Rush - Power Windows
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Free Music Notes for Power Windows
Free Music Review: Putting It All Together
Hit: 5 Stars
With any band that has such a deep catalog of music and styles, one's perspective often depends on when they became fans of the band. Prior to Power Windows, I was a casual fan, which at that time consisted of post Tom Sawyer productions. While Signals and Grace Under Pressure had some very good songs, neither album was complete. Rush and Geddy Lee in particular, were like kids with a powerful new corvette (or barchetta), aka the keyboards, but didn't quite know how to properly shift gears. With Power Windows, they became F-1 drivers. This was, in my opinion, their best and most complete album, one where they seemlessly integrated all of their musical and lyrical talents and clearly understand the proper blend of all the instruments and tools in front of them. There are no filler songs, no experiments that fail to deliver, just an album that while incorporating strong blends of '80s sounds, still carries itself as a stand alone time piece (wow!) 25 years later.
While the more commercially remembered song "Manhattan Project" can seem a bit dated right now, amazing how much simpler the world was when all we had to worry about nuclear annihilation, many of the other songs can still resonate today. From the prescient and soulless nature Goldman Sachs/AIG/FNM etc of "Big Money" to the warning of unbridled and unquestioned patriotism of "Territories" to the more personal soul searching of "Emotion Detector" and the wistfulness of "Middletown Dreams", lyrically Peart is able to not only tap into the gestalt of his time but of timeless themes.
No matter your political or personal orientation, and mine probably being to the right of some of they lyrical content, Peart does an exceptional job of throwing out philosophy, concerns, debates without using a sledgehammer, a sharp contrast to most performers in this day and age. Peart and Lee do the best job of integrating their old playing styles with new technology, without letting the technology overshadow their talents. Peart especially shines on "Mystic Rhythms", while Lee has his usual phenomanl bass lines on "Big Money", "Marathon" and "Territories". Lifeson sacrifices some of his harder rock and jamming tendencies, which came back to the forefront in later albums, for a much more textured and layered format, to match and supplement the keyboards.
Clearly this was the best of as many would call their "keyboard" diven era (Signals to Presto). While "Hold Your Fire" has many good moments, it relied to heavily on keyboards and was a turning point from Lifeson's point of view, where they needed to regroup and start focusing on more guitar and less keyboards.
Whether this is their "best" album, is a matter of perspective. Many older Rush fans, would consider it heresy to think so and would surely argue the unending virtues of 2112, Hemispheres, while newer Rush fans probably prefer an album closer to Roll The Bones. "Best" is rather subjective anyway in a band with 18 "original" albums. Better to leave it subjectively as my favorite, and objectively, as the best of that particular era of Rush.
Free Music Review: Against the Run of the Mill
Hit: 5 Stars
Throughout the 1970's, bassist / vocalist Geddy Lee, guitarist Alex Lifeson and drummer Neil Peart built a reputation on their live performances and technical fluorishes. But things change, people grow and our love sometimes shifts focus, if not object. And as their careers progressed, their love for creating music began to focus on the writing rather than the performing. So by 1982, the 10-minute epics had given way to tighter, more focused, yet equally challenging pieces. That the songs had become more melodic was a useful byproduct of the shift in focus. However, this era in Rushtory, which began with 1980's "Permanent Waves," has endured countless criticism from snotty rock journalists, who would apparently seem content to listen to recorded verses of sublime literature recited over two dissonant chords played alternately over and over again. Much of the criticism has even come from Rush's own fans.The pinnacle of Rush's output during this era was 1985's "Power Windows," which, not too surprisingly, has (unfairly) become the whipping boy for Rush's 1980's oeuvre. Always one to touch on powerful subjects, Peart (who is also the band's lyricist and one of rock's finest at that) devoted the entire album to dwelling on the subject of power and its many manifestations. Peart takes his lyric writing seriously, and with good reason. When the music is this good, you better have something meaningful to say to back it up.
The production duties were co-handled by the band and Peter Collins, beginning a fruitful relationship that (so far) has yielded 4 albums. The sound quality is superlative. The music lacks the raw aggression found in their earlier albums, but it more than makes up for it in the subtle, layered and intricate arrangements that include bass, guitars, drums, electronic percussion, bongos, keyboards, strings and a moving choir effect (at the end of the soaring "Marathon").
Particularly noteworthy among the songs are "Emotion Detector," (dealing with the way in which emotions can alternately make us powerful and frail); "Grand Designs" (a highly elegant way to say "stick to your guns!"); and "Territories," in which Peart touched on the subject of globalization years before the term became fashionable. The opener (and first single), "The Big Money," the title of which was Peart's homage to Dos Pasos, is a deceivingly catchy song that provides a blistering commentary on its subject matter.
Now, having made much of Rush's emphasis on songwriting, let me remind all you kiddies that these guys can play! "Power Windows" found them all at the top of their game: their technical abilities were at their peak and all three members matched them with brilliant writing, excellent production and lyrical meaning light years ahead of their musical peers. The result was "Power Windows," which, in my opinion, along with "Hemispheres" and "Moving Pictures," stands as Rush's best album.
Free Music Review: A perfect synthesis of prog, hard rock and new wave
Hit: 5 Stars
I can sort of understand the negative reviews some have given for 'Grace Under Pressure', as it can sound too mechanical and lifeless at times, but I can't say the same for 'Power Windows'. The material seems to rock much harder, with Alex Lifeson's riffing a bit more prominent than the last two albums and certainly the next one, with a lot more band energy and dynamic arrangements and synths that really work perfectly with the songs, unlike the next album. The melodies aren't brilliant, but where this album really hits me is the sheer power of the choruses and especially the emotion of the lyrics and how they're remarkably in tune with the music. In fact, I was drawn into this album probably quicker than any other Rush release, and it's definitely one of their most consistent and accessible albums, without a single weak track. "The Big Money" is a by now expected killer high energy opening rocker with a heavy hitting riff, great bass work and an infectious riff, "Manhattan Project" goes from an atmospheric section to a gripping breakaway rocker with a wall of strings towards the end of the song, and it's excellent, while "Marathon" is probably my 2nd favorite song in their entire catalog after "2112" on account of the galloping bassline and lyrics simulating a hard climp uphill, the inspirational lyrics, the PHENOMENAL singalong chorus, the unpredictable breakdown section, the stunning guitar solo that fits in perfectly with the song, and the final chorus coming around again backed by an orchestra and a choir. Yeaaaah!! The rest of the songs range from the political "Territories", which has awesome tribal drumming, Oriental guitar lines and atmosphere, a great bassline, and a booming chorus, the catchy keyboard line of "Grand Designs", the throbbing small town anthem "Middletown Dreams" (one of their more underrated songs), the fantastic "Emotion Detector", with a cool keyboard line running through the song and a fabulous chorus, and the stunning, otherworldly 'mystical' creation song "Mystic Rhythms", which is both beautiful and eerie at the same time. I personally rank this album as a favorite after 'Moving Pictures' and 'Signals', and I think it should be in any prog fan's collection - more like 4-1/2 stars than 5, because the U2 and Police influences in the guitar work can be a bit obvious at times, but it's very close to perfection nonetheless. This is also probably their last gasp of glory, as in my opinion, the band hasn't released a great album since then, and so putting an end to their 80-85 peak.Free Music Review: Neil,Alex And Getty In The Territories Of A Grand Design
Hit: 5 Stars
Continuing in the same spirit as Grace Under Pressure this album finds Rush embracing the same kind of musical communalism along with a new found sense of solidity.Solos are not a high priority once again-everything from the drumming,Geddy's more upfront bass solos are again here to creates various intertwining rhythms. What is interesting here is how plain spoken and dynamic Neil's lyrics are here compared to it's predecessor. Again the subject matter is highly political but far more determined."The Big Money" sets the stage;this is not a hard rock album per se-more a heavily synthesized "arena" sound in a way but this track rocks the hardest of all the tunes and considering the songs smug view on capitalism (almost to point out Canada's socialized medicine system) but here Geddy's synthesized keyboards and Alex's guitars meld together already. That same pattern extends into "The Grand Designs",this time with a more metaphorical lyric and more focus on the instrumental sections.The same thing basically occures on "Territories"-the lyric matched to what I'm guessing was some type of impressionistic instrumental section. Lyrically the most fascinating song is "Manhattan Project";there's little doubt for anyone who lived through or know about the Atomic age what this was all about;the lyric points out at the same time the irony of a scientific breakthrough the A bomb was as well the emotions,on all sides it generated.Musically speaking this song has more of a beat and you could almost call it a dance tune. That is also what happens to some degree on "Emotional Detector" only again it's more intrumentally inclined."Marathon" and "Mystic Rhythms" are the only songs on the album that are not obviously political and also the only ones with a really obvious "progressive" feeling;along with "Territories" and "Marathon" it's also one of the longest cuts here. "Middletown Dreams" is another good song,not overly a stand out but good in the mix. So is this album for every Rush fan?Probably not. If your not into synthesizers you probably will not appreciate this album at all. The melodies,textures and even the beats here are based in various synthesizers and keyboards. It's a really great sound and for those who are not electro-phobic especially so. Either way,even if you have an aversion to 80's style production this might change your mind if you give it a stronger listen.Free Music Review: Classic Rush...Tutonic Musicianship..Eloquent Writing..
Hit: 5 Stars
Well, the title says it all. This was the second Rush album that I came across when I was in my senior year of High School. You see, I became a Rush fan less than two years prior. After hearing Grace Under Pressure at my friends house, I became infatuated with this group. A group of superb musicians, and brilliant creative thinkers. Michaelangelo would be proud...I love the production of this album. I remember seeing the World Premier of the video "The Big Money". After viewing it, I jumped into my car and purchased the CD. I wasn't disappointed then, and I have developed a profound appreciation for it since its release in 1985. For me, Rush has always typified what music is within today's modern realm. A thourough display of musicianship and virtuosity,(Listen to the solo section of "Marathon") without overplaying. Yet a solid and distinctive feel for the human element ("Don't feed the people, but we feed the Machines. Can't really feel what international means."---Territories)..All in all, a beautiful alchemy reflective of the Spirit of Music, not just of the radio...
I myself have been a percussionist since the age of about 11. My inspirations are vast, but in my minds eye, Neil Peart is like his Rush counterparts. In a class of his own.... It is apparent in this release, as it is others, that Rush take their craft very seriously. They are not insouciant in any way shape or form. In Neil Peart's "A Work In Progress", Neil makes many references to "Serving The Song"... It is this humble, altruistic approach that illustrates the Rush philosophy. Substance over Flash--No games, No compromises...For those who are in love with anything related to Rush, and with percussion in general, "A Work In Progress" is a must have. For Neil lays out in precise format why he is considered to be more than just a drummer, and why Rush is more than just a band. They in fact are a paragon. A beautiful, technically gifted, yet humanistic force that serves as an example of what music should be, and still can be...
Should anyone wish to reach me about Rush, Neil Peart or anything in regards to these subjects, feel free to reach me at the following e-mail address...It would be nice to hear from you. God Bless and take Good care..Tony588732@aol.com.