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1. Octavarium
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2. Reise Reise
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3. Undertow
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4. Once
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5. System Has Failed
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6. The Black Halo
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7. Mutter
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8. Sehnsucht
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9. 2112
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10. The Spirit Of Radio: Greatest
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11. Moving Pictures
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12. Real Illusions: Reflections
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13. Images & Words
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14. Liquid Tension Experiment
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15. Feedback
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16. Chronicles
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17. Train of Thought
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18. Hemispheres
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19. Empire
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20. A Farewell to Kings

1. Octavarium
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Asin: B0009A1AS2
Catlog: Music
Sales Rank: 84
Average Customer Review: 5.0 out of 5 stars
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Album Description

Dream Theater has maintained a rare combination of stellar musicianship and unwavering passion for over a decade, selling millions of albums and filling concert venues worldwide. The band once again confirms its status as progressive hard rock's standard-bearers on their latest studio epic, Octavarium. ... Read more

Reviews (1)

5-0 out of 5 stars Awsome Album
After having just listened to this album, I can surely say that any and all Dream Theater fans will not be dissapointed. The title song "Octavarium" is, although slow at first, a very good song with strong emotion. It speeds up after a couple minutes and turns it an awsome song. The other songs are also sure to please, and I'm sure all who buy it, when released will be pleased. ... Read more


2. Reise Reise
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Asin: B0002XDODU
Catlog: Music
Sales Rank: 615
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Album Details

The German Kings of Power Metal Never Stray Too Far from Controversy and this is the Follow Up to their Breakthu Album "Mutter". The Wall of Sound Comes at You at 1,000 Mph and Won’t Let Up! features the First Single "Mein Teil". ... Read more


3. Undertow
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Asin: B000000993
Catlog: Music
Sales Rank: 1210
Average Customer Review: 4.69 out of 5 stars
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Amazon.com

Arguably their finest album, this follow-up to Opiate showcases Tool at their best, assisted by clean, crisp production, without the muddiness of Aenima. Edgy guitar riffs are complemented by spitting, heavy bass, especially on "Sober" and "Crawl Away". Lyrically, Tool are at their vitriolic best, targeting religious hypocrisy ("Intolerance," "Sober"; always a popular theme), the loss of innocence and its consequences ("Prison Sex"), and deliberate ignorance ("Swamp Song"). Henry Rollins makes a guest appearance on "Bottom," which, along with "4 Degrees," deals with questions of identity. Undertow is also Tool's most musically adventurous album, lacking the occasionally numbing sameness of Aenima, and with considerably more sophistication than their previous work. Very highly recommended. --Genevieve Williams ... Read more

Reviews (301)

5-0 out of 5 stars Greatest band ever
This CD is not as good as Aenima, but nothing is. Undertow is heavier but Aenima has so much more creativity in it, not like Undertow doesn't. If you don't have a TOOL album yet you should definately get this one, but get Aenima first. On both albums every single song is great. Undertows best songs in my opinion are Flood, Intolerance, Bottom, and Undertow. Most people like Prison Sex and Sober the most, I like those songs alot its just when I listen to this album I listen to it for heavy songs but I do like Sober and Prison Sex. Heres a review of the Songs: 1. Intolerance- Heavy song, great guitar riffs and strong vocals, something to headbang to. 10/10 2. Prison Sex- softer, but has great guitar, bass, drums(like always)and a good melody. 10/10 3. Sober- Another soft song(sort of)but is still really good. 10/10 4. Bottom- Has a killer guitar riff after the second chorus, this song goes on for around 6-7 minutes all heavy except for one part in the middle. 10/10 5. Crawl Away- 10/10 6. Swamp song- 8/10------Still a great song-better than almost anything else out there 7. Undertow- 11/10 8. 4 degrees- 9/10 9. Flood- great opening and ending 11/10 10. Disgustipated- great way to end a TOOL CD. 10/10 BUY THIS AND AENIMA(note; New album in May- going to be great)

5-0 out of 5 stars Undertow
Tool is probably my favorite band and this is my favorite album that the band has put out. Opiate and Ænima are also great albums, but in my opinion, Undertow is the best of the three.

Some people have said that Ænima stands up better to repeated listenings than Undertow, but I don't agree. In fact, I think Undertow has the most replay value of Tool's three releases. Ænima is the best album to listen to straight through because a lot of the songs have similar sounds and it all flows together very well, but unless you always want to listen to the whole album, Undertow is the better choice. Contrary to what a couple of the editoral reviews say, Undertow has a fairly nice variety going. "Crawl Away" is one of Tool's heaviest songs (which makes sense, since it was one of the first songs they wrote), while "4 Degrees" is fairly soft-spoken by comparison.

Some people also feel that Undertow is "mindless rock," which blows my mind. Undertow has just as many philosophical concepts going on as Ænima. Songs like "Intolerance" and "Flood" deal with questions of faith, "Undertow" has been interpreted as being about struggling with substance abuse, and more.

In addition, a lot of self-professed "Tool fans" feel that "Sober" and "Prison Sex" are the best songs on the album, and the best that Tool has ever done. While they are good songs, I feel that they are actually two of the weaker songs here. "4 Degrees" and "Bottom" are so underappreciated that I can scarcely believe it. Then you have "Flood" and "Crawl Away," which are probably my two favorite Tool songs. As I said, though, there are no bad songs on this album.

If you don't own a Tool album yet, I would recommend buying Undertow first and then Opiate. If you buy Ænima first, don't expect all that many similarities between it and the other records.

5-0 out of 5 stars Best Debuet EVER!
hands down.

every song is a 10

from Sober to Prison Sex to Crawl Away to Bottom to Undertow to Flood to Swamp Song to Intolerance to 4 Degrees and even the 15 minute Disgustapated.

Classic

There 3rd best album (that says a lot)

3-0 out of 5 stars Looks like I have to go against the majority
There is no doubt that Tool's debut "Undertow" is a much better musical experience than most of what is out there today. Infact, when I heard "Sober" on the radio, it gave me hope for a dying generation of music (that was several years ago, but music was still pretty bad in the mid-late 90's). It wasn't until a few months ago that I got Tool's first CD, already having the other three, and hearing how awesome this one was in comparison. EVERYONE -- friends, critics, reviewers of this site, etc. said that Undertow was a God of a CD. Now, I'm not one to worship any one band, let alone a CD, but I absolutely loved Aenima, and Lateralus was pretty good. So, to say the very least, I was very hyped to go back in time and enjoy Tool's supposed best. Now, I will not deny that this CD deserves at the very least, three stars. However, after hearing "Undertow" in its entirety a full four times (not consecutively, I might add), I wanted to unleash a bottle of rage and unfairly give this disk one star. Now that I've cooled down, I'll continue.

I do wish to reiterate that I am not some ignorant reivewer that hasn't heard this and thinks it totally sucks. Not the case with me. However, I disagree with just about everyone on this planet with regards to this being Tool's best work. It's a debut that is better than most, but it does not compare to Aenima for several reasons. First, while on "Undertow" there are some variations in guitar riffs and melodic flow, it was practically a foundation in "Aenima" Think about the title song from "Aenima". The end was quite different from the beginning. Think how different the uptight rage in that song was from the haunting aura in "H" and how different both were from the mellow, yet upbeat flow of "Forty-Six and 2". Also, with "Hooker with a *****", think about how the beginning and the end accomplish rage and anger at being called a sellout (which Tool is anything but) in two different musical styles. In "Undertow", there's hardley any of the aforementioned variety that made "Aenima" so intriguing. Even in "Lateralus", the first song on that CD, "The Grudge", contains at least three or four different riffs, complete with Danny Carrey going nuts on drums at the end. Now, I will say that I am still impressed with Carrey's end of "Undertow"; he is among the best drummers I've ever heard, and, as a percussionist myself, if anyone wants to refute that, then by all means, go ahead. However, many of the song here on "Undertow" are tough to distinguish from one another. Even though there are no fillers here......correction........what the hell is up with that last song "Disgustipated".......disgustipated indeed.......what a waste of 16 minutes (life feeds on life; this is necessary! over and over again), the similarity of many of the songs (with Sober and Undertow being standouts) to each other makes "Undertow" not nearly as satisfying as "Aenima".

Lyrically, this CD is fairly strong, but again, Aenima is a thousand times better in that department as well. Think about the controversy that Maynard wanted to stir up in songs like "Eulogy", claiming that Jesus Christ himself was a fake, "Aenima", where he prays for the end of the world, and "Hooker with a *****", where he states his well-founded disgust with the music industry's current state, as well as his band's obvious refusal to sell-out. Now, there is a small amount of controversy contained in "Undertow", but not enough for me to be convinced that, based on "Undertow" alone, Tool is a daring band. I will reiterate a final time that this is still a good CD, but not as powerful or moving as Aenima. Tool is a progressive rock band, so I'd like to think that, as they release CD's, they would progress; it only makes sense that "Aenima" and "Lateralus" be better than "Undertow". Like I said, this is one of the most hyped-up CD's I've ever seen, so to say I had high expectations is an understatement. However, this isn't Tool's best effort; "Sober" and "Undertow" are the only clear standouts on this CD. Still, it is worth it to check out this mostly solid, yet slightly repetitive, disk.

5-0 out of 5 stars wow!!
not much more to say bu this cd is great maynard has such a great voice

song 69 is awsome ... Read more


4. Once
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Asin: B0002ZYE1Y
Catlog: Music
Sales Rank: 1562
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5. System Has Failed
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Asin: B0002SPQ1I
Catlog: Music
Sales Rank: 1515
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6. The Black Halo
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Asin: B0007OASII
Catlog: Music
Sales Rank: 1754
Average Customer Review: 5.0 out of 5 stars
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Album Description

Kamelot inked their recording contract in 1994 and released their debut, Eternity, the following August. The press praised the album as one of the most promising first offerings ever. 1996 saw the arrival of Dominion, an album that sounded even more varied and diverse than its predecessor. In spring 1997 Kamelot found Casey Grillo and the former Conception vocalist Khan, who joined the group during the production of Siege Perilous. In autumn of the same year, the new line-up embarked on an extensive European tour and returned to Gate studios in Wolfsburg twelve months later to work on the album that set a new standard for the band; The Fourth Legacy. In summer 2000, Kamelot’s first live album was recorded during the New Allegiance tour, which took them through Germany, Austria, Switzerland, the Netherlands, Belgium, Italy, Greece and Spain. Only a few months later, Khan, Youngblood, Grillo and Glenn Barry presented their fifth studio cut, Karma, and embarked on a European tour. Epica arrived in 2003, followed by another tour as Headliners in Europe, Japan, Mexico and the US as well many top Festival appearances. The Black Halo adds another exciting and epic chapter to the band’s brilliant history. ... Read more

Reviews (19)

5-0 out of 5 stars Incredible
I just recently started listening to "power metal" and ordered this CD blind through amazon's recommendations and I sure am glad I did.This record is incredible.I think it is very unique.I really haven't heard anything like it.Sure there are 'similar' bands, but Kahn's voice really sets them apart.He has a voice that could cross over into different genres (luckily he doesn't) and he'd have a good shot at winning American Idol (not that I watch that show, I'm just trying to explain!).
This is definatly a must have for anyone who is interested in any sub-genre of metal.

5-0 out of 5 stars A must have
hey look buy it its great I can't stop spinning this cd and I have sixteen hundred cd's ok

5-0 out of 5 stars One of the best albums of the year....
This has got to be one of the best albums to come out so far this year.Every track is highly epic and melodically beautiful.The highlights are "When The Lights Go Down", "March of Mephisto", "Soul Society", and "The Haunting".Most of the songs here are mid-to-uptempo, and the guitar and drum playing are really great and riveting.I think this band could have a really big following if radio stations would only decide to play them.Of course, with what tripe radio stations play today, any band that is really talented, or artistically gifted, usually has to scrape and claw to get played.There is great promise for Kamelot, and if this album is any indication of the kind of music to expect from them in the future, then we are in for a real treat.

5-0 out of 5 stars Wonderful Album
This is a wonderful album. I have been a fan of kamelot since the release of karma and have watched the band's musical growth. The Black Halo is their best release to date. Each and every musical aspect is fine-tuned to perfection.The vocals and melodies are wonderful and the guitars are harder. With songs like "March of Mephisto", "The Haunting", and "Abandoned" this album displays the true passion of Kamelot's power metal perfection.

5-0 out of 5 stars the best power metal...
......since Kamelot's last release, _Epica_. And so that indisputably makes it the best power metal album to date. For Kamelot to elevate and perfect a genre that is usually so poorly represented might seem a lesser feat than to do so where one's peers are strong. Yet the absorbing nature of _The Black Halo_ and its predecessor _Epica_ should be never be considered a mean accomplishments. These are some of the best, most consumingly listenable albums out there, along with output of such bands as Pineforest Crunch, Thinking Plague, the Beatles, Spock's, and Meshuggah.

In terms of music, everything that was said about _Epica_ can be said about _The Black Halo_. This is fitting as they are two halves of the _Faust_-inspired Epica_ concept. The only really important differences are that the music is heavier (guitars are more up in the mix, lots of tasty crunch) and even _more_ melodic (much to my surprise, they outdid themselves again). Kamelot's art of orchestrating tension-filled verses into huge, sweeping choruses and azz-kicking riffs and little symphonic bitties has apparently tapped into an endless well of inspiration.

All of the songs are completely great. Kamelot changes gears and opens the album not with a high-speed, but a rather dark, mid-tempo "March of Mephisto", twistingly melodic riffs and Shaggrath from Dimmu Borgir as Mephisto, backing Khan on the chorus. Then they dish out "When the Lights Are Down" with blazing double-bass pedals and driving, crunchy riffs. It pretty much switches between mid- and fast-tempi throughout (and soft interludes in most songs), split in the middle with "Abandoned", a piano-based ballad with Khan's pure singing (awe-inspiring, really), and Mari singing as Helena as the music begins to swell on crests of strings and heavy drums. There are interludes, through though fewer than the previous disc, including some interesting moments which add nice touches of variety, like an atmospheric cabaret and a brief vocal solo from Khan. The album builds all builds to a ridiculously high level and then goes right over the top with "Momento Mori", Kamelot hugest, best song to date. Perhaps the best part of Kamelot's _Epica_ story is that each album's finale song ("Three Ways to Epica" and "Momento Mori") are the best, most intense finale songs with the best choruses ever in power metal. Why do other power metal bands even exist? Kamelot wipes the floor with all of them. Sad but true. The story ends and "Serenade" provides an epilogue much like "The Center of the Universe" is a prologue. "Serenade"'s glistening riff and yet another soaring (but somber) chorus ends the album perfectly. The story of _The Black Halo_ begins with Ariel still mourning Helena and under Mephisto's power. As it goes on he learns that Mephisto is merely a part of himself, and that the choice between paths of righteousness and of evil is his alone. In the end he comes to peace with himself, then he dies. By the way, i'm probably just a fanboy. You might be better served by someone more objective.

a note about editions: this review is one the amazon page for the normal johnny edition. A boring, ghetto-plastic jewel case and no bonus tracks. there is another domestic special edition (probably out of print now), packaged in a bright, sleek digipak with two bonus tracks (radio edits of "March of Mephisto" and "The Haunting"). I think it might have a music video on it too. The BEST EDITION TO GET would be the Japanese one, because it has a bonus track that is _not_ a radio edit, "Epilogue"). It's an awesome song and a big crazy Kamelot fan with only be satisfied if they have the edition it is on. ... Read more


7. Mutter
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Asin: B00005AAFS
Catlog: Music
Sales Rank: 1618
Average Customer Review: 4.66 out of 5 stars
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Amazon.com

This German industrial-metal machine has proven itself to bequite popular, with their engaging, potent brand of electronic-enhancedguitar rock and outlandish stage shows appealing to everyone from youngteens to fortysomethings. (Their last studio release, 1998's Sehnsucht, went goldin the U.S.) On their third studio album, Mutter, the sextetaugments its propulsive sound with a live string section and a soprano on a few tracks, while offering two mellower tracks to show theirsoft side. Even if they're not breaking down major barriers with theirlatest release, the enigmatic Rammstein should still continue pleasingnumerous musical insurgents across the globe. --Bryan Reesman ... Read more

Reviews (209)

3-0 out of 5 stars Worthy and consistent
Mutter, the German group Rammstein's third studio release, is a good and energetic piece of music. Released in 2001, the album features a total of 11 tracks. The disc is in an industrial metal musical direction. I find every one of the cuts to be listenable. Overall, the musicianship is taut, the songwriting is good, and the sound quality is tight and succulent. I enjoy Till Lindemann's vocal delivery throughout; I like it when he rolls his R's. Some of the songs also have string arrangements and female backing vocals. "Links 2 3 4," "Feuer Frei!" and "Rein Raus" are examples of tunes that I like. The rousing, hard-driving "Links 2 3 4," my favorite song, features an interesting intro of marching feet and a cool main guitar riff. The punchy "Feuer Frei!" sports a surprising intro and a brisk guitar riff. The relentless "Rein Raus" contains aggressive, crunchy guitar work. "Sonne" displays monstrous-sounding rhythm guitar playing along with attractive female background vocals. The vigorous "Ich Will" also exhibits nice female backing vocals. I enjoy the machine-like rhythm guitar work of "Spieluhr." I like the fact that Rammstein chooses to sing in German. The CD booklet includes the song lyrics--they're only in German--and an individual color photo of each member of the band. The CD is just over 45 minutes. Dieses Album ist gut (This album is good).

5-0 out of 5 stars great album from a great band
This album is great, it is simply aggresive, heartfelt and haunting. Heres a run down on each track.

1.MEIN HERZ BRENNT(my heart burns): A nice song. I love it how Till Lindemann goes agressive on the chorus and yells "mein herz brennt," and the string arrangements are sweet which are played by Olsen Involtini, who also helps out in the other songs mutter and nebel. 8/10

2.LINKS 234(left 234): A great song, kinda like a german march song. This is kinda like the anthem for rammstein fans, any way this song is more catchy than rammsteins stuff, and its a great song. 10/10

3.SONNE(sun): My personal favourite song on the album, its very dark and haunting, and as the song gets closer to the end you hear a haunting sample of some female. Great song. 10/10

4.ICH WILL(i want): A good song, probably the most well known song on the album, and it would have been better if it wasn't so overplayed, any way angry vocals and excellent chorus. 8/10

5.FEUER FREI!(fire free): Great song, very fast, catchy. I like it how this song starts out with sad kind of music and then all of a sudden the music goes aggressive. Great song which was featured on the triple x soundtrack. oh and the track translated isn't fire its fire free. 9/10

6.MUTTER(mother): Wow! Great song, slow, sad and heartfelt. I love the bit where Olsen Involtini plays his violin and then you hear Till Lindemann whisper "mutter" and then yell "mutter". I also like it how the beginning easily remindes you that this is going to be a sad song. 10/10

7.SPIELUHR(music box): I like this song, its like magic, it has this gloomy feel which makes me relaxed, and i like the bit where Khira Li(the kid) pops out and starts singing. This is very close to being my favourite song on the album but not quite. Great song though i must say. 10/10

8.ZWITTER(hermaphrodite): A good song. This is mainly just a song poking fun at hermaphrodites, and yes when i read the lyrics translated, i was laughing my head off but any way great song and nice guitar riffs. 8/10

9.REIN RAUS(in out): A very gross song talking about sex. Not a bad song, though i can see why it seems to be the least liked song on the album. It also has a disgusting sample in the song with some sex noises. Oh well any way, good song. 7/10

10.ADIOS(spanish for bye): Nothing really special in this song, fair guitar riffs, though its a bit boring. This is the worst song on the album. This is the only disapointment in the album. 5/10

11.NEBEL(fog): Such a great way to end the album, this songs great. Very slow and nice and bobo the back ground vocal is amazing, this song has very lovely music aswell and nice string arrangemnts by Olsen Involtini. 10/10

So overall go get this album, they are difinately the best german band in the world, and one of the best industrial bands alive. Go buy this album. THANKYOU FOR READING-peace

5-0 out of 5 stars Power, emotion and meaning
I do not know where to start. There is not a single bad track on the entire album.
The first thing you will notice when you listen to Rammstein's "Mutter" is the outstanding musical discipline used to achieve an incredibly "tight" and ammaculate sound.
Mutter is also very melodic. Every song has a definable theme, rather than just a messy sounding jumble of guitars, bass, keyboard and drums.
I might also mention that this is Rammstein's first album to include orchestral strings sections.

[1]MEIN HERZ BRENNT (My Heart Burns): What an opening. The strings provide a deeply cinematic feel, as lead singer Till Lindemann opens with "Nun lieber Kinder, gebt fein acht", translating to "Now dear children, pay attention...". The strings deeper sections come in before bursting into guitars and drums, while the strings, still playing, perform an series of fast scales, coinciding with Rammstein's familiar industrial-sound. This contrast works remarkably well.

[2] LINKS 2 3 4 (Left 2 3 4): The political song of the album, contradicting claims that the are supporters of the Right Wing, or Nazism (The title represents a march). The guitars provide a surprisingly catchy theme and, in my opinion, is one of the most energetic songs on the album.

[3] SONNE (Sun): Rammstein created a guitar riff with this song that always makes me think "why hasn't this been done before?" A beautiful sampling of a wailing choir is heard towards the end, as "the world counts loudly to ten...", and the strong vocals emphasize the song just that much more. Wow.

[4]: ICH WILL (I Want): The song that got me into Rammstein. Within 20 seconds of hearing this song, I decided to buy all their albums! And I am very picky about music! Prior to hearing this, only classical was for me. The guitars and keyboard work together producing a monstrous, but obviously melodic sound.

[5]: FEUER FREI! (Open Fire!): Ok, a calm synth sound. Sounds quie nice I suppose, then, holy crap, KA-BOOM! The guitars, bass and keyboard hit you so fast, you really need to be aware of when it will arrive! Im my opinion, the "messiest" song of the album, but even so retains it's clean and "compact" sound.

[6]: MUTTER (Mother): The album song. Beautiful, anthem like guitar theme, different from any other song on the album. This song, like Mein Herz Brennt, includes the orchestra and creates a very powerful song. Right towards the end of the sogn Till's voice fades in before hitting the final chorus and ending with "Mother! Oh give me strength".

[7]: SPIELUHR (Music box): A very story-like song. Opens with just Till's voice. One can visualise him reciting a fairy-tale to children. An awesome chorus, very expansive-sounding. Also includes another odd combination of guitars and music box and sounds really, quite wonderful.

[8]: ZWITTER (Hermaphrodite): Now we reach the more sinister of songs. This song has one of my favourite choruses and has downright hilarious lyrics. I suggest you check them out!

[9]: REIN RAUS (In Out): As can be guessed by the ever-so-subtle title, this is a song about sex. Understandably, people might be turned off by this, yet I find the composition so damn awesome! Right towards the end a frentic keyboard section flies up and down various scales performing loops and such creating a bizarre "circus effect"! Just perfect!

[10]: ADIOS (Goodbye): Yes, this is Spanish and was dedicated to a drug addict (I forget his name). Great guitar solo (I'm using these "great" adjectives a lot, I know...), and great chorus. Great great great!

[11]: NEBEL (Mist): Quite possibly my favourite song of all time. If you get the chance to hear this, please excuse the rather slow introduction and give it a chance. The song is about a man's last few moments with the girl he loves before she passes away. Set on a beach, the chorus sings "And then he kissed her, where the sea ends...". Don't mistake this for another cheesy pop song, please.

After the first few verses, the drums come in, as though you are expecting the guitars. Instead, what you get is lush, astonishingly beautiful strings flooding everything out. A cymbal clash concludes the string's part and back to the verse. If the chorus doesn't move you, the concluding words to the song will, as the it ends amidst a dissonant clash of strings and keyboard, and then resting on a long orchestral note. It ends, just as it begin. Beautifully.

So there you have it. Any industrial metal band that can successfully pull off a romantic song without being cheesy is a worthy band. And that is Rammstein.

1-0 out of 5 stars German rip off of Nightwish
Get into Queens of the Stoneage and Nightwish. They are much better bands! At least when Nightwish are singing, they sound good and their music is catchy.

4-0 out of 5 stars Oh my god why is 5 the highest we can rate!!??!?
I just have to say that for the first time i find incredibly unfair that we cant rate higher than 5 cos i would have to give it 10 out of 5. Anybody reading this i just have to tell you to do yourself the biggest favour of your life and go buy this album. I have read alot of reviews here and i have noticed that this is one of the few albums that has gotten so many fives. This is just the most amazing album ever!!!! I got interested in this band when i visited a site where this guy kept raving on about them and people kept asking what is a Rammstein(lol). Then a penfriend made a compilation of a few of their songs for me and and i was in love. Instantly. And now i have my friends obssessing. Ok enough fawning.

This album (mine is a CDplus with all three on the same CD) is by far the best Rammstein album yet. Whether or not you're a fan you will not be disappointed. It is insulting to compare them to KMFDM (dont get me wrong ,i like those guys) for the simple reason that there is not a band who sound like them. They are in a league of their own. There are 11 powerful tracks on this album each one as slamming and asskicking as the next. Dark , riveting, absolutely HANUTING and spellbinding. The beauty of the songs literally brought tears to my eyes. Orgasmic! American rock just cannot compare to German metal. And I hope they always sing in their native tongue ( guttural and demonic sounding ...smiles...).

MEIN HERTZ BRENNT - opens with a sinister voice ( not much unlike Heirate Mich) muttering followed by a mix of sound that will knock your socks off. Pay attention to the amazing bridge. poetic lyrics.simply stunning. take the time to find the translation.

LINKS 234 - For those of you like to dance , this is one that will get you on your feet make you wild one minute and sensual the next. True Rammsteinesque style.

SONNE - Simply awesome. Pretty well known. The chorus is amazing with haunting backing. And the female wailing in the back towards the middle of the track will just send your senses soaring.

ICH WILL - I cannot even begin to describe. I cannot sit still when i hear this. One of the greatest torture i can imgaine is to play this to someone and force them not to react to it. Same female vocals in the background and check out the crowd chanting back responses!

FEUER FREI - I dare you to sit still after the first Feuer frei is uttered. The beat , the bass .... and the quiet verse at the end - Phew!

MUTTER - Very well known track i imagine. Very sad - from the lyrics to the way it sung. One of the best parts is when he whispers the word Mutter and then shouts it out loud.

SPIELHUR - Made the mistake of forwarding through the intro to this one and the first few times i missed the great beginning. I think the verses could be better but otherwise another great song.

ZWITTER - Find the translations. So funny. Someone said it was the sound birds made in german (lmmfao at that).

REIN RAUS - A lot of people said this was their least favorite. It is not as heavy and as saturated as the others. It has its moments though and the lyrics are actually quite amusing.

ADIOS - This is the one song on the album that i might compare to KMFDM. Very industrial sound. only thing i didn't like was the quiet part but it picks back up with just as much gusto. The guitar riffs are pure insanity!

NEBEL - Quiet note on which to end the album. Slow Sinister one.

Basically this album is an experience . One you should not miss. If the choir in church sounded like that ( they do seem to have this hypnotic quality )every human being would attend mass ( this is not an invitation for christians to attack me) .Personally i feel highly creative when i listen to it. My advice is at night ( or close the curtains) , put this on as high as suits you , roll some weed - or a plain fag would do just as nicely and prepare to lose yourself in the world , the beauty that is Mutter. Or better yet - forget the grass. The album itself is enough to give you a high you wont forget!!! ... Read more


8. Sehnsucht
list price: $13.98
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Asin: B0000057C5
Catlog: Music
Sales Rank: 3803
Average Customer Review: 4.52 out of 5 stars
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There's not a big precedent for German bands succeeding in the United States, the '80s bombast-rock of the Scorpions notwithstanding. Rammstein, however, may be the macho men to get the job done, at least in a concert setting. Decidedly Teutonic and militant in sound and lyrics--they sing in German and their commanding semi-industrial metal is compelling--Rammstein garnered rock-radio airplay for the catchy sing-along "Du Hast," which translates here as "You Hate" and bears a striking musical resemblance to the Golden Earring tune "Twilight Zone." While Sehnsucht's 11 songs are solid, it's the live shows where everything gels. There, KISS pyrotechnics and disturbing NIN-like images, for example, complement Rammstein's forceful music. Without the visual stimuli, Sehnsucht (which means "longing") is still a strong effort, but live is where the album's Germanic gems really shine. --Katherine Turman ... Read more

Reviews (342)

4-0 out of 5 stars Cold and eerie breath of fresh air
Rammestein is one of the most original hard rock bands in the market. In a music scene where a lot of bands cut and paste from others Rammestein are one of the rare few which stand on their own. Well, when your lead singer sounds like the goddamn cookie monster (Till Lindemann)that can't really be too hard. But that's not all. Behind their head stomping, muscular tunes that can make your testorine levels soar into new heighs just through hearing some songs (Try Buck Dich, then you'll know what I mean) Rammestein are extremly musically talented. With songs liked Engel and DuHast they made the synthesisers their trademark. Also their guitar work is brutal, atmospheric and assault you like a thunderstorm (eg: the opener Sensucht, again Du-Hast and the brilliant Spiel Mit Mir). But all the other reviewers were correct: Live is where Rammestein are at their most brutal best. Their pyrotechnics, the thumping guitars, the eeire synthesisers all coordiante together to create a visual and listening experience I never seen before. Please get the Family Values tour video and see them perform Buck Dicsh. This album made me a true believer in Rammestein, (I purchased their fist album Herezeleid, the following say) and hard rock. They are a very cold breath of fresh air.

5-0 out of 5 stars ANOTHER Truly Great Album by Truly Great Band
I have found it impossible not to give Rammstein anything less than five stars. They are undeniably great musicians, capable of crafting excellently catchy music and extremely memorable lyrics. As you may remeber, I was told before I got into them that they were "nothing more than a joke band" and "what metalheads flock to when Marilyn Manson becomes too tame". These comments are becoming more and more ineptly incorrect. The second batch of 11 songs are still just as great as those on Herzeleid: The two best tracks would have to be the beautiful, dramatic "Spiel Mit Mir" and the immesely catchy and complex "Engel". Another great track is the stellar opening "Sehnsucht", heavy, progressive, and memorable. "Du Hast" may have been a hit, but it achieves strength past its commerciality with true power. The cover of Depeche Mode's "Stripped" is somewhat harmed by badly pronouced English lyrics, but is still catchy, hard, and, if one goes deeper, strikingly beautiful (I would attribute this mostly to Flake's keyboard work). The guitar-driven "Tier" is another great track, as is the overlooked "Bestrafe Mich". The unforgettable "Kuss Mich (Fellfrosch)" is a powerful album closer. "Bueck Dich", while potentially offensive to some, is still a very strong heavy metal piece(though its probably more entertaining, or sickening, live). Problemm tracks begin with "Klavier", which has unforgivable similarities to the far superior "Seeman", but is still excellent in its own right, especially with some truly haunting lyrics--"Eifersucht" is also another like it, echoing "Laichzeit" but still accomplishing much. The worst track is the still great "Alter Mann", which fails like "Der Meister", because it has little to make it memorable. All in all, no matter where one's tastes fall, this is still remarkable stuff, and anyone who appreciates music or metal should own this. By the way, I don't quite own "Live from Berlin" or "Mutter" quite yet, but I am eager to see whether they live up to Herzeleid and will post my comments on them as soon as possible.

Guten Tag, fächelt Musik!

5-0 out of 5 stars Ich liebe Rammstein!!!!!!
Super CD din partea celui mai mare grup german din lume:
Sehnsucht 10/10
Engel 10/10
Tier 10/10
Bestrafe Mich 8/10
Du Hast 100/10
Buch Dich 10/10
Spiel Mit Mir 10/10
Klavier 9/10
Alter Mann 8/10
Eifersucht 10/10
Kuss Mich 9/10

5-0 out of 5 stars Clearing up a misconception!
I've heard that "Du Hast" translates to "You Hate".

IT DOESN'T!!!!!!!!!!!!!!!!!!!!

If you listen to the record, he says "Du, Du hast. Du, du hast, du hast mich. Du hast mich gefragt, und ich hab nichts gesagt". For those out there that don't speak German, it means "You, you have. You, you have, you have me. You have me asked, and I have nothing said". Put in a complete sentence, it means "You asked me, and I said nothing." He's asking a question, past-tense you ignorant idiots! Learn something about the language before you make a ham-fisted attempt to translate it. If it were meant to mean "You Hate", it would be "Du Hasst". Big difference.

I've studied German now for 4 years. I'm not freakin' wrong.

The whole song is a play on German wedding vows. The verses are saying "Do you want to be faithful to her until death?" and instead of saying "Ja" (yes for those of you who are clueless about other cultures) he says "Nein!" (no). The rest of the album is as good as "Du Hast", but (thankfully) much less misunderstood.

4-0 out of 5 stars my favorite Rammstein
This album is my favorite Rammstein so far. People who say their guitar riffs are kind of bland and monotonous or that they lack talent, are mistaken. Listen to "Bestrafe Mich" or "Du Hast" with an open mind and it's clear to see they're very talented. Also there's a very catchy melodic ballad on here which proves they have range. This is industrial rock with a tiny bit of dance beat thrown in. I love the dry metallic guitar sound and the singer's deep singing voice.

David Rehak

author of "A Young Girl's Crimes" ... Read more


9. 2112
list price: $11.98
our price: $10.99
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Asin: B000001ESF
Catlog: Music
Sales Rank: 3031
Average Customer Review: 4.55 out of 5 stars
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Only Rush could have pulled this off, and only in the '70s. 2112--the title suite of the band's 1976 breakthrough album--is a comically pretentious, futuristic rock opera written by a nerdy drummer and sung by a whiny-voiced geek. It also happens to be a great piece of rock & roll that lifts the listener through a variety of moods and textures from genteel acoustic ("Oracle") to thrilling metal ("The Temples of Syrinx"). Perhaps realizing that they had taken conceptualism about as far as it could go, even these guys backed off on the epic hero stuff for later releases. 2112 still stands as one of the great signposts of the prog-rock era. --Michael Ruby ... Read more

Reviews (194)

5-0 out of 5 stars My thesis
My thesis is that Rush's 2112 is their best album, and one of the best albums in both hard rock and progressive camps.Of course, this would just sound cliched if I didn't have sufficient facts to back it up. For one, Rush has some of the best musicians you will hear in popular music. This is evidenced by the 2112 Overture, which features sadistically good drumming by Neil Peart, a terrific mix of acoustic and electric guitars by Alex Lifeson, and Geddy Lee's lovable bass, all mixing with amazing effects such as echoes to create a very futuristic sounding instrumental.
Secondly, the album is a masterful fusion of graceful and hard-hitting rock. Rush has done more graceful songs than the ones on this album (Closer to the Heart, Spirit of Radio), but they never have cut an album as thrilling and heavy as this. Neil Peart has written an enduring and remarkably coherent extended track in 2112, and the band has an amazing style of alternating between sedate pieces (discovery) and explosive, blowtorching metal (The Temples of Syrinx, Presentation). Geddy Lee is in the vocal performance of his life as the main character and also as the priests, which put his vocal range to good use, as they yell larynx-shredding objections. Or would that be syrinx-shredding? Ha.
I could write a book on this album so let me say that the rest of the songs are not throwaways, and carry the same traits as the title track. In fact, the quantity of strong material makes 2112 an album that, contrary to what the skeptics say, will never be dated if people have an appetite for being dazzled by innovation, craftsmanship, and graceful rock.

3-0 out of 5 stars Good Prog Rock, though not the best.
As a fan of other (competing) prog rock bands of the 70's such as Yes, ELP, King Crimson and Jethro Tull, I must state that Rush is different from all of them. They add a metal element that most prog rockers (except Tull and Yes at times) shied away from, and that is what makes 2112 stand out from the rest of 70's progressive rock. However, though the album (especially the title track) is an enjoyable listen it often lacks something that some of their competitors had, especially those with classical influence. Rush has a problem with continuity in their epic, an impressive 20 minute piece of sci-fi prentension. the song is a great song, but it seems to me more like 7 different short songs than a single epic. Transitions are often sloppy, and while I know this doesn't bother many people it bothers me slightly. However, the musical ability is not lacking, even without keyboards (a normal staple of progressive rock), and though it takes a few listens to get accustomed to Geddy's initially annoying voice after a while one comes to appreciate his tremendous range. The other songs on this album are mostly filler, the only other songs besides 2112 that are really worth listening to are "Something for Nothing" and "Tears." A good album of metal prog rock that holds its own, but if you're looking for a more overall fulfilling (and equally pretentious) experience I would personally recommend my all-time favorite, "Close to the Edge" by Yes, one of the masterpieces of progressive rock. You will not be disappointed with 2112, however, since the title track pays for the price of the CD.

5-0 out of 5 stars The big breakthrough for Rush
In March of 1976, Canadian rockers Rush released their fourth album entitled 2112. This album was seen as their make or break disc after the disappointing results of its predecessor Caress of Steel. When initially released, it was the first Rush album to crack the Top 100 but would not go Gold until the success of its successor A Farewell to Kings a year later as would the live disc released in 1976 All The World's a Stage. The epic 20 minute plus title suite kicks off the album. It tells the Brave New Worldish story of one man's quest to find change. One day, he discovers a guitar and shows it to the evil priests but they destroy the guys creation and then the guy takes his own life at the conclusion of the track over dejection and despair. Bassist/vocalist Geddy Lee's work on this track is amazing. Guitarist Alex Lifeson wails on this track and drummer Neil Peart is on fire. Also of note, this was the first Rush track to feature synthesizers on the intro. The second half features two more Rush composed tracks A Passage to Bangkok(a live staple for the next few years) and The Twilight Zone. Alex Lifeson's Lessons follows and is a great tune. Geddy's ballad Tears is beautiful and poignant with Hugh Syme on keyboards. The concluding Something for Nothing is a great track and reminds us that we have to work for success and don't get things handed on a silver platter. Highly recommended!

5-0 out of 5 stars A True Classic
As a new Rush fan, I had to decide which album I would buy first. So naturally I chose 2112. If a song is 22 minutes long, it's gotta be good. The opener, which is broken into sub-songs is a true masterpice. The best part of the album is when "Temple's of the Synix" kicks in about 4 minutes into 2112. The gutiars scream and Geddy's voice howls out in a pitch that no other human can reach "we've taken care of everything, the words you read, the songs you sing", my personal favorite line in any Rush song. The next 5 songs on the album are no 2112, but they're still pretty damn good. This is a must have for any classic rock fan.

5-0 out of 5 stars MASTERPIECE!
This is where I started my RUSH journey. I have been a fan for most of my life (30 years as long as they have been around). My older brother, Tom, was a fan of RUSH when I was born. I grew up listening to RUSH while Tom jammed along on his guitar. I used to beg him to play this album over and over. Today I am going to permanently mark my body with ink to honor RUSH and their 30 years of existence. I will emblazon my right arm with the bold black characters "R30" after their 30th anniversary tour logo. 2112 is RUSH's best album, and when I got a CD player for the first time in 1989 this was the CD I bought to play. ORDER IT AND YOU WILL NOT REGRET IT!!! ... Read more


10. The Spirit Of Radio: Greatest Hits 1974-1987
list price: $13.98
our price: $13.98
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Asin: B0000794FS
Catlog: Music
Sales Rank: 1893
Average Customer Review: 3.78 out of 5 stars
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Though not their first-ever career survey, Rush's Spirit of Radio compilation is an ideal point of entry for newbie fans or anyone who consistently likes the Rush songs most often heard on commercial radio. While 1990's Chronicles set was more encompassing--including tracks beyond Spirit of Radio's '87 cut-off point--the Canadian prog-rock trio's benchmark moments are represented among these 16 songs. Hence the appearance of "Closer to the Heart," "Tom Sawyer," "New World Man," "Time Stand Still," "Fly by Night," "Subdivisions," and the title track. --Kim Hughes ... Read more

Reviews (60)

3-0 out of 5 stars Great songs here, but its all been done before!
Released in 2003, this is the 3rd Rush compilation, and it contains 16 tracks.

As Rush dawned on their 30th Anniversary, their old label Mercury(Who they disbanded with in 1987) decided to release a compilation to commemorate the event. Taking songs off the many
Rush albums between 1974-1987, it manages to incorporate at least one song from each album released during that time period except for Caress of Steel, an underrated gem. Although this
album says "Greatest Hits", none of these songs reached billboard success except for "New World Man", which peaked at #16. Essentially this is a "Best Of" compilation, gathering up all the radio staples such as "Limelight", "Tom Sawyer", and "Subdivisions"(Really you can hear all the
songs on this compilation on the radio!), and adding in fan favorites such as "Time Stands Still", "Distant Early Warning", and "Force Ten". The CD's packaging is also quite nice, with a Booklet that tells all
about their CD's and the singles on this compilation, and it proves to be quite an interesting read. If you are a fan of Classic Rock, I cannot recommend Rush enough. Making a compilation for the greatest band of all-time can prove to be quite a formidable task, so read on below to find out
how Spirit of Radio stacks up:

(By the way, thanks to Der Kommissar for the format!)

PROS:
ALL THE SONGS ARE CLASSICS-Without a doubt, every single song on this compilation are some of Rush's best, and they will not fail to satisfy even the stingiest of tastes. If you are a fan of
Classic Rock, there is no way you cannot like this!

THIS RUSH COMPILATION IS CHEAPER THAN ANY OTHER ONE AVAILABLE-At
most CD Stores, you can find this CD for a mere 11.99$, which is basically a steal. The other Rush compilations, Chronicles and Retrospective 1 and 2, are more expensive.

PERFECT FOR A CASUAL FAN-If you just want all the radio staples without the fan favorites, this Rush compilation is for you!

INTERESTING BOOKLET-The cover booklet gives interesting info on all of Rush's albums and each and every song on this album. One of the best booklets for a compilation(Other than Judas
Priest's Metalworks).

Cons:

MISSING MANY GREAT SONGS- This compilation blatantly excludes "Bastille Day", "Lakeside Park", "By-Tor and the Snowdog", "YYZ", and many others. Most or all of those
songs I just mentioned are played on the radio in regular rotation, and they are all classics, so it's a
shame they weren't included.

DOESN'T COVER CARESS OF STEEL- Although Caress of Steel certainly isn't Rush's best album, this compilation covers all the albums EXCEPT this one, and they could have easily
added the songs "Bastille Day" and "Lakeside Park".

NO SONGS FROM PRESTO OR THE 90'S CDS-Since this compilation only covers the CDs released on the Mercury label, you get NO songs off Presto or any of Rush's 90's material, which is just as notable as their earlier work.

FALLS FLAT ON ITS FACE COMPARED TO CHRONICLES-Compared to Chronicles, which mentions all the songs I wanted above, plus songs from Presto and Roll the Bones, and many more classic songs("Something For Nothing", "Anthem", "Mystic Rhythms", "La Villa Strangiato", and many more), Spirit of Radio almost seems like an afterthought compared to Chronicles.

Overall, a this compilation gathers all of the most popular Rush songs, but omits many undeniable classics, and contains no material from the 90's, therefore severely degrading it. What's here is great though, and if you don't want to spend more than 15 Dollars on a Rush Compilation, this CD is for you. ALSO, DO NOT GET THE RETROSPECTIVE CDS, THEY ARE RIPOFFS!THEY ARE JUST 2 OVERPRICED VERSIONS OF CHRONICLES! But if you are looking for a TRUE retrospective, this album is not for you.

RECOMMENDED IF YOU WANT A CHEAP RUSH COMPILATION, NOT
RECOMMENDED IF YOU'RE GETTING INTO RUSH, INSTEAD GET THE MUCH
BETTER CHRONICLES! Thanks for reading!

5-0 out of 5 stars The Poets Laureate of Hard Rock
I remember when Rush's first album appeared on the Canadian music charts when I was in high school. It entered at #100 and 2 weeks later climbed all the way up to #99. This, I thought with my usual accuracy for prognostication, is a band going nowhere.

I wasn't alone. When Rush were nominated for Best New Band at the Junos (Canada's Grammy awards), they lost to the ever popular Myles & Lenny. Inexplicably nominated in the same category the next year, they lost again.

But someone was listening...

Rush toured and toured, putting on phenomenal shows, playing with ever-increasing virtuousity and writing the most intelligent songs in the hard rock genre.

They hold the record, by a wide margin, of most consecutive Billboard top 10 albums by a heavy metal act. Including Led Zeppelin.

Several reviewers have complained that the tracklisting for this set is also available on Chronicles, a 2-CD set. True, but this set isn't for completists. The songs alone rate 5-stars, regardless of how often they are repackaged.

Ironically the song "The Spirit Of Radio", for which the album was named, was the slogan of radio station CFNY in Toronto. The station played an eclectic mix new wave, punk, and obscure album tracks, not the big heavy metal acts of the day that Rush, rightly or wrongly, was categorized as being amongst.

CFNY never played Rush.

But most other Toronto stations did, effectively giving free advertising to a competitor.

1-0 out of 5 stars No reason for releasing this other than money
Here you have it, the fourth greatest hits offerent from Rush, The Spirit Of Radio: Geatest Hits 1974-1987. Now, I love Rush, and I own all their releases but I cannot think of any reason to recommend this. Yes, the songs are great. Yes, the musicianship is first rate. However, all of the songs on this release have shown up on two other greatest hits collections "Chronicles" and "Restrospective Vol I and II". If you are new to Rush and want a good sample of their music I suggest purchasing the Retrospective releases. They include a much wider range of songs than found here or on Chronicles, which just has two songs per Rush album (three from Moving Pictures). So why release this? The record label knows there are loyal Rush fans out there who will buy any product released and are exploiting them.

4-0 out of 5 stars Yes I am a Newbie
A year ago, I couldn't even tell you who Rush was. And I wouldn't consider myself a die hard fan yet...but I'm working on it. Everyone needs a place to start and this is the album I jumped in with. I know it's all tainted and commercialized and blah blah blah...the horror, but honestly, I had no idea what I would like about this band and I'm entirely too cheap to buy every studio album the trio ever put out. So I apoligize if I love Limelight and Freewill. But I still think Neil Peart is just as much of a God as the next Rush fan. Maybe someday I'll live up to your standards oh great ones. Until then...I love this CD anyway.

4-0 out of 5 stars Heavy Prog Rock
This CD contains all of Rush's famous songs. Rush, in case you were wondering is a Canadian trio that mixes Prog and Metal influences to create an unstoppable effect. I only have one problem, this CD contains too many of their 80's songs, which were not as heavy and leaning towards synth pop. However, even they are pretty good. You may find lead singer Geddy Lee's voice a little bizarre at first, but you will grow to like it. The best songs on the album are Tom Sawyer, Working Man, and The Trees. The Trees is a rather goofy epic of maples and oaks fighting over wether who is superior. I would recommend this collection for casual fans, or Rush beginners. ... Read more


11. Moving Pictures
list price: $11.98
our price: $10.99
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Asin: B000001ESP
Catlog: Music
Sales Rank: 3463
Average Customer Review: 4.74 out of 5 stars
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With Moving Pictures, Rush's complex songwriting and musical virtuosity reached new heights. It's that rarest of creatures, a highly listenable progressive-rock album; even the all-instrumental "YYZ" is of interest to listeners besides musicians. The highlight of the album is "Limelight"; like many progressive-rock bands, Rush writes songs about the experience of being on-stage. The result is impressive, with almost orchestral arrangements that never overwhelm the actual music. "Tom Sawyer," another classic, is on this album, as well as the science-fiction-meets-road-movie "Red Barchetta," the epic "The Camera Eye," the cautionary "Witch Hunt," and "Vital Signs," which takes advantage of the budding digital sound technology available at the time the album was recorded. This is probably Rush's best album; it's definitely their most accessible. --Genevieve Williams ... Read more

Reviews (186)

5-0 out of 5 stars Rush's Best!
Though they just released "Vapor Trails" (also a 5 star album), Moving Pictures is THE Definitive Rush album! The album opens with Tom Sawyer, a fast paced song with an awesome synth. This is the song that started me on Rush. Next is Red Barchetta (yes the car). I heard it and it has a nice tune and is lesser know sadly. Personally, I think it is a great song! Next is the astounding instrumental YYZ. It has a fantastic opening and has solos for each member of Rush. Number 4 is Limelight. This song tells about being on stage and this song show's Neil Peart(the drummer)'s writing capabilities. He writes things that move me, you and everyone. The longest song on the CD is "The Camera Eye". This song mentions New York and London. It is 10:56, so there are obviously instrumental interludes. This one is bright and peppy. Part three of Fear, Witch Hunt, is dark and subtle. It literally is about a Witch Hunt. Last is Vital Signs. Not my favorite on the disk, but it suffices, nonetheless. I don't listen to it as much as the rest, but, it still adds to the musical genius of this band. If you ever see them live, you'll love it! Be sure to try other albums, because their best is on many Cd's spanning almost 30 years.

5-0 out of 5 stars A compact masterpiece after too many good albums !
In 1981 Rush had thousands of fans all over the world and had recorded at least 3 excellent and definitive albums in rock'n roll history. They're song had evolved extraordinary well in the previous years and, from album to album, we could see a great band of great musicians growing and reaching a very high level between the masters of rock. In the last 3 albums the band started using some synthesizers, instrument that became a mania in the 80's. This additional instrument bring some new colors and textures to the band's songs, featuring the obvious evolution of Neil Peart's lyrics and the development of Geddy Lee's vocals technique. The band performance at this time was just impecable ! So, after the big success of "The spirit of radio" and "Freewill" the band reached radio audiences and spread they're exciting hard-progressive rock among many teenagers and adults hungry for complex but still accessible rock. "Moving Pictures" summarized all these things and is, undoubtly, Rush finest moment in all these years. The album has a strong production, with a very clean sound. Each instrument is perfectly audible. The tracks are shorten, even very well played. Compared to the previous albums, the songs have a pop-oriented appeal, but what we really see are eight tracks of pure and energetic hard rock mixed with synthesized-progressive pop ! The definition may sound strange, but you will understand everything at the first listen to the first track: "Tom Sawyer", the major hit of the band. A compact song featuring dense futuristic lyrics, strong drumming, bass and guitar. Each instrument show some incredible virtuosism in just 4 minutes and a half! A classic. "Red Barchetta" is a delightful hard rock. You can see yourself driving faster trough the country road, reaching the skies, feeling the air in you hair... Excellent lyrics, excellent performance. Another major hit! "YYZ" is Rush's second best instrumental track ever (the big one is "La villa strangiato"). A hard progressive track with some high quality drumming and riffs. Lee, Lifeson and Peart are perfect! The synthesizer used in the middle of the track bring us a futuristic mood that really rocks! "Limelight" is another major hit. Like "Red Barchetta", a track to shake our heads and sing all night long. Strong musicianship and lyrics. The guitar solo is heavenly well played! (and are even better live!). These four tracks are among best Rush's tracks of all times ! "Camera eye" is the last lenghty Rush track in their career. Ten minutes and a half of synth-progressive rock that works very well. "Witch Hunt" is a dark track, with an interesting rhythm section. Short and misterious. I like it very much! "Vital signs" closes the album with a reggae-like rhythm and some The Police influence. This closing number exactly points to what Rush would do in the next albums. "Moving Pictures" was a big success at the time of its release and continous to be a major rock'n roll album after all these years. An obligatory album in any kind of popular music collection ! Not as pop as everything they did between 84 and 91, not as hard as in the early years. A perfect balance between virtuosism, complexity and accesibility . That's Rush !

5-0 out of 5 stars Rush's arguable finest hour
Canadian power trio Rush's ninth(and eighth studio overall) album entitled Moving Pictures was released in February of 1981 to fans whom were heavily anticipating a strong follow-up to the previous year's Permanent Waves, which was Rush's first Top 5 album here in the US thanks to songs like Freewill and The Spirit of Radio. When fans first went to the stores to buy MP, the artwork must have caught some eyes. The title of the disc Moving Pictures had monumental multiple meanings. First, there is workers actually "moving pictures". Then, there are people crying because the pictures are so moving. Finally, there was a film crew making a moving picture of the whole scene on the back cover. Plus, actual moving pictures of the band at their respective instruments(on the original CD, drummer Neil Peart's photo was missing, luckily on this remaster, his photo was restored). Also, Bob Ludwig(whom originally mastered the album), did a superb job on the remastering of this remastered version. All of the songs on Moving Pictures were written by all three Rush members except*(with Pye Dubois) and +(by Geddy Lee/Peart). The album starts at full throttle with Tom Sawyer*, which was talking about modern-day heroes and using one of Mark Twain's character as a metaphor and featured rapid playing by Peart, guitarist Alex Lifeson and bassist/vocalist/keyboardist Lee, whom was singing more and more in a lower octave on this album than previous albums. The song Red Barchetta follows, and is about a person who goes to his uncle's farm and discovers a car. The music picks you up then accelerates as the song goes on and then ends as it began by dropping you off at the next location. Next is YYZ+, an instrumental named after the luggage tag code at Toronto airport. That track was used as the focal point for Neil's drum solo in concert off and on for the next nine years after this track came out. The first half ends with Limelight, which was more of Neil's song about his problems dealing with fame and was more sensitive than Alex or Geddy were in dealing with autograph hounds and stalkers and was a Top 100 hit in 1981. The second half kicks off with the 11 minute epic The Camera Eye, which was the last 10 plus minute suite Rush ever recorded and is a classic and is split in two parts. First, we're in modern day New York and then we go back to ancient times London and featured excellent guitar work by Alex and synth and bass work by Geddy. Next is Witch Hunt, which was the third part of a four-part saga called Fear and is about dealing with prejudices and injustices in the world. Interesting fact, the mob rants at the start of the track was actually multi-tracked rants and raves of the three Rush members whom were acting hyper after drinking bottles of Scotch outside of the studio(Le Studio in Morin Heights, Quebec, Canada) and it was cold outside(below freezing) and the band were drinking and bellowing to create that rant effect. Plus, the song had album Rush album cover guru Hugh Syme on synthesizers and two drum tracks by Neil to create a synth drum sound years ahead of its time. The album concludes with Vital Signs, which would not have sounded out of place on a Police album and is a great track. Moving Pictures was an instant smash peaking at #3 on the Billboard album charts and selling over 4 million copies in the US alone making it Rush's biggest seller. Today, this album still sounds fresh and hasn't aged at all. This album belongs up there with The Dark Side of the Moon, Who's Next, Hotel California, Back in Black, Appetite For Destruction, A Night at the Opera and Sgt. Pepper. A classic!!!

5-0 out of 5 stars Moving Pictures(4.5)
This album is seen as one of, if not RUsh's best album and also as the transition between their first few CDs (which were more hard/prog rockish) and their more experimental future albums. Much of the praise that this album gets is well deserved as many of Rush's classics come from this album.
Since this is a Rush album, the excellent musicianship is obviously present. Neil Peart's drumming is amazing on this album as he creates complex rhythms and navigates the band's irregular time signatures with ease. Peart's lyrics are also interesting and thought provoking in some cases. Alex Lifeson's guitar playing is also top notch. He lays down some great solos and some classic riffs like the one in "Limelight". The final member of the group, Geddy Lee is also amazing on bass. He creates many great basslines (as usual) like the one in the instrumental "YYZ". He lays out some nice synthesizer parts too. His high pitched acquired taste vocals could take away from the album for some but I think they fit the music fine. They are more tolerable than those on some previoius albums which were even more high pitched.

1. Tom Sawyer: This is the most popular song off this album. It deals with independence and individuality. I really like the bass parts and the drums in this song. The song is quite catchy. Definitely one of my favorites off this album. Classic Rush. 10/10

2. Red Barchetta: This 6 minute song is also one of my favorites. The lyrics are about a future society/govt. that bans the use of cars. The character in the story is going joy riding in his Uncle's hidden car. The music is very good as are the lyrics. I like the vocal melodies as well. Great song 9.5/10

3. YYZ: This instrumental starts out with Peart tapping out morse code on his cymbal. The song then moves into a dissonant section before transitioning into its main melody. The extremely cathcy bass lines are really superb in this song. They pretty much dominate the much of song before the guitar solo. There are many mini bass and drum solos throughout the songs as well. Extremely catchy. Another favorite and Rush classic. 10/10

4. Limelight: Another amazing song. The lyrics are about fame. The opening guitar riff is superb and is extremely catchy. Probably the best on the album. I like the vocal melodies a lot too. ANother one of the big hits from this album. 10/10

5. The Camera Eye: This song is the first not so good song on the album. It is about 11 minutes long. I definitely did not give this song much of a chance and I should listen to it again. I just don't care for really long epics so much unless i find them really interesting. I think some of the guitar parts were catchy. The lyrics are about New York and London possibly. 7/10

6.Witch Hunt: Pretty good song. There is a sample of some sort of mob. Next is a nice synthesizer part that I think they got a guest to do. The music is dark as are the lyrics. The song is part of the "Fear" trilogy. Neil Peart said in an interview that it was about how fear leads to mob mentality. The lyrics are quite cautionary. It is semi political and seems left leaning. Not one of the best songs but still pretty good. Good lyrics. 8/10

Vital Signs: I didn't like this one. Sounds a bit reggaeish. I didn't really appreciate this one. It's OK. 5/10

Overall, I reccomend this album. The first half is really top notch but the last three songs were a bit less compelling. I give this five stars more or less because the first 4 songs were so good.

5-0 out of 5 stars Excellent Music
Rush:
Geddy Lee
Alex Lifeson
Neil Peart

This is music from some of the greatest musicians out there today.
And this album definitely justifies the claim.

Tom Sawyer: 9.5/10
One of the most popular songs by rush. Powerful intro to the album.

Red Barchetta: 10/10
My favorite song on the album. Can't get much better than this.

YYZ: 9.5/10
Instrumental. Really impressive musicianship. The beginning is Peart busting out the morse code for YYZ, which is the airport code for Toronto, if I remember correctly.

Limelight: 10/10
One of my other favorite songs on this album. Excellent.

The Camera Eye: 9.5/10
A classic, long Rush song. Excellent.

Witch hunt: 9/10
My least favorite track. It took me a while to get used to, yet it still got a 9/10 ranking.

Vital Signs: 10/10
Another one of my favorite songs on the CD.

Album: 9.6/10

Excellent buy. All prog-rock fans should own Moving Pictures by Rush. ... Read more


12. Real Illusions: Reflections
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Asin: B0007GADZO
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Sales Rank: 10906
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13. Images & Words
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Catlog: Music
Sales Rank: 4012
Average Customer Review: 4.54 out of 5 stars
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Proof positive that one can be a virtuoso musician and also have heart, Dream Theater are in impressive form on this album, arguably their best. They do it by never allowing technical flash to overwhelm their songs; there's substance under the style, in the form of ear-catching riffs and aggressive rhythms. The opening "Pull Me Under" is, quite simply, a great song, from its sparse introduction to its heavy-duty main riff to its memorable lyrics. Dream Theater, as its name implies, is an introspective band, exploring the complexities of the human heart and bringing them to life with songs like "Learning to Live," "Take the Time," and "Wait for Sleep". Unlike many metal bands, they favor an optimistic outlook, as with "Another Day" and "Surrounded," and even the dazzlingly complex "Metropolis, Pt. 1" is an entertaining listen. -- Genevieve Williams ... Read more

Reviews (223)

5-0 out of 5 stars Incredible.
as much as one can speak about the depth of dream theater's musical ability, they often mistake them for a "progressive" band.

like rush and yes of a forgotten age, dream theater combine amazing songwriting and instrumentation with genuine SOUL in both lyrics and melody. this album is by far dream theater's greatest effort, because they don't stick to one simple theme or style of writing. for example, the contrast between songs like "pull me under" (reminds me of queensrchye) which is both moody and melodic. and "Take The Time" that features 80's style funk guitar playing (slap guitar?) and great dixie dregs styled riffs that groove. (john petrucci himself a huge Morse fan.) and then there is the shred opus "metropolis pt. 1" which is really just a song for the guitars to indulge into time signature excess, and theres a phenomenal two handed bass solo from the billy sheehan o' koreans, john myung.

dream theater can do it all, and not at the expense of writing good likeable songs. dream theater is not a progressive band, they are artists. images and words, their finest hour. a gem for all music fans.

5-0 out of 5 stars GREATEST BAND TO COME OUT OF THE 90'S!
Dream Theater is one of my main inflences in music, besides the obvious Pink FLoyd. I had never heard keyboard playing like that before untill i had heard this album. Yes Keith Emerson and Rick Wakeman have to be the two greatest keyboardists alive, but something was different about Kevin Moore's style. The other thing that hooked me was Mike Portnoys drumming. The tight feel, and complexity of his drum style is just amazing. James Labrie intrigued me a lot, with his operatic style vocals. Haven't heard anyone song like that since Geoff Tate or Bruce Dickinson. John Pettucci is awesome. He's so smooth, and his guitar solos just rise. John Myung is a great bass player. The best one i've ever heard. This is the first DT album i ever got, and will be always one of my favourite albums.

5-0 out of 5 stars What hasn't been said yet?
Everyone already took the words and reviews from my mouth so I might as well just give it my 5 stars and just say

I have successfully converted people to becoming Dream Theater fans with this CD. Its an excellent cd to begin people with.

5-0 out of 5 stars The Production Value Is Superb
Indeed, this probably isn't Dream Theater's best CD, from a mechanical standpoint anyways, although, if not, it's fairly close to the best. This CD may not have the complex rhythms that you will find on Six Degrees Of Inner Turbulence, or the alternative guitar parts that you can hear on Train Of Thought, and this CD certainly does not progress like Scenes From A Memory, but this album is produced and played in the most perfect way possible. And, like many progressive bands, many fans will like one CD better then another, because most progressive bands change their sound from CD to CD. Such is the case with Dream Theater, and therefore, it is hard to pass judgment on this CD.

This CD certainly does have an 80's metal sound too it, although elements of it feel very alternative. The sound, however, is a tad bit cliché, and that may turn some people on, and turn some people off. However, there is no denying the musical talent on this CD. From the first chords in Pull Me Under, to the excellent instrumental solo in the middle of Metropolis Part 1, you know you are dealing with one of the most talented bands to make an album.

This CD does a good job of using different styles to keep it interesting. Pull Me Under and Under The Glass Moon both feel very dark, and also feature some of the CDs best metal chords. Another Day and Surrounded both feel very poppy, and Another Day feels very jazzy. Take The Time has some of the best bass work I have heard from the band, and moves in a completely progressive direction. Wait For Sleep is a dark progressive song with lush melodies. Metropolis - Part 1, is one of the band's greatest works, hands down. It has an excellent instrumental "session," in the middle of the song, that features some excellent shredding by the band. And Learning To Live also has an excellent progressive feel to it - and sure enough, it has some of the best instrumental segments, on the CD, right in the middle of the song.

The CD has a lot of variety, and that's a good thing. It will keep listeners interested in the sound, where as some bands (Like Symphony X, and even later Dream Theater albums) rely on the listener's patience to look past the complex melodies and absorb the music. This is definitely a good base to work off of if you are new to Dream Theater. Featuring elements that are found in all of Dream Theater's later works, you'll learn to appreciate the band the right way.

But the best part about this CD, in my opinion, is the sheer genius of the production. Everything is in its right place. And while the CD does not progress as a whole, like a concept album, it does have some long and complex passages. The balance is perfect, all the instruments can be heard, and nothing sounds out of place. It is obvious that time was put into making this album, and that the time put into it has been well spent.

This may not be Dream Theater's best effort from a mechanical standpoint, but this is certainly a well-produced ride that's worthy of being owned by every Dream Theater fan.

4-0 out of 5 stars A solid debut that has its moments
This is NOT Dream Theater's best album. I rely on the Prog People of the universe for some reasoning and understanding when there are endless seas of the Teeny Bopper People to be content on the surface. But I guess even in the most intuitive minds, nostalgia is a big force and I'm not old enough to understand it yet. That said, allow an "outsider" to point something out: "Dark Side of the Moon," "Appetite for Destruction," and "Slippery When Wet" were and are all phenomenal albums, but joining the ranks is "Images and Words," in that earlier isn't always better. In the non-mainstream world of DT, "Images and Words" was their "Breakthrough," just as "Appetite..." was, in the mainstream for GNR. Great albums like this one deserve praise and timelessness, that's a given for me, but I don't think one must have to be that openminded to see that breakthrough albums are what they are; HUGE openings of gates or windows or pick your own metaphor(s) that begin the hopeful path to evolution and progress.

So I've explained why I felt the need to take away a star, but now let's go to work and justify the presence of the other 4.

First off, if it weren't for an AMAZING track called "Metropolis 1", the fate of DT's BEST album and quasi-sequel to it (that should be enough hinting) later down the road might not have been the same. With such jawdropping rhythmic motives and glorious intrumental breaks, all stampeding up towards the last crashing climax, there's really no words I can think of to describe it.

"Take the Time" is very complex (what isn't here) but the instrumental melody and jam progression (E-F#-A-C-D-E) towards the end is the embryo of what the Theater would be striving for over the next decade - GROOVE AND FEEL! There's more in the later albums, but most of "Take the Time" reveals John Petrucci's Godlike ability to play the most technically proficient passages WHILE maintaining emotion.

"Another Day" is one of my favorites as it is slower and thus these manmachines of prog let their brains calm down a bit. Result: taste. James has some very poignant vocals as well.

And of course the star of the show, "Pull Me Under." Which to this day doesn't make sense to me why that song seemed to grab the prog market that it did. It IS a good song... but that song is one of the least prog songs they have, which is probably why, coupled with many edits, they were able to get it on MTV a little bit. Still I've heard many say they've never heard anything like "Pull Me Under" at the time, and it sounds very Megadeth/Metallica to me, almost Pantera!. Which isn't a bad thing, let me add. Indeed, though "Images and Words" IS a great album and it has more "up" moments than "down" moments, it isn't as original and creative as 1) everyone gives it credit for and 2) Dream Theater would soon become. The triggering and processing on the snare puts a bit of a dated sound to the experience as well, I might add. But nobody in their right mind can listen to this album and knock them down for a lack of effort.

I advise purchasing their entire catalog, as every album has its own character to offer, but it is always Dream Theater. That's what's so great about this band. Well, the fact that their playing can blow anyone else who comes within 50 feet of a guitar off of the planet doesn't hurt either. ... Read more


14. Liquid Tension Experiment
list price: $16.98
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Asin: B0000067YK
Catlog: Music
Sales Rank: 3662
Average Customer Review: 4.33 out of 5 stars
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Over-wrought, self-indulgent, bombastic--hurl every clichéd prog-rock epithet you can think of--this group will suck 'em in and spit 'em right back in a deafening flurry of notes plucked, struck, hammered, and slapped. Without question, these guys ( Dream Theater's drummer and guitarist Mike Portnoy and John Petrucci respectively, keyboardist Jordan Rudess, and bassist Tony Levin) are masters. And they make no apologies for having recorded an album of intensely virtuosic instrumental hard rock. Armed with chops, taste, and panache, LTE groove seamlessly from the lightning-fingered metalfest "Paradigm Shift" to the comical drum & bass duet "Chris and Kevin's Excellent Adventure"; from the full-throttle jamming on "Universal Mind" to the house-crushing mayhem of "Three Minute Warning." Throughout, the staggering speed and technique of both Portnoy and Petrucci consistently grab center stage. It's a riveting work from start to finish and a scorching testament to the power of musical inspiration and collaboration. --Michael Mikesell ... Read more

Reviews (87)

5-0 out of 5 stars Outstanding!!!
LTE: they take music to the highest definitions ever....the break of rhythm, the complex compositions, the change of tones, the clinics they give on each instrument. Yes, you got it, we are talking about real masters, this is a must have for real-music-lovers-addicts......Just imaging Dream Theater with much more complicated rhytms and music paths. Let me comment on the tracks by number: Track 1 is an introduction for the rest of experiences you'll get later on.. Track 2 will take you to the fields of serenity, in this track the only thing missing is a Pat Metheny solo(just imagine that!)..Track 3 shows a complicated path where Portnoy wont lose the beat no matter what Petrucci does... Track 4 and 6 is where Levin shows us a lession.. Track 5 is complete story...Track 7 is a great lullaby, when suddenly track 8 hits you with Petrucci making us believe that fingers think on their own. And you wont believe the remaing 30 Minute lesson they give then....Again, a must have album for a serious listener. Enjoy!

4-0 out of 5 stars This was the start; not for the faint of heart.
Prog jam records have a history of being indulgent and unlistenable...the few notable exceptions can make us believe in a higher power again. This album is one of those exceptions. Liquid Tension was the project that started the current direction of Dream Theater. Fast, furious, spontaneous rock, aggro-prog, funky goof rock, space rock, legato neo-classical, sizzling fusion, mellow world flavors, teeth-bared metal...it's all here. From the thunderous juggernaut kickoff of "Paradigm Shift" (this song almost made me spontaneously relieve myself) to its dreamy, Stick-flavored midsection to Egyptized-metal closer riffing, it segues into the moody, ethereal, Peter Gabriel-like Osmosis. Close on the heels is the Rush-like crunch of Kindred Spirits, the cheesy funk of the Stretch, to the dramatic, slowly anthemic buildup of Freedom of Speech...sedgeway to the playful Stick-shuffle of "Excellent Adventure"...followed by the beautiful, almost hymn-like guitar/keyboard duet "State of Grace"...only to have your ears blasted off by "Universal Mind(blower)" which continues the fast and furious antics of the opening song with odd-time riffing, speed metal, graceful classical piano, screaming fusion, to Satriani-like guitar heroics, to one of the best bass/drums riffs in 7 I've ever heard, rounding it all out with an anthemic closing buildup back to the Satchlike opener and taking a few playful swipes at reggae and circus music on the side. 3 minute Warning? Lordy I barely make it through this one. 'Nuff said.

DT, the Dregs, or Tony Levin have never made a record like this before or since. Don't brush it aside; it beckons to those who love kick-ass instrumental rock but yearn for a band-like sound. I still enjoy it immensely and always will.

4-0 out of 5 stars Now these guys do instrumentation the right way
Instrumental stuff can be boring, very boring. But when you got Mike Portnoy on drums, John Petrucci on guitar, and Jordan Rudess on keyboards, and Tony Levin on bass...great music is bound to happen.

These guys know how to write a song and not make it seem so boring. "Paradigm Shift" is a great song, "Osmosis" is amazing, "Kindred Spirits" is amazing, everything is great here.

However, to me the shining moment of this album is "Three Minute Warning." Now this track just shows how great these guys really are. These guys IMPROVISE this entirely, it clocks in at 28:31, and somehow...it's not boring at all!

This album is definitely for all Dream Theater and instrumental freaks. If you haven't bought this album already...do it now!

4-0 out of 5 stars Prog Metals Finest
Dream Theater being my second favorite band, I knew I had to check out Liquid Tension Experiment. I wasn't sure what exactly to expect, a bunch of insturmentals I figured it'd be overall a hit and miss album. A few good tunes, a few bad ones, and some that have moments. Suprisingly practically all 70+ minutes of this CD is awesome!

Paradigm Shift starts off with an insanely fast opening that totally shot me off balance. It gets slower as the song progresses, and loses some steam, but the last minute kicks back up. Osmosis and State of Grace are some calmer pieces, featuring some great percussion work from Portnoy and excellent keys from Jordan Rudess. Kindred Spirits is one of the best tracks on here, which sounds like it was inlfuenced by some classic rock. Petrucci really shines here, as the song features a bunch of varied tempo changes. Freedom of Speech is possibly the best song on here, starting off with a soothing intro, and then breaking into a more upbeat number with a great baseline from Tony. Finishing the "composed" pieces is Universal Mind, which seems to take all the previous songs and meld them into one cohesive song. It starts out kinda like Paradigm, but then kinda feels more like Freedom mixed with Kindred. Afterwards comes the 28 minute Improv piece 3 Minute Warning. Personally I like it, so long as you take it for what it is. 4 muscians just jamming away, fooling around, and trying to get a rhythm going from scratch. Granted it starts off kinda slow, and has some monotonous parts, but by the last 3 tracks they seem to pull it together and come up with something quite unique and enjoyable. The two tacks I neglected to mention are the Stretch, and Chris and Kevin's Excellent Adventure. These really aren't otustanding tracks, the latter featuring just Portnoy's Durms and Levin's Bass accompinied by some whistling. However both tracks are quite short, only 2 minutes, so they don't detrach too much from the overall album.

This album remians fresh and fun with every listen. It's great if your looking for killer riffs, or just some background ambience. Really, don't be turned off because it's got no vocalist, these guys are superb at their insturments and don't need a singer to make a good album. Chances are if you're already a fan of Dream Theater, you've already checked this out. For everyone else, if your looking for something new and tasteful go for it.

3-0 out of 5 stars This'll no doubt be my least popular review ever...
I hope for the sake of all involved Liquid Tension Experiment was more fun to record than it is to listen to. The guilty parties include John Petrucci and Mike Portnoy from Dream Theater and Tony Levin (King Crimson) & Jordan Rudess, each of whom has played their respective instruments from sun up to sun down most of their natural born lives, apparently at the expense of personal growth. I offer that scathing character judgment not out of personal spite but because, like 99% of these pretentious jazz-fusion experiments LTE also displays a chilling lack of emotional context, more a third-string mish mash of other people's thematic ideas than a cohesive statement of it's own. Mike Portnoy pines apologetically in the liner notes about the makeshift group having a mere week to improvise and record this album, but that's far more than the two sessions it required Miles Davis and company to produce his masterpiece Kind Of Blue. Perhaps that's an unfair comparison, but it serves to illustrate the whole pointlessness of exercises such as Liquid Tension Experiment. All of the musicians involved can play their asses off, granted, but there's nothing experimental... nothing RISKY... found here. On the contrary, if ever there was a concrete example of musicians going through the motions, this album must be that crowning moment. To be fair, "Paradigm Shift" and "Universal Mind" at times approach a Satriani-like melodic sophistication, but any inherent listenability the album may have had as a whole is sunk convincingly with the ridiculously overwrought "Three Minute Warning", which despite it's title clocks in at almost half an hour. Of course the band anticipated negative reactions, and put a "caution" on the sleeve proclaiming that the song is not for the "musically faint-hearted, impatient, or critics of extreme self-indulgence". Don't be fooled- there's nothing intense or revelatory about the track's aimlessness. It merely seems like the guys took all of their most pointless ideas for the project and strung them out into one endless song. "Three Minute Warning" has arguably the fewest blistering leads of any song on the album in spite of being three times longer than anything else on offer. For musicians who just don't know what real passion's all about, I wholeheartedly recommend Liquid Tension Experiment. ... Read more


15. Feedback
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Asin: B00028HBIY
Catlog: Music
Sales Rank: 1227
Average Customer Review: 4.25 out of 5 stars
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Album Description

As they celebrate a thirty-year career of filling arenas, selling tens of millions of albums and playing songs with which a generation of rock fans came of age, visionary rock legends Rush decided to have a little fun with the music they grew up with. Featuring covers of songs by The Who, The Yardbirds, Love, Cream, Buffalo Springfield and more, the trio’s new EP Feedback is a rocking good time for anyone who loves Rush or just classic rock & roll. Drummer Neil Peart, in the album’s liner notes, explains, "It was April of 2004, but Geddy, Alex, and I were channeling back to 1966 and 1967, when we were thirteen- and fourteen-year-old beginners. We thought it would be a fitting symbol to commemorate our thirty years together if we returned to our roots and paid tribute to those we had learned from and were inspired by. We thought we might record some of the songs we used to listen to, the ones we painstakingly learned the chords, notes, and drum parts for, and even played in our earliest bands. The tracks on this collection are songs we liked from the era that we thought we could ‘cover’ effectively (meaning not too many backing vocals), and have some fun with. The music celebrates a good time in our lives, and we had a good time celebrating it." ... Read more

Reviews (126)

5-0 out of 5 stars Nothing distored in this 'Feedback'
Canadian power trio Rush's latest release, the EP 'Feedback' is a pleasant and welcome surprise.
Recorded in the spring of this year the band decided in celebration of their 30th anniversary together that they would pay homage to the music and bands that influenced them.
In my opinion, this disc is far more listenable than the blues-influenced discs released earlier this year by Clapton and Aerosmith.
The Great White North band performs these rock songs from 1966 and 1967 almost flawlessly. They pay true homage to the original artists.
From the Who's "The Seeker" to Blue Cheer's version of "Summertime Blues" the band does justice to every track.
The band shows they're not just a hard rocking band with thought-provoking lyrics but a rock band that can go back to its roots and sound awesome doing it.

5-0 out of 5 stars Superb covers album next to Macca's Run Devil Run
Rush's new album Feedback is the band's all covers album. The band celebrates its 30th anniversary with this collection of covers ranging from Blue Cheer to The Who to Cream to Buffalo Springfield. The opening Summertime Blues combines the Blue Cheer version from 1968 with The Who's version from Live at Leeds with a killer rendition. Speaking of The Who, Rush's cover of The Seeker was superb. Geddy Lee's bass playing and vocals is great on this album as is Neil Peart's drumming. Guitarist Alex Lifeson steals the show on this album despite his current legal troubles. The two Yardbirds covers Heart Full of Soul and Shapes of Things are great. At first, I thought Rush would do the Jeff Beck version of Shapes of Things. Rush's cover of the Cream classic Crossroads rivals Cream's version of the Robert Johnson classic. This is the best covers album since Paul McCartney's 1999 album Run Devil Run which he was backed up by Pink Floyd's David Gilmour on guitar and Ian Paice of Deep Purple on drums. This new Rush album/EP(whatever you wanna call it) is highly recommended!

4-0 out of 5 stars Rush Revisit Classics From Their Youth
I have always wondered what it would sound like if Rush covered a Who song, or a Cream song, or a Led Zeppelin song. Well, while there is no Zeppelin (maybe they still wince at being called 'Led Zeppelin Junior' back in the '70's?) there is a Who track ("The Seeker") and a Cream track ("Crossroads"). Both of these renditions are good and it is obvious that Rush wanted to show their respect for the songs by sticking fairly close to the originals. Other standouts are the Blue Cheer version of "Summertime Blues" (although the missing lines are a bit distracting for those who know this song from the original or from the Who version), "Seven and Seven Is" by Love and "Mr. Soul". The one track that doesn't seem to fit is "For What It's Worth" by Buffalo Springfield. It is a classic tune but it just doesn't fit Rush.
The production is great and I would love to hear an album of new material with the same production. My only complaint would be the packaging -- someone at Atlantic should be slapped around for designing a gatefold sleeve that doesn't stay closed and on top of that the sleeve is larger than a standard CD case and will not fit in a standard CD rack! I can't put it with any of my other Rush albums, so I just lay it on my bookshelf. This is why this collection gets a 4 star rating. The band themselves are fine. Better than fine. Rush rocks.

1-0 out of 5 stars RUSH CAREER BOOST FAILS
With their last really good album being 23 years ago(1981's Moving Pictures), a cover album was definitely in the cards to boost their career. However, this AIN'T it. There is no emotion here, and it almost seems like there playing these songs the way they did when they first learned them , circa 1967, as mentioned in the liner notes. Geddy's voice is absolutely only suited for rush originals as demonstrated here. Finally, i think this was a bit overpriced for 8 covers which PALE in comparison to the originals.

5-0 out of 5 stars What a surprise!
When I heard this CD was being released, I was skeptical. Rush...performing cover songs? These guys just keep on amazing me. Most of these songs were originally released a little before my time, but as with most classical rock, they are timeless. The first song,"Summertime Blues" absolutely cranks and is an airwaives hit. Other favorites are "Heart Full of Soul", "For What its Worth" and "The Seeker". Listening to this CD, you can actually hear the fun Geddy, Alex and Neil had in making it. I'm going to their 30th anniversary tour concert in Hartford, CT and hope they play most of this CD (especially Summertime Blues! ... Read more


16. Chronicles
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Average Customer Review: 4.35 out of 5 stars
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Reviews (55)

4-0 out of 5 stars Nice package for the non-fanatic
Maybe it doesn't say much for my choice of friends in college,but I always seemed to have male friends who absolutely adored Rushand could literally sit for hours and argue over esoteric meanings of songs on "2112." I never understood it, anyway. That's probably why I enjoy "Chronicles," as will anyone who's only familiar with Rush from AOR radio. Never a band for three chords and a beat (not even in their early days), Rush's music is intricately arranged, occasionally to the point of being a little too busy. Neil Peart is definitely one of the best drummers on the planet, Geddy Lee is his match on bass, and Alex Lifeson is a throwback to the days of Clapton in Cream. Peart's lyrics can be quite interesting, but often sterile, particularly in their 80's heyday. The first disk covers the band from their blues rock beginnings in the early seventies, through the concept album trio "2112," "Hemispheres," and "A Farewell To Kings" (warning: if the only songs you know from Rush are "Tom Sawyer" and the like, the songs from the concept albums will be VERY heavy going) to the beginnings of their true commercial success with songs like "Spirit Of Radio" and "Freewill." The second disk will be the most familiar to non-Rushheads, including the omnipresent "Tom Sawyer," "Limelight" (arguably the best song they ever did), "Subdivisions," and "Distant Early Warning," just to name a few. There are a couple of gems casual fans will enjoy, namely "Closer To The Heart," and the lovely "Time Stand Still" (listen for Aimee Mann doing ethereal background vocals here). A good investment if you don't own any Rush albums and/or are not familiar with their early work; major fans probably have all the albums!

5-0 out of 5 stars Good Collection of Rush Classics
Chronicles, the first real comprehensive look at the music of Canadian trio rockers Rush, is a fine starting point for new fans. Released in 1990, Chronicles covers the period between 1974, when the band broke out with their debut album, through their latest release (at that time) Presto, their first album after switching record labels from Mercury to Atlantic.
For the most part, the collection takes two tracks from each album, and was (until the remastered albums anyway) essential to fans as it contained two live tracks (What You're Doing and A Passage To Bangkok) that were left off of two of the band's live albums due to CD time contraints (All the World's A Stage and Exit...Stage Left respectively, which have now been reissued with those missing tracks).
The band's most successful work is here: Working Man, Fly By Night, Closer To the Heart, The Spirit Of Radio, Tom Sawyer, and the rest. Older fans may be slightly upset that various 'fan faves' weren't included, but for the most part, this should still satisfy anyone wanting to learn more about a great, quirky, band such as Rush without having to buy all of their albums.

4-0 out of 5 stars 5 stars for the music, 4 stars for the compilation
Chronicles (1990). Rush's first double-disc compilation set.

To me, Rush is one of the greatest bands in existence. I just discovered them last year after buying four of their albums, and on the first listen, I was hooked. They show an incredible devotion to stunning musicianship and each bandmember is at the top of their game. Geddy Lee can sing well (albiet a little higher than normal), he can play bass, handle pedal synthesizers, and play keyboards all in one! Alex Lifeson is a master guitarist, creative as both a soloist and rhythm guitarist. And Neil Peart is an incredible songwriter and drummer. Never before has listening to a trio play their instruments been so fun to listen to.

Anyways, this collection was the first one released and to this day, it is probably the best one as well. Let's take a look at a few pros and cons this collection provides:

PROS:

-For the most part, Chronicles covers a little bit of every album. It offers some of the shorter famous Rush songs that people are familiar with on the radio. That means you get to hear Fly By Night, Closer To The Heart, Freewill, Tom Sawyer, Subdivisions, Big Money, and Time Stand Still. It shouldn't fail to please any new Rush fan.
-There are a couple of unreleased tracks on here! These include the live tracks Passage To Bangkok and What You're Doing. This gives the bigger fan some reason to look into Chronicles.
-Even some of the underrated Rush albums like Caress Of Steel, Presto, and Grace Under Pressure get equal coverage.
-A compilation with the song Show Don't Tell! Most compilations stop right after the album Hold Your Fire, but Presto gets a little representation as well.
-2 discs means that you get a lot more music, and it's affordable. They also do a good job of filling up the disc space.
-Also, there is a nice bonus DVD that the collection comes with. Not essential to have, but a nice bonus for the bigger fans.

CONS:

-As a huge Rush fan, I must agree with everyone who says that any sort of compilation can NEVER do the band justice. While it covers their radio hits well, a number of masterpieces never get to see the light of day. Where are the songs By Tor & The Snow Dog, Xanadu, Cygnus X-1 & 2, La Villa Strangiato, Natural Science, YYZ, Witch Hunt, Analog Kid, The Weapon, After Image, Between The Wheels, Middletown Dreams, Marathon, Open Secrets, Prime Mover, or Turn The Page? The point I am trying to make is that you are seriously missing out on some phenomenal music by restricting yourself to a greatest hits collection.
-The live version of Mystic Rhythms is not nearly as good as its studio counterpart.
-Since this compilation was made back in 1990, there won't be any coverage from the albums Roll The Bones, Counterparts, Test For Echo, or Vapor Trails, which all came out after Chronicles.
-Although the bonus live tracks are great, they aren't enough for old fans to warrant purchasing an entire collection.
-2112 HAS BEEN DRAMATICALLY SHORTENED! WHY?? I understand that more disc space needs to be reserved for more songs considering that the full version is 20 minutes long, but the 2112 overture MUST BE HEARD IN ITS ENTIRETY.

BOTTOM LINE:

Chronicles is a decent compilation which should appeal to stricly and only to very casual fans or newbees. The music on here is priceless material which by itself deserves 5 stars, but since the compilation is lacking a bit, I deduct a single star. However, if you must go with only one collection, make it this one. It's a lot better than shelling out twice the cash for the Retrospective discs, and MUCH BETTER than the awful new single disc Spirit Of Radio greatest hits compilation. RECOMMENDED ONLY FOR NEW FANS.

Many of these songs must be heard off of their prospective albums, and so to anyone who finds themselves really liking Rush, just buy the albums. If you don't know which era you like, it'd be best to go with Moving Pictures(1981) or Permanent Waves(1980). If you like their progressively long epic material, go with Hemispheres(1978) or A Farewell To The Kings(1977). If you like their early stuff, start with Fly By Night(1975). Or if you find yourself loving the 80s synth era (my personal favorite), Power Windows(1985) and Signals(1982) are your best bets. To those who listen, enjoy.

5-0 out of 5 stars A great compilation for a Rush fan old or new
You don't have to own every Rush album to experience the band's musical genius and integrity here. Although not every song recognizable to the lay Rush listener, this album covers truly most of their respected songs. Anyone who condescends this compilation truly is either an ultimate die hard "must own every album or not a true Rush fanatic" or just a "Fly By Night"(pun intended!) Rush fan. From a chronological perspective, "Chronicles" takes you from Rushs'early years of "Rush","Hemispheres" and "2112" to the more popular and defining albums "Permanent Waves" and Moving Pictures" to the mid and late 80's of "Power Windows" and "Presto". Rush truly defines progressive rock and I believe "Chronicles" will make you concur. If you are bored by the ho-hum "... alternative" music of today -...check this album out and you'll gain new respect for what Rush has to offer and had accomplished over the years. You won't be disappointed.

5-0 out of 5 stars Greatest hits
This 2 CD set is perfect for Rush superfans and casual listeners alike. Tracks that everyone will recognize, from Tom Sawyer to Freewill. The only caveat is that 2112, their amazing 20 minute epic, has been reduced to a 7 minute excerpt. ... Read more


17. Train of Thought
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Asin: B0000CDLA7
Catlog: Music
Sales Rank: 3697
Average Customer Review: 3.96 out of 5 stars
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Reviews (553)

5-0 out of 5 stars How Can't you LOVE this album???
I've been a dt fan for the last 12 years and I haven't heard playing as good as this ever! Yes, the songwriting is a far cry from Images and Words - but we don't live in 1991 anymore!! I think if Images and Words were to be released today it would be labeled as too cheesy, and dismissed as a bunch of show-offs releasing 80's like hair band music. We live in 2004 and long gone are quality heavy songs with any sort of hook. Dream theater have simply molded themselves into a band that plays music which fits into this new era.

On TOT I hear the tightest, most well-orchestrated jams dream theater have played since Metropolis 1. As a drummer myself I'm not a huge Mike Portnoy fan, as I think his talent is limited. He really doesn't come up with any "outside the box" drum parts and it's very apparent that he's been touring with Fate's Warning when you listen to TOT. That being said I think Portnoy has hit the pinnacle of his career with his drumming on TOT. Out of everyone in dream theater my least favorite is James, who's presence on this cd is totally unremarkable. His voice is clearly going south and at least they have limited how much of him we hear on this album. I think Petrucci, Myung, and Rudess are fantastic, and all 3 play their asses off on TOT!

Bottom line - I love TOT as parts of every dream theater release show up on the cd in one way or another. The production is raw and powerful. The jams are intense, well-written, and the co-keyboard/guitar soloing can't be touched by any other musicians I've ever heard. John Myung is just a flat out stud on the bass. Portnoy's playing is about as good as his talent allows, and his parts fit very nicely into the context of the music.

All in all - I give TOT an A!

4-0 out of 5 stars Too much of a good thing?
Dream Theater has been one of my favorite bands, ever since I first bought "Images and Words" a couple of years ago. Every album they have released is a unique and rewarding experience. So, naturally, I have been waiting eagerly for the release of their latest work,"Train of Thought".

Let's start with the basics. The band promised us a heavy album, and that's exactly what we got. Song for song, this is DT's heaviest to date, without a doubt. With the exception of the short ballad "Vacant" and the more atmospheric instrumental "Stream of Consciousness", this is an album thathits hard, and rarely lets you catch your breath. Each song has its share of melody to balance things out, but most of the album is an all-out metal fury.

The leading single, and opening track, is "As I Am", and while many fans seem to have been disappointed with it, I think it is a definite highlight. It's slightly more to-the-point than the rest of the album, but that's not a bad thing (I'll discuss that further in a bit), and the sheer groove of the main riff is just sick. DT isn't generally known for being a groove-based band, but this song grooves like nobody's business. Killer song, with a powerful solo, and John's defiant lyrics only further increase its impact (those who claim that DT "sold out" obviously didn't pay much attention to the lyric sheet).

From here, things get a bit dodgy. While this is a killer metal album, with some excellent and powerful riffs, I can't help but feel that a lot of the songs are just too excessive, and way longer than they really need to be. For example, "Endless Sacrifice" is an excellent power ballad, and starts out very strong, but toward the end, it trails off into no man's land, and ends up being a good 2 or 3 minutes longer than it really needs to be. "This Dying Soul" is an intense continuation of the "Mirror"/"Glass Prison" saga, and parts of it are just amazing (especially James spitting out those rapid-fire verses along with the machine-gun riffs), but the long
periods of mostly pointless instrumentation make it a bit of a chore to listen to (a shame, considering it could have been a killer song). Most of the time, it's not that big of a deal, but there is at least a little bit of practically every song that doesn't need to be there. They wanted to make a "classic metal" album, but it sounds like they just threw some extra stuff in to make sure everyone knows they're still prog. DT have been accused of "wanking" since day one, and I've never had a problem with it...until now. This is the only album on which I feel they really went way overboard. Usually, there is something going on in the "wank parts" that keep it interesting, but here, they more often than not detract from the song, rather than adding to it as usual.

But anyway, back to the good points. Besides "As I Am", two songs in particular really stand out. The first is "Honor Thy Father", a vitriolic rebuttal to the "my life is bad because my parents don't care about me" mindset, with some interesting dynamics, and not as high of a "wank factor". And yes, hold onto your seats prog snobs, but Labrie actually RAPS in this song. Yes, you heard me. This song actually has a few rapped vocal lines in it, and you know what? They're really good! Labrie apparently has a hidden talent, as he belts out those "rhymes" with precision and flow that would make Public Enemy proud (well, maybe). Not bad for a white guy from Canada. And for those of you who are vehemently opposed to rapping of any kind, it's only a few seconds of a 10-minute song, so don't worry.

The second standout is the closer, "In the Name of God". The
longest song on the album, it is a sweeping epic melodic rocker, with a strong political statement. While there is a good deal of "wanking" here, it is mostly done pretty well, and doesn't serve as a distraction for the most part. Plus, this song features some of the album's finest melodies. Could be destined to become a DT classic.

The instrumental track, "Stream of Consciousness", is worth a
mention as well. Very nice melodies, and a lot of diversity. At over 11 minutes, it goes by quite fast. It's no "Ytse Jam"
or "Erotomania", but still an excellent song.

So, anyway, to wrap it all up, I am overall quite pleased with this album. It is pretty much the worst thing they've ever done, but it's still really good. I do think they should have "trimmed the fat" a bit, to make the album a bit more cohesive, but that's a small complaint.

And on a side note, for those who are worried about the accusations of this being a "numetal" album, I can assure you that they are false. While there are a few "numetal" elements in the music, to refer to this as a straight-out numetal album could not be further from accurate. And as far as I'm concerned, it doesn't hurt the album at all. I'm certainly not the biggest fan of numetal, but such elements can be used to make music that's actually good, and DT does just that here. And besides, a lot of bands, such as Candiria, Pain of Salvation, Dead Soul Tribe, and many others have combined
prog and numetal elements before, so this is certainly not a new thing.

At any rate, I for one enjoyed this album. But for those of you who didn't, never fear, because the band have made it quite clear that this is not going to be their signature sound. This was interesting for what it is, but whatever they do next will almost certainly blow it away.

3-0 out of 5 stars Train of Thought
If Metallica, Van Halen, and Jethro Tull got together to jam, this is what it would sound like. The focus is definitely on the virtuoso musicianship. You need to be a fan of (or at least tolerant of) 80s rock style guitar solos. And keyboards... sooo many keyboards (including piano sounds and Jethro Tull sounding synthesizer "solos"). Most tracks are 10+ minutes long. Each has multiple periods where the band jams for a couple of minutes at a time without vocals.

5-0 out of 5 stars The best album ever
I love it this album all its entirety is so DAMN good i really recomend you to buy it

1-0 out of 5 stars HUGE Dissapointment!
Oh man, oh MAN! What the HELL happened in this recording session?! When Dream Theater released 'Images and Words,' it changed my life and virtually every recording up to this point had given me nearly as much satisfaction as that recording (minus 'Falling Into Infinity' which I felt was a weak effort overall). So, for whatever reason, Dream Theater decided to make a recording of every possible scale, time signature, unison run and multi-instrumentalist's solo known to man, all while abandoning virtually any indication(s) of pleasurable song writing successfully displayed on previous releases. And what bothers me the most is that other reviewers (die-hard fans?) hear loads of notes, heavy guitar crunch, and virtuoustic musicianship, and they immediately jump to the "This is my favorite album EVER by Dream Theater" point of view without truly listening to it. OK OK, yes, everyone is entitled to an opinion. Sure. But, c'mon now.

What has kept me interested in Dream Theater all of these years is their ability to display whatever they want musically, all the while writing a good SONG underneath. The strengths on this CD are 'This Dying Soul' and 'Honor Thy Father' (which has a great chorus and strong lyrics). Both of these songs come the closest to retaining the classic qualities of a Dream Theater song but fall just short. The rest of the songs on the CD contain barely any memorable melody lines, very limited melodic chord structures or riffs, and all songs contain gobs and gobs of notes that, in a way, become almost insulting to a listener's ear after a while. And this is AFTER I've given the recording a reasonable amount of listens (well over 10 or so).

I read somewhere recently that Mike Portnoy felt DT "needed to make this album at this point in their career." Fine. Whatever. But, what I want to know is what in hell do they have to prove, "skill-wise," that they haven't proven up to now on previous recordings??? Any DT recording off the shelf allllllllllready proves that they are at the top of their league(s) on their instruments. Reviewers and listeners would be foolish to challenge that. However, this CD did *NOT* have to be made to prove any point at all. Finally, as it is, many of us know that prog-rock/metal already has the false reputation of not having acceptable "song writing" that the music industry so boldy defines. It would be nice if the Progressive Captains-of-the-Ship here (DT) would continue to defy that statement, rather than give more fuel to those lighting that statement's fire. ... Read more


18. Hemispheres
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Sales Rank: 4388
Average Customer Review: 4.57 out of 5 stars
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Smart rockers Rush were just on the brink of being embraced by the album rock mainstream when they recorded Hemispheres. Already wildly popular with a certain corner of the intellectual crowd, thanks in part to drummer Neil Peart's Ayn Rand obsession, this CD marked a turning point for the Canadian trio. Hemispheres explores the political, social economic, and sci-fi themes prevalent on their early work, continuing the saga of "Cygnus" from A Farewell To Kings. Rush was fond of writing in movements, almost orchestrally, rather than the typical verse/chorus/verse/chorus structure, and Hemispheres has the usual opus-like compositions that perfectly displayed their chops. The CD features time changes that you'd need a calculator to crack, impossible guitar arpeggios from Alex Lifeson, and Geddy Lee's low end bass rumblings and high end vocal shriekings.Rush's lofty lyrics sometimes bordered on the ridiculous and, if for no other reason, Hemispheres deserves props for Lee's ability to sing the line, "There is unrest in the forest..." (from "Trees") while keeping a straight face. --Steve Gdula ... Read more

Reviews (122)

4-0 out of 5 stars Another epic turn from Rush
"Hemispheres", released in 1978, was the follow-up to "A Farewell to Kings". Rush again tackled a side-long theme with "Hemispheres", plus two short songs, "Circumstances" and "The Trees" plus their first extended instrumental "La Villa Strangiato". Again we have top-notch musicianship and Neal Peart's lyrics focusing on balance, the old "work hard, play hard" adage. I've always found Alex Lifeson's guitar sound kind of boxy and not my favorite performance of his. Initially, I don't find side one of this record as accessible as "Farewell to Kings".

1. Cygnus X-1, Book II. Hemispheres. We begin with the continuation from the last song on "Farewell". The prelude introduces the major musical themes. Plenty of stop-start rhythms and challenging time signatures, perhaps Rush's most challenging yet. "Apollo" introduces us to the god of wisdom and music. There are some nice dynamics but the melody never entirely wins me over. "Dionysus" features the same verse structure. Next is "Armageddon", the first part is heavy and bombastic, but the part where our intrepid astronaut is reintroduced "some who did not fight..." settles into a nice groove. This brings another problem with this entire song, which is that at times it seems strained and tight, not loose like some of the jams on "Farewell". "Cygnus" brings some atmospherics, best listened to on headphones, before wrapping it up with the conclusion that he will be the god of balance. Last is the largely acoustic "The Sphere" which seems kind of tacked on and preachy. 3 stars.
2. Circumstances. This features a nice crunchy guitar hook from Alex, interesting chord changes, and a bit of lyrical cliche in French and English "plus ca change, plus c'est la meme chose" but the song is a challenge to the listener to search. The middle has a nicely orchestrated bells, keyboards and guitar part. 3+ stars
3. The Trees: A great Rush song. The struggle for equality in a thinly veiled anti-communist lyric. The beginning with the classical guitar part is excellent work by Lifeson. Geddy Lee's intro vocals are nicely subdued and then there is a guitar/bass duet that blends quite nicely. Again, another great middle part with percussion, keys and guitar but much a looser jam. than "Hemispheres". 5 stars.
4. La Villa Strangiato: A long (9:34) but very cool instrumental in which all three players get to shine. The self-mocking subtitle is "An exercise in Self-Indulgence" and the various part titles bring about a smile, with examples such as "A Lerxst in Wonderland", "Monsters!", and "The Waltz of the Shreves", with Rush poking fun at pretentious art-rock bands and themselves. That being said, there's some great stuff here, from Lifeson's blistering classical guitar intro, Geddy Lee's bass solo, and Peart's drum work throughout. Where else would we get flemenco, classical and jazz fusion all rolled into one? 5 stars!

3-0 out of 5 stars Only two good songs
Well, in general I'm not a fan of Rush's extended pieces, so the first half of this album remains a bit inaccessible for me. In my eyes, "Cygnus X-1, Book II" is an inconsistent and chaotic soundscape. And "Circumstances" leaves me cold, so there are only two songs left which I like. I think you can hear on "Hemispheres" that Rush were weighted down by their own ambitions. At the end of the '70s even prog-rock dinosaurs Yes turned to play shorter and more accessible songs, while Rush pursued their pretentious and worn-out sci-fi themes. This album is a must-have for fans only, the rest will be satisfied with having "The Trees" and "La Villa.." on Rush's compilations.

5-0 out of 5 stars Another winner from Rush
Rush's seventh album Hemispheres was released in October, 1978. The album is the third jewel in Rush's 1970s art rock crown. I first discovered this album on cassette in late August of 1990 and was my most played album in my first three months of freshman year of high school. This album is still great, even today. Hemispheres was recorded between June and August of 1978 at Rockfield Studios in Wales and Advision Studios in London with the band and Terry Brown once again producing. The album kicks off with the 18 minute second part to the previous album, 1977's A Farewell To Kings' concluding track Cygnus X-1(Book One: The Voyage) entitled Cygnus X-1(Book Two: Hemispheres) and is about the division of the brain and has the heart and mind struggling with one another with Cygnus being the bringer of Balance. The music of bassist/vocalist/keyboardist Geddy Lee and guitarist Alex Lifeson was arguably on top of its game and drummer Neil Peart's lyrics are top-notch on Hemispheres. The piece is incredible and the musicianship is fantastic. Side two kicked off with Circumstances which was a nice short below 4 minute rocker with Geddy singing in more of a lower register on the verses and his then-trademark high pitched vocal in the chorus and featured excellent synthesizer work from Geddy as well(Hemispheres was the first album that Geddy used a polyphonic synthesizer which played whole chords unlike the Moog used on A Farewell to Kings which was monophonic). Next is The Trees which is still a concert favorite 25 years later and an excellent song and starts as an acoustic number then goes into full throttle hard rock. The album finishes with the nine and a half minute La Villa Strangiato which is arguably the band's best instrumental. The song was recently played on their Vapor Trails tour and Alex Lifeson would add a different hilarious speech before the song goes into the end of the track(when I saw Rush play in July, 2002 in Boston, Alex's rant was about quitting smoking and he started to smoke socks) and was the highlight of each show. This album still sounds great for a 25-year old album, especially with the remastering Bob Ludwig did on this and all of the Mercury/PolyGram efforts. Also, you get all the original artwork that came with the album and the poster(in CD size) with the band on stage that came with this album originally. I demand you buy Hemispheres.

5-0 out of 5 stars Ignore snide remarks; this is brilliant.
Hemispheres remains one of the most unique, out-and-out jamming albums rock music has ever produced.

The opening song will wrap itself around you. The more you listen, the more nuances are revealed. It's OUT THERE, yet beautifully played. The lyrics are icing on the cake.

La Villa Strangiato is still a concert staple to this day. It's a sweeping, jaw-dropping instrumental.

Circumstances is a plaintive song about fate, reflecting the thoughts of drummer Neil Peart when he was on his own in London, 18 years old, just starting out.

The Trees is a timeless, whimsical jam, played with terrific power, featuring almost silly lyrics about a battle between the Oaks and the Maples. Great word play here by Peart. Almost silly because the song actually works on quite a few levels. Lots of fun symbolism.

How many rock bands regularly place those kind of songs on albums? Irreverent, goofy rockers, flights of fancy? Not many.

Hemispheres is a scorcher for the ages.

5-0 out of 5 stars One of the best art rock masterpieces
Rush's seventh album Hemispheres was released in October, 1978. The album is the third jewel in Rush's 1970s art rock crown. I first discovered this album on cassette in late August of 1990 and was my most played album in my first three months of freshman year of high school. This album is still great, even today. Hemispheres was recorded between June and August of 1978 at Rockfield Studios in Wales and Advision Studios in London with the band and Terry Brown once again producing. The album kicks off with the 18 minute second part to the previous album, 1977's A Farewell To Kings' concluding track Cygnus X-1(Book One: The Voyage) entitled Cygnus X-1(Book Two: Hemispheres) and is about the division of the brain and has the heart and mind struggling with one another with Cygnus being the bringer of Balance. The music of bassist/vocalist/keyboardist Geddy Lee and guitarist Alex Lifeson was arguably on top of its game and drummer Neil Peart's lyrics are top-notch on Hemispheres. The piece is incredible and the musicianship is fantastic. Side two kicked off with Circumstances which was a nice short below 4 minute rocker with Geddy singing in more of a lower register on the verses and his then-trademark high pitched vocal in the chorus and featured excellent synthesizer work from Geddy as well(Hemispheres was the first album that Geddy used a polyphonic synthesizer which played whole chords unlike the Moog used on A Farewell to Kings which was monophonic). Next is The Trees which is still a concert favorite 25 years later and an excellent song and starts as an acoustic number then goes into full throttle hard rock. The album finishes with the nine and a half minute La Villa Strangiato which is arguably the band's best instrumental. The song was recently played on their Vapor Trails tour and Alex Lifeson would add a different hilarious speech before the song goes into the end of the track(when I saw Rush play in July, 2002 in Boston, Alex's rant was about quitting smoking and he started to smoke socks) and was the highlight of each show. This album still sounds great for a 25-year old album, especially with the remastering Bob Ludwig did on this and all of the Mercury/PolyGram efforts. Also, you get all the original artwork that came with the album and the poster(in CD size) with the band on stage that came with this album originally. I demand you buy Hemispheres. ... Read more


19. Empire
list price: $16.98
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Asin: B00009L1UP
Catlog: Music
Sales Rank: 10556
Average Customer Review: 4.59 out of 5 stars
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Exploring the uncharted territory between heavy metal and progressive rock, Queensryche has always been difficult to categorize. While Operation: Mindcrime is their most highly-praised album, Empire remains their most accessible, with a somewhat more commercial approach that has no negative impact on the quality of the material. Empire produced a string of hit singles, including "Best I Can," the title track, "Jet City Woman," and "Silent Lucidity" (probably their best-known song, and ironically unlike most of their other work). At times sounding a great deal like Pink Floyd, Empire is an impressive collection that is all substance, no filler. "Anybody Listening?", which closes the album, is probably the best perspective on a life lived on stage since Rush's "Limelight". Highly recommended. --Genevieve Williams ... Read more

Reviews (17)

5-0 out of 5 stars A Must Have Classic Metal Album
This is one of those albums that you simply just must have. It's a classic album of great songs now with three added good bonus tracks, and re-mastered so it has even more punch.

Following on the heels of the ambitious concept album "Operation Mindcrime" their best album to date, Queensryche (argueably) delivered the album of their career with "Empire" in 1990. Always at the forefront of metal innovation and experimentation, never content to rest on their laurels, always keen to push the envelope, they delivered an album which was less complex than Mindcrime, but packed full of great songs which were just as intense.

This album has so many great classic QR songs such as "Jet City Woman", "Another Rainy Night", "Empire", and "Silent Lucidity", but also "Best I Can", "The Thin Line", "Hand On Heart" and "Anybody Listening?" rank among their best ever.

Of the bonus tracks "Last Time In Paris" and "Dirty Lil Secret" rock, but my favorite is the more psychedelic sounding "Scarborough Fair".

In summary, this is a great classic metal album which still stands the test of time and frequently vibrates the windows of my house. Now re-released in this fantastic re-mastered package, it should be in every true metal fan's collection.

5-0 out of 5 stars commerical doesn't mean crap!
When listening to music, you can get caught up in the ole," well if it is commercial, then it's crap." That is simply not the case with Queensryche's Empire. The lyrics are thought provoking like in the title track, and emotional like in "Silent Lucidity." I enjoyed the album because of the vastness of the subjects and the playability of the songs. i have listened to this album so much that my family knows all the words and i cant stop. If you enjoy music simply for the fun of it and want an album that is interesting as well, this album would be great!

5-0 out of 5 stars A true rarity: Genuinely good music getting rightful praise
Empire(1990). Queensryche's fourth studio album.

Back in the early 80s, one band from Seattle began its conquest to form a uniquely sounding heavy metal band. Queensryche was this band. They almost initially got tacked onto a major record label with the countless glam metal acts, but thankfully EMI Records, which was a smaller record company, picked them up and gave them producer James Guthrie, who worked with Pink Floyd previously. This enabled the band to have a lot of room for artistic growth, and thus developed Queensryche into something greater. Queensryche started as a heavy metal band on their debut EP(1983). Eventually though, the band began moving into more epic songs on The Warning(1984), and creating a matured, futuristic cyber-metal sound on Rage For Order(1986). However, it wasn't until the band hired producer Peter Collins (who worked with Rush) for Operation: Mindcrime(1988) that the band had finally achieved great success. Mindcrime was also the band's most realized effort, being that it was a dark concept album revolving around a complex story. At this point, Queensryche had moved away from the heavy metal sound and became more of a melodic progressive hardrock band.

Now we arrive in 1990, at Queensryche's MTV breakthrough album, Empire. The title of my review says it all. You heard me right: A BAND THAT MAKES TRULY OUTSTANDING MUSIC GETS MAXIMUM EXPOSURE ON MTV. This is one of the only two times in the 90s that this happened, the other time being with the band Tool. After Mindcrimes rather heady story which required complete attention, Empire sort of takes the band into a more mainstream territory, but still employing intelligent themes into the individual songs. This is similar to how it was done on Rage For Order, though the songs here are far more commercial in nature. Peter Collins is back to produce again, and with him Queensryche managed to craft 11 excellent songs. The production is HUGE and crisp, much like the two albums he worked on with Rush previously in the mid-80s. Some have said that this was Queensryche's sell-out album, and while in certain ways it was true, I don't believe it really affected the quality of this album one bit. The band hadn't let MTV syndrome get to their heads...yet. That is yet to come.

Onto the album. It starts with the BEST opener on any Queensryche album, 'Best I Can'. This uplifting anthem really hits home for me, and it's probably one of the best rockers I've heard in a while. Next is the melodic 'The Thin Line', followed by the BIG radio hit 'Jet City Woman'. I love the base line that leads into the song. If one thing is to be noted, Geoff Tate's voice is beginning to show signs of change. It's not a hindrance yet, but here is where it's first spotted. 'Della Brown' has a cool melodic pacing to it, and it's one of my favorite tracks. 'Another Rainy Night' reminds me of Iron Maiden the way the first riff breaks in. The title track is a dark pounding anthem with killer vocals, as is the amazing 'Resistance'. This song bears an Aerosmith-like quality to it, but somehow I enjoy it. Next is the power ballad hit (you heard me right) 'Silent Lucidity'. A decent ballad, though a bit overrated by some. 'Hand On Heart' has one of the greatest melodies to it during the entire song and thus it stands out. Then there's the slow rocker 'One And Only', followed by the accoustic album closer 'Anybody Listening?'. On the new remastered edition are three extra Empire B-sides. 'Last Time In Paris' is a heavy pounding anthemic rocker, followed by the experimental waltzy track 'Scarborough Fair'. Different but awesome. 'Dirty Lil Secret' is simply a bouncy rocker which rounds off the album nicely. Of all the remastered albums, Empire has the best extras as all three songs are easily just as good as the rest of the album itself, so it's very worthwhile to seek out the remastered edition.

How does Queensryche's mainstream breakthrough album fare? Well, it's certainly not as daring as the previous albums, but at the same time, it does feature 5-star quality commercial songwriting. There isn't a single bad song to be found on the disc. In actuality, I believe it's just as good as the previous albums, only in different ways. Rage For Order is still my favorite, but Empire definitely ranks up there. It pleases me that a well written album gets the praise it deserves. Unfortunately it's all downhill from there, for in the years after Empire, Queensryche degraded into an MTV sellout alternative act and they would never recover again. If you're just getting into Queensryche, any of the first four albums will do, though Empire might be a good first pit-stop. HIGHLY RECOMMENDED.

Other similar albums:
-'Rage For Order' by Queensryche
-'Transcendence' by Crimson Glory
-'Awakening The Guardian' by Fates Warning

5-0 out of 5 stars Art, Meet Entertainment; Entertainment, Meet Art
To this day, a staggering number of people insist that to entertain is to sell out and surrender growth and innovation. Granted, the frequncy of the stars aligning just right is about as often as a snowball forming in that dark place down below, but it HAS happened, it STILL happens, but never more noticably than in the all-around musical masterpiece "Empire," from the "progressive" "metal" band, Queensryche.

Those quotations are there because Queensryche deserves more than routine catagorization. Their music is at times heavy, and often intelligent, and that's about all the description you should need. If you realize that the past 10 years of mainstream music has been a case of record companies shooting themselves in the foot, this review shall serve to educate you that this album was one of the last appearances of greatness to strike mainstream popularity - it's a good thing Queensryche got this album in before it all went down hill!

The album; dashes of Pink Floyd/Rush/Bon Jovi/Def Leppard/Wagner!
One of my favorite songs ever is the closing track "Anybody Listening?" Epic emotion, powerful vocals, sustained guitar landscapes `a la David Gilmour, operatic theatrics `a la Les Miserables. The song is an adventure, a journey, with changing keys, moods and sections. Everything that a best-song-ever should be is in this unique composition.

Then there's the song that "broke them", despite a very successful prior album ("Operation: MindCrime"). If you only know Queensryche for one song, it's "Silent Lucidity." Granted, it's a bit simpler than much of their work, but just as with "Anybody Listening?", it is a wonderful journey of the mind, "trying to explain to someone the unexplainable," in the words of vocalist Geoff Tate. It is a highly emotional ballad that fits in just fine with the rest of the band's repertoire.

Most of the album is very strong with no filler, but the other big highlights are the songs "Empire," and "Another Rainy Night." These songs deserve some of the highest praise ever, because they adhere to this intelligent-meets-popularity formula better than almost any other song. They deserve even MORE praise, because they are not ballads. They are hard rocking songs, and the former (the title track) was actually quite the popular 'hit.' Can you believe, thinking of a 'hit' as actual good music? It IS possible. These songs are in the normal verse-chorus format, with amazing solos and guitar harmonies, intelligent lyrics, creative chords, and pure heart and soul. They rock like nobody's business, but also allow many people to relate to the music, who normally would be satisfied with bands that only make 10% the amount of effort. It just doesn't get much better than this.

The hardcore fans want their "...MindCrime", but I am going to cave in here - "Empire" is my [just barely]favorite Queensryche album, and the fact that it was very popular doesn't change the fact that it deserved what it got and more. MindCrime is also great - but for once in music history, selling less records doesn't mean it must be better music! "Empire" is the epitome of "exception to the rule." Commercial music hasn't allowed for this much creativity since.

2-0 out of 5 stars "Like deja vu all over again"
Back in the early 90s all my friends worshipped this album. So, what the heck, yesterday I decided to get this remaster/bonus edition. I realized why all my friends worshipped the album--because they were all 16 years old at the time.

Sadly, I'm no longer 16, nor is my musical taste. I'm no longer impressed with big snare reverbs, cadence chords and thumping 1-note bass lines. This has been called Queensryche's "commercial" album; the liner notes talk about the "accessibility" and MTV-ish-ness of Empire in contrast with the raw complexity of prior albums, as if to say "Sucker! You should've bought Operation: Mindcrime instead!"

Remastering: I find it absurd that record companies are all rushing to remaster/reissue albums that were digitally recorded in the first place (like this one)! Save yourself. The original mastering was fine.

Bonus Tracks: "Last Time in Paris" is good and has a lot of driving energy. The bonus remake of "Scarborough Fair" is a bit melodramatic but interesting. The 3rd bonus track is entirely forgettable. ... Read more


20. A Farewell to Kings
list price: $11.98
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Asin: B000001ESJ
Catlog: Music
Sales Rank: 7672
Average Customer Review: 4.5 out of 5 stars
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Reviews (100)

5-0 out of 5 stars Masterpiece with an Achilles Heel...
5 Stars but flawed? Yes and the song is Madrigal, an obvious attempt at filler but it has no place on a record with such high standards. Similar to Tears on 2112, Madrigal is slow, quiet, acoustic, and depressing. Nevertheless, ALL of the other tracks on A Farewell to Kings are amazing. The title track is probably Rush's most overlooked song and is followed by one of the greatest Rush songs ever written, Xanadu. Lee's bass playing literally takes over on this track and anchors Farewell. This is the era in which Neil had the handlebar mustache and was wearing robes. But the coolest part about this era was Neil's ability to incorporate almost every facet of percussion known to man including gongs, chimes, wood blocks and any other contraption known to man. His drumset at this point was any drummers wet dream. Closer to the Heart is a concert standard and a great acoustic track. Cinderella Man is another hidden Rush song that only the most ardent fan comes to treasure. And finally, Cygnus X-1, the best song Rush EVER recorded which makes this album a must have for any fan. 1977's A Farewell to Kings finds Rush on the upswing toward prog-rock immortality, one step closer to Hemispheres (the culminating masterpiece of the Rush catalog). Highest Recommendation.

5-0 out of 5 stars Even Better Than 2112
After experiencing their first commercial success with their 1976 landmark breakthrough 2112, Rush continued to further push the progressive envelope with 1977's A FAREWELL TO KINGS. In my opinion, this is probably the most progressive album of Rush's career, as well as the album that proved that they would soon be heading in a new direction as the '80s came in.
The album begins with the expertly crafted title track, which starts off as a mellow acoustic piece and quickly erupts into a furiously played rocker. The song squeezes as much complexity as it can in 5 minutes, paving the way for future Rush classics such as "Free Will" and "Tom Sawyer." "Xanadu" is probably my favorite Rush epic of them all, next to "The Camera Eye" from MOVING PICTURES. Clocking in at 11 minutes, the song features the most intense and exciting instrumental build-up I've ever heard and it also features some of Neil Peart's most inventive drumming. "Closer to the Heart" is Rush's most popular song and rightfully so (listen to it). "Cinderella Man," the last song Geddy Lee wrote for the band, is the hidden gem off this album and it has some pretty unpredictable musicianship (a funky rhythm section!). "Madrigal" is the weakest song but it serves as a nice, mellow surprise. "Cygnus X-1" is the most complex and complicated song Rush has ever recorded. Written in three movements and clocking in at 10 minutes, it tells a brief and spooky tale of a spaceman entering a black hole. The first part is dark and forbidding, the second part is fun and exciting, and the third is a relentless onslaught of thunderous drums, menacing guitar riffs, and Geddy Lee's glass-shattering vocals.
A FAREWELL TO KINGS is the best album Rush released in the '70s. Period. The musicianship and the songwriting are tight as always, but it also serves as a blueprint for what Rush would do on their '80s releases by combining progressive epics with shorter, more streamlined songs. One of their best and one of my faves.

5-0 out of 5 stars Rush kicks off phase two in style
Canadian power trio Rush released their sixth album A Farewell to Kings in September of 1977. AFtK was their first album to go Gold and first to be recorded in England. I first heard this album in the summer of 1987 as an 11 year old on the radio and loved it at first listen and sent me to the record store looking for this album. This album had matured musicianship and Rush experimenting with synthesizers(with bassist/vocalist Geddy Lee using them more and more) even more than on 1976's classic 2112(which went Gold on the same day as Farewell and All the World's a Stage by the way). The album begins with the title cut which sounds like it is gonna be a folk song thanks to guitarist Alex Lifeson's classical guitar work but then BANG into a full hard rock with electric guitars, drummer Neil Peart's lyrics about politicians being hypocrites and bigots and Geddy's voice wailing away. Next is the first of two epics, the 11-minute Xanadu which is arguably one of Neil's best drum performances and Geddy starting the song at a lower octave in his singing then going to the high registers and Alex's guitar work just being excellent. The second half kicks off with Closer to the Heart, which was the first Rush track to get massive radio airplay, and some complained said the band sold out with this track but is a classic. Cinderella Man and Madrigal follow, both songs are great with Geddy writing lyrics for a change on the former and the latter a love song in disguise but beautiful. The album concludes with Cygnus X-1(Book One: The Voyage), which starts off as if you were going into a spaceship and each instrument coming to life and rocking out for five minutes before the first vocal part appears and Geddy's just wailing on here and Alex's guitar just was amazing. Just when you thought it would get soft, they come in full throttle for the finale with Geddy's screaming like he is being pulled through a black hole and Alex's closing, ringing guitar chords being a reminder that this story would continue on 1978's follow-up Hemispheres. This remaster buries the original CD released in the 80s. Bob Ludwig did a great job with the remastering and Mercury I commend for repackaging it just like the original album. A great disc and highly recommended!

2-0 out of 5 stars same old rushisms
I don't get this band. I like Vapor Trails a lot, but some of their early stuff is cheesy. No one has to tell me this is influential stuff though. Loads of great bands were influenced by these guys, like Primus! This album offers nothing to my current (small) rush collection. The title track is really solid though, and so is Madrigar.

5-0 out of 5 stars THE rush album
I remember the first time I heard "A Farewell to Kings," I was 14 years old and the album had just come out, my older brother went out and got it, but I immediately siezed it for myself, I remember sitting by the speakers for hours captivated by Geddy Lee's sexy, seductive voice. Then there's Neal Pert's amazing drumming, and the blazing guitar riffs, they're all in tip-top shape on this masterpiece. I've been a HUGE Rush fan ever since I got this album, and it has remained my favorite ever since. Who can blame me? It just rocks so hard. Tracks like the title track and Xanadu are hard for any rocker to ignore. My favorite thing about this album though, is Geddy Lee. Her voice is so sultry that I can't help but be a bit attracted her. Geddy if you're looking for a man, gimme a call!

-Roger ... Read more


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