YTSEJAM Digest 3837
Today's Topics:
1) EVH/Nuno/etc....
by Chris Bowsman <cbowsma@pop3.utoledo.edu>
2) Re: In fact...
by KEZCOM <KEZCOM@aol.com>
3) Re: YTSEJAM digest 3835
by mpm_2112@ix.netcom.com
4) the bus
by RASI2290@SPLAVA.CC.PLATTSBURGH.EDU
5) Re: YTSEJAM digest 3833
by "Ernesto Lotitto" <ernestlot@hotmail.com>
6) Scarred Records - New CD info!
by "Ryan Whitaker" <David-Whitaker@worldnet.att.net>
7) Re: More on the dreaded M word...
by Nathan Rood <nrood@utkux.utcc.utk.edu>
8) Some people just don't get the jam's humor
by "Ernesto Lotitto" <ernestlot@hotmail.com>
9) LTE vs. DT
by "Nowik, George" <NowikG@data-io.com>
10) Re: bass stuff
by Haje Jan Kamps <hajejan@mail.geocities.com>
11) Doh!
by someone@enteract.com
12) Re: YTSEJAM digest 3832
by Haje Jan Kamps <hajejan@mail.geocities.com>
13) Extreme tour clarification
by Pat Griffin <s1029516@admiral.umsl.edu>
14) Re: YTSEJAM digest 3835
by "Adam Cook" <acook@tiac.net>
15) Re: Writing Credits
by Calvin 6S <Calvin6S@aol.com>
----------------------------------------------------------------------
Date: Mon, 04 May 1998 16:25:11 -0400
From: Chris Bowsman <cbowsma@pop3.utoledo.edu>
To: ytsejam@ax.com
Subject: EVH/Nuno/etc....
Message-ID: <354E2426.FF71D033@pop3.utoledo.edu>
>Hey Jeff, you should check your albums:
Eddie Van Halen doesn't write much? That's a first!!!
Same for Nuno, Perry, Page and May!!!
They are or were not the dictators in their band, but they sure wrote a
great deal of music for their bands. The most democratic band being
Queen as every member of the band had hits with songs they had written.
You need to tell me how many credits has Joey Kramer in Aerosmith whole
career. I am sure his name doesn't appear often at the bottom of a
song.
Fabrice<
I have a sneeking feeling that Jeff was being a wee bit on the sarcastic
side...
chris
NP-Nativity in Black: A Tribute to Black Sabbath
------------------------------
Date: Mon, 4 May 1998 16:33:59 EDT
From: KEZCOM <KEZCOM@aol.com>
To: ytsejam@ax.com
Subject: Re: In fact...
Message-ID: <35cb590e.354e2639@aol.com>
In a message dated 98-05-04 16:17:39 EDT, you write:
<< www.radiofree.com
-ponte
PS... Dream Theater in three days... I AM PSYCHED!!!!
>>
Dream Theater in 29 hours......I am PSYCHO!!!!!!!
BTW, go vote.
Kez
------------------------------
Date: Mon, 4 May 1998 15:38:35 -0500 (CDT)
From: mpm_2112@ix.netcom.com
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 3835
Message-ID: <199854163414241@ix.netcom.com>
>There are actually legal guidelines to songwriting credits because that's
>what determines royalty distribution. Basically, in legal terms, writing
>the music for a song is defined as creating two things: 1) the chord
>progression and 2) the basic melodic structure (usually vocal melody).
>Arrangements of instruments, rhythmic treatment, drum fills and even guitar
>solos are usually not considered to be part of the songwriting under this
>definition. I'm not saying that this is right (especially in progressive
>music) - it's just the way that the courts have decided these types of
>matters.
I know that when you look at some Rush albums the lyrics are copywrighted seperately from the music.
Probably cause Neil does them himself, so they're just copywrighted under his name (anyone know if DT
does it this way?). And by the way, there is a prog band that does credit acording to the legal matters -
Pink Floyd. A whole song (and in some cases album) will be credited to Roger Waters only. Now, we
know he doesn't write the guitar solos, Gilmour does. So I guess it can work out either way.
Matt
------------------------------
Date: Mon, 04 May 1998 16:45:44 -0500 (EST)
From: RASI2290@SPLAVA.CC.PLATTSBURGH.EDU
To: ytsejam@ax.com
Subject: the bus
Message-ID: <01IWN50GMDVM000FVN@SPLAVA.CC.PLATTSBURGH.EDU>
Date sent: 4-MAY-1998 16:42:41
I was just wondering(you can smell the smoke)..
I wonder if the band uses that same big red tour bus in other countries?
If so, how do they get it across the water? Do they drive real fast and
then hydroplane across the atlantic, like the Flash would do? hmmm.
Pretty good question, right? right?
josh
............................................................
mailto: rasi2290@splava.cc.plattsburgh.edu
Check out Another Page at www.j51.com/~mrasiel. Hot Diggity!
------------------------------
Date: Mon, 04 May 1998 14:21:21 PDT
From: "Ernesto Lotitto" <ernestlot@hotmail.com>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 3833
Message-ID: <19980504212123.9942.qmail@hotmail.com>
>Date: Sun, 3 May 1998 20:40:16 -0500
>From: "James C. Shields" <jimbob213@mail.utexas.edu>
>Subject: Re: Megadeth/Metallica comment
>What are you talking about?! Megadeth sucks hardcore! Cryptic
>Writings or whatever the new one is called is so regressive! I felt
like
>I was back in 1985 when my friend put it one my stereo (the suck
>part of '85, mind you).
>It's like Mustaine just stood up and and shouted "Yep, we're doing
>the same old shit as always, you can count on us just like you can
>with AC/DC"
Well Jimmy, I think I get your point now. It seems like Megadeth should
pierce the shit out of their faces and play country and alternative
songs instead of getting better every album...
DAMN YOU'RE RIGHT!!!
Ernesto
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
------------------------------
Date: Mon, 4 May 1998 16:21:31 -0500
From: "Ryan Whitaker" <David-Whitaker@worldnet.att.net>
To: <ytsejam@ax.com>
Subject: Scarred Records - New CD info!
Message-ID: <001301bd77a2$9df183a0$5ca5410c@dwhit>
I'm proud to announce "Spinning Years 2", a re-release of a CD I released
back in October. It contains six complete Dream Theater bootlegs, almost 12
hours worth of material, all on *one* CD-ROM disc in CD-quality MP3 format.
It has:
- The Dance of Eternity (I&W)
- Lost in the Sky (I&W)
- Mind Control (Awake)
- A Kick into a Dream (Awake)
- Uncovered (cover gig)
- Caught in Amsterdam '97 (excellent pre-FII tour boot)
Why the need for re-release? I've learned a lot of things about MP3s since
I started back in August '97. The major thing I've learned is how to
eliminate the 'warbling' or 'swishy' sounds that sometimes happen in
converting the CDs to MP3s. Also, there was a need for a better liner as
the print place I used back in October made the cover look washed out. The
place I use now make it look magazine-quality, and this time on cardstock.
Owners of the original "Spinning Years" can obtain the update for a flat
five bucks, which includes a new disc and un updated front cover liner. New
customers can get it for $20. It's available for immediate shipment as of
today.
It's been slow lately as I've devoted most of my time to college, but summer
is on the horizon. For future productions, I'm buying an on-disc printer,
and the liners will now be multi-page, full-color, magazine-quality works of
art, featuring the talent of a graphic designer who participated in the
making of the cover art for "Awake". It looks as though this will pretty
much corner the market on MP3 CD bootlegs, even though I'm still the only
one. =) There will be occasional crossovers with things like the Rush
"Signals from London" remaster and one or two DT audio CDs, but Scarred's
focus will continue to focus on the "mega-bootlegs" using MP3s.
For more information on all this cool stuff, visit the URL below.
Take care!
Ryan Whitaker
Scarred Records
http://www.geocities.com/soho/2236
------------------------------
Date: Mon, 04 May 1998 17:23:04 -0400
From: Nathan Rood <nrood@utkux.utcc.utk.edu>
To: ytsejam@ax.com
Subject: Re: More on the dreaded M word...
Message-ID: <354E31B8.4BE8D56B@utkux.utcc.utk.edu>
ytsejam@ax.com wrote:
> Actually Load and Reload are more or less one album. They were
> recorded in the same session, and rather than releasing a double album they
> split it up and released two seperate albums. I don't know why, maybe
> there was more money it for them or something.
If my memory serves correctly, they released the two separately because they didn't want
to release an album and go another 5-6 years without releasing any new material (like they did
after the 'Black Album'). Also, because they had 2 albums worth of material, I think they
didn't want to do the Guns n' Roses and release it all at once only to never be heard from
again (I can see the replies to this post talking about how never hearing from Metallica again
wouldn't be a bad thing.....).
-Nate
-- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nathan Rood / IRC and VP chat room alias: Horizen mailto:nrood@utk.edu \ Excite Message Board alias: Quietus or try:nrood@utkux.utcc.utk.edu / ICQ: 6170743 ===================================================================== "There are two ways to get through life easily; to believe everything, or to believe nothing. Both release the mind from thinking." Earl Hindman ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~------------------------------
Date: Mon, 04 May 1998 14:43:13 PDT From: "Ernesto Lotitto" <ernestlot@hotmail.com> To: ytsejam@ax.com Subject: Some people just don't get the jam's humor Message-ID: <19980504214315.15060.qmail@hotmail.com>
Fabrice wrote: >Hey Jeff, you should check your albums: >Eddie Van Halen doesn't write much? That's a first!!! >Same for Nuno, Perry, Page and May!!! >They are or were not the dictators in their band, but they sure wrote a >great deal of music for their bands. The most democratic band being >Queen as every member of the band had hits with songs they had >written. >You need to tell me how many credits has Joey Kramer in Aerosmith >whole career. I am sure his name doesn't appear often at the bottom >of a song.
Hell Fabrice, I hope you realized he was being sarcastic!
Ernesto
______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com
------------------------------
Date: Mon, 4 May 1998 13:48:05 -0800 From: "Nowik, George" <NowikG@data-io.com> To: "'ytsejam@ax.com'" <ytsejam@ax.com> Subject: LTE vs. DT Message-ID: <C7EA264064ACD011BE4500805FC1DCA10168A719@SATURN.nt.data-io.com>
I seem to recall that there were some people who said that LTE spoiled the experience of listening to DT because of the differences it had and how it could be more 'prog' or whatever. I think I figured out how LTE and FII, for example, differ:
LTE slams you in the face with a frying pan.
FII walks up behind you, taps you on the shoulder, and _then_ slams you in the face with a frying pan.
Any takers? (:
Falling awake,
-= george =-
------------------------------
Date: Mon, 04 May 1998 17:50:58 -0400 From: Haje Jan Kamps <hajejan@mail.geocities.com> To: ytsejam@ax.com Subject: Re: bass stuff Message-ID: <3.0.32.19980504172701.007d0740@mail.geocities.com>
<< Well I think it is common knowledge. The thing that makes any musician regardless of the instrument they play, be it Bass, guitar, drums, or even bagpipes, is how fast they are. Speed is the only thing that makes a musician good. If they can't shred they should burn their instrument and take up needlepoint. Skakespeare once asked 'To shred or not to Shred, that is the question.' Well I think we all know the answer to that question. >>
First of all I have to admit that I am several digests behind, so I will probably just be repeating the same flame eveyone has had going on..
WHAT??? SPEED IS ALL THAT IS IMPORTANT??? Okay.. In order to at least try to pretend to stay polite.. WHAT THE FLIP???
I have heard plenty of bassplayers, and I do agree that some times speed is nice.. But we have a couple of bassplayers in bands around my hometown.. Well.. They don't play too fast, but they got some emotions in their playing.. And to be quite honest.. I think that is about 250% more important then being able to rip the strings off by playing like a speeding TGV train (fyi: French highspeed train)
I went to a Dave Weckl concert the other day.. and his bassplayer, John Patitucci (netice the name :) was a miracle. I have never seen anybody play faster (Silently admitting I cannot compare to John, As I haven't been to any live concerts yet)
So I guess what this loooong (and probably just adding /another/ flame to a string of flames)
Oh well.. To cut it short.. IN MY HUMBLE OPINION.. Speed is not always inportant
Haje Jan +----------------+ / Haje Jan Kamps / +-------------------+----------------+ / http://home.sol.no/~lrovers/haje/ / +------------------------------------+ I'm through just getting by Countless times a friend has told me Watch out for the wave Now it seems the sea will be my grave And still you swim to save me Even though the water is much colder now
Dream Theater: Don`t look past me
------------------------------
Date: Mon, 4 May 1998 16:59:39 +0000 From: someone@enteract.com To: ytsejam@ax.com Subject: Doh! Message-ID: <199805042154.QAA16628@wheat.farm.niu.edu>
> From: KEZCOM <KEZCOM@aol.com> > Subject: Need help with after show etiquette!
> I will be attempting to interface with OFB members after the Daytona's show > tomorrow night. What is the best way to go about this, without being a > jerk/nuisance/a-hole/etc.?
Well, usually the parallel port is standard, but if you have the option, scsi is way faster and much more efficient.
> This is a sincere question, and I would appreciate genuine responses. Just > want a couple of sigs, and pictures, if possible, with the guys. Thank you > for your kind consideration, and please be nice to others. :~)
Oh. In that case, just wait out in front before the show, and when they walk by, ask if they have a moment, or may a little later. Then you can beg and plead to be allowed to watch the soundcheck, and if you beg and plead some more, and they're in an extraordinarily good mood, you may get in to the aftershow, if there is one. If that fails, wait out somewhere between the doors to the club, and the tour bus, and scream "Mike PORTNOY! YO! PORTNOY!!!!!" when you see him walk by, and hope he doesn't run like a freak to the bus, faster than your stumpy legs will carry you.
> Someone mentioned before that playing fast is important, I must admit taht > I do not agree with it completely.
Dude... that was a joke.
> Another thing is the pick -to use it or not? Somebody said taht he would > fire the bassist if he only starts playing with a pick, but, hey, it must > be admitted that if you're gonna play some Metallica-linke crap you'll most > definetely need a pick.
False. Absofalsilutely. You can use fingers as fast and sometimes faster than people can pick. I don't know about Metallica (though I thought Cliff was a non pick player) but if you look so far as the EXTREME of speed bass playing, there are death metal bassists who go all fingers. I know you're not going to say the Metallica is faster than Cannibal Corpse (as far as BPM)... how could it be that you'd require a pick to play Metallica and not to play Cannibal?
> Well, if you check out Braindance (www.iuma.com has info on them), their > female guitarist, Vora Vor, is awesome! She's very jazz-based in her > playing, and she's fast, clean, creative, and talented.
Just making sure, you knew I was kidding, right?
Go Home and Practice!
Chris Ptacek someone@prognosis.com http://www.prognosis.com/madsman
------------------------------
Date: Mon, 04 May 1998 18:07:06 -0400 From: Haje Jan Kamps <hajejan@mail.geocities.com> To: ytsejam@ax.com Subject: Re: YTSEJAM digest 3832 Message-ID: <3.0.32.19980504174950.007e0d70@mail.geocities.com>
> Anyone can play guitar. Let me revise: ANYONE can play guitar well. >Because everyone wants to!! Most bands I've seen or been a part of >consist of four to five guitarists, two to three of which have taken up >other instruments to fill in the space. The person with the best voice >who plays guitar becomes the singer/rhythm guitarist. The person with >the most money becomes the drummer (because drum kits are so expensive). >The person with the best "internal clock" becomes the bassist. (if the >same person is the richest, he becomes the drummer instead and some >other guy picks up the bass). And the person who has no apparent talent >or ability outside the guitar... remains there. :)
Gee I guess that I why I am a drummer then.. - I can not sing (well.. I /can/.. But trust me.. you do NOT want to hear it) - I can not play the bass - I can play the keyboards.. But.. Only if I can play with one finger, in about 20 bpm, nothing faster then quarternotes - I can not even pretend to play guitar - Much less when it is amplified - and people can hear it - and laugh at it - and when they realize I am not PRETENDING to suck, running away from it
Oh by the way... Why are so many of the posts non-DT related? Hmm.. I guess I just got the answer by posting this..
Haje Jan +----------------+ / Haje Jan Kamps / +-------------------+----------------+ / http://home.sol.no/~lrovers/haje/ / +------------------------------------+ I'm through just getting by Countless times a friend has told me Watch out for the wave Now it seems the sea will be my grave And still you swim to save me Even though the water is much colder now
Dream Theater: Don`t look past me
------------------------------
Date: Mon, 4 May 1998 17:18:01 -0500 (CDT) From: Pat Griffin <s1029516@admiral.umsl.edu> To: ThE NuGgeTjAm <ytsejam@ax.com> Subject: Extreme tour clarification Message-ID: <Pine.SOL.3.91.980504171713.20157A-100000@admiral.umsl.edu>
> that's weird, I only saw them make he-man woman hater once....which tour > was it? > also is strange that he didnt play flight of the bumble bee since he > always played that as his spotlight solo...well, I was just curious.
This was on the Waiting for the Punchline tour. It wasn't actually part of the set list, but the crowd screamed long enough and loud enough that they played it. I know when I was cheering I was *hoping* he would open it with Flight... but they just went right into the song...
h t t p : / / w w w . p r o g n o s i s . c o m / g a b b o / | Pat Griffin gabbo@dreamt.org Reality Squared Design | h t t p : / / w w w . p r o g n o s i s . c o m / g a b b o /
------------------------------
Date: Mon, 4 May 1998 18:45:24 -0400 From: "Adam Cook" <acook@tiac.net> To: <ytsejam@ax.com> Subject: Re: YTSEJAM digest 3835 Message-ID: <199805042246.SAA29770@mailnfs0.tiac.net>
> I am the type of person that can learn on his own without being told how to > learn. I also don't like it when somebody says "That's wrong". In music, > there is no wrong.
I agree with this to a certain point, but in a way I also disagree. In my mind, music should not only have some sort of artistic value, but most of all it should be listenable. I can't stand people that just scream or whatever and try to pass it off as having high emotional content. Music needs to have dynamics and tension and in order to have that there should be some RIGHT, meaning things that sound like there is some logic behind them, before you can go off breaking all the rules.
> I can't really > explain it. Anyhow, this teacher was like - "you were too brutal on the solo. > You sounded pissed. I can't give you the okay on this." I couldn't believe > it. EVERY other teacher and student would tell me how cool I was. That my > sound was very unique.
This is pure garbage. You have to know the rules before you can break them. You can't just go off hitting any strings on the guitar because it FEELS right and you think there's nothing wrong with it. That's bullshit and unmusical. I'm also sure that it's bullshit that EVERY other teacher and student would tell you how cool you were. Believe it or not you have some fuckin FAULTS and if you were smart you would try to improve on them instead of ignoring any opinion of your playing that you don't like.
> But as far as the rest of MI went, very cool environment. BUT if you want to > suck, they aren't going to hold your hand. They will let you suck and pass. > An MI certificate means NOTHING. I still have mine filed away. Never sees > the light of day.
I don't know much about MI, but from what I know it seems like kind of a joke. An institute to study rock music? The only way you make it big in rock music if you get a major label record contract and MI isn't going to help you do that, especially not these days. However, it may help you make a living playing your instrument...
But unforunately, the best way to do that is to play many types of music and be versatile, and MI is not going to do that for you. People get pissed at Berklee because you can only get scholorships if you study jazz or whatever, but I suggest if you're planning on going to a music school to study metal all day and play as fast as you can on just the guitar you're wasting your time. Go to a music school to learn all different types of music, how to teach, perform, produce and engineer, make contacts, and learn how to make a living in the business. That's what's going to help you live your life playing music..
Anyway, I won a scholorship to the Berklee Summer Program for 5 weeks this summer so I'll let you guys know how it goes. I've seen all their facilities and their dorms suck but their new building looks real nice..
Adam
------------------------------
Date: Mon, 4 May 1998 18:48:45 EDT From: Calvin 6S <Calvin6S@aol.com> To: ytsejam@ax.com Subject: Re: Writing Credits Message-ID: <a168b598.354e45ce@aol.com>
Beyond the Mirror explains:
<< There are actually legal guidelines to songwriting credits because that's what determines royalty distribution. Basically, in legal terms, writing the music for a song is defined as creating two things: 1) the chord progression and 2) the basic melodic structure (usually vocal melody). Arrangements of instruments, rhythmic treatment, drum fills and even guitar solos are usually not considered to be part of the songwriting under this definition. I'm not saying that this is right (especially in progressive music) - it's just the way that the courts have decided these types of matters. >>
The courts guidelines are only used if there is a dispute within the band. Otherwise - the band can do whatever they want. Now if the writing team was listed as Ptacek-D man-Syrinx, then the court view that as a 33 1/3% split UNLESS the band has a legal document stating other wise. Maybe Ptacek slaved his ass off over the song and D Man added a fill and Syrinx added a bridge. Well a 33 1/3% split wouldn't be fair. The band can do ANYTHING they want as long as they all agree and sign a legal document stating this.
As far as the Van Halen equal division concept - that is the other extreme. It was made to EASE BAND TENSION but it also ADDS band tension by having Eddie think "I'm tire of that fat piece a crap drinking Jack Daniels and not contributing one note sharing in the profits". The best way to do it is on a song by song basis. Yeah - it can get to business like - but it will help from egos raging and feelings being hurt later on. I have a simple rule - WHOMEVER (or is that whoever - can someone email me PRIVATELY on how to use who and whom) comes up with the initial spark for the song is AUTOMATICALLY entitled to 51% of the writing credits because that is the hardest part. I don't care if it is one riff - it is the first riff then 51%. That should be agreed upon by day one. And I give credit when a drummer comes up with his drum part because the drummer always gets screwed. To tell you the truth, drums are what usually make a band sound progressive - so how can you say it isn't important because drums don't have harmony or melody? Think Metallica - Lars died and the progressive side died with it.
Okay my mind is all over the place so I will save the rest for another post. What is the prize for MFP anway? I hope its a CD-R cause I really need one :o)
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End of YTSEJAM Digest 3837 **************************
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