Sticklight

The title is way too inappropriate for this forum.

Well he certainly had changed his singing style many times, but both his singing and voice tone have been changing slowly over the years, as a part of an ongoing progress. These things don't change that fast, so it's funny to state that in X album his voice has suddenly become deep, while actually the change doesn't stop there. It's a process rather than a sudden change. Yes, you can obviously say that Ged's voice had become deeper in PeW, but actually it has gotten even deeper in MP, and even more in Signals. Then you have P/G and PW and HYF and the rest of the albums, and all of them get deeper and different as far as vocals. It wasn't a particular time that has changed his voice. It's all relative, so I wouldn't say his vocal tone changed in only one particular album. As far as singing, the most notable change is how he had slowly went from screaming to actually singing during the 2112 - PeW period.

That's an interesting comparison but it's unlikely that BU2B was inspired by Bulls On Parade. The vibe you're talking about may sound similar only because both songs use a riffage of 1-2 notes in the verses (F + octave in BOP and E + G in BU2B), however BU2B has a different rhythmic feel and vibe in the verses. Not to mention the choruses in it, which are way more complex and also have a heavy minor scale feel in them, as opposed to BOP.

Sounds like Rush, obviously.

Scars and Losing It don't have bass as well. On both of them the bass you hear is a sequencer and keys.

http://news.cygnus-x...ckenzie-to.html

Subdivisions Time And Motion Middletown Dreams ("The middle-aged Madonna..." part) Emotion Detector Countdown

Absolutely. IMO Victor Wooten is better in terms of technique. He can really shred the bass and his slapping his amazing. Aside from that, his knowledge in music theory and creating melodies is huge. However, I think it's not fair because he is a trained, professional jazz musician. He has received musical guidance starting at the age of 2 (it's true) which helped him become the amazing musician he is, more easily than a self-taught musician would. You can easily say it's really not fair for Geddy haha. The jazz players are the bosses in the music industry because of the professional training. Geddy, on the other hand, has managed to master his playing abilities all by himself and study music by years of hard practice, using his ears and feel. He has pushed himself and reached a high level without using any instructional or professional education. What's even more amazing about him is the way he implements jazz elements into his playing, which is why I respect him so much. Very few self-taught Rock bassists can do that. Both are amazing players and you can say Victor is a better musician if we look at jazz, technique and music overall. But can he deliver the feel and the mood that Geddy creates with his unique tone and passages, creating the music we like so much? can he deliver us the exact thing Geddy delivers us, that got us to like his playing in the first place? I highly doubt that.

None of you have actually said who's better, because there's no such a thing. Sadly, a lot of people don't understand that music is not sports (where you can actually compare two players) but rather an art. In sports you can easily compare between players, since the best player is the one with the best score, which makes him the better one. As you see, unlike music, the main parameter here is technique. Are there scores in music playing? I guess not. So if you do want to compare musicians, there's a certain way of doing that. Saying "John is better" or "Geddy is better" is simply childish. One of them IS better in your opinion? Great! Now tell us please, better in what? Since musicians and music are defined by a few parameters, you should take those into your consideration. For instance, if John is better than Geddy (or Geddy better than John), is it in music theory? musicianship? scales and modes knowledge? technique? composition and song writing? Groove? Feel?? At this point it's not so easy to say who's better anymore, is it? I assume many of the answers here are based on playing speed, since people usually fall into thinking the fastest player is the better one. For those of you who think John is better, because he plays fast, you just think he's better in playing fast. If that's what OP means, then his question should've been: "Who's better in playing fast?". But if we are talking about playing speed here, that's a hard question because Geddy has his fast Up/Down stroking technique (yes, the flamenco) which gives him the ability to reach 32 notes at higher speeds, creating fast rhythmic runs. Could John play that way and reach those speeds? Maybe, but he didn't. Could Geddy play the way John played? Also, I guess not. Aside from speed, Geddy implements music scales, arpeggios, groove and modes a lot in his playing, more than John did, so you can say his music knowledge is pretty much more extensive. Does it make him better? maybe. Anyone can focus on technique and play fast. It's not that hard to gain speed if you practice enough. Busy = Better? Overplaying = Better? Lots of "Fast" musicians tend to overplay, which makes them less great. But is it what you look in music? if so, go watch Billy Sheehan or John Myung. They both can play faster then Geddy and Entwistle combined. But are they better musicians? Now that's the real question, and remember we're talking here about art, and no two musicians are the same.

Actually, the F5 in Freewill on the Time Machine live album was edited. Geddy kind of botched it in actuality, if you watch on YouTube. I was actually talking about the whole tour, not the Cleveland show only. You are correct though, he didn't hit that note properly in the Cleveland show and it was only a semi-tone lower. As a matter of fact, the whole sentence was off-key. My guess is, he didn't have enough air to sing that part properly because it really sounds like that. However, he did an awesome job on the rest of the tour, and his efforts on the 2nd leg (which was tough enough for him) were speechless. His performance of that same part in Toledo, which took place right before the Cleveland show, is amazing and he just nailed that F5 there.

It's a relative topic. I think your question should be more specific. By saying "high", are we talking about the actual musical notes that come out of Geddy's throat? Also, do you consider the lines "Each of us, A cell of awareness" (highest note is F5) from Freewill, and "Closer to the heaaaaaart" from Closer To The Heart (the note on "heart" is D5) - as "high"? If so, then I've got a nice fact to share with you here: Geddy performed both of these notes (F5 and D5) on recent tours. You can hear the F5 on Freewill, last performed on TM, and the D5 on R40 (!!) on Lakeside Park ("Midway hawkers calling.."). If we're talking about notes here, then the answer would be R40. Essentially, he didn't stop singing high until the end of R40. He did lose a great ability to belt out and sing higher notes that he used to scream like a witch when he was young, but he still have managed to sing in the "high" zone until the very end of R40 without using falsetto (!!). The notes Geddy sang in 2015 are notes that most male singers today would struggle to sing, and his singing among the male rock singers is still considered to be very high, even today, after he lost lots of power he had in his youth.

VT is very melodic. It sure has a lot of emphasis on rhythmic, heavy riffs, but the melody is definitely out there (How It Is, Ghost Driver, Sweet Miracle and basically the rest of the album).

Not a signal but rather a part of the show thing, like his signature "hop" during the guitar solo in Subdivisions. Also, 'cause he's Geddy :)

Animate Carnies Lakeside Park

Toto's XIV and FiB are great albums, ruined by awful mixing.

Actually, Geddy was not using the flamenco technique on Presto. He has been playing like that since Counterparts.

I love Dreamline but I'll go with Middletown Dreams. It's simply beautiful; the bass, guitar, drums, vocals and keys all sound like magic. That "ohhhh" at the start of the first chorus gets me every time. It's among the best vocal parts Geddy has ever done.

Studio: YYZ Turn The Page Digital Man Anthem Malignant Narcissism Show Don't Tell La Villa Strangiato Live: Leave That Thing Alone (TM tour) Where's My Thing? (RTB & CA tour) Red Barchetta outro (TM tour) Driven (Vapor Trails tour) Amazing stuff.

What "AaAaAa" are you talking about? He sings the "A" just like he did on the studio record. Short and clear. The "A" is not the issue with his singing.

Really? What did you expect? He's old and his vocal chords are tired. It's stupid to critisize him under these circumstances and compare him to other singers, while his singing is not in top shape, not because of poor technique, but because of his age. Many of the fans here are dissapointed in Geddy's vocals because of ridiciously high expectations, which is interesting because we all KNOW what Geddy's singing condition these days is. Which is surprisingly new to some people.. I did not expect too much of him, therefore I really enjoyed watching both Toronto shows on the tour.

On R40 he did play the guitar during Alex's solo near the end of the song.

It's Alex. Here's a video of Subdivisions from Tulsa; watch his leg in 3:55 http://www.youtube.com/watch?v=sj2M3PIiOII

The mix sounds wonderful. I kinda miss the solid snare sound Neil had in the S&A tour, but this one sounds fine too. I wish the bass guitar was louder though... The video looks good, better than the CA Subdivisions except for one thing: audience shots (where you see the band, filmed within heads of fans). There are too many of these, and the worst part is that they don't use tripods to film any of these. The result is dizzy shots of the band from far away, interrupted by heads of fans which block our view of the band. It looks unprofessional and makes me feel like I'm watching a documentary film, not a Rush live concert film. I guess the director's purpose is to makes us feel like we're standing in the concert by filming lots of the shots from the audience, but it can never reproduce the feeling of actually being there. I wish the editing was more like on the S&A Live; Really solid and professional. However, the band's performance is brilliant.

Wow, the director completely ignores Geddy during his keyboard solo! And what about close ups of his bass playing? Like on R30 and S&A live? All I see on these recent R40 releases is LOTS of crowd shots and Alex close ups, and sometimes a shot of Geddy from FAR away. Come on, we want to watch our heroes do their magic, not audience footage 90% of the video time. I might sound as if I'm overreacting, but it's true. Just compare this video with the S&A version, you'll notice a big difference. I hope they at least show Geddy close ups during the bass breaks in YYZ... However, I do enjoy the mix and the video quality is great.

He did it way before Time Machine. I remember him doing it on the Vapor Trails tour.