chemistry1973

11 hours ago, stoopid said:

I like the cover.  It's cliched sounding AF, but works on every level. 

Yeah for sure. He improves the song quite a bit.

http://facebook.com/story.php?story_fbid=pfbid02gXykNx15awyWPSUm1NV3oiQvt1TLG4i34Qz25LWYgASfRj7EGvwSyAFafMjudr6nl&id=100045799440907&mibextid=qC1gEa

Nick Mason’s Pink Floyd book.

very good so far.

I think he was majorly influenced by Sting and Peter Gabriel.

Many similar themes expressed among the three of them.

Pete Hammill too.

If you listen to Sparkle in the Rain by Simple Minds you can perhaps hear what GuP would’ve sounded like with Lillywhite.

And you can see hear Lillywhite’s influence on Power Windows for certain.

On 8/23/2023 at 5:52 PM, Rush Didact said:

 

That's a damned good question.  I can't stand the production of HYF, it's shrill and grainy and muffled all at once.  The drums sound dead (good god, what the hell did they do to the kick drum?), the guitar sounds like crap, the bass is all twang with no oomph.  It's the polar opposite of PoW, which is one of the best sounding albums the band ever released.

 

And yet both albums were produced by Peter Collins and engineered by James "Jimbo" Barton.  How they got such wildly different results is beyond me.

 

I would love to hear a remix of HYF, but I'm afraid the band would give it to some dunce like Dave Bottrill again who would try to turn it into a metal album.

pretty much down to the band and their mixing decisions. Geddy attended just about every mixing session for every album.

Traditionally, The Producer is the apartment manager, director, head of operations, Jack Woltz of the project.

He budgets the recording project,

pays the team, hires and fires, and makes final, cost based, executive decisions.

The guy with his hands on the faders, setting up mics, and doing the physical recording of the band is the engineer. Like Kevin Shirley, who engineered Counterparts.

The engineer makes gear decisions - what amps might be good. Or what drum miking technique is best.

In some cases, the producer will also be the recording engineer. But that is in many cases a budgetary decision since both are full time jobs.

Peter Henderson was a producer -engineer. Rush liked him personally but hated his approach. Couldn’t make command decisions- probably because he was too close to the project artistically.

Rush absolutely loved working with Peter Collins - who was a big picture producer and let the guys he brought with him handle the little issues. Peter Collins helped Rush achieve their artistic vision by staying out of their way - and by keeping all manners of day to day non-artsy bullshit out of their sphere.

Also, the producer will get points on album sales. This is why Bob Rock is worth 100 million bucks.

Some great footage at the very end with some interesting cameos.

And a little smooch that might’ve supposed to have been off camera.

fascinating stuff. What a find this video is.

Incredible footage. 

Wasted Years

I watched Sorcerer recently.

f**k, what a good movie that is.

42 minutes ago, Rush Didact said:

I find it strange that people have such a dim view of T4E.  I much prefer it to CP - in my mind, THAT'S the Rush-by-numbers album...

I can’t get past some of the lyrics. The music is off the chain though.

Virtuality is incredible musically - I wish they spent more time refining the words and vocal melody though. Carve Away the Stone and Totem are pretty great.

Rumours is fantastic but it doesn’t have The Last Resort or Pretty Maids All in a Row on it.

The debut is good in hindsight taking the entire catalog into consideration.

But it’s not that great and sounds a lot like so many other 70s bands. But maybe not as good.

I appreciate the drumming and John’s contribution, but they are not quite ready for prime-time in 74.

I think the limitations with John became apparent when they finally put their songs to tape. And of course John deserves credit for pushing the band to write their own material.

Fly By Night is a huge leap for the band, and they were already shaking off the bar band stink.

1 hour ago, Blue J said:

I always thought the phrase in the lyric was ‘unconditional love’. No?

Me too.

37 minutes ago, zepphead said:

Yeah, the 'Nuts & Bolts' bootleg of the show is terrific.

It’s kinda blowing my mind.

Mystic Rhythms and the Xanadu-Hemispheres suite. Whoah.

Animate too. A song I’ve never really enjoyed. Just sings on this boot.

8 hours ago, JARG said:

We did this one in our set. The solo was always, without exception, a major struggle for me. I love the song; hate that I butchered it so many times.

Was this a band you had a while back, or something you’ve got going now?

This song has slowly been growing on me for the past 30 years.

I finally love it.

This version especially.

Lerxst is channeling Robert Quine or something.

Just awesome. The entire bootleg is pure (cold) fire.

No cause of death reported yet.

He did not look well in recent photos.

A damn shame.

Patty is now out! And she was excellent.

The new singer is Adi Argelazi.

https://instagram.com/adiargelazimusic?igshid=MzRlODBiNWFlZA==

10 minutes ago, JARG said:

 

I agree. That each should do their part doesn't necessarily mean he thought those "parts" were equal.

Me too though he might also say that it’s irrelevant whether these jobs were ‘equal’ or not.

Perhaps she was an actor meant to be in that boardroom the band are playing in…

2 hours ago, Timbale said:

Yeah, you know - that time around 83-84 when Thatcher hung out in Toronto all the time…

Seriously wtf.

Margaret Thatcher???

5 hours ago, Segue Myles said:

Distance Over Time is my favourite DT album alongside Awake. The last one was spectacular as well. 

Agreed - they’re better than ever - at least on album.