WEBVTT

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Hey, this is Steve from the Something for Nothing

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podcast, and you're listening to My Weekly Mixtape

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with Brian Colburn, and we are ready to talk

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Rush. Welcome to My Weekly Mixtape, a podcast

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that takes the classic mixtape approach to building

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a modern playlist. I'm your host, Brian Colburn.

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Joining me tonight as guest curator is the co

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-host of one of my favorite Rush -centric podcasts,

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Steve from the Something for Nothing podcast.

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Steve, thank you so much for joining me tonight,

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man. Thanks so much for inviting me, Brian. It's

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my pleasure, and I'm very excited. Well, I always

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like to ask my first -time guests this question.

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Steve, what does the word mixtape mean to you?

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Well, mixtape brings me back. to my days as a

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teenager when i first got a cd player and i didn't

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have a cd player in my car so what i would have

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to do is make cassettes of my cds and in rush's

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case honestly i don't think i've ever made a

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rush mixtape really yeah i always like to listen

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to rush albums in their entirety oh so okay i

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would take my member x tape and i would just

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dub the entire album off But other bands where

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I just like the song or two, I would make a mixtape

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for myself. But I also don't think I've ever

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made a mixtape for another person. Wow. Which

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is interesting. So I've never made a Rush mixtape

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before. This will be the first time and I can't

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wait to do it. Well, tonight we're talking about

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a topic that's sure to bring up some spirited

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debate amongst Rush fanatics, because you and

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I are going to try to whittle down. 167 songs,

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possibly more if you want to even count live

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tracks, down to 20. And considering Rush has

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19 albums, you'll only be able to go back to

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the well one time if we were trying to cover

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every album in the band's catalog, which in and

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of itself. could become a hot topic for Rush

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fans. So as someone who has dedicated many, many

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hours into this incredible band, how hard was

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it for you to come up with a bank of songs tonight

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that's, I don't know, let's start with less than

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166 songs? It's nearly impossible because I have

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a list here of about 20 songs that I would like

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to get to. I figure 20 is probably enough. But

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I thought of... 20 other songs that I wanted

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to get to. I mean, there's so many songs you

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could put in a Rush playlist and not be wrong.

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Coming from someone who has such a love and admiration

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for this band, you know as well as I do that,

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no matter which way we approach this, from the

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first pick all the way to the last, there's going

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to be questions from other Rush fans all along

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the way. The thought process of album selection,

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track selection. I mean, there is no way to do

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a one size fits all rush mix. Because if I was

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going to introduce somebody to rush, I don't

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know if there were certain songs I would start

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with, because I feel like you need to wet people's

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appetite a little bit. And there's certain songs

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that I feel. fit that mainstream discussion,

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almost the gateway drug, if you will, musically.

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Right. Come on in. The water's fine. Listen to

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these songs and then start to really bring some

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of the heavier, progressive side of the band

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into the fold. Because I feel like if you start

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with certain songs, you might scare people away

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before they could truly dive into the greatness

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that this band has to offer. I've got two questions

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before we get started, Brian. Sure. Number one,

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who is this mixtape for? Our listeners? Well,

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the way I would describe it is we are trying

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to create a mixtape that would please both hardcore

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fans of the band and people that don't know a

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single song from Rush. And I'm not sure if there's

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many people that are in that list, but something

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for everybody. Okay. My second question. Now,

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when I got a Memorex tape, it was maybe 45 minutes

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on each side. Do we have a time limit? on each

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side and that that is key when you're talking

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about rush the beauty of this show is because

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we embrace modern digital times a playlist has

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no time limit so that is the one thing plus i

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also wanted to make sure i wasn't spending 30

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minutes per episode trying to add all the times

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together like i did when i was a kid and then

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realizing at the end of the side i was off by

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15 seconds and i just chopped off the end to

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la villa at the end of my side of my cassette.

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So I don't want to have that happen tonight.

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All right, great. I don't have to scratch any

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songs off my list then. Well, let's get down

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to business tonight. As I mentioned at the top

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of the show, Steve and I will be curating what

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we feel is the ultimate rush mixtape, and we're

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going to use the old cassette deck approach.

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Steve, as my special guest, will begin Side A

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with his first song choice, and then I'll add

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a song that I feel best follows up that choice.

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We'll then flip -flop choosing songs until we've

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mapped out 10 songs for Side A. We'll then give

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our mixtape a proverbial flip, and we'll map

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out Side B, only this time I'll kick things off.

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with Steve choosing second. Our overall goal

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for this episode is to craft the best Rush mixtape

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possible through only 20 songs. At the end of

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the show, you can take our conversation to the

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next level by visiting the episode page at myweeklymixtape

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.com to give our final mixtape a listen. Sean

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Faust actually took... a double -sided approach

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to his song choices going with the spirit of

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radio for casual rush fans and Cygnus X one for

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diehards. Wow. That's a good one. Yeah. Cactus

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Pete chimed in saying that the spirit of radio

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was too easy to use first. So he's going with

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far cry from 2007 snakes and arrows. Another

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good one. Yeah. And Ben from the Too Vague podcast

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chimed in with subdivisions because, and I quote,

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you know how I love my synths. So Steve, with

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that musical thought out in the atmosphere, I'm

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officially pressing the record button on our

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mixtape and the floor is yours. Why don't you

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dive into the song that you're choosing to kick

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off Side A? Well, it's interesting, Brian, that

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you mentioned Gateway Drug because this song

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is a lot of people's gateway drug into Rush.

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And your mixtaper who mentioned the casual fan

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would like the spirit of radio. Casual fan would

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also agree with this. And it's Tom Sawyer, of

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course. You have to start with Tom Sawyer, don't

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you? Rush's best known and most iconic song.

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And honestly, no Rush mixtape would be complete

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without it. No matter how many times I hear this

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song, I never tire of it. Rush fans who are more

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diehard might tell you. hey, that's for casual

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fans. Shouldn't have picked that one. But how

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could I not pick Tom Sawyer, right? I mean, the

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song made VH1's 100 Greatest Songs of Hard Rock

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list. It is one of five songs inducted into the

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Canadian Songwriters Hall of Fame from the band.

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The song is absolutely iconic. And at the same

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time, I'm forever blown away that Tom Sawyer

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was not a top 40 hit. Considering how many times

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I heard that song on the radio growing up, I

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was shocked when I learned later in life that

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it was not a top 40 hit for this band. Because

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you couldn't escape it in the 80s. Rock stations,

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top 40. I mean, this song crossed over. And that,

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I think, might be the reason why some Rush fans...

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kind of raised their nose out of the little because

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of the fact that pop culture kind of embraced

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it and took it into movies and commercials and,

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you know, remixes. There's different hip hop

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bands that have have rapped over the song. I

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mean, this song is used everywhere. And I think

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maybe that might be one of the reasons why people

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feel that way. But it's one of the best album

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openers ever. I just I don't see how this can't

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work. And Neil's drumming on this song is so

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difficult. Neil famously said that he never tired

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of playing the song exactly because of that,

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because it was so difficult to play. It was a

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challenge for him every time. And I'm sure Getty

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and Alex felt the same way. And every show Rush

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had from the day that album was released until

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the end, they played Tom Sawyer. And how could

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you not? I completely agree. And I'll also say

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it's one of those deceptively. complicated drum

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beats. Obviously the fills that he does towards

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the end are extremely hard, but just the beat

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in the middle, the stuff he's doing on the high

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hat, the stops and the little syncopation things

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that he does with the drum beat is ridiculously

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hard to play. I won't even attempt that. I am

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a novice drummer, but I've talked to other drummers

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and they say it's deceptively complicated. Oh

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yeah. And it's also, one of the few Rush songs

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that was co -written by a non -member of the

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band, Pi Dubois. Do you know the other two Rush

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songs that were co -written by Pi Dubois, Brian?

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Oh, you're hitting me with Rush knowledge that,

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honestly, this would be the $1 ,000 question

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on Jeopardy that I would have to phone a friend,

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even though that's two different game shows.

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But regardless, now I want to know, what are

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the other two? Force 10 from Hold Your Fire.

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And a real deep track from Counterparts called

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Between Sun and Moon. Another great song. Really?

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Yeah. Wow. All right. Well, you struck my heartstrings

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by going with an album opening track because

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I'm a sucker for album opening tracks. So I think

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to follow that up, I'm going to go with a second

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album opener. And I'm going to blow this thing

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right out of the water because you went with

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something that was the gateway drug. And instead

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of trying to ease them in with more gateway songs,

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I'm just going to throw them right into the deep

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end. And that is with the entire first side,

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because it is one CD cut and it is one song on

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streaming. So as far as I'm concerned, it is

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one song because one should never drop the needle

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at the beginning of 1976 is 2112. And pick it

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up in the middle of it and go, I'm going to flip

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it over and go to a passage to Bangkok. No, you

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play the entire song. 2112 is a masterpiece.

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And I feel like coming out of Tom Sawyer, it's

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kind of the perfect transition into some of the

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deeper, prouder stuff that we're going to be

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talking about tonight. And I mean, it's just

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an epic masterpiece. Attention all planets of

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the Solar Federation. We have assumed control

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for 20 minutes and 33 seconds, the longest song

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in the Rush catalog. So this might be a tough

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one to punch for novice Rush fans. But trust

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me, if you get past track one and two on this

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playlist, you're now a Rush fan. Yeah. And that's

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why I'm going with 2112. Absolutely. 2112 was

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my gateway drug to Rush. I mean, that was the

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first Rush song I ever heard. And I was completely

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blown away. Two things on this song. First of

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all, the record company, I don't know if you

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know this, Brian, but the record company wanted

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Rush to write hit singles for this album. And

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instead of doing that, they decided, screw that.

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We're going to do whatever we want to do. And

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not only did they not write hit singles, they

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made this song the entire first side of the album.

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And they started it out with space sound effects.

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Can you imagine if you're the record company

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exec listening to this album and saying, what?

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Normally when bands would go with these epic

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tracks, I think of In a God of Davida by Iron

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Butterfly as a reference. They usually started

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side A with a bunch of shorter songs. And then

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the second side was dedicated to the massive

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track. And Rush did the reverse of that. And

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honestly, I don't think as much as I love A Passage

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to Bangkok, I frigging love that song. I don't

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think you can open. 2112 with any other song

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besides. If I don't hear the opening to Overture,

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I don't feel like I'm getting the true 2112 experience.

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And the other thing about this song, the musicianship,

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as you said, is incredible. But the thing that

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stands out for me, believe it or not, on this

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song are Getty's vocals. If you listen to the

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presentation section, the part where the protagonist

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brings the guitar to the priests, Getty's doing

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two parts. He's singing. The protagonist lines,

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very beautiful and kind. And then he starts ripping

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in to the vocals when the priest began speaking.

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And it's just incredible how he goes back and

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forth and just makes Neil's lyrics come to life.

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Have you ever heard 2112 on the radio? I don't

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believe I ever have. One time. And they cut it

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off. Right before Discovery. And I'm like, why'd

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you bother? Like, you just wasted my time because

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now I have to turn off the station. I've heard

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Overture and Temples of Syrinx, and usually that's

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where they cut it off. They cut it off. And to

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me, that's not playing 2112. You're whetting

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my appetite. You're teasing me. Play the rest.

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All right. Well, we're back to you now to follow

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up both Tom Sawyer and 2112. Where are you going

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to take this? Well, we're in the proggy section.

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of this Rush mixtape. So I'm going to stick with

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that and go with Xanadu from 1977's A Farewell

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to Kings. Now this is Rush at their prog rock

00:14:41.009 --> 00:14:44.909
best. Neil's drumming and especially all the

00:14:44.909 --> 00:14:47.330
percussion stuff he does with the drums at the

00:14:47.330 --> 00:14:50.970
beginning. Five minutes of just lead up to this

00:14:50.970 --> 00:14:55.129
crescendo that begins Xanadu and it's amazing.

00:14:55.870 --> 00:14:58.629
And a fun fact about this song, Brian, is they

00:14:58.629 --> 00:15:03.690
recorded this studio version 11 minutes in one

00:15:03.690 --> 00:15:07.950
take. This was the first take. Can you imagine

00:15:07.950 --> 00:15:11.769
playing Xanadu in one take? One, I couldn't imagine

00:15:11.769 --> 00:15:16.470
playing it, period, because it is so complex.

00:15:17.110 --> 00:15:20.870
But the fact that they did this in the studio,

00:15:21.149 --> 00:15:23.590
like, let's just give it a run through. Right.

00:15:23.899 --> 00:15:26.519
blows my mind like if this was a four chord charlie

00:15:26.519 --> 00:15:29.320
and they just happen to hit the magic on it even

00:15:29.320 --> 00:15:32.799
that's impressive enough there's a lot more charlies

00:15:32.799 --> 00:15:36.220
in this song than four let's just say oh yeah

00:15:36.220 --> 00:15:40.100
oh yeah absolutely and it was a live staple i

00:15:40.100 --> 00:15:42.980
mean when rush played xanadu live the crowd went

00:15:42.980 --> 00:15:46.919
bananas and i've seen them do it numerous times

00:15:46.919 --> 00:15:50.340
and every time it was fabulous and the light

00:15:50.340 --> 00:15:52.240
show howard ungeleder was the lighting director

00:15:52.240 --> 00:15:56.539
for rush And he did a masterful job, not only

00:15:56.539 --> 00:15:59.100
for every song, but especially this song. And

00:15:59.100 --> 00:16:01.779
it was always a memorable live show, too. One

00:16:01.779 --> 00:16:05.879
thing that I love about Xanadu is the fact that

00:16:05.879 --> 00:16:09.240
it's the first Rush song to truly incorporate

00:16:09.240 --> 00:16:14.679
synthesizers as an integral piece to the sound.

00:16:14.980 --> 00:16:19.080
So people that are fans of signals and subdivisions,

00:16:19.179 --> 00:16:23.090
you don't get there. Without 1977's A Fair World

00:16:23.090 --> 00:16:25.549
of Kings and kind of Xanadu was the catalyst

00:16:25.549 --> 00:16:28.149
for that. And to me, I think that's makes it

00:16:28.149 --> 00:16:31.950
an important piece to the Rush story. Yeah. And,

00:16:31.950 --> 00:16:33.909
you know, they're a progressive rock band and

00:16:33.909 --> 00:16:35.570
they were always progressing. They were always

00:16:35.570 --> 00:16:38.029
building on the previous record. They could have

00:16:38.029 --> 00:16:42.250
easily gone out and put out another 2112 or another

00:16:42.250 --> 00:16:44.649
Caressive Steel, but they wanted to do something

00:16:44.649 --> 00:16:47.809
different. And every single record was a progression.

00:16:47.830 --> 00:16:50.559
It was the same thing when. When they did Hemispheres,

00:16:50.580 --> 00:16:53.879
they did more keyboards. They did more proggy

00:16:53.879 --> 00:16:56.899
stuff. And then they just kept adding to it every

00:16:56.899 --> 00:16:59.899
year until you get to Power Windows, which is

00:16:59.899 --> 00:17:04.259
loaded with synths, right? 100%. Now, following

00:17:04.259 --> 00:17:07.220
that up, I'm actually going to take a cue from

00:17:07.220 --> 00:17:09.319
the part we just talked about, that Xanadu was

00:17:09.319 --> 00:17:14.210
kind of a career -defining song. for rush and

00:17:14.210 --> 00:17:16.490
i'm gonna follow it up with one that i feel is

00:17:16.490 --> 00:17:19.289
also a career defining song but might change

00:17:19.289 --> 00:17:21.690
the vibe a little bit to give you something to

00:17:21.690 --> 00:17:24.410
bounce off of okay and like i said i'm a sucker

00:17:24.410 --> 00:17:26.569
for album opener so when you bring a strong one

00:17:26.569 --> 00:17:28.470
you've grabbed my attention for the rest of the

00:17:28.470 --> 00:17:31.410
album no matter what it is and i love fly by

00:17:31.410 --> 00:17:33.710
night and i i want to follow it up with anthem

00:17:33.710 --> 00:17:38.269
because it's the first rush song on album to

00:17:38.269 --> 00:17:42.460
feature neil on drums and It was the song that

00:17:42.460 --> 00:17:45.660
Getty and Alex played with him as his audition.

00:17:45.740 --> 00:17:51.640
So to me, this song defines the transition from

00:17:51.640 --> 00:17:56.460
John Rutzy to Neil Peart in the band all in one

00:17:56.460 --> 00:17:58.400
song. So I feel like it's an important piece

00:17:58.400 --> 00:18:01.500
of the band's history. And on top of all that.

00:18:01.920 --> 00:18:04.599
It's just a kick -ass song. I mean, it's awesome.

00:18:04.880 --> 00:18:07.960
Absolutely. And Rush always had the best album

00:18:07.960 --> 00:18:10.119
openers. I mean, you could take any album and

00:18:10.119 --> 00:18:13.940
the first song is incredible. And like you said,

00:18:14.039 --> 00:18:17.859
this is Neil's introduction to the Rush fans.

00:18:18.079 --> 00:18:21.039
I mean, what a song to start with. I mean, he

00:18:21.039 --> 00:18:24.059
was crazy, not only in this song, but on the

00:18:24.059 --> 00:18:27.519
whole album. And the amazing thing is Neil didn't

00:18:27.519 --> 00:18:30.940
feel like his work. On Fly By Night, pretty much

00:18:30.940 --> 00:18:34.039
everything up until Moving Pictures was great.

00:18:34.220 --> 00:18:37.819
He felt like Rush began with Moving Pictures,

00:18:37.940 --> 00:18:41.960
which is incredible to me because I think his

00:18:41.960 --> 00:18:44.640
drum work on Fly By Night is some of his best

00:18:44.640 --> 00:18:48.259
work. And he was only, what, 22 years old? It's

00:18:48.259 --> 00:18:52.380
astonishing when you think about people who are

00:18:52.380 --> 00:18:56.920
considerably a master of their craft. And I'd

00:18:56.920 --> 00:18:59.460
like to throw back to the Van Halen episode I

00:18:59.460 --> 00:19:03.140
did a few weeks ago with Eric Senech from the

00:19:03.140 --> 00:19:05.660
Van Halen News Desk. And we were talking for

00:19:05.660 --> 00:19:08.420
a good while about how Eddie Van Halen feels

00:19:08.420 --> 00:19:10.420
like he screws up at the beginning of Eruption.

00:19:11.019 --> 00:19:14.259
I've listened to Eruption 10 million times. I've

00:19:14.259 --> 00:19:16.700
never heard a mistake in that song. But to Eddie,

00:19:16.799 --> 00:19:19.359
there was a mistake in that song that he felt

00:19:19.359 --> 00:19:22.140
like that song was not indicative of the guitar

00:19:22.140 --> 00:19:24.980
player. That one of the greatest guitar solos

00:19:24.980 --> 00:19:27.960
of all time. And he felt it was subpar. And it's

00:19:27.960 --> 00:19:31.140
the same mindset that Neil had with some of his

00:19:31.140 --> 00:19:33.940
Rush tracks. Because, I mean, come on. Listen

00:19:33.940 --> 00:19:37.119
to these songs. This is game -changing drumming

00:19:37.119 --> 00:19:39.640
happening. I understand that there was a lot

00:19:39.640 --> 00:19:41.819
of stuff going on in Prague at the time in the

00:19:41.819 --> 00:19:44.200
world of Genesis and stuff like that. This is

00:19:44.200 --> 00:19:47.559
another level. And as you could hear throughout

00:19:47.559 --> 00:19:50.720
the 70s output, they just kept pushing that bar

00:19:50.720 --> 00:19:54.900
farther and farther to what can possibly be done.

00:19:55.440 --> 00:19:59.619
And I think it speaks volumes for the talent

00:19:59.619 --> 00:20:02.759
that this trio brought, because some of these

00:20:02.759 --> 00:20:05.680
songs are so complex. You just mentioned Xanadu

00:20:05.680 --> 00:20:08.859
in the last track, 11 minutes, one take. Right.

00:20:09.380 --> 00:20:12.660
Anthem, an audition track. I mean, in my brain,

00:20:12.680 --> 00:20:14.579
I've always wondered what it would have been

00:20:14.579 --> 00:20:18.359
like if John Rutzy continued through the entire

00:20:18.359 --> 00:20:20.819
Rush career. That's a good question. We've talked

00:20:20.819 --> 00:20:23.779
about that on our podcast before, and it's hard

00:20:23.779 --> 00:20:26.279
to say. I mean, I don't think Rush would have

00:20:26.279 --> 00:20:29.440
been Rush without Neil Peart. They would have

00:20:29.440 --> 00:20:32.180
been a completely different band. Yeah, I think

00:20:32.180 --> 00:20:35.900
they would have went more down the bluesy, I

00:20:35.900 --> 00:20:38.420
don't want to say Led Zeppelin sound, but I hear

00:20:38.420 --> 00:20:41.799
elements of that in Rush's self -titled album,

00:20:41.960 --> 00:20:46.119
that kind of blues, hard rock bass. I don't think

00:20:46.119 --> 00:20:48.359
the progressive would have been as pronounced,

00:20:48.559 --> 00:20:51.660
let's just say. It's not a knock on John Rutze

00:20:51.660 --> 00:20:53.319
at all, but I don't think the band would have

00:20:53.319 --> 00:20:56.519
lasted as long if he had stayed in the band.

00:20:56.640 --> 00:20:59.640
And honestly, I don't even know if it's a point

00:20:59.640 --> 00:21:02.319
that we could even argue because Getty and Alex

00:21:02.319 --> 00:21:05.259
were going in this progressive direction, whether

00:21:05.259 --> 00:21:07.859
John Rutze was going with them or not. And that's

00:21:07.859 --> 00:21:10.839
the reason that John ultimately ended up leaving

00:21:10.839 --> 00:21:13.180
the band because Getty and Alex wanted to go

00:21:13.180 --> 00:21:16.420
in this direction and John didn't. Unbelievable.

00:21:17.420 --> 00:21:21.420
Now it makes me wonder what 2112 and Xanadu would

00:21:21.420 --> 00:21:23.700
have sounded like. I can't picture it. I simply

00:21:23.700 --> 00:21:25.859
can't. Yeah, they wouldn't have existed, really.

00:21:26.559 --> 00:21:28.740
Well, Steve, we're back to you now for track

00:21:28.740 --> 00:21:31.660
five. You know, you going with Anthem sent me

00:21:31.660 --> 00:21:34.039
off in a completely different direction because

00:21:34.039 --> 00:21:37.099
this is a mixtape. I want this next song to kind

00:21:37.099 --> 00:21:40.420
of flow well from Anthem. And strangely, I'm

00:21:40.420 --> 00:21:44.680
going to go all the way to the end. of Rush's

00:21:44.680 --> 00:21:47.859
career to Clockwork Angels because they sort

00:21:47.859 --> 00:21:50.619
of went full circle with their sound. And I feel

00:21:50.619 --> 00:21:54.880
like this next pick is similar in sound to Anthem,

00:21:54.880 --> 00:21:57.259
believe it or not. And it's Headlong Flight.

00:21:57.579 --> 00:22:01.019
Ooh, okay. I'm going to shout out to my podcast

00:22:01.019 --> 00:22:03.799
co -host, Jerry. This is one of his favorites.

00:22:03.940 --> 00:22:07.359
And we like to call it the Rushiest Rush Song

00:22:07.359 --> 00:22:11.880
Ever Recorded. First of all, what other band

00:22:11.880 --> 00:22:15.319
goes out with an album as great as Clockwork

00:22:15.319 --> 00:22:17.680
Angels? Can you think of another band that had

00:22:17.680 --> 00:22:21.059
an album which was their final album, which was

00:22:21.059 --> 00:22:25.240
as good as Clockwork Angels? It's hard. I have

00:22:25.240 --> 00:22:28.160
several tracks from this album in my bank of

00:22:28.160 --> 00:22:32.299
songs. And most people, if you talk about bands'

00:22:32.420 --> 00:22:35.680
last albums, it's usually met with a, well, at

00:22:35.680 --> 00:22:38.509
least we had something kind of vibe. It's better

00:22:38.509 --> 00:22:41.930
than nothing, but not by much. Clockwork Angels

00:22:41.930 --> 00:22:46.069
was an album that contended with all the other

00:22:46.069 --> 00:22:49.049
rock albums that year. And here these were guys

00:22:49.049 --> 00:22:53.390
that were decades behind them. And they could

00:22:53.390 --> 00:22:56.349
have easily phoned in anything. But they go out

00:22:56.349 --> 00:23:00.930
with a powerful statement that even borderlines

00:23:00.930 --> 00:23:02.730
on some of the heaviest stuff they've ever done,

00:23:02.829 --> 00:23:05.150
I will say. Yeah, and I could have picked pretty

00:23:05.150 --> 00:23:07.839
much any song off this record. But this particular

00:23:07.839 --> 00:23:11.079
song has everything. Killer guitar riff. Fantastic

00:23:11.079 --> 00:23:14.640
bass line. The drums are in your face. And the

00:23:14.640 --> 00:23:18.140
lyrics stand out to me because they kind of mirror

00:23:18.140 --> 00:23:21.700
Rush's journey. It's kind of wrapping up their

00:23:21.700 --> 00:23:23.759
journey. I wish I could live it all again. And

00:23:23.759 --> 00:23:27.019
I'm sure Geddy, Alex, and Neil felt that way.

00:23:27.400 --> 00:23:30.779
But also saying, I would never trade tomorrow

00:23:30.779 --> 00:23:33.859
for today. So they wouldn't give up all those

00:23:33.859 --> 00:23:36.599
memories that they had either. And this is just...

00:23:36.779 --> 00:23:40.119
a fantastic rush song from back to front. Could

00:23:40.119 --> 00:23:41.920
not agree more. And I think I know what I'm going

00:23:41.920 --> 00:23:44.640
to follow it up with. And I'm going to challenge

00:23:44.640 --> 00:23:51.160
you by saying that to me, while it was recorded

00:23:51.160 --> 00:23:56.960
and released in 2012, I don't feel like clockwork

00:23:56.960 --> 00:24:02.779
angels is truly their last album because vapor

00:24:02.779 --> 00:24:09.460
trails remix in 2013. to me, was the true definitive

00:24:09.460 --> 00:24:12.940
version of Vapor Trails. Okay, I agree. I was

00:24:12.940 --> 00:24:15.299
joking by saying that Clockwork Angels wasn't

00:24:15.299 --> 00:24:17.940
their last album. But to me, when I think about

00:24:17.940 --> 00:24:21.039
when did Vapor Trails truly start becoming a

00:24:21.039 --> 00:24:25.460
part of my constant rush listening, was after

00:24:25.460 --> 00:24:30.119
I heard the remix. And to me, I'm a sucker for

00:24:30.119 --> 00:24:32.079
album opening tracks, so I'm doing it again.

00:24:32.619 --> 00:24:36.059
I gotta go with One Little Victory. The first

00:24:36.059 --> 00:24:40.779
time since 1975 on Caressa Steel where the band

00:24:40.779 --> 00:24:45.099
did not use any keyboards or synths in the song,

00:24:45.220 --> 00:24:50.039
which by nature made the song sound heavier and

00:24:50.039 --> 00:24:53.660
bigger. But the fact I love in this song is they

00:24:53.660 --> 00:24:57.039
just layered the guitars and bass and drums to

00:24:57.039 --> 00:25:01.410
give it this incredibly massive sound. However,

00:25:01.609 --> 00:25:07.230
the mix in 2002 was so compressed, it almost

00:25:07.230 --> 00:25:12.450
hurt to listen to. It sounded too loud. The one

00:25:12.450 --> 00:25:17.190
thing that hurt Rush in the loudness wars was

00:25:17.190 --> 00:25:21.009
the fact that Rush is a band that has dynamics

00:25:21.009 --> 00:25:25.809
to their sound and to their style. If you do

00:25:25.809 --> 00:25:30.309
not have dynamics, 2112 becomes a slog to listen

00:25:30.309 --> 00:25:33.569
through for 21 minutes. There's no ebb and flow.

00:25:33.750 --> 00:25:36.710
The sound needs to be able to breathe and let

00:25:36.710 --> 00:25:40.349
the song be as the band intended it. The 2002

00:25:40.349 --> 00:25:44.160
Vapor Trails album to me. took a batch of amazing

00:25:44.160 --> 00:25:47.640
songs and almost made them unlistenable. And

00:25:47.640 --> 00:25:50.220
I'm not talking about the songs themselves. I'm

00:25:50.220 --> 00:25:53.619
talking about the actual recordings. And it wasn't

00:25:53.619 --> 00:25:56.059
until the 2013 remix that I was actually able

00:25:56.059 --> 00:25:59.000
to hear what they brought to these songs. And

00:25:59.000 --> 00:26:02.019
I'm so thankful that they were able to put out

00:26:02.019 --> 00:26:05.140
a remix because there's actually a lot of good

00:26:05.140 --> 00:26:06.900
songs on Vapor Trails. And I feel like it's a

00:26:06.900 --> 00:26:09.019
very underrated album from the band. So I'm going

00:26:09.019 --> 00:26:11.519
to go with One Little Victory. Yeah. Vapor trails

00:26:11.519 --> 00:26:14.039
is definitely underrated. And I agree with you

00:26:14.039 --> 00:26:17.940
on the remix. The remix to me is thousand times

00:26:17.940 --> 00:26:19.880
better than the original version. I thought it

00:26:19.880 --> 00:26:23.039
was too muddy, just too much. I don't know. I

00:26:23.039 --> 00:26:24.740
don't even, I'm not a producer, so I don't know.

00:26:24.859 --> 00:26:27.339
It just sounds like they compressed every instrument

00:26:27.339 --> 00:26:29.400
and then compressed everything on top of that.

00:26:29.640 --> 00:26:31.240
And then when they were done, they said, Oh,

00:26:31.259 --> 00:26:32.839
let's just compress it again for the hell of

00:26:32.839 --> 00:26:35.039
it. And then let's add a little bit more compression

00:26:35.039 --> 00:26:38.960
to that. It just felt squashed. And it took the

00:26:38.960 --> 00:26:41.640
life out of these songs and hearing them where

00:26:41.640 --> 00:26:44.759
you can actually hear the bass and hear the dynamics

00:26:44.759 --> 00:26:48.079
between the three of them. You realize what a

00:26:48.079 --> 00:26:50.240
mix can do to an album. And I feel like that

00:26:50.240 --> 00:26:54.500
was the takeaway from this, that sometimes an

00:26:54.500 --> 00:26:57.819
album just needs to be in the right ears. And

00:26:57.819 --> 00:26:59.980
when I think about progressive, I think about

00:26:59.980 --> 00:27:03.700
what Steve Wilson brought to all the Jethro Tull

00:27:03.700 --> 00:27:06.519
albums. You hear the separation in the Steve

00:27:06.519 --> 00:27:09.519
Wilson remixes of Aqualung versus the original

00:27:09.519 --> 00:27:13.059
album. To me, it sounds like two different albums.

00:27:13.500 --> 00:27:15.920
The life that he brought to it. And I feel like

00:27:15.920 --> 00:27:18.220
that's what they did on 2013 with Vapor Trails.

00:27:18.380 --> 00:27:22.460
The 2002 CD of Vapor Trails is now the one CD

00:27:22.460 --> 00:27:24.799
by Rush I don't own because once I got the remix,

00:27:25.019 --> 00:27:28.440
I knew I would never put the original mix in

00:27:28.440 --> 00:27:31.059
again. Except to say to somebody, hey, you want

00:27:31.059 --> 00:27:34.019
to hear a major difference? Listen to this. Now

00:27:34.019 --> 00:27:35.819
listen to this. That's the only time I would

00:27:35.819 --> 00:27:38.119
ever put it in. And the reason this song stands

00:27:38.119 --> 00:27:41.160
out for me, it was really Rush's return because

00:27:41.160 --> 00:27:44.599
Neil tragically lost his wife and his daughter

00:27:44.599 --> 00:27:48.940
back in 1997. And Rush, a lot of fans weren't

00:27:48.940 --> 00:27:50.779
sure if they were going to come back. I mean,

00:27:50.799 --> 00:27:52.759
the band themselves didn't know if they were

00:27:52.759 --> 00:27:55.259
going to come back. And this was their triumphant

00:27:55.259 --> 00:27:58.299
return. And when you saw Rush live on the Vapor

00:27:58.299 --> 00:28:00.519
Trails tour, this is the song they opened with.

00:28:00.779 --> 00:28:03.799
And it was just so emotional. Just to see Rush

00:28:03.799 --> 00:28:06.559
back on that stage, that's what this song reminds

00:28:06.559 --> 00:28:08.720
me of, and I think it's a great pick for your

00:28:08.720 --> 00:28:11.640
playlist. Awesome. Well, now you get to follow

00:28:11.640 --> 00:28:14.519
that up with track seven. You know, I love the

00:28:14.519 --> 00:28:18.579
fact that we're in late -era Rush because I love

00:28:18.579 --> 00:28:21.480
so much of the music that came out after Vapor

00:28:21.480 --> 00:28:25.319
Trails, including this one from 2007's Snakes

00:28:25.319 --> 00:28:29.299
and Arrows, The Way the Wind Blows. Now, this

00:28:29.299 --> 00:28:33.380
is one for the diehards. Casual Rush fans probably

00:28:33.380 --> 00:28:36.680
wouldn't know this song, but it's incredible.

00:28:36.779 --> 00:28:39.920
The contrast between the heavy verse and the

00:28:39.920 --> 00:28:43.759
beautiful chorus and Getty's vocals are so emotional

00:28:43.759 --> 00:28:47.059
on this song. And the lyrics are great. Really

00:28:47.059 --> 00:28:50.099
helps the song stand out. Much like the trees

00:28:50.099 --> 00:28:53.599
that are bent by the wind, our upbringing and

00:28:53.599 --> 00:28:56.900
our experiences in life affect how we grow. So

00:28:56.900 --> 00:29:00.599
we can only go the way the wind blows. And are

00:29:00.599 --> 00:29:03.079
you familiar with this one, Brian? Yeah, by all

00:29:03.079 --> 00:29:05.480
means. I love that album. And I actually have

00:29:05.480 --> 00:29:07.819
a few songs from that album in my bank right

00:29:07.819 --> 00:29:11.319
now. But one thing we have not done thus far

00:29:11.319 --> 00:29:15.619
is go back to an album yet. Interesting. I wonder

00:29:15.619 --> 00:29:19.200
if we will. I'm going to say not yet. I think

00:29:19.200 --> 00:29:22.759
we're going to on side B. But for now, I think

00:29:22.759 --> 00:29:24.599
we're going to I don't know. Maybe you'll change

00:29:24.599 --> 00:29:29.460
here. But I think that is a fantastic deep cut.

00:29:29.930 --> 00:29:32.650
to pull for this mix because one little victory

00:29:32.650 --> 00:29:36.710
was a single it was a tour opening song so even

00:29:36.710 --> 00:29:39.750
if it wasn't a massive hit like a tom sawyer

00:29:39.750 --> 00:29:44.730
2112 it had its rotation in the band's live sets

00:29:44.730 --> 00:29:48.690
for an entire tour so to me that kind of puts

00:29:48.690 --> 00:29:53.779
it in the god bad time here limelight for the

00:29:53.779 --> 00:29:56.839
Rush family for an entire tour. So it's always

00:29:56.839 --> 00:29:58.339
going to be part of the conversation. But The

00:29:58.339 --> 00:30:00.960
Way to Windblows was not a song. Did they even

00:30:00.960 --> 00:30:02.940
play that outside of the Snakes and Arrows tour?

00:30:03.299 --> 00:30:04.940
They played it on the Snakes and Arrows tour

00:30:04.940 --> 00:30:06.720
for sure. I'm not sure if they played it after

00:30:06.720 --> 00:30:09.119
that. There was a few songs from that album that

00:30:09.119 --> 00:30:12.079
kind of were relegated to that tour only. And

00:30:12.079 --> 00:30:14.500
that's a shame because there was some great stuff

00:30:14.500 --> 00:30:16.940
that came out of that album. And one thing Jerry

00:30:16.940 --> 00:30:19.000
and I discovered on the podcast when we were

00:30:19.000 --> 00:30:21.640
talking about Snakes and Arrows is that Alex

00:30:21.640 --> 00:30:25.920
wrote the entire record on acoustic guitar, which

00:30:25.920 --> 00:30:30.539
changed the sound of the entire album. And it's

00:30:30.539 --> 00:30:33.240
just incredible. And when you listen back with

00:30:33.240 --> 00:30:35.940
that knowledge, you can hear the acoustic guitar

00:30:35.940 --> 00:30:39.720
kind of flowing through the whole album. And

00:30:39.720 --> 00:30:43.079
if he could play these songs acoustically, imagine

00:30:43.079 --> 00:30:47.160
how great they sound revved up and plugged in.

00:30:47.440 --> 00:30:50.589
That they do. And I think I'm going to. Man,

00:30:50.589 --> 00:30:52.750
we have been kind of bouncing over the late era

00:30:52.750 --> 00:30:54.809
now. So I want to bring us back a little bit,

00:30:54.869 --> 00:30:57.329
but not too far back. Because I feel like we

00:30:57.329 --> 00:31:00.690
hit a lot of the early 70s stuff. And then we

00:31:00.690 --> 00:31:04.869
hit a lot of the late aughts albums. So I want

00:31:04.869 --> 00:31:07.369
to go back to the 90s. And I want to go to Counterparts.

00:31:08.049 --> 00:31:11.250
And hopefully no one criticizes me for my pick.

00:31:11.769 --> 00:31:17.470
However, I have to go with Animate. Easily. My

00:31:17.470 --> 00:31:20.450
favorite song on Counterparts, as much as I love

00:31:20.450 --> 00:31:26.390
the album, Animate just hits so hard. The longest

00:31:26.390 --> 00:31:31.240
song on the album. Yeah, I did it again. An album

00:31:31.240 --> 00:31:34.819
opening track. I mean, come on. I've done four

00:31:34.819 --> 00:31:37.640
picks now and all four are album openers. And

00:31:37.640 --> 00:31:39.380
I promise you I could go through the rest of

00:31:39.380 --> 00:31:42.359
my other six tonight and drop all album openers

00:31:42.359 --> 00:31:44.359
and still make a convincing argument for all

00:31:44.359 --> 00:31:47.859
of them. But to me, Animate is a massive song.

00:31:47.960 --> 00:31:50.779
They played it on a lot of tours past counterparts.

00:31:51.299 --> 00:31:55.160
It was on the Rush 40 tour. This song to me is

00:31:55.160 --> 00:31:58.289
a big part of their history. And I feel like

00:31:58.289 --> 00:32:00.710
the 90s is kind of the most overlooked decade

00:32:00.710 --> 00:32:03.029
for the band. Obviously, what you mentioned with

00:32:03.029 --> 00:32:05.430
Neil and the band in the later half of the 90s,

00:32:05.430 --> 00:32:09.069
not even being active. And I feel like when people

00:32:09.069 --> 00:32:13.069
talk about Rush, it's always talked about in

00:32:13.069 --> 00:32:17.230
the 70s Prague era, the 80s sound, and then everything

00:32:17.230 --> 00:32:20.109
they did after Vapor Trails. But I feel like

00:32:20.109 --> 00:32:22.630
the 90s almost gets kind of just lumped into

00:32:22.630 --> 00:32:25.640
the 80s, even though. These albums were released

00:32:25.640 --> 00:32:27.559
in the 90s. They're still talked about in the

00:32:27.559 --> 00:32:29.920
80s discussion. And I don't think they should

00:32:29.920 --> 00:32:33.980
be because these songs sonically sound different

00:32:33.980 --> 00:32:37.460
than the 80s output, than the 70s output, than

00:32:37.460 --> 00:32:41.039
the aughts output. They have a unique sound to

00:32:41.039 --> 00:32:44.660
them that honestly fits with the musical landscape

00:32:44.660 --> 00:32:48.660
in the 90s. However, because there was, I guess

00:32:48.660 --> 00:32:50.599
you'd say, the least amount of output from the

00:32:50.599 --> 00:32:52.980
band during the decade, it often gets overlooked.

00:32:53.900 --> 00:32:56.740
animate from Counterparts. Brilliant, brilliant.

00:32:57.079 --> 00:32:59.960
And again, like you said, Counterparts is overlooked.

00:33:00.440 --> 00:33:02.299
The thing that stands out for me, two things.

00:33:02.579 --> 00:33:04.799
Number one, the guitars, because the guitars

00:33:04.799 --> 00:33:07.940
were back when I heard Counterparts. I mean,

00:33:07.980 --> 00:33:11.059
Presto is a great record. I love Presto, but

00:33:11.059 --> 00:33:13.700
it's still very keyboard heavy. And they pretty

00:33:13.700 --> 00:33:16.019
much tossed the keyboards aside for the most

00:33:16.019 --> 00:33:19.220
part for Counterparts. And Alex was back in the

00:33:19.220 --> 00:33:21.420
forefront. And that was a great thing, not only

00:33:21.420 --> 00:33:25.049
for him, but for the fans. And this song, the

00:33:25.049 --> 00:33:27.930
drums stand out to me. The drum beat. I mean,

00:33:27.970 --> 00:33:31.069
it starts with the drums only, which is a very

00:33:31.069 --> 00:33:33.470
rare thing for a Rush song to do. It might be

00:33:33.470 --> 00:33:35.869
the only one that starts out with just the drums.

00:33:36.829 --> 00:33:39.490
And Neil just shines on this one. That's a great

00:33:39.490 --> 00:33:42.930
pick, Brian. All right. You have one pick left

00:33:42.930 --> 00:33:45.349
for side A. So what do you got? Wow. I don't

00:33:45.349 --> 00:33:47.609
know what I'm going to do after Animate. What

00:33:47.609 --> 00:33:50.029
should I do? Do I have time to think about it?

00:33:51.460 --> 00:33:53.799
Sure, because of the beauty of podcasting, you

00:33:53.799 --> 00:33:56.059
can think for the next 30 minutes and it'll only

00:33:56.059 --> 00:33:58.019
be about five seconds when we're done. I'm going

00:33:58.019 --> 00:34:02.599
to go back to Rush's Signals, and this might

00:34:02.599 --> 00:34:06.420
be one that people wouldn't consider, but I'm

00:34:06.420 --> 00:34:11.260
going to go with the Analog Kid. Yes! You could

00:34:11.260 --> 00:34:13.320
go with Subdivisions, you could go with New World

00:34:13.320 --> 00:34:16.699
Man from this album, but this by far is my favorite

00:34:16.699 --> 00:34:19.360
track on the record. The bass, the guitar, the

00:34:19.360 --> 00:34:22.190
drums. They're so in sync on this song. That's

00:34:22.190 --> 00:34:23.829
the thing that stands out to me. They are just

00:34:23.829 --> 00:34:27.369
in lockstep. And the lyrics are outstanding.

00:34:27.570 --> 00:34:30.269
The boy dreaming of going off into the city and

00:34:30.269 --> 00:34:33.630
doing big things. Kind of an extension of subdivisions,

00:34:33.630 --> 00:34:36.929
so to speak. And Brian, this has one of my favorite

00:34:36.929 --> 00:34:41.550
lyrics in it, of all Rush time. And it's, too

00:34:41.550 --> 00:34:45.010
many hands on my time, which Neil sort of lifted

00:34:45.010 --> 00:34:48.829
from the Styx song, Too Much Time on My Hands.

00:34:49.360 --> 00:34:51.679
Oh, yeah, you're right. Which I thought is a

00:34:51.679 --> 00:34:55.699
is a cool rush factoid about the analog kid.

00:34:55.860 --> 00:34:58.840
I never knew that tidbit, but thank you so much

00:34:58.840 --> 00:35:03.000
for sharing it again. Not a top 40 hit. It reached

00:35:03.000 --> 00:35:07.420
19 on the mainstream rock charts. But to me,

00:35:07.420 --> 00:35:11.039
you picked my favorite song from Signals. I kid

00:35:11.039 --> 00:35:14.940
you not. To me, Signals was a very keyboard heavy

00:35:14.940 --> 00:35:18.630
album, but. Alex's guitar solo in this song,

00:35:18.710 --> 00:35:22.110
to me, transcends all the keyboards. And it brings

00:35:22.110 --> 00:35:26.510
that rock sound into the synthy overall sheen

00:35:26.510 --> 00:35:30.050
that Signals has. The guitar cutting through

00:35:30.050 --> 00:35:32.349
in this song, to me, really shows, no, no, we're

00:35:32.349 --> 00:35:35.289
still here. Don't worry. We got you. We're still

00:35:35.289 --> 00:35:39.170
Rush. And to me, had they completely abandoned

00:35:39.170 --> 00:35:42.289
the guitar. On this album, it might have been

00:35:42.289 --> 00:35:44.769
more of a divisive album for listeners, especially

00:35:44.769 --> 00:35:48.309
coming out of moving pictures. And you mentioned

00:35:48.309 --> 00:35:50.610
the top 40 hits. Did you know that Rush actually

00:35:50.610 --> 00:35:54.230
had a top 40 hit on Signal One? I thought New

00:35:54.230 --> 00:35:56.869
World Man was their only top 40 hit, correct?

00:35:57.030 --> 00:36:00.590
That is correct. OK, so that is it. That's it.

00:36:01.949 --> 00:36:05.429
How many people talk about New World Man in Rush's

00:36:05.429 --> 00:36:09.070
as much as it's a great song? When you think

00:36:09.070 --> 00:36:11.090
about all the other songs, even that we've talked

00:36:11.090 --> 00:36:13.909
about so far, I feel like those songs have a

00:36:13.909 --> 00:36:17.610
bigger impact on Rush's legacy outside of their

00:36:17.610 --> 00:36:20.429
only top 40 hit. It's astonishing to me. Yeah.

00:36:20.489 --> 00:36:23.550
For them to have a top 40 hit and it be, what,

00:36:23.610 --> 00:36:29.269
their 30th best song? I mean, come on. I'm not

00:36:29.269 --> 00:36:31.170
going to lie. I don't want to be mean, but it

00:36:31.170 --> 00:36:33.429
did not make my bank of songs for tonight. I

00:36:33.429 --> 00:36:36.070
love it, but there's some songs that had to make

00:36:36.070 --> 00:36:39.090
the cut. Totally understand. And closing out

00:36:39.090 --> 00:36:42.590
Side A, because this is the one side that I get

00:36:42.590 --> 00:36:44.889
to close. I mentioned this at the top of the

00:36:44.889 --> 00:36:49.269
show. Ending aside, you got to go with a massive

00:36:49.269 --> 00:36:54.469
anthem from Rush. And one thing we have not dove

00:36:54.469 --> 00:36:57.929
into yet are some of their amazing instrumentals.

00:36:58.250 --> 00:37:00.989
And I have to, because we are recording this

00:37:00.989 --> 00:37:04.170
episode in October, right around my friend Dom's

00:37:04.170 --> 00:37:07.889
birthday. Rest in peace. I want to go with the

00:37:07.889 --> 00:37:10.750
song that he introduced me to with Rush, our

00:37:10.750 --> 00:37:13.269
favorite song, listening to all the time. Every

00:37:13.269 --> 00:37:16.230
time I hopped in his car, he'd be like, I hope

00:37:16.230 --> 00:37:17.829
you're ready for it because you know it's happening.

00:37:18.170 --> 00:37:21.070
And I'd get to hear the opening to La Villa Strangiato.

00:37:21.489 --> 00:37:23.889
The hair on my arms is standing up just talking

00:37:23.889 --> 00:37:26.630
about it. This song means so much to me. This

00:37:26.630 --> 00:37:31.670
song is a movie in music. There are no lyrics,

00:37:31.710 --> 00:37:36.070
but it tells such a story. The music that inspires

00:37:36.070 --> 00:37:41.369
the Monsters section of the song was 1936's Powerhouse

00:37:41.369 --> 00:37:45.309
by Raymond Scott. Warner Brothers musical director

00:37:45.309 --> 00:37:49.789
Carl Stalling used Powerhouse in Warner Brothers

00:37:49.789 --> 00:37:53.329
cartoon scores. So my buddy would always say

00:37:53.329 --> 00:37:56.809
to me every time this came on, dude, Rush was

00:37:56.809 --> 00:37:59.329
in the Looney Tunes. How amazing is that? Like,

00:37:59.329 --> 00:38:03.019
I mean, come on. And to me. it added a bit of

00:38:03.019 --> 00:38:07.139
levity to such a powerful track. And Neil did

00:38:07.139 --> 00:38:09.420
joke one time that they spent more time working

00:38:09.420 --> 00:38:12.480
on this song than the entire fly by night album.

00:38:12.519 --> 00:38:16.340
So to me, when you're closing out a side, it's

00:38:16.340 --> 00:38:19.900
gotta be something that is a statement. And I

00:38:19.900 --> 00:38:22.900
don't think there's maybe the biggest statement

00:38:22.900 --> 00:38:25.159
the band's ever made. And that might be a divisive

00:38:25.159 --> 00:38:28.820
comment, but La Villa Strangiato is my favorite

00:38:28.820 --> 00:38:30.719
rush tune. And if this is the side I'm closing,

00:38:31.230 --> 00:38:33.710
I got to close it out with that. Yeah, I completely

00:38:33.710 --> 00:38:36.449
agree. Rush's greatest instrumental achievement,

00:38:36.510 --> 00:38:40.949
in my opinion, even over YYZ. And you mentioned

00:38:40.949 --> 00:38:43.710
Powerhouse. Did you know that Alex Lifeson had

00:38:43.710 --> 00:38:47.469
no idea that he had lifted that part of the song

00:38:47.469 --> 00:38:50.369
from the Raymond Scott song? Wait, what? He had

00:38:50.369 --> 00:38:54.170
no idea. Was that like subliminally just in his

00:38:54.170 --> 00:38:56.630
brain from watching the cartoons growing up?

00:38:56.650 --> 00:38:59.230
Yep. And he found out years later when they got

00:38:59.230 --> 00:39:02.789
a letter from the family and it turned out that

00:39:02.789 --> 00:39:06.489
the statute of limitations had expired by that

00:39:06.489 --> 00:39:10.650
time. So they didn't have to provide any royalties

00:39:10.650 --> 00:39:13.969
to the Raymond Scott family. But Rush, because

00:39:13.969 --> 00:39:17.710
they're the great guys that they are, they paid

00:39:17.710 --> 00:39:20.349
for it anyway. That's a class act right there,

00:39:20.349 --> 00:39:22.639
especially. That says everything you need to

00:39:22.639 --> 00:39:26.099
know about Rush right there. 100%, both musically

00:39:26.099 --> 00:39:28.960
and from a personal standpoint, closing out Side

00:39:28.960 --> 00:39:33.260
A, which to me is a massive 10 tracks, kicking

00:39:33.260 --> 00:39:36.679
off with Tom Sawyer from Moving Pictures, the

00:39:36.679 --> 00:39:41.440
title track from 2112, all 20 plus minutes, Xanadu

00:39:41.440 --> 00:39:44.719
from A Farewell to Kings, Anthem from Fly By

00:39:44.719 --> 00:39:47.440
Night. Headlong Flight from Clockwork Angels,

00:39:47.699 --> 00:39:50.920
One Little Victory from Vapor Trails, The Way

00:39:50.920 --> 00:39:54.039
the Wind Blows from Snakes and Arrows, Animate

00:39:54.039 --> 00:39:57.239
from Counterparts, The Analog Kid from Signals,

00:39:57.320 --> 00:40:01.099
and La Villa Strangiato from Hemispheres. Head

00:40:01.099 --> 00:40:04.679
over to myweeklymixtape .com to hear all the

00:40:04.679 --> 00:40:07.659
songs we've discussed in this mix through the

00:40:07.659 --> 00:40:11.789
playlist embedded on the episode page. Now, Steve,

00:40:11.969 --> 00:40:14.969
before we flip things over to Side B, even though

00:40:14.969 --> 00:40:17.369
Something for Nothing sadly ended its amazing

00:40:17.369 --> 00:40:20.449
podcast run, you've got some interesting news

00:40:20.449 --> 00:40:23.309
for both fans of the pod and Rush fans in general.

00:40:23.429 --> 00:40:25.690
Why don't you bring everybody up to speed? Yeah,

00:40:25.710 --> 00:40:27.849
well, we ended the podcast back in January. We

00:40:27.849 --> 00:40:31.090
did 175 episodes and had decided, you know how

00:40:31.090 --> 00:40:33.230
difficult it is to put a podcast together, Brian.

00:40:33.630 --> 00:40:36.590
It takes a lot of work. So we were doing it every

00:40:36.590 --> 00:40:38.690
week for three and a half years, and we decided

00:40:38.690 --> 00:40:42.420
it was time to. to hang him up, but we left a

00:40:42.420 --> 00:40:47.000
big guest on the table and I never really was

00:40:47.000 --> 00:40:49.559
happy about that. So we decided to come back

00:40:49.559 --> 00:40:52.519
for a fall season, which premiered in October.

00:40:52.519 --> 00:40:56.860
And we did a few episodes starting off with Neil's

00:40:56.860 --> 00:41:00.420
brother, Danny Peart, who joined us on the podcast.

00:41:00.440 --> 00:41:04.699
And it was an incredible conversation. Fantastic.

00:41:04.719 --> 00:41:07.869
Now, let me ask you this. Because of the fact

00:41:07.869 --> 00:41:10.050
that you came back for a fall season, is this

00:41:10.050 --> 00:41:12.130
something where you might revisit it from time

00:41:12.130 --> 00:41:15.190
to time again? Maybe the doors are still open.

00:41:15.309 --> 00:41:18.110
The doors are open. We haven't discussed whether

00:41:18.110 --> 00:41:19.869
we're going to do another season in the future,

00:41:19.989 --> 00:41:22.949
but I think we probably will. Maybe once a year

00:41:22.949 --> 00:41:26.269
we'll do four or five episodes when we get bored

00:41:26.269 --> 00:41:29.670
and come back and entertain the Rush fans. Well,

00:41:29.710 --> 00:41:32.409
I, for one, am looking forward to it. Now, as

00:41:32.409 --> 00:41:35.769
we turn our attention to Side B, I have the distinct

00:41:35.769 --> 00:41:39.550
honor of kicking things off. We kicked off Side

00:41:39.550 --> 00:41:45.250
A with a people -pleasing crowd anthem. And there

00:41:45.250 --> 00:41:49.090
was a lot of debate about a good Rush album opener

00:41:49.090 --> 00:41:50.989
with the Patreon listeners. And I'm going to

00:41:50.989 --> 00:41:53.710
kick off the side with a song that I feel is

00:41:53.710 --> 00:41:57.349
a mainstay for both hardcore Rush fans and even

00:41:57.349 --> 00:42:00.889
casual fans. So that coupled with the fact that

00:42:00.889 --> 00:42:03.570
we have gone an entire side and we have not talked

00:42:03.570 --> 00:42:06.469
about permanent waves yet. So let's just go for

00:42:06.469 --> 00:42:10.210
it. The spirit of radio to kick off side B. It

00:42:10.210 --> 00:42:14.030
reached number 51 on the Billboard Hot 100. Again,

00:42:14.210 --> 00:42:18.710
astonished that this song wasn't a top 40 hit

00:42:18.710 --> 00:42:26.429
because it is such a radio anthem. I mean, that

00:42:26.429 --> 00:42:28.809
opening to me is so iconic. You hear that opening,

00:42:28.889 --> 00:42:32.130
like you immediately know what's going to happen.

00:42:32.650 --> 00:42:36.289
It's so big. It's used in sporting events. It's

00:42:36.289 --> 00:42:40.369
used everywhere. And it's just so ingrained in

00:42:40.369 --> 00:42:43.650
classic rock history. It's shocking that it wasn't

00:42:43.650 --> 00:42:46.469
a top 40 hit to me. And yes, I mean, look, the

00:42:46.469 --> 00:42:49.090
band has named compilations after it. They've

00:42:49.090 --> 00:42:52.349
probably played it more times than any song throughout

00:42:52.349 --> 00:42:54.449
their career because of the longevity of it.

00:42:55.130 --> 00:42:59.969
It is classic, classic Rush. And I guess along

00:42:59.969 --> 00:43:02.869
with Tom Sawyer would be one of the ones where

00:43:02.869 --> 00:43:05.590
the hardcore fans go, well, of course. But again,

00:43:05.690 --> 00:43:09.630
we want this mix to represent both hardcore fans

00:43:09.630 --> 00:43:11.670
and people that are going, well, I don't know

00:43:11.670 --> 00:43:15.090
if I really know much about Rush. Let me dive

00:43:15.090 --> 00:43:17.630
into this band. So in order to dive into this

00:43:17.630 --> 00:43:20.250
band, the spirit of radio would be a great way

00:43:20.250 --> 00:43:22.250
to kind of ease them into side two, I think.

00:43:22.619 --> 00:43:25.079
Love the pick, Brian. Love it. If I was going

00:43:25.079 --> 00:43:27.519
to pick the first song for side two, I was going

00:43:27.519 --> 00:43:32.099
to pick this one also. So I agree with you wholeheartedly.

00:43:32.760 --> 00:43:35.820
Neil's love letter to the radio station. He grew

00:43:35.820 --> 00:43:39.559
up listening to CFNY in Toronto. And for me,

00:43:39.579 --> 00:43:42.199
this is just Rush's greatest live song because

00:43:42.199 --> 00:43:45.619
the crowd was so into it when they played this

00:43:45.619 --> 00:43:48.579
song, when the lights came up and it was just

00:43:48.579 --> 00:43:51.320
incredible. And a reggae section and a Rush song,

00:43:51.440 --> 00:43:56.460
come on. they got away with so much because of

00:43:56.460 --> 00:43:58.719
who they were and i don't want to mention any

00:43:58.719 --> 00:44:00.039
other parts yet because i don't know if we're

00:44:00.039 --> 00:44:02.400
going to get to it or not but something that

00:44:02.400 --> 00:44:05.719
immediately comes to mind is the rap in roll

00:44:05.719 --> 00:44:08.599
the bones roll the bones it's like wait a minute

00:44:08.599 --> 00:44:10.320
now they're throwing hip -hop into the mix and

00:44:10.320 --> 00:44:13.960
somehow in true rush fashion they were able to

00:44:13.960 --> 00:44:16.380
do it where it did not come across as a mockery

00:44:16.380 --> 00:44:20.320
it came across as a humble homage for lack of

00:44:20.320 --> 00:44:22.829
a better term Same thing with the reggae part

00:44:22.829 --> 00:44:24.489
in the spirit of radio. That could have easily

00:44:24.489 --> 00:44:28.090
come across with a mocking tone. But they played

00:44:28.090 --> 00:44:31.250
it with such pizzazz in that part of the song.

00:44:31.690 --> 00:44:35.170
It just works. And they do it as well as pretty

00:44:35.170 --> 00:44:37.429
much any damn reggae band I know, too. Yeah,

00:44:37.469 --> 00:44:39.969
it really is amazing. And you had to go to Permanent

00:44:39.969 --> 00:44:42.510
Waves eventually, right? Of course. The fact

00:44:42.510 --> 00:44:45.309
that we didn't was a crime. You could pick any

00:44:45.309 --> 00:44:47.440
song from Permanent Waves. And there's actually

00:44:47.440 --> 00:44:49.280
still a couple albums we haven't touched on yet.

00:44:49.320 --> 00:44:51.119
So we'll see if we get to those. But Steve, we're

00:44:51.119 --> 00:44:52.699
back to you for track two. All right, track two.

00:44:52.780 --> 00:44:54.539
I'm going to disappoint you, Brian. I'm going

00:44:54.539 --> 00:44:57.079
to go back to an album we already talked about.

00:44:57.320 --> 00:44:59.659
It had to happen, though, right? Didn't it? Of

00:44:59.659 --> 00:45:02.039
course. You could pick any song from Moving Pictures

00:45:02.039 --> 00:45:05.059
and put it on this mixtape and not go wrong.

00:45:05.579 --> 00:45:08.579
But for me, my favorite Rush song of all time

00:45:08.579 --> 00:45:13.380
is Red Barchetta. Nice. This is Rush at its cinematic

00:45:13.380 --> 00:45:17.079
best. You are in that car. You're driving across

00:45:17.079 --> 00:45:19.960
the one lane bridge. The wind is in your hair.

00:45:20.679 --> 00:45:24.719
Rush is able to match the music with the lyrics

00:45:24.719 --> 00:45:28.820
better than any band that I can think of. And

00:45:28.820 --> 00:45:33.659
this song is just a masterpiece. Just is. You

00:45:33.659 --> 00:45:38.000
said it best. You can pick any song from Moving

00:45:38.000 --> 00:45:40.920
Pictures. We could have literally just read through

00:45:40.920 --> 00:45:44.960
tracks one through seven of Side A for this mixtape.

00:45:45.280 --> 00:45:47.360
And just gone straight from Tom Sawyer to Vital

00:45:47.360 --> 00:45:49.739
Signs. And there would be Rush fans out there

00:45:49.739 --> 00:45:52.840
going, I get it. Because they're all classic

00:45:52.840 --> 00:45:54.940
tracks, every one of them. And that's why they

00:45:54.940 --> 00:45:58.179
played the album in its entirety. Because at

00:45:58.179 --> 00:46:00.500
the end of the day, they were just playing the

00:46:00.500 --> 00:46:02.579
hits, if you want to call it that. What would

00:46:02.579 --> 00:46:04.880
be the deepest cut for moving pictures, if you

00:46:04.880 --> 00:46:07.780
would even call it that? The camera eye, maybe?

00:46:08.349 --> 00:46:11.230
Just because of its length and less radio airplay?

00:46:11.289 --> 00:46:13.269
Yeah, I would say probably the Camera Eye would

00:46:13.269 --> 00:46:15.969
be the song that would be least known by casual

00:46:15.969 --> 00:46:20.070
Rush fans. All right. Well, I'm going to, from

00:46:20.070 --> 00:46:22.969
there, I don't want to follow up a second album

00:46:22.969 --> 00:46:26.210
twice. Okay. So let's go to an album we haven't

00:46:26.210 --> 00:46:32.090
touched on yet. And this is tough because, again,

00:46:32.170 --> 00:46:35.730
I'm going outside of... My album opening track

00:46:35.730 --> 00:46:38.190
here. But the album opening track for this album

00:46:38.190 --> 00:46:43.429
is so good. But they also know how to close out

00:46:43.429 --> 00:46:47.829
albums with authority. And look, it's Geddy Lee's

00:46:47.829 --> 00:46:50.489
favorite song to play live. So I'm going to go

00:46:50.489 --> 00:46:52.630
with Working Man from their self -titled. We

00:46:52.630 --> 00:46:55.010
got to get John Rutzy into the conversation somehow.

00:46:55.389 --> 00:46:58.809
And to me, Working Man, it's got such a groove

00:46:58.809 --> 00:47:02.590
to it. And it's so unique. in the Rush catalog,

00:47:02.849 --> 00:47:07.210
that it made the transition from John Rutzy into

00:47:07.210 --> 00:47:10.150
the Neil Peart years seamlessly because they

00:47:10.150 --> 00:47:12.670
played it throughout a lot of tours. It's one

00:47:12.670 --> 00:47:15.949
of the few pulls, the few takeaways from the

00:47:15.949 --> 00:47:18.809
self -titled album that continued into the band's

00:47:18.809 --> 00:47:21.349
legacy. So I feel like it's an important song

00:47:21.349 --> 00:47:24.449
for the band, but I can understand where it could

00:47:24.449 --> 00:47:26.969
be divisive to the fact that it's a non -Neil

00:47:26.969 --> 00:47:29.070
track, but I still love it regardless. Yeah.

00:47:29.170 --> 00:47:31.489
And that guitar solo, I mean, come on. Yeah,

00:47:31.570 --> 00:47:34.289
I mean, Alex's guitar solo on that song is one

00:47:34.289 --> 00:47:36.889
of his best, and it was done when he was, what,

00:47:36.909 --> 00:47:40.150
21 years old? It's crazy. It made Guitar World's

00:47:40.150 --> 00:47:42.650
list of 100 greatest guitar solos ever. And the

00:47:42.650 --> 00:47:45.969
live versions of Working Man on the later albums

00:47:45.969 --> 00:47:49.010
that Neil plays on, he adds so much to the song.

00:47:49.090 --> 00:47:52.030
Again, nothing against John Rutzy, but he adds

00:47:52.030 --> 00:47:55.110
so much to the song, and it was a staple at the

00:47:55.110 --> 00:47:58.809
live shows. Rush fans love Working Man. Working

00:47:58.809 --> 00:48:02.900
Man's not in my... Top 20 Rush songs. I love

00:48:02.900 --> 00:48:04.579
it, but I don't love it as much as I love other

00:48:04.579 --> 00:48:08.900
songs. But most Rush fans would want that in

00:48:08.900 --> 00:48:10.780
this mixtape. And I'm glad you put it on there.

00:48:11.219 --> 00:48:14.059
All right. We're back to you now for track four.

00:48:14.400 --> 00:48:17.039
All right. I feel like we've got to go to Grace

00:48:17.039 --> 00:48:20.139
Under Pressure at some point. We've got to. One

00:48:20.139 --> 00:48:23.199
of Rush's most underrated albums, in my opinion.

00:48:23.820 --> 00:48:27.480
And I'm going to go with Red Sector A. The lyrics,

00:48:27.679 --> 00:48:32.130
again, it's cinematic. kind of like Red Barchetta

00:48:32.130 --> 00:48:36.090
in a way, but this is a dark song. The lyrics

00:48:36.090 --> 00:48:38.610
evoke the concentration camps of the Holocaust.

00:48:39.050 --> 00:48:42.489
It was inspired in part by Geddy Lee's mother's

00:48:42.489 --> 00:48:45.449
accounts of her experience there. She was in

00:48:45.449 --> 00:48:48.070
the concentration camps, which is hard to believe.

00:48:48.610 --> 00:48:52.889
And again, the music fits the subject matter

00:48:52.889 --> 00:48:56.630
so perfectly. Geddy's vocals, the emotion in

00:48:56.630 --> 00:48:59.940
his voice, because it means so much to him. the

00:48:59.940 --> 00:49:05.039
subject matter and just the biting guitars and

00:49:05.039 --> 00:49:08.840
the drums. I mean, it's really incredible and

00:49:08.840 --> 00:49:14.440
emotional and has to be in my mixtape. Love the

00:49:14.440 --> 00:49:18.119
track. I'm shocked. We got this far without talking

00:49:18.119 --> 00:49:20.420
about grace under pressure, because I think I

00:49:20.420 --> 00:49:23.639
completely agree with you. I mean, I think it's

00:49:23.639 --> 00:49:26.340
like, again, album openers. I'm sorry. I apologize.

00:49:26.440 --> 00:49:28.670
I know I keep going to that, but distant early

00:49:28.670 --> 00:49:31.590
warning. Great one. This album to me, I feel

00:49:31.590 --> 00:49:36.090
like maybe the music landscape was changing around

00:49:36.090 --> 00:49:41.610
rush. And this album almost got lost in the,

00:49:41.670 --> 00:49:44.429
the sauce at the time, because when you say it

00:49:44.429 --> 00:49:47.929
is under, it's truly an underrated album that.

00:49:48.510 --> 00:49:50.929
I feel like kind of got swallowed up in everything

00:49:50.929 --> 00:49:53.829
that was happening in 1984. And then I think

00:49:53.829 --> 00:49:56.869
that continues into 85's Power Windows. This

00:49:56.869 --> 00:49:58.909
was kind of this different time for the band

00:49:58.909 --> 00:50:03.250
that really, I feel like a lot of bands around

00:50:03.250 --> 00:50:07.809
84, 85, and 86 kind of all started going with,

00:50:07.849 --> 00:50:10.150
I don't want to say a similar sound because that

00:50:10.150 --> 00:50:11.849
sounds like I'm trying to take away from it,

00:50:11.889 --> 00:50:13.650
but I've always kind of likened it to the Phil

00:50:13.650 --> 00:50:17.010
Collins effect. where artists that never really

00:50:17.010 --> 00:50:19.969
messed around with synth, like Eric Clapton and

00:50:19.969 --> 00:50:22.269
the Behind the Sun album, started just playing

00:50:22.269 --> 00:50:25.309
around with synth. And I feel like because there

00:50:25.309 --> 00:50:27.369
was so much synth out there, these albums kind

00:50:27.369 --> 00:50:29.909
of got lost in that a little bit. Well, yeah.

00:50:29.989 --> 00:50:32.449
And the other thing is a lot of Rush fans dropped

00:50:32.449 --> 00:50:35.469
off around this time. Good point. Yeah. A lot

00:50:35.469 --> 00:50:37.429
of Rush fans dropped out after Signals. We've

00:50:37.429 --> 00:50:40.869
talked to so many Rush fans who are just dyed

00:50:40.869 --> 00:50:44.059
-in -the -wool 70s guys. And when Signals came

00:50:44.059 --> 00:50:48.280
out and those synths on subdivisions, they just

00:50:48.280 --> 00:50:50.940
shut it off and tossed it aside and were gone

00:50:50.940 --> 00:50:54.099
forever. And the great thing about our podcast

00:50:54.099 --> 00:50:56.400
is that we brought a lot of those people back.

00:50:56.519 --> 00:50:59.219
We talked about all the albums of the synth era

00:50:59.219 --> 00:51:02.420
and sucked some fans back in. And we're kind

00:51:02.420 --> 00:51:05.280
of proud of that. As you should be, because I'm

00:51:05.280 --> 00:51:07.679
about to go into another song that would fall

00:51:07.679 --> 00:51:11.360
into that category. And it's another album we

00:51:11.360 --> 00:51:16.400
haven't talked about. And crap, it's an album

00:51:16.400 --> 00:51:19.880
opener. Oh, no. But kidding aside, I kind of

00:51:19.880 --> 00:51:22.059
have to because at this point in my life, I'm

00:51:22.059 --> 00:51:25.440
11, 12, 13 years old, and I am not getting as

00:51:25.440 --> 00:51:29.800
much music from the radio as I am from MTV. And

00:51:29.800 --> 00:51:33.059
Show Don't Tell was a song around the time that

00:51:33.059 --> 00:51:36.880
was being played in heavy rotation on MTV. It's

00:51:36.880 --> 00:51:39.639
leaning very heavy into the synth at this point.

00:51:39.719 --> 00:51:42.610
I mean. I don't want to say it's guitar -less

00:51:42.610 --> 00:51:44.969
because the guitar kind of lives and breathes

00:51:44.969 --> 00:51:46.889
through the verses. But when you get to the chorus,

00:51:47.130 --> 00:51:50.469
that synth sound really is propped up on a mantle

00:51:50.469 --> 00:51:53.309
for this song. So it's kind of this cross between

00:51:53.309 --> 00:51:56.829
the two. I was debating between Show Don't Tell

00:51:56.829 --> 00:51:59.510
and Roll the Bones, and I almost went with Roll

00:51:59.510 --> 00:52:01.869
the Bones just to not put an album opener in

00:52:01.869 --> 00:52:04.489
there. But at the end of the day, I love both

00:52:04.489 --> 00:52:06.289
tracks, and it was more of a coin flip than anything

00:52:06.289 --> 00:52:09.070
else. Yeah, I love the pick. Presto is such an

00:52:09.070 --> 00:52:12.079
underrated record. It's got a very bright sound

00:52:12.079 --> 00:52:15.820
to it. That's probably the heaviest track on

00:52:15.820 --> 00:52:18.039
that record. It makes sense for them to bring

00:52:18.039 --> 00:52:21.260
it up to the forefront as the first track. Completely

00:52:21.260 --> 00:52:23.980
agree. And that's probably why I gravitated to

00:52:23.980 --> 00:52:26.199
it so much. I love the pick. I think it's great.

00:52:26.260 --> 00:52:28.280
I thought you were going to go with Dreamline,

00:52:28.360 --> 00:52:30.599
honestly. Well, we still have a few songs left,

00:52:30.659 --> 00:52:35.829
so who knows? Ninety one was such a unique time

00:52:35.829 --> 00:52:37.949
in music because you think about that meme that

00:52:37.949 --> 00:52:40.190
has all the cassettes that were released within

00:52:40.190 --> 00:52:43.429
like six weeks of nineteen ninety one. And it

00:52:43.429 --> 00:52:46.989
was Pearl Jam's 10 Metallica's Black Album and

00:52:46.989 --> 00:52:49.489
Guns N' Roses. Use your illusions one and two

00:52:49.489 --> 00:52:52.710
and the Red Hot Chili Peppers Blood Sugar Sex

00:52:52.710 --> 00:52:55.170
Magic and Roll the Bones was right in that time,

00:52:55.170 --> 00:52:57.570
too. Yeah. And you think about all those albums

00:52:57.570 --> 00:53:00.269
and where music was going at that point to me

00:53:00.269 --> 00:53:05.119
between eighty nine. And 93 rock music really

00:53:05.119 --> 00:53:08.860
kind of stripped down a lot. Yeah. And a lot

00:53:08.860 --> 00:53:11.300
of the hair bands and that all got stripped down

00:53:11.300 --> 00:53:14.739
into that grunge sound. Very basic. And I feel

00:53:14.739 --> 00:53:17.539
like Rush didn't say, let's take away what we're

00:53:17.539 --> 00:53:19.719
doing. I feel like they said, let's bring back

00:53:19.719 --> 00:53:22.599
some of the guitar elements for counterparts.

00:53:23.440 --> 00:53:25.980
Not so much to say they want to fit in with what's

00:53:25.980 --> 00:53:27.940
going on currently in the music scene, but they

00:53:27.940 --> 00:53:30.480
were always in tune with where the music scene

00:53:30.480 --> 00:53:33.880
was headed. Well, now I should know this, but

00:53:33.880 --> 00:53:37.900
Show Don't Tell kind of ends with a fade, right?

00:53:38.019 --> 00:53:40.860
You know, it kind of fades out. So I think we

00:53:40.860 --> 00:53:44.679
can go a little lighter with the opening on the

00:53:44.679 --> 00:53:47.760
next track on our mixtape. And I'm going to go

00:53:47.760 --> 00:53:50.840
to Power Windows and go with Manhattan Project.

00:53:51.699 --> 00:53:55.239
Nice. Can you tell that Cinematic Rush is some

00:53:55.239 --> 00:53:58.820
of my favorite Rush? Yeah. What other band can

00:53:58.820 --> 00:54:01.260
write a song about... the Manhattan Project,

00:54:01.559 --> 00:54:05.940
and have it be perfect. Again, you're on the

00:54:05.940 --> 00:54:09.659
flight of the Enola Gay as they're dropping the

00:54:09.659 --> 00:54:12.420
bomb. And you're there when they're building

00:54:12.420 --> 00:54:15.500
this thing. The song tells the story so perfectly

00:54:15.500 --> 00:54:19.360
and so succinctly. Neil was just so great at

00:54:19.360 --> 00:54:23.780
taking a few words and saying so much with so

00:54:23.780 --> 00:54:28.030
few words. And this song builds as it goes. And

00:54:28.030 --> 00:54:30.010
Power Windows just doesn't get the love it deserves.

00:54:30.150 --> 00:54:32.610
And I want to give it some love. So Manhattan

00:54:32.610 --> 00:54:35.550
Project is next. And this song doesn't get the

00:54:35.550 --> 00:54:38.670
love it deserves because it was never released

00:54:38.670 --> 00:54:40.469
as a single, but it's still charted regardless

00:54:40.469 --> 00:54:44.570
of that. So to me, the Rush fans spoke in this

00:54:44.570 --> 00:54:48.030
regard because they made this song chart, even

00:54:48.030 --> 00:54:52.170
though the label did not put it out as a single.

00:54:52.329 --> 00:54:54.960
Yeah. And I'm actually surprised because a lot

00:54:54.960 --> 00:54:56.679
of people, when they talk about power windows,

00:54:56.800 --> 00:54:59.199
they go right to the big money. I kind of applaud

00:54:59.199 --> 00:55:02.320
the pick here. Well, thank you. And coming out

00:55:02.320 --> 00:55:05.179
of that, now I'm in another coin flip moment

00:55:05.179 --> 00:55:08.300
here because I want to bounce back to the later

00:55:08.300 --> 00:55:10.280
era because we haven't dipped into it at all

00:55:10.280 --> 00:55:13.539
on this side. All right. I said I was leaning

00:55:13.539 --> 00:55:16.000
towards this song when we were talking about

00:55:16.000 --> 00:55:17.739
Show Don't Tell, so I'm going to lean into it.

00:55:18.420 --> 00:55:21.679
This is a song we talked about when I... visited

00:55:21.679 --> 00:55:24.400
something for nothing and we talked about deeper

00:55:24.400 --> 00:55:29.400
cuts from the band and my criteria for a rush

00:55:29.400 --> 00:55:33.960
deep cut was i used the live approach okay and

00:55:33.960 --> 00:55:37.400
the less a song was played live right right was

00:55:37.400 --> 00:55:40.099
where it would sit in their deep cuts in my opinion

00:55:40.099 --> 00:55:43.440
and clockwork angels didn't get enough love because

00:55:43.440 --> 00:55:46.840
it was the shortest tenure of an album before

00:55:46.840 --> 00:55:50.929
the band ended right it's run so to me I could

00:55:50.929 --> 00:55:54.349
pick any song off Clockwork Angels and it would

00:55:54.349 --> 00:55:57.210
work perfectly. But I want to go with, to me,

00:55:57.329 --> 00:56:02.030
one of the heaviest songs in Rush's entire catalog,

00:56:02.150 --> 00:56:04.889
which I think is a nice yin and yang from the

00:56:04.889 --> 00:56:10.789
Manhattan Project, into BU2B. Wow. Okay. And

00:56:10.789 --> 00:56:14.789
my reason, Rush was attuned to what was happening

00:56:14.789 --> 00:56:18.250
musically. Listen to bands like Tool that were

00:56:18.250 --> 00:56:21.550
popular in the 2000s and in the 2010s and still

00:56:21.550 --> 00:56:27.190
to this day. Tool's very popular. Rush made a

00:56:27.190 --> 00:56:33.670
Tool song better than Tool. That riff is massive.

00:56:33.670 --> 00:56:39.909
I love Tool. That riff is massive. It is so huge.

00:56:40.090 --> 00:56:43.409
And then Getty's bass line during the breakdown

00:56:43.409 --> 00:56:49.420
is. absolute insanity and to me i'm honestly

00:56:49.420 --> 00:56:51.480
shocked the band didn't acknowledge this one

00:56:51.480 --> 00:56:54.860
on the r40 tour because i think it's a classic

00:56:54.860 --> 00:56:59.320
rush track so in regards of this mix it's probably

00:56:59.320 --> 00:57:02.780
a deeper cut and i don't know how rush fans are

00:57:02.780 --> 00:57:04.280
going to feel over the fact that we have two

00:57:04.280 --> 00:57:08.400
clockwork angels songs out of 20 right now yeah

00:57:08.400 --> 00:57:12.679
but headlong flight and bu2b to me are both They

00:57:12.679 --> 00:57:14.679
should be included in this conversation. I love

00:57:14.679 --> 00:57:16.719
them both. Yeah, I can't disagree. I mean, I'm

00:57:16.719 --> 00:57:18.840
never going to disagree with any Rush song you

00:57:18.840 --> 00:57:22.260
add to a playlist. So I'm happy with it. This

00:57:22.260 --> 00:57:25.000
album, like I said, it's a perfect ending to

00:57:25.000 --> 00:57:27.219
a perfect career. I was going to go with The

00:57:27.219 --> 00:57:29.840
Garden later, but I don't think we can put three

00:57:29.840 --> 00:57:33.380
Clockwork Angels songs on our mixtape. That would

00:57:33.380 --> 00:57:36.280
be a little rough. But The Garden, again, is

00:57:36.280 --> 00:57:38.699
a great track. Every track of Clockwork Angels

00:57:38.699 --> 00:57:41.570
is amazing. So I think it's a great pick. Well,

00:57:41.610 --> 00:57:43.849
we are back to you now for track eight. We're

00:57:43.849 --> 00:57:46.150
coming down to the final stretch here. Wow. I

00:57:46.150 --> 00:57:48.130
don't know what I'm going to do. Jeez. That's

00:57:48.130 --> 00:57:49.949
a tough one to come out of. Give me a second

00:57:49.949 --> 00:57:52.909
here. You know what? I think I want to go back

00:57:52.909 --> 00:57:54.989
to something older, Brian. I got to go all the

00:57:54.989 --> 00:57:57.230
way back to fly by night again. I know we've

00:57:57.230 --> 00:58:00.429
dipped into it already, but I'm going to go with

00:58:00.429 --> 00:58:06.090
by tour in the snow dog. This is rushes first.

00:58:06.409 --> 00:58:10.320
True. progressive rock song, in my opinion. I

00:58:10.320 --> 00:58:12.019
mean, Anthem's a great song off that record,

00:58:12.199 --> 00:58:16.119
but this is Rush getting into the prog rock and

00:58:16.119 --> 00:58:19.980
getting into it hard. Howard Ungerleder, their

00:58:19.980 --> 00:58:22.599
road manager at the time, later became their

00:58:22.599 --> 00:58:24.599
lighting director. He came up with the title.

00:58:25.039 --> 00:58:28.619
At a party, there were two dogs, and one was

00:58:28.619 --> 00:58:32.300
a biter, so he named it Bitur, and one was a

00:58:32.300 --> 00:58:35.159
white dog, and they named it the Snow Dog. And

00:58:35.159 --> 00:58:38.960
that's what Neil took. to create this epic story

00:58:38.960 --> 00:58:43.579
of Bytor and the Snow Dog. And it's just genius.

00:58:43.980 --> 00:58:47.360
I mean, this song is incredible. The guitar,

00:58:47.420 --> 00:58:50.460
bass, and drums, everything is just incredible.

00:58:50.639 --> 00:58:53.360
And Alex's solo, this might be one of his best

00:58:53.360 --> 00:58:56.900
solos ever after Limelight, in my opinion. It's

00:58:56.900 --> 00:58:59.800
so great. The song's so bizarre. The lyrics are

00:58:59.800 --> 00:59:02.860
so weird. And the musicianship is brilliant.

00:59:04.510 --> 00:59:08.090
It's got to be on my mixtape somewhere. Absolutely

00:59:08.090 --> 00:59:13.409
love by tour in the snow dog. Again, you don't

00:59:13.409 --> 00:59:19.170
get a 2112 without this song. You don't get the

00:59:19.170 --> 00:59:22.489
fountains of laminate, the second side of caressive

00:59:22.489 --> 00:59:25.309
steel. This was the dipping their toe in the

00:59:25.309 --> 00:59:28.550
progressive waters to see what their fans were

00:59:28.550 --> 00:59:32.610
willing to accept of rush on fly by night. Because

00:59:32.610 --> 00:59:34.869
this was kind of a new sound for the band. People

00:59:34.869 --> 00:59:39.409
that bought 1974 self -titled album were getting

00:59:39.409 --> 00:59:42.289
a little bit of a different flavor here. By touring

00:59:42.289 --> 00:59:44.809
the Snow Dogs was the band's statement saying,

00:59:45.010 --> 00:59:48.090
hey, if this works with the Rush fan base, we

00:59:48.090 --> 00:59:50.329
could take this to new heights as we move forward.

00:59:50.489 --> 00:59:52.389
And I feel like that's what they did. Oh, absolutely.

00:59:52.670 --> 00:59:54.570
And this was the precursor, like you said, to

00:59:54.570 --> 00:59:57.750
2112. If not for this song, 2112 never happens.

00:59:58.409 --> 01:00:01.760
Right. And I think. That is where I'm going to

01:00:01.760 --> 01:00:04.500
go with my last pick of the night. I want to

01:00:04.500 --> 01:00:08.179
go back to 2112 again. I feel like we've mentioned

01:00:08.179 --> 01:00:12.059
a couple of albums twice tonight. And I feel

01:00:12.059 --> 01:00:14.260
like even though there's only an infinite number

01:00:14.260 --> 01:00:18.219
of songs on 2112, six total, I have to go with

01:00:18.219 --> 01:00:21.079
a second one from it because it's just so damn

01:00:21.079 --> 01:00:24.119
amazing. And I'm going to go with A Passage to

01:00:24.119 --> 01:00:28.480
Bangkok, the opening track on side B. That riff,

01:00:28.599 --> 01:00:31.960
there's just something about it that, to me,

01:00:31.980 --> 01:00:34.800
it's one of the most underrated songs in the

01:00:34.800 --> 01:00:38.940
band's catalog. It wasn't a massive hit. It obviously

01:00:38.940 --> 01:00:44.300
gets overshadowed from 2112. But to me, it incorporates

01:00:44.300 --> 01:00:48.519
just a little bit of what you heard on 1974's

01:00:48.519 --> 01:00:52.980
self -titled album and brings it into the Neil

01:00:52.980 --> 01:00:56.480
Peart era. And it's the bluesiest rock riff from

01:00:56.480 --> 01:01:01.360
Alex, I think, in the Neil era. Okay. Yeah, I

01:01:01.360 --> 01:01:03.699
can't argue with that. That's a fantastic pick.

01:01:03.760 --> 01:01:04.940
I thought you were going to say something for

01:01:04.940 --> 01:01:07.500
nothing. Oh, man, now I feel bad for your show.

01:01:07.539 --> 01:01:08.659
I should have went with something for nothing.

01:01:08.760 --> 01:01:10.619
I'm sorry. Well, I don't know what I'm going

01:01:10.619 --> 01:01:12.559
to do for this last track. I didn't think I was

01:01:12.559 --> 01:01:15.750
going to have the last track. Wow. There's no

01:01:15.750 --> 01:01:18.269
pressure at all. I mean, honestly, first, I want

01:01:18.269 --> 01:01:21.110
to apologize because you almost don't want to

01:01:21.110 --> 01:01:23.090
go back to Clockwork Angels a third time. The

01:01:23.090 --> 01:01:25.710
Garden would be a perfect closer. Something for

01:01:25.710 --> 01:01:27.510
Nothing being the name for your show would be

01:01:27.510 --> 01:01:29.769
a perfect close. So I feel like I've dropped

01:01:29.769 --> 01:01:33.050
two bombs on you there, not purposely. And I

01:01:33.050 --> 01:01:35.250
apologize. No, no, it's OK. And the other thing

01:01:35.250 --> 01:01:38.670
is we've hit on just about every song that Rush

01:01:38.670 --> 01:01:42.469
used to end their sets with. Tom Sawyer, The

01:01:42.469 --> 01:01:46.159
Spirit of Radio, Working Man. La Villa Strangiato.

01:01:46.199 --> 01:01:50.559
We covered all of that. So what can we end this

01:01:50.559 --> 01:01:53.940
mixtape with? And I think I'm going to go back

01:01:53.940 --> 01:01:57.139
to Presto again of all albums. And I'm going

01:01:57.139 --> 01:02:01.179
to go with the final song on Presto, which is

01:02:01.179 --> 01:02:05.460
Available Light. It's a deep track. If you're

01:02:05.460 --> 01:02:09.219
a casual Rush fan, I implore you to go to Spotify

01:02:09.219 --> 01:02:12.880
and listen to this song because this is Geddy

01:02:12.880 --> 01:02:18.219
Lee at his vocal It starts out with piano and

01:02:18.219 --> 01:02:24.239
it's just an incredible song. I mean, I can't

01:02:24.239 --> 01:02:26.960
say enough about it. Neil's lyrics are brilliant

01:02:26.960 --> 01:02:30.980
and it just builds as it goes. And Neil's drums

01:02:30.980 --> 01:02:35.460
on this particular track, he hits the drums so

01:02:35.460 --> 01:02:40.059
hard and the garden, which has a great solo by

01:02:40.059 --> 01:02:44.420
Alex, this one rivals it. So I feel like this

01:02:44.420 --> 01:02:48.760
is a good alternative to the garden. And I'm

01:02:48.760 --> 01:02:51.719
going to go with available light to wrap this

01:02:51.719 --> 01:02:55.320
mixtape up. Now, I'm going to ask you a question,

01:02:55.380 --> 01:02:57.980
but I don't think this song was ever even played

01:02:57.980 --> 01:03:00.699
live. It was not played live. And it's a shame.

01:03:00.840 --> 01:03:04.119
I was just going to say, I don't know. I guess

01:03:04.119 --> 01:03:06.260
they just didn't bring a piano with them on tour.

01:03:06.539 --> 01:03:11.019
Can you imagine them? rolling out a white baby

01:03:11.019 --> 01:03:14.119
grand piano and Getty just getting up there and

01:03:14.119 --> 01:03:16.000
playing the piano and singing. How great would

01:03:16.000 --> 01:03:18.039
that have been? I think that would have been

01:03:18.039 --> 01:03:20.360
a moment. I think that would have been massive.

01:03:20.420 --> 01:03:25.139
I love it. What a great pick. And it really,

01:03:25.280 --> 01:03:29.260
I think a lot of bigger, deeper, hardcore Rush

01:03:29.260 --> 01:03:31.679
fans are going to respect that one for the fact

01:03:31.679 --> 01:03:34.440
that it is something that is only relegated to

01:03:34.440 --> 01:03:37.429
studio albums. So I think it offers a little

01:03:37.429 --> 01:03:38.929
bit of something for everyone. And the thing

01:03:38.929 --> 01:03:41.610
we found out talking about this on our podcast

01:03:41.610 --> 01:03:46.409
is fans love this song. It's a fan favorite.

01:03:46.949 --> 01:03:49.929
It's not publicized that it's a fan favorite,

01:03:50.030 --> 01:03:54.630
but it absolutely is. And I think diehard Rush

01:03:54.630 --> 01:03:56.849
fans and even casual fans who hadn't heard it

01:03:56.849 --> 01:04:00.579
yet will listen to this and love it. I'm hoping

01:04:00.579 --> 01:04:03.260
they think that for both sides of this playlist.

01:04:03.380 --> 01:04:06.940
However, side B kicked off with The Spirit of

01:04:06.940 --> 01:04:09.940
Radio from Permanent Waves, Red Barchetta from

01:04:09.940 --> 01:04:12.619
Moving Pictures, Working Man from their self

01:04:12.619 --> 01:04:16.780
-titled 1974 album, Red Sector A from Grace Under

01:04:16.780 --> 01:04:20.199
Pressure, Show Don't Tell from Presto, Manhattan

01:04:20.199 --> 01:04:24.460
Project from Power Windows, BU2B from Clockwork

01:04:24.460 --> 01:04:27.980
Angels. By Torin the Snow Dog from Fly By Night,

01:04:28.199 --> 01:04:32.559
A Passage to Bangkok from 2112, and Available

01:04:32.559 --> 01:04:35.780
Light from Presto. Head over to myweeklymixtape

01:04:35.780 --> 01:04:38.079
.com to hear all the songs we've discussed in

01:04:38.079 --> 01:04:41.099
this mix through the playlist embedded on the

01:04:41.099 --> 01:04:45.199
episode page. Now, Steve, obviously you had the

01:04:45.199 --> 01:04:47.980
run of shows. People are probably going to go

01:04:47.980 --> 01:04:49.519
from this and say, you know what? I got to go

01:04:49.519 --> 01:04:54.239
back and dive into all 170 now, 79 episodes of

01:04:54.239 --> 01:04:56.699
Something for Nothing. Where can they find that

01:04:56.699 --> 01:04:59.739
and connect with you? Well, we are on Podbean.

01:04:59.820 --> 01:05:02.059
That is our host. But you can find us on any

01:05:02.059 --> 01:05:06.059
podcast app that you have, Spotify, Apple, pretty

01:05:06.059 --> 01:05:08.579
much any podcast platform. You can find us on

01:05:08.579 --> 01:05:11.139
Twitter. You can talk to us there. We're at Rush

01:05:11.139 --> 01:05:14.519
Fan Cast on Instagram. Jerry posts great photos

01:05:14.519 --> 01:05:19.170
at The Rush Cast. And you can email us at drushcast

01:05:19.170 --> 01:05:21.849
at gmail .com and let us know what you think

01:05:21.849 --> 01:05:23.690
of the podcast. And Brian, thanks so much for

01:05:23.690 --> 01:05:26.389
having me today. My absolute pleasure. My favorite

01:05:26.389 --> 01:05:29.949
Rushcast by far. And I think I could safely say

01:05:29.949 --> 01:05:32.030
if you and I did a volume two of this mixtape,

01:05:32.070 --> 01:05:34.010
we'd have no problem coming up with another 20.

01:05:34.269 --> 01:05:36.369
Oh, no problem at all. We left out some great

01:05:36.369 --> 01:05:39.210
albums. Hold Your Fire we didn't touch. Roll

01:05:39.210 --> 01:05:42.110
the Bones we didn't touch. Test for Echo we didn't

01:05:42.110 --> 01:05:44.500
touch. If you're out there listening and you

01:05:44.500 --> 01:05:46.519
have a song you would have added to this mixtape,

01:05:46.639 --> 01:05:49.079
why don't you send me a message at My Weekly

01:05:49.079 --> 01:05:53.260
Mixtape on social media or email me at myweeklymixtape

01:05:53.260 --> 01:05:55.599
at gmail .com and let us know what you would

01:05:55.599 --> 01:05:58.280
add to this mix. Maybe it's something we'll consider

01:05:58.280 --> 01:06:01.420
in volume two. Steve, thank you so much. It's

01:06:01.420 --> 01:06:03.559
such a pleasure talking Rush with you. Had a

01:06:03.559 --> 01:06:05.340
great time tonight, man. I had an incredible

01:06:05.340 --> 01:06:07.699
time, Brian. Thanks for having me. I really appreciate

01:06:07.699 --> 01:06:10.280
it. Remember, you can find My Weekly Mixtape

01:06:10.280 --> 01:06:13.659
at all the social media haunts at My Weekly Mixtape.

01:06:13.739 --> 01:06:16.300
You can also head to myweeklymixtape .com to

01:06:16.300 --> 01:06:19.019
check out the full catalog of My Weekly Mixtape

01:06:19.019 --> 01:06:20.960
episodes. And if you like what you're hearing

01:06:20.960 --> 01:06:23.139
on the show, you can help me out by either telling

01:06:23.139 --> 01:06:25.539
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01:06:25.539 --> 01:06:28.420
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01:06:28.420 --> 01:06:32.460
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01:06:32.760 --> 01:06:34.860
That's all for this week. Thanks again for listening.

01:06:34.940 --> 01:06:37.000
Until next time, enjoy the tunes.