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Archive for the ‘Geddy Lee’ Category

SOUNDTRACK: RUSH-“Headlong Flight” (2012).

A new single from Rush came out on Thursday.  And it’s seven minutes long!  Yeeha!  It’s also really heavy.

It opens with a cool bass riff and then thundering guitars.  This song continues in the heavier, grungier sound from Vapor Trails.  The middle section sounds distinctly Rush (late 80s style), and Geddy’s voice hits some pretty high notes.

There’s a brief extra section with a spoken word part–I’ve not been able to make out what it says, but the instruments (especially the great guitar sound) is fantastic behind it.  That’s followed by a great solo from Alex (that hearkens back to his wild solos from the 70s).  Geddy throws some cool bass fills–although he’s not showing off as much as he might).  And, of course, Neil is doing some cool drum things through the song–little fills and whatnot–and he sounds like he’s pounding the hell out of the drums.

Here’s the video

[READ: April 14, 2012] Squirrel Seeks Chipmunk

As I mentioned yesterday, I bought a book to have David Sedaris sign it, but decided the wait wasn’t worth it.  This is the book I bought.  It very excitedly claims to “with one new story” which I thought was funny both in itself and also because I hadn’t read any of the other ones (I gather they are from This American Life, although they’re mostly too vulgar to have read on the radio).  It also has illustrations from Ian Falconer, who is the guy behind Olivia, the children’s book series.

Anyone who has read David Sedaris essays knows what to expect–funny, presumably exaggerated stories about his family and loved ones.  Indeed, the stories that he read from during the show were just that–dark and funny and about his loved ones.  So imagine my surprise to find that these were all short fictional stories about animals!  No Sedaris’ are harmed in this book.

All of the animals are behaving like people, so Sedaris’ caustic wit and attacks on hypocrisy are all in play.  However, because they are animals, Sedaris can go much much further with them.  Matt Groening said that he could get away with a lot more social criticism because The Simpsons were cartoons; the same applies here.  Indeed, these are some of the darkest stories that I have ever read from Sedaris.

Some of them are kinda funny, but most of them left me mildly bemused at best.  Because while they seem to be a kind of laugh-at-the-recognition-of-our-foolish-behavior (as done by animals), really they are preachy and seem generally disappointed in us.   And who wants to read that?  It basically seemed like an opportunity for Sedaris to make fun of things that he doesn’t like about people.  But he knew it would be obnoxious to makes stories about people acting that way, so he made them animals instead.  And perhaps he thought that would make it funnier.  At times this was true, but not very often. (more…)

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SOUNDTRACK: BARENAKED LADIES-Buck Naked (1989).

Although The Yellow Tape was the major catapult, their previous cassette (known as Buck Naked) was their first demo tape.  Wikipedia explains that it came in many versions with several covers.

The initial release had 5 songs.  The final release bumped it up to 15.

I wasn’t even aware of this cassette until I was browsing around for The Yellow Tape.  And, thanks YouTube for supplying all of the tracks.

The recording is just Steven Page and Ed Robertson and a couple of acoustic guitars. And it’s totally a home recording.  But for all of that, it’s delightful to see how fully released some of their songs were.  It includes these songs which appeared on later releases” “King of Bedside Manor,” “Great Provider” “Be My Yoko Ono” and “If I Had $1,000,000.”

The rest of the tape is a mix of a few silly things and a lot of not at all silly songs.

“Road Runner” is a cover. But not THAT cover.  Rather, it’s a cover of the Saturday morning Road Runner cartoon theme song: “Road Runner, the coyotes after you….” They also cover “Psycho Killer” which is pretty hard to mess up (their version is a good campfire version, although it devolves into nonsense).  “Rudi, a Message to You” one of the great, mellow ska songs also get something of  an acoustic cover here.  Although it’s more lackluster than the original (no horns).  Finally “Wishing Well” is a cover of the Terence Trent D’arby song and is full of amusing cheap casio sounds.

“Really Don’t Know” also has a delightful excerpt from the Geddy Lee/Bob and Doug MacKenzie song “Take Off”

The other songs are decent folkie songs.  Primarily they seem to be about relationships (but it’s not always easy to tell).  Although “Careless” is a fun pop-culture mocking song (that would probably still work well live).

Sadly, the last track, the 5 second “How’s the Level,” does not seem to have made it to YouTube.  It’s obviously a goof of some sort, but I would have liked to have heard it.

I can’t imagine how many times this cassette was played before it was sent to YouTube, some of the songs sound very faded which is certainly a problem of the tape, not the original recording, but even those song (where the lyrics are hard to decipher) still sound good (and their harmonies were solid back then too).

[READ: September 13, 2010] The Maze of Bones

For two years now, this series has been red hot.  All of the kids want to read these books (probably second only to the Percy Jackson series).  What fascinated me about this series is that it is written by several different authors (which is a nightmare for libraries who shelve their books bu authors). There are ten books in all.   The authors are: Rick Riordan [Book 1], Gordon Korman [Books 2 and 8], Peter Lerangis [Books 3 and 7], Jude Watson [Books 4 and 6], Patrick Carman [Books 5], Linda Sue Park [Book 9] and, and Margaret Peterson Haddix [Books 10].

I’ve not read any of Riordan’s other books, so I don’t know how this compares.  I felt the story opened a little slowly (there’s quite a lot of information to impart) but once it took off I couldn’t put the book down.

Amy and Dan are orphans living with their mean and controlling aunt.  They learn that their grandmother (whom Amy loved and Dan thought was weird but had cool stuff) has just died.  When they go to the funeral, their grandmother Grace has set up a fascinating contest for the surviving families.  They can either take their allotment ($1 million) or they can give it back in exchange for the first of 39 clues.  Solving the clues will give them the secrets they need to become, literally, the most powerful people in the world (although at the stage we don’t even really know what that means). (more…)

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SOUNDTRACKRUSH-“La Villa Strangiato” (from Rush: Beyond the Lighted Stage) (2010).

In the bonus features of the DVD for Rush: Beyond the Lighted Stage, we see (in addition to some awesome live footage of Rush in 1974 with original drummer John Rutsey) a fantastic live clip of Rush playing “La Villa Strangiato,” one of the best instrumentals around.

The camera angle focuses mainly on Alex Lifeson.  And man does he rock!

It’s common knowledge, even among Rush haters, that Geddy Lee and Neil Peart are (or at least were) always at the top of the list of “Best” bassist and drummer respectively.  And yup, they are pretty amazing.  But this has always left Alex in the shadows.

Admittedly, there are thousands of great, amazing, ear melting guitarists.  And, typically, the bassist and drummer are kind of dull, so it makes sense that Alex’s playing is in the shadows of the other two.  But I fear that he is often labelled as just not very good.

This video should totally prove that suggestion incorrect.  He plays quickly and with amazing accuracy, in a multitude of styles.

And speaking of the movie, I always wondered if their families minded that Alex and Geddy changed their names for the band (it’s never addressed in the film). It seems like a weird thing to have done circa 1974 in Canada, although Kiss did the same thing at the time in New York (removing the Jewishness of their names).  I just love the name Živojinović, and it’s a shame it’s not better known.  (Huh, although Wikipedia tells me that Lifeson is a sort of literal translation of Živojinović.  Who knew?)

[READ: July 29, 2010] “Grokking Rush”

Since Rush has been everywhere lately, I figured I’d mention this recent article in The Believer.  There’s nothing terribly new in the article.  In fact, it seems like something of an introduction to the uninitiated, giving a basic history of the band and their lyrical themes.

The only thing I didn’t know, which is teased out in the subtitle, was that so many academic papers have been written about the band. Dissertation titles include “Permanent Changes: Rush, Musicians’ Rock, and the Progressive Post-Counter-Culture” and “Grand Designs: A Musical, Social and Ethnographic Study of Rush.”  They have also been written about in The Journal of American and Comparative Cultures and Popular Music and Society.  And, they are the only band ever to be cited in the Journal of Ayn Rand Studies. (more…)

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[WATCHED: July 11, 2010] Beyond the Lighted Stage

I had heard about this film around the time that I read .  I was pretty excited about it, and then evidently everyone I know went to the TriBeCa Film Festival and saw it (except me).  And then everyone saw it on VH1 (except me), so I bought the DVD instead.

This film is really fantastic.  Obviously, it helps if you’re a Rush fan, but Geddy and Alex in particular are funny and interesting (even if they think they are boring).  And the film is expertly edited.  They cover 40 years of Rush’s history in 90 minutes.  This leads to a rather cursory look at their history, so the film doesn’t get mired in details, but there are tidbits of fun for die-hards. (more…)

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SOUNDTRACK: RUSH-A Farewell to Kings (1977).

Although I recently said that Caress of Steel is one of my favorite Rush albums, I’m really torn between a number of their albums from the 1970s.  I’ve loved A Farewell to Kings since the time I got it: it’s over the top, and it showcases all of the band’s strengths.

The opener “A Farewell to Kings” features a wonderful classical guitar intro that morphs into a heavy rocking masterpiece.  There’s time changes galore and it’s all over in just about 5 minutes.

It’s followed by “Xanadu,” one of Rush’s all time great epics.  Tubular bells, cool guitar effects, Rush’s first great use of keyboards-as-effects, even a cowbell solo all open this song with sufficient grandeur for what’s to come.  A slow vocal intro leads to a super fast exploration of Coleridge’s “Kubla Khan.”  Whenever people wondered why Neil’s drumset was so big or why Alex (and Geddy) had doublenecked guitars, they needed only listen to this to be amazed that three men could play it all.  11 minutes long and not a wasted second.

One of Rush’s biggest hits and perennial favorite “Closer to the Heart” comes next and it still sounds pretty fresh all these years later.  “Cinderella Man” is an overlooked track on this disc, but it showcases Rush’s drift away from the individualism vs state of 2112, and move toward the individualism of doing what’s right for all: “he held up his riches to challenge the hungry.”  It also features a blistering solo from Alex.  “Madrigal” is a very short acoustic song, quite a departure for the time but a nice delicate track before….

“Cygnus X-1.”  The other epic on this disc.  And right from the start you know you’re in new territory here.  A fully distorted voice, bells echoing like they are floating at sea (or in outer space), all kinds of build-up lead to a noisy bass line coming from far away in the depths of space.  And after 2 and a half minutes of build up, the whole band kicks in with this off kilter heavy rocker.  It’s basically the story of a space ship flying into a black hole. It also features some of Geddy’s most screechy vocals.  I wish I could remember the exact quote, but my friend Joe’s bandmate had a wonderfully derogatory description of the end of this song.

But aside from the end, the main body is great.  From the 5 minute mark, the song is a catchy, driving song as the Rocinante flies through the galaxy.  From the 7 minute mark, the song is seemingly caught in the black hole, as the song drifts about, compressing the song into a manic session of fast fast fast riffs and Geddy’s tortured screams.  It’s pretty intense, and guaranteed to alienate as many people as it wins.

The album features so much experimentation, and it’s wonderful to see a band with so much creative energy release a disc with so many fantastic moments.  Very few records take risks like this anymore.

[READ: March 21, 2010] The Color of Heaven

This final book of the Kim Dog Hwa’s trilogy is a wonderful conclusion to this sweet story.  If you’ve read my previous two posts about these books, you know that this is the story of, Ehwa, a young woman as she matures in rural Korea several generations ago.  By this third book, she has turned 17 and has met the love of her life.  Sadly for her, Duksam has had to leave suddenly.  At the end of book two, he set sail in part because he was fleeing an angry mob, but also in an attempt to make money as a fisherman so that he can save up for his beloved Ehwa. (more…)

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SOUNDTRACK: RUSH-Caress of Steel (1975).

Despite the fact that this album is largely considered a failure, it’s one of my favorite Rush albums.  There’s so much weirdness about it that I can see why it isn’t terribly popular but there’s so much goodness that it makes me a bit bummed that some glorious tracks are overlooked.

It opens with the one track people know from the disc: “Bastille Day,” a rough raw rocker that is heavy and really sets the tone for the first side of the disc. The heavy heavy riff is reminiscent of Black Sabbath and other early metal pioneers.  I also learned that they were touring with Kiss around this time, so maybe that’s where they got some of their heavy riff ideas from. I of course cannot imagine Rush and Kiss touring together.  That must have been a real trip.

The second song, the amusing “I Think I’m Going Bald” is rather obvious, especially the way he delivers the title line, but man the guitar solo just rocks and rocks and rocks.  “Lakeside Park,” a real location outside of Toronto is a gentle tribute to youth.   This quote amuses me no end, and is something I just read about.

The first real highlight for me is “The Necromancer,” a wacked out 12-minute mini epic.  It opens with a spoken word introduction, setting the tale of three travelers fording a river. The first part is pure psychedelia, with screaming guitars going from ear to ear.  The second part is heavy with a slow pounding riff and Geddy’s screamed vocals  It features a long headphone-happy guitar solo.  And just when you think it’s over, there’s some crazy sound effects and, yes more guitar soloing.

The third and final movement sees the return of By-Tor from “By-Tor and the Snow Dog.”  By-Tor is now a good guy and he scares off the Necromancer.  I always enjoyed playing this part on the guitar as the chord progression is really pretty.

Side Two is one song, a full side, their first proper epic. Called “The Fountain of Lamneth” it focuses on a man’s quest for this elusive Fountain.  It has six parts.  The first, “In the Valley” is a pretty, acoustic ballad that expands into a loud rocker.  It introduces our anonymous narrator, and by the end its sets the tone with a loud/quiet explanation of his satisfaction and dissatisfaction with his life.

It’s followed by the insane “Didacts and Narpets” (Teachers and Parents (anagram on Narpets).  It’s just drums and shouting.  Evidently it’s designed to show a young man fighting with teachers and parents, and sure why not.  It’s pretty out there, but it’s only 90 seconds long.  (I’ve always enjoyed it).

The middle sections are really quite mellow.  More of that beautiful classical guitar that Alex does so well.  The songs don’t remain mellow the whole time, with “No One at The Bridge” adding some loud aggressive bits.  But “Panacea” stays quite mellow, with some beautiful guitar harmonics.  The next bit, “Bacchus Plateau” is a really pretty song despite its ultimately downer message, and probably could have been a hit if tit weren’t part of  20 minute song..

The song ends with him finding the fountain.  And yet rather than rejoice, he’s exhausted.  But I’ve always enjoyed the “message” of the song: “Life is just a candle but the dream must give it flame.”  It’s inspirational and depressing at the same time.  It ends with a reprise of the opening acoustic bit. It’s a tidy song and a wonderful first attempt at an epic track.

The only reason I’m surprised this didn’t sell well is that it works so well as a trippy 70s disc, ideal for sitting around with headphones on in one of those round chairs.  I assume its the heaviness that turned away fans of Pink Floyd and the like.  And, well, probably the downer message and really weird title of the disc (what does Caress of Steel mean anyhow?) might have had something to do with it.

[READ: March 10, 2010] Rush, Rock Music and the Middle Class

I read about this book in an article from The Walrus. And I thought to myself, it’s geeky enough to love Rush, but how about reading an academic treatise about Rush? I’m so there.

Well, I haven’t really read a truly academic (as in published by a University Press) book in a while, but it didn’t take too long to get back in the swing of things.  Plus, if I may be so bold, ethnomusicology seems like a lot more fun than philosophy.

As the subtitle implies, this book looks at Rush as music for the middle class.  The only thing I had a hard time with the book was the definition of middle class.  It is specifically aimed at a U.S./Canadian middle class (although the UK does enter into it too), and with all of the definitions thrown around, middle class seems very broad.  The easiest breakdown to see was based on employment and the most prominent type of employment among Rush fans was “professional” (including librarians and IT people).  So, evidently I am middle class.  I only say this because for the most part classes are hidden in the US (they aren’t, of course, but there are many attempts to try to keep them hidden).

This concept of class obviously pervades the entire book.  But before we get too hung up on that, we must not forget that the real focus of the book: the music of Rush. (more…)

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SOUNDTRACK: BARENAKED LADIES-Snacktime (2008).

The Barenaked Ladies have always been like naughty kids.  So, it seems almost too obvious for them to make a kids’ album.  But almost as if they want to continue being naughty, this kids album is quite smart, not just a collection of cute kids songs.

There’s a wild mix of very specifically kiddie-aimed tracks and other amusing pop cultural commentary (or jokes from kiddies past).  For instance, the opening track “789” plays on the wonderful joke of why was 6 afraid of 7.

There’s also a lot of the more delicate sounding BNL songs that came to dominate their later albums: “Pollywog in a Bog” is a cute upbeat little ditty, “Here Come the Geese” is a pretty typical Kevin Hearn track (even his adult songs sound like children’s songs).

But I think the highlight comes from when Ed Robertson and Steven Page join forces.  Robertson is the king of the goofy guys and Steven Page’s songs are always wonderful, but typically less silly.  So “I Don’t Like” is a serious look at things we don’t like (salmon, heights), while the fantastic “Crazy ABCs” is a funny and clever look at words that start with silent letters: “D is for djinn E is for Euphrates F is for Fohn etc.”

I also enjoy Roberston’s solo songs like “There’s a Word for That.”  Robertson is clearly a fan of wordplay, and this song highlights that: “There’s a word for that…little dented skin between my upper lip and nose.”

My favorite song of the disc is “The Canadian Snacktime Trilogy.”  All kinds of famous (and non famous) people tell us what their favorite snacks are.  The contributors are listed here, and they include: Geddy Lee, barbecue potato chips; Lyle Lovett, watermelon; Martin Tielli, olives; Gordon Downie, peanut butter & crackers; “Weird Al” Yankovic, honey roasted peanuts and Gordon Lightfoot, pasta.  What fun!

It’s an overall enjoyable album for kids, full of mostly hyper songs and sounds quite a lot like a typical BNL effort.

[READ:February 27, 2010] Salt Water Taffy: The Truth About Dr. True

I have yet to mention the website for this series.  So, now I’m mentioning it, and I’m also mentioning Matt Loux’s page too.  It’s a great resource for all of the books and has many sample images and pages.

I adore this children’s graphic novel series.  Each story adds amazing depth to this seemingly quaint seaside town.  Eleven year-old Jack and 8-year-old Benny are on vacation at a boring seaside town.  But mysterious things are always coming up when the kids go snooping.

In this case Benny uncovers an ancient (empty) bottle of Dr. True’s magic elixir.  (I love that Jack sneers at Benny for digging in a garbage pile, when he would have really loved to be digging in it, too).  Dr True is the ancestor of True’s Taffy shop.

While this history of the island is unfolding, we also hear the history of another famous island resident: Captain Holister.  The captain is Chowder Bay’s real hero, with a statue of him erected in the town square and everything.  The boys’ favorite new friend, fisherman Angus is directly related to him.  (more…)

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