classic rock

REVIEW: Pink Floyd – The Endless River (2014 CD/Blu-ray)

NEW RELEASE

PINK FLOYD – The Endless River (2014 Columbia CD/Blu-ray deluxe edition)

Sometimes you just have to take a chance.

Perhaps that’s the theme of The Endless River, but I’ll warn you in advance that it’s the theme of this review.  Sometimes, you have to take a chance, and buy an album on pure faith.  Sometimes you want something to be good, just because you liked the idea of it.  I took a chance on it, not really expecting too much, but liking the concept enough to try.

IMG_20141123_171023The Endless River is an intriguing idea with successful execution.  Even though these recordings were made 20 years ago during The Division Bell sessions, David Gilmour gambled that there might be something worth salvaging here in memory of late keyboardist Rick Wright.  When they recorded Division Bell, they actually thought they might have two albums’ worth of material.  The second album, which they never finished, would have been more instrumental and ambient in nature.  Less song-oriented, more meandering and scenic.  Not too far off from what The Endless River is, perhaps.

Unafraid of a little work, Gilmour and Nick Mason got back together and finished what they had started with Rick.  According to David, “We listened to over 20 hours of the three of us playing together and selected the music we wanted to work on for the new album. Over the last year we’ve added new parts, re-recorded others and generally harnessed studio technology to make a 21st century Pink Floyd album. With Rick gone, and with him the chance of ever doing it again, it feels right that these revisited and reworked tracks should be made available as part of our repertoire.”

I will state for the record that there is no comparison between the CD and 5.1 surround Blu-ray listening experiences.  The Blu-ray enveloped me in electronic warmth from the start, occasionally startling me with an unexpected bit of guitar here, or sax there.  By comparison to the 3D experience of 5.1 surround sound, CD is flat and tinny.  Having said that, the CD is one of the best sounding CDs out there right now.  Sonically, this is absolutely flawless.  The keys, organ, and drums are warm and genuine, sometimes wrapped up in dreamy synth.

The Endless River is divided up into four sides, but is best experienced in one sitting.  The four sides have distinct “song” sections within them, but everything flows with a purpose.  Some of the more composed sections really stand out as potential fully-fledged songs:  The chugging “Allons-y (1) & (2)” for example, or the guitar showcase of “It’s What We Do”.   A track like “Sum” takes a while to build, but when it does, it’s into another impressive Gilmour show piece.  (Then on the same side, Nick Mason gets his own moment on the percussive “Skins”.)

Other memorable moments include “Talkin’ Hawkin'” which reprises the Stephen Hawking voice from The Division Bell‘s “Keep Talking”.  I love the haunting church organ on “Autumn ’68”.  There is also one vocal song, “Louder Than Words”, which was chosen as a single.  It’s not a particularly special Pink Floyd song; I think the instrumental pieces are far more interesting than “Louder Than Words”.

A number of bonus tracks are included on the DVD and Blu-ray deluxe editions.  These include unreleased studio jams and unfinished tracks, as well as a couple rough album tracks.  “Anisina” and “Evrika (a) & (b)” are cool, relaxed jams.  “Evrika” is similar in nature to parts that made it to the finished album.  The most interesting unreleased song is easily “Nervana”, a basic guitar riff jam that doesn’t sound anything like Pink Floyd at all.  It does sound cool though, a detour into what might have been…if only Gilmore had taken a chance.  Some of these bonus tracks are accompanied by 1994 black and white behind the scenes footage and stills.  Very cool stuff, if you’re into watching the best musicians in the world getting the job done.

The deluxe comes in a box with some post cards (one with lenticular art), a hardcover booklet with more photos, credits and lyrics, and individual sleeves for the discs.  Nothing overly fancy, it’s the Blu-ray disc itself that is the selling feature of this set.  Some of the bonus tracks are cool and worth having, but it’s that awesome dreamlike 5.1 surround mix that is the clincher.  If you’ve ever wondered, “What’s the big fuss about surround sound anyway?” then see if you have a buddy who can demonstrate this album to you in surround, on a good system with a decent subwoofer.  Strap yourself in.

I think Rick Wright would have been very happy and proud of the finished product, all these years later.  Take a chance on The Endless River and see if you too will be swept away.

4/5 stars

REVIEW: Marillion – Less Is More (2009)

MARILLION – Less Is More (2009 Intact)

I’ll be honest here: I haven’t been into Marillion much, post-Marbles. 2004’s Marbles is my favourite H-Marillion album, and I wasn’t into the two studio followups. I found Somewhere Else to be a rushed and somewhat uninspired, and the sprawling Happiness Is The Road all but impenetrable. Therefore I’m not as familiar with Marillion’s recent more live output as I am with the pre-Marbles stuff, so that’s my problem reviewing Less Is More.  The song “Wrapped Up In Time”, I couldn’t tell you how the song goes until I hear it again.

I am, however, extremely enamored with Marillion’s previous acoustic CDs, the double Live At The Walls, and the fanclub exclusive A Piss-up In A Brewery. Marillion are a band that truly shine in an acoustic setting, but I wasn’t all that excited about another one.  How badly do we need more acoustic Marillion?  I didn’t think I needed another one, but I bought it anyway, because…the collection you know?

MARILLION LESS IS MORE_0002I was wrong. Less Is More (a studio acoustic recording instead of a live one) is just as great as Live At The Walls, with many songs given a fresh arrangement. Some, such as “The Space…”, are the same acoustic versions that the band has been playing for a long time, but others are fresh and inspired. Truly, this album sounds like a labour of love to me. The band’s lust for experimentation has come out beautifully in an acoustic setting, with a song like “Interior Lulu” actually quite a bit better than its original 1999 (marillion.com) counterpart. The songs are subtle, with slight percussion additions, but not a lot of bells & whistles. One of the best songs is the one new one, “It’s Not Your Fault”, which outshines some of the classics. I found the acoustic version of “Hard As Love” to be even more enjoyable than the original rocking version, and quite a surprise too, because I didn’t think it would lend itself well to an acoustic arrangement. Other highlights for me included “Memory Of Water” and “This Is The 21st Century”.

The two bonus tracks on this CD, “Runaway” and a cover of “Fake Plastic Trees”, have been released before on Live At The Walls. (“Fake Plastic Trees” was also a bonus track on the CD single for 1998’s “These Chains”.) I have always been fond of “Fake Plastic Trees” and I prefer Marillion’s version to Radiohead’s. (I’m not a big Thom Yorke fan, but Hogarth really sings his heart out on this one.)

This album is so good, it really revamped by interest in Marillion. I’m glad I bought it! For non-fans, this is a great accessible introduction to a band that by all rights should have been huge. The quality of their songs, as displayed on Less Is More, is simply world-class.

5/5 stars

REVIEW: Thin Lizzy – Vagabonds Kings Warriors Angels (2001 box set)

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LIZZY VAGABONDS BOX_0001THIN LIZZY – Vagabonds Kings Warriors Angels (2001 Mercury 4 CD set)

This is one of the best boxed sets that I own. Of course, it’s not a complete collection of rarities. Such a thing does not exist, the Lizzy catalogue is so labyrinthine with EP’s, singles, and Phil’s solo projects. It takes a scholar just to keep it all straight. This set however does include a very generous slice of rarities, including one rare exclusive. It also includes pretty much every Lizzy hit and album cut you could want. Everything from my own obscure favourites (“Hollywood”, “The Sun Goes Down”) to the biggest hits (“Jailbreak”, “The Boys are Back in Town”) are on here.

The set is divided into four discs, each one reflecting a phase of Thin Lizzy. From the Eric Bell power trio years (was “power trio” even a phrase back then?) to the final Phil single “Nineteen” (famously covered by Bad 4 Good), there is no era of the band overlooked. The liner notes are also excellent, with lots of photos and text, and detailed credits.

The rarities and B-sides are pure gold. It’s also important to remember that in Lizzy’s day, non-album singles were the norm.  Many of those singles are crucial tracks.  “Randolph’s Tango”, with its intricate flamenco solo, is one.  The storming “Little Darling” is another necessity.  I love the reggae of “Half Caste”. How hard it must have been being Phil Lynott growing up. “The boy ain’t black, the boy is brown,” goes the painful lyric. “Sitamoia” (written by Brian Downey) is a ferocious tornado as only Lizzy could do. “Sugar Blues” is a live jam blast, featuring the underrated Snowy White doing what he does best: the blues.

IMG_20141109_085733Most of the B-sides and rare tracks have since been released on the various Thin Lizzy deluxe editions.  Not necessarily in these versions though.  One track you won’t find on a deluxe edition is “Song For Jimi”, originally from a magazine flexi-disc.  This track features a reunited original Thin Lizzy with Eric Bell, recording in 1981!

With complete honesty, there isn’t one single track I would have changed on this set. I think of all my favourites (Lizzy, solo, and otherwise) and check to see if they’re on here. “Johnny the Fox Meets Jimmy the Weed”? Check. “Massacre”? Check. “The Rocker”? Check. “King’s Call”? Check. “Fool’s Gold”? Check. “Romeo And The Lonely Girl”? Check. “Dancing In The Moonlight”? Check. In fact the only thing I can think of that’s missing is the posthumous “Dedication”, but it’s arguable that it doesn’t belong, since it has a sort of early 90’s sound and was finished by Gorham and Downey on their own.

I wish Thin Lizzy became as big a name as some of their contemporaries, such as Zeppelin, Aerosmith, or Purple. They certainly had the musical chops, they had a multitude of influences and variety of sounds (all Lizzy though), and of course they had the unequaled lyrical talents of Phil Lynott. A poet like Lynott will never come again. Let’s celebrate his life, even though it’s too late for him to celebrate with us.

5/5 stars

#334: Tyler and LeBrain episode one – “Nickelback” (VIDEO)

NEW SERIES!

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RECORD STORE TALES Mk II: Getting More Tale
#334: Tyler and LeBrain – episode one – “Nickelback”

Please welcome fellow Sausagefester, Dave FM listener, and lover of leather-clad blues-infested classic rock and roll:  Tyler.  We’ve decided to team up for musical commentary on a few different topics.  Today’s subject:

Nickelback.

Hope you enjoy, and comment here for discussion.

BOOK REVIEW: C.K. Lendt – KISS and Sell: The Making of a Supergroup

KISS AND SELLC.K. LENDT – Kiss and Sell: The Making of a Supergroup (1997 Billboard Books)

Chris Lendt used to be an accountant for Kiss’ management company (from ’76-’88), and according to him, quite close to the band. He spent a lot of time on the road, with the band, keeping track of the money.  The story he tells is amusing at times, off-topic at others, but also often critical of his former bosses.

Lendt distills Kiss’ legacy to profit/loss diagrams. At the same time, he tells a lot of stories about excess, touring, and groupies, but not a lot about rock and roll. If you are looking for the nitty gritty details about Kiss and the music, this is not the book for you. For that book, check out Black Diamond by Dale Sherman. If you want one person’s account of the inner workings of the Kiss business, then read on.

Lendt describes parties, extravagent budgets, and stage shows. Where things get really interesting in this book is when things start to go sour for Kiss, right around the time of the Dynasty tour in ’79. He desribes Gene’s plan for “Kiss World”, a traveling amusement park that was to play outside of Kiss’ concerts on that tour. Needless to say it never happened, but it’s not something that’s well covered in other books, at least in this level of detail. He talks about recording budgets, about Ace Frehley building a gajillion dollar home studio that was never used (and later turned into a swimming pool), about wigs (Gene’s), about gurus (Paul’s), and about desperately copying every move Bon Jovi made when they hit it big in ’86, before his company was fired by Kiss in ’88.

He also spends a bit too much time talking about Diana Ross, whom his company was also managing. There are too many pages about investments, stuffy boardroom meetings, profit margins, and budgets. While this book is very insightful, covering many details that nobody else was privy to, it’s not enough about rock and roll. I can’t even tell if Lendt really likes rock and roll. Certainly, he liked working for Kiss in the early years, and the touring, but the later years are marked by constant criticism.  (A bit like my own Record Store Tales, I guess.)

Pick up Kiss and Sell cheaply, read it and enjoy it; but please also pick up Dale Sherman’s Black Diamond, and Kiss’ own Behind The Mask. Both books are more about the music, and both books are actually surprisingly critical as well. All three together will be a very well rounded reading of the hottest band in the land.

3/5 stars. More if the author would stick to the topic!

REVIEW: KISS – Alive 35: Live at Credit Union Centre, Saskatoon SK, Nov 10 2009

ALIVE 35_0001KISS – Alive 35: Live at Credit Union Centre, Saskatoon SK, Nov 10 2009 (Concert Online)

I would buy any “instant live” type CD by Kiss — that’s a given. The sheer quantity available means I will never own a complete collection of them. What I chose to do was buy a handful, selectively. I was most interested in Canadian shows, and of course concerts where new songs from Sonic Boom were performed.

Kiss’ concert in Saskatoon on November 10 2009 fit the bill perfectly.* Something about Paul Stanley shouting, “SASKATOON!” The new songs performed that night were “Modern Day Delilah” and “Say Yeah”, both personal favourites. As a bonus to me, there’s also a version of “Shock Me” with Tommy Thayer singing. Some Kiss fans have taken exception to Tommy singing this song in addition to wearing Ace’s costume. I’m not going to get into that. All I will say on the matter is that I would rather hear “Shock Me” live than not.

ALIVE 35_0003The concert opens with four 1974 Kiss classics in a row: “Deuce”, “Strutter”, “Let Me Go Rock ‘N’ Roll” and “Hotter Than Hell”. “Let Me Go” seems to fall apart, giving the show a raucous flavour.  It doesn’t get any more retro than that.  That’s four of my favourite Kiss songs in a row; four songs I never tire of. Paul’s voice is sore, cracking in several places.  The job still gets done with the backing vocals of Eric Singer, Gene Simmons and Tommy Thayer. Eric definitely pulls a lot of weight vocally. As much as I wanted to hear new songs, “Say Yeah” suffers a bit vocally.

Highlight: Undoubtedly, a 16 minute version of “100,000 Years”. Eric Singer does his drum thing, and then Paul and Tommy both pick up their guitars and do a call-and-response jam, throwing in a few Zeppelin licks.  You don’t think of Kiss as the kind of band that executes 16 minute extended jams, but it works in a primitive, primordial way.

Paul Stanley’s stage raps are absolutely classic. Paul knows Canada. He knows that all he has to do is say “Montreal” and he gets the crowd going. Just before “Rock all Roll all Nite”, Paul informs the crowd that Shannon Tweed is in the house! The fellow Canadian is greeted warmly by the people of Saskatoon. However my favourite rap is this:

“There’s so much trouble in the world. If you came here tonight to hear some band tell you how to end global warming…if you came here tonight to hear some band tell you how to end world hunger…you are in the wrooong place tonight! I’ll tell you something, we all came here tonight to escape from the world! Tomorrow morning when we get up it’ll be just as screwed up as it is today. We might as well have a little fun! And you know if somebody says to you…’You outta be a little more socially conscious, you outta be doing what you can to help save the world.’ You say to them, ‘Listen to me. Tonight’s my night off and I wanna Rock and Roll all Nite and party every day!'”

Hard to argue with that, Paul!

4/5 stars

 *I still want a CD from a European show where they performed “I’m An Animal”, however.

#326: Not the Best Buy (RSTs Mk II: Getting More Tale)

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RECORD STORE TALES Mk II:  Getting More Tale

#326: Not the Best Buy

I don’t shop in the big corporate record stores that often anymore. Hell, I don’t even really shop in stores anymore! I used to, even at the big stores. When I started working in Cambridge, my buddy Chris and I would go to Future Shop once a week at lunch time to check out the new releases. I would typically buy a new movie and a new CD release at least once a week, sometimes more.  I’d stock up on blank CDs, or just impulsively buy a guitar there.  It happens!

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We would do the circuit around the store. We’d start with the new releases up front, then head to the movie section. I would detour over to CDs while Chris would look at electronics and computer games. We’d meet up at the bargain bin as we left. It’s there that Chris and I acquired two copies of Back to School with Rodney Dangerfield on DVD for $4.99 each. The girl at the front counter was jealous and asked if there were any left! She always knew us as the “Tuesday new release guys”. We sometimes wondered if she thought we were a gay couple since we rarely went in without the other!

Sometime in the last few years, both Future Shop and Best Buy (which are the same company) really started to change. They moved the music and movie section to the very back of the stores, providing more room for cell phones and tablets. It was a sign that things were getting worse for people like myself who enjoy owning physical product. Chris is similar to me. He likes to own “whole collections” of movie or TV series. Some of us are just like that.  He always likes to own the ones he really loves. (Such as the Police Academy series. Yes Chris I just outed you.)

So, we stopped going to Future Shop at lunch. In fact we haven’t been in ages.  Same went for Best Buy.  Strangely enough, a Best Buy soon opened in Cambridge, right next to the Future Shop.  Even the new Best Buy store didn’t have much in the way of music and movies, so we just stopped spending our money at lunch time.

IMG_20141004_123453I can tell you exactly what CD it was that I purchased the last time I bought one at Best Buy. It was the 2 CD/1 Blu-ray/1 DVD version of Led Zeppelin’s Celebration Day (2012) which was a brand new release.  And even a release that monumental was hard to find at Best Buy!

I walked into the store a few days after the initial release.  I saw that all they had on the front “new release” display was the DVD combo sets. I went over to the Zeppelin section in music – nothing there. I checked the same in the movies.  Nada.  Then I found a Zeppelin display at the side of one of the aisles. All they had there was CD and DVD; none of the 2 CD/1 Blu/1 DVD.

I found a customer service person that wasn’t chatting up her co-workers, and asked her where they kept the brand new Zeppelin Blu-rays?

In the back room, apparently! She found one for me and I purchased it, a little confused why a Led Zeppelin new release on the hot newest format would be in their back room.

So I bought the package; the very last CD set I have purchased at Best Buy. Best Buy have really abandoned the physical music releases, and that’s too bad. I used to enjoy buying music and movies at that store due to the prices, two nearby convenient locations, and the fact that I could usually find everything I was looking for. No longer. Sorry Best Buy: you and I are no longer besties!

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REVIEW: Kim Mitchell – Kim Mitchell (1982 EP)

“Looking for the good life, in between all the clatter
Tonight I’m at the Bojar Grill, and they’re serving up only Tennessee water.”

KIM MITCHELL – Kim Mitchell (1982 Anthem)

This is an incredibly difficult review to write. How? How can words do justice to this magnificent 5-song EP of rock perfection? Am I supposed to somehow relay in English how this album makes me, and many other Max Webster fans feel? I don’t think it too crazy to suggest that the self-titled Kim Mitchell EP is the greatest EP our country has produced. As far as rock music goes in general, you will find very few Canadian releases as solidly untouchable as Kim Mitchell.  To say this is an intimidating review to attempt is an understatement.  There will be some reading this whose knowledge of Kim and Max vastly exceeds mine, and even though I have played this EP hundreds upon hundreds of times, I still need to actually play it again in order to convey to you how excellent it truly is.

KIM_0004Kim Mitchell burned out on Max Webster.   There were numerous lineup changes towards the end, and Kim walked out.   He was quick to bounce back with some new band members (Peter Fredette, Robert Sinclair Wilson, Paul DeLong) and some new songs.  Still with Kim through the breakup was Max Webster lyricist Pye Dubois, the only holdover from that band.  (Ex-Max bassist Mike Tilka was also an executive producer, as he was on the Max albums after he left.)  Kim settled into a recording studio in Oshawa Ontario (!) with the legendary Jack Richardson.

The guitar blasts of “Kids In Action” are sometimes included on Max Webster hits albums, but it was originally released as the opening track on Kim Mitchell.  “I guess we’re just gonna have to be the best bonfire in town,” sings Kim, and I think he succeeded.  “We want modern thrills, we want rock n’ roll that kills,” sing the backing band.  I think we got it.

IMG_20141002_180602“Kids In Action” is the perfect storm of Max’s harder side, with Kim’s newly found-melodic sensibilities.  That guitar is hard (though just as finger-lickin’-good) but the choruses have a new harmonic sheen.  Peter Fredette provided backing vocals to the record, and Kim fans know how awesome and integral he is to Kim’s solo sound.  Meanwhile DeLong can’t resist throwing in some Max-worthy drum fills that shake the cranium.  (I read somewhere that David Lee Roth’s band had worked on a cover of “Kids In Action” for Diamond Dave’s first solo album.)

What a killer opener.  Yet “Miss Demeanor” may be the best tune on the record.  This one has always sort of reminded me of “Beast of Burden” by the Stones, and I often sequenced them together on mix CDs.  It’s harder than “Beast of Burden”, but has irresistible “ooh ooh” backing vocals.   Everything about this song is perfect from the simple riff to the amazing rhythm section.  Kim unexpectedly throws on an acoustic solo, just as terrific as any electric solo would be.  The song is also supersaturated with nice little electric guitar licks.

IMG_20141002_180616If you title a song “Big Best Summer” then it had better sound like it.  Kim’s “Big Best Summer” is as gleeful as you want it to be, with most of the joy coming across in the guitar licks.  Once again the rhythm section has it laid down perfect, leaving Kim plenty of space to splash down tons of little guitar bits and pieces.   “Sometimes we thought we were the only ones under the sun.”  Yeah, I think I’ve had those summers too.

If “Miss Demeanor” wasn’t the best tune on the album, then “Tennessee Water” has to be.  This one blows the doors off, with a slippery southern guitar lick and relentless groove that keeps cooking and won’t stop.  This is also Pye’s first lyrical mention of the Bojar Grill, that I am aware of.  It’s good time rock n’ roll, performed by guys who really know they’re doing.  Incredible stuff.  I definitely gotta hit up this Bojar Grill.

The slow rock of “Chain of Events” was chosen to close the record.  There are a couple slight dissonant chords that keep the song on the experimental side.  It also has a strange rhythmic quality, and quirky Pye lyrics.  Kim’s guitar solo is bizarre and Zappa-esque.  This song would have satisfied any Max fans who worried that some of the other tunes were too straightforward.  And that’s the EP.

It’s worth noting that unlike Kim’s later albums, and also unlike Max Webster, this EP has no keyboards.  This allows the bass guitar to breath, and leaves Kim plenty of space for guitar fun.  As such, this is the toughest Kim solo release by far.  As good as Akimbo Alogo was, this is undeniably even better.

6/5 stars


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DVD REVIEW: Styx – 20th Century Masters: The Video Collection (2004)

STYX – 20th Century Masters: The DVD Collection (2004 Universal)

These 20th Century Masters DVDs were a fun way to pick up key music videos from major bands at a cheap price.  Today this role is largely filled by sites such as YouTube.  The Styx edition features six of their cheesy best, and Styx did indeed make some cheesy music videos back in the day.  There are no frills and no extras, just the vids, so let’s have a look.

Tommy Shaw’s “Blue Collar Man” is a rock staple with cool lyrics.  This is a live version, and because of the big KILROY backdrop, I’m assuming this is from the Styx Caught in the Act DVD.  I love the 80’s clothes although the haircuts haven’t changed as much as you’d think.  The best part of this video is watching the late John Panozzo flailing away on drums, a sight that Styx fans certainly miss.

Thankfully, “Come Sail Away” is not live:  it is the cheesy original.  A bearded Dennis DeYoung croons and tinkles, hair highlighted by the spotlights.  John Panozzo’s afro can be seen bobbing over the drum kit, before Shaw and James Young kick in with the chords.  The band dressed in white appear to glow on stage, and it’s a gloriously terrible music video.  Things like this have kitsch value to me.  “Too Much Time On My Hands” is also the original, and this is just indescribably bad, so I’ll just present you these still photos to show you what I mean.  It’s pretty hilarious.  Fortunately it’s a good song!

“The Best of Times” is among my favourite Styx songs, in fact I had it played at my wedding reception. Judging by Dennis’ sparkly vest, it’s from the same video shoot as “Too Much Time On My Hands”.  It has some of the same camp value, but without the embarrassing “acting” scenes.  But damn, isn’t this a great song?  Shaw’s “Boat On a River” is also excellent.  Tommy plays mandolin, while bassist Chuck Panozzo weilds a big stand-up double bass.  DeYoung’s on accordion, mustachioed instead of bearded.  The folksy tune has always struck me as very Queen-like.

Finally, “Mr. Roboto” closes the DVD, as it must.  Taking scenes from Styx’s short Kilroy Was Here film, it depicts Jonathan Chance (Tommy Shaw) searching for imprisoned rock star Kilroy (Dennis DeYoung).  Kilroy is seen attacking a “Roboto” prison guard and thereafter making his escape wearing the mask of the robot.   It’s a nifty little sci-fi music video, something I’m a huge sucker for.  “Mr. Roboto” is still a great memorable song with a cool little video.

3/5 stars

REVIEW: Rush – Red Stars of the Solar Federation (Live at Montreal Forum May ’81)

RED STARS_0001RUSH – Red Stars of the Solar Federation (X-Rekords, Live at Montreal Forum May ’81)

I found this bootleg when I was unceremoniously transferred from one location to another.  When I started at the other location, this was among the first CDs that came in that I just had to buy.  It’s a Rush bootleg from the legendary Moving Pictures tour.  In fact this CD is the audio of the Rush video Exit…Stage Left, which is a different audio from the LP.  It sounds like a vinyl rip.  Otherwise the sound quality is pretty good.  The audience is shrill and very loud.  There are also clearly speed/pitch issues with the audio.  (This could be corrected in Audacity, but I don’t think I could do it by ear.)  This CD is selling for over $70 currently on Discogs.  I paid nowhere near that.

Between the songs are interview snippets from the band, same as the video.  It features a few tracks that were not on the Exit…Stage Left album:  “By-Tor”, “In the Mood”, “In the End”, and “2112” which is unlisted.  The rest of the songs are completely different recordings, anyway.  I guess that’s why the asking price is $70.  They are no less perfect; no less electrifying.

“The Trees” and “Xanadu” take up one massive 17 minute track on the CD, and it’s a monument to perfection of performance and craft.  I can barely remember the sequence of all the different parts of Xanadu; I can’t imagine how Rush can play a set full of this stuff with precision and feel all the time!  All this while Geddy has to remember complex lyrics about searching for the lost Xanadu.

RED STARS_0002I love Peart’s slamming drums on “Red Barchetta”, a song I simply never tire of.  What is it about Rush songs?  They don’t burn out like so many other bands.  Not even “Closer to the Heart” has burned out on me yet, and it’s always a pleasure hearing a less familiar version.

On to “By-Tor”: it features a nicely noisy and meandering Alex Lifeson solo, surely a highlight of the entire performance.  This segues directly into a truncated “In the End”, also from Fly By Night.  This then is butted against “In the Mood” from the first Rush album in an awkward transition.  Geddy appears to change the lyrics from “Hey baby” to “Hey Cookie”.  Even this song is shortened, and segues into “Grande Finale” from 2112.  Alex ends it with some noise-laden blasting on his axe, almost stealing the spotlight from his two bandmates.  It’s a perfect storm of musical excellence and heavy rock.

Sonically,  Red Stars of the Solar Federation is vastly inferior to the current Exit…Stage Left DVD.  Yet I have a geeky love for an oddball CD like this.  While I can’t say it’s worth $70, I can say it’s worth:

3.5/5 stars

This CD is top-scratched and pinholed, but plays great