toymaker

First I'll say that I still like a lot of what Rush does, and I agree with the post that states that Clockwork Angels is a bit of a return to former glory. For me, Signals still has a kind of classic Rush "feel"--I love the busy arrangements and the fingerwork and maybe a formula I can't quite articulate. The instrumental bit in Digital Man has it—one of the last truly, truly great classic moments. They return to it occasionally—for example, I'm not too keen on the song Mission (sorrry) but I think there's a moment of majesty there when they're all playing over what is essentially a wicked drum break. After signals it just seemed to me like they were trying to satisfy the pop needs of the mainstream; although it had the Rush "treatment" it didn't have, entirely, the Rush magic. In one of my first posts on this forum I talked about that early middle period, the four albums preceding Exit Stage Left—the period during which one questioned Who Sent Rush Here to Transfix Us? Signals still has enough of that magic. After that, it seems the grooves changed, the guys were being steered a bit more by the pop and ska and keyboard-heavy music. Something else I said before—I always tried—I tried and tried and tried to still love them and for the most part I succeeded. But part of me waited patiently for Clockwork Angels and now I'm Blissed Out again—a concept album with a full blazing suite of the old Rush spirit.

I'm willing to go with that interpretation. The combination of present tense verbs and the preposition "as" just makes it sound like the two things are happening simultaneously. At the end of the day....I should chill!

I love the sound of that bass, too.

Geddy??? Similar schnozz, but sadly, no.

Thank you all for reminding me that this song exists, and wiping out years of repression in a single thread. Now I have to start all over again.

Yeeeeaaaaahh!

I think I was always the kind of fan that desperately wanted to like everything Rush does, but I came to realize that I just don't care for some things. When my best friend and I bought Grace Under Pressure at Sam the Record Man and played it for the first time, we were stoked, but my friend's older brother kind of bummed us out by trashing most of the songs. I think I was influenced a bit by his attitude, although I played the shit out of my vinyl. Then I didn't listen to it for a long time, and when I went to play it again, I was overcome—a bit of nostalgia, perhaps, but mostly just really, really listening to it and appreciating it. I really dig it now.

Live in Rio—trying to figure out what all the bad press is about. I think it's great.

Sorry—shouldn't leave a post like that when you are specifically asking about Ghost of a Chance...

The Weapon.

Probably a lot of fans unconsciously (or maybe consciously!) categorize tunes: classic songs that the band is sort of obligated to play (Tom Sawyer), classic songs that will blow people away when they are occasionally played (Xanadu), deeper cuts that will occasionally make an appearance (Presto)--but that some fans consider songs taking up valuable time that could be used to play other songs...I suspect Ghost of a Chance falls into that category for a lot of people. I happen to like the song a lot, myself—one of the saving graces of Roll the Bones. But when I think of Rush, it's not the song (or album) that I think of first (or second or third or fourth).

Third disc! That's what I meant. Never was good at math.

Do you like the version that's on disc 2 of the Snakes and Arrows live DVD?

I've always liked that tune—a rare slide guitar solo by Lifeson. They could do something really interesting with it, but it does seem unlikely.

Not sure, But it seems like a pretty long tour. I was just pointing out the concert I attended. :D I'm asking because it is inconceivable to me that Rush never played in New York City until the eighties. I find it hard to believe. That is why I am asking. I have the Robert Telleria book, and he has Rush playing NYC at the Palladium on Nov 12, 1977. Telleria's book is full of grammatical errors, but I don't know if it is full of factual errors...

It's been a while since I listened to Victor, but do I remember correctly that he sings part of one song on that album (At the End) and maybe sounds a tiny bit like Robert Whatshisname from The Cure?

Me too. I listened to the whole thing last night on headphones (explains the long post), and for me any shortcomings that might be present are overwhelmed by the energy of it plus what I imagine it must have been like!

It's unfortunate that that's what some bands do—they release a greatest hits album with the promise of one or two new songs. Fans buy 'em and discover that the unreleased songs aren't really that great.

What about, say, two unreleased live versions? Enough of an incentive? Why am I still up?

A very difficult choice. All the World's a Stage was something I listened to when I was 14, with the tri-fold album spread out and checking out all the photographs. It's a seriously raw sounding—maybe even "trashy" is the word—album, but there is a ton of passion. By-Tor's solo section is deadly good, and working man...killer. But I voted for Different Stages disc 3 because it was such an unexpected gift at the time. This was before we were treated to all of the bonus videos on the DVDs; getting a live version of Cygnus X-1, A Farewell to Kings and Cinderella Man—tunes you might only have heard on crappy sounding bootlegs otherwise—was just the most amazing thing. There's some seriously energetic playing here, too. Lifeson starts Bastille Day at what sounds like double speed—I think Neil tries to slow him down, and Alex says "no way!" Geddy is screaming in all his youthful glory—a bit rough sounding, sure, but amazing. The crowd is all over it. Neil's toms sound wicked. By-Tor is scorching. The instrumental section starting at the two minute mark, Geddy's all up and down the neck and Lifeson's doing his trademark pick slides—this is the stuff I used to get completely lost in—still do. Neil at 4:09—that's like, Buddy Rich-level speed. Then a slight disappointment—a segue into Xanadu cutting off the "Epilogue" section of By-Tor—but that's fine because I love Xanadu so much I can forgive them omitting one of my favourite Lifeson solos (the slow solo in the All the World's version of By-Tor is the album's highlight for me). So now I'm digging Xanadu and checking out the big black and white Rush poster I have in the office with the double-necked guitars and the Hiwatt amps and Neil framed in his tubular bells. Geddy's voice sounds a bit tired on this one, maybe, but he still sounds great while he's muscling that heavy 4/12 guitar and working pedals with his feet and he gets his second wind. A Farewell to Kings—total treat to hear this—Geddy recovers nicely from a slip on the keys (give him his props—he hadn't been playing keyboards very long) and Lifeson's guitar distortion is of the face-melting variety. Cygnus X-1: man oh man, heavy. Tight instrumentation. Another example of Rush's uncanny ability to take three interesting chords and play them over and over and somehow keep it interesting. Some of Geddy's highest singing, maybe ever? That ultra cool vibrato. Spinning, whirling...I could go on and on—this album is a treat and a delight. One of my favourite Neil fills is in (strangely enough) "In the Mood" at 40 seconds in. I just think that's the coolest. So, it was a tough choice, but I have to go with the Hammersmith Odeon show. I really need to go to bed.

I hoping for a country and western version of Tom Sawyer

I believe there was some discussion about this by the band a while ago. The Rush instrumental album would have La Villa Strangiato YYZ Broon's Bane? Where's My Thing Leave That Thing Alone Limbo The Main Monkey Business Hope Malignant Narcissism Also, there are a lot of songs that have instrumental sections: By-Tor, Didacts and Narpets, Necromancer, 2112 . . . the list goes on. There are a couple of solo Alex things done in concert (new introductions to Closer to the Heart and Halo Effect) and then there are the drum solos... Did I leave anything crucial out? What would a reasonably complete track list be? Would anything compell you to buy an album that you could easily assemble yourself as a playlist? Sorry - I'll stop creating new posts for a while. I'm new to the forum and interested to hear what people have to say. I have a few friends who are Rush fans, but they can be over-critical bums sometimes.

I'm most of the way through it. Some new (for me) stuff about their parents' history, some interesting reflections on various songs, good information about gear (instruments used in various tours as well as amplification and lighting rigs), and lots of critiques of the various concert videos. I'm trying to think what else has stood out . . . a chapter on the remix of vapor trails, a chapter on Neil Peart's writing. Over all, not too much of a rehash of stuff you find in the last few Rush books by Popoff and Collins. Worth picking up, I think (but I have to say the choice of cover photograph makes me shudder a bit). I will add, as well, that Mobley sort of has a way of making you want to watch all the videos again—he's obviously a fan!

My buddies sometimes complain about things like Geddy's voice after we see a show. All I can do is look at them and say (again): "60s!! These guys are in their @#$% 60s!!!" I'm 44 and my friggin' knees ache going up stairs and I think I might have arthritis in my left hand and I don't have even close to the range I had in my singing voice like, 5 years ago. I am so grateful that one of my favourite bands is rocking this hard and Geddy Lee is throwing his voice up where the air is thin. These guys could have retired after 20 years, or 30 years but it's been 40 freakin' years!! Almost my lifetime!! And I've been playing bass for about 15 years and I can't even get close to playing with the chops that Geddy Lee has on their first album! Should Rush still be performing? As long as they can!

In the actual lyrics, as well ("I will choose free will")--but that's beside the point!