G
GDPR 9733
Rush is a great band, man. You just don't get it.
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What are you listening to? The world really needs to know. Volume 8
- Thread starter mjp
- Start date
mjp
Founding member
As a member of a Rush audience back in the 70s, I have to say that we looked (back then) like any other bunch of dirty young creeps stuffed into a hockey arena. But I also have to say that it was one of the only concerts I ever attended where I almost fell asleep while the headlining band was playing.
People like to cite Neil Peart as a "great" drummer the same way they cite Yngwie Malmsteen as being a "great" guitar player. In both cases "great" meaning striving for technical perfection and excessive fiddly-ness. It's a different method of appreciating musicians than most people have. Most people value music with feeling, not music that is "technical" but utterly devoid of feeling.
Pretensions of superior musicianship aside, I could never get past Geddy Lee's voice. Every time I heard it I felt like I was being punished for something I didn't do.
i was thinking of the audience now. like in that recent documentary that i saw more than once and liked alot.
RUSH was my favorite band when i was a teenager so i consider myself an objective critic of them. :rolleyes:
i saw them multiple times in the late seventies and am shocked to remember being 6' 4" and being able to squeeze into jeans size 28 waist. the too tight t-shirt and feathered, center-parted hair completed the uniform worn, like you said, like every other hard rockin juvenile delinquent.
G
GDPR 9733
I've seen Rush live in 2004 and 2008. It was great.
I like Neil Peart's drumming not because it's technical. I like it because it moves me. I don't like Rush because they are technically proficient, I like them because their music moves me. I just love their music. I don't like musicians like Yngwie Malmsteen, I don't like bands like Dream Theater. But I love Rush. I love their lyrics and message as well. They are also very nice, intelligent, and down to earth guys, in my opinion.
Listen to a song like Bravado. That's just beautiful in my opinion. But I totally get it if you don't like them. But don't tell me why I like them, because you are wrong. Most Rush fans get very emotional listening to certain songs. I've seen people with tears in their eyes at Rush concerts. I don't think you see that at Yngwie Malmsteen concerts.
Rush is not devoid of feeling in my opinion. Many of their songs really get to me. There is a lot of emotion in it. Otherwise I wouldn't like them.
I think this is just beautiful music.
I like Neil Peart's drumming not because it's technical. I like it because it moves me. I don't like Rush because they are technically proficient, I like them because their music moves me. I just love their music. I don't like musicians like Yngwie Malmsteen, I don't like bands like Dream Theater. But I love Rush. I love their lyrics and message as well. They are also very nice, intelligent, and down to earth guys, in my opinion.
Listen to a song like Bravado. That's just beautiful in my opinion. But I totally get it if you don't like them. But don't tell me why I like them, because you are wrong. Most Rush fans get very emotional listening to certain songs. I've seen people with tears in their eyes at Rush concerts. I don't think you see that at Yngwie Malmsteen concerts.
Rush is not devoid of feeling in my opinion. Many of their songs really get to me. There is a lot of emotion in it. Otherwise I wouldn't like them.
I think this is just beautiful music.
mjp
Founding member
You might, but for different reasons.
mjp
Founding member
Even in that demo version of the song, the New York Dolls technical proficiency shines through.
I just read Sylvain's book, There's No Bones in Ice Cream. Apparently he was responsible for everything about the Dolls. Well, as they say, history belongs to those who tell it. Anyway, it's entertaining and has some bits you might not have read anywhere else.
I just read Sylvain's book, There's No Bones in Ice Cream. Apparently he was responsible for everything about the Dolls. Well, as they say, history belongs to those who tell it. Anyway, it's entertaining and has some bits you might not have read anywhere else.
Just bought the Sylvain book.
It better be good, or you will get all my karate.
ALL OF IT.
It better be good, or you will get all my karate.
ALL OF IT.
PhillyDave
“The essential doesn't change.” Beckett
My friend is having The Waldos play his birthday here in March. Should be a good time.
Wow - what a coincidence after hm9 posting that tune after all the RUSH drama.
And that show was in Toronto - I was just down there last week.
https://tayloronhistory.com/2012/09/08/the-sinful-victory-burlesque-theatre-at-dundas-and-spadina/
PhillyDave
“The essential doesn't change.” Beckett
My brother-in-law lived down that way in the 90's for abt 10 years. V cool little historical piece. And there's a great rock theatre in Philly, The Trocadero also in Chinatown, that used to be a burlesque theatre in the 70's. Bert Kreischer just released his latest stand up show filmed there.
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PhillyDave
“The essential doesn't change.” Beckett
Jet Boy, not to be confused with this nugget from Mtv's Headbangers Ball
PhillyDave
“The essential doesn't change.” Beckett
Black Swan
Abord the Yorikke!
G
GDPR 9733
Bert Jansch was a great guitar player. I learned a lot by trying to figure out some of his songs. Davy Graham was another great guitarist. Bert played Davy's Anji, which is a song I love to play as well.
PhillyDave
“The essential doesn't change.” Beckett
I'm listening to this. Why? Because I was there and it was fuckin' awesome...but then I had to leave after the 5th song because my friend was so fucked up on vodka going thru bad shit. As a friend I had to go. But damn, what a great show.
PhillyDave
“The essential doesn't change.” Beckett
Zappa!
PhillyDave
“The essential doesn't change.” Beckett
Thanks for nuthin'!
PhillyDave
“The essential doesn't change.” Beckett
new wave. The Brains.
Steve Miller happened to be there recording, late at night, and he just breezed in. 'Hey, what's happening, man? Can I use the studio?' 'Yeah!' I said. 'Can I drum for you? I just had a fucking unholy argument with the guys there.' I explained it to him, took ten minutes to get it off my chest. So I did a track, he and I stayed that night and did a track of his called My Dark Hour. I thrashed everything out on the drums. There's a surfeit of aggressive drum fills, that's all I can say about that. We stayed up until late. I played bass, guitar and drums and sang backing vocals. It's actually a pretty good track.
It was a very strange time in my life and I swear I got my first grey hairs that month. I saw them appearing. I looked in the mirror, I thought, I can see you. You're all coming now. Welcome.
It was a very strange time in my life and I swear I got my first grey hairs that month. I saw them appearing. I looked in the mirror, I thought, I can see you. You're all coming now. Welcome.
mjp
Founding member
Steve Miller recalls it a little bit differently, but it's an interesting story either way.
In 1969, Miller was on his way to Olympic Studio in London to work with famed recording engineer Glyn Johns and finish mixing an album. Johns just so happened to be mixing a Beatles album at the time Miller was scheduled to stop by.
“They needed a couple extra days and Glyn said, ‘Just come on over, stay at my house, we’ll go to the sessions. It was amazing because it was 1969, they were The Beatles. He took me over to George’s house and George was so great. He opened the front door and said, ‘Hi Steve, I’ve listened to all your stuff. Children Of The Future, Sailor, they’re such great records, we love what you’re doing. Come on in, twirl the prayer-wheel and I’ll show you my synthesizer.’ I was just like… (gasps).”
“They were gonna record again the next day, cut some live tracks and Glyn said come on. John and Ringo didn’t show up and they had all the gear set up. George and Paul were there and they said, ‘Come on up in the studio, let’s jam a little bit.’"
“George had to go, but Paul and (his wife) Linda were there hanging out. Paul’s a great drummer, and I said, ‘Well, let me show you this thing I’m working on,’ and honestly within seconds it was like we had known each other all our lives. He wasn’t Paul McCartney anymore, all of that was gone. We started playing and really kicking it out, we did this tune called My Dark Hour. This was the moment I go, ‘I got it made.'”
In 1969, Miller was on his way to Olympic Studio in London to work with famed recording engineer Glyn Johns and finish mixing an album. Johns just so happened to be mixing a Beatles album at the time Miller was scheduled to stop by.
“They needed a couple extra days and Glyn said, ‘Just come on over, stay at my house, we’ll go to the sessions. It was amazing because it was 1969, they were The Beatles. He took me over to George’s house and George was so great. He opened the front door and said, ‘Hi Steve, I’ve listened to all your stuff. Children Of The Future, Sailor, they’re such great records, we love what you’re doing. Come on in, twirl the prayer-wheel and I’ll show you my synthesizer.’ I was just like… (gasps).”
“They were gonna record again the next day, cut some live tracks and Glyn said come on. John and Ringo didn’t show up and they had all the gear set up. George and Paul were there and they said, ‘Come on up in the studio, let’s jam a little bit.’"
“George had to go, but Paul and (his wife) Linda were there hanging out. Paul’s a great drummer, and I said, ‘Well, let me show you this thing I’m working on,’ and honestly within seconds it was like we had known each other all our lives. He wasn’t Paul McCartney anymore, all of that was gone. We started playing and really kicking it out, we did this tune called My Dark Hour. This was the moment I go, ‘I got it made.'”