/97) is a great boot, but isn't
> anyone interested in hearing the first time Trial of Tears was ever played
> live?!? Sound quality on that show is pretty poor, but it's
Actually sound quality was quite good on my DAT of the 4/16 Tilburg
show, and I used TOT and one other track off of it for Mosaic. Only
reason I didn't put out the entire show is because most of it was
identical to the FF96 and CIA97 boot setlists. The majority of boot
collectors DO want just a best-per-tour and every-setlist-type-played. I
like the fact that DT is now varying the set a lot more between dates
because it's much more of a Grateful Dead/Tori Amos collecting
experience, where EVERY SHOW has merit. I have fifteen plus DATs and/or
tapes from the US Awake tour of 1994, and the set on every damned one is
identical except for a few early ones w/IF and/or TOWHTSTS in place of
Awake Heavy Jam. A lot of them are CD-worthy... Denver, San Antonio,
Houston, Tucson, Tempe, and Los Angeles to name six. But who would want
those on CD when you can get AKIAD and MC and have soundboard sound??
Only the most hardcore collectors... who probably already have 'em on
tape and not CD. That's about the only reason I didn't do more with
these tapes, spread them to a wider audience in whatever format.
definitely a
> collector's item. Doesn't anyone care about landmarks, milestones, and
> great performance anymore? Or is it just sound quality and a cursory, one> show glance at a tour?
For Rush and pre-1997 DT, that's exactly what it was. Now that DT is
varying the setlist more, which I totally love, every single show
recording will have merit in and of itself to ANY collector.
> Maybe I'm beating a dead horse here, but if people would trade for boots
> instead of just buying what's been packaged on the shelf they would find a
> whole heap of treasures they never knew were out there. Take care all...
See, this is both true and not true. The sad fact of trading, besides
the fact that you need to invest heavily in equipment to get to where
you can trade with other master-tapers (you'll need two DAT recorders to
start with, so that's $1200 out the door before you even get one step
further), is that most of the people who have a lot of shows don't want
to trade unless you have something they do not. So unless you're DAT
master taping shows, you're stuck with what's common and what's out
there on CD/CDR. I tried to keep up with the rat race for years and just
kept getting frustrated with it, and at the same time I knew that the
"hoarders" were doing the same things with their collections that I was
doing with mine to the "beginners".. and yet I couldn't justify taping a
ton of shit just for blanks and postage when time was at a premium to
begin with. I'm sure a good many long-time boot tapers and collectors
will echo this sentiment. Basically we have nothing against people
having copies of this stuff, we just can't be buggered to do all the
work for nothing... it doesn't justify the time put into the hobby.
This is a reason why I heavily favor tape-swap-meets. Four or five
collectors in a regional area get together and bring all their tape and
DAT decks, and just go nuts copying each others collections, anything
goes. Everyone gets stuff and nobody feels like they got taken advantage
of. Everyone wins. Plus now they all have bigger collections to help
crack into the too-tight "inner circles" of internet trading...
especially in the Rush community. The DT community has, thankfully,
NEVER been as tightfisted with good tapes as the Rush community has.
You'd be surprised at the kind of recordings I just "give away" at tape
swaps because I don't have to do the work... and I get the occasional
gem or clone in return... the more of these things people can arrange,
the less dependent on CD boots the market will be. I realize that this
statement goes counter to my own work making CDs, but I ain't gonna be
making CDs forever, and I'll never be able to bring even 1% of the shows
out there to the listener by myself. They will simply need to trade if
they want to "hear it all".
-- - Mike Bahr - Prism Records - remove ANTISPAM in my address to reply - Hardcore fan of Dream Theater, King's X, Rush (the band), and more!!! - Magic: the Gathering "Duelists' Convocation Level 2 Certified Judge" - d u r n i k @ g o o d n e t . c o m - http://www.goodnet.com/~durnik/ - If it's nae Scottish, it's CRAP!------------------------------
Date: Tue, 7 Jul 1998 18:40:21 -0700 From: "Jon Kretschmer" <jkretsch@sdcc17.ucsd.edu> To: <ytsejam@ax.com> Subject: Kickass String Quartets Message-ID: <199807080142.SAA22942@smtp.ucsd.edu>
]From: Daus Studenberg <daus@ufl.edu>
>I have been impressed by Mahler
Impressed? You should be FLOORED by Mahler : )
> The group is called the KRONOS QUARTET and if you would like to hear = > TRULY progressive classical pieces, this is it!! I would reccomned this = > group to the fans of King Crimson. This group is just so innovative, = > both in style and technique. They must slap, pop, bang and even use a = > pick on those instruments (3 violins and 1 cello). Truly progressive!!! = > Can any other ytsejammers back me up on this one???
Though Ive never heard the Kronos (String) Quartet, I have heard of them. If you enjoy "non-classical" genre music played by a string quartet, I strongly suggest you check out a group named The Turtle Island String Quartet. They play some really crazy music, in the vein of progressive rock. They sound random at first, but the more you listen, the more you hear.
Just a recommendation.
Jon
------------------------------
Date: Tue, 7 Jul 1998 18:49:22 -0700 From: "Jon Kretschmer" <jkretsch@sdcc17.ucsd.edu> To: <ytsejam@ax.com> Subject: Neil sick? Message-ID: <199807080151.SAA23347@smtp.ucsd.edu>
> From: Michael Bahr <durnik@ANTISPAMgoodnet.com>
> Neil is hospitalized and will be further evaluated later, > Alex's exact words about the current situation with Neil were: "It's bad. Very, very bad."
Hang on a sec...I know that Neil's wife just died from cancer, but I didnt know Neil was sick as well. Is he being hospitalized for depression or something like that?
Thanks.
Jon
------------------------------
Date: Tue, 07 Jul 1998 22:23:39 -0400 (EDT) From: JE78674@ltu.edu To: YTSEJAM@ax.com Subject: My new homepage Message-ID: <01IZ4VI2A4YA8WW6L9@LTU.EDU>
Greetings all,
I've been messing around with HTML the last week and the following is the result: http://www.geocities.com/SunsetStrip/Frontrow/6143/
It's nothing fancy, but kind of a guide page to help prog fans navigate to where they want to go. It's not quite done yet. In fact, I am looking for other prog band links to add. If anyone has one of a band not listed, as well as some JPEGS of that band, send them to me and I will add them.
Later,
Jeff E.
------------------------------
Date: Tue, 7 Jul 1998 20:47:14 -0600 From: "KorgX3" <korgx3@safelink.net> To: <ytsejam@ax.com> Subject: Queen Mary and Mr. Peart Message-ID: <002c01bdaa1a$b9dd4680$1c0d84d0@korgx3>
>So there's your connection with the Majesty burning heart symbol (DTC).
Actually, the two really aren't related. The burning heart is the Sacred Heart of Jesus actually and the barbed wire really isn't supposed to be barbed wire but a ring of thorns or something like that. I really don't know much about the SHoJ but I've seen it in a few other places besides DT's Liner notes. :) The Majesty symbol (the nifty 'M' in the ellipse thing) is what DT borrowed from Her Majesty. Damn, besides the disease and bad food, I'd sure like to live back then.
>Hang on a sec...I know that Neil's wife just died from cancer, but I didnt >know Neil was sick as well. Is he being hospitalized for depression or >something like that?
Yup. first his daughter, then the Working Man tribute, then his wife dying, then I just recently read where someone's planning one releasing another Rush tribute album... The dude's under some serious stress. I hope he gets better soon. The world is missing out on one hell of a drummer and lyricist. Not to mention one hell of a great guy.
Exiting sans prolific witticism --KorgX3
------------------------------
Date: Tue, 7 Jul 1998 23:02:36 EDT From: AURACLE@aol.com To: ytsejam@ax.com Subject: REVIEW: Explorers Club -- "The Age of Impact" Message-ID: <7efc4f97.35a2e14d@aol.com>
Greetings and salutations, fellow Jammerites...
It is I, the one and only (thank goodness, says the crowd) AURACLE, retur= ning=0Aonce again with another entirely too long and detailed album revie= w. Read and=0Aenjoy, and I swear I'll try to post more often. (Says the = crowd, "Is that a=0Apromise or a threat?") <g> ______________________________________________________________________
Explorers Club =96 "The Age of Impact" (Magna Carta)
=09Fate Speaks (16:00) =09Fading Fast (8:45) =09No Returning (8:20) =09Time Enough (9:15) =09Last Call (11:10)
=93They just don=92t write =91em like that anymore.=94
This is, of course, the common refrain often sighed by progressive rock= =0Aenthusiasts upon hearing that favorite old 70s album - say, "Fragile,"= or=0A"Brain Salad Surgery," or "Larks Tongues in Aspic," or "Thick as a = Brick," or=0Awhat have you. There=92s something magical about those albu= ms, a special=0Afeeling they evoke that many fans don=92t seem to get fro= m much of the prog=0Abeing released today. =09Trent Gardner, the California-based keyboard player, vocalist, songwri= ter and=0Aproducer for the band Magellan has assembled a stellar lineup o= f past and=0Apresent prog-rock luminaries under the name Explorers Club t= o create "The Age=0Aof Impact," an album that is both an extraordinary ho= mage to the past and a=0Arallying cry for the future. Written and produc= ed by Gardner, it's a=0Asprawling, thrilling blend of awesome complexity = and winning melodicism that=0Aasks no quarter, pulls no punches, and make= s absolutely no apologies. Indeed,=0Ait revels in every aspect of prog th= at mainstream rock critics have hated and=0Afans have loved since the gen= re=92s inception. =09The opening track, "Fate Speaks," begins with a beautiful classical gu= itar=0Aintroduction, then roars to life with a metallic riff powered by t= he=0Aincredible rhythm section of bassist Billy Sheehan and drummer Terry= Bozzio,=0Aneither of whom can be praised enough for their magnificent pl= aying on this=0Adisc. Featuring the clear-as-a-bell voice of Cairo=92s B= ret Douglas, a slew of=0Aphenomenal guitar solos by Dream Theater=92s Joh= n Petrucci (and one by ex-=0ATestament axeman James Murphy), and, around = the 12-minute mark, a brilliant=0Asynth solo by Dream Theater=92s Derek S= herinian, there are more twists and turns=0Ain this one track than you=92= ll find in most entire albums. =09The first five minutes or so of "Fading Fast" are given over to Matt= =0ABradley=92s impassioned vocals and Gardner=92s layered keyboards, save= for a=0Afusion-flavored solo by Petrucci at around the three-minute mark= . The full=0Aband kicks in after the first vocal section, and the guitar= ist turns in a=0Acouple more remarkable solos that are kind of reminiscen= t of Journey=92s Neal=0ASchon. Gardner himself takes over the vocal chor= es during the heavy ending=0Asection of the song, which runs right into t= he next track, "No Returning." =09Strummed acoustic guitar and a delicate synthesizer melody gives way t= o still=0Amore searing lead guitar from Petrucci, who plays 98% of the gu= itar solos on=0Athe album. Then there=92s a nice Genesis-like melodic sy= nthesizer solo by=0Aeither Gardner or Matt Guillory of Dali=92s Dilemma (= unfortunately, my=0Apromotional copy doesn=92t tell me who=92s soloing wh= en; I understand that the=0Aregular release will), and then things get he= avy again. But, surprisingly,=0Ainstead of another shredding guitar solo= , we get a wonderful flute solo by=0AMichael Bermesderfer over the heavy = riffing, leading into the first of two=0Avocal turns by Dream Theater=92s= James La Brie. The chorus to this song, once=0Aheard, has refused to le= ave my head thanks in part to Gardner=92s clever backing=0Avocal arrangem= ent. Bozzio=92s playing is particularly aggressive on this track;=0Ahe s= ounds like a man possessed behind the drum kit, making full use of his=0A= expansive array of percussive weapons, especially the cymbals. =09The next track, "Time Enough," opens with Petrucci=92s wah-drenched le= ad guitar=0Aover Gardner=92s keyboards, and then it=92s time for Royal Hu= nt vocalist D.C.=0ACooper to take his turn at the microphone. Like all t= he other singers on the=0Aalbum, Cooper seems to pour every ounce of hims= elf into his part, and he=0Asounds great doing it. There=92s an astonish= ingly fast guitar/synth harmony=0Apart, followed by yet another mind-blow= ing guitar solo. The second verse is=0Afollowed by a long instrumental s= ection that features simultaneous soloing by=0AGardner on trombone, Sheeh= an, Bermesderfer on wind-controlled synthesizer, and=0Athe one and only S= teve Howe on acoustic guitar, all over a glorious string=0Asynth pad that= makes it all sound like a jam session at the Pearly Gates. We=0Acome ba= ck to Earth with piano, tubular bells and Cooper=92s last verse before=0A= the in-your-face riff that opened the album abruptly returns for the fina= l=0Atrack, "Last Call." =09James La Brie returns to bring his patented vocal intensity to Gardner= =92s=0Aangry lyric, matched by Bozzio=92s frenetic rhythm and Petrucci=92= s inspired, edgy=0Asolos. There=92s a great synthesizer solo right before= the bridge, after which=0ATrent Gardner takes over the vocals one last t= ime. James Murphy contributes=0Aanother white-hot solo under Gardner=92s= vocal, and then Petrucci takes us the=0Arest of the way. His playing on= this album, like that of Terry Bozzio, may=0Awell be the most inspired o= f his career: fluid, unpredictable and always=0Aexciting. The long outro= solo on this track is a marvel of melodic speed,=0Afeeding off the volca= nic energy of Bozzio=92s hyper-kinetic drumming, flying off=0Abeyond spac= e into a whole new level of virtuosity even for him. It=92s a=0Astaggeri= ng, scintillating tour de force, an experience to be savored over and=0Ao= ver again =96 which can, and will, also be said of the album as a whole. =09In this listener=92s opinion, "The Age of Impact" is a prog manifesto = for the=0A90s and beyond: smart, powerful and uncompromising, a statement= of intent for=0AGardner and the rest of the charter membership of the Ex= plorers Club. If=0Asomeone were to ask me which album best defines the s= tate of the genre right=0Anow, I would unhesitatingly recommend this disc= . It really IS that good. =09"The Age of Impact" hits the stores later this month - July 28 was the= last=0Arelease date I heard, so save your pennies and get ready to go Ex= ploring! <g>
-- Jeff Gutenberg (prog-rock, fusion and prog-metal fan extraordinaire) = :^D
------------------------------
Date: Tue, 7 Jul 1998 23:50:17 -0400 From: "Andrew Forcier" <thomas.o.forcier@worldnet.att.net> To: <ytsejam@ax.com> Subject: The perfect guitar?; QR videos; music review Message-ID: <19980708034621.OQTF20322@239157822worldnet.att.net>
Hello, An interesting topic, I'll say. Okay, my main axe now is an Ibanez JS6000 Custom, which is the closest I've found to my definition of guitar perfection. What would I change? First off, I'd like 24 frets. I just got so used to this on my Washburn that there are solos I've written that don't sound right as I have to play them differently with fewer frets. Next change? The neck joint. While a neck through would be nice, I'd really like an all access joint like on the RG and S series Ibanez models (the JS is a bolt-on with an angled joint for easier reach). Also, I prefer the pickup switch in front of BOTH knobs so I can hit it quickly within a song. The JS models have the perfect neck radius, body style, and pickups, and the bridge on this model is exactly what I wanted: string-through, not a stop tailpiece. Non-locking tuners are the finishing touch on this near perfect model. Now if I could only get famous and create my own Ibanez signature model... Damn that Petrucci fellow... And on that QR video someone was inquiring about, mine is titled Video:mindcrime and is catalog number E5-1605, copyright 1989. If there is no difference between this info and what spree has, then they're wrong on the track list. I checked their page, but can't find the video. As for new music, I got my Columbia House shipment. YES! Twelve new discs to listen to... and review of course. So far the only one I've given a solid listen to is Natalie Imbruglia. I shit you not, I own this CD. And its good. Tori fans might enjoy it, though it is a little bit more on the pop side. Kind of like Sophie B. Hawkins, IMHO. Definite thumbs up. Crucify away...:) Another disc I've only given a partial listen to is Django Reinhart. Its a compilation, normally a bad omen, though I don't think his work is available on CD in any other form. Reinhart is one of the original masters in instrumental jazz guitar, a gypsy player from the late 30s. For those who may not know (not that it matters), Steve Martin is a big Django fan: half the music in LA Story is his, the other half is Enya. This is a great set featuring some familiar songs in great reworkings: Beyond the Sea, Symphonie Pathetique, Tisket Tasket. And with over 35 songs, you can't miss!
Stodge has still sworn off country and rap music to spare his soul Ytse-damnation
------------------------------
Date: Wed, 08 Jul 1998 00:19:57 -0500 (EST) From: belhai <belhai@drew.edu> To: Dream Theater <ytsejam@ax.com> Subject: Unfinished Symphony (**1/2) (fwd) Message-ID: <Pine.PMDF.3.95.980708001842.543416939B-100000@drew.edu>
I got this from a friend. It bears musical relevance. None of that DTC shit. - Brandon ---------- Forwarded message ---------- > > A managed care company president was given a ticket for a performance > of Schubert's "Unfinished Symphony." Since he was unable to go, he > passed the invitation to one of his managed care reviewers. The next > morning, the president asked the reviewer how he had enjoyed it, and > he was handed a memorandum, which read as follows: > > MEMORANDUM > > 1. For a considerable period, the oboe players had nothing to do. > Their number should be reduced, and their work spread over the whole > orchestra, thus avoiding peaks of inactivity. > > 2. All twelve violins were playing identical notes. This seems > unnecessary duplication, and the staff in this section should be > drastically cut. If a large volume of sound is required, this could > be obtained through use of an amplifier. > > 3. Much effort was involved in playing the 16th notes. This seems an > excessive refinement, and it is recommended that all notes should be > rounded up to the nearest 8th note. If this were done, it would be > possible to use paraprofessionals instead of experienced musicians. > > 4. No useful purpose is served by repeating with horns the passage > that has already been handled by the strings. If all such redundant > passages were eliminated, the concert could be reduced from two hours > to twenty minutes. > > 5. This symphony has two movements. If Schubert did not achieve his > musical goals by the end of the first movement, then he should have > stopped there. The second movement is unnecessary and should be cut. > > In light of the above, one can only conclude that had Schubert given > attention to these matters, his symphony would probably have been > finished by now. > >
------------------------------
Date: Wed, 8 Jul 1998 00:47:34 EDT From: Thrak75@aol.com To: ytsejam@ax.com Subject: perfect guitars Message-ID: <b1bbf759.35a2f9e7@aol.com>
my 2 choices for the perfect guitar battle would have to be:
acoustic- mortorro. someone else besides g.-jack-from-whom-i'm-expecting-vai- stuff-from-soon-bitchass and i must've heard of those guitars. not only would i have to dream about them making their guitars in 7-string, i think those are standard (i know 8 string guitars are optional).
electric- been falling head over heels for one of those parker fly deluxes. anyone care to trade a js6 ibanez plus collateral for one of those? or if anyone in the ny area just wants to buy my ibanez js6, let me know.
re: mojoman's return.
i'd be hiding my daughters, but merlo beat me (literally?) to them. last i heard he was sodomizing them in the back seat of his vw golf.
...and they say virginia is for lovers.
wild koba
************************************************************************ david y. kobayashi new york law school thrak75@aol.com
"i've got a feeling the tide is turning now, baby...." -m. portnoy ************************************************************************
------------------------------
End of YTSEJAM Digest 4046 **************************
This archive was generated by hypermail 2b30 : Thu Apr 01 2004 - 18:09:07 EST