alieninvasion76

In honour of today, the 40th anniversary of the release of "2112", please enjoy these 2112-centric links: “2112” promo stuff: http://www.2112.net/powerwindows/transcripts/19760400mercury.htm http://www.2112.net/powerwindows/transcripts/19770109lubbockjournal.htm "2112" Reviews: http://www.2112.net/powerwindows/transcripts/19760603scene.htm http://www.2112.net/powerwindows/transcripts/19760427circus.htm http://www.2112.net/powerwindows/transcripts/19760424rpm.htm Billboard magazine article: http://www.2112.net/powerwindows/transcripts/19760828billboard.htm Concert program from “All the World’s a Stage” venue, Massey Hall, Toronto: http://www.2112.net/powerwindows/transcripts/19760611-13masseyhallprogram.htm Concert program from show just before “2112” release, (yes, they were still gigging in support of "Caress of Steel" at the time... no rest for the weary): http://www.2112.net/powerwindows/transcripts/19760209hamiltonplaceprogram.htm “2112” Wiki page: https://en.wikipedia.org/wiki/2112_%28album%29

I think both are fantastic, but I think it's fair to say, without "2112", there would be no "Scenes..."

For me personally, my intro to “Prog” was in the fall of '75 (just before I turned 15). My new girlfriend (who I met through school band) was 2 1/2 years older and was hip enough to already be into "Yes", which she introduced to me via the "Close wTo The Edge" album. Quite the wham-bam intro to this new genre - no gradual intro via their earlier, tamer stuff. Up to that point, the farthest my listening experience had roamed outside the mainstream was Pink Floyd's groundbreaking early stuff (ie. "Astronomy Domine" or "Careful With That Axe, Eugene!") which I discovered because my Dad - a part-time jazz musician - was hip enough to buy me "Umma Gumma" in '72 as my Grade 6 report card present (I had not even heard the name Pink Floyd yet). But even this I found to be only marginally more adventurous than Procol Harem, or The Beatles' "Abbey Road" which, being a Beatle-maniac since the age of 9, I had been listening to constantly, almost since it's release. So... yes, the sound emanating, on that fateful day, from my gf's Marantz "SuperScope" mini stereo was unlike anything I'd heard, though, as taken as I was by this fantastic sonic assault, I wasn't quite ready for it..... yet!! Soon after, though, when I finally discovered FM radio (CHUM-FM was the place to have your dial in mid-70's Toronto), I heard Yes's "Roundabout" which I found much easier to get my head around. And now we are approaching the eve of that seminal moment that eventually gave birth to my RushForum user name <alieninvasion76>. CHUM-FM began running these ads for something called "2112" by a band whose name I'd never heard before... "RUSH"!!! It consisted of a dramatic voice heralding this new release accompanied by a clip of the immortal spacey synth intro that Hugh Syme did for "Overture". I was, of course, intrigued, but it was several instances of hearing this prophetic ad before that hallowed day came in the spring of '76 when my buddy Dave showed up at a party brandishing the "2112" LP with its really cool cover and all. The stereo it was played on probably wasn't the greatest - one of those old console jobs - but it in no way took away from the feeling I remember vividly to this day, that of an all-powerful alien species having finally landed, hell-bent on taking over the planet! I've referred to that day, more times than I could ever possibly count, as "the day the Martians landed", one of only two times that has occurred in my entire life (strangely enough, the other instance happened later that very same spring when I first heard "Return To Forever" - a story for another day and perhaps another forum). Now, not long after, Rush released "All The World's A Stage", but I hadn't quite come to appreciate "live" albums at that point and so it wasn't until many years later that I really got into that one, and now I think it's one of the best pure, raw rock 'n roll guitar albums ever recorded! Of course, the subsequent release of “A Farewell to Kings”, and it’s mass acceptance within the “prog” community - especially within the cradle of progressive rock itself, England - cemented their status as such, despite Rush’s reticence at being tied to any particular genre other than “hard rock”. This is inevitable however, especially given they share a particularly noble trait with “prog” - that being the admiration from practitioners of classical and jazz music, and similarly musically challenging genres… and its devotees… my grandfather included.

Wow, it's been a while since I started this topic, and it'll be a while longer before I get to read all the replies (thanks so much for those by the way). One recurring theme through many of the replies to this thread was Steve Howe in response to my assertion: "if there's anyone whose a better balancing act of shredding, melody, soul, phrasing, and just sheer "balls out" guitar playing than Alex "Lerxt" Lifeson, they must live on another planet!! And in this regard, I didn't say Lerxt was "the best", just that I'd be hard pressed to find someone better with respect to this combination of qualities, ie. this also implies that there are others who are his equal, and Monsieur Howe would certainly be among them, going right back to "The Yes Album". Anyway, I'll come back and revisit this when I've had a chance to read all these replies but, before I go, I leave you with this little slice of Alex. Namaste!

It's always aggravating seeing people arguing on the net about guitar players, and how often Alex Lifeson is overlooked. Some names of course will never go away - names like Jimmy Page and Eric Clapton, some of whose music I do indeed enjoy and, despite the fact that they’re really just glorified blues players, they’ve certainly earned their place in history. You’ve got your “melodic” giants like Jeff Beck and David Gilmour. Then there’s your out and out rockers such as Angus Young, Slash, Michael Schenker, all of whom tend to be more one-dimensional. These are all names that will always be part of the conversation, and there’s so many more one could mention, from so many sub-genres of rock music, let alone all the other music genres that boast some guitar greats of their own. Hence, it’s almost pointless to try and determine who is “the best”! It’s particularly amusing when people confuse the word “great” with the word “fast”. When you see 20 violinists in an orchestra playing in perfect unison at the same velocity as Paul Gilbert or Joe Satriani, I think it puts the whole speed thing and its relevance in perspective. And how does “speed picking” compare with the dexterity required by a Classical guitarist to play Bach’s “Chaconne” or the allegro movement to Barrios’ “La Cathedral”. So back to the “rock” world… might I suggest we consider using an asset such as “versatility” to level the playing field somewhat. Guitarist Steve Morse (of Dixie Dregs, Kansas, and Deep Purple fame) was voted “best all around Guitarist” five years running, back in the 80’s, in the Guitar Player magazine reader’s poll, owing largely to stellar picking technique, and a command of numerous playing styles, including rock, country, jazz, and classical. Ironically, most non-guitarists don’t even know who he is… an irony made all the sadder given the number of so-called “stars” out there whose notoriety exceeds their actual abilities. Morse acknowledges our fair-haired boy Alex Lifeson as an influence by the way (Steve toured with Rush at one point). And, as we know, “Lerxt” himself is often overlooked when name-checking the great guitarists. So, it is this proposed asset of “versatility” that I think vaults Lerxt firmly into the conversation of guitar greats!! Perhaps, not a versatility in terms of styles like Steve Morse, but a versatility of strengths… a multifaceted player like few others. It’s almost criminal the degree to which Lifeson is overlooked given that the range of his abilities is almost an embarrassment of riches. Even if one were to base things on “shredding” alone (I don’t just mean playing fast, but playing interesting lines as well), Alex could hold his own! - and this is coming from a fan of Steve Morse, Alan Holdsworth, Frank Gambale, Michel Cusson, Paul Gilbert, etc. To be sure, there's a number of players out there that can shred, and/or studied at Berklee or G.I.T., or whatever, but despite his lack of knowledge of fancy scales, Lerxt is a veritable compendium of lines and solos, dazzling both in their melody and dexterity. Furthermore, you take some of Lerxt's "shreddier" stuff and put it through a high gain/compression amp like a Soldano and I dare you to tell me the difference between that and the much vaunted Petrucci or Satriani! But, returning to the “Multifaceted” thing, if there's anyone whose a better balancing act of shredding, melody, soul, phrasing, and just sheer "balls out" guitar playing than Alex "Lerxt" Lifeson, they must live on another planet!! Specifically, it's Lifeson's "phrasing" that always astonishes me. Like I said, some of these other cats might have gone to "school", but there's some things that are just more "felt" than "learned", ie. phrasing, soul, etc... and it's in the phrasing department in particular, a domain usually allotted to the likes of Jeff Beck or Scott Henderson, that I maintain "Lerxt" has few equals!! I’m just glad he’s on our side. Rush is indeed well stocked in the virtuosic guitar department!!!

Yes, that "his playing follows his singing" comment struck me as well. The fact that he can play a ripping, complicated bass line that's completely contrapuntal/syncopated to what he's singing is one of the very reasons why he's considered one of the best in the rock genre. In fact, I doubt there's any one who's playing bass and singing simultanesouly in any genre that can do it better!! It's for this reason that even some of the crazy ass jazz/fusion bassists I mentioned in my previous post would have to give him his due, and it's a matter of record that most of them have, in fact, acknowledged him in some way, at one time or another. Jeff Berlin, in particular, even played on the jazz band version of "YYZ" with Neil during the Buddy Rich Memorial concert. Unfortunately, it was just recently removed from Youtube!

After reading all the above, it sounds like the question is really "who consistently writes the more intricate bass lines?" I've been listening to both bands religiously for almost 40 years, and IMHO there's nothing Chris Squire can play that Geddy Lee can't, and vice versa! It's more a case of how their respective bands' material has evolved over the years and how they each choose to serve that material! Also, Geddy's unique, predominantly one finger plucking style likely derived from choosing not to use a pick, while nevertheless having been influenced by a "who's who" of pick users, ie. Jack Bruce, John Entwistle, John Paul Jones, Paul McCartney, Roger Glover... and "yes", Chris Squire himself. Sheer mechanical theory would boldly state that using a pick would yield a significant advantage over the one-finger-pseudo-picking technique... just sayin'! All of that said however, I think they would both be the first to concede that this debate is somewhat academic in a world that includes virtuosos such as Jeff Berlin, Stu Hamm, John Pattitucci, and Alain Caron... and let's not forget Jeff Beck's young female bass phenom Tal Wilkenfeld! Jeff Berlin: https://www.youtube....h?v=6at4jSG3cUc Stu Hamm: John Pattitucci: Alain Caron: https://www.youtube....h?v=hDMelmMktm8 Tal Wilkenfeld: You might want to also check out Gary Willis, Stanley Clarke, Jonas Hellborg, and the late Jaco Pastorius! The universe is, indeed, expanding...