Stealing Deckiller's Brilliant Idea

[mjohnson30]

To each their own on that but I think Tom Sawyer suffers from having been played on the radio for so many years. All I know is if I were to be driving around in my car back in 1981 (and I didn't because I wasn't driving age back then) and this popped on for the first time, holy cow, I'd have been blown away.

[Good,bad,andrush]

36.WITCH HUNT

8.5/10

 

Two entries from moving pictures back to back.

 

But this is just one monster song that is really quite scary, both musically and lyrically. The song keeps building up; you can truly paint a picture in you head about a mob just coming to get you. It's undeniably genius, and this is one of the best build-ups ever. An underrated gem with some very sad cries heard in geddy's emotional bass-playing especially towards the end. The vocals are top notch, the various percussion works perfectly, and Alex gives us one of his best riffs.

 

Ignorance and prejudice, and fear walk hand-in-hand.

 

The only thing wrong with this song is that the intro is practically 90% of it!

[Good,bad,andrush]

35.GHOST OF A CHANCE

8.5/10

The intro instantly grabs you and pulls you in, and Alex's unpredictable chords supported by geddy's odd bass playing keep you wondering what happens in this song...

 

The verses are great, and nothing that really stands out in the rush catalog, but they're still fun. The real beauty in this song is the chorus, how it enters some transcendental state where you're floating above the ground...but sadness is still about...it's sadness that is also mixed with security, and how rush is able to pull this off is beyond me. Alex plays some of his best stuff here, and offers a brilliant and underrated solo towards the end.

 

Some great stuff from everybody here, even when Neil plays his accented notes during the chorus. It all matches the lyrics perfectly.

Edited March 6, 2011 by Good,bad,andrush

[TwentyOneTwelve]

QUOTE (Good,bad,andrush @ Mar 6 2011, 04:59 PM)

35.GHOST OF A CHANCE 8.5/10 The intro instantly grabs you and pulls you in, and Alex's unpredictable chords supported by geddy's odd bass playing keep you wondering what happens in this song... The verses are great, and nothing that really stands out in the rush catalog, but they're still fun. The real beauty in this song is the chorus, how it enters some transcendental state where you're floating above the ground...but sadness is still about...it's sadness that is also mixed with security, and how rush is able to pull this off is beyond me. Alex plays some of his best stuff here, and offers a brilliant and underrated solo towards the end. Some great stuff from everybody here, even when Neil plays his accented notes during the chorus. It all matches the lyrics perfectly.

One of my favourite Rush songs ever. Its all about Alex's guitar tone and his solo is just... beautiful.

[Good,bad,andrush]

34.RED SECTOR A

8.5/10

The song is mesmerizing in its own unique way, combining an ominous synth-line with some weird Lerxt chords and odd drumming. Unfortunately, Geddy puts the bass down for this one, and instead gives the song more flavor with the synth. It works quite well, but he could be doing more with this song. The synth-line is very dark when put in context with the lyrics, but otherwise a little weird. But still, everything is put so well together in this song, especially Alex's input. He manages to squeeze his guitar in at the perfect times and really reflect the emotions heard in Geddy's singing.

 

The guitar solo is just a great bridge in the entire Rush catalog, and absolutely out of this world, bringing this song up a lot higher than it should be. Still, this is a Rush classic with some insane prog rhythms from Neil and haunting guitar work from Lerxt.

[StellarJetman]

QUOTE (Good @ bad,andrush,Mar 6 2011, 04:07 PM)

34.RED SECTOR A 8.5/10 The song is mesmerizing in its own unique way, combining an ominous synth-line with some weird Lerxt chords and odd drumming. Unfortunately, Geddy puts the bass down for this one, and instead gives the song more flavor with the synth. It works quite well, but he could be doing more with this song. The synth-line is very dark when put in context with the lyrics, but otherwise a little weird. But still, everything is put so well together in this song, especially Alex's input. He manages to squeeze his guitar in at the perfect times and really reflect the emotions heard in Geddy's singing. The guitar solo is just a great bridge in the entire Rush catalog, and absolutely out of this world, bringing this song up a lot higher than it should be. Still, this is a Rush classic with some insane prog rhythms from Neil and haunting guitar work from Lerxt.

No love for the lyrics? Some of Peart's best, I always thought.

 

(It really should have been, "My mother is too weak to stand up straight," though.)

Edited March 6, 2011 by StellarJetman

[Good,bad,andrush]

33.RESIST

8.5/10

This song is so great mainly because of the powerful lyrics, and what they stand for. The music is beautiful as well, but I can't rank the song any higher because it sounds flat at some points. It still captures the essence of Test For Echo in the way it was supposed to, whereas other songs don't come close to this one.

 

The time signature is perfect, picking you back up everytime it falls, and Alex plays some beautiful harmonics after Geddy sings "all the things I can't explain." The only thing is that during this part, it just seems a little slow, or a little dry. But this song is strong in that sense, and the music helps prove that. Alex's piano/guitar effect is great as well, and Geddy's backdrop vocals or whatever work perfectly here; this is the best for Geddy's background vocals in my opinion.

 

The bridge in the song, while not much is happening musically, evokes a surge of strength in the emotions, and because of this, the song is among Rush's most emotional moments.

[Good,bad,andrush]

32.EMOTION DETECTOR

8.5/10

I find this a perfect, extended intro into Mystic Rhythms (although it's brilliant on it's own), but that's just me. The intro of this song is mystic itself, and it gradually builds up. It sounds very primitive, and Alex's effects are just perfect and really do detect some emotion in there. The only thing is that the intro goes on a little too long; after Alex plays a few notes, the song just stretches itself out, becoming a little less powerful.

 

But during the verse, Alex is doing some wonderful stuff, and the synths sound absolutely perfect here. Not emotional...but emotion detecting. Really, you kind of don't know what type of emotion the song evokes. The chorus is a little slow and uninspired, but the majority of the song is just perfect. And Geddy's bassline throughout

 

The lyrics are hands down some of Neil's best, especially the "illusions are painful shattered right where discover starts."

 

And I feel that line is exemplified in Alex's solo. This is a prime Rush moment for me, and the highlight of the song, that basically cancels out all the low points (which aren't even that low.) Neil carries the song along while Geddy's bass is "detecting" emotion. Alex's guitar is that emotion, and it's just soring all over the place.

 

Beautiful. This is what Rush is best at. But these upcoming songs show greater example of this.

Edited March 11, 2011 by Good,bad,andrush

[Good,bad,andrush]

31.VITAL SIGNS

8.5/10

The build-up in this song is amazing...first the "space" keyboards, Alex coming in at frequently infrequent intervals, and Geddy's all-over-the place bass line, all backed up by some fascinating drumming make this song a giant as it goes on.

 

Another great facet to the song is that it signals the change Rush would make, but still sounds like classic Rush. The lyrics are beyond genius--the way they compare people to computers by using all the electronic jargon is just great. The music fits very well, especially because the song is building up the entire time.

 

The end of the song is hands down the best part...while it is almost the same thing as the rest of it, you can hear a lot more emotion just pouring out of all the instruments, and in that way...you get the feeling that there is still an emotional side to us humans, no matter how technologically advanced we will become. Alex plays some beautiful notes here while you can hear Neil just pounding his heart out on the drums, and Geddy sounds almost like he's going to break down crying, but he stays strong.

 

The only fault I find with the song is the transition into the pre-chorus...it works well, but seems as if it makes the build-up slow down.

 

A truly underrated gem.

[Good,bad,andrush]

TOP THIRTY SONGS

 

30.MYSTIC RHYTHMS

8.75/10

This song is a very weird song in the Rush catalog, but it works so damn well. It's just full of many moments in which there are weird noises that really sound "mystic."

 

But what really amazes me, and the reason why Neil is my favorite drummer (though I don't think he's the best), is how in this song, the percussion is the lead instrument. It really is a mystic rhythms. And I find it sad how this is the last song on Power Windows, because I'm completely out of this world when I listen to this song, but then back to real life when it ends.

 

If there is such a thing is melodic drumming, it is here, as well as in several other songs I will mention soon. But the way the rhythms fit the song title and everything Geddy and Alex are messing with is just a great match to the lyrics. The only thing is that sometimes Geddy and Alex are doing pretty weird stuff, as is Neil. For the most part, it works, but sometimes it's a little odd. Another thing, unlike Vital Signs, the song is very similar the whole way through, but never reaches a certain point. It does a good job of staying entertaining, but there is only one Rush song that can pull off an anti-climatic climax and make it sound great, but that's further down the list.

[Good,bad,andrush]

29.MIDDLETOWN DREAMS

8.75/10

 

This song has a brilliant atmosphere, present pretty much in the last five songs on Power Windows...only, this song mixes that atmosphere with a familiar one...the one we regularly experience: dreams.

 

The song is full of crazy chops and some unusual but creative synth moments, but these help create the mood, and help provide us with an escape. On top of that, they flow into the chorus just fine. This is a masterfully written song with little to no immature moments. The lyrics paint a picture and the music brings it to life, and what's even better is that is a picture we commonly associate ourselves with.

 

The guitar and bass solo are full of emotion, and you can really hear a cry, somebody wanting to get out, in every unique fill, lick, or run. It's a little inconsistent sometimes, but this actually works.

[Good,bad,andrush]

28.AFTERIMAGE

8.75/10

This song to me is the core of Grace Under Pressure. To me, Grace Under Pressure resembles how quickly the world has been changing lately, and how we are dealing with the exponential change. Everything is computerized now, and this album sounds rather computerized as well, with the heavy synth usage.

 

But this song is something else, because the way the synths (the computers) express emotion in this song is something only rush could do. Every note that Alex plays, every fill Neil does...just pouring with emotion...and on top of that, even the synths are emotional...it's almost like they are trying to be happy, but they just can't.

 

This is the reason why the song is up so high. Masterful use of synths. On top of that, the bridge is a rush classic.

[Good,bad,andrush]

27.MARATHON

8.75/10

There is something very strange about this song. It's full of synths, and sometimes you know a wrong note or a cheesy one was played...but yet it integrates perfectly with the strange notes Alex gets to play. Neil's drumming is out there, and if I'm not mistaken he's playing two time signatures at once for certain parts. And that bass line is one of Geddy's most epic creations.

 

The best part of this song is the build-up and climatic chorus, where everything just comes together for one burst of energy. It works very well with the lyrics and it's just one giant emotional and sometimes physical punch.

 

Alex's solo is one of his best, especially since he gives the notes perfect breathing time, almost like...well, a marathon!

 

 

Some parts are a little off, but the way this song keeps building and building is majestic...thigh not their best build-up.

[Good,bad,andrush]

26.YYZ

9/10

This song has only two purposes.

 

1. To prove to everyone and any doubters that Rush are godly virtuosos on their instruments.

 

2. Rush likes to have fun and are truly happy people.

 

To help prove point one: that tricky intro is pretty mind-blowing and quite heavy. And they follow up with several coordinated runs they do together. Then comes some epic jamming from all three of them. Then comes the famous bass-drum solos, that really floor every living person on earth when seen. And after hearing them a million times, they are still magnificent. Right after this we are treated to one of Lerxt's most underrated and overshadowed guitar solos, which give the sing an atmosphere it had been missing since the intro. It leads perfectly into the keyboard part, and then the rest of the song is summed up just fine by the earlier epic jamming.

 

To help prove point two: we all know that this song is a little more than a mindless jam. Rush wrote it because they were happy to be home, and just because they were proud and happy to be who they were. This song defines rush through their instruments alone.

 

Unfortunately, while it was very well-structured, the main verses lack the atmosphere in other parts of the song, and for this reason I can't rank the song higher. But all in all...the perfect jam...just not the perfect instrumental song.

[Good,bad,andrush]

25.THE ANALOG KID

9/10

This song immeditaly punches you in the balls, with an upbeat and kickass riff from Alex. Rit after the riff, you get punched in the balls again by Geddy's bass. It's a real fun and upbeat riff, but that all changes (for the better actually) for a wondfully done chorus that stops time (almost like Time Stand Still). Neil's drumming during the chorus is beyond belief. Seriously, listen to it.

 

But the best part of the sing is how the innocence of childhood fits in with the main riff, and how all the curiousities and sadness that come with it are trapped in the chorus.

 

Needless to say, Alex's solo is hands-down a top five. It combines speed with complexity with emotion and with meaning. It captures the "when I leave I don't know what I'm hoping to find" lyric perfectly.

 

[Good,bad,andrush]

24.AVAILABLE LIGHT

9/10

 

Mystic is what this song is. A dab of jazz, a touch of blues, a few sprinkles of what could even be considered classical music, and a whole lot of rush. This wonder is tied together with fitting and inspiring lyrics. A little dark, but that serves to contrast the main theme which ultimately leads to an overall inspiring sound.

 

The song starts with a little jazzy sound to it, some tricky rhythms here and there that don't really do much for the song, but this part flows nicely into the next part, where the song picks up and Alex's guitar and pianos just sound lovely. This flows even better into the chorus, which is one of the most underrated rush moments ever. Not to mention, one of Geddy's best vocal performances as well. The chorus really makes you feel as if you're sailing in the middle of the ocean, and all alone yet extremely content.

 

Afterwards, we're treated to the beginning, but Alex keeps things fresh by throwing in a bluesy lick that fits so well with the lyrics, almost Knopfler style. A brilliantly written song.

 

But it's low point is that the parts of the song don't quite work alone, so I recommend you listen to this song with headphones on concentrate on it. Otherwise, some parts can sound like elevator music damn good elevator music that is

What I'm saying is that this song is just slightly lacking in "every moment of the song is brilliant." But this is definitely made up for in how well it flows into each part. All in all, a unique song for rush, but one that is made of win.

[Good,bad,andrush]

23.FREEWILL

9/10

 

Oddly enough, I can't find much to say about this song. The weakest point is how the music fits the lyrics. Yet the music is perfect for the lyrics it's just a powerhouse of a song and it's a powerhouse lyrically as well, which is why the music fits perfectly. But there is no exact lick or anything that fits well with the lyrics. The song's composition itself is what fits with the lyrics.

 

It's a giant of adrenaline, a of get the hell out of my way, a of all things !!!

 

The touching harmonies are scarce however, but the music is moving in the sense that it is just so powerful.

 

And let's not forget the gold rush moment, perhaps one of their top three jams. All three of them go nuts during the bridge, and yet it sounds so good as a whole.

[Good,bad,andrush]

22.ARMOR AND SWORD

9.25/10

 

The opening drums are by far one of the most epic things Neil has ever done. Then the guitar and bass come in perfectly, then it all switches to some moving chords that do a damn good job of painting a picture in your head of "armor and sword."

 

Then wait, Alex treats us to some beautiful acoustic work rivaling the trees and aftk. Then it gets dark, and Neil and Geddy keep doing these weird triplet things that keep the music moving. Alex keeps treating us to some beautiful chord and switching back and forth between acoustic and electric.

 

Geddy's vocals are wonderful for this son as well; you can really hear the emotion and depth of the lyrics when he says, "no one gets to their heaven without a fight." These words are perfectly supported in the music, and especially the marvelous bridge which almost represents a fight in itself. Of course, "no one gets to their heaven without a fight" may seem obvious, but i think Neil intended it that way, because the rest of the lyrics and music only support that claim, and make us realize how true it is. Like sometimes, we may think something is obvious and take it for granted. This song is about not taking stuff like that for granted, and that is strongly reflected in the song.

 

Main problem is that some parts of the song drag on too long or sound too slow. The length of the song would be just fine if there was a little more to it, but there's nothing new until you get to the bridge, which is great but a little to slow to be as effective as possible.

Edited March 16, 2011 by Good,bad,andrush

[StellarJetman]

QUOTE (Good,bad,andrush @ Mar 16 2011, 10:39 AM)

"no one gets to the heaven without a fight."

The line is "their heaven", not "the heaven".

[Good,bad,andrush]

QUOTE (StellarJetman @ Mar 16 2011, 01:38 PM)

QUOTE (Good @ bad,andrush,Mar 16 2011, 10:39 AM) "no one gets to the heaven without a fight." The line is "their heaven", not "the heaven". I know, i saw I made the mistake and forgot to correct it. I'm typing from an iPad and I accidentally spelled "thie" and it came out as the.   Also, it's a pain typing on this thing sometimes, because it begins spelling the words for me and at times it gives me an entire phrase. I need to connect this to a keyboard.

Edited March 16, 2011 by Good,bad,andrush

[Good,bad,andrush]

21.EARTHSHINE

9.25/10

 

The heavy and crunching intro immediately stands out. Even the vt is pretty heavy, this song just pulls you in and mesmerizes you, and that heavy opening guitar actually sounds like it's crying. Geddy's bass is monstrous, and neil's drumming is excellent. When the song changes to the pre-chorus and chorus, there is the use of some acoustic guitars, and this is unfortunately the low point of the song; the production just messes that up. Live however, is a different story.

 

Lyrically, I feel this is a masterpiece. Neil goes back to his love for science and describes how he has been enlightened by a "shine" he had never noticed before (hence the line "third hand grace"). A strong way to pull through his tragedies, I think.

 

On top of that, the entire song makes you feel as if you're spinning around the world.

 

But the deepest most touching part is the notes Alex plays during his solo. This is Alex finding Neil's realization and putting it down on some beautiful guitar notes. This really makes you feel like you're flying, and it is one of the most perfect things rush has done.

 

Unfortunately, after the guitar solo, the song seems to drag on a little, almost like you're slowing down.

[Good,bad,andrush]

20.ANIMATE

9.25/10

 

An underrated tune, in my opinion, and an extremely powerful and moving one. The groove is one of Neil and Geddy's best, and it is quite complicated. On top of that, it "gently dominates," fitting the lyrics (which are filled with marvelous plays on words) perfectly. Alex isn't doing much though, but what he does is great.

 

I think that the way it starts, with that sort of upbeat yet dark groove reflects the emotion in the lyrics, and all the "requests." then it gets to a lighter part, in which Alex treats us to a very original riff. But then we go back to that darker part, which I find is great for reflection. This song is almost like the opposite of limelight or the analog kid in the sense that the reflection part cpm's first and then the more upbeat.

 

To me, the bridge is the strongest part of the song, diving even deeper into the meaning of the song. Geddy gives us a crazy bass line that takes me to another world, it's almost like you're in some primitive jungle. It's beautiful, and it keeps building and building up until Neil gives us a monster fill. Afterwards, we are treated to the beginning, but with a moving synth-line decorating it. This is why the song beat earthshine, in my opinion. After the bridge, it managed to stay fresh with the addition of the synths, which also happen to represent the powerful emotions found in the rest of the song.

[Good,bad,andrush]

19.LOSING IT

9.25/10

 

The second most haunting song in the rush catalog, and it jpis by far one of the most beautiful things rush has written. I don't think there is a more perfect time signature for a haunting song, because the way this one works...it fades out to fade back in and then out and so on, creating a haunting atmosphere through the most emotional synth-driven song in the rush catalog.

 

Alex doesn't do much in this song, so I can't rank it any higher, but what he does is perfect and contrasts the electric violin perfectly. Neil's drumming is tough and matches the rest of the song perfectly, accenting on the fade-ins and playing softly on the fade-outs.

 

The violin solo and the violin itself scream as if it is "losing it." Everything in the lyrics is reflected musically, but it's a lot of the same with several added touches here and there.

 

The lyrics describe a dancer in the first verse, but i think the dancer is a metaphor for Hemingway. The second verse is more obvious, but the first serves to paint a haunting picture. All of this is reflected when Geddy sings, "for you the blind who once could see...bell tolls for the."

 

The breakdown is wonderful too, a little like in LVS, and it almost means "lost it."

The low point in the song though is the more uplifting turn it takes after the second verse...it almost ruins the mood, but it quickly catches on again with the violin solo.

[Good,bad,andrush]

18.DREAMLINE

9.25/10

 

This song, while not too complex, and not such a good piece that shows of rush's instrumental abilities...is an atmospheric masterpiece. It is short and sweet, much like a dream...a dreamline, something in the space between dreams and reality. The mysterious ocean wave intro is kind of washing you into dreamline, and Alex's dreamy melodies with the delayed effect take you to Manu different places.

 

The synth use is brilliant, and serves only as decoration rather than the lead instrument. The production works really well for the song, making the guitar sound like a dream, ethereal actually. The chords used by the synth and the notes played on guitar afterwards are so moving as well, and fitting with the lyrics.

 

The song doesn't vary much, but there are occasional weird noises that keep it fresh, and make it seem as if it is building up towards something. Then Alex treats us to a unique dreamy guitar solo that leaves you wanting more.

 

Sadly, i cannot rank this any higher because the bass and drums are only moving the song along and not adding too much, leaving it a little bland in some parts. But this song is all about atmosphere, all about leaving everything behind and getting your way.

 

This song is immortal, but only when you listen to it.

[Good,bad,andrush]

17.JACOB'S LADDER

9.5/10

 

The first two and a half minutes are absolute perfection. Dark, mysterious, geddy's best vocals, descriptive lyrics, crazy time signatures, harmonious notes, perfect volumes, tasteful synth, ominous drumming, heavy guitars with perfect accents, and a very unique and mysterious lerxt solo.

 

By far, this intro is one of the greatest things rush has to offer. It is so atmospheric and the lyrics, while short, allow the music to paint a picture in our heads. It really seems dark and cloudy, like a nightmare.

 

Now i do like the synth part, but it's just a weird tangent and it subtracts from some of the song's power. Plus, these synths are done better elsewhere, in a song that has yet to come. The use of various percussion keeps the synth part fresh, but it still just loses a lot of the energy the song had coming in.

 

However, when Alex comes in again, during the synth part, you can almost feel the clouds clearing. Then Neil comes in with some tricky rhythms, and the feeling is even stronger. Especially when Neil begins to hit different cymbals and use the hi-hat at around 6 minutes. I love the way it builds up into the mind-blowing simultaneous notes they all play together...just wonderful. And then the last few lyrics give the motto of the song, which, awesomely enough, can be found just by listening to the song. Every storm will pass, and continue to allow the dream to do its job.

Edited March 19, 2011 by Good,bad,andrush