Tag: Progressive rock

My Top 10 Rush Albums–Ranked

On By bradbirzerIn progressive rock music7 Comments

rush at 40.001 - Version 2

Just today, our own progarchist and professional classicist and philosopher, Chris Morrissey, challenged us to name our top ten Rush albums.  Not alphabetically, but actually in the order we love them.

So, I feel up to the challenge.

As I hope I’ve been clear in my writings here and elsewhere—I love Rush, and I have without interruption since I first heard MOVING PICTURES back when I was in detention in 7th grade!  Yes, that was the spring of 1981, only a month after the album came out.

I can never offer enough thanks to my fellow junior high detainees, Brad and Troy, for introducing me to this band.  At the time, they were shocked I knew everything about Genesis and nothing about Rush.  Thank God for their evangelism.

Now, thirty-three years later, I would give much to call Neil Peart my older brother.  That said, I can state unequivocally that in my own life, Peart’s lyrics have shaped me as much as any other great artist and thinker.  Really, he’s up there with St. Augustine for me.  As a Catholic boy (well, middle-aged, graying, Catholic man), this is saying a lot!

 

gup

Of course, such a list is subjective, and I might be tempted to follow up tomorrow with a slightly different list.  Regardless, here it is: as of June 30, 2014.

Grace Under Pressure.  Coming out in 1984, this album has ever since defined the meaning of excellence and seriousness for me.  I love the music, the flow, and, especially, the lyrics.  Not only have the lyrics prompted innumerable great conversations with friends, but I proudly wrote my major liberal-arts core paper (sophomore year in college, 1987-1988) using nothing but the lyrics from this album.  I argued that Neil Peart was a modern stoic, a philosopher of antiquity born in the modern world.  I earned an A!

Moving Pictures (1981).  I’m sure this isn’t controversial, except that most Rush fans would probably rate it number one.  It means a great deal to me, and it has formed me—for better or worse—in my own understanding of integrity.

Clockwork Angels (2012).  What a feast for the mind and the ears.  The flow of the album is gorgeous as are the lyrics.  Really, a great story—more of a fairy tale than anything else.  The story is essentially the story of Hemispheres, but it’s told with much greater finesse.  That it came at 38 years into their career is astounding, and it proves that the desire of each member of Rush to improve himself and his skills has not been a pipe dream.  Highlight, the single most un-Rush like song, is “The Garden,” a statement of republican liberty and individualism.  And, “Wish Them Well,” is the closest Rush will ever get to hippie/Beatle lyrics.  Let the air drumming commence!

Power Windows (1985).  As someone who loves both prog and New Wave, I heartily approve of Power Windows.  Lifeson’s guitar has much more in common with The Fixx than it does with Rush’s output in the 1970s, but it demonstrates and reveals a real willingness to explore new areas of music.  It’s fusion of New Wave and Prog was rivaled only by Yes’s Drama.  And, the lyrics. . . sheesh.  Neil is at his best.

Signals (1982).  I know a lot of old-time Rush fans think little of this album, as they see it as a betrayal of the “true Rush.”  But, schnikees has it meant a great deal to me.  The lyrics, especially, have given me great comfort.  Even this spring as I had make a major life decision, Peart’s words, “there are those who sell their dreams for small desires.”  The entire first side is masterful musically as well.  I don’t think side two is as strong, but it’s still quite good.

Caress of Steel (1975).  Man, is this album wacky or what?  And, in large part, I love it for being so weird.  Musically, it’s unlike almost anything else out there—by Rush or anyone else.  There’s as much acid folk on this album as there is hard rock and prog.  But, really, By-tor?  Snowdog?  The Necromancer?   I have no idea what Geddy, Alex, and Neil were thinking or smoking when they made this, but, wow, does it all work.

Vapor Trails (2002).  This album is nothing if not a pure statement of life.  “I’m alive,” Neil screams in every beat and every lyric of this album, especially after the horrific tragedies he suffered.  And, he most certainly is a live.  From the opening drums to the massive swirl of guitars and Geddy’s vocals throughout, this is a work of artistic brilliance, meaning, and drive.  I never tire of this album.

Snakes and Arrows (2007).  Again, this is part of Rush 2.0, the band that remade itself after Neil’s double tragedies.  Everything in Snakes and Arrows is perfect.  Again, the flow of the album just works brilliantly.  And, the fusions and various styles are just fascinating.  Neil’s lyrics are a bit angrier than usual, but still quite a effective.

A Farewell to Kings (1977).  What’s not to love?  The entire album reeks of integrity.  Kevin McCormick, on this site, has explained in loving and intricate detail the musical importance of the album in ways I never good.  But from the first notes of the guitar to the dire plight of Cygnus, I’m in!

2112 (1976).  As Drew commented on Chris’s original challenge, 2112 is a tough one to rank because side one is so radically different from side two.  I agree.  But, side one is so incredible that it makes up for any flaws in the album.  Who can’t just start head-banging when the Overture begins?  Who doesn’t want to just hate the priests?  And, who isn’t disheartened when the Solar Federation reassumes control.  Sigh. . . sci-fi loveliness.

2112

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Long to longish progarchist posts on Rush
Hold your Fire -Rush’s finest? by Tad Wert (*progarchy’s single most popular post ever)

https://progarchy.com/2014/04/24/rushs-finest-album-hold-your-fire-until-youve-read-my-analysis/

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Erik Heter on Moving Pictures as Synergy

https://progarchy.com/2014/04/27/synergistic-perfection-first-and-lasting-impressions-of-moving-pictures/

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Discovering Rush on their 40th anniversary by Eric Perry

https://progarchy.com/2014/04/25/discovering-rush-the-40-year-old-virgin/

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The first Rush album reviewed by Craig Breaden

https://progarchy.com/2014/02/22/rushs-first/

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A review of A Farewell to Kings by Kevin McCormick

https://progarchy.com/2013/01/21/rush-a-farewell-to-hemispheres-part-i/

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A review of Power Windows by Brad Birzer

https://progarchy.com/2013/12/14/power-windows-rush-and-excellence-against-conformity/

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Kevin Williams on Clockwork Angels Tour

https://progarchy.com/2013/11/24/rushs-clockwork-angels-tour-straddles-the-80s-and-the-now/

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Brad Birzer on Clockwork Angels Tour

https://progarchy.com/2013/11/27/rush-2-0-clockwork-angels-tour-2013-review/

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Erik Heter on Clockwork Angels Tour Concert in Texas

https://progarchy.com/2013/04/24/you-can-do-a-lot-in-a-lifetime-if-you-dont-burn-out-too-fast-rush-april-23-2013-at-the-frank-erwin-center-austin-texas/

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A review of Vapor Trails Remixed by Birzer

https://progarchy.com/2013/10/05/resignated-joy-rush-and-vapor-trails-2013/

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A review of Grace Under Pressure by Birzer

https://progarchy.com/2013/02/21/wind-blown-notes-rush-and-grace-under-pressure/

 


And, our favorite Rush sites

(please support these incredible sites and the fine humans who run them!)

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Power Windows: http://www.2112.net/powerwindows/main/Home.htm

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Rush Vault: http://rushvault.com/

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Rush is a Band: http://www.rushisaband.com/

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Cygnus X-1: http://www.cygnus-x1.net/links/rush/index.php

What Matt Cohen and Eva Brann Have in Common

On By bradbirzerIn progressive rock musicLeave a comment
Image borrowed from The Imaginative Conservative.
Image borrowed from The Imaginative Conservative.

For regular progarchy citizens, please forgive this unusual post.  As some of you might know, the founding editors of progarchy are also each deeply immersed in the world of the Liberal Arts, the greats of Western Civilization, and liberal education.  It’s what we do when we’re not progging out.  Promoting liberal education by day, prog by night.

Every once in while the world of antiquity and the world of progressive music meet and harmonize.  Here is one such example.  Two weeks ago, I had the incredible privilege of seeing Dr. Eva Brann, tutor at St. John’s College, Annapolis, and widely regarded as the foremost proponent of liberal education in the world.  No exaggeration.

Here’s her talk–well worth reading.  http://www.theimaginativeconservative.org/2014/06/odysseus-patron-hero-liberal-arts.html

But, of course, how could I think of Odysseus and not think of my favorite The Reasoning song, a song I’ve listened to at least weekly since it came out?  “A Musing Dream.”

So, a huge salute to Homer, to Eva Brann, and to the Cohens for advancing so much beauty, truth, and goodness.

The Art of Brian Watson

On By bradbirzerIn progressive rock music1 Comment

Many of you might know (and you should!) Brian Watson from his excellent reviews over at the Dutch Progressive Rock Page.  He also, happily, reviews for us.  Indeed, he’s an extraordinary progarchist.  A man of law and order, he’s also a man of high writing and artistic talents.  He’s also a genuinely great and interesting guy (guy is Kansan for “real person”).  So glad he created this for us.  To check out Brian’s other works, check out his Facebook page, Plan A Art.

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"Progarchy Dot Com" by Brian Watson.
“Progarchy Dot Com” by Brian Watson.

The Voting Begins: 2014 Progressive Music Awards

On By bradbirzerIn progressive rock music4 Comments

prog-banner

 

Mighty Jerry Ewing, editor extraordinaire of PROG, has just announced the opening of elections for the 2014 Progressive Music Awards.

As Chicagoans might state: vote early and often.

But, in the republic of progarchy, we encourage you to vote only once and with appropriate gravitas.

To vote, go here: http://awards.progmagazine.com

Review: Jason Rubenstein NEW METAL FROM OLD BOXES

On By bradbirzerIn progressive rock music1 Comment

Review: Jason Rubenstein, NEW METAL FROM OLD BOXES (Tone Cluster, 2014).

new metalSo.  You’ve been a progger since the 1970s, you’re musically trained, and and you’ve enjoyed a solid if now former career as a software engineer with several major companies.  What do you do?  You write a brilliant, stunning, majestic soundtrack to your life, especially if you live in glorious San Francisco.

I exaggerate a bit, but not much.  This, essentially, is the background to music maestro Jason Rubenstein.  He has just released a rather stunning album, New Metal from Old Boxes (Tone Cluster, 2014; mixed by Niko Bolas and mastered by Ron McMaster).  While many Americans and other citizens of western civilization might simply desire new wine from old bottles, those of us who live in the republic of progarchy can rejoice heartily.  We can have our wine and our Rubenstein!

From the first listen, I was hooked.  This is a mesmerizing album best described as cinematic.  While dark and brooding (just look at Rubenstein’s photo—the guy is the perfect Hollywood dark hero), the music is always playful and mischievous, never coming anywhere near the dread of dull.

Almost effortlessly, Rubenstein employs classical jazz, noir jazz, prog, metal, classical, and jazz fusion.  If I had to label it, I’d called it “Cinematic metal prog.”  At times, it’s downright frantic, always extravagant, but never campy or over-the-top.  While this is certainly Rubenstein’s creation, he is never shy about borrowing styles from those he clearly admires.  I hears lots of The Tangent, ELP, King Crimson, Cosmograf, Cailyn, Tool, Dead Can Dance, and even Wang Chung (only from their spectacular To Live and Die in LA soundtrack)

Alex Lifeson? Harrison Ford? No. Jason Rubenstein.
Alex Lifeson? Harrison Ford? No. Jason Rubenstein.

Rubenstein credits himself with keyboards, synths, samplers, computers, programming, and angry noises.  In terms of sound quality, this album is perfection itself.  Pardon me for employing such a Catholic term, but its production is immaculate.  Even the packaging is a work of art.  Like the music, it is dark, brooding, and industrial.  Intricate pipes and strings, smelting of iron, nail heads (in a V’ger pattern), more strings, more pipes, and, then, rather profoundly, a GQ-Rubenstein, looking every bit the Hollywood action hero.

Admittedly, looking over my review, I’m tempted to fear that I have given the impression this is just a hodge podge of musical ideas.  Please note, that nothing could be further from the truth.  This is the soundtrack of your best day.

 

To visit Jason Rubenstein’s beautifully designed website, go here.

Progarchy Post #999

On By bradbirzerIn progressive rock music4 Comments

We’ve reached our 999th post just four months shy of our second anniversary. Our progarchist (also a novelist, DPRP.net reviewer, as well as an all-around incredible guy) Eric Perry prompted me to write something for this auspicious occasion.

And, really, I would be a fool not to follow Eric’s advice on this or any thing else.

First, a huge thanks to all of the progarchists. Not a single one of us gets paid for any of this, but, as you can see, each and every member of the progarchy writing team gives her or his heart and soul to the endeavor. So much time, devotion, and dedication.

Progarchists might be faulted for being more enthusiastic than critical, but no one could fault us for not caring or for not putting forth our best. I am honored to write with such friends and allies in this world. Indeed, I’m more than a bit humbled to think that whatever powers that exist decided I’d get to share an existence with these fine folks.

Second, I want to thank the bands and individuals of the music community for being so open to us. We realize that every time you send us something, you do so as an act of faith. Not only do you spend an immense amount of your own money and your time to share your art with us, but you also extend to us your most sacred thoughts and ideas, your very creations from the very depths of your being.

Not only have we tried to treat your art with all the respect it demands, but we have done so by pledging that we will attempt to write as well as you construct, perform, and record your music.

Third, an equally immense thanks to all of our readers. Of course, you’re a most diverse group, and you come from every single part of the world, though the vast majority of readers come, understandably, from the U.K., the U.S., and other English speaking countries. We’re happy to have every one of you, and we thank you profoundly for allowing us to be a part of your lives. As of this writing, every single post goes via email to 1,951 of you. Another 200-1,500 readers visit us each day, depending on topic, day of the week, etc.

Though we founded progarchy—in large part—as a way to promote Big Big Train and The Tangent—we have, I think, added to this list while not neglecting our original desire to advance the art of Spawton, Tillison, and compatriots.

A final thanks to the labels, the promoters, and the PR women and men who have helped us in innumerable ways. Right off, I can think of Karisma, Glass Onyon, Fresno, Kscope, Cherry Red, Bad Elephant, Sally Collier, Chris Thompson (now retired), Billy James, Brian Rocha, Cleopatra, English Electric, and many others.

Our first post hit the web on October 11, 2012. So, we’re not quite two years old. Yet, so much has happened in the prog rock world since then. Already, the market was being saturated with prog releases and prog-related releases. Progarchists joked that we were drinking from the fire hose.

As of June 2014, this hasn’t subsided. But, the quality and expectations have risen dramatically. There really can no longer be any such thing as just “another release.” For an album to qualify as excellent or even very good, it has to reach a VERY different standard than it did only three years ago. Releases from Big Big Train, The Tangent, Cosmograf, and Glass Hammer especially have almost completely remade the genre. Not only are these bands and others releasing albums of the highest calibre, they have taken the genre to levels unimagined even during the first wave of Genesis, King Crimson, Yes, etc. Truly, there is progress.

We are, as mentioned earlier, absolutely thrilled to play any role—no matter how large or small—during this great moment of art, music, and history.

Rush MOVING PICTURES–reviewed in Notre Dame Student Paper 1981

On By bradbirzerIn progressive rock musicLeave a comment

My family and I are in the process of moving to Boulder, Colorado, for the upcoming school year.  One of the terrible parts of any move is the packing.  But, there’s a plus side–things thought lost reappear!  And, so it is with this review I found in a spring issue of the University of Notre Dame student newspaper, The Observer.  Dated April 23, 1981, pg. 11, by Tom Krueger.  Forgive the quality of the image.  It’s a photocopy from microfilm run through a Scansnap.  So, in terms of image–blah!  Still, good to have it posted for historical reasons.

rush moving pictures review nd 1981

Craig Breaden: Progger and Mountain Surfer

On By bradbirzerIn progressive rock musicLeave a comment

Just in case you ever wondered what the editors of Progarchy did before Progarchy (or, even the internet!) existed, here is a rare glimpse into the early life of editor Craig Breaden.  Taken in the Rockies, somewhere near the Utah-Idaho-Wyoming border.  Ca. 1991.  Photo by yours truly–BB, ed.

craig surfing

Sending Our Love to The Reasoning

On By bradbirzerIn progressive rock musicLeave a comment

In my recent attempt (scattered–some with a three- and a five-year old happily crawling all over me as I typed–and completed too hastily) to improve the progarchy website, I neglected to list one of my all-time favorite bands, an essential element of third-wave prog, THE REASONING.  To Matt and Rachel, my sincere apologies.  The love continueth from this side of the Atlantic!

Here’s to brilliant Welsh Prog!!!

the reasoning plus progarchy.001

The Punctuated Funk of Norway’s Karisma Records

On By bradbirzerIn progressive rock music1 Comment

Looking for a new, interesting label?  

You get the serious funk just looking at this logo
You get the serious funk just looking at this logo

We’ve spent so much time chasing down Kscope over the past five years that some other labels might have gotten too little attention.  Kscope has certainly been distracting for us, serving as a kind of Pixar to the prog and post-prog world.

Here’s one that definitely demands watching.  And, demands because it’s going to be an interesting ride with them.

At a time during which the major, big player, colossal labels of the last three decades are crumbling under the weight of radio formatting changes and imploding because of the extreme decentralization of the market–due to the release and outreach of the work and through the fundamentally democratic ethos of the internet–it’s great to see some new innovative and entrepreneurial labels realizing and offering the positions of ombudsman, muse, and midwife.  Kscope has that in spades.

This label I want to introduce to you now, has it well–again–in spades.  This one is Karisma Records.  Good solid, interesting, innovating lyrics and intense music.  Prog, psychedelic, bass-blues, funk, real funk, funkadelic., nineteenth-century folk instruments . . it’s fusing and combining in ways you might not be expecting.

Dang, does it work.

Karisma seems likely to be the next big label, ready to step in where the old have failed to adapt to such a fundamentally altered marketscape.

If you have time for nothing else at the moment, please set your browser to stun and at least visit the magical and mythic snow world of Norway: http://www.karismarecords.no/

Even the website makes my brain swirl with Pink Panther-like effects.

[Updated, June 16, 2014: fixed ca. 10 typos]

 

POSTAL ADDRESS:

Karisma &
Dark Essence Records AS
Postboks 472
5805 Bergen
Norway

PRESS, GENERAL CONTACT

Tel: +47 95 74 92 19 (Martin)
post(a)karismarecords.no

DISTRIBUTION, WHOLESALE, SHIPPING

Tel: +47 922 66 316 (Bjørnar)

FINANCE / ACCOUNTING / CONTRACTS

+47 412 11 208 (Kristine)
kristine(a)karismarecords.no