Year: 1998
Score: 85
Style or Subgenre: Symphonic Prog
My Rank in Year as of this listen: 4th
Former Genesis guitaris put together an all star prog cast for this live 1998 show. The "supergroup" thing frequently disappoints, as do shows that have a set list from multiple artists rather than concentrating only on the work of the headliner.
But this show does not disappoint in any way. Everything, regardless of origin, is exceptionally well delivered. Of special note is Hackett's bringing John Wetton. The prog journeyman delivers both exceptional bass work and top notch vocals; he's especially good at singing the Genesis material. Conversely, and I mean no disrespect to Robert Fripp, Hackett nails King Crimson material. That said, Hackett remains at his very best on the Genesis and his solo songs.
Overall, nothing weak here, just varying levels of greatness.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
Year: 2009
Score: 85
Style or Subgenre: Rock Progressivo Italiano
My Rank in Year as of this listen: 8th
Sophya Baccini's Aradia - Runnin' With the Wolves
Thumbnail. Click to enlarge.
Year: 2023
Score: 80
Style or Subgenre: Rock Progressivo Italiano
My Rank in Year as of this listen: 13th
In 2009, Sophya Baccini debuted with her album Aradia. For her third release in 2023, she formed a group and called the group Aradia. That in mind, I naturally expected more similarity between them. But these albums approach their musical mission quite differently and, other than Baccini's beautiful voice, sound rather different.
The former is classic Rock Progressivo Italiano; interesting instrumentation, heavy classical influence, and good variety across its breadth, and just a little chaotic. Vocals range from spoken word to atmospheric pop to Renaissance polyphony to solidly operatic. I found this album thoroughly interesting and entertaining from end to end.
The latter, while still listed as RPI, departs the traditional RPI vein and becomes more theatrical, more consistent, and more polished. It flows more like a Halloween sounding Jim Steinman produced stage production. The music is solid if a little overproduced. While I give this album high marks in a variety of categories, it's the debut I really expect to be coming back to.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
Year: 2012
Score: 90
Style or Subgenre: Heavy Prog
My Rank in Year as of this listen: 2nd
In 2012, for their swan song, Rush dropped their first true end to end concept album, and their best album in decades. Were it not for the disappointmently muddled sound engineering, this would be right up there with the group's very best. Here's a song by song:
Caravan
I think this is an excellent opener, and was quite thrilled when I gave this its first listen on the day of release. That whole atmospheric opening... well, we haven't had something like that since The Camera Eye, and I can't imagine getting us off to a more intriguing start. The riffs are cool and the song has some real energy.... a very real sense of urgency. It gets the blood flowing! Great to hear some very cool interplay between Geddy and Alex here with Neil providing some very interesting beats as well.
Solid. Very solid.
BU2B
First, the good.
Sonically, I actually like this song quite a bit. That thick sound actually works here. That main riff is definitely something you can bang your head to. Geddy's got a super punchy bass sound and his vocal delivery is excellent. The drums sit well in the mix. Oh, and that intro is wicked cool. The contrast between the sludgy main riff and Alex's thinner, almost industrial single note lines adds a most appropriate effect. And then all this somehow gets laid into a melodic groove with serious momentum. Damned impressive if you ask me.
Now the not so good.
Lyrically, Neil has addressed this topic before... and better. This is one of those songs that would be great if it was the only one of its type, and I understand it has a place in the overall thematic arc of the Clockwork Angels story, but in the context of the Rush catalog, it's pretty redundant. I would probably praise this lyric more had Neil not already given us Free Will and a half dozen other such songs.
Clockwork Angels
Great song. Cool vibe; solid atmosphere. Here, we also have a new take on an old theme, but delivered with more originality and freshness than BU2B (lyrically speaking). Neil is rockin'. Geddy is jammin'. Alex is highly creative. It all works.
The Anarchist
Another great song! This one more musically than lyrically, and they lyrics are quite good! This has a lot of throwback to both Signals and Grace Under Pressure sound to it, but without being quite as dark and without carrying the burden of 80s sound and production. Geddy's heavy but melodic bass line really carries this one. Geddy does seem to be pushing his vocal right to the limit of what he could do by 2012, but it's not so far out as to be a distraction. High marks. Hard to decide whether I like this or the title cut better. Both indispensible.
Carnies
Classic late Rush right here, with aggressive, heavy verses and smoother choruses or interludes. Great groove and momentum. Excellent imagery here too. With the whole carnival theme, and it being a carnival with dark undertones, I get a very Ray Bradbury Something Wicked This Way Comes vibe. I think I'd be surprised if Neil didn't pick up a little influence there.
Sadly, Geddy's voice seems badly strained a numerous points in the song. This time it has risen to a level of distraction, albeit minor.
Halo Effect
I'll agree that it's not up to the standard of the other songs thus far on the album, but it does have a lot going for it.
The acoustic work is beautiful. Sometimes, I think Alex should do an entirely acoustic solo album.
I love Geddy's bass line. It's somewhat reminiscent of Half the World but yet fits perfectly here as well.
Lyrically it's solid and covers a theme many of us are aware of but never really talk about.
Well done overall, even if not as dynamic as the rest of the album. And let's be honest.... most of this album is so intense, a little interlude is really necessary at this point, and Halo Effect serves quite well in that context.
Seven Cities of Gold
This was a fave when I bought the album and while I still think highly of it, it's no so much as it used to be. Musically, this is up there for sure. Geddy's bass line alone makes it worth repeated listens; sort of a three way cross between classic Geddy, Tool, and some funk. Killer for sure. The atmospheric mood to start, and Alex's varied and creative guitar work are also exemplary.
Lyrically, it's a moderately interesting topic, really one that sounds like it would be better in Iron Maiden's hand... I can even imagine the cool stage props they'd come up with for a live performance! But we've got a concept album here, and this one just seems kind of out of place here, like an unnecessary tangent.it does make more sense in the full context of the novel.
The Wreckers
I'll just say right up front that I loved this song upon first listen, and that hasn't changed one bit. Why? Mostly because of that fantastic chorus... so melodic, so moving, and so very true, and so very truly delivered by Geddy (and he's not having to strain on this one).
Coming out of the chorus, I hear some chording reminiscent of The Byrds' "I'll Feel a Whole Lot Better" and, interestingly the sound is equally reminiscent of the same song as covered years later (and better IMO) by a short lived group called Little America. It all works exceptionally well... as does the dramatic extension later in the song. This is a unique, solid, and for me a completely enduring song. The more I listen to it, the more I think of it.
Headlong Flight
Where I was living at the time, the only advance release I heard before the official album release day was Headlong Flight.
I was mightily impressed and the song did it's job as a prerelease--it had me salivating for the album and I was first in line to get my copy at the store on release day.
The atmosphere... and the Rock! Do I hear a hint of a Bastille day riff in there? Why yes, I think I do. And Geddy's got a killer bass line in there... new and unique but still distinctly Geddy. Alex's solo is kind of throwback, but in a good way. And Neil is really pounding it out. The lyrics are good, but the music is so good, I don't think I would have cared what the lyrics were.
The song is so aptly titled, as if flies pell mell into its message, its past, and its future... and into my continued appreciation for the band.
BU2B2
What's interesting about this interlude to me is that we have the protagonist who has lost all faith in anything, yet he declares that he continues to soldier on. But why? What keeps him going at this point? Will we get an answer in the remainder of the album?
That Peart guy is a clever fellow.
Wish Them Well
Interesting to see a song that is all about love your enemies from a devout agnostic. It would seem that some wisdom transcends religious or philosophical stovepipes. That's a good thing.
Musically, yeah, bottom half, but it's still quite good to my ears. As far as its place in the concept album, there's actually a measure of perfection here; this is the beginning of the resolution... a brilliant bridge between BU2B2 and the closing The Garden. I, for one, think that this serves the concept exceptionally well.
The Garden...
...just lays me bare.
That it is Rush's swan song makes it all the more poignant. It may not be Rush's "best" song, but it certainly is their most beautiful. The final statement of a career is also a meaningful statement of life itself. It is a glorious culmination on multiple levels with multiple meanings fitting into multiple contexts. This nexus is no doubt the greatest capstone of any band's career.
It was also a glorious live performance when I saw it live on the Clockwork Angels tour.
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Fischman
