RUSH is a band that lures me into their progressive Hard Rock world, like an insect flying into a backyard bug lamp. The main difference between me and an insect, (besides my being a human being), is that once I get zapped by the electrifying sound of Rush, I don’t turn crispy and bite the dust. Rush could very well release an album every year and I would buy it. This ultra iconic band’s albums brings back memories and makes new memories for me, on a consistent basis. Metal truth be told, the older I get, the more I have taken a stronger liking to the music of Rush. (I cannot figure this out, therefore, I won’t try to). Rush has released a total of nine live albums over their brilliant career, (counting Working Men), with All The World’s A Stage from 1976 starting this chain. Working Men will never go down as being the greatest live Rush album ever… yet it will not be considered sub standard either. This legendary band can’t compete with themselves, each live album they release, is a signature of where they are as elite musicians. What Rush does best, is give their fans consistency over the decades, while not sacrificing integrity in their musical product. Working Men exemplifies this integrity, with songs that are the most popular from their extensive album catalog.
Geddy Lee, (lead vocals, bass guitar & keyboards), Alex Lifeson, (guitar & vocals) and Neil Peart on drums, possess the uncanny abilities to keep their songs relevant and vibrant. It’s refreshing reality to know that Rush continues onward, entering their fourth decade of creating Progressive Hard Rock, in which they laboriously and consistently helped catapult into a beyond legitimate genre.
All 12 songs are taken from previously released live DVD’s, with the exception of One Little Victory, which is stated as previously unreleased. I come to the conclusion, that this “particular” live version of One Little Victory has never been released, it has appeared on Rush In Rio Live. The studio version of One Little Victory is the opening track for the 2002 Rush album – Vapor Trails. (A tad confusing as to the exactness of the previously unreleased meaning).
Working Men does meld the classics of Rush past, embarking on decades of gems… this live album opens with Limelight, (1981’s Moving Pictures) and Far Cry, (2007’s Snakes & Arrows), is track number six. Having Far Cry in the mix, is a standing true reminder, that Rush is ever the creative trio in recent years. The Snakes & Arrows studio album is an exemplary offering of modern day, Rush Progressive Hard Rock. To acknowledge such a recent Rush song like Far Cry, amidst this vintage lineup of live tracks, was the right move. How can any fan of Rush or such songs as Limelight, Tom Sawyer, Freewill, Working Man or Closer To The Heart resist such a classic compilation of live and Progressive Hard Rock excellence? I can’t resist, no matter how many live go rounds Rush gives these songs.
* The live DVD’s from which these Rush songs were taken from, to compile Working Men: Rush In Rio (2003), R30 (2005) and Snakes & Arrows Live (2008).
The Spirit of Radio, 2112, Dreamline, Subdivisions, and YYZ are the remaining tracks heard on Working Men.
Rush – Working Men was released on November 17, 2009, on Anthem/Atlantic Records.
I have been riding on a rather enjoyable, Progressive Metal & Progressive Hard Rock wave of music as of late. Am I complaining? Not when bands like The Mars Volta release the Progressive elasticity of songs that they have titled – “Octahedron”. It is Hard Rock music like this, that challenges the outer reaches of my very own musical senses. I suppose that is what Progressive Music is meant to do? I am not going to fib here, it took me well into my third listen of “Octahedron” to have “it” finally hit me. The “it” is the focused energy and streamlined patience and musical precision, that are consistent, musical nuances I hear in these songs from The Mars Volta. Let’s be real, these artistic lined, Hard Rock songs, with all of their progressiveness, were not written over night. Is it considered to be uncool these days, to have a thought process and spacial intellect towards music? Not in my realm of listening to Hard Rock – or Metal for that matter. The Mars Volta has thrown “Octahedron” to the progressive wind, it has blown my way and this is what I have to say.
“Since We’ve Been Wrong” has my inner psyche floating somewhere out there in 1979, the retrospective, ambient rays of melody I hear in this song, has me laying on a freshly mowed lawn, staring up at a clear blue sky. “Teflon” does not stray too far away from this dreamy type of feeling either, it only Rocks a little harder. “Halo Of Nembutals” has me agreeing with the assertion that lead vocalist Cedric Bixler Zavala really does sound like the living legend – Geddy Lee of Rush. (This comparison has been thrown around quite a bit, it should be construed as a compliment, much better than being compared to the vocals of Jim Nabors, aka Gomer Pyle). With this song, carrying it’s way into “With Twilight As My Guide”, I tend to realize that I have fallen victim to a cascade of Progressive Hard Rock sanctity. I refuse to just stand pat and not let my feelings be known, about a band that is able to grasp the flexibility and open mindedness of song writing, both lyrically and musically. The Mars Volta apparently were either born as collaborative musicians or they visited some type of mystical being, in a tropical rain forest, who granted them the ability to eradicate themselves of any staleness and ego – thus anointing them with Progressive Musical powers.
“Cotopaxi”, “Desperate Graves” and “Copernicus” are three songs in a row, that I swear are a path that lead me to believing that the words status quo are not in The Mars Volta vocabulary. Omar Rodriguez Lopez has given new meaning to the phrase – lead, not follow – for if this musician were to follow, I would probably be listening to a band that wants to fit in and play it safe, like so many bands who don’t follow their hearts and instincts do. The same goes for Cedric Bixler Zavala, as both a vocalist and lyricist. If anything, I am completely guilty of being passionate about the music that moves me. The Mars Volta are just as guilty for being passionate in creating the music that stands up and above, so much so, the “Octahedron” CD cover does not even bear their name. It is the music that really matters, the music that stands alone, it is not a name of a band, the physicality or gender of it’s members, nor the image. “It” is really all about the finished product, the music and what it says. “Octahedron” speaks more if you give “it” the space and respect is so justifiably deserves.
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