Black Midi - Hellfire Subgenre(s): Avant Prog
Score: 65
Year: 2022
My Rank in Year as of this listen: 34th (of 53 ranked so far)
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This album is something else.... and then some. Avant-prog meets math rock amped up on jazzy beats and frenzied improvs and they all go to the carnival together. It's as if a Mr. Bungle/Primus hybrid channeled King Crimson and ran it through a crazy cartoon network filter. This thing is totally manic, and it works! To be honest, there's too much talking and not enough singing for me to think it will ever be elite in my collection, but there's no denying its freshness, creativity, and audacious spunk.
Rush - Moving Pictures Subgenre(s): Heavy Prog
Score: 100
Year: 1981
My Rank in Year as of this listen: 1st
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Today was my most recent session with my favorite album. Not just my favorite prog album, but my favorite album, period. This one deserves a blow by blow....
Tom Sawyer
Just as Moving Pictures introduced me to a whole new musical world, the opening cut is the perfect opening salvo to make that introduction with emphasis. Those opening power chords grab you right by the throat with only a hint of what's to come. Then comes Rush, in all their progressive virtuosity. And while it's got its crazy time signatures, it's still the ultimate air drum song! It's edgy, slightly eerie; definitely a product of some kind of musical minds slightly out of phase with normal time and space, yet still catchy enough to draw us in... over and over and over again. Overexposed? Sure, but that doesn't diminish it one bit in my ear. I get no Sweet Home Alabama or Hotel California burnout on this one.... it's just too creative. And yes, it has stood the test of time.... It doesn't sound 'hopelessly 80s' and there is still nothing like it, although Rush imitators have been many.
The perfect opener to the perfect album.
Red Barchetta
For me this song is about one thing -- Momentum! This song just moves! The group takes us right there on their "wind in my hair" ride with them. Musically, I think this is the best ever exposition of the classic literary pattern of rising action, climax, resolution. The buildup is spectacular, the key moment nothing short of incredible, and the way they let us down from the excitement in the end is masterful. Also makes for a great live cut!
While this song emphasizes experience over philosophy, I still get just a twinge of Neil's distaste for authoritarianism as the underlying premise for our little adventure is an oppressive law. This is a little bit of rebellion.
Oh, and Geddy's lick at 5:20 is so perfect, followed by the coolest double stop. One of my favorite bass interludes in all of music, and so perfectly placed/executed. Before that, his quarter tone string bends in the race scene really help drive that momentum. This song is genius in every way, including production, but Geddy really gets special note from me.
Killer tune: 10/10.
YYZ
I see Red Barchetta and YYZ as perfectly perfect and beyond amazing songs unfairly overshadowed by the hits that flank them. YYZ is the pinnacle of Rush virtuosity, but at the same time it still has more hooks than the plastic side of velcro as far as my ears are concerned. Each part is off the hook amazing, and bringing them all together is wizardry of the highest order. Easily my favorite pop/rock instrumental of all time.
Limelight
Believe it or not, it seems that in some of the places I've lived since 1981, Limelight has actually gotten more airplay than Tom Sawyer. It's certainly the closest I've ever come to experiencing Rush burnout. Relatively speaking, it's a fairly simple song by Rush standards, which may account for it's relative popularity in some places.
That said, there's plenty to love here and it is a fantastic song worthy of all it's accolades and popularity. It's not like there weren't already a gazillion songs and stories about the life of an entertainer, but this one, as we would expect, is full of Neil's genius in seeing connections and relating them.
All the world's indeed a stage
And we are merely players
Performers and portrayers
Each another's audience
Outside the gilded cage
The correlation of the relationship between rock star and fan to that which we all face in our day to day interpersonal relationships is most notable. Just because we're not being paid to perform, we all do perform whether we realize it or not. Very astute observation and subsequent connection.
I really love this line as well:
I have no heart to lie
I can't pretend a stranger
Is a long-awaited friend
I saw an interview with Peart where he was addressing his alleged standoffishness, which is how many interpret this line. But it's rock solid, even if it is rather personal to Peart himself, and others of his personality type. Just because someone thinks they love you and know you based on some sort of fan based relationship, that doesn't mean you're old buddies who can share souls. It must be tiresome to have people coming at you all the time like they know you! This is much deeper than just wanting to be left alone... it is a factual and indisputable acknowledgment of a fact of life. Personally, I'm an extrovert by nature and I have a hard time imagining tiring or meeting new people, and I automatically expect to be buddies the moment we shake hands and say "Glad to meet you." Even I, with my very opposite of Neil personality get what he's saying here. I grok, and it is cool. I honestly think most casual fans, or non fans who like this song when it comes on the radio, have little if any comprehension of the depth of this song's lyrical meaning beyond a generic association with the them of the challenges of fame.
Musically, the opening riff is way cool, and I suspect also a big part of the song's popularity. The group are tight, everything is woven together in typical Rush fashion. But as middle of the road as this song is musically (relative to Rush that is), this is one very special solo by Alex. It alone makes the song worthwhile. It is so lyrical! Alex really makes his guitar sing on this one.... and it's deceptively technically challenging. This is a MONSTER solo. Anybody who thinks Alex is just one of those wankery prog/metal guys isn't listening, and any tech shredder who thinks this is easy ain't tried. Who else can blend Yngvie-level technicality and Harrison-level lyricism into a single solo like that!
All gushing aside, in the end, this is still my least favorite song on the side, but that's only because this is the greatest album side in music history and the other three cuts are all perfect tens. I'd call this one a 9.8 which definitely doesn't suck!
The Camera Eye
After the the initial WOW of Tom Sawyer subsided, The Camera Eye became my favorite Rush song (ultimately supplanted by Natural Science, but only by the hair of a frog).
As I listen to it again now t, I'm particularly struck by the incredibly holistic symbiosis between the music and the words, a particularly challenging feat given the long instrumental sections.... but they set up the coming lyrics so well!
From Songfacts: "This song highlights the cultural differences between the cities of New York and London" I will actually modify and say that "This song highlights the cultural differences and similarities between the cities of New York and London" It's like one of those literature class writing assignments where the prompt is to "Compare and contrast...." That's part of the brilliance of the observation here. There are things which are unique to London and unique to New York, but then there are things which are "every city's streets," Indeed, one gets the impression that that particular element of the song could just as easily apply to Tokyo, Delhi, or Munich. The energy and the momentum of the city street, wherever it may be, comes out musically in the groove at 2:44.
Love Geddy's tone and his fills on this one.... and his voice is so just right at every corner. Whether high or low, calm or soaring, it's always exactly where it should be. As always, the whole band are tight, but this is an incredible Geddy showpiece, especially on the vocal side.
10/10 for sure.
Witch Hunt
This is Rush's most atmospheric song ever. From the opening bells, to the slowly building ominous synth, to the rising shouts of the mob, this song transports the listener into the scene better than any other song by Rush, and maybe any other group for that matter. If you're not seeing a ragtag mob marching through the town, pitchforks in hand, somebody needs to check brain for higher function.
Geddy has just the right amount of bite in his vocal delivery to deliver the lyrics, adjusting ever so slightly to match the mood of the particular verse or line, whether it be ominous, moody, threatening, or just sarcastic.
This song has an interesting backstory. When asked why they recorded the Fear trilogy in reverse order, Neil explained that his vision in doing a trilogy on the subject of fear, his aim was to start with fear as a general concept and move toward how fear manifests, and ultimately finish with specific examples of what fear produces. As he set down to write, he found the specific manifestation of fear driven behavior came more easily than fear as a general concept, so he wrote Witch Hunt first.
And an absolutely brilliant depiction of the ultimate what fear produces.... linked back to where it comes from.
"Ignorance and prejudice
And fear walk hand in hand"
There's the thesis of the the whole trilogy right there folks, and Neil leads us there perfectly. Xenophobia and religious bigotry make the perfect targets for this exposition of fear, but Neil includes lines that let us know he's referring to fears of anyone who thinks differently, regardless of where that different thought comes from. Different beliefs or cultures are just the most obvious things for the ignorant... and therefore fearful... to hone in on.
Like many, one of the things I love most about Rush is their virtuosity. Other than a couple of the simplest ballads, this is easily the least virtuosic of all Rush songs. And yet I still give it top marks. This song is an indisputable masterpiece IMO. That it is Rush without instrumental fireworks and still totally captivates me really says something about the breadth of the band's expressiveness.
Yes, another 10/10/
Vital Signs
Interesting song, and the only one that took a while to grow on me, although it does remain my lest favorite on the album.
Reggae is this chill music.... but Rush turns it on its head, using the syncopated reggae beat to create this off kilter vibe and generate tension, which is then resolved nicely when the group slide off the syncopation and into a killer groove. This capitalizing on the syncopation of the reggae groove to put the listener on edge is a visionary, brilliant device.The only thing more brilliant is the resolution that comes from it.
Despite the positives, the song doesn't carry the mood of other songs on the album, or the virtuosity, or the sheer epic-ness. As such, it can feel rather anticlimactic and a bit of a letdown as an album closer. However, the sequencing of the song works well. It bookends the album with the opening Tom Sawyer nicely. Both songs do that kind of off-kilter, new musical sounds and structures thing, albeit in different ways. Both songs have a few of those esoteric lines that make the listener struggle to wonder what exactly is being said here. Of all the songs on the album, Vital Signs engages the mind most and provides no easy answers although some lines give clues to key themes (such as the great Peart one-liner at the top of this post).
In the end, I consider this song to be an adequate closer for the Moving Pictures album. Don't let the use of the rather mundane sounding "adequate" as an adjective fool you here though. Being "adequate" in closing an album preceded by six absolutely perfect or very near perfect songs is itself an amazing feat.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
Flower Kings - Look At You Now Subgenre(s): Symphonic Prog
Score: 85
Year: 2023
My Rank in Year as of this listen: 2nd
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Just released yesterday, the Flower Kings's Look At You Now is, I will boldly declare, a genuine Masterprog. From the first few bars of the opening cut, you can tell this is going to be some classic retro symphonic prog.
Full disclosure, the Kings have been at it almost three decades now, and there's really nothing musically new here, although you can tell Roine Stolt has taken some of what hepicked up in Transatlantic, making the Kings even better. Still, this is vintage Kings and right down to some licks feels significantly recycled from earlier efforts. But the thing is, it is all so masterfully assembled and jaw droppingly delivered, that none of that matters. These compositions are tight.
The Kings have always been founder Stolt's band with some revolving door of musicians, but the musicianship has always been exemplary. On this album, I would say it is even further elevated. The bass and drum work in particular are stunning. I could listen to this album focusing strictly on the rhythm section at times. Vocals across the album are better than ever as well.
Oh, and I totally dig the artwork; would love to get the full sized vinyl.
Flambrough Head - Unspoken Whisper Subgenre(s): Neo Prog
Score: 75
Year: 1998
My Rank in Year as of this listen: 10th
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Dutch outfit Flambrough Head give us very competent neo prog on their debut here which should appeal to most fans of the genre. Like most of the genre, most of the songs are on the longish side. Keeping the album from being a full fledged Triumph is that it does have some sameyness, and not all the longer song justify their runtime. Still, a more than solid debut, easily good enough to inspire me to seek out more of their catalog, and one I will return to for its own sake.
Pierrot Lunaire - Gudrun Subgenre(s): Avant Prog, Folk Prog
Score: 70
Year: 1977
My Rank in Year as of this listen: 70th
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This came as a suggestion from a fellow proghead upon seeing my reaction to Opus Avantra. And an interesting suggestion it was. This is also quite avant prog, but more coherent in structure and lacking those seemingly random and quite abrupt shocks of the former. This one also has a significant folk prog vibe that also helps soften the challenge. That said, I can't say I like this more than the other. The female vocals can be superb, but they can also be affected and distracting. The other recorded voice/spoken parts don't seem to add much musically. But some of the music is quite captivating.... enchanting even.. This may take a few more listens to fully digest.
Osibisa - Woyaya Subgenre(s): Afrobeat, Fusion, World Prog
Score: 85
Year: 1971
My Rank in Year as of this listen: 19th
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I put this on the queue after seeing it in @RockyRaccoon's Roger Dean album covers post. What a great album! This has got everthing: singing and chanting, African Flute melodies and killer fusion guitar: congas, bongos, all manner of percussion laying down killer afrobeat cross rhythms... oh yeah, and spirit and soul.
Osibisa - Woyaya Subgenre(s): Afrobeat, Fusion, World Prog
Score: 85
Year: 1971
My Rank in Year as of this listen: 19th
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I put this on the queue after seeing it in @RockyRaccoon's Roger Dean album covers post. What a great album! This has got everthing: singing and chanting, African Flute melodies and killer fusion guitar: congas, bongos, all manner of percussion laying down killer afrobeat cross rhythms... oh yeah, and spirit and soul.
Glad you liked it! Osibisa definitely have a cool vibe to them. They're an interesting band - four guys from Ghana and three guys from the Caribbean who all lived in London - really makes for an interesting blend of influences in their music.
Their debut from the same year is pretty similar to Woyaya (and another great Dean cover)
Harmonium - L'heptade Subgenre(s): Prog Folk
Score: 65
Year: 1976
My Rank in Year as of this listen: 64th
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This is a very interesting album although I find myself less enamored with it than its reputation would indicate. There's a pretty cool brand of modern folk prog being executed here, but not so consistently as to justify a 70+ minute double. The big drawback for me is the vocals, which are ofted understated, even downright weak, yet overwrought at the same time. While I interstate the broader appeal of this album, it won't enter my upper echelon.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
Crack the Sky - Crack the Sky Subgenre(s): Prog Folk
Score: 70
Year: 1975
My Rank in Year as of this listen: 70th
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I dunno'.... maybe I'm just jard to please this week, but here's another highly regarded album with a big cult following that I'm just not taking to as much as the rep would indicate I should, and at least on the surface, this sounds more in my wheelhouse. But my impression was of a more generic mid 70s hard rock band with a touch of glam taking on a little pretentiousness and ending up sounding like a less clever Bowie. I know that sounds harsher than I actually mean it: I hear the goodness, but it's not quite lighting me up.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
Invisible - El Jardín de los Presentes Subgenre(s): Symphonic Prog
Score: 80
Year: 1976
My Rank in Year as of this listen: 32nd
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This is a massively creative album. I love the fusion of multiple genres with the group's Argentine roots. The blend is superb. There's some truly beautiful guitar work here with an amazing mix of tone, feel and virtuosity.
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