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Archive for the ‘Alex Lifeson’ Category

SOUNDTRACK:

[READ: February 2024] Rick Mercer The Road Years

Sixteen years ago I read Rick Mercer’s first book.  Since then I’ve read a couple of his other books, but I missed the first part of this memoir, Talking to Canadians.  I guess I’ll have to track that book down too.  Because I love the way Mercer writes.  I loved his show and now I love his print.

About his first book I wrote:

Rick Mercer is a great political comedian.  He puts all American political commentators to shame. I’m sure that much of this difference is the way Canada is structured. There seems to be so much more openness to politicians there than in our system.  For reasons I can’t fathom, politicians agree to hang out with Rick even though in the next segment he will rant about their incompetence.

Well, this book goes some way to take the blinds off how the show worked.

So this book picks up where his previous memoir finished–just as he was about to start The Rick Mercer Report.

He explains that the premise of this book and indeed of his show was “What does it mean to be Canadian?”  [Spoiler: he never does find the answer to that].

He talks about how the show was spun off from This Hour Has 22 Minutes and was originally The Monday Report.  (It was going to be on Mondays and they figured if they called it that then the CBC would never move it).  They didn’t really have a plan for the show–it was all kind of seat of the pants until they were about to start filming.  They decided that everywhere in Canada there was something interesting happening.  And he would go to check it out and show the rest of the country.  It would spur local and national pride.  And it would be funny as well.

So Rick travelled around the country and rode on “The Train of Death” (fortunately, the book comes with pictures).  And soon it was established that if Rick could be put in danger or humiliated, well, that was the show right there–locals getting the best of the snooty Toronto TV guy.

So he wore a beard of bees, he was tucked into bed by Prime Minster Stephen Harper, he pulled a sleeping polar bear out of its den and he had lots of crazy adventures with Jann Arden. (more…)

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[CANCELLED: March 24, 2022] Fu Manchu / Speedealer [rescheduled from May 9, 2020 and March 18, 2021]

indexThis show had been rescheduled for March of 2022 after two previous cancellations.  But with the rise of more COVID cases Fu Manchu decided to cancel once more.  It strikes me that they seem quite content to just cancel a show and then work with the venues for a future show, so I’ll assume they’ll be back to Philly eventually.

~~~~~

This concert was never formally cancelled it seems (as of last week you could still get tickets for it).  But Fu Manchu officially cancelled all of their shows on the tour.  No word yet if they’ll be back, but I hope so.

Fu Manchu is one of the great stoner rock bands.  They have been around for thirty years with a similar fuzzy, grungey sound.  I missed them the first time around but because more keenly aware of them when their 2018 album Clone of the Universe featured not only an 18 minute song, but also a guitar solo from Alex Lifeson of Rush.

Their early stuff is really catchy and I wish I had known about them for longer.  They seem like they’d be a really fun live band.

Speedealer was originally called REO Speedealer, which I love.  They were told to cease and desist from REO Speedwagon (imagine that).  They play a kind of aggressive garage metal.  They have a punk edge and the lead singer has a growly punk voice that is clear enough amid the roughage.

I feel like they don’t quite pair with Fu Manchu (they seem a bit too aggressive) and would pair better with Monster Magnet.

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[POSTPONED: March 18, 2021] Fu Manchu / Speedealer [rescheduled from May 9, 2020; moved to March 24, 2022]

indexThis concert was never formally cancelled it seems (as of last week you could still get tickets for it).  But Fu Manchu officially cancelled all of their shows on the tour.  No word yet if they’ll be back, but I hope so.

Fu Manchu is one of the great stoner rock bands.  They have been around for thirty years with a similar fuzzy, grungey sound.  I missed them the first time around but because more keenly aware of them when their 2018 album Clone of the Universe featured not only an 18 minute song, but also a guitar solo from Alex Lifeson of Rush.

Their early stuff is really catchy and I wish I had known about them for longer.  They seem like they’d be a really fun live band.

Speedealer was originally called REO Speedealer, which I love.  They were told to cease and desist from REO Speedwagon (imagine that).  They play a kind of aggressive garage metal.  They have a punk edge and the lead singer has a growly punk voice that is clear enough amid the roughage.

I feel like they don’t quite pair with Fu Manchu (they seem a bit too aggressive) and would pair better with Monster Magnet.

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[POSTPONED: May 9, 2020] Fu Manchu / Speedealer [moved to March 18, 2021]

indexFu Manchu is one of the great stoner rock bands.  They have been around for thirty years with a similar fuzzy, grungey sound.  I missed them the first time around but because more keenly aware of them when their 2018 album Clone of the Universe featured not only an 18 minute song, but also a guitar solo from Alex Lifeson of Rush.

Their early stuff is really catchy and I wish I had known about them for longer.  They seem like they’d be a really fun live band.

Speedealer was originally called REO Speedealer, which I love.  They were told to cease and desist from REO Speedwagon (imagine that).  They play a kind of aggressive garage metal.  They have a punk edge and the lead singer has a growly punk voice that is clear enough amid the roughage.

I feel like they don’t quite pair with Fu Manchu (they seem a bit too aggressive) and would pair better with Monster Magnet.

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SOUNDTRACK: CANADIAN GUITAR SUMMIT (RIK EMMET, ALEX LIFESON, LIONA BOYD, ED BICKERT)-“Beyond Borders” (Guitar Player Magazine, July 1987).

I was not familiar with this recording and just happened upon it this weekend while looking up Rik Emmet.  So it turns out that back in 1987, around the time of the release of the final Triumph album with Rik Emmet, Rik had created this instrumental composition.  It features four superb Canadian guitarists.  I didn’t know Liona Boyd (classical) or Ed Bickert (jazz), but if course I know Rik and Alex.

Evidently Rik wanted to do something which fused genres together (Rik plays all manner of guitar quite successfully).

Fusing different musical forms is hardly new in the guitar world: The marriage between jazz and rock has survived nearly two decades, while jazz and classical get together fairly often. Of course, the more styles you try to blend, the less probable success becomes and the greater the risk of producing something whose sum is smaller than each individual element.

Rik Emmett, leader of the rock power trio Triumph and the author of Guitar Player’s Back To Basics column, was fully aware of the artistic hazards involved when he proposed a Sound page recording to Editor Tom Wheeler in late 1986 that would fuse rock, jazz, and classical. While such a project promised to be the most complex one of its nature since the Sound page’s debut in the Oct. ’84 issue, after hearing Emmett’s concept and who he had in mind to fill out his guitar quartet-Alex Lifeson, Liona Boyd, and Ed Bickert-the go-ahead was given.

The resulting composition-Emmett’s masterful “Beyond Borders” -succeeds in melding its various elements on a number of levels. Although brilliant playing abounds, the piece is more than a vehicle for virtuosic displays as it integrates various styles and weaves in and out of different moods, textures, tones, rhythms, key centers, and time changes. The players receive ample solo space; however, the emphasis clearly is on interaction-a surprising outcome, considering the ever-present temptation to fall back on excessive blowing (Emmett discusses “Beyond Borders” on page 80; the Sound page and musical excerpts are on page 82).

It’s a really lovely piece with each musician playing to his or her strength but also doing some unexpected things.  I feel like Alex has the most fun with th epiece as he seems to create a lot more textural stuff that actual solo material.

This recording is available on line in many places, but I chose this one because the sound quality is quite good.

During this lengthy piece in Guitar Player, there’s an interview with all four guitarists as well as some background information about the piece itself.

There’s also this explanation from Rik about who plays what, so you can follow along:

“Beyond Borders” is basically 120 bars long, and it begins with an adagio section with a tempo of 72 beats per minute. I do the lead guitar off of the top, and Alex plays the atmospheric stuff in the background, which includes low weird things and floating sound effects. Ed comes in with a little melody that lasts from bar 4 into measure 5, and then Liona’s little melody enters at bar 6. The lead that comes in at measure 8 is Alex. In measure 15 Liona plays a little classical lick that Richard Fortin wrote. At bar 17 I play a long feedback melody that continues to measure 26.

Liona begins her classical tremolo solo at measure 22; in the background you’ll notice the feedback guitar part. Liona’s and Ed’s parts cross at bar 28, as Ed takes over with a rubato chord-melody solo. At measure 33 he kicks into an allegro tempo of 140 beats per minute. That’s where I back him up with a simulated bass guitar part that I play on my Yamaha arch-top. For the warm bass sound I rolled the treble back and played with the fleshy part of my thumb. Ed does a cadenza at measure 64, and Alex plays an atmospheric technique where he holds a chord and brushes the strings quickly with the fleshy pads of his right-hand fingers; Lenny Breau was the first person I saw use that.

Bar 65 has an adagio tempo of 70 beats per minute. I play the lead guitar, and Alex adds the arpeggiated electric guitar part behind it. That continues to bar 76, where Liona plays her Lenny Breau octave harmonic lick. That’s also where I begin using the Coral Electric Sitar, with echo repeats on it. Bar 77 is semi-country acoustic fingerpicking with an andante tempo of 90 beats per minute. I play the acoustic steel-string, and Liona plays nylon-string in unison, all the way to bar 102; sometimes I break into harmony, but it’s a unison part essentially. During that same section I also play the Dobro part and all of the electric fills that have a Pat Metheny-esque sound. Alex did the violin sounding swells in the background with a volume pedal.

Where measure 101 crosses over to 102, I did a little lap steel thing with a volume pedal and echo that goes up from a fifth to an octave; it’s kind of a Steve Howe cop. Measure 102 is the beginning of the end. Liona plays the little classical part, and then I break into the harmonies above it. During this section I did all of the wire choirs, which are triads with some of the voices doubled, and I also played the 6/ 8 melody lead guitar fills on the tag right near the end.

It’s really great.

[READ: June 4, 2019] “Javi”

This was a wonderful, slowly evolving story that was one thing on the surface, but had so much more roiling underneath.

As it opens, Javier has knocked on the house of a “lady” in the middle of nowhere, New Mexico.  The person who answers the door doesn’t like that word and to Javi’s mind he’s not sure if the person is even a woman.  He clarifies that he’s looking for the painter.  She concedes that she is the only painter in the area.  He says that his moms heard she needed help.  She asks how old he is.  He replies “I’m four– I’m sixteen.”  The painter says she is 82, how can a young boy help her?  He lists the various things he can do for her–cook, clean, drive etc.  She is concerned that people are talking about her but he assures her it was for his benefit, not hers.

He explains that he walked the twenty miles from Pueblo.  If she’s impressed by this it’s hard to tell.  She is rather inscrutable.  She is supposed to go to an old age home, but if Javi can help her, she can delay that for a year or so.

There’s plenty of wonderful details that unfold slowly, because that is how she is: ‘watching her work is calming, hypnotic.” (more…)

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[ATTENDED: December 18, 2018] Geddy Lee book signing

When I heard that Geddy Lee would be publishing the Big Beautiful Book of Bass, I thought it was kind of neat.  But I didn’t really need a 7 pound coffee table book of bass guitars.  And, no matter how cool it was, I definitely didn’t need the $900 Ultra Limited Edition.

I thought it might be fun to look through, but I even told S. not to get it for me for Christmas.

And then Geddy announced he would be doing book signings.  And one of them would be at Bookends bookstore in Ridgewood, NJ, just ten minutes from where I grew up (but an hour away from where I live now), I jokingly said that my teenaged self would have been there in a heartbeat.  But I knew I’d have to take a day off of work and, really, was it that big of a deal?

Then my sister-in-law, a huge Rush fan herself, said, I should go just for her and I got to thinking that it would be pretty cool to sort of meet Geddy Lee.  I couldn’t imagine how else that would happen.

So I took the day off and drove up to Ridgewood.  I had it planned that I would get to the bookstore fairly early (the signing was at 5), get my wristband, go to the IKEA that’s near by and then come back and wait on line.  I got to the store later than I meant to and they told me the line was already forming.  So I wound up, completely underdressed, standing in the cold for an hour an a half (I thought there were only 100 tickets sold, but there were actually 1000).

Geddy was still in NYC when we got online, and they gave us occasional updates as he was driven here.  When he parked the car behind the store, we all got the briefly glimpse of him.  And then he quickly hustled inside.

We were all abuzz by then, even if it still took 45 minutes for us to get inside. (more…)

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SOUNDTRACK: BIDINIBAND-The Carleton, Halifax, NS (February 13, 2015).

This is the most current solo show from anybody on the RheostaticsLive webpage.

Bidiniband’s third album came out in 2014 and this show chooses from it pretty heavily.

The show starts (Dave sounds either like he has a bit of a cold or he’s just worn out) with Dave saying “We’re going to start with a song about the cold, because it is.  Fucking snow, eh  Wow.”  “The Grey Wave” has great chord changes in the chorus.  It is a slow folkie song about cold and snow.  I like that he whispers “let’s go” before the buzzy but quiet solo.  The chorus comes out of that fairly rocking (a least for this set).

Dave continues, “I have some news.  Last night I was offered cocaine in the bathroom of the Alehouse.”  (Don, on drums, whispers, “in exchange for what?”).  Dave: “I think the guy just wanted to be my friend.  He was a bit of an asshole.  Cocaine is the one drug I think where when people offer it to you and when you say no, they apologize for having assumed you wanted any.”

Someone else notes: “I like that we’re the rock band from Toronto and we’re the ones shocked by all the drugs everyone is doing.  We were in BC and we were shocked at the big jug of MDMA being passed around.”

“Everyday Superstar” is a rocking, swinging song.  I love that the chorus is “I’m an animal out of control” but it’s kind of slow and mellow and at one point he says “its true.” And there’s this lyric: “When it’s hot, I’m gonna be Bon Scott you be Lita Ford.”  At the end of the song, someone asks, “Does everybody in the house know what bass face is?  You never know when Haddon is going to a picture of you with that face.”  Dave tells a story that Haddon Strong had a subscription to a magazine and it was addressed to Hardon Strong.

Introducing “My First Rock Concert” he says, “this is a song about music.  I bet you think it’s ‘Proud Mary’ but it’s not.  That was done last night.”  He sings it kind of whispering/spoken.   In the middle, Paul plays the riff to “Brown Eyed Girl” while Dave is singing “you’re either a mouse or Steven Page.”

“Take A Wild Ride” is s short song that segues at the same fast tempo into “The List” which is, again, almost spoken.  He throws in some other people who have made the list.  Jian Ghomeshi and Joel Plaskett (he was in Thrush Hermit) and at the end he says, “only kidding about Joel.”

“Big Men Go Fast On The Water” is a great-sounding song–in this version, the guitar riffs between verses sound like Boston.  They played this song last night at “Stolen from a Hockey Card” at the Spats Theater.  Dave was disappointed there were no spats there.  He says, “If I’ve over pattering, just tell me.”

We wrote this song “Bad Really Bad” about the Toronto Maple Leafs.  Three chords and the truth.

“In The Rock Hall” is about the Rock n Roll Hall of Fame in Cleveland from a poem written by Paul Quarrington  Once again he almost whispers, “C’mon Halifax, let’s rock.”   About “Ladies of Montreal,” he says, “I didn’t think there were enough songs in indie rock well, elderly indie rock, independent seniors, about beautiful women… boobs, you know.  It came in a dream.  I had to write it.”  Dave says it is sexist although I don’t exactly know what he’s saying with the French words.

Getting ready to play “The Motherland Part 1,” he asks, “Jerry you brought your flute, did you?  Oh fuck’s sake.  It’s okay. I think I told you last night but we were both pretty hammered.”  “The Fatherland” is “a heavy metal political song…political metal… politometal.”  It totally rocks and at the end Dave says “I don’t understand, the dancing girl left and we’re playing our most uptempo tunes.”  Before they complete the trilogy with “The Motherland Part 2” someone in the band asks, have you got the cocaine?–its pure MDMA.  Don rehashes the story about him throwing up at a party in the closet because of hot knives.  The middle of Part 2 really rocks.

“Last Of The Dead Wrong Things” is quieter for sure but the chorus and backing vocals are great.  Where there’s usually a drum solo there’s a kind of quiet freak out.

He says, “we’re going to do one more” (boo) …well how many more do you deserve?  Seventeen, eh, you have a very inflated view of yourself.”

“We’ll do ‘Fat,’ (a song “by Rheostatics band”), it has similar chord shapes don’t hold that against us.  Did I tell you we were playing this one?”  “Would it matter?” Let’s have a round of applause for Kevin Lacroix on the bass and Don Kerr on the drums.  Paul Linklater on guitar.

“We played with Corb Lund yesterday, from Alberta.  He’s very handsome and very accomplished.  “Really really handsome.”  Kevin: “I made out with him.”  Dave: “I made out with a guy who I thought was Corb but who was really the cleaning guy for the hotel….  Last night on this very stage he intoned, he evoked the name of Washboard Hank Fisher….  You’re not going are you, it’s going to be a good song.”  They have Lots of fun with “The Midnight Ride Of Red Dog Ray”  with over the top backing vocals.  And in the solo, we get Paul Linklater, one more time pickin’ and grinnin.’

Before the next song Dave says, “What are you guys laughing at?  I can see you in the mirror, you know.  This is my favorite club coz I can watch my rock moves, they’re top ranked.”  Don:  “That’s actually Dave’s mirror, he brings it to every club and says that.  It’s embarrassing.”  Dave mentions a famous story (doesn’t know who it’s about) about a heavy metal singer who was hammered and he saw the guy in the mirror and thought he was mocking him.  So he challenged him to a fight.  That’s rock n roll.”

“You got a weak bladder Jerry?  I’ve got a weak bladder, too.  I’ve peed myself twice during this set.”

This is an album by Bidiniband called The Motherland.  It’s a delicious record and I’d like you to buy it.  All of you.  It’s only $10.  Produced in Toronto in a studio  … by professionals.  Trained professional sounds.  Nothing like what you’re hearing tonight.

There’s a great buzzy bass sound on “Desert Island Poem” which is “a funny song about cannibalism.”  Dave gets pretty crazy at the end.

It segues into a wonderful surprise of them playing”Queer.”  And then a terrific version of “I Wanna Go To Yemen” with a fun wild sliding solo.

He wishes everyone a good night and they leave for a few seconds.  “If we take a break we probably won’t play anymore.  But that was break…  We probably should have taken a longer break and milked it more… but we didn’t.”

“Do people who come to lean along the bar are they into the music?”  Kevin: “Those are some of the best people in Halifax…but the creme d la creme starts right here.”

Jerry didn’t find his flute did he?  Dave asks for a hand for the opening act, Communism Music, look them up

The first encore is the hilariously offensive song “Take A Bath Hippie.”   Sample verses:  “This ain’t the 1960s / These are brand new modern times / everyone is equal and everyone is doing fine,”  “Your revolution ended the day Trudeau retired.  A land of Stephen Harper… we got the country we desired.”   He asks, “You guys got hippies out here?  Probably not. You got Buddhists.  That’s just as bad.  They lie around in their robes  eating flowers.  Shaving each other’s heads.  Sacrificing a goat here and there.”

 We’re all getting G&Ts?  Thank you people of the night.  Kevin: “Treating us all equally?  Like my parents.  My parents would bring us all something she wouldn’t bring me a G&T without bringing one to my sister.”  Dave: They were saints.

FYI, tomorrow, there is Hockey Day in Canada–a ton of games on and footage from the concert last night with Theoren Fleury, Rich Aucoin, Buck 65, Miranda Mulholland, and the ever handsome Corb “The Boner” Lund and The Barra MacNeils.  Dave did a short movie about John Brophy, that’s gonna be on.  “Fuck, it’s Saturday… just sit at home and watch hockey.  It’s what we are supposed to do.  If you don’t, Stephen Harper will have your ass.  But I’ll save you because I’m the hockey guardian.  No I’m not, I’m just tired.”

We’ll try to do one last song.  Have we done “Take a Bath Hippie?”  We’ll save it for next time.  I’m trying to not do a typical show closer tune.

Last gig Kevin played with this band he was playing drums.   I guess it didn’t go well because he’s been demoted to bass. (ha ha).  Dave: “You’ve got the best bass player joke about what happened to Gordie Johnson.”  Kevin: “oh no that’s just nasty.”  Dave “You’re right, its for later in the washroom when were doing coke.”

They play a surprising “Stolen Car.”  It’s so weird to hear Dave sing this song (which he wrote)–he whisper sings it (and can’t really hit the notes).  It segues into a folkie
“Legal Age Life -> Do You Wanna Dance -> Legal Age Life” with them singing, “Oh yeah music is fun.  Friends are fun.  Rock n roll is fun.  Sloppy and fun.”  They end with a Johnny Cash line get rhythm when you get the blues.

Who would have guessed that just seven months later Rheostatics would reunite?

[READ: November, December 2017 & January 2018] West End Phoenix

West End Phoenix is a newly created newspaper.  It was inspired by Dave Bidini.

I have loved just about all of the music that Bidini has created (with Rheostatics and Bigdiniband) and I have loved just about all of the books he has written.  So why wouldn’t I love a newspaper created by him?  Well, possibly because it serves a community that I do not live in and have very likely never visited.  That’s right, this is a community newspaper for a community that isn’t even in my country.

And it is terrific.

But why on earth would I want to read it?  Can I really like Bidini that much? (more…)

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[ATTENDED: June 25, 2015] Rush

2015-06-25 21.28.51I was a huge Rush fan back in the day.  In fact, to last night’s show Sarah wore my Rush shirt that I bought in, oh, 1983 or so.  Despite my huge love of Rush I actually hadn’t seen them many times live. I missed several opportunities in college (stupid work ethic) but finally got to see them on the Presto tour.  Whether it was April 20 or April 25, it was definitely 1990 and most likely at the Brendan Byrne Arena (R.I.P.).

I feel like I may have seen them on one more tour before seeing them again (possibly three times, I have 3 stubs) in 2002.  The problem with seeing them a lot in one tour is that they tend to keep the set list the same in every show (there’s some variation below).  And I remember thinking i didn’t need to see them again after that.

Of course, after seeing them last night and today listening to the Clockwork Angels tour CD I am really kicking myself for not going to that tour because there is some really interesting stuff (and a string section) which would have been pretty cool to see.  But that’s okay because the show last night was so good that it satisfied all my Rush needs–a great send off (presumably) to a great band.

Sarah had never seen Rush before (and in fact once actively disliked them, and may still).  But she was won over by the show.

I haven’t been to a big arena show (except for Kiss) in a long time, so I kind of forgot what we’d be getting.  And wow did we get a lot–flash pots, fire, lasers, explosions, video screen (even a possible marriage proposal in front of us).  And, at any Rush show… lots of air drumming (including from myself).

I had been deliberately avoiding any spoilers from the set list.  I didn’t want to have any expectations.  And I have to say, if I had made an ideal set lit, (which I thought about doing), they would have hit quite a number of them.  (Thanks Rush fans for not spoiling things for me).  And thus, below is a whole bunch of spoilers [consider yourself warned].  But one spoiler you must read–do not leave during the encore, there’s more to the show when the music is done. (more…)

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1982SOUNDTRACK: DAVID BOWIE-“The Laughing Gnome” (1967).

gnomeI have always liked David Bowie.  Never loved him, but always liked his radio hits (and a bit more).  Suffice it to say that I have never heard of “The Laughing Gnome” before reading about it in this book.

What a strange little song.  I can’t tell if it came out before or after his debut solo record (he has the same haircut), but I gather it was released as a novelty record.

It’s a delightful little song.  Very sixties mod with a healthy nod of dance-hall.  The very different thing of course is that in the song, the main singer (Bowie) meets and sings with a sped-up-voiced Cockney “gnome.”

So the song is clearly a novelty song (what else would you call it?).  Except that the production is really great and the music is really good too.  Despite the gnome, the song isn’t really a “funny” song (well, there are jokes and puns, I guess).  It’s certainly weird and certainly silly, but it holds up pretty well to repeated listens (even if the chorus is “ha ha ha hee hee hee I’m a laughing gnome and you can’t catch me”).

Bowie doesn’t really acknowledge the song anymore, although he did joke that he was considering performing it in a new ‘Velvet Underground-influenced’ style.  Before that happens, hear the original

[READ: November 22, 2014] 1982

So yes, I know that Ghomeshi is in the midst of a scandal in which he is pretty undeniably a sexually abusive scumbag.  I’ll say nothing more about that since things are still under investigation {formal charges were brought today].  But it doesn’t look good for Jian.

This is rather upsetting.  For the women involved, obviously, but also for those of us who liked Jian and thought he was one of the good guys.  Which I did.  I loved Moxy Fruvous.  I loved his solo album.  I had a brief email exchange with him before he joined the CBC, and his show, Q was one of the best interview shows out there.  He always seemed so nice and on the right side of so many issues.  Ugh.

But anyhow, this is about the book, not him (although the book is about him as well).  I only heard about the book when I was looking for news about his scandal (I had no idea he had written a book).  The book is called 1982 because it is all about his life in the year 1982, a formative year in his childhood. (more…)

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resetSOUNDTRACK: RUSH “Garden Road” and “Fancy Dancer” (from Fifth Order of the Angels) (1974).

I mentioned this bootleg a few years ago, but it has recently been updated to include the missing songs.  (Huzzah!).

So this set from 1974 is pretty great–rocking, noisy, screaming solos–a very heavy show (and the crowd is quite appreciative).

These two songs never made it on any Rush albums.  They were written before Neil joined the band and, when asked, he said they never made it on an album because they were written before he joined the band (bitchy!).  But evidently the songs were quite popular when they toured.

“Fancy Dancer” opens with a staccato riff and lyrics about a woman who leaves him.  The second verse allows Alex to noodle while Geddy is singing (which is why I never really notice the lyrics).  The chorus has some big chords and reminds me in some ways of “Making Memories.”  But mostly this seems like a chance for Alex to solo and solo and solo (and for Neil to play…only a bass drum!  (for a few measures)).  The song is 3:43 and the solo is over a minute and a half.  Although the end has some cool fast short chords that the band would use very effectively on 2112.

“Garden Road” has a faster riff (very bluesy), which is interspersed with some chugga chugga guitars during the vocals.  The chorus is completely unintelligible to me.  “This Garden Road is Whoa!.”

A few other things about this bootleg which I neglected to mention.  The solo in Working Man incorporates some sections of what would become “By-Tor and the Snow Dog.”  And it’s really funny hearing Geddy say, “We’d like to do something from our album.”  It’s pretty amazing how far the band progressed from these rocking beginnings.

Download the whole thing here.

[READ: July 5, 2013] Reset

I recognized Bagge’s name, although I haven’t read his previous books.  I’m sure I’ve seen his work anthologized as his style is very familiar.  His drawings are dark (some might say ugly) and his characters always seem a little pained.

So it’s unsurprising that this book’s protagonist is Guy Krause, a former actor.  (His famous line is hilarious and I love that it is revealed very late in the story and then as a running joke).  He has recently come close to hitting bottom–his upcoming shows have been cancelled and his last resort is a reality show.  And when we first meet him, he is in a drunk driving class.

And that’s where Angela Minor comes in.  She offers Guy a chance to relive his life.  He’s obviously skeptical until she explains that it is a virtual experience.  They hook him up to a machine and he gets to try to change the virtual past.  This is all an experiment in seeing how people react to being able to change things that they fixate on.  It turns out the scientists have all kinds of information on him (because he is a celebrity) so it’s not a coincidence that they found him.

Guy balks.  Until she tells him how much they’ll pay him to do it.  Then he’s in. (more…)

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