Rush - “Headlong Flight” Official Lyric Video
I’m really not a big fan of the recent “official lyric video” trend that artists are falling into. It just seems like a cheesy cop-out to get the music out there in a visual way without trying too hard. I realize it has to be more convenient than spending several days on a sound stage someplace or spending the big bucks to get some big-shot video director and/or producer to create a concept piece for the song, but as a official card-carrying Grumpy Old Fart™, I just don’t like it. At least this one is more innovative and creative than most.
As for the song? I love it. It makes me more excited about the upcoming Rush album Clockwork Angels than the nearly two-year-old sneak peeks we got in the form of “Caravan” and “BU2B.” “Headlong Flight” is the heaviest thing I’ve heard from Rush in a very long time, and it comes across as a mixture of styles tapped from some of their best work over the past couple of decades. Topped off with a crazy Lifeson solo that sounds like something from pre-Moving Pictures era Rush and some killer bass work from Geddy, the album is shaping up to be something special if the rest of it is similar to this.
Enjoy!
My Friday Five needs more cowbell over at Popdose.
Y&T - “Don’t Stop Running” (In Rock We Trust, 1984)
Dave Meniketti has a great rock voice that reminds me a bit of Sammy Hagar, and he’s a great guitarist to boot. Not sure why these guys weren’t bigger.Scorpions - “Lady Starlight” (Animal Magnetism, 1980)
This song has always seemed a bit out of place on this album—it’s too clean and too pretty, and the mix of Klaus Meine’s voice with the background vocals is almost too perfect, but I really like it. I guess the Scorps could have been an adult contemporary band if the rock thing hadn’t worked out so well.Mötley Crüe - “Come On and Dance” (Too Fast For Love (Leathür Records version), 1981)
Dirty, sleazy rock ‘n’ roll, but Vince’s slightly off-key vocals almost ruin it for me. My favorite part of the song—and the both versions of the album for that matter—has always been Tommy’s cowbell. Rock ‘n’ roll definitely needs more cowbell.Mae - “Embers and Envelopes” (Destination Beautiful, 2003)
More Mae goodness this week, although this is one of my least favorite songs on the album. Not that it’s a bad song. The rest of the album is just much stronger.Rush - “Leave That Thing Alone” (Different Stages, 1998)
OK, so the next song iTunes served up was the first track “Fart and Wiener Jokes” from Brian Posehn’s comedy album of the same name. My thought is that if it’s not a real music track I’m not gonna include it here. “More Metal Than You” would have totally counted, though. Skip.Next up is another Different Stages track, this time the instrumental “Leave That Thing Alone,” originally from Counterparts. I love this song, if for no other reason than Geddy’s excellent funky bass groove.
Getting my Good Friday Five on over at IckMusic.
Def Leppard - “See the Lights” (First Strike, 1979)
An “album” of demos from back when Def Leppard was a bonafide NWOBHM band. The “album” was later unofficially released without the band’s consent. “See the Lights” is not the best song on the collection—that designation would have to go to “Wasted” or “Sorrow Is a Woman,” both of which were released on On Through the Night—but it’s not bad, either.Black Sabbath - “Never Say Die” (Symptom of the Universe: The Original Black Sabbath 1970-1978, 2002)
Ozzy had already quit and rejoined Sabbath by the time Never Say Die was recorded, and he pulls no punches when expressing his dissatisfaction with Sabbath at that point in his career, calling it “the worst piece of work that I’ve ever had anything to do with. I’m ashamed of that album. I think it’s disgusting.” With the exception of the cheesy ending, “Never Say Die” is a great, fun tune—should any Sabbath song be “fun”?!—although it sounds like it would fit better on Blizzard of Ozz.Smashing Pumpkins - “Today” (“Unplugged” 100% Pure Acoustic Performances, 1993)
I never really cared much for the original, so a bootleg recording of an acoustic rendition of it is probably not going to rate very high for me. The performance is uninspiring and limp, with no musical embellishments until the very end when Iha adds an arpeggiated section, and Corgan struggles to hit some of the higher notes as he whines his way throughout the song. Sounds like they don’t even like it very much.Galactic Cowboys - “Through” (At the End of the Day, 1998)
I thought you were in love, what a fool’s mistake
I don’t care about love now
It’s true
I’m throughAnd unfortunately Galactic Cowboys’ career was almost through at this point as well. ATEOTD is one of my favorite GC albums, containing the excellent “The Machine Fish Suite,” but I’m ashamed to admit I usually skip this one. Not that there’s anything much wrong with it. I just don’t usually turn to Galactic Cowboys when I want to hear a ballad.
Rush - “Cinderella Man” (Different Stages, 1998)
Not sure why, but this version always sounds really sloppy to me, and Geddy seems to really be straining to hit some of the notes. Odd for a band that is usually so tight.
Foo Fighters - “But Honestly” (Echoes, Silence, Patience & Grace, 2007)
Dave Grohl has to be one of the hardest-working people in rock music today, and say what you will, I like most everything he’s ever done on one level or another. “But Honestly” is no different. I love the simplicity of first half of the song with just Dave’s voice and acoustic guitar and how it builds into this whole other stadium rock anthem thing.Glen Phillips - “Cleareyed” (Winter Pays for Summer, 2005)
Fingers crossed that iTunes continues to serve up a good Friday Five. Glen Phillips is one of my favorite songwriters, and again, there’s not much he does that I don’t like. Winter Pays for Summer should have been a breakthrough album for the former Toad the Wet Sprocket singer, but I’m beginning to realize that I just don’t understand the music industry. At all.Victor - “Victor” (Victor, 1996)
Uh-oh, here’s where iTunes goes wonky on me. This comes from a solo album Rush’s Alex Lifeson released under the project name Victor. The title track bears absolutely no resemblance to anything Rush has ever released, and if you didn’t already know this was Lifeson, you wouldn’t believe it. While most of the album features former I Mother Earth singer Edwin on vocals, “Victor” is a spoken-word track of sorts with Lifeson handling the “vocals.” Victor is mostly made up of heavier, post-modern alterna-rock-styled tunes, but this one is just plain strange.The Scooters - “Throw Your Arms Around Me (Live)” (Peepshow, 2000)
I’m not sure how I came across the Scooters, but given the catchy pop tunes and sweet vocal harmonies, I’m guessing it was probably from my favorite rock ‘n’ roll snob Jay. This particular song is a live cover of a tune from the Australian band Hunters & Collectors, and while it strips away the decidedly 80s feel of the original, it is so unlike the rest of the Peepshow EP that you can’t use it as the measuring stick to judge whether you would like the rest of the album.Thin Lizzy - “Romeo and the Lonely Girl” (Jailbreak, 1976)
This is not my favorite Thin Lizzy tune, but the more I listen to Phil Lynott’s work, the more I find to like. This is a good way to close out today’s Friday Five.iTunes, you did alright by me this week.
Yeah, yeah, yeah, do the Friday Five shuffle.
U2 - “Kite” (All That You Can’t Leave Behind, 2000)
I was a big fan of this album when it first came out. I don’t know if I overplayed it or what, but it doesn’t seem to stand up well these days to me. That being said, “Kite” is one of the better tunes, and I don’t immediately want to skip it.King’s X - “Sometimes” (Out of the Silent Planet, 1988)
Mid-tempo groove from the Texas trio filled with complicated, twisting, heavy riffs, arpeggiated guitar verse sections, excellent vocal harmonies, and Doug Pinnick’s raspy, soulful lead vocals. Just the usual stuff that the music world wasn’t ready for in 1988.Rush - “Bravest Face” (Snakes & Arrows, 2007)
iTunes is really digging Rush lately, especially this album for some reason. Much of Snakes & Arrows was written on acoustic guitar, and it shows more here than on other tunes. I like this song, but the opening verse almost kills it for me every time, what with Geddy’s uncharacteristic almost-out-of-tune vocals and Alex’s strange acoustic riff—that is until we hit the bridge and the real Rush shows up.OSI - “Standy (Looks Like Rain)” (Office of Strategic Influence, 2003)
Probably the most melodic and laid-back song on the debut album from this supergroup featuring Fates Warning’s Jim Matheos and former Dream Theater members Kevin Moore and Mike Portnoy. And at 2:09, it’s way too short.Flight of the Conchords - “Mutha’uckas” (Flight of the Conchords, 2008)
Seriously, dude, iTunes totally played this tune yesterday when I was shuffling. What gives?! “Too many mutha’uckas ‘uckin’ with my shi’!”
Just shufflin’ my way through Friday with IckMusic’s Friday Five.
Crunchy - “Jerk Store” (All Day Sucker, 2001)
Fun power pop from the debut album of Monty Colvin’s first post-Galactic Cowboys project. Low, distorted bass, catchy chorus, great harmony vocals, and it’s based on a George Costanza joke. Nice.Rush - “The Weapon” (Signals, 1982)
Well it looks like Rush is here to stay for my Friday Fives, and you know what? I’m OK with that. I’ve really grown to love Signals over the years despite it being instrumental in ushering in Rush’s more-synths-less-guitar period. “The Weapon” is one of the high points on the album.I Mother Earth - “Hello Dave!”/”Like a Girl” (Scenery and Fish, 1996)
I’m cheating again. “Hello Dave!” is the 48-second nonsensical album opener from I Mother Earth’s second release, so I included the track that follows it as well. I Mother Earth can be an acquired taste at times, and “Like a Girl” is no exception. It continues the heavily percussion-based funky grooves found on their excellent debut Dig, but they dropped some of the Latin flair and jam-band attitude and added a more post-grunge alternative feel. Unfortunately, vocalist Edwin left the group after this album, and I Mother Earth seemed to continue to struggle to find its sound, changing styles from album to album. Their releases can sometimes be fairly hard to come by at a good price in decent condition, making it difficult to check this band out if you’ve never heard them before.Galactic Cowboys - “The Buzz (coughing)” (The Horse That Bud Bought, 1997)
“The Buzz” contains none of the progressive leanings or quirky sense of humor present in other Galactic Cowboys tunes. Short and sweet (clocking in at only 1:26), this is straight-ahead, heavy, aggressive metal.Geoff Tate - “Every Move We Make” (Geoff Tate, 2002)
What’s the deal with iTunes shuffle?! How does it repeatedly decide to pick songs from the same albums week after week? Anyway, here’s a low-key, laid-back, soft-groove tune from the Queensrÿche frontman’s solo disc, although I think it’s a better song than last week’s pick by iTunes.
Just shufflin’ through tunes on a Friday for IckMusic’s Friday Five.
Rush - “Manhattan Project” (A Show of Hands, 1988)
Another Friday Five, another live Rush track to kick off the list, this time from their more polished, synth-based period. Though this is not the Rush I was first introduced to, nor is it the Rush I immediately reach for, I really liked their 80s output. This is a great album, although it is so polished you forget at times you’re listening to concert performances.King’s X - “Far, Far Away” (Out of the Silent Planet, 1988)
Excellent track from the debut album of my favorite band. Some of the songs from this disc are beginning to sound dated, but I love Ty Tabor’s guitar tone, the vocal harmonies, and the swirling sitar in the background. This is the beginning of the sound that King’s X perfected on its next release Gretchen Goes to Nebraska and the sonic palette some fans wish the trio would revisit.The Waiting - “Nobody’s Love” (Blue Belly Sky, 1998)
Poppy upbeat fare from a 90s jangly alterno-pop Contemporary Christian band that I had a brief infatuation with. Their lyrics and musical style set them well apart from their CCM kindred whose sickly-sweet bubblegum pop sounds filled the airwaves on my local CCM FM station.The Isley Brothers - “Love the One You’re With” (Givin’ It Back, 1971)
I love the vocals on this Isley Brothers take of the Stephen Stills song. They seem to be feeling it more than Stills ever did.Geoff Tate - “Grain of Faith” (Geoff Tate, 2002)
The Queensrÿche frontman’s solo album was quite a bit different stylistically from the music his main gig was putting out a the time. A bit more on the pop side, the songs still have some guitar crunch tempered with more electronic and ambient elements and drum loops than you might expect. But that voice is ever-present throughout. Worth a listen if you’ve never heard it before.
I think I’m goin’ blind from shufflin’ IckMusic’s Friday Five!
Rush - “The Spirit of Radio” (Rush in Rio, 2003)
Rush has always been an amazing live band, and this DVD/CD combo helps solidify the fact that the band was as good as ever in the early 2000s. The Rio crowds are crazy fanatical about their music, and this entire concert is a lot of fun.Coheed and Cambria - “The Velourium Camper I: Faint of Hearts” (In Keeping Secrets of Silent Earth: 3, 2003)
Comic book rock from the very talented and creative mind of Claudio Sanchez. I just wish all of their stuff was as catchy as this. Heck, I wish the second half of this song was as catchy as the first half. “Koo koo k’choo!”Dinosaur Jr. - “Goin’ Blind” (KISS My Ass, 1994)
Admirable kover of this klassic KISS kut. Ahem. I didn’t really know what to think of this album when it first came out, especially since it was so closely controlled by Gene and Paul. But then again, what in the KISS circus isn’t?! This is definitely one of the better tracks from this collection that stylistically is all over the map.The Wildhearts - “Top of the World” (The Wildhearts Must Be Destroyed, 2003)
Ginger should be the most sought-after songwriting partner in the world. At the very least, he and The Wildhearts should be a much, much bigger deal than they are. Catchy, well-written songs, great melodies, and crunchy riffs.Mutual Admiration Society - “Think About your Troubles” (Live at The Bowl at Lime Kiln, 8/17/2004)
I’ve never really cared for this Harry Nilsson cover, but I love the combination of Glen Phillips and Nickel Creek. They recorded and completed their debut album in 3 days, but it took 3.5 years to get it released due to record company shenanigans. The recorded versions of their songs are good, but this collective really shines in a live environment.
One, two, three
Add without subtraction
Sound on sound
Multiplied reaction
H to O
No flow without the other
Oh, but how
Do we make contact
With one another?
Electricity? Biology?
Seems to me it’s Chemistry
Neil Peart discusses “Time Stand Still” on Taking Center Stage
On October 14, Rush drummer and lyricist Neil Peart will release a new instructional 3-DVD set called Taking Center Stage: A Lifetime of Live Performance through Hudson Music:
Filmed in various locations over the course of a year, Neil takes you on a behind-the- scenes look at Rush’s 2010-11 Time Machine Tour. This includes rare and exclusive footage of Neil’s personal pre-tour rehearsals and backstage events at a Rush concert (including a visit to the soundcheck, an unprecedented backstage interview, and Neil’s warm-up routine)…
With in-studio rehearsal footage, backstage scenes, live concert performances, and breathtaking interview footage filmed in Death Valley National Park, California, this package documents not only Neil’s approach to live performance, but the very essence of his drumming style
If this is your sort of thing, you can pre-order your copy of Taking Center Stage today. Additional features include:
In this clip from the DVD, Peart discusses the timbale fills in the intro of the Hold Your Fire track “Time Stands Still,” the inspiration for which he later discovered was not actually a real human performance. This man never ceases to amaze me.
Enjoy!
I’ve got Friday—and IckMusic’s Friday Five—on my mind.
Glen Phillips - “Don’t Need Anything” (Winter Pays for Summer, 2005)
This is not my favorite tune from the album that should have put Glen’s solo work on the radio, but a not-so-good Glen Phillips song is usually still a pretty good song. Short, sweet, and simple.Smashing Pumpkins - “Rocket” (“Unplugged” 100% Pure Acoustic Performances, 1993)
This version of the Siamese Dream track is from a compilation of bootlegs. “Rocket” is apparently part of a performance for a radio station in the Netherlands and is a nearly spot-on reproduction of the album version.Rush - “Sweet Miracle” (Vapor Trails, 2002)
Vapor Trails was my entry back into the Rush fold. I have always been a big Rush fan, but I cautiously watched them from a distance for the Counterparts and Test for Echo albums, which is interesting since those two discs saw the band move back toward a more guitar-centric sound and are now among my favorites in their catalog. Despite the extensive use of technology used to piece together the songs for this album, it has an organic, cohesive feel to me and expresses almost a sense of urgency to get back to making music after the tragic events in Neil Peart’s life that led to a five-year hiatus that would have sidelined most bands.Mötley Crüe - “Bastard” (Shout at the Devil, 1983)
I had a strange infatuation with the Crüe in the mid-80s and with this album in particular. Was the band mad at the devil and really shouting at him? And if so, why record an instrumental named “God Bless the Children of the Beast?!” Or were they the devil’s minions? The album’s satanic imagery would lead one to believe the latter over the former. But I could never really figure this album out other than it was a loud, heavy, rocking good time with tunes about drugs, sex, the devil, and a Beatles cover. How could that be bad? I also never figured out what “Bastard”—or most of the other songs, for that matter—were really about, but it had the F-bomb in it, which was cool for a mostly-compliant teenager who only really ever rebelled in the area of music. As I look back at it now, I realize the album was mostly a result of the over-abundance of drug use and not some grand musical statement. But isn’t that what rock ‘n’ roll is about anyway?!Joe Satriani - “Cool #9” (Joe Satriani, 1995)
So once again Satch comes up during my Friday Five shuffle. Interesting that this doesn’t happen too often at other times. Anyway, this opener from his self-titled album is a slow groove that is reminiscent of another of his tunes that I can’t quite put my finger on at the moment. Something off Surfing with the Alien or Flying in a Blue Dream I’m sure, since those are the two albums I’m most familiar with. Nice chilled-out tune to end this Friday Five, complete with some Tom Morello-like whammy pedal antics.
