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.

QUOTE (liddybuck01 @ Sep 4 2011, 12:31 PM) ...or that you need a dictionary to understand. Lyricists who try to use big words just for the sake of using big words just remind me of high school students who write essays by just look up words in the thesaurus without understanding them. Lyrics should be a reflection of who writes them. It would be weird for Phil Lynott to have written "Cygnus X-1"; it would be weird for Neil to have written "Dancing In The Moonlight". Both are great songs with great lyrics, but great in vastly different ways. I am glad to see love for Lynott, and I do think he had a talent for a turn of phrase, but I would not have put him number one. I would not have put Dio on this list. I love Dio, I love his voice, I love his music, and I love his lyrics- but they don't qualify on a best lyrics list, to me. My favorite metal lyricists are Martin Walkyier of the English band Sabbat, and Snake of Voivod.

Something I think would be cool is opening and closing the sets with parts of 2112, ie: Beginning of the first set is Overture/Temples End of the first set is Presentation End of the second set is Oracle/Soliloquy/The Grand Finale Other songs that I would like scattered throughout would be Something For Nothing, A Farwell To Kings, and The Enemy Within

Rush have always been a bad that absorbed influence from their peers as much as their idols, so I would probably say a big yes to the band probably being shaped in some means by Sabbath. I can't help but think they were paying special attention to Sabbath Bloody Sabbath and Sabotage. This is mere speculation though.

I have only seen them on two tours (SnA 2007, Time Machine), and have gotten to see a lot of my "wants", but the two that stand out the most at this point is Xanadu and Something for Nothing. Xanadu I am really, really, hoping will be on the next tour, but I am not holding my breath for Something For Nothing. Cygnus X-1: Book I would also be nice, especially after that way too brief tease at the end of Working Man.

I wonder who wrote up those little blurbs. They focus a bit too much on interband drama, not enough on band acheivements. I wonder if the author is actually a fan, or just looked up stuff on wikipedia. Knowing Rolling Stone, I am leaning towards the latter...

QUOTE (Lost In Xanadu @ Jul 12 2011, 04:20 PM) QUOTE (Good @ bad,andrush,Jul 12 2011, 04:12 PM) Jeidmdjwjedmdmeneejwiwoqmx nss Is that the language in the year 2112? Or are you just talking out of your ass again? In the year 2112 everyone talks out of their ass.

Wasn't David Fricke's review of Permanent Waves in Rolling Stone actually pretty positive? I read one from him once, but I am not sure if it was originally published in Rolling Stone when the record first came out, or if it was something more retrospective. I will try finding it again... Edit: The website says it was published May 1st, 1980 David Fricke's review

I was probably at school when the mailman delivered the package that contained 2112, but I can't say for certain, as that would have been... 6 years ago now. Oh boy, how time flies...

QUOTE (01GT Eibach @ Jul 7 2011, 04:31 PM) An Evening with Rush with special guest Jeff Beck Yes, this would be nice. Especially if Vinnie Colaiuta is still playing drums with him. I love the audience shots in Live At Ronnie Scott's "oh hey, look there's Robert Plant"

Red or Discipline era King Crimson and Rush, with Voivod opening. That would be fantastic.