JARG

The first note of the first song of the album tells you this. The first note of Subdivisions is F sharp. Everyone knows that the saddest of all possible keys is not F sharp but D minor. http://www.youtube.com/watch?v=sHLT7XI6Pq4 I thought of the same damn thing when I read his post!

See my list on page 1. ;) Crap! I must've missed it! My bad. No worries...I was glad to see someone else likes that ride-out, too. :cheers:

See my list on page 1. ;)

It seems like Neil is a bit unsure about the arrangements for Fancy Dancer...

It was at the bottom of my list for a lot of years, but then started moving up around the time that p/g came out...now it's probably in my top 5 or so.

It's a real shame Garden Road never made it onto any of their studio albums. It's rockin' little song.

I don't think Amazon ships it.

I can take or leave HYF, but as a precursor to Presto, it's invaluable.

Making Memories I think I'm Going Bald Lessons Different Strings The Enemy Within Red Lenses Between The Wheels The Big Money (probably my favorite) Prime Mover Secret Touch (ok, maybe this one is my favorite!)

"Rush music" is a broad category. If we're talking about "Rush music" of the last 10 years or so, there's quite a bit about it I don't like. Sonic mush, generally uninspiring songs.

Geddy Lee agrees with you. Neil, too, if I'm not mistaken.

The best part was when Neil finally shows up and overplays on Let It Be.

I didn't much care for it until I saw it live. It translates much better as a live track than a studio one.

http://www.rushkorea.com/discography/img/permanent_waves_large-01.jpg Look to the right of the model.

Good call; that herky-jerky rhythm can only be resolved by the hi-hat build-up. Yeah, but it's that first fill that comes in when the clip plays that I really love. I don't think I even noticed it the first few listens -- too focused on Alex's solo -- I'm glad I finally did...it's one of my favorites. Subtle, and he suspends time right in the middle of it.

http://youtu.be/Y7qSBo6TUYM?t=3m5s

Yes, several Rush album covers are very much about visual puns.

Young lyricist. Poetic license.

Yup and in both instances you can clearly see him triggering the sample with his foot. Okay, good eyes JARG. He triggered both parts. Two words. And he probably sang along with the opening part, with the sample. Anyone who claims Geddy lip syncs because of that is a nitpicking Ahole. I guess I needed a non-nitpicking Ahole to point this out properly. Victory is yours, trenken. Let me see if I got this right. Someone claimed Geddy has lip synced, showed an example of him doing so, and he's the nitpicking Ahole???

Yup and in both instances you can clearly see him triggering the sample with his foot.

And let's not forget the big wave behind the guy...

Are you saying the vocals on this song were done in a studio after the fact? He said it was hard to tell just what it is.

There's something funny going on with "I" in the "I can't pretend a stranger..." line...a sloppy punch-in, maybe?Di Ditto for "universal" in the chorus after the solo.

Where? The first measure and half (or so) of the Overtures solo (about 11:59 - 12:05). http://www.youtube.com/watch?v=gBNRierFueI And in Bytor, listen carefully for the "ghosting" at 1:16 - 1:25 http://www.youtube.com/watch?v=dBpVKwwmh-Q I don't know what you're talking about. It really just sounds like Alex hit a string, then hit another string while the previous string was still vibrating. Is there something I'm missing? You're asking about Bytor, I presume? He's hitting harmonics during that section and if you're a player, then you know that when you hit a harmonic, you lift your hand off the string(s) as soon as you sound them, but in this track you can hear underneath the harmonics some lower notes which are not harmonics which means he would have to have been fretting those notes. Additionally those low notes are coming from a different channel -- Alex didn't run a stereo rig back then. The most reasonable explanation for those stereo-separated non-harmonic notes is that they were bleeding through from someone else's instrument mic (maybe Geddy's) from a different take.