Subject: YTSEJAM digest 263
From: email_address_removed
To: Multiple recipients of list <email_address_removed>

Contents:
Drumming (email_address_removed)
Dominici (email_address_removed (Stacie Rosenzweig))
RE: meeting the band, how? (email_address_removed)
Re: Mike Portnoy's "influences" (William T Bajzek <[email-masked]>)
For Sale (James=Utz%Mech%PCPD=email_address_removed)
Re: matter of time tab (William T Bajzek <[email-masked]>)
First Album Covers (James=Utz%Mech%PCPD=email_address_removed)
RE: James LaBrie -- Shy, or just an @$$hole? (Corporate Community Relations <email_address_removed>)
Re: James LaBrie -- Shy, or just an @$$hole? (email_address_removed)
Re:  YTSEJAM digest 262 (email_address_removed (Ken Higginson))
LATM for sale (email_address_removed)
Re: Dominici (Michael Bahr <email_address_removed>)
Dream Theater FAQ is almost here! (Jason Hough <email_address_removed>)
Performance (email_address_removed)
Re:  First Album Covers (Martin A Hennemann <email_address_removed>)
guitar techniques of john petrucci (A Lerxst in Wonderland <email_address_removed>)
Re: James LaBrie -- Shy, or just an @$$hole? ("Paul W. Cashman" <email_address_removed>)
Re: James LaBrie -- Shy, or just an @$$hole? ("Paul W. Cashman" <email_address_removed>)
DT sign? (email_address_removed (Demetris Papallis))
Re: Dominici (email_address_removed (Steve Mansfield))
Re: James LaBrie -- Shy, or just an @$$hole? (Mr W Marquering <email_address_removed.ac.uk>)
Re: Drumming (William T Bajzek <[email-masked]>)
Re:  Dream Theater FAQ is almost here! (Martin A Hennemann <email_address_removed>)

----------------------------------------------------------------------

Date: Tue, 7 Dec 93 12:25:38 EST
From: email_address_removed
Subject: Drumming

     As a drummer, I must respond to the recent discussion of Mike Portnoy
and Neil Peart -- in particular Neil Peart's supposed status as the greatest
drummer ever.  I feel it is useless to argue about who is the best musician
on a particular instrument because the judgments are subjective in nature.
Neil Peart would be the first person to tell you that he is nowhere near the
greatest drummer ever.  It all depends on the context in which these drummers
are judged.  If you think fast double bass drumming is the mark of greatness,
you are missing the point.  It is not the physical feat which people believe
it to be.  The real challenge is building the speed and endurance of each 
foot, so that one need not rely on another resonant, space-consuming bass 
drum or an expensive double pedal system.
     If you enjoy Dream Theater because of the band's musical virtuosity and
"greatness", I would suggest listening to some of the non-metal, non-double
bass drummers who have influenced Mike Portnoy.  For that matter, you might
want to read some of Neil Peart's comments about his favorite drummers.  The
best way to put a drummer like Neil Peart in perspective is to watch the 
third and fourth videocassettes  of the April 8, 1991 Buddy Rich Memorial 
Scholarship Concert.  Peart is featured on these tapes, along with Omar 
Hakim, Marvin "Smitty" Smith, and Steve Smith.  Just look at the chops 
"Smitty" Smith displays, not to mention the fact that his right foot is as 
fast as most drummers' two feet combined.
     I am not criticizing Neil Peart or Mike Portnoy.  Peart was my 
inspiration for becoming a drummer, after all.  They are both outstanding
drummers and musicians, and they certainly are two of the best rock drummers
I have heard.  However, they certainly are not in the same league as a 
Steve Gadd, Vinnie Colaiuta, or Tony Williams.  I just hope that some of
the members of the list will check into these other artists and discover other
genres of music, like fusion and traditional jazz, where the best drummers
are really found.

------------------------------

Date: Tue, 7 Dec 1993 11:54:23 +22310502 (CST)
From: email_address_removed (Stacie Rosenzweig)
Subject: Dominici

After receiving the Consciously Unreal boot, I now know why DT dumped
Charlie Dominici.   There is a version of Metropolis with him on vocals
(live) and, to put it mildly, he did a truly heinous job.  He had this
constant aire of "I'm a lead singer and you're not!" about him, and he can't
seem to keep a tune.   BTW, for all of you Killing Hand James vs. Charlie
people, there is also a version of the Killing Hand that Charlie massacres
(IMHO, of course....)
-stacie

------------------------------

Date: Tue, 07 Dec 93 10:12:00 PST
From: email_address_removed
Subject: RE: meeting the band, how?

Me and my friends met John M. and James before a gig they had in Ft. 
Lauderdale, FL. We got there early and decided to take a walk around the 
block (I forget why). One of my friends casually said, "Hey there's the 
singer" (he and John were in a little cafe-type restaurant getting coffee or 
something) and we just kept walking. I think we were looking for John P. who 
my friend is in awe of.  We couldn't find John P. so we decided we'd 
"settle" for meeting the singer and bass player if they were still there. 
When we went back to the cafe, they were coming out and one of the guys we 
were with just went nuts (I think he was acting though). We introduced 
ourselves and shook James' hand. John was kinda hanging out behind James not 
really doing anything and not really interested in meeting some fans. I 
can't blame him I suppose. Not everyone is a bubbly social animal. Anyway we 
asked what's going on, talked briefly about past gigs (we had seen them once 
before at another club in Lauderdale), and said the usual "Good luck and 
have fun" or something to that effect. The show was great and afterwards we 
hung out by their bus but never got a chance to meet John P. Oh well. I 
guess the moral to this story is you need to be in the right place at the 
right time!

Dan
 ----------
From: root
To: Multiple recipients of list
Subject: meeting the band, how?
Date: Monday, December 06, 1993 5:17PM

i've read about sevaral of you who met james, or john, or mike...
how do you guys do it?
i haven't seen DT live yet, but just in general, how do you guys get to go
backstage, at any concert? any tips, from those who know :)

------------------------------

Date: Tue,  7 Dec 1993 15:37:41 -0500 (EST)
From: William T Bajzek <[email-masked]>
Subject: Re: Mike Portnoy's "influences"

Vinnie Paul Abbott from Pantera

------------------------------

Date: Tue,  7 Dec 93 13:49:41 CST
From: James=Utz%Mech%PCPD=email_address_removed
Subject: For Sale

I have two copies of Dream Theater's "Live at the Marque" for sale.

"Live at the Marque" CD (used, German version)          $8  US
"Live at the Marque" CD (new, sealed, German version)   $16 US

If you are interested, email me at:

James=Utz%Mech%PCPD=email_address_removed

Thanks,
James

------------------------------

Date: Tue,  7 Dec 1993 15:42:57 -0500 (EST)
From: William T Bajzek <[email-masked]>
Subject: Re: matter of time tab

ok, how about metroplis?   ;)

------------------------------

Date: Tue,  7 Dec 93 13:58:27 CST
From: James=Utz%Mech%PCPD=email_address_removed
Subject: First Album Covers

I have two copies of the first release "When Dream And Day Unite". Each CD 
has basically the same cover, but one has a green background and the other 
has a purple background.  Does anybody know why there are two different color 
schemes?

Thanks,
James

------------------------------

Date: Tue, 7 Dec 93 17:32:32 EST
From: Corporate Community Relations <email_address_removed>
Subject: RE: James LaBrie -- Shy, or just an @$$hole?

(email_address_removed) writes...

>It doesn't surprise me that James doesn't look at the audience when performing!
>Any of you who have been on stage before know that you watch the back wall 
>over the crowd's heads, maybe James just doesn't do this quite as impressveiy. 
>Of course, a good band frontman should have a little audience interaction!!!

Excuse me, but WTF are you talking about?!?!?

Lets step out of the HM/HR genre for a second ... all of the major, superstar
"frontmen"/vocalists in history -- Liza, Barbara Streisand, Frank Sinatra,
Bette Midler, etc. -- do you think these people obtained the level of superfame
(like Barbara charging $1k a ticket for a show!!) by "watching the back wall
over the crowd's heads"?!?!?  Absolutly not!!  

Any GOOD performer knows the way to really win over an audience is to CONNECT 
with them ... through a combination of sight and body movements ... you have 
got to grab their attention and hold onto it.  A good vocalist knows how to 
capture their audiences attention and 'pull them into' the realm of their 
performance WITH them.  Performing is NOT about this 'we vs. them' scenario 
you describe.  In fact, I think this sort of aloof, elitist attitude is exactly 
what creates such a void between rock performers and fans, and, by which fans 
eventually lose interest (see Warrant, Skid Row, and all the rest of those
"Arena" rock acts that are either dead or suffering a slow, painful death).

Actually, Extreme's Gary Cherone does a very good job at the sort of audience
focusing mentioned above...gotta give them credit for that.  Some of these 
other bands (like Metallica, for instance) ... might as well have a 20' pit 
between the stage and the band.

Hasta,
Buck

------------------------------

Date: Tue, 07 Dec 93 17:40:46 EST
From: email_address_removed
Subject: Re: James LaBrie -- Shy, or just an @$$hole?

Well, when I saw DT in Flint, MI, James looked at the back of the auditorium
the whole time.  In fact, since I was standing in the back (I prefered to
listen to their playing intently rather than mosh around in front), and he
was staring right at the sacred heart on my shirt for what seemed like the
entire show.

He did, however, sound a HECK of a lot better than he did on the video AND
the live disc.  He was coming off a couple week's vacation and blew everyone
away.  He did not scream ANY of the notes, which some people have complained
about.

Also, I think that at least some of his screaming is part of his live act
rather than his inability to hit the notes (Another Hand-The Killing Hand on
Live at the Marquee, for example).  I think it sounds bad on a disc but I
would love it were I at the concert-and that's what he's singing for (the
concert, not the disc).  They play a fairly tough schedule, and I'm amazed he
can hit all the notes he does so often.

------------------------------

Date: Tue, 7 Dec 93 18:37:45 MST
From: email_address_removed (Ken Higginson)
Subject: Re:  YTSEJAM digest 262

Hmm, that keyboard part looks pretty good...  I'll give you guys the
keyboard during the intro tomorrow...  it's pretty easy.

------------------------------

Date: Wed, 08 Dec 1993 00:41:40 -0500 (EST)
From: email_address_removed
Subject: LATM for sale

To the guy who was selling copies of LATM:

	Could you please email me?  I tried mailing you but the mail server at
your place returned it!!!

				Thanks,

				Aaron
				email_address_removed

------------------------------

Date: Tue, 7 Dec 93 22:48:15 MST
From: Michael Bahr <email_address_removed>
Subject: Re: Dominici

> 
> After receiving the Consciously Unreal boot, I now know why DT dumped
> Charlie Dominici.   There is a version of Metropolis with him on vocals
> (live) and, to put it mildly, he did a truly heinous job.  He had this
> constant aire of "I'm a lead singer and you're not!" about him, and he can't
> seem to keep a tune.   BTW, for all of you Killing Hand James vs. Charlie
> people, there is also a version of the Killing Hand that Charlie massacres
> (IMHO, of course....)
> -stacie
> 

	How do we know they dumped Dominici? Perhaps he left on his own?
What about Chris Collins? Anyone know EXACTLY what happened, we want to
include it in the dt.faql.Z....

Mike/email_address_removed

------------------------------

Date: Tue, 7 Dec 1993 21:26:45 -0800 (PST)
From: Jason Hough <email_address_removed>
Subject: Dream Theater FAQ is almost here!

The FAQ will be ready on December 14th! We're almost done!

This is your last chance to send me info that you think should go in. We 
are still looking for good info on the Band members themselves:

Age, place of birth, other bands they've been in, etc.

---------------------------------------------------------------------------
Jason Hough | email_address_removed  

------------------------------

Date: Wed, 08 Dec 1993 01:12:46 -0500 (EST)
From: email_address_removed
Subject: Performance

OK, I seem to have rubbed someone the wrong way.  Someone, it would appear,
who has not performed on stage before an audience on a regular basis.  (If
I'm wrong, please correct me!)  What I referred to is from my old days in the
theatre, and maybe not as directly applicable to a rock music setting.  I don't
know why you try and leave that realm to argue this point, as other types of
performance besides rock music are where what I described comes from.  The
"We vs. them scenario" you describe has absolutely nothing to do with what I
was talking about.  Sometimes, offstage, a performer is aloof or distant from
his fans, but that
's a personality issue.  On stage, a performer must give the best performance
he can, which involves a great deal of concentration and effort(with, of course, a few exceptions!)  The vast majority of good performers do not actually 
"connect" with their aurienc
oops, I meant audience by focusing on people in the crowd, they put on a good
performance by concentrating on what they are doing, knowing what makes a good
show, and executing their act well, which will impress, amuse, emtertain, etc.
the audience.  When a performer reaches a fan through his performance, then
there is the connection.  Paying attention to people in the audience is a good
way to put on a sloppy performance.  If you ever do get on a stage, forced to
play an instrument or act a character, you will see exactly what I mean.
Besides, if you look at the back of the crowd the right way, it looks as though
you're looking into the crowd!  The trick is not to focus on anything but your
performance.
	I hope I cleared up "WTF" I was talking about!  :)

				Party on,

				Aaron
				ASILVERM@UMIAMI

------------------------------

Date: Wed, 8 Dec 1993 02:30:12 -0500
From: Martin A Hennemann <email_address_removed>
Subject: Re:  First Album Covers

  Yeah, cos they were two different imports from what I was told.  Same
music and all, just imported from different countires.
                                            ^^^^^^^^^<-- countries :)
   Chris

------------------------------

Date: Wed, 8 Dec 1993 02:05:19 -0600 (CST)
From: A Lerxst in Wonderland <email_address_removed>
Subject: guitar techniques of john petrucci

Hello everyone...

I don't guarantee the accuracy or even the right ideas in this,
but unless you people really think this is stupid, I might make
this a regular post, maybe once a week.  I have learned bits and
pieces of lots of the dt songs, and though not 100% accurate, they
have taught me alot about playing and composing. As Petrucci said
that Fragile Yes forever changed the way he thought about music, the
same happened with me back when wdadu came out.  He has been a real
inspiration to me, so i want to share with all or you guitar players
some of the things i have noticed about his style.. I will keep this
first one relatively straight forward, and maybe do some analyzing
of bass/key/guitar arrangements in the future.  Anyone else with
similar ideas, feel free to do the same.  I think it is a good idea
since at least a considerable amount of the subscribers must be 
musicians of some sort, i would think...
 
petrucci stuff: (installment number 1)

I have been listening to Dream Theater almost as long as I have
been playing guitar.  John Petrucci has been a huge inspiration
to me over the last few years, so I thought I would start my own
little Petrucci clinic here on the ytsejam. If y'all think this
is stupid or annoying, or helpful, or have questions or 
suggestions, mail me.  I am really just procrastinating studying
for finals, and this is all I could think of to do... 

First...this is similar to something Petrucci and Kev might do 
either doubling each other or possibly harmonizing it within the
scale (Am for this).  Notice this is in 7/8...everything I write
ends up being some odd time...I've been listening to too much
Rush, DT, and Voivod.  This is from a song of mine I am working 
on called "The Sleep of Reason Produces Monsters"  (Not that 
anyone cares!)  Be careful not to play too much 7/8 though, it
is very addictive.    
 __
|  ||----------------------------|----------------------------|
|  ||----------------------------|----------------------------|
|   |----------------------------|--------7-9-1012109-------9-|
| _ |------------5-7-5-----------|5-7-9-10------------121012--|
||_||------5-7-8-------8-7-5-7-8-|----------------------------|
||_||5-7-8-----------------------|----------------------------|

 __
|  ||----------1012131210--101213|15--------------------------|
|  ||----101213----------13------|----------------------------|
|   |1012------------------------|----------------------------|
| _ |----------------------------|----------------------------|
||_||----------------------------|----------------------------|
||_||----------------------------|----------------------------|   

This example is the beginning of Glass Moon.  It includes two Petrucci
trademarks.  1. the octaves played on non-adjacent strings.  These are
best played with a pick, fingering the root with the index finger and 
the octave with the ring finger.  Mute the "in between" string with your
middle finger. this is very important.  2.  chord voicing with 5-r-5-r
inversion.  this pops up in almost all dt songs.  this one is d, and 
the one at the beginning of learning to live is f# (the one played in 
quarter notes)  sometimes he drops the higher fifth to the dim5, like the
last chord in the verse to pull me under.  

Under a Glass Moon intro:

||_||--------------------------------|--------------------------------|    
|  ||--------------------------------|--------------------------------|
|   |6----------/11------------------|---------------/13---------\9---|
|   |--------------------------------|--------------------------------|
||_||4----------/9-------------------|---------------/11---------\7---|
|  ||--------------------------------|--------------------------------|

||_||--------------------------------|--------------------------------|    
|  ||--------------------------------|------------3-------------------|
|   |--------------------------------|4-----------2-------------------|
|   |--------------------------------|------------0-------------------|
||_||--------------------------------|2-----------0-------------------|
|  ||--------------------------------|--------------------------------|

                                     First ending: 
||_||--------------------------------|--------------------------------|    
|  ||--------------------------------|--------------------------------|
|   |---------------/6----------\4---|---\3---------------------------|
|   |--------------------------------|--------------------------------|
||_||---------------/4----------\2---|---\1---------------------------|
|  ||--------------------------------|--------------------------------|

Second ending:
||_||--------------------------------|--------------------------------|    
|  ||--------------------------------|--------------------------------|
|   |---\3---3-/-4-\-3---------------|--------------------------------|
|   |-------------------4------------|--------------------------------|
||_||---\1---1-/-2-\-1---------------|--------------------------------|
|  ||-------------------2------------|--------------------------------|

chord voicing examples:
              
   learning... pull(first one in verse)  glass moon (mosh section)
||_||--------------------------------|--------------------------------|    
|  ||-------7------------------------|---14---13----------------------|
|   |-------6--------11--------------|---12---11----------------------|
|   |-------4--------9---------------|---11---10----------------------|
||_||-------4--------7---------------|---10---9-----------------------|
|  ||--------------------------------|--------------------------------|

The beginning heavy riffs of pull me under are a cool way of showing how
they break up simple riffs between the guitar and the bass to make a 
simple riff more interesting and heavy, by playing the root of the chord
on the bass, and the 4th or 5th and octave on the guitar (megadeth does
this alot too)  the bottom tab line is 6 string bass.  btw, this also 
uses that famous voicing of the d chord with the 4ths on the bottom...
really heavy cool chord...same chord as the one in queensryche's 
operation:mindcrime, and ty tabor from king's x uses this chord alot
(far far away, black flag, visions, king, almost all the d-tuned king's 
x songs)  

||_||--------------------------------|--------------------------------|    
|  ||--------------------------------|--------------------------------|
|   |--------------------------------|--------------------------------|
|   |--------7---5-------------------|--------4---5-------------------|
||_||--------7---5-------------------|--------4---5-------------------|
|  ||0-0-0-----------0---0---0---0---|0-0-0-----------0---0---0---0---|
|                                    |                                |
|                                    |                                |
||_||--------------------------------|--------------------------------|c 
|  ||--------------------------------|--------------------------------|g
|   |--------------------------------|--------------------------------|d
|   |--------0-----------------------|--------------------------------|a
||_||0-0-0-------3---0---0---0---0---|0-0-0---2---3---0---0---0---0---|e
|  ||--------------------------------|--------------------------------|b

||_||--------------------------------|--------------------------------|    
|  ||--------------------------------|--------------------3-----------|
|   |--------------------------------|--------------------2-----------|
|   |--------6---5-------------------|--------------------0-----------|
||_||--------4---5-------------------|--------2---3-------0-----------|
|  ||0-0-0-----------0---0---0---0---|0-0-0---2---3-------------------|
|                                    |                                |
|                                    |                                |
||_||--------------------------------|--------------------------------|c 
|  ||--------------------------------|--------------------------------|g
|   |--------------------------------|--------------------------------|d
|   |--------4-----------------------|--------------------------------|a
||_||0-0-0-------3---0---0---0---0---|0-0-0---------------------------|e
|  ||--------------------------------|--------0---1-------3-----------|b

*****************************************************************************
*Brian V. Cox             *"You and I long to live like wind upon the water *
*Texas A&M University     * If we close our eyes, we'll maybe realize       *
*(409)822-6750     	  * There's more to life than what we have known    *
*email_address_removed  * And I can't believe I spent so long             *
*************************** Living lies I knew were wrong inside            *
* "What you believe is    * I've just begun to see the light..."            *
* What you are...Therefore*          -Queensryche "Anybody Listening?"      *
* I am nothing"  -Brian   * "Machines have no conscience..." -Qryche NM156  *
*****************************************************************************

------------------------------

Date: Wed, 8 Dec 1993 01:07:10 -0800 (PST)
From: "Paul W. Cashman" <email_address_removed>
Subject: Re: James LaBrie -- Shy, or just an @$$hole?

> 
> Excuse me, but WTF are you talking about?!?!?
> 
> eventually lose interest (see Warrant, Skid Row, and all the rest of those
> "Arena" rock acts that are either dead or suffering a slow, painful death).
> Actually, Extreme's Gary Cherone does a very good job at the sort of audience
> focusing mentioned above...gotta give them credit for that.  Some of these 
> other bands (like Metallica, for instance) ... might as well have a 20' pit 
> between the stage and the band.

Excuse me for using your own quote back at you, but...  WTF are you
talking about?  Metallica spent hundreds of thousands of dollars during
the last tour specifically to get them CLOSER to fans.  The entire
Snake Pit stage design, plus Jaymz Hetfield's front-row audience
participation thing during "Seek and Destroy" all helped to erode
that alleged 20' pit you describe.

Granted, to the poor kidz who were stuck in the back row, none of this
directly affected them, but they could see the efforts the band was
making.  It wasn't perfect, but it was a great attempt to
'personalize' an arena show as much as possible.  (For me, it was
pretty damned perfect; I was close enough to stroke the strings on
Jason's bass.......and I did.)

> 
> Hasta,
> Buck
> 

-- 
Once you're touched you stand alone  |     Paul W. Cashman  
To face the bitter fight             |     email_address_removed
Once I reached for love              |     Dream Theater 
And now I reach for life             | <-  "Learning to Live"

------------------------------

Date: Wed, 8 Dec 1993 01:10:54 -0800 (PST)
From: "Paul W. Cashman" <email_address_removed>
Subject: Re: James LaBrie -- Shy, or just an @$$hole?

> He did, however, sound a HECK of a lot better than he did on the video AND
> the live disc.  He was coming off a couple week's vacation and blew everyone
> away.  He did not scream ANY of the notes, which some people have complained
> about.

Hmmmm....  My opinion of James' singing has risen somewhat based on
this post.

> Also, I think that at least some of his screaming is part of his live act
> rather than his inability to hit the notes (Another Hand-The Killing Hand on
> Live at the Marquee, for example).  I think it sounds bad on a disc but I
> would love it were I at the concert-and that's what he's singing for (the
> concert, not the disc).  They play a fairly tough schedule, and I'm amazed he
> can hit all the notes he does so often.

This all sounds very reasonable, too.  I'm not sure I want the
chance at the next DT show to decide for myself if I can stomach the
screeching.  :)

-- 
Once you're touched you stand alone  |     Paul W. Cashman  
To face the bitter fight             |     email_address_removed
Once I reached for love              |     Dream Theater 
And now I reach for life             | <-  "Learning to Live"

------------------------------

Date: Wed, 8 Dec 1993 02:01:39 -0800 (PST)
From: email_address_removed (Demetris Papallis)
Subject: DT sign?

Anybody out there knows what the DT sign is all about? I'm talking
about the scripture thing appearing on the bed on the
I&W cover and also on the WD&DU cover and now it seems that one of
the member signed it on the inside of the promo CD.  It looks 
like a bunch of Greek letters but I have no clue what it might
means.

Demetris
			DT RULES

ps If I remember well Mike has it on the front of its drum set.

------------------------------

Date: Wed, 8 Dec 1993 06:30:09 -0500 (EST)
From: email_address_removed (Steve Mansfield)
Subject: Re: Dominici

> > After receiving the Consciously Unreal boot, I now know why DT dumped
> > Charlie Dominici.   There is a version of Metropolis with him on vocals
> > (live) and, to put it mildly, he did a truly heinous job.  He had this
> > constant aire of "I'm a lead singer and you're not!" about him, and he can't
> > seem to keep a tune.   BTW, for all of you Killing Hand James vs. Charlie
> > people, there is also a version of the Killing Hand that Charlie massacres
> > (IMHO, of course....)
> > -stacie
> 
> 	How do we know they dumped Dominici? Perhaps he left on his own?
> What about Chris Collins? Anyone know EXACTLY what happened, we want to
> include it in the dt.faql.Z....

We know because the band has *said* they dumped him.  According to Mike
there were personality conflicts, partially due to the age difference
between him and the rest of the band, such that they asked him to leave
the band.

Steve Mansfield  | Once you're touched you stand alone to face the bitter fight
email_address_removed | Once I reached for love but now I reach for life.
Dream Theater - Learning to Live

------------------------------

Date: Wed, 8 Dec 1993 11:52:42 +0000 (GMT)
From: Mr W Marquering <email_address_removed.ac.uk>
Subject: Re: James LaBrie -- Shy, or just an @$$hole?

> (email_address_removed) writes...
> 
> >It doesn't surprise me that James doesn't look at the audience when performing!
> >Any of you who have been on stage before know that you watch the back wall 
> >over the crowd's heads, maybe James just doesn't do this quite as impressveiy. 
> >Of course, a good band frontman should have a little audience interaction!!!

> (Corporate Community Relations) writes...
> 
> A good vocalist knows how to capture their audiences attention and
> 'pull them into' the realm of their performance WITH them.  

Two weeks ago Dream Theater were having a gig in Nottingham. One guy in
the audience was screaming during 'surrounded'. James was obviously irritated
and after the part 'I know it's easier to walk away...' , he dropped his 
microphone and he walked away and didn't come back for about half an hour. 
The rest of the band had to play all their instrumentals in row and I even 
attended  Mike's debute(?) as a singer: He song the last part of 
'surrounded'.
The first time I saw D.T. in Utrecht (Holland) James was at a time
irritated too.
Did anyone see James ever smile on the stage?
What I'm trying to say is that it seems to me that James isn't 
enjoying the performances. But nevertheless I think he is a great singer!

Wessel

    'You can have the world at you're feet by tomorrow
     just sign on this line' (a matter of time)

------------------------------

Date: Wed,  8 Dec 1993 08:00:21 -0500 (EST)
From: William T Bajzek <[email-masked]>
Subject: Re: Drumming

Excerpts from mail: 7-Dec-93 Drumming by email_address_removed 
>     As a drummer, I must respond to the recent discussion of Mike Portnoy
> and Neil Peart -- in particular Neil Peart's supposed status as the greatest
> drummer ever.  I feel it is useless to argue about who is the best musician
> on a particular instrument because the judgments are subjective in nature.
> Neil Peart would be the first person to tell you that he is nowhere near the
> greatest drummer ever.  It all depends on the context in which these drummers
> are judged.  If you think fast double bass drumming is the mark of greatness,
> you are missing the point.  It is not the physical feat which people believe
> it to be.  The real challenge is building the speed and endurance of each 
> foot, so that one need not rely on another resonant, space-consuming bass 
> drum or an expensive double pedal system.
> 

Then go buy Death's Individual Thought Patterns and be completely
destroyed by the incredible speed and accuracy of the bass drums.

Bill Bajzek--------------------------------------------------------------
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Date: Wed, 8 Dec 1993 08:10:49 -0500
From: Martin A Hennemann <email_address_removed>
Subject: Re:  Dream Theater FAQ is almost here!

  I was talking to a friend of mine over the summer, and we were talking
about groups, and I mentioned how I *love* DT, when he told me casually
"Yeah, he went to college at SUNY Fredonia, only an hour south of here."
(here being Niagara Falls, NY, near Buffalo)  I was like "WHAT?!" Cos that's
where I go to school now :)  He told me he read it in a magazine (don't
remember which)  I just thought that was so cool :)
       Chris

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