Rock, Metal The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://www.theblues-thatjazz.com/en/rock/2000.html Mon, 26 Sep 2022 04:49:29 +0000 Joomla! 1.5 - Open Source Content Management en-gb Rush - Clockwork Angels (2012) http://www.theblues-thatjazz.com/en/rock/2000-rush/12335-rush-clockwork-angels-2012.html http://www.theblues-thatjazz.com/en/rock/2000-rush/12335-rush-clockwork-angels-2012.html Rush - Clockwork Angels (2012)

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01 – Caravan
02 – BU2B
03 – Clockwork Angels
04 – The Anarchist
05 – Carnies
06 – Halo Effect
07 – Seven Cities of Gold
08 – The Wreckers
09 – Headlong Flight
10 – BU2B2
11 – Wish Them Well
12 – The Garden

Musicians:
Alex Lifesone – guitar
Neil Peart – drums
Geddy Lee – bass

 

Legendary rock band Rush have unveiled details of its highly anticipated 2012 album, Clockwork Angels. The recording of Clockwork Angels began with Grammy Award winner Nick Raskulinecz (Foo Fighters, Deftones) who collaborated with the band on their 2007 studio album, Snakes and Arrows - and Rush co-producing. Lyrically, Clockwork Angels chronicles a young man's quest across a lavish and colorful world of steampunk and alchemy as he attempts to follow his dreams. The story features lost cities, pirates, anarchists, exotic carnival, and a rigid Watchmaker who imposes precision on every aspect of daily life. With more than 40 million records sold worldwide and countless sold-out tours, Rush - Geddy Lee, Alex Lifeson, and Neil Peart - is not only one of the most inventive and compelling groups in rock history, but remains one of the most popular. ---Editorial Reviews

 

Rush has authored some of the most complex and groundbreaking rock albums ever. The band’s marathon, high-energy live shows continue to please their fiercely loyal fan base and defy the odds for a group conceived more than 40 years ago. But some might argue that many of their efforts from the past 25 years have been more contemporary in nature—unable to hold a candle to classics like Fly by Night, 2112, and of course, Moving Pictures.

Get ready to board a time machine because Clockwork Angels may very well be the band’s best studio effort since 1982’s Signals. I’m not saying Rush has necessarily put out a bad record among their now 20 releases, it’s just been quite some time since one has really grabbed me in the manner of their classic albums. This one did at times.

Concept albums are largely a thing of the past, but there aren’t many bands that can pull it off like the Toronto prog-rockers. The story—to be released as a novel this fall—that drummer and lyricist Neil Peart delivers from track to track tells the sci-fi tale of a man’s travels across a mystical landscape of steampunk and alchemy.

Insofar as the musicality of Peart, Alex Lifeson, and Geddy Lee, there’s really not much to say that hasn’t already been said. Each is a master of their instrument and Clockwork Angels simply reinforces that notion. The lengthy tracks feature all the dynamic elements that have made Rush the band it is, but this record really nods to their roots of groove-heavy, hard-guitar rock. It feels like listening to one of their earlier albums. When Lifeson gets “Carnies” started, you’d swear it was written during the same session as “Working Man.” While the band has certainly done it’s share of dabbling with synths, and putting out way over-produced material, Clockwork Angels really hearkens back to in-your-face riffs from straight-ahead heavy guitar and thundering bass and drums, as evidenced on “Seven Cities of Gold” and “Headlong Flight.”

The freshness of Clockwork Angels is a testament to the dedication and creativity of the band, which still appears to be incredibly strong even with their level of success and longevity. The sub-group of Rush fans who stopped buying their records in the ’80s just may be in for a treat. —--Rich Osweiler, premierguitar.com

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administration@theblues-thatjazz.com (bluesever) Rush Sun, 10 Jun 2012 18:56:08 +0000
Rush ‎– Fly By Night (1975) http://www.theblues-thatjazz.com/en/rock/2000-rush/24639-rush--fly-by-night-1975.html http://www.theblues-thatjazz.com/en/rock/2000-rush/24639-rush--fly-by-night-1975.html Rush ‎– Fly By Night (1975)

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A1 	Anthem 	4:10
A2 	Best I Can 	3:24
A3 	Beneath, Between & Behind 	3:00
A4	By-Tor & The Snow Dog 	(8:57)
 1 	At The Tobes Of Hades 	
 2 	Across The Styx 	
 3 	The Battle 	
 3.1 	Challenge And Defiance 	
 3.2 	7/4 War Furor 	
 3.3 	Aftermath 	
 3.4 	Hymn Of Triumph 	
 4 	Epilogue 	
B1 	Fly By Night 	3:20
B2 	Making Memories 	2:56
B3 	Rivendell 	5:00
B4 	In The End 	6:51

Bass, Guitar [Classical], Vocals – Geddy Lee
Drums, Percussion – Neil Peart
Guitar – Alex Lifeson 

 

Rush's second album Fly by Night marks the debut of the fantastic progressive rock drummer Neil Peart. Peart also makes it his business to write all the lyrics for vocalist/bassist/keyboardist Geddy Lee, who was previously penning tunes about 'livin' it up'. Peart brings science, philosophy, the human mind and all of its problems to the page.

Hints from the previous album are still available on this album. The bluesy hard rock base still lingers in many guitar melodies. What changes is how the trio has switched over to odd time signatures. Popularized here is the meter of seven. Also noted is how Rush get into many grooves and rhythms that were not possible with Rutsy. Geddy Lee explores his bass guitar a bit more then on their debut album. This adds a whole new dimension to Rush's sound. The band has finally slowed down a bit in order to compose loftier progressive tunes that still touch base with hard bluesy rock.

Peart really does bring so much more to the table. The fast interchanges from snare to tom after verses and choruses, even incorporating hi-hat and the odd cow-bell arrangement into the mixture is a welcome change from the shuffling 4/4 hi-hat/snare/bass drum styling of previous drummer Rutsy. Peart also uses more double-bass work, a technique that was still seldom used.

The crowning moment on Fly by Night is the epic By Tor & The Snow Dog, clocking in at almost nine minutes long. This song shows off the upcoming progressive virtuosity that each member contains and is still holding back on for future albums like 2112 and Hemispheres. By Tor & The Snow Dog is weighed down by several parts that flow seamlessly. Geddy Lee shows off his ability to keep playing and playing and playing, especially in the breakdown in the middle of the song, almost mechanically. Finally, the crowning moment comes at the four-minute mark where all three play a polyrhythmic section of counting down beats from a number in the thirties, following each time with a drum solo then dead silence as the number becomes smaller and smaller.

The title track on Fly by Night went on to become on of Rush's first radio hits and also known now as a classic. The only possible bore on the entire album could be Rivendell, an acoustic piece with some guitar feedback containing no drums. Geddy is very quiet when he sings here, previously screaming over every other song.

Rush still composes down-to-earth catchy tunes on Fly by Night. You can hear the progressive edge to each song served up on the album. Fly by Night is not entirely a progressive rock release. This released was realized by many that Lifeson, Lee and Peart certainly did have the potential to graduate onwards to become on of the biggest and most well known progressive rock bands in the world. ---Horlequism, metalstorm.net

 

Niedługo po wydaniu przez Rush debiutanckiego albumu, John Rutsey postanowił opuścić zespół z powodów zdrowotnych i niechęci do koncertowania. Po raz ostatni wystąpił z grupą 25 lipca 1974 roku. Cztery dni później wybrano, w wyniku kastingu, jego następcę. Został nim Neil Peart - jak się okazało, nie tylko znacznie bardziej uzdolniony perkusista, ale także niezwykle oczytany człowiek, któremu Geddy Lee bez wahania odstąpił rolę głównego tekściarza. W momencie dołączenia Pearta, skład zespołu ostatecznie się ustabilizował i pozostaje niezmienny do tej pory. W sierpniu nowy skład wyruszył na swoją pierwszą amerykańską trasę (jako support Uriah Heep i Manfreda Manna), a ostatnie miesiące roku spędził w studiu na nagraniach drugiego albumu, zatytułowanego "Fly By Night".

Choć longplay ukazał się niespełna rok po (tak, tak - eponimicznym) debiucie i wciąż utrzymany jest w hardrockowej stylistyce, już tutaj słychać, jak wiele do zespołu wniósł Peart. Różnica jest od razu słyszalna. To bardziej dojrzały i lepiej zagrany materiał. Album składa się jakby z dwóch różnych części, odpowiadającym stronom płyty winylowej. Pierwsza połowa to utwory o bardziej czadowym charakterze, cięższe brzmieniowo. "Anthem", "Best I Can" i "Beneath, Between & Behind" to właściwie typowy hard rock. Ale gdzieś znikła ta piosenkowa naiwność poprzedniego albumu. Więcej dzieje się w strukturze utworów, a zwłaszcza w bardzo gęstej warstwie rytmicznej. Nie wyklucza to wyrazistych melodii, które są chwytliwe, lecz nie banalne. O ambicjach muzyków świadczy jednak przede wszystkim ponad ośmiominutowy "By-Tor & the Snow Dog", w którym nie brakuje dłuższych popisów instrumentalistów (jak świetne solo Lifesona z siódmej minuty), ani licznych zmian motywów i klimatu.

Strona B winylowego wydania zawiera materiał bardziej odchodzący od hard rocka, ale niekoniecznie w tę ambitniejszą stronę. To Rush w łagodniejszej, piosenkowej odsłonie. Na początek dwa singlowe kawałki, "Fly by Night" i "Making Memories", oba bardzo chwytliwe, ale niestety dość banalne. O ile utwór tytułowy ma swój urok i zwraca uwagę świetną grą muzyków (kotłująca się perkusja, przyjemnie pulsujący bas i niezłe gitarowe solo), tak drugi, lekko kojarzący się z akustycznym wcieleniem Led Zeppelin, jest zupełnie przeciętny melodycznie i nie ratuje go równie dobra gra instrumentalistów. Kolejny na trackliście "Rivendell" to bardzo nietypowe dla grupy nagranie - ballada z wyjątkowo subtelnym śpiewem Lee i akompaniamentem wyłącznie gitary akustycznej. Naprawdę ładny utwór, ale trochę za długi. Finałowy "In the End" stanowi natomiast próbę pogodzenia łagodniejszego oblicza grupy z tym czadowym, ale efekt jest dość przeciętny.

"Fly by Night" pokazuje rozwój zespołu i ambicje wykraczające poza granie hard rocka, ale efekt nie zawsze jest równie ciekawy. Niepotrzebne wydają się zwłaszcza wycieczki w stronę bardziej komercyjnego grania (choć miały merkantylne znaczenie - kawałek tytułowy był pierwszym przebojem grupy, nawet jeśli tylko w rodzimej Kanadzie). Ale cały album to zdecydowanie krok we właściwym kierunku. ---Paweł Pałasz, pablosreviews.blogspot.com

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administration@theblues-thatjazz.com (bluesever) Rush Tue, 08 Jan 2019 14:30:42 +0000
Rush – Icon (2010) http://www.theblues-thatjazz.com/en/rock/2000-rush/7224-rush-icon-2010.html http://www.theblues-thatjazz.com/en/rock/2000-rush/7224-rush-icon-2010.html Rush – Icon (2010)

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01. Working Man 7:10
02. Fly By Night 3:22
03. The Necromancer 12:30
04. The Twilight Zone 3:17 play
05. Closer To The Heart 2:53 play
06. Circumstances 3:41
07. Freewill 5:22
08. Limelight 4:20
09. The Analog Kid 4:48
10. Red Sector A 5:10
11. Marathon 6:10
12. Force Ten 4:31

Personel:
Geddy Lee - bass, lead vocals, keyboards, mellotron, bass and synthesizer pedals,
electric and acoustic rhythm guitar
Alex Lifeson - six and twelve-string acoustic and electric guitars, classical guitar,
mandolin, mandola, bouzouki, backing vocals, bass and synthesizer pedals
Neil Peart - drums, electronic and acoustic percussion

 

Universal’s 2010 12-track collection Icon misses several major Rush tunes -- there’s no “Tom Sawyer,” no “Red Barchetta,” no “New World Man,” no “Subdivisions,” no “Distant Early Warning,” not even “Time Stand Still” -- but it does have “Working Man,” “Fly by Night,” “Freewill” and “Limelight,” along with several other well-chosen album tracks, making for an entertaining sampler of Rush at their peak. ---Stephen Thomas Erlewine, AllMusic Review

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administration@theblues-thatjazz.com (bluesever) Rush Tue, 26 Oct 2010 15:33:16 +0000
Rush – Rush (1974) http://www.theblues-thatjazz.com/en/rock/2000-rush/23836-rush--rush-1974-.html http://www.theblues-thatjazz.com/en/rock/2000-rush/23836-rush--rush-1974-.html Rush – Rush (1974)

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A1 	Finding My Way 	5:03
A2 	Need Some Love 	2:16
A3 	Take A Friend 	4:27
A4 	Here Again 	7:30
B1 	What You're Doing 	4:19
B2 	In The Mood 	3:36
B3 	Before And After 	5:33
B4 	Working Man 	7:07

Drums, Vocals – John Rutsey
Guitar, Vocals – Alex Lifeson
Lead Vocals, Bass – Geddy Lee 

 

Rush's self-titled debut is about as uncharacteristic of their renowned heavy progressive rock (perfected on such future releases as Hemispheres, Moving Pictures, etc.) as you can get. Instead of complex arrangements and thoughtful lyrics, Rush sounds almost identical to Led Zeppelin throughout -- bluesy riffs merged with "baby, baby" lyrics. The main reason for the album's different sound and direction is that their lyricist/drummer, Neil Peart, was not in the band yet, skinsman John Rutsey rounds out the original line-up, also consisting of Geddy Lee (bass/vocals) and Alex Lifeson (guitar). It's nearly impossible to hear the anthemic "Finding My Way" and not picture Robert Plant shrieking away, or Jimmy Page riffing on the jamfest "Working Man," but Rush was still in their formative stages. There's no denying that Lee and Lifeson were already strong instrumentalists, but such predictable compositions as "In the Mood" and "What You're Doing" prove that Peart was undoubtedly the missing piece to the puzzle. While longtime Rush fans can appreciate their debut because they never returned to this style, newcomers should stick with their classics from later years. --- Greg Prato, allmusic.com

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administration@theblues-thatjazz.com (bluesever) Rush Tue, 24 Jul 2018 10:54:40 +0000