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3rd runner up


BastillePark
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I also like Superconductor. I've never understood what it is about that song that people have a strong distaste for. Probably just the whole Xanaconductor fiasco.

 

I think that song is an uninteresting attempt at hard rock and odd meters.

1) The entire song is in 7/4

:no:

 

Wait actually relistening to a bit of it goose is right. The prechorus and chorus are just in 4.

 

Right. The verses are in 7/4, but the pre-choruses, choruses, and that keyboard interlude are all in 4/4. The little power chord section after the interlude has measures of 6/4 and 7/4. So technically, most of the song is 4/4, but those 7/4 verses are what you remember, so it's an easy to perceive the whole song that way unless you actually count out the whole thing.

Thanks! I stand corrected.

One of the best/confusing/annoying/amazing things about Rush was the way they tossed in a time change for one measure here or there, just for kicks.

They're not the only ones -- I think the Beatles did a little of that too -- but Rush got more famous for it.

 

Not just for kicks. They didn't sit there and say, you know, let's shoehorn in one 6/4 measure instead of a 7/4 just because we're proggy and clever. The bands that do odd times right never do it that way. That's why when you listen to songs by Rush or Porcupine Tree that have odd time sigs, they don't sound disjointed and confusing. The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

 

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4. The Speed of Love (Neil's worst lyrics ever) :(

3. Dog Years (Bad lyrics, one-dimensional music) :boo hiss:

2. Spindrift (Bad lyrics, music and vocals) :boo hiss: :boo hiss:

 

1. Wish Them Well (Blatant pilfering of another song's melody, weak lyrics, worst backing vocals ever, a stain on an otherwise magnificent album) :facepalm: :facepalm: :facepalm:

I can agree with Spindrift for sure. Never cared for that song.
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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

That was sick!

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

That was sick!

It was! The verses seem to be in 4 though, and I really liked that drum pattern, more than the loud 7 part.

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

That was sick!

It was! The verses seem to be in 4 though, and I really liked that drum pattern, more than the loud 7 part.

 

The verses are in 7/8. Gavin is giving the illusion that it's in 4/4. If you listen to only the snare and kick it seems to sound even, but the hi-hat pattern is where you hear the 7. The choruses are (I think) 10/8 -- basically a 5 feel. The solo section is 7/8, where the snare and kick sound 7/8 but he's doing steady quarter notes on the ride cymbal to smooth it out.

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

That was sick!

It was! The verses seem to be in 4 though, and I really liked that drum pattern, more than the loud 7 part.

 

The verses are in 7/8. Gavin is giving the illusion that it's in 4/4. If you listen to only the snare and kick it seems to sound even, but the hi-hat pattern is where you hear the 7. The choruses are (I think) 10/8 -- basically a 5 feel. The solo section is 7/8, where the snare and kick sound 7/8 but he's doing steady quarter notes on the ride cymbal to smooth it out.

Wait, what?

I listened to the pre-verses again and counted it out. From 0:40 to 1:13 definitely seems 4/4.

The verses sound like alternating 4 and 5, but that's probably not right. That snare/kick sounds straight up 4/4 rock but there is something else happening.

Wild!

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

That was sick!

It was! The verses seem to be in 4 though, and I really liked that drum pattern, more than the loud 7 part.

 

The verses are in 7/8. Gavin is giving the illusion that it's in 4/4. If you listen to only the snare and kick it seems to sound even, but the hi-hat pattern is where you hear the 7. The choruses are (I think) 10/8 -- basically a 5 feel. The solo section is 7/8, where the snare and kick sound 7/8 but he's doing steady quarter notes on the ride cymbal to smooth it out.

Wait, what?

I listened to the pre-verses again and counted it out. From 0:40 to 1:13 definitely seems 4/4.

The verses sound like alternating 4 and 5, but that's probably not right. That snare/kick sounds straight up 4/4 rock but there is something else happening.

Wild!

 

That "something else" is the hi-hat in 7/8. Usually when a drummer wants to give an odd time an even pulse, they'll do a steady quarter note pattern on the cymbal while the kick and snare are doing the odd stuff underneath (like in the solo section in this song). Here in the verses, Gavin is pretty much doing the opposite.

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

So how long has Porcupine Tree been sounding like King Crimson?

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

So how long has Porcupine Tree been sounding like King Crimson?

 

Considering he started playing with Porcupine Tree in 2002 (before King Crimson) you might have that turned around.

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

So how long has Porcupine Tree been sounding like King Crimson?

 

Considering he started playing with Porcupine Tree in 2002 (before King Crimson) you might have that turned around.

 

I was only familiar with No Man and early Porcupine Tree with the other drummer. Did they change their sound that much when he joined? Or was that a one-off?

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

So how long has Porcupine Tree been sounding like King Crimson?

 

Considering he started playing with Porcupine Tree in 2002 (before King Crimson) you might have that turned around.

 

I was only familiar with No Man and early Porcupine Tree with the other drummer. Did they change their sound that much when he joined? Or was that a one-off?

 

He's definitely a different kind of drummer than Chris Maitland but not being a drummer I can't really say if one is better than the other. As Porcupine Tree progressed their sound changed a lot and during their "metal years" I think Harrison was a better fit for that. But he's played with a diverse number of bands so I'd say he's pretty good and knows his way around a kit. Then again I know people who don't care for his style and think he's "over the top."

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

So how long has Porcupine Tree been sounding like King Crimson?

 

Considering he started playing with Porcupine Tree in 2002 (before King Crimson) you might have that turned around.

 

I was only familiar with No Man and early Porcupine Tree with the other drummer. Did they change their sound that much when he joined? Or was that a one-off?

 

He's definitely a different kind of drummer than Chris Maitland but not being a drummer I can't really say if one is better than the other. As Porcupine Tree progressed their sound changed a lot and during their "metal years" I think Harrison was a better fit for that. But he's played with a diverse number of bands so I'd say he's pretty good and knows his way around a kit. Then again I know people who don't care for his style and think he's "over the top."

 

How many people thought Neil's playing was over the top? The people who don't like the kind of music where that kind of playing actually fits, I'm thinking.

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The notes just naturally fell that way in the writing process, as opposed to starting with a 7/4 time in mind and then trying to write phrases to fit it. And the drummers make sure there's a steady pulse running through those songs for the listener to lock onto.

 

IMO the 4's are easier to sell than the 8's (i.e. 7/4 versus 7/8. You can at least tap a toe to 7/4. 7/8 would lose a lot of people in a hurry. This is one reason why the section after the second chorus of The Spirit of Radio works).

 

In general you're right, but the right drummer can make 7/8 easy to follow and even make it groove. Here is a clinic on that:

 

http://youtu.be/DaPSvhReVwA

 

 

So how long has Porcupine Tree been sounding like King Crimson?

 

Considering he started playing with Porcupine Tree in 2002 (before King Crimson) you might have that turned around.

 

I was only familiar with No Man and early Porcupine Tree with the other drummer. Did they change their sound that much when he joined? Or was that a one-off?

 

He's definitely a different kind of drummer than Chris Maitland but not being a drummer I can't really say if one is better than the other. As Porcupine Tree progressed their sound changed a lot and during their "metal years" I think Harrison was a better fit for that. But he's played with a diverse number of bands so I'd say he's pretty good and knows his way around a kit. Then again I know people who don't care for his style and think he's "over the top."

 

How many people thought Neil's playing was over the top? The people who don't like the kind of music where that kind of playing actually fits, I'm thinking.

 

Charlie Watts' fans.

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It seems that many Rush fans have 3 songs that are their least favorite. In no particular order, "Tai Shan", "Virtuality", and "Dog Years". If that is the case with you, what is the 4th worst song Rush has ever put on a studio release?

DOG YEARS is in my top 15 Rush songs. eff y'all! :)
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