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The year-old songwriter Julien Baker sees this not so much as an impossibility as a challenge to reconcile, daring her to make music in which she turns herself inside out.

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But there's a lot of intricate detail here: Peart's jazzy snare rolls and roto-toms, Lee's layered vocals and wonky hammer-on bass. The almighty Peart had arrived, requesting that we Neil before him. While this chunky hard rocker isn't much of a showcase for his virtuoso talents, the drummer's steady presence still elevates this one beyond most of the Rush LP.

With his double-kick fills, jazzy snare-tom triplets, elegantly controlled hi-hat and randomly placed cowbells, he offered a full-blown clinic with his official debut.

Rush added a hard-rock spin to a Buddy Holly classic on their debut single, which was released in a limited pressing of copies on their own Moon Records label. These days, an OG copy is a serious collector's item. Lee in particular dominates the track, dazzling with his fluid bass runs and singing with confidence in his middle register — a far cry from the chipmunk-on-helium approach that he utilized throughout much of the decade.

Because we were having such a hard time getting a deal, our management thought that maybe something a little more accessible, possibly something already known, would be the way to go. Lifeson employs some string guitar on this tasty instrumental track, which recalls the lurching prog-metal approach of Porcupine Tree, a band that's clearly taken some cues from the elder statesmen. Prior to the recording of Test for Echo , Peart — the world's most acclaimed rock drummer — decided to revamp his playing and signed up for private lessons with jazz great Freddie Gruber.

He entered the sessions with a new grasp of rhythm, literally, having switched over to the traditional jazz grip — and you can hear the fruits of his labor on this intricate track, as he unfurls dazzling cymbal patterns and plays against the downbeat. Overall, though, "Driven" is a rare highlight on Test for Echo , which Lee described as "strange" in 's Rush: An Oral History, Uncensored.

I kind of felt like we were a bit burnt creatively. It was a creative low time for us. In which Rush discover Rage Against the Machine.

Lifeson's riff, a gnarled mass of pinched-note squeals and open-string wails, recalls Tom Morello at his heaviest. The admiration goes both ways: Morello called Rush "one of our all-time favorite bands" in a statement about his appearance alongside Lee and Lifeson in Rage bassist Tim Commerford's video for "VooDoo," a song with his electronic rock band Future User.

This is a weird one. And there's no denying the raw force of Lifeson-Lee's aggressive funk-metal riff, accentuated by Peart's nimble rhythms. Synth-pads, squealing guitar solos, overlapping vocals — the whole pop-rock radio shebang. Lifeson even goes full-on Prince with his treble-heavy funk tone. For reasons that remain unclear, Rush didn't release "Hand Over Fist" as a single, opting instead for the far inferior and less catchy "Superconductor" and "Presto.

Killer riff, but you cant help but wonder if "Malignant Narcissism" wound up as a two-minute instrumental because Rush had no idea how to develop it any further. Nonetheless, it's nice to hear the boys work their magic — Lee's bassline is so funky, Les Claypool would kill for it.

You can tell most of what you need to know about this cartoonishly proggy multi-part epic just by perusing the song titles, which include "Didacts and Narpets" and "Bacchus Plateau. But Lee's giving himself a bit too much gruff overall, even if Rush should never sing about sex.

Draw another goblet, my nerdy friends. Rush borrow the synth chords from the Police's "Spirits in the Material World," remove the hooks and groove and contemplate the "wheels of time" passing us all by. There's nothing wrong with "Between the Wheels," but it's hard to shake the feeling that Rush — and, well, other bands — have presented this same song more effectively in the past.

Listen closely and you can hear Alex Lifeson bashing his axe against the wall in frustration. The synth-splattered "Afterimage" exemplifies Rush's mid-'80s sound, and the guitarist probably was probably extra pissed about it. But for a brief period, they handled those keyboards with subtlety and grace, and this cut is a prime example.

The more New Wave-slanted "Cold Fire" comes off as a bit muted within the mostly throttling Counterparts. But even here, Rush sound rejuvenated — check out Lifeson's sublime solo starting around 2: Lee's Bootsy Collins-on-cocaine bass riff propels the verses, but the chorus reverts to a snooze of sparkly synth, choir and strings. Not quite a marathon — but perhaps a 5K. Cringe-worthy lyrics aside, "Animate" marked a crucial turning point for Rush, helping them adapt to a post-grunge rock landscape with one of their leanest riffs in years.

This one's a mixed bag, with Lee throwing down on some campy synth-horns that probably made Lifeson — and a lot of Rush fans — furious. Did the La's, one of rock music's most iconic one-hit-wonders, rip off this Power Windows anthem for their sole hit "There She Goes"? Lifeson's chiming, neon synth part votes "yes. For many fans, "Grand Designs" was probably the point of no Rush return — the keyboards are the main attraction, supporting one of Lee's sleekest vocal hooks.

This arty New Wave single, with its throbbing sequenced synths and a four-on-the-floor kick pulse, has dated a bit. But the sentiment is evergreen, as Lee draws on his mother's memories of surviving the Holocaust after being imprisoned at a concentration camp in Dachau, Germany.

Rush were on the verge of being dropped from their label when they recorded their riskiest album to date, , which kicks off with a minute, dystopian conceptual suite about a future world in which music is outlawed by the "Solar Federation. Rush would sharpen their vision for long-form writing with the "Cygnus" cycle on A Farewell to Kings and Hemispheres , but "" is an adorably campy baby step.

Lee's bass bites with the tenacity of a dog with rabies, and Peart's drums punch like prizefighter. There's not a single chance these dudes weren't blazed when they wrote "The Necromancer," which veers from Sabbath -ish proto-stoner-metal to Lifeson's squealing, harmonic-heavy solo to a climax of fragile acoustic strumming.

The mini-epic drones on for almost 13 minutes — so long, in fact, that the titular pooch from "By-Tor and the Snow Dog" drops by for a visit during the "Return of the Prince" section.

Rush probably could have restrained themselves a bit — lopping four minutes off this track would only improve its reputation with the anti- Caress crowd — but, then again, isn't indulgence the point of a track this stoned? This interlude is too slight to rank high on this list, but its a stunning moment nonetheless.

The tense strings, framing an emotional Lee vocal, are a welcome relief from the hard-rock onslaught of Clockwork Angels. It's rare to fid a legitimately catchy Rush chorus post, but Lee had no trouble on this brooding alt-rocker. Elsewhere, Lifeson unfurls some legitimately psychedelic guitar work during the bridge, and Peart joins in with some tom-tom bashing. The only downside is a glaringly awful copy-paste job at the 1: Peart examines the dualities of race and sex on this darkly funky track.

I like the lyrics to 'Alien Shore' particularly. Rush had the ambition to craft a nine-minute, multi-part suite — even if they hadn't developed the discipline to pull off that grand feat.

Nonetheless, "By-Tor" is a fun exercise in self-indulgence, an excuse to stitch hair-raising drum solos and Who riffs into a stoner-friendly prog tale. The song was inspired by the band's roadie, who recalled encountering a growling German Shepherd and another, smaller canine during a visit to the home of Anthem Records manager Ray Danniels. The title-track to Rush's farewell LP is a dynamic piece that alternates between bruising hard-rock and dollops of echoing guitar.

Nick R's production is on-point here too, with the instrumental bridge of distantly mic'ed drums. Peart injects the philosophy of author Ayn Rand — a crucial influence on both and Hemispheres — into this sage, atmospheric fairy tale, which chronicles a struggle for equality between the oaks and maples of a particularly argumentative forest. The drummer later grew out of his Rand phase, as he told Rolling Stone in , chalking up his mindset to youthful idealism. This meditation on mob mentality was intended as a studio-only track — a designated opportunity to indulge with overdubs and not worry whether they could ever pull it off onstage.

They filled out the arrangement with extra keyboards and double-tracked drums including cowbell and extra toms , adding to the textural depth of this eerie track. But "Witch Hunt" remains the weakest — but far from weak — link on their greatest album. A majestic high point of Vapor Trails , with some of Lifeson's most psychedelic guitar work. This track is a nice brush with adult-contemporary alt-rock — a break from the grungy bum-rush of Vapor Trails.

This could easily be a Toad the Wet Sprocket song, and that's intended as a compliment. Rush get full-on atmospheric with Vapor Trails ' pseudo title track, another flirtation with radio-friendly alt-rock. Lifeson washes his hands of distortion, and Peart bashes a snare with a ringing, marching-band style tone. Rush continue riding a wave of Counterparts energy on this vibrant instrumental, which leaps from prog-funk bass riffs to spacey organ and Steve Hackett -ish guitar work.

Fantastic, possibly their best instrumental. Counterparts marked a return to Rush relevancy — the point where songwriting caught back up to technique. Everyone's on fire here: Lee crafts one of his sharpest chorus hooks, and Peart pounds out a funky tom pattern on his all-acoustic kit. You couldn't blame the guy for experimenting with electronic drums, but a player this precise doesn't need any excuse to sound more like a machine.

Hold Your Fire peaked at Number 13 on the Billboard album chart — their lowest debut since 's Hemispheres. But don't blame this New Wave deep cut, starring Lee's deeply soulful, funky bass and Lifeson's echoing riff. One of a few dozen songs Rush never performed live, this airy love ballad offers a moment of reflective calm within the thunder of A Farewell to Kings. Peart was still in fairly tale mode in the late '70s, so he couldn't resist sneaking in a "dragon" reference. But this one's fairly straightforward in both arrangement and sentiment: The formula of modern Rush is simple: If you can remember the chorus after the first listen, it's a keeper.

This streamlined hard-rock anthem passes muster — check out Lee's high-range backing vocals with their expertly controlled vibrato. This one builds from crunchy, metallic verses to a gliding chorus in which Lee appropriately sings, " I can't stop thinking big! The reggae vibes pop up again on Grace Under Pressure 's dynamic opening cut. The band sounds eerily like the Police.

In their early days, Rush ripped off Led Zeppelin's molten hard rock with teenage zeal. Here, on this spellbinding solo instrumental showcase, Lifeson taps into Jimmy Page's Eastern folk side via III , strumming his acoustic string guitar fancifully in open-D tuning.

At barely two minutes, it's the shortest song in the band's catalog, and it took him only one real take to nail down. This is Rush's version of punk-prog, with each player trimming the fat from their playing. One of several of their new-millennium tracks that recalls the distorted thrust of Rage Against the Machine, "Headlong Flight" sounds eerily like "Bulls on Parade" with its main riff.

On their swan song LP, Rush often sound obsessed with toughening up their sound — often sacrificing melody in favor of riffs. Fitting title for this hypnotic single, built around Lifeson's delayed guitar riffs and electronic beats that recall Peter Gabriel circa Security.

Lifeson offers some originality to the modern Rush aesthetic here: He mingles jazz chords and bluesy licks on the solo, and his nervous acoustic down-strokes in the verses could pass for a modern indie-rock band.

Lee also experiments with his vocal approach, layering in heavy chorus harmonies and nodding to blue-eyed soul at the climax with soulful runs. Much of this Fly by Night barn-burner follows the early Rush playbook: But that early formula rarely paid off as well as it did here. The dreamy atmosphere of this Power Windows highlight envelops you like a warm blanket, Lee crooning with a rare softness and sweetness over an instant-classic synth hook. Lifeson wiggles to the forefront on "Kid Gloves," flipping the bird to Lee's synthesizers all the way.

He sounds like he's exploding with pent-up anticipation on the guitar solo, which flaunts an Eddie Van Halen -like tremolo bar flair. A rare Rush song that will leave you reaching for the Kleenex, "The Garden" stands out in the band's catalog for its sweetness and simplicity, its clarity and control. It's an unusual arrangement for these guys, with Lee crooning softly over a David Campbell string arrangement, Jason Sniderman's twinkling piano and Lifeson's restrained acoustic guitar.

And its decollate quality initially concerned producer Nick Raskulinecz. The piano parts were there, as were the strings, but everything was kind of soft. Nick wanted us to toughen it up some. If this is how the Rush story ends — and by all indications it will be — it's a poignant curtain call.

Peart examines the real-life Manhattan Project — the World War II development that resulted in the Trinity nuclear test — on this breathtaking, synth-heavy cut, documenting the very moment when man devolved into beast. The lyric is so simple, it shouldn't work, but Peart injects this Eastern-tinged rocker with a honorable meditation on finding faith in the universe and other people — and not gods. It's one of Lee's strongest choruses of the modern era.

Lee is one of a handful of prog musicians with the chops — and willingness — to get funky. But "The Big Money" is more than just a killer groove — it's also easily one of Rush's most deceptively intricate radio hits, bouncing giddily from atmospheric synths to tribal tom-toms to arena-rock choruses.

The band's early '80s sonic exploration — the brushes with reggae and ska and synth-pop — had coalesced into a color all their own. Lee's bass sounds like a low-end locomotive on this dissonant rocker, which builds to a dizzying chorus with Lifeson's spacey guitars and Peart's swinging drums. Rupert Hine's warm production brings adds a shimmer to the song — this is some of the most organic engineering of any rock album in the late '80s.

Sep 20 , 8: Sep 21 , 7: Dev Hynes has come a long way since his tenure in the dance punk outfit Test Icicles and the days when he was making indie rock records as Lightspeed Champion. Sep 22 , 7: Sep 23 , 7: Sep 26 , 7: Sep 27 , 7: Host Peter Sagal leads…. Sep 28 , 7: Owen has had seven No. Sep 29 , 8: The band will make a stop at The Greek Theatre,….

Oct 3 , 7: Oct 5 , 7: Observers would be aware that over the course of just a few years Barnett has become internationally renowned for her distinctive and acclaimed musical lexicon. The music video for "Labrador", the second single from her album Charmer , features a satirical shot-for-shot remake of "Voices Carry" video within the framing device of Mann having been forced to shoot the video after inadvertently signing complete control of the video over to director Tom Scharpling.

From Wikipedia, the free encyclopedia. Redirected from Voices Carry song. For other uses, see Voices Carry disambiguation. A second sample from "Voices Carry", featuring Mann singing the last part of the song while the rest of the band provides the background vocals. Netherlands "Voices Carry" — 4: North America "Voices Carry" Long version — 4: Billboard Top Rock Tracks [37] The Great Rock Discography 5th ed. Archived from the original on The New York Times Company.

Riding the Next 'Wave' Order of Finishwin". Week of April 13, — Voices Carry". Week of July 13, — Voices Carry". Canadian Recording Industry Association. Australian Chart Book

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