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Rush Didact

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Rush Didact last won the day on December 4 2023

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About Rush Didact

  • Birthday 04/16/1985

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  1. It wasn't a bad album at all. It might be not to your liking, but there was nothing wrong with it.
  2. Why is this thread about a non-existent and/or non-functional screensaver still pinned? Who even uses a screensaver in 2024?
  3. I'm not sure there is a brilliant half. It has about five songs that I think are okay: Headlong Flight, The Wreckers, Seven Cities of Gold, The Anarchist, and The Garden. I wouldn't put any of them up there with the true classics, though; on any other album, they'd be the filler. Lyrically they do absolutely nothing for me because they're all part of some daft fantasy story about a teenage boy. I guess The Garden has some nice lines in it, it's the closest thing on the album to an actual Rush song, lyrically speaking, but it doesn't move me the way it seems to move others...
  4. This. This times a thousand. It's such a disappointing album, I couldn't believe that they (particularly Neil) suddenly wanted to make a fantasy concept album after spending their entire careers distancing themselves from that stuff. 2112 is juvenile, but it gets away with it because the people who wrote it were juveniles, and what it lacks in depth and sophistication it makes up for with passion and fire. There's no excuse for Clockwork Angels. It's juvenile, but without the passion and fire. It's just a dull, sophomoric concept buried under some spectacularly awful production. It sounds like Rush doing a Coheed and Cambria impression (who are themselves doing an impression of Rush circa 1976). The reason I'm still listening to Rush in 2024 is because Neil's lyrics from about 1980 onwards really had something worthwhile to say. He spent three decades digging into the human condition, and even though he didn't always succeed, he also came up with little bits of truth and stashed them inside gems like Time Stand Still, Subdivisions, Between the Wheels, Natural Science, Mission, Bravado, Marathon, Animate, Earthshine, Middletown Dreams, Vapor Trail, Available Light, Mystic Rhythms, Dreamline, Ghost of a Chance, Secret Touch, Far Cry, Totem, etc. That's some Grade A, top flight shit right there, and I'll put it up against the best of Joni Mitchell, Bob Dylan, or any other lyricist. And then he somehow comes up with "A goddess with wings on her heels".
  5. Doesn't he explain all this in detail in his book? The orchestra was Peter Collins' idea that he kept pushing for (some sort of English street orchestra thing), but the band ultimately vetoed.
  6. Interesting, I'll check this out when I get home. HYF certainly could use a remix, so I'm curious to hear this. What on Earth is the source for these? I wasn't aware that album had been mixed into 5.1...
  7. As long as they've been stored in halfway decent conditions (any ordinary warehouse would be fine) they should be okay. 1981 isn't all that old, in terms of film. There might be some fading, but that's easily corrected.
  8. There was someone over at the Steve Hoffman forum a while back who claimed he worked on the Beyond the Lighted Stage doc and saw the film cans for ESL in a warehouse, but I don't know how credible he was, and I've never seen any other information from anyone who would know, one way or the other. Until solid information to the contrary emerges, I choose to believe the original negatives still exist...
  9. To be perfectly honest, I wish they'd quit with these 40th anniversary boxsets. I don't need a remastered Grace Under Pressure. I have half a dozen different masters of it already across various formats and nothing else they could do is going to make it sound better than it already does, short of a very tastefully done remix. What I DO want, and what I would actually shell out good money for, is a standalone video release of the complete p/g live show, ditto ESL and ASOH. Beyond that, give us the complete Toronto '97 show, or the shows from the Presto and RTB tours that were filmed. Release more soundboards as official live albums. I really don't care about studio albums with re-imagined artwork and little toy cars. I want new things to watch and listen to, that's all.
  10. Hyperthetical is the word of the day. It's not just plausible, it's realer than reality itself!
  11. The first show I saw was on the VT tour, and they were absolutely killing it. It's probably the most memorable concert of my life.
  12. I think my own experience is a little bit different in that I missed the R40 tour. (The last time I saw them was the S&A tour in 2008; I was out of the country for the CA and Time Machine tours.) I was in Toronto the week that they played there, and if I'd put some effort into it, I could have found a ticket. For whatever reason, I didn't. It just wasn't important at that particular moment in my life, I guess — I was a week away from leaving for the Arctic for a year, and I had other things on my mind. When it became clear that R40 was the last tour, that decision started to bother me and slowly morphed into regret. When Neil died, it suddenly became much bigger and more painful. I suppose I assumed there would be some one-off reunion down the road, that I'd have a chance to make up for missing it, and then without warning that possibility was gone. Seeing Ged and Al on stage at Massey Hall wasn't exactly going back in time to fix that mistake, but it did let me forgive myself.
  13. Shortly after his book tour ended, something Ged said in an interview struck me: one of the reasons he did the tour was for closure - for himself, yes, but also for us. That the way Rush had ended was so murky and dissatisfying, and ultimately tragic, he felt we needed to see him and Al on a stage together again to give the band a proper goodbye, even if they weren't up there playing music. At the time, it seemed like the kind of thing that people say in situations like this, just another cliche. What is "closure", anyways? But now that a few months have gone by, I'm starting to realize that I actually did need some kind of closure, and that Neil's unexpected death had left me in a sort of limbo that I couldn't get out of. From January 2020 until last December, when I saw Ged's show at Massey Hall, I probably listened to more Rush than I did in the whole decade before it. Their music was constantly playing in my car, I listened to the entire Something for Nothing podcast from first episode to last, and I spent countless hours talking about the band online. But all the sudden, since that evening, it's like I found something I didn't even realize I was looking for, and I've been able to let go. I've gone from listening to the band compulsively, to hardly listening to them at all. I've left a bunch of Facebook Rush groups, stopped looking for news and videos, and they've generally been less present in my life. It doesn't feel like neglect so much as acceptance, though. It feels okay. Turns out Ged was right, and he gave me exactly what I needed. I'm curious if anyone else went through something similar...
  14. Yes, of course, but every bootleg from the tour sounds like that. I doubt there's a conspiracy to artificially speed up old Rush bootlegs here.
  15. No, if they were sped up, the pitch would be off too. They actually were playing that fast.
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