YTSEJAM Digest 5262
Today's Topics:
1) Emotional song...
by "Vince French" <vfrench@home.com>
2) Look what the cat dragged in ....
by Ryan P Skadberg <skadz@mindstorm.com>
3) Fish Tourdates
by "Metzger, Mark" <mmetzger@comversens.com>
4) Pain of Salvation
by Adam M Cook <ac003i@mail.rochester.edu>
5) RE:Re: JP and Ibanez
by "Tristam Douglas" <tris@douglasf1.freeserve.co.uk>
6) RE:Re: Competition within bands
by "Tristam Douglas" <tris@douglasf1.freeserve.co.uk>
7) petrucci adn the band....
by Eric Thibaut <nedrapture@netscape.net>
8) Tama/Ibeenhad/EB/DT/NAMM etc
by Christopher Ptacek <someone@enteract.com>
9) Re: Emotional song...
by Andrew Coutermarsh <a_couter@oz.plymouth.edu>
10) Metallica AJFA/ Emotional Songs
by Kurt M Hampton <kurt.hampton@juno.com>
11) Wow, I never realized...
by Andrew Coutermarsh <a_couter@oz.plymouth.edu>
12) mastering
by Steffen Barabasch - The Mirror <TheMirror@dtifc.com>
13) Re: Tama/Ibeenhad/EB/DT/NAMM etc
by "Korg Ecksthrey" <korgx3@safelink.net>
14) Re: Mindcrime Grammys
by Fett2002@aol.com
15) Re: Emotional songs... / manson
by JamesAhab@aol.com
16) Re: reversal of chronologies
by JamesAhab@aol.com
17) DT Opening For Yes in Summer 2000!!!
by MTeiper@aol.com
18) Re: RE: toto drummer
by "Rob Pociluk" <robpociluk@dreamtheater.zzn.com>
19) Re: YTSEJAM digest 5261
by Stixntrixx@aol.com
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Date: Sun, 9 Jan 2000 13:17:11 -0500
From: "Vince French" <vfrench@home.com>
To: <ytsejam@torchsong.com>
Subject: Emotional song...
Message-ID: <002b01bf5acd$bfa4b020$6e047218@celeron>
Hey jammers,
I saw a few people list Mahler and Tchaikovsky for their fave emotional
songs...
Well, I was in Prague recently, and I got to see 60 people on stage (about
35 chorists and 25 musicians) play Mozart's Requiem in its entirety. WOW.
]From the moment it kicks in with all the vocals, I had shivers for the first
20 minutes and it actually brought tears to my eyes at some points. Truly
an amazing piece of music. It's always been one of my favorite pieces, but
to see it live.. man, that kind of power just can't be captured on CD.
Vince French
3D Animator/Graphic Artist
Ottawa, Ontario
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Date: Sun, 9 Jan 2000 13:39:13 -0500 (EST)
From: Ryan P Skadberg <skadz@mindstorm.com>
To: ytsejam@torchsong.com
Subject: Look what the cat dragged in ....
Message-ID: <14456.54737.267632.776006@optical.mindstorm.com>
Hey All ...
I did some catching up today and now am actually caught up on jams
(after skipping a "few"). I also went through the infamous bounce
mailbox and unsubbed everyone who was bouncing. After all that we
have about 1035 subscribers to the list :)
A couple of things that I noticed whilst reading/going through
bounces. First off, if you are going away and have a quota on your
email system, PLEASE PLEASE PLEASE unsub for the time you are gone. I
erased a few hundred (if not 1000) bounces from people who had gone
away for a couple of weeks and they had hit their email quota. So,
please unsub if you are going away.
Second, anyone using dreamtheater.zzn.com, PLEASE turn off HTML
formatting. I saw at least one post form zzn.com that had NO
formatting, so I know it is possible. If you are unsure of how to do
this, please let me know and I will look in to it further.
Third, a while back, I added stuff in to the pre-processing of the jam
which rejects MIME enocoded messages IMMEDIATELY. Since doing this I
have seen about 100 boucnes of this sort. PLEASE do not try to post
MIME messages to the jam. This means posting HTML
messages/attachments/etc. If you seem to be posting and not seeing
anything come through, this is probably why. If you are not sure,
please send me mail and I will check to see if you have a bounced
message.
If you need to get in touch with me, please use skadz@dreamt.org and
NOT ytsejam-owner@torchsong.com. I am not great about keeping up on
torchsong.com, so those messages will sometimes go untouched for a
bit.
Just a reminder, you can get copies of all of the back issues of the
jam at:
ftp://ftp.dreamt.org/pub/ytsejam/
I seperated them out recently, so it should be a little easier to
download the list of jams now.
I guess that is about it for now.
Skadz
-- Ryan Skadberg | "there's a space beside us Ytsejam Moderator | and there's miles between us skadz@dreamt.org | and all around us http://www.dreamt.org/ | grows this shade of gray" | _A Pleasant Shade of Gray_ - Fates Warning------------------------------
Date: Sun, 9 Jan 2000 14:06:58 -0500 From: "Metzger, Mark" <mmetzger@comversens.com> To: "'The Jam'" <ytsejam@torchsong.com> Subject: Fish Tourdates Message-ID: <35A7D40B978CD311AF05002048404D347FFD25@wm2.btrd.bostontechnology.com>
As I now see from his website, Fish will be doing a limited tour of the US !! For those who dont know, Fish was (ok, still is) the former Lead Singer of Marillion back when many people consider Marillion to have been great.
Anyhow, without a doubt, Fish puts on a great show and I highly recommend seeing one if he plays in your area. Even if you have never heard anything by him (and he does usually throw in a few Marillion gems), you will be amazed by his performance.
They was he handles a crowd remains brilliant. Matched by few and surpassed by none. He can quiet down a drunk heckler in a manner that doesn't piss said heckler off. Someone from OFB could do himself a major league favor and attend a show or two to learn a few tricks of this trade ......
USA dates, January 2000 -
Thursday January 13th - Atlanta, GA Variety Playhouse - tix 17.50 dollars. 1099 Euclid Avenue, Little Five Points, Atlanta GA 30307 tel (404) 524 7354 fax (404) 524 3215. Limited seating. www.variety-playhouse.com/tour.html
Saturday January 15th - Washington, DC 9:30 Club - On sale 12/2 - tix 17.50 dollars - 815 V St. N.W., Washington, DC (202) 393-0930 (intersection of 9th, V and Vermont streets.). Their "concertline" is (202) 393-0930. www.930.com
Sunday January 16th - (Company North America convention) Philadelphia, PA Theatre of the Living Arts (TLA) - 20 dollars. 3rd & South St., address 334 South St. Phila. PA 19147-1536. Phone 215-922-1011. Ticketmaster is also ready, but charging another 5.50 dollars per ticket and another 3 dollars handling fee. www.electricfactory.com
Monday January 17th - New York, NY Irving Plaza. 20 dollars. 17 Irving Plaza NYC 10003, phone 212 777 6817, fax 212 777 6885. www.irvingplaza.com
Wednesday January 19th - St. Petersburg, FL State Theatre. 17.50 dollars. 687 Central Avenue, St Petersburg Florida FL33701, tel 1 941 921 7271. Tix are not available via the phone number, you'll have to go through Ticketmaster. www.ticketbastard.com (sorry, I had to do it ....;)
Mark Metzger mmetzger@comversens.com President and Co-Founding Member of the Hogarth-Haters Foundation
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Date: Sun, 9 Jan 2000 14:17:35 -0500 From: Adam M Cook <ac003i@mail.rochester.edu> To: ytsejam@torchsong.com Subject: Pain of Salvation Message-ID: <Pine.SGI.4.10.10001091416040.2771316-100000@mail1.ats.rochester.edu>
Hmmm, Well it appears I'm the only one who thinks Entropia mops the floor with One Hour By The Concrete Lake. In fact, if I hadn't known better, judging by the sound of these albums I would guess Entropia to be their second release and not their first. It is more technical, the band takes bigger risks, and I just plan like the melodies more. Entropia also seems to contain a wider range of styles. There are some sick slap bass grooves that don't appear on OHbtCL and I think the other lead guitar player is better on Entropia. Because it is so wild, I would agree that Entropia is probably a bit more difficult to get into. But don't give up on it, I think it's just so out there and whacky that it takes a long time to digest everything that's going on. For example, listen to the rhythms in track 6. It blows me away every time. I love both albums and PoS is definitely one of my new favorite bands.
Adam
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Date: Sun, 9 Jan 2000 19:27:04 -0000 From: "Tristam Douglas" <tris@douglasf1.freeserve.co.uk> To: <izolit@siol.net> Cc: "YtseJam" <ytsejam@torchsong.com> Subject: RE:Re: JP and Ibanez Message-ID: <009a01bf5ad7$99c423e0$c723883e@default>
I know about JP's preferences for pickup toggle location, switching, fretwire gauge. I know how he experimented and nearly changed to alder over basswood bodies. I have read about how cool JP thinks his Ibanezes were/are. But I not think JP is as much a gear head as Vai. But I can appreciate that JP got his guitar right with Ibanez very quickly and after the pickup had been developed with Steve Blucher at DiMarzio he apparently though his guitars needed no further development. I did not chose my words in my pervious post that carefully and it sounded as if I was implying that JP did not love his Ibanez guitars...whoops :(
As far I was aware JP was one of Ibanez's big four. Via, Satch, Gilbert and Petrucci. The logic behind this was the production of the Hoshino 90th anniversary models for these four players. Not for say Gambale who has been with Ibanez longer than JP. JP used to do Ibanez clinics as does Gilbert but Satch and Vai do not.. not part of their contracts perhaps.
The industry is not stupid: a guy I know who works at Marshall was reading a guitar magazine where some player (no names were mentioned) was in an ad for some rack pre-amp and in an interview in the same magazine was talking about the Marshalls he used in the studio. This type of thing works two ways if a player switches it devalues both the company he is joining and the one he/she is leaving. Allot of the high end companies, Taylor, PRS,Anderson, Collings etc. do not offer endorsements for this reason. I think the blow is worse for Ibanez than for JP.
If you look at the DT sleeves it says that JP uses Ibanez exclusively all except SFaM. if you looked at the video of Bear tracks on Mikes site you could see that JP uses a Guild, or was it a Gibon acoustic I can't recall. Ibanez acoustics are relatively weak, to say the least, especially in comparison to Santa Cruz, Taylor, Lowden, Collings etc. Maybe he wanted to use none Ibanez guitars live, especially acoustics. JS is known to uses strats, Les Pauls etc. in the studio but have you ever seen him play a none Ibanez guitar on stage .... never happens! (This is the same for Vai too.)
Did Ibanez want a unreasonable number of Clinics for JP?
I always thought JP had a good relationship with Ibanez.. He did the lesson that came free with the rock and play for instance. I wonder what made the relationship go sour? Oh well..
It is an interesting aside that EB started to make a push to get more endorsements after EVH left for Peavey. 7 String guitars are making a surgance at the moment and if EB wanted to enter this part of the market JP would be a doubly good scalp as a new endorse as he is one of the most prominent 7 stringers out there.
When the new Music Man JP model arrives if indeed it does I assume it will still have the air Norton pickups, bass wood body, neck profile. the major thing I will be interested in will be what type of trem will it get, double locking obviously but what brand and will there be a new body shape?
------------------------------------------------- Tristam Douglas tris@douglasf1.freeserve.co.uk -------------------------------------------------
------------------------------
Date: Sun, 9 Jan 2000 18:45:27 -0000 From: "Tristam Douglas" <tris@douglasf1.freeserve.co.uk> To: "YtseJam" <ytsejam@torchsong.com> Subject: RE:Re: Competition within bands Message-ID: <009901bf5ad7$98978ac0$c723883e@default>
"Carlos A. Alfaro" wrote: > > Tristam Douglas wrote: > > > > > If Derek was less of a threat with regards to upstaging JP than say KM/JR > > this may > > explain why the band was less innovative. I am not talking in terms of > > musical merit or style here thought. > > Well IMO lines in the sand has Jp's most inovative (different for him) moving > and one of the most beautiful solos hes played yet i think. Same with the > "lead" on Hells Kitchen. Hell even the Take away my pain solo is awesome.
>This is nice, finally seeing a growing amount of people liking FII stuff, and >pecially TAMP from it. It's one of my favourite song on FII, but also in >general. It moves me so much, especially the live version, although I prefer >JP's solo over the sax in OIALT.
True TAMP is definately one of DT's better outings in my opinion. It is a very sincere and moving song.
I have probably not explained myself that well. I love FII but TO MY EARS it is not a truly innovative album. I am talking about ORIGINAL ideas not some recycled Yes licks. FII is a good Rock album with a couple of Prog tracks but as far as the album goes it really did not bring something new to the genre like IaW did, as an example.
I do not think it was Derek's fault though, look at Planet X but the intervention of the record company. I am of the opinion that DS was relived of his duties as a sacrificial lamb to please the many who had been outspoken against FII, you know who you are! ;}
There is some GREAT playing on FII but innovative playing..?. I am not so sure. I mean FII is a good "meat and potatoes" kind of album and I do like it, allot but for me it is not "out there" like say, Projeckt two or Steve Topping.
For my ears for a piece of music to be innovative it must comprise of totally unheard music or introduce a form from one particular style of music to another. I may be wrong, I may have missed something but FII did not really do this. It is certainly not as left field as some of the modern classical stuff I listen to. BTW music does not have to be a atonal technique fest for me to enjoy it.
Sorry if I have offended :) ------------------------------------------------- Tristam Douglas tris@douglasf1.freeserve.co.uk -------------------------------------------------
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Date: 9 Jan 00 14:40:16 EST From: Eric Thibaut <nedrapture@netscape.net> To: ytsejam@torchsong.com Subject: petrucci adn the band.... Message-ID: <20000109194016.16725.qmail@ww185.netaddress.usa.net>
I just looked at JOhnpetrucci.com and he has a new guitar coming out in spring/summer.... I think It's cool that he's changing companies. I've played both ibanez and ernie ball before and think that the Ernie ball is= made so much better. ADn STeve morse uses them........ =
also, it says the DT is confirmed to be the openers for the Yes Summer to= ur. =
Cool stuff.
Thank you, Good Night Eric Thibaut/Ned Rapture (you choose)
Want to know more about Ned?? Visit: http://sites.netscape.net/nedrapture/
____________________________________________________________________ Get your own FREE, personal Netscape WebMail account today at http://webm= ail.netscape.com.
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Date: Sun, 9 Jan 2000 13:50:08 -0600 From: Christopher Ptacek <someone@enteract.com> To: ytsejam@torchsong.com Subject: Tama/Ibeenhad/EB/DT/NAMM etc Message-ID: <20000109135008.A69279@enteract.com>
It's been a while since I've posted... I almost addressed this to arastar.com! Hehehe anyway, I wanted to point something out to whoever said Portnoy got the boot from Tama. I will not say that you're wrong, because I don't know, but you really have to understand that this is about as likely as Steve Vai getting the boot from Ibanez. Portnoy, through the rollercoaster of DT's varying success, has ALWAYS been a major endorsee and a major name. He sells drum kits. If he left, it was most likely that he found another company he liked more, needed a change, wanted something Tama wouldn't do or something like that. I don't remember if Tama is a Hoshino company or not, but it's not all that difficult to get an endorsement, and once you have it, it's not going to be taken away from you (unless you do something that hurts the company). There are hundreds of Ibanez endorsees that no one has heard of.
As for the Petrucci thing... maybe NAMM will give people an opportunity to clear these things up. As it stands, I am going to LA to TRY and get into NAMM, and if that fails, there's always the 3 million great concerts that week... but if it's possible to investigate this and learn the truth, it shall be done. I would be interested in seeing the concept for a JP Ernie Ball axe. I've rarely played an EB that I've liked, but they have a strong reputation.
I am sure I'm going to hit the Chicago and Milwaukee shows, and I'll probably hit at least one concert in LA... are there any pre/post show plans? I know of a couple really good restaurants all around the Chcago show that would work for before the event.
Drop me an email!
--
Chris Ptacek - someone@digitalrodent.com "Everything that can be invented has been invented." -- Charles H. Duell, Commissioner, U.S. Office of Patents, 1899.
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Date: Sun, 9 Jan 2000 15:21:27 -0500 (EST) From: Andrew Coutermarsh <a_couter@oz.plymouth.edu> To: Multiple recipients of list <ytsejam@torchsong.com> Subject: Re: Emotional song... Message-ID: <Pine.BSF.4.10.10001091519310.91010-100000@oz.plymouth.edu>
On Sun, 9 Jan 2000, Vince French wrote:
> Well, I was in Prague recently, and I got to see 60 people on stage > (about 35 chorists and 25 musicians) play Mozart's Requiem in its > entirety. WOW. ]From the moment it kicks in with all the vocals, I > had shivers for the first 20 minutes and it actually brought tears to > my eyes at some points. Truly an amazing piece of music. It's always > been one of my favorite pieces, but to see it live.. man, that kind of > power just can't be captured on CD.
Amen brother! I am extremely lucky individual, because my college chorus is performing this piece this spring semester. It's always been one of my favorite pieces, and it's VERY emotional. I really can't wait to perform this piece with full orchestra.
Oh, and anybody that lives in the Boston/New Hampshire/Western Maine areas and would like more information about this concert, I'd love to be able to perform for some jammers that were interested in classical music. :)
------------------------------------------------- Andrew Coutermarsh a_couter@mail.plymouth.edu http://cout.dhs.org/ Cloak on IRC ICQ: 2513441 ------------------------------------------------- I like to go down to the dog pound and pretend that I've found my dog. Then I tell them to kill it anyway because I already gave away all of his stuff. Dog people sure don't have a sense of humor. -------------------------------------------------
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Date: Sun, 9 Jan 2000 15:05:06 -0600 From: Kurt M Hampton <kurt.hampton@juno.com> To: ytsejam@torchsong.com Subject: Metallica AJFA/ Emotional Songs Message-ID: <20000109.150509.11678.0.Kurt.Hampton@juno.com>
<For some reason (perhaps becasue they lacked confidence in him?) much of
Jason's bassplaying is either very low or just not on there. does anyone out there no the deal behind the production on that album?> -Mike C.
My friends are the ultimate metallica-heads, and we've had many a dicussions about this. The dryness came from Fleming Rasmussen, who produced the CD. The plan was for Jason's bass to follow lars drums to the teeth, and the drum sound drowns out the bass. This is why GASP Bob Rock helped em out with the sound and stuff on the Black album. He put a thickness back into em. Hell if youve ever seen A year and a half in the life of Metallica, They had to build a wall of foam for Jason to play behind to actually pick up the sound of bass because he pounds it so hard, only him pounding on it was coming through.
here's my batch DT-LITS Scarred SDV Creed-Arms Wide open QR-When the rain comes, I will remeber, Promised land, someone else GNR-Estranged Dalis' Dilemna-Hills of memory Savatage-Alone you Breathe (jon on piano, alone)
Kurt NP-Def Leppard Slang
"and though it leads to nowhere, you part debris and keep on going" - Doubledrive "Gone" "Im inspired and content"-Dream Theater "Scarred" 45.2 % of Americans pee in the shower
________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj.
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Date: Sun, 9 Jan 2000 16:09:36 -0500 (EST) From: Andrew Coutermarsh <a_couter@oz.plymouth.edu> To: ytsejam@torchsong.com Subject: Wow, I never realized... Message-ID: <Pine.BSF.4.10.10001091607150.93341-100000@oz.plymouth.edu>
Having received Skadz's administrator update, I decided to check something. Since I don't receive the jam in digests, it's hard to keep track of how long I've been here or how many jams I've been receiving. I did a little research and realized that not only have I now been on the jam for well over a year, but I've received 926 jams since I first posted to the jam. I'm almost to 1000! :)
Not that any of you really care... :) I was just making a statement about how much happens in a year or so.
------------------------------------------------- Andrew Coutermarsh a_couter@mail.plymouth.edu http://cout.dhs.org/ Cloak on IRC ICQ: 2513441 ------------------------------------------------- Sometimes, when I would read a very good book, I would stop and thank my teacher. At least, I used to, until she got an unlisted number. -------------------------------------------------
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Date: Sun, 9 Jan 2000 22:15:15 +0100 From: Steffen Barabasch - The Mirror <TheMirror@dtifc.com> To: Ytsejam <ytsejam@torchsong.com> Subject: mastering Message-ID: <v04220802b49ea055b8e8@[192.168.1.1]>
>I remember when Led Zepllin's stuff was remastered Jimmy Page was saying >that, ideally, when material is transferred to CD from tape that there is a >process that must occur for it to soud right. Many times companies ignored >this process and just through the stuff out on CD. By using this process, >which is "remastering," the material is as close to the original recording as >possible. Or something like that. It's got nothing to do with the production
Actually this process is called mastering ;-) You get the raw recordings/mixes and tweak them a bit for the final product. Too often the most important thing during mastering, though, is to make the recording *louder*. This is important for souding good on the radio, they minimize the dynamics by compression and increase the gain resulting in disturbing oversampling (FII was a bad example) to make the music as loud as possible. Needless to say that this kind of mastering most often spoils the music.
Re-mastering is just a marketing buzzword for 'this time we did it right'. When the record companies had to transfer their back catalog to CD they did it very fast with the equipment of that time, and quite often the result leaved a little to be desired. So they simply made this transfer *again*, with more care (so they say), thus *re*-mastering.
Talking about the Led Zeppelin remasters: I compared the original "mastered" and the "remastered" versions of the 4th album, and I couldn't find any great improvements in sound. Both CDs sounded great, clear and everything, and both had the same errors. Maybe the remastered version was a bit louder (though that doesn't mean it's better, see above), and maybe you can hear a bit less hiss. But that's not because the mastering was better or something, they simply cut off some songs earlier to hide the hiss that's audible on the quieter parts. Some songs are several seconds shorter because they started to fade out earlier to avoid the hiss found on the original analog master. So instead of "Stairway to heaven" you get "Stairway to heav..." etc. That's like cutting off the edges of a famous painting because they are frayed after all those years...
Needless to say that I think those remasters suck. I heard people rave about the remasters, claiming that they sound a lot better - compared to their old vinyl... BTW, those cut-off-remasters were done by George Marino, the same guy who made the worst Yes remaster, Relayer--Incredible album, lousy sound. I cringe every time I see his name in the credits (you heard that, guys?)...
To make some terms clearer:
Original master tape: That's the analog master tape that was used for making production copies which were sent to the pressing plants all over the world. So "remastered from the original master tape" means that they took this zero generation tape for the analog-digital transfer instead of a production copy, avoiding some unneccessary hiss.
Mastering: This could mean a lot of things, either mixing down from multi-track to 2-track stereo on analog tape (this is mastering in the analog domain), or transferring the analog stuff to digital and processing it, or, if it was digitally recorded, just processing it, or taking this processed material and making a CD master for pressing. So you could digitally master an analog master and then use this master to master a CD master... arghh...
>And I hear what you're saying about And Justice For All. It is the dryest >sounding thing I have ever heard. The songs on there are amazing though IMO. >For some reason (perhaps becasue they lacked confidence in him?) much of >Jason's bassplaying is either very low or just not on there. does anyone out >there no the deal behind the production on that album?
The band wanted it to sound this way. They thought Master Of Puppets was overproduced, so they simply overreacted and made one of the dryest sounding records of the last century :-) At least they compensated that with one of the most incredibly sounding records of this century, the black album. Though I would have liked it better if they would have produced AJFA like this one...
Steffen -- Steffen Barabasch (mailto:TheMirror@dtifc.com) THE MIRROR - deutscher Dream Theater Fanclub (http://www.dtifc.com/themirror)
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Date: Sun, 9 Jan 2000 14:57:44 -0700 From: "Korg Ecksthrey" <korgx3@safelink.net> To: <ytsejam@torchsong.com> Subject: Re: Tama/Ibeenhad/EB/DT/NAMM etc Message-ID: <002701bf5aec$92a8c920$4d0d84d0@default>
> arastar.com! Hehehe anyway, I wanted to point something out to whoever > said Portnoy got the boot from Tama. I will not say that you're wrong,
OK. The story as I've heard it is: Mike's Dad bought him that really sweet Tama Artstar kit (the I&W kit) when Mike was just a kid. Mike always loved the hell out of (and probably still does) that kit. AFAIK, Mike endorsed Tama, not the other way around. Unfortunately after I&W, when approached for an endorsement from Tama, they turned Mike down. Mapex offered him an endorsement so he took of for them and had them craft him a kit quite similar to his previous kit. Also with that kit came the design for Mike's Octabons from Mapex (which are damn sweet). So Mike sat in with Mapex during the course of Awake. Well, it was just after Awake when Mike finally started getting the recognition he deserves and Tama probably kicked themselves square in their own collective asses and asked Mike if he'd like to endorse their product, to which Mike, always being a fan of Tama, graciously conceded. So now, Mike plays that sweetass StarClassic kit that my friend Matt is constantly crooning over.
Mike, feel free to edit, discount, or agree with this. :) Or even kick my ass if you want, Mr. Golden Gloves, I dare ya! :D -- KorgX3 wraps his beach towel around his nadz like a Sumo Wrestler.
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Date: Sun, 9 Jan 2000 16:57:59 EST From: Fett2002@aol.com To: ytsejam@torchsong.com Subject: Re: Mindcrime Grammys Message-ID: <cd.cdc0330d.25aa5e67@aol.com>
>After months of lurking I'm not sure why I decided to jump into the fire >about a topic I'm not positive about, but here goes. I was thinking that >QR's Grammy nomination was actually for Empire. After all, the general >music population had never heard of QR before Silent Lucidity, which was on >Empire. Of course, O:M is more deserving of an award IMO. Anyone know for >sure?
Well, I'm the one that originally posted that QR was nominated for Mindcrime and I thought they were but I could be mistaken. I'm just going on memory because at the time I was huge into Mincrime and I did watch the grammys that year. But that was so long ago I can't say for sure. It was a successful album though, even before Empire came out as MTV used to show Eyes of a Stranger and I Don't Believe in Love a whole lot. I think it may even hit platnum before Empire was released. As far asthe grammy nominations though, maybe there's somewhere on the net that keeps track of these things? -Mike C.
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Date: Sun, 9 Jan 2000 17:15:42 EST From: JamesAhab@aol.com To: ytsejam@torchsong.com Subject: Re: Emotional songs... / manson Message-ID: <12.12dd687c.25aa628e@aol.com>
In a message dated 1/8/00 12:39:04 AM Eastern Standard Time, wchiang@tricom.net writes:
>< Eric Johnson - Manhattan ( specially in the G3 album, talk about emotional!!) ><
That live version kills me. Thats on my list as one of the most emotional instrumentals I've ever heard.
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Date: Sun, 9 Jan 2000 17:17:46 EST From: JamesAhab@aol.com To: ytsejam@torchsong.com Subject: Re: reversal of chronologies Message-ID: <c6.c644aa17.25aa630a@aol.com>
>< As for that Wall Street Journal article that mentionied "Progressive Rock" as being "in" (or whatever it was), keep in mind that their vision of progressive rock comes from the Pink Floyd definition of prog....bands like Radiohead and lately Muse are probably the kinds of bands they're thinking of as being prog (if not Phish or Ben FOlds Five (who I've seen described as progressive before, go figure)), rather than the Yes/Genesis/Rush/DT side of things. ><
Those bands are progressive. There's more to progressiveness than what we here in DT and Rush. Like you don't *have* to use keyboards or have a high-pitched vocalist.
jim
np - g3
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Date: Sun, 9 Jan 2000 20:03:27 EST From: MTeiper@aol.com To: ytsejam@torchsong.com Subject: DT Opening For Yes in Summer 2000!!! Message-ID: <b1.b1dc605b.25aa89df@aol.com>
Hey folx -
Sorry if this has been mentioned before, but here's an interesting tidbit of news I just found on JP's Official Site (www.johnpetrucci.com) while looking for any official info on the Ibanez split:
"Dream Theater is the confirmed opener for Yes during the summer of 2000"
Holy crap!!! I thoroughly enjoyed the gig I attended on 98's DT/ELP/DP tour (except for the fact I missed almost all of DT's set cuz they started the show early... GRRR!!!), and since I've never seen Yes but always wanted to, this ought to rule.
That is all.
/me resumes jonesing for the '99 X-Mas CD and the next wave of DT US tour dates
- Matt T.
NP: Iron Maiden "Somewhere In Time"
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Date: Sun, 9 Jan 2000 21:17:22 -0500 From: "Rob Pociluk" <robpociluk@dreamtheater.zzn.com> To: ytsejam@torchsong.com Subject: Re: RE: toto drummer Message-ID: <C5BB00564A6C3D11DA6D0005B80363D1@robpociluk.dreamtheater.zzn.com>
<html><head><meta Name=3D'keywords' Content=3D'commtouch, pronto, mail, = free email, free, branded, web based, free web based email, communicatio= ns, internet, software, advertising banners, e-mail, free software'></he= ad><body ><div align=3D'left'><font ><blockquote><blockquote><TT>I'd= like to add that the latest Toto CD "Mindfields" (with Simon = <BR> Phillips) is amazing! 79 minutes of great music! A wide ran= ge of <BR> styles from classic Toto pop ("Cruel", "Mad About You&qu= ot;) to a 10 <BR> minute blues jam ("High Price Of Hate") to a 7 minute 3 part = prog-<BR> rocker ("Better World"), this is one of my favorite CDs from = 1999.<BR> <BR> Rob<BR> ---- Begin Original Message ----<BR> <BR> ia.com><BR> Sent: Sun, 9 Jan 2000 04:50:38 -0800 (PST)<BR> To: Multiple recipients of list <ytsejam@torchsong.com><BR> Subject: RE: toto drummer<BR> <BR> <BR> <BR> >I saw people talking about the toto drummer being cool, and I'm sur= e <BR> if =3D<BR> you=3D20<BR> >really wanted to hear what he's got, just buy his solo album, don't= =3D<BR> know what=3D20<BR> >it's called exactly, Magna Carta carries it. And yes, he is rather = <BR> on =3D<BR> the=3D20<BR> >good side ;)<BR> <BR> Actually he've released 5 solo albums. The first two are next to =3D<BR= > impossible to find.<BR> - Protocol (1989)<BR> - Force Majeure, Live (1993)<BR> - Symbiosis (1995)<BR> - Another Lifetime (1997, released on Magna Carta)=3D20<BR> - Out Of The Blue, Live (1999)<BR> Musically it's rock-jazz-fusion with emphasis on the drumming.<BR> To view my thoughts on the albums you can check my site on=3D20<BR> http://come.to/past.to.present (under the 'related albums' section)<BR>=
<BR> >Yeah, but Simon Phillips hasn't >always< been their drummer. = =A0All of <BR> =3D<BR> the<BR> >stuff I've heard has been with Jeff Porcaro, to my knowledge. =A0He= <BR> was a<BR> >pretty good drummer in his own right. =A0May the worms stop eating = him<BR> >someday. =A0(in other words, he dead).<BR> <BR> <BR> Simon have been the drummer of TOTO since 1992 right after the tragic <= BR> =3D<BR> death of session legend Jeff Porcaro. Jeff Porcaro is my biggest hero <= BR> of =3D<BR> all time, his feel and time was out of this world! He didn't play <BR> flashy =3D<BR> stuff like Mr. Portnoy, Mr. Phillips & Mr. Colaiuta. But with over = <BR> 2000 =3D<BR> released recordings featuring his drumming there's no question about <B= R> how =3D<BR> big this LA cat was. Jim Keltner called him "The man with the gold= en =3D<BR> groove".=3D20<BR> Every drummer who have taken lessons have played the "Rosanna"= ; groove <BR> =3D<BR> which is Jeff's. I think Portnoy played a part of it on atleast one <BR= > of =3D<BR> his drum clinics in Europe.<BR> <BR> Mike<BR> <BR> <BR> <BR> <BR> ---- End Original Message ----<BR> <BR> <BR> </TT><br><br><br><br><br><br><font><p align=3Dleft><TT>"...so I've= got that going for me...which is nice."---Carl the assistant green= skeeper </TT><br>Dream Theater newsletter - http://www.dreamtheater.net/= uacmmail/<br>_____________________________________________________<br> Get your own Web-Based E-mail Service at http://www.zzn.com </blockquot= e></blockquote></div></font></body></html>
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Date: Sun, 9 Jan 2000 21:47:28 EST From: Stixntrixx@aol.com To: ytsejam@torchsong.com Subject: Re: YTSEJAM digest 5261 Message-ID: <ad.adf5554e.25aaa240@aol.com>
In a message dated 00-01-09 12:43:45 EST, you write:
<< I'm near San Berdu (Loma Linda). I'm going to the saturday night show. I still need to purchase a ticket however. I'd also like to know if there's going to be some kind of get together before the one on the 5th. >> I'll also be going to the show. Can't wait.
Richie
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End of YTSEJAM Digest 5262 **************************
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