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Parts you love in songs you don't...


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#21 timbale

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Posted 15 February 2018 - 02:12 AM

I can't stand Seven Cities of Gold, but for some reason I really like the pre-chorus (e.g., Searching through a grim eternity / Sculptures by a prehistoric sea).
 
Love the verses in Totem. Don't care for the chorus.


I find Totem a pretty lukewarm, don't-hate-it-don't-love-it affair, so I didn't think of it for this topic...but the couple of bars right before the guitar solo are glorious to me...

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#22 Saint Ronnie

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Posted 15 February 2018 - 12:08 PM

Roll the Bones. I hate that rap. I’ve always hated it. It’s not ironic enough. John Cleese would’ve saved it.

Virtuality. A rocker. And then we hit the chorus - Net Boy, Net Girl, Send your signal round the world. Like a jingle for a 90s era Canadian telecommunications company.

Nobody’s Hero. If they swapped the verses it’d be more palatable. As it is, the first line is jarring and weird.

Countdown - too much Columbia chatter. Let me listen to the music.

Animate - the entire bridge. It’s derails the established groove. And the lyrics in that section are positively shitty.

 

Hey I think you turned the topic inside/out - but good points nonetheless 


"The ideal subject of totalitarian rule is...people for whom the distinction between fact and fiction (i.e., the reality of experience) and the distinction between true and false (i.e., the standards of thought) no longer exist."~ Hannah Arendt.  The Origins of Totalitarianism. 1967

 

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#23 Three Eyes

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Posted 15 February 2018 - 01:48 PM

Hey, it seems to me, without researching it, that there are a lot of New Rush songs that have the verses in a kind of boring 4/4 arrangement until they come to the section where all three of them "go nuts" and play some hectic virtuoso movement of separately moving parts featuring an odd time signature or two and then afterwards return to 4/4 to finish out the song. That hectic section seems to me like Rush throwing the hardcore fans a bone. The more I think about it the more annoyed I get. When I have a little time I'll collect up some of these songs as a proof.


Hey there goes Alex. He's loaded with money. Wow he's really set himself up great.


#24 timbale

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Posted 15 February 2018 - 01:54 PM

Hey, it seems to me, without researching it, that there are a lot of New Rush songs that have the verses in a kind of boring 4/4 arrangement until they come to the section where all three of them "go nuts" and play some hectic virtuoso movement of separately moving parts featuring an odd time signature or two and then afterwards return to 4/4 to finish out the song. That hectic section seems to me like Rush throwing the hardcore fans a bone. The more I think about it the more annoyed I get. When I have a little time I'll collect up some of these songs as a proof.


Please do!

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#25 SJS

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Posted 15 February 2018 - 02:53 PM

Hey, it seems to me, without researching it, that there are a lot of New Rush songs that have the verses in a kind of boring 4/4 arrangement until they come to the section where all three of them "go nuts" and play some hectic virtuoso movement of separately moving parts featuring an odd time signature or two and then afterwards return to 4/4 to finish out the song. That hectic section seems to me like Rush throwing the hardcore fans a bone. The more I think about it the more annoyed I get. When I have a little time I'll collect up some of these songs as a proof.

 

I've never thought of it as throwing a bone.  I think these guys genuinely have fun going nuts.  If any bone is being thrown, I'd say it's in the 4/4 parts in an attempt to make the tunes more accessible and less "weird".  Yes, the hard core fans love that weirdness, but I'm pretty sure Ged, Alex, and Neil do too.


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#26 Three Eyes

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Posted 15 February 2018 - 04:41 PM

I'm sure they love doing the crazy parts but in their calculated moves to stay trendy in the 80s and 90s I think those parts also served to appease their 70s fans who may not have tagged along without them. Imagine New Rush without the crazy breakaway sections. You'd have My Favorite Headache and nobody wants that. Lol.

Hey there goes Alex. He's loaded with money. Wow he's really set himself up great.


#27 jeffro

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Posted 15 February 2018 - 07:17 PM

I'd take My Favorite Headache if it had a little insanity injection from Victor. 


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Makes all that I've seen
Seem so obscene - Kings X, Skeptical Winds


#28 Rick N Backer

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Posted 15 February 2018 - 08:48 PM

Here's another "opposite" of what the thread is looking for --  I like "Wish Them Well", all except for that screechy "wish them well" that is repeated too many times in the song, sounds like it was recorded once and just punched in with a computer.



#29 Rick N Backer

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Posted 15 February 2018 - 08:54 PM

I'd sure like to hear these "crazy breakaway sections" in New Rush you're talking about because I've felt that was exactly what's been missing from New Rush -- with the exception of the Clockwork Angels album, which to me was throwing the fans a bone -- you want a concept album, crazy instrumental parts, odd time signatures and furious playing like the old days, you want a song that's a reworking of Bastille Day, YOU GOT IT!

 

The last crazy breakdown section I can think of is on Hold Your Fire, during Mission.  After that, with the exception of instrumentals, I'm not hearing those kind of breaks... yeah there are occasionally breaks but they're not CRAZY!



#30 Three Eyes

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Posted 17 February 2018 - 05:29 AM

^^^

I should have said guitar solo sections instead of breakaway sections because that's where most of what I'm talking about occurs. My above postulation on the 4/4 to odd time sig back to 4/4 was an over-simplification as I discovered last night while scanning through all the New Rush albums. Overall, the arrangements aren't as straight forward time signature-wise as I'd thought but I do think I was able to spot a trend in Rush's use of these quasi-Freewill/Tom Sawyer solo sections in many of their songs, especially '80s Rush.
 
Usually there is a stark tone and time shift from the main vibe of the song with these sections. It's as if the floor falls out from beneath the band and they're suddenly falling in space or flying blind or whatever you want to call it. The arrangements are typically pared down but are still fairly instrumentally busy. It's as if they're reminding listeners that they were once a three piece. lol. These sections typically aren't as virtuosic as I mentioned above but they're not for amateurs either.
 
Here's my list of songs that I feel have this type of solo section (your mileage may vary):
 
GUP
Body Electric
Kid Gloves
 
PoW
Big Money
Grand Designs
Marathon
Emotion Detector
 
HYF
Lock And Key
Mission
Turn The Page
High Water
 
PRESTO
Chain Lightning
Red Tide
 
COUNTERPARTS
Alien Shore
Double Agent
 
TEST FOR ECHO
Test For Echo
 
CLOCKWORK ANGELS
Caravan
 
I'm glad I did this because it gave me the chance to revisit New Rush after many of years of neglect. There are quite a few gems to be found in each of New Rush's sub-eras and a good many of the songs have fiendishly clever arrangements. I think of the band as hard-rock-pop colored with prog-isms and Rush-isms during this era and it worked for them a good amount of the time. I have problems with a lot of New Rush though. During the GUP through HYF era, much of the band's humanity got buried beneath a deep, glossy coat of '80s keyboard, drum and studio tech and a too icy guitar sound. (For a band associated with techiness, they didn't fair very well when it was actually applied to their recordings.)
 
The '90s get rockier but the albums also get longer and there is too much time to fill to sustain consistent, high quality songwriting for their entire run-times. I really wish Rush had just kept throwing everything they had into 40 minute albums. Album lengths get even longer in the 2000s but now you get a darker musical vibe with less intricacy and more serious lyrical themes, which would have been fine if the songs had been a bit better. You also get shitty production sound for your listening pleasure.
 
But at least they ended it on Clockwork Angels which I feel is a legitimately great album (with flaws, of course) that stacks up well against Old Rush. It has that long missing cohesiveness but also the mercurial and ineffable qualities that made Old Rush so exciting. The songwriting and playing are creative and dynamic and sometimes inspired and there's a unity of purpose between the three of them that had been missing till maybe all the way back to when Terry Brown was turning the knobs.

Hey there goes Alex. He's loaded with money. Wow he's really set himself up great.


#31 Rick N Backer

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Posted 17 February 2018 - 06:59 PM


 
Usually there is a stark tone and time shift from the main vibe of the song with these sections. It's as if the floor falls out from beneath the band and they're suddenly falling in space or flying blind or whatever you want to call it. The arrangements are typically pared down but are still fairly instrumentally busy. It's as if they're reminding listeners that they were once a three piece. lol. These sections typically aren't as virtuosic as I mentioned above but they're not for amateurs either.
 
Here's my list of songs that I feel have this type of solo section (your mileage may vary):

PRESTO
Chain Lightning
Red Tide
 
COUNTERPARTS
Alien Shore
Double Agent
 
TEST FOR ECHO
Test For Echo

 

Yeah, "the floor falling out beneath them" is a good way to describe it.  That's the type of instrumental breakaway thing I'm thinking of.  And I've always felt the last time I heard it was on HYF but I will go back and listen to these other tunes you've listed, but these are mostly in their era of clutter where they have multi-tracked instruments and less dynamic contrasts between song sections so it never sounded like a true breakaway to me. I do agree that they brought it back on Caravan.






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