sitboaf

March, 1985. Deep Purple with Girlschool opening. L O U D And you name it, it got smoked.

It's true the band's heyday was Eldorado through Discovery, but I like the Time album quite a bit. It's certainly better than the following albums Secret Messages and Balance of Power, which concluded the band's career (for 15 years, anyway). Maybe if you listen with the right frame of mind, it will help. It's written as if from the future, with nostalgia toward the (brand new) 1980s, so it's got that current of humor running through it. Prologue / Twilight is a romping good time. 4/5 Yours Truly 2095: the humor of the album is centered here and one other place. Disco-y. Funny. 3/5 Ticket to the Moon: a very nice piano-driven ballad. The only "pretty" song on the album. 3/5 The Way Life's Meant to Be: Some nice acoustic and surf guitar here. 3/5 Another Heart Breaks: dirgy and moody. Doesn't fit real well in context, and doesn't live up to it's potential. 2/5 Rain is Falling: the hidden gem. Wonderful song. 3.5/5 From the End of the World: Wacky, but meh. 2/5 Lights go Down: OK. Some good vocals. 2.5/5 Here is the News: Another funny song. Zany sequencers. 3/5 21st Century Man: Acoustic-driven ballad is nice. 3/5 Hold on Tight: the "hit" from the album. 4/5 Epilogue: Echoes 21st Century Man and acts as a nice close to the album. 3/5 Important! Seek out the deleted track Julie Don't Live Here. It's probably the best non-album song in ELO's entire catalog, and as good as Hold on Tight or Twilight. Go buy it, and if you don't like it, I will mail you 99¢. The Time album on a budget: Prologue, Twilight, Julie Don't Live Here, Rain is Falling, Hold on Tight

I actually like this idea. Watching the extra point try is a waste of time. And it preserves the option of going for a 2-point try. (By the way, as a recently introduced scoring change, wouldn't you consider the 2-point try a "gimmick", as well?) I'm far more concerned with the kickoff spot being changed from the 30 to the 35 yard line, which has made returns (the most exciting play in football?) scarce, and yet another waste of time to watch, as most result in touchbacks (Zzzz).

http://www.youtube.com/watch?v=9QEsjd1WZuY

I can't remember the last time I watched the Pro Bowl. This captain's picks approach isn't going to get me to tune in, either. The only thing that would get me to watch is if they put 64 Pro-Bowlers into a Madden tournament on PS4 and televised the championship. Sponsored by Sony.

I hate the ever-deified Satan Manning, so I will be rooting for the Seattle Seahags. But because of some of their fans and Richard Sherman, I feel really gross about it.

Heaven & Hell - Bible Black White Stripes - Black Math Radiohead - Black Star Blue Oyster Cult - The Red and the Black

Very well said. Possibly the most thoughtful post I've read on this forum. II can't think of a story they've done since the prog days (except Red Barchetta). It's only with Clockwork Angels that Rush got back to them. Having said that, a friend (who likes celtic folk and bagpipe music) recently borrowed CA and said parts of it (The Wreckers, The Anarchist) were too narrative for him. ~~~Sigh~~~

How often does God call you to borrow money?

The original theme kicks ass. Still being used. I also love: Tom Jones - Thunderball (no one mentioned this yet?!) Sir Paul - Live and Let Die Carly Simon - Nobody Does it Better All 3 of Shirley Bassey's songs Sheena Easton - For Your Eyes Only

OMG, but then we wouldn't have Red Sector A.

I'm not defending the RRHOF or a great number of the bands enshrined there. I have written more than one post here about how awful it is. Sure, my point about the 23 y.o overdosers was a stupid exaggeration, and I know you mentioned Jimmy Page. I wrote a post in this forum defending "sloppy playing" (which i think should be re-coined "loose playing", as a kinder term) in specific reference to Keith Richards, who I don't particularly enjoy, but who is admittedly a rock god. I guess the main disconnect that I had with your post was in the "untrained/trained" part. I generally have no idea if Rush or any other notable band has or has not gone to music school. I can't hear it in the playing, and I'm fairly certain most other rock fans can't hear it, either. In fact, I never consider "music school training" at all when I'm deciding whether I like a band or not. I just like a band or I don't. I'm certainly not going to stop liking one of my favorite bands because I found out they went to Berklee. If your own personal version of the Rock and Roll Hall of Fame dictates that it should be for "great bands" that are also "pioneers" (your words), then I say this: 1. Hooray! I have no problem with that. Your rules would produce a much better RRHOF than the one we have now. 2. I'm guessing most or all of those great pioneers would be from "untrained bands" 3. Most of us can't hear the difference between a "trained" band and an "untrained" one. Also, I appreciate that I actually learned some stuff by reading your response. And although I didn't agree with your original post, I understand it much better now. Finally, i'd like to thank my caretaker for writing this post for me. As you have gently pointed out to TRF, I am both moronic and illiterate.

I'm curious - why do you like Rush? Those 3 guys studied harder than anyone and were never a "let's get the cops angry" kind of band. Seems to me that your own personal RRHoF would only include a bunch of 23-year olds who overdosed and that no one has ever heard of.

Europeans might want to stop covering CCR. And I think I saw the bass player starting to do the Pee-Wee Herman Tequila dance for a second.

"Well I get up at seven, yeah And I go to work at night." You lazy bastid! Are they referring to you as the Working Man ironically?

I agree with this assessment of the song. The first 6:45 is among the best the band has ever done, while the rest of the song is pretty uneven. "Discovery" is pretty cringeworthy, IMO, and there's a reason they didn't bother playing "The Oracle" live until 1997—it is another stop and start momentum killer, something the song suffers from as a long piece. Don't get me wrong, I love "2112" and I appreciate its importance in making the band what they are today, but I don't think all parts of it have aged equally as well. This is exactly how I feel about 2112. I would only add this point: I didn't grow up with this album. I knew about it, of course, cuz all the cool kids drew the Starman on the backs of their denim jackets. I had heard the first couple albums and the 80s stuff before I went back to "find" the prog stuff. - which I now love. I know I missed out on something by not connecting with the story of 2112 as a teenager/young adult. Listening as a 30-something, I found the story to be simplistic and silly in places. I'm guessing that all the "alienated teens" who found a kindred spirit with the protagonist of 2112 are the largest reason why the album was so huge and catapulted Rush to stardom. Sure, Overture/Syrinx/Grand Finale are fantastic, but side one as a whole it doesn't musically surpass Lamneth by a whole lot. And better music was soon to follow.

Poor production aside, every album from Signals to Roll the Bones follows the same basic formula: around 10 short songs that aren't too heavy (yes, I know that's a crashing generalization - go with it for a second). Back when they were making proggy albums, Rush could afford to experiment by doing fewer, longer songs, taking detours and leading the listeners on a journey. But, in the 80s, because of that new, dense formula they were using, their albums were only considered excellent when virtually all of the songs were strong. A great album might have 1 or 2 clunkers, but that's about the max, because just a few hiccups will quickly derail an 11-song pop-rock album. E.G. Despite how most of us LOVE LOVE LOVE Dreamline, we don't like RtB overall because of Neurotica and a few others. In other words, it's not just the peak songs that make or break the short-form 80s albums; it's the valleys, too. (For you Iron Maiden fans, think about what they pulled off during this time period: They went from the fantastic Powerslave album in 1985, which had a 13-minute epic and an instrumental, directly to the pop metal of 1986's Somewhere in Time, (which has but one real flaw - a couple of the songs are actually too long!), then right back to prog metal for 1988's Seventh Son.)

Well, they've split Neil's drum solos down from one long one to 3 short ones. I suppose this allowed them to showcase each of the segments in discrete parts, and to keep Neil's arms from falling off. I suppose they could add a few more instrumentals into their show to preserve Geddy's voice. Perhaps they could include 5 or so of the following in their setlist: YYZ La Villa MalNar Monkey Business Leave That Thing Alone medley of oldies a new instrumental If they played around 4 songs between each instrumental, and had their 3 mini drum solos, they would still have a show of close to 30 songs. But only 20 would need to be sung. That might help Geddy a bit.

Here's a fun site: http://www.guitarface.co/ But the winner, with a score of eleven, is http://www.guitarface.co/wp-content/uploads/2012/05/nigel-tufnel.jpg

By that same token, aren't Kiss THE representative band of the Glam Rock genre? If you pick anyone for that you should probably pick David Bowie or T.Rex. Just because Kiss were/are theatrical doesn't equate to them being THE glam rock representatives Yeah. I made an argument I don't necessarily agree with. T-Rex had probably the most quintessential glam sound, but their stardom faded quickly. Bowie is a mega-star, but it's because he was more than glam. Kiss deserves to be in the "best glam" conversation, though they were later also metal. And, is this where Queen lives? If so, I give them the glam crown.

Les Claypool must have played the crap out his Devo LPs when he was a teenager.

Damn. That was as smooth as top-shelf gin. Boston's own Johnny A!

I like 'em both!

That reminds me of the hoarse-voiced British songstress Tasmin Archer, who released an EP of Elvis Costello covers called Shipbuilding, in 1994. The title track, Deep Dark Truthful Mirror, and All Grown Up came out quite nicely, and New Amsterdam isn't bad.

Jeff Buckley's cover of Leonard Cohen's Hallelujah