YTSEJAM Digest 3614
Today's Topics:
1) Re: A worse joke
by Angus53 <Angus53@aol.com>
2) Liquid Tension Experiment
by Gary Davis <artshop@artist-shop.com>
3) Oops
by someone@prognosis.com
4) Savatage
by Joe DeAngelo <jdeangelo@ameritech.net>
5) The Guitar Thread
by Awake77 <Awake77@aol.com>
6) new maiden song
by Conrad Chi <uchic00@mcl.ucsb.edu>
7) Re: The Guitar Thread
by "Brian Hayden" <Brian.D.Hayden-1@tc.umn.edu>
8) Japanese Hollow Years single(s)?
by Bill Nottingham <wen1@cec.wustl.edu>
9) Re: Japanese Hollow Years single(s)?
by Rick Audet <ytse@concentric.net>
10) Single Coil Distortion sucks?
by Calvin 6S <Calvin6S@aol.com>
11) drummers sounding off...
by Luke <slslb@winshop.com.au>
12) Re: Oops (reply to Ptacek... i.e. may be boring)
by "Vincent G. LuPone" <vgl@syspac.com>
13) SV: Malmo Setlist, pretty unusual
by "Wille Raab" <raab@mail.bip.net>
14) Re: YTSEJAM digest 3611
by "Richard A. Rivera" <rrivera@zoo.uvm.edu>
----------------------------------------------------------------------
Date: Thu, 5 Mar 1998 00:38:05 EST
From: Angus53 <Angus53@aol.com>
To: ytsejam@ax.com
Subject: Re: A worse joke
Message-ID: <7776b89b.34fe3a40@aol.com>
Two bums live under the railroad tracks. They eat and sleep and roam around
pickin through garbage together all the time. They are sick of each other.
One day, one says to the other, "tell you what, you go one way on the RR
tracks, I'll go the other. We'll spend a day apart, see what we see, meet
back here, and talk about what happened". The other bum agrees and the next
morning they set out. When they returned, the 1st bum said, "you know, I'm
glad we did this, I saw mountains, and rivers, and wild animals. I had no
idea how beatiful the world really is. How was your day?" The second bum
says, "Hey, I had a great day too, I went about a mile or two up, and found
this woman tied down to the tracks. So I untied her, and we had sex! I
fucked her all day long. I fucked her in ways I couldn't even imagine
possible." "Really? Thats great!", the other bum says, "did you get a
blowjob?" the other says "No, I never quite found her head".
Sorry if I offended any bums, RR workers or tied up women in this joke.
Please do not take it personally.
------------------------------
Date: Thu, 05 Mar 1998 00:36:57 -0500
From: Gary Davis <artshop@artist-shop.com>
To: ytsejam@ax.com
Subject: Liquid Tension Experiment
Message-ID: <2.2.32.19980305053657.0104226c@artist-shop.com>
Hello Friends!
Those of you looking for Liquid Tension Experiment will find it on my Magna
Carta page <http://www.artist-shop.com/magna>. Definitely some beautiful
work here, a real jewel. I've had a promo of this for a couple weeks now
and it's hardly left my CD player! LTE is an incredible amalgam of
musicians with Tony Levin of King Crimson and Peter Gabriel's band on bass,
stick and upright bass, John Petrucci and Mike Portnoy of Dream Theater on
guitar and drums respectively, and Jordan Rudess of the Dixie Dregs on
keyboards. This quartet composed and created a complex, yet vibrant, record
of instrumentals that showcase the amazing compositional and performance
abilities of these noted players. Mixed by Dream Theater producer Kevin
Shirley, this is hands down the best album to come out of Magna Carta yet!
I'm not sure how they're going to top it, but I'd love to see them try ;-)
I hope you'll stop by to check it out.
Gary
**************************************************************
Gary Davis
The Artist Shop The Other Road
http://www.artist-shop.com artshop@artist-shop.com
phone: 330-929-2056 fax:330-945-4923
SUPPORT THE INDEPENDENT ARTIST!!!
**************************************************************
Check out the latest Artist Shop newsletter at
http://www.artist-shop.com/news.htm
------------------------------
Date: Wed, 4 Mar 1998 23:48:45 +0000
From: someone@prognosis.com
To: ytsejam@ax.com
Subject: Oops
Message-ID: <199803050546.VAA01049@odin.ax.com>
I accidentally quoted part of Phil's message without responding to
it. A mistake I will rectify through my response to Vin.
> From: "Vincent G. LuPone" <vgl@syspac.com>
> >Hm. Let's see, how many of the following play or played Fenders?
> >
> >Eric Clapton
> >Joe Stump
> >Eric Johnson
> >Stevie Ray Vaughan
> >Yngwie Malmsteen (oh no, not him again) :)
>
> ...and for clean tone, the glassy single-coils of a fender are pretty
> cool, but the tone of single-coils with heavy distortion sucks fat donkey
> nadz. Humbuckers all the way, man. Most Fenders don't have humbuckers,
> floyd rose trems, or over 21 frets. to me, that's a bit limiting.
1). Some of the best guitar tones in the WORLD for distortion are
only available via the beauty of the single coil. I should go
through my collection, and make .wavs of different players with
different guitars... I bet you'd end up freaking over some people's
single coil stuff. Nothing sounds quite like a neck position single
coil, soaked in distortion juice, and served with a hardy portion of
32nd notes. :) Yeah, what I just said here is my nipple, and I
don't expect you to agree, YET, but you will, if I get around to
making some .wavs for ya! :)
i). I long to hear the Vinnie LuPone solo that requires frets 22-24
in order to be properly executed. I'd go so far as to say that 99
percent of all playing is done below the 21st fret.
First). Any player who NEEDS a trem in order to get his point
across is, in my book, a wanker.
> Oh yeah, Eric Clapton sucks!! :)
Primarily). No. Dave Mustaine sucks. Kirk Hammet sucks. Eric
Clapton just doesn't shred... and you can't HANDLE THE TRUTH!
----------
Another ill informed non guitarist spewed forth:
> Damon I think you are nuts. Piano is not an easy ninstrument to
> learn. With guitar, you can learn a bunch of power chords and be
> Green Daty or the equivalent.
Piano, IMO is the EASIEST instrument to learn on. All instruments
are about equally difficult to MASTER, though. Who on this list is
going to be satisfied playing only Green Day type music? Give me a
break!
> Look at how many guitarists are
> half-assedly making money and feel that they don't need to do any
> better since they have achieved the rock and rolldream.
Look how many keyboardists get by doing even LESS! Press the little
black key to release sequenced cheesy music part A. Dance around
like you're actually playing. Press the little white key to change
to cheesy sequence B. It's just as easy to be talentless and make it
big as a keyboardist. Just join a modern MTV R&B band.
You tell me about how easy it is to be a guitarist and make tons of
money without knowing how to do anything when you do it. I haven't
met anyone who has been able to pull this off, and I'm sure as hell
broke!
> piano, on
> the other hand, is much harder to fake. A pianist needs to know
> technique, theory, and have good left and right hand independence.
> We need to know so much more just to sound good, because there is no
> such thing as power chords on a piano and no way of faking through
> things in the way that bar choards and such are for guitarists.
That is THE BIGGEST LOAD OF BULLSHIT I've heard on this list in a
long time! _I_ Can fake piano. And I'm a guitarist. A pianist
doesn't NEED to know any more than a guitarist knows. In general,
they tend NOT to know more than guitarists. It all depends on how
much work each puts in.
You need to know much more just to sound good?!? If a guitarist
can't synchronize the pick and the strings, with the fretting hand,
he can't even sound PASSABLE! All you have to do is push keys down
to do that! :) No such thing as power chords?! Then why do so many
half witted keyboardists sound the same? And tell me what is
"faking" about barre chords? Do you know what a barre chord is? To
play the same chord on keys, you hold your hand in similar
standardized shapes. I can't imagine how you could try to pass this
garbage on to the list! :)
"Apathy is the "suckbird" on cynicism's bloated carcass."
- Dennis Miller
Chris Ptacek
someone@prognosis.com
http://www.prognosis.com/madsman
Go Home and Practice!
------------------------------
Date: Thu, 05 Mar 1998 00:50:30 -0500
From: Joe DeAngelo <jdeangelo@ameritech.net>
To: YTSEJAM <ytsejam@ax.com>, Angus53@aol.com
Subject: Savatage
Message-ID: <34FE3D26.E356FF38@ameritech.net>
> I found a lot
> of Savatage which I have heard mentioned once or twice. Could someone > tell me which ones to get.
"Edge of Thorns" or "Handful of Rain". Unbelievable CD's. 'nuff said.
- Joe DeAngelo
------------------------------
Date: Thu, 5 Mar 1998 01:08:48 EST
From: Awake77 <Awake77@aol.com>
To: ytsejam@ax.com
Subject: The Guitar Thread
Message-ID: <3b9dc2a3.34fe4173@aol.com>
Bretheren,
> We need to know so much more just to sound good, because there is
>no such thing as power chords on a piano and no way of faking
>through things in the way that bar choards and such are for
>guitarists.
'barre' (bar) chords on a guitar are by no means a 'fake' or a 'cheat'
for a guitarist. The 'bar chord' on a guitar is the most common means of
moving a basic 'open' position chord formation up the neck to a higher pitch.
Im sure you were referring to a bar chord and a power chord as the same thing,
but they're not, really. You dont need to barre the neck to play a power
chord. Its essentially just two notes. The root and the 5th. So, you can play
a 'power chord' on a piano. Quite easily, too. A & E, B & F#, etc. Granted ,
this easy technique wont sound as dazzling on a piano as it does on a
distorted guitar. But , then again, if it werent for our 2 note diads, where
would all the 'balls and chunk' go? Db13 and Fm7b9 dont sound all to healthy
under heavy distortion, there are too many notes and the individual waveforms
get all mixed up and out of sync and it sounds like a muddy mess.
Its difficult to become good and 'sound good' on any instrument. Just
because one plays the piano proficiently dosent mean he's worked harder than a
person whose achieved equal mastery on a guitar. There's plenty of technical
difficulties on the guitar that arent realized on the piano, too. For
instance, check out this 'Speed Picking vs. Alternate Picking" thread going on
right now. Do pianists have to worry about they're picking style? Or the best
way to sweep an arpeggio? How hard do you think it is to play a 4 octave
speed run of 32nd notes on a guitar compared to a piano? In fact,
'Chopsticks' on the guitar would require more than just rudimentary skill,
when on the piano it is a very basic tune.:)
I think the piano is a great instrument. I think the guitar is a great
instrument. Its tough to get really good at either one of them. Granted, a
lot of the posers out there in the "modern rock" world make me sick just
listening to them. And yes, to consider many of them musicians would be in
fact 'cheating' many a good musician out of the respect he or she rightfully
deserves. Look at all the talent there is right here on the jam! We've got
bands like Clockwork, virtuosos like Brian Wherry, etc. Of course these guys
have worked a lot harder to play they way they do than a bunch of no-talents
like ' Hole ' or ' Dig ' or whatever the new thing is on the radio. But
that's the way it is. Its like trying to equate the amount of money an album
makes with the quality of music that's on it. That ratio is hardly ever seen.
Also, playing a passage quickly and cleanly for extended lengths of time
IS a matter of practice. PROPER practice. You've got to slow down, and make
sure youre staying in time and playing all your note accents properly for
things to sound right. Then, gradually increase tempo until you've got it all
together. Nobody just picks up a guitar and starts ripping out Yngwie solos.
And, Economy Picking and Alternate Picking...They are two different
techniques. They both sound different and each one has its advantages and
disadvantages. Learn them and practice both until you can apply the best
technique for a given musical situation without even thinking about it.
Well, thanks for listening.
-Chris
PS I heard Conception split up? Is this true?
------------------------------
Date: Wed, 4 Mar 1998 22:29:40 -0800 (PST)
From: Conrad Chi <uchic00@mcl.ucsb.edu>
To: ytsejam@ax.com
Subject: new maiden song
Message-ID: <Pine.HPP.3.96.980304222545.23534B-100000@mcl.mcl.ucsb.edu>
You can hear one of the new MAIDEN songs, 'Futureal' at
Hardradio on the web. It kicks ass. The web site is at
www.hardradio.com
They also said that DEEP PUrple was going to be touring with DT.
An add for the new MAIDEN in Metal Edge said something about
getting ready for the tour in the summer. I can't wait.
At CD now, you can preorder the FATES video for $14.00
That is including shipping. They are having a sale, everything
is $3 off.
------------------------------
Date: Thu, 5 Mar 98 00:41:22 -0600
From: "Brian Hayden" <Brian.D.Hayden-1@tc.umn.edu>
To: ytsejam@ax.com
Subject: Re: The Guitar Thread
Message-ID: <34fe49125c3d009@mhub1.tc.umn.edu>
Responding to the message of Wed, 4 Mar 1998 22:23:21 -0800 (PST)
from Awake77 <Awake77@aol.com>:
>
>
> Bretheren,
>
> > We need to know so much more just to sound good, because there is
> >no such thing as power chords on a piano and no way of faking
> >through things in the way that bar choards and such are for
> >guitarists.
Last time I checked, the only types of chords were open and barre; I don't
know about anyone else, but I find barre chords to be harder to play well.
The third and fourth string many times catch in the creases of my finger.
-Brian
------------------------------
Date: Thu, 5 Mar 1998 00:47:57 -0600
From: Bill Nottingham <wen1@cec.wustl.edu>
To: ytsejam@ax.com
Subject: Japanese Hollow Years single(s)?
Message-ID: <19980305004757.A23403@xenomorph.dyn.ml.org>
Does anyone know the tracklisting for the Japanese Hollow Years
single(s)? All the info I can find just says that there's one
with 'live tracks' that was released on 2/26 and another one
scheduled for release on 3/17. (Someone's probably already posted
this, and I've forgotten.)
Bill
------------------------------
Date: Wed, 04 Mar 1998 23:31:31 -0800
From: Rick Audet <ytse@concentric.net>
To: ytsejam@ax.com
Subject: Re: Japanese Hollow Years single(s)?
Message-ID: <3.0.32.19980304233124.00734448@pop3.concentric.net>
Bill wrote:
>Does anyone know the tracklisting for the Japanese Hollow Years
>single(s)? All the info I can find just says that there's one
>with 'live tracks' that was released on 2/26 and another one
>scheduled for release on 3/17. (Someone's probably already posted
>this, and I've forgotten.)
HY edit
HY
YOM
TWIUTB
BMS live
AH/TKH live
uh.... if I remember correctly. See the FAQ if I confused you.
Rick Audet
------------------------------
Date: Thu, 5 Mar 1998 03:17:14 EST
From: Calvin 6S <Calvin6S@aol.com>
To: ytsejam@ax.com
Subject: Single Coil Distortion sucks?
Message-ID: <7d71f41b.34fe5f8c@aol.com>
"Vincent G. LuPone" <vgl@syspac.com> slurred:
<< ...and for clean tone, the glassy single-coils of a fender are pretty
cool, but the tone of single-coils with heavy distortion sucks fat donkey
nadz. Humbuckers all the way, man. Most Fenders don't have humbuckers,
floyd rose trems, or over 21 frets. to me, that's a bit limiting. >>
Are you drunk? I split my bridge pickup Seymour Duncan Jeff Beck (the
original, not single coil sized) with distortion all the time!!!! Blah, blah,
blah, not "real" single coil, just split. I play heavy humbucker rhythms, but
when I want to clean it up a bit I split the coils. Example, the "Pull me
Under" 1st Verse distorted color chords. That sounds much better with the
Single Coil sound. I also play single note lower tone runs, such as the
"thought disorder" section of "Voices".
What's more limiting: a guy using a Fender to achieve great tones or a guy who
thinks single coils sound bad with distortion? I agree the Fender is limiting
in this respect (although new pickups are making that a thing of the past). I
just couldn't believe you thought single coil with distortion "sucks fat
donkey nadz." Maybe I don't know you well enough and that was a compliment.
------------------------------
Date: Thu, 05 Mar 1998 18:22:53 +1000
From: Luke <slslb@winshop.com.au>
To: ytsejam <ytsejam@ax.com>
Subject: drummers sounding off...
Message-ID: <34FE60DD.D76@winshop.com.au>
> I play Pearl Export drums and Sabian cymbals exclusively. Promark 2B
> sticks, DW pedals and Gibraltar rack and hardware.
> Come on drummers sound off!! That is what we do best isn't it?
Okay,
KIT : Shitty old Dolby/Druin (Australian made kit that they don't make
anymore) drumkit that I'm currently learning on.
CYMBALS : My cymbals don't have any markings left on them, but they look
like the colour of shit.
STICKS : Whatever the fuck are the cheapest ones at my local music
store.
RACKS : eh??
The only good thing is my faithfull OLD Pearl pedal.
> when i had a girlfriend i used to use her head for a ride
This can be interpreted in two ways....
Czech ya,
Luke.
------------------------------
Date: Thu, 05 Mar 1998 02:41:14 -0700
From: "Vincent G. LuPone" <vgl@syspac.com>
To: ytsejam@ax.com
Subject: Re: Oops (reply to Ptacek... i.e. may be boring)
Message-ID: <3.0.32.19980305024112.006f5c2c@postoffice.syspac.com>
At 09:58 PM 3/4/98 -0800, Chris Potato-shack :) wrote:
>> ...and for clean tone, the glassy single-coils of a fender are pretty
>> cool, but the tone of single-coils with heavy distortion sucks fat donkey
>> nadz. Humbuckers all the way, man. Most Fenders don't have humbuckers,
>> floyd rose trems, or over 21 frets. to me, that's a bit limiting.
>
> 1). Some of the best guitar tones in the WORLD for distortion are
>only available via the beauty of the single coil.
And I totally agree and believe you. See, I don't like the HEAVY sound of
a single-coil pickup. When I say HEAVY, I'm not referring to Vai-esque
leads, I'm referring to old-school Hetfield/Mustaine-type power riffs. To
me, the single-coils just don't do it. Not enough power for my tastes.
However, on my main guitar, I have H-S-H configuration, and I'm never
getting rid of my single-coil. For certain aspects of my playing, it's
absolutely excellent. Even for lead. But I just can't use single-coils
for rhythm stuff unless I'm playing some jazz, pop rock or old-school funk.
In that case, single-coils and fenders usually do just fine.
>I should go
>through my collection, and make .wavs of different players with
>different guitars... I bet you'd end up freaking over some people's
>single coil stuff. Nothing sounds quite like a neck position single
>coil, soaked in distortion juice,
My favorite neck pickup is the DiMarzio Air Norton (Petrucci uses these).
I love the whole sound of these, and that's what I use for my neck
shredding ;) The neck single coils are okay, but I usually end up turning
my presence and/or treble down on my amp as a result of using single coils
in the neck position.
>and served with a hardy portion of 32nd notes. :)
Like I said, I have nothing against shredding on a single-coil, but I
totally prefer the Air Norton sound for really fast passages. Personal
taste :)
>Yeah, what I just said here is my nipple, and I
>don't expect you to agree, YET, but you will, if I get around to
>making some .wavs for ya! :)
/me has enough diverse guitar music to understand your point. I should've
been more clear. My bad :) I still stand by my nipple.
> i). I long to hear the Vinnie LuPone solo that requires frets 22-24
>in order to be properly executed. I'd go so far as to say that 99
>percent of all playing is done below the 21st fret.
Wow, you capitalized the P in my name, cool :) Neither one of my electric
guitars has 24. Both have 22. Eckie and I were joking the other night
about how he's basically NEVER used fret 23 :) I do like to solo over Bm
in the 19th fret box, so the 22 comes in handy. Plus, who can forget about
the classic Hammett solos that end on a big 22 bend? :) I'm a big fan of
those, even though he repeated it a few too many times in his music. I
think the 22 bend to E or to B can be incredibly useful as a climax point
for a solo, but not 7 times on the same album :) I do use the 22, but I
usually use it in passing, so yes, probably 99 percent of the time, my solo
stuff is below 22. Still, not having the 22 is like limiting a keyboard
player to 61 keys. You see what I mean? The 22 is important to me..I'm
babbling..next subject (I'VE GOT AN ONION ON MY ASS, AND I'M NOT GONNA TAKE
IT ANYMORE!!!)
> First). Any player who NEEDS a trem in order to get his point
>across is, in my book, a wanker.
wank wank wank, all you ever do is bitch about how much I wank :) Now get
outta da way so I don't spooge on ya! :)
Nah, the trem is an EFFECT, like any other effect. Used for EFFECT, but
if used too much, it can get stale and old. I'm not about to use phaser on
every damn solo, so I'm also not gonna use the Floyd on all of them either.
Actually, so far, the only place I've really used my trem in my music is
for a few dives and for some extra vibrato on the end of a solo. My other
guitarist goes nuts with his trem, though. He's really wild in all aspects
of his guitar playing too. I'm listening to some old Jason Becker right
now, and he's doing some very cool Vai-esque trem stuff as I'm writing
this, BTW :)
>> Oh yeah, Eric Clapton sucks!! :)
>
> Primarily). No. Dave Mustaine sucks. Kirk Hammet sucks. Eric
>Clapton just doesn't shred... and you can't HANDLE THE TRUTH!
hahah :) Cool. I was actually talking with some people about this very
same topic earlier tonight. I respect Clapton as a musician, but I don't
like his music very much because to me it can get stale very quickly. Part
of it is the fact that his music basically does nothing for me (once again,
personal taste), the other is that he seems to repeat himself more than
most people out there. Kinda normal for a pop musician, though. I mean,
just look at pop bands like Bush or Alternica. All the songs just kinda
run together until it's just one big pile of sushi, you know?
> That is THE BIGGEST LOAD OF BULLSHIT I've heard on this list in a
>long time!
That's a BOLD statement, Chris!! Do you realize how much some schmucks
like you and I have posted in the past year or two?! ;p
Vinnie needs sleep and a foodspoon. Remember though, a hole is greater
than the sum of it's farts :)
Goodnight all,
IIIII
IIII IIIIIIIIIIIII IIII
IIII I IIII
II I I I I I II
I I I I I I I
I I II I II I I
II I I I I I I I II
IIII I I I IIII
IIII IIIIIIIIIIIII IIII
IIIII
__ _ __ ___ _ ___ _ _
| \| >|_ /\ |\/| | |_||_ /\ | |_ | >
|_/| \|_/ \| | | | ||_/ \ | |_ | |
James LaBrie: "Radio can go and suck my ass."
Vince LuPone
VGL@syspac.COM
------------------------------
Date: Thu, 5 Mar 1998 01:26:18 +0100
From: "Wille Raab" <raab@mail.bip.net>
To: <ytsejam@ax.com>
Subject: SV: Malmo Setlist, pretty unusual
Message-ID: <027642156090538MAIL2@mail.bip.net>
> Here's the setlist from the malmo show, it's pretty unusual
Anyone who can tell me the setlist from Sthlm? I were there, but as
allways - I don't remember when they played what...
> Encore medley:
> Metropolis
> LtL
> The Crimson Sunset
> Fortune In Lies
They played this... Ended the thing with only a few seconds from the
begining of Fortune In Lies, that was ... nice..... :-)
// Moose
------------------------------
Date: Thu, 5 Mar 1998 05:06:09 -0500 (EST)
From: "Richard A. Rivera" <rrivera@zoo.uvm.edu>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Re: YTSEJAM digest 3611
Message-ID: <Pine.A41.3.96.980305044053.72678A-100000@elk.uvm.edu>
On Wed, 4 Mar 1998 ytsejam@ax.com wrote:
>
> I am finally going to take a trip out to Los Angeles after many, many years of
> talking about it. I was just wondering if there is still a happening music
> scene out there like there was in the 80's. Are any of the famous clubs still
> open? Is the Sunset Strip still a cool place to hang out at night?
Hmmm... the scene is DEFINITELY NOT like it was in the 80s, although it
has been improving recently. Whenever I'm home I practically LIVE on the
strip since it is the birthplace of some of my favorite bands. I do admit,
it really does depend on the night. Most nights there will be people out,
but no more than there would be on any other busy street. The weekends are
your best bet for just hanging out on the street. As far as
"cool" clubs go, the Whiskey and the Roxy are still there, though both
charge ridiculous covers to get in (anywhere from $10 - $15 depending on
the night and band). The Coconut Teazer is still around too and it has the
best cover policies. Check a newspaper called the L.A. Weekly or BAM for
more info when you get there. The Troubador is also still around, but it's
on Santa Monica Blvd., not the strip (though it's only a minute away).
Gazzari's is gone (RIP) and in its place
stands the newest addition to the strip: "Billboard Live." Trust me, you
won't be able to miss it. It draws a pretty trendy crowd but they have
been booking some really cool acts lately (Ratt and Bret Michaels come
immediately to mind). Plus, if you remember a club called the Cathouse,
it is being revived on night a week by original Cathouse owner Riki
Rachtman (the ex-Headbanger's Ball host). But if you REALLY want to
relive the Strip scene in the 80s, go to the Rainbow Bar & Grill (as
featured in the GNR video "Estranged"). It's like walking to into a time
warp. Everybody looks like either a rocker or a porno star. And
the music they play is unreal! We're talking hard rock bands that even _I_
have never heard of. Upstairs is another bar and dance floor, but people
aren't dancing to Puff Daddy here. We're talking "Cowboys From Hell,"
"Enter Sandman," "Talk Dirty To Me." Hell, even _I_ can't keep away from
the dance floor at this place. Put it to you this way: if there is a
heaven, it will have a hard time beating the Rainbow.
Richie
P.S. Avoid The Viper Room and Dublin's at all costs!
------------------------------
End of YTSEJAM Digest 3614
**************************
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