78jazz

I *thought* that the whole GUP show had been found, but at that time they were waiting for the Blu-Ray/HD-DVD war to get sorted out first. Edit: It would be nice to see the whole TFE show if it is available. I wonder if eventually the audio archive will be opened up and those concerts put up for sale like Metallica has done as of late.

I think seeing The Police play It's Alright For You on the Kenny Everett show many years after they played it sealed the deal for me for being a fan of that band (and I think this was around the time I bought Reggatta de Blanc...and listened to it at least once a day that summer).

It's pretty cool for Geddy to say he was jamming to Three of a Perfect Pair!

I am about to depart the house shortly, but I will read this later. This incident is pretty wild IMO. Also, I forget exactly which one it was but I play in a progressive rock/metal band and I wrote a set of lyrics based on this incident. Maybe we need to cut it and offer it for listening...

Listen to the song "Continuum".

The problem with the Steiny was while it had a nice sound in the top end, it was totally lacking in the bottom end, which wasn't good for songs like The Spirit of Radio and Tom Sawyer, which relied on the gritty, heavy tone of the Rick or the Fender Jazz. I kind of wonder, what would have happened if in 1994, if he decided to pick up the Rick again instead of the Fender Jazz? Given the sound of that Ric on the SnA tour, I think the bottom would not have been as big. Make no mistake: I dig the Ric tone of old, but I think a lot of that had to do with the amp setup and he no longer uses that. This is why (to my ears) those Jazz basses cut through a lot better on R40 than did that '68 Ric.

I did not necessarily doubt that, but I had not seen an interview about it. Maybe it is time to go digging.

Snakes was the last decent tour for his voice. After the inner ear/sinus thing he got during TM, he hasn't been the same since. While I do agree that his voice did quite a change after the S&A tour, this is the first I have heard about inner ear/sinus issues. Can you expand on this?

I think to some extent this happened here, but I think they were headed with that as early as Monkey Island. It certainly took place with all of the EMI albums, and I think that because they flew under the radar for so much of their career that when they finally had that success you had 6 guys with conflicting ideas about how to proceed (and maybe they were just tired, or being tired created more friction).

Mine is the first one.

I am not in a position to check my copy about 20 feet away right now, but IIRC the speed on the Rush vinyl you mention I think ran a full step too fast. I have considered doing a transfer to CD and then a speed correction, but I don't think the sound was good enough to warrant it (especially with the excellent recordings available from that performance).

Correct. Geddy was sick at the show I mentioned. For the early Counterparts, most of the Hemispheres i've heard have him struggling bad. Can you tell me some specific dates where he sings it well? The only good one i've heard was 3/8/1994. Xanadu also really has him struggling. For Inglewood, it doesn't sound that bad. Most of the songs i've heard are good.Red Barchetta is solid, The Trees is performed great, Red Sector A is good, Closer to the Heart is nice, 2112 has a bit of struggle, but sounds fine, Natural Science starts out poor, but gets better, The Spirit of Radio is fine, and Tom Sawyer is solid. The way he sang Hemispheres in San Diego on the CP tour was excellent IMO.

I believe that CP show the OP references was Geddy being sick (IIRC, they were scheduled to play in Hampton but this concert was cancelled). One bad show that comes to mind is the Inglewood 11.26.96 show. It was as if Geddy couldn't control his singing (but if my memory serves me right, this trouble may have really started 3 nights before in San Diego and was certainly showing up the next night in Las Vegas). Some of those very early CP shows had Geddy singing quite well (see some of those early Hemispheres renditions) and on the Philadelphia 4.30.94 show he nailed that last high note in The Trees.

THIS, but my choices are Denver or Chicago (both about 600 miles away, and my life has things happening in the summer that make this less appealing).

Holly George-Warren, editor and author of The Rock and Roll Hall of Fame: The First 25 Years, said: "With the death of Keith Moon in 1978, rock arguably lost its single greatest drummer." According to Eder, "Moon, with his manic, lunatic side, and his life of excessive drinking, partying, and other indulgences, probably represented the youthful, zany side of rock & roll, as well as its self-destructive side, better than anyone else on the planet." Notice she didn't really mention anything about his drumming ability? Adam Budofsky, editor of Drummer magazine, said that Moon's performances on Who's Next and Quadrophenia "represent a perfect balance of technique and passion" and "there's been no drummer who's touched his unique slant on rock and rhythm since.orts were His studio efforts were indeed something to behold. Those albums just reek of greatness. Live, the guy had major problems--most of the time Do you have any concert recordings of the Who when Keith Moon was alive?

Keith Moon was the STORM with a heart filled with sunshine. I can't believe he lit that fukking cherry bomb during that live interview and blew out Pete's ear drum. No wonder he wouldn't interview for that book. I would wager that the reasons for interview refusal were a lot heavier than that.

Kenney Jones kicked ass in the Small Faces and Faces. And Pete liked him in the Who! I realize I am in a large minority here, but I think some of the material on Face Dances benefited from a streamlined approach to the drums.

In the foreword, Fletcher mentions that Townshend wrote him a letter that explained why he did not want to be interviewed but asked that it not be published (yes, I have the book and it is worth a read).

If this is so, that's very sad. I *thought* the story was that he struggled with the 6/8 meter and never could get a drum part cut for it. Weird, since I think the previous album had a song with that meter on it that he had no trouble with. IIRC, he also lived in California with no drumkit in the mid-1970s and this seems to have been blamed for some of the decline some have noted on Who Are You.

You will not catch any grief from this poster - I think Keith Moon was the best rock drummer ever. His excitement was (and still is) incredible. I am also with Roger Daltrey on his drumming - I think there was more going on there than meets the ear. He framed the vocals quite nicely (I think that Peart guy said something about listening to your singer as well). Amazing drummer, and for my money probably the big bang in rock drumming (although I do agree that some of that can be traced back to some of the jazzers).

THIS.

It also dawned on me that I read some of your initial post wrong. Sorry.

I'm more partial to the Snakes version because Alex used the acoustic guitar on it, but Geddy's bass playing was better on the R40 version. Both live version are great, but I think the acoustic guitar better serves the music in that case. I was definitely thrilled when they pulled that out when I saw them in KC too! Make no mistake - I was not thrilled at first. As they played it, I seemed to get it with this tune (although it is probably still the 2nd worst Rush instrumental IMO. I would have much rather seen Limbo. Alas...) Edited to add: Yes, the bass seems to have made the R40 renditions far more enjoyable of TMMB.

I watched the DVD this weekend, and think this song worked better on this tour than it did in 2007-2008. Anyone else seem to find the versions better on R40? I chalk it up to the bass part being played different (octaves, it seems). The song seemed to make more sense to me in KC in July than it did on the album or the other 3 times I saw it before then.

IIRC there was a Japanese collector who did some fairly in-depth analysis to attempt to answer this question.