Tag Archives: Tracks

With all due apologies to Bill Bruford (and the rest of Yes)

Yes, Fragile, 1971Endure it if you dare.

Things were just different back in 1971. And if you don’t believe me, consider this: a very successful rock album from that year was Fragile by Yes.

This album contained not only three tracks near or longer than eight minutes each, but five brief tracks that were the individual creations of each member of the band. Some members were not so enthusiastic about this approach, most notably drummer Bill Bruford, whose contribution was an awkward, 37-second noodlefest for drums, guitar, bass, and organ entitled “Five Per Cent for Nothing” [sic, although apparently that’s how they spell it in Britain].

Only 37 seconds, you say? Or more to the point, only five percent, you say? I have now attempted to rectify that shortcoming.

The piece as it originally appears consists of a complex rhythmic pattern, played through twice by the band. Well, if twice through constitutes five percent, simple arithmetic tells us that 40 times through will yield the full 100%. (It also clocks in at a pleasing 11:11.)

So here you go…

[audio:http://blog.room34.com/wp-content/uploads/underdog/100pct.mp3]

If you like/can tolerate this, I encourage you to consider purchasing the full album. (For what it’s worth, I myself have purchased it in one form or another no less than seven times.) It features some outstanding playing and great songs, including my favorite piece of music in the history of human civilization, “Heart of the Sunrise.”

But if you’re in the market for something a little more current… a little more seasonally-appropriate… a little more ridiculously titled, then I would steer you no further than to Chris Squire’s Swiss Choir, a drunken joke new Christmas album featuring Yes bassist Chris Squire, drummer Jeremy Stacey (formerly of Sheryl Crow’s touring band and more recently of the briefly-reformed-and-now-once-again-defunct lineup of Squire’s pre-Yes band, The Syn), and ’70s-era Genesis guitarist Steve Hackett.

Normally I would look at something like this and think, “Mannheim Steamroller, but somehow, incomprehensibly worse.” And yet, from the samples I checked out online, it’s surprisingly not complete shit! “Complete” being the operative word. When I emailed a friend about this album, with the subject line “Holy crap,” he replied “I think you have just come up with the perfect two word review for this album.”

If by any chance you do choose to purchase it, I would implore you to consider doing so via this link to the iTunes store, so they’ll know who recommended it! (OK, they won’t. But at least I’ll get a tiny piece of the action.)

Busted by iTunes!

Now here’s something interesting. Apparently a (now deceased) pianist released a series of CDs under her own name that were actually identical to other previously released CDs by other artists!

I’ve had it happen a few times that I would put a rather obscure CD into my computer and CDDB would incorrectly identify it as something else. This is because their key to identifying a CD is the number and length of all of the tracks, which generally is unique, but of course it’s not impossible for two CDs to have the same number of tracks, and for their respective lengths all to match. Out of the 700 or so CDs in my collection, I’d say 10 to 15 of them had this happen when I ripped them in iTunes.

Usually the false matches are so obviously wrong that there’s little room for confusion, but in this case things were different!

How about a fresh Hors d’Oeuvreture?

I’ve continued to tweak the two tracks I’ve been working on for the new album. I just posted a major update to “Heavy Water,” which you can listen to here or on the “official” page for the album.

I also posted minor updates to both tracks yesterday, in place of the earlier versions that were there. I didn’t bother to draw attention to them though, as they were basically just tweaks to the masters.

In addition to the current projects, I have a 16:18 ambient track I recorded last year, called “1.618” (because it’s based on the golden ratio… the length of the track is a deliberate play on that number), that I’m planning to add as the final track on the CD. It needs some clean up back over in Pro Tools (because I discovered GarageBand buckles under the stress of loading a pair of 16-minute waveform tracks) and a new master. I got a new computer since I worked on it, and all I seem to have backed up are the Pro Tools project and an MP3, but no CD-quality mixdown. More on that later.

Note: To conserve server space, I’m clearing out older versions of the Hors d’Oeuvreture songs. Visit the album page to hear the latest available version of each track!

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!