Powderfinger

The Black Crowes are my all-time favorite band, but I didn't bother to mention Chris because I assumed too many board members only associate the BC with Hard to Handle (cover tune) and Jealous Again (not brilliant in the lyric department). But yes, Chris wrote some outstanding lyrics: Feathers, Title Song, Descending, Cursed Diamond, Sometimes Salvation, Under a Mountain, Girl from a Pawnshop...

Very cool, I'm a serious Mark Kozelek enthusiast (although I don't care for his recent output). I didn't mention him because I assumed no one else on this board has heard of him.

Bob Dylan Pete Townshend Van Morrison Peter Gabriel Roger Waters Robbie Robertson Jackson Browne Townes Van Zandt Jon Anderson are personal favorites that I'd put ahead of Neil.

I haven't looked at the literature on it for a while now, but I remember thinking that Pete to some degree predicted the Internet age. Digital/virtual communication, and greater divide in the human-to-human sensory experience part of life. We live in a fantasy world. Jean Baudrillard comes to mind. It's really cool stuff. Pete Townshend: "The essence of the story-line was a kind a futuristic scene…It’s a fantasy set at a time when rock ’n’ roll didn’t exist. The world was completely collapsing and the only experience that anybody ever had was through test tubes. In a way they lived as if they were in television programs. Everything was programmed. The enemies were people who gave us entertainment intravenously, and the heroes were savages who’d kept rock ‘n’ roll as a primitive force and had gone to live with it in the woods. The story was about these two sides coming together and having a brief battle." That reminds me of 2112 in a way :D Interesting, I never thought of that! Certainly not the same, but perhaps an influence on Neil's thinking? We must remember: The Who were Neil's favorite group. In my reading, this is the line that invokes the Internet and Baudrillard: "In a way they lived as if they were in television programs. Everything was programmed." "Just hook it to my veins!"

I haven't looked at the literature on it for a while now, but I remember thinking that Pete to some degree predicted the Internet age. Digital/virtual communication, and greater divide in the human-to-human sensory experience part of life. We live in a fantasy world. Jean Baudrillard comes to mind. It's really cool stuff. Pete Townshend: "The essence of the story-line was a kind a futuristic scene…It’s a fantasy set at a time when rock ’n’ roll didn’t exist. The world was completely collapsing and the only experience that anybody ever had was through test tubes. In a way they lived as if they were in television programs. Everything was programmed. The enemies were people who gave us entertainment intravenously, and the heroes were savages who’d kept rock ‘n’ roll as a primitive force and had gone to live with it in the woods. The story was about these two sides coming together and having a brief battle."

There are several. But if I had to pick just one it would be Close to the Edge. I reached a point where I had to stop listening to it for a while out of fear that its effect would wear off. It consistently blows me away.

The box set looks cool, and I'm going to look into it further. But there seem to be some strange inclusions and omissions. I was fairly convinced that "Water," for example, was intended for Lifehouse. And, by contrast, how can "Sister Disco" possibly be a Lifehouse song? Did the box set come with a book of some sort that elaborates on the track list?

Have any of you folks made your own Lifehouse playlist? Here is mine: Baba O'Riley Going Mobile Time is Passing Love Ain't for Keepin' Bargain Water Too Much of Anything Behind Blue Eyes I Don't Even Know Myself Put the Money Down Pure and Easy Gettin' in Tune Relay Join Together Who Are You Won't Get Fooled Again The Song is Over Any of you fellow Who fans have any recommendations? I'm under the impression that this is close to the intended track list, but there is competing information on the Internet.

Yes. "Lean On Me," for example, is an iconic song. Withers also had hits with "Lovely Day" and "Use Me," among others. I actually find him quite deserving, alongside the Spinners. That aside, I cannot believe Yes still did not receive a nomination. They've sold approximately 40 million albums, and are widely considered one of, if not the best, artists from a genre that they were instrumental in establishing. Moreover, they have influenced more artists than the Rolling Stone Magazine/Springsteen coterie is willing to acknowledge.

Just a few points to contribute to the discussion: 1) It is a mistake to suggest that bands only began caring about their image during the 1980s. There are countless examples of style over substance from decades prior. 2) If I were reaching for a sweeping conclusion, I would suggest that much of what we perceive as the decline of phenomenal music more accurately reflects the decline of artist development. Men with business degrees gradually replaced people who had firm backgrounds in making records and nurturing artists' development. Moreover, something was gained and something was lost during the indie revolution that attenuated, if not altogether denied, major labels' power. While artists gained greater control of their careers, they also lost a significant amount of financial and media support. Bands don't just roll out of their practice spaces prepared to record Dark Side of the Moon or Pet Sounds in between shifts at the the record store or coffee shop. Such magnum opuses are the product of years of development and refinement. Sure, a great punk or lo-fi album can be cut over the span of a weekend at a local, amateur studio. But the types of "player bands" that most of us adore need more time to hone their craft and realize their vision. There are of course exceptions from both ends of the spectrum, but that's as good a summation of what happened as I can piece together. 3) Listeners change just as much as the music.

I enjoyed the drum solo when I first really got into Rush as a freshman in high school who was first learning drums. But it's not that interesting the second time around, let alone the thirtieth. I would prefer to hear a song. I like the band more than individual members. There are mini drum solos woven into numerous Rush songs anyway.

This is strange. Despite assertions to the contrary, I'm having a difficult time believing this wasn't our Rush. Buffalo is close to Toronto—it would not have been surprising to see Rush jump over the border for this show. Moreover, I don't buy the Mahogany Rush theory. Their first album had already been out for a year, and had charted in the U.S. Why would promoters trim the "Mahogany" from their moniker? And it certainly could not have been Tom Rush, an already popular and respected folk singer who would not have opened for an esoteric progressive rock group from England. And finally, I simply don't buy that there was simply another band named Rush that could have opened for Genesis in Buffalo during that time. Our Rush would have been out trying to promote their "Not Fade Away" single, no? Is it possible that Rush was booked to play, but for whatever reason had to back out after tickets were already printed?

A no-brainer for me: Close to the Edge, my first or second favorite album of all time, depending on the day. It truly changed my life. I can only claim that about a small handful of albums. Revelatory.

Bad

Houses of the Holy by a nose over Physical Graffiti. Although, "D'yer Mak'er" almost irritates me enough to bump it down to number two. Almost... And I still love the first album—the unbridled power of "Good Times, Bad Times" continues to impress.

That was difficult. I put 2001 just a hair ahead of The Shining. And may I suggest that Barry Lyndon and Eyes Wide Shut are underrated? I think so. Kubrick is one of my three favorite directors, perhaps my favorite. A brilliant artist who should be remembered for the ages.

I'm not a big fan of the song in general, but I love the massive fills in Witch Hunt.

Wish I could. I'm a huge fan of Chris Robinson, and numerous other artists on the bill. I moved to Texas a couple of months ago, and resolved to make certain to see Willie Nelson before he is gone. And I'd be delighted to see Steve Winwood for the first time. I wonder if some of the performers plan to collaborate a bit. Many of them would complement each other beautifully. Have a great time!

2112 (can't believe some of you didn't include this) Passage to Bangkok The Necromancer Xanadu Cinderella Man Hemispheres The Trees La Villa Strangiato The Camera Eye Digital Man (don't ask me why I picked this, I just like it)

I was a serious Lush enthusiast. And yes, I used to crush on Miki Berenyi. But I'll be the first to admit, Lush just isn't as good as Rush.

This is impossible. But here is a sample of songs that have enduringly given me pause: Fool Yourself - Little Feat Watching the Wheels - John Lennon All Things Must Pass - George Harrison My Morning Song - The Black Crowes Desolation Row - Bob Dylan And You and I - Yes Close to the Edge - Yes Supper's Ready - Genesis Borrowed Tune - Neil Young Love in Mind - Neil Young Bowie/Queen - Under Pressure Moonlight Mile - The Rolling Stones Love Reign O'er Me - The Who Saint Dominic's Preview - Van Morrison Bad - U2 To Live is to Fly - Townes Van Zandt Anymore for Anymore - Ronnie Lane Backstreets - Springsteen Solsbury Hill - Peter Gabriel Brockwell Park - Red House Painters

What the hell is this? I have no clue what tune this is, seriously. Virtuality, from T4E. My guilty pleasure of all guilty pleasures... Man, yeah, those are some nerdy lyrics. I've actually never heard this song. When Test for Echo came out, I bought it on cassette, and listened to the title track opening cut and Driven, and then set it aside. But not long after that I switched to compact discs and forgot all about Test for Echo, and ultimately moved on to other bands for a long while. So anyway, I've never heard the rest of T4E, with the exception of the acoustic version of Resist. I always appreciate how every Rush fan has their handful of songs that they love, and that most fans are either indifferent to or actively hate. It suggests that Rush is a truly dynamic band with a diverse fan base.

What the hell is this? I have no clue what tune this is, seriously.

Rivendell! I forgot about that one. Yep, that's nerdy!

I've tried to compose my own list. Alas, I give up. It's all so damn nerdy; I can't pare down to just ten songs! But I will say that Vital Signs and Xanadu, two of my ten favorite Rush songs, definitely deserve spots.