Bhawk2112

Interview with Alex in between the soundcheck and show, 7/11 in Denver. Many questions asked and answered within! http://www.podcaston...=658&pid=524353

It's a lot like a lot of other songs from CP, T4E and S&A...they start out rocking and then the verse downtempos into something that sucks a large part of the energy off the intro...and it's those types of songs, I think, that would lead the more casual fans to say "Their stuff doesn't ROCK anymore!" Take a song like, oh, Armor & Sword. Starts off with a slower but very deliberate beat, then gets slower. Compare that to something like...Between The Wheels. At the KC R40 show, that was the song of the night, IMO. It has a slow deliberate beat that actually speeds up during the chorus. I remember during the CP tour, Cold Fire just done kilt the momentum of the early part of the show. The show opened as such: Dreamline The Spirit of Radio The Analog Kid Cold Fire The first verse of Cold Fire, waves upon waves of people across the arena started sitting down. This has always been a personal theory of mine, but mismatching of tempos from intros to verses to choruses in a way is a bane of latter-day Rush. That's what for me put me over the top on Clockwork Angels...everything finally fit.

When Signals first came out, it sounded (in particular on cassette) as if it were recorded in a coffee can with a blanket over it. Subsequent remixes have made it better. I remember Terry Brown saying once about MP was that they got the drum sound down as perfect as possible and that is a key element, to which I agree. Rush In Rio may be a lost cause. When 50,000 people singing YYZ sounds better than the music coming off the stage, then, well... I would love to hear Clockwork Angels without any loudness at all. Loudness blows. This is the LAST BAND ON EARTH that ANYONE should have to turn down the volume to hear more details. "Geddy is a better bass player then ever, hey Nick, drown that chit out, will ya?"

They do sound a bit similar, although in different keys. Lessons is in A and 2112 is in D Major, I believe.

Ok, listened to both albums, then went track for track back and forth. First off, are we making the assumption that Broon produces RTB? Cool but then do we also need to assume that everyone stays on the same instrument path? Because, man...going from the Rickenbacker to the Wal is rather, um, brutal. Secondly, I'm almost down with the releasing RTB in 1982, until...the chorus of the The Big Wheel... http://media.giphy.com/media/1BfSdlbTDkl20/giphy.gif Thirdly, and this ended up being funnier than I thought...the tour. Take the Signals Tour set list and swap out the seven Signals songs they played with seven tracks off RTB. How would the faithful have processed this in '82? :drool: The Spirit Of Radio Tom Sawyer Freewill Face Up Dreamline Vital Signs The Camera Eye Closer To The Heart Roll The Bones Bravado Broon's Bane The Trees Red Barchetta Where's My Thing? The Big Wheel Limelight Ghost of a Chance Encore: 2112 Overture The Temples Of Syrinx Xanadu La Villa Strangiato In The Mood YYZ Drum Solo

Second Nature, Heresy

There's also a free concert that a local country station sponsors called "Hot Country Nights" that starts at 7 in the entertainment district across the street from the venue. Dude. Get in the car. Between Rush fans, country fans and Westboro Baptist, how can you miss it? And that's all before the show even starts!

That's what millions felt when Signals was released, judging by the sales figures. Well, if you can assume that MP was a "bandwagoner" album, then maybe a lot of people jumped off due to changing musical climate at the time too. Signals was released in 1982. The 70's sound was becoming a thing of the past by this time. I seem to remember new wave taking over the airwaves. Duran Duran, anyone? What other albums came out in '82? I know Van Halen had a good one that year. Going by memory ( ): Uriah Heep, Pat Benatar, Devo, The Police - can't think of any other big names right now that were out at the same time with albums. The biggest singles of the year were: Survivor - Eye of the Tiger Men at Work - Down Under Joan Jett and the Blackhearts - I Love Rock n'Roll Dexy's Midnight Runners - Come On Eileen Paul McCartney & Stevie Wonder - Ebony & Ivory Albums: Van Halen - Diver Down Judas Priest - Screaming for Vengeance Iron Maiden - The Number of the Beast Toto - Toto IV John Cougar - American Fool Rainbow - Straight Between the Eyes Duran Duran - Rio The Clash - Combat Rock Cheap Trick - One on One Genesis - Three Sides Live The Alan Parsons Project - Eye In The Sky Robert Plant - Pictures At Eleven Led Zeppelin - Coda George Thorogood & The Destroyers - Bad to the Bone Aerosmith (no Joe Perry) - Rock in a Hard Place Dire Straits - Love Over Gold Bruce Springsteen - Nebraska Prince - 1999 Phil Collins - Hello, I Must Be Going! Steve Miller Band - Abracadabra Ozzy Osbourne - Speak of the Devil Neil Young - Trans Black Sabbath - Live Evil And a WHOLE LOT of what would become 80s one-hit wonder staples, the 80s kinda started in late '82, Culture Club, The Fixx, The Psychedelic Furs, etc. https://en.wikipedia...i/1982_in_music

I am actually doing a track-by-track listening comparison of Signals and RTB. Gee, thanks LedRush. :D

Nostalgia is powerful. If Tears was on any album post-1990 it would not be received well, IMO.

The synths on RTB are much less prominent than the synths on TCE, YYZ, and Vital Signs. Maybe, but...Roll The Bones and Neurotica in 1982? You Bet Your Life? Heresy would have been interesting from a lyrical standpoint, being that the Iron Curtain was still up... :P

In the early to mid-80s, the use of any kind of keyboard was the demarcation line between harder rock and metal and everything else. To fans of hard rock/metal, synths were an unholy aberration. I remember a denim-jacketed Maiden/Priest/Scorpions-worshipping buddy putting in VH's 1984 in a tape deck, listening to it for about 30 seconds, taking the tape back out and smashing it under his feet as several other friends cheered in agreement. I'd go so far as to say that any album released after Moving Pictures, in the context of fans at the time that contained synths would have been rejected by a large amount of people.

Let me know if anyone wants a scope of Westboro Baptist. :outtahere:

I'll be there, lower level, just off kilter of center. Since Tom is gonna scope some, that leaves me off the hook. :laughing guy: :laughing guy: :laughing guy: Joking aside, what's the preferred search hashtag to have one's scope found?

Damn all that and no mention of the best live recording they ever produced. Man they are great... :) I was going to say...where is ATWAS? or ASOH? Everyone knows those are the best live albums! On ASOH, the performances of Marathon, Mission and Turn The Page are practically flawless. I think that covers all of them... :D

Damn all that and no mention of the best live recording they ever produced. Man they are great... :) I actually thought of that after I posted it, heh. There's no flaws in ATWAS, really. It's a perfect snapshot of a band at that particular time in their life and career, and any guitarist that wants to know anything about how to work a volume pedal just needs to listen to the By-Tor.

As I sit here trying to figure out just what my favorite album is (and not getting very far due to indecision), it did occur to me that for the last couple of years 95% of the time I listen to the live albums. There's real magic captured on Different Stages, both new and old. Geddy's performance on S&A Live blows my mind every time, in particular Secret Touch and TMMB. The R30 Overture. The Jacob's Ladder and Broon's Bane>The Trees>Xanadu on ESL. There's amazing stuff on Time Machine. The YYZ on CA Live is damn near as perfect as perfect gets. Always will be a live band to me, I guess.

Kansas Citian and Topeka native here. I'll be there but won't bother with WBC, I've seen their show before. Have had to live with being from the same town as these stains most of my life. Just ignore them. They only revel in spotlight. They got a lot more mileage when what they did stirred up more intense emotions. Fred Phelps was very smart about Constitutional law and made sure that some of his kids were just as clever about it, Shirley, the current leader, is an attorney. Going to extreme measures to try and silence them only resulted in a re-affirmation of their 1st Amendment rights to their vileness as well as people having to pay their court costs to boot. Just ignore them. Don't even ask them why, turn around and say goodbye. Or, I guess the boys could sing to them in front of the Sprint Center like the Foo Fighters did...

I would think Rand Paul is held under more scrutiny for the fellow that was on his staff for several years that had some pretty clear racial views...just a statement of levity, though. I, personally, couldn't care less. :outtahere:

Because nobody expects anything from a crackhead or whatever that is now :) And 99% of the people going to those shows are of the same "make and model".... It wasn't a judgment on what shows people go to, was making a parallel as to expectations. Nobody cares if he makes mistakes because there's no preconceived standard of performance excellence.

When it comes to the mistakes, I think that in a sense, Rush have fallen victim a bit to the ridiculously high standards they've set over 40 years of performance. As fans, that's the standards we've either consciously or subconsciously trained our ears to expect. Hell, even all the live albums don't have any mistakes on them...either by fixing things in the studio or cherry picking mistake-free songs from different shows. Also, to a large extent, Geddy set the standards of a vocal tone that age was destined to betray. Also see: Plant, Robert and Halford, Rob. The Periscope perspective is a valid one as well...if one listens to enough bootlegs of part tours then you'll notice that mistakes aren't new, but when you have the ability to actually listen to performances night after night, then everything changes. Out of nothing but pure curiosity, I checked out a nicely shot vid of the Stones opening night a couple weeks ago. They opened with Jumping Jack Flash, Keith Richards walks out and starts playing the riff and I think he makes three or four mistakes in the first 30 seconds, but...no one really cares, heh. There's a lot going on emotionally with this tour, the band is fighting age, we're all coming to grips with the fact that all of us are fighting age, and we're all in new territory...what longtime Rush fan has every really had to come to grips with it all actually ending? So, what's left is...this is where the band is, warts and all, and it all makes us cringe at times.

Rage Against the Machine doing What You're Doing.

They have bills to pay too, you know. Baby girls to spoil (only child syndrome). Motorcycles to buy and keep up. Wine and baseball collections to buy more of. Whatever Alex spends a lot of money on. The things that the 1% have. Here's a line from Neil's February 2015 News Update: "Late that afternoon I started my journey home, always freshly amazed to be driving my modern, luxurious Aston Martin Vanquish..." That's some serious MSRP right there, yo.

I actually guessed the "going back in time" format! :dweez: Kept it all reverse chronological until the encore, I'm most shocked I guessed TMMB...I added several instrumentals to save Geddy's voice, and made sure to add at least one song from every album. I'd still like to hear this one, just sayin'... Posted 06 March 2015 - 10:43 AM Set One: Caravan Far Cry The Main Monkey Business One Little Victory Driven Leave That Thing Alone Cut to the Chase Dreamline Where's My Thing? Show Don't Tell Force Ten Set Two: The Big Money Distant Early Warning Subdivisions YYZ Red Barchetta The Spirit of Radio Jacob's Ladder Hemispheres:Prelude> La Villa Strangiato Broon's Bane> The Trees> Xanadu 2112 Overture>Temples>Necromancer>Grand Finale Encore: Finding My Way> Working Man> By-Tor & the Snow Dog> Tom Sawyer

There was plenty. The divide in the 80s between anything "heavy" and anything "pop" was the synthesizer. I vividly remember copies of Van Halen's 1984 smashed and thrown away by several folks in denim jackets. As soon as Subdivisions started off the album there were a ton of people going "WTF IS THIS?" Granted, yes, GUP was more of a departure, and I also remember a fellow in a denim jacket telling me that "Rush sold out to techno-pop, dude," and then started a quite lengthy dissertation on the superiority of Iron Maiden and Judas Priest while also heaping praise on new bands such as Motley Crue. IMO, TB produced Rush peaked with Moving Pictures. There's been so much advancement in technology re:remixing so that over time things get so much better...but the original release of Signals sounded like it was recorded in a coffee can.