The Man in the Gray Flannel Suit

To no one’s surprise, last year’s round of Rock and Roll Hall of Fame inductees included not one progressive rock act.  This despite the millions of albums sold, the countless musicians inspired, and the long-lasting impact of the genre’s best.  Hell, can anyone under 50 even name two Dave Clark Five songs?  Yeah, me neither.

But to be fair, I can understand why someone not very familiar with prog rock might be inclined to write it off as so much boring instrumental wankery and bastardized classical music pastiches.  But to paint an endlessly rich style of music with such a broad brush is not only lazy, it’s downright inaccurate.  So to show that prog ain’t all clinical sweep arpeggios and no heart, I’ve put together a mixtape to showcase the gentler side of the genre.

…keep digging Gray Flannel Mixtape: The mellow side of prog

OK, that was pretty damn cool.  Although it seems that many people are pissed at Colbert’s antics while Rush performed “Tom Sawyer” on last night’s The Colbert Report, I didn’t think it was a big deal.  I’ve (hopefully) embedded a few clips from the Comedy Central website (if you don’t see it, go here), so judge for yourselves…

First, it appeared to me that Geddy was a little nervous, which is odd.  Maybe I’m just imagining things.  Also, it was weird seeing Neil as part of the interview, given his reputation as the most reclusive when it comes to interviews and media in general.  But his dry sense of humor was evident, which was cool to see (“They all have their own names.”).  Alex was, well, Alex.  He looks a little thinner than in recent years, although the whole Friar Tuck thing is unfortunate.

The interview was hilarious, particularly the “Do you ever get tired of being awesome and kicking ass?” and “Have you ever written a song so epic that by the end of the song you are actually being influenced by yourself at the beginning of the song?” questions.  And yes, I think Neil Peart may in fact have a drum dependency.

The performance was predictably solid, at least what we saw of it.  This is where the semi-controversy kicks in, since the song was interrupted by Colbert.  Some people appreciated the shtick, others were offended.  I didn’t mind, and found it funny.  I don’t think he was being disrespectful, and really, it’s not like they were trying to play a song most of us haven’t heard a thousand times already.

What the clip doesn’t show is the start of the program, which was peppered with Rush references and graphics.  So considering it’s only a half-hour show, they dedicated quite a bit to the guys.  I just don’t get why it’s taken so long for them to get back on American TV.

Thanks to the handy website tracking tools site/blog owners can install, I am able to track not just how many people visit this blog and when, but how they get here (e.g. search terms). The majority of people coming to this blog via search engines are looking for some variant of “man in gray flannel suit.” Unfortunately they will find neither the book nor the movie here. I do feel bad about tricking people in a way, but then again not so much. What I have to say is much more entertaining anyway.

Aside from that, here are some of the more interesting search terms people have used to get to this blog:

• “christa miller plastic surgery” – OK, so I’m not the only one who is put off by the botched plastic surgery Christa Miller of Scrubs got within the last few years. She’s got this weird thing with her upper lip that I’ve noticed on other famous women, most recently Shannon Tweed. It’s like the doctor accidentally snipped a nerve or something, and they can’t quite close their mouths all the way when the talk. Very odd.
• “suzy shuster pictures” and “alycia lane bikini photos” – Awhile back it was revealed that Suzy Shuster, wife of TV super stud Rich Eisen, had a little fun at the expense of the very desperate Alycia Lane. I guess my big mistake was not including any pictures of Suzy. I didn’t find anything more than a headshot for Suzy, but if you want to take a peek here you go. And for good measure, here’s Alycia. One unique variant search term used was “saucy bikini anger shuster”, which I may make the new name for this site.
• “what is the importance of ‘the man in the gray flannel suit’” – The importance is that it is only the greatest blog in the history of the interweb, duh!
• “gray porn man” – Yeah, not gonna touch that one.
• “rich eisen’s bikini” – See last entry.
• “disney porn” – Seriously, what the hell is wrong with you people? Oh yeah, I forgot.
• “neil peart fan assault” – I’ve heard a lot of urban legends surrounding Neil Peart (the most well-known had him suffering from about 6 different types of cancer), but this is one I’ve not heard.
• “‘view-master’, porn” – I guess this is what kids buy before they’re old enough to start rifling through dad’s hidden Playboy collection.
• “how tall is jesse tyler ferguson” – His imdb page doesn’t say, and I can’t be bothered to look any further. Sorry!
• “neil peart asshole” – Having never met the man, I can’t say for certain if he is. Unless this is another porn search, in which case I hope to never find out.
• “slave to the metal cd” – Ah, memories. This classic metal compliation was reviewed on my old blog all the way back in 2005. I think I’ll go listen to it now.

So I guess the lesson for me is if I want to increase my traffic, I need to start bringing the porn. On the other hand, I couldn’t possibly compete with the major porn sites already out there, so I’ll probably just stick to mildly humorous commentary. And maybe some porn.

Here’s my stream of consciousness review of Snakes & Arrows, written as I listen to it.

“Far Cry” – This is the only song I heard prior to the album release. This is much in the same vein as Test for Echo and Vapor Trails. It has a really catchy chorus, and crackles with more life than all of TFE. And of course there are the Hemispheres-era chord changes, which are sweet.

“Armor and Sword” – A little plodding, but I like the addition of the acoustic guitar and the lush (but not overpowering) production. Lyrics are decent but it seems like Geddy doesn’t know how to cram that many words into the arrangement. Love the bass tone on this one. More classic era chord changes toward the end of the song. The main qualm here is that it is just too slow, which lessens the impact of the song.

“Workin’ Them Angels” – This would fit in on Test for Echo. Again, too slow for my liking but I do like the feel of the song. Is that a mandolin? Decent song, but nothing to write home about.

“The Larger Bowl” – More acoustic guitar, which I did read formed the basis for a lot of these songs. Very mellow so far, so that makes three songs in a row. Not a good sign. Geddy sounds great vocal-wise, but again the lyrics sound stuffed in. Nice Alex Lifeson solo – FINALLY!!!$@#

“Spindrift” – Nice opening, very tense-sounding. Probably the most interesting song so far, but again that damn mid-tempo thing. No real buildup or climax here, which was a problem on Vapor Trails. Squandered potential on this one.

“The Main Monkey Business” – The first instrumental. Probably the most enjoyable cut since “Far Cry.” Still waiting for one of these songs to go faster than a gallop, but no luck. This does start to cook at a few points, but never gets past simmering. I’ve read some fans claiming this is the best instrumental Rush has released since “YYZ.” I suppose that argument could be made, but I don’t know if I’m ready to claim that yet.

“The Way the Wind Blows” – Some pretty bitter Neil lyrics here – guess he doesn’t like religion huh? More quiet acoustic passages, which would be nicer if a lot of this album weren’t already so mellow. Another decent guitar solo, albeit brief.

“Hope” – A rarity in the Rush catalog – a pure guitar piece. Very pleasant, but not really necessary. Sorry Alex, nice try.

“Faithless” – I love Neil, but these anti-religion screeds are getting tired. And hey, it’s another mid-tempo song! Wow! Nothing really catchy or interesting here. Man I’m getting bummed out.

“Bravest Face” – More Neil bitterness. And more plodding.

“Good News First” – A promising opening, but once again the band hits the brakes. WTF?!?! Well things do pick up a little and a good solo helps this song redeem itself. Some interesting chord changes.

“Malignant Narcissism” – Ah, now this is more like it! A badass bass line and some groovy drumming. This is honestly what I expected this whole album to sound like. This is the Rush I grew to love, so it figures the song is done after 2 minutes. : (

“We Hold On” – Well at least this one doesn’t seem too slow. Rush specializes in strong closing numbers, and this seems like another one. Nifty guitar work by Alex, with some interesting textures. Neil lays aside the anger for a minute to pen some of his more usual inspirational lyrics.

Well that’s it. I’ll be brutally honest and say I’m very disappointed. Snakes & Arrows may have better production values than Vapor Trails, but it has almost none of that album’s intensity or spirit. This really sounds more like a followup to Test for Echo. I like the textures that new producer Nick Raskulinecz has brought to the table, although sometimes it sounds a little too dense. Alex Lifeson makes some nice appearances on lead guitar, but never really goes for the gusto.  Neil’s drumming is not nearly the star it usually is on Rush albums.  Geddy has some excellent bass work, but his vocal delivery has this little “hiccup” that started to grate on me.

I think Rush plays it too safe here. Yeah they took some chances on the last album and fell flat on some of them, but when it worked it worked well. Here they don’t really seem to have much to say musically. The much-ballyhooed return to the classic Rush style was not really evident so far as I could tell.  This is has the same mellow attitude that a lot of Hold Your Fire or Presto had, but those nuances were lost due to the heavy production.

I will of course give this album many more listens before a final (or updated interim) decision, but on first listen I am feeling rather let down.

Well we’ve arrived, and not a moment too soon! Snakes & Arrows is mere days away, and I look forward to seeing it take its place in the Rush pantheon. But before I reveal the four greatest Rush albums ever, let’s recap one last time:

#17 – Rush
#16 – Hold Your Fire
#15 – Roll the Bones
#14 – Test for Echo
#13 – Vapor Trails
#12 – Fly by Night
#11 – Caress of Steel
#10 – Power Windows
#9 – Presto
#8 – Counterparts
#7 – Hemispheres
#6 – 2112
#5 – A Farewell to Kings

For those who have been paying attention, a pattern has been developing over this countdown. Most of the early and recent albums, while good, don’t seem to stack up as well. Last time we got into the creamy center of Rush’s catalog, and now we reach the rich, nougat center. I think. I don’t eat enough candy to make that analogy work.

#4 – Signals (1982)

Any doubts about Rush’s intentions to explore new musical territory were put to rest on this one. And just as the band wore their influences on their sleeves the first time they staked out their territory (’74-’75 or so), so did New Wave and Reggae-lite (aka The Police) figure prominently in the territory carved out by Signals.

“Subdivisions” needs no introduction – it’s simply a classic entry. The rest of the album, while not uniformly great, sounds strong and assured – not at all the sound of a group unsure of where they’re headed. “The Analog Kid” grooves righteously, and contains some great lyrics centered on longing, a theme Neil Peart writes about quite well.

Two underappreciated gems reside on Signals - “The Weapon” and “Losing It.” The first is not particularly dynamic, but pulses insistently and always sticks with me long after I’ve listened to it. “Losing It” is, in a word, gorgeous. If it’s true that pain is art, then this song is high art my friends. There is no solace to be found here, but there is still beauty.

As for “Countdown” – yeah, some of the lyrics are from 7th-grade Creative Writing class. But I will give Neil a pass here, as they were written in the exuberance of being present for the first-ever Space Shuttle launch. In any case, the song is musically strong enough to overcome the lyrical faux pas.

More than any of the Rush albums in my Top 10, Signals is much greater than the sum of its parts. I think this is one of the reasons many fans might be down on it. It really has to be taken as one large work, rather than eight individual songs.

#3 – Grace Under Pressure (1984)

I remember reading a bit in the Rush biography Visions (released around the Hold Your Fire era) that the band nearly broke up after this album, because they didn’t think they would ever release anything better. While I obviously disagree, I can see why they might have thought that.

A lot of Rush fans point to this album as the point where Rush lost the plot, so to speak. They point to the abundance of synths and especially to the dreaded (*gasp!*) electronic drums. But really, those are just tools. They don’t write the songs – and this album boasts some great ones.

There is nothing laid back or humorous about Grace Under Pressure, and that suits me just fine. Well, except the horrid video for “Distant Early Warning.” That’s just cringe-inducing. But the song is forceful and dark, setting the tone for the rest of the album. Alex Lifeson returns with a vengeance, after being buried for most of Signals. Geddy Lee’s vocals are some of the best and most nuanced he ever delivered, and Neil is…Neil.

Other than the aforementioned “Distant Early Warning,” my favorites here are “Afterimage” and “Between the Wheels.” They are powerful musical, even artistic, statements. Even the odder tracks like “Red Lenses” are delivered with unexpected forcefulness. Grace Under Pressure is not a “fun” album to listen to by any means, but it resonates with emotion like no other entry in the Rush catalog.

#2 – Permanent Waves (1980)

As Rush entered the ’80s, they began to leave behind their prog rock sound like a Pet Rock. And boy did they do it with style. According to the Rush bio Visions (and my memory), Permanent Waves was originally planned as another album in the vein of Hemispheres. I even remember reading that one of the songs (at least) was going to be a retelling of Sir Gawain and the Green Knight. I can’t help but think they made the right choice in ditching that idea.

To be sure, some vestiges of the old style remained, particularly in the moody “Jacob’s Ladder.” But other than that, the rest PW ain’t your older brother’s Rush. “The Spirit of Radio” is one of those songs that has been played so many times, it occasionally risks losing its impact. Luckily it’s so damn good.

Then there is “Freewill,” one my Top 5 Rush tracks ever. My posterior is still booted by the ferocious bridge section. Rock on indeed. Then there are the mellow duo – “Entre Nous” and “Different Strings.” I would point to these as the only time this album sags at all, but it’s not very much.

The album closes with what must have been one of Rush’s most challenging numbers ever, “Natural Science.” I say this because whenever I’ve heard it played live, it seems they are mustering all the skill they have to keep up with things. But on the album it’s preserved forever in its perfection.

#1 – Moving Pictures (1981)

Yeah I know, what a shocker. But really, it’s the obvious choice. The transition away from classic prog that began with Permanent Waves continues even more forcefully here. And while longtime fans may bemoan what was to come, few can take issue with the fact that Rush seemed to have a whole new musical vocabulary at their disposal on Moving Pictures.

Has there ever been a better sequence of songs to start an album than the ubiquitous “Tom Sawyer,” “Red Barchetta,” “YYZ” (the song that launched a million air drummers), and “Limelight”? Don’t bother thinking, the answer is no.

“The Camera Eye” turned out to be Rush’s last epic song, and it is a classic (although I prefer “Natural Science”). But what really rounds this album out as Rush’s greatest are the final pair of songs – the dark and minimalist “Witch Hunt” and the ferocious New Wave-inspired “Vital Signs.”

So there you have it. I hope this was entertaining, enlightening, or both. And if you do actually disagree with any of my choices, please consider the possibility that I am just correct. And in the end, that’s really what this blog is all about, isn’t it?

If you’ve been paying attention to the Rush album countdown thus far, you’ll notice that with one exception, the remaining albums were released between 1976-1984, a period most fans consider the Golden Age of Rush (although some would stop at about ’81 or ’82). This is typical of many bands, I think. After finding their way (no pun intended) for a few albums, great bands tend to hit their stride by no later than the 3rd or 4th release. Then it’s smooth sailing for awhile. Most bands experience a decline after some time, and it’s just a matter of how much that decline is. I think Rush is in a select group that can claim a very soft landing, with some occasional spots of greatness in later years. But I digress…

Here’s the rundown of things so far:

#17 – Rush
#16 – Hold Your Fire
#15 – Roll the Bones
#14 – Test for Echo
#13 – Vapor Trails
#12 – Fly by Night
#11 – Caress of Steel
#10 – Power Windows
#9 – Presto

#8 – Counterparts (1993)

If Roll the Bones was the likable but skinny and geeky freshman in your biology class, Counterparts is that same kid as a sophomore – after spending the summer lifting weights and getting rid of his acne. He can still quote Star Trek episodes at will, but now he can kick your ass for making fun of that talent (how’s that for a tortured analogy?!).

Oh yeah, the album. With the help of producer Peter Collins, Rush put out their most uncomplicated and aggressive record since…well since ever really. Counterparts is hard, but never plods. It’s aggressive, but not so much that it seems out of character. Geddy, Alex, and Neil all sound energized and that attitude is infectious.

There are two reasons why this album doesn’t rank higher – it’s a tad too long (“Alien Shore” and “Speed of Love” could have been cut) and the whole man/woman duality lyrical theme is trotted out a little too often. Apparently men are different than women – thanks for the update Neil.

Highlights? There are lots, but the real gems are “Cut to the Chase,” “Double Agent,” and “Everyday Glory.”

#7 – Hemispheres (1978)

Hemispheres turned out to be Rush’s last foray into olde tyme progressive rock, and they left the genre on a high note. Even though the 18-minute album opener is titled “Cygnus X-1 Book II: Hemispheres,” any connection to the similarly titled song on A Farewell to Kings is tenuous at best. That said, it represents the most fully realized and accomplished extended suite Rush has ever recorded. Each section flows effortlessly into the next, and there are no weak spots to be found.

That leaves just three songs. “Circumstances” is one of the best straight-ahead hard rock songs the band released during the ’70s. I do find “The Trees” to be a bit overrated, but mostly because the lyrics are a bit hokey. Still, it’s a great song that is even better live (particularly the more subtle and moody bridge section).

Then there is “La Villa Strangiato.” Quite simply, it is one of the best rock instrumentals ever committed to vinyl (or CD for you young’ns). With no vocals to listen, the sheer virtuosity and skill of Rush is on full display – with a dollop of humor as well. This track and this album were a damn good way for Rush to exit the prog rock theater.

#6 – 2112 (1976)

This is the album that saved Rush, and for that alone 2112 merits a high ranking. Despite the commercial failure of Caress of Steel, the group not only didn’t abandon their ambitious musical approach, they kicked it up a notch (bam!) for this record. The title suite, clocking in at just over 20 minutes, never feels that long. The scatter shot approach that plagued the longer tracks on Caress of Steel is replaced on 2112 by a much more confident approach. Maybe Rush felt they had nothing to lose, so they acted like it?

The heavy handed sci-fi lyrics may not hold the same appeal for some fans as they did when they were teenagers, but musically “2112″ is extremely strong. A series of more traditional hard rock songs follows, led off by “A Passage to Bangkok,” a song that is unique both lyrically and musically in the Rush canon.

“The Twilight Zone” is a quirky nod to Rod Serling, the then recently deceased creator of the classic television series of the same name. “Lessons” doesn’t really do it for me, but the album finishes strong with two very different songs. “Tears” is the first ballad the band really pulled off well, while “Something for Nothing” is yet another in a long line of memorable Rush hard rock numbers.

#5 – A Farewell to Kings (1977)

Besides being a classic album, A Farewell to Kings is the record where I finally “got” Rush. With 2112, Rush found a great musical formula, and they perfected it on this album. The title track alone is worth the purchase price, but then there is my all-time favorite Rush song – “Xanadu.” For me, this song represents everything great about Rush.

Then there is the unofficial Rush anthem, “Closer to the Heart.” I can go either way on this song, having heard it so many times on record and in concert. But looking at it objectively, it is a damn good tune. “Cinderella Man” is probably the best Rush song where the lyrics weren’t written by Neil. I’ve always dug the synth-heavy “Madrigal,” even though it sounds so ethereal it risks floating away into nothingness.

“Cygnus X-1″ ends AFTK on a rather disturbing note, and is my candidate for the heaviest Rush song ever. No matter how many times I hear it, the furious last few minutes never fail to raise my blood pressure. In summation, A Farewell to Kings finds Rush hitting on all cylinders, and it is positively glorious.

I suppose I better get cracking on the rest of this countdown if I’m going to make it in time for the May 1 release of Snakes & Arrows. Today we crack the Top 10, which I guess is a pretty big deal huh? But before we get there let’s recap the results thus far:

#17 – Rush
#16 – Hold Your Fire
#15 – Roll the Bones
#14 – Test for Echo
#13 – Vapor Trails
#12 – Fly by Night

Everything on the list so far represents albums that are all very good but uneven. To put it another way, even a mediocre Rush album is better than most other bands’ stuff. With that in mind, let us push onward!

#11 – Caress of Steel (1975)

This is where Rush really started to push the limits of their musical abilities. While the results are not consistently great, this is a crucial album and provided a taste of the greatness to come. First of all, is there any Rush fan who is tired of hearing “Bastille Day” even after 800 listens? Not me. “Lakeside Park” is another instant classic, and a great example of how even mellow Rush had a sense of freshness and urgency back in the day. And while some may view “I Think I’m Going Bald” as a throwaway track, it is a great example of the sense of humor that non-fans don’t think the band has.

So what of the remaining tracks, “The Necromancer” and “The Fountain of Lamneth”? Personally, I love “The Necromancer” in all its geeky prog glory. The fierceness of the “Under the Shadow” section segues beautifully into “Return of the Prince.” So what about Lamneth? Well the major strike against this suite is the lack of flow from one section to the next. Whereas Genesis made an extended suite like “Supper’s Ready” work brilliantly, Rush falls short here. There are high points, like “No One at the Bridge” and “Bacchus Plateau,” but some days I just want to get right to those. “Didacts and Narpets” is unessential, but it is only a minute long. “Panacea” is pleasant enough, but it sort of floats away into nothing. Only the first and last pieces of the suite are really related thematically, but the problem is they’re not very strong pieces.

Despite the misses, CoS has always been a personal favorite, so it sits at #11.

#10 – Power Windows (1985)

After the very dark Grace Under Pressure, Power Windows was like opening the curtains in a dark room. Of course the first thing that stands out is the subtle use of SYNTHESIZERS. For better or worse, this album sounds very much like an album that came out in 1985. So why a Top 10 placement? Well for one thing, this was the last real step forward Rush took in terms of sound and style for quite some time. That progression basically stopped when Hold Your Fire was released. For another, some of my favorite Rush songs are here – “Grand Designs,” “Territories,” and “Middletown Dreams” are all-time greats as far as I’m concerned.

Another key to the effectiveness of Power Windows is it’s brevity. Arriving when it did, before the CD had completely asserted its dominance as a musical medium, the album clocks in at just under 45 minutes. That means all killer, no filler for the last time in Rush’s career. Overall, the band sounds excited and energized about making music here.

#9 – Presto (1989)

Presto, I must admit, has always been a favorite of mine. It was the first “new” Rush album I bought after becoming a fan. But there’s more than that. First of all, the wall of synth sound was turned way down in favor of a leaner and more muscular arrangement. Another plus is one of Neil Peart’s strongest set of lyrics ever – he was definitely at the top of his game here. Musically, there’s a lot to love here. “Show Don’t Tell” follows the Rush tradition of strong album openers, and has a groove that won’t quit. Who doesn’t love the Geddy Lee bass workout during the bridge?

Geddy Lee called “The Pass” one of his favorite Rush songs, and I can’t really argue. I also really dig the title track and the moody closer, “Available Light.” There is a lot of variety here, so they’ve got that going for them, which is nice.

Rupert Hine’s production makes Presto feel more personal and accessible than most Rush albums. While Neil’s drum sound may lack the power of earlier albums, his playing sounds more relaxed while still being complex. Alex Lifeson provides more texture and support than lead work – which is a detriment on later albums – but it works here.

I know a lot of fans aren’t big on Presto, as they see it as too mellow or too “adult,” but I think it’s probably the most underrated album Rush has released.