Great 'sounds' in the songs

[Geds]

QUOTE (Slaine mac Roth @ Sep 10 2005, 11:43 AM)

I can't believe no-one's mentioned this one yet - it the bit in Red Barchetta where all three of them just click together. The section I'm thinking off begins with that fade in part and concludes with the fade out. I'm sure you all know what I'm talking about.

That happens in every song they do....But since you failed to notice that, i'm reporting you to admin.

 

 

 

 

 

 

 

 

 

[ByWyzD]

One of my favorites is a very simple one. In La Villa at 6:33 and 6:37 Neils is tapping on his high hat ( I think ) for a couple of seconds. It is the only sound in the song at those points. Always tripped my trigger for some reason.

[Rob]

In Red Barchetta I like the way Neil's cymbal crashes synchronise with Geddy pronouncing the syllables of the phrase 'for fifty-odd years' at about 1:51 into the song.

 

[physics23]

"War Paint," 1:58.

 

No more lame excuses

It has to be tonight.

 

Right then there's a great guitar fill, kind of dirty, dark, but exciting. Nice touch.

 

[endlesslymocking]

I noticed these two yesterday, when I was forcing my friend to lean some alex lifeson songs.

 

In Closer to the Heart, I always thought that it was just a "Doo doo do" for the first few notes. But he follows with two quick ones, which I had never heard before....

 

 

And In YYZ. In between the morse code and the regular song, they do a scale thing. Thats kinda neat.

[restart]

The one for me is Alex's solo riff in Xanadu that starts about 3:35.

 

It's been said before, but Freewill's "Each of us...a cell of awareness...imperfect and incomplete...genetic blends with uncertain ends...on a fortune hunt that's far too fleet" sends a shiver down my spine and comes a close second (following a great guitar solo).

 

Oh, and the soaring guitar that starts about 1:52 in Leave That Thing Alone.

[Mr_Crunch]

For me...

 

Intro of Xanadu

All of Cygnus - but especially the tubular bells and Geddy's bass in the beginning. I saw them a few times in 78/79 and when Geddy's bass came in I thought I was in heaven!

The guitar solos and growls in By-Tor instrumental section (ATWAS version).

The waterfall in Discovery. I love the way Alex plays this on Different Stages.

All of La Villa!

Edited October 11, 2005 by Mr_Crunch

[tepes22b]

There are a couple of beats and fills in the already spectacular "O Baterista" that catch my ear, now that I think of it (yeah, I know it's more of a drum solo than a song, but anyway). During that cool tribal toms part in the beginning, he hits this really syncopated beat on the toms three times, once at 0:44, once at 1:02, and once at 1:26. I also love the echo on the toms at about 4:15, and again at 5:42.

[nebbish]

the sound alex makes on Mr Soul which starts at 2.23 - awesome sound

[thuh gost rydur]

Emotion Detector, the solo part 3:31 -4:19. They all just start flyin'. Neil keeps it going through the switch from bass to keys and also caps it off with an incredible fill to stop.

 

 

Middletown Dreams, bass and guitar at 2:00 - 2:33. Neil's ending to the solo section at 3:08.

 

 

Marathon at 2:29 Geddy pops his bass before singing, ' From first to last..'

[the masked drummer]

1) I like the samples neil used on Mystic Rhythms. He had several people all hit different percussion instruments all at same time to achieve that thick, awesome sampled sound. All he has to do live is hit the trigger pads and all those sounds are reproduced perfectly.

2) What also comes to mind is the sound effect in the middle of Natural Science. They really do that well live, I noticed.

3) From a musician's standpoint, what they don't seem to pull off live (one of the few things!) is the intro to Hemispheres. Going back to a 1978 bootleg I've got(when they used tape intros) to the last few tours, it doesn't seem to come together like it did in the studio. The problem, seemingly, is that Neil has to click his sticks to establish the beat & cue the band in, which lends itself to being a little different timing every time. Usually he's too early and there's like a double-crescendo when they all come in. Any one else ever notice this? I would think that since they spend sooo much time and energy behind the scenes to make things right, they would sync up a click track and feed it to the monitors so they all come in perfect every time. There's gotta be some reason for not doing this. Maybe Neil likes to control the start and doesn't want to have something else establish the tempo/timing?

Food for thought, huh?

[Pags]

I read through the last few pages of this thread and listened to the moments that you all have quoted. KICK ASS is all I can say.

 

It's so awesome to have these incredbile moments (however subtle or fleeting) isolated and brought to the forefront.

 

The casual listener will never hear these things, and even the intent listener will catch many things while so many others will escape their ear.

 

[Rolinda Bonz]

QUOTE (physics23 @ Oct 10 2005, 09:48 AM)

"War Paint," 1:58. No more lame excuses It has to be tonight. Right then there's a great guitar fill, kind of dirty, dark, but exciting. Nice touch.

i LUV that!!!

[Pags]

QUOTE (Rolinda Bonz @ Oct 29 2005, 08:23 PM)

QUOTE (physics23 @ Oct 10 2005, 09:48 AM) "War Paint," 1:58. No more lame excuses It has to be tonight. Right then there's a great guitar fill, kind of dirty, dark, but exciting. Nice touch. i LUV that!!! ME TOO. Always have!!

[Roger Clemente]

One I am very surprised that hasn't been mentioned yet:

- The first 17 seconds of "Show Don't Tell". It sounds like some sort of echoing dripping storm drain. And that weird backing vocal found at 2:12 of the song too.

 

- The very quiet part of "By-Tor and the Snow Dog" sound, especially the ATWAS version where all you hear is just a tiny echoing guitar. If you imagine that you are lying on your back on the planet Pluto and starting and endless black night, it makes it feel wicked eerie.

 

- That drumming at the beginning and ending of "Force Ten". It sounds like one of those sprocket drills that race car pit crews use to put on new tires. Also during the opening, just before that drill sounding drum, there is one guitar note that just wakes up your subwoofer. Come to think of it, the entire opening of Force Ten is a cocophony of sounds that don't seem to belong together, but do work fantastically: the choral "aaaah", the monster guitar note, the drill-beat, the woman giggling...you have no clue listening to the first 11 seconds what direction the song is going to go in.

 

- Anyone else notice that it takes "Mystic Rhythms" FIFTY seconds to fade out? And if you listen closely, there's some dang nifty percussions in the quietness.

 

- The last 1:24 of "Manhattan Project", when cranked to 11, sounds like pure chaos and I LOVE it!!! There is so much stuff going on in the song form the 3:44 mark to the 4:32 mark. It's what makes it my all-time favorite song. I like how the guitar climaxes at the 4:07 mark followed by the sharpness with how Geddy follows up saying "Big BA-ANG!" I am surprised no movie studios have ever used it for a movie trailer. It'd great to use for one of the "End of the world" type pictures.

 

That's my two cents for now.

 

--Roger "Time?" Clemente.

Edited November 2, 2005 by Roger Clemente

[Pags]

QUOTE (Roger Clemente @ Nov 2 2005, 01:07 AM)

One I am very surprised that hasn't been mentioned yet: - The first 17 seconds of "Show Don't Tell". It sounds like some sort of echoing dripping storm drain. And that weird backing vocal found at 2:12 of the song too. - The very quiet part of "By-Tor and the Snow Dog" sound, especially the ATWAS version where all you hear is just a tiny echoing guitar. If you imagine that you are lying on your back on the planet Pluto and starting and endless black night, it makes it feel wicked eerie. - That drumming at the beginning and ending of "Force Ten". It sounds like one of those sprocket drills that race car pit crews use to put on new tires. Also during the opening, just before that drill sounding drum, there is one guitar note that just wakes up your subwoofer. Come to think of it, the entire opening of Force Ten is a cocophony of sounds that don't seem to belong together, but do work fantastically: the choral "aaaah", the monster guitar note, the drill-beat, the woman giggling...you have no clue listening to the first 11 seconds what direction the song is going to go in. - Anyone else notice that it takes "Mystic Rhythms" FIFTY seconds to fade out? And if you listen closely, there's some dang nifty percussions in the quietness. - The last 1:24 of "Manhattan Project", when cranked to 11, sounds like pure chaos and I LOVE it!!! There is so much stuff going on in the song form the 3:44 mark to the 4:32 mark. It's what makes it my all-time favorite song. I like how the guitar climaxes at the 4:07 mark followed by the sharpness with how Geddy follows up saying "Big BA-ANG!" I am surprised no movie studios have ever used it for a movie trailer. It'd great to use for one of the "End of the world" type pictures. That's my two cents for now. --Roger "Time?" Clemente.

This is more like Great "Sections" In the Songs.

 

Awesome!!

[physics23]

QUOTE (sullysue @ Sep 9 2005, 04:41 PM)

QUOTE (paganoman @ Sep 9 2005, 11:56 AM) QUOTE (tepes22b @ Sep 8 2005, 11:16 AM) Limelight - the feedbacked high C# at the end of the solo, I love how it sustains through the end of the song OMG!! FINALLY!!!     If anybody ever reads my posts - they will know that this is probably my favorite moment of Alex's entire career.   I've stated that note in many posts, including in this thread. I'm jumping out of my skin that somebody else actually mentioned it. At least you knew it was a high C#. That outdoes me, already. I just call it that kick ass bad boy note he holds with that twang thingy.   You get a tripple Yukon Cornelius wahoooo!!   http://img.photobucket.com/albums/v502/paganoman/yukon.jpghttp://img.photobucket.com/albums/v502/paganoman/yukon.jpghttp://img.photobucket.com/albums/v502/paganoman/yukon.jpg<--click   [edited to include my eloquent explanation from Dec 1 of last year. ] Limelight - Best part of the song, imo. - At the end of Alex's solo he starts plucking the rhythm which leads into the last chorus. However, there are these last few lead notes. He hits that final note, and grabs that twang bar thing on this guitar and holds that bad boy for the next 18 seconds, right behind Geddy's vocal. It's the greatest thing I think I've ever heard. 3.12 Well, hell, Pags. If I knew you were so facinated by this, I would have said something. I'm listening to it right now. I never knew it was a high C# either. I don't even know what that is, but it sounds cool. I love the video. He really works the "twang thingy." (Psssttt... it's called a tremelo or a whammy bar )     1. I've liked that little bit in the song ever since I got the Chronicles VHS as a kid and saw the "Limelight" video. And I've always loved those grimaces Alex makes when he plays.   2. In "Lock and Key," when Geddy sings The balance can sometimes fail Str-ong emotions can tip the scale about a minute into the track, his voice cracks at "Strong," and it's just so clean and appropriate for what that moment is expressing, because and it's a powerful verse and it's such a compelling effect of the voice.

[rickyrob]

This has happened a few times now:

 

Playing Ghost Rider off VT in the car....at around 1:20 there is a sound in the background, that is uncannily like a cop car - American style.

 

In the UK, various emergency vehicles use different siren sounds, but whenever I play Ghost Rider and reach this part, I keep looking in my rear view mirror for the Cops

[lakeside bard]

QUOTE (paganoman @ Nov 27 2004, 05:43 PM)

QUOTE (chaostrophy @ Nov 27 2004, 03:30 AM) QUOTE (paganoman @ Nov 26 2004, 10:40 PM) Ok folks.  Over the years of listening to every niche and detail of Rush tunes.  I've heard some incredible sounds nestled within the layers.  It could be a slight slide on a guitar string, or a keyboard trigger, or a sound effect... What cool stuff have you heard that would normally escape a casual ear? A few things that have always intrigued me:   - The Camera Eye: don't have the cd handy so I don't know the time, but during the second C#-C keyboard part, right before the solo, there's some muffled speaking in the background. I've tried many times to figure out what they're saying to no avail.   - ESL version of "Jacob's Ladder", during the 7/8-6/8 slow build, as Alex slowly raises the volume on his guitar and goes from palm-mute to regular picking, he hits an artificial harmonic that sounds so cool.   - Neil's double bass drum intro and snare sound on "One Little Victory" (and his drum sound on all of VT for that matter).   - "Evelate" from "Vital Signs"!   - "Oh, wow, what a show!...I guess that's it! [sLAM!]" at the end of ATWAS. Great stuff here. I'm glad you brought up Camera Eye. I've always heard that too and have no idea what they say. Anyone??   I'm gonna check out ESL's Jacob's Ladder at that stage in the song. I want to grove on the harmonic sound you spoke of.   Thanks!! re; camera eye...it's a cockney (native londoner ) the 1st bit is very muffled the second is "mornin guv" guv meanin mate( slang ) friend etc. which nis what a cockney would greet you with ( probably a cab driver )

[ZAPPA]

one that always springs to mind is the funk bass line under the guitar solo on cinderella man. It's a slice of funk that Bootsy would be proud of.

[JohnnyBlaze]

the 'monsters' section in la villa strangiato was always one that stuck in my head

[Pags]

Ok you have to check out the Live Version of Ghost Rider from Rush In Rio.

 

At the 29/30 second mark... Geddy just finishes singing the line "Keep On Riding North and West"

 

The echo on his voice at that moment is just AWESOME!!!!

 

 

[jazzbass]

Wow, there are so many! I come at them from a couple of different perspectives. First there is just listening to them, then there is playing them. Finally there are those songs that I totally get into while playing, and I'm just in the music.

 

There are way to many to list all of them, but here are a few, in no order.

 

Leave that thing alone! Love it! The whole damn song. Playing, listening.

 

Camera Eye. WOW! What a song. This song breaks into so many parts that just move me. So much power and energy in this song. Really dig the bass solo at the end. Especially the open "E" string notes, that walk up.

 

Vital Signs, a perfect song! So much fun to play. Love the little bass solo

run at the end. So much feeling in that little run.

 

A little song about a car: RED BARCHETTA, listening to it right now. Oh yea.

 

The modern day warrior. Love Tom Sawyer. I never get tired of this song. The middle bass run is a blast to keep up with.

 

2112: nuff said!

 

Finding my way. Straight up rock and roll baby!

 

Cygnus X-1

 

YYZ. It's all about the overall Bass tone on that song. Classic Fender Jazz bass. The bass is so growly. Again, another song I never tire of.

 

La Villa. Such a moving song, Love the middle quiet part, then we cresendo to a climax and let loose. The bass solo run is awesome, as well as the drum fills.

 

Spirit of radio. I like to sing this song more than play it.

 

FREEWILL: PLAY IT, PLAY IT, PLAY IT......PLAY IT!

 

Limelight: Gotta sing this one, cranked up in the car going for it. I've been busted so many times by people, (usually women) at redlights laughing there butts off at me, who cares.

 

Show don't tell...

 

There's more, nuff talk, time to play!

 

Ampeg+Fender=oh yea!

 

[Pags]

Alright Jazz!! Welcome to TRF

 

Ok I need to reel you in a bit. In this thread what I'd really love to know about are specific 'moments', sound effects, triggers, echos, notes... some event in the song that really catches your attention.

 

c'mon... I know you have 'em in each of the songs you mentioned. Tell them to me.

[jazzbass]

QUOTE (paganoman @ Dec 16 2005, 05:48 PM)

Alright Jazz!!  Welcome to TRF Ok I need to reel you in a bit.  In this thread what I'd really love to know about are specific 'moments', sound effects, triggers, echos, notes... some event in the song that really catches your attention. c'mon... I know you have 'em in each of the songs you mentioned.  Tell them to me.

OK.

Leave that thing alone. The B-C hammer on, down a fourth,down a fourth

C-E slide up, down a fourth, B-C hammer on, A down slide to F.

 

That verse riff is kinda haunting.

 

Camera eye: The little C note accents pumps

 

YYZ: it is the Jazz bass tone on the song. it is just ANGRY sounding, especially the "A" string notes they just have a visceral sound to them. The "A" string C notes that he pumps out in 8th notes.

 

Vital signs. from a listening perspective it is the ending of the song. The bass is laying this heavy pattern on the "E" string G sharp-pull-off to G, A-sharp to C, repeat over and over. Ged just lays the foundation underneath the vocals.

 

Red Barchetta. towards the end of the song the little bass part with the double stops. Really love the subdued use of string pops on the R-30 version.

 

Show don't tell. right after the solo when he's playing the verse riff underneath the guitar and drums, then they all play it together.

 

2112: the accent of the E string A note up a third to the C-sharp 8th notes, then to the octave of the root A note. Those 5 notes take you to a nice plateau.

 

cygnus x-1 the hollow sounding bass in the distance that gradually comes in to your face.

 

see where I'm going here. A lot of what I like is how Geddy puts these accents into his playing. Getting his accents just right is the hardest part of nailing his tone. Finally having a lot of video of him playing is really helped to put the little nuances into my playing.