Transcript: 'Rush Video Victim Of Own High-Tech Pomp, Gadgetry' - Toronto Star, March 19, 1989

Last week saw the 27th anniversary of the filming of the A Show of Hands concert video, and my latest transcript, 'Rush Video Victim Of Own High-Tech Pomp, Gadgetry', is a critical review of the eventual release from the March 19, 1989 edition of the Toronto Star. Writer Greg Quill has shown he is a Rush fan in other press reviews, but in this one, he is very down on the overall direction, production and editing of the concert film, which he sums up with "the pity is that in the hands of a director with some understanding of the depth and breadth of Rush, this video could have been so much more."

Site Update: revised discography, videography, books and tour pages

Average screen sizes are getting larger, including the one used by yours truly, and after some consideration I took some time over the weekend to reformat my primary portal pages for the album Discography, Videography, Books, and Tour Archive pages.  With larger screens, you'll see more data choices with better cover placement.  At the same time, I kept the design compatible for those with smaller screen sizes, to avoid any conflicts.  Enjoy!

Transcript: "A Canadian Chart Rush" - Record Review, April 1980

My latest transcript is from the April 1980 issue of the UK's "Record Review" magazine. "A Canadian Chart Rush" is an interview with Geddy Lee where he discusses in detail recording Permanent Waves. He also mentions the band's then current plans of recording a live album after Permanent Waves, and a tour of Japan in late 1980....

Transcript: "Innerview With Neil Peart" - Innerview, 1986

Here is a new transcript which I for one found very informative. From 1986, check out Neil Peart with Jim Ladd on Innerview. Neil goes into detail regarding the meaning of some of the songs on Power Windows, and I found his explanation of what he was trying to convey, especially with Territories and Emotion Detector, to be very illuminating. 

Transcript: 'Rush Rolls With More Organic Sound; Latest Set A 'Reaction Against Technology'' - Billboard, November 23, 1991

My latest transcript is 'Rush Rolls With More Organic Sound; Latest Set A 'Reaction Against Technology'', an interview with Geddy Lee from November 23, 1991 issue of Billboard magazine. Geddy talks about the maturing process that followed Hold Your Fire, the conscious decision to move away from the synthesizers and computers when recording Roll The Bones, and working with producer Rupert Hine.

Transcript: "The Rush Dilemma!" - RockLine! July 1984

This week sees the 31st anniversary of the release of Grace Under Pressure, and to mark the event I've transcribed "The Rush Dilemma!" from the July 1984 issue of RockLine! magazine.  It asks a question which long time fans already know the answer to, and that is if Rush's "sound" circa-Grace Under Pressure was crafted for commercial success, or if they were "just going wherever the music takes them?" The article also reminds us of the fact that Rush was an early pioneer of the "Laserium" shows.

Transcript: 'Rush's Signals Change, Maybe' - Stanford Daily, October 14, 1982

My latest transcript is 'Rush's Signals Change, Maybe', a review of Signals from the October 14, 1982 edition of the Stanford University Daily newspaper. A knowledgeable review, the writer justly places the album in the annals of Rush: "...a combination of their new instrumental order and smooth, edgeless production makes the album Rush's most accessible and salable, a somewhat saddening departure for older loyalists and a point of entry for new converts yet to discover their earlier work." - Thanks to John Harrison for sending the original article!

Transcript: "Rush Brushed Up - 'Moving Pictures: Deluxe Edition' Review" - Record Collector, June 2011

The Moving Pictures: Deluxe Edition was released on this day in 2011.  My latest transcript is a review of the reissue from the June 2011 issue of the UK's "Record Collector". In "Rush Brushed Up", the reviewer hits the nail on the head with "it's scary, because we can clearly remember it coming out first time round, and can recall with equal clarity how contemporary we thought Rush sounded on it."