There is an urgency in their playing that no longer exists. I quite like the vocals. I was there for the 76' tour.
There is an urgency in their playing that no longer exists. I quite like the vocals. I was there for the 76' tour.
What can this strange device be? When I touch it, it brings forth a sound (2112)
Really nice job. I was at the Capitol Theater once in 1980, to see Johnny Winter. My car got broken into that night. Pretty shitty town back then. The cops were total assholes and couldn't be more useless. Can't imagine things are much better, but I hope they are.
Great job! Thanks!
"My choice early in life was either to be a piano player in a whorehouse or a politician, and to tell the truth, there's hardly any difference"
President Harry S. Truman
Someone has to ask: Are you related to Brazilian basketball player Leandro Barbosa?
"My choice early in life was either to be a piano player in a whorehouse or a politician, and to tell the truth, there's hardly any difference"
President Harry S. Truman
Haha, no. Barbosa is a very common name hereOriginally Posted by progeezer
Holy freaking crap.
Agreed. That is part of what makes listening to early live Rush so exciting to me.
Yeah, pretty cool though I like how the pedals are used on "Beneath, Between and Behind" even better. Clearly they were interested in figuring out ways to get more things happening in their older material around this time. And it's interesting that right out of the gate Geddy was thinking "I'm going to use this to augment the harmonies", rather than using the pedals to fill out the bass register as most people were using them for back then. That right there helped to contribute to Rush's unique sonic identity and it's awesome to see it in action at the beginning.
The reason that most people only used them for bass lines is because typically, that's what they were designed to do. The Taurus pedals had, I think, only a two octave range, so that kinda limited what you could do with it, though later Geddy had his wired up to his Oberheim synths so he could play melodies from the bass pedals.
Decent Taurus VST here if anyone's interested : http://antti.smartelectronix.com/
One of the best actually... I used it for our live shows!
Wow! Sooooooo gooood! Yeah!
So, there I was enjoying the Bastille day clip, when in walks a certain Amy Darby who does a Geddy Lee impression that was a) spookily accurate, and b) hilarious.
I'm not sure Rush will ever sound quite the same again.
Phil.
Looks awesome, really looking forward to having a chance to sit down and watch all of this. Thanks to whoever did this!
And I love Geddy's banshee wailing in this period, though he probably sounded even better on the AFTK tour...
I think he did (my first time seeing them). His voice was a bit in transition and not as ear-piercing. Just ear-piercing enough, IMO.
Yeah -- the wail was perceptibly starting to fray, at least based on the 1977 Hammersmith Odeon show represented on the third Different Stages disk. Although I think in the liner notes it's mentioned he was suffering from a cold that night. But at other shows I've heard from '77 -- and especially '78 -- you can tell he's starting to lose it.
I guess they didn't have color film yet in 1976. Cool video.
Rick
Man, you guys must be hearing something I can't. When I listen to Hemispheres (studio) & most live shows from the '77 - '79 time frame, I'm hearing a Geddy Lee at his peak. Not as untamed, but still very much able to hit those high notes. For me, if I had to dig far back to hear a change, I'd say as early as Permanent Waves. Far fewer vocal acrobatics & more emotion started to find its way into his singing.
That's actually a pretty weak performance, IMO. Can't figure why they chose that one to release.
It's from the closed circuit system at the theater.
Anthem from this show's a bonus track on the Time Machine Live In Cleveland Blu ray btw.
So good ... sounds great. Thanks!
EDIT: Holy crap, they're really "going for it." Neil and Geddy are monsters.
Last edited by arise_shine; 05-09-2013 at 03:12 PM.
flute juice
Wow!!! Saw them for the first time a few months before that time (not even counting the Massey Hall concert that became All The World)
I've actually got no memory of ever seeing that old bass, but then again it was all pretty blurry around those times... The Columbian grass was probably a little too strong for this 13y.o. Looking at it today, I must've been a fucked early teen...P.S. Bass geek alert -- we finally get to see Geddy playing his old chop shop Fender!
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
It's not film, it's video tape. I believe the Capitol Theater was a handful of venues where concerts were taped regularly, for whatever reason, and most of them seem to be in black and white. I'm not sure what the reason for that would, other than that colour video equipment was still too expensive for anything that professional purposes (whereas I think things like this were done more for posterity purposes).
I don't think they did it for posterity. They had one or two screens above the stage for the audience to watch on closed-circuit TV. I'm willing to bet that most, if not all, bands were told that the performance would not be recorded or even kept. The Capitol had no rights to that material. Luckily, they didn't erase this and, hopefully, there's a lot more where that came from.
There are a few more clips of bands like Marshall Tucker and Warren Zevon on their website. Scroll all the way to the bottom of the page for the videos. (Still with the time marks apparently.) Some nice old shots of Roosevelt Stadium on the page too, site of my first Yes show.
“Where words fail, music speaks.” - Hans Christian Anderson
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