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?
Oof. This week’s batch of songs are – well, they’re certainly songs that were on the radio in the 1980s. #6 Billy Vera and the Beaters, “At This Moment” (1981) Peaked at #79 on its initial release; the 1987 re-release hit #1 Hot 100 and Adult Contemporary. Dw. Dunphy – I’m going to get slaughtered by the hardcore Billy Vera fans out there (gotta be some of those, right?) but this is one of the most desperate, teeth-grindingly bathetic songs ever. Vera has made a decent living as a sitcom theme song singer and this track, though not recorded for a sitcom, came to power as Alex P. Keaton’s love song in Family Ties. Matt Wardlaw – There’s at least one hardcore fan of BV, Dunphy. Watch yourself! Jack Feerick – You’re a hardcore fan of bacterial vaginosis? Mike Heyliger – As good as heartbroken, blue-eyed soul gets. I’ve sung this one loudly to no one in particular during many of my moments of infatuation and heartbreak, although my favorite memory of the song has …
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.
Imagine a year when the Rock ‘n Roll Hall of Fame nominees are announced and everyone shut up? Well, that’ll never happen, but most people seem fairly cool with this year’s inducted artists, who were announced by Flea of the Red Hot Chili Peppers at a press conference yesterday. Let’s take a quick look at this year’s nominees-who will officially be inducted next spring. Albert King: One of two posthumous honorees (he died in ’92,) blues guitarist King didn’t have […]
Ted Asregadoo reviews the latest in the Classic Albums series, this one focusing on Rush’s two most influential LPs, 2112 and Moving Pictures.
We’re counting down our Top 50 favorite rhythm sections of all-time! See who made the bottom of the list as we look at numbers 50 through 36.
In part two of this flashback edition of Vin Scelsa’s Live at Lunch, singer-songwriter Jules Shear talks about the R&B inspiration for “If She Knew What She Wants,” how he feels about artists licensing their songs for commercials, his romantic relationships with singer-songwriters Pal Shazar and Aimee Mann, and his role in the creation of MTV Unplugged in the late ’80s. In between the bursts of candid conversation, Scelsa spins songs by Cyndi Lauper and Johnny Cash, a foot-stomping cover of Sam & Dave’s “Hold On, I’m Comin’” courtesy of B.B. King and Eric Clapton, and a cut from Shear’s first band, the Funky Kings. However, the biggest surprise of the entire June 28, 2000, Live at Lunch broadcast is Shear’s speaking voice. Suffice to say it’s not what you’d expect if you’ve ever heard “Steady,” his sole entry on the Billboard Hot 100 chart (though Lauper’s cover of Shear’s “All Through the Night” reached #5 in ’84). My own personal reaction is best summed up by the following verse from “Stereo,” the opening track …
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 …