(Hard-Progressive, Hard-n-Art) [LP] [24/96] Rush - 5 LP's - 1975-1987, FLAC (tracks+.cue)

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Analyzed folder: /Rush - Caress Of Steel (LP)
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DR Peak RMS Filename
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DR13 -0.70 dB -15.45 dB 01 Rush - LADO 1- Caress Of Steel.wav
DR12 -1.99 dB -16.22 dB 02 Rush - I Think I'm Going Bald.wav
DR13 -3.47 dB -18.87 dB 03 Rush - Lakeside Park.wav
DR14 -1.41 dB -21.47 dB 04 Rush - The Necromancer - I Into Darkness.wav
DR13 -0.12 dB -15.86 dB 05 Rush - II Under The Shadow.wav
DR14 -0.45 dB -16.68 dB 06 Rush - III Return Of The Prince.wav
DR12 -0.64 dB -16.72 dB 07 Rush - LADO 2- The Fountain Of Lamneth - I In The Valley.wav
DR15 -0.71 dB -18.88 dB 08 Rush - II Didacts And Narpets.wav
DR14 -1.00 dB -18.09 dB 09 Rush - III No One At The Bridge.wav
DR14 -3.55 dB -24.93 dB 10 Rush - IV Panacea.wav
DR14 -1.86 dB -17.80 dB 11 Rush - V Bacchus Plateau.wav
DR14 -1.72 dB -19.45 dB 12 Rush - VI The Fountain.wav
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Number of files: 12
Official DR value: DR13

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Art Direction – AGI (4)
Bass, Vocals – Geddy Lee
Executive-Producer – Moon Records
Graphics – Hugh Syme
Guitar [6 String, 12 String, Electric, Acoustic, Classical, Steel] – Alex Lifeson
Percussion – Neil Peart
Photography By – Barry McVicker (2), Gerard Gentil*, Terrance Bert*
Producer, Arranged By – Rush
Producer, Engineer, Arranged By – Terry Brown
Written-By – Alex Lifeson (tracks: A1 to B1.3, B1.6), Geddy Lee, Neil Peart

This is the point in Rush albums where they were defining the sound that they would be known for throughout the seventies with more involved lyrics from drummer Neil Peart. A more hard edged guitar sound that would be more complete on the next one 2112, but compared with previous efforts A Caress Of Steel is more in line with how they would be perceived with a progressive like influence, although subtle as that may be, but it is still a worthy album that has taken a lot of stick from time to time. Personally it's my favorite Rush album and "Lake side Park" is one of the better songs from any Rush period, a song with memories of youth and drinking and simply hanging out with friends. The song is nicely juxtaposed with electric and acoustic guitar parts, something the band would work with on a few occasions if only to stamp an emotion on a song and it works a treat here with all the poignancy of the song. Some of the longer pieces are a bit experimental and lyrically can be a bit dumb but they are still listenable and surprizingly tight and even mesmeric at intervals, especially with the candid piece "Panacea" as the B side roll toward the end. All around A Caress Of Steel has a nice quality and a warm and fresh Terry Brown production.

Review by Philo, progarchives.com

Recorded and mixed at Toronto Sound Studios, Toronto, Canada.

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Analyzed folder: /Rush - A Farewell To Kings (LP)
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DR Peak RMS Filename
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DR12 -0.49 dB -15.98 dB 01 Rush - LADO 1- A Farewell To Kings.wav
DR11 -0.00 dB -14.65 dB 02 Rush - Xanadu.wav
DR13 -3.04 dB -20.04 dB 03 Rush - LADO 2- Closer To The Heart.wav
DR14 -1.70 dB -18.55 dB 04 Rush - Cinderella Man.wav
DR14 -4.02 dB -22.77 dB 05 Rush - Madrigal.wav
DR12 -0.19 dB -16.39 dB 06 Rush - Cygnus X-1.wav
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Number of files: 6
Official DR value: DR13

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Artwork [Art Direction And Graphics] – Hugh Syme
Artwork [Design Assistance] – Bob King (3)
Bass Guitar, Guitar [Twelve String], Synthesizer [Mini Moog, Bass Pedal], Vocals – Geddy Lee
Drums, Bells [Orchestra], Bells [Tubular], Temple Block, Cowbell, Wind Chimes, Bells [Bell Tree], Vibraslap, Triangle – Neil Peart
Electric Guitar [Six And Twelve String], Acoustic Guitar [Six And Twelve String], Guitar [Classical], Synthesizer [Bass Pedal] – Alex Lifeson
Engineer [Mix Assistant] – Declan (Not Norman!) O'Doherty*, Ken Thomas
Engineer [Mix] – Terry Brown
Engineer [Recording] – Pat Moran, Terry Brown (Broon)
Executive-Producer – Moon Records
Lyrics By – Lee (tracks: B2), Peart (tracks: A1 to B1, B3, B4)
Mastered By – George Graves
Music By – Lifeson, Lee, Peart (tracks: A1, B4)
Photography By [Cover] – Yoshi Inouye
Photography By [Liner] – Fin Costello
Photography By [Sleeve] – Roger Stowell
Producer – Rush, Terry Brown

I must say, I was very suprised by this album. When I bought it, I already knew Kisstadion'79.
I was expecting a similiar Eloy influenced sound.
But, nothing of that is here. No space sound, no electronic, only pure psychedelic rock.
It stars with Petroleum Lampa, which is a funny track.
Very good sound, drums are kicking really here. And the singing... Well,
Hungarian is a funny lanuage to Polish ears
Then there is a great big hit Gyorgyhaju Lany.
Don't know what that means? Listen to the Scorpions.
Beautiful ballad, one of the rock evergreens.
I don't want to review song by song this album, because all are very good,
except for Az 1958-as Boogie-Woogie Klubban, which is a rock'n'roll song.
Nothing prog in it. But as I said, the album is very good.
Maybe it's not a masterpiece, but you should have it in your collection.
progarchives.com

Продолжительность: 38:23

Продолжительность: 39:06

Bass, Vocals, Synthesizer, Guitar [Rhythm] – Geddy Lee
Drums, Percussion – Neil Peart
Engineer – Andy Rose (2) (tracks: B1 to B4), Terry Brown (tracks: A1 to A3, C1 to C3, D1 to D3)
Engineer [Mix] – Paul Northfield
Guitar [Electric], Acoustic Guitar, Synthesizer [Bass Pedal] – Alex Lifeson
Mastered By – Bob Ludwig
Producer – Terry Brown

Essential: a masterpiece of progressive rock music.
This is one of the best rock albums of all time, on the level of "Made In Japan" from Deep Purple, "Live '73" from Uriah Heep and "Yessongs" from Yes. All compositions sound powerful and inspired and contain the extra exciting elements that are so vital on live- albums. The choice of the tracking-list is perfect, the song "Broon's Bane" is a pleasant surprise and the renditions of "Xanadu" (what a build-up and grand finale!) and "La Villa Stragiato (electric flamenco!) evokes goose bumps every time I hear this wonderful and compelling composition. Although later live-records delivered a better sound, this live- album remains my favorite one. Indeed, a matter of taste, nothing more or less because you can fill many pages on Prog Archives with other opinions!

Review by erik neuteboom, progarchives.com

Notes
All tracks recorded live during Rush's 1981 world tour.
Sides A, C, and D were recorded in Canada.
Side B was recorded in the UK.

Marketed by Phonogram.

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Analyzed folder: /Rush - Signals (LP)
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DR Peak RMS Filename
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DR13 -1.15 dB -15.01 dB 01 Rush - LADO 1- Subdivisions.wav
DR13 -0.30 dB -15.45 dB 02 Rush - The Analog Kid.wav
DR12 -2.26 dB -16.91 dB 03 Rush - Chemistry.wav
DR14 -2.07 dB -17.65 dB 04 Rush - Digital Man.wav
DR13 -0.05 dB -16.05 dB 05 Rush - LADO 2- The Weapon.wav
DR13 -0.11 dB -15.79 dB 06 Rush - New World Man.wav
DR13 -1.11 dB -17.26 dB 07 Rush - Losing It.wav
DR12 -0.87 dB -15.72 dB 08 Rush - Countdown.wav
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Number of files: 8
Official DR value: DR13

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Artwork – Hugh Syme
Bass, Synthesizer, Vocals – Geddy Lee
Composed By – Alex Lifeson, Geddy Lee
Drums, Percussion – Neil Peart
Electric Guitar, Acoustic Guitar, Synthesizer [Taurus Pedals] – Alex Lifeson
Engineer – Paul Northfield
Engineer [Assistant] – Robbie Whelan
Lyrics By – Neil Peart
Mastered By – Bob Ludwig
Producer, Arranged By – Rush, Terry Brown

Moving Pictures saw the end of Rush's "classic era" with a fitting farewell, and ushered in the "synth era" of their career. Signals was the perfect opener to that era, with crisp and fresh synths, catchy riffs, and precision timing. Gone were the 10 minute epics about people in New York and London, and in came more concise songs about the aspirations of youth, fear of the weapon, and losing all your composure. Most also consider this album to be the beginning of the "Alex Lifeson Syndrome", which is when he changed his hair, amplification devices, and guitars for every album/tour as well as the loss his "lead edge" that he had in the 70's. Geddy Lee was beginning to experiment with more predominant synthesizers on this one (the Oberheim gets special recognition), and Neil Peart was giving his all with precision patterns and rhythms that fit so brilliantly with the music. This album is nothing short of brilliant musically.
Subdivisions opens the album with a refreshing 7/8 Oberheim pattern in a droning F#. It seemlessly goes into a 4/4 riff that revolves around the same chordal pattern. The lyrics on this one hold true even today, that if you don't conform with what people think is "normal" then you are an outcast (Neil Peart cuts right to the core at this one, he experienced this sort of behavior during his high school years, often being considered an outcast himself). The 3/4 chorus blares with stifling runs by Geddy Lee before the eponymous chorus comes into play. Lifeson's solo on this one is well executed on this song, foreshadowing his future solo styling. The Analog Kid keeps up the theme of the aspirations of youth with a staggering rhythm that is classic Lifeson riffing. Peart precision drumming during the chorus is nothing short of breaktaking, and Lifeson stabs at the solo, performing a tremolo washed solo that gives allusion to La Villa Strangiato in a way.

Chemistry is the only Rush song that gives lyrical credit to all members and has some very nice synth sections and some precision chords during the verses. Digital Man begins with a precision drum fill by Peart, and has some nice open note chords in the beginning. The "reggae" chorus section was up to much dispute when they were recording this album, Terry Brown being against it and the band being toward it (this little studio battle would essentially be the final straw before Rush would seek a new producer on the new album). The Weapon follows it, and as Neil Peart describes, the drum track on this one is his most machine like (because the initial drum track on this one was produced by Geddy on a drum machine). This song is another part of the Fear trilogy and is the strongest of the bunch along with Witch Hunt.

New World Man was initially conceived as a filler of the album, but became a strong track in the end. It's well timed sequencer intro followed by more Lifeson riffing is well planned and the chorus is catchy and upbeat. Kudos to Neil Peart for the lyrics which give a nod to Tom Sawyer of the past album. Losing It is in my opinion one of the best songs on the album. The differentiation between 5/8 and 6/8 on this song and the main theme is creative and a well conceived idea, and the electric violin on it gives a very surreal feel to the song. The 11/8 section in which Lifeson solos is superb and the band keep perfect rhythm together. Unfortunately, this song has never been played live, so no one has ever gotten the chance to see the magic of this song on the stage. Countdown ends the album and is a fitting ending. The main riff and chord structure is tight and cohesive, Geddy's synth breakdowns between the choruses are consistent and fun to listen to, the guitar solo is energetic and full of life, and the lyrics are charming and very visual.

Overall, this is the best album of Rush's synth era. Strong melodies, strong ideas, strong rhythms, strong lyrics, this album has it all. My highest recommendation is given to this album, and no fan of Rush should be without it. 5/5.

progarchives.com

Recorded and mixed at Le Studio, April, May, June and July 1982.
Printed in the Netherlands. Marketed by Phonogram.

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foobar2000 1.3.5 / Dynamic Range Meter 1.1.1
log date: 2016-04-15 08:47:50

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Analyzed: Rush / Hold Your Fire (LP)
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DR Peak RMS Duration Track
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DR13 -0.60 dB -16.20 dB 4:35 01-LADO 1- Force Ten
DR14 -0.12 dB -15.56 dB 5:09 02-Time Stand Still
DR13 -0.43 dB -15.05 dB 5:38 03-Open Secrets
DR14 -0.55 dB -16.26 dB 4:36 04-Second Nature
DR13 -0.36 dB -16.18 dB 5:23 05-Prime Mover
DR13 -0.40 dB -15.08 dB 5:10 06-LADO 2- Lock And Key
DR14 -0.12 dB -16.42 dB 5:18 07-Mission
DR13 -0.22 dB -15.30 dB 4:55 08-Turn The Page
DR13 -2.01 dB -17.45 dB 4:17 09-Tai Shan
DR13 -0.30 dB -15.79 dB 5:37 10-High Water
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Number of tracks: 10
Official DR value: DR13

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2768 kbps
Codec: FLAC
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Arranged By – Peter Collins, Rush
Arranged By [Brass], Conductor [Brass] – Andrew Jackman*
Arranged By [Strings], Conductor [Strings] – Steven Margoshes*
Art Direction – Hugh Syme
Bass Guitar, Synthesizer, Vocals – Geddy Lee
Brass Band – The William Faerey Engineering Brass Band*
Drums, Percussion – Neil Peart
Electric Guitar, Acoustic Guitar – Alex Lifeson
Engineer – Jimbo (James) Barton*
Engineer [Assistant] – Philip Cusset*
Engineer [Assistants] – Ken Blair, Martin Lee (4), Michael Ade*, Reynold Swan
Keyboards [Additional] – Andy Richards
Lyrics By – Peart*, Dubois* (tracks: A1)
Mastered By – Bob Ludwig
Music By – Lifeson*, Lee*
Photography By – Glen Wexler
Producer – Peter Collins, Rush
Vocals [Additional] – Aimee Mann

Everything here has declinegd a bit in terms of performance and inspiration. Fortunately, it is still very good. No doubt, it sounds like "Power Windows", but Geddy Lee took it easy on the bass, focusing more on the keyboards. The bass is still very good, but it was outstanding on the previous album. The keyboards are more varied than on "Power Windows", but I prefer the ones on this previous album. Lifeson still makes pretty good solos here, but his rythmic sometimes seems to be less impressive. We feel Neil Peart is not at his best on drums.
Review by greenback, progarchives.com

Recorded At – The Manor
Recorded At – Ridge Farm Studios
Recorded At – AIR Studios, Montserrat
Recorded At – McClear Place
Mixed At – Studio Guillaume Tell
Mastered At – Masterdisk
Mastered At – Specialty Records Corporation
Pressed By – Hub-Servall Record Mfg. Corp.
Manufactured By – PolyGram Records, Inc.
Marketed By – PolyGram Records, Inc.
Published By – Core Music Publishing
Phonographic Copyright (p) – PolyGram Records, Inc.
Copyright © – PolyGram Records, Inc.

Notes
© 1987 PolyGram Records, Inc.

Hub-Servall Pressing (metal processed at Specialty)

Custom inner sleeve contains lyrics & credits

Recorded at:
The Manor, Oxfordshire,
Ridge Farm Studio, Surrey,
Air Studios, Montserrat,
McClear Place, Toronto,
and on the Lerxt Mobile, between January and April 1987
Barcode and Other Identifiers
Matrix / Runout (A Side Etch): 422-832-464-1-AS-SP DMM SP \ - 5 SP-HUB MASTERDISK
Matrix / Runout (B Side Etch): 422-832-464-1-BS-DMM SP HUB MASTERDISK
Other (Pressing Plant #): 76
Rights Society: CAPAC
Barcode (Print): 0 422-832464-1 6
Barcode (Scan; Format: UPC_A): 042283246416