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<blockquote data-quote="Thunderfoot" data-source="post: 4132775" data-attributes="member: 34175"><p><strong>Chapter 4 – Rush and the Progressive Metal Movement</strong></p><p>In the Late 60’s and early 70s several groups decided that Rock n’ Roll’s reputation as three chords and scream was both undeserved and unfair. While it is true that most Rock n’ Roll was easy on the ears and easy to replicate in a garage with untrained monkeys, the musicians themselves had all come from different ‘legitimate’ musical backgrounds. The Who, were known for there off tempo and sometimes raucous above the beat songs, but they started playing Blues clubs and shows and were listed as a Blues band for many months before their first album actually hit the Rock charts. Likewise, bands like Cream that were the godfathers of Heavy Rock were originally listed as Electric Blues. However, once groups Like Yes and Emerson Lake and Palmer (ELP) began utilizing Fusion Jazz, things got really interesting. </p><p></p><p>Before Cream & ELP burst on the scene, odd time meant more than 3 minutes on a song thereby ensuring it wouldn’t get played on the radio. After songs like “White Room”, and “Carn-evil 9” things took a dramatic turn for the better. Art rock had finally been born and critics took notice, not only had these musicians managed to prove that they were talented, but made odd time signatures and poly-rhythmic tones catchy and mass marketable. Once Vanilla Fudge released their uber-slow and funked down version of the Supremes “Keep Me Hanging On” it was a safe bet that it was there to stay. </p><p></p><p>Meanwhile in Toronto a garage band was playing local high school dances and reveling in the sounds of Led Zepplin. They were a straight ahead rock trio, an oddity in it’s own rite, but they were very talented. Their first album was nothing more than Blues based Heavy Rock with a very Canadian sensibility, and at the height of their popularity, prior to the beginning of their U.S. tour the drummer quit due to health issues (diabetes). Immediately an audition was ordered by their record company and several hundred drummers applied. One entered after several days dragging his drum kit in a bunch of garbage cans. He had no prior experience and was a devotee of Keith Moon, but stated that he preferred Jazz to Rock. The guitar player and bass player/singer were a little more than skeptical but since they had no control over the whole thing cut into a classic hit of their own devising, which ground to a halt when the drummer decided that it needed a different beat than was originally written. The bass player and guitarist then listened and responded in kind launching into a new song they had been writing the drummer trotted out an odd time and the bass player tried very hard to higher him on the spot. While the record company was more than a little peeved, the band formed around this new sound and the classic Rush lineup was born. </p><p></p><p>Neil Peart brought more than just drums and musical influence, being an avid reader and road scholar (note the spelling) he began writing alternate lyrics to the bands tunes in rehearsals, once Geddy Lee and Alex Lifeson realized what he was doing, he quickly became the primary lyrists for the band. His first major opus being the J.R.R. Tolkien inspired song ‘Rivendell’ as well as the Ayn Rand inspired “Anthem”. It was obvious that the band that had made in roads to popular Rock n’ Roll with “Finding My Way” and “Working Man” was gone and a new band was emerging from their shell. Their third release, though less popular than the previous two it set the stage for the future by introducing two Magnum cum Opus songs, “The Necromancer” and “Fountains of Lamneth”. When their next album <em><u>2112 </u></em>hit the airwaves, a revolution was born and Heavy Progressive Rock was here to stay. </p><p>If not for Rush and the in roads the created in the 70s staples of the Progressive Rock Arena would never have seen the light of day, such as fellow Canadian Rockers Triumph, New York/New Orleans rockers Zebra and such stellar acts as Queensryche and Dream Theater. Though there is a larger underground movement of darker Metal infused Progressive Rock, they too would have been nowhere without the solid background and foundation that Rush provided, and more mainstream art Rockers like Yngwie Malmsteen would have never had the chance to get out of the gate. If you haven’t ever delved into the Progressive side of metal, do yourself a favor and take a trip sometime. Spend a few days listening to the older, ‘grown-up’ versions of the bands you listen to now, sure the music is dated and, gasp, even less controversial now that the events surrounding the songs are faded into history, but their significance cannot be denied. As a side note, if you have an opinion on any of these bands prior to listening to them, find something by one of these artists that is less well known before forming a true opinion (specifically <u><em>Thunder Seven</em></u> by Triumph and<em> <u>Operation Mindcrime</u></em> by Queensryche come to mind as oft maligned bands based on their later more commercial successes)</p><p></p><p>On an unrelated note – an era has passed as I recently donated my hair to Locks of Love and now have a trendy spikey hair-do. I do this every so often to do my good turn for those less fortunate. Weep not for my hair but for those who must live through debilitating diseases such as cancer. Now get out there and Rock your Rolls off!</p></blockquote><p></p>
[QUOTE="Thunderfoot, post: 4132775, member: 34175"] [B]Chapter 4 – Rush and the Progressive Metal Movement[/B] In the Late 60’s and early 70s several groups decided that Rock n’ Roll’s reputation as three chords and scream was both undeserved and unfair. While it is true that most Rock n’ Roll was easy on the ears and easy to replicate in a garage with untrained monkeys, the musicians themselves had all come from different ‘legitimate’ musical backgrounds. The Who, were known for there off tempo and sometimes raucous above the beat songs, but they started playing Blues clubs and shows and were listed as a Blues band for many months before their first album actually hit the Rock charts. Likewise, bands like Cream that were the godfathers of Heavy Rock were originally listed as Electric Blues. However, once groups Like Yes and Emerson Lake and Palmer (ELP) began utilizing Fusion Jazz, things got really interesting. Before Cream & ELP burst on the scene, odd time meant more than 3 minutes on a song thereby ensuring it wouldn’t get played on the radio. After songs like “White Room”, and “Carn-evil 9” things took a dramatic turn for the better. Art rock had finally been born and critics took notice, not only had these musicians managed to prove that they were talented, but made odd time signatures and poly-rhythmic tones catchy and mass marketable. Once Vanilla Fudge released their uber-slow and funked down version of the Supremes “Keep Me Hanging On” it was a safe bet that it was there to stay. Meanwhile in Toronto a garage band was playing local high school dances and reveling in the sounds of Led Zepplin. They were a straight ahead rock trio, an oddity in it’s own rite, but they were very talented. Their first album was nothing more than Blues based Heavy Rock with a very Canadian sensibility, and at the height of their popularity, prior to the beginning of their U.S. tour the drummer quit due to health issues (diabetes). Immediately an audition was ordered by their record company and several hundred drummers applied. One entered after several days dragging his drum kit in a bunch of garbage cans. He had no prior experience and was a devotee of Keith Moon, but stated that he preferred Jazz to Rock. The guitar player and bass player/singer were a little more than skeptical but since they had no control over the whole thing cut into a classic hit of their own devising, which ground to a halt when the drummer decided that it needed a different beat than was originally written. The bass player and guitarist then listened and responded in kind launching into a new song they had been writing the drummer trotted out an odd time and the bass player tried very hard to higher him on the spot. While the record company was more than a little peeved, the band formed around this new sound and the classic Rush lineup was born. Neil Peart brought more than just drums and musical influence, being an avid reader and road scholar (note the spelling) he began writing alternate lyrics to the bands tunes in rehearsals, once Geddy Lee and Alex Lifeson realized what he was doing, he quickly became the primary lyrists for the band. His first major opus being the J.R.R. Tolkien inspired song ‘Rivendell’ as well as the Ayn Rand inspired “Anthem”. It was obvious that the band that had made in roads to popular Rock n’ Roll with “Finding My Way” and “Working Man” was gone and a new band was emerging from their shell. Their third release, though less popular than the previous two it set the stage for the future by introducing two Magnum cum Opus songs, “The Necromancer” and “Fountains of Lamneth”. When their next album [I][U]2112 [/U][/I]hit the airwaves, a revolution was born and Heavy Progressive Rock was here to stay. If not for Rush and the in roads the created in the 70s staples of the Progressive Rock Arena would never have seen the light of day, such as fellow Canadian Rockers Triumph, New York/New Orleans rockers Zebra and such stellar acts as Queensryche and Dream Theater. Though there is a larger underground movement of darker Metal infused Progressive Rock, they too would have been nowhere without the solid background and foundation that Rush provided, and more mainstream art Rockers like Yngwie Malmsteen would have never had the chance to get out of the gate. If you haven’t ever delved into the Progressive side of metal, do yourself a favor and take a trip sometime. Spend a few days listening to the older, ‘grown-up’ versions of the bands you listen to now, sure the music is dated and, gasp, even less controversial now that the events surrounding the songs are faded into history, but their significance cannot be denied. As a side note, if you have an opinion on any of these bands prior to listening to them, find something by one of these artists that is less well known before forming a true opinion (specifically [U][I]Thunder Seven[/I][/U] by Triumph and[I] [U]Operation Mindcrime[/U][/I] by Queensryche come to mind as oft maligned bands based on their later more commercial successes) On an unrelated note – an era has passed as I recently donated my hair to Locks of Love and now have a trendy spikey hair-do. I do this every so often to do my good turn for those less fortunate. Weep not for my hair but for those who must live through debilitating diseases such as cancer. Now get out there and Rock your Rolls off! [/QUOTE]
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