YTSEJAM Digest 3605
Today's Topics:
1) Music stores
by "Alex O'Connell" <auocon@maila.wm.edu>
2) Paul Gilbert's Solo Album
by My Mistake <my_mistake@hotmail.com>
3) asnwering my own question
by CLARK ABEL <99ABEL@alma.edu>
4) Zion guitars and Candlebox, among other things...
by "Blevins, Mike" <BlevinsM@amsc.Belvoir.Army.Mil>
5) Firehouse + DT in Norway **spoiler**
by "Einar B. Gilberg" <einarg@colargol.idb.hist.no>
6) Re: Candlebox
by "Once, there was this normal boy..." <bolanddt@bigvax.alfred.edu>
7) It's a Crystal Planet!
by Phil Carter <carter@negia.net>
8) Reading (volatile rebuttal)
by Lobsterback <hender@wam.umd.edu>
9) Re: Woops, Candlebox, Satch
by alex fraser <fraser@stolaf.edu>
10) Re: Firehouse + DT in Norway **spoiler**
by The Phoenix <rctaylor@students.uiuc.edu>
11) REVIEW: "Liquid Tension Experiment"
by AURACLE <AURACLE@aol.com>
----------------------------------------------------------------------
Date: Tue, 03 Mar 1998 17:04:02 -0500
From: "Alex O'Connell" <auocon@maila.wm.edu>
To: ytsejam@ax.com
Subject: Music stores
Message-ID: <3.0.32.19980303170401.0069f210@maila.wm.edu>
Pat whispered following words of doom:
>I went into Best Buy yesterday. That place has turned into a complete
>dump. cd's were all out of order and all over the place. They had no cds
>that I wanted (surprise surprise). So I went over to Borders which was
>next door. They had a cd I wanted but I'm not paying 16.99 for a new cd.
>It is sad to say but I forsee the demise of the record store and the rise
>of the online cd store. Why is i that only new "popular" cds are onsale
>anymore while new "unpopular" cds are not?
That's not what I needed to hear. I mean, I obviously have noticed for
some time the crap that most CD stores carry. This is why I couldn't get
my grubby hands on some things that have been haunting me for a while. A
friend of mine here at school swore by Best Buys. I am hoping against hope...
------------------------------
Date: Tue, 3 Mar 1998 16:20:16 -0600
From: My Mistake <my_mistake@hotmail.com>
To: ytsejam@ax.com
Subject: Paul Gilbert's Solo Album
Message-ID: <199803032220.QAA62132@mail.mty.itesm.mx>
I just got PJ's solo album, it's called King of Clubs and it's pretty cool,
mostly guitar oriented alternative pop rock songs...it sounds pretty much
like Schizophonic, The big difference I see is that Nuno used to play a 12
minute instrumental on his live shows, Paul Gilbert included a 20 minute
instrumental on the album, and a little bach piece...The Jam is the 20
minute song but I foind it a little boring after those sense less solos, as
the name tells you this is only a jam, I dont think it was intended as a
song for the record...
if you like Nuno Bettencourt's Schizophonic you'll also love this, but dont
espect a racer x album....I also got an incredible PRO shot Joe Stump video
were he plays some covers of hendrix, yngwie, SRV and others as well...also
he plays some songs written by himself, I think it's a pretty rare video and
is a second gen. it was taped one week before his bass player died of
overdose. he does some classical stuff from bach and pagannini too.
Has anyone got the new Van Halen Album??????
Z ya
>This is the new home to the http://pioneer.chula.edu/~u3511156/ Mr.Big
>Unofficial Homepage. Unfortunately, it has been down for months. I am sorry
>for such inconvenience. Now the page is back again with new URL here at
>Geocities http://www.geocities.com/ SunsetStrip/Club/4848/ Don'r forget to
>update your bookmark. Some parts of this site are still under construction.
>
>Breaking News from Paul Gilbert!!
>
>"I have a solo album coming out on November 27th. It is called "King of
>Clubs" and features him singing and playing all the instruments except for
>the drums which were played by Jeff Martin and Pat Torpey. (I did play the
>drums on one song titled "I'm Just in Love") The album was produced,
>recorded, and mixed by me and Bruce Bouillet (former guitarist of Racer X).
>The last song on the record is a terrifying guitar jam between Bruce and
>myself and featuring former Racer X members, Jeff Martin on drums, and John
>Alderete on bass. This "Jam" lasts almost 20 minutes! The other songs range
>from heavy pop with scary guitar to big heavy 70's style guitar songs. Plus,
>there is one other instrumental where I play a Bach piano piece on guitar."
> NEWS:
>
>11/01/97
>
> AAALLLRRIGGGHHHTTTT!!!!
>
>PG's new album will be out very soon!!!Here's the email that paul sent to me
>yesterday:
>
>Hello,
>
>Thanks for doing a web site about me! It looks great!!! Here is some new
>
>information for you or anyone who is interested:
>
>I have switched string companies and now I happily endorse ERNIE BALL
>strings.
>
>My solo album is finished. It is called, "King of Clubs" and will be
>
>released in November in Japan and a few months later in the rest of the
>world.
>
>It includes some of the best songs I have ever written (just my opinion),
>
>a Bach piano piece played on guitar, and a terrifying guitar jam featuring
>myself
>
>and former Racer X members (Bruce Bouillet, Jeff Martin, and John Alderete).
>Bruce also helped
>
>me produce, engineer, and mix the record. I am singing and playing all
>
>the instruments on the record except for the drums which were played by Jeff
>Martin and Pat
>
>Torpey. The first single off the album is called "Vinyl". I hope everybody
>likes it!
>
>Look for two new Ibanez PGM guitars. The PGM900 (which is a red stained
>
>mahogany body with black and gold f-holes), and the PGM2000 (which is blue
>with abalone bindingand white f-holes). They are both killer!
>
>I played with Steve Vai, Andy Timmons, and Simon Phillips at the 90th
>
>Anniversary Party for Hoshino (Ibanez, Tama, and Laney) in Japan. We played
>some songs
>
>from my new record "King of Clubs" plus a song called "El Becko".
>
>It was extremely fun and it made me even more excited to get out and play
>live with my new material.
>
>More news to come as it happens. Thanks again for your support! Keep up the
>great work!
>
> "King of Clubs"
>
> Paul Gilbert
>
------------------------------
Date: Tue, 03 Mar 1998 17:24:17 -0400 (EDT)
From: CLARK ABEL <99ABEL@alma.edu>
To: YTSEJAM@ax.com
Subject: asnwering my own question
Message-ID: <01IU8K2S0MTE8ZE4X0@alma.edu>
Well, no one has responded to my question about economy picking vs.
straight alternate picking from earlier, so let me ask another question that
probably no one will answer: When you straight alternate pick, do you actually
'run around the car' every time you go to a new string, even if you don't
need to? Just to maintain the up-down picking pattern? If people actually do
this, this may sound bizzarre, but the idea of picking this way has never
occurred to me in the time I've been playing. I suppose the advantage would
be that if you were playing 16th notes (or any even division) you would always
downpick on the beat, so your picking hand would serve as kind of a metronome.
I can't believe that the idea to pick this way has never even occurred to me
before. So do people actually do this?
By the way, I have to second (or third, or whatever) those who have
said that the new Joe be rockin'. Stu makes a huge difference. And yes, it
is chock full of references to Time Machine. I noticed in the liner notes
that it credits Joe with guitar synth on at least one song... I'm pretty sure
I read in like a 93 GFTPM interview where he said he would never use one of
those things... it wouldn't surprise me if he changed his mind but has anyone
else ever read where he said anything like that? Maybe I'm dilusional. That
wouldn't surprise me either.
-Clark
------------------------------
Date: Tue, 3 Mar 1998 17:43:07 -0500
From: "Blevins, Mike" <BlevinsM@amsc.Belvoir.Army.Mil>
To: "'ytsejam@ax.com'" <ytsejam@ax.com>
Subject: Zion guitars and Candlebox, among other things...
Message-ID: <c=US%a=_%p=AMSC%l=AMSC_NTAS-980303224307Z-230@amsc_ntas.amsc.belvoir.army.mil>
>Al B says, re: Candlebox:
>> A shame, because they were a good band, too.....apparently,
>> though, they were not very good live, and the singer sucked live
>> (forgetting lyrics and shtuff like that..........)
>
>This is dead on. I saw them open for Rush once and they were just about
>the worst opening act I had ever seen. I remember thinking to myself,
>"Whose bright idea was it to have them open for RUSH??"
Madonna's, actually. She wanted them on a high profile tour since they
were on her label, and Rush was the highest profile one available at the
time. So, a little well placed label pressure, and viola!
The truly sad thing is that, rumor has it, Rush was going to continue
the tradition of taking little known bands on the road with them, and
that on this tour, it was going to CYNIC.
Would that have been cool, or what?
Robban wrote...
>"Blevins, Mike" <BlevinsM@amsc.Belvoir.Army.Mil> wrote:
>>I believe I play in the only unsigned heavy metal band left on the
>>planet that has no members that play Ibanez. We do, however, play
>>Jackson (Matt), Zion (Me), and Warwick (Dan).
>You play Zion guitars how does they feel??? the tremolo is it stiff or
>smooth does the guitar stay good in tune??? the pickups how do they
>sound??? I want a overall view be honest and tell what you like and not.
>I have only seen but not played Ty tabor signature zion it sounds really
>great on the cd:s but it is expensive like hell.
Zions are quite expensive. The Tabor model sounds good, but I actually
play older ones, and I've changed the pickups. Tremolos vary quite a bit
between the different models, but the one on the RT classic is pretty
cool, for a non - locking type. (Both of mine have Floyd Rose's, having
been made in the 80's). A new Frosted Marble will run you about two
grand, but they are beautiful guitars. The major thing I like about
Zions are the necks, actually - the attention to detail really shows
there, as they are smooth as glass, even with a fair amount of string
tension, and buzz-free, even with a very low action. They're now
available with Duncans, Lindy Fralin's, or Joe Barden's, as well.
Oh yeah, and the finishes rule. :) Of course, mine are beat to crap, but
they both play and sound great. You can also pick them up used pretty
reasonably, and they're so well made that they hold up really nice.
>
>>I also recently got to play a Universe for a
>>couple of days, and while the seven strings were no problem - a little
>>weird, but quite playable - the pickups sounded like crap, and the >buil=
>d quality was awful for a $1500 guitar, seven string or not.
>
>I am thinking of getting a 7-stringed guitar i have always wanted one
>but I do not like the sound of the pickups either i have dimarzio
>evolutions on now and I don=B4t think I can live with the sound of the
>Blaze pickups on the 7 stringed when I am used to the evolution sound.
>I have tried some Universes and the Multicolored and the White feels
>better in quality than the Black with green pickups. But However the
>Black with green pickups is cheeper.
>The New UV777PBK Is the greatest in quality and finish.
I haven't played the new one, but I haven't been impressed with any of
the ones I've played. *sigh* I guess if I want one, I'll have to have
one built, and since Ibanez is the only company currently making a seven
string tremolo, I guess I'll have to pay the arm and the leg they want
for it...
D-Man wrote...
(LI story snipped)
>That's why I hate Candlebox. :)
Hmm. I could see that... :)
Jacob wrote:
>again Joe showed everybody their place. Concerning the discussion about
>whether Angra will be signed to a major, I think we cannot exclude such
>possibility since in France, for example, this band has an enourmous
>success; they sold out the same venue as fast as Dream Theater did. I
>personally think that Andre and Co. are enough talantive and enovative
>to become one of major power/prog. metal bands.
>Thought I'd share. Jacob. provibe@club-internet.fr
Ahh, I love the speculation, but I'd hate to see them get screwed over
by a US label. I'd really love A NEW ALBUM BEFORE THE FALL, but I guess
I won't get it...
Bernd, you out there? Any insight? :)
Dave quoth and wrote...
>>On the subject of Headbanger's Ball in the USA, two reasons why it
>>don't exist: 1) Rikki Rachtman; 2) Lonn Friend.
>
>Can you elaborate on this? I thought that the show went away because MTV
>decided that metal was"dead" and that the air time could be givne to
>under-exposed "alternative" bands...
Umm, the last time *I* watched HBB, it was nothing BUT "alternative"
bands. However, the argument is essentially correct - Lonn and Rikki
really didn't have much to do with the show, they were just mouthpieces.
Now why they didn't give it to Dee Snider, I'll never understand...
BTW, I considered posting my gear list, but since everyone's already
pretty bored with that idea, you can just come to one of the shows and
see it! :)
Mike
Division - Playing with Saxon on Friday the 13th. Anyone got a hockey
mask?
------------------------------
Date: Tue, 03 Mar 1998 23:42:04 +0100
From: "Einar B. Gilberg" <einarg@colargol.idb.hist.no>
To: ytsejam@ax.com
Subject: Firehouse + DT in Norway **spoiler**
Message-ID: <34FC873C.3BFDFB4F@colargol.idb.hist.no>
I saw on the very unthrustworthy AMG music guide that Images & Words is
a similar album on the album Firehouse by Firehouse. I have not heard
anything by this band before. Can someone tell me something about them?
Are they recomended? Is this album worth checking out?
BTW. I attended the concert Dream Theater held in Rockefeller 1th March
in Oslo, here in Norway. WOW!! Great show! Every bandmember did
everything by the book. Incredible setlist, even though I don't remember
everything they played. In the middle they had this loong medley of
different DT-songs that smoothed beutifully. They ended the set with an
medley-encore consisting of the in-my-opinion best songs met/ltl/crimson
sunset... and a little riff from A Fortune in Lies. I can remember they
played Under A Glass Moon, Pull Me Under, BMS, HY, PS, Voices among
others. I'm so excited! This was my first real concert. EVER! By any
band! I'm thinking of applying for a job as a crew-member on the next
tour so I can see every show by Dream Theater! I feel sorry for the
souls that has not experience DT live yet!
I met Derek after the show. What a great guy! He was very relaxed and
took his time chatting with the fans. Gave autographs etc. I asked him:
"Can I have a picture with you?" - and his answer was very positive -
"absolutely!".. The only pity was that the flash on the camera I did
use, was not turned on! I hope the photo will be visible anyways. If it
is really terrible, maybe I can fix things up with photoshop? :)
When I was in Oslo I bought 16 new CD's. Two old Genesis albums, two
Dire Straits, Two Galactic Cowboys and a bunch of others. One CD I
highly recomend is Nightwish - Angels Fall First. Damn!! This is a great
CD. Gothic mixed with prog-metal and female vocals! Lacuna Coil is
another band worth mentioning. I bought this CD unheard. Is is very
short, but VERY good. Check them out. ...and.. should I mention The
Gathering - Mandylion? ...Marillion - Misplaced Childhood? ... King's X,
Queensryche? :) Enough said..
Well.. that's all for now!
Best regards,
Einar
-- Einar B. Gilberg tlf : +47-73 51 05 31 Kalvskinns gt. 3 fax : +47-73 51 05 31 N-7012 Trondheim e-mail: einarg@colargol.idb.hist.no NORWAY www : http://www.colargol.idb.hist.no/~einarg------------------------------
Date: Tue, 03 Mar 1998 17:57:41 EST From: "Once, there was this normal boy..." <bolanddt@bigvax.alfred.edu> To: ytsejam@ax.com Subject: Re: Candlebox Message-ID: <009C2A56.52D4E3A0.5@bigvax.alfred.edu>
As for the guy who said Candlebox isn't too impressive live, ditto here. I saw them when they opened for Rush (Counterparts) in Rochester, NY. nice musically. real clean and crisp. worshipping the ground Rush walked on (does the phrase "You're gods! You're sh*t don't stink! I love you! I'm not worthy!" and such make it clear?). but the lead singer, seems to spazz out too much live. really too much! hard to understand, stuff like that. someone should let him know "Tone it down a touch!" at least that's my humble opinion! thanks, dave
------------------------------
Date: Tue, 03 Mar 1998 17:49:14 -0500 From: Phil Carter <carter@negia.net> To: Keeper of the Seven Ytses <ytsejam@ax.com> Subject: It's a Crystal Planet! Message-ID: <3.0.1.32.19980303174914.0068cd58@pop.negia.net>
Greetings ye 'jamanoids...
After I remarked that I was disappointed with the "Joe Satriani" disc, Rogerio replied: > It's interesting. I don't think that his self titled album is such >a disappointment. In fact, I dig some of the songs very much. But, of >course, that's an album which isn't appropriate for certain moods: you >have to be in the right mood to hear "Down, Down, Down". > But it's certainly worth the experience.
Oh, sure, it's still a good album (I don't think I could dislike a Satch album if you paid me) but it just doesn't do much for me. Satch's trademark tone sounds woefully muffled and washed out; the songs themselves are less complex and musically explorative -- for the most part it just seems like straightforward pop-rock with a bluesy feel. It's much more laid back than any of his other work.
Yeah, there's a couple of standout tunes ("Killer Bee Bop" approaches Satch's usual tone and style of playing, and "Cool #9" 's funky rock feel is interesting), but for the most part it just seems very uninspired -- for Satriani.
On the other hand, "Crystal Planet" -- OH MY GOD. I am only eight tracks in (there's 15 on the disc) and I'm already amazed. This is Satch's best effort since "Flying in a Blue Dream" back in 1989. Astounding compositions; superb playing from Joe; bassist Stu Hamm and drummer Jeff Campitelli stand out in the mix and complement Joe perfectly -- wow, what an album! Joe's trademark fingerprint tone is stronger than ever before and the emotion just surges from the speakers with every single note.
And the surfing songs are back! Favorite track so far is "Ceremony," a surfing song if there ever was one. Chugging beat and pyrotechnic licks from Satch. Shredders, take note: THIS is what you should aspire to.
Did I mention "Wow"?
Go get this album. Now. DO YOU HEAR ME MISTER! NOW!!!!!!!
Ta, Phil
========================================================= Phil Carter -- carter@negia.net http://www.negia.net/~carter "Music brings peace to the restless, and comforts the sorrowful. They who no longer know where to turn find new ways. And those who have despaired, gain new confidence and love." -- Pablo Casals Currently playing: Joe Satriani -- "Crystal Planet"
------------------------------
Date: Tue, 03 Mar 1998 17:57:01 -0500 From: Lobsterback <hender@wam.umd.edu> To: ytsejam@ax.com Subject: Reading (volatile rebuttal) Message-ID: <3.0.3.32.19980303175701.0073fa50@pop.wam.umd.edu>
>From: Damon Fibraio <damon74@injersey.com> >Subject: Re: Phalling Into Infinity > >Brian, you are obviously not readming much.
That's not true! I'll have you know I just finished Happy Days #8: "Fonzie Goes To College". Great book, btw. Highly recommended. Especially the part where they beat Speedy U. South in the Big Game.
Speaking of reading...
Brian "America's Number One Bathroom Digest" Henderson
=========================== Name: W. Brian Henderson, Esq. Contact: hender@wam.umd.edu ROBOT-CENTRAL: http://www.wam.umd.edu/~hender/ ===========================
------------------------------
Date: Tue, 3 Mar 1998 14:43:35 -0600 (CST) From: alex fraser <fraser@stolaf.edu> To: Multiple recipients of list <ytsejam@ax.com> Subject: Re: Woops, Candlebox, Satch Message-ID: <Pine.GSO.3.96.980303144247.21278A-100000@lars.acc.stolaf.edu>
> D-Man remarked: > > As Keith Olbermann would say, "Geh!" Well, I think everyone's allowed > > one accidental private mail posted to the Jam. :) -d > Not you, Chris. You've been around long enough to know better. :) 'Course, > with the Olbermann reference we can forgive you. I miss Keith on > Sportscenter...
Gianluca Pagliucca.
id
------------------------------
Date: Tue, 3 Mar 1998 17:34:12 -0600 (CST) From: The Phoenix <rctaylor@students.uiuc.edu> To: ytsejam@ax.com Subject: Re: Firehouse + DT in Norway **spoiler** Message-ID: <Pine.SOL.3.96.980303172832.26596A-100000@ux4.cso.uiuc.edu>
Firehouse was my favorite band before Dream Theater, but their styles are nothing alike except that they are both some form of rock. Firehouse is one of those melodic hard rock bands that would fit more in the vein of Slaughter and Warrant, who they are consequently touring with along with some other bands this summer, I think.
-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_- | Robert Taylor The world may seem flown away | | rctaylor@uiuc.edu Almost as if it cannot be saved | | The Phoenix Will we be able to rise | | From these ashes we've sown | -~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-~-_-
------------------------------
Date: Tue, 3 Mar 1998 18:34:44 EST From: AURACLE <AURACLE@aol.com> To: ytsejam@ax.com Subject: REVIEW: "Liquid Tension Experiment" Message-ID: <3f70af77.34fc9397@aol.com>
Greetings, all Jammers...
The following is my review of the long-awaited and eagerly anticipated album by Liquid Tension Experiment. As always, your thoughts, opinions, comments and questions are welcomed and encouraged, provided they're intelligent and constructive. Here we go... _______________________________________________________________ Liquid Tension Experiment John Petrucci, electric guitars Jordan Rudess, keyboards Tony Levin, electric bass, Chapman Stick, NS upright electric bass Mike Portnoy, drum kit and percussion Paradigm Shift 8:55 Osmosis 3:26 Kindred Spirits 6:29 The Stretch 2:00 Freedom of Speech 9:19 Chris and Kevin's Excellent Adventure 2:21 State of Grace 5:01 Universal Mind 7:53 Three-Minute Warning 28:31 Part One 8:20 Part Two 4:02 Part Three 5:18 Part Four 4:20 Part Five 6:31 All music conceived and created by Liquid Tension Experiment. Produced by Liquid Tension Experiment. Mixed by Kevin Shirley. _______________________________________________________________ The liner notes contained in the booklet for this CD detail the strange and convoluted history of this project, from its conception by Magna Carta heads Mike Varney and Peter Morticelli as "Mike Portnoy's dream band" around the end of 1996 to the one frenzied week of writing and recording done by the band in September 1997. Reading the tale of how it came to be is quite entertaining, given the Dream Theater drummer's boundless enthusiasm for the project and the musicians involved in it. However, it's nowhere near as exciting and exhilarating as the music these four extraordinary virtuosos were able to create in such a short span of time. The album opener, "Paradigm Shift," sets the predominant tone for the album. All the elements you would expect are abundantly in place: hyperkinetic drumming, heavy DT-meets-Steve Morse riffing, breakneck guitar/synth unison lines, and so on. Petrucci breaks out the wah-wah pedal for much of this piece, using it for melodies as well as solos; his first solo is one part Hendrix, one part Steve Vai, with some wicked speed picking at its conclusion. Rudess' blindingly fast first synth solo glides over a slow, heavy groove from Levin and Portnoy. After this solo, there are a few moments where the rhythm section continues to groove by itself, reminiscent of the opening of Yes' "Heart of the Sunrise." Petrucci's second solo is quite tasty, and then the band shifts into a quasi-Egyptian mood over which Rudess plays another dizzying solo. Portnoy kicks the piece into overdrive at the end, assaulting his drum kit with a flurry of fills and crashes before the final kamikaze unison guitar/synth unison lick. "Osmosis" is a surprising and highly effective change of pace, sort of a world-music mood piece based around Levin's upright bass and Portnoy's creative use of percussion. Rudess' evocative synthesizer melody dominates the piece, creating an ethereal, otherworldly atmosphere over Portnoy's high- hat and Chinese cymbal accents. Petrucci adds a spare, elegant guitar melody, and the piece ends all too soon, like a dance with a ghostly partner who drifts off into the night. The next piece, "Kindred Spirits," is a very Dregs/ELP/Deep Purple-influenced flight of heavy fusion, featuring inspired organ and piano work by Jordan Rudess and a transcendent guitar melody by John Petrucci. There's a tightly- knit ensemble section that finds the whole band locking into a serious groove, and a frighteningly fast synth lick from Rudess that makes you wonder if he really has only ten fingers, amazingly doubled by Petrucci's guitar. The beautifully conceived and constructed guitar solo firmly disproves the notion that Petrucci is merely a speed demon who plays without taste or feeling. Rudess follows this with a tasty solo of his own, stringing notes into a finely woven chain of expression over the rhythm section's heavy groove, and all too soon Portnoy's double kicks once again drive the band to an energetic conclusion. "The Stretch" features a dare-I-say-funky pattern on the Chapman Stick that shows why Mr. Levin is still the best-known proponent of that notoriously difficult instrument, with a sinuous synth melody and a brief but spectacular solo from Jordan Rudess. It's a fun little piece of jazz-funk that probably could have been developed further but is enjoyable nonetheless. Rudess really gets to shine on the next track, "Freedom of Speech," dominating the track with his astonishing chops on piano, organ and synthesizers. He opens the piece with an elegant piano theme which is soon restated by Petrucci, who actually gets the first solo over Rudess' tasty piano chord support. It's a wonderful solo, starting off slowly, melodically, and building to a high crest of emotion before Rudess takes things in another direction with a piano theme that sounds a bit like the main guitar figure from the Mahavishnu Orchestra's classic "Meeting of the Spirits." Portnoy tips his hat to original M.O. drummer Billy Cobham with a flurry of dynamic fills before settling into the mystical feel of that immortal piece, which continues on for a while and suddenly morphs into a surprisingly heavy ensemble riff. Rudess solos on both synthesizer and organ, and then Petrucci plays a dazzling solo over Portnoy's driving double bass drums, sending bursts of notes like fireworks into the air. Rudess ends things with his piano, concluding the stirring piece in a graceful manner. "Chris & Kevin's Excellent Adventure" is essentially a duet between Levin's Stick and Portnoy's hard-charging drums (check out that ride cymbal groove!), with a plaintive little whistling melody that makes the piece sound a little like a King Crimson out-take crossed with the theme from "The Andy Griffith Show." There are a few other "vocal moments" from Levin and Portnoy, and the piece ends with a chuckle from one of them, though I can't tell who. Fun stuff. Things continue in the duet vein on "State of Grace," which is about as opposite to the preceding track as it's possible to get. I can't help but think that Petrucci and Rudess, who both have young children, were inspired by them when they wrote this piece, an achingly beautiful blend of grand piano and electric guitar that sounds like the music that might accompany an angel's visit to a child's bed. Slow, soft and obviously heartfelt, Petrucci's guitar and Rudess' piano interweave in an almost ballet-like dance, with some really nice string parts played by Rudess on synthesizer. Tasteful and restrained, "State of Grace" is one of the most remarkably passionate pieces of music I've ever heard, surprising in its soft power. It's back to the heavy stuff on the anthemic "Universal Mind," which has so many things going on in it that I'm not sure I can even describe it all. This one's got everything, and then some: an Yngwie Malmsteen-like neoclassical opening guitar lick, fleet-footed double bass drum work, an intricate guitar/synth unison melody, heavy ensemble riffing, and a guitar/keyboards tradeoff section that's just mind-boggling. Petrucci takes the first solo, inflicting severe distress upon his wah-wah pedal with relish, and Rudess follows, surprisingly, on piano, whipping off jazz-inflected runs like a cross between the Dregs' T Lavitz and Keith Emerson. Petrucci follows with some serious shredding, and Rudess meets the guitarist's challenge on synthesizer this time. Petrucci then turns up the intensity and Rudess contrasts it with another piano run. The tradeoff section ends with Petrucci, and then the mood of the piece changes with a stately, unaccompanied classical piano break. Then Levin changes things up yet again with a funk bass breakdown on top of a monstrous beat from Portnoy. The main guitar/synth melody returns in a slightly different form before Petrucci and Rudess sail off into a seriously scary harmony line, followed by an Alex Lifeson/Geddy Lee-like guitar/bass harmony that leads back into the double-bass-drum-fueled neoclassical opening guitar lick. Breathlessly, the piece ends with a quasi-polka-turned-circus- music guitar/keyboard harmony line that's as humorous as it is technically amazing. Now, if it were to end right here, this would still be a pretty fantastic album. But...
(CONTINUED IN PART TWO)
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End of YTSEJAM Digest 3605 **************************
This archive was generated by hypermail 2b30 : Thu Apr 01 2004 - 18:08:46 EST