of undetermined length. As I remarked a few times toward the end of this last school year, I’m tired of saying stuff about stuff. So I’m not going to until I feel like doing so again. This project is not cancelled — it’s just suspended for a bit.
of undetermined length. As I remarked a few times toward the end of this last school year, I’m tired of saying stuff about stuff. So I’m not going to until I feel like doing so again. This project is not cancelled — it’s just suspended for a bit.
—“Through Her Eyes” by Dream Theater, live on Metropolis 2000: Scenes from New York (2001), originally from Metropolis Pt. 2: Scenes from a Memory (1999)
I stumbled upon this video during my sometime decompression activity of watching live music on YouTube. I’m intrigued by its mix of gospel and prog metal. There’s something peculiar about a bunch of pasty white metalheads [1] channeling Whitney Houston. That said, I like it. I don’t know much about Dream Theater, but I think I will learn more.
Miscellany:
[1] Yes, they really are pasty — look at them! And yes, I realize I have little room to talk.
—“King of New Orleans” by Better Than Ezra, from Friction, Baby (1996)
This is how I’m feeling right now. BTE is a Louisiana band, and they give some of the most wonderful, and wonderfully southern, concerts I’ve seen. Their music makes me very happy.
God save (the king of) New Orleans.
—“Time Stand Still” by Rush, from Hold Your Fire (1987)
Since I’m graduating this week, here’s a song about the passage of time. It’s a thoughtful one. It’s not about regretting the past; it’s about savoring the present and living in the moment. These are cliches, yes, but (as I’ve written before) sometimes cliches are cliche for a reason. I find this song neither maudlin nor insensitive, but instead just right. Decorous and mature, you might say. “I’m not looking back, but I want to look around me now” — that about sums up my present feelings.
I find it interesting that this song was released when I was less than a year old. How’s that for the passage of time?
This is the first song from Rush’s synth period (effectively, 80s period) that I’ve posted here, and even though this track itself doesn’t use much synth, it definitely has an 80s timbre. Don’t let that dissuade you, though. Once you get used to the tinniness, you realize there’s some really engaging, interesting, beautiful music in there.
Technical note: The intro and musical interlude are in 7/8. You know, just because, why not?
Other notes: Aimee Mann did the female vocals in the choruses. Also, this song has one of the worst music videos I’ve ever seen.
And now, please excuse me while I go get nostalgic.
Here’s some fun drums. The good stuff starts at 3:00. Technical it ain’t, but groovin’ it sure is.
—“Hemispheres: Prelude” by Rush, live during the Counterparts tour. The intro to the song “Cygnus X-1 Book II” from Hemispheres (1978).
I love hard rock, so here’s a vid of Rush rocking out. I love this track, especially live. Crank it!
—”Closer to the Heart” by Rush, live on Different Stages (1998), originally on A Farewell to Kings (1977)
“Closer to the Heart” is a classic Rush track, and very popular with fans. This is a live version (there’ve been a few), which I’m posting instead of the studio version for two reasons:
Like “Double Agent”, musically this song is more fun/awesome than technical. That’s not to say, however, that there’s not some great musicianship here — because there is. Lifeson’s guitar work, from intro to verse to solo to jam session, is very well done, and the song’s driving force. But Peart and Lifeson are strong players as well — they don’t settle for mere supporting roles.
“Closer to the Heart” is one of the shortest Rush songs (the studio version is just under 3 minutes), and one of their most musically mainstream. The lyrics are surprisingly utopian and revolutionary-sounding, given that they’re coming from Peart, who, erm, doesn’t like communism very much. The lyrics are also pretty simple and straightforward. I guess that’s an apt characterization of the song as a whole. Simple, straightforward…and rockin’!
Ironically, they wrote it in the middle of their prog period, and it shares an album with two 10-minute-plus prog monsters, “Xanadu” and “Cygnus X-1”. I guess they wanted some variety.
Speaking of, I intend to post some of their epic songs soon. Stay tuned.
—“Double Agent” by Rush, from Counterparts (1993)
I’m in the middle of finals ‘n’ stuff and therefore don’t have time to write something extensive, so here’s a fun song from Rush’s modern period.
As I interpret it, it’s about the fights we have with ourselves — when we agonize over a decision, or when we struggle to choose the right thing to do, or whenever we’re torn, restless, not at ease with ourselves, or uncomfortable with our situation or existing commitments — in these cases we have (at least) two “agents” inside us fighting over what we should do. We are a “double agent”.
I’m guessing that the spoken verse is deliberately reminiscent of “The Raven”. Likewise, I’m guessing the line “So many decisions, a million revisions” is a deliberate reference to “Prufrock”. Neil Peart is a well-read guy. The vocals for the verse line are done by Geddy Lee. Yep, he speaks like an ordinary guy. [1]
Subject-matter-wise this song is good, but I like it mostly for the music. Nothing uber-technical here — it’s just a fun, rocking song, with some really groovy beats by Peart. Check out that China cymbal in the verse. He’s also got some sweet fills and tom patterns throughout. Again, nothing super-fancy (at least by Rush’s standards) — just a lot of fun. This song’s drumline is also notable because Peart doesn’t once touch the hi-hat. This definitely adds to the “dark” feel of the music in the verse.
The end. ‘Til next time.
———
Footnotes:
[1] I reference this song:
what about the voice of geddy lee
how did it get so high?
i wonder if he speaks like an ordinary guy?
(i know him and he does!)
And for once in my life, I’m really not in the mood to do so. But I must.
So it goes.
—“YYZ” by Rush, from Moving Pictures (1981)
It’s no longer YYZ day, but it’s close enough. “YYZ” is the first Rush instrumental I’m posting here. It’s one of their most popular ones, and a perennial concert favorite. The song’s Wikipedia page has a pretty good analysis of its compositional and musical structure, so I’ll not repeat all of it. Suffice it to say that “YYZ” is more complicated than it sounds (and it already sounds decently complicated).
“YYZ” (the string of letters) is the identification code for Toronto’s airport. Toronto is the band’s hometown. Hence Neil Peart’s oft-repeated quote: “It’s always a happy day when YYZ appears on our luggage tags.”
The opening riff spells out “YYZ” in Morse Code. Y is “—.——” and Z is “——..”. Put them together, and you get
—.—— —.—— ——..
which, if you tap it out, matches the opening riff. Technically it’s a syncopated beat in 10/8, but I find it much easier to think of it as the Morse Code rhythm.
This song is a musical tour de force. All three members of the trio play full blast through some really challenging and interesting stuff. Lee’s bassline and Lifeson’s guitar work both are incredibly tight. Lee is particularly inventive here, even by his standards. And Peart’s playing is…well, it’s Peart’s playing. Working together, the three produce this piece of unmitigated ass-kicking. How ‘bout that synergy?
“YYZ” is from Moving Pictures, which, as I’ve mentioned before, is in my opinion Rush’s best album — simultaneously their most inventive, most accessible, and most technically sophisticated. I plan to do a post on the album as a whole at some point.
(P.S. Thanks to Jeremy, my friend and a uber-skilled guitarist, for suggesting this as the next song. Jeremy, you should start your own music blog like you said you would!)
