YTSEJAM Digest 5206
Today's Topics:
1) BRING EM BACK ALIVE!
by Jon Parmet <jon@parmetpc.volpe.dot.gov>
2) hope ya like jammin' too
by Jon Parmet <jon@parmetpc.volpe.dot.gov>
3) Drummers...in response to Jeff
by Stephen LaMonica <sl080890@mailhost.sju.edu>
4) a huge can of worms
by "M P" <mremann6@dreamtheater.zzn.com>
5) Keyboard
by Isaac Sabetai <isabetai@bu.edu>
6) Drum Machine on SFAM?
by Martin <newmln@yahoo.com>
7) re: Primus tour + Incubus?
by Paul Fini <fini@engineering.ucsb.edu>
8) Christ on a Keyboard!
by "Korg Ecksthrey" <korgx3@safelink.net>
9) Re: YTSEJAM digest 5205
by "Simon Dodd" <sjdodd80@hotmail.com>
10) Keys N Stuff
by Chris Oates <coates@objy.com>
11) European Currency Discussions!
by mams.gajic@t-online.de (Alex Gajic)
12) 2 quick things
by Jonathan Roberts <danthar@yahoo.com>
13) Re: European Currency Discussions!
by Janne Jokitalo <janne_jokitalo@yahoo.com>
14) Re: European Currency Discussions!
by "Korg Ecksthrey" <korgx3@safelink.net>
15) good maiden day!
by "Partha Mukhopadhyay" <ahtrap@hotmail.com>
16) Re: DT mp3s
by Andreas Schwartmann <schwartmann@netcologne.de>
17) Forbidden fruits...
by Matt Johnston <matt2518@gladstone.uoregon.edu>
18) Re: Jordan / Latin
by "Zeusz dA ReAl V0CalISt" <zeusz@bigfoot.com>
19) Re: another bass-question
by "Zeusz dA ReAl V0CalISt" <zeusz@bigfoot.com>
20) =?ISO-8859-2?Q?Re:_Descartes,_Ren=E9?=
by "Zeusz dA ReAl V0CalISt" <zeusz@bigfoot.com>
----------------------------------------------------------------------
Date: Tue, 23 Nov 1999 16:16:19 +0000
From: Jon Parmet <jon@parmetpc.volpe.dot.gov>
To: ytsejam@torchsong.com
Subject: BRING EM BACK ALIVE!
Message-ID: <383ABDD3.C1EBB0E@parmetpc.volpe.dot.gov>
]From Steve Morse's site:
> Touring!
> The Dixie Dregs are getting set to go out beginning January 28, 2000 as the middle act on a 3 act bill. Headlining will be Dream
> Theater, the opening act will be named soon. The tour is expected to run until mid March. Most venues will be small theaters.
> Exact dates coming soon! In the meantime, Steve is mastering the live Dregs CD!
> --Frank
OH YEAH!!!
------------------------------
Date: Tue, 23 Nov 1999 16:39:18 +0000
From: Jon Parmet <jon@parmetpc.volpe.dot.gov>
To: ytsejam@torchsong.com
Subject: hope ya like jammin' too
Message-ID: <383AC336.A33C896C@parmetpc.volpe.dot.gov>
Marc Respass wroteth:
> something. It's just another section of the song. A song, by definition, has
> words and tells some sort of story. A solo is just an added bit. But some
I'm wondering what Steve Morse Band or Dixie Dregs for that matter do
then, by definition. Save one tune I can think of, there's nothing in
their entire collection - which spans over 20+ years - that contains any
words. My, my, do their "songs" tell a story, nonetheless!
I know what you meant, though.
> I couldn't disagree more that the instrumental parts are a waste and
WASTE AWAY!!!! </spock's beard>
> that the solos are boring.
Hear hear! It's where the instruments have the chance to escape from any
pigeon hole created by the prescribed format of a song. Now if JP would
only use a Flying V, the metaphor could truly spread its wings :)
> Of course, all of this is subjective anyway.
No it's not :P
------------------------------
Date: Tue, 23 Nov 1999 11:45:05 -0500 (EST)
From: Stephen LaMonica <sl080890@mailhost.sju.edu>
To: ytsejam@torchsong.com
Subject: Drummers...in response to Jeff
Message-ID: <199911231645.LAA04180@polaris.sju.edu.sju.edu>
I am not familiar with Atheist, so I cannot make a judgement on their drummers.
As for the other two drummers....Sean Reinert and Chambers....I am not familiar
with their work either....thus I would lose even more credibility if I had
mentioned them blindly. There are a ton of drummers that I could have
mentioned, Bonham, Castronovo, Appice just to name a few, but I the five I
chose are the ones that I stick by. Each has their own unique style and have
amazing techniques in their own right. Had I been familiar with the drummers
that would have made me more "credible" then maybe I would've included them on
my list, but I refuse to acknowledge a musician when I am not familiar with
their work.
Stephen La Monica
------------------------------
Date: Tue, 23 Nov 1999 12:07:37 -0500
From: "M P" <mremann6@dreamtheater.zzn.com>
To: ytsejam@torchsong.com
Subject: a huge can of worms
Message-ID: <199911230902452@mremann6.dreamtheater.zzn.com>
]From: CyberDuke <duskob@mol.com.mk>
Subject: Metheny / LTE / Vai
>To hell with it, this is the reason why that friend girl of mine
>after listening some mindblowing LTE asked me: "OK, this is the most
> perfect technical playing I heard BUT what is the thing these
>people trying to convey, WHAT is progressive rock actually? What
>their music means?", on which I just made a donkey face.
<SNIP>
>She still asks from me to show her where is the background of
>progresive rock.
>And she is right concretely about the point: Tehnical virtuosity
> means jack shit if the MUSIC doesn't do anything, if the
>COMPOSITION is not there.
>Why is this rock "progressive"? What makes it progressive?
I wrote a long section on the history of rock and prog
splitting from it. I deleted it. It was vague, very
boring, and not heartfelt. Instead, here is my take on the
music itself; the history lesson isn't really necessary.
The spirit in progressive music when it started and up into
the 70's appears to have been three-fold: it has been about
fusing disparate styles of music, experimenting with aspects
of music that hadn't been tried before in rock, and "pushing
the envelope".
You have to remember that the term "progressive rock" was coined
back in the late 60's/early 70's. Back then, jazz fusion, classic-
fusion, Led Zeppelin's blues/metal experimenting and so on were
all new to the music world. It had been a means to find one's own
way rather than to follow the mass of cookie cutter bands patterning
themselves after the Beatles. Thus it was "progressing" the
music of the time.
What is the appeal of this music? Why would Rush, Genesis,
Yes, Pink Floyd, <insert band here> bother with making their
jobs so complicated. To write viable songs and do it
in a quite different manner from the herd, to make it difficult
to play and yet still be able to do so: this is setting a challenge
before yourself, and to accomplish it is a rush! This is why
(I believe) people began to make progressive music in the first
place, if not to stretch their own limits, then to truly set
themselves apart from the crowd and have fun with doing something
different.
Someone had to hear this and think, "Hey, this is pretty cool!
He can run circles around XXXXX and not work up a sweat."
Otherwise progressive rock would be as dead today as the major
magazines proclaim. The appeal is largely to people that are
aware of the lengths these bands have gone to; it seems that
it is other musicians that enjoy it most. Marveling at the
technical aspects is part of it, but the music is also a refreshing
change of pace from what you hear on the radio, and
(though you girlfriend refutes it for DT) a lot of prog puts
their heart and soul into their work.
Most people will look at prog and say "WTF?" It's not that
something so strange scares them as much as it annoys them.
Some just plain can't get into it.
>Certainly more technical masturbation and some odd time changes
> doesn't bring the "progressive" add, there must be something else.
let's take a sideline and go to a totally different field:
video games. lately for computers, the trend is 3-D, multiplayer
online gaming, and everyone is trying to push the barrier.
This equates to pushing the polygon or frame rate barrier,
trying to squeeze another one or two frames per second or another
50 little objects moving on your screen.
This results in two things: one, the amount of real improvement
generally is miniscule and unnoticeable, and two, the games
plain suck. So much time is spent on pushing the technical
envelope, that someone forgot to tell the programmers why people
play games in the first place. They gotta be fun.
Back to prog rock.
Your girlfriend accuses it of being complex for the sake of
being complex. But that IS what defines it as being prog anymore;
the meeting of styles and experimentation are largely taking
a back seat to the WOW factor inherent in stringing together
a rhythm line that defies you to bob your head to it. And for
what is truly at the edge, what is progressive in progressive
rock, is nearly unlistenable. You've probably not heard of
bands like Ruins, Tipographica, Fushitsusha, Happy Family,
and Dr. Nerve. These even have proggers saying "WTF?"
Experimentation is always useful - even taken to an extreme
such as these bands do it - in that it opens new avenues
for the art to grow in, but to me these bands are failing in
one major area.
Music is not effective it is doesn't move you in some way.
If music does not alter your mood in some way, capture your
imagination, stir your heart, then it is nothing more than
NOISE.
Pink Floyd is among the last remaining progressive bands to
have a major mainstream audience while still holding on to
a proggish sound. It's not because Gilmore, Mason, and Wright
are stellar players (it helps), but because they are stellar
performers and writers as well. Their brand of melancholy
still moves millions, and the fact that it seems they always
have an album in the top 100 goes to show that they still
capture hearts of people even today.
> And according to me, I think there is something else, but I can't
> express it with words. It's just that some music makes you feel
> that special way, but I can't pass this feeling to her or anyone.
It is possible for someone to acquire tastes for something
new, but it can be very difficult when they are not exposed
to it a lot. Music can be explored, taken as a whole or in as
infinitesimal bits as you like, but you can't do it if it's
not playing in your cd player.
> What's funny is that I have that special feeling also for the
>music she adores (world music, ethno foklore based one), music
>that makes you shivers, cry, makes your hair stand straight,
>. AND I feel sometimes the same with progressive rock.
Capable musicians have never been limited to progressive rock,
however we like to subsume them under the subgenre "Virtuoso"
;)
>So the way I see it is that since I have that feeling on her
>loved music (and we agree perfectly fine on that subject
>discussion) AND on progresive rock, that it is proof it does
> SOMETHING, but I cannot describe it. So what to do now? :)
Making a prog-lover of her may be out of the question; she
is not impressed by technical ability but, it would seem,
an ability to play emotively. If this is true, here is your
middle ground.
Other members of JAJUID have recommended a band from your own
Ljubljana a few times, this one being Devil Doll. It is a
dark mix of orchestral music and rock, and is highly emotive.
The singer here would make or break it for you and your friend.
Mr. Dr. (that's his name) has some true talent, but disguises
it in several modes that would remind some of The Phantom
of the Opera. The subject matter is also grim: highly emotional
issues hidden behind the script of a horror film is the
best way I can put it. Check it out on the web if you can.
Lighter choices along this line include Anglagard and White
Willow, both from Sweden, I think. Anglagard is more proggish
and WW is more folkish, but both are very good.
Thoughts, people?
D/J
Dream Theater newsletter - http://www.dreamtheater.net/uacmmail/
___________________________________________________________
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------------------------------
Date: Tue, 23 Nov 1999 12:28:53 -0500 (EST)
From: Isaac Sabetai <isabetai@bu.edu>
To: ytsejam@torchsong.com
Subject: Keyboard
Message-ID: <Pine.A41.4.10.9911231218130.23664-100000@acs6.bu.edu>
>I like the fact that he only uses on keyboard. It shows
>that he is confident and doesn't need a whole rack
>to be showy. At Yes, Igor had at least 10, which
>I thought was about 7 too many.
This is a crazy statement. Would you apply it John Petrucci, who now has a
rack that eclipses Steve Vai's. And that's saying a lot because Vai has
been known for some monster racks. Are you saying JP is showy and
unconfident because he has four or five different amps and four or five
different effects processors in his rack? Just let the musician decide
which tone(s) are best for him and leave it at that.
Isaac
------------------------------
Date: Tue, 23 Nov 1999 09:40:49 -0800 (PST)
From: Martin <newmln@yahoo.com>
To: ytsejam@torchsong.com
Subject: Drum Machine on SFAM?
Message-ID: <19991123174049.12716.rocketmail@web1604.mail.yahoo.com>
Hey,
does Mike play on 'Through Her Eyes' or is it a drum
machine?
Later,
Martin
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------------------------------
Date: Tue, 23 Nov 1999 09:48:44 -0800
From: Paul Fini <fini@engineering.ucsb.edu>
To: ytsejam@torchsong.com
Subject: re: Primus tour + Incubus?
Message-ID: <4.2.0.58.19991123094835.009a8ed0@127.0.0.1>
Jim wrote:
>Hey, for you folks that have seen primus, is Incubus still playing with
>them? I heard that a leg of the tour was going to be Incubus, Buckethead,
>and Primus, and I just about creamed. Incubus is one of my favorite bands.
>For their older stuff, think of 311/korn-style adidas metal with a really
>badass singer (very reminiscent of Mike Patton) and you have Incubus. They
>branched out a lot on their newest album, which came out the same day as
>SFaM. The new music is a lot more chill, and definitely more mature; it's
>so full of emotion and expression that it is absolutly amazing. it's a
>shame they don't get more exposure. they are better than any of the other
>new metal bands I've heard. Bass Player magazine called their bassist one
>of the ten bassists to look out for in the next ten years (it was like a
>10th aniversary issue). Incubus is awesome. I highly recommend checking
>them out, esp. if you're going to see primus.
Props to that - Incubus is _THE_ new metal band to follow right now, IMHO.
I've seen them a ton of times, mostly in smallish clubs in L.A., and I can
attest to their kick-ass live presence matching their ability to make
powerful (but at times beautiful) studio albums. I was kind of dubious when
I found out their first DJ (DJ Lyfe) had left, but their current man behind
the turntables, DJ Kilmore, is amazing, and seems to be better integrated
with the other band members. As far as I know, Incubus will be together w/
Primus for the duration of the tour. Check out the schedule at Pollstar:
http://www.pollstar.com/tour/a.cgi?Artist=Incubus
SEE THIS SHOW IF YOU GET A CHANCE - you won't be sorry!
Paul
-.-- -.-- --.. -.-- -.-- --.. -.-- -.-- --.. -.-- -.-- --.. -.-- -.-- --..
Paul T. Fini U.C. Santa Barbara
fini@engineering.ucsb.edu Materials Dept.
voice (805)893-8869, fax (805)893-8971 MOCVD group
-.-- -.-- --.. -.-- -.-- --.. -.-- -.-- --.. -.-- -.-- --.. -.-- -.-- --..
------------------------------
Date: Mon, 23 Nov 1998 11:03:31 -0700
From: "Korg Ecksthrey" <korgx3@safelink.net>
To: <ytsejam@torchsong.com>
Subject: Christ on a Keyboard!
Message-ID: <002601be170b$9a181060$0201010a@meserver.meserver.com>
>different effects processors in his rack? Just let the musician decide
>which tone(s) are best for him and leave it at that.
LOL. This is like going to Yanni's Tribute concert. The dude had at his
disposal something like 3 Korg Trinities, a Korg Z1, and a Korg SG1, and a
full sized Grand Piano. (I think that's what it was). His keyboard player
(Ming Freeman) had an even larger selection. Shit. Something like a mix of
4 Korgs and 3 Kurzweils or something like that, I can't even remember them
all. And if you try and tell me he's not as good as Jordan (Ming, not
Yanni)... wow. I don't think it's a matter of multiple keyboards being a
crutch, I think it's a matter of guitar players having penis envy because
they can't stroke two necks at once. :) Unless they're Michael Angelo,
anyway. :)
Multiple boards are a matter of convenience. They make it easier to play a
particual multi-sectional piece rather than try to accomplish it all on one
board. Kudos to Jordan for being able to do so. :) But if Jordan could
take a shit a kangeroo pouch while eating a starfruit and make it sound like
a fully arranged section of woodwinds, brass, and strings playing an Esus4
chord, I probably still wouldn't be surprised. :)
But the biggest question is... Is Jordan gay? :)
He can't be a successful replacement for Derek if he's not, can he?
-- KorgX3 thinks starfruit kicks ass. NP: Shania Twain - Come on Over------------------------------
Date: Tue, 23 Nov 1999 19:00:26 GMT From: "Simon Dodd" <sjdodd80@hotmail.com> To: ytsejam@torchsong.com Subject: Re: YTSEJAM digest 5205 Message-ID: <19991123190026.23596.qmail@hotmail.com>
>>I edited out all of JP's guitar solo in TOT, but kept Derek's keys >>solo >>AND YOU'D NEVER KNOW! I took out the whole second verse of >>TAMP, and >>YOU'D NEVER KNOW! The copy of FII that I have is thus (and > >I'm not sure if you mean that you can't tell John's solos from >Derek's or >if you mean cutting the solos doesn't detract from the >album. I'm guessing >the latter. To that, I have to completely agree. >You can cut all the >instrumentals and all the solo sections and it >won't matter! The songs >will still be good songs and the album will >still be a good album. Solos >are always expendable.
No, no. I don't mean EITHER. What I mean is, my new version flows no less smoothly than the original; so you'd "never know" (assuming that you hadn't heard FII before) that anything had been fiddled out with pro-tools. TOT is the only DT song where it just sounds like they thought "shit, we've got this song, and we need to get a solo in there somewhere". It's not a slowing solo, nor an instrumental section, it;s a solo section (does that make sense?), and I don't like that. I do like both the solos, but while I wanted to chop them both, Derek's solo segues into "The Wasteland", so I couldn't. As for TAMP, I just can't help but feeling it's more concise minues the second (rather superfluous, lets face it) verse. There is no WAY you can get "Simon hates all the solos" out of what I said! And there's no WAY that MOST of JP's solos are expendable!
>I like the fact that he only uses on keyboard. It shows >that he is confident and doesn't need a whole rack >to be showy. At Yes, Igor had at least 10, which >I thought was about 7 too many. Notes From The Edge (www.nfte.org) has a diagram of his setup
>hmm maybe the same way he did 98% of RMP live - he splits his board. >has a >little magic pedal that he taps with his foot and it completely >rearranges >the configuration as needed. moo. It's amazing what they can do with technology these days...I didn't know you could do that on a board. Good call.
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------------------------------
Date: Tue, 23 Nov 1999 11:09:12 -0800 From: Chris Oates <coates@objy.com> To: ytsejam@torchsong.com Subject: Keys N Stuff Message-ID: <3.0.5.32.19991123110912.00d04960@objypop>
Various comments:
>Hmmm... I'm no keyboard player, but if someone had one >physical "keyboard" on stage, couldn't they control a >whole rack full of synths? Including a rack-mounted >Trinity?
Yes, but from what I heard, jordan has one keyboard (the Kurzweil) and he was talking about having one rack-mount Kurzweil permanently in B-3 mode. So he's using 2 devices that basically have the same sound engine.
>Of course there's probably a reason this might not >work that I'm not aware of...like compatibility or >playability problems?
Not really. MIDI is a nice and flexible standard. I have a Roland controller keyboard simultaneously talking to a Roland, a Korg and a Yamaha sound unit. Derek also had 2 or 3 rack units in his gear.
>I like the fact that he only uses on keyboard. It shows >that he is confident and doesn't need a whole rack >to be showy. At Yes, Igor had at least 10, which >I thought was about 7 too many.
Well, he's probably just trying to fill Wakeman's shoes, who had 8,000 keyboards on stage, as opposed to Tony Kaye, who tended to only have 2 on stage.
But it's really more about personal preference. I've had up to 4 keyboards simultaneously (2 general purpose, one for soloing, one for hammond organ) and as few as one, and I feel comfortable with 3. (axe the solo-only keyboard) Yes, you can train yourself to puch the right buttons to switch sounds at the exact right moment and do it all on one keyboard, but I like the comfortability of knowing that keyboard X is set up for this kind of sound, and keyboard Y for that layer, etc. When I have to fiddle with buttons in the dark, I tend to hit the wrong one, and suddenly it's saxophone solo in the middle of a dark and heavy passage. ;)
>>From what I hear of Jordan's prodigal playing, he splits the keyboard in >half and plays say, the strings, with his left hand and the piano with his >right. Considering his current board's 64 note (or is it 128 now?) >polyphony, I don't see how this could be a problem. :) I wouldn't Look Past >Him to use foot controllers to pedal any bass notes he needs (like an >organ).
Yep, he does split a lot. That's one thing I need to look into more is splitting my keyboards. I mean, unless I'm doing a piano patch, I don't need all 88 keys to be one sound. And hey, polyphony isn't everything. I remember people doing pretty cool things back in the days of 8 note polyphony. :)
>(Aren't all keyboard players merely guitar player wannabes who >couldn't make the grade ??)
Hm. I've had no desire to ever play guitar. Probably because my dad plays guitar and I wanted to be "different" It's probably just a joke anyways. :)
~Chris
------------------------------
Date: Tue, 23 Nov 1999 20:35:17 +0100 From: mams.gajic@t-online.de (Alex Gajic) To: ytsejam@torchsong.com Subject: European Currency Discussions! Message-ID: <m11qLif-0003GtC@fwd08.btx.dtag.de>
Some people just have way to much time on their hands
I finished off my post with a >> Just my 2 Euros.
To which Janne Jokitalo remarked... >Guess it's centimes, or something...(in relation to cents in States...)
It's cents as well, but then it wouldn't have been funny at all (okay I admit it wasn't funny this way anyway, but just to put things straight).
Jam on ;)
Alex from Future Euroland!
-- Alex Gajic [alexander.gajic@taunusbuehne.de]
WIDE AWAKE @ http://WideAwake.freesite.de/ THE FANATASY QUEST @ http://www.geocities.com/Area51/5974/index.htm MEMORIJA @ http://jugendgruppe.taunusbuehne.de/
* Kjeldoran's should rule supreme. And for the rest ... death! * AVRAM GARRISON
------------------------------
Date: Tue, 23 Nov 1999 11:48:41 -0800 (PST) From: Jonathan Roberts <danthar@yahoo.com> To: ytsejam@torchsong.com Subject: 2 quick things Message-ID: <19991123194841.3257.rocketmail@web601.yahoomail.com>
1st thing: Anybody else going to the drum clinic on 12/1????
2nd thing: Any keyboard players out there want to exchange notes on transcriptions from SFaM? I just started working on it, I'm only half way into track 2.
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------------------------------
Date: Tue, 23 Nov 1999 11:57:00 -0800 (PST) From: Janne Jokitalo <janne_jokitalo@yahoo.com> To: ytsejam@torchsong.com Subject: Re: European Currency Discussions! Message-ID: <19991123195700.9856.rocketmail@web305.mail.yahoo.com>
--- Alex Gajic <mams.gajic@t-online.de> wrote:
> Some people just have way to much time on their hands
> To which Janne Jokitalo remarked...
Heh, I thought this would come up...Actually, it's not that much of having too much time, but more of spending too much time by the computer...I'm at work about 12 hours a day, and can't seem to concentrate all that time on work...so...
> It's cents as well, but then it wouldn't have been funny at all > (okay I admit it wasn't funny this way anyway, but just > to put things straight).
Okay, I guess I'll accept it. Funny...hmm...well, me neither ;-)
===== Janne Jokitalo
Boss Information: jaska@boss.fi Jyväskylä University: jajokita@st.jyu.fi Homepage: http://www.jyu.fi/~jajokita __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com
------------------------------
Date: Tue, 23 Nov 1999 13:37:15 -0700 From: "Korg Ecksthrey" <korgx3@safelink.net> To: <ytsejam@torchsong.com> Subject: Re: European Currency Discussions! Message-ID: <002001bf35f2$9aaab620$0201010a@meserver.meserver.com>
>computer...I'm at work about 12 hours a day, and can't seem to >concentrate all that time on work...so...
Which is equivalent to about +/- .00003424658 Jeremies, what?
What's kind of sad is that I just found out that Eddie Money just played at the local high school 2 weeks ago. I don't know what's more sad. That he has to play small town high school auditoriums in Idaho or that I regret missing seeing him. lol. No matter, Great White's coming next week and rumor has it Ratt wants a go, too. :D Woo! Small towns are starting to rule! Given 10 years or so maybe I'll see DT there! Yay! *whap* *thunk* -- KorgX3 wants to be taken home tonight. NP: De Lucia/Di Meola/McLaughlin - The Guitar Trio
------------------------------
Date: Tue, 23 Nov 1999 12:54:13 PST From: "Partha Mukhopadhyay" <ahtrap@hotmail.com> To: ytsejam@torchsong.com Subject: good maiden day! Message-ID: <19991123205413.62530.qmail@hotmail.com>
had a good day yesterday....full day's work, watched good will hunting for the first time (GREAT flick!), played in an IM Football game that we unfortunately lost, watched a great Monday Night Football game and managed to sneak in a trip to a used record store sometime in between.....
now, the thing about me and used record stores is like this: 1) I go in there with nothing in mind, I'll just scan the shelves, and if something hits my eye, I'll think about it.....plenty of time, I go into these places and come out with nothing, just the way kids hit record stores in malls and 2) never leave without checking the dollar or less bins, to see if they made any "mistakes", meaning stuff I/we like, but nobody else wants.....
anyway, the way they got the place set up, the "I" section falls near the front, and they've got Ed Hunter sitting there for $14 :) Now, with the way the vote was rigged during the contest to determine those top 20 Maiden tracks, i might not pay that much for a 2 cd set with those songs on there (5 tunes from Fear of the Dark and beyond? ridiculous, for a band with that much history/stellar back catalogue, that they felt they had to give their substandard material equal time)....but throw the game in there, and I'm sold! (what's it retail for, anyway? $20-$25 at least, I'm thinking)
and then, just above it, was another title I had to take a look at....Iron Maiden live at the Palladium.....turns out to be a b*** of an 1982 show in New York.....now, I had given up buying boots over a year ago, but damn my conscience, I couldn't pass up a shot like this for $8.....turns out the guy made a mistake, and took it in without noticing what it really was.....it's a really decent sounding Number of the Beast tour show, apparently broadcast over the air, with typical Bruce Dickinson chatter.....cool stuff, up for trades if anyone is interested..... (see also http://www.umich.edu/~ahtrap/swaplist.html)
and a real dead one was waiting in the mailbox when i got home.....all in all, not a bad day....but I'm adding up the hours, and I'm failing to see how i was able to cram all that in.....that's when you KNOW it was a good day......
partha
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Date: Tue, 23 Nov 1999 21:49:50 +0100 From: Andreas Schwartmann <schwartmann@netcologne.de> To: ytsejam@torchsong.com Subject: Re: DT mp3s Message-ID: <4.2.0.58.19991123214825.009c2f00@pop3.netcologne.de>
At 17:56 21.11.1999 -0800, you wrote:
> Anyway, hopefully the wanker who stole my discman will listen to the CD, > realise what he >has been missing in life and kill himself. >Thanks.
I guess this guy will be most happy about what he actually stole: he got a fabulous piece of music for free. Too bad he does not have the liner notes and lyrics. ;-)
Andreas Cologne, GER
-- schwartmann@netcologne.de ICQ # 27170739
Visit my homepage "My Playground": http://www.netcologne.de/~nc-schwaran2/
"Katie lied."
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Date: Tue, 23 Nov 1999 13:04:17 -0800 (PST) From: Matt Johnston <matt2518@gladstone.uoregon.edu> To: ytsejam@torchsong.com Subject: Forbidden fruits... Message-ID: <Pine.GSO.3.96.991123124634.29239B-100000@gladstone.uoregon.edu>
Bought the new Metallica album, S&M. The title makes sense. They're sadists for putting it out, and I'm a masochist for buying it. It started out promising enough -- Call of Ktulu rocked *very* heavily until Hammett's solo.
Listening to him creak his heroin-laced hands over the fretboards in a sad imiatation of the solo that made me want to learn to play guitar was like watching a six-year old involuntarily soil himself upon seeing Mickey Mouse. In a word, embarassing. I actually felt sorry for him... than I realized he brought it on himself. The man was in the company of 100+ professionals; he could have at least had the common professional courtesy to learn the fucking solo and play it right.
Master of Puppets has turned into a Bond song -- the sad thing is, Kamen got the mode of the key wrong... sad sad world. I don't know the names, but know when an entire fucking orchestra is playing an admittedly in-key natural on a note that shoulda been a flat. Whatever. Michael Kamen probably spent about 15 minutes writing the music for the whole concert anyway.
Thing That Should Not Be rocked pretty well. The string section played well on Bleeding Me (the best song Metallica's written since My Friend of Misery -- not saying too much, but still). Actually the old stuff (i.e., the stuff that isn't based on a basic blues scale) wasn't bad. For Whom The Bell Tolls was listenable, if a little too much like the soundtrack to Armageddon. Kamen sorely underestimated the orchestra -- nothing better than a quarter note or eighth note here or there, but even beyond that, he made them play these stupid accents to the music rather than playing nice subtle pads.
All in all, it's one part flash, one part pan. Inster one into the other. They give bands like Savatage a bad name ("This is Symphonic Metal? This doesn't sound like Metallica's S&M! What fags!"). A severe step back, and possibly the creative death knell for the band. I've run into writer's block before -- the first symptom is reworking your old stuff, trying to squeeze blood from a stone.
-Human, one of the TWO NEW SONGS! is actually pretty cool. It uses an actual synth sound, and an almost odd-time signature. The symphony kinda ruins it (too much brass in all the songs, and this one especially), but it's not too bad.
Oh, and here's the sheet music for all the songs:
o o/ o/~o/~ o o o fff --- accelerando ---------------...
Repeat until bored.
It was like listening to Jordan Rudess playing a Kurzweil with his left buttcheek while the local garage band hammered out all those songs they wrote in high-school that they thought were really kewl. Hell, even that woulda been better.
I will say this, though -- Call of Ktulu rocked nadz. Heavily. Dream Theater should cover *this* version; Ruddess would have a field day, and Petrucci could get that solo down better than Hammett could ever.
Suddenly Sleepy, --Matt
----------------------------------------------------------------------- "I like to go to art museums and name the untitled paintings... 'Boy With Pail'... 'Kitten On Fire'..." --Steven Wright ------------------------------- The Cafe Pierrot: Quality Original and Series-Based Anime Fanfiction http://gladstone.uoregon.edu/~matt2518/ Last Updated on Oct. 30th Next Scheduled Update: Nov. 20th -----------------------------------------------------------------------
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Date: Tue, 23 Nov 1999 22:20:33 +0100 From: "Zeusz dA ReAl V0CalISt" <zeusz@bigfoot.com> To: ytsejam@torchsong.com Subject: Re: Jordan / Latin Message-ID: <199911232220330600.0043105C@post.hem.hu>
Hey Andrew,
>> Er- Zeus, what you probably mean is 'Cogito ergo sum', I don't know >> what you were thinking but don't mix 'Cogito' with 'Coitus' ;) >What d'ya mean? I knew exactly what he meant, although by his philosophy >I don't exist. :)
Errr ... please don't take it as an offence, sir but - let me be simple - you dont think (i.e. use your brain), or you dont have sexual intercourse on a regular basis?:)))))
Bye
ZZZZZ mailto:zeusz@bigfoot.com UIN:7315852 HP:http://RS.irisz.hu/zeusz
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Date: Tue, 23 Nov 1999 22:20:26 +0100 From: "Zeusz dA ReAl V0CalISt" <zeusz@bigfoot.com> To: ytsejam@torchsong.com Subject: Re: another bass-question Message-ID: <199911232220260300.0042F3ED@post.hem.hu>
Hay Matej Grginic,
[Damn! How can you pronounce your name?:)))))))) Was it hard to learn?:)]
>I also have a six string fretless and maaaaan :) As much as I love >the sound (that brooooom.. awesome!),
Hay neighbor! How 'bout you and I ... oooor... I and you ... if I just went to see you on the weekend?:) If we are neighbors...:) I would have a try on that six string fretless stuff.;)
>I hate the fact that I always >have to look at my hands or slide up and down to get the pitch.
Oooooh, pooor you. Let this be thine greatest problem in thine life.:)))
>Standard bass is way too convinient, all rookies, by all means start >with fretted!
I think I could do without those frets, but I'm not sure... But if I was lucky enough to find the correct notes on the violin for 10 years, then some fretles stuff couldn't do any harm for me... I suppose.:)
Bye
ZZZZZ mailto:zeusz@bigfoot.com UIN:7315852 HP:http://RS.irisz.hu/zeusz
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Date: Tue, 23 Nov 1999 22:20:37 +0100 From: "Zeusz dA ReAl V0CalISt" <zeusz@bigfoot.com> To: ytsejam@torchsong.com Subject: =?ISO-8859-2?Q?Re:_Descartes,_Ren=E9?= Message-ID: <199911232220370830.004320F5@post.hem.hu>
Hey I-man;),
>Obviously a typo but I was still ROTFLMAO.
No!!! Damit, fuckaz! How many times do I have to tell you that that was on purpose.:) I somehow knew that you guys are going to reply this to my message.:)
>I like Zeus' version better than >Decartes', "co=ECre, ergo sum." This allows drummers and DS to also prove >their own existance ;-)
This stuff really made my day.:) This was the minute when I turned down on my chair and rolled oooon and ooon laughing.:)
But maybe they think also. They think on the girl they wannna .... have sexual intercourse with. Was I politically correct?:)
Bye
ZZZZZ mailto:zeusz@bigfoot.com UIN:7315852 HP:http://RS.irisz.hu/zeusz
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End of YTSEJAM Digest 5206 **************************
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