len(songs)
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So... Rush's Neurotica (Roll The Bones, 1991) or King Crimson's Neurotica (Beat, 1982)? I have to go with KC's by a mile:
:7up:
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The only way this could ever happen is if he sang it an octave down, and let's face it, much of the excitement of the original came from the vocals. I love the song, but I wouldn't want to see it live.
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The Next Unread Topic button worked fine for me, up until recently, when I started to get this message:
Sorry, we couldn't find that!
[#10356]
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90% of the time that I used it in "Rush". However, when I check, there are still unread topics (I know about polls showing up as unread but most of them aren't polls)... is anyone else getting this issue?
Only got one reply in FMW, so I'm reposting here
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The Next Unread Topic button worked fine for me, up until recently, when I started to get this message:
Sorry, we couldn't find that!
[#10356]
There are no newer topics in this forum.
Need Help?
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90% of the time that I used it in "Rush". However, when I check, there are still unread topics (I know about polls showing up as unread but most of them aren't polls)... is anyone else getting this issue?
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Baby's On Fire
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King Crimson - Beat
Neal And Jack And Me: 12/15
*Heartbeat*: 13/15
Sartori in Tangier: 12/15
Waiting Man: 10/15
Neurotica: 11/15
Two Hands: 10/15
The Howler: 7/15
<Requiem>: 5/15
Overall rating: 9 (Good)
Erm... front-loading here much Mr. Fripp? Indeed, the first three tracks on here are classics, two of which would end up on Absent Lovers (although the other, the opener Neal And Jack And Me, does borrow a bit much from the last album's title track ('Discipline'))... Here, they're still great, although somewhat lacking in the sort of manic energy that made Discipline so enjoyable.
However, from here, we enter a decline. I basically like the next three tracks, but only one of them (the noisy, Thela-style Neurotica, no relation to the later Rush song) manages to hold my attention all the way through. To be fair, Waiting Man would improve MASSIVELY live, suggesting that it is indeed the lack of energy (another big problem with Beat) holding it back. However, the last two are another story altogether. Howler is complex enough that it should be interesting, which makes it all the more remarkable that it isn't, while Requiem is simply six minutes of aimless noise which I really feel no motivation to listen to at the end of the album. The first three tracks are enough to ensure this a high grade, but the last two make sure that it won't go any higher.
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Gosh diddly darnit
http://www.therushfo...20#entry3394517Why would I give that album a B? Another goof up where I was just so happy to be done with details of the review that I just slapped a random number on it so I could move along, I guess
I give it an 8*...I can see why that would be a problem
I typically try to assign an album rating before writing a review for this reason... it usually works well.
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*Emerson, Lake and Palmer - Tarkus*
**Tarkus**: 15/15
•Eruption: 14/15
•Stones Of Years: 15/15
•Iconoclast: 14/15
•*Mass*: 15/15
•Manticore: 14/15
*Battlefield: 15/15
•Aquatarkus: 12/15
Jeremy Bender: 12/15
Bitches Crystal: 13/15
<The Only Way>: 8/15
Infinite Space: 11/15
Time And A Place: 13/15
Are You Ready, Eddy?: 10/15
Overall rating: D (Great/Very Good)
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I don't think anyone's mentioned this yet, but on the Fly by Night version of this tune, they do something I don't think they ever did again, which was to start the song in C - with I think a very down-tuned bass (those are some very low frequencies) - and then it sounds as though the tape speeds up (at around 1:40) and the electric comes in with a D chord. Kind of a neat effect.
You sure it starts in C on FBN? I seem to recall having to use a capo when I learned it.
I do know all of my guitars are out of tune, because I haven't played in a while . . . but to my "ear" it sounds like the first chord (12 string) is C. Maybe the guitar's tuned down a whole tone?
I think you're right, it starts with the acoustic playing C-F-Eb-Bb and then rises a half step to D-G-F-C once the electric comes in.
Yeah, but that would be a whole step/tone (C to D), not a half step, right? I'm not much of a theory guy, so I might be talking out of my backside. At any rate, it's kind of cool - and I particularly like those low bass tones - I don't think you heard much of that sort of thing on early 70s albums.
Yes
my mistake, it is a whole step. Sorry about that. -
I don't think anyone's mentioned this yet, but on the Fly by Night version of this tune, they do something I don't think they ever did again, which was to start the song in C - with I think a very down-tuned bass (those are some very low frequencies) - and then it sounds as though the tape speeds up (at around 1:40) and the electric comes in with a D chord. Kind of a neat effect.
You sure it starts in C on FBN? I seem to recall having to use a capo when I learned it.
I do know all of my guitars are out of tune, because I haven't played in a while . . . but to my "ear" it sounds like the first chord (12 string) is C. Maybe the guitar's tuned down a whole tone?
I think you're right, it starts with the acoustic playing C-F-Eb-Bb and then rises a half step to D-G-F-C once the electric comes in.
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May as well...
Emerson, Lake and Palmer - Emerson, Lake and Palmer
The Barbarian: 11/15
Take A Pebble: 14/15
*Knife Edge*: 14/15
The Three Fates: 10/15
<Tank>: 7/15
Lucky Man: 12/15
Overall rating: C (Very Good/Great)
Track by track:
•The Barbarian is a rearranged version of an old Bartok piece, and while I certainly like it quite a bit, I think it pales in comparison to the other tracks on side 1. Still, it works very well, beginning with distorted bass which eventually gives way to bombastic Hammond playing , which dominate the rest of the song (apart from a brief piano interlude in the middle, and a later reprise of the distorted bass intro).
•Take A Pebble starts as a BEAUTIFUL ballad, which then gives way to a 8-minute instrumental interlude mostly dominated by piano (though which features a (relatively) short "clap-along" acoustic break). As you can probably tell from the rating above, I LOVE this song, and to me it's only marred by the quiet but unpleasant dissonant guitar before the acoustic interlude. Apparently the piece was expanded more live, but as it is it easily gets a 14/15...
•BUT, even better is Knife Edge, another classical adaptation featuring (as usual) Keith's Hammond but which also contains a great bass line over which Lake sings the verse melody... But the best part, for me, is the very end of the "Can you still keep your balance" line, where Lake's vocals split into 3 tracks in a disorienting way that PERFECTLY matches the aggressive atmosphere of the song. Chalk this up as another easy 14/15.
•The Three Fates is a 10-minute keyboard solo by Emerson (no kidding), and while it has a few dull moments I honestly enjoy it overall. The three sections all feature different instrumentation, with organ featured in the first part, followed by piano in the second, and finally with the whole band joining in on the third. It does drag a little at the end IMO but overall the impression it leaves is a positive one.
•Tank is finally a low point on the album (and the only thing keeping it from a *D*), which starts with Keith playing lines far less interesting (IMO) than any of his other work on the album (or the next, heh), followed by a DRUM SOLO (ewwww) and finally concluding in a "groove" jam that's pretty interesting but which still can't redeem the track from the doldrums that 99% of drum solos fall into by the first 30 seconds.
•Lucky Man was, incidentally, ELP's first charting single, and it's not hard to see why; the song is almost definitely one of the most accessible the band had ever done, with a simple acoustic arrangement (with Keith joining in at the end, and it just so happens that the song rules. Not as fiercely as the top 2 from the album, but it is a great song nonetheless, with somewhat interesting lyrics (not as much in the lyrics themselves but in the potent contrast between the last two verses and the first two, as well as between the last two and the underlying music, as the "lucky man's" death is underscored with the same "carefree" acoustic playing as the rest of the song). Supposedly Lake wrote this song at 12 years old, and while it shows in the relative simplicity of the song it never really sounds naive in any negative way.
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Those who love ATWAS should also check out Rush ABC! It's the old Cleveland show that was broadcast on the radio when Neil had only been in the band for like 3 weeks. It's insane!
He's not quite as good as on ATWAS but that's almost the cool part because he makes up for it with intensity! You can even hear little "mistakes" in the debut album songs but he's just an animal behind the kit!
Also check out the Manchester June 1977 show, By-Tor segueing to the Necromancer was really cool and I don't know why they never did it again. But back to the thread, ATWAS is still one of my all time favorite live albums, it really captures the energy of the show. I listened to some of ESL last week and was reminded why I rarely listen to it, it just sounds way too clean and I don't know what they were thinking doing fadeouts of crowd noise between the songs.
I wouldn't call ESL clean,i'd call it murky and muffled like some ones stuffed a pillow over the recording mike.I had a bootleg from the same era that literally lept through the speaker ,especially on Natural Science. As for the fade outs it was a done thing on live lps at the time.Ted Nugents Double Live Gonzo suffered from it.It was mistake as ruins the live expierence.I think if they did that with ATWAS if would have been sacrilege
You're right, clean is probably the wrong word for ESL, I meant how there was basically zero crowd noise but is recorded poorly as well. I really wish ESL had been recorded like the St. Louis 1980 bootleg which is outstanding and has tons of energy.
ftr I knew what you meant, ESL has too much tampering and not enough fixing.
I hate the way the VHS copy has Neil talking in between songs and they cut to weird images.. and no drum solo :(
No drum solo? Where can I get my hands on this???
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To 5 more years of not not being not :cheers:
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But trust for fun:
Nose Sawyer
Red Nose-chetta
YYNoZe
Noselight
The Camera Nose
Nose Hunt
Vital Nose
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Union, I was just genuinely curious as to why you don't care for the album. I know that not everyone likes the same Rush stuff. You are entitled to not like the album. :cheers:
he's trolling you
case in point: he voted no on hemispheres, which he calls his favorite rush album
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...This is just going to turn into Peeps II: The Nasal Passages
Which is to say, it's going to fade away under all the clutter :)
...Wait, didn't that happen once already? OneLittleVictory
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Hey, if they do end up touring a lot of members of our beloved Rush Forum will start to bitch about the setlist and how Geddy can't hit the high notes anymore.
Old Geddy rocks, new Geddy sucks....
Fixed
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Just the greatest album ever made by anyone, ever.
Two years too late
Hemispheres is overrated.
Two years too late
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Just the greatest album ever made by anyone, ever.
Two years too late
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I think there are a few species of Flora and Fauna native to the Hallowed Hall. I expect he's looking round with his explorers hat on right now.Are we getting no more of these? Sadness.
I got lost in the swamps of New Guinea searching for the megasquid.
http://www.therushfo...60#entry3121583
Clearly not lost enough to fill up notification feeds ;)
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Man, I was really hoping Speed of Love would dominate this poll. It deserves so much more recognition!
So you want the worst of the 4 to win?
I find Superconductor to be far worse than The Speed of Love
I find Superconductor to be decent. The others, not so much.
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My CP/T4E CD:
1. Animate
2. Cut To The Chase
3. Between Sun & Moon
4. Alien Shore
5. Double Agent
6. Leave That Thing Alone
7. Test For Echo
8. Driven
9. Time & Motion
10. Totem
11. Virtuality
12. Resist
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The fact that Geddy can sing it, gives it a better chance of being heard. 1980 and back will see precious few slots in the set. He said himself it's just too much for him to sing the older stuff.
Are you wiling to have JL over La Villa or 2112 O/T? Because, chances are, if JL goes in the set, one of those is out.
Wouldn't bother me, but for some, those 2 are sacred......
I would rather have Ladder than 2112, but if LVS was out I would say no.
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I rather hear Cold Fire then Jacobs Ladder
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Neurotica vs. Neurotica
in Feedback
Posted
Hmmm... I can see what you mean but I like the track... in fact, I like Beat as a whole (barring the last two tracks). I mean, it's no Discipline, and it sure as he'll isn't Red/LTIA, but I find it at least mildly enjoyable nonetheless.