Maverick

We never found out, but we definitely rage against it.

I generally enjoy his videos. If I had known this video was going to spend 30 minutes on how ridiculous the Discovery section of 2112 is, I would have skipped it.

Andy really went off the rails on this one.

Having said my say about Terry Brown and making it up to Alex in the posts above, I will say I did kinda like the remix of DEW. It was definitely different, but not bad. I'll just need to get used to it. It's not like they pre-recorded it, and it's not a cover version. It is everything that was there already.

Wet is with reverb and dry is without. And all the varying degrees in between.

I read an article online not a couple of weeks ago where Alex was quoted as saying that during the mixing of Signals he was sitting at the console with Terry Brown and there was a song playing (I don't know which one) and Alex said he couldn't hear the guitar. So he moved the fader up for the guitar. He said Terry looked at him and smiled at moved the fader back down. Alex was quoted as saying, "I never forgot that."

Is this whole album remix going to be Terry trying to make up with Alex for what he did to Alex on Signals?

Twenty years ago when I really got back into Rush, P/G kind of soared to the top because of my nostalgia with it. It was the first Rush album I bought when it was their current new album. I bought it one night in early 1985 after a pretty big snow storm. My parents and I went out to go to the grocery store. There was a record store next door, and to my surprise it was open. I think it was a Sunday evening, and school was already closed the nest day. So I wanted to buy something. I already knew I liked Distant Early Warning and The Body Electric from the radio, so I went ahead and bought it. I listened to it a few times that night, and I was especially enamored with Between The Wheels. So it was 15 year old me in early 1985, a foot of snow on the ground in late January, listening to this cold sounding album, during the Cold War. Everything about that album for me is cold, and I wouldn't want it any other way. It's interesting though. There was a real warmth to Hemispheres, Permanent Waves, and Signals. Moving Pictures was kind of cold. That's the one album I think pairs up with P/G really well. If they had not made Signals at all, P/G would have been a great follow up to MP. Vital Signs would have been the perfect pointing song to where the band was going next. If Terry can find some buried or muted parts, I'll definitely give it a listen.

No disrespect to Terry Brown, but isn't the original mix on P/G considered excellent? And it was i great improvement over the mix on Signals.

I came! Edit: Wait...$299??? They aren't making enough money off this upcoming tour? They have to bilk fans for $299 or higher?

Fingers crossed for me for this one.

The Garden

I'm sure Portnoy would have been great. I was just jumping on the bandwagon to bond with fellow fans who were really happy it wasn't him.

I'm not sure we needed a silver lining for getting Anika Niles on drums, but the fact it isn't Mike Portnoy is definitely just that. It's the silver lining to a golden cloud.

I wish they'd do something like this for the Kemper.

Jeez this is a tough one. Either one would beat just about anyone else. Making them go head to head this early seems a bit unfair. I had to go with Larry Carlton because he is just phenomenal. The guitar solos on Kid Charlamagne alone are enough to get my vote. But man, Di Meola is also phenomenal. He recently did an acoustic version of Norwegian Wood like only he can do it, and it was just amazing.

The Garden

I got a pair of Maui Jim sunglasses probably 15 years ago.

My account vanished, and I can't sign in!

Jeff Watson also played on the song Cut To The Chase on The Steve Morse Band's album Southern Steel.

I don't know how it happened, just that he passed. He was a great, melodic hard rock guitarist. RIP John.

It is a new guitar. It is made to 1959 specs, but it was made this past year. My 1986 Les Paul Custom has gold hardware, and it looks every bit of 38 years old.

Absolutely great guitar. The only issue I have with it (and I knew about it going in) is the VOS finish. It's not gloss, not nitro, and not satin. It was actually a little gritty to the touch when I got it (again, I knew it would be) but I also knew I could mitigate it thanks to some YouTube video I had seen. The fix was to get a roll of Viva brand paper towels and rub the rough surfaces with it. So I did it yesterday and it really makes a big difference. I'll probably continue working on it, especially when change the strings and can get to certain areas better. This issue is just on the body. The neck and headstock are finished in satin. Otherwise, it's a great guitar. This is an Epiphone collaboration with the Gibson Custom Shop. So all the electronics are Custom Shop level, including the pickups, which are Custombuckers. The fretboard is ebony, the inlays are real mother of pearl. It has CTS pots, orange drop capacitors, and Switchcraft output jack and selector switch. It's the closest thing I'll probably ever have to Lifeson's ES-355, and if that's the case, I'm more than happy with it. And for some reason, the fact that the headstock is a true Gibson shaped open book headstock with the split diamond inlays really tickles me. It goes great with my Les Paul Custom that has pretty much all the same appointments.

NGD (a few weeks ago) - Epiphone 1959 ES-355