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Speaker 1: Hi.

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Speaker 2: This is Matthew Brent and this is Dirk Smith, longtime

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listeners to The Shirley Podcast and host on our upcoming podcast,

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The Accidental Legends, coming later this month.

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Speaker 3: All right, folks, fasten your seat belts and roll the tape.

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It's nineteen eighty one.

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Speaker 2: We've got Tom Sawyer refusing to do his chores, a

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red bar Shuta out running traffic cops, and YYZ proving

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Canadians really can speak fluent airport code.

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Speaker 3: Don't get lost in the camera eye or you might

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end up witch hunting for your sanity to see what

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I did. So grab your limelight, adjust your vital signs,

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and get ready.

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Speaker 2: Because this is movie pictures, where every song paints a

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world in every riff movie.

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Speaker 3: Surely you can't.

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Speaker 1: Be serious, everybody.

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Speaker 4: Welcome back to the Shirley You Can't Be Serious Podcast.

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We're on part two of.

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Speaker 5: Our a.

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Speaker 6: What r speed Wagon?

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Speaker 4: Oh you looked at me like I was saying something wrong.

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Oh I'm upture here to help you out.

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Speaker 1: Oh okay, thanks? What is it? What are we doing?

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Speaker 7: Last week we did Ario speed Wagon with Doug Gray,

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who is an Ario speed Wagon experts. Yes, and this

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week we're actually diving into the mighty Rush.

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Speaker 1: Guys.

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Speaker 4: If you if this is the first time, and I

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say guys, because there are no women clicking a Rush land,

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that's right.

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Speaker 1: If this time to watch.

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Speaker 4: The Shirley you can't be serious podcasts or listen to

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us on your podcast app.

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Speaker 1: I'm putting the challenge out there to you. If you

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think you're the biggest Rush fan in.

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Speaker 4: The world, let's listen to this podcast and these two

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guys that we got with us because we throw out

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a little tidbit of information of like, hey, did you

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guys hear this?

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Speaker 1: And these two guys.

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Speaker 4: Will go on and on and it's beautiful and it's

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great because there needs to be more Rush fans out there.

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Speaker 7: We were not born and raised, died in the wall

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Rush fans.

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Speaker 5: No.

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Speaker 4: I mean, I remember Tom Sawyer growing up, I remember

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playing on the radio. I am familiar with them as

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legendary musicians, just because when you're a musician, you know

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you hear these names. I remember hearing Neil Pert's name

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for the first time from my drummer in my band,

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having a clue who he was, and being educated that

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you know, he's the PhD of percussion, right, He's just

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he's the guy. But I watched the documentary that they made.

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I think it's back in twenty ten or something like that.

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If you've listened to our podcast before and you're like

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a heavy metal guy, like you've listened to us for Metallica,

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Kirk Hammett huge Rush fan.

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Speaker 1: If you like Rage.

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Speaker 4: Against the Machine bass player, huge Rush fan. You like

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Tenacious d Jack Black, huge Rush fan. You got all

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of these musicians. Zach Wilde is a gigantic Rush fan.

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All of these guys who are masters of their craft,

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brilliant metal players who brilliant drummers obviously, brilliant bass players

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who all look up to these guys as the lesson,

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like these are the icons. These are who we want

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to emulate to be as good as we can be,

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because they are the top of the freakin musician food chain.

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Speaker 6: I'll tell you something else.

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Speaker 7: You can't talk about Rush without having a Canadian on

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the podcast with us.

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Speaker 1: Yeah, so introduce our guests for us.

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Speaker 7: Jason So in the epp left hand corner, we've got

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Brad Moore, who is from Louisiana. Brad's a friend of ours.

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You were on Alison Chains with us and you were

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on the Pina Colada Patreon.

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Speaker 6: Live End Live.

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Speaker 7: There you go, and for the first time ever, we

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have mister Tim Epp. Tim is from Canada A and

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hey's here to talk and give us great Rush inside.

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Speaker 6: Tim, thanks for being here.

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Speaker 1: Man.

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Speaker 5: All right, tokn Canadian here?

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Speaker 4: Yes, So let me talk to you guys real quick

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about how you first got into Rush. I'm going to

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start with you, Tim, because your handle on our Patreon

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page is Rush twenty one to twelve. You obviously are

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a diehard fan, but this is the first time we've

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ever covered Rush. So how'd you get in to listening

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to the podcast?

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Speaker 5: Oh? Getting into the podcast? Interesting again. I used Spotify

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as my Apple choice for podcast and it was I

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don't even remember how long ago now it was that

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I've been following you guys, three or four years something

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like that. Anyway, what I was doing, I did a

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search on Spotify for you to the Joshua Tree album

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and I wanted to find some information about that, and

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there was a list of podcasts and here there's this Sureley,

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can't be serious. That's kind of a weird son it went,

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but I knew where the reference was. Okay, it sounds

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like my tribe. So I clicked onto that podcast. I

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think it was the two part podcast, and yeah, I thought, oh,

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the story like of the Edge being strung out on

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the mushrooms, like all this kind of stuff, just that banter,

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the way you guys talked back and forth and all.

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I thought, Wow, these guys seem pretty cool. So that's

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what got me hooked onto you guys, and I subscribed,

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and then I became a Patreon member with you guys

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and been enjoying the all the one hit Wonders and

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all the bonus material and interacting with fellow fans and

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members both on Patreon and on Facebook. So that's where

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it went from there.

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Speaker 4: That was awesome, man, and well, we truly appreciate you,

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especially being a Patreon member helping support the podcast financially. Guys,

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if you want to be Patreon members, you get to

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hear all of our one Wonder episodes. This year, we

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have just started dropping preview episodes because our regular scheduled

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episodes have a lot of advertisements, and our patreons were like, hey,

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what's up with all these ads, and we said, yeah,

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you guys are paying, we should give you an ad

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free version. So we're giving our patreons this year. Starting

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this year, ad free versions of the podcast before we

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release it to the general public. But for those five

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bucks a month, you get access to all of those episodes.

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You get to hang out with us in our various

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chat rooms and discussion groups where we geek out hard

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about eighties and nineties stuff.

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Speaker 1: That's right, and Brad, you've been with us.

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Speaker 4: I think you've been with us basically from the beginning,

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Like you started to listening to us back in twenty twenty, right,

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I believe.

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Speaker 8: So yeah, yeah, James told me about you guys and

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listen to the Van Halen Versus Van Hagar episode and

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I was like, wow, this is right at my alley.

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Speaker 7: Hey, speaking of here, and a few short weeks we

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are going track by track through nineteen eighty four and

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nice fortieth anniversary of fifty one to fifty. We think

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that podcast is going to drop on its fortieth anniversary.

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Speaker 1: So no prose real quick before we dive in. Are

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either one of you guys musicians?

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Speaker 5: Yeah, oh not really. I do a lot of karaoke singing,

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but that's that's about it. A little bit rhythm guitar.

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Speaker 4: Okay, Well, these guys, I mean, I understood to some

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degree that they were proficient at their craft, but listening

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to this album and hearing what they were doing, I

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was just like, these guys, they're outlier level good. I

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could not believe how perfect there they're playing was, how

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perfect the timing which changes from measure to measure.

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Speaker 1: It's just it's incredible what these guys can do.

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Speaker 4: So I'm excited to talk about their musicianship. But as

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non musicians, it's going to be cool to listen to

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Why you guys love these guys like you do? And

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we're here to talk about album. How many years old

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is it?

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Speaker 6: Oh?

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Speaker 7: Well, it was come out in nineteen eighty one, so

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it's forty five years old.

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Speaker 1: Forty five years old.

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Speaker 4: And this album is the album that Neil part said,

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this is when Rush became Rush for the drummer, the

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master of percussion, God rest his soul. This was the

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album where he felt like they became who they were.

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Speaker 7: Quick overview on the album, real quick, before we dive

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into the track by track guys with you Guys. This

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is their eighth studio album. This is released February twelfth,

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nineteen eighty one. This is their biggest seller in the

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United States. It topped out on the Billboard two hundred

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at number three.

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Speaker 1: Okay, okay, the.

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Speaker 6: Two albums that were in front of.

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Speaker 1: It, yes, care to guess? Okay, so this when was.

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Speaker 7: The This was March of nineteen eighty one, March of eight,

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March twenty eighth, nineteen eighty one.

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Speaker 1: Oh my gosh is it? Is it going to be

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something like Air Supply or Christopher Cross. No, that's a

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good guess, though, what do you guys think.

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Speaker 8: I don't even know.

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Speaker 5: High Infidelity album that you guys just covered that came

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out like two months before.

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Speaker 7: High Infidelity is the number one album in the country California.

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Speaker 8: What's that right, Hotel California.

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Speaker 6: No, good guess.

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Speaker 7: The actual album that comes in second is Paradise Theater

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by Styx, which High in Fidelity kind of battled with

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as the number one album of nineteen eighty one. So

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all right, I want to go over the cover real quick,

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because this is about all I have to offer on this.

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But so the album is called Moving Pictures. There you go,

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Thank you, Tim. And if you look at the album,

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it's a triple on tundra.

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Speaker 1: A triple onra. Yes, because there are guys moving pictures.

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Speaker 7: Because the guys are carrying pictures there. There are albums

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moving pictures. Then you have people down here who are

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crying because they're being moved by the pictures. And then

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you've got people in the back who are filled the

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moving pictures, which is.

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Speaker 6: Moving pictures of moving pictures.

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Speaker 1: Brilliant.

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Speaker 6: How about that.

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Speaker 8: There's three columns in there too. Oh yeah, yeah, then yeah.

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Speaker 5: This was actually taken at the Ontario Toronto Ontario Legislative Building,

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which is kind of the equivalent to the Governor of

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the state guess is in downtown Toronto. This shoot cost

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them nine thousand dollars to do. The record label said,

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we're not paying that much money for an album cover.

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So Rush the band actually had a front up I

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think about seven thousand of that so they could get

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the album covers that they wanted. I'm going to submit

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that there's actually a fourth on Tondra in this all right,

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If you go in the in the inside, there's this

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photo here And I got this fourth on Tondra from

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my friend Steve and Jerry over at the Rush. Oh yeah,

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this is something for Nothing podcast, And here's Geddy, Neil

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and Alex. It's kind of a blurred photo. They're moving

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as the picture is being taken.

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Speaker 1: That's awesome.

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Speaker 4: So these guys they decide, maybe we're not going to

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push so hard to make such complex music because it's

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exhausting to have to play this night after night after night.

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And they decide to put together this album and have

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a bit of a different sensibility than they've had in

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their past albums, and they come out of the gate

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with an absolute banger. This is track number one. I'm Sawyer.

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Speaker 9: A Monday Warrior, Mean Me trying Today's Tom Sawyer Mean

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Me Right.

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Speaker 4: Again. Oh my gosh, what a fantastic intro. And now,

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I mean I grew up with this, so I I've

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always loved this song. But Jason and I have talked

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a lot about how big of Ready Player one fans

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we are, and obviously the rush twenty one to twelve

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is a big factor in the book. But then when

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they came out with the movie, I remember the trailer

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dropping and all of the IOI guys jumping into their

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cars as Tom Sawry was playing. I was like, that's

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a good pick. That's a good pick for a trailer

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for this movie. You guys, Ready Ready Player One fans

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haven't seen it.

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Speaker 8: I haven't seen it either.

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Speaker 1: You guys don't read it. Book.

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Speaker 4: Read the book. It's so freaking good. It's it's all

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kinds of Shirley Gold.

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Speaker 1: They're really nice.

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Speaker 7: It's fantastic. So this is an all time Hall of

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Fame banger. Brad, what can you tell us about Tom Sweyer?

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Speaker 8: I know it was one that not many of the

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band members liked, and it was kind of just a

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happened chance that they even recorded the song. It was

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they were doing a collaboration with the Canadian band Max Webster,

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and it was just some doodling that Pie du Bois

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their lyricists had written down and it was actually called

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Louis the Lawyer before this, if I'm not mistaken.

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Speaker 5: Yeah, that's right. Yeah, how far that song gone kept

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with that name?

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Speaker 6: Yea the Lawyer? He said, we hate lawyers around.

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Speaker 8: They can see what you can do with it, and

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he obviously didn't like the name Louis the Lawyer. And

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Neil Pierrett does what Neil Peart does and strings together

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all these lyrics and there comes Tom Sawyer. But yeah,

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it's like the Eagles Hotel California or Stairway to Heaven.

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It's their song like that, and everybody knows it. And

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if you ever heard Rush, that's probably the song that

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introduced you to Rush.

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Speaker 6: That's right.

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Speaker 4: That's an interesting note because I agree with you one

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hundred percent. If you don't know, if you only know

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one Rush song, it's going to be Tom Sawyer. But

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this did this song chart forty four forty four. So

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out of all of the Rush golden perfectly executed musically

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genius songs, there's been one song that cracked the top

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forty and this wasn't it.

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Speaker 1: And it didn't even crack the top twenty.

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Speaker 8: An album with five times platinum.

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Speaker 1: That's crazy.

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Speaker 7: Yeah, Okay, I'm sorry it interrupts, but I mean, do

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you want to know the songs at the top of

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the charts the week that this peaked at number forty four?

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Speaker 1: You know that we bobbing it up here, you know.

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Speaker 7: So the song right above it was some crap by

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gary Us Bonds. Okay, So at forty three, gary Us

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Bonds is keeping Rush below him.

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Speaker 6: Okay.

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Speaker 7: But August first, nineteen eighty one, we talked about that

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as being a significant date because.

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Speaker 1: It was the day THATTV MTV date.

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Speaker 6: You that's right.

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Speaker 7: So that day top Sawyer tops out at number forty four.

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The top five that week, Number five Elvira by the

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Oakrage Boys. Number four, I Don't Need You by Kenny Rogers.

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I don't even remember that one, right, Number three, the

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greatest American zero theme song.

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Speaker 1: That's a great song.

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Speaker 7: Number two the one that You Love by Air Supply.

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Speaker 1: Yeah, I thought they'd be up there.

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Speaker 7: Number one in is Jesse's Girl. Oh sure, okay, yeah,

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well but here's the trivia question. I want to drop

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on you guys, especially you two. Okay, So Dee has

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mentioned that there's another song that topped out higher than

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this one. But there is a song sung by Geddy

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Lee that got all the way to number twenty four

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on the chart. It's the highest charting song with Geddy

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Lee as the singer.

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Speaker 6: Do you know what.

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Speaker 5: Take Off?

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Speaker 6: You got it man? The song take Off by the

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Mackenzie Brothers. Okay, everyone, this record was my idea get out.

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Speaker 5: It was you're lying eating the moushit here just sort

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of writ on my coattail.

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Speaker 1: Why are you doing this? It was our ideas together.

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Speaker 8: Yeah, okay, okay, we agreed to say that.

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Speaker 7: It's a beauty way decent your name, Yeah, Bob and

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Doug McKenzie. And the song is take Off is a ridiculous,

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funny song by the guys who made Strange Brew That's

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fantastic sung by Getty Lee.

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Speaker 5: Did you know that Getty and Rick Moranis both went

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to school together.

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Speaker 6: They were in the same class. That to me fascinating.

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Speaker 1: Yeah, so is Rick Morani is Jewish?

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Speaker 5: I believe he is?

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Speaker 4: Okay, I was going to say, because I know that

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that Getty Lee being a Jewish kid in that school

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was a unique experience for him. By the way, interesting that,

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like the two founding members of the band, Getty Lee

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and Alex Livesong both like they both their families came

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over from the war. His parents, Getty's had been in

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concentration camps. Alex's folks came over from you the Slavia.

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His dad had been a prisoner of war over there.

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And they became fast friends. Not necessarily because of that,

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but they they were friends from a very young age,

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even before they were playing music.

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Speaker 8: Getty's parents actually met at the concentration camp, sent letters

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back and forth through some of the guards they curried

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favor with, and then found each other after the liberation

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of the camp. So it's really a miracle that he's

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even around.

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Speaker 7: That is insane romance happening in the camps. Man, Yeah,

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that's crazy.

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Speaker 1: That's a movie worthy topic, right, it really is.

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Speaker 8: If you've not ever read Getty's biography in life, it's fantastic.

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It's a really good read.

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Speaker 6: You know.

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Speaker 7: I was listening to it and he talked about the

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fact that I think his original like his real first

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name is Gershawn, yeah, yeah, yeah, and so his anglicized

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name was Gary. And so whenever he was hanging out

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with his friends and his mom would pull up in

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the car, roll down the window and.

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Speaker 6: Say, Getty, Getty, get into the car.

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Speaker 7: That's how he got the name Getty because it's a

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Polish accented garyt.

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Speaker 6: My dad's name is Gary.

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Speaker 7: And I couldn't wait to tell him that fantastic song.

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One of the best drumming songs of all time. And

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I believe the guitar solo, even the guitar haarsol is blistering,

354
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but it's Alex Lifson just kind of winging it on

355
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the guitar solo that he took three or four takes,

356
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but really it was just kind of feel.

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Speaker 1: Yeah.

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Speaker 5: That's where Neil and Alex are very different in that regard.

359
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Neil is very meticulous about his drum parts and he

360
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will do the exact same drum part like when he

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started when they started performing Tom Sawyer forty years ago.

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His drum parts really have not changed from the Moving

363
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Pictures tour right up until the last tour they are

364
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forty tour, it was basically the same thing. But Alex

365
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is more like, I'm just going to go in and

366
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just noodle around, wing something and then see how it

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turns out.

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Speaker 6: All right.

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Speaker 7: Next song on the album is called Red Barquetta.

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Speaker 5: No one knows.

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Speaker 4: About okay, So on this song, what comes through clearly

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to me is the reminder that this is a power trio.

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You've got guitar, you've got bass, and you've got drums.

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Now we go back to Tom Sawyer. They got stuff

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going on that's none of that stuff. So you guys

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help us out. What's where do the keyboard sounds come from?

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Speaker 1: With these guys?

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Speaker 8: Yet he actually has pedals that he plays, why he

379
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plays bass are synced into his keyboards. I really don't

380
00:18:37,200 --> 00:18:39,119
know how he does all he does at the front

381
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of the stage. It's pretty amazing. I can't imagine even

382
00:18:42,200 --> 00:18:44,000
singing in front of people, much less playing the bass

383
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and keyboards at the same time.

384
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Speaker 1: But he finds a way. He's singing, playing the bass

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and playing the keyboards with his feet.

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Speaker 4: Chris, that's incredible. I've heard that he also moves the

387
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microphone with his nose. Yeah, it's his answerful.

388
00:19:01,359 --> 00:19:04,799
Speaker 6: That a nose joke. No really really.

389
00:19:05,720 --> 00:19:08,039
Speaker 8: Tim Kmerfort from Rage Against the Machine I think is

390
00:19:08,119 --> 00:19:10,160
the one who said that in the document, and he's like,

391
00:19:10,200 --> 00:19:11,839
he's got a big nose and he uses it well,

392
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you know.

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Speaker 6: All right?

394
00:19:15,599 --> 00:19:20,119
Speaker 7: So I read that this song was written and inspired

395
00:19:20,200 --> 00:19:37,599
by a Ferrari one sixty six mm Barkeetta, right, am?

396
00:19:37,640 --> 00:19:39,319
Speaker 6: I right about that? What do you know about that?

397
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Speaker 1: Tim?

398
00:19:40,759 --> 00:19:43,200
Speaker 5: I don't know the car exactly, but I do know

399
00:19:43,319 --> 00:19:47,079
that Neil was quite a car enthusiast right from a

400
00:19:47,200 --> 00:19:50,119
very early age. In fact, he had he had quite

401
00:19:50,119 --> 00:19:52,599
a collection of cars, mostly silver. He called them the

402
00:19:52,640 --> 00:19:55,880
Silver Surfers and uh. He had a bunch of very

403
00:19:55,920 --> 00:19:59,240
classic cars back in the sixties and seventies, and shortly

404
00:19:59,319 --> 00:20:03,160
after his path twenty one that collection sold an auction

405
00:20:03,319 --> 00:20:06,519
for four million bucks. Unfortunately, I was not the high bidder.

406
00:20:11,319 --> 00:20:15,160
But I think in the original the Richard Foster the

407
00:20:15,279 --> 00:20:17,920
Short Story, they talked about a nice morning drive. I

408
00:20:18,000 --> 00:20:21,039
think there it was originally an MG. It was Neil.

409
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Neil decided to need something with a bit more pep,

410
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so he chose me.

411
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Speaker 4: Okay, So Neil's dad actually owned a parts store when

412
00:20:29,440 --> 00:20:30,079
he was grown up.

413
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Speaker 1: Is that right?

414
00:20:30,680 --> 00:20:31,359
Speaker 5: That's right? Yeah?

415
00:20:31,839 --> 00:20:34,880
Speaker 1: Okay, So Jason, you may not know this, or you may.

416
00:20:34,920 --> 00:20:35,240
I don't know.

417
00:20:35,920 --> 00:20:38,599
Speaker 4: So he obviously he was not the first drummer that

418
00:20:38,759 --> 00:20:41,119
Rush had. They were signed. They put out an album,

419
00:20:41,319 --> 00:20:42,880
the guy that they had before. We can tell his

420
00:20:42,960 --> 00:20:45,920
story in a minute, but right now, for Neil part they.

421
00:20:45,920 --> 00:20:47,119
Speaker 1: Had to let that guy go.

422
00:20:47,559 --> 00:20:49,720
Speaker 4: They needed a new drummer who could learn everything. In

423
00:20:49,759 --> 00:20:52,960
a couple of weeks, Neil was working at his dad's

424
00:20:53,039 --> 00:20:57,599
parts store, playing for just another local band. You guys

425
00:20:57,599 --> 00:20:59,039
got the name of the local band that he was

426
00:20:59,079 --> 00:21:03,839
in before the Jay flood. Yeah, so he literally he

427
00:21:03,920 --> 00:21:06,160
gets a phone call. Actually, I think I don't think

428
00:21:06,160 --> 00:21:07,440
he got a phone call. I think they showed up

429
00:21:07,480 --> 00:21:10,160
at the parts store and they said, hey, we need

430
00:21:10,240 --> 00:21:11,759
to talk to you about being a drummer for this

431
00:21:11,880 --> 00:21:15,279
band and he couldn't believe the reality of it at all,

432
00:21:15,640 --> 00:21:18,680
and then went and auditioned and was like, yeah, I

433
00:21:19,160 --> 00:21:19,559
ruined that.

434
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Speaker 1: And when he had walked into the audition.

435
00:21:21,559 --> 00:21:25,279
Speaker 4: Both Alex and Geddy were like, Eh, this guy doesn't

436
00:21:25,279 --> 00:21:27,599
really have one hair, he doesn't look like one of us.

437
00:21:27,759 --> 00:21:31,119
He's kind of gangly, looks a little nerdy. But when

438
00:21:31,200 --> 00:21:33,839
he started playing, They're like, well that's our guy.

439
00:21:34,079 --> 00:21:34,319
Speaker 1: Wow.

440
00:21:46,359 --> 00:21:49,839
Speaker 4: And so he went home thinking he had flubbed the audition,

441
00:21:50,200 --> 00:21:52,680
and then they called him and said we want you,

442
00:21:52,920 --> 00:21:54,599
and he had to go to his dad and say,

443
00:21:54,839 --> 00:21:56,400
I don't know what to do. He didn't say I

444
00:21:56,440 --> 00:21:57,680
gotta go do this. He said I don't know what

445
00:21:57,759 --> 00:22:00,839
to do. And his dad God bless and said part

446
00:22:00,920 --> 00:22:01,960
store will always be here.

447
00:22:02,359 --> 00:22:05,839
Speaker 6: That's great, Go do this, that's great. I love it. Okay.

448
00:22:05,920 --> 00:22:09,240
Speaker 7: So the song was inspired by a futuristic short story

449
00:22:09,759 --> 00:22:12,279
called A Nice Morning Drive, which was published in nineteen

450
00:22:12,319 --> 00:22:15,359
seventy three in roadent Track magazine, written by the guy

451
00:22:15,480 --> 00:22:18,200
named Richard Foster. Like you said, Tim, and I found

452
00:22:18,200 --> 00:22:20,839
it interesting They pert who wrote the lyrics to this

453
00:22:20,920 --> 00:22:23,720
song had tried to meet this guy, Richard Foster over

454
00:22:23,799 --> 00:22:26,440
the years and finally got a hold.

455
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Speaker 6: Of him in two thousand and seven.

456
00:22:28,440 --> 00:22:28,880
Speaker 1: Oh wow.

457
00:22:29,039 --> 00:22:31,920
Speaker 7: It seems to me that if Rush writes a song

458
00:22:32,039 --> 00:22:33,920
about an article that I write, the first thing I'm

459
00:22:33,960 --> 00:22:35,720
gonna do is try to meet these guys. You know so,

460
00:22:35,960 --> 00:22:38,279
But it took over twenty five years to meet together.

461
00:22:38,400 --> 00:22:40,759
Speaker 4: Well, and it's interesting that he's he's out there trying

462
00:22:40,759 --> 00:22:42,759
to meet this guy, because I've heard him say he

463
00:22:42,920 --> 00:22:44,799
was he was the guy in the band that didn't

464
00:22:44,799 --> 00:22:45,559
go meet the fans.

465
00:22:45,680 --> 00:22:46,079
Speaker 1: He didn't.

466
00:22:46,119 --> 00:22:48,240
Speaker 4: It made him uncomfortable when people would approach him in

467
00:22:48,279 --> 00:22:50,759
the street. He just was like, it wasn't that he

468
00:22:50,880 --> 00:22:53,440
was mad at people, just embarrassed him. And I can

469
00:22:53,519 --> 00:22:55,920
remember him saying, He's like, I was a Who?

470
00:22:56,119 --> 00:22:56,799
Speaker 1: Was he a fan of?

471
00:22:58,039 --> 00:22:59,000
Speaker 5: He is a big fan of the Who?

472
00:22:59,319 --> 00:23:00,359
Speaker 1: Yeah, the Who? That's right.

473
00:23:00,400 --> 00:23:02,640
Speaker 4: Yes, he was like, I was the biggest fanboy of

474
00:23:02,680 --> 00:23:04,519
the Who in the world, but I didn't want to

475
00:23:04,519 --> 00:23:06,960
go try to track them down and talk to them.

476
00:23:07,319 --> 00:23:09,640
That's weird. It's a weird thing to do. I guess

477
00:23:09,680 --> 00:23:13,440
it's different if you're a story writer, right right.

478
00:23:15,079 --> 00:23:17,559
Speaker 5: They did give credit to Richard Foster on the album

479
00:23:18,640 --> 00:23:23,279
Got It Right Here. Yeah, it says, yeah, a story

480
00:23:23,359 --> 00:23:26,400
inspired by Richard Foster for a nice morning drive, so

481
00:23:26,440 --> 00:23:28,559
they did give him credit on the album liner notes

482
00:23:28,720 --> 00:23:30,319
love it. I think they were kind of hoping that

483
00:23:30,440 --> 00:23:32,480
Richard Foster would buy the album and see that and

484
00:23:32,519 --> 00:23:35,559
then maybe initiate a conversation with Neil that I guess

485
00:23:35,599 --> 00:23:36,519
that didn't work all right.

486
00:23:36,640 --> 00:23:39,359
Speaker 7: Rolling Stone ranks this as their fifth greatest song of

487
00:23:39,440 --> 00:23:39,839
all time.

488
00:23:40,000 --> 00:23:40,880
Speaker 6: Wow, how about that?

489
00:23:42,079 --> 00:23:43,440
Speaker 8: It's my favorite song on the album.

490
00:23:43,720 --> 00:23:44,559
Speaker 6: This is your favorite song?

491
00:23:44,599 --> 00:23:45,400
Speaker 8: It's my favorite song.

492
00:23:45,559 --> 00:23:48,400
Speaker 5: Yeah, I've seen probably mine as well. It's just a

493
00:23:49,480 --> 00:23:50,000
kind of takes you.

494
00:23:50,000 --> 00:23:51,680
Speaker 8: On a little journey and you kind of, you know,

495
00:23:51,880 --> 00:23:54,319
ride with it, and it's just I don't know, it's all.

496
00:23:55,160 --> 00:23:57,759
Speaker 7: I saw a bumper sticker that said my other car

497
00:23:58,000 --> 00:23:58,960
is a red Barketta.

498
00:23:59,519 --> 00:24:00,559
Speaker 1: Yeah, that's.

499
00:24:02,279 --> 00:24:04,720
Speaker 6: About that. The rush guys that sent us that picture,

500
00:24:06,759 --> 00:24:07,640
Yeah I saw that.

501
00:24:07,839 --> 00:24:08,079
Speaker 1: Yeah.

502
00:24:09,240 --> 00:24:12,880
Speaker 5: But the lyrics are so cinematic, like just the way

503
00:24:13,279 --> 00:24:16,039
Neil describes the story, you know, wind in my hair,

504
00:24:16,160 --> 00:24:19,680
shifting and drifting, mechanical music, adrenaline surge, like you just

505
00:24:19,880 --> 00:24:21,319
you can just sit back in your headphones and just

506
00:24:21,400 --> 00:24:24,960
imagine like driving through the countryside, like just going going

507
00:24:25,000 --> 00:24:28,799
for broken your Ferrari. So, yeah, just amazingly you mentioned.

508
00:24:28,559 --> 00:24:30,240
Speaker 8: The headphones too, and I think that's why I'm such

509
00:24:30,240 --> 00:24:31,759
a big Rush. One of the reasons I'm such a

510
00:24:31,799 --> 00:24:35,640
big Rush bank in the audio file and their music

511
00:24:35,759 --> 00:24:39,720
always just sounds stellar with a good over their headphones.

512
00:24:40,079 --> 00:24:40,839
There's nothing better.

513
00:24:41,039 --> 00:24:44,000
Speaker 1: But do you guys, who was the producer on this album?

514
00:24:44,160 --> 00:24:44,680
Speaker 8: Terry Brown?

515
00:24:44,880 --> 00:24:46,279
Speaker 1: Okay, what else has he done?

516
00:24:46,440 --> 00:24:49,559
Speaker 8: He was their producer for a long time and then

517
00:24:49,839 --> 00:24:53,240
they got rid of him. I guess when was it, presto,

518
00:24:53,640 --> 00:24:55,240
it was a different way or before that?

519
00:24:55,400 --> 00:24:58,839
Speaker 7: Maybe let's look if only we had a pocket computer

520
00:24:58,880 --> 00:25:01,400
that would tell us the same. Hey, okay, So Terry

521
00:25:01,480 --> 00:25:05,039
Brown has been involved with such albums as The Who

522
00:25:05,160 --> 00:25:07,720
He was the engineer, the Jimmy Hinders Experience, he was

523
00:25:07,759 --> 00:25:08,319
the engineer.

524
00:25:08,640 --> 00:25:08,839
Speaker 1: Wow.

525
00:25:09,119 --> 00:25:11,240
Speaker 7: A guy named Moe Kaufman did a lot with them,

526
00:25:11,640 --> 00:25:14,599
Rush Max Webster, who's the other Canadian band band we

527
00:25:14,680 --> 00:25:18,680
talked about earlier? Rush Rush Rush, Rush, Cutting Crew, Wow,

528
00:25:31,680 --> 00:25:32,160
Cutting Crew.

529
00:25:32,240 --> 00:25:33,720
Speaker 6: I just died in yours.

530
00:25:34,240 --> 00:25:37,079
Speaker 1: I just died in you. How about that?

531
00:25:37,559 --> 00:25:39,559
Speaker 6: Then, Dream Theater Cutting Crew?

532
00:25:40,000 --> 00:25:44,519
Speaker 1: Okay, April Wine, Apaw, April Wine in there as well, Aper.

533
00:25:44,400 --> 00:25:51,039
Speaker 7: Wyne If you c k hilare lever. All right, We're

534
00:25:51,039 --> 00:25:51,359
ready for.

535
00:25:51,400 --> 00:25:54,000
Speaker 1: The next one. Do it so? Number three next.

536
00:25:54,000 --> 00:25:57,079
Speaker 6: Song on the album is called why why Z?

537
00:25:57,640 --> 00:25:59,200
Speaker 1: It's not called did I do that?

538
00:25:59,319 --> 00:25:59,480
Speaker 5: Right?

539
00:26:00,920 --> 00:26:18,960
Speaker 4: Okay, okay, I'm calling this is my favorite song on

540
00:26:19,000 --> 00:26:22,079
the album. I love this song and I'm so glad.

541
00:26:22,319 --> 00:26:25,599
So Brad texted Jason and I this morning. Brad, you

542
00:26:25,680 --> 00:26:27,759
get a theory on where you think, at least the

543
00:26:27,880 --> 00:26:29,680
rhythm of this song comes from.

544
00:26:29,799 --> 00:26:32,000
Speaker 8: Right, Yeah, I've read a bunch of different things, none

545
00:26:32,000 --> 00:26:34,319
of them really been substantiated. I've read where it was

546
00:26:34,400 --> 00:26:36,440
just a jam that Alex and Getty were kind of

547
00:26:36,480 --> 00:26:39,079
doing and Neil jumped in one day. But I've also

548
00:26:39,319 --> 00:26:41,640
I listened to a lot of the cool jazz era

549
00:26:41,839 --> 00:26:44,640
of jazz. I like that a lot, and I particularly

550
00:26:44,799 --> 00:26:46,839
like Dave Brubeck. And there is a song called Blue

551
00:26:46,880 --> 00:26:49,680
Rondo All the Turk, and it's filled with tons of

552
00:26:49,839 --> 00:26:52,920
time signatures, and I can't listen to that without thinking

553
00:26:52,920 --> 00:26:53,839
about why wized?

554
00:26:55,079 --> 00:26:56,680
Speaker 1: Yeah, we got to listen to that real quick. Hold on.

555
00:27:07,079 --> 00:27:10,880
Speaker 4: Absolutely, it sounds like Neil has taken the rhythm section

556
00:27:11,240 --> 00:27:12,720
of the piano and the.

557
00:27:12,759 --> 00:27:16,160
Speaker 1: Horns that da da da da da da da da

558
00:27:16,240 --> 00:27:19,319
da da da d d D and put it with

559
00:27:19,480 --> 00:27:22,119
his drums. I mean it seems spot on to me.

560
00:27:22,119 --> 00:27:22,960
I think you gotta be right.

561
00:27:23,079 --> 00:27:23,240
Speaker 5: Yeah.

562
00:27:23,240 --> 00:27:24,799
Speaker 8: And then his dad I found out his dad was

563
00:27:24,839 --> 00:27:27,200
a Dabrubek fan and he grew up listening to jazz

564
00:27:27,319 --> 00:27:31,359
and he did a lot of Buddy Rich tributes and

565
00:27:31,440 --> 00:27:34,279
stuff like that. So, I mean it makes a lot

566
00:27:34,319 --> 00:27:37,119
of sense. I've not found anything that, you know, corroborates that,

567
00:27:37,559 --> 00:27:39,759
but it's got to be there somewhere.

568
00:27:39,920 --> 00:27:42,160
Speaker 1: Hey, somebody's got to say it first. Let it be you.

569
00:27:42,799 --> 00:27:43,039
Why not?

570
00:27:44,920 --> 00:27:47,160
Speaker 6: Well, okay, let me just tell you what I've heard.

571
00:27:47,319 --> 00:27:49,400
Speaker 7: Maybe this is an urban legend, but I heard that

572
00:27:49,519 --> 00:27:52,759
it comes from the like the I A T A

573
00:27:53,160 --> 00:27:57,319
airport classification of the Toronto International Airport and as they like,

574
00:27:57,400 --> 00:28:01,759
Alex Liefsen was flying them in and the Toronto Airport's

575
00:28:01,960 --> 00:28:06,079
classification is why Wise and they heard the Morse code

576
00:28:06,319 --> 00:28:09,640
of that airport and they thought, well, that rhythm got

577
00:28:09,680 --> 00:28:11,519
stuck in Neil Pert's head and he said, I've got

578
00:28:11,599 --> 00:28:12,480
to put that into a song.

579
00:28:30,680 --> 00:28:30,880
Speaker 1: Huh.

580
00:28:31,759 --> 00:28:32,680
Speaker 6: So you know about that, tim?

581
00:28:32,799 --> 00:28:33,160
Speaker 1: Is that right?

582
00:28:33,599 --> 00:28:39,079
Speaker 5: Yeah? That's it's Morse code for why Wise. It's it's

583
00:28:39,319 --> 00:28:42,200
that line that dots and dashes that you hear in

584
00:28:42,279 --> 00:28:46,119
morse code why Wise comes from that that So you

585
00:28:46,160 --> 00:28:49,920
can get inspiration from songs anywhere, especially if you're nerdy

586
00:28:49,960 --> 00:28:54,960
geeks like Russia's. And there's actually there's actually in Lester B.

587
00:28:55,119 --> 00:28:58,440
Pearson Airport, which is the Toronto airport with the call

588
00:28:58,559 --> 00:29:01,759
letters why Wise. There's a actually now a hy Wiz

589
00:29:02,160 --> 00:29:06,559
lounge in the airport. I think Henderson Brewing Company is

590
00:29:06,640 --> 00:29:10,079
sort of the official craft beer brewing company for a Rush,

591
00:29:10,319 --> 00:29:12,960
and so they have all their their brewis in there

592
00:29:13,000 --> 00:29:15,279
and you can get Russia heirs. I've never been in there,

593
00:29:15,440 --> 00:29:18,079
but apparently there is this yized lounge. If I ever

594
00:29:18,160 --> 00:29:21,039
go to Toronto, I'll be beheading to that lounge and

595
00:29:21,160 --> 00:29:23,559
enjoying a nice pint of rushed golden Ales.

596
00:29:23,559 --> 00:29:24,000
Speaker 6: Fantastic.

597
00:29:24,319 --> 00:29:26,880
Speaker 7: My son is A is a upcoming pilot, and I

598
00:29:27,000 --> 00:29:28,880
just show him a text and I just said, because

599
00:29:28,920 --> 00:29:30,839
this album's old, you know, I'm like, what's the code

600
00:29:31,279 --> 00:29:32,680
symbol for Toronto's airport?

601
00:29:32,839 --> 00:29:34,079
Speaker 6: He text me back, whyy is he?

602
00:29:34,559 --> 00:29:34,599
Speaker 9: So?

603
00:29:35,880 --> 00:29:38,680
Speaker 7: By the way, this was nominated for a Grammy for

604
00:29:38,839 --> 00:29:41,440
Best Rock Instrumental in nineteen eighty two.

605
00:29:42,240 --> 00:29:43,200
Speaker 6: I lost too.

606
00:29:43,599 --> 00:29:46,440
Speaker 7: It lost to a song called behind My Camel.

607
00:29:46,559 --> 00:29:48,799
Speaker 1: You know, I feel like we've talked about it before.

608
00:29:48,839 --> 00:29:49,359
Who's it by?

609
00:29:49,519 --> 00:29:51,279
Speaker 6: It's by the Police, That's what I thought.

610
00:29:51,440 --> 00:29:51,960
Speaker 1: I was thinking.

611
00:29:52,000 --> 00:29:55,880
Speaker 4: It was that, Yeah, it's because this is off of synchronicity, right,

612
00:29:56,160 --> 00:30:03,920
it's off of and Okay, yeah, that's right. Andy Summer

613
00:30:04,720 --> 00:30:05,319
wrote that one.

614
00:30:05,680 --> 00:30:08,759
Speaker 1: There you go. Okay, yeah, I thought I recognized that title.

615
00:30:08,839 --> 00:30:10,359
That's great. I don't think it's as good a song

616
00:30:10,440 --> 00:30:12,119
as this is, because this is a banger.

617
00:30:14,240 --> 00:30:15,920
Speaker 7: By the way, I came across something I thought was

618
00:30:15,960 --> 00:30:19,359
really cool. Pitcher Randy Johnson. Hall of Fame pitcher Randy Johnson.

619
00:30:19,640 --> 00:30:22,599
He pitched for the Mariners. He pitched for the Diamondbacks.

620
00:30:22,640 --> 00:30:24,519
I think he won a World Series with the Diamondbacks

621
00:30:24,559 --> 00:30:27,640
in two thousand and one, I think. But he is

622
00:30:27,680 --> 00:30:30,680
a huge Rush fan and he's also a drummer. And

623
00:30:30,799 --> 00:30:35,160
when they retired his number in Arizona, they gave him

624
00:30:35,160 --> 00:30:37,279
a gift and it was really cool. It's like big

625
00:30:37,440 --> 00:30:40,759
thing covered up and you know, I mean, here's a

626
00:30:40,799 --> 00:30:42,480
major league picture. He's got everything in the world that

627
00:30:42,519 --> 00:30:44,599
he could possibly want. He's got fame, he's got girls,

628
00:30:44,640 --> 00:30:48,279
he's got money, and they unveiled it, and what they

629
00:30:48,680 --> 00:30:52,400
unveiled and gave him as a gift was Neil Pert's

630
00:30:52,960 --> 00:30:58,559
gold plated drum set. And he was over the moon,

631
00:30:58,839 --> 00:31:02,039
like when I say over the moon. He was beside

632
00:31:02,119 --> 00:31:03,319
himself at this gift.

633
00:31:04,160 --> 00:31:04,279
Speaker 5: Uh.

634
00:31:04,400 --> 00:31:08,519
Speaker 7: And it looked like super tough stud athlete became six

635
00:31:08,640 --> 00:31:15,640
years old on the field presented it to him. Okay,

636
00:31:15,920 --> 00:31:18,599
ready for the next one, All right. Next song on

637
00:31:18,640 --> 00:31:20,480
the album is called Limelight.

638
00:31:45,279 --> 00:31:48,440
Speaker 8: M Linen stage jo J.

639
00:31:52,160 --> 00:31:52,440
Speaker 1: Love it.

640
00:31:52,839 --> 00:31:54,759
Speaker 6: This is my favorite song on the album. I think

641
00:31:55,000 --> 00:31:57,960
probably because it's maybe the most radio friendly song on

642
00:31:58,079 --> 00:31:58,440
the album.

643
00:31:58,799 --> 00:32:01,160
Speaker 7: I mean, Tom Sawyer gets tons of plays, but as

644
00:32:01,279 --> 00:32:03,799
far it's a little bit closer to top forty right

645
00:32:03,839 --> 00:32:04,559
here with this one.

646
00:32:04,839 --> 00:32:08,039
Speaker 8: Yeah, it's got an iconic opening guitar riff. Yeah.

647
00:32:10,720 --> 00:32:13,759
Speaker 7: This was actually the first single released February nineteen eighty one.

648
00:32:14,160 --> 00:32:19,279
This tops out at number fifty five. It doesn't get

649
00:32:19,359 --> 00:32:21,079
close to the top four. I mean, what are we

650
00:32:21,160 --> 00:32:22,839
doing here people in nineteen eighty one?

651
00:32:23,240 --> 00:32:23,839
Speaker 6: It's crazy.

652
00:32:24,279 --> 00:32:27,240
Speaker 4: Some things are too sophisticated for people to get behind.

653
00:32:27,400 --> 00:32:29,920
It's true, even if they are the most radio friendly

654
00:32:30,039 --> 00:32:34,200
thing on the album, right right, I mean, come on, okay,

655
00:32:34,319 --> 00:32:38,200
So They hit it big in the US because Cleveland

656
00:32:38,319 --> 00:32:42,519
radio station was listening to new albums. Their first album

657
00:32:42,599 --> 00:32:47,039
had just come out, and they get to working Man

658
00:32:47,680 --> 00:32:51,880
and they're like, this song is exactly what every guy

659
00:32:52,079 --> 00:32:54,799
in Cleveland feels like, and they start playing it on

660
00:32:54,880 --> 00:33:16,039
the radio. And as soon as they start playing it

661
00:33:16,119 --> 00:33:19,039
on the radio, the switchboards start lighting up and the

662
00:33:19,160 --> 00:33:22,799
question is, when's this new led Zeppelin album coming out? Yeah,

663
00:33:23,319 --> 00:33:25,960
it does sound like Leebelin and it's they're they're having

664
00:33:26,000 --> 00:33:28,279
to say it's not led Zeppelin, and it's not super

665
00:33:28,359 --> 00:33:30,400
easy to get the album, but it gets enough traction

666
00:33:30,559 --> 00:33:33,119
through the Cleveland radio they have I would say, a

667
00:33:33,359 --> 00:33:36,519
good success with their debut album, not so much on

668
00:33:36,680 --> 00:33:37,519
their second take.

669
00:33:46,519 --> 00:33:50,400
Speaker 5: That's when Neil joined, and obviously the like as you said,

670
00:33:50,480 --> 00:33:54,000
the first album sounds more like, Yeah, you're typical late

671
00:33:54,160 --> 00:33:58,319
from early seventies bad Company style or led Zeppelin, as

672
00:33:58,359 --> 00:34:01,640
you've mentioned in Lagetty's High Voice. And when fly by

673
00:34:01,759 --> 00:34:04,480
Night came out their second album, of course O'Neil now

674
00:34:04,680 --> 00:34:07,799
says or he's doing the lyrics because Geddy and Alex

675
00:34:07,839 --> 00:34:09,760
didn't want to do the lyrics. They're just doing the music.

676
00:34:09,960 --> 00:34:12,880
And so O'Neil. I think the first the first song

677
00:34:12,960 --> 00:34:15,400
that he wrote for the fly By album was Beneath

678
00:34:15,480 --> 00:34:17,760
Between Behind and if you listen to that thing, it's like,

679
00:34:18,039 --> 00:34:20,639
holy crap, like just the words and this is the

680
00:34:20,719 --> 00:34:24,039
whole history of the US. And that's his first attempt

681
00:34:24,239 --> 00:34:26,599
at writing lyrics, so he knew this was going to

682
00:34:26,639 --> 00:34:30,039
be a very different style of album. I'm getting into

683
00:34:30,079 --> 00:34:32,880
bite on the snow Dog and some other stuff like that,

684
00:34:33,280 --> 00:34:34,920
So it took a very different turn. I think a

685
00:34:35,000 --> 00:34:37,880
lot of people did not take to it because it

686
00:34:37,960 --> 00:34:39,880
was so different from the first album. It took quite

687
00:34:39,880 --> 00:34:43,159
a while for Rush to gain a following after that

688
00:34:43,679 --> 00:34:44,400
first album.

689
00:34:44,599 --> 00:34:46,320
Speaker 7: By the way, I'm just going to interject this the

690
00:34:46,480 --> 00:34:49,760
top five from April fourth, nineteen eighty one, when this

691
00:34:49,840 --> 00:34:52,960
song pops out at number fifty five, There you go.

692
00:34:53,719 --> 00:34:55,719
Number five cry In by Don McLean.

693
00:34:55,840 --> 00:34:56,440
Speaker 6: You guys remember that.

694
00:34:57,320 --> 00:34:57,480
Speaker 1: Yep.

695
00:34:58,880 --> 00:34:59,880
Speaker 6: I don't know if I've ever heard.

696
00:34:59,760 --> 00:35:00,679
Speaker 1: This in my life. No.

697
00:35:01,199 --> 00:35:01,239
Speaker 2: No.

698
00:35:01,639 --> 00:35:03,840
Speaker 7: Number four Kisses on My List by Hollow Notes.

699
00:35:04,000 --> 00:35:05,559
Speaker 8: That's a good one, Yeah, I got them.

700
00:35:05,880 --> 00:35:07,519
Speaker 6: Number three The Best of Times by.

701
00:35:07,400 --> 00:35:11,199
Speaker 7: Sticks Okay, yeah, sorry, that's a good one, right. Number

702
00:35:11,239 --> 00:35:16,199
two Woman by John Lennon and number one, Rapture by Blonde.

703
00:35:16,519 --> 00:35:20,159
Oh right, there's some decent songs on that top five.

704
00:35:20,440 --> 00:35:35,400
Speaker 5: Very different, very different genre there at Russia, right. Yeah.

705
00:35:37,639 --> 00:35:41,719
Speaker 4: So they follow fly By Night up with another album

706
00:35:41,800 --> 00:35:44,639
same year. Fly by Night came out February of seventy five.

707
00:35:46,000 --> 00:35:49,320
Caress of Steel comes out in September of seventy five

708
00:35:49,599 --> 00:35:53,199
and is even finding even less appeal than fly By

709
00:35:53,280 --> 00:35:58,280
Night does. And the record company is like, okay, guys,

710
00:35:58,400 --> 00:36:01,239
this isn't working anymore. We needed to do some radio

711
00:36:01,440 --> 00:36:04,119
friendly hits. You need to incorporate these things that are

712
00:36:04,119 --> 00:36:06,400
popular right now. You need to do these things with

713
00:36:06,480 --> 00:36:08,639
your lyrics, and you need to give us a radio

714
00:36:08,719 --> 00:36:12,559
friendly version or we're dropping you after this album. And they,

715
00:36:13,280 --> 00:36:16,519
being musicians who needed to make money and all had

716
00:36:16,599 --> 00:36:20,559
families that they were providing for, said why don't you.

717
00:36:20,559 --> 00:36:21,239
Speaker 1: Go fick yourself?

718
00:36:27,079 --> 00:36:29,199
Speaker 10: They made an album that is.

719
00:36:31,119 --> 00:36:34,719
Speaker 1: Is it like three songs long? How how long it's

720
00:36:34,760 --> 00:36:37,360
album number four? How many songs do we have? Like?

721
00:36:37,480 --> 00:36:39,920
Speaker 8: Well, twenty one to twelve is the entire first side

722
00:36:39,960 --> 00:36:40,760
of the album.

723
00:36:53,760 --> 00:36:56,320
Speaker 10: Right, songs on the second side.

724
00:36:57,039 --> 00:36:57,239
Speaker 8: Yeah.

725
00:36:57,480 --> 00:36:59,480
Speaker 1: Yeah. So the album that they come out with the

726
00:36:59,639 --> 00:37:01,639
f you the record company that we're going. If we're

727
00:37:01,639 --> 00:37:02,960
gonna go down, We're gonna go down.

728
00:37:03,039 --> 00:37:06,159
Speaker 4: Our way is twenty one to twelve, which of course

729
00:37:06,400 --> 00:37:10,880
makes them national international phenomenons.

730
00:37:24,320 --> 00:37:26,400
Speaker 6: Which again twenty one twelve.

731
00:37:26,400 --> 00:37:29,559
Speaker 7: If you have never read Ready Player One's key as

732
00:37:29,679 --> 00:37:32,400
Rush fans, you guys have to because they have to

733
00:37:32,480 --> 00:37:34,800
accomplish this task through twenty one twelve.

734
00:37:34,920 --> 00:37:36,360
Speaker 8: So I'll have to lead it.

735
00:37:36,840 --> 00:37:37,880
Speaker 5: I'll have to check it out.

736
00:37:39,079 --> 00:37:42,719
Speaker 1: So, guys, I've I watched you in your text thread.

737
00:37:43,280 --> 00:37:46,239
Speaker 4: Not only were you like discussing your favorite albums and

738
00:37:46,320 --> 00:37:48,719
aspects of each of them, but you were using like

739
00:37:48,840 --> 00:37:52,719
a code for the albums that I was just like, man,

740
00:37:52,880 --> 00:37:55,039
this is just I don't know. I'm glad you guys

741
00:37:55,039 --> 00:37:56,639
are having a good time. I'm just watching here with

742
00:37:56,719 --> 00:37:57,480
eating my popcorn.

743
00:37:57,679 --> 00:37:58,039
Speaker 1: That's right.

744
00:37:58,920 --> 00:38:02,480
Speaker 4: But we've got I mean we after twenty one twelve,

745
00:38:02,559 --> 00:38:05,159
we have a farewell to Kings, then we have Hemispheres

746
00:38:05,559 --> 00:38:08,400
Permanent Waves, and then with the album we're talking about today,

747
00:38:08,400 --> 00:38:13,519
which is Moving Pictures. So this one, two, three, four, five, six, seven, eight,

748
00:38:13,639 --> 00:38:17,800
this is their eighth studio album. Of those eight albums,

749
00:38:18,400 --> 00:38:21,039
which one I'll start with you, Tim, which one are

750
00:38:21,079 --> 00:38:22,719
you picking as your number one album.

751
00:38:23,719 --> 00:38:25,599
Speaker 5: My number one is Permanent Waves, which is the one

752
00:38:25,639 --> 00:38:40,480
that came out just before Moving Pictures. That's one has

753
00:38:40,480 --> 00:38:42,920
spirited radio on which you alluded to I think the

754
00:38:43,000 --> 00:38:46,800
top five of nineteen eighty. Yeah, that's my favorite album.

755
00:38:47,400 --> 00:38:49,880
I mean, Moving Pictures is a very close second in

756
00:38:50,000 --> 00:38:53,679
that regard, but I like Permanent Waves just a little

757
00:38:53,719 --> 00:38:54,039
bit better.

758
00:38:54,639 --> 00:38:56,000
Speaker 1: Nice what about you, Brad.

759
00:38:56,679 --> 00:39:13,360
Speaker 8: Mine's a farewell to Kings. I was introduced to Rush

760
00:39:13,480 --> 00:39:15,679
with the exit Sage Left, which was a live album

761
00:39:15,719 --> 00:39:19,079
that came out after Moving Pictures. But when I went

762
00:39:19,159 --> 00:39:20,920
and saw Rush for the first time in concert, they

763
00:39:20,960 --> 00:39:23,599
played Xanadu live and I was on the floor and

764
00:39:23,679 --> 00:39:25,800
there's just just griddle lasers over the top of you,

765
00:39:25,920 --> 00:39:28,000
and it just kind of just enveloped me and took

766
00:39:28,039 --> 00:39:29,719
me away. And then, of course Closer to the Heart

767
00:39:30,360 --> 00:39:32,480
is also on that album. It's a fantastic song. But

768
00:39:32,800 --> 00:39:34,719
the whole song, the whole album, the whole way through

769
00:39:34,880 --> 00:39:37,840
is just rock solid. It's it's my favorite. It's not

770
00:39:37,960 --> 00:39:38,960
really that close either.

771
00:39:39,159 --> 00:39:41,519
Speaker 4: And so as far as live shows go, do you

772
00:39:41,559 --> 00:39:43,559
get would you guys say these is the best live

773
00:39:43,599 --> 00:39:44,199
show you've seen?

774
00:39:44,639 --> 00:39:44,840
Speaker 1: Yep?

775
00:39:45,639 --> 00:39:48,639
Speaker 5: Absolutely yeah, I would say so too. Rush has always

776
00:39:48,679 --> 00:39:51,920
been about the show, about the concerts, and most fans

777
00:39:51,960 --> 00:39:53,840
will tell you that is that I know people that

778
00:39:53,880 --> 00:39:56,599
have seen them like over one hundred times. Yeah, like

779
00:39:56,679 --> 00:39:59,360
they've for all like some some people I know followed

780
00:39:59,360 --> 00:40:02,159
them around almost groupies is going from one down one

781
00:40:02,239 --> 00:40:04,519
town of the next. So yeah, it's just it's addictive

782
00:40:04,559 --> 00:40:06,480
watching the Russian concert.

783
00:40:06,880 --> 00:40:10,119
Speaker 8: And they actually picked up giving the fans the best

784
00:40:10,159 --> 00:40:13,000
show they could give by touring with Kiss. You know,

785
00:40:13,039 --> 00:40:15,760
they had nothing like Kiss. They said, nobody worked harder

786
00:40:15,800 --> 00:40:18,119
than Kiss to make sure fans got their money worth

787
00:40:18,159 --> 00:40:20,119
and they kind of they always kind of stuck with

788
00:40:20,239 --> 00:40:24,960
them and their tour manager, Howard Ungerlider. He actually did

789
00:40:25,039 --> 00:40:26,719
their lights and kind of learned that on the fly

790
00:40:26,920 --> 00:40:30,000
and is largely regarded as one of the best light

791
00:40:30,079 --> 00:40:30,840
guys in the business.

792
00:40:30,920 --> 00:40:33,320
Speaker 4: Now, yeah, I heard Gene Simmons talking about touring with

793
00:40:33,400 --> 00:40:36,239
these guys and he's like, the best thing about being

794
00:40:36,320 --> 00:40:39,159
a rock musician is even ugly guys like me can

795
00:40:39,239 --> 00:40:41,840
get the girls. And so after a show, I would

796
00:40:41,880 --> 00:40:44,800
have a line of girls at the door, and here

797
00:40:44,800 --> 00:40:47,719
are all these young, good looking guys and they've got

798
00:40:47,840 --> 00:40:51,360
no girls around. I don't understand the good looking fellas

799
00:40:51,559 --> 00:40:56,760
great musicians, and where's Rush. They're at home watching TV

800
00:40:56,840 --> 00:40:57,440
in their hotel.

801
00:41:00,639 --> 00:41:03,159
Speaker 7: There's a documentary that I watched on Rush on their

802
00:41:03,239 --> 00:41:07,800
farewell like their farewell tour or whatever. And I guess

803
00:41:07,880 --> 00:41:10,039
Alex Lifson used to do this funny thing where he

804
00:41:10,079 --> 00:41:12,079
put his hands in his pants and like put his

805
00:41:12,199 --> 00:41:14,199
hands out of his at the bottom of his pants

806
00:41:14,199 --> 00:41:16,320
and put a paper in the back his head, and

807
00:41:16,400 --> 00:41:18,760
he had this kind of funny voice and he said

808
00:41:18,800 --> 00:41:19,360
ace freely.

809
00:41:19,480 --> 00:41:20,039
Speaker 6: Was always like, go.

810
00:41:20,079 --> 00:41:22,599
Speaker 7: Get the bag, man, go get the bag, because he

811
00:41:22,719 --> 00:41:28,320
just thought it was the funniest thing. So, but that

812
00:41:28,519 --> 00:41:32,280
farewell tour, I saw them. They were rehearsing, and you know,

813
00:41:32,360 --> 00:41:34,840
they rehearsed for like two weeks or whatever. And it

814
00:41:34,920 --> 00:41:37,079
was in Tulsa, was at the Bok Center. It's where

815
00:41:37,119 --> 00:41:37,639
they kicked out.

816
00:41:38,679 --> 00:41:41,559
Speaker 5: Okay, it was incredible. I mean Rush even up until

817
00:41:41,719 --> 00:41:44,519
there are forty tour where they're in their early sixties,

818
00:41:44,960 --> 00:41:48,199
no opening band. They're doing three hours of songs and

819
00:41:48,280 --> 00:41:49,840
that's that's how they do it. It's like, it's it's

820
00:41:49,880 --> 00:41:51,639
incredible what they were able to pull off.

821
00:41:52,000 --> 00:41:53,440
Speaker 1: It's like four whole songs for them.

822
00:41:57,960 --> 00:42:01,280
Speaker 7: Yeah, and Neil Pert, who was of course aging by

823
00:42:01,360 --> 00:42:04,800
this time, was still doing every beat that he did

824
00:42:05,039 --> 00:42:08,880
forty years prior. And it's like, man, his performance, he's

825
00:42:08,920 --> 00:42:09,599
like an athlete.

826
00:42:09,800 --> 00:42:11,360
Speaker 1: Yeah, you'd have to be.

827
00:42:11,599 --> 00:42:12,360
Speaker 6: Yeah, well, we'll see.

828
00:42:12,360 --> 00:42:14,719
Speaker 5: He was riding motorcycle for probably ten hours of that dating.

829
00:42:14,760 --> 00:42:17,840
Speaker 6: Yeah, that's right, that's right. Okay.

830
00:42:17,960 --> 00:42:19,800
Speaker 7: Next time in the album is a song called the

831
00:42:19,920 --> 00:42:20,519
Camera Eye.

832
00:42:44,800 --> 00:42:47,239
Speaker 4: Okay, So I remember when these guys when they first

833
00:42:47,280 --> 00:42:49,880
started playing together. Of course they're just playing, you know,

834
00:42:50,119 --> 00:42:52,400
high school dances and stuff like that. They have a

835
00:42:53,239 --> 00:42:57,599
different drummer and lyricist, John Rutzy, but they had they

836
00:42:58,000 --> 00:43:00,280
had listened to several bands, but they weren't particular clearly

837
00:43:00,400 --> 00:43:01,840
into the popular bands at the time.

838
00:43:02,280 --> 00:43:03,039
Speaker 1: They were listening to.

839
00:43:03,920 --> 00:43:07,679
Speaker 4: Yes, we've covered we did obviously broad rock band of

840
00:43:07,760 --> 00:43:10,480
the seventies. And the other one of the other bands

841
00:43:10,519 --> 00:43:13,559
they mentioned was Pink Floyd. This song to me is

842
00:43:13,880 --> 00:43:16,880
from my ear is a blending of those two styles,

843
00:43:17,000 --> 00:43:20,360
a blending of the Rush and Pink Floyd vibe.

844
00:43:20,559 --> 00:43:21,599
Speaker 1: If you will, what do you guys.

845
00:43:21,519 --> 00:43:23,199
Speaker 8: Think If you listen to the first part of this

846
00:43:23,320 --> 00:43:25,599
song and you can hear some hustle and bustle of

847
00:43:25,679 --> 00:43:28,559
a big city. There's cars and honking flin that's actually

848
00:43:28,639 --> 00:43:34,280
taken from the nineteen seventy eight Superman movie and meals.

849
00:43:35,280 --> 00:43:38,639
You know, he actually came up with this song by

850
00:43:38,719 --> 00:43:41,280
walking through both the cities of London and New York

851
00:43:41,360 --> 00:43:44,159
and just kind of picking up on the goings around

852
00:43:44,440 --> 00:43:48,519
the sounds and sights of all those those two cities.

853
00:43:49,159 --> 00:43:52,320
Speaker 1: That's very I mean, that's very Pink Floyd to pull that.

854
00:43:52,760 --> 00:43:54,519
Speaker 8: What do you think I never thought about that, uh,

855
00:43:54,760 --> 00:43:57,400
that relationship, but it does kind of have some Pink

856
00:43:57,639 --> 00:43:58,880
Floyd apt aspects to it.

857
00:43:59,119 --> 00:44:02,599
Speaker 5: Yeah, I hadn't thought of that either, So thanks to.

858
00:44:04,280 --> 00:44:06,440
Speaker 6: Sometimes it takes a new guy to point out something,

859
00:44:06,480 --> 00:44:06,679
you know.

860
00:44:06,960 --> 00:44:11,960
Speaker 5: Right, Yeah, But Neil actually had spent some time in

861
00:44:12,079 --> 00:44:15,719
London before joining Rush. He was hoping to may I

862
00:44:15,760 --> 00:44:17,920
think it was in the late sixties. There's somebody maybe

863
00:44:17,960 --> 00:44:20,519
Brad you know better, But he was in London at

864
00:44:20,559 --> 00:44:22,800
some point trying to make and he obviously didn't make

865
00:44:22,800 --> 00:44:25,360
it and he came back and rejoined his dad's parts

866
00:44:25,400 --> 00:44:28,239
company again there. So he had some experience in London there,

867
00:44:28,320 --> 00:44:30,440
so he probably had some lyrics and things like that.

868
00:44:30,599 --> 00:44:32,960
Knowing about his head when he spends. But I mean

869
00:44:33,000 --> 00:44:35,360
camera is pretty cool. It's actually it's actually the last

870
00:44:35,719 --> 00:44:37,480
ten minute plus song that rushed recorded.

871
00:44:38,159 --> 00:44:40,159
Speaker 7: Yes, it was this is I mean, just to show

872
00:44:40,199 --> 00:44:43,039
you how intelligent Neil Pert is. I think the title

873
00:44:43,159 --> 00:44:47,360
came from a John the dos Passos novel looking at

874
00:44:47,400 --> 00:44:50,719
America in the Depression. I mean, rather than just calling

875
00:44:50,800 --> 00:44:55,920
it London rocks, you know it just the stuff that

876
00:44:56,000 --> 00:44:59,880
he comes up with is much deeper lyrically, super deep.

877
00:45:00,039 --> 00:45:01,599
Sometimes I don't even know what they're talking about.

878
00:45:01,760 --> 00:45:03,239
Speaker 1: So well, I think that's not uncommon.

879
00:45:03,960 --> 00:45:06,800
Speaker 8: You go back to Limelight. He actually quotes Shakespeare in there.

880
00:45:07,960 --> 00:45:10,039
What rott musician doesn't quote Shakespeare?

881
00:45:10,199 --> 00:45:13,760
Speaker 4: Right mentioned John Rutzy. He was the guy, and when

882
00:45:13,760 --> 00:45:16,199
they did their first album, they had leaned on him

883
00:45:16,280 --> 00:45:18,760
to be the lyricist, and once it was time for

884
00:45:18,840 --> 00:45:21,679
the lyrics, John Rutzy was like, I hate these and

885
00:45:21,800 --> 00:45:23,559
just tore them up. And so they had to they

886
00:45:23,679 --> 00:45:26,119
had to. Alex and Getty had to come up with

887
00:45:26,159 --> 00:45:27,760
the lyrics on the fly. I think it was mostly

888
00:45:27,800 --> 00:45:29,480
Alex that came up with most of the lyrics for

889
00:45:29,559 --> 00:45:32,119
their debut album. But then of course once they brought

890
00:45:32,239 --> 00:45:35,119
in Neil, and they first at looking at him, going

891
00:45:35,320 --> 00:45:37,719
this dude's a nerd, like, we're going to have a nerd,

892
00:45:38,000 --> 00:45:43,440
you a nerd in our band, And then they realized

893
00:45:43,519 --> 00:45:45,840
the beauty of not only is this this incredible drummer,

894
00:45:45,840 --> 00:45:49,719
but he's always reading the guy's vocabulary is insane.

895
00:45:49,760 --> 00:45:52,320
Speaker 1: They're like, why don't we have him write the words?

896
00:45:52,639 --> 00:45:55,119
He's got all the words, have him write those down. Yeah,

897
00:45:55,159 --> 00:45:56,800
and that's how he got that job, all right.

898
00:45:56,880 --> 00:45:59,039
Speaker 7: Next song on the album is a song called witch Hunt.

899
00:46:04,519 --> 00:46:09,840
Speaker 5: We just started in the flickering line bases on Twisted

900
00:46:09,960 --> 00:46:15,760
and Grotesque, singing inside in the soldering.

901
00:46:15,280 --> 00:46:18,119
Speaker 6: Night, moves like games.

902
00:46:20,320 --> 00:46:26,639
Speaker 5: Wyatt consints calm in their ride, in their ways on past.

903
00:46:44,880 --> 00:46:49,400
Speaker 4: Okay, so let's have a song with a minute long

904
00:46:50,000 --> 00:46:55,920
build involving the dissonant sounds of wind shines and make

905
00:46:56,079 --> 00:46:59,039
everyone terrified by the time we get into this rocking

906
00:46:59,159 --> 00:46:59,840
guitar riff.

907
00:47:00,880 --> 00:47:01,920
Speaker 1: What do you guys think about the sun?

908
00:47:02,199 --> 00:47:06,159
Speaker 5: Oh, it's it's very dark. The opening minute album you're

909
00:47:06,280 --> 00:47:10,400
talking above the where there's wind chises and apparently that

910
00:47:10,559 --> 00:47:13,119
was the rush and the crew going outside the studio

911
00:47:13,199 --> 00:47:15,480
there on a very cold night in December with a

912
00:47:15,519 --> 00:47:17,239
couple of bottles of Scots said, Oh, let's just do

913
00:47:17,280 --> 00:47:20,320
a bunch of ranting and raving, drink ourselves silly, And

914
00:47:20,960 --> 00:47:23,199
that's what came out of that. And uh, they went

915
00:47:23,280 --> 00:47:25,519
on afterwards say that was one of the best moments

916
00:47:25,559 --> 00:47:28,360
we ever had in recording that album. In particularly, they

917
00:47:28,400 --> 00:47:29,480
just had a lot of fun with that one.

918
00:47:29,639 --> 00:47:32,760
Speaker 4: I can see that it's it is definitely unsettling, but

919
00:47:33,320 --> 00:47:37,079
as that moment as the conception of a song, that's

920
00:47:37,079 --> 00:47:37,840
got to be pretty fun.

921
00:47:38,159 --> 00:47:38,360
Speaker 1: Yeah.

922
00:47:38,519 --> 00:47:41,320
Speaker 8: This actually has one of my favorite verses that Neil

923
00:47:41,360 --> 00:47:43,840
ever wrote, and it's the very end of the song.

924
00:47:44,000 --> 00:47:47,159
It's it's very pertinent to today's world too. So it's

925
00:47:47,199 --> 00:47:50,719
quick to judge, quick to anger, slow to understand, ignorance

926
00:47:50,800 --> 00:47:54,239
and prejudice and fear walcan in hand. Yeah, those few

927
00:47:54,320 --> 00:47:56,760
lines that just say so much. But it's it's very

928
00:47:57,239 --> 00:48:01,480
still appropriate today. Yeah, with social media, you know, I

929
00:48:01,559 --> 00:48:04,400
can't believe everything you read and that kind of thing. Yeah,

930
00:48:04,920 --> 00:48:06,360
I always liked that part of the song.

931
00:48:07,079 --> 00:48:09,519
Speaker 7: I do show that this song was recorded the same

932
00:48:09,639 --> 00:48:13,800
day that John Lennon was shot, and so as they're

933
00:48:13,880 --> 00:48:16,440
kind of working on it, you know, one guy would

934
00:48:16,480 --> 00:48:17,880
go in the other room and be like, oh my gosh,

935
00:48:17,960 --> 00:48:18,280
look at this.

936
00:48:18,360 --> 00:48:18,960
Speaker 5: It's on the news.

937
00:48:19,039 --> 00:48:22,800
Speaker 7: John Lennon was shot and killed. Yeah, so that all

938
00:48:22,880 --> 00:48:24,599
this was taking place at that very night.

939
00:48:24,800 --> 00:48:25,519
Speaker 5: Yeah, pretty well.

940
00:48:25,840 --> 00:48:28,519
Speaker 7: Okay, last song on the album. This song is called

941
00:48:28,599 --> 00:48:29,239
Vital Signs.

942
00:48:54,800 --> 00:48:58,360
Speaker 4: So this song, to me is somebody who's never heard

943
00:48:58,440 --> 00:49:00,280
Rush for the first time and they listen into this,

944
00:49:01,079 --> 00:49:03,599
They're going to go, what kind of music is this?

945
00:49:04,039 --> 00:49:08,079
Speaker 1: And the only answer is it's Rush. This does not

946
00:49:08,199 --> 00:49:11,440
fall into any other category. Like I can't. I can't

947
00:49:11,480 --> 00:49:15,199
think of any similar song in the volumes of music

948
00:49:15,239 --> 00:49:17,599
that we've talked about and listen to. I can't think

949
00:49:17,639 --> 00:49:19,480
of anything that sounds like this.

950
00:49:19,880 --> 00:49:22,639
Speaker 8: I'm sorry to catch off. If you listen closely. This

951
00:49:22,760 --> 00:49:24,639
is when he was hanging out with Stuart Copeland a lot.

952
00:49:25,119 --> 00:49:28,119
This is very much a police song.

953
00:49:28,440 --> 00:49:32,840
Speaker 5: I can see that actually rhythm Andy Summer's guitar at

954
00:49:32,880 --> 00:49:36,840
the beginning, and he he said, he admits as much.

955
00:49:36,880 --> 00:49:39,000
Speaker 8: He's like, you know, I loved what they were doing,

956
00:49:39,079 --> 00:49:41,679
and they were always on the turntable, and I was

957
00:49:41,760 --> 00:49:43,519
really really into them at that point.

958
00:49:43,599 --> 00:49:46,880
Speaker 4: And we've got the they've got the arpeggio, the keys

959
00:49:46,960 --> 00:49:50,760
going right there, the arpeggio synthesizer going on, and.

960
00:49:52,280 --> 00:49:54,119
Speaker 1: I don't know. I suppose I can hear a little

961
00:49:54,159 --> 00:49:55,559
bit of a Police in it, but I don't know

962
00:49:55,639 --> 00:49:56,320
that I would say.

963
00:49:56,280 --> 00:49:58,880
Speaker 8: Picture, yeah, yeah, it would work.

964
00:49:58,920 --> 00:50:01,559
Speaker 1: I mean, the Police were some unique stuff back then too. Though.

965
00:50:02,119 --> 00:50:03,840
Speaker 6: Yeah, I like the song. I think this is a

966
00:50:03,920 --> 00:50:05,320
good one. It's a good closer for me.

967
00:50:06,079 --> 00:50:07,519
Speaker 8: Yeah, it's one of their better deep tracks.

968
00:50:07,559 --> 00:50:09,519
Speaker 5: I think it's one of the songs to me that

969
00:50:09,760 --> 00:50:12,039
brings down the rest of the album. It just i've

970
00:50:12,119 --> 00:50:14,800
never really I wouldn't call it a skipper. It's still

971
00:50:14,800 --> 00:50:17,199
a very good song, but it's just so different from

972
00:50:17,559 --> 00:50:19,679
everything else that they were doing up until that point,

973
00:50:19,719 --> 00:50:22,000
and including the album. I mean, I'm glad they didn't

974
00:50:22,079 --> 00:50:23,760
end the album with witch Hunt because I just would

975
00:50:23,760 --> 00:50:28,639
have told you you just would have gone right, give

976
00:50:28,679 --> 00:50:31,599
me something uplifting, please, So I mean, I'm glad they

977
00:50:31,639 --> 00:50:34,559
did it. Apparently they did this song. They recorded the

978
00:50:34,599 --> 00:50:37,519
song in one day. Neil had the lyrics and he

979
00:50:37,639 --> 00:50:40,239
came in with him and Alex and Getty read the

980
00:50:40,320 --> 00:50:43,079
music and they recorded it all done in one day.

981
00:50:43,199 --> 00:50:46,159
So yeah, it's it's a song that the band really

982
00:50:46,239 --> 00:50:49,400
loved and I guess they played it quite extensively for

983
00:50:49,480 --> 00:50:51,719
the next three tours or so, just hoping that the

984
00:50:52,400 --> 00:50:54,639
fans would accept it. I think it took them a

985
00:50:54,679 --> 00:50:57,400
little while for the fans to really gain a prop

986
00:50:57,480 --> 00:50:58,599
appreciation of the song.

987
00:50:58,880 --> 00:50:59,280
Speaker 6: Interesting.

988
00:51:00,360 --> 00:51:03,000
Speaker 5: One of the notes I have is basically like trying

989
00:51:03,000 --> 00:51:04,920
to analyze the lyrics and it's kind of like, what

990
00:51:05,239 --> 00:51:06,559
what are they talking about?

991
00:51:06,599 --> 00:51:06,639
Speaker 7: What?

992
00:51:06,840 --> 00:51:09,480
Speaker 5: What is the story behind this? And the one thing

993
00:51:09,559 --> 00:51:14,159
I got is basically it's computer, scientific and medical metaphors

994
00:51:14,280 --> 00:51:19,719
to maintain individual integrity. It's always like deviating from the norm,

995
00:51:20,079 --> 00:51:22,960
elevating above the norm. That's mentioned a few times there

996
00:51:22,960 --> 00:51:23,360
in the song.

997
00:51:23,480 --> 00:51:25,159
Speaker 8: What do you think, Brad, Yeah, I mean that's I

998
00:51:25,199 --> 00:51:28,519
don't have anything else other than that. That's you know,

999
00:51:28,599 --> 00:51:30,599
It's always just kind of stuck out to me because,

1000
00:51:30,599 --> 00:51:32,760
like I said, so, such a different sounding song, certainly

1001
00:51:32,800 --> 00:51:35,480
different sounding for a rush song. Even even that, Yeah,

1002
00:51:35,760 --> 00:51:38,239
that reggae rhythm run at the first kind of hooks

1003
00:51:38,280 --> 00:51:41,039
me in and yeah, it's it's a good song. It's

1004
00:51:41,199 --> 00:51:43,000
it's one of my favorite deep cuts that they did.

1005
00:51:44,039 --> 00:51:46,840
Speaker 7: Okay, well, that brings us to the end of Moving Pictures.

1006
00:51:47,079 --> 00:51:49,239
Let's bring back Doug Gray. From last week, and let's

1007
00:51:49,280 --> 00:51:53,559
hear his final judgment between Rio speed Wagons High Infidelity

1008
00:51:53,639 --> 00:51:55,840
Album and Rush Moving Pictures.

1009
00:52:00,159 --> 00:52:03,440
Speaker 9: So in my opinion, I'm not a big Rush fan,

1010
00:52:04,840 --> 00:52:09,519
obviously since I'm not talking about that album. But Ario

1011
00:52:09,559 --> 00:52:13,079
Speak Wagon is something that I'm going to play forward, backwards, sideways.

1012
00:52:13,159 --> 00:52:15,079
I'm going to put it on my phone on a

1013
00:52:15,159 --> 00:52:18,639
CD player, on a cassette tape. Told Jayson, I don't

1014
00:52:18,639 --> 00:52:21,320
play vinyl, but if I did, I played there too,

1015
00:52:21,440 --> 00:52:23,320
So for me, it's high infidelity.

1016
00:52:24,360 --> 00:52:25,440
Speaker 1: Love it all right?

1017
00:52:25,519 --> 00:52:27,840
Speaker 7: Thanks Dougman, Doug Chos, are you Speedwag?

1018
00:52:27,960 --> 00:52:28,079
Speaker 1: Yes?

1019
00:52:28,239 --> 00:52:30,920
Speaker 4: Not surprising right at all. Right, I have a feeling

1020
00:52:31,119 --> 00:52:33,519
I know which way two of the other votes are

1021
00:52:33,519 --> 00:52:39,960
going to go. So guys, you know, tell us. I'm

1022
00:52:40,000 --> 00:52:43,159
not going to prejudge for you, but tell us which

1023
00:52:43,239 --> 00:52:46,159
album you're picking. And if you've got experience with high infidelity,

1024
00:52:46,199 --> 00:52:48,239
give us that too. And if you get something you

1025
00:52:48,320 --> 00:52:50,199
know you want to say in depth about your love

1026
00:52:50,239 --> 00:52:51,719
of Rush, hit us with that too.

1027
00:52:52,159 --> 00:52:54,760
Speaker 8: Look, I really like R speed Wagon also. I was

1028
00:52:54,800 --> 00:52:56,639
trying to see them. I guess it was about a

1029
00:52:56,760 --> 00:52:58,599
year ago. They were going to be turning again with

1030
00:52:58,679 --> 00:53:01,679
sticks and coming to Jackson, Mississippi, and I was gonna

1031
00:53:01,679 --> 00:53:03,559
try to catch it, and then I guess kind of

1032
00:53:03,920 --> 00:53:05,920
RSP and kind of broke up. I think they're kind

1033
00:53:05,920 --> 00:53:07,920
of back together now again. I'm not sure what the

1034
00:53:08,239 --> 00:53:11,360
Kevin Cronin was touring by himself doing the music of

1035
00:53:11,559 --> 00:53:14,159
RISP again, but I've always liked Kevin Cronin's voice, and

1036
00:53:14,360 --> 00:53:17,400
I always thought Gary Richraff was a great guitarist as well,

1037
00:53:18,079 --> 00:53:20,000
and didn't get enough credit because he was in more

1038
00:53:20,039 --> 00:53:22,239
of a soft rock band. He's kind of like Terry

1039
00:53:22,320 --> 00:53:24,960
cath in Chicago, fantastic guitar player. He just, you know,

1040
00:53:25,079 --> 00:53:27,079
kind of his own little element there. But I really

1041
00:53:27,199 --> 00:53:31,639
liked Rspeedwagon. But having said that, I mean, Rush is

1042
00:53:31,679 --> 00:53:33,880
my all time favorite band, and they always have been.

1043
00:53:34,079 --> 00:53:35,679
I mean I was exposed to him when I was

1044
00:53:35,679 --> 00:53:37,519
about twelve years old and I've been listening to him

1045
00:53:37,559 --> 00:53:41,559
ever since, and both fantastic albums. I still listened to

1046
00:53:41,599 --> 00:53:44,880
Ario to this day, but Rush is I probably got

1047
00:53:44,920 --> 00:53:47,840
about eight or nine different Rush playlists saved on my

1048
00:53:48,079 --> 00:53:50,000
phone that I listened to just depend on what mood

1049
00:53:50,000 --> 00:53:52,440
I'm in. They will always be my favorite band, moving

1050
00:53:52,440 --> 00:53:53,280
pictures all day for me.

1051
00:53:54,119 --> 00:53:55,079
Speaker 1: Good how about you too.

1052
00:53:56,679 --> 00:53:59,119
Speaker 5: Well, I was in high school at the time. Maybe

1053
00:53:59,159 --> 00:54:01,960
I'm the old one here fifty nine, so I think

1054
00:54:02,000 --> 00:54:03,719
it was in grade ten of that year. And I

1055
00:54:03,800 --> 00:54:07,599
remember Ario Speedwagon the High Infidelity album was huge in

1056
00:54:07,719 --> 00:54:10,199
high school. Everybody was listening to that, and then of

1057
00:54:10,280 --> 00:54:12,679
course the Moving Pictures album came out shortly after that.

1058
00:54:13,159 --> 00:54:15,000
But I mean, you know, I've got some fond memories

1059
00:54:15,039 --> 00:54:17,320
of Ario Speedwagon back in the day. They have some

1060
00:54:17,440 --> 00:54:21,440
great songs, excellent musicians, and they made some great music.

1061
00:54:22,079 --> 00:54:25,280
But now I got again for as far as consistent

1062
00:54:25,400 --> 00:54:31,679
musicianship and longevity, just the lyrics of Rush, of Neil

1063
00:54:31,760 --> 00:54:34,199
and what he did, and just that the fact that

1064
00:54:34,360 --> 00:54:37,559
the well, Rush is a Canadian band, so I have

1065
00:54:37,599 --> 00:54:41,480
a little bias there too. But there's are three great

1066
00:54:41,519 --> 00:54:44,559
guys that really did not get into a whole lot

1067
00:54:44,599 --> 00:54:47,159
of trouble as far as sex and drugs and all that.

1068
00:54:47,559 --> 00:54:50,400
Not that they were good, clean kids, but it's just

1069
00:54:50,480 --> 00:54:53,800
I guess the media for some reason, Rush always kind

1070
00:54:53,800 --> 00:54:55,639
of flew a little bit under the radar, and so

1071
00:54:56,239 --> 00:54:58,599
they weren't getting all the attention of maybe Kiss or

1072
00:54:58,679 --> 00:55:02,199
some of the other bands were. But I think overall,

1073
00:55:02,320 --> 00:55:04,679
really I have to always sign with Rush. I'm just

1074
00:55:05,000 --> 00:55:07,800
they then spillits me so much over the last forty

1075
00:55:07,880 --> 00:55:09,679
forty five years that I've been listening to them, and

1076
00:55:09,800 --> 00:55:15,679
I just there's no other band them, So always said Rush.

1077
00:55:15,800 --> 00:55:18,400
Speaker 4: Well that's we're not surprised, and I think that's a

1078
00:55:18,599 --> 00:55:21,760
that's a great take. Okay, So right now it's one

1079
00:55:21,840 --> 00:55:25,360
vote Ario speed Wagon, two votes for Rush. Jason, Yeah,

1080
00:55:25,400 --> 00:55:25,840
I'm gonna go.

1081
00:55:26,199 --> 00:55:29,599
Speaker 7: Uh So, while i appreciate Rush, and I'm certainly glad

1082
00:55:29,599 --> 00:55:30,880
to have you guys on here, and I'm glad we

1083
00:55:30,960 --> 00:55:33,960
went through this album. I'm mostly a top forty kind

1084
00:55:33,960 --> 00:55:36,960
of guy, and as Ario Speedwagon was a little more

1085
00:55:37,000 --> 00:55:38,199
at the top of the top forty.

1086
00:55:38,239 --> 00:55:39,239
Speaker 6: Obviously, we talked about that.

1087
00:55:39,480 --> 00:55:41,320
Speaker 7: I if I'm walking out the door, I'm grabbing high

1088
00:55:41,320 --> 00:55:44,360
in fidelity first, So that leaves you to break the tie.

1089
00:55:45,079 --> 00:55:48,199
Speaker 1: Okay. So we got two votes for Ario, two votes

1090
00:55:48,239 --> 00:55:50,920
for Rush. I am the tie breaker, yes, sir, Okay.

1091
00:55:52,239 --> 00:55:56,199
Speaker 4: So these are both incredible albums, neither of which had

1092
00:55:56,239 --> 00:55:59,800
I listened to in their totality before we did this podcast.

1093
00:56:00,000 --> 00:56:03,559
So I'm coming into most of the song with new Ears.

1094
00:56:04,000 --> 00:56:06,679
I really enjoy both albums.

1095
00:56:06,800 --> 00:56:07,159
Speaker 6: A lot.

1096
00:56:08,239 --> 00:56:11,199
Speaker 4: I think they're obviously, like you said, more radio friendly

1097
00:56:11,480 --> 00:56:15,360
Ario Speedwagon songs, more Ario Speedwagon songs that I can

1098
00:56:15,440 --> 00:56:17,480
sing along to, which you would think, okay, well then

1099
00:56:17,519 --> 00:56:19,079
you're going to pick that one to walk out the door.

1100
00:56:19,920 --> 00:56:25,239
But the musicianship with the Rush songs is so incredible,

1101
00:56:25,840 --> 00:56:30,639
and the powerhouses of the radio hits of Tom Sawyer

1102
00:56:30,679 --> 00:56:36,159
and of Limelight and of Why Wiz. They're so big

1103
00:56:36,400 --> 00:56:40,119
and they're so unique and so precise and so amazing

1104
00:56:40,159 --> 00:56:43,800
in their musicianship. I would take I'm at the end

1105
00:56:43,840 --> 00:56:48,480
of the day, I'm picking moving pictures to take with

1106
00:56:48,599 --> 00:56:51,039
me to just sit and listen in awe and try

1107
00:56:51,079 --> 00:56:53,320
to imagine being able to play like they play and

1108
00:56:53,400 --> 00:56:54,679
figure out how they do what they do.

1109
00:56:56,159 --> 00:56:58,320
Speaker 6: Actually, I thought you might do that just based on

1110
00:56:58,480 --> 00:56:59,880
you being a musician.

1111
00:57:00,039 --> 00:57:00,199
Speaker 1: Thanks.

1112
00:57:02,000 --> 00:57:05,159
Speaker 7: Yeah, well fantastic, Brad. Thank you for being here, Tim,

1113
00:57:05,239 --> 00:57:07,280
thank you for We're so glad to have you guys,

1114
00:57:07,320 --> 00:57:08,360
and get to know you guys.

1115
00:57:08,719 --> 00:57:10,199
Speaker 1: Next week, d what we got.

1116
00:57:14,599 --> 00:57:19,559
Speaker 7: Next week we are doing our top five songs of

1117
00:57:19,760 --> 00:57:23,239
nineteen eighty six. You're top five, My top five, right,

1118
00:57:23,480 --> 00:57:24,559
mano Imano.

1119
00:57:24,360 --> 00:57:25,159
Speaker 1: Mano Imano?

1120
00:57:25,320 --> 00:57:28,159
Speaker 4: All right, Well, okay, guys, so if you listening to

1121
00:57:28,239 --> 00:57:31,880
this one, go hit your YouTube or Spotify list to

1122
00:57:31,920 --> 00:57:33,960
see what songs came out in eighty six or we're

1123
00:57:34,000 --> 00:57:37,159
big hits in eighty six. We're not precise about what

1124
00:57:37,360 --> 00:57:39,400
makes it eighty six. Just if it's eighty six to us,

1125
00:57:39,800 --> 00:57:41,960
that's what it is. It qualifies as one of the songs.

1126
00:57:42,239 --> 00:57:44,800
But we will not be talking about any of the

1127
00:57:44,960 --> 00:57:48,519
albums that we have covered or will be covering, So

1128
00:57:48,639 --> 00:57:51,519
those are us are off the table gone. Maybe you

1129
00:57:51,760 --> 00:57:54,079
unique list, So guys, come back for that one. You'll

1130
00:57:54,119 --> 00:57:56,519
Hearry Jason's top five my top five.

1131
00:57:56,760 --> 00:57:58,920
Speaker 1: Guys. Thanks so much for coming and joining us.

1132
00:57:59,480 --> 00:58:01,840
Speaker 4: I am so happy that we were able to acquire

1133
00:58:01,960 --> 00:58:05,159
not one, but two of the ultimate Rush fans of

1134
00:58:05,280 --> 00:58:05,719
the world.

1135
00:58:06,039 --> 00:58:07,119
Speaker 1: Thank you guys for joining us.

1136
00:58:07,239 --> 00:58:09,159
Speaker 8: Well, thank you for having us a great time.

1137
00:58:10,800 --> 00:58:12,880
Speaker 4: Yeah, and again, thank you guys so much for being

1138
00:58:12,960 --> 00:58:15,480
good supporters of the podcast. I can't tell you how

1139
00:58:15,559 --> 00:58:17,320
much it means to us. We love all of the

1140
00:58:17,360 --> 00:58:19,400
people that we've met. We love we get when we

1141
00:58:19,480 --> 00:58:21,199
get to have you guys come on and co host

1142
00:58:21,239 --> 00:58:24,880
with us. It's it's just amazing that we're reaching people

1143
00:58:25,000 --> 00:58:27,960
for all from down in Louisiana all the way up

1144
00:58:28,039 --> 00:58:30,880
to Canada. It's a it's blowing my mind. But thank

1145
00:58:30,920 --> 00:58:33,440
you guys very much. We will see the rest of

1146
00:58:33,519 --> 00:58:35,039
you on our next episode.

1147
00:58:35,280 --> 00:58:35,800
Speaker 6: Thanks guys.

1148
00:58:40,079 --> 00:58:43,760
Speaker 7: The article was written in or carried in Track and Field.

1149
00:58:43,960 --> 00:58:50,119
Excuse me, thank you, Dragon, Drag and Field, you know whatever.

1150
00:58:51,039 --> 00:58:52,480
Speaker 5: He's a running one instead of a car.

1151
00:58:53,960 --> 00:58:55,800
Speaker 6: Sports Illustrated. I'm not sure what you wanted.

1152
00:58:55,840 --> 00:58:57,920
Speaker 1: It did not take great there