Maverick

That very well could be it. Once again, we're being messed with. Might be fun to try to recreate it with and octave up.

Since we are picking apart these performances, what the heck is is Alex doing to the main lick at the end of The Spirit of Radio at 4:55?

Just listened to it. It actually sounds like he came in a beat late. When Geddy hits the high note on the keyboard, he is supposed to start the arpeggio on that note. Instead, there is a beat, and then he starts. I don't know if he had the presence of mind to play two measures of 6/8 to correct the patter, because Neil comes in on time with the cymbal crash.

He wanted to make sure that folks 43 years later were paying attention.

I haven't listened to the recording, just wanted to concur - 6/8 to 7/8.

I've never heard of anyone criticizing P/G's production. In fact, I've seen that album used as an example of how an album should be produced/engineered as opposed to the original production of VT.

Exactly. They're making fun of it, having fun with it, while doing it justice. Very cleverly done.

I've heard Dragon and Gila Monster from their latest album - PetroDragonic Apocalypse; or, Dawn of Eternal Night. It sounds like really good parody of Space Thrash Metal (did I just make up a new genre of Metal?) It's like they are making fun of the style, while really paying homage to it.

You are correct on all points.

I'm going to pretend you did not say this.

80's Rush > 80's Yes But... Big Generator > Hold Your Fire

I forgot to mention that the CD I bought has a third live disc with extended jams for Suzie Q and Keep On Chooglin'. So I guess you can add Jam Band to their list of styles, too.

I think for me, finding them when I was in the throws of Yes and Rush fandom, a lot of their music seemed very simplistic. It was three chords and the truth rock and roll type stuff. Then you had the California Raisins sings I Heard It Through The Grapevine, and that was as much a CCR song as Marvin Gaye. I had an older friend who would strum Proud Mary every time he picked up a guitar. The one song that was really enjoyable to me was Bad Moon Rising, but eve that was a rock and roll shuffle, although the solo section was musical enough and rockabilly influenced. But they were more than just rock and roll. The had elements of country, rockabilly, southern rock, blues, and I think you could call it Americana. Others have called it Swamp Rock, Swamp Pop, and Swamp Blues, with their themes of living in and life along the river in the South. Their use of tremolo on Born on the Bayou is especially swampy, while the use of tremolo and overall style of Midnight Special is borderline Gospel music.

Also, the studio version of I Heard It Through The Grapevine" is like 11 minutes long and has an 8 minute jam/guitar solo at the end. I started hearing that on satellite radio a year or two ago. Before then, I'd only heard the radio friendly edit.

I've known the song Lodi for a long time, but never knew what it was called, or what it was about until I got this cd. Fogerty has a way of singing words where the pronunciations are a bit twisted, and if you aren't listening carefully, you will miss hear lyrics.