Presto and Roll The Bones represent the lowest point in Rush's musical history. They have improved every album since then, with the latest full release, Vapor Trails, being the hard-rockinest, coolest thing they've done since Moving Pictures. I definitely like the Rush of 2004 much much more than the Rush of 1990. (But of course, nowhere near as much as the Rush of 1980.)

Just One Rush Geek's Opinion.

Hey, I think that blue screen of death that YOU are partly responsible for is very annoying. Don't be sad, 6.22, it's just the way you are.

Spirit on the Radio has a VERY good solo in it. maybe lifeson isn't very consistent. remember the interview with him a few years back....Maybe Presto-ish timewise where he dropped all the digital guitar stuff and went back to tube amps and heavy maple solidbodies. Maybe thats where he's at now. I mean how could anyone play Sumemrtime Blues on a digital guitar?


THE
I HEAR VOICES
AND THEY DON'T LIKE YOU
AARDVARK

[quote="AArdvark"]* 'Working man' solo has the depth and feel of a remote computer server using Dos 6.22[/quote]

:-(

Remember, though, that Neil Peart didn't join the band until the second album, replacing erstwhile bodybuilder/wrestler John Rutsey, so by the time the three were all together, they already had an established repertoire.

Liner notes of Feedback, however, suggest that these songs were among those played by the individual band members in their own pre-Rush bands. Or, just stuff they liked.

Best of album is For What It's Worth, particularly if you like that song.

I disagree with you w/r/t Lifeson's "soulless solos". All drummers love Neil best, all bassists love Geddy best, but I think Alex is the true musical genius of the group. He plays notes that don't exist. I think they're very soulful, but using the soul of an evil space alien from space. I mean, listen to the solo in Spirit of Radio. That shit just don't exist in this universe.

I was under the impression that this was the type of stuff they played before they made it big. I mean, you can't just go into a bar and play your own stuff without any covers, right? They had to play something when they were North Coast nobodies. Actually it's good for them to try this stuff right on the release of 'I, Robot'. I kind of wish Neil Peart would have cut loose and went wild on some of the standards. I always thought Lifeson was rather soulless when playing his solos*, he needs to have more Colt 45 instead of Molson in his life. And Geddy is ...well, Geddy. To sum up; They were never at woodstock and probably would never WANT to be, eh?


* 'Working man' solo has the depth and feel of a remote computer server using Dos 6.22


THE
2112 WAS GOOD THOUGH
AARDVARK

Reviewing a disc like this is somewhat futile, as this is the type of album that, if you're a Rush fan, you are [i]definitely[/i] going to buy it anyway, and if you're not, you are [i]definitely[/i] not going to buy it anyway, so discussing its relative merits is about as useful as a snowblower in Miami.

The old band I was in, Pelon, featured a guitar player/vocalist who did [i]not[/i] like Rush, because he felt that while they're excellent instrumentalists, they have no "soul", no "groove", no "funk". This EP of cover tunes will probably do nothing to dissuade him from this opinion. While all the classics like For What It's Worth and Crossroads are instantly recognizeable, there's just something a little... a little WHITE about 'em, a little CANADIAN about 'em. Alex Lifeson can do a fine Eric Clapton impression, but he's still no Eric Clapton. Neil Peart does his best to restrain himself from blistering rolls and off-time, angular beats, but you can tell it's torture. Geddy wails 'em out as best he can, but these are emotional songs, and his voice is always a bit disturbingly robotic.

That all being said, it's still a lot of fun to listen to, and quite surreal that these prog-rock, philosophical, sci-fi-opera-playing aging dinosaurs of the music world would, after thirty years, decide to finally lighten the hell up and come out with an EP of old 60's rock 'n' roll classics. And for $7.99, it's hard to beat. (One likes to believe in the freedom of music, but cheap is good too.)

Three stars.