theredtamasrule

Of course there’s the obvious choices such as La Villa, Freewill, Tom Sawyer (still f***ing love that solo), etc. But two of my fav non-traditional solos are from GUP: Afterimage and Kid Gloves...amazing use of chords (which to me is more difficult than shredding) on both of those.

Holy crap..:that was my first show.

He’s a fine rock drummer, nothing particularly outstanding (to me anyway) about his playing. You would think a talent like that could be completely inherited, but apparently not. I remember Doremi Hayward (daughter of Justin and Marie Hayward) once saying she couldn't sing a note even though both of her parents could sing. Jason’s problem is that he is always and inevitably compared to his dad. Always a tough thing to do.

He’s a fine rock drummer, nothing particularly outstanding (to me anyway) about his playing.

Black Dog, as overplayed as any song of theirs, is also classic Bonzo.

The Wanton Song...The Right Foot of Doom and the behind-the-beat snare in full effect.

The thing with Bonzo was the way he hung way back behind the beat...this gave Zep such great swing and groove, even in up tempo songs. From a technical aspect he had a thunderous and crazy fast right foot on the bass drum. Bonzo could play a lot of notes, and often did, but knew when NOT to play...Kashmir is the classic example of that. If you have the time, would you listen to Kashmir and point out to me in that song what you are talking about? What do you mean about hanging back behind the beat? Think of it this way.... If you wrote out Bohnam's drum parts and had them played back by a drum machine, each beat would be right on time, and it would end up sound stiff and robotic. Bonham's playing has an ever-so-slight lag to it, which translates in the human ear to a groove feel. A simpler version of that is AC/DC's Phil Rudd, who also has a great groove feel. Timing and accentuation of beats (on the hi-hat, each beat isn't hit with the same power, for example) creates drum "feel". Neil Peart is often criticized for lacking feel, but if you listen to a track like Alien Shore, you can hear that he's capable of it. Ok I'm going to listen to these songs and see if I can hear what the two of you are talking about. I'll report back, Edit: Listened to both and confess I have no idea what you are both talking about. If you play a metronome to a Zep song you’ll hear bonzo’s snare hit on the back end of the 2 & 4...almost late but not quite and it swings like hell.

The thing with Bonzo was the way he hung way back behind the beat...this gave Zep such great swing and groove, even in up tempo songs. From a technical aspect he had a thunderous and crazy fast right foot on the bass drum. Bonzo could play a lot of notes, and often did, but knew when NOT to play...Kashmir is the classic example of that.

Thank you!

I view VT as an aural impressionist painting by Rush. It’s all fuzzy and unfocused, the edges are hard to define. The songs are mostly good, some great, some ok. Alex deciding to be anti-metal shredder by not taking any solos I don’t think helped the album at all. To sum up: neither album mix sounds very good. I like the piece of work overall but it could’ve been better if they had a better producer guiding them.

I think CA is one of Rush’s best albums. Period. The playing from the Boys at Work is inspired, especially Neil & Ged. Some of Ged’s note choices are hair-raisingly perfect and this is some of Peart’s most vibrant & busy drumming since MP. Is the production great? No. Rush hasn’t had a great sounding album since MP...IMO. Too many instruments, too many layers...too much “stuff”. That being said I think it’s a very inspired work.

To me his vocals are easily the worst thing about them. Really, really, REALLY annoying :P Damn this right here. That little elf’s caterwauling is too much. He sounds like someone stepped on a cat.

I think you meant to put "will" instead of "to" in your quote above. Ew. it is possible that there might have been a different grammatical error in his quote. But how much fun is there in pointing it out directly? Well, I mean, 'has' should be changed to 'have'...but that's not the one I was looking at after your 'will'/'to' post. OK, I didn't think my joke was all that obscure. You had it right the first time. The obvious error was that he used "Whose" instead of "Who's" which made for the other error to be possible but not probable... Carry on. Now that you mention "obscure"... IMO, Pratt, far too often, becomes so enamored with his own lyrical content that the meaning rockets into the black hole of Obscurity Z-1 f**k. ME. DEAD. grammar is exhausting. You were doing just fine with those one word sentences.... You reached just a little too high. Flew too close to the sun? Aahhh yess, aaahhh yessss...

I think you meant to put "will" instead of "to" in your quote above. Ew. it is possible that there might have been a different grammatical error in his quote. But how much fun is there in pointing it out directly? Well, I mean, 'has' should be changed to 'have'...but that's not the one I was looking at after your 'will'/'to' post. OK, I didn't think my joke was all that obscure. You had it right the first time. The obvious error was that he used "Whose" instead of "Who's" which made for the other error to be possible but not probable... Carry on. Now that you mention "obscure"... IMO, Pratt, far too often, becomes so enamored with his own lyrical content that the meaning rockets into the black hole of Obscurity Z-1 f**k. ME. DEAD. grammar is exhausting.

Paul Simon does it easily enough. An exception proving the rule. Dylan, etc. also.

Rock lyrics, by and far (er...should I say: Far & Wide...), are laughably awful or nonsensical “art” from the high school drama club types that has great depth and meaning only to those that wrote them. With a need to rhyme and fit a certain meter or melody it’s no wonder most are terrible. I’m pleasantly surpried when i hear a good one but I’m mainly along for the musical ride. Rush though has more than their fair share of decent lyrical content. Sincerely, “Whose come to slay the dragon...?”

Counterparts is lyrically fantastic to me. Especially CTTC, Double Agent and Cold Fire Cold Fire?? Holy hell. It's putrid. "It was long after midnight, when we got to unconditional love" So bad it should've been on Test For Echo. No kidding, you could have crammed that right into "I'd rather be a tortoise from Galapagos, when we got to unconditional love" "It was long after midnight, Or a span of geological time" Take that Pert! :P That, kind sir, is GOLD!!

I could be wrong, but I think he used his Fender Jazz on the studio recording on TS. But, either way, live just didn't have that big fat bottom end sound. That is correct

This right here. MP is such a great sounding album that it’s hard for any of the live versions, except YYZ, to be compete with the recorded versions.

I freaking love PoW. It’s so damn synth, so damn mid-80’s. There’s some really unusual shit here...Territories has quite an odd structure, Emotion Detector is Neil at his Simmons Pads best, Mystic Rythyms has some of Neil’s more inventive compositions...Geddy is playing his ass off and Alex is too (regardless of “tone”). It still has that crystalline, digital sheen to it all. Love it. I also love By-Tor, Cygnus and all the rest.

Aaaand now I’m going to have to go all excel nerd and do this too.

So what you’re saying is....?

I didn’t know...Bonzo’s style, his playing just behind the beat help make Zep distinctive.

Love Afterimage...it’s in my top 10 rush favs. The direction of the performance parts is interesting how the camera floats around them.

How about the shittiest song from each album (if there is one...post debut): Rivendell Going Bald Tears Madrigal Tai Shan Hand Over Fist Neurotica Speed of Love The Color of Right Out of the Cradle We Hold On BU2B2