Rush’s busts out the deep cuts in a 40 year retrospective concert.
Another live recording from Rush? Really? Yes, really.
Chris Holmes and Ted Asregadoo talk to David Bottrill about mixing “Vapor Trails Remixed.”
The band Rush finally has Vapor Trails, a poster-child for too-loud modern mixes, spruced up. Was it worth it?
Now that Rush is at long last in the Rock and Roll Hall of Fame, it’s as good a time as any to look at their best material… from the ’90s to today.
Ted Asregadoo reviews the latest in the Classic Albums series, this one focusing on Rush’s two most influential LPs, 2112 and Moving Pictures.
DOWNLOAD THE FULL MIX HERE This week’s mix started out like a lot of mixes: one or two songs getting stuck in my head and me trying to fit the pieces together for a complete mix. Since I’ve done a couple of mixes called “Random Sample,” I couldn’t very well title this mix “Another Another Random Sample,” because that’s redundant and stupid. So I opted for an even more inane title, “This and That.” But it does fit since my whole modus operandi — which went something like: “I think this song would go well with that one.” Pretty silly, huh. However, the songs I’ve chosen aren’t at all silly – or at least I hope you don’t think so. “Back in N.Y.C.,” Genesis (Download) Clearly, when Dw Dunphy and I were doing our hair and make-up the other day, neither of us mentioned that we were both on a The Lamb Lies Down on Broadway kick. He featured this album on his “50Prog50: The Best Prog Albums, Part One” and I’m doing the same on …
We made a list of our favorite guitarists of all time, and this week, we count down from 35 to 21. Did your favorite make the list?
In his latest edition of Adventures Through the Mines of Mellow Gold, Jason Hare explores the phenomena of “gentle rocking,” brought to us by a Lebanese Canadian hunk in 1974.
It wasn’t their best album. It wasn’t even much like what people consider their best album. Yet the mighty Canadian power trio Rush found themselves on Atlantic Records with a producer known mostly for working with The Fixx and Tina Turner. It was in many ways a fresh start and, true to the band’s nature, they made the most of it. Lyricist/drummer Neil Peart always had a knack for wordplay, but quite often that was the lyrical crux of the song, with no specific aim attached. On Presto, the seeds of his political nature were finally starting to bloom. “War Paint” fleshes out the angst of teenage life in a hostile adult world, a direct graduation from “Subdivisions.” The very specific “Red Tide” spurs on an ecology-mindedness the listener kind of knew was there but couldn’t precisely summarize. The kickoff “Show Don’t Tell” went to number #1 on the rock charts. Perhaps it was producer Rupert Hine’s pop polish that made everything so much more palatable than their hard-rock roots, but this is exactly what …