Mosher

Haven't started the final season yet, but I'm one of the ones who actually have liked every season of DISCO. There are big flaws, of course. But I believe it's leaving much better than it began. I expect to really enjoy the final season.

Every single season is peak tv for me. I loved this last season maybe the most, but if I go back I know I might choose another. Whichever one I'm currently watching. So very good.

I actively seek out music from all around the world looking for music. It's not easy, I listen to a lot of bad music, or boring music. But I'm rewarded all the time. It's ridiculous to think there's nothing new.. The industry works hard at controlling taste, and it's more successful than ever. Independence in radio is harder to find, so a dj can't break a band as often as they used to. It's harder to create a strong local scene around a new sound when instant entertainment is already in your hand every minute of every day. It's harder to commit to a band, hit the road and work for it, when the chances of making enough money for gas and food are lower than ever. Harder to sell music, merch, and tickets. The airwaves are more dominated by corporate music than ever before, switching dials in many markets is just an exercise in old music or pop music. Pop music is overly controlled now, and other new music is ignored. Of course old music is huge. A lot of people are new to it, and it's got more variety because more variety has a way to get heard. But music is art, creative people exist, and there's always someone playing around with a guitar doing something new. Music isn't exhausted. Old people have always been annoying in this claim. If it's new and good it's derivative. If it's new and not derivative, it's not good. Nothing says I'm stuck in the past like that. I could mention new bands I like and everyone will either say it's not good, or point out the styles they recognize, or both. Just like their fathers did to them, just like their grandfather's did to their father. Music is art, a lot of people who get into at want to create something new. It's harder to find than ever, but that's not the fault of the artist. There out there trying. A lot of them have to make money, though, and it's harder than ever to get your music listened to and paid for.

Fantastic band, fantastic writers.

Great job Goose. There's a decent pool of contributors, now. I'd love to see more, of course. The Anarchist, by the way, can easily be a top 5 song. :)

I love the ranking of Camera Eye. It has steadily risen over the decades, and it seems to keep rising. It might not be here for me yet, but who knows what the future holds? Great song. Jacob's Ladder had an early peak for me, but the initial drop hasn't led to a steady decline. Just an initial modest drop. Great atmosphere, but doesn't go far enough for me to keep it very high. no skipping, though. Still an excellent song. And Fountain. I've always loved it. And bizarrely it is the very first epic I heard by Rush, because radio wasn't playing the epics and my first Rush was a cassette bought by my parents. I requested Rush, and I received CoS. I guarantee it was the cheapest available (no disrespect, we weren't exactly well off). Fountain blew me away. It was my first epic of any kind, actually, and I wanted more and more and more.

Working Man is brilliant and deserves a high ranking. I don't really include it the same way for my own list, but it's importance is huge, and it's a great song. And of course Clockwork is truly excellent

Three of these are forever top 20 songs for me. Musically Limelight and Freewill are phenomenal, and lyrically excellent. Subdivisions was one of the first wordy songs I learned the lyrics to. Musically not up with the other two but lyrically even better. All three are fantastic. Passage was a huge favorite at one time. Now, while I like it, I find the 9-note stereotype at the beginning eye-roll inducing. So that detracts. That aside it still rates high.

All brilliant songs. Kid Gloves is the superior one here for me, always top 10, but nothing to argue here.

Agreed on Clockwork's impact, and I personally view the whole album as one track. Headlong isn't as high for me, but that's no slight. Everything about the album is great. Even BU2B2, which I don't really count as a song, works within the larger piece very well. Main is a fantastic instrumental. I have MalNar higher, but so what. Either are better than most other songs on Snakes. Here Again is climbing as we speak. :) (you're not the first to do that. It just shows how readily songs can shift in their catalog depending on the day.

...because it's here again, right?

I really enjoy the structure of Before and After and I agree that this one, along with Working Man, does speak to their potential. And in fairness to my typical first album criticism, I believe that even without Neil, Geddy and Alex would still have soon been writing better lyrics and more complex music. The seeds are there. Afterimage was the final song from Grace that really clicked for me, but now it's a favorite. The Trees was such a clever song to the child in me. Its simple metaphor is so applicable to almost any cause that it reads like a children's fable. Certainly to adult ears it feels forced and obvious, but never underestimate the power to impact youth. Attach it to your favorite issue: Quebec vs English Canada, Canada vs US, rich vs poor, labor vs management, capitalism vs communism- it can be made to fit it all. And therefore someone out there has already done that. To the kid I was it was even more simple. It was just a warning that when two groups start hating each other there's a third that's waiting to cut you all down together. Musically it's great as well. I agree that the lyrics are weak until I remember how it resonated when I was young. By-Tor is the perfect first epic. It's fun, blistering, creative, and not remotely serious. It opens the door for riskier experiments later. Necromancer has a spoken post that ages very poorly, at least to me. Good thing they did By-Tor first. But musically Alex steals the show and singlehandedly makes the song one of their best.

And here I am commenting on Sweet Miracle, when you clearly wrote "Stars Look Down" Stars Look Down is is a great song, the only reason it suffers is Geddy's vocals right directly before the first "Stars Look Down"--- 'What is the meaning of this?' The meaning of this complaint is that you sing that part way too high. The rest of the song is brilliant.

By the way, I love your analogy. I need to use that for my super-inflated picks- like Prime Mover.

Critical error? I do not hear what you hear. I agree on Sweet Miracle lyrically, but not yet capable of liking the song. Red Lenses musically is excellent. But lyrically, or at least the quasi-comical delivery of the lyrics, hurts me. When Geddy says, 'not blue' I feel blue. Why oh why make a great song and sing it like ...this? I actually only skip it if I'm really listening- if it's just on for my background it always plays through- the music is great fun. Sweet Miracle I used to always skip but lately I don't, I'm still waiting for it to click.