Rush in Rio (video)
Rush in Rio is a live DVD by Canadian band Rush, released in 2003. It is available as a three CD set, it was the first concert DVD released by the band, consisting of 29 songs, is available in both one- and two-disc sets. Bonus features in the two-disc set include a behind-the-scenes tour documentary directed by Andrew MacNaughtan and multi-angle viewing options for three songs; the performance was recorded and filmed at Maracanã Stadium in Rio de Janeiro and was the final night on the 2002 Vapor Trails Tour. It is the band's first live video; the attendance at this show was the second largest crowd at a show on the Vapor Trails Tour. The crew had such a difficult time driving from São Paulo to Rio de Janeiro that they were hours late when they arrived at the stadium, no sound or video check was done because the crowd was entering by the time everything was set up. After this show, Neil Peart's rotating drum riser was destroyed when it was being removed from the stadium by a flat-bed truck whose driver miscalculated the height of the exit.
The Vapor Trails carpet, on the stage was left behind after it got so soaked with rain water it could not fly back with the rest of the equipment, was sold on eBay to a fan in Connecticut. The Rush In Rio DVD received the 2004 Juno Award for "Music DVD of the Year." The second disc includes two Easter eggs. The first Easter egg is the cartoon that plays during "By-Tor and the Snow Dog." If you are using a remote control, the Easter egg is accessed by pressing "enter" on a remote control at 26:40 in the disc-2 documentary, "The Boys in Brazil," while Alex Lifeson is discussing the song. Or, if you are at a keyboard, you can press the key once at any point between 26:40 and 27:39; the second Easter egg on the second disc is a video of Rush playing "Anthem" in 1975. It is accessed with a remote control by selecting the second clip on the main menu, the first clip twice, the second again, returning to the main menu after each selection. If you are using a computer, start the clip "O Baterista", let it start playing.
Either let it play to the end, or click your media player's button for'next selection'. Next, play the track "YYZ", and, as before, return to the main menu. Select "YYZ" again, play "O Baterista" again. After playing those four selections in that sequence, when you return to the main menu you will see a new'Special Bonus' option at the top-left of the main menu called, "Anthem 1975." This video sequence has been referred to as an allusion to Rush's 1976 album 2112. "Tom Sawyer" – 5:04 "Distant Early Warning" – 4:50 "New World Man" – 4:04 "Roll the Bones" – 6:15 "Earthshine" – 5:44 "YYZ" – 4:56 "The Pass" – 4:52 "Bravado" – 6:18 "The Big Money" – 6:03 "The Trees" – 5:12 "Freewill" – 5:48 "Closer to the Heart" – 3:04 "Natural Science" – 8:34 "One Little Victory" – 5:32 "Driven" – 5:22 "Ghost Rider" – 5:36 "Secret Touch" – 7:00 "Dreamline" – 5:10 "Red Sector A" – 5:16 "Leave That Thing Alone" – 4:59 "O Baterista " – 8:54 "Resist" – 4:23 "2112 Overture/The Temples of Syrinx" – 6:52 "Limelight" – 4:29 "La Villa Strangiato" – 10:05 "The Spirit of Radio" – 5:28Encore: "By-Tor and the Snow Dog" – 4:34 "Cygnus X-1" – 3:12 "Working Man" – 5:48 The Documentary: The Boys in Brazil MX Multiangle Songs: "YYZ" "O Baterista" "La Villa Strangiato"+ Easter Eggs Geddy Lee - vocals, bass guitar, acoustic guitar on "Resist" Alex Lifeson - electric and acoustic guitars, backing vocals Neil Peart - drums and percussion Daniel E. Catullo III - director, producer Andrew MacNaughtan - director of "The Boys in Brazil" Lawrence Jordan, Lionel Pasamonte - producers Ray Danniels, Pegi Cecconi, Bryan Domyan - executive producers Allan Weinrib - executive producer, producer of "The Boys in Brazil" Glenis S. Gross, Tilton Gardner, Robert McClaugherty - co-executive producers Michael J. Schultz, Alberto Magno - Brazilian producers Ted Kenney - line producer James'Jimbo' Barton - audio producer Rush in Rio on IMDb
Heart Full of Soul
"Heart Full of Soul" is a song recorded by English rock group the Yardbirds in 1965. Written by Graham Gouldman, it was the Yardbirds' first single after Jeff Beck replaced Eric Clapton as lead guitarist. Released only three months after "For Your Love", "Heart Full of Soul" reached the top ten on the charts in the United Kingdom and the United States; the Yardbirds' first recorded the song with an Indian sitar player performing the distinctive instrumental figures. However, the group was dissatisfied with the results. Beck developed the part on electric guitar using a fuzz box distortion unit. Music writers have described his contribution as introducing Indian-influenced guitar stylings to rock music; as one of the Yardbirds' most popular songs, it was performed in concert. There are a number of live recordings, the earliest of which feature Beck, while ones feature guitarist Jimmy Page. "Heart Full of Soul" appears on several of the group's compilations and renditions have been recorded by other musicians.
Guitarist Eric Clapton left the Yardbirds in March 1965 because of a perceived shift in musical direction. Inspired in part by Jeff Beck, who replaced Clapton, the group began to experiment with different musical styles. Beck had more varied influences and used electronically enhanced guitar effects, such as fuzz and feedback, which he brought to the group's sound; when preparing for a follow-up single to their first record chart hit, "For Your Love", the song's writer Graham Gouldman provided a demo for a new song. Music critic Richie Unterberger described Gouldman as "a genius at alternating tempos and major/minor modes", which are used in "Heart Full of Soul"; the shift in tempo and use of double-time was a feature of the Yardbirds' live performances and was known as a "rave up". At the time, popular music at large was seen as becoming more experimental. Gouldman's arrangement was perceived as creating an exotic sound. Yardbirds' drummer Jim McCarty explained that "the riff on the demo suggested a sitar" and that the group's manager, Giorgio Gomelsky, hired a sitar and a tabla player for a recording session.
Beck biographer Martin Power notes that "For Your Love" had been made more memorable by a prominent harpsichord part and that may have influenced Gomelsky's decision. Beck notes this parallel; the use of sitar was a new approach. Several months the Beatles recorded "Norwegian Wood", the first rock song released to incorporate a sitar part. Session guitar player Jimmy Page, who joined the Yardbirds, was working in an adjacent studio and attended the session; the Yardbirds' first attempt to record "Heart Full of Soul" was on 13 April 1965 at Advision Studios in London. The session began with the sitar player playing the distinctive instrumental riff. However, he was unfamiliar with the type of rock sound the group was trying to achieve – "It just didn't have any groove to it", Beck felt. McCarty added: "It was fine in principle, but while the tablas sounded OK, the sitar just wasn't up front enough, it just didn't cut through." Beck developed a riff on guitar to replace the sitar line. He elaborated in an interview: The sitar player couldn't get the 4/4 time signature right.
So I said,'Look, is this the figure?' I had a Toneblender, going. We did one take, it sounded outrageous. So they kept the tabla player, they rushed that out, the rest was a rollercoaster ride. According to McCarty, Beck developed the riff after borrowing Page's prototype fuzz box, designed for him by Roger Mayer; when he played the lick for the band, they felt that it was a perfect fit: "this great sounding riff emerged... I mean Beck just nailed it", rhythm guitarist Chris Dreja recalled; the group returned to Advision on 20 April to complete the song. Beck was able to achieve the sitar-like hook by bending the higher notes on his guitar in an while using his own Tone Bender unit to get the distinctive tone. While sounding the open D string, he added a droning quality reminiscent of the sitar's sympathetic strings. Music writer Alan di Perna describes Beck's playing as a milestone and helped introduce "the psychedelic subgenre known as'raga rock'", which became popular during 1966 and 1967. William Echard adds "'Heart Full of Soul,' released in June 1965, is said to have marked the arrival of raga rock be pivotal in shaping the look and sound of 1960s psychedelia."
Unterberger commented, that the song does not rely on gimmicks and has other aspects that make it compelling. He added that the vocal parts by lead singer Keith Relf, backed by atmospheric harmonies, provide contrasting melancholic and upbeat sections; the song is propelled by a strummed acoustic guitar by Relf, giving it an element of contemporary folk music. McCarty and session bassist Ron Prentice comprise the rhythm section. Yardbirds' bassist Paul Samwell-Smith, who assumed the role of producer for "For Your Love", is listed as "Musical Director" on the Columbia 45 rpm single. Gomelsky received the credit as the song's producer. Less than three months after "For Your Love", "Heart Full of Soul" was released as the Yardbirds' first single since Clapton's departure. In the UK, Columbia issued it on 4 June 1965, with Epic Records following on 2 July 1965 in the US. In an ironic twist, the picture sleeve used by Epic featured a photo of the Clapton lineup instead of the Beck lineup. Epic released the group's next single, without a picture sleeve.
Quebec is one of the thirteen provinces and territories of Canada. It is bordered to the west by the province of Ontario and the bodies of water James Bay and Hudson Bay. S. states of Maine, New Hampshire and New York. It shares maritime borders with Nunavut, Prince Edward Island, Nova Scotia. Quebec is Canada's largest province by its second-largest administrative division, it is and politically considered to be part of Central Canada. Quebec is the second-most populous province of Canada, after Ontario, it is the only one to have a predominantly French-speaking population, with French as the sole provincial official language. Most inhabitants live in urban areas near the Saint Lawrence River between Montreal and Quebec City, the capital. Half of Quebec residents live in the Greater Montreal Area, including the Island of Montreal. English-speaking communities and English-language institutions are concentrated in the west of the island of Montreal but are significantly present in the Outaouais, Eastern Townships, Gaspé regions.
The Nord-du-Québec region, occupying the northern half of the province, is sparsely populated and inhabited by Aboriginal peoples. The climate around the major cities is four-seasons continental with cold and snowy winters combined with warm to hot humid summers, but farther north long winter seasons dominate and as a result the northern areas of the province are marked by tundra conditions. In central Quebec, at comparatively southerly latitudes, winters are severe in inland areas. Quebec independence debates have played a large role in the politics of the province. Parti Québécois governments held referendums on sovereignty in 1980 and 1995. Although neither passed, the 1995 referendum saw the highest voter turnout in Quebec history, at over 93%, only failed by less than 1%. In 2006, the House of Commons of Canada passed a symbolic motion recognizing the "Québécois as a nation within a united Canada". While the province's substantial natural resources have long been the mainstay of its economy, sectors of the knowledge economy such as aerospace and communication technologies and the pharmaceutical industry play leading roles.
These many industries have all contributed to helping Quebec become an economically influential province within Canada, second only to Ontario in economic output. The name "Québec", which comes from the Algonquin word kébec meaning "where the river narrows" referred to the area around Quebec City where the Saint Lawrence River narrows to a cliff-lined gap. Early variations in the spelling of the name included Kébec. French explorer Samuel de Champlain chose the name Québec in 1608 for the colonial outpost he would use as the administrative seat for the French colony of New France; the province is sometimes referred to as "La belle province". The Province of Quebec was founded in the Royal Proclamation of 1763 after the Treaty of Paris formally transferred the French colony of Canada to Britain after the Seven Years' War; the proclamation restricted the province to an area along the banks of the Saint Lawrence River. The Quebec Act of 1774 expanded the territory of the province to include the Great Lakes and the Ohio River Valley and south of Rupert's Land, more or less restoring the borders existing under French rule before the Conquest of 1760.
The Treaty of Paris ceded territories south of the Great Lakes to the United States. After the Constitutional Act of 1791, the territory was divided between Lower Canada and Upper Canada, with each being granted an elected legislative assembly. In 1840, these become Canada East and Canada West after the British Parliament unified Upper and Lower Canada into the Province of Canada; this territory was redivided into the Provinces of Quebec and Ontario at Confederation in 1867. Each became one of the first four provinces. In 1870, Canada purchased Rupert's Land from the Hudson's Bay Company and over the next few decades the Parliament of Canada transferred to Quebec portions of this territory that would more than triple the size of the province. In 1898, the Canadian Parliament passed the first Quebec Boundary Extension Act that expanded the provincial boundaries northward to include the lands of the local aboriginal peoples; this was followed by the addition of the District of Ungava through the Quebec Boundaries Extension Act of 1912 that added the northernmost lands of the Inuit to create the modern Province of Quebec.
In 1927, the border between Quebec and Newfoundland and Labrador was established by the British Judicial Committee of the Privy Council. Quebec disputes this boundary. Located in the eastern part of Canada, part of Central Canada, Quebec occupies a territory nearly three times the size of France or Texas, most of, sparsely populated, its topography is different from one region to another due to the varying composition of the ground, the climate, the proximity to water. The Saint Lawrence Lowland and the Appalachians are the two main topographic regions in southern Quebec, while the Canadian Shield occupies most of central and northern Quebec. Quebec has one of the world's largest reserves of fresh water, occupying 12% of its surface, it has 3 % of the world's renewable fresh water. Mor
The Trees (Rush song)
"The Trees" is a song by Canadian rock band Rush, from its 1978 album Hemispheres. The song is featured on many of Rush's compilation albums, was long a staple of the band's live performances. On the live album Exit... Stage Left, the song features an extended acoustic guitar introduction titled "Broon's Bane." The lyrics relate a short story about a conflict between oak trees in a forest. Rush drummer and lyricist Neil Peart was asked in the April/May 1980 issue of the magazine Modern Drummer if there was a message in the lyrics, to which he replied, "No, it was just a flash. I was working on an different thing when I saw a cartoon picture of these trees carrying on like fools. I thought,'What if trees acted like people?' So I saw it as a cartoon and wrote it that way. I think that's the image that it conjures up to a reader. A simple statement." List of Rush songs Lyrics of this song at MetroLyrics "The Trees... Meaning? – Rush Discussions". Last.fm. Retrieved 2016-10-14
The Rolling Stone Album Guide
The Rolling Stone Album Guide known as The Rolling Stone Record Guide, is a book that contains professional music reviews written and edited by staff members from Rolling Stone magazine. Its first edition was published in 1979 and its last in 2004; the guide can be seen at Rate Your Music, while a list of albums given a five star rating by the guide can be seen at Rocklist.net. The Rolling Stone Record Guide was the first edition of what would become The Rolling Stone Album Guide, it was edited by Dave Marsh and John Swenson, included contributions from 34 other music critics. It is divided into sections by musical genre and lists artists alphabetically within their respective genres. Albums are listed alphabetically by artist although some of the artists have their careers divided into chronological periods. Dave Marsh, in his Introduction, cites as precedents Leonard Maltin's book TV Movies and Robert Christgau's review column in the Village Voice, he gives Tape Guide as raw sources of information.
The first edition included black and white photographs of many of the covers of albums which received five star reviews. These titles are listed together in the Five-Star Records section, coincidentally five pages in length; the edition included reviews for many comedy artists including Lenny Bruce, Lord Buckley, Bill Cosby, The Firesign Theatre, Spike Jones, Richard Pryor. Comedy artists were listed in the catch-all section "Rock, Soul and Pop", which included the genres of folk, bluegrass and reggae, as well as comedy. Traditional pop performers were not included, with the notable exceptions of Frank Sinatra and Nat King Cole. Included too were some difficult-to-classify artists. Big band jazz was handled selectively, with certain band leaders omitted, while others were included. Many other styles of jazz did appear in the Jazz section; the book was notable for the time in the provocative, "in your face" style of many of its reviews. For example, writing about Neil Young's song, "Down by the River", John Swenson described it both as an "FM radio classic", as a "wimp anthem".
His colleague, Dave Marsh, in reviewing the three albums of the jazz fusion group Chase, gave a one-word review: "Flee.". Introduction Rock, Soul and Pop Blues Jazz Gospel Anthologies and Original Casts Five-Star Records Glossary Selected Bibliography The guide employs a five star rating scale with the following descriptions of those ratings: Indispensable: a record that must be included in any comprehensive collection Excellent: a record of substantial merit, though flawed in some essential way. Good: a record of average worth, but one that might possess considerable appeal for fans of a particular style. Mediocre: a record, artistically insubstantial, though not wretched. Poor: a record where technical competence is at question or it was remarkably ill-conceived. Worthless: a record that need never have been created. Reserved for the most bathetic bathwater; the New Rolling Stone Record Guide was an update of 1979's The Rolling Stone Record Guide. Like the first edition, it was edited by Swenson.
It included contributions from 52 music critics and featured chronological album listings under the name of each artist. In many cases, updates from the first edition consist of short, one-sentence verdicts upon an artist's work. Instead of having separate sections such as Blues and Gospel, this edition compressed all of the genres it reviewed into one section except for Jazz titles which were removed for this edition and were expanded and published in 1985 Rolling Stone Jazz Record Guide. Besides adding reviews for many emerging punk and New Wave bands, this edition added or expanded a significant number of reviews of long-established reggae and ska artists. Since the goal of this guide was to review records that were in print at the time of publication, this edition featured a list of artists who were included in the first edition but were not included in the second edition because all of their material was out of print; this edition dispensed with the album cover photos found in the first edition.
Introduction to the Second Edition Introduction to the First Edition Ratings Reviewers Record Label Abbreviations Rock, Blues, Country and Pop Anthologies and Original Cast Index to Artists in the First Edition The second edition uses the same rating system as the first edition. The only difference is that in addition to a rating, the second edition employs the pilcrow mark to indicate a title, out of print at the time the guide was published; some artists had the ratings for their albums lowered as the book now offered a revisionist slant to rock's history. The Rolling Stone Jazz Record Guide was published in 1985 and incorporated the jazz listings omitted from The New Rolling S
Hard rock is a loosely defined subgenre of rock music that began in the mid-1960s, with the garage and blues rock movements. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar and accompanied with keyboards. Hard rock developed into a major form of popular music in the 1970s, with notable bands such as AC/DC, the Who, Led Zeppelin, Deep Purple, Aerosmith and Van Halen. During the 1980s, some hard rock bands moved away from their hard rock roots and more towards pop rock, while others began to return to a hard rock sound. Established bands made a comeback in the mid-1980s and it reached a commercial peak in the 1980s, with glam metal bands like Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses, which followed up with great success in the part of that decade. Hard rock began losing popularity with the commercial success of R&B, hip-hop, urban pop and Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, new hard rock bands that emerged from the garage rock and post-punk revival scenes.
Out of this movement came garage rock bands like the White Stripes, the Strokes, Interpol and on, the Black Keys. In the 2000s, only a few hard rock bands from the 1970s and 1980s managed to sustain successful recording careers. Hard rock is a form of aggressive rock music; the electric guitar is emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong bass drum and a backbeat on snare, sometimes using cymbals for emphasis; the bass guitar works in conjunction with the drums playing riffs, but providing a backing for the rhythm and lead guitars. Vocals are growling, raspy, or involve screaming or wailing, sometimes in a high range, or falsetto voice. Hard rock has sometimes been labelled cock rock for its emphasis on overt masculinity and sexuality and because it has been predominantly performed and consumed by men: in the case of its audience white, working-class adolescents.
In the late 1960s, the term heavy metal was used interchangeably with hard rock, but began to be used to describe music played with more volume and intensity. While hard rock maintained a bluesy rock and roll identity, including some swing in the back beat and riffs that tended to outline chord progressions in their hooks, heavy metal's riffs functioned as stand-alone melodies and had no swing in them. Heavy metal took on "darker" characteristics after Black Sabbath's breakthrough at the beginning of the 1970s. In the 1980s it developed a number of subgenres termed extreme metal, some of which were influenced by hardcore punk, which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands standing on the boundary of, or crossing between, the genres; the roots of hard rock can be traced back to the 1950s electric blues, which laid the foundations for key elements such as a rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances.
Electric blues guitarists began experimenting with hard rock elements such as driving rhythms, distorted guitar solos and power chords in the 1950s, evident in the work of Memphis blues guitarists such as Joe Hill Louis, Willie Johnson, Pat Hare, who captured a "grittier, more ferocious electric guitar sound" on records such as James Cotton's "Cotton Crop Blues". Other antecedents include Link Wray's instrumental "Rumble" in 1958, the surf rock instrumentals of Dick Dale, such as "Let's Go Trippin'" and "Misirlou". In the 1960s, American and British blues and rock bands began to modify rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming, louder vocals, from electric blues. Early forms of hard rock can be heard in the work of Chicago blues musicians Elmore James, Muddy Waters, Howlin' Wolf, the Kingsmen's version of "Louie Louie" which made it a garage rock standard, the songs of rhythm and blues influenced British Invasion acts, including "You Really Got Me" by the Kinks, "My Generation" by the Who, "Shapes of Things" by the Yardbirds, "Inside Looking Out" by the Animals, " Satisfaction" by the Rolling Stones.
From the late 1960s, it became common to divide mainstream rock music that emerged from psychedelia into soft and hard rock. Soft rock was derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. In contrast, hard rock was most derived from blues rock and was played louder and with more intensity. Blues rock acts that pioneered the sound included Cream, the Jimi Hendrix Experience, the Jeff Beck Group. Cream, in songs like "I Feel Free" combined blues rock with pop and psychedelia in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz and rock and roll. From 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group. Dave Davies of the Kinks, Keith Richards of the Rolling Stones, Pete Townshend of the Who, Hendrix and Beck all pioneered the use of new guitar effects like phasing and distortion.
The Beatles began producing songs in the new
The Spirit of Radio
"The Spirit of Radio" is a song released in 1980 by the Canadian rock band Rush from their album Permanent Waves. The song's name was inspired by Toronto radio station CFNY-FM's slogan, it was significant in the growing popularity of the band. "The Spirit of Radio" features the band experimenting with a reggae style in its closing section. Reggae would be explored further on the band's next three records, Moving Pictures and Grace Under Pressure; the group had experimented with reggae-influenced riffs in the studio and had come up with a reggae introduction to "Working Man" on their tours, so they decided to incorporate a passage into "The Spirit of Radio", as guitarist Alex Lifeson said, "to make us smile and have a little fun". Lyrically, the song is a lament on the change of FM radio from free-form to commercial formats during the late 1970s; the Toronto-based station CFNY-FM is cited as an inspiration for the song. "The Spirit of Radio" was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll and was among five Rush songs inducted into the Canadian Songwriters Hall of Fame on March 28, 2010.
They had grazed the UK Top 40 two years earlier with "Closer to the Heart", but when issued as a single in March 1980, "The Spirit of Radio" soon reached #13 on the UK Singles Chart. It remains their biggest UK hit to date. In the US, the single peaked at #51 on the Billboard Hot 100 in 1980 and #22 in Canada, in 1998 a live version of the song reached #27 on the Mainstream Rock Charts. Promotional 12-inch copies were released in the United States late 1979 with the B-sides of "Working Man" and "The Trees", the song being incorrectly titled "The Spirit of the Radio". List of Rush songs Official Rush website Dedicated to the old CFNY Current CFNY