20 Rush Albums in 20 Days: Presto

DAY TWO: Rush, Presto, running time 52:16, released November 21, 1989

I’ll never forget the first time my roommates and I heard the new Rush song “Show, Don’t Tell” in fall of 1989.  After the brief drum and synth intro, suddenly there it was: the return of Alex Lifeson.  Rush was back.

The change from Hold Your Fire to Presto is enormous, mostly in terms of production.  Geddy’s penchant for memorable melodies is still in full-force and Neil’s lyrics are relatable and clever, but whereas keyboards were clearly a writing tool for their previous album, on Presto, aided by newly introduced Rupert Hine’s production, keyboards are used to color the sound and not as a lead instrument (except on “Red Tide” and “Available Light.”).  Hearing it with fresh ears, the album still holds up very well.  Unlike its predecessor, Presto doesn’t sound like a somewhat unfortunate 80s relic.

I recall being unhappy with the chorus of the title track back in 1989, thinking the song’s verse’s had been so perfect that the lift required to take the song to the next level was regretfully absent.  With older ears, I no longer consider the chorus a letdown, but rather a terrific example of how music can effectively reflect a song’s lyrics.  As with all of Rush’s releases since 1987, the album suffers a bit from being overlong.  Listening to it front to back, I think that the album could end happily with Neil’s terrific lyrical contribution “Anagram (for Mongo),” perhaps tacking on “Available Light” for a poignant conclusion.  But “Red Tide” and “Hand Over Fist” wear thin.

Presto has been perplexingly unrepresented on Rush’s tours (though perhaps less so after reading Neil Peart’s comments about Rush’s unhappiness with the effort).  Even the 1990 tour only included five songs from the album (compare that with the Snakes and Arrows and Clockwork Angels tours when Rush performed nearly the entire albums), and since the Counterparts tour only “The Pass” and “Presto” have squeezed into the setlist.  I recall seeing the tour at Alpine Valley, WI, and the only song from the album that really bombed was “Scars.”  This is an acceptable album track, but one that should have ever been played live with its multiple pre-recorded tracks.

Back to Neil Peart’s comments, he’s reported to have said that if Rush could redo one album, Presto would be it, as they feel it should have been much better given the material they had to work with.  I’m not sure what they would do differently.  It’s still early in the listening of twenty albums in twenty days, but I expect Presto to be ranked highly in my final tally.

Tomorrow, I’ll be listening to…drum roll, please…number 8.  Well, here it is.  Considered by many to be Rush’s magnum opus.  Moving Pictures.  We’ll see if it still holds up.

20 Rush Albums in 20 Days: Hold Your Fire

DAY ONE: Rush, Hold Your Fire, running time 50:30, released September 8, 1987

While attending Berklee College of Music in 1987, I picked up my first Rush CD (previous purchases had been on vinyl), the newly released Hold Your Fire.  Midway through the album, the guitarist from across the hall inquired about Alex Lifeson’s playing.  I couldn’t lie.  It was almost unnoticeable.  To say Lifeson’s playing on Hold Your Fire is understated would be an understatement.  It’s not only that his guitar parts are less busy than on earlier records (notice the non-solo guitar solos on “Time Stand Still” and “Mission”), it’s also that his guitar sound is so clean and pure and pushed so far back in the mix.  This trend really began with 1982’s Signals, when Lifeson changed his contributions to the band, taking a backseat to Geddy’s keyboard prominence, and Hold Your Fire would cap off this period (captured on the live A Show Of Hands).  Beginning with the next release, Presto, Rush gradually yielded to a heavier guitar sound. 

Despite the change in the band’s sound in the 80s, Rush continued to pump out a quality product.  Sure, some of the synths sound a little dated today – ”Second Nature” is a fine tune, but somehow regrettable in retrospect – but much less so than a lot of what the 80s produced, and the musicianship of Rush’s three members continued to elevate their product above the din of most bands.  Geddy was very much a melody guy at this point in his career (vastly different from more recent albums), and even on songs when the production seems over the top, the tunes themselves are hummable, almost pop-like in some cases.  Aside from “New Word Man” off of Signals, I would argue that there isn’t a poppier Rush song than “Prime Mover” (and a damn good one too, in my opinion.  Best song on the album).

Hold Your Fire includes what Lee and Lifeson have reported as their least favorite Rush Song, “Tai Shan,” and though I still like the song, the album, running at 50 minutes plus, could probably have benefitted from cutting this one.  Since the Hold Your Fire tour, only three tracks from the album have been played in concert, which is too bad.  Rush has a tendency to lean on familiar territory in live performance, but I for one would love to hear a track like “Prime Mover” or “Turn the Page” live. 

The album’s closer, “High Water,” finishes off the CD with a resounding lift, even employing a cheesy modulation for effect (think Barry Manilow), but it works.  I buy into this kind of manipulation hook, line and sinker if it’s done well, and for me, Rush in 1987 did enough well to warrant our attention.  They created excellent melodies with sub-optimal production.  I think if they had to do it all again, they would reproduce this album to make it a little less synthy and a little heavier, with more crunch, more force and more low end.

But still, not too shabby of an effort.

Tomorrow, I’ll be listening to…drum roll, please…number 13.  Aha!  Rush’s very next album, the aforementioned Presto.  It’ll be interesting to hear what changes took place in the intervening two years.  Until then...

Twenty Rush Albums in Twenty Days

Often I find that opinions are based on conclusions made long ago, reinforced only by repeating the opinion rather than through reexamination.  How many times have you revisited a TV show from the 70s or 80s only to find that, “Hey, Fame was actually embarrassingly bad – no wonder Mom didn’t watch it with me”?  Some things age well (The Dick Van Dyke Show, wine, Eddie Cochran), and some don’t (The Mary Tyler Moore Show, Kool-Aid, The Monkeys), and sometimes opinions do a complete one-eighty (upon further examination, ABBA and The Bee Gees have gone up several notches in my book).

A few years ago, I listened to what I had previously concluded was among Rush’s worst albums, Grace Under Pressure, and lo and behold, I liked it.  I hadn’t listened to it in years, and I realized that my prior opinion was likely based on a memory I’d made twenty years earlier.

It is with this spirit that I am going to embark on a 20-day musical journey, limited in scope, though spanning forty years.  I’m going to listen to all twenty of Rush’s studio albums, one per day, and reevaluate them.  To do this, I’m going to attempt to press reset and ignore any conclusions I’ve already drawn about each album.  If you asked me today, I’d likely say the two best Rush albums are Moving Pictures and Permanent Waves and the worst are Feedback and Caress of Steel.  But who knows?  Perhaps with a clean slate and fresh ears, I may find new gems (and new clunkers) in Rush’s catalogue.

Here are the ground rules:

1)      I will listen to one CD – not album – per day by drawing a number out of a hat, each number corresponding to the Rush album sequence.  1 = Rush, 2 = Fly By Night … 19 = Snakes and Arrows, 20 = Clockwork Angels.

2)      I will listen intently and uninterrupted, wearing head phones and performing no other tasks except perhaps jotting down a note or two.

3)      Each day, I will write a short review of the listening experience.

4)      After twenty days, I’ll attempt to place each Rush album in order from best to worst through the eyes of a 46 year-old me, recognizing that the sequence could change again down the road.

I’ve already drawn the first number.  Tomorrow morning I’ll be listening to album number 12, 1987’s Hold Your Fire (the first Rush album I’d ever purchased on CD).

Can’t wait.

Record Night - The End of New Wave

Record night traveled south last Friday to the Heinz household, allowing for ping-pong, barbecue and s’mores, but music was still front and center.  Kevin attempted to answer the question: what happened to new wave, when did it end, and what did it morph into?  He came prepared, even going month by month from October of ’85 into 1986 to illustrate what was happening musically at that time (our senior year).  Turns out there was more going on than the classic rock I was listening to.  Go figure. 

John brought a 45 grab bag.  We primarily stuck to the following rule: grab a 45 without looking and play the B-side.  By this method, we heard some of the worst Tom Petty songs ever recorded.  Also, the “no Pink Floyd” rule was also broken for the first time.

Paul’s theme was pick any song he felt like playing, resulting in the first Carpenters song ever played on record night, and neighbor Kevin came to offer a few selections as well. 

Without further ado, here’s the list.  Note that we warmed up with a few tunes prior to beginning the various themes. Forgive any typos or erros.

Kevin                    Stevie Nicks                       Voilet and Blue

Kevin                    Peter Gabriel                     Walk through the Fire

Paul                      Tom Petty                          Rebel

John                      Buddy Holly                        Not Fade Away

John                      Falco                                   Auf Der Flucht

Kevin                    ABC                                      How to be a Millionaire (beginning the theme, 10/85)

Kevin                    Kate Bush                           Running up that Hill

Kevin                    Dream Academy               The Party

Paul                      Graham Parker                  Discovering Japan

John                      Queen                                 Radio Gaga (A-side)

Kevin                    Arcadia                               Goodbye is Forever

Paul                      Everly Brothers                 Love Hurts

Paul                      Everly Brothers                 Cry, Sigh, Almost Die

John                      Bruce Springsteen            Shut out the Light (B-side of Born in the USA)

Kevin 2                 BoDeans                             First side of Outside Looking In

Kevin                    Dokken                               In my Dreams

Kevin                    Motley Crue                       Too Young to Fall In Love

Paul                      Producers                           She Sheila

Paul                      Rolling Stones                   Miss You (12 inch disco remix)

John                      Rolling Stones                   Emotional Rescue

John                      Elvis Costello                     Veronica

Kevin 2                 Alison Moyet                     Resurrection

Kevin                    Level 42                              Something About You

Kevin                    Falco                                   Vienna Calling

Kevin                    Art of Noise                       Peter Gunn

John                      Rod Stewart                       I’m Losing You

John                      Supertramp                        Rudy (B-Side of Take the Long Way Home)

Paul                      Fleetwood Mac                 Beautiful Child

Paul                      Fleetwood Mac                 Gypsy

Kevin                    Chameleons UK                Mad Jack

Kevin                    REM                                     Superman

John                      Rolling Stones                   All the Way Down (B-side of Undercover of the Night)

Paul                      Led Zeppelin                      Celebration Day (live version)

Kevin                    Ministry                              We Believe

Paul                      Simple Minds                     Up on the Catwalk

Kevin                    Peter Gabriel                     Ga Ga and Walk into the Fire (B-sides of 12 inch Red Rain)

John                      Pink Floyd                           One of my Turns (B-side of Another Brick in the Wall)

Paul                      James Taylor                     That Lonesome Road

Kevin                    Billy Idol                              Don’t need a Gun

John                      Tom Petty                          Heartbreaker’s Beach Party (B-side of Change of Heart)

John                      Tom Petty                          Change of Heart

Paul                      The Carpenters                 Goodbye to Love

Kevin                    Peter Murphy                    Bauhaus

Kevin                    Sigue Sigue Sputnik          Love Missile F1-11

Paul                      Stevie Wonder                  You Haven’t Done Nothin’

John                      Tom Petty                          It’s Raining Again (B-side of Refugee)

Paul                      Supertramp                        It’s Raining Again

Paul                      Supertramp                        Crazy

Kevin                    The Cure                             Just Like Home

John                      Supertramp                        Just Another Nervous Wreck (B-side of Logical Song)

Paul                      Elton John                          Sweet Painted Lady

Kevin                    Elton John                          Funeral For a Friend/Love Lies Bleeding

Hodgson in Milwaukee

Prior to his performance on Saturday night at the Northern Lights Theater in Milwaukee, I hadn’t seen Roger Hodgson grace the stage since his final tour with Supertramp in 1983, and it was hard to believe the same man could belt out the same tunes as forcefully as he had three decades ago.  Sporting a white shirt and black vest, Hodgson alternated between keyboards and acoustic guitar, backed up by a four-piece band and a largely superfluous 17-piece orchestra. 

Beginning with “Take the Long Way Home,” Hodgson stuck largely to his Supertramp repertoire, performing each of his songs from 1974’s breakout album Crime of the Century and the mega-hit Breakfast in America, along with several from the intervening albums.  Particularly surprising were the inclusions of “Easy Does It” and “The Two of Us” from 1975’s Crisis?  What Crisis?  Notable absences on this particular evening were songs he performed on other nights of his four-night run in Milwaukee: “A Soapbox Opera” and “Even In the Quietest Moments.”  That he mostly ignored his solo career was a little disappointing, as I would have loved to have heard “Had a Dream” and “In Jeopardy” from his debut solo album, and I wish the Supertramp song “Crazy” would have been part of the setlist.  Also oddly absent from the evening was electric guitar.  Hodgson is a master at the tasteful solo or well-placed wail – placing him in the same category as David Gilmore – but these parts were instead arranged for the orchestra, whose presence was most appreciated on “Fool’s Overture,” Hodgson’s epic composition from 1977, and “Hide in Your Shell” from Crime of the Century. 

Roger seemed genuinely pleased at both being able to perform his old material at such a high level and by the audience’s reaction.  Supertramp made their North American debut in Milwaukee, and back when radio stations had more leeway to support particular artists, Milwaukee was one of the band’s hubs.  Hence the four successive shows at Northern Lights, an intimate theater that allowed Roger to give special dedications and wishes to various members of the audience between songs.  When he was with Supertramp, Hodgson and fellow singer/composer Rick Davies yielded audience interaction duties to saxophonist John Helliwell.  Now Hodgson takes on these duties himself, and he seems more comfortable in his own skin today than when he was at the height of his career. 

Hearing Hodgson’s band faithfully reproduce the parts originally played by Dougie Thomson, Bob Siebenberg, John Helliwell and Rick Davies only made me appreciate how adept the original band was at creating a “sound.”  Tastefully understated parts made the whole bigger, and though they may not have been household names, these guys what they were doing.  Current woodwind virtuoso Aaron Macdonald blew through recognizable solos from tunes such as “The Logical Song” and “It’s Raining Again,” and it highlighted how innovative and integral John Helliwell’s contributions to the original band were.  Drummer Bryan Head played behind a drum shield of Plexiglass, and while this may help with sound separation, it was visually unappealing.  More intricate bands have managed happily without one, and I wish sound engineers would employ other techniques to improve their live mixes.

Back in 1979, when Supertramp temporarily ruled the Billboard charts, “Take the Long Way Home” was a favorite of mine, but when I heard Hodgson sing it on Saturday, the following lines hit home harder than they ever had before:

When you look through the years and see what you could have been

Oh, what might have been

If you’d had more time

When I last saw Hodgson in 1983, I was fifteen, and the world’s expanse was limitless, the future so vast, I could hardly contain the very thought of it, my arms unable to open wide enough to embrace what lay ahead.  I no longer feel that way.   I suspect Roger doesn’t either, but it was cool to see a man happy to revisit the past for an evening and share it with an appreciative audience.