[NAKED] Young DVP
05-29-2004, 01:31 PM
http://ae.charlotte.com/images//53/02/05-27-2004-08:53:02:526-rush270.jpgRush website (http://www.rush.com/php/set_flash.php?flash=1)
Even if you're not a fan, even if you have no idea who these guys are, I hightly recommend that everyone gets the chance to see this trio from Toronto, Canada at least once within their lifetime.
The wife and I drove for 3 hours, from Raleigh NC to Charlotte NC to see this show. This was the 4th time I've attended a Rush concert and this one was definitely worth the trip. The show started at 7:30 and didn't end (except for a 20 minute intermission) until almost 11pm.
A Rush concert is more than merely a musical performance. Is is a full on assault of audio and visual spectacle consisting of 100% digital sound system - that was plenty loud but not deafening - a huge and originally designed video backdrop - used for not only close up shots of the performers so that those of us on the festival-lawn could see clearly, but also for an eclectic array of animated and artistic effects - and a state-of-the-art laser show.
Highlights included an video intro (and out-tro) of George Costanza's Dad calling the band on stage, a rare and humorous siloloquoi (sp) of Alex Lifeson [quitar] commenting on how old they're getting, Geddy Lee [bass/keybaords/vocals] picking up an acoustic for a heartfelt duet with Alex, an of course the always anticipated drum phenomena that is Neal Piert. They sported a couple cover tunes this time such as "There Ain't No Cure for the Summertime Blues" in support of an upcoming project called "Feedback," an eight-song set of unlikely covers of songs that inspired them early on, including hippie folk-rock band Buffalo Springfield's 1967 hit "For What It's Worth (Stop, Hey What's That Sound)".
I was originally introduced to this music in 1980 when a friend spun an album (remember those big round vinyl things with grooves on them?) of Moving Pictures. I was instantly hooked and have anxiously awaited any new recording or concert opportunity since.
Hopefully this will not be the last go-round for the group. It is encouraging to know that there is still talent out there that doesn't HAVE to record or perform to survive. They write what they want and perform where they want. Their fans have remained loyal through this many years and will continue to look forward to seeing Rush live even if band and fans alike arrive in wheelchairs and walkers.
Maybe slow... but still a Rush!
http://www.rush.com/php/media/gallery/Rios/pics/Riopic7.jpg
Even if you're not a fan, even if you have no idea who these guys are, I hightly recommend that everyone gets the chance to see this trio from Toronto, Canada at least once within their lifetime.
The wife and I drove for 3 hours, from Raleigh NC to Charlotte NC to see this show. This was the 4th time I've attended a Rush concert and this one was definitely worth the trip. The show started at 7:30 and didn't end (except for a 20 minute intermission) until almost 11pm.
A Rush concert is more than merely a musical performance. Is is a full on assault of audio and visual spectacle consisting of 100% digital sound system - that was plenty loud but not deafening - a huge and originally designed video backdrop - used for not only close up shots of the performers so that those of us on the festival-lawn could see clearly, but also for an eclectic array of animated and artistic effects - and a state-of-the-art laser show.
Highlights included an video intro (and out-tro) of George Costanza's Dad calling the band on stage, a rare and humorous siloloquoi (sp) of Alex Lifeson [quitar] commenting on how old they're getting, Geddy Lee [bass/keybaords/vocals] picking up an acoustic for a heartfelt duet with Alex, an of course the always anticipated drum phenomena that is Neal Piert. They sported a couple cover tunes this time such as "There Ain't No Cure for the Summertime Blues" in support of an upcoming project called "Feedback," an eight-song set of unlikely covers of songs that inspired them early on, including hippie folk-rock band Buffalo Springfield's 1967 hit "For What It's Worth (Stop, Hey What's That Sound)".
I was originally introduced to this music in 1980 when a friend spun an album (remember those big round vinyl things with grooves on them?) of Moving Pictures. I was instantly hooked and have anxiously awaited any new recording or concert opportunity since.
Hopefully this will not be the last go-round for the group. It is encouraging to know that there is still talent out there that doesn't HAVE to record or perform to survive. They write what they want and perform where they want. Their fans have remained loyal through this many years and will continue to look forward to seeing Rush live even if band and fans alike arrive in wheelchairs and walkers.
Maybe slow... but still a Rush!
http://www.rush.com/php/media/gallery/Rios/pics/Riopic7.jpg