CygnusX-1Bk2

Florentine is the name usually associated with a semi hollow Les Paul but I think only on the Epiphone side. I have seen Gibson Les Pauls with F holes called "Les Paul ES" but I like Florentine much better.

I agree, I'd be REALLY surprised if they actually switched amps mid concert. Asking for sound quality headaches. All their amps are stage props. Watching videos the stage set goes backward in time along with the setlist which is a cool idea. I saw at leat 3 different J basses the Rick and a P and the undetermined red bass that looks like an Ovation but isn't.

I watched a stream. Les Pauls, a Tele, Double Neck, and the 355 are what I saw. Ged played a variety of basses too. Haven't seen many pictures yet though.

I listened to the periscope feed. The medley was sung. Unreal. Like an old time Rush show I never got to see. I am going to have to go to more shows.

Actually before Cliff died he wrote the best lyrics. But yes Lars wrote a bunch of lyrics, or is credited with lyrics.

I've seen Lars around (years ago) being in the Bay Area and all. Before they were really big a buddy of mine hung out with him at some small show in SF. Way before Napster. Every time I hear Portnoy open his mouth I just want to do anything else. I was walking out of a NAMM party one time as Portnoy was walking in and one of the people I was with started to point him out. Of course I recognized him. As I passed him I was saying to my friend "F*** that guy!..." And because of the timliness of the band who had just finshed their song he heard me. I laughed. :)

Have you met Mike Portnoy?

Portnoy can play, but has no feel and is a total ass. Lars can barely play and is not a complete ass, just a partial. :)

Sounds like the player is not properly aligned with your tv. There is usually some sort of alignment funtion either in the tv or player settings or both. There are a few rectangles and a circle inside that will appear when setting aspect ratio; the rectengles move along the axes (that's the plural of axis, not axe) and the circle is used to determine stretching. I use my game consoles for BluRay and DVD and aligned them with the viewable area of the tv when I initially set them up.

Lorne has stated that there will be no rear electronic kit and no spinning. No way they are going to do two kit set ups per show. Mics alone would take too long to re-cable. I think he said he takes an hour plus to set up the main kit on a show day. The muscle memory thing does not apply to where instruments are placed but sticking and response. Single strokes, double strokes, sticking patterns and limb independence. Knowing where things are is memory memory.

:rfl: :tsk: :poke: HYF is Power Windows rehash. Force Ten and Time Stand Still are ok and listenable. Mission has only become acceptable with time and Les Pauls. Tell me why so many lyrics liken things to other things on that album. The tones are brittle and thin. It is a spiral downward. It sounds like too much cocaine and alcohol and touring caught up to them. RTB is coming out of the haze. Presto is a return to good songwriting and Counterparts is Rush being Rush again. But like all Rush it's only a step in the progression. CA is a butt hair above HYF. Those two are the only blights on a brilliant catalog of material.

Since when is Paul Stanley a credible opinion on musicianship? They were on tour together with KISS when they released it. Alex mentioned in one of the recent on camera interviews that they played it for Paul who clearly didn't get it. Many still don't. Paul Stanley also graduated from the New York High School of Music and Art. Despite not having a fully developed right ear.

Yeah, well I'm sure they had/have all kinds of mixed feelings about CoS. I mean Paul Stanley didn't get it... :P

Thank you for that context, and especially the revelation (to me, at least,) about the origins of NS. I don't think it takes away from the song one bit. And as you said, it is a testament to their abilities, which many other groups we all love posses. The fact that Jacob's Ladder was, indeed, a fully conceived piece from srat to finish makes complete sense. Each segment is a natural progression from the previous segment. The song's lyrics have a consistent theme that ties in with the title. I didn't get into Permanent Waves until relatively late...1987. Sure, I had heard TSoR and Freewill a ton on the radio. And I had owned Moving Pictures since probably 1984. But believe it or not, I could totally listen to PeW and pretend I had never head MP. It's probably because I was a huge Yes fan at the time, and could listen to The Yes Album while pretending I had never heard 90125. So I get that point. And it is an excellent point. I discovered Yes later myself. I had known Roundabout of course since I was younger but really didn't get into their catalog until I was in my 20's having seen them on the Big Generator tour (on mushrooms too). But even sitting there in that state I knew full well the difference between the "Classic" Yes era and the Trevor Rabin era. My knowledge of Yes was superfluous. I was (and still am) a tremendous Bruford fan so on a whim I got Close To The Edge for a penny through Columbia House and it was a revelation to me. I got mad at myself for not investigating them more from a younger age. Sure, I knew Siberian Khatru and And You And I but the title track blows me away still. No doubt Close to the Edge influenced Rush a great deal. Especially songs like Jacob's Ladder, Natural Science and Hemispheres. I think they were all (especially Lee) heavily influenced by Relayer, as well. Yeah, but that's Alan White and Patrick Moraz. The interview on the R30 disc of Geddy talking to British reporter dude from Pink Pop he mentions Bruford by name (I think it's that interview anyway) as being someone he was particularly fond of. Nothing against Relayer, I hear a lot of Meddle in Hemispheres. One of These Days especially. I have Yesshows which has a great live version of Gates of Delirium and just recently got Relayer myself. I hear some minor influence from that but Rush seems a little more focused. Thought is was a later effort from them but it was '74. You get a pass on the PW in 87 thing. :P That's still the 80s!

The intro to the live JL is what my dad calls "Ice Cream Changes" which are Standard Doo Wop chord structure of I VI IV V. :)

Thank you for that context, and especially the revelation (to me, at least,) about the origins of NS. I don't think it takes away from the song one bit. And as you said, it is a testament to their abilities, which many other groups we all love posses. The fact that Jacob's Ladder was, indeed, a fully conceived piece from srat to finish makes complete sense. Each segment is a natural progression from the previous segment. The song's lyrics have a consistent theme that ties in with the title. I didn't get into Permanent Waves until relatively late...1987. Sure, I had heard TSoR and Freewill a ton on the radio. And I had owned Moving Pictures since probably 1984. But believe it or not, I could totally listen to PeW and pretend I had never head MP. It's probably because I was a huge Yes fan at the time, and could listen to The Yes Album while pretending I had never heard 90125. So I get that point. And it is an excellent point. I discovered Yes later myself. I had known Roundabout of course since I was younger but really didn't get into their catalog until I was in my 20's having seen them on the Big Generator tour (on mushrooms too). But even sitting there in that state I knew full well the difference between the "Classic" Yes era and the Trevor Rabin era. My knowledge of Yes was superfluous. I was (and still am) a tremendous Bruford fan so on a whim I got Close To The Edge for a penny through Columbia House and it was a revelation to me. I got mad at myself for not investigating them more from a younger age. Sure, I knew Siberian Khatru and And You And I but the title track blows me away still. No doubt Close to the Edge influenced Rush a great deal. Especially songs like Jacob's Ladder, Natural Science and Hemispheres.

Yes it is an alternating pattern. The whole song is about alternating patterns. The intro is different groupings of 5, 6, and 7, but quarter note values where the "raindrop" section is alternating eighth note values.

I'm sorry but if you are under 40 or started listening to Rush since the 90's you are listening to this song in retrospect and out of context. A version of Science from Different Stages to the present is not as good of a representation as one from the era from which it was first written and performed, considering THEIR youth and enthusiasm. You don't understand the Rush that those of us who have listened to them in the 70's do. Sorry. You weren't there but we were. The Rush we see now is older and wiser but not quite the the same cutting edge walkers they were then. Imagine Permanent Waves with no knowledge of Moving Pictures because it didn't exist yet. You will never get it the way that we do. Free Will changed my life. I heard it a week after it was released when I was 13. You do not have this experience where many of us do. Jacob's Ladder is a song that is a cohesive idea from start to finish. Natural Science is really 3 songs cobbled together from the remnants of what was originally titled "Sir Gawain" based upon Arthurian legend. The fact that it is amazing as it is is testament to Rush's abilities. Both are superior and nothing like anything recorded today by anyone.

I agree about people's attention span, but also altering arrangement for setlist time. Jammy gives the impression of a band like the Greatful Dead whose songs tend to meander and have no real point. Every note in Jacob's Ladder is deliberate and intentional. :)

I find the Live in St. Louis version the best live version because it's not hacked the way the recent version is. Since they brought it back they cut a verse and a guitar solo. Not good. They've taken a great song and lessened it. Same goes for Xanadu. and 2112.

I don't know. I suspect the crowd would go bugfuck. Diehards would, but the bulk of the audience would be Let 'em. If they play Jacob's Ladder live and I get to witness one play of it myself I can die a happy man. I have wanted to hear this song in particular live since I first heard it. Closest I've got is ESL. Said the same thing about Science until they decided to play it to death and mess with arrangement.

Those who can count past 4. Jacob's Ladder is such a high point from a songwriting, arrangement and musical execution that if you don't get it you can't. The alternating 7/8-6/8 guitar part that Alex plays is one of the (if not THE) best executions of raindrops in music of all time. There is so much going on under the hood in this song from the top to the out. This song could not be on any other album. IF you think otherwise then you don't understand the history of Rush in the slightest, especially from a musical standpoint. Without Permanent Waves there is no Moving Pictures. Without Hemispheres there is no Permanent Waves. Hemispheres is a continuation of AFTK. Literally. It all started with The Fountain.

It is definitely more like something that would have appeared on AFTK or Hemispheres. But I think you could say the same for Natural Science, as well. PeW was a transition album for sure. It was a distinct move away from extra high vocals after not realizing the music for Hemispheres was in keys too high for him to sing during the recording process.

No no no no no! Side 1 of Permanent Waves is Perfect. Side two is all mucked up with Different Strings. While a nice ditty it is the odd man out on that record. And yes... Permanent Waves is a record.

It makes sense just for giving Lee a bit of a break. No deadly high notes, not a lot of singing at all, really. Definitely not a tough one for him to sing. It would even be cool if he used a bit of auto-tune during the interlude section when he sings along with the keyboards. Or maybe not. Vocoder is acceptable