Eel Yddeg

Dio wins for me. Most metal singers either sound like an angry elf or Cookie Monster, he doesn't.

Listening to more bootlegs, he started to lose that high wail around 1978, during the Hemispheres Tour, and it completely vanished around Signals.

Distant Early Warning was rehearsed on the Counterparts Tour, but didn't make it. It's not hard to see why Farewell to Kings didn't make it, lots of high parts. "EYES cast out on the path of LEAST, RESISTAAAAANCE" "WITHERED HEARTS AND CRUEL TORMENTED EYES" "BEATING DOOOOOOOOWN the MULTITUDE and, SCOFFING AT THE WISE" "HOW CAN WE LEARN, to feel what's right, AND WHAT'S WRONG! WHAT's WROOOOONG?" "CAN WE RAISE OUR EYES, AND MAKE A SONG!" "CAN WE FIND THE MINDS TO LEAD US CLOSER, TO, THE HEART" I'd DREAD hearing that on Snakes or CA. and Something for Nothing on R40... Whew.

Have been listening to A Passage to Oslo (5/22/1979) and found two AMAZING parts: First at 44 minutes in we get a STUNNING version of "Cygnus" in Hemispheres And at 1:21:45 we get a MINDBLOWING solo in "2112: Presentation" The Tour of the Hemispheres had the band in top form!

The Necromancer

I think they get all the praise they deserve. I do wish the Rush-COS albums got more, though.

1. That's not Paul 2. He's 74, not 76.

BUMP! For heaviest, i'd say it's Vapor Trails or Clockwork Angels, lots of heavy stuff on those albums. Lightest is probably Signals through Roll the Bones.

1. In terms of melody writing, they were the best in their class. They could create an epic, dramatic feel like no other. Hard to put in words, but stuff like the intro to Xanadu, Natural Science, the Overture of 2112, Subdivisions, Tom Sawyer, etc. They could deliver scorching hard rock in stuff like Finding My Way, Anthem, Temples of Syrinx section of 2112, The Big Money, Something For Nothing, etc. And they could write beautiful, tender ballads like Tears, Resist, and Losing It. 2. All of their instrumental skills are amazing. Lifeson has a bottomless pit of amazing riffs at his disposal, and his soloing is often a highlight. Neil Peart is a great drummer, who's complex, jazzy yet powerful rhythms helped boost their sound a ton. And Geddy Lee was a top-notch bassist, and his keyboard playing in stuff like Subdivisions was stellar. 3. Geddy Lee is one of the greatest vocalists of all. His '70s singing was truly incredible, power, control, and range second to none. His '80s and '90s voice was lower, with less range, but at the same time richer and warmer. And his '00s and '10s voice is deep and mature. 4. Diversity. From the Hard Rock of Rush-2112, to the prog of AFTK-Moving Pictures, to the synths of Signals-HYF, to the pop rock sounds of Presto and RTB, to the alt-rock and grunge of Counterparts, TfE, and VT, to the return to the Rush of old on SnA and CA. 5. Great live performances. Instead of going off into long, self-indugent jams, they would stick to the original arrangements, but add tons of power and energy, especially in the Signals-GUP years. Those are what made Rush my favorite band.

Yay! Hope you sort out your life issues. I also have a new bootleg review I think you'll like.

I miss her! A great poster.

- Most of the debut, glad Neil started writing the lyrics. "Well, you make me crazy, the way you roll them eyes" is the bottom of the barrel. - "Anthem" is basically "Ayn Rand" the musical. Lowlight: "Well I know they always told you selfishness was wrong, and yet it was for me, not you that I came to write this song". - The first verse of "I Think I'm Going Bald" - "2112" has some groaners. "The Elder race of man" anyone? - "Natural Science" sounds too much like attempts at being cool as possible with no coherency. "A quantum leap forward, in time and space, the universe learned to expand" sounds like teenage sci-fi. Part III has GREAT lyrics though - "Vital Signs" also has pretty much no coherency. Though I like all of those songs, sans Vital Signs.

5 stars! A Passage to Bangkok's great fun with a great riff, Lessons has great shifts between soft and loud, and crazy vocals, The Twilight Zone captures the feel of the show perfectly, Tears is a STUNNING ballad, with some of Geddy's best singing, and Something For Nothing's a blast of heavy rock! 2112 is easily my favorite Rush album, and possibly my favorite album EVER (either this or Pink Floyd's Wish You Were Here)

They celebrated the moment, as it turned into one more.

I want to gush over how amazing the intro of this Xanadu version is!

I think they're done, and if they are, i'm happy they ended on a high note instead of playing endless soulless greatest hits runthroughs.

1. 2112 2. Hemispheres 3. Xanadu 4. Cygnus X-1 5. Natural Science 6. By-Tor And The Snow Dog 7. Working Man 8. Tom Sawyer 9. Subdivisions 10. The Spirit of Radio

1. Natural Science 2. Tom Sawyer 3. The Spirit of Radio 4. Subdivisions 5. Jacob's Ladder 6. The Big Money 7. Mystic Rhythms 8. YYZ 9. Witch Hunt 10. Unsure, maybe The Camera Eye

1. 2112 2. Hemispheres 3. Xanadu 4. Cygnus X-1 5. By-Tor And the Snow Dog 6. Working Man 7. The Necromancer 8. Anthem 9. Here Again 10. Bastille Day

I thought he did it as well on R40 as he did on the album. Will have to go back and give another listen to see if maybe Geddy didn't do it better. Jacob's Ladder is geared for a lower voice to begin with. That's exactly why i feel it's better. His higher 1980 voice doesn't work as well with his deeper voice of today. Plus, it's a low song, so no yodeling!

Hoo boy. On some songs, I like Geddy's modern voice better then his old voice. One example is Jacob's Ladder. I like the way he sang it on R40 much more then on Permanent Waves.

Yeah, Time Stand Still's one of their worst. The music video especially. Honestly, i'm happy Rush ended the way they did, instead of endless "greatest hits" tours like certain other bands (The Rolling Stones, The Who)

Nah, 2112 is better. I think EVERY song is top notch, and there are more songs then Hemispheres.

Side 1 is amazing. Side 2... Nasamuch. Cinderella Man and Madrigal are good, and Cygnus X-1 is AWESOME, one of my top 5.

I say his styles were- 1974-1976: Raw, screamy, uncontrolled 1976-1978: Similar, but more controlled 1978-1984: Normal range the same, but high range weaker 1984-1996: Normal tenor voice, doesn't hit extreme notes anymore 1996-2002: Similar, but nasality starts to creep in 2002-2007: Much more nasal and whiny 2007-present: Deeper, almost baritonal, yodels sometimes.