Wayne

https://youtu.be/3ykdb8Zen-o

http://cygnus-x1.net/links/rush/images-2/intl-rush-day.jpg http://www.rushisaband.com/images/201602/3663.f.jpg http://orig14.deviantart.net/3fe7/f/2011/334/0/d/0dbd49017d9e176e533a960fa0ffb020-d4hsm4r.jpg

a few favourites: http://www.progarchives.com/progressive_rock_discography_covers/2437/cover_3454211102008.jpg http://www.thegrandwilmingtonde.org/Images15-16/GenesisLive_Web.jpg http://www.progarchives.com/progressive_rock_discography_covers/1696/cover_373642282007.jpg http://www.progarchives.com/progressive_rock_discography_covers/2922/cover_28171422112010.jpg

UFO move in front with my vote Too much noodling on the Japan album for my liking. Strangers In The Night is tight, concise and in yer face. :dweez:

Got a text message from my sister: telling me I am awesome and she loves me.

Tough bout this one.. I like me some 1970s southern-Cali FM rock. The Mac edges it. Stevie singing Rhiannon https://youtu.be/IT1q7L4QA0A

YES SIR ! I recently posted a couple of meaty Paul Chapman riffs in the Best Song Intro's thread. http://www.therushforum.com/index.php?/topic/99275-best-song-intros/page__st__260 Strangers In The Night is an essential live album in anybody's rock collection.

Down south we talk like this.... https://youtu.be/jTifRi3qDkU

ZZ Top - Cheap Sunglasses :7up: https://youtu.be/QePcj9BplMQ

Another Killer performance... Talking Heads - Psycho Killer https://youtu.be/jzIuZ-mrIL0

The Sensational Alex Harvey Band https://youtu.be/0E8bHdJ9_4k Captain Beefheart https://youtu.be/dq6fCOGyVJg

http://thetvdb.com/index.php?tab=seasonall&id=74956&order=dvd UK posters of a certain vintage will remember this much-loved BBC rock show. The programme ran from 1971-1987: featuring memorable studio live performances, video and interviews. Post your favourite clips here http://www.bobmarley.com/wp-content/uploads/2014/03/WHISTLE_FOR_WEB.jpg

I propose Alex Lifeson gets his own TRF sub-forum... Favourite Herbs and Best Hand-Rolling Techniques :smoke: http://www.yongesterdam.com/gallery/rolling8.jpg

Ged does not need to solo. His bass playing is one continuous solo. I love it. :geddy:

Group 1: The Coen's Group 2: David Lynch Group 3: Roman Polanski Good lists with some notable past and present absentees Bergman (Sweden) Jarmusch (USA) Fellini (Italy) Sorrentino (Italy) Wenders (Germany) Herzog (Germany) Tarr (Hungary) Godard (France) Wadja (Poland) Ceylan (Turkey) Kiarostami (Iran) Zhangke (China)

No Floppy Boot Stomp? Nah... I Love You, You Big Dummy ...trumps No Floppy Boot Stomp

Captain Beefheart Moonlight on Vermont Flash Gordon's Ape Big Eyed Beans From Venus Bat Chain Puller Sheriff of Hong Kong

http://png-1.vector.me/files/images/2/1/21815/yes_thumb.png Starship Trooper South Side of the Sky Close To The Edge The Gates of Delirium Awaken

Workmanlike ? Back in the early 1980s we Rush fan-boys not paying much attention found Whitesnake obscenely popular. Big album sales, always touring - always sold-out, and also very popular among the ..... ladies. Two completely different bands: but back then they seemed to share the same fan-base - I preferred UFO.

Indeed... apologies all round.

http://www.2112.net/powerwindows/coverpics/ClassicRock200jul2014a.jpg

Havana hand-rolled Cuban Cigars :smoke:

This remaster has more pop in the bottom end: greater overall sharpness and clarity. Good job Mr Wilson.

None of the above... SUPERCONDUCTOR shoulda have been a hit.

LED ZEP II brought down the Berlin Wall Losing your musical innocence either happens instantly, like getting shot at short range, or in a slow tide. Or it doesn’t happen at all.The consequences of a musical shock are unpredictable. It can change a person completely — his tastes, sympathies, ethics, speech, dress, politics. This is probably because music is the most perfect of all arts, the “highest obsession” (Pasternak).For me, the beginnings were rather commonplace — childhood plus piano, the normal Soviet routine: Schumann’s “Merry Peasant,” Bach’s “Rigaudon,” “For Elise,” “Moonlight Sonata Part I”...Then my pinkie got caught in the chaise longue that my friend had kicked out from under me. With a shortened finger, prospects for the piano vanished. The piano still gave pleasure; keys warmed by the sun gave off a cozy smell and felt good to the touch, as did the yellowed pages of music. But there was no kick.That happened one pleasant September afternoon in 1972, in the apartment of my classmate Vitya, who that summer became the world student table tennis champion and brought back from unattainable Stockholm three records: Led Zeppelin (“II”), Deep Purple (“Machine Head”) and Uriah Heep (“Look at Yourself”). I was 18, and not entirely pop-illiterate: the “Beatli,” the “Rollingi” and the Monkees were always seeping out of friends’ tape recorders, opening up new, unknown sounds and spaces. But all that was anticipation; it was as if we were being prepared for something big, something that would make the blood curdle in our veins.And curdle it did when Vitya pulled the new Zeppelin LP out of what at the time was a mind-blowing sleeve and put it on, and “Whole Lotta Love” rose up with a beckoning howl.Corks formed of cloying Soviet music flew out of our ears. And a young man’s brain experienced irreversible biochemical change. It was the unforgettable lesson of freedom. It was probably on that very day that I spontaneously became a dissident. ”The force of the rock tsunami which dealt so destructive a blow to the “sovok” in the early 1970’s indisputably arose not only from all the utterly new sounds and instrumental possibilities, but also from the fact that all these Robert Plants and Ian Gillans sang in the language of the West — a forbidden tongue kept from us by maybe not quite an Iron Curtain, but at least a wooden one. We Soviet students saw the long-haired vocalists as angels come down to earth to sing in heavenly tongues. Having studied English through texts like “Lenin in London,” we had a hard time sorting out the words. But the more advanced melomaniacs got them, memorized them and sang them to their guitars.Thus Anglo-rock for many of my contemporaries became Angelic-rock. We believed in it, we forgave it everything. We imbued the relatively primitive lyrics with layers of meaning that their hirsute authors never dreamed of. A friend of mine seriously insisted that “Satisfaction” was about a free, complex and tragic love affair of two underground anarchists, and that “Stairway to Heaven” was written by a famous English mystic who was publicly burned in medieval England for his experiments in the occult. http://www.nytimes.c...-edsorokin.html http://www.progarchives.com/progressive_rock_discography_covers/2705/cover_1928726112010.jpg :smoke: :smoke: :smoke: :smoke: