chemistry1973

Incredible. I’m happy for the guy.

Power drills and guitars FTW Mr Big has entered the chat :lol: I remember when they opened for RUSH and we all laughed our asses off when he pulled out the drill... Didn’t he get his hair caught in it one show? Pretty sure that happened.

A Lil Ain’t Enough just has better songs. I just revisited this album. Time to tell the truth is pretty damn good. Drop in the bucket too.

What the FUKK?? The intro synth sounds like EMERSON LAKE & POWELL! "TOUCH AND GO!" A tribute maybe? It’s too close.

Man he could’ve just dropped dead. Glad he’s recovering.

I'm sold. Tickets are cheap for The Greek show too. No brainer.

Holy crap. I actually LIKE it. Seems like Steve Howe decided he needed to carry some of the weight. And he plays quite exquisetly on this album. Jon Davidson spouts silly nonsense, per usual, but he's more tuneful than previous releases. The production is pretty damn good. And Alan White does a commendable job too. I also dug the Benoit David mini album that came out last year. Maybe my ears are going out.

I hope it’s gone forever.

I like Bjork but I don’t care for Medulla despite Mike Patton’s involvement.

10 hour heart surgery - holy shit. He is done. No more touring for him.

The “full version” installs a shit ton of malware on your computer? It’s the full video. It has the entire song. The YouTube version does not have the full song. Don’t know why some of you are putting my words in quotes when it’s literally true. All you have to do it watch the video to see it’s missing segments of the song. It’s not malware, it won’t infect your computer, I uploaded it to help preserve the video as it should be viewed. Nothing more than that. Please let us know when you upload it to YouTube.

The “full version” installs a shit ton of malware on your computer?

I agree completely! This is the kind of thing that makes me wish I was an interviewer for a paper or website .. so I would have some shot at getting to ask him all these questions. I guess I consider it part of the 'historical record' so to speak. Feels like a shame to leave things unanswered, especially when the people that could answer them are still around. He has certainly been asked a thousand times what basses he played on what songs, what strings he uses, etc. I think it would be awesome to have an interview slot and ask him about his synth usage and sound effects. Maybe it's weird enough that he would actually agree to it too? Here are some of mine, feel free to reply with more: - Intro sound to 'Distant Early Warning' (Synth effect with heavy modulation? Or stock tape recording of an exploding horsefly?) - Choir sound on 'Subdivisions' (mystery effect, not possible directly with his synths at the time) - Choir sound on 'Analog Kid' (which is different than the above - played live on the OB-Xa - I can get a very close approximation on my OB-X) - Laser blasts in the Cygnus X-1 (Pt 1) intro (I always figured this was noodling around on the Minimoog with tape echo) - 'Afterimage' vocal sound effect he mentions in the Keyboard 1984 interview (I can never hear what he is talking about, no matter how hard I listen for this) - That little fill he does during the "1001001" bit in 'The Body Electric' (I'm guessing from his PPG Wave) - What is layered on the chords at the very end of 'Between the Wheels'? (Sounds like a piano, or maybe just a percussive patch from the PPG Wave) - That chimey sound on 'Witch Hunt' ("They say there is strangeness, too dangerous ..") - Vocal effect on the middle part of Jacob's Ladder (I meant to ask him this at the book signing but got star struck and it was over before I could blink - doh) - What synths are doing what on 'Losing It' (the synth bass and pads on this song are great but somehow sound different than other tracks) - How did he come up with some of those sounds on the PPG Wave for P/G (e.g. Distant Early Warning and Afterimage - kind of an organ-like sound) - What synth/effect is that in the background of 'New World Man' ("Learning to match the beat of the old-world man ..") - ... I always assumed that the sound on Witch Hunt is an actual toy piano. I thought those were played on a bell tree by NP.

New Jersey FTW. All down hill from there!

I knew it! As lovely on the outside as your posts on here suggest. :hi: Beautiful.

This is so awesome. But we all really want a Lerxst memoir.

I’d say “With or Without You,” or even “One,” would be U2’s “Every Breath.”

They were actually exacerbated, with lots of elbow damage from the hard plastic of the Simmons pads.

Ah looks like you’ve already covered this!

https://m.facebook.com/346120672546/photos/for-this-tour-zak-has-arranged-an-all-electronic-drum-kit-it-looks-normal-as-its/10156573307132547/

Zak Starkey currently plays a full e kit with The Who. It sounds f***ing awful. Lots of singer songwriter types are using drummers with e kits. They just look like acoustic kits now. I get that using one might make things simpler from a budget standpoint, or for ease of use with smaller gigs. But creating organic, interesting rock and roll? No way.

Rand grew up in the Soviet Union so she possessed a great deal of bias. Pro communist intellects hated her because it’s hard to argue with someone that actually lived through the failures of communism. And Rand was very smart. But I think there is plenty of valid criticism to point in her direction. I’ve grown to believe a libertarian society would be a very cruel one. That said she has made some very good points regarding the failures of the welfare state, and it’s appetite. Neil softened a great deal after experiencing a bit of the real world, witnessing the overreach of US foreign policy, and perhaps the dangers of globalism. His social libertarianism bent is something I share I think.

One thing is that I truly believe many music critics/journalists are clueless as to what is good. They follow the trends, and do what their editors tell them to do. I mean, if you don't play an instrument, and haven't been in a band, how can you appreciate a band at a level above anyone else? You'd be a punter, like the rest of them. I believe this is hard for music critics to deal with. Also - during the 70s there was a bit of payola game being played - not just at radio (where I'm sure Rush's management partook in paying for plays), but with interviews, ads and placement. Rush rarely had to market themselves too much, since they had a built-in fanbase. In a way, Rush were there own tastemakers - they didn't need radio (even though radio obliged), rock rags or even much help from their labels. Anthem was its own entity, and I believe the industry resented that. Take a band like the Runaways, which was somewhat appreciated by the rock press - but they had a team of reps going out there and trying to sell their albums, and to create a buzz. The odds are very much against you when you're trying to break a band into the mainstream - it costs a great deal of money, drugs and hooker blowjobs (I heard a recent interview with Ann Wilson who recounts that hookers were a strategy in getting their songs played on the radio). Rush were an organic band - a working class, working outfit out of the gate. Strong musicians with attitude. College educated, struggling white east coast snobs hate that shit.

Yup - it’s a painful process I’m sure to get up and running, but eventually I think they’d find a groove, writing new material and touring behind that. Some people might not like it, but I think people would warm to new Al and Ged music eventually.

Hahaha