Eh... I hope that wasn't
(Limelight) one of your examples of
"complex / "difficult" / "precise" / progressive / proggy
" (I doubt it)? I thought that was okay. The guitar solo was probably the only decent thing about it...
Why don't you tell me what you like about it?
Alright. The solo the only decent thing??In a way I understand the urge of other members to promote Rush with its longer songs but what I want to explain is that complexity is not only in the build-up of the song, it can also be in the
way a song can be played. And that's often the case with Rush. Take Limelight. This song has a more simple build-up than the lengthy epics they did but this is certainly no straightforward and simple rock. And I know you are into guitar musicianship, Cried, but I hope this doesn't limit your focus when you listen to music. E.g., in Rush, there's so much more going on.
Maybe it's a drummer thing and/or one needs a certain sense for rhythm and dynamics in music but I'll still try.
When you listen (and look) well how that song is played, then these drum patterns are incredibly interesting and difficult. I am not sure how much you guys are into (rock) drummers, but Peart is the creme de la creme so to speak. Check all those accents and stuff. I could listen to
Moving Pictures and only listen to these drums. Not that the rest is unimportant, but these drums do not just carry the music, they shine out as a major asset. A feast to the ears. Of course, the bass playing is great as well. Together with our "own" 'Arry, and one or two other bass players in metal (I particularly like the one from Helloween with his own melodical approach), Geddy Lee is certainly my favourite bass player in rock music.
That's Rush for me: the quality of playing catchy and melodic material in a mighty exciting manner with the highest level you can imagine. It gives the music an extra layer.
Cried, since you never speak about other bands (there's about a zillion opportunities on this forum), not even now, I have indeed thought you are not that passionate in this kind of music.
@the other Rush fans:
I'd go for Cygnus I. That middle part is legendary with the sudden bass and drum accents out of nothing; very innovating and influential.
Not to my knowledge anyway. At this point, anything is good to get the thread back on track.
Both of those songs are great! It's nice to hear actual studio versions of them instead of the ones from The Entire Population of Hackney (which are also good too, don't get me wrong). Out of the two, I tend to lean more towards When She's Gone.
