rush

#645: Catching Up

GETTING MORE TALE #645: Catching Up

The last couple months were pretty crazy.  I was clocked out.  My wife’s cancer diagnosis and surgery really took their toll on me.  This resulted in me getting very sick right during Christmas holidays.  There has been so much chaos that I really haven’t paid attention to music.  I neglected my reading, I didn’t buy anything, and I didn’t listen to much either.  I’m just starting to get caught up now that Jen’s surgery seems to have gone so well.  She’s getting a little more independence back, and I’m able to take a little time to listen to music and write about it again.

A few weeks ago, I wrote about my history with the band Queen.  I am on a Queen kick, but until recently I was missing two of Queen’s discs in the 2 CD format:  Hot Space and A Kind of Magic.  Eager to get back into the game, I ordered both from Amazon on a whim.  I’m surprised how much I’m enjoying Hot Space.  You wouldn’t think those synths and I would get along, but I’m digging the soul!  I already owned one version of A Kind of Magic, the 1991 Hollywood CD, but the extra disc has seven bonus tracks.

Soon after, the new CD by Mike Slayen called DUDE came by the post.  That enjoyed a couple spins, but I really wanted to go shopping again.  I haven’t been to a record store since the stress kicked in.  I had no idea what I was going in for, but I wanted to leave with a purchase.  There have been plenty of new releases that I missed, and reissues too.  The problem with new releases is, I don’t like to buy anything until I know what is on the Japanese version.  I want the maximum amount of bonus music.  So I decided to look at reissues instead and skip new releases.  Fortunately for me there was plenty going on in reissues.

Big Wreck’s 20th Anniversary edition of their debut In Loving Memory Of… was my first grab.  I didn’t think it was going to have bonus tracks on it, but it does:  “Ill Advice” and “Still Holding”.  I used to love that album, and I don’t know those two songs, so that was an easy buy.  For those who don’t know this band, check out the big single “That Song”.  Other hits you may know from this album are “The Oaf (My Luck is Wasted)” and “Under the Lighthouse”.

I then spied the recent 40th Anniversary edition of Rush’s classic A Farewell to Kings.  The 3 CD set was $30, so I tucked it under my arm.  Then I thought to myself, “You know what, I’d better check to make sure there isn’t another edition with more songs.”  Good thing I did.  Blabbermouth told me that there was a version with a brand new 5.1 surround mix by Steven Wilson on a blu-ray.  OK, then.  That had to be the one I get.  Via the Sectors box sets and other super deluxe editions, I already had every other Rush 5.1 mix.

How much?

$149.99.

Ahh, fuck it.  I earned this.

3 CDs, 1 blu-ray, and 4 LPs of vinyl, plus assorted goodies like a Rush turntable mat, a tour program and lithographs.  The CDs and vinyl include an unreleased (in full) concert, Live at Hammersmith Odeon – February 20, 1978.  A portion of this concert (11 tracks) was released in 1998 on a bonus CD to Rush’s live Different Stages.  This box set has the full 14 song (plus drum solo) performance, newly mixed by Terry Brown himself.  On blu-ray you will find the 5.1 and the stereo mix of the album A Farewell to Kings, in studio-quality clarity, plus three music videos.  Mixer Steven Wilson is generally considered one of the great masters of the 5.1 art.  The Sector 2 mix by Richard Chycki received a mixed to negative reception from fans, so I look forward to comparing.

And there’s still more:  new Rush covers by Dream Theater, Big Wreck (hey, Big Wreck again!), The Trews and Alain Johannes.  Plus a final mystery bonus track called “Cygnus X-2 Eh!”

It’s going to be fun digging into the Rush over  the next week or so.  But I wasn’t done catching up.  Because of all the shit that happened, I didn’t get to see Star Wars in the theatres.  Yes, I’m sorry folks, I’ll admit it:  Until now I only saw The Last Jedi online.  This, of course, could not stand.  I must see every Star Wars Saga film in the theatre three times, minimum.  For The Force Awakens, it was four.  Fortunately the Waterloo Galaxy still had a 3D screening, which has disappeared elsewhere in town.  Now I just have to see it two more times (2D will do fine).

I still have quite a few issues with The Last Jedi.  The slow motion is annoying as hell, and the Finn/Rose side story is still just a side story.  The ending is still at odds with set style of the saga Saga, and the movie could have used some editing.  In general I enjoyed the film more this time.  The Last Jedi is more poem than plot, but it has many rhymes.  I think it’s a fine Star Wars movie, and the fanboy overreaction is ridiculous.

Catching up feels great.  Music and movies still work as the best kind of escape.  I highly recommend both.

 

 

 

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REVIEW: Max Webster – A Million Vacations (1979)

MAX WEBSTER – A Million Vacations (originally 1979, 2017 Anthem remaster)

Why are Max Webster still held in such high esteem by their devoted fanbase?  Possibly because they concocted an ideal mixture of humour and incredible playing and composition.  Much like Frank Zappa, Max Webster felt that humour does indeed belong in music.  It’s “smart kid rock” but never taking itself too seriously.  From playful musical sections to the words of lyricist Pye Dubois, Max could also be counted on to poke you in the ribs.

A Million Vacations is certainly one of their best albums, if not their absolute magnum opus, but that’s all a matter of opinion.  At this stage of the game, Max was really cooking.  The 10 songs within represent some peak level songwriting, and several are still on the radio today.  Through the airwaves, “Paradise Skies”, “Let Go the Line”, “A Million Vacations” and “Night Flights” might be speeding over Canada somewhere as you read this.

“Paradise Skies” indeed!  One of Max’s most immediate tracks is the party opener.  Total mainstream Max: catchy hooks, insane playing, and a chorus that’s ready to blast off.  Terry Watkinson’s “Charmonium” is more complex but no less catchy.  The keyboardist wrote the song and does the lead vocals as well.  Dig into those flurries of notes making up some tasty solo sections.  Losing no momentum, “Night Flights” keeps a jaunty pace.  Pye Dubois’ poem about the love of touring reminds us how important Pye was to the band.  How many bands have a touring lyricist?

Breaking the fun-loving character for just a moment, a day-dreamy “Sun Voices” has connections to the next songs, “Moon Voices” and “A Million Vacations”.  “In my chair, chaise lounge…” and how many songs can you think of with a chaise lounge in the words??  “Sun Voices” is a meditative poolside view.  Perhaps then the side-closing instrumental “Moon Voices” is the loud party, after the sun goes down?

“A Million Vacations” (written by drummer Gary McCracken and Pye Dubois) on side two is a party-ready Canadian summer anthem.  Part of being Canadian is hibernating for our cold, dark winters.  Once we have endured the freeze, and life returns with the spring thaw, it is like a celebration.  “A Million Vacations” has that feeling.  “Throwin’ out all kinds of fishing line, Friday Friday is a good time to shine.”  Yes indeed, hitting the outdoors is a Canadian weekend tradition in the summer time.

“Look Out” is an often forgotten buried gem.  The chorus is written around a catchy keyboard riff, which suddenly gives way to a conga jam.  It’s Max as only Max can do, daring but never fearing.  But side two’s centerpiece is undoubtedly the magnificent ballad “Let Go the Line”, with Watkinson back on lead vocals.  Kim Mitchell orchestrates a guitar chorus for the main instrument hook and it’s instant love.  For sheer smart pop songwriting, “Let Go the Line” is Max’s finest.  The new 2017 remaster from the recommended box set The Party really reveals a lot of nuance in the back that were hard or impossible to hear on previous CD editions.

Kim gets a little goofy with “Rascal Houdi”, an undeniable party rocker.  “I’m switching out, I’m out to lunch,” and it’s a teenage blast.  But the party finale, “Research (At Beach Resorts)” takes it to the max (pun intended).  “Line up crowds at the pavilion, Max is playing ‘Vacations'”.  It’s a beach party, and Max is “in Newport for research, to get abreast of things…”  What about Wasaga Beach on Georgian Bay?  Already taken care of, friends.  “We’ve just researched Wasaga Beach, bonfire pits at midnight.”  But what the heck are they “researching”?

“What is it that we stare at?
Is it the passports and campsite stars?
Or the monogrammed bikinis and cars?
Or maybe we just need some perspiration ’cause we’re frostbitten Canadian boys!”

There are few bands better than Max Webster, folks, and Max’s A Million Vacation is an easy album to love, so flip it over and play it again like I’m about to.

5/5 stars

 

REVIEW: Max Webster – Live Magnetic Air (1979)

MAX WEBSTER – Live Magnetic Air (originally 1979, 2017 Anthem remaster)

So you’re the canker banker?  They’re just Max Webster, here to thin the thickness of your skin.

Any good 70s act worth their salt had to have a solid live album. Max released theirs after four studio albums, a good basis for a fulfilling concert set. The 10 songs (plus one reggae jam) only begin to scratch the surface of their bizarre and rocking history, but a good 10 songs they are.

Want some rockers? Tap into “America’s Veins”. 70s radio rock? Take a lift up into the “Paradise Skies”.  Looking for some progressive rock?  You’ll find it “In Context of the Moon”.  The adventurous and quirky arrangements of some tunes are a direct contrast to the catchiness of others.  “Gravity” blends quirky and catchy into one successful gestalt.  “Charmonium” both challenges and pleases the ears at once.  Whether you’re soaring on “Night Flights” or biting into “Lip Service”, there is no filler on Live Magnetic Air.

One expects great playing on any Max Webster platter. Live Magnetic Air has plenty of that gonzo Kim Mitchell guitar work that he is known for.  Terry Watkinson’s keys explore different tones within single songs, never getting boring.  Yet it’s Gary McCracken’s drum work that seems to really shine, especially on the 2017 remaster from The Party boxed set.

It is difficult to throw too much praise at Max Webster, because surely they deserve it.  They were not as famous as Rush and not as worshipped as Zappa.  But those are the kind of names thrown about when speaking of Max Webster.  Each Max album is loaded with amazing material, but if you were looking to start with something, why not make it Live Magnetic Air?  The party atmosphere and ace selection of songs are the basic ingredients of a classic live album.  Now that it’s finally been properly mastered for CD, you can hear it the way you were always meant to.  For those who just wanna rock, the guitars have the crunch.  The discerning fan will enjoy the new clarity and depth that this remaster offers, without overdriving the levels.

Once again we wholeheartedly recommend The Party boxed set, but if you find Live Magnetic Air on vinyl, pick it up and hear what some genuine “Sarniatown Reggae” sounds like.

5/5 stars

REVIEW: Max Webster – The Party (2017 box set)

MAX WEBSTER – The Party (2017 Anthem 8 CD box set)

Normally when we review box sets like this, we prefer to review each album individually.  Three of the eight discs have already been covered here:  Max Webster (their debut), High Class in Borrowed Shoes, and Universal Juveniles (their final album).  The rest of the Max Webster albums will be reviewed in due time, so for now we will take a general look at their brand new CD box set, The Party.

The Max Webster catalogue (and to a lesser extent, the solo Kim Mitchell discography) has been well overdue for a remastering.  The original Anthem CDs are thin and tinny.  Rock Candy did a fantastic remaster of the first three albums with better sound and a generous booklet, but what about the rest?  I first heard about this project via Uncle Meat this past summer at Sausagefest.  It was one of those “know a guy who knows a guy” stories, but the bottom line was, Max Webster’s catalogue was being remastered.  And now we have The Party in hand as proof!

The contents include all five original Max studio albums, their concert opus Live Magnetic Air, Kim Mitchell’s very rare solo EP, and a bonus disc of rarities called The Bootleg.  Those who buy the forthcoming vinyl version will also receive a booklet with rare photos and other goodies.  The CD version has no booklet, but it does have nice gatefold packaging for each album.  It’s affordably priced, so we forgive the lack of a booklet on the CD edition. Vinyl owners can look at it as a bonus for buying vinyl.

If improved audio is what you are longing for, then you should be very satisfied with The Party.  It’s not overdriven, but it sounds fuller and deep.  They didn’t go for loudness.  This is all very good.  You can safely ditch your old CD versions, rendered obsolete by this box.

The Bootleg will be the main draw for many.  It does not disappoint.  In fact, it intrigues, because it teases that there is more.  Unreleased demos are listed as “Contraband” — reports suggest this refers to a collection of unreleased material still in the vault.

Max Webster apparently recorded their 2007 reunion show, or at least “Let Go the Line”.  It sounds brilliant and makes you pray for a live album of the show.  Terry Watkinson’s classic ballad sounds a little older, a little wiser, but just as brilliant as ever.  Other live stuff from 1979 was recorded in Oshawa.  “Oh War” simply smokes, and was not included on Live Magnetic Air.  Then there’s the crazy jam centred on “Research (At Beach Resorts)”.  These insane live sessions really show why Max Webster is held in such high esteem, almost like a second coming of Frank Zappa himself.

The unreleased demos include some songs that didn’t make Max’s albums.  Fans know “Deep Dive” from Kim Mitchell’s solo live album, I Am A Wild Party.  Max’s original 1982 demo is completely different.  Same melody, same words, but a vastly different arrangement.  It’s like rock and roll bluegrass, fast as possible, and insanely good.  It was likely deemed too different to be on the Universal Juveniles LP, but there’s no doubt it’s awesome and the highlight of this box set.

Another standouts from the batch of demos is a version of “Battle Scar” without Rush; just Max!  It’s a revelation; an interesting work in progress.  There are also two songs you’ve never heard before, “Walden 5” and “Better”, both from 1979.  Let’s just say that the quality of these unreleased Max songs is album level.  “Walden 5” just needed some editing.  A demo version of “In the World of Giants” from 1979 has way more guitar soloing.  Kim fans will love it!  Oh — and stay tuned for a surprise unlisted bonus track.

The box itself is just a cardboard sleeve, but at least an attractively packaged one.  Yes, a booklet would have been appreciated.  In lieu of that, we recommend Martin Popoff’s brilliantly detailed book Live Magnetic Air: The Unlikely Saga of the Superlative Max Webster to accompany this otherwise perfect set.

Oh, one last thing:  The two “new” songs that were included on the hits compilation Diamonds Diamonds are not in this box set.  So, to be a completist, you’d still need to track that one down.  Vinyl is recommended; and then you’d own “Hot Spots” and “Overnight Sensation” to complete the picture.  Just a word to the wise.

4.5/5 stars

 

VIDEO REVIEW: Rush playing cards

4.5/5 stars

REVIEW: Rush – Roll the Bones (1991, remastered 200 gram vinyl)

RUSH – Roll the Bones (1991 Anthem, 2015 remaster on 200 gram vinyl)

There was a period in the 1980s when, in some circles, Rush had lost the plot.  Writers such as Martin Popoff have been very critical of this era, with its keyboards and shorter songs.  In 1989, Rush began to turn the ship around with Presto.  It and 1991’s Roll the Bones really ushered in the next phase of Rush, combining new and old.  Fans (and Alex Lifeson) were happy that keyboards were toned down, at least in comparison to Hold Your Fire (1986).

The theme of the album is “take a chance”.  Roll the Bones starts with a punch called “Dreamline”.  Geddy Lee’s pulse pushes this into overdrive.  The chorus goes into hyperspace.  It’s hard to think of too many other Rush songs that are so concisely hot.  “Dreamline” has it all:  hooks, licks, force and grace.

Neil Peart is king on “Bravado”*, a sudden change of direction.  His drumming, always hard, is unusually sharp.  Yet it’s a slow song that might be termed a “ballad”.  Whatever — it’s Rush.  It’s incredible.  It’s powerful in an understated, triumphant fashion.  If you know somebody who says they hate Rush, play this.

The title track and first single is a Rush classic, but that rap section sounds dated today.  That was always the danger of such an experiment, but fortunately the song is too strong for it to matter much.  That’s Geddy rapping incidentally, with his voice lowered and effects added.

Side one also has “Face Up”; fast but not particularly memorable.  But it also has “Where’s My Thing?”, a smashing instrumental featuring Geddy and Alex’s flying fingers.  It’s subtitled “Part IV, ‘Gangster of Boats’ Trilogy” as a joke on past pretentiously prog-rock titles they’ve employed.  Rush have always had a sense of humour, and also fun.  “Where’s My Thing” is a fun instrumental, kept short and ever so slightly funky.

The second side of Roll the Bones isn’t as consistent as the first.  “Ghost of a Chance” and “You Bet Your Life” are immediate standouts.  An appropriate spectre-like keyboard part enhances “Ghost of a Chance” and justifies the use of the instrument.  The other three songs (“The Big Wheel, “Neurotica” and “Heresy”) are fine for Rush deep cuts, but may or may not appeal to your specific tastes.

This 200 gram vinyl remaster is exquisite!  Keyboard parts previously unnoticed are now audible, as if brand new.  The drums have the punch missing on the old CD, and the bass hits the guts.  Great dynamics and depth.  If you are in the market for remastered Rush, these 200 gram vinyl reissues are pricey but a nice treat.

3.5/5 stars

*At 3:50 of the song, Peart performs a drum roll that I can only describe as pure ecstasy.  Chills up the spine.

QUIZ ANSWER: What was in LeBrain’s Bag?

The startling conclusion to What’s in LeBrain’s Bag?

You had a picture and five clues:

 

  1. There are two records in there.
  2. One is a double, one is a single.
  3. One is a new release, one is a reissue.
  4. One is Canadian content, the other is not.
  5. You can kinda make out one.

 

And we had a winner, immediately.  A man who knows his metal like he knows his haggis.  SCOTT, your HEAVY METAL OVERLOrD correctly guessed the first record (the new release, non-Canadian double LP) and wins a picture drawn by me!

It was…ACCEPT – The Rise of Choas.

I did what any sensible shopper should do before buying the album.  I looked it up on CD Japan to see if the Japanese version had any bonus tracks.  They did not, so I grabbed the double vinyl.  10 tracks, 2 records, orange and blue swirl vinyl, limited to 700 copies.  Those numbers add up for me!  I can’t wait to sink my needle into those.

 

 


Scott’s picture is a Schnauzer on an airplane!

The second LP (which I didn’t seriously expect anyone to guess) nicely fills a gap in my collection.  You see, I have CD remasters for every Rush album from the first one to Test For Echo…except one.   Roll the Bones continued to elude me,  so instead of CD, I opted for something possibly better:  200 gram vinyl LP remaster.  As far as I can think of, this is my first 200 gram vinyl purchase, though I own a few 180 grams.   Aaron correctly guessed Rush (with an initial guess of VoiVod) so I offered to draw him a picture of a cookie.  Sadly it turned out looking more like vomit (even when I added the cookie fumes), so I hope you will excuse the lack of a prize.

RUSH – Roll the Bones 200 gram remastered LP.  Now I have all the Rush remasters!


And now, the conclusion to the “How did Mike get the Max Webster The Party box set?

Because, oh yes, I did get it.

Sunrise had it for $64.99, but I had trouble cancelling my Amazon pre-order at $89.99.  I bought my Rush and Accept records, and drew a prize:  a new fidget spinner!  (I think I have four now?)  I went home and kept trying to cancel my Amazon order.  An email said that the issue should be resolved in a few hours, so I sat tight.

Around 4:30 that afternoon, I got the email that my pre-order was successfully cancelled.  I hopped in my car; four minutes later was back at Sunrise.  I grabbed Max Webster, and drew another prize:  a Transformers mini-comic!

So, really, everything went down about as perfectly as you could imagine.  I got The Party box set and an extra prize for coming back.

The Party is very bare-bones for packaging.  There are no booklets, but the discs are housed in mini-LP gatefold sleeves with inner graphics.  For that reason, I am going to hang onto my remastered Max Webster debut CD on Rock Candy, which has an extensive booklet.  A buddy of mine named Scott has dibs on the rest of my old Max Webster collection.  Hey, it’s a lucky day for guys named Scott!

I have a lot of listening to do, which will hopefully lead to a little reviewing.  Hope you enjoyed this game!  Back to reviews tomorrow.

GUEST REVIEW: Rush – “Distant Early Warning” (1984) by Aaron Lebold

I asked Aaron Lebold if he wouldn’t mind throwing in a few words about “Distant Early Warning” for my Grace Under Pressure review.  He sent me 772 words!  So here’s an entire separate post for you — Aaron Lebold on “Distant Early Warning”.

 

RUSH – “Distant Early Warning” / “Between the Wheels” (1984 Anthem)

by Aaron Lebold

Mike has asked me to do a review on the song “Distant Early Warning” by Rush.  When I first met Mike I quickly realized that Rush was one of his favorite bands,* and though he showed me a lot of their work, this song was the one that always stuck out to me the most.

My interpretation of the song may be a bit different now than it was when I first heard it; one of the greatest things about music is that its personal meaning can shift depending on what is going on in your own life.  I find musical interpretation to be completely personal, and what you take from it may be completely different than what the artist even intended.**

I was always reluctant to hear the artists of the songs I enjoyed explain them, as it could feel very crushing if the impact it had on me was not the actual meaning. I will explain what this song means to me, but that doesn’t mean I’m right.  It does mean that I am able to see why it had relevance to me, and if you have found a different interpretation, you are not wrong.

“An ill wind comes arising, Across the cities of the plain, There’s no swimming in the heavy water, No singing in the acid rain, Red alert, Red alert”

To me this is the ability to foresee an event, there is a metaphoric storm on its way, and it is serious enough for us to stop our own distractions, and unhealthy coping strategies in order to prepare for what is ahead.

“It’s so hard to stay together, Passing through revolving doors, We need someone to talk to, And someone to sweep the floors, Incomplete,  Incomplete”

This talks about the separation among us as people to me; we all tend to find our own paths and some of us become relevant to each other, where others become lower class, and we may see them as nothing more than the person who is sweeping the floors for us. This type of discrimination makes us incomplete as a human race.

“Cruising under your radar, Watching from satellites, Take a page from the red book, And keep them in your sights, Red alert, Red alert”

This again is a reference to having greater insight than others may possess. Being able to observe a situation undetected and being able to gather forethought about what the results may be.  The Red Book is a reference to Psychology, and this suggests using that manner of thinking as you move forward.

“Left and rights of passage, Black and whites of youth, Who can face the knowledge, That the truth is not the truth, Obsolete, Absolute, yeah”

To me this makes reference to our way of thinking, and things we may have misinterpreted as priority.  Rights of passage is the idea of moving from one group to another, and relates to social classes and advancement. Separating the races of children is another method of creating a divide.  The truth could refer to the idea that we are all one class and one collective  group of people, and that a lot of our perceptions are obsolete in the big picture.

“The world weighs on my shoulders, But what am I to do? You sometimes drive me crazy, But I worry about you”

To me this means that even though I may have my own problems, and I don’t always agree with someone’s actions, I still care for them and can’t help but notice when they seem to be heading in a bad direction.

“I know it makes no difference, To what you’re going through, But I see the tip of the iceberg
And I worry about you”

This basically means to me, that I am aware that my insight does not change your situation, but I can see the bigger picture and it makes me worried about how it may end up affecting you.  The Tip of the Iceberg is of course a reference to the Titanic, and how there is much more lurking under the water than is visible from the surface. The results can be potentially devastating, as they were for the historic vessel.

I can’t recall exactly what drew me to this song when I was younger, and I may have interpreted things differently back then, but the bottom line is that I found relevance and importance in the lyrics.  You may have a completely different take on this song, which is great.  The best thing about music is using it to find our own connections, and get us through our own lives.

Aaron Lebold


* So he thought.  In 1994 I was still a Rush poser.  I only owned Chronicles.  

 

** “Distant Early Warning” was written about the loneliness of someone who worked the DEW Line- a system of radar stations in the far northern Arctic region of Canada set up to detect incoming Soviet bombers during the Cold War, and provide early warning of any sea-and-land invasion. – wikipedia

REVIEW: Rush – Grace Under Pressure (1984)

Part one of a two-parter.

RUSH – Grace Under Pressure (1984 Anthem, 2011 Universal remaster)

When Rush followed 1982’s synth-driven Signals, they said goodbye to producer Terry Brown.  The band weren’t satisfied with the sonics of Signals and wanted to try working with different people.  They chose Steve Lillywhite, who wasn’t available, and so used Peter Henderson.  The album Grace Under Pressure was one of their most difficult to make.  Perhaps this is why it has such a cold, dark aura.

Even if Grace Under Pressure has a downer vibe, the first side is excellent.  Few albums have a strong an opener as “Distant Early Warning”.  Rush’s recent penchant for keyboards is front and center.  It also boasts one of their most catchy choruses:  “I see the tip of the iceberg and I worry about you.”  This single is a perfect storm of hooks, tension and biting guitars.

The album as a whole shows new influences.  “Afterimage” has a contemporary 80s new wave sound, but “Rushified”.*  Alex Lifeson in particular seemed to draw new influence from Andy Summers of the Police.  Reggae and ska became a part of the band’s arsenal, with Lifeson deftly handling those enigmatic chords.  “The Enemy Within” is one track that shows off these tricky new rhythms, in a frantically rocking way.  Synths and sequencers are a part of the picture on “Red Sector A”.  This post-apocalyptic track utilizes robotic rhythms to paint a picture of a future world.  “Are we the last ones left alive?  Are we the only human beings to survive?”  The lyrics are actually inspired by Geddy Lee’s mother, a holocaust survivor.  With the digital pulse beneath, you could just as easily imagine it’s about The Terminator.**

The second side also has memorable tracks such as “The Body Electric”.  This number definitely has a Blade Runner-like future setting.  “One humanoid escapee, One android on the run, Seeking freedom beneath the lonely desert sun.”  And how many songs can you name with lyrics in binary?  A lesser Rush song, “Kid Gloves”, is upbeat but not legendary.  “Red Lenses” is also somewhat forgettable, except for Peart fans who will savour every little moment of exotic and electronic percussion.

Rush saved the longest track for last, “Between the Wheels”, a melancholy but challenging track that reminds of the old school progressive Rush.  Backing guitars are exchanged for keyboards, but Lifeson uses the guitar to make unorthodox sounds.

It’s unfortunate that Grace Under Pressure has a brittle and icy production.  While that definitely works on “Red Sector A” and “Distant Early Warning”, one wonders what side two would sound like if it were a little fuller.

4/5 stars

 

* “Rushified” is a word coined by Paul Rudd in the film I Love You Man.

** Aaron Lebold will return tomorrow to discuss Rush lyric interpretation.

#587: Jean’s Stormy Weekend Vinyl Tales (With Video)

GETTING MORE TALE #587: Jean’s Stormy Weekend Vinyl Tales

Another long weekend in Ontario has come and gone.  Yes, international friends, the first weekend of August is a long weekend for we Ontarians.  Despite a stormy start, it was just a lovely time.

Every holiday weekend needs its weekend music (unless your name is “1537” or some similar number).  The car trip commenced with the finish of a double live album called Black Masquerade by Ritchie Blackmore’s Rainbow.  This 1995 concert features Doogie White on lead vocals.  We enjoyed it as a contrast to the newer Live in Birmingham 2016 with Ronnie Romero singing, which had been in the car during the week.  On the whole, I think I prefer Romero to White in Rainbow, but that’s not an easy choice to make.  Both are very talented and charismatic frontmen, but with very different voices.

When Black Masquerade came to its natural closing point with “Smoke on the Water”, I switched the deck over to the new Styx.  Don’t be surprised if you see the new Styx album The Mission on many 2017 year-end lists.  It’s been a favourite of mine the past few weeks, and Mrs. LeBrain was very impressed herself.  “And this is their new album?” she asked, since it sounds straight out of the 1970s at times.

We got to the cottage Friday night.  A storm was blowing through.  It was too cold for funnel clouds to form, but as you will see in the video I put together, it was gale force weather.  And then the next day?  Completely calm.

Brand new video!

For weekend entertainment, I brought with me some of the Marvel Cinematic Universe movies.  Thanks to Mr. BuriedOnMars, who has been reviewing the MCU films in order, I have been re-watching the early ones again.  This weekend I chose Iron Man 3 and The Avengers, because neither are on (Canadian) Netflix at the moment.  Both were enjoyable entertainment, but Iron Man 3 is just too gosh darn long and weakly plotted.  And of course there was more music to be heard.  Some friends down the road were partying to George Jones.  It reminded me of the old days when my Grandpa would have done the same but maybe with Kenny Rogers instead.

Mom and dad provided the meat for the weekend, and I did the cooking.  Jen did up her potatoes and I took care of the steaks.  On the holiday Monday, we hooked up with old buddy Peter and his sister Jo.  Regular readers may recall some of my adventures with Peter, particularly Getting More Tale #559:  Hotel Hobbies.  It was fantastic catching up with the two of them at the newly renovated Jean’s for breakfast.  Jean’s is bigger and just as busy.  It’s one of those reliable breakfast places that we have been going for years.  Still reliable!

Peter told me something at breakfast that did surprise me.  I noticed that the old Record Store in which I worked was now buying used vinyl again.  In the past, only Tom‘s store stocked used vinyl but times they-are-a-changin’.  Sadly Peter’s dad passed away late last year.  He had some old vinyl.  Not a lot, just about 20 records or so.  Pete’s dad would have had old German music, nothing of any particular monetary value.  Peter decided to give my old store a call to see if they’d take them off his hands.  What he was told was so strange:  He’d have to send them into the head office, and they’d take a look and get back to him within one month.

One month?  Peter took the old records to Value Village and dumped them there.

I don’t know what the story is with the one month thing.  Maybe they realized the records weren’t their thing and were trying to brush him off?  Seems a bizarre answer.

I’m sure if Peter’s dad somehow had any rare German Scorpions records, he would have let me know, as unlikely as that is!

Great to see old friends again.  After breakfast the weather was starting to turn rotten, so we made our way home.  And what a musical ride it was!  All of Deep Purple’s Purpendicular album.  All of Rush’s Moving Pictures.  Side one of the next album, Signals.  It was a smorgasbord of so called “smart-guy rock”!

Hopefully we’ll make it up a couple more times before the summer is over.  There are still quite a few new albums here at LeBrain HQ that need road trip testing.  Styx’s The Mission passed the road trip test, securing a big point in this year’s Best Album stakes.  To be continued….