YTSEJAM digest 3844

From: ytsejam@ax.com
Date: Wed May 06 1998 - 00:34:33 EDT

  • Next message: ytsejam@ax.com: "YTSEJAM digest 3843"

                                YTSEJAM Digest 3844

    Today's Topics:

      1) Vignette
     by Adam Barnhart <adamb@cfmc.com>
      2) Re: "INTRO" tape help needed
     by MTeiper <MTeiper@aol.com>
      3) Ignorance
     by Calvin 6S <Calvin6S@aol.com>
      4) Blind Guardian in Metal Maniacs!
     by MTeiper <MTeiper@aol.com>
      5) Re: YTSEJAM digest 3843
     by "Adam Cook" <acook@tiac.net>
      6) Yes/Union and Steve Howe/Turbulence
     by The Digital Man <cmerlo@CS.WM.EDU>
      7) Re: YTSEJAM digest 3843
     by Eckie <eckie@imap1.asu.edu>
      8) Re: INTRO tape help needed....
     by q9720680@mail.connect.usq.edu.au (Paul Dyer)
      9) Zappa and Thal and stuff
     by someone@enteract.com
     10) Speak To Me/ Wasteland
     by "Richard A. Rivera" <rrivera@zoo.uvm.edu>
     11) guitar flick
     by Joe DeAngelo <jdeangelo@home.com>
     12) tickets to Irving Plaza show
     by "Alex O'Connell" <auocon@maila.wm.edu>
     13) (VERY NDTC) Re: And your point is...?
     by Jon Parmet <ytsegirl@pacbell.net>
     14) Re: (VERY NDTC) damn!
     by Lisa Marie <ytsegirl@pacbell.net>
     15) Re: (VERY NDTC) Re: And your point is...?
     by The Digital Man <cmerlo@CS.WM.EDU>
     16) Attention St. Louis (and surrounding area) jammers!
     by Jeff Perrot <jperrot@siue.edu>

    ----------------------------------------------------------------------

    Date: Tue, 05 May 1998 17:18:01 -0700
    From: Adam Barnhart <adamb@cfmc.com>
    To: ytsejam@ax.com
    Subject: Vignette
    Message-ID: <3.0.3.32.19980505171801.006a1ae8@pop.cfmc.com>

    I guess I've gotten to the point where I'm just gonna say something...

    >From: Calvin 6S <Calvin6S@aol.com>
    >Subject: Music Theory shoved right down your trote, I mean throat
    >
    >They play Power Chord rhythms (Root-Perfect fifth). Not only do the do the
    >dreaded "Parallel fifths" but some even make it more of an atrocity by
    >throwing in the "Parallel Octaves". [...]
    >
    >Well, guess what - even Classical composers "broke" this rule. Some of the
    >coolest pieces have Parallel Octaves. Parallel Fifths would be less evident
    >however.

    Yeah. If you take a theory class and write parallel fourths, fifths, or
    octaves, you're going to see a lot of red lines connecting the dots. It's
    something like the equivalent of the little paragraph break symbol all over
    a proto-journalist's work. But it's the use of precisely that kind of
    parallel motion that makes Aaron Copland, for example, a great composer.
    It also allows you a lot of harmonic liberty if you're improvising over
    it....but that's a point that's been beaten to death in the discussion of
    Slayer.

    >From: Thrak75 <Thrak75@aol.com>
    >Subject: music theory
    >
    >and what's the fetish with speed? stop it- there's more to a woman than her
    >breasts, for crying out loud.

    The Hell you say....

    >From: Ernesto Schnack <e_schnack@yahoo.com>
    >Subject: Re: Theory 2
    >
    >> One of my favorite counter examples to your proposed rule of music
    >> above is Arnold Schoenberg, the early 20th century composer. He
    >
    >And the really fucked up thing was, that he developed that system
    >because he was so conservative he knew music was supposed to evolve...

    He knew that music wasn't a static art form, if that's what you mean. The
    above doesn't entirely make sense to me. Schoenberg was something of a
    musical revolutionary...the tone row is a very, very important part of the
    musical lineage of this century. Then again, I went to UCLA, so I'm
    SUPPOSED to say that, eh?

    >I just like to add a little something to this discussion: we dont
    >even know what the fuck music is, or what it's purpose is. Sure we
    >can define it as organized sound or whatever, but we really dont know
    >what it is. So tell me, if we dont know what the fuck it is, or what
    >the fuck it's for, how on earth can we think there is actually a
    >'proper' way to go about writing and performing it?

    This is a relativistic comment that doesn't, to my eyes, mean a lot. I'm
    trying to be diplomatic about it, but it's hard for me...I really don't
    agree with this an awful lot. What does "we really don't know what it is"
    mean? It IS an organization of sound. It communicates complicated ideas.
    We know it's an art form...and, perhaps, the most abstract of all art
    forms. We know it's a medium through which people convey cognitive and
    emotive material. We know it from a sonic sense and, anthropologically and
    sociologically, we know quite a bit about the roles it plays. Of course,
    there's a mystery to music precisely because of its abstractness. But that
    doesn't mean that we don't "know" what it is. We SURE know quite a lot
    about what it's for. And there are certain things that we know about sonic
    qualities -- a minor second is a dissonant interval, an octave is a
    consonant interval. Lydian movement tends to resonate with us differently,
    emotionally, than Phrygian movement. Loud staccato sounds get our
    attention more fully than soft, gradually swelling and receeding sounds.
    We gravitate towards certain rhythms and favor a degree of rhythmic
    constance based on bipedal movement, the beating of our heart, and other,
    naturally occuring forms of rhythmic organization. I guess I'm starting to
    beat a dead horse here. I'm not in the "you can't play an Eb over an E5"
    boat, but I DO believe that there are ramifications to certain harmonic,
    melodic, tibral, and rhythmic choices made in the music. I think Rush
    makes the best decisions of all. A lot of the bands we talk about here --
    Yes, Metallica, Altura, Marillion -- also make tremendous decisions,
    musically. Slayer, to me, makes less appealing decisions. I specifically
    dislike some of the decisions that, say, Depeche Mode, makes.

    But for such a hierarchy to exist (and I'd guess, based on all the Top 10
    lists you see [though not HERE, of course], that most listeners have
    favorites of one sort or another), there has to be some level of propriety
    in the process of making and performance music. I think it's disingenuous
    to argue otherwise. I think the content of that hierarchy is the real
    meaningful point of entry into the discussion.

      
    Five Gratuitous CD's:
    =====================
    1. Yes: Fragile
    2. Weather Report: Night Passage
    3. Wagner: Die Meistersinger
    4. Rush: 2112
    5. Dar Williams: The Honesty Room

    Adam D. Barnhart
    adamb@cfmc.com
    ydnt85a@prodigy.com
    http://www.cfmc.com/adamb

    ------------------------------

    Date: Tue, 5 May 1998 20:50:11 EDT
    From: MTeiper <MTeiper@aol.com>
    To: ytsejam@ax.com
    Subject: Re: "INTRO" tape help needed
    Message-ID: <13aa4719.354fb3c4@aol.com>

    Howdy Jammerz -

    > I made a tape for a friend with "LIquid Tension Experiment" taking up
    > all of side 1 and the first 28 min of side 2, leaving me with about 20
    > min. I want him to REALLY like this tape so that he gets into Dream
    > Theater :) My question is... what song would fit best on the remaining 20
    > min? I would prefer it would be a DT song but it doesnt have to be. I've
    > kicked around putting Hells Kitchen and LitS, but i think sticking to
    > instrumentals would work best..

    Here's a thought, if you have access to a VCR hookup to your tape deck....

    The entire TLF plus JP's solo from the Tokyo video!!!

    That solo has to be one of the most wonderful instrumental jams I've ever
    heard.

    Laterz.... Matt T.

    ------------------------------

    Date: Tue, 5 May 1998 20:53:43 EDT
    From: Calvin 6S <Calvin6S@aol.com>
    To: ytsejam@ax.com
    Subject: Ignorance
    Message-ID: <68207634.354fb498@aol.com>

    Ernesto Schnack stated with an air of superiority:
    "For the uninformed"

    This is the '90s my friend. I prefer to be called ignorant. And when we
    enter the New Millenium, I will prefer "informationally challenged".

    ------------------------------

    Date: Tue, 5 May 1998 21:10:49 EDT
    From: MTeiper <MTeiper@aol.com>
    To: ytsejam@ax.com
    Subject: Blind Guardian in Metal Maniacs!
    Message-ID: <b07cc24.354fb89a@aol.com>

    Hey -

    Just got my new Metal Maniacs magazine yesterday, and I've read about half of
    it so far, but thus far, it looks like a winner of an issue. There's a NICE
    article with Blind Guardian in it, and it's actually done by an interviewer
    who loves the band! (What a concept, eh?) I won't rehash the whole aricle,
    but after reading it, I want to get their CD's now more than ever! Hey,
    Jason, what's the status of the Century Media deal for their back catalog?

    I am not a musician, so I may be wrong about this, but damn, this sounds
    insane: BG talks about their latest album, and they say that the "smallest"
    song on the new album was recorded with 80 tracks, and the "biggest" was
    recorded with 140 tracks! Is it me, or are those figures absolutely
    staggering?!? Holy crap, the recording sessions must have been a pain in the
    ass!

    Lesse, what else in this issue: cool Slayer article (I'm actually looking
    forward to the new album. I thought DI and UA sucked royally, but they claim
    the new album, "Violent By Design", is diverse. And, a Jammer has confirmed
    this, so I'm psyched). Also, they say that the new Crimson Glory comes out
    "before the summer", and Chroma Key comes out in June. There's also a killer
    review of In Flames "Whoracle", and if you haven't picked this one up yet, DO
    IT!! And, there's a cool looking Bruce Dickinson article, but I haven't had
    time to read it yet. :-)

    That's it for now. Got some reading to do. Laterz....... Matt T.

    NP: Shadow Gallery "Warcry" on Repeat!! This song is so great, it just
    gives me chills every time! 8-P

    ------------------------------

    Date: Tue, 5 May 1998 21:27:24 -0400
    From: "Adam Cook" <acook@tiac.net>
    To: <ytsejam@ax.com>
    Subject: Re: YTSEJAM digest 3843
    Message-ID: <199805060128.VAA08350@mailnfs0.tiac.net>

    Hey guys,

            Did I ever argue that music theory was god? No...however, I will admit
    that perhaps "rules" was not the right terminology I wanted to use. Put it
    this way, I think a certain understanding of harmony, melody, and rhythm
    (call this understanding "theory" if you wish, I don't really care) is
    necessary. Now, am I saying that in order to be a musician you have to go
    out and study books? No. People can learn this theory on their own just by
    doing two things, listening and playing.

            I think that over time, almost all musicians will accumulate some sort of
    relative pitch. This means that you can throw out scales and theory if you
    know exactly what a note is going to sound like when you play it. No longer
    do you have to think "C dorian over a C minor 7 chord" but you can just
    clear your mind and play because you know internally where to put your
    fingers in order to play a particular sequence of notes. Steve Vai has said
    that he plays at his best when he just forgets everything and plays. That's
    what improvisation is, and some of these rock and metal players leave me
    dry on that because all they're playing is a bag of licks, not true
    improvising.

            Theory is nothing more than a shortcut. It's a shortcut to try to explain
    WHY notes or combinations of notes can sometimes work and sound good and
    why they sometimes don't. Music is about tension and release. If you have a
    piano handy walk over to the keyboard right now and play a C major scale up
    7 tones. When you get to the high B, what note does your ear want to hear
    next? It wants you to finish the sequence and play the high C to resolve
    the tension. Your ear is just BEGGING you to play that final high C.
    Half-step resolution is the strongest in all of music.

            While anybody can argue that listening to music is completely subjective,
    I argue that there is a certain amount of objectivity involved. I can't
    proove that everybody will want to hear tension and resolution in music,
    maybe some people like to hear fingernails on a chalkboard replacing your
    typical guitar solo and they call that music. But among those who listen to
    music as an artform and are scholors on the subject as opposed to those who
    listen to it as background entertainment, there will probably be some
    consensus as to what qualifies as music and what qualifies as nails on a
    chalkboard. Foo Fighters might write catchy songs, but what impact do they
    have on artistical history?

            There's a difference between pop culture and art, I don't care if I am
    being elitist. I listen to all types of music but because of subjectivity
    there's some I don't like. I don't think there's anything WRONG with it
    though because it goes against the "rules". There's just certain music that
    is more harmonically, melodically, and rhythmically varied and therefore I
    think is more interesting! I guess I'll just have to suffer missing out on
    all these great pop groups because of my elitist attitude...too bad. The
    classic music of Bach and Ellington and Miles is what has and will survive
    over decades and even centuries, not the Foo Fighters (Sorry Chris).

    Adam

    ------------------------------

    Date: Tue, 05 May 1998 21:31:51 -0400
    From: The Digital Man <cmerlo@CS.WM.EDU>
    To: ytsejam@ax.com
    Subject: Yes/Union and Steve Howe/Turbulence
    Message-ID: <199805060131.VAA13416@tx.cs.wm.edu>

    Is it my imagination, or does the ABWH song "Silent Talking" from Union have the
    exact same riff as a song from Steve Howe's solo album "Turbulence"?

      ------------------------------------------------------------------------
      The Digital Man \|/ ____ \|/ "640 K ought to be enough
      cmerlo@cs.wm.edu "@'/ ,. \`@" memory for everyone." -Gates
      d-man@dreamt.org /_| \__/ |_\ "He won't need a bed
      http://www.cs.wm.edu/~cmerlo \__U_/ He's a digital man" -Peart
      ------------------------------------------------------------------------
            "The Spirit of Radio" Saturday 2:00pm-4:00pm 90.7 WCWM-FM
                        http://www.cs.wm.edu/~cmerlo/tsor

    ------------------------------

    Date: Tue, 05 May 1998 19:11:52 -0700
    From: Eckie <eckie@imap1.asu.edu>
    To: ytsejam@ax.com
    Subject: Re: YTSEJAM digest 3843
    Message-ID: <354FC6E8.10E9166F@imap1.asu.edu>

    Adam Cook went off:
    <snip>

    Oh shut up and play already, people!

    ~Eckie, the ytsegimp of the day

    ------------------------------

    Date: Wed, 06 May 1998 12:13:49 -0700
    From: q9720680@mail.connect.usq.edu.au (Paul Dyer)
    To: ytsejam@ax.com
    Subject: Re: INTRO tape help needed....
    Message-ID: <3550B66D.4784@mail.connect.usq.edu.au>

    I know you said you only wanted instrumental stuff.....but I think to
    give the guy a great range of DT styles in the one "song" you can't go
    past Erotomania/Voices/Silent Man......

    I did the same thing for a friend recently with the LTE thing.....but he
    was already a DT fan so I put Blind Guardian on instead! :)

    Cheers

    Paul D.

    ------------------------------

    Date: Tue, 5 May 1998 21:58:10 +0000
    From: someone@enteract.com
    To: ytsejam@ax.com
    Subject: Zappa and Thal and stuff
    Message-ID: <199805060253.VAA16939@wheat.farm.niu.edu>

    > > I love that song from White Lion "Wait" solely because the
    > > guitar solo is brilliant.

            I am utterly afraid. I haven't heard that song or it's respective
    solo in about 5 years (I don't own it) and when I saw this, I sang
    the entire solo mentally from beginning to end. THAT musi be
    ultimate solo construction... if it's THAT memorable! I may try and
    learn it tonight by "head" to see how well I really do remember it.

    > and what's the fetish with speed? stop it- there's more to a woman than her
    > breasts, for crying out loud.

            It started out as a joke, but some people apparently didn't see it
    as a joke... some people really think that speed is of ultimate
    importance. May the lord have mercy upon their souls. :)
     
    > and you can bet my ears pricked up upon reading the whole songwriting legailty
    > thread. interesting. someone can't wait to be sitting in entertainment law and
    > copyright/literary property classes in the fall.

            Wow... are you gonna offer free advice to jammers, as we've provided
    you with years of useless base entertainment?

    > From: Ernesto Schnack <e_schnack@yahoo.com>

    > First off, for the dude wanting to get Rock Discipline. Just so you
    > know there is also a book w/ CD that has the same material PLUS a full
    > transcription of Petrucci's little jam...I'm guessing that's the one
    > that was spotted for 19.95 at the Berklee bookstore.

            ARGH! I've seen this. That MUST be it. Dealer cost has to be at
    least $20 on those vids.

    > > Romeo and Ron Thal (who introduced me to the
    > > concept of Dodecaphony when I asked "how did you come up with that
    > > sick solo line!?").
    >
    > Just out of curiosity, in which solo does he use this, or is it a
    > common practice of his (something which i wouldnt find odd at all.)

            Thal uses it ALL over the place. On Hermit, the rhythm in the
    middle of "Every Time I Shake My Head" is serialized (which is why
    it's so freaky) as an example, and on Bumblefoot, the Title track is
    based of a modified 12 tone row (modified in that he repeats some
    segments of the row to develop a theme). A couple other songs on
    this disc are like that, but the example you may be more interested
    in is the soloing stuff. Listen to the solo to Bumblefoot. Try
    transcribing that. The notes are all over the place as a result of a
    tone row he developed for that song. Then he learned to shred on it!
    Unreal. I believe there is some thimble tapping (this isn't a
    complex new form of tapping that you've never heard of... it's
    exactly what it's called... tapping with a thimble on his 4th
    finger) on that first track as well. I'm giving a copy of his new
    disc to Derek next wednesday (with Ron's permission of course).
            More important to me than the adherence to the tonal rows he
    develops, is how he takes the strange sounds of those rows, and
    develops them into "almost atonal" lines instead of leaving them
    atonal. This sort of eliminates the possibility that anyone can
    sound like him without directly ripping him off (unlike how MacAlpine
    and Tafolla sometimes sounded similar between the first disc of each
    artist)
     
    > Damn, I should just call you Christopher Zappa :)
    > (For the uninformed, that was Zappa's over-all view towards music)

            Cool! I am influenced by those influenced by Zappa, but I've never
    really read moch on him.

    > > And I conclude on this: Never pluck anything that doesn't feel good.

    > "If its sounds good to you, it's bitchen, if it sounds bad to you, it
    > sucks." - FZ

            Eerie!

    Go Home and Practice!

    Chris Ptacek
    someone@prognosis.com
    http://www.prognosis.com/madsman

    ------------------------------

    Date: Tue, 5 May 1998 22:56:47 -0400 (EDT)
    From: "Richard A. Rivera" <rrivera@zoo.uvm.edu>
    To: Multiple recipients of list <ytsejam@ax.com>
    Subject: Speak To Me/ Wasteland
    Message-ID: <Pine.A41.3.96.980505225000.106224A-100000@gnu.uvm.edu>

    I haven't seen the new version of the FAQ, so this might included. If so,
    forgive the repeat:

    ---
    	So I'm sitting here, trying to cram an entire semester's worth of
    Brit-Lit into two days and I came across something very interesting and
    very DT related. For those of you who have heard DT's song "Speak To Me,"
    you might remember the chorus goes:
    

    Tell me what you're thinking Tell me what you're thinking Tell me what you're feeling inside

    Now, here's a passage from T.S. Eliot's "The Wasteland" that might be of interest. For reference purposes, it can be found in Part 2: A Game Of Chess @ line # 111:

    "My nerves are bad tonight. Yes, bad. Stay with me. Speak to me. Why do you never speak. Speak. What are you thinking of? What thinking? What? I never know what you are thinking. Think.

    Coincidence? Hmm.....

    Richie

    ------------------------------

    Date: Tue, 05 May 1998 23:11:50 -0400 From: Joe DeAngelo <jdeangelo@home.com> To: YTSEJAM <ytsejam@ax.com> Subject: guitar flick Message-ID: <354FD4F6.F6E726CB@home.com>

    I was just watching the tube (kinda half-ass watching while browsing the 'net), and there was this movie on HBO. I think it was called "Crossroads", starring Ralph Macchio *chuckle*. He played this classical guitar prodigy attending Juillard (spelling?), who leaves school to go to Mississippi and play the blues.

    Anyways..... there's this scene where he has this long guitar duel with a rock/metal guitarist who looked awfully like Steve Vai. When the credits finally rolled, sure enough - it was Vai.

    I just thought that was a cool tidbit. BTW, the movie wasn't too bad (not great either). --

    - Joe DeAngelo jdeangelo@home.com

    ------------------------------------------------------------------------------------- Heaven must be more than this / When angels waken with a kiss Sacred hearts won't take the pain / But mine will never be the same He stands before the window / His shadow slowly fading from the wall And from an ivory tower hears her call / 'Let the light surround you'

    - Dream Theater, from "Surrounded" -------------------------------------------------------------------------------------

    ------------------------------

    Date: Tue, 05 May 1998 22:58:58 -0400 From: "Alex O'Connell" <auocon@maila.wm.edu> To: ytsejam@ax.com Subject: tickets to Irving Plaza show Message-ID: <3.0.32.19980505225858.00c5d2f0@maila.wm.edu>

    Hey all, it looks like I am royally screwed!!

    Both the people on Ticketbastard phone services as well as the online place tell me that the show is sold out, tickets not available, in other words, go back to your hole in Virginia and cry, Alex.

    So, my question, just for the hell of it and out of desperation, does anyone have any tickets that they aren't going to be using, or friends who don't need tickets, whatever? I'd need three total, but I don't need them all from one person....

    If you can help, I thank you very much. I hope you all have a nice day.

    Howling from frustration, Alex

    ------------------------------

    Date: Tue, 05 May 1998 20:38:35 -0700 From: Jon Parmet <ytsegirl@pacbell.net> To: ytsejam@ax.com Subject: (VERY NDTC) Re: And your point is...? Message-ID: <354FDB3B.DF48D6DC@pacbell.net>

    > Interesting question... but perhaps they are referring to Dr. Spock! > > And your point is???? Lisa??? Aren't we talking about exactly the same > thing here, my friend?

    No, actually I was referring to Dr. Benjamin Spock, the famed pediatrician and parenting expert, and author of "Dr. Spock's Baby and Childcare", which was the predominant guide for parents in the 1950's & 60's. Interestingly enough, he was later criticized for corrupting the youth of America and was thought to be partially responsible for producing the "hippie" generation. Incidentally, Dr. Benjamin Spock died March 15, 1998 at the age of 94.

    How's THAT for getting waaaaaaay off topic?

    :op

    Lisa Marie ytsegirl@pacbell.net ICQ uin # 1518578 http://home.pacbell.net/ytsegirl -- THOUGHTS - The Spock's Beard Mailing List Homepage http://www.dreamt.org/spocksbeard/

    ------------------------------

    Date: Tue, 05 May 1998 20:55:46 -0700 From: Lisa Marie <ytsegirl@pacbell.net> To: ytsejam@ax.com Subject: Re: (VERY NDTC) damn! Message-ID: <354FDF42.F62D04C2@pacbell.net>

    Gotta remember to change my mail id back after impersonating someone!

    ;o)

    Lisa Marie

    ------------------------------

    Date: Tue, 05 May 1998 23:58:03 -0400 From: The Digital Man <cmerlo@CS.WM.EDU> To: ytsejam@ax.com Subject: Re: (VERY NDTC) Re: And your point is...? Message-ID: <199805060358.XAA14026@tx.cs.wm.edu>

    > Date: Tue, 5 May 1998 20:58:43 -0700 (PDT) > From: Jon Parmet <ytsegirl@pacbell.net> > Subject: (VERY NDTC) Re: And your point is...?

    Lisa, are we having an identity crisis? :)

    ------------------------------------------------------------------------ The Digital Man \|/ ____ \|/ "640 K ought to be enough cmerlo@cs.wm.edu "@'/ ,. \`@" memory for everyone." -Gates d-man@dreamt.org /_| \__/ |_\ "He won't need a bed http://www.cs.wm.edu/~cmerlo \__U_/ He's a digital man" -Peart ------------------------------------------------------------------------ "The Spirit of Radio" Saturday 2:00pm-4:00pm 90.7 WCWM-FM http://www.cs.wm.edu/~cmerlo/tsor

    ------------------------------

    Date: Tue, 05 May 1998 23:13:33 -0500 From: Jeff Perrot <jperrot@siue.edu> To: Ytsejammers <ytsejam@ax.com> Subject: Attention St. Louis (and surrounding area) jammers! Message-ID: <354FE36D.9EC5D3DF@siue.edu>

    I just wanted to let you know that my band, Broken Glass, is going to be on the KSD local show with Smash tomorrow (Wednesday) night at 6:00 pm. He's gonna play our music, and we'll talk and take calls, and maybe even play on the air!

    Be sure to tune in to 93.7 FM tomorrow night!

    If you're not familiar with our music, be sure to check out our web page at http://www.geocities.com/SunsetStrip/Palladium/6190

    It's not much, but you will find Real Audio and WAV samples of some of our music. I like to think we're some part progressive, but our demo tape (on the web page) shows a little of everything we do.

    Of course, we won't be playing progressive stuff on the radio (at least not on that station!). Too bad....

    Anyway, thanks for your support!!!

    Jeff Broken Glass drummer mailto:brknglass@geocities.com

    ------------------------------

    End of YTSEJAM Digest 3844 **************************



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