Random album reviews

[Diesel 11]

Blood Star - First Sighting (2023)

For a second there I thought you were reviewing the new Blood Incantation album and I was kinda excited to see Jer’s take on Pink Floydian death metal lol.

 

[Jer]

For a second there I thought you were reviewing the new Blood Incantation album and I was kinda excited to see Jer’s take on Pink Floydian death metal lol.

Ha. No, just moving my 2023 reviews that were hosted on the Strange Death site back over here, since I shuttered that forum again due to lack of participation.

 

[Magnus]

@Jer baby, I dare you. I firmly believe in your objectiveness, especially if no harsh vocals are involved.
Could you please give us a review?
Miss your reviews in the GMSC thread, hope it - and they - come back at some point.

 

[Diesel 11]

Seems like all of my friends have been diving into Rush lately and so I've decided to join them. Rush is a band I've always liked, one of my favorites when I was listening to classic rock radio and a band my dad loves too. My uncle also had a burnt CD copy of Retrospective I that I used to play. I've started collecting their albums whenever I've been able to find them in stores but I've never gone through the entire discography. Some of these albums I've heard many times, some I only know a couple songs from, and some of them I haven't heard at all. Excited to do this, been meaning to for ages. And since Jer began this thread with Rush reviews, it feels only fitting that I continue it with my own.



Rush
Rush (1974)

1. Finding My Way - Rush really began their career with a corker. Love this opening riff, twirling into the speakers as Geddy does a sort of pastiche of Roger Daltry's "Won't Get Fooled Again" scream. It's not as effective as that song, but it's very, very fun. This whole song is fun. Simple verses and a catchy chorus that twists and turns until you get to hear it in full. Rush on this album are playing like a more straight-ahead '70s rock band and they're at their best when they just dig in and make a meal out of it - this song is Exhibit A. 8/10

2. Need Some Love - Track 2 jumps in and gets right down to business. Geddy has been finding his way and now he needs to get laid. The energy is pumping and hard to dislike. The chorus is simple and not as effective as in the previous song, but it's not grating either. The instrumental is straight out of Led Zeppelin's first two albums, and I really dig it. A solid song, and I appreciate it's brevity. 6/10

3. Take a Friend - Inoffensive. The lyrics are really, really weak and the music doesn't balance that weakness out. The intro/outro has gotten stuck in my head, but most of this song just washes by and goes away and is forgotten. Its biggest sin is not knowing when to end. Three chorus repeats is too much. 5/10

4. Here Again - A longer, bluesy track to cap off Side 1. This type of track isn't usually up my alley but I've really been getting into "Here Again". Geddy's vocals go pretty hard and these are easily the best lyrics on the album, a rumination on the band's place in the world that also doubles as a tongue-in-cheek comment on the track's repetitive structure. Alex Lifeson gets a lengthy solo in here that's almost like a prototype "Comfortably Numb". Very, very cool. I quite dig this one. I'll be a little conservative and give it a 7/10, but I could see this one rising to an 8.

5. What You're Doing - Sabbathy guitar riff on this one. Unfortunately nothing else is interesting about it. Has no flow and by the time we get that three part big rock ending it feels unearned. Completely underbaked and boring. Worst song on the album. 4/10

6. In the Mood - Better than the previous song, but not by much. Don't really care about this one, it's your run-of-the-mill rock'n'roll sex song. The chorus tries to be memorable and fails. 5/10

7. Before and After - "Before" is a fantastic, beautiful instrumental opening. Really tugs at the heartstrings and is probably the best example of how good Rush were as songwriters and musicians and how much better their career was going to get. "After" comes in and has some great energy but sadly doesn't really go anywhere interesting. The chorus doesn't really exist and it's clear these guys needed some direction. A mixed bag. 6/10

8. Working Man - The guitar rolling into the speakers is probably the most hype moment on this whole album. Everyone knows "Working Man", it's easily the song that's transcended the album to being a certified Rush classic. I've never been the biggest fan of this song, but I've gotta say I've warmed up to it quite a bit. It's certainly a track for the everyman. Simple lyrics about the 9-5 life - while Peart's would probably have been more interesting, would this song be as popular with more poetic lines? The instrumental section is pretty joyous, basically a nice long jam. The way the guitars play with bass is absolutely Maiden-esque. The treading water riff under the chorus is an earworm. And while the song might not fully know where to end, by and large this one is pretty great. 8/10

OVERALL

Pretty solid first album. It's more straightforward Zep-inspired rock than where Rush would end up going. The actual band is pretty tight. John Rutsey holds his own, lots of tasty drumming going on here, but of course he'll always stand in Peart's shadow. It's clear that the band isn't trying to write filler, but a lot of these songs are missing the ingredients that would make Rush so unique later on. That said, the good songs are very good and help balance out the record's bum moments. Definitely don't hate it. It's a solid album.

Total: 61%

 

[MindRuler]

I hope you´ll be gently to Hold Your Fire. That album always gets poor reviews and ranked low in their discography.

 

[Diesel 11]

Rush
Fly by Night (1975)

1. Anthem - The needle drops and immediately we are flung into a way busier, more complex piece than anything on the previous album. Neil Peart is absolutely running circles around Rutsey across this whole track, it's insane. A song like "Anthem" would be 1/10th of what it is with a lesser drummer; 90% of what makes it so good is the tasty fucking drumming all throughout it. I love the driving riff Lifeson switches to after the intro. The verses wash by with wavey distortionless electrics. If I have one reservation about this track it's probably the lyrics and Geddy's singing. As much as this is a mission statement for Rush's new identity on their second record, the Randian ode to individuality, while more interesting than most of the lyrics on their debut, and a statement against the conformity of the music industry, does dip a little into the cringe in certain places (Peart would get better at this with time). And maybe it's because they're more complex lines than he had to sing before, but I don't think Geddy quite knows how to work his way around them. Otherwise this is an unbelievable reintroduction for Rush. That outro, playing around with noise and silence, is aggressively stoking the fires inside of my reptilian brain. 9/10

2. Best I Can - Despite being written before Peart joined the band, that motherfucker nonetheless makes this one his own. What would otherwise be a simpler track than "Anthem" feels just as complex with him behind the drumkit. Lee does the lyrics on this one and despite being about wanting to be a rock 'n' roll star I think they're really fun. Love the way Peart plays around with the chorus, speeding up the feel halfway through each line. Great stuff. 8/10

3. Beneath, Between & Behind - You can really tell that the music was written to the lyrics and not the other way 'round for this one. The music is really rhythmic and locked into the lines. The first Rush song that dives into fantasy and it's pretty fun. 7/10

4. By-Tor and the Snow Dog - Rush's first true epic and my god is it incredible. They throw you right in without any warning and suddenly you're watching two beings fight for the sake of existence. This is the first song that feels like Rush are doing exactly what they are meant to do. The verses are so exciting, but the real gold lies in the lengthy instrumental odyssey between them. In a way this really feels like a glorified instrumental. As soon as Geddy lets out a shriek, the battle has begun, as the fiery guitar battles against a roaring bass as the drums watch like hungry spectators. The battle itself is short-lived, coming to an end after a blazing, twisting guitar lead and some incredible drum fills. The sound of chimes sparkles as the guitars roll slowly, mournfully across a now silent battlefield - and then become gloriously triumphant in a beautiful Lifeson solo as the Snow Dog stands tall, sending its nemesis back to Hell. For a song that started out as a joke concept, it is living proof of just how incredible Rush were as musicians, even so early in their career. 10/10

5. Fly by Night - The title track is a classic '70s rock single. The music is so happy. I have two critiques about this song - the effect on Geddy's voice in the bridge, and the arrangement of the double chorus finale (two repeats of "my ship isn't coming..." before the last chorus is a bit awkward). I think this one doesn't stay as exciting as the more complex songs on the record but it's also a song that never fails to put me in a good mood. The way Peart runs in and out of the music is so good. 8/10

6. Making Memories - Another very happy song! I think I've come to like it just on that basis. This is an acoustic number about the positives of touring life and I'm kind of swept away by its attitude. 7/10

7. Rivendell - This one is such a curveball. Very simple campfire acoustics layered with ambient electric guitars back Geddy's voice, which is soft, soothing, and completely different from the shriek he usually employs. He sings of friends, of nature, of beauty in a little Middle-Earthen village called Rivendell. The best thing about Rush when they do a concept like this or "By-Tor and the Snow Dog" is how earnest they are. It's a gorgeous little inclusion on this album. 8/10

8. In the End - More acoustic guitar opens up the album's finale. I love the beginning to this song, it's another very pretty passage and Geddy's soft voice is once more beautifully employed on it. Lyrically it's also pretty strong for his work. I love how the riff then comes in again, this time electric and distorted, with Lifeson also layering on top a tiny sparking lead piece for takeoff. You can tell that this song continues the Zeppelin inspiration from the first album. Peart actually takes a laid-back approach to this one. I don't think it builds quite to the places I'm hoping for based on the intro, but it's still a good closer for the album. 7/10

OVERALL

I don't think that Rush's debut was bad per se, and I think they were pretty competent musicians on that album, but this album is like listening to a completely different band. Crazy that a change in drummer could transform them so drastically. There are aspects of the debut that have stuck around, but the music is way more engaging, the lyrics are by-and-large more interesting, and my god the drumming is just incredible. Peart is just next level. Some of these songs feel like they should be filler tracks but I've been won over by them all with repeated listens thanks to the band just being so locked into what they were doing. And then a song like "By-Tor and the Snow Dog" is basically an embarrassment to the rest of the rock genre. What a great album.

Total: 80%

 

[Diesel 11]

Rush
Caress of Steel (1975)

1. Bastille Day - The opening of this song is Rush really showing off their ability to rock - two great, heavy riffs, the first grabbing your attention and the second sliding in with a wry, grin, setting the stage for this anthem of revolution. Geddy shouts out verses with amateurish melodies, but they are still effective enough. The chorus is probably the most memorable one we've gotten from the band yet. The song slows up and sinks its teeth into that section. This is the pull for getting you to return to this song. What will keep you coming back is the guitar riffing throughout this track, coupled with Peart's oh-so tasty drumming. Rhythmic at times, always playful, while Geddy urges the masses to rise up again. The finale is a slower, melodic rendition of the chorus and such a fun way to go out. What an exciting song. 9/10

2. I Think I'm Going Bald - Kind of a groovier song for Rush, not too dissimilar from the debut's material. Musically I think it's pretty fun, good riffs and that outro solo is pretty cool. The verses don't do much for me though, and Geddy's execution of lines like "I think I'm going bald" and "I'll still be grey my way" are kinda dumb. Overall I think it's a solid song that doesn't really know where it's going. 6/10

3. Lakeside Park - A quieter, more melodic track about an amusement park. Musically I think it's pretty decent, kinda feels like something off of Physcial Graffiti, but the verses and chorus just have no real hook to them. "Lakeside Park, willows in the breeze, Lakeside Park, so many memories." It's too sing-songy for me. This song also doesn't really know where it's going. The whole construction feels way too amateurish for a band that already wrote something like "By-Tor and the Snow Dog" on the previous album. Doesn't do much for me. 5/10

4. The Necromancer - A musical recreation of a D&D campaign. You can definitely tell that they were high when they made this. A rather aimless, wandering 12-and-a-half minute song, but there are some good moments throughout. Part I is dark, ambient, shadowy, with wafting spooky guitar lines gliding past. Geddy gets to use his soft vocals for the first verse which is nice to hear. The solo sounds like it's backed with a reversed solo? Part II is more exciting, with a fun drum fill leading into a rhythmic start-and-stop riff and a more powerful verse. Halfway through we dive into a faster solo section that is less interesting but has some solid moments, especially when the solo and riff splits across the speakers. Part III sees the return of Prince By-Tor, this time a hero. Redemption arc! It's a pretty little melody, with a sing-songy verse that I'm not big on. Definitely feels like they couldn't come up with something more creative here. The story itself is held together by Peart's spoken word sections, something they wouldn't have to rely on with "2112". Solid song overall. A sign of better things to come I think. 6/10

5. The Fountain of Lamneth

I. In the Valley - Side 2 begins with a beautiful little acoustic melody. Geddy comes into view, his voice quiet but full of feeling. I think his best quality as a singer is his ability to showcase emotion and this is a prime example of that. "I am born... I am me..." Our narrator has just been birthed into a brand-new world. Nameless, innocent, on a path of discovery but with a sense of independence. The music builds into a triumphant heralding of this new person before a regal and massive electric guitar strum floods the speakers. It is the Fountain of Lamneth calling from the Mountain in the East. The heavier verses showcase this young person's ambition, while the softer chorus speaks to the mesmerizing pull that drives that ambition. The way Geddy sings, "The valley floods with light..." is gorgeous, and plays on that yearning feeling we have throughout this first act. The motif riff builds up, toying with your anticipation, before we fade to black.​

II. Didacts and Narpets - We find ourselves in a dark environment. Our eyes, once opened to the bright rays of light in the previous chapter, are now shut. Peart lays down a really cool drum solo that gets progressively more intense. Lifeson's guitar and Geddy's voice sparkle in, trying to force us to open our eyes again. It's the voices of the world, attempting to shove the narrator down a variety of conflicting paths. He cries out for all to "listen" and then we cut to black again.​

III. No One at the Bridge - The sound of waves and a dark, unbalanced melody builds as we "cry back to consciousness". Our narrator is alone to pilot his ship through life, the "didacts and narpets" having deserted him just when he needed them most. I think it speaks to a real feeling of becoming an adult, something that at 24 I'm still dealing with.​

Remembering when first I held the wheel in my own hands​

I took the helm so eagerly, and sailed for distant lands​

But now the sea's too heavy, and I just don't understand​

Why must my crew desert me when I need a guiding hand?​

That's the perfect way to express this feeling. Maybe it speaks to me because of where I am in life right now, but I really like it and I love the uncomfortable, gloomy guitar melody floating throughout this one. The 'chorus' section is a bit too stop-and-start for me, but it still works, and the solo at the end is beautiful.​

IV. Panacea - A campfire acoustic begins the fourth chapter. The narrator must have found an island to dock at. Geddy's voice is again quiet and yearning. This piece represents a love that the narrator has found, even though, wrapped up in his wanderlust, he knows he will eventually leave it behind. A beautiful inclusion in this suite.​

V. Bacchus Plateau - Years have gone by and our narrator is still climbing that mountain. Over a goblet of wine he gazes back across the land and sea that carried him along his adventure. As much as he wishes to feel the excitement of his youth, with every step upward he grows more and more weary. He will go the rest of the way slowly. Great, memorable chorus to this one! "Draw another goblet from the cask of '43..." Also love the fading outro solo. The journey is almost over.​

VI. The Fountain - The majestic riff of the Fountain is calling us again. As the "mist is rising, and the sun is peaking through", our tired old narrator "falls before the Fountain of Lamneth" at last. He thought he "would be singing, but he's tired, out of breath". As to be expected. One can only reach the fountain of death at the close of their lives. But even at the end there are no easy answers. Our narrator seems to think that there's a chance for reincarnation, and like the sun he will be back to journey again come a new dawn. The band forgoes a second chorus here to instead embark on a cool, mournful solo. And in the finale, as the world goes dark again, leaving the narrator's soul to ponder a few seconds on a life lived, that beautiful acoustic melody from the beginning returns and Geddy's voice is once again quiet, reverent, beautiful. "Still... I am..."​

Given the album's reputation, and the previous three songs that proceeded it, I really didn't know what to think about the album ending with a 20-minute suite. So imagine my surprise to find out that "The Fountain of Lamneth" is actually one of the best songs so far, and easily has to be one of the most underrated in their entire catalogue. These are easily Peart's best lyrics so far, a poetic, picturesque detailing of a journey through life, and it's backed with some of the band's most beautiful and engaging music. They're willing to take the time to build each section. Not only that, but in spite of the all the fades between sections, it actually works. The chapters feel well-defined and complement each other as a whole, something not even "2112" is perfect at. I don't know if I would call the entire 20-minutes perfect, but I think that the attempt, execution, and success of this whole concept, plus it being the best composition of the band's so far ("By-Tor" notwithstanding) warrants a 10/10. I love this one. I guess that's an unpopular opinion but it's really, really good.

OVERALL

Starting out strong with "Bastille Day", the album kind of meanders through the rest of side 1 but completely changes the game with side 2. It's such a shame that the band didn't stand behind the lengthy material on here, as I've seen a lot of people love "The Necromancer" and personally "The Fountain of Lamneth" is one of the best things they've made to date. A hit-or-miss album but those hits are so worth the misses.

Total: 72%
Weighted Total: 79%
I would probably go in the middle and say 76%. The good stuff is really good but you do have to wade through an equal amount of weaker material.

 

[MindRuler]

Caress is very underrated! Nice you rated TFOL so high!

 

[el diablo]

I once read that Didacts and Narpets was an anagram for something, but I forget what it was and have no idea if it’s true.

 

[MindRuler]

I once read that Didacts and Narpets was an anagram for something, but I forget what it was and have no idea if it’s true.

Stranded acid pants

 

[Jer]

Stranded acid pants

Add centrist pandas.