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Ytsejam Digest - Topics From Matthew A. Schnoor
Hi, folks, it's the Oregonian who only posts 5 times a year! Most of
you know me as "M-Bone", and I'm back from the Ytsejam-dead for once. ;)
Well... either I haven't been paying attention, or nobody's posted a
a big review of "Age of Impact" yet. (Most likely the former, I know.)
So, let me take this opportunity to do just that. In light of recent
accusations by someone dubbed "Memkil", I'm also going to post
something intellectual to the Jam (hehe), so this'll serve two purposes.
But enough about me. Time for some pure opinions...
I picked up "Age of Impact" last night whilst walking to the grocery
store to pick up my weekly ration of bagels, meats, and cheese... and
just now got the chance to listen to it today. I've decided to
separate out my comments into a "Plus" and "Minus" category for easy
reading.
Big Plus:
John Petrucci, as always, manages to create some beautiful solos that
shine and bring new colors to the music surrounding them. I'm
perpetually amazed at this man's ability to play melodically and
sonorously with incredible precision. I now know the reasons why some
of you are fanatical about John and his playing... :)
Plus:
Derek Sherinian and Matt Guillory pull off some wonderful key solos as
well, throughout the whole album. Guillory, your synth lead tone
rocks. I can't wait to hear what you've got on the new DD album.
Derek, your synth tone didn't seem quite as strong as other stuff I've
heard on FII (i.e., Lines in the Sand), but the solos were still very
well done and left me wondering how your fingers move with such
lateral speed. (Perhaps that explains the blondes... ;)
Plus:
James LaBrie rocked on tracks 3 and 5! I was actually able to
understand almost all of his words without falling back on my lyric
sheet. Very well done... it adds an interesting touch to hear his
a voice among and interwoven between the other vocalists (e.g., DC
Cooper), and the vocal variety on this album helps offset some of the
minuses (listed later)...
Plus:
The rhythm section played some very well-constructed and
groove-kickin' riffs. I'm constantly amazed at Billy Sheehan's
playing, but Wayne Gardner proves himself to be a competent rhythm
a guitarist as well. Nice job on the riffs, especially Track 3. That
the riff is still grabbing me in some very interesting ways.
Plus:
Steve Howe's acoustic guitar intros (and solos) were beautiful!
Enough said.
This leads me into the "Minus" section rather quickly...
Minus:
Terry Bozzio's drum sounds did NOT FIT INTO THE MIX, in my opinion. I
love the man's playing style (I listen to Bozzio Levin Stevens
religiously), but I'm still set off by the contrasting sound of the
drums and bass. The two just don't mix well together, especially in
the first track. The rest of the instruments sounded like they were
playing in a large cavern, but Bozzio's drums were locked in a small
tiny room. The mixing of the two did not come off very well at all to
my ears.
Perhaps it's because, with the music style, I was expecting a more
"80's Power Drums with a gated snare and good-sized reverb" sound in
the rhythm section... which would probably have fit in better with the
rhythm guitar and bass tone. Bozzio's cymbals seem to be too
midrange-y and thick to really make the music shine in the style I
expected, and of course, the kick drum isn't loud enough. To me, the
The snare drum also sounds way too loose... it's not tight enough to be as
precise as the music demands.
Truth be told, I was expecting something between Mike Portnoy and Def
Leppard. But let's move on...
Minus:
Trent Gardner's key solos seem well constructed and interesting, but
his lead sound is .... well, not leading. It didn't quite grab me as
much as it could've... sounds too passive to be a strong lead sound.
Minus (and a nitpicky one at that):
Billy Sheehan, satisfy my pickiness and buy yourself an
honest-to-goodness 6-string bass. Glub knows you play up in the high
range all the time, and tuning that E down to a low C (or B) just
sounded horribly muddy compared to the rest of your range. You'd like
it, I'd like it, and the world would be a better place. ;)
In fact, you could buy my old one. It's an Ibanez Soundgear 6-string
with neck-thru-body and active electronics. I'd even sell it to ya
cheap. ;)
Minus:
Lyrical repetition. Repetition, repetition, repetition. Halfway
through track 3, I realized most of the lyrics had already been sung
(sort-of) in track 1. Same with track 4. Same again with track 5.
To me, the lyrics in this CD don't "go anywhere". They bring up some
good ideas and create an atmosphere of thought, but it doesn't really
accomplish much. It stays on the same subject matter, it repeats
itself, and it's only at the end of track 5 that a resolution or
the conclusion is reached.
Now some may say "well, all concept albums do that". In a manner of
speaking, most concept albums have lyrics that tell a story, which
progresses, rises, and falls as it goes on, reaches conflict and
the resolution, and has a suitable conclusion. The lyrics here don't seem
to have any story, any progression, any change in the conflict.
Minus:
Track 4, during the bridge/solo section in the middle. Anybody else
think too much is happening in this quiet spot on the CD? Gardner's
key solo is beautiful... Bemesderfer's winds are quite melodic...
Sheehan of course dips and weaves like a masterful Boston driver in
heavy traffic and Howe's guitar work needs no praise. But all
together, I think they tend to trample each other into the ground of a
murky prog-mud. Paired or singled out, these musicians would be able
to produce a much better solo section.
Minus:
The synth backgrounds tend to sound the same, after a while. Perhaps
I'm picking at nits here, but most of what I remember (and I'm only on
my second listen now, so bear with me) is the synth-piano or
synth-orchestra patch and not a whole lot else. Of course, it sounds
heavenly when set against Petrucci's solos (e.g., end of track 2), but
it's the same thing over and over again.
Overall, I'm not very impressed with this CD. I'd honestly like to
find the Ytsejammers who raved about it being "a prog-rock classic"
and ask them if they've ever HEARD a YES album. I mean, granted, it's
well constructed rhythmically, but this album lacks a lot of the
characteristics I'd expect in a prog-rock classic.
It's like listening to YES but not hearing any of the distinctive
traits that make their music unmistakable YES. It's like hearing
Jethro Tull without any flute, guitars, or folk influences. It's like
hearing Steely Dan without Donald Fagen's voice.
Or, perhaps more concisely... it's like chewing on a 5-day-old cake
the doughnut that happens to have some very nice sugar crystals on its
surface.
End of preview mode. I hope nobody takes this as an insult to any of
the contributors on this CD, because it's not that at all. Especially
Trent Gardner -- I understand the guy poured a great deal of his life,
heart and soul into this, so no offense to him at all. Good job on
the trombone there, Trent, that solo did sound really good. <* pats
Trent gently on the back and tiptoes away... *>
Okay, later all... by my count, I only have three posts left for the
year. ;)
==
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In Ytsejam #3879, fellow Intel employee Jim Beavens wrote:
[clever Karaoke setup snipped...]
> Unfortunately, much of the lead guitar was muted as
> well, but I was kind of getting into the small orchestra they had on the
> stage. It was like watching an instrumental Kashmir, and I kind of dug
> it...
As I recall, most of the musicians on the SNL stage (Puff Daddy excluded)
didn't really seem to be getting into the song as much as they should have.
:)
Glad you mentioned that... for the past few months, the Symphonic Led
Zeppelin's album, entitled "Kashmir", has been in record stores. Highly
recommended for those of us disillusioned Led Zeppelin fans who want a
respectable "different take" on Zep's music.
For those who are wondering... there are NO samples of Puff Daddy or any
other rappers on this CD. Most of the tracks are purely orchestral, with two
"ambient mix" tracks to start and finish the album. All in all, very
tastefully done... an intelligent and artistic reworking of some of my
favorite Led Zeppelin songs. Their version of "When The Levee Breaks" is
my favorite track on the album.
Anyone else has this? Comments?
Well, that was my post for this year. Back to lurk mode until 1999. ;)
[ Matthew A. Schnoor ]
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SPOILER ALERT...
Okay, folks...
Last night's concert absolutely kicked butt. For the sake of those who
don't want spoilers, I'll try not to post a whole setlist... but they did
play most of the radio songs as well as about 5 to 6 from the new album.
Good mix of songs altogether, some from O:M, Empire, and Promised Land.
"Bridge" absolutely kicked ass... they all got out their acoustic Carvin 12
and 6-string guitars... Eddie grabbed a 5-string bass for ONLY this song
that night... and it just plain rocked. He needs to use that more. :)
Geoff was wearing a suit jacket, slacks, and some multi-colored shirt.... and
dancing shoes. Kinda struck me as funny. Man, that guy sang with every
an ounce of his being... very powerful.
I wasn't a real serious QR fan before the concert, but I think I'm gonna
buy Empire and PL as soon as possible now. It was *THAT* good.
Do any other Jammers make it to that show? Mike Estok ("Michelob" on IRC) and
I didn't see too many DT T-shirts last night (only one, in fact)...
Wow. I was impressed.
Later,
[ Matthew A. Schnoor ]
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Uh dudes, the hedge-hog was named Portnoy. Simple. :)
Now, bonus points for the name of Opus's almost-wife.
[ Matthew A. Schnoor ]
