And now your daily dose of sheer ridiculousness…

Shockingly lame, mildly offensive (probably moreso if you’re Native American), yet hilariously ill-conceived and even more hilariously ill-executed, we have this music video for a disco-fied version of the oft-covered surf rock hit “Apache.”

I can’t make out the name of the band written on the bass drum head, and it doesn’t seem to match any listed here.

Although I will never recover the precious minutes of my life wasted watching this, and I may never even know the name of the band (so I can take care to avoid them in the future), at least one good thing came of this: my discovery of the Second Hand Songs site, which is actually a pretty cool idea!

Update (September 29, 2006): I guess I should’ve just checked Google Video… there, we have the song identified as the work of the Tommy Seebach Band.

Call it “Rush for Neophytes”

If you’ve been following my recent blog entries (or if you just care to scroll down the list of articles right now!), you’ll know I’ve been going through a bit of a “Rush Renaissance” lately.

I first got into these guys back in high school (of course), almost 18 years ago. My interest in them waned after I moved on to more obscure progressive rock bands, but by the early part of this decade, after I had bored of most prog rock, I actually found myself drawn back to Rush, and I’ve listened to them more than any of the other bands in this nebulous genre over the past five years. But something clicked a month or so ago, and I’ve rekindled an obsession with the band that may in fact be even stronger than it was at its peak when I was a scrawny teenager with a learner’s permit.

On Sunday, much to my surprise, I actually heard “New World Man” on KQRS. While it’s certainly not that unusual for Rush to be on the radio, I don’t believe I’d ever heard this particular track on the airwaves.

Inspired by this radio surprise, I started to think about what might go onto a CD of the band that I could use to introduce new people to their music. Personally, my first exposure was listening to the live A Show of Hands album in its entirety. Even though most prog maniacs generally consider the band’s 1977 to 1981 period (from A Farewell to Kings through Moving Pictures) to be its best, I think the end of that period, overlapping into the next, say, from 1980’s Permanent Waves through 1985’s Power Windows, is best for an introduction. The early ’80s songs are a bit more accessible to an unindoctrinated ear than what preceded, yet they are of higher quality than the weaker material of the late ’80s and early ’90s.

With that in mind, I’ve prepared a track list for a 79-minute CD spanning from 1980 through 1985 (with a nod to the earlier era at the end), that I think would serve as a near-ideal introduction to the band for a new listener. Here we go:

  1. The Spirit of Radio (Permanent Waves, 1980)
  2. Limelight (Moving Pictures, 1981)
  3. Subdivisions (Signals, 1982)
  4. Tom Sawyer (Moving Pictures, 1981)
  5. Distant Early Warning (Grace Under Pressure, 1984)
  6. Marathon (Power Windows, 1985)
  7. New World Man (Signals, 1982)
  8. YYZ (Moving Pictures, 1981)
  9. Freewill (Permanent Waves, 1980)
  10. Natural Science (Permanent Waves, 1980)
  11. The Enemy Within (Part I of ‘Fear’) (Grace Under Pressure, 1984)
  12. The Weapon (Part II of ‘Fear’) (Signals, 1982)
  13. Witch Hunt (Part III of ‘Fear’) (Moving Pictures, 1981)
  14. La Villa Strangiato (Hemispheres, 1978)

We start off with some of the band’s most accessible (and, once upon a time, popular) tracks. I’ve heard all of the first four tracks with some regularity on classic rock radio. Next we move into a few of the great but probably less familiar mid-’80s tracks. After a couple more “fan favorites,” I move into longer pieces that hint at what a new listener will discover if they go back into the extended late ’70s tracks, including the “Fear” trilogy that is rarely heard together in sequence.

OK, Rush fan(s). Let’s hear what you think!

Rush Bass Tabs!

I’m posting this mainly to remind myself to check it out more fully at a later date. (Hmm… could just bookmark it…)

Just what I was looking for (even though, curiously enough, I wasn’t looking for it at the time when I found it): Rush bass tabs! Any Rush fan or bass player (or, both, and I’d guess that both do occur in disproportionate numbers to that of the general populace) would want to check this out.

Frankly, since I can read music, I’d rather have actual notation instead of tablature, but any transcription is a good transcription. (Check that; not every transcription is a good one, but I’ll have to study these more closely to determine if that is true in this case.)

‐.‐‐‐.‐‐‐‐..

Wow. For all my many years of waxing and waning Rush fandom, including having played several of their songs on the bass myself in a band a few years back, I never knew this about one of their oddest songs, the instrumental track “YYZ.”

Yes, of course I know YYZ is the code for the Toronto airport. But what I never realized, even as I was playing that rhythm, is that the opening of the song spells “YYZ” in Morse Code!

(I must admit I have some misgivings about saying I never realized it. I vaguely recall that as my bandmates and I were working the song out — from memory, not a recording — I was convinced that the last part of long beats was 5 and not 4, but the other guys might have used the Morse Code argument to prove me wrong. In fact, even tonight as I read about this and played the song in my head, I was still thinking it was 5, and, in my usual cocksure way, thinking “these websites have it wrong!” or “the band messed up the ‘Z’!” But then I actually listened to the song and realized it’s 4. Then I assumed the band I was in must have played it wrong, since I was so sure it was 5. So I listened to our recording of it and sure enough it was 4 there too! I guess the only thing that proves is that once again, it’s a bad idea for me to stay up too late on a Saturday night surfing the web.)

Here’s some more on the matter…

While I’m on the subject of Rush, I quickly googled (yes, it’s officially lowercase now, much to Google‘s chagrin) and was surprised to discover that, apparently, my high school friends and I are the only ones in the entire wired world who ever thought the band’s self-titled debut album cover looks more like it says RLISH than RUSH.

Top 5 Albums of 2005

OK, I realize that we are now precisely (give or take the days various Caesars stole from February) halfway through 2006, but I still haven’t gotten around to compiling my list of the top 5 albums of 2005. I think I actually did start one back in December but I couldn’t narrow it down, or I couldn’t be bothered to care to finish it or… something.

5. Beck: Guero
A lot of the same critics who praised 2002’s Sea Change for its growth came back to declare Guero a grand return to form over what they now called dark and depressing. Get over it! I actually liked Sea Change better, but anything from Beck is good.
4. Porcupine Tree: Deadwing
Speaking of anything from being good, here we have Porcupine Tree, without a doubt the most undeservingly underheard band around today. This album is so good I can’t even write a coherent sentence about it.
3. Foo Fighters: In Your Honor
Great album. At first I thought the idea of splitting all of the acoustic/mellow tracks onto one CD and all of the rockers onto another was a risky idea, but it actually works out great. The pair complement each other well, and are perfectly suitable soundtracks for diametrically-opposed moods.
2. Coldplay: X&Y
A lot of people I know hate Coldplay, and I just don’t get it. Perhaps they’re overrated now, and it’s just that I started to get into them before they got really big, but I think their music is full of great melodies and atmospheres.
1. Coheed and Cambria: Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness
OK, this one had to win simply for the fact that these guys had the cojones to give their album such a title. C’mon guys, it’s not 1974! Unabashed prog rock seems to be making a comeback, but unlike the slightly more successful Mars Volta, these guys don’t pad each track out with aimless noodling filler (and I usually like bloat-prog).