RUSH - 2011 "Sector 1" [5 CD Box]

Limited six disc (five CDs + DVD) box set from the Canadian Rock trio. Contains the albums Rush, Fly By Night, Caress Of Steel, 2112 and All The World's A Stage plus the DVD-Audio mix of Fly By Night. Each Sector contains five of their 15 Mercury albums in chronological order, all transferred to high resolution 96kHz/24-bit and digitally pre-mastered for optimal quality. In addition, each volume includes an exclusive booklet packed with unpublished photos, original album lyrics and credits, and features one album specifically remixed on DVD in high resolution 96 kHz/24-bit, 5.1 surround sound and stereo, compatible with both DVD Audio players and DVD-Video players. Each album is packaged in a replica vinyl mini-jacket of the original album release with all 3 sets forming a Rush CD road case.

Rush has long been my favorite band, and I have more or less owned every iteration of these albums that Rush has released: cassettes, then vinyl, then the initial Mercury CD pressings, and the 1997 remasters. But even my "fanboy-ness" knows its limits, so when these box sets were first announced, I was a bit sceptical. Was this another desperate Mercury cash-grab, as has been alleged on so many Rush fan sites?

My reservations disappeared as soon as I held this set. First, the packaging is very nice. Each album is done as a replica of the original vinyl release. Having spent hours upon hours in high school looking at the gatefolds for the vinyl versions, this was like coming home to an old friend. A booklet is also included with printed lyrics, rare photos, album credits, etc (apparently just in case the album replica writing was too small.....)

But I was most pleased with the sound. In a side-by-side with the '97 releases (which as a whole I thought were very well done), these new remasters do present a very clear, if subtle improvement. This batch of albums especially have always suffered from murky sound. These remasters FINALLY fix that problem -- it's as if a layer of murk has been removed from the sound. The effect is most noticable in the crispness of the drums, but there are sonic improvements to be noticed across the board. And it's not just a matter of louder mastering either. In fact, the volume here is nearly identical to that of the 1997 remasters. These versions really do sound better.

Well, not a newbie, really. I always liked them, I saw them once back in the 70s, and I had a copy of 2112, but other than that I'm really only familiar with what's gotten radio airplay. When these box sets came out, it seemed like it was time to catch up. I've been reading that some of these discs had problems, so I figured I'd just sit down and play the box to make sure it's ok, and hear a lot of new-to-me Rush.

Disc 1 - Rush - I think the last time I heard this all the way through in one sitting, it was a 8-track... The remaster sounds great to my ears. Very clear sound, and really, quite a bit better music than I thought it would be. Good stuff.

Disc 2/3 - Fly By Night - WOW! The 5.1 channel DVD audio disc is amazing. Channel separation is very good, and Lee's vocals sound just like he's in the room. "Fly By Night" "In The End" and "Rivendell" especially stand out... Still getting used to music mixed in 5.1 rather than two channel stereo. I'm accustomed to crowd noise and building echo from the rear channels, if anything. Wickedly cool to hear a guitar come tearing out of the back corner of the room. I think with this DVD, the CD won't get played much :)

Disc 4 - Caress of Steel - "Bastille Day" is a familiar tune, and sounds great, and "The Necromancer" is appropriately spooky. I'm really impressed with the clarity of the sound on this set so far, but then I'm not familiar with the previous issues to compare them to...

Disc 5 - 2112 - The 2112 overture makes me smile every time I hear it. This is the first Rush album I remember listening to, and probably still my favorite one.

Disc 6 - All The World's a Stage - The live release from 1976. Very good performance, with live versions of songs selected from the above releases.

I guess I got a glitch free copy. I have no complaints, and will definitely be picking up the other two "Sector" sets. A word about the packaging. I like this trend toward a plastic sleeve in an old-school LP type cover. They take up less space, and they won't arrive damaged as often as jewel cases do. Overall, I don't have any complaints here. Great!

1974 [2011] "RUSH"

RUSH is the eponymous debut studio album by Canadian rock band Rush, released on March 1, 1974 and later remastered in 1997. Their first release shows much of the hard rock sound typical of many of the popular rock bands emerging earlier in the decade, and it is the only album to not have Neil Peart as drummer. Rush were fans of such bands as Led Zeppelin and Cream, and these influences can be heard in most of the songs on this album. Original drummer John Rutsey performed all drum parts on the album, but was unable to go on extended tours because of complications with his diabetes and was let go by the band after the album was released. Rutsey contributed to the album's lyrics, but never submitted the work to the other members of the band. The lyrics were instead entirely composed by Lee and Lifeson. Rutsey was soon replaced by Peart, who has remained the band's drummer.
 
 Tracks Listing

1. Finding My Way (5:05)
2. Need Some Love (2:19)
3. Take A Friend (4:24)
4. Here Again (7:34)
5. What You're Doing (4:22)
6. In The Mood (3:33)
7. Before And After (5:34)
8. Working Man (7:10)

Total Time: 40:01

Musicians

- Alex Lifeson - Guitar
- Geddy Lee - Bass guitar, vocals
- John Rusty - Drums, percussion

1975 [2011] "Fly By Night"
  

Fly by Night is the second studio album by Canadian rock band Rush, released in February 1975. Contrary to their previous album, which featured a much more hard rock sound, this album was the first to showcase the progressive rock sound that the band has become renowned for. This release was also the first to feature long-time drummer Neil Peart.

Prior to one of Rush's first U.S. tours, original drummer John Rutsey split from the band, since he wasn't prepared to commit to the band's rigorous touring schedule. And it proved to be a blessing in disguise, since his replacement was to become one of the most respected rock drummers of all time, Neil Peart, who would also steer the band towards success with more challenging material -- starting with Fly by Night. While the title track and the album-closing ballad, "In the End," still had Zeppelin roots, the album isn't as straightforward as the debut. Rush's first bona-fide classic, "Anthem," is included, while the over eight-minute "By-Tor and the Snow Dog" helped pave the way for the group's future epics ("2112," "Cygnus X-1," etc.), and introduced the fans to Peart's imaginative lyric writing, often tinged with science-fiction themes. The reflective and melodic "Making Memories" is an underrated early composition, while "Beneath, Between, & Behind" is a furious heavy rocker. Fly by Night may not be one of Rush's finest albums, but it is one of their most important -- it showed that the young band was leaving their Zep-isms behind in favor of a more challenging and original direction.
 
Tracks Listing

1. Anthem (4:21)
2. Best I Can (3:24)
3. Beneath, Between And Behind (3:00)
4. By-Tor And The Snow Dog (8:57)
I) At The Tobes Of Hades
II) Across The Styx
III) Of The Battle
IV) Epilogue
5. Fly By Night (3:20)
6. Making Memories (2:56)
7. Rivendell (5:00)
8. In The End (6:51)

Total Time: 37:18

Musicians

- Alex Lifeson - Guitar
- Geddy Lee - Bass guitar, vocals
- Neil Peart - Drums, percussion

 1975 [2011] "Caress Of Steel"

Caress Of Steel is the third studio album by Canadian rock band Rush, released in 1975. The album shows more of Rush's adherence to hard progressive rock, as opposed to the blues-based hard rock style of the band's first album.
  When Rush finished their third album, Caress of Steel, the trio was assured that they had created their breakthrough masterpiece. But when the album dropped off the charts soon after its release, it proved otherwise. While it was Rush's first release that fully explored their prog rock side, it did not contain the catchy and more traditional elements of their future popular work -- it's quite often too indulgent and pretentious for a mainstream rock audience to latch onto. And while Rush would eventually excel in composing lengthy songs, the album's two extended tracks -- the 12½-minute "The Necromancer" and the nearly 20-minute "The Fountain of Lamneth" -- show that the band was still far from mastering the format. The first side contains two strong and more succinct tracks, the raging opener, "Bastille Day," and the more laid-back "Lakeside Park," both of which would become standards for their live show in the '70s. But the ill-advised "I Think I'm Going Bald" (which lyrically deals with growing old) borders on the ridiculous, which confirms that Caress of Steel is one of Rush's more unfocused albums.

Tracks Listing

1. Bastille Day (4:36)
2. I think I'm Going Bald (3:35)
3. Lakeside Park (4:07)
4. The Necromancer: 12:30
I) Into The Darkness (4:20)
II) Under The Shadow (4:25)
III) Return Of The Prince (3:51)
5. The Fountain Of Lamneth: 19:50
I) In The Valley (4:17)
II) Didacts And Narpets (1:00)
III) No One At The Bridge (4:15)
IV) Panacea (3:12)
V) Bacchus Plateau (3:12)
VI) The Fountain (3:48)

Total Time: 44:38

Musicians

- Alex Lifeson - Guitar
- Geddy Lee - Bass guitar, vocals
- Neil Peart - Drums, percussion

1976 [2011] "2112"

2112 (pronounced "twenty-one twelve") is the fourth studio album by Canadian rock band Rush. Released on 1 April 1976, it features the seven-part title suite composed by Geddy Lee and Alex Lifeson, with lyrics written by Neil Peart telling a dystopian story set in the year 2112. It is sometimes described as a concept album although the songs on the second side are unrelated to the suite. Rush repeated this arrangement on the 1978 album Hemispheres.
2112 is one of two Rush albums listed in the book 1001 Albums You Must Hear Before You Die (the other being Moving Pictures). In 2006, a poll of Planet Rock listeners picked 2112 as the definitive Rush album. In 2012, it was ranked second on Rolling Stone's list of 'Your Favorite Prog Rock Albums of All Time', as voted for in a reader's poll, one of three Rush albums included (the others being Moving Pictures and Hemispheres).
A deluxe edition was released in 2012 as both a CD/DVD and a CD/Blu-ray. The CD featured the entire album remastered, as well as three live bonus tracks from their 1981 concert at Northlands Coliseum. The DVD and Blu-ray included the album in three different HD formats, as well as on-screen lyrics, liner notes, and a digital comic book depicting the story of the title track

Whereas Rush's first two releases, their self-titled debut and Fly by Night, helped create a buzz among hard rock fans worldwide, the more progressive third release, Caress of Steel, confused many of their supporters. Rush knew it was now or never with their fourth release, and they delivered just in time -- 1976's 2112 proved to be their much sought-after commercial breakthrough and remains one of their most popular albums. Instead of choosing between prog rock and heavy rock, both styles are merged together to create an interesting and original approach. The entire first side is comprised of the classic title track, which paints a chilling picture of a future world where technology is in control (Peart's lyrics for the piece being influenced by Ayn Rand). Comprised of seven "sections," the track proved that the trio members were fast becoming rock's most accomplished instrumentalists. The second side contains shorter selections, such as the Middle Eastern-flavored "A Passage to Bangkok" and the album-closing rocker "Something for Nothing." 2112 is widely considered by Rush fans as their first true "classic" album, the first in a string of similarly high-quality albums.

Tracks Listing

Side 1
1. 2112: 20:34
I) Overture (4:32)
II) The Temples Of Syrinx (2:13)
III) Discovery (3:29)
IV) Presentation (3:42)
V) Oracle:The Dream (2:00)
VI) Soliloquy (2:21)
VII) The Grand Finale (2:14)
2. A Passage To Bangkok (3:34)
3. The Twilight Zone (3:18)
4. Lessons (3:51)
5. Tears (3:32)
6. Something For Nothing (3:59)

Total Time: 38:48

Musicians

- Alex Lifeson - Guitar
- Geddy Lee - Bass guitar, vocals
- Neil Peart - Drums, percussion

1977 [2011] "All The World's A Stage"

All the World's a Stage is a double live album by Canadian rock band Rush, released in 1976. The album was recorded at Massey Hall in Toronto on June 11, 12, and 13 during their 2112 tour. The title of the album alludes to William Shakespeare's play As You Like It, which would again be referenced by Rush in their 1981 song "Limelight".

The '70s may forever be remembered as the decade of the "live album," where many rock artists (Kiss, Peter Frampton, Cheap Trick, etc.) used the format for their commercial breakthrough. While Rush's All the World's a Stage is not as renowned as the aforementioned bands' live albums, it is still one of the better in-concert rock releases of the decade, and helped solidify the trio's stature as one of rock's fastest rising stars. Eventually, Rush would polish their live sound to sound almost like a studio record, but in the mid-'70s, they were still a raw and raging hard rock band, captured perfectly on All the World's a Stage Comprised almost entirely of their heavier material, the album packs quite a punch -- "Bastille Day" and "Anthem" prove to be a killer opening combination, while over-the-top renditions of their extended epics "2112" and "By-Tor & the Snow Dog" prove to be standouts. Even their more tranquil studio material proves more explosive in concert ("Fly by Night," "Something for Nothing," "Lakeside Park," "In the End"). All the World's a Stage was a fitting way of closing the first chapter of Rush, as the liner notes state.

Tracks Listing

1. Bastille Day (4:59)
2. Anthem (4:57)
3. Fly By Night / In The Mood (5:05)
4. Something For Nothing (4:03)
5. Lakeside Park (5:05)
6. 2112: 15:51
I) Overture (4:17)
II) The Temples Of Syrinx (2:13)
III) Presentation (4:29)
IV) Soliloquy (2:25)
V) Grand Finale (2:27)
7. By-Tor And The Snow Dog (12:01)
8. In The End (7:14)
9. Working Man/ Finding My Way (14:20)
10. What You're Doing (5:38)

Total Time: 79:13

Musicians

- Alex Lifeson - Guitar
- Geddy Lee - Bass guitar, vocals
- Neil Peart - Drums, percussion
 

RUSH - 2011 "Sector 2" [5 CD Box]

Limited six disc (five CDs + DVD) box set from the Canadian Rock trio. Contains the albums A Farewell To Kings, Hemispheres, Permanent Waves, Moving Pictures and Exit...Stage Left plus the DVD-Audio mix of A Farewell To Kings. Each Sector contains five of their 15 Mercury albums in chronological order, all transferred to high resolution 96kHz/24-bit and digitally premastered for optimal quality. In addition, each volume includes an exclusive booklet packed with unpublished photos, original album lyrics and credits, and features one album specifically remixed on DVD in high resolution 96 kHz/24-bit, 5.1 surround sound and stereo, compatible with both DVD Audio players and DVD-Video players. Each album is packaged in a replica vinyl mini-jacket of the original album release with all 3 sets forming a Rush CD road case.

Perhaps the most lavish box set ever released within the realm of progressive rock, this wonderfully designed, all-inclusive 3 section box set contains every release from this seminal band's career with Mercury Records. The collection is divided into 3 "sectors" each with 4 studio albums and the live album corresponding to that era. Plus, one album in each sector contains an additional DVD with 5.1 mix. The box construction is sturdy heavy cardboard, and when the 3 sectors are placed next to each other on a shelf or table top they form a road case with all the Rush logos on the outside. Nice. But from a cosmetic standpoint, the best feature of this reissue would have to be the individual albums. Each CD is housed within a mini album sleeve that is an exact replica of the original LP art and layout. For those that remember the double gate-fold style LP's from the 70's, these miniatures will bring back some great memories. However, since this "miniaturized" rendering makes some of the lyrical content too small to decipher, the band wisely chose to release a separate booklet (one for each sector) which contains photos artwork and reprinted, more legible lyrics from the corresponding albums in that set. The only disappointment here is that there are no additional liner notes in any of these booklets, and no lyrics are included for Rush and Fly By Night. Additionally, each recording has been digitally remastered so the sound quality is phenomenal. The lack of bonus material on any of the discs may be a disappointment to some, but for Rush purists this is a plus. The intent here was obviously to retain as much of the "original" feel of the releases, just translated into digital format. The only way, perhaps, to provide a better collection of Rush's Mercury years would be to release the same set with LP's instead of CD's and DVD's. Until that day, though, this is a wonderful way to cull the band's most prolific and most lauded recordings into a concise, yet comprehensive and complete package.

1977 [2011] A Farewell to Kings

 A Farewell to Kings is the fifth studio album by the Canadian rock band Rush, released in 1977. It was recorded at Rockfield Studios in Wales, and mixed at Advision Studios in London. A Farewell to Kings would become Rush's first US gold-selling album, receiving the certification within two months of its release, and was eventually certified platinum.

On 1977's A Farewell to Kings it quickly becomes apparent that Rush had improved their songwriting and strengthened their focus and musical approach. Synthesizers also mark their first prominent appearance on a Rush album, a direction the band would continue to pursue on future releases. With the popular hit single "Closer to the Heart," the trio showed that they could compose concise and traditionally structured songs, while the 11-minute "Xanadu" remains an outstanding accomplishment all these years later (superb musicianship merged with vivid lyrics help create one of Rush's best all-time tracks). The album-opening title track begins with a tasty classical guitar/synth passage, before erupting into a powerful rocker. The underrated "Madrigal" proves to be a delicately beautiful composition, while "Cinderella Man" is one of Rush's few songs to include lyrics penned entirely by Geddy Lee. The ten-minute tale of a dangerous black hole, "Cygnus X-1," closes the album on an unpredictable note, slightly comparable to the two bizarre extended songs on 1975's Caress of Steel. A Farewell to Kings successfully built on the promise of their breakthrough 2112, and helped broaden their audience. 

Tracks Listing

1. A Farewell To Kings (5:49)
2. Xanadu (11:04)
3. Closer To The Heart (2:51)
4. Cinderella Man (4:19)
5. Madrigal (2:33)
6. Cygnus X-1 (10:21)

Total Time: 36:57

Line-up / Musicians

- Alex Lifeson / guitars (6- & 12-strings electric and acoustic, classical), bass pedals
- Geddy Lee / bass, bass pedals, Mini-Moog, 12-string guitar, vocals
- Neil Peart / drums, orchestral & tubular bells, wind chimes, vibra-slap, percussions

1978 [2011] Hemispheres

 Hemispheres is the sixth studio album by Canadian rock band Rush, released in 1978. The album was recorded at Rockfield Studios in Wales and mixed at Trident Studios in London. It was the last of two albums they would record in the United Kingdom before returning to their homes in Canada.

Following themes going back to Rush's second album, Fly by Night, on Hemispheres lyricist Neil Peart continued to utilize fantasy and science fiction motifs. Similar to their 1976 release, 2112, the title track on Hemispheres takes up the entire first side of the album, and is a suite of songs telling a story - in this case, a continuation of the story begun in "Cygnus X-1 Book I: The Voyage" on the band's previous album A Farewell to Kings. The second side consists of two conventional tracks, "Circumstances" and "The Trees," and the band's first standalone instrumental, "La Villa Strangiato." According to drummer Neil Peart, they spent more time recording "La Villa Strangiato" than they did recording the entire Fly by Night album.
The album contains examples of Rush's adherence to progressive rock standards including the use of fantasy lyrics, multi-movement song structures, and complex rhythms and time signatures. In the 2010 documentary film Rush: Beyond the Lighted Stage, the band members comment that the stress of recording Hemispheres was a major factor in their decision to start moving away from suites and long-form pieces in their songwriting. That change in philosophy would manifest itself in the band's next album, the considerably more accessible Permanent Waves. The band's seventh album would mark their commercial success, paving the way for the multi-platinum Moving Pictures.

While such albums as 1980's Permanent Waves and 1981's Moving Pictures are usually considered Rush's masterpieces (and with good reason), 1978's Hemispheres is just as deserving. Maybe the fact that the album consists of only four compositions (half are lengthy pieces) was a bit too intimidating for some, but the near 20-minute-long "Cygnus X-1 Book II: Hemispheres" is arguably the band's finest extended track. While the story line isn't as comprehensible as "2112" was, it's much more consistent musically, twisting and turning through five different sections which contrast heavy rock sections against more sedate pieces. Neil Peart had become one of rock's most accomplished lyricists by this point, as evidenced by "The Trees," which deals with racism and inequality in a unique way (set in a forest!). And as always, the trio prove to be experts at their instruments, this time on the complex instrumental "La Villa Strangiato." Geddy Lee's shrieking vocals on the otherwise solid "Circumstances" may border on the irritating, but Hemispheres remains one of Rush's greatest releases. 

Tracks Listing

1. Cygnus X-1 Book II Hemispheres (18:04)
- I Prelude (4:27)
- II Apollo/III Dionysus (4:36)
- IV Armageddon (2:55)
- V Cygnus (5:01)
- VI The Sphere (1:02)
2. Circumstances (3:40)
3. The Trees (4:42)
4. La Villa Strangiato (9:35)
- Buenos Nochas, Mein Froinds!
- To Sleep, Perchance To Dream...
- Strangiato Theme
- A Lerxst In Wonderland
- Monsters!
- The Ghost Of The Aragon
- Danforth And Pape
- The Waltz Of The Shreves
- Never Turn Your Back On A Monster
- Monsters! (Reprise)
- Strangiato Theme (Reprise)
- A Farewell To Things

Total Time: 37:00

Line-up / Musicians

- Alex Lifeson / guitars (6- & 12-strings electric and acoustic, classical, Roland synth), bass pedals
- Geddy Lee / basses, Taurus bass pedals, Mini-Moog, Oberheim polyphonic synth, vocals
- Neil Peart / drums, orchestra bells, wind chimes, tympani, gong, crotales, percussions

1980 [2011] Permanent Waves

 
 Permanent Waves is the seventh studio album by Canadian rock band Rush, released on January 14, 1980. It was recorded at Le Studio in Morin Heights, Quebec, and mixed at Trident Studios in London, UK. Permanent Waves became Rush's first US top five album, hitting #4 on the Billboard 200, and their fifth gold (later platinum) selling album. The album marks a distinct transition from long, conceptual pieces, into a more accessible, radio-friendly style and consequently, a significant increase in record sales for the band. The singles "The Spirit of Radio" and "Freewill" both received significant radio airplay.

Since Neil Peart joined the band in time for 1975's Fly by Night, Rush had been experimenting and growing musically with each successive release. By 1980's Permanent Waves, the modern sounds of new wave (the Police, Peter Gabriel, etc.) began to creep into Rush's sound, but the trio still kept their hard rock roots intact. The new approach paid off -- two of their most popular songs, the "make a difference" anthem "Freewill," and a tribute to the Toronto radio station CFNY, "The Spirit of Radio" (the latter a U.K. Top 15 hit), are spectacular highlights. Also included were two "epics," the stormy "Jacob's Ladder" and the album-closing "Natural Science," which contains a middle section that contains elements of reggae. Geddy Lee also began singing in a slightly lower register around this time, which made their music more accessible to fans outside of the heavy prog rock circle. The album proved to be the final breakthrough Rush needed to become an arena headliner throughout the world, beginning a string of albums that would reach inside the Top Five of the U.S. Billboard album charts. Permanent Waves is an undisputed hard rock classic, but Rush would outdo themselves with their next release. 

Permanent Waves is the band’s seventh studio album, released on January 14th, 1980. It was recorded at Le Studio, Morin Heights, Quebec, and mixed at Trident Studios in London. The tracks were laid down just shy of four weeks, in part attributed to the idyllic working conditions of Morin Heights.
The album marks a transition from long, conceptual pieces, into a more accessible, radio-friendly style. “The Spirit Of Radio” is one of the most commercial songs Rush has ever produced, containing several different musical elements, even a touch of reggae. At the time, Alex recalled:

“We’ve always played around with reggae in the studio and we used to do a reggae intro to Working Man onstage, so when it came to doing Spirit Of Radio we just thought we’d do the reggae bit to make us smile and have a little fun.”

The waving man in the background of the album cover is actually Hugh Syme, the band’s long time design collaborator.

Tracks Listing

1. The Spirit of Radio (4:56)
2. Freewill (5:21)
3. Jacob's Ladder (7:26)
4. Entre Nous (4:37)
5. Different Strings (3:48)
6. Natural Science (9:17)
-I Tide Pools
-II Hyperspace
-III Permanent Waves

Total Time: 35:25

Line-up / Musicians

- Alex Lifeson / 6- & 12-strings electric and acoustic guitars, Taurus bass pedals
- Geddy Lee / basses, bass pedals, synthesizers (Oberheim polyphonic, OB-1, Mini-Moog), vocals
- Neil Peart / drums, tympani, orchestral & tubular bells, timbales, wind chimes, crotales, triangle

With:
- Hugh Syme / piano (5)
- Erwig Chuapchuaduah / steel drums (1)

1981 [2011] Exit Stage Left 

Exit...Stage Left is a live album by Canadian band Rush, released in 1981. A video release of the same name, with slightly different content, was released in 1982 on VHS and later on LaserDisc, and in 2007 on DVD.
The album was voted 9th best live album of all time in a poll by Classic Rock Magazine in 2004.

The first, third, and fourth sides of the original vinyl issue were recorded in Canada during the Moving Pictures tour, while the second side was recorded in the UK during the Permanent Waves tour.
The original CD issue removed "A Passage to Bangkok", as CDs could only hold 75 minutes at the time. It was included on the 1997 remaster, as CD capacity had increased to 80 minutes by that time. Before the remastered version was released, the same live version of "A Passage to Bangkok" was released on the compilation Chronicles in 1990.

Exit… Stage Left, the band’s second live album, was recorded at The Apollo in Glasgow, Scotland on June 10th & 11th, 1980 and at The Forum in Montreal, Quebec in March 27th, 1981. A video release with the same name, with slightly different content, was released in 1982 on VHS and later on Laserdisc, and in 2007 on DVD.
As Rush advanced technologically into the early 80s, capturing flawless recorded performances became more and more challenging:

“Yes, we made a few repairs to the record. A part here and there would ruin an otherwise perfect song, so we patched up the odd bit. Sometimes we had hit the wrong thing or gone suddenly out of tune. It would be so much easier if we were perfect.” – Neil Peart, 1981.

Exit… Stage Left was among the first Rush albums to be digitally mastered. As the world moved to the CD digital format, digital masters created from original analog recordings became a necessity. Rush’s previous studio album, Moving Pictures, was one of the first rock albums to be digitally mixed and mastered.

Live albums usually lack something in recording and instrumental quality. Not this one. As a big Rush fan who has most of their albums, I truly believe they were at the peak of their careers when they recorded this album. Neil Peart's drumming is incredible and listening to him live makes it even more dynamic. The drum solo in YYZ is worth the price of admission alone. All the great songs from their previous albums are here. My personal favorite is "The Trees", which sends shivers down my spine and I like the live version better then the original version. This is, IMO, the greatest Live Rock album ever produced. 

Tracks Listing

1. Spirit Of Radio (5:12)
2. Red Barchetta (6:48)
3. YYZ (7:44)
4. Closer To The Heart 3:09)
5. Beneath, Between and Behind (2:34)
6. Jacobs Ladder (8:47)
7. Broon's Bane (1:37)
8. The Trees (4:50)
9. Xanadu (12:10)
10. Freewill (5:33)
11. Tom Sawyer (5:01)
12. La Villa Strangiato (9:38)

Total Time: 76:29

Line-up / Musicians

- Geddy Lee / bass, bass pedals, synthesizers, vocals, rhythm guitar
- Alex Lifeson / guitars, bass pedals
- Neil Peart / drums, percussion

1981 [2011] Moving Pictures

 
 Moving Pictures is the eighth studio album by Canadian rock band Rush. It was recorded and mixed from October to November 1980 at Le Studio in Morin-Heights, Quebec, Canada, and released on February 12, 1981. Building on their previous album, Permanent Waves, Moving Pictures follows a more radio-friendly format and includes several of the band's best-known songs, such as the singles "Tom Sawyer" and "Limelight", the rock radio standard "Red Barchetta", and the instrumental "YYZ".
Moving Pictures became the band's highest-selling album in the United States, peaking at #3 on the Billboard 200, and it remains the band's most commercially successful recording. The album was one of the first to be certified multi-platinum by the RIAA upon establishment of the certification in October 1984, and eventually went quadruple platinum. Moving Pictures is one of two Rush albums listed in 1001 Albums You Must Hear Before You Die (2112 is the other). Kerrang! magazine listed the album at #43 among the "100 Greatest Heavy Metal Albums of All Time". In 2012, Moving Pictures was listed as #10 on 'Your Favorite Prog Rock Albums of All Time' by Rolling Stone. In 2014, readers of Rhythm voted Moving Pictures the greatest drumming album in the history of progressive rock.
The album cover art is a visual pun on the title, and a triple entendre. The first meaning is represented by the movers carrying pictures, with the second by the people watching them who are emotionally moved by the pictures. The third meaning is shown on the back cover, where the entire scene is revealed to be a set for a motion picture.

What can you say? Moving Pictures became the band’s biggest selling album in the U.S., rising to #3 on the Billboard charts. It remains Rush’s most popular and commercially successful studio recording. Rush’s complex songwriting and musical virtuosity reached new heights on this album.
Recorded and mixed from October to November 1980 at Le Studio, Moving Pictures followed a more radio-friendly format and includes several signature tracks, including “Tom Sawyer,” “Limelight,” “Red Barchetta,” and the band’s highly praised instrumental, “YYZ,” which is the IATA airport identification code of Toronto Pearson International Airport.
The album cover is a monument to triple entendre. Movers are physically moving pictures, people are crying because the pictures passing by are emotionally “moving,” and the back cover depicts a film crew making a “moving picture” of the whole scene.

Not only is 1981's Moving Pictures Rush's best album, it is undeniably one of the greatest hard rock albums of all time. The new wave meets hard rock approach of Permanent Waves is honed to perfection -- all seven of the tracks are classics (four are still featured regularly in concert and on classic rock radio). While other hard rock bands at the time experimented unsuccessfully with other musical styles, Rush were one of the few to successfully cross over. The whole entire first side is perfect -- their most renowned song, "Tom Sawyer," kicks things off, and is soon followed by the racing "Red Barchetta," the instrumental "YYZ," and a song that examines the pros and cons of stardom, "Limelight." And while the second side isn't as instantly striking as the first, it is ultimately rewarding. The long and winding "The Camera Eye" begins with a synth-driven piece before transforming into one of the band's more straight-ahead epics, while "Witch Hunt" and "Vital Signs" remain two of the trio's more underrated rock compositions. Rush proved with Moving Pictures that there was still uncharted territory to explore within the hard rock format, and were rewarded with their most enduring and popular album. 

Tracks Listing

1. Tom Sawyer (4:34)
2. Red Barchetta (6:08)
3. YYZ (4:24)
4. Limelight (4:21)
5. The Camera Eye (10:57)
6. Witch Hunt (Part III of Fear) (4:44)
7. Vital Signs (4:47)

Total Time: 39:55

Line-up / Musicians

- Alex Lifeson / 6- & 12-strings electric and acoustic guitars, Taurus bass pedals
- Geddy Lee / basses, bass pedals, synthesizers (Oberheim polyphonic, OB-X, Mini-Moog), vocals
- Neil Peart / drums, timbales, orchestra bells, glockenspiel, wind chimes, crotales, percussions

With:
- Hugh Syme / synthesizers (6)

Alex Skolnick Trio - 2007 "Last Day In Paradise"

The Alex Skolnick Trio is an American jazz music trio comprising the guitarist Alex Skolnick, Matt Zebroski on drums, and Nathan Peck on bass. Previously, John Davis played bass for the group. The Trio is known for its inventive jazz take on hard rock and heavy metal "standards". Alex Skolnick himself is a member of thrash metal band Testament.

Last Day in Paradise is an album released on March 15, 2007 by the Alex Skolnick Trio, on the Magnatude Records label. The album was recorded from October 4–7, 2006.

When Testament guitarist Alex Skolnick jumped ship before touring for 1992’s hugely successful The Ritual, few fans seemed to notice on the initial dates (as there were no Internet postings back then). When the Return to the Apocalyptic City EP came out a year later, he was sadly absent, having been replaced by Forbidden axeman Glen Alvelais, though Skolnick’s musical career had taken a 180° turn—into jazz. He went back to school, earned a BFA, and formed the Alex Skolnick Trio, releasing their 2002 debut Goodbye to Romance, which featured jazz covers of classic rock standards. Another album, Transformation, followed in 2004, and this year holds AST’s high-water mark in Last Day in Paradise.
Opener “Mercury Retrograde” percolates with the group’s now-trademark interplay, while the laid-back title track simmers with a Rush-like ambience. Speaking of which, Rush’s “Tom Sawyer” is covered next, though listeners will be hard-pressed to discern it from the first minute or so. The band turns the tune inside out, tempos changed, and chords bent into a whole new composition that must be heard to be believed. “Shades of Grey” is another ballad-like number that precedes “Practica Que Lo Predicas,” Skolnick’s jazzy rendition of Testament’s “Practice What You Preach.” The Stevie Ray Vaughn-flavored “The Lizard” with Nathan Peck’s double-bass workout gives way to “Channel 4,” spotlighting Matt Zebroski’s exceptional drum fills. Another cover, Ozzy’s “Revelation (Mother Earth),” reveals a previously unexplored side of Randy Rhoads’ melodic soloing, and the Peck-penned “Out There Somewhere” could easily be tagged as contemporary jazz as Skolnick’s archtop guitar echoes mellifluously throughout, with more of Zebroski’s Neil Peart-like fills at the fade-out. Brandishing swatches of “Fairies Wear Boots,” the über-fuzzy “Western Sabbath Stomp” sounds like prime Sab as interpreted by Blackfoot, a forward-thinking country rocker like Steve Earle, or even the adventurous California Guitar Trio. It’s also the first time that Skolnick has played slide guitar on a record, though he totally sounds like a natural.
From the first note to the last, the band truly gels on this release, and unlike previous albums, the original compositions aren’t at all pedantic, nor are the cover songs fraternizing or too high-brow for casual fans. Since Skolnick and co. are very busy with other various projects, let’s hope that they remember that AST have not yet seen their Last Day in Paradise and will rightfully raise the ante on their next album.

The Alex Skolnick Trio, the band led by Testament guitarist Alex Skolnick, release their latest album, LAST DAY IN PARADISE. LAST DAY IN PARADISE includes the Testament classic "Practice What You Preach" reinter[reted as a Latin Jazz piece and Rush's "Tom Sawyer" in a power Jazz trio setting, along with many more. 

This is real, no messing around jazz. Skolnick is so talented, and his jazz take on Rush and Sabbath remind us that the venerable standards of the jazz canon once started out as popular songs themselves. This guy has chops and taste for days.

One of the greatest albums for AST. I am not a fan of jazz, but Alex knows how to make you fall in love in his own jazz genre. try playing this album after coming back from home and you'll see how much relaxing and energetic this music can be. i think it tops Veritas in some ways. great album! 

Track listing:

1.     "Mercury Retrograde"       4:33
2.     "Last Day in Paradise"       4:51
3.     "Tom Sawyer (Rush cover)"       6:35
4.     "Shades of Grey"       6:23
5.     "Practica Lo Que Predicas (Practice What You Preach) (Testament cover)"       5:16
6.     "The Lizard"       5:17
7.     "Channel 4"       4:26
8.     "Revelation (Mother Earth) (Ozzy Osbourne cover)"       7:20
9.     "Out There Somewhere"       4:48
10.     "Western Sabbath Stomp"       5:24

Personnel:

Electric Guitar, Acoustic Guitar, Twelve-String Guitar, Loops [Loops Programming], Vocals – Alex Skolnick
Double Bass, Vocals – Nathan Peck
Drums, Vocals – Matt Zebroski

Duane Allman - 1972 [2008] "An Anthology Vol. II"

Along with more session work ( Come On in My Kitchen Delaney & Bonnie; Push Push Herbie Mann; Dirty Old Man Lulu; It Ain't Fair Aretha Franklin; You Reap What You Sow Otis Rush; Matchbox Ronnie Hawkins), Vol. 2 has Duane's Happily Married Man; No Money Down , and Going Up the Country ; Allman Brothers gems (including an unissued live Midnight Rider ), and more!

The session work with other players here isn't quite as good as the material on the first anthology, but An Anthology, Vol. 2 does feature a live cut by Delaney & Bonnie, plus a pair of what were then previously unissued Allman Brothers Band live tracks (among them "Midnight Rider" from the Fillmore East in June 1971). There's another good Duane Allman solo number and a good Hour Glass track ("Been Gone Too Long"), more session work with Aretha Franklin and King Curtis, Ronnie Hawkins ("Matchbox"), Wilson Pickett ("Born to Be Wild"), Johnny Jenkins, Boz Scaggs, Sam Samudio, and Otis Rush. The annotation here isn't as thorough as it was on the first volume, but anyone who owns the first double-CD set will almost certainly have to own this one as well, and for a mid-priced set there's a lot of very good music.

It's rumored that Duane once said, while watching and listening to a Johnny Winter concert, I can cut him anytime. Duane was a highly sought session man, as you will hear in volume II. He blended in and then he stood out. You'll hear the 1969 nucleus of the Allman Brothers Band yet to come on the first cut. From Ronnie Hawkins to Aretha Franklin to King Curtis to Boz Scaggs, to Delaney and Bonnie, Duane backed them all and sounded good. Try it, bet you'll like it, and if you do, get Duane Allman Anthology, you'll definitely enjoy the jam "Loan Me A Dime" with Boz Scaggs on this one as well as the ballad "Please Be With Me" with "Cowboy".

The Duane Allman Anthology Volume 2 brings together an eclectic mix of musicians and Allman's superior guitar skills. The range of music on this two-disc set displays Allman's versatility. Blues, Motown, southern rock, straight rock 'n roll, funky jazz, Creole rock - all manner of R&B - you find it all here.

In addition to his work with the Allmans Brothers Band, Allman was a session musician. Most of the songs here feature someone other than Allman such as King Curtis, Aretha Franklin, Herbie Mann, Otis Rush, Dr. John Creaux, Wilson Pickett, Lulu, Boz Scaggs, Delaney & Bonnie, and Ronnie Hawkins.

(Pickett's 'Born to be Wild' was one of the anthems of a generation - looking back from middle-aged parenthood I can only imagine how thrilled my parents were to hear that song blaring!)

The album goes from one triumph to another. 'Walk on Gilded Splinters' featuring Dr. John is worth the purchase price all by itself. Likewise, 'The Weight' by King Curtis and 'Push Push' by Herbie Mann.

There's also plenty to satisfy Allman Brothers Band aficionados. 'Done Somebody Wrong' and 'Midnight Rider' (live from the Fillmore East) as well as 'Leave My Blues at Home' all feature the full band.

Allman's carefree nature is on display in 'The Happily Married Man' (refrain: I ain't seen my wife in 2 or 3 years, I'm a happily married man) and 'No Money Down', a Chuck Berry song about trading in his 'broke-down raggedy Ford' for a Cadillac with a nuclear reactor, railroad air horn, and psychedelic strobe spot.

Blistering good music. Highest recommendation.

Credits - Track listing:

CD 1
01     –Duane Allman     Happily Married Man     2:40
02     –Aretha Franklin     It Ain't Fair     3:20
03     –King Curtis     The Weight     2:48
04     –Otis Rush     You Reap What You Sow     4:54
05     –Ronnie Hawkins     Matchbox     3:06
06     –Wilson Pickett     Born To Be Wild     2:44
07     –Duane Allman     No Money Down     3:25
08     –Hourglass*     Been Gone Too Long     3:10
09     –Arthur Conley     Stuff You Gotta Watch     2:12
10     –Lulu     Dirty Old Man     2:18
11     –Herbie Mann     Push Push     9:55

CD 2
01     –Johnny Jenkins     Walk On Guilded Splinters     5:23
02     –Boz Scaggs     Waiting For A Train     2:40
03     –Ronnie Hawkins     Don't Tell Me Your Troubles     2:14
04     –Sam Samudio     Goin' Upstairs     5:06
05     –Delaney And Bonnie*     Come On In My Kitchen     3:36
06     –The Allman Brothers Band     Dimples     5:05
07     –The Duck And The Bear     Goin' Up The Country     2:35
08     –The Allman Brothers Band     Done Somebody Wrong     4:05
09     –The Allman Brothers Band     Leave My Blues At Home     4:15
10     –The Allman Brothers Band     Midnight Rider     2:56

Various Artists - 1994 "Burning For Buddy" A Tribute To The Music Of Buddy Rich

In 1994, Neil Peart produced this Buddy Rich tribute album featuring tracks from various prominent drummers, all accompanied by the Buddy Rich Big Band.  The compilation of course also features Neil Peart on drums, adding his part to Cotton Tail.

Burning for Buddy, Volume 1 is a 1994 Buddy Rich tribute album produced by Rush drummer/lyricist Neil Peart. The album is composed of performances by various rock and jazz drummers, all accompanied by the Buddy Rich Big Band. A follow-up Burning for Buddy...Volume 2 recording was released in 1997 and both recording sessions were also covered in a 5-hour documentary DVD video released in 2006, The Making of Burning for Buddy.

Burning for Buddy: A Tribute to the Music of Buddy Rich, Vol. 1 assembles a shifting cast of virtuoso trap-set players sitting in with the Buddy Rich and His Big Band in order to pay tribute to its legendary founder. Some of the musicians come from rock & roll, often with experience in prog rock or rock/jazz fusion (i.e., the Cult/Guns N' Roses' Matt Sorum, Winger/Dixie Dregs' Rod Morgenstein, Rush's Neil Peart, Yes/King Crimson's Bill Bruford). Others made their mark primarily in the jazz world, including Max Roach, Dave Weckl, Billy Cobham, and Marvin "Smitty" Smith, among others. There are also some drummers who are primarily known for their versatile session work, able to play both rock and jazz; while these players' work is almost always competent, they rarely display much individuality. So overall, Burning for Buddy has more of a modern flavor than one might expect.

This is beautiful tribute to a master musician. The material draws from various times in Buddy's career and is produced with great care by Neil Peart. Some may argue that other drummers active at the time of the recording should have been included. For me, I think Tony Williams would have been a great idea inclusion. Regardless, if you are a drummer, a musician, a lover of great American music, this album smokes. The performances are fantastic and live.

The performances are outstanding, and it's very interesting to hear how rock drummers like Neal Peart and, to some degree, Bill Bruford, handle the complex time signatures and rolls from big band jazz. They do quite well! The biggest surprise had to be Matt Sorum, of Guns and Roses fame. He proves that rock pays his bills, but that jazz/fusion is in his blood!!!

Neil Peart:
I really wanted to carefully present the record to a modern audience. Accessibility was always in the forefront of my mind, knowing that many listeners are unfamiliar with the feel of swing.

I always recall the way reggae was first heard in popular music: people were so funny because they didn't know how to dance to it until they got used to the knee action. Swing is like that for some - if you don't know how to react physically it can leave you sort of cold. So the sequencing was crucial. I carefully added hints of swing with each track, and waited until "Cotton Tail" to fully introduce it.

I was like most people of my generation with Buddy. I saw him do "Dancing Men" and "Mercy, Mercy, Mercy" on the Carson show and they stuck in my mind. They're so dynamic, they'll nail you immediately. People around the project who weren't familiar with jazz responded to them right away during the sessions. It's a matter of presentation. I'm determined to take it beyond the regular audience of Buddy fans.

Honestly, I think this project would have been a lot harder to get done if I didn't have a track record with the company already. [Atlantic Records co-founder] Ahmet Ertegun came down to the studio; he was very interested in it, and in a sense he first planted the seed for this. When Rush signed with Atlantic about six years ago, he came up after a show and pointed his finger in my chest, saying, "I've got to get you playing some jazz." So he predicted it.

This kind of project can be enormously intimidating for drummers, especially if you're unused to the feel of the music. Some stayed in the funk or rock-oriented tracks. But two of the purer rock drummers, Kenny Aronoff and myself, both dove into the most trad-swing stuff we could, because we wanted to make as far a leap as possible. That carries its risks, of course. There are elements of big-band drumming that I just didn't know and you can't necessarily learn them by dissecting the pieces.

There was a great deal of teamwork and unity. The horn players were startled to be asked their opinion! After a take, I'd ask the guys, "How was it for you?" I can't dissect the playing of 15 different musicians as they're wailing. I sat and listened to the horns a lot, even tried ignoring the drummers a bit by sitting in a place where I couldn't see them. I had to forego those free drum lessons.

All the drummers in my generation started from two sources: Either they saw The Gene Krupa Story, which was my route, or they saw the Beatles on The Ed Sullivan Show and wanted to be Ringo. You can listen to most drummers and figure out immediately which is which. There's a major difference.

Track listing / Performers

01    "Dancing Men" – 6:37 Drums performed by Simon Phillips
02    "Mercy, Mercy, Mercy" – 5:09 Drums performed by Dave Weckl
03    "Love for Sale" – 4:30 Drums performed by Steve Gadd
04    "Beulah Witch" – 4:28 Drums performed by Matt Sorum
05    "Nutville" – 5:09 Drums performed by Steve Smith
06    "Cotton Tail" – 4:36 Drums performed by Neil Peart
07    "No Jive" – 5:46 Drums performed by Manu Katche and Mino Cinelu
08    "Milestones" – 5:03 (composed by Miles Davis, arr. Herbie Phillips) Drums performed by Billy Cobham
09    "The Drum Also Waltzes, Pt. 1" – 1:04 Drums performed by Max Roach
10    "Machine" – 3:46 Drums performed by Rod Morgenstein
11    "Straight, No Chaser" – 3:39 Drums performed by Kenny Aronoff
12    "Slow Funk" – 5:33 Drums performed by Omar Hakim
13    "Shawnee" – 3:06 Drums performed by Ed Shaughnessy
14    "Drumorello" – 3:11 Drums performed by Joe Morello
15    "The Drum Also Waltzes, Pt. 2" – :44 Drums performed by Max Roach
16    "Lingo" – 4:31 Drums performed by Bill Bruford
17    "Ya Gotta Try" – 3:18 Drums performed by Marvin "Smitty" Smith
18    "Pick Up the Pieces" – 5:38 Drums performed by Steve Ferrone

Band personnel:

    Bass – Chuck Bergeron
    Guitar – Bill Beaudoin, Chuck Loeb, John Hart
    Piano – Jon Werking
    Saxophone – Andy Fusco, Dave D'Angelo, Jack Stuckey, Steve Marcus, Walt Weiskopf
    Saxophone [Tenor], Flute – Gary Keller
    Trombone – George Gesslein, John Mosca, Rick Trager
    Trumpet – Craig Johnson (2), Dan Collette*, Dave Stahl, Greg Gisbert, Joe Magnarelli, Mike Ponella, Bob Milikan*, Ross Konikoff, Scott Wendholt, Tony Kadleck

Joe Satriani - 1989 "Flying In A Blue Dream"

Flying in a Blue Dream is the third studio album by guitarist Joe Satriani, released on October 30, 1989 through Relativity Records. It is one of Satriani's most popular albums and his second highest-charting release to date, reaching No. 23 on the U.S. Billboard 200 and remaining on that chart for 39 weeks, as well as reaching the top 40 in three other countries.

Four singles reached Billboard's Mainstream Rock chart: "I Believe" and "Back to Shalla-Bal" both at No. 17, "Big Bad Moon" at No. 31, and "One Big Rush" at No. 36. Flying in a Blue Dream was certified Gold on January 25, 1990 and received a nomination for Best Rock Instrumental Performance at the 1991 Grammy Awards; this being Satriani's third such nomination.

The title track has endured as one of Satriani's best-known songs and is a mainstay at his concerts, as well as "The Mystical Potato Head Groove Thing". "Can't Slow Down", "Strange", "I Believe", "Big Bad Moon", "The Phone Call" and "Ride" feature him singing for the first time; the most on any of his albums to date. It also marks the first time he plays the Deering six-string banjo-style guitar—"The Feeling" is performed entirely using that instrument—and harmonica, the latter of which features prominently on "Headless", "Big Bad Moon" and "Ride".

"Headless" is a remake of "The Headless Horseman" from Not of This Earth (1986), but with added distorted vocals and harmonica along with a 'squawky' guitar tone making chicken-like sounds. "Day at the Beach (New Rays from an Ancient Sun)" and "The Forgotten (Part One)" are performed using a two-handed tapping technique.

"The Bells of Lal (Part One)" was featured in the 1996 film Sling Blade, during the scene where Karl Childers (Billy Bob Thornton) is sharpening a lawnmower blade to kill the menacing Doyle Hargraves (Dwight Yoakam).

Music videos for the ballad "I Believe" and hard rocker "Big Bad Moon" were included on The Satch Tapes, which was first released on VHS cassette in 1993 and reissued on DVD on November 18, 2003; it also includes excerpts from an MTV performance of "The Feeling". "One Big Rush" was featured in the 1989 film Say Anything...

"Back to Shalla-Bal" refers to Shalla-Bal from the Marvel Comics universe; it is the second reference Satriani has made to the Silver Surfer character, who was first featured on the cover art of Surfing with the Alien (1987). The track was later used as the menu music to the 1996 Sony PlayStation video game Formula 1, which also featured "Summer Song" from The Extremist (1992).

An hour-long disc filled with musical explorations and compositions that defy belief, Flying in a Blue Dream is unquestionably Joe Satriani at his absolute best. Breaking his all-instrumental tradition for the first time, he croons on six of the disc's 18 tracks, including the weird "Strange"; and the bluesy, hard-rocking "Big Bad Moon"; and the driving "Can't Slow Down.

"Satriani's voice isn't extraordinary, but it fits extremely well with the music he creates, especially on the acoustic-tinged, uplifting "I Believe." It's his playing that's the really impressive thing here, though; his unique tone and complex song structures are enhanced by his signature playing style and the incredible array of effects and tricks he wrestles out of his instrument. The disc closes with the high-flying, misty piece "Into the Light," leaving behind a feeling of real wonder. Soaring, powerful, and triumphant, this recording deserves a place in everyone's collection.

This was my first CD, before I had a CD player. I was at a small party, got bored with the conversation, no music playing so I stared glancing thru the guys CD's (which was only about 20). I see this Joe and asked to play it, he asked if I liked it and gave it to me right there on the spot, then he chose another CD and played it. I'm assuming he didn't care for the Joe, lol.
Crimhead420.

Track listing

All tracks written by Joe Satriani.

01.    "Flying in a Blue Dream"    5:23
02.    "The Mystical Potato Head Groove Thing"    5:09
03.    "Can't Slow Down"    4:49
04.    "Headless"    1:30
05.    "Strange"    5:02
06.    "I Believe"    5:54
07.    "One Big Rush"    3:25
08.    "Big Bad Moon"    5:15
09.    "The Feeling"    0:50
10.    "The Phone Call"    3:01
11.    "Day at the Beach (New Rays from an Ancient Sun)"    2:03
12.    "Back to Shalla-Bal"    3:14
13.    "Ride"    4:56
14.    "The Forgotten (Part One)"    1:12
15.    "The Forgotten (Part Two)"    5:08
16.    "The Bells of Lal (Part One)"    1:19
17.    "The Bells of Lal (Part Two)"    4:07
18.    "Into the Light"    2:30

Total length:    64:47

Personnel:

Joe Satriani – vocals (3, 5, 6, 8, 10, 13), guitar, banjo, keyboard, percussion, programming, pre-production programming, bass, harmonica, arrangement, production
John Cuniberti – sitar, percussion, engineering, production
Jeff Campitelli – drums, percussion, pre-production programming
Bongo Bob Smith – drums (tracks 5, 12, 13), percussion (tracks 5, 12, 13), pre-production programming
Simon Phillips – drums (track 6)
Stuart Hamm – bass (tracks 5, 17)

Blue Cheer - 1968 "Vincebus Eruptum"

Vincebus Eruptum is the debut album of American rock band Blue Cheer. Released on January 16, 1968, the album features a heavy-thunderous blues sound, which would later be known as heavy metal. It also contains elements of acid rock, grunge, experimental rock, blues rock, stoner rock, and garage rock. A commercial and critical success, Vincebus Eruptum peaked at number 11 on the Billboard 200 albums chart and spawned the top-20 hit cover of Eddie Cochran's "Summertime Blues". Being an example of hard rock, it is also lauded as one of the first heavy metal albums.

Blue Cheer's debut album was recorded in 1967 at Amigo Studios in North Hollywood, California. In an interview with StonerRock.com, frontman Dickie Peterson explained that "Some songs I wrote have taken 20 years to really complete. And there are other songs like 'Doctor Please' or 'Out of Focus' that I wrote in ten minutes." On "Doctor Please" in particular, Peterson explained that "when I wrote the song (in 1967), it was a glorification of drugs. I was going through a lot of 'Should I take this drug or should I not take this drug? Blah, blah, blah.' There was a lot of soul searching at the time when I wrote that song, and I actually decided to take it. That’s what that song was about and that’s what I sang it about, sort of a drug anthem for me." On the band's cover of Eddie Cochran's "Summertime Blues", Peterson noted that "We kept changing it around and adding/taking bits away. It also has to do with large doses of LSD.

Rock & roll had grown louder and wilder by leaps and bounds during the '60s, but when Blue Cheer emerged from San Francisco onto the national rock scene in 1968 with their debut album, Vincebus Eruptum, they crossed a line which most musicians and fans hadn't even thought to draw yet.

Vincebus Eruptum sounds monolithically loud and primal today, but it must have seemed like some sort of frontal assault upon first release; Blue Cheer are often cited as the first genuine heavy metal band, but that in itself doesn't quite sum up the true impact of this music, which even at a low volume sounds crushingly forceful. Though Blue Cheer's songs were primarily rooted in the blues, what set them apart from blues-rock progenitors such as the Rolling Stones and the Yardbirds was the massive physical force of their musical attack. Jimi Hendrix, the Who, and the MC5 may have anticipated the sound and fury of this music, but Blue Cheer's secret was not just being louder than anyone else, but staying simple enough to give each member the space to do damage both as individuals and as a group.

Paul Whaley's drumming combined a crashing dustbin tone with a constant, rolling pummel that suggested Ginger Baker with less finesse and more bludgeoning velocity. Dickie Peterson's basslines were as thick as tar and bubbled like primordial ooze as he bellowed out his lyrics with a fire and attitude that compensated for his lack of vocal range. And guitarist Leigh Stephens may have been the first genius of noise rock; Lester Bangs once wrote that Stephens' "sub-sub-sub-sub-Hendrix guitar overdubs stumbled around each other so ineptly they verged on a truly bracing atonality," and though that doesn't sound like a compliment, the lumbering chaos of his roaring, feedback-laden leads birthed a more glorious monster than many more skillful players could conjure.

Put them together, and Blue Cheer's primal din was an ideal corrective for anyone who wondered if full-on rock & roll was going to have a place in the psychedelic revolution. From the opening rampage through Eddie Cochran's "Summertime Blues" (which miraculously became a hit single), to the final one-two punch of "Parchment Farm" and "Second Time Around," Vincebus Eruptum is a glorious celebration of rock & roll primitivism run through enough Marshall amps to deafen an army; only a few of Blue Cheer's peers could come up with anything remotely this heavy (the MC5's Kick Out the Jams and side two of the Velvet Underground's White Light/White Heat were its closest rivals back in the day), and no one could summon so much thunder with just three people. If you want to wake the neighbors, this is still the album to get, and it was Blue Cheer's simplest and most forceful musical statement.

To describe Blue Cheer, the first word that comes to mind is ... loud! It was said that the band's sonic blast could "turn the air into cottage cheese." The classic "power trio" lineup of guitar, bass and drums is more than capable of knocking down a house, as we easily find out on Blue Cheer's debut LP, Vincebus Eruptum, released in January 1968.

Blue Cheer have been cited as being the world's first heavy metal band. That's true to some extent, perhaps. Iron Butterfly were already on the scene, while Grand Funk Railroad and Led Zeppelin were right around the corner, but none of them were as single (or simple) minded as the bludgeoning attack that was Blue Cheer. In a blur of Roger Corman films, amphetamines, LSD, long hair, loud guitars and teen lust, the roots of metal, grunge and stoner rock can all be found on this one album.

In a 2009 essay in Rolling Stone, lifelong Blue Cheer fan and Rush drummer Neil Peart remembered seeing his heroes on television. "I had our family TV turned down low, trying not to disturb Mom and Dad, but the speaker was still overwhelmed with static and distortion," he recalled. "Drummer Paul Whaley thrashed at the cymbals with both arms, Leigh Stephens was a dark-haired menace grinding out thick guitar riffs, and Dickie Peterson wailed through a pyramid of blond hair with his bass guitar hanging low." Rush would later cover the Cheer's rendition of "Summertime Blues" on their 2004 Feedback EP.

https://jazz-rock-fusion-guitar.blogspot.com/2014/09/blue-cheer-1968-outsideinside-httpsdrive.html

Track listing:

1. Summertime Blues 3:43
2. Rock Me Baby 4:18
3. Doctor Please 8:50
4. Out Of Focus 3:52
5. Parchment Farm 5:48
6. Second Time Around 6:18

Personnel:

Dickie Peterson – vocals, bass
Leigh Stephens – guitar
Paul Whaley – drums

Budgie - 1996 "An Ecstacy Of Fumbling"

An Ecstasy of Fumbling – The Definitive Anthology was the third compilation album by Welsh rock band Budgie. The album contained two discs and featured songs from their first album, Budgie, to their tenth, Deliver Us from Evil. The album also features one rare track, "Beautiful Lies", that has never featured on any other Budgie album, as well as two live tracks.
The title of the album is taken from the Wilfred Owen poem, "Dulce et Decorum est."

By spanning their entire career, this may be the most comprehensive Budgie collection, but it's hardly the best. Disc one is flawless, showcasing the band's early '70s material where bassist/vocalist Burke Shelley and guitarist Tony Bourge combined adventurous songwriting with uncompromising heaviness to great effect. These classics include "Homicidal Suicidal," "In for the Kill," "Breaking All the House Rules," "Crash Course in Brain Surgery," and their masterpiece, "Breadfan" (these last two were famously covered by Metallica in the '80s). Disc two, on the other hand, reveals a band gradually running out of inspiration ("Melt the Ice Away"), fighting to stay relevant by incorporating more commercial elements ("Superstar"), and finally transforming into a cliche-ridden, second-class metal band ("Forearm Smash"). To anyone interested in '70s hard rock and heavy metal, Budgie remains an essential band, but most would do well to stick with their MCA releases through 1975.

[This 2 CD compilation is an excellent starting point for digging into the monumental sound of Budgie, formerly Six Ton Budgie. (That’s a really heavy bird!) Helmed by the Geddy Lee lookalike Burke Shelley and his shifting cast of players, Budgie is a power trio and the prototype for the sound of bands as diverse as Rush, Black Sabbath, AC/DC, Metallica, and Iron Maiden. Formed in ’67, Budgie predate them all.
Want some proto-Sabbath sludge? It’s here. AC/DC-type fast riff rockers with simple beats? Also here. Songs driven by catchy, eloquent basslines? Look no further. Metallic gallops? These guys were doing it while Steve Harris was still struggling away in Gypsy’s Kiss! Everything good that happened with heavy metal had already been done by Budgie before those sounds hit the mainstream. All with a singer who could have been Geddy Lee’s long lost brother (and look at those glasses too)!

This album includes some of the best tracks from their albums 1971-1982. It also includes B-sides, single versions, and EP tracks. Burke Shelley stopped gigging with Budgie in the late 80’s but returned with some serious thunder and a 2006 comeback album. This stuff, however, is some of the creme de la creme of the initial phase of Budgie.

Truly, Budgie were way ahead of their time. Chances are the kids on your street have never heard any of these songs, except when covered by Metallica and Iron Maiden. Now it’s time to prove to them who knows their rock music. Pick this, or any Budgie album, up today.  If you go with this one, you’ll also get a gigantic booklet with ample liner notes about the band and every single track.  I consider it a great stroke of luck, the day that one of my customers sold this one to me.  (His name was Dan and he’s the same guy who sold me tons of great stuff before.)  I was aware of Budgie because of Maiden and Metallica, but mostly because Martin Popoff raved about them in his first book, Riff Kills Man!  I had to have it.  I’m glad I bought it.
If I Were Britannia I’d Waive The Rules, but I would also make sure that everybody knew who Budgie was!.....Mike LeBrain].

Track listing:

Disc one
01.     "Homicidal Suicidal"       6:44
02.     "Nude Disintegrating Parachutist Woman" (single version)     4:09
03.     "Whiskey River"       3:21
04.     "Hot as a Docker's Armpit"       5:52
05.     "In the Grip of a Tyrefitter's Hand"       6:24
06.     "Breadfan"       6:06
07.     "Parents"       10:21
08.     "In for the Kill"       6:26
09.     "Crash Course in Brain Surgery"       2:37
10.     "Napoleon Bona-Parts One and Two"       7:16
11.     "Who Do You Want for Your Love?"       6:09
12.     "Breaking All the House Rules"       7:24
13.     "Beautiful Lies" (previously unreleased)     5:01

Disc two
01.     "Anne Neggen"       4:08
02.     "If I Were Britannia I'd Waive the Rules"       5:51
03.     "Black Velvet Stallion"       8:07
04.     "Melt the Ice Away"       3:29
05.     "Forearm Smash"       5:40
06.     "Time to Remember"       5:28
07.     "Wild Fire"       5:13
08.     "Lies of Jim (The E-Type Lover)"       4:47
09.     "I Turned to Stone"       6:10
10.     "She Used Me Up"       3:18
11.     "Superstar"       3:29
12.     "Don't Cry"       3:19
13.     "Truth Drug"       4:24
14.     "Hold On to Love"       4:19
15.     "Superstar" (Live)     4:09
16.     "Panzer Division Destroyed" (Live)     6:18

Personnel:

    Burke Shelley - bass & vocals (all tracks)
    Tony Bourge - guitar (tracks 1-11 & 13-16)
    John Thomas - guitar (tracks 12 & 17-24)
    Ray Phillips - drums (tracks 1-7)
    Pete Boot - drums (tracks 8 & 9)
    Steve Williams - drums (tracks 10-24)