Edited Thu Oct 2 '03 8:07 pm

too much ego there I think...

Edited Thu Oct 2 '03 8:05 pm

Obviously there could be some tension there between Vai and Malmsteen because they both played for Alcatrazz and one replaced the other... And it seems that they were jabbing a little at each other when they were talking about the most favourite bands they were in and it mostly pretained to Steve. Yngwie made it quite clear that some of Vai's choices were probably not the best... but hey that's all part of it... scoping out the situation and seeing what's out there... I'm sure Vai knows all that, but Yngwie felt that he had to say something about it... I think Steve was wise in saying that his favourite band was the one when he was in High School, and mentioned Joe was teaching him then and was able to take what he just learned and applied it to the band...

As for Steve and Yngwie getting along on the tour...Steve seems like the kind of guy who is cool tempered and can shrug off a bad vibe. I'm not a BIG fan of Steve's music, but I think he rocks as an artist and a person. He seems like a very cool guy. Maybe the guys will get along great? I think Joe said the tour was only for 6 weeks or something like that, and besides, I think they give each other plenty of space between gigs.

...Austin...

Trutina- Thanks! I'll check it out!

r6r Classical music being what was popular at the time, well, most of what we regard as "classical" was art music, as opposed to what we would now label folk music, which was the pop of the day. Earlier on (Renaissance), most art music was written for the church, or else for the court of a king. Moving into the Baroque period, a lot of it still was. Bach wrote loads and loads of church music (he composed a new kantata for each sunday), Purcell was made organist in Westminster Abbey at age 18, Handel is best remembered for the Messiah, but he wrote other stuff like operas, and the fireworks music is well known. Purcell also wrote stuff like Dido and Aeneas (roman legend), adn even Bach wrote plenty of instrumental stuff which wasn't for the church. Moving into the LCassical period, they were generally writing for secular performance, but this was mostly for "the chattering classes" so to speak, and some people were very popular among this social sector (Mozart made a lot of money and then wasted it all) whereas some were too ahead of their time, weren't listened to and fulfil the "lonely genius" stereotype, ie Bethoven was sort of in that direction. In the romantic age, this sort of thing continues. My mum assures me that Liszt was "the darling of Europ" but again, I presume this was amongst the concert going classes, your average washer woman may not even have heard of him (obviously, nothing's changed in the past 100 years). So, that's art music. As fot the popular side of things, there was folk, then there was pop, and now we seem to have folk as a form of art music (alfred deller) and then, occasionally, folk as a form of pop (fairport convention). Songs would probably have been more local in the past, whereas now the pop industry has taken off, grown and crossed borders in this century because of the recording studio. Any queries?

I'm really looking forward to any chance to meet up with the guys from ACM so if you're out there, let us know! There are way too many guitarists/bassists here at the university and nowhere near enough drummers!