YTSEJAM Digest 5190
Today's Topics:
1) Re: vocal debate
by Brian Deuel <bdeuel@pathwaynet.com>
2) Re: YTSEJAM digest 5189
by Matt Johnston <matt2518@gladstone.uoregon.edu>
3) Re: YTSEJAM digest 5188
by "Ivan Navarro" <inavarro@mdo.net>
4) Re: YTSEJAM digest 5189
by "HJ Rivera" <hrivera@crp.org>
5) RE: YTSEJAM digest 5189
by Alexandro Talamini <Alexandro@Boticario.com.br>
6) Impacted Bands (was RE: Pissing the pink wall)
by "Bernard, Chris" <CBernard@pulaskifurniture.com>
7) Re: Pissing the pink wall
by Marc Respass <marc@merespass.net>
8) Re: Andreas' Cologne Review
by Marc Respass <marc@merespass.net>
9) Re: YTSEJAM digest 5189
by "Ivan Navarro" <inavarro@mdo.net>
10) Re: YTSEJAM digest 5189
by Carlos Andres Alfaro <calfaro@yunque.net>
11) Nurembeg Show
by "Thomas Neubaum" <Thomas.Neubaum@jura.stud.uni-erlangen.de>
12) RE: Beatles
by "Herbert, Jason" <jherbert@biccgeneral.com>
13) Re: YTSEJAM digest 5188
by "Partha Mukhopadhyay" <ahtrap@hotmail.com>
14) prashant aswani-greg howe connection
by "Partha Mukhopadhyay" <ahtrap@hotmail.com>
15) re: The Commercial Equation
by Brian Hansen <bhansen10@yahoo.com>
16) Spicey MP Slops (was Stevie Z/Spelling)
by DTGirl2612@aol.com
17) Re: vocal debate
by "Brian O'Brien" <hayd0029@tc.umn.edu>
18) Responses
by "Andreas Berger" <aberger@waf-online.de>
19) Re: The Commercial Equation
by "TheCowGod" <demccor@clemson.edu>
20) Re: YTSEJAM digest 5189
by Stixntrixx@aol.com
21) the ramones are even more worthless than pink floyd
by Adam Cook <ac003i@mail.rochester.edu>
22) Re: Dominicci isn't that Bad
by JamesAhab@aol.com
23) Control Denied
by Benjamin James Gateno <bg003i@mail.rochester.edu>
24) OT: what the hell does `(sic)` mean?
by JamesAhab@aol.com
25) Guitarists and the National Music Show (26-28 Nov)
by DTGirl2612@aol.com
----------------------------------------------------------------------
Date: Tue, 16 Nov 1999 13:33:04 -0500
From: Brian Deuel <bdeuel@pathwaynet.com>
To: ytsejam@torchsong.com
Subject: Re: vocal debate
Message-ID: <4.2.0.58.19991116131429.00b8bbc0@mail.pathwaynet.com>
>A GOOD singer is somebody
>who can sing for years and years and not have to worry about not being
>able to sing anymore when they turn 50.
An example of this is Steve Perry (Journey/solo). If you listen to one song
from each Journey or SP solo album starting in 1977 and going all the way
up to 1998, you'll hear drastic changes in the man's voice. The young
1977-1979 Perry's voice was strong and very high tenor, but starting with
1981's Escape, you can hear the aforementioned changes start. His voice
started to become husky and airy where he lost some of his strength. By
1983's Frontiers, the huskiness really took hold. His 1984 solo album
Street Talk showed Perry singing in a lower register, and some scratchiness
sneaking in. On Journey's 1986 album Raised On Radio, it was really
apparent that damage had been done by the amount of studio trickery that
was used around his voice. Perry's second solo album, For the Love of
Strange Medicine: no real studio trickery (other than wayyyy too much
reverb), much harshness and strain. And it gets worse, through Journey's
1997 reformation album Trial By Fire and Perry's song on the Quest For
Camelot soundtrack, where he cracks horribly near the end. Perry did a solo
tour for his 1994 album, but had to cut it short because his voice couldn't
keep up. Near the end, they were playing a whole step down, and he still
had trouble.
The man is 51 years old, and the strain of touring and partying has ruined
his voice. Of the excuses I've heard about him quitting Journey (broken
hip, arthritis), I would take the chance and say he quit because he just
cannot sing anymore. It's a shame really. Of all of the pop vocalists in
the world, he had one of the most beautiful voices.
------------------------------
Date: Tue, 16 Nov 1999 10:46:32 -0800 (PST)
From: Matt Johnston <matt2518@gladstone.uoregon.edu>
To: Multiple recipients of list <ytsejam@torchsong.com>
Subject: Re: YTSEJAM digest 5189
Message-ID: <Pine.GSO.3.96.991116104414.16958A-100000@gladstone.uoregon.edu>
Mike thus spake:
>BTW - the break tape consists of a Rush Re-mix, the Jon Finn Group,
>Mr. Bungle, the Flower Kings (which is the track I think you are
>referring to) and then music from Twin Peaks....
Okay, allaya -- the backwards talking is Flower Kings, the cartoon
music is Mr. Bungle (fucked up shit... I should buy it to play at
work), and everybody should be able to distinguish the other three.
Now, where's those audience boots from way in the back left corner
where all you can hear is people making out in 15/8?
--Matt (hasn't seen Emanuelle, but has heard King Crimson)
-----------------------------------------------------------------------
"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
-----------------------------------------------------------------------
------------------------------
Date: Tue, 16 Nov 1999 13:47:11 -0500
From: "Ivan Navarro" <inavarro@mdo.net>
To: <ytsejam@torchsong.com>
Subject: Re: YTSEJAM digest 5188
Message-ID: <000a01bf3062$feb890a0$76035a8c@nws.noaa.gov>
> This is something that has come up time and time again and this seems to
be
> the main criticism of FII (which I love). Can someone explain the
following
> equation to me?
>
> commercial music = simple music = song orientated = bad music
Not quite right--substitute "popular music" for "bad music" and your
equation will work (for me, anyway). The confusion between the concepts of
bad vs. good and popular vs. unpopular is pervasive and should be addressed.
They are NOT THE SAME! Arguments can be made and defended forever when the
subject is good vs. bad. It's SUBJECTIVE and no one will win. Popularity can
be *related* to quality however:
Music's popularity vs. it's quality follows a Gaussian type of distribution
(for those unfamiliar, AKA "Bell Curve"--if its terrible it will be
unpopular, if its mediocre it will be popular, and if it is excellent it
will be unpopular). In order to be popular it must be appealing to the
lowest common denominator (OK OK I went too far with that one--too much
math, what can I say I am an engineer, nerd if you ask my wife!)
Commercial music (as I am understanding it from the above equation) needs to
avoid being too complex and too long if it is to be accepted by a large
audience. If either argument of the formula is violated, there is an
increasing risk that the "popularity" will be diminished. Obviously, there
are numerous exceptions and all of the terms are very subjective and
presumes a range of interpretation as to what is complex, long, popular,
etc. I am also not defining "good" music as necessarily being complex and
long, I am just using these description as an example to differentiate
"good" from "mediocre" music (which would correspond to simple and short).
Simple music can be good music (some Beatles, Mozart,etc.). Complex music
can be bad music (in my father's opinion DT, Stravinsky, Mahavishnu
Orchestra, some Miles Davis, etc.). Whether or not a piece of music is
popular is another story. I believe that if it is complex it can never be
popular (i.e., accepted by the masses). [I am not sure how I would defend
that statement when it comes to popular symphonic music which could be
considered complex based merely on the number of 'voices'. I'll have to
think about it.] BTW, who wrote it and performed it means little to me as
far whether it is good, bad, popular or whatever, it only defines to whom
the credit or blame should be applied.
Enough for now. Thanks for reading my rant.
I-Man
------------------------------
Date: Tue, 16 Nov 1999 13:50:01 -0500
From: "HJ Rivera" <hrivera@crp.org>
To: <ytsejam@torchsong.com>
Subject: Re: YTSEJAM digest 5189
Message-ID: <011501bf3063$63431720$b084c5cf@crp.org>
>> That's crap. Music isn't for "regular guys." It's for musicians.
>Ladies and Gentlemen, the "That's so silly, it's laughable" award has >a
winner! This is akin to saying that "Food isn't for 'regular guys'. It's
>for chefs."
Err.. people. Read more carefully next time before jumping on somone for
their posts. I believe what the first guy meant to say was MAKING music is
for musicians, not "regular guys." Am I the only one who read this right the
first time around?
joe
*hoping the first guy to post doesn't reply to say I didn't read him right..
eek!*
------------------------------
Date: Tue, 16 Nov 1999 16:48:47 -0200
From: Alexandro Talamini <Alexandro@Boticario.com.br>
To: "'ytsejam@torchsong.com'" <ytsejam@torchsong.com>
Subject: RE: YTSEJAM digest 5189
Message-ID: <CB9A835262C6D1118B3B00805FEA2A710162B42D@CORREIO>
>> ------------------------------------------------------------
>> Date: Tue, 16 Nov 1999 10:41:48 -0600
>> From: "Edward Polzin" <polzin@mindspring.com>
>> Subject: Re: Xanadu Records URL???
>> ------------------------------------------------------------
>>
>> Believe me, you dont want to have anything to do with this scam artist.
>> nothing but low quality analog recordings that were transfered to cd.
the
>> guy has ripped me off twice. in my opinion, this guy is worse than Bahr.
>> as least i eventually got stuff from bahr. just a warning. later.
AGREED!!! John BiDella, the guy who used to run it, is the WORST thing I've
dealt with on the internet. He ripped me off and other guys who e-mailed me
when I first posted something related. As a friend of mine use to say, "he
does NOT worth the sheet of paper he cleans his ass, if so".
Alex
------------------------------
Date: Tue, 16 Nov 1999 13:59:28 -0500
From: "Bernard, Chris" <CBernard@pulaskifurniture.com>
To: "'ytsejam@torchsong.com'" <ytsejam@torchsong.com>
Subject: Impacted Bands (was RE: Pissing the pink wall)
Message-ID: <F3476C2D6B4BD31189330090278A744004B5D9@PFCMAIL>
Howdy, y'all......
>> And don't forget that Menudo, New Kids on the (Chopping) Block, and Spice
>> Grrrrls have all had a big impact on music - does that make them great?
>I really don't care about this thread, but I just have to laugh at this.
>Exactly how did any of these bands impact the music world in any lasting
>way? Especially Menudo. :)
Brian (et. al. ):
After each of these groups hit, there seemed to be a huge explosion on the
music scene of what we now refer to as Boy-Bands, or Girl-Groups. N'synch,
Backstreet Boys, B*witched, etc.........Not a very good analogy on my part,
granted, but then i never remember seeing Menudo mentioned on the Ytsejam,
so i figured i'd try to work them in. :-)
As always, YMMV
CHRIS
=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+
Calvin: "You don't think humans evolved from monkeys?"
Hobbes: "I sure don't see the difference!"
=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+
------------------------------
Date: Tue, 16 Nov 1999 14:10:12 -0500
From: Marc Respass <marc@merespass.net>
To: <ytsejam@torchsong.com>
Subject: Re: Pissing the pink wall
Message-ID: <B4571408.4727%marc@merespass.net>
>> And don't forget that Menudo, New Kids on the (Chopping) Block, and Spice
>> Grrrrls have all had a big impact on music - does that make them great?
>
> I really don't care about this thread, but I just have to laugh at this.
> Exactly how did any of these bands impact the music world in any lasting
> way? Especially Menudo. :)
It's an easy mistake to make. All of them had a big impact on popular
culture. At least some of the members of those groups have launched solo
careers further influencing popular culture. But musically? Not even a
footnote. The only influence on music that those groups have had are in
board rooms where a bunch of suits create groups like the Backstreet Boyz
:|.
--Marc R
------------------------------
Date: Tue, 16 Nov 1999 14:10:12 -0500
From: Marc Respass <marc@merespass.net>
To: <ytsejam@torchsong.com>
Subject: Re: Andreas' Cologne Review
Message-ID: <B45715C3.472B%marc@merespass.net>
Mike Portnoy wrote
[snip]
> BTW - the break tape consists of a Rush Re-mix, the Jon Finn Group, Mr.
> Bungle, the Flower Kings (which is the track I think you are referring to)
> and then music from Twin Peaks....
Jon Finn, very cool. I studied with his bass player, Joe Santerre (at least
he was his bass player a few years ago), for a bit. Finn is great. Of
course, Twin Peaks still rules. That show was awesome!
You know, I haven't been around for a while and I think it is *very* fucking
cool to see Mike on the list :).
-- Marc Respass mailto:marc@merespass.net http://www.merespass.net/------------------------------
Date: Tue, 16 Nov 1999 14:17:53 -0500 From: "Ivan Navarro" <inavarro@mdo.net> To: <ytsejam@torchsong.com> Subject: Re: YTSEJAM digest 5189 Message-ID: <001101bf3067$4ba480a0$76035a8c@nws.noaa.gov>
> I really don't care about this thread, but I just have to laugh at this. > Exactly how did any of these bands impact the music world in any lasting > way? Especially Menudo. :) > > -Brian
That's easy! They gave us Ricki Martin!
I-Man--Who now must change his identity after revaling his knowledge of the origins of Latin Crossover SuperStar Ricki Martin who although has no talent and probably doesn't write his own songs still sells mucho CDs!
NP: Ricki Martin-Living La Vida Loca while dancing La Macarena, aye Ricki es el mas caliente!
------------------------------
Date: Tue, 16 Nov 1999 15:44:45 -0500 From: Carlos Andres Alfaro <calfaro@yunque.net> To: ytsejam@torchsong.com Subject: Re: YTSEJAM digest 5189 Message-ID: <3831C23D.ADE94FA@yunque.net>
Ivan Navarro wrote:
> > I really don't care about this thread, but I just have to laugh at this. > > Exactly how did any of these bands impact the music world in any lasting > > way? Especially Menudo. :) > > > > -Brian > > That's easy! They gave us Ricki Martin! > > I-Man--Who now must change his identity after revaling his knowledge of the > origins of Latin Crossover SuperStar Ricki Martin who although has no talent > and probably doesn't write his own songs still sells mucho CDs! > > NP: Ricki Martin-Living La Vida Loca > while dancing La Macarena, aye Ricki es el mas caliente!
funny that your email adress is similiar to menudo's new name MDO with their domain being mdoonline.com i think (its hosted where i work at)
--
Without love, without truth, there can be no turning back. Without faith, without hope, there can be no peace of mind. Carlos Alfaro Internet Solutions Inc. mailto:calfaro@yunque.net mailto:prog@musician.org
------------------------------
Date: Tue, 16 Nov 1999 01:16:48 +0100 From: "Thomas Neubaum" <Thomas.Neubaum@jura.stud.uni-erlangen.de> To: <ytsejam@torchsong.com> Subject: Nurembeg Show Message-ID: <000e01bf307a$86933180$78f50a0a@sjthneub.dialin.rrze.uni-erlangen.de>
Just got home from DT's Nuremberg Show. To keep the mystery, I won't reveal the entire setlist, though most of you should be acquainted with it from the web by now. It was my sixth time seeing DT live, and what I didn't dare to pronounce until today - all the other shows were great and unique - I say now: This was the best I have ever seen. Especially "Strange Deja Vu" turned out as a real live killer, just like "Peruvian Skies", by the way. The selection of songs was perfect and proof of their genius and brilliant musicianship. They all very obviously had a great time tonight. Jordan fits perfectly into DT and finally makes me all but forget about KM. Mike gave the animal at the drum kit as usual (I think he should be dead by now), JP apparently enjoyed displaying his unique capabilities, and JM just was amazing. And there is (Kevin) James - he definitely qualifies for the Olympus of vocalists, his voice being so expressive, profound and manifold also on stage. Exhausted in the end, he had given all that was inside him. And he mostly stayed on stage during the instrumental parts, showing increased stage presence. There is nothing more to say than thanks for that show...
------------------------------
Date: Tue, 16 Nov 1999 15:54:43 -0500 From: "Herbert, Jason" <jherbert@biccgeneral.com> To: "'ytsejam@torchsong.com'" <ytsejam@torchsong.com> Subject: RE: Beatles Message-ID: <6D70903196D4D11190680008C728A61D026B1B2F@HQEXS01>
I think I'll volunteer to be the moron on this one. I understand that the Beatles had a major impact on music, and I respect their contribution....But, IMHO, the "Beatles sucks [sic] and Abbey Road is [a] crappy album." Of course, I'd normally be more diplomatic about it, but you all heard him, he double dared me! :) Anyway, like I said, I respect their contributions to music, but I find most of their stuff unlistenable. In fact the only time I've enjoyed their songs is when someone else was covering them. Hmmmmm... I guess that would imply that they were, to me, good composers/song writers, but not good musicians.... As for Pink Floyd, I think I just got tired of hearing them 87 times a day on the radio....
Zircon the Blue
>Date: Tue, 16 Nov 1999 17:07:57 +0100 >From: CyberDuke <duskob@mol.com.mk>
>P.S. Lemme hear just one moron who'll say that Beatles sucks and Abbey >Road is crappy album, I dare you, I double dare you :)
------------------------------
Date: Tue, 16 Nov 1999 12:55:27 PST From: "Partha Mukhopadhyay" <ahtrap@hotmail.com> To: ytsejam@torchsong.com Subject: Re: YTSEJAM digest 5188 Message-ID: <19991116205527.61731.qmail@hotmail.com>
>If you like Greg Howe, and also like heavier music (and of course >you do, >if you're on this maillist . . .) check out Prashant Aswani >(www.prashantaswani.com). His tone is similar to Howe's, and so is >his >playing style, but he's on a bit of a different level. They use different >equipment and all, but their tone is still really close. I >think Prashant >must've learned a lot of stuff from Howe's records, I >think the influence >really shows. I don't know for sure though.
one reason for the similarities is the fact that Greg Howe himself is all over Prashant's disc as a producer, and as the bassist on that recording
it IS a good CD, check it out for yourselves.....i think I'm gonna go home and put it on myself.....
Partha
______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com
------------------------------
Date: Tue, 16 Nov 1999 12:55:43 PST From: "Partha Mukhopadhyay" <ahtrap@hotmail.com> To: ytsejam@torchsong.com Subject: prashant aswani-greg howe connection Message-ID: <19991116205543.88808.qmail@hotmail.com>
>If you like Greg Howe, and also like heavier music (and of course >you do, >if you're on this maillist . . .) check out Prashant Aswani >(www.prashantaswani.com). His tone is similar to Howe's, and so is >his >playing style, but he's on a bit of a different level. They use different >equipment and all, but their tone is still really close. I >think Prashant >must've learned a lot of stuff from Howe's records, I >think the influence >really shows. I don't know for sure though.
one reason for the similarities is the fact that Greg Howe himself is all over Prashant's disc as a producer, and as the bassist on that recording
it IS a good CD, check it out for yourselves.....i think I'm gonna go home and put it on myself.....
Partha
______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com
------------------------------
Date: Tue, 16 Nov 1999 12:56:53 -0800 (PST) From: Brian Hansen <bhansen10@yahoo.com> To: ytsejam@torchsong.com Subject: re: The Commercial Equation Message-ID: <19991116205653.20355.rocketmail@web117.yahoomail.com>
"Rainer" <rpandean@mail.usyd.edu.au> wrote:
> This is something that has come up time and time again and this seems > to be the main criticism of FII (which I love). Can someone explain the > following equation to me?
> commercial music = simple music = song orientated = bad music
Can't explain the equation because it's not valid. Some people just bash anything that's popular. It's best to just ignore them. While the first 2 tend to be accurate (commercial, popular music tends to be simpler and more repetitive), this has no bearing on whether it is "bad" or not. Some of it is quite good. Pop music is usually this way because it's easy to sell. People can memorize the song after one listen (i.e. Micheal Jackson can repeat the word "Bad" 75 times in a song. People have the whole song down after one listen.) And people tend to like songs that they "know". You're not going to "know" a DT song or a Mozart symphony after one listen.
> Why is it a bad thing to get your point across in the least amount of > time within the context of a song and have a lots of people like it? I think > it takes some skill to write a good commercial song (more critics of > commercial pop music should try it sometime).
Agreed. It does take talent to write a short, catchy and to the point song. DT didn't write any on FII.
> It seems to me that people are more critical of the perceived intent > of the music (cynically, which may be to recruit more fans) than the music itself.
Well, some people will greet any change with the "sell out" chant, but it gets louder if it looks like it is done just to sell records (i.e. the artist didn't even want to do it). Metallica changed and did quite well for themselves. Queensryche changed and lost everything.
> IMHO FII may have been an attempt to broaden DTs' audience by being > more song orientated but after seeing the number units they were shifting
Yes, it might have been an attempt to broaden the fanbase, but it didn't work that well.
For a different example, take Santana. I've been a fan of Santana since the 70's. I mentioned here on the ytsejam that he had some really good songs on his new disc. Now, months later, "Smooth" and the album are number one. It was a great song when no one knew about it, and it still is. (But there is always the problem of overplay and burn-out when a song gets that popular.)
Needless to say, there was no "Smooth" on FII. There were no hits. FII was a slight variation from other DT recordings. It was a variation that some people liked and some people didn't. It SEEMED like it was an attempt to broaden the fanbase, but if that was the intent, it failed. Personally, I think that SFaM will broaden the fanbase more that FII could ever hope to.
my $.02, BH
__________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com
------------------------------
Date: Tue, 16 Nov 1999 15:58:05 EST From: DTGirl2612@aol.com To: ytsejam@torchsong.com Subject: Spicey MP Slops (was Stevie Z/Spelling) Message-ID: <0.73ee444f.25631f5d@aol.com>
>From: David_Cuthbert@Interflora.CCMAIL.compuserve.com
>> Mel C (sporty spice) has a really good voice. There, I mentioned it. > >I second that, the only dubious thing is she is part of a manufactured band.
I disagree - after hearing her sing well flat with Bryan Adams. Her voice is hardly comparable to REAL British female talent like Kate Bush or Annie Lennox for example.
> MP clinic review. > > On MP Clinic review in Rhythm it was said that after listening to 5 > hours of drumming previous to MP coming on it might have been a bit > too much for people to handle, lets face it MP style is no four to the > floor, and the reviewer did say quote 'Arguably the biggest musical > voice of the day', not a slating really.
But Jordan (coincidence?) McLachlan also wrote in that 'Rhythm' article:
"For many of us who've already sat through five hours of drumming, though, it's all a little bit much ...... "
"It's a strangely unsatisfying end to an excellent day..."
and
"There's no escaping the fact, however, that the highlights came in the middle of the bill, rather than from the headliners."
Not really compliments ......
I personally found Mike's section the most interesting and varied of the whole day - even with a drums headache give to me by one or two of the other participants - which I eased with a nice can of Bud on the train home.
------------------------------
Date: Tue, 16 Nov 1999 15:03:56 -0600 From: "Brian O'Brien" <hayd0029@tc.umn.edu> To: <ytsejam@torchsong.com> Subject: Re: vocal debate Message-ID: <B45722DC.F82%hayd0029@tc.umn.edu>
> From: Andrew Coutermarsh <a_couter@oz.plymouth.edu> > Reply-To: ytsejam@torchsong.com > Date: Mon, 15 Nov 1999 23:27:35 -0800 (PST) > To: Multiple recipients of list <ytsejam@torchsong.com> > Subject: Re: vocal debate
> As for Mariah Carey, listen to her earlier stuff (the dog-whistle era) > compared to her voice now. Now it's much more airy, and she hardly EVER > goes high anymore. That's because she's basically blown out her vocal > chords. Another bad singer IMO.
I don't think so. Her shift in style is due mostly to the fact that certain elements of the "black music" industry were pressuring her in the mid '90s to adopt a more "black" style.
-Brian
------------------------------
Date: Tue, 16 Nov 1999 22:09:53 +0100 From: "Andreas Berger" <aberger@waf-online.de> To: <ytsejam@torchsong.com> Subject: Responses Message-ID: <01bf3076$ee1b3d60$LocalHost@p100>
Hi there,
> 21) Andreas' Cologne Review > by Portnoy420@aol.com
Those must be the coolest two lines I've read in any Ytsejam digest since I joined the list about 3 years ago. Post of the year for sure. :-)
>BTW - the break tape consists of a Rush Re-mix, the Jon Finn Group, Mr. >Bungle, the Flower Kings (which is the track I think you are referring to) >and then music from Twin Peaks....
Ah, thanks. I recognized "Tom Sawyer" (although I didn't realize that it was a remix), "Ars Moriendi" and the TP music, because when it comes to Bungle/Patton/FNM and David Lynch *I* am the man... ;-) I saw the Flower Kings as support for Spock's Beard recently, and they were pretty good (as long as you don't compare them to the headliner). I've heard that "Stardust We Are" was their best album. Any other opinions?
I'd also like to contribute to the "SFAM's finest moments"-thread: The "Open your eyes, Victoria"-line is indeed goosebump-inducing, but I have to admit that Edward is my favourite character of the story anyway. As of now, my favourite part of the whole album is the second verse and chorus of "Home" where he is torn apart between his love to Victoria and the loyalty to his brother. *He* is the truly tragic figure of SFAM, believe me. I also love James' vocals on this part. He's also fantastic as Victoria in "Finally Free". Great songs, great album, great band.
Take Care, Andreas
------------------------------
Date: Tue, 16 Nov 1999 16:16:56 -0500 From: "TheCowGod" <demccor@clemson.edu> To: <ytsejam@torchsong.com> Subject: Re: The Commercial Equation Message-ID: <002701bf3077$e98963c0$702010ac@clemson.edu>
]From: Brian Hansen <bhansen10@yahoo.com> Subject: re: The Commercial Equation
> were no hits. FII was a slight variation from other DT > recordings. It was a variation that some people liked > and some people didn't. It SEEMED like it was an > attempt to broaden the fanbase, but if that was the > intent, it failed. Personally, I think that SFaM will > broaden the fanbase more that FII could ever hope to.
i agree, and it seems to be true. i was perusing the charts for the college radio station i work at, WSBF, today, and i noticed that SFAM got 6 spins this week. that is very good - the cd that charted in the #1 position (Sunny Day Real Eestate if youre curious) got 12 spins. the most OIALT ever got was two - and one of those was me :) this CD is definitely meeting greater acceptance, at least as far as i've seen. friends who have always bashed DT found themselves asking "who's this?" when in the car with me when i had SFAM playing. moo.
--
Dan McCormack (cowgod@wsbf.clemson.edu) Computer Engineer, WSBF-FM Clemson 88.1 http://wsbf.clemson.edu/
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Date: Tue, 16 Nov 1999 17:03:20 EST From: Stixntrixx@aol.com To: ytsejam@torchsong.com Subject: Re: YTSEJAM digest 5189 Message-ID: <0.a1e24c6.25632ea8@aol.com>
In a message dated 99-11-16 13:32:22 EST, you write:
<< > I much rather hear a guy like Fred Durst sing sincerely with > integrity than someone who just sings songs that others wrote for them. >>
Personally, I'd like to see Fred Durst scream with sincereity right before being run over by a Greyhound bus driven by a singer who sings songs that others wrote for him.
Richie
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Date: Tue, 16 Nov 1999 17:11:09 -0500 From: Adam Cook <ac003i@mail.rochester.edu> To: ytsejam@torchsong.com Subject: the ramones are even more worthless than pink floyd Message-ID: <3831D67D.BF875C80@mail.rochester.edu>
> From: Steve Zebrowski <szebro1@gl.umbc.edu>
> >Yeah. Those Ramones are good for nothing. Why should I want to go to a > > Damn right they're good for nothing. They ARE nothing. The suck. > > >partying to punk in 4/4 is good for nothing. > > Right again.
Thank you. According to your above statement, it is easy to conclude this issue by pointing out that you a classic case of prog snobbery. Obviously, in high school you were relegated to sitting in your bedroom and feeling superior to others by listening to prog as opposed to going out and partying. Otherwise, you would be aware that punk rock such as the Ramones (and other uptempo music in 4/4) is designed for getting up and moving (ie dancing, moshing, etc.) to as opposed to sitting around and analyzing time signatures. Try to expand your horizons.
Adam
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Date: Tue, 16 Nov 1999 17:29:24 EST From: JamesAhab@aol.com To: ytsejam@torchsong.com Subject: Re: Dominicci isn't that Bad Message-ID: <0.b4c8e6d8.256334c4@aol.com>
>< Charlie Dominicci showed that he really does have good voice on DT's cover of the Beatles' "Carry That Weight". I was suprised how good he sounded. I read somewhere that Dominicci really does have an exceptional voice, he just wasnt in the right type of music. He should have been a Billy Joel-esque performer. I have just found new respect for him.....also \, if he sucked, why would MP ask him to sing at his wedding???....just a thought....btw....i didnt like his voice in WDADU......this new respect was found in listening to other recordings. ><
I don't like him or hate him. He sounds just like Geddy Lee on WDADU, which I think is no coincidnece. However, on the WDADU demo "A Vision", Charlie sounds terrific. A great vocal performance (aside form the last note). One of my favorite DT songs. It's so hard for me to pick a favorite vocalist (or drummer, guitarist, etc). James i great, but there' also guys like Hogarth, Allen, and so on.
>< >> Mel C (sporty spice) has a really good voice. There, I mentioned it. > >I second that, the only dubious thing is she is part of a manufactured band.
I disagree - after hearing her sing well flat with Bryan Adams. Her voice is hardly comparable to REAL British female talent like Kate Bush or Annie Lennox for example. ><
She has some guts though. From what I read in a magazine, her extracurricular solo career is with some punk band, and she doesn't look so fake, and told an audience "I don't give a fuck if you think I'm crap." Pretty far cry from the spice girls, which i guess is respectable.
Jim Brooks jamesahab@aol.com
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Date: Tue, 16 Nov 1999 17:38:36 -0500 From: Benjamin James Gateno <bg003i@mail.rochester.edu> To: ytsejam@torchsong.com Subject: Control Denied Message-ID: <Pine.SGI.4.10.9911161737270.6774544-100000@mail1.ats.rochester.edu>
Does anybody here from over-seas have the new, and only, Control Denied? Any reviews? Thanks
Ben
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Date: Tue, 16 Nov 1999 17:44:33 EST From: JamesAhab@aol.com To: ytsejam@torchsong.com Subject: OT: what the hell does `(sic)` mean? Message-ID: <0.d49f3d5b.25633851@aol.com>
just curious
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Date: Tue, 16 Nov 1999 17:49:22 EST From: DTGirl2612@aol.com To: ytsejam@torchsong.com Subject: Guitarists and the National Music Show (26-28 Nov) Message-ID: <0.a88a1f72.25633972@aol.com>
>From: "Jeff Storck" <jtstor@hotmail.com> >I also bought a CD from Jaye Foucher, a female GIT grad who does the >progressive rock/metal thing. She's not a super speed demon from what I've >heard from the samples, but her music sounds cool... I'll let you know what >I think of the album when I get it in a couple days...
If you like female guitarists check out the two who were originally in Phantom Blue Michelle Meldrum and Nicole Couch (? I think). Racer X in female form ....
Speaking of which, Paul Gilbert has reformed that band and he is playing at the upcoming National Music Show at Wembley, London, UK (26-28 November). Also at the show the Yamaha stand will feature the John Myung sig bass (fretted version!) Brian May will be appearing too (Sunday 28 I believe).
Drummers will include Chad Smith, Michael Lee, Steve White (who was also at Brum Drums), Gary Husband (my pick of the show) and others.
If Mr Portnoy is indeed reading this perhaps he and the rest of the band would like to hop over to the UK and check out the show, seeing as they finish the tour in Paris on 24 November ......
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End of YTSEJAM Digest 5190 **************************
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