psionic11

QUOTE (hunter @ Jun 29 2012, 07:21 PM) I know I'll get flamed for this but, I love it because Alex left us a place to solo. http://www.greatfallingoftheleaves.com/Garden_solo.mp3 Woot, very nice. Impressive. Evocative and in key, if not so much of the sonic variation Alex typically has (pinches and bends, bridge and neck tonalities within one solo). Constructive criticism? A bit fewer notes, more space, especially after a particularly evocative phrase, to let it sink in for the listener, to let them revel in the feeling for a few more milliseconds before blowing them away with yet another strong phrase. Otherwise, great blend. Thank you. Correction: there were quite a few bendy moments in there. And a pinched harmonic. And even more in keeping with the Lerxst tradition, you ended with a pre-defined arpeggio theme that fades back into serving the song. Nice.

QUOTE (priest_of_syrinx @ Jun 30 2012, 01:01 AM) As a guitarist (though (classical) trumpet is my first instrument), I'd have to say that Alex's playing has never been the most technically dazzling thing under the sun. Even in his most difficult compositions (Hemispheres/Permanent Waves), it still doesn't take that much time or technical mastery to simply learn the parts. That's just how it is. If you want something that hardly anyone else can muster the coordination to replicate, go listen to some Andres Segovia. Or if classical isn't your thing, listen to Behold... The Arctopus or something. Now that is un-"pedestrian". Alex doesn't seek to impress by contorting his hands or playing long strings of notes, though. The principal objective in Rush's music-making is to create an atmosphere and an emotional connection to the audience through music. They also seek synergy with the lyrics. As it so happened, their earlier material had esoteric lyrics and esoteric music. Now, as lyrical themes have grown more universal, the music has too. There's something to be said about writing something that is memorable the first time, and fresh the fiftieth. While the parts on Clockwork Angels are not virtuoso, they are successful as an art. And that's what matters. It comes down to whether you view music as an art or a sport. Nothing wrong with treating it as a sport when you are proving your ability and versatility upon your arrival on the scene, but Alex clearly understands its role as art at this point in life. Very good points. Alex has always supremely played an artful role in the band, without exception. However, we can look at Alex's work over time, and compare it both to the zeitgeist of the moment as well as from a longer, classical perspective, can't we? That's really what we're asking here, not whether he's an Al Di Meola or a Segovia. Many of us have "learned" how to play Beethoven piano sonatas. It's not so much the reproduction of the work that is noteworthy -- it's the creation of the masterpiece, simple or not, that is the gift for mankind, yes? There is much worth in the creation of the piece; much more worth, simple or not, in those rare pieces that transcend the trends and live on beyond the dirt. Alex has many legendary solos, emotional and artfully supportive of the songs' themes in which they reside. So, so many are fresh the 50th time. Not so much on CA. I don't buy into the "esoteric lyrics = esoteric solos" premise. CA is plenty esoteric, and conversely, many "pedestrian" songs have produced stellar solos (Bravado, Open Secrets, The Analog Kid, Working Man). Now, don't get me wrong. I appreciate what you say about one's role in art and all, I'm just starting a friendly dialog with some contrasting points. Please don't conflate my points with a frigid, northern solid water type of discussion, if you get my drift

QUOTE (canadianice @ Jun 30 2012, 12:18 AM) QUOTE (NYM86 @ Jun 30 2012, 12:15 AM) Man oh man, kissing the boys' feet is apparently the only way to avoid getting blasted around here. Well blast me too, because I absolutely agree with those who say Alex's playing doesn't have the fineness it used to. Edit: Oh, and Geddy doesn't enunciate the way he used to, either. All that being said, they're still a ridiculously awesome band, and that's enough for me. Still, I feel like those two gripes are pretty clear to anyone not wearing the rose-colored glasses. Good for you, open your friggin ears C-ice, I respectully disagree with your approach and some of your opinions. I think Rush is great overall, but still have opinions on what is not so good about the band's songs. What negative blast are you going to say about me as well? P.S. Alex is great, but I don't think the CA solos reflect his best work ever... (Sorry to succumb to the derail...)

QUOTE (Todem @ Jun 29 2012, 07:01 AM) QUOTE (Presto-digitation @ Jun 29 2012, 07:53 AM) I love the solo to La Villa. His best work. He really got away from that bluesy style of soloing, didn't he? I mean you have the really cool volume swells and things like that...but the meat of that solo is in the bending of the strings and it as a smokey, bluesly flavor to it. Yeah. And the phrasing is just insane. When you hear how Kirk Hammet talked about this solo on BTLS it actually sent chills down my spine as that was exactly how I felt the first time I heard it and why I was so touched. And you know that is my whole point about The Garden's solo. It did not touch me like dozens of solos he has done in the past have. Faithless...that solo touched me. But back to La Villa. The half stepping swells...amazing. Just brilliant. @ Trenken - Your being a little harsher but I can see some of your point. They are jamming a ton and their writing process for this album was more about taking jams and building the songs around the jams more than anything. At this stage they are having a lot of fun and jamming more than they have in decades. I love the new album though. I am hearing atmosphere, mood and getting such a great story. That is the Rush I remember most. The visual story telling. This is stuff we have not gotten in decades. The music is different I agree. It is not like their absolute signature material. But IMO since Hold Your Fire....it's their best. It is better than Presto - Snakes and Arrows (and I really love S&A). That is a hell of an effort for 3 old farts ESL and Hemispheres were my first Rush albums, and I still hold on to that era for dear life. La Villa, both live and studio, will be replayed until the day I die. I happen to really like the songs on CA a lot; there's only a few places I'd nigle about (intro to The Wreckers, etc), but overall it's very strong conceptually and song-wise. Too bad the production gets in the way of pure bliss. Doubtful? Make a playlist where you mix and match old and new... Alex is on fire again, but unfortunately the house is also on fire...

QUOTE (trenken @ Jun 29 2012, 06:43 AM) On this album they sound like regular stock rock riffs. Nothing really iconic sounding or anything like that. Most of it just sounds jammed out to me and not really slaved over to write amazing riffs. There is not a single part on this album that sounds cool and iconic like 1:35 of Jacobs Ladder. He just doesnt write like that anymore, and it makes me look at this album like it's almost not even Rush, at least not the Rush I loved. They used to sound very unique, Alex played a big role in that, and now they sound kind of like any other rock band out there. The playing itself is fine. I dont need him to be John Petrucci, Alex never was that technical, but I would like some more parts that sound like he didnt just jam them out for 5 minutes then go take a nap. Definitely hear what you're saying here. There's a great multitude of ideas here, but more like they found scored a rich vein of rocket sauce jewels but then immediately sold them to the first and nearest enthusiastic banker. Not as polished as it could have been. But then again, that may have been the intent. If you'll notice on any random album, Alex plays with a good deal of diversity, musically speaking. And yet sonically speaking, from a holistic point of view, there's also a certain intentional perspective that he takes with each album: 2112 is all about the merits of guitar, loud and quiet, intimately melodious and raucously, loudly defiant. MP is rock song guitar. HYF is sweet, supportive structure with stellar points of punctuation. VT is defiance and vengeance. FBN is alterna-Zep while GUP is as clangy as Signals was tepid. Clockwork Angels has a definite classic rock feel. Major chords everywhere, classic burning riffs from the heydays, and a loud adherence to the power trio sound they can reproduce live onstage. It's mixed bassy and mid-rangey. Knowing all this, it's almost as if Alex consciously took the raw approach intentionally....

QUOTE (LeaveMyThingAlone @ Jun 28 2012, 08:13 PM) This thread has numerous moments. Alex is the man. No one can touch his emotional style. If I want to hear shredding, I'll put on Megadeth or some crap. Alex has never been a big shredder. I want soul from a guitar player, and no one can touch him. Plus the man is the riffmaster. The 2112 Grand Finale in Clockwork Angels and Double Agent in Caravan speaks to me. He shines on Clockwork Angels. Name me a guitar player 40 years into their career cranking it out like him No one is denying Alex is the Man. CA is a strong album. As fans and musical critics, we can constructively criticize Alex's current effort with his legendary past works. It's assumed that none of can do better, or have a better catalog or band. But as fan/musicians, we can still evaluate... I feel CA is their best effort in years, going as far back as Counterparts, which I still will enjoy more. To each his own.

QUOTE (Two0neOneTwo @ Jun 28 2012, 07:37 PM) QUOTE (CygnusX-1Bk2 @ Jun 28 2012, 07:23 PM) QUOTE (Two0neOneTwo @ Jun 28 2012, 09:56 AM) QUOTE (Todem @ Jun 28 2012, 11:46 AM) QUOTE (LeaveMyThingAlone @ Jun 28 2012, 12:40 PM) I have seen various threads that kind of criticize Alex's playing, or at least insinuate that it isn't anything special. I'm not guitar player but I don't get it. He solos more than he has in 20 years, number one. He has some classic Big Al Riffs, like Clockwork Angels, Caravan, Seven Cities, and Carnies. And he has his best solo since Cut to the Chase with The Garden. I can't speak to how technical or "hard" it is to play what he plays, but he has always been more about emotion and riffing than technically challenging stuff, and this album I think he shines I have to disagree about the Garden being his best in 20 years since Cut to the Chase. CTTC is not even a better solo than Animate or Leave That Thing Alone on the same album. But it is purely subjective of course. I like Cut to the Chase a lot. But Animate and LTTA and heck even Cold Fire are far more emotive and signature Lifeson. And I would say The Way The Wind Blows guitar work and solo section is sizzling. And the solo in the Main Monkey Business is an amazing 2001 space oddessy trip! The Garden is a solo where I thought the first measure..." here we go another epic Alex solo" but to be honest....it missed the mark overall. It feels rushed. It felt like a take and like Alex settled. He can play much better than that. Limelight Ghost of a Chance Bravado Those solo's are masterpieces and i would never hold The Garden in those solo's jock. The Garden is a decent solo, served the song....but that was it. It served what is a fantastic song. He has much better solo's on CA in Headlong Flight, The title Track and even Caravan than The Garden. But...it is subject to debate like anything. Freewill.... That's Alex. Jacobs ladder. Some amazing riffs... That's Alex. Stuff On CA? Pretty good, but mostly forgettable. WAY to many toys and effects going on. But...that is a personal preference. Freewill is great. All the solos on that album are. Freewill in particular is a composite from a handful of passes (from what I've read). Another of my personal favorites is the solo from Camera Eye. A friend of mine who was kind of a blues purist said it reminded him of fighting cats but for me it's an emotional roller coaster. His best solos are lyrical, visceral and a bunch of other *als. The thing about Alex's playing, especially his solos is the emotion. When he bends notes you feel it. David Gilmour also plays with this kind of quality. This is my biggest issue with the guitar playing on CA. There are so many "tools in his shed" and there are some great guitar textures on the album but there are degrees of detachment and randomness that is not very Alex like. I can say that about all 3 of them this time. It sounds as if there are things that they know they can do well and they are doing them when (generally speaking) previously you can hear when something is a new idea or a revelation or if they are finding out something new. It seems like for CA Alex is most concerned with texture rather than intent and emotion. It sounds like "spit balling" rather than the way they hone everything to a fine edge. This is not to say that the playing isn't good it's just when you know his/their inspired creations as well as some of us do (both as a listener AND a player) you can hear when they are less than inspired and can experience a let down. This is not a criticism as much as it is my emotional response to the material, which is the fundamental goal art: to emotionally impact an audience. Excellent post CygnusX-1Bk2. Your right about the way Alex's note bending capabilities really invoke an emotion not many guys can do. Yes, Gilmore is absolutely one of those guys. You really feel it. I agree with you about the textures as well. Its very nicely done. Only caveat I can think of is that his textures are much too up front the last few releases. In fact, I think the textural playing on CA is one of the reasons for its harshness. To me textures need to be just that. A backdrop for the main monkey business. There but not overwhelmingly so. In CA i find it much to obtrusive to the rest of what's happening. Thats not to say its his fault or playing abilities. I Blame Nick. Very much agree with this. The textures on CA, the sonic wash, are too mid-rangy forefront. Alex's arpeggios used to have clarity and meaning: Dreamline's intro and Resist's backdrop, HYF's beauty and Freewill's direct offbeat plain-ness, PW's technicolor and Presto's silky grays, CP's electric blue arpeggios and GUP's strong electric reds.... Instead, listen to what we have today. Clockwork Angel's arpeggiated textures are a honky dead-string show-stealer (The Garden), or elsewhere just not the pleasing or pretty or haunting beauty of yesteryear. Again, not Alex's fault (or is it?). Who can guess who hears what in that studio? And what who wants to hear? Going deaf sucks. Ludwig knew this pain all too well. Still, a little comparative side-by-side hearing tests with old classics could have compensated for this. Otherwise we have to assume the sound quality was intentional...

QUOTE (-D-RocK- @ Jun 28 2012, 07:24 PM) I've been shredding for 30 years, my lil' ole fingers know their way around the fretboard. I'll go on record by saying CA has some of Alex's finest fretwork ever. No denying the fretwork. The theory and intentional tricksies Lerxst plays are very, um, note-worthy as well. Still, emotion > technique, yes? CA is strong on both fronts, but not as stellar emotionally as many pre-CA solo moments.

QUOTE (CygnusX-1Bk2 @ Jun 28 2012, 07:23 PM) QUOTE (Two0neOneTwo @ Jun 28 2012, 09:56 AM) QUOTE (Todem @ Jun 28 2012, 11:46 AM) QUOTE (LeaveMyThingAlone @ Jun 28 2012, 12:40 PM) I have seen various threads that kind of criticize Alex's playing, or at least insinuate that it isn't anything special. I'm not guitar player but I don't get it. He solos more than he has in 20 years, number one. He has some classic Big Al Riffs, like Clockwork Angels, Caravan, Seven Cities, and Carnies. And he has his best solo since Cut to the Chase with The Garden. I can't speak to how technical or "hard" it is to play what he plays, but he has always been more about emotion and riffing than technically challenging stuff, and this album I think he shines I have to disagree about the Garden being his best in 20 years since Cut to the Chase. CTTC is not even a better solo than Animate or Leave That Thing Alone on the same album. But it is purely subjective of course. I like Cut to the Chase a lot. But Animate and LTTA and heck even Cold Fire are far more emotive and signature Lifeson. And I would say The Way The Wind Blows guitar work and solo section is sizzling. And the solo in the Main Monkey Business is an amazing 2001 space oddessy trip! The Garden is a solo where I thought the first measure..." here we go another epic Alex solo" but to be honest....it missed the mark overall. It feels rushed. It felt like a take and like Alex settled. He can play much better than that. Limelight Ghost of a Chance Bravado Those solo's are masterpieces and i would never hold The Garden in those solo's jock. The Garden is a decent solo, served the song....but that was it. It served what is a fantastic song. He has much better solo's on CA in Headlong Flight, The title Track and even Caravan than The Garden. But...it is subject to debate like anything. Freewill.... That's Alex. Jacobs ladder. Some amazing riffs... That's Alex. Stuff On CA? Pretty good, but mostly forgettable. WAY to many toys and effects going on. But...that is a personal preference. Freewill is great. All the solos on that album are. Freewill in particular is a composite from a handful of passes (from what I've read). Another of my personal favorites is the solo from Camera Eye. A friend of mine who was kind of a blues purist said it reminded him of fighting cats but for me it's an emotional roller coaster. His best solos are lyrical, visceral and a bunch of other *als. The thing about Alex's playing, especially his solos is the emotion. When he bends notes you feel it. David Gilmour also plays with this kind of quality. This is my biggest issue with the guitar playing on CA. There are so many "tools in his shed" and there are some great guitar textures on the album but there are degrees of detachment and randomness that is not very Alex like. I can say that about all 3 of them this time. It sounds as if there are things that they know they can do well and they are doing them when (generally speaking) previously you can hear when something is a new idea or a revelation or if they are finding out something new. It seems like for CA Alex is most concerned with texture rather than intent and emotion. It sounds like "spit balling" rather than the way they hone everything to a fine edge. This is not to say that the playing isn't good it's just when you know his/their inspired creations as well as some of us do (both as a listener AND a player) you can hear when they are less than inspired and can experience a let down. This is not a criticism as much as it is my emotional response to the material, which is the fundamental goal art: to emotionally impact an audience. Yep. Emotional impact is king. CA has some great moments, for sure. But in the whole catalog, there are many other solo moments before CA that still reign supreme. There are some bend-y moments on CA, but there's a lot more wall of soundwash than there are truly inspired moments of clarity and creativity that are legendary....

QUOTE (ReflectedLight @ Jun 28 2012, 07:04 PM) QUOTE (av450 @ Jun 28 2012, 04:56 PM) His guitar work on CA shines through his riffs. The opening riff in carnies is the best riff he's done since Ghost of a Chance IMO. 7COG also stands out. carnies blows away ghost of a chance. Are you kidding? Just exactly where is this stellar solo in Carnies?!! Do yourself a favor: make a 2 song playlist: Carnies Ghost of a Chance Play them back to back. Listen with fresh ears as if you never heard the songs before... Sound quality tells all. Ghost's solo is classy, emotional, and lasting. Yes, Carnies has riffs galore. But...where again is Carnies's solo?

QUOTE (av450 @ Jun 28 2012, 04:56 PM) His guitar work on CA shines through his riffs. The opening riff in carnies is the best riff he's done since Ghost of a Chance IMO. 7COG also stands out. Yes, CA is a very solid riff album, which is what S&A was seriously lacking. However, in the department of legendary emotional solos, CA is middle ground in the vast Rush repertoire.

QUOTE (Todem @ Jun 28 2012, 04:16 PM) QUOTE (Two0neOneTwo @ Jun 28 2012, 05:06 PM) QUOTE (lightyears @ Jun 28 2012, 03:25 PM) This is my first post. I first got into Rush as a teenager (I'm in my mid-20s now), and i can remember the first time I heard the hits like TSOR, Limelight, 2112...i was struck by how easily Alex's playing fit with the song as a whole and how expressive his solos were, esp Limelight. To the point of this post, as a weekend guitarist for about 9 years, I've tried to play almost every Rush song. There's nothing like cranking out the opening riff to Limelight, or trying to master La Villa Strangiato. It's a great feeling, and I think it really speaks to Alex's ability to create memorable and melodic lines. That being said, while I enjoy and actively listen to their entire catalogue, i find that i rarely feel the urge to play any songs they've recorded in the last 15 years. IMO, Alex has drifted further from the more melodic lines he used to write. I think this also has to do with the general lack of crispness in his playing. Using space in a riff, and employing rhythm really help to create a specific mood for a song. So from my point of view as a guitarist, Alex's playing has been lacking this for some time. I really hope everything I've said doesn't get blown out of proportion. I love Rush and Alex is one of my favorite guitarists. Hey I hear yea. I feel the same. I propose a different viewpoint though. (A reason for the dis-like) You said 15 years. That brings us to Counter Parts , T4E , VT, SnA, and CA. I propose Alex HAS been playing his arse off and Has been steady but the recording industry has killed many of the "great" things about Rush. Won't go much further with this since there are already thread about this but I wanted you to know that the Boys IMO have never played better. Its the recording industry that has soured many of the important aspects that make Rush, "Rush". I have always said, Starting with CP it has gone downhill. That is pretty much when (Round 90-93) the recording industry thought it was a great Idea to begin its war on our ears. People, really take a look. There is a very interesting correlation between when a lot of Rush Fans (such as lightyears and myself) found Rush really fall off a cliff Sonically wise and the timing of the Loudness wars...... Counterparts though has some amazing Alex solos. And sonically was their last truly great production top to bottom. Animate LTTA Cold Fire Everyday Glory Cut To The Chase All are fantastic Alex Lifeson solos. Even Double Agent and Between Sun and Moon have fantastic Alex riffage and solo sections. His rhythm work on CP is also outstanding!!! I would agree that T4E and VT (no solos basically) were ho hum records guitar wise in the that particular department (solo). But Alex really killed it with his guitar work on Snakes and Arrows and again on CA. On Test For Echo he had some crazy good guitar on Totem, the title track and Driven. On VT his fret work on the title track is legendary. Also Ghost Rider has some very intricate playing. Which brings us to CA. I feel Alex went old school 80's on this album for the most part. And I love it. +1, for the most part I really like CA, but don't love it.

QUOTE (Two0neOneTwo @ Jun 28 2012, 04:06 PM) QUOTE (lightyears @ Jun 28 2012, 03:25 PM) This is my first post. I first got into Rush as a teenager (I'm in my mid-20s now), and i can remember the first time I heard the hits like TSOR, Limelight, 2112...i was struck by how easily Alex's playing fit with the song as a whole and how expressive his solos were, esp Limelight. To the point of this post, as a weekend guitarist for about 9 years, I've tried to play almost every Rush song. There's nothing like cranking out the opening riff to Limelight, or trying to master La Villa Strangiato. It's a great feeling, and I think it really speaks to Alex's ability to create memorable and melodic lines. That being said, while I enjoy and actively listen to their entire catalogue, i find that i rarely feel the urge to play any songs they've recorded in the last 15 years. IMO, Alex has drifted further from the more melodic lines he used to write. I think this also has to do with the general lack of crispness in his playing. Using space in a riff, and employing rhythm really help to create a specific mood for a song. So from my point of view as a guitarist, Alex's playing has been lacking this for some time. I really hope everything I've said doesn't get blown out of proportion. I love Rush and Alex is one of my favorite guitarists. Hey I hear yea. I feel the same. I propose a different viewpoint though. (A reason for the dis-like) You said 15 years. That brings us to Counter Parts , T4E , VT, SnA, and CA. I propose Alex HAS been playing his arse off and Has been steady but the recording industry has killed many of the "great" things about Rush. Won't go much further with this since there are already thread about this but I wanted you to know that the Boys IMO have never played better. Its the recording industry that has soured many of the important aspects that make Rush, "Rush". I have always said, Starting with CP it has gone downhill. That is pretty much when (Round 90-93) the recording industry thought it was a great Idea to begin its war on our ears. People, really take a look. There is a very interesting correlation between when a lot of Rush Fans (such as lightyears and myself) found Rush really fall off a cliff Sonically wise and the timing of the Loudness wars...... AS was stated earlier, the 20 years ago doesn't include Counterparts. CP still sounds great, and has great Lerxst solos everywhere. But then look at/listen to T4E... blandness throughout, even though there is sonic clarity before the sound wars. VT must have been a reaction to the blandness. VT is sonic warfare that buries otherwise very strong songs. CA has stronger songs lessened by sonic obfuscation. Oddly, to my ears, S&A is more of a balance. It just so happens I prefer speedier up-tempo songs, unless it is seriously good like The Garden or Ghost of a Chance or Losing It. CA beats S&A in every way except sonically (except for the instrumentals and Far Cry), with melody tying in several areas.

QUOTE (lightyears @ Jun 28 2012, 03:25 PM) This is my first post. I first got into Rush as a teenager (I'm in my mid-20s now), and i can remember the first time I heard the hits like TSOR, Limelight, 2112...i was struck by how easily Alex's playing fit with the song as a whole and how expressive his solos were, esp Limelight. To the point of this post, as a weekend guitarist for about 9 years, I've tried to play almost every Rush song. There's nothing like cranking out the opening riff to Limelight, or trying to master La Villa Strangiato. It's a great feeling, and I think it really speaks to Alex's ability to create memorable and melodic lines. That being said, while I enjoy and actively listen to their entire catalogue, i find that i rarely feel the urge to play any songs they've recorded in the last 15 years. IMO, Alex has drifted further from the more melodic lines he used to write. I think this also has to do with the general lack of crispness in his playing. Using space in a riff, and employing rhythm really help to create a specific mood for a song. So from my point of view as a guitarist, Alex's playing has been lacking this for some time. I really hope everything I've said doesn't get blown out of proportion. I love Rush and Alex is one of my favorite guitarists. Exactly how I feel... I got into Rush as a teenager, mostly via Alex's godly guitar work. The acoustic noodlings I do to this day are mostly pre-MP works. Lerxst has lost the melodic drive lately, seemingly since Victor. He seems to rely more lately on chord washes, esp dissonant ones. S&A was dense but had some saving graces, except that the album as a whole was too slow without clear sections and Lerxst soloing. CA is more focused and tight and high energy, a la classic rock. But even the mediocre Classic Rock songs had many more poignant chord progressions, sweet guitar sounds, and very memorable solos. CA is a 24 carat diamond in the rough, instead of a diamond polished like the past was...

QUOTE (hunter @ Jun 28 2012, 02:25 PM) I find his playing great. Lots of arpeggios and suspended chords. All of it may not be as flashy as some of his past work but it's emotive. As a musician you want people to react to your music emotionally. Sadly a lot of guitarists try to get people, specifically other musicians , to react with envy by trying to play 900 MPH. I'm glad Alex doesn't feel the need for that. Lerxst and suspended arpeggios describe the same rippling leaves in a forest. So many forest, so many trees, so many perspectives for so many moments. Emotion almost always triumphs technique, with very few exceptions: Still, the actual *sound* plays a huge role, and the clarity and brilliance of old school Lerxst still outshines CA Lerxst, yes?

QUOTE (Gedneil Alpeart @ Jun 28 2012, 12:15 PM) QUOTE (Jomboni @ Jun 28 2012, 12:11 PM) It's not his flashiest album, but for the most part, what he is playing is exactly what works in the songs. My only complaint is that his solos are too short. Not in the sense that I think every solo needs to be an extended, epic piece, but there are some where, to my ear at least, it almost sounds like he recorded a really awesome solo and then just decided to chop the second half off. I second this!!!! Agreed. Adequate.

QUOTE (Todem @ Jun 28 2012, 11:46 AM) QUOTE (LeaveMyThingAlone @ Jun 28 2012, 12:40 PM) I have seen various threads that kind of criticize Alex's playing, or at least insinuate that it isn't anything special. I'm not guitar player but I don't get it. He solos more than he has in 20 years, number one. He has some classic Big Al Riffs, like Clockwork Angels, Caravan, Seven Cities, and Carnies. And he has his best solo since Cut to the Chase with The Garden. I can't speak to how technical or "hard" it is to play what he plays, but he has always been more about emotion and riffing than technically challenging stuff, and this album I think he shines I have to disagree about the Garden being his best in 20 years since Cut to the Chase. CTTC is not even a better solo than Animate or Leave That Thing Alone on the same album. But it is purely subjective of course. I like Cut to the Chase a lot. But Animate and LTTA and heck even Cold Fire are far more emotive and signature Lifeson. And I would say The Way The Wind Blows guitar work and solo section is sizzling. And the solo in the Main Monkey Business is an amazing 2001 space oddessy trip! The Garden is a solo where I thought the first measure..." here we go another epic Alex solo" but to be honest....it missed the mark overall. It feels rushed. It felt like a take and like Alex settled. He can play much better than that. Limelight Ghost of a Chance Bravado Those solo's are masterpieces and i would never hold The Garden in those solo's jock. The Garden is a decent solo, served the song....but that was it. It served what is a fantastic song. He has much better solo's on CA in Headlong Flight, The title Track and even Caravan than The Garden. But...it is subject to debate like anything. I much agree with the direction of what you're saying here, although I don't recall any S&A solo searing a memory in my mind's ear... will have to go back and give TWTWB another listen. The Garden's solo is something to talk about. First of all, almost all of Alex's guitar solos rely upon the upper register, and end on a searingly emotional high note or riff... literally... The Garden takes a more wizened approach, what with the gravely serious tone of the song overall. Emotion triumphs technical flash, and Alex's slow and low evocation, to me, is outstanding. It's, thankfully, a solo that extends into 2 sections. This part is for the guitarists: you ever notice that in a lot of Alex's solos, he pinches and bends harmonics to squeeze that extra bit of colorful emotion out of his solos, esp near the end, always serving the lyrical message of the song? (Ask for a half dozen examples if you want to experience it again). The Garden's solo is a prime example of that pinch/squeeze/dripping emotion tradition. The last part of that solo he jumps through several planes of heart-stringing (4:48), to that last part that isn't quite pinched a couple of octaves higher (4:52)... you "hear/feel* the implied higher emotion anyway... It cuts through, despite the production...

QUOTE (LeaveMyThingAlone @ Jun 28 2012, 11:40 AM) I have seen various threads that kind of criticize Alex's playing, or at least insinuate that it isn't anything special. I'm not guitar player but I don't get it. He solos more than he has in 20 years, number one. He has some classic Big Al Riffs, like Clockwork Angels, Caravan, Seven Cities, and Carnies. And he has his best solo since Cut to the Chase with The Garden. I can't speak to how technical or "hard" it is to play what he plays, but he has always been more about emotion and riffing than technically challenging stuff, and this album I think he shines I think Lerxst12 is someone no modern guitarist could rightfully dismiss offhand. But if you go back 20 years, that goes to 1992. Counterparts came out in 1993, and from a guitar solo point of view, both technically and emotionally, I challenge anyone to demonstrate a stronger string of solos... Yes, CA has a lot of great riffs throughout the album.... CA, Caravan, 7, Carnies' opening riff. But the OP asks about solos, and Lerxst solos are collectors' items. Riffs are a different story. CA is solid for a few solos, but nothing legendary IMHO.

QUOTE (trenken @ Jun 28 2012, 11:17 AM) QUOTE (jacob's ladder @ Jun 28 2012, 10:55 AM) I am really digging this album, I consider it a masterpiece. That being said I would really like to hear some longer jams & longer guitar solos. I'm not a guitarist, but to me it seems like Alex hardly even solos in this album (with the exception of caravan & headlong flight), but it is just holding out notes & feedback etc. Can someone who plays guitar tell me what you think of his playing on this album? Is it tougher to play than it sounds? Thanks! Well it's very short, but he does have a pretty cool solo late in Anarchist. He does some very Kirk Hammett like shredding in Headlong. As far as chords he just does a lot of normal rock chord progressions and riffs. Lots of power chord stuff. I always wished he used dissonant chords more. He does at the end of Cygnus X-1 I believe, but never got too into it. Dissonant chords can take a section from sounding very normal to giving it a bit of an edgier sound. They sound a little messy and off key in a way, and it works well when used right. It's hard to find examples of rock bands using it but since I listen to Mars Volta a lot (thanks to Neil), they use dissonant chords a LOT. http://www.youtube.com/watch?v=s2itoyvCJdQ Around 3:00 he uses them in the background. Can hear them maybe a little better at 3:30 when the vocals go up higher. Trenken, I don't find your analytic opinions as distasteful as many here seem to... I actually give you the benefit of the doubt from a musician's point of view and understand where you're coming from. The way I see it, for an artist/musician, we can attempt to create what we see/hear in our imagination, and aspire to higher standards, but rarely do we achieve. Rush has done so so very often, we can agree on that, yes? Still, that Mars Volta "dissonance" excerpt is but a drop in the ocean compared to Alex's creations. There is a healthy heaping of dissonance and polytonality on CA. But, but, but plenty more in the past, after Cygnus X1, from PeW to GUP to Presto to VT... (ask me for proof, if you need to)... And yet I agree with your intent -- CA is stock rock. The dissonance comes mostly from the production....

QUOTE (jacob's ladder @ Jun 28 2012, 10:55 AM) I am really digging this album, I consider it a masterpiece. That being said I would really like to hear some longer jams & longer guitar solos. I'm not a guitarist, but to me it seems like Alex hardly even solos in this album (with the exception of caravan & headlong flight), but it is just holding out notes & feedback etc. Can someone who plays guitar tell me what you think of his playing on this album? Is it tougher to play than it sounds? Thanks! I also think this is a strong album for Rush as a whole. As a somewhat accomplished musician, "masterpiece" is a word I hesitate to hand out too easily. Alex is a very talented and versatile guitarist, no doubt. But I agree with you for the most part -- the best solos are very good, but not legendary, and there is a lot more old school jamming than there are stellar moments compared to most everything else before and including Counterparts. Still, Alex is a very mature player, very aware of what other guitarists think of his playing. Even the seemingly simpler parts are deceptively tricky to play.

I know I'm probably one of those *other* fly by night posters that no one knows about too much, but I'm gonna post a string of replies here. Alex's playing is one of the strongest reasons I love Rush. I have to reply to each thread in order -- it's just too much to pass up so many valid points and rebuttals in a single thread. Bottomline: Alex is my biggest guitar influence.

The cells tick away. If you are one who realizes fully that you are mortal, and are more aware of your end of days than of the hey days, of that distant past when you bathed in that constant, invincible immersion of youth and discovery... If the measure of a life, of a lifetime, is the love and respect you've earned, of all you have given rather than taken, ... then The Garden is wholesomely positive if you've lived that full, rewarding life with wonderful children to pass on your legacy. ... else The Garden can be a painful reminder: "It's cold comfort to the ones without it, to know" how you struggled. Like the homeless man on the outside looking in, blankly gazing with jaded envy through the shopping glass window at all the shiny, happy people inside the store. The memory of a life is too rich to be labeled "positive" or "negative." But the overall feeling can be warm and nostalgic, or cold and longing. The arrow flies while you breathe. The hours tick away.

The above post still holds true for me up to this point. After letting the album cool for a few days, coming back to it, yes, CA has cooled down for me. I'm making a playlist of the best songs that I can listen to over and over on repeat. Did the same with S&A. Leaves a concentrated "best-of" feel to the album. Caravan BU2B Carnies Halo Effect Seven Cities of Gold Headlong Flight BU2B2 The Garden

When Caravan was released, I loved the open sound and the "progressive" breakdown section. Lexrst with a Primus twist! BU2B was very catchy, a solid, straight-ahead song. The lyrics resonate very much with me personally. Carries the Hemispheres-Freewill-GhostChance-Totem-Faithless tradition. Headlong Flight blew my mind! Punk speed, epic length, catchy melody right from the get go with me. Heard the classic rock tributes in it (E major, wah-wah pedal). When I first heard the whole CA album together, two things overwhelmed me -- the multitude of a collage of musical ideas, and the dense sonic wall. The Garden gave me goosebumps, makes my eyes water, and leaves a sad, respectful realization of the mortality and worth of this one life we each have.