YTSEJAM Digest 4765
Today's Topics:
1) Re: UK and Allan Holdsworth
by Syrinx <syrinx@erotomania.org>
2) Looking for SymX samples
by Totikus <totikus@gmx.net>
3) LaBrie Voting Update
by ToxicSheep@aol.com
4) Attn: JEROEN
by "W. Tugmutton" <tugmutton@toast.net>
5) MTV and the internet....
by mkizer@csc.com
6) Re: Looking for SymX samples
by Rick Audet <Ytse@concentric.net>
7) Derek's Last Words?
by A Drummer <metropolis1999@yahoo.com>
8) Re: YTSEJAM digest 4764
by Bill Wrightson <bwrights@dnaent.com>
9) UK and some DT content
by A Drummer <metropolis1999@yahoo.com>
10) various and sundried
by "Partha Mukhopadhyay" <ahtrap@hotmail.com>
11) CD Liner program
by Jeff Perrot <jperrot@siue.edu>
12) DT gets respect!
by "Robert Newcomb" <newcombr@netdot.com>
13) Re: Meaning in Music
by Chris Calabrese <ccalabr1@ic3.ithaca.edu>
14) Re: CD Liner program
by Lisa Marie <ytsegirl@pacbell.net>
15) Messages in Music
by Chris Calabrese <ccalabr1@ic3.ithaca.edu>
16) NEW DREAM THEATER PAGE!!!!
by vecchio@satlink.com
17) Stones,Floyd, Rush - jokes on stage?/Keith Richards...?
by JKorby1973@aol.com
18) Music and meanings (no DT)
by Evan + Vanessa Thomson <evanessa@mira.net>
19) LTE's deeper meaning
by Robert Jurado <rojurado@pacific.net.ph>
----------------------------------------------------------------------
Date: Tue, 23 Mar 1999 16:17:10 -0500 (EST)
From: Syrinx <syrinx@erotomania.org>
To: BILL HUSTON <HUSTON@IOMEGA.COM>
Subject: Re: UK and Allan Holdsworth
Message-ID: <Pine.OSF.4.05.9903231615440.7019-100000@tempest.ocis.temple.edu>
> It has been mentioned recently that AH was is UK. I have Danger Money
> and the Live Night after Night CD's and Allan Holdsworth is on
> neither one of them.
Holdsworth is onlt on the debut, self-titled disc. Bill Bruford
and Allan were dropped from the UK lineup after the tour. They did not
replace AH, but Terry Bozzio replaced Bruford.
- mike.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
erotomania! - http://www.erotomania.org
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
------------------------------
Date: Tue, 23 Mar 1999 22:50:19 +0100
From: Totikus <totikus@gmx.net>
To: ytsejam@axnet.net
Subject: Looking for SymX samples
Message-ID: <3.0.5.16.19990323225019.37476d9e@pop.gmx.net>
I'm looking for sound samples (primarily mp3) from Symphony X's "The
Damnation Game" (I already have the one from headymetal.com as well as 2
short RealAudio files), if someone could post a URL I would be thankful.
BTW I saw KX in Budapest and have to agree with Matej...they rocked the
house and seemed to be enjoying themselves & surprised at the turnout...we
"only" had them do 2 encores, though!
Totikus
----------------------------------------------------------
| Totikus totikus@gmx.net |
| A Fortune In Midis - The Dream Theater Midi Page |
| http://members.xoom.com/totikus/ |
----------------------------------------------------------
------------------------------
Date: Tue, 23 Mar 1999 16:54:34 EST
From: ToxicSheep@aol.com
To: ytsejam@axnet.net
Subject: LaBrie Voting Update
Message-ID: <a79874e3.36f80d9a@aol.com>
In case you didn't see it--
James is now at the number 9 spot with 619 votes! Don't forget that you can
vote more than once (up to about 5 times I think) , and you can vote every
day. Before we know it, KJLB will take the number one spot, which we all know
he deserves.
http://www.freevote.com/booth/favemale
@ |> A (V)
------------------------------
Date: Tue, 23 Mar 1999 16:04:05 -0600
From: "W. Tugmutton" <tugmutton@toast.net>
To: "Ytsejam" <ytsejam@axnet.net>
Subject: Attn: JEROEN
Message-ID: <000701be7579$12c14060$d6dc1a93@tugmutton-.swt.edu>
Ahoy,
Your friend at Berklee has been located. Please email me to get his
address because I don't know yours -
- Wolfric Tugmutton tugmutton@toast.net
------------------------------
Date: Tue, 23 Mar 1999 15:27:28 -0700
From: mkizer@csc.com
To: ytsejam@axnet.net
Subject: MTV and the internet....
Message-ID: <0725673D.007B2D67.00@cscmail.csc.com>
Saw this news clip today, interesting, but couldn't they have picked a
better video to screw with MTV? (although NKotB is pretty comical)....
POP: NEW KIDS ON THE BLOCK'S REVIVAL
(New York-AP) -- Don't underestimate the power of the Internet.
That's what M-T-V has learned, when an eleven-year-old song turned
up in its "Total Request Live" countdown. Apparently a chain
e-mail campaign called for people to log onto M-T-V's website and
request "Hangin' Tough" by New Kids on the Block. Enough people
did to land the song at number two on yesterday's countdown.
(Copyright, Associated Press, 1999)
------------------------------
Date: Tue, 23 Mar 1999 17:26:34 -0500 (EST)
From: Rick Audet <Ytse@concentric.net>
To: Multiple recipients of list <ytsejam@axnet.net>
Subject: Re: Looking for SymX samples
Message-ID: <Pine.GSU.4.05.9903231723240.12069-100000@viking.cris.com>
Totikus wrote:
> I'm looking for sound samples (primarily mp3) from Symphony X's "The
> Damnation Game" (I already have the one from headymetal.com as well as 2
> short RealAudio files), if someone could post a URL I would be thankful.
Hi, how are you? I was wondering... those audio clips that you already
have, do you like them?
Rick Audet
San Francisco
------------------------------
Date: Tue, 23 Mar 1999 14:28:08 -0800 (PST)
From: A Drummer <metropolis1999@yahoo.com>
To: The Ytsejam <ytsejam@axnet.net>
Subject: Derek's Last Words?
Message-ID: <19990323222808.14861.rocketmail@web610.yahoomail.com>
>That would be like blaming John Petrucci for remarks
>Derek Sherinian made.
What comments is this refering to? Did Derek have some famous last
words to say?
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------------------------------
Date: Tue, 23 Mar 1999 16:36:15 -0600
From: Bill Wrightson <bwrights@dnaent.com>
To: ytsejam@axnet.net
Subject: Re: YTSEJAM digest 4764
Message-ID: <1.5.4.32.19990323223615.014c4f10@lotus.dnaent.com>
>I jsut got back from the Rush/NMS page and there was a headline that read
>"Rush is in No Danger of Breaking Up" Here is a link to the article
>
>http://syrinx.yyz.com/HTML/articles/newspapers/calgary_102998.html
>
Look at the date of the article, that is over 5 months old !
***********************************************************************
** Bill Wrightson email: bwrights@dnaent.com **
** DNA Enterprises, Inc. voice: (972) 671-1972 **
** 1240 E. Campbell Road fax: (972) 671-1581 **
** Richardson, Tx 75081 http://www.dnaent.com **
***********************************************************************
------------------------------
Date: Tue, 23 Mar 1999 15:08:01 -0800 (PST)
From: A Drummer <metropolis1999@yahoo.com>
To: The Ytsejam <ytsejam@axnet.net>
Subject: UK and some DT content
Message-ID: <19990323230801.6022.rocketmail@web611.mail.yahoo.com>
Wilmo asked:
>It has been mentioned recently that AH was is UK. My >question is when
and where did AH join up with them.
>...I'm quite doubtful this is true knowing what I know >now.
Allan was an original member of UK. There first album consisted of
Allan, Eddie Jobson, John Wetton, and Bill Bruford. There was a falling
out and Allan and Bruford went on to form "Bruford". Jobson and Wetton
continued as UK.
Hey here is some DT content. DT covered UK's "In The Dead of Night" at
the Ronnie Scott's show. The original was on UK's self titled album,
and DID consist of Allan Holdsworth's kick ass legato playing. By the
way... the UK album has some Holdsworth acoustic work. Believe me when
I tell you that "this is a rarity". The only other acoustic Holdsworth
I have heard is on Allan's first and out of print solo record "Velvet
Darkness".
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com
------------------------------
Date: Tue, 23 Mar 1999 15:19:45 PST
From: "Partha Mukhopadhyay" <ahtrap@hotmail.com>
To: ytsejam@axnet.net
Subject: various and sundried
Message-ID: <19990323231945.53981.qmail@hotmail.com>
>Wasn't there a band a few years back that had an album with nine
>tracks or something, and they were labeled 1-9? Or am I just going
>stark raving mad?
well, fates had I-XII on apsog, but they had an excuse....that disc came
out two years ago (as of yesterday, if i'm not mistaken), sorta hard to
believe....pulled it out for a listen, and its as if it's a
soundtrack to my whole existence.....wonder if it isn't time to shake up
the old fave albums of all time list?
> So all in all, I do agree with Duke's friend about LTE. I think
>that's the problem I had with the album myself. It didn't and >doesn't
have much longevity for me. I've already been flamed for >that.
so if ptacek's already been flamed for it, it's okay to officially go on
record as not liking LTE? still looking forward to the second one,
anyway....just because it's by folks in DT, and it's new.....and because
I've got this suspicion that LTE two might give the first bit of insight
into the shape of DT99......
>Also, Rush was nearing the end of their career, unless they felt
>like sticking around as long as the Stones or Floyd, but then,
>like the Stones or Floyd, they would appear to be jokes on stage.
yeah, i'm sure the 20-40,000 people who show up for every stones
concert, and would show up for any floyd shows in the future just laugh
their asses off all the way home......
partha
Get Your Private, Free Email at http://www.hotmail.com
------------------------------
Date: Tue, 23 Mar 1999 17:55:11 -0600 (CST)
From: Jeff Perrot <jperrot@siue.edu>
To: ytsejam@axnet.net
Subject: CD Liner program
Message-ID: <Pine.SO4.4.05.9903231750370.5493-100000@cougar.isg.siue.edu>
I have a program called Design Express CD Labelmaker that came with my cd
label-making kit. It can make both cover and tray liners as well as the
circular disc labels, with pre-made templates already set up for all of
them. I'm not sure if it's available as a separate
package, but you can get your own copy with the Memorex CD Labelmaker,
which works wonderfully by the way. Maybe your could check Memorex's
website, or do a search on the web for the program....
Jeff P.
------------------------------
Date: Tue, 23 Mar 1999 17:37:16 -0600
From: "Robert Newcomb" <newcombr@netdot.com>
To: <ytsejam@axnet.net>
Subject: DT gets respect!
Message-ID: <199903232354.PAA27957@knight.axnet.net>
I was just fucking around and found this really cool site. McCoy Tyner who
used to play keys for John Coltrane has this site in which he give a TON of
praise to our DT boys. Pretty cool. Here is the addy.
http://pubweb.nwu.edu/~cdh191/
Have fun
Thorin
------------------------------
Date: Tue, 23 Mar 1999 19:16:20 -0500
From: Chris Calabrese <ccalabr1@ic3.ithaca.edu>
To: ytsejam@axnet.net
Subject: Re: Meaning in Music
Message-ID: <36F82ED3.B8007BE8@ic3.ithaca.edu>
Joe Bissonnette wrote:
>Chris Calabrese wrote:
>a great post. I completely agree.
Thank you. :)
Nick Giannotti wrote:
>My point, however, was that music - and all art, in general - doesn't
have
>to have a meaning. Music can be created for the sake of music, with no
exterior
>motives at all.
I totally agree. As a guitar player there are so many times...almost
daily where I just jam with a bunch of other musicians and the emotional
and physical (at times) high that I get from doing that is incredible.
And that has just as much value as anything else that you can get out of
any kind of music...lyrical AND instrumental
>Let's talk about the 80's for a minute - what kind of emotion were the
guitarists who >played as fast as they could for the sake of playing
fast trying to convey? They weren't >writing songs for the sake of the
song - they were writing songs merely as technical >exercises. I don't
see much emotion in there.
Another great example. But there is emotion there. Makes me think of
Yngwie. (By the way, I love Yngwie so much...as much as I did in the
80's. It makes me sick when I see people on the jam talking about him
like he's some sort of disease, yet these were the same people who
praised him for his playing a few years ago.) Now one of my favorite
Yngwie moments is during "Little Savage" off his RISING FORCE cd. Right
after the guitar solo, the key changes and the keyboards break in, and
it makes me just jump up and go "YEAH!!!!!!!"... and it's an
instrumental piece....and that is the MEANING and EMOTION that I get out
of that part of the song. And I think that is legit.
Another example are parts of Dream Theater songs that just give me
goosebumps and I fall in love with their beauty and sometimes I don't
even care about anything else... The part in Metropolis when JL sings
"Somewhere like a scene from a memory..." ...That little Kev Moore
"whooooooooshhhhh!" in the middle of the Killing Hand on LaTM. ...the
guitar solo to A Fortune in Lies... the list goes on for an eternity.
I fuckin' CRIED...balled my eyes out when I saw LTE in Philly at TLA...
I'm a 19 year old metal dude and the last time I had cried like that was
when my grandmother died last July. I cried out of pure excitement and
happiness and I was in total awe. I couldn't believe it.
Christopher W. Ptacek wrote:
>I think Cyberduke's lady friend brings up an entirely valid point. ALL
music should >convey a message. I don't understand how anyone could
disagree with that. If it doesn't >communicate anything, you'd never
understand it, and it would never be worth listening to.
I totally disagree...you couldn't be more wrong. Music doesn't
necessarily have to convey some sort of message. The closest thing to a
message could be a bunch of musicians shredding it up cuz its fun, then
you the listener can sit back and say, "Damn, I think that's cool." And
that's fine. I do that with a lot of musicians like Vai, Satch, LTE,
and The Dregs. Music isn't a competition...it's just a bunch of people
having fun and sharing that fun with the listener. Some of you try to
make it so much more than that. Sometimes that fun could have a deep
meaning, but it doesn't have to.
And another thing! This is more pointed at everyone on the jam! I read
something like this in an interview with Kerry Livgren of Kansas - The
only person that can truly interpret a 'message' in a song is the person
who writes it. It is impossible to get into that person's head. With
that in mind, each and every listener draws their own distinct
conclusions about the 'message' in a piece of music.
~Chris
-- "Every reason I risk my life To come back to you Is locked behind your door You're my immunity Outside I watched you burn Heavy hearts were bleeding A cry for help, a familiar voice My melting hands streaked the glass"- Dream Theater '89
------------------------------
Date: Tue, 23 Mar 1999 16:31:53 -0800 From: Lisa Marie <ytsegirl@pacbell.net> To: ytsejam@axnet.net Subject: Re: CD Liner program Message-ID: <36F83279.5FF95E50@pacbell.net>
I'll second that recommendation. I got mine at Fry's Electronics... it was only around $20 if I recall correctly.
-- Lisa Marie "Jessie" ytsegirl@pacbell.net
Jeff Perrot wrote: > > I have a program called Design Express CD Labelmaker that came with my cd > label-making kit. It can make both cover and tray liners as well as the > circular disc labels, with pre-made templates already set up for all of > them. I'm not sure if it's available as a separate > package, but you can get your own copy with the Memorex CD Labelmaker, > which works wonderfully by the way. Maybe your could check Memorex's > website, or do a search on the web for the program.... > > Jeff P.
------------------------------
Date: Tue, 23 Mar 1999 19:31:37 -0500 From: Chris Calabrese <ccalabr1@ic3.ithaca.edu> To: ytsejam@axnet.net Subject: Messages in Music Message-ID: <36F83268.90D6C6FB@ic3.ithaca.edu>
As I took a shit 5 minutes ago, something else came to my mind about this subject. I thought of another way emotion and feelings can be conveyed through a piece of music...ever listen to something and have something happen to you and from that point on when you hear that song, all you ever think about is that moment? It could be a purely musical connection or it could be more. The first time I ever heard Marillion's Misplaced Childhood, I was on a plane on my way to Ft Lauderdale and I was staring out the window the whole time...pure beauty and evertime I listen to that CD, which I find to be one of the most incredible pieces of music I've ever heard, I always think back to that moment on the plane. I'm not saying that's all I get out of that CD...Fish is one of the most amazing lyricists I've ever had exposure to, and I get a lot more out of that CD, but you know what I mean.
~Chris -- "Every reason I risk my life To come back to you Is locked behind your door You're my immunity Outside I watched you burn Heavy hearts were bleeding A cry for help, a familiar voice My melting hands streaked the glass"
- Dream Theater '89
------------------------------
Date: Tue, 23 Mar 1999 21:41:48 -0300 From: vecchio@satlink.com To: ytsejam@axnet.net Subject: NEW DREAM THEATER PAGE!!!! Message-ID: <3.0.1.32.19990323214148.006e5708@mail.satlink.com>
Please! Visit my page at: http://webs.satlink.com/usuarios/v/vecchio/ they have a nice MP3 file of Dream Theater, is a Elton John song called "Goodbye Yellow Brick Road".
Thank You!
------------------------------
Date: Tue, 23 Mar 1999 20:17:57 EST From: JKorby1973@aol.com To: ytsejam@axnet.net Subject: Stones,Floyd, Rush - jokes on stage?/Keith Richards...? Message-ID: <26dae726.36f83d45@aol.com>
Someone made a comment about Rush will soon be looking like jokes on stage (because of their age) like the Stones or Pink Floyd. Well, yes, the Stones are getting to be a bit sad in concert. I doubt that could happen w/ Floyd or Rush. First off, the Stones like to act like they're still 18. I think THAT'S what makes them look like jokes. First off, Pink Floyd and Rush were never rock'n'roll "gods" that girls ooed and awed over, so I don't see that happening. That's just me though. Secondly, have you ever noticed how many extra musicians the Stones take on tour? Yes, Pink Floyd has quite a few musicians on tour, but their music actually needs more musicians. Their sound is just huge. The Stones music is pretty raw. They shouldn't need it. By the way, I know Keith Richards came up w/ some cool rythm shit back in the day, & I guess he was a good musician or something at one time, but I sure can't see that as being the case now. Have you ever seen them live? Keith is doing these weird overly-exaggerated strums, none of which seem to ever be in the same tempo as the song, or even on the beat or anything. I can't even tell what he's trying to play half the time. That must be where the extra musicians come in I guess. (Am I the only one who sees this, or what?) Anyways, there probably isn't a Rolling Stones song that I don't like, if not love. Even the new shit is good whether people admit it or not. But live, they're kinda funny. - JK
------------------------------
Date: Wed, 24 Mar 1999 12:22:11 +1000 From: Evan + Vanessa Thomson <evanessa@mira.net> To: "ytsejam@ax.com" <ytsejam@axnet.net> Subject: Music and meanings (no DT) Message-ID: <36F84C53.8D521E@mira.net>
It's not what the artist's intends, but what the listener extracts from the work; whether this applies to Art, literature etc.
I don't necessarily agree with this statement but it is what I was taught at Uni. I do believe that the artist's intention is relevant but no matter what you try to say with your music... people will connect with whatever strikes true for them.
People will believe what they want to believe and hear what they want to hear... just look at the whole Queensryche debacle!!
The question for her is this: What does she get from the music?
The Aussie guy who posted awhile ago mentioned wanting DT to play downunder... why don't you start your own personal crusade to get them here? You can write to the radio stations, send them copies of their music etc. What makes you think that they haven't been played? Listen to 3RRR's metal show, they've played them. You don't think that people have tried? DT don't fit radio friendly format... if they did they would be on there.
It's easy to moan that you're favourite band hasn't visited... do something about it. Australia isn't the easiest place to tour... it takes 16 hours to get here, it's large with a small population (comparative to its size) and it's isolated. There are steps you can take... write to Recovery and ask them to feature them. Compile your own story and send it in. Write reviews. Start up an Aussie fanclub. Just stop bitching.
Vanessa.
------------------------------
Date: Wed, 24 Mar 1999 09:24:28 +0700 From: Robert Jurado <rojurado@pacific.net.ph> To: ytsejam <ytsejam@axnet.net> Subject: LTE's deeper meaning Message-ID: <36F84CDC.C7FD953D@pacific.net.ph>
For all who say that all music has meaning, I'm inclined to agree with you more or less. LTE may not seem to have meaning for a variety of reasons, but I think it is a project that does have meaning. I think that the statement being made is more in the process of making LTE rather than in the music itself.
It hit me as I was waking up and rolling around in bed with "Freedom of Speech" playing. I use my CD player as my alarm clock, you see. Anyhow, I digress. Branford Marsalis has said that all musicians are social critics. I don't think that LTE are different. What LTE is trying to say is that the best music is made when there is a minimum of corporate interference.
A super-group project such as LTE is a great way to see what happens when you give 4 extremely talented individuals the opportunity to go off for "one of the craziest, most stressful, and, yet, simultaneously beautiful, magical and most creative weeks of [Mike Portnoy's] life." It is a testament to the beauty that can come from getting together with a few friends and/or colleauges for a free exchange of ideas. It is what happens when you take 4 volatile, unpredictable, and highly reactive substances and throw them together for a period of time. The recording is the reaction. The album is the reaction product. (For LTE2 it seems that the rate-limiting step is Kiara Petrucci's birth. Max Portnoy seems to serve the same function for DT '99.)
LTE is about the closest you can get to musical utopia. From my interpretation of MP's narration, Mike Varney and Pete Morticelli probably didn't care too much about what the hell came out of the project, The Liquid Tension Experiment. They just provided some sort of impetus that allowed the project to come together. Sure, I'm certain that they approached a respected musician, MP, thinking that he'd put together a project that would make some $$, or that his name/skills alone would sell a few CDs. That is about the only concession to money-making here. At least, it wasn't about making $$$$$$$$. Yes, money was a concern, but it was a very minor one.
Of course, each track may have its own little meanings, but I think that the most important statement is that the songs came together freely with little concern as to how many CDs were going to be sold. It was about music. It wasn't about slickness. It wasn't about perfect recording of a perfect, money-making product. (Look at the end of "Three Minute Warning.") It was about spontaneity. It was about allowing complete artistic freedom. More deeply, it was about interaction with other human beings. It was about the positivity of a certain kind of communication. It was about 4 people getting together and the beauty of that interaction. It was about taking risks and allowing "Freedom of Speech."
At least, that's what I see. Well, maybe it's about allowing Tony Levin to make good espresso for a bunch of musicians. Speaking of espresso, I'm off to have some coffee.
-Rob
------------------------------
End of YTSEJAM Digest 4765 **************************
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