zogoto

Hey everyone, I am also interested in spare/extra San Jose tickets. One would be fine, but two preferable. Send me a PM, thanks! (I don't need an enema)

Seems like this soon-to-be-graduate won't be making it this leg. Pretty big bummer.

I'm going to bounce over to the record store on Tuesday, after my final college final (!) and pick up two copies: one for me and one for my boss. He is a Van Halen freak, and got me a copy of their new album, so I am going to reciprocate.

QUOTE (rushgoober @ Mar 12 2012, 07:54 PM) Definitely mediocre at best. The instrumental breakdown section of Caravan is the only part of the two songs that I got excited about. That instrumental break really took me by surprise while running through "Caravan", which I fouund kind of dull. "Brought Up To Believe" had a few more parts that stood out, but nothing as cool as the break. I enjoyed the songs much better live, and I attribute that to production. I the new recording isn't as overdub heavy and dense as Snakes And Arrows or this single.

The amount of energy on this record is astounding. The opening one-two punch is fantastic, and I think as good an opening of any Rush show, rivaled only by "Spirit of Radio"

Considering that Revolver magazine knows very little about quality metal, and most awards are arbitrary and meaningless, Rush getting this isn't that big of a deal, but if it makes some people happe that is good. I will add though, I miss Dio.

Spinning Caress of Steel myself at the moment

You like blue, don't cha? haha I think most of them are interesting reimaginations. The work on Fly By Night makes the image far more vibrant, which is nice. The colors in the logo, while very cool, stands in contrast with the plainness of the explosion lines. Maybe give them some color too? Just a suggestion, but I look forward to seeing more

Realistically, I am hoping for Xanadu. It is one of my favorite songs, and not one that I've had the pleasure of hearing live (only seen S&A and TM tours). I would love to have an instrumental abridged version of Necromancer. Some of those riffs are so heavy!

QUOTE (drbirdsong @ Mar 7 2012, 12:03 AM) QUOTE (zogoto @ Mar 6 2012, 11:25 PM) Alex uses very cool and interesting chord voicings that add to the color and texture of the music. Kind of like Rick Wright in Pink Floyd. I think that is because Alex has the ability to put his ego aside and sometimes take a backseat in the mix of some songs. I do hope he solos more on the new album. Long solos. Loud solos. Please. David Gilmour and Rick Wright put into one

Alex uses very cool and interesting chord voicings that add to the color and texture of the music. Kind of like Rick Wright in Pink Floyd.

Caress of Steel, maily because I really like the gold on green. In general I prefer simple album covers, because when you throw in too many ideas I just find it gets cluttered- most obvious example to me being Power Windows. Grace Under Pressure comes in close second though. A really wonderful image that does a fantastic job capturing the tone of the music.

QUOTE (rushgoober @ Mar 3 2012, 02:45 AM) QUOTE (zogoto @ Mar 3 2012, 12:24 AM) Just kind of curious, but does anyone know the history of Neil and his relationships with fans. What I mean is, is there documentation regarding interactions in the early years vs. the mid period vs. now? I can't imagine being in a struggling band (ie, around Caress of Steel) and isolating oneself from the fans you are struggling to accumulate. Yes, there's a DVD documentary called "Love/Hate (But Mostly Hate) Relationship" having to do solely with the history of Neil Peart and his relationship with fans from the mid 70's up until the present. It's well worth seeing. You can see it here: www.fanboyswithnolife.com That's awfully convenient, maybe someday I will get around to watching it I am interested more because most of the bands I go see are smaller and the acknowledgment of reliance on fans thus more present. If the number of shirts you sell at a show is directly related to how much gas you can get for heading to the next gig, I think there is a greater motivation to interact with your audience on a personal level. This is compounded with the fact that the number of people in attendance is much smaller, making that connection a bit easier, especially compared to the numbers Rush (or similar bands- Iron Maiden for instance) pull night to night. So my curiousity has more to do with the transition from struggling musician to stardom in a general sense. Neil presents a convenient case due to how open he is about his discomfort with adoration. edit: grammar

Just kind of curious, but does anyone know the history of Neil and his relationships with fans. What I mean is, is there documentation regarding interactions in the early years vs. the mid period vs. now? I can't imagine being in a struggling band (ie, around Caress of Steel) and isolating oneself from the fans you are struggling to accumulate. For the record, I understand Neil's perspective, and have no problem with it. I don't think I can comprehend being approached by strangers on a constant basis.

First set: 2112: Overture/ Temples Caravan The Enemy Within Limelight CWA Song Xanadu CWA Song Chemistry Driven Cut to the Chase CWA Song Vital Signs Spirit of Radio 2112: Discovery/Presentation Second set: Far Cry CWA Song Force Ten Ghost of a Chance Free Will Prime Mover CWA Song Digital Man Drum Solo Bass solo/Cygnus X-1/Hemispheres Prelude (Instrumental Medley) Brought up to Believe 2112: The Oracle/Soliloquy Encore: Tom Sawyer Something for Nothing A Farewell to Kings/2112: Finale Medley This might be a bit overlong and over ambitious, and also biased towards my prefered albums, but I think breaking up 2112 into several parts would be a very cool idea. I may come back to this with a bit more consideration.