YTSEJAM Digest 4704
Today's Topics:
1) Reviews from Neil Gallop
by Younis Hilal <yhilal@cds.caltech.edu>
2) Takest thou away my saxy overdub
by David Dixon <David@iisweb.com>
3) Re: YTSEJAM digest 4701
by Sebast87@aol.com
4) band names/KWS/blues for the ignorant
by Amanda Rosenblum <mildew@ucla.edu>
5) To mp3 or not to mp3
by "Agar, Jonathan (CAP, EURO)" <Jonathan.Agar@gecapital.com>
6) Neil Peart Solo Album
by "Jason Barden" <jbarden@usdbs2.usdb.k12.ut.us>
7) Re: Saxy stuff
by Younis Hilal <yhilal@cds.caltech.edu>
8) Re: I wanna fuck you like a ytsejammer
by "Brian D. Hayden" <hayd0029@tc.umn.edu>
9) More saxy stuff
by "Scott Sturdivant" <scott@erotomania.org>
10) Opeth!!!
by rbrito@iname.com
11) Re: Didst I spouteth nonsense? Nay! I doth have words for thee!
by "Brian D. Hayden" <hayd0029@tc.umn.edu>
12) YTSESPAM digest 4703
by "Joe Bissonnette" <Bissonnette@cdr.wisc.edu>
----------------------------------------------------------------------
Date: Thu, 25 Feb 1999 10:17:11 -0800 (PST)
From: Younis Hilal <yhilal@cds.caltech.edu>
To: ytsejam@axnet.net
Subject: Reviews from Neil Gallop
Message-ID: <Pine.SOL.3.96.990225101356.2323G-100000@swing.cds.caltech.edu>
Just forwarding some reviews from Neil.
Enjoy.
Younis Hilal------------------------yhilal@cds.caltech.edu
On Thu, 25 Feb 1999, Gallop, Neil wrote:
> -------------------------------------------------------
>
> Hi all
>
> thanks to the kind help of Younis Hilal, here are some
> MIME-free reviews. More will be following soon, as my
> CD dealer sent me a mail this morning informing me
> that the new albums by Lacuna Coil and Ulver have
> arrived.
>
> ARTROSIS - Hidden Dimension
> (Hall Of Sermon - HOS 7081)
>
> This is the first album by this Polish trio, and it
> has turned out very well for a first attempt. The music
> combines aspects of gothic, dark metal and dark wave
> to produce a unique sound. Solid arrangements make all
> of the songs interesting, but the main feature of the
> band is the clear voice of Magdalena Dobosz, although
> I must admit the 5 songs that are sung in Polish are
> an unusual listening experience. Although not exactly
> innovative, the album is simply pleasant to listen to,
> being very atmospheric and ambient (apart from which,
> I'm a sucker for good female vocals in gothic stuff).
> Overall, the album has a Theatre-Of-Tragedy feel to
> it. Hopefully the future will be kind to this band.
> 8/10
>
> CEMETERY OF SCREAM - Deeppression
> (Serenades Records - SR 015)
>
> Back to Poland. This is the follow-on to the highly
> acclaimed album "Melancholy", and is (in my ears) even
> better. A wonderful mixture of gothic and doom metal.
> Very good keyboard work combines with some heavy riffs
> and some gruff vocals. On some tracks, the dark male
> vocals are contrasted by clean male and female voices.
> Each of the 8 tracks has it's own distinct character,
> which makes the album very interesting to listen to.
> If you liked "Melancholy" you are sure to like this.
> If you haven't heard "Melancholy", give this a try
> anyway. This is gothic for adults, not for young
> wannabes in corpse paint. Full of emotion and very
> symphonic. 9/10
>
> DREAMS OF SANITY - Masquerade
> (Hall Of Sermon - HOS 7062)
>
> Staying in Europe, this band comes from Austria. Their
> last album "Komoedia" didn't impress me enough to make
> me buy it, but I knew this album would end up in my
> collection as soon as I heard the first track. The new
> album is a concept album based on The Phantom Of The
> Opera - a very brave and adventurous thing to do.
> Sandra Schlert does a great job of the vocals, and
> she is assisted excellently by Tilo Wollf (from
> Lacrimosa) on the track "The Phantom Of The Opera"
> from Lloyd-Webber's musical: normally I can't stand
> musicals, but this cover is simply amazing. Very
> competent keyboard work is backed by solid driving
> bass lines and some chunky guitar work (which
> sometimes sounds like Aaron Eady on older Paradise
> Lost albums). Full of atmosphere, this album tells
> the story of the phantom in a very emotional way -
> sometimes dark and threatening, sometimes light and
> heady. Sandra's voice has one of the widest ranges
> that I've heard from a woman in a gothic/metal band,
> and I would consider her to be just as good as Anneka
> from The Gathering - she really is that impressive.
> If this band continues to put out albums like this,
> they could have a big future in the gothic world. My
> only criticism is that the drums sound like they were
> recorded on the shitter. 9.5/10
>
>
> stay safe and happy listening
> Neil Gallop (nga@software-ag.de)
> Currently playing: Acron - Labyrinth Of Fears
------------------------------
Date: Thu, 25 Feb 1999 11:26:37 -0700
From: David Dixon <David@iisweb.com>
To: "'ytsejam@ax.com'" <ytsejam@axnet.net>
Subject: Takest thou away my saxy overdub
Message-ID: <3093FD59DB69D11193AA00A0C96056498092CB@messaging>
<<<<
Hey Jammers!
Since Calvin6S brought up sax:
>So Mike, tell us what you think of the Sax on Another Day.
and i'm listening to OiaLT, i'm just now putting two and two together...
Wonder what the chances are of Jay Beckenstein laying down some cool sax
work on the new record? i sure hope so...
Which brings me to a question: Did Jay B tour with DT this last time out; or
was it just a one night appearance for the live recording? If he didn't, did
anyone tour with the band playing sax?
Just curious...Thanks for listening.
>>>>
I can't remember WHO played on TAMP on OiaLT, but it was overdubbed. What I
want to know is what the hell were they doing live where the sax is on the
disc - was Derek playing a solo or something? I refuse to believe JP was
strumming his semi-hollow, JM was playing the root, and MP was chilling, and
KJLB and DS weren't doing anything, all at the same time, with no one
soloing! That would be a first - write this one down in the annals of
history... :)
My (2^(1/2)) * (8^(1/4)) cents...
David
------------------------------
Date: Thu, 25 Feb 1999 13:29:27 EST
From: Sebast87@aol.com
To: ytsejam@axnet.net
Subject: Re: YTSEJAM digest 4701
Message-ID: <fcbe14c6.36d59687@aol.com>
Dans un courrier dat=E9 du 25/02/99 11:31:36 Paris, Madrid, ytsejam@ax.com=
a
=E9crit :
> Are you talking about the one on the "Lie" single?
>
I did not know To Live Forever was on the "Lie" single. I did not even kno=
w
there was a Lie single... thanks for the piece of information, i will try =
to
find it.
sebast
------------------------------
Date: Thu, 25 Feb 1999 10:50:01 -0800
From: Amanda Rosenblum <mildew@ucla.edu>
To: "ytsejam@ax.com" <ytsejam@axnet.net>
Subject: band names/KWS/blues for the ignorant
Message-ID: <36D59B59.2F606510@ucla.edu>
> <<ELEVENTH HOUR (USA) "Learning to live>>
>
>
> GAAH Just when I thought my band had come up with a name that wasnt
> being used :-P.
Hehe, you could call your band "Eleventh Hour", but only if you want
to sound like a Fate's Warning cover band. At least among the pro0g
metal fans.
On to KWS. I have said many a time that KWS sucks big time, but the
truth is, I'm basing my opinion on one song. That song is "Blue on
Black". I really like the vocals on this song, and the lyrics, but I
was highly unimpressed with Kenny's guitar playing. It was basically
the same 16 or so measure guitar solo played about 3 times during the
song, and this guitar solo consisted of the same measure played 7 times
in a row. I found myself thinking, "God, is this guy really uncreative,
or just repetetive?". I admit I know nothing about the blues. I know
all the names thrown out there, but have never heard any of them, not
even BB King. So, according to why I don't like KWS, is he just a hack,
or would I just dislike the blues in general?
~~Amanda
------------------------------
Date: Thu, 25 Feb 1999 19:08:41 -0000
From: "Agar, Jonathan (CAP, EURO)" <Jonathan.Agar@gecapital.com>
To: "'ytsejam@ax.com'" <ytsejam@axnet.net>
Subject: To mp3 or not to mp3
Message-ID: <83E9BD6E053FD111B35A0000F6093E2701A5BC9C@LON01XBCAPGE>
CyberDuke <duskob@mol.com.mk <mailto:duskob@mol.com.mk> > throws himself
under the wheels of Ptacek:
>You see, this is your personal point of view.
> Why you define/put >things according your life?
That's a whole different discussion. I'm not going to go there!
>Yes, we are mainly students (me too) but you put it as
> "we ALL work part of the week!". Sorry pal, maybe in USA
> or somewhere else, but not in other countries!
I know, we Europeans are full-time students (unless you're German). But
that don't change shit.
>What if someone if starving to death
> BUT also chooses to listen music?
>Can you take that right from him?
WTF?? What right is this?? No one has the right to rip off someone else's
intellectual property! Either you're listening to music legally or
illegally - THAT's your choice. Personally, I'm agnostic about boots so
long as it's stuff that wouldn't get released otherwise, because I believe
boot buyers already have the studio CDs, but it's still illegal - and
immoral if it detracts from what the band would earn if the boot didn't
exist. But this isn't about standard live boots
>I don't say that we should consciously try to rip
> off our fave bands, but do you think ppl with way
> bigger problem on their heads care about these topics?
Is that supposed to be a justification? Either you sign up to a deal or you
don't. If a community routinely pirates stuff, it shouldn't expect to find
a great choice of music/software/whatever offered to it. Sure,
ex-Yugoslavia has way bigger problems, but if one side just takes, the other
isn't going to give.
>Heck, there are many ppl in my country that would beat
>me to death if they see I'm wasting time for "MP3s thread
> chats". You think they CARE about if bands get their 20$
> or not at all? C'mon, they don't care AT ALL. All they care
> is laying their hands on the music they want. End of story!
>No nightwares, no conscience-striken, nothing at all!
And you wonder why you can't find your fave CDs? This is why Macedonia
isn't going to join the EU any time soon.
>Even he if lies, some others are really in that kind of
>situation, which makes this "disgusted" statement
>pretty not-supported-with-facts.
Who's giving the personal views now?
>Someone said some time ago - "Ppl slowly realise
>that music is becoming what is supposed to be - free!"
>Think about this kinda philosophical concept!
Think about this kinda philosophical concept - if it's free, no one can make
a living from it, and less people are going to dedicate themselves to it.
| Jon Parmet | jon@parmetpc.volpe.dot.gov
<mailto:jon@parmetpc.volpe.dot.gov> muses:
I don't see any problem with making songs available perhaps the way a trial
version of a piece of software is. It works for say 30 days. I realize this
is a non-trivial thing to implement on a large scale, as it would involve
much more, to prevent people from doing things like just taking the Audio
Out and jacking in a recorder. But, it might give you an incentive to go out
and buy the disc (or purchase the set of equivalent MP3s) if you really dig
the sound, and on day 31, the sound is no more... The problem becomes a
non-issue when the ability is taken away, although I'm no way suggesting the
death penalty here :)))
Comments? Suggestions? Venture Capital? :)
-oOo-
I do more service-oriented venture capital, but you can bet yer life the
recording companies are working on it! Look at it from their side: they
have to respond, or people will just pirate. So they need a format which
all the equipment manufacturers will agree to install, and which will make
pirating not worth the hassle.
Jonathan
------------------------------
Date: Thu, 25 Feb 1999 12:07:11 -0700
From: "Jason Barden" <jbarden@usdbs2.usdb.k12.ut.us>
To: ytsejam@axnet.net
Subject: Neil Peart Solo Album
Message-ID: <B0000017922@utstbsntogd1.USDBOGDEN>
> He is interested in this album, he read about it in some drummer
> magazine (Zildijan ...).
>
> Neil Peart solo album around 1994 - 95!
> He said that many drummers are guests on his album (Hmm, drummers guests
> on a drummer's solo album???)
>
> Anyone know this album, any more info, anything ...?
> Private or jam mail! Thanks!
> --
I believe you mean the album "Burning for Buddy" that was produced by
Neil ( He also played on a couple tracks) and released in 1994. This isn't
really a solo album but a tribute to Buddy Rich that Neil was largely
responsible for. He organized some of the original Buddy Rich Big Band and
had different drummers guest on the songs. Lot's of great drumming: Simon
Phillips, Steve Gadd, Max Roach, Ed Shaughnessy, and Dave Weckl jsut to name
a few. If you are into great big band drumming or jsut good big band music
get it!!!!!
Jason
PS- there were rumors that a second Burning for Buddy would be released, but
I've heard nothing more. Anybody got any info?
------------------------------
Date: Thu, 25 Feb 1999 11:20:41 -0800 (PST)
From: Younis Hilal <yhilal@cds.caltech.edu>
To: Multiple recipients of list <ytsejam@axnet.net>
Subject: Re: Saxy stuff
Message-ID: <Pine.SOL.3.96.990225111656.2323P-100000@swing.cds.caltech.edu>
On Thu, 25 Feb 1999 ytsejam@ax.com wrote:
> From: "Bernard, Chris" <CBernard@pulaskifurniture.com>
>
> Hey Jammers!
> Since Calvin6S brought up sax:
> >So Mike, tell us what you think of the Sax on Another Day.
> and i'm listening to OiaLT, i'm just now putting two and two together...
> Wonder what the chances are of Jay Beckenstein laying down some cool sax
> work on the new record? i sure hope so...
*shrug*
If they wanted JB to add a sax solo to this CD, I'd say they picked the
right studio for it. They're recording this thing (as we speak? funny
how we haven't heard squat about this, and we were getting updates on
LTE2) in Bear Tracks Studios (same as I&W) and, if I remember correctly,
JB owns that place.
Younis Hilal------------------------yhilal@cds.caltech.edu
------------------------------
Date: Thu, 25 Feb 1999 13:42:04 -0600
From: "Brian D. Hayden" <hayd0029@tc.umn.edu>
To: ytsejam@axnet.net
Subject: Re: I wanna fuck you like a ytsejammer
Message-ID: <iss.1042.36d5a784.c259e.1@garnet.tc.umn.edu>
Responding to the message of <00ad01be6095$a6fc51a0$04000005@lxodneahome>
from ytsejam@ax.com:
> 'Scuse me . . . how the hell did you come up with that interpretation? Fuck
> = hate?
I never said "fuck = hate." I said, in this context, that the two are related.
> "I wanna fuck you like an animal"
> "I wanna feel you from the inside"
> ". . . You bring me closer to God"
>
> Sounds like a LOVE song to me!
A song about love, but not a "love song."
> But seriously, I love those lyrics and fail to see where the "visceral hate"
> comes in. I know "Fuck you" isn't exactly a term of endearment, but IMO "I
> wanna fuck you like an animal" would be a compliment that a lot of women
> would love to hear (in the right context, of course!)
Okay. Nobody cares much, I'm sure, but just to show you that I'm not coming from
a position of ignorance, here's a more full interpretation of the song.
Obvious, it's going to be very subjective; if you disagree, say so, it could be
interesting and maybe I'm blatantly wrong on something. If you just want to
attack me and shout "close-minded" from the wings some more, go home. :-P
"you let me violate you. you let me desecrate you
you let me penetrate you. you let me complicate you
help me i broke apart my insides. help me i've got no soul to sell
help me the only thing that works for me. help me get away from myself"
Seems to me here that sex is being exclusively associated with negative images;
violation, loss of the self. It has created an unhealthy dependency: "the only
thing that works for me."
"i want to fuck you like an animal
i want to feel you from the inside
i want to fuck you like an animal
my whole existence is flawed
you get me closer to god"
The much-debated lines. This doesn't make me think of love, especially "my whole
existence is flawed." "You get me closer to god," I don't quite know what to
make of; it's the only "deep" thing in this song, to me. Of course, "deep" is
right up there with "prog" in the Hall of Fame of subjective words to throw
around. It may be an expression of the sexual high.
"you can have my isolation. you can have the hate that it brings
you can have my absence of faith. you can have my everything
help me you tear down my reason. help me it's your sex i can smell
help me you make me perfect. help me become somebody else"
Isolation, hate...the feeling I get is that these feelings are spawning from the
narrator's obsession with the sex of the person he's addressing. "You make me
perfect" I might take a couple ways: first, the narrator really believes that he
is made whole by his partner even while recognizing that said partner is a
negative factor in his life and resenting the person for this. That's a typical
codependent attitude. Secondly, that only during the sex can the narrator forget
the pain this relationship causes. "Help me become someone else" continues to
suggest the loss of self, and hints at a sense of shame. This stanza seems to
say that isolation, hate, and lack of faith are all that the narrator has, in
the abscence of his own identity, and he wishes these things on the object of
his sexual obsesssion; this seems very close to hate to me.
"through every forest, above the trees
within my stomach. scraped off my knees
i drink the honey inside your hive
you are the reason i stay alive"
The last line, given the rest of the song, only reinforces the feeling of
codependence for me.
So, there you go. I really don't see this as a love song. It seems to be an
expression of a thoroughly unhealthy relationship which the narrator desperately
loathes.
-Brian
------------------------------
Date: Thu, 25 Feb 1999 14:42:22 -0500
From: "Scott Sturdivant" <scott@erotomania.org>
To: <ytsejam@axnet.net>
Subject: More saxy stuff
Message-ID: <002401be60f6$f9493b60$ca586acf@ckssrs.axiomnet.com>
Carlos wrote:
<<I believe its none of the above, i remember reading on the jam that the
sax stuff on OIAL was actually a studio overdub. Even more so, i remember
someone saying it wasnt even recorded for OIAL but that someone dubbed in
old sax tracks from Jay B. The question now is.. why didnt DT use the sax
player they "auditioned" and were gonna feature in that concert? Did he
suck?!>>
Yes, the OIAL is an overdub, although I'm not sure if was specifically for
the CD or just a reused Jay B. track. As for the sax player they
auditioned...(I don't know his name) but if you've heard a copy of the
Rotterdam Fan Club Gig when he tries to play Another Day (stress the TRIES)
you'd understand why they didn't try to pull it off on the recording night
:) Lets just say that it sucked so bad that they had to stop....and restart
and then he still sucked. Oh well. Of course they had only given the music
to him 2 hours before the show began (or at least this is what jlb says) but
c'mon now, he's a professional for crying out loud! And we all know what
Jordan did during his one appearance with DT...looked at sheet music, to
which Portnoy later added that "we'll have none of that" but thats another
story :) So yeah, they had a sax player for one night, he sucked, and thats
about as much info as I can give you!
And on another note, all you people talking about the mp3s are sending
messages longer than those damn spam things! Cool down a little bit!
Scott.
------------------------------
Date: Sat, 20 Feb 1999 19:36:58 -0300
From: rbrito@iname.com
To: Multiple recipients of list <ytsejam@axnet.net>
Subject: Opeth!!!
Message-ID: <19990220193658.A682@iname.com>
On Feb 20 1999, Ryan Good, WSUM Loud Rock Director wrote:
> I agree with you about In Flames...it's an awesome disc. But I know
> a CD that will slay In Flames. Pick up Opeth's "My Arms, Your Hearse" and
> get ready. The CD is basically a concept album with amazing lyrics. Here is
> the tracklisting:
(...)
Well, I don't mention Opeth very much here because people
would then argue that I'm a man of just one topic -- let me pretend
I'm not. :-) But I agree with the "slay In Flames" part. :-)
> The vocals vary in the usual Opeth style from low deathy to
> mid-range and melodic. The breaks in the songs are enough to stop your
> heart and then start it again.
Yes, this is indeed true. Mainly when the band is playing
something very, very, very soft and melodic and then suddenly -- let
me repeat that -- SUDDENLY they get very heavy and fast. Wow. And
there are also changes the other way: the band is playing something
heavy and then it gets very calm...
This is the album that people who want unpredictable music will
like. You can never tell what's coming next. And that's what makes it
worth listening to.
BTW, let met mention that "My Arms, Your Hearse" is *MUCH*
heavier than their previous efforts (both "Orchid" and
"Morningrise"). If you have problems with very heavy music, then you
might want to try "Morningrise" first, for 50% of the album is
acoustic and melodic.
Oh, and the songs in "Morningrise" are all above the 10 minute
mark. So, if you don't like those long, boring songs :-), then this
may not be the band for you. If, on the other hand, you can't live
without abundant instrumental parts, you must get "Morningrise". :-)
[]s, Roger...
-- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Rogerio Brito - rbrito@iname.com - http://www.ime.usp.br/~rbrito/ Undergrad. Computer Science Student - "Windows? Linux and X!" Nectar homepage: http://www.linux.ime.usp.br/~rbrito/opeth/ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=------------------------------
Date: Thu, 25 Feb 1999 14:01:55 -0600 From: "Brian D. Hayden" <hayd0029@tc.umn.edu> To: ytsejam@axnet.net Subject: Re: Didst I spouteth nonsense? Nay! I doth have words for thee! Message-ID: <iss.2321.36d5ac30.54fc0.1@garnet.tc.umn.edu>
Okay. First, Korg, this is exactly the kind of response I was expecting and hoping for. You accuse me of not recognizing logic and spouting nonsense, and then reply not once but TWICE with total nonsense of your own. Thanks for shooting yourself in the foot, it makes my life easier.
> At once you complain that the lyrics have no depth, then when offered an > example of how your selection of lyrical content which you are attacking ("I > want to fuck you like an animal") is completely inconclusive as to the > content of the song AND you were offered an example of how your evidence is > inconclusive, you assume the fetal position and refuse to comprehend how any > person supposedly lesser than youself can convey incredible meaning from the > text contained within said song.
Right off the bat I need to say that if you value "logic" as much as you claim, you should state it plainly instead of trying to be cute. If my style was too dense for you, I suggest your time would be better spent in learning to read than in writing childish lampoons. Now, on to the point of the argument. I've already submitted an analysis of the entire lyric, so you can't claim that I don't know the "content of the song." Second, when I tossed that one line off-the-cuff it was in no way intended to be some sort of comprehensive "evidence" that Reznor isn't deep. It was just a convenient line that came off the top of my head. Obviously, any single line cannot be "conclusive evidence" that a lyricist is not deep; you cannot prove the abscence of something in a body of work by showing its abscence in one part of that body. I'll also say that I'm only familiar with three NIN albums, out of however many they have. On those three, very little of the lyrics seemed "deep" to me.
As for "conveying incredible meaning"...huh? What you're saying literally here could be translated as "You refuse to comprehend how Reznor, who you think is lesser than yourself, can impart that lyric with meaning," for Reznor is the one who is "conveying" the lyric. You want to explain this?
The only way it really makes sense is if you're saying that Reznor's singing delivery gives the lyric its power, much as people were discussing re. Eddie Vedder. And, of course, I never said anything even remotely related to this subject, so I don't know how you can guess my feelings on it.
> Therefore proving, at that juncture, due > to your complete hesitance to relent your previous attack, that you were > indeed only complaining of your own lack of perception with no particular > mindset to accept that it is a worthwhile complement to many an intelligent > person's daily musical diet.
Um, are you stupid or just blind?
Sorry, just had to ask. You seem to like putting words in my mouth. I never said that someone shouldn't enjoy this, including an intelligent someone. All I said was I personally do not think his lyrics are deep. I can understand how someone might like NIN; as a matter of fact, I kind of like the song in question, despite the pretty stupid, imo, lyrics in the chorus.
-Brian
------------------------------
Date: Thu, 25 Feb 1999 14:05:48 -0600 From: "Joe Bissonnette" <Bissonnette@cdr.wisc.edu> To: ytsejam@axnet.net Subject: YTSESPAM digest 4703 Message-ID: <86256723.006B2C53.00@domino.cdr.wisc.edu>
Isn't it possible to set up a listserv so that it only accepts posts from subscribers? Anyone? That might be helpful in reducing spammage.
On mp3's: > Chris: > > cutting the artist out of the cycle completely? > > Change the cycle then :) See below for the full skull leak... > Hail hail. People will use mp3's, there's no way around that. If artists and distributors don't want to lose money it's their responsibility to find a way to take advantage of the medium. It's cheaper, faster, easier.... Take the Nightwish situation. There are loads of people on this list who want their CD's. But it's damn near impossible to get. Toss it on a server, sell the mp3's and anyone in the world can get a copy at any time. And it eliminates the line of bullshit about inflating cd costs to fund all the bands that don't make it. There are no album production costs. Just a little server space and an e-commerce program. How hard is that? Bands will still need someone to do marketting for them, but the internet makes that easier as well. The record industry has a very bad reputation, and that didn't happen by random chance. It happened because they're bastards. If you want to buy a few cds to support a favorite band great, but don't expect people to feel guilty for gouging the recording industry. Turnabout is fair play after all.
> I don't see any problem with making songs available perhaps the way a > trial version of a piece of software is. It works for say 30 days. I > realize this is a non-trivial thing to implement on a large scale, as it > would involve much more, to prevent people from doing things like just > taking the Audio Out and jacking in a recorder. But, it might give you > an incentive to go out and buy the disc (or purchase the set of > equivalent MP3s) if you really dig the sound, and on day 31, the sound > is no more... The problem becomes a non-issue when the ability is taken > away, although I'm no way suggesting the death penalty here :))) > Not technically feasible I think. Well having a music file that expires after a given period is certainly possible. Making it so people can't capture the audio out is not. And once digital speakers become the thing you'll be able to hijack the signal with no quality loss. There is really no way to protect sound (short of putting copy protection circuitry in the speakers maybe....but I don't think that would fly). Hmmm and bandwidth is rapidly increasing, so it's much easier to trade files. Once everyone has cable modems and adsl we'll be able to e-mail songs back and forth. And cd burners are becoming very common. Information wants to be free =). The general public doesn't know a damned thing about mp3's, but people are catching on to the whole internet thing and it's only a matter of time. You know, the recording industry is fucked. Granted it's not going to happen overnight, but it IS going to happen. How sad. =P
Biz
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End of YTSEJAM Digest 4704 **************************
This archive was generated by hypermail 2b30 : Thu Apr 01 2004 - 18:09:45 EST