April 27, 2025 • 61 mins
Rush's "Power Windows" marks its 40th anniversary this year, and its examination of different forms of power resonates more strongly than ever in our complex world. This groundbreaking 1985 album showcases the band's evolution toward a synthesizer-rich sound while maintaining their trademark technical brilliance and thought-provoking lyrics.
Diving into this highly underrated gem from Rush's discography, we explore how each track examines a different manifestation of power. "Big Money" dissects economic influence, "Territories" critiques nationalism and tribalism, "Manhattan Project" provides a poetic account of nuclear development, and "Marathon" uses running as a metaphor for personal willpower and endurance. The album's title cleverly references both the luxury car feature of the era and the thematic window into various power dynamics that shape our lives.
What makes this album truly special is Neil Peart's lyrical brilliance. His sophisticated yet accessible writing creates a timeless quality that transcends the 1980s production. Though some Rush purists were initially resistant to the synthesizer-heavy direction, time has revealed the depth and prescience of these compositions. Learning that Peart crafted these profound lyrics at "a desk the size for a five-year-old" while researching historical events adds another layer of fascination to this conceptual masterpiece.
Whether you're a longtime Rush fan or discovering their music for the first time, "Power Windows" offers remarkable insights into human nature and social structures that remain strikingly relevant four decades later. Join us as we celebrate this anniversary by sharing our personal connections to these songs and exploring why they continue to resonate in an increasingly divided world. Which form of power speaks most directly to your experience?
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
What is this?
What is this?
Where's all the money that's asgood as money.
Speaker 2 (00:10):
sir, those are IOUs.
Go ahead and add it up.
Every cent's accounted for.
Look, see this.
Speaker 1 (00:18):
That's a car, 275.
Thou Might want to hang on tothat one.
Speaker 2 (00:30):
All right, thank you for listening to the Greatest
Non-Hits.
I'm Chris, and playing anacoustic version of the second
song on the Power Windows albumby Rush Grand Designs is my
co-host, tim.
The Power Windows album by RushGrand Designs is my co-host,
(00:52):
tim, and the Power Windows isthe 11th studio album from Rush
and they began recording it inApril of 85.
We're at the end of April of2025 when we are recording this
and it's been 40 years and thisis an interesting album, album I
would say really underrated andkind of a divisive album really
within Rush fans because it itrepresents to to some degree.
(01:16):
Maybe the the album before it,grace Under Pressure, was kind
of synth heavy, but this is asecond, the second album in a
row with a lot of synthesizers,whether relying on it a little
bit more from a musicalstandpoint, but it's a great
album and it's really relevanttoday.
It's one of these timelessalbums that has a lot of power
(01:40):
windows.
Think about the name of it.
Power windows are, especiallyin 1985, your car had power
windows.
That was a cool thing at thetime.
People used to roll theirwindows up with a lever kind of
a thing in a car, and all of thesongs are about different types
(02:03):
of power.
You know money.
There's territorial power,there's economic power, there's
emotional power, there'swillpower.
They're represented indifferent songs and so we're
going to listen to all of themtoday and, like we do always, at
the end of it we're going togive our top three and we're
(02:24):
really excited about it.
And it's from the 80s.
If you've been listening to theshow, you'll notice we're
taking a break from the format.
We're beginning our fourthseason now, and each season
we've been doing a differentdecade, and we're going back to
the 80s on this one, so we'rekind of ditching the format just
for this time.
Maybe it'll become a trend, Idon't know, but nevertheless, we
(02:47):
thought it would be Well.
To be honest with you, I wantedto do this album and Tim was
happy with it, and the reasonwhy is because I thought it was
important.
This is an album that has a lotof themes that I think are
relevant today or in any timeperiod.
The writing is fantastic.
(03:09):
Neil Peart, the drummer, is thelyricist for the band.
As we all know, eminem.
He passed away at the beginningof 2020.
God rest his soul.
But anyway, we're going tolisten to his incredible lyrics
(03:29):
and we're going to give ouropinions.
I mean, they're really cleverbecause they're sophisticated're
they're easy to understand.
It's it's.
They're fairly explicit, butsometimes some of the some of
(03:52):
the lyrics are general enough towhere you kind of know what
he's talking about.
But you can.
You can interpret it the wayyou want to.
It's open for your owninterpretation and how you feel
about it when you're listeningto it and how it applies to your
understanding of the world.
And I think that that's what'suh makes it so personal to me
(04:15):
and other rush song rush fanswho love this album is, you know
, when you're listening to ityou can think, yeah, I see that
now, whichever album orwhichever song that you're
listening to, and I thought Ireally knew this album a lot.
(04:35):
But every time we do one ofthese podcasts I always learn
something a little bit differentand maybe I knew this back in
the past.
But one of the things that, justreading Wikipedia the album
site Sound Studio in Elora,ontario I guess that's where
(05:08):
they wrote and rehearsed the newsongs after coming off of their
Grace Under Pressure tour in1984.
So I guess he was in thestudio's farmhouse while Geddy
and Alex were working on themusic and I guess he was on a
small desk just writing down thelyrics, doing research which in
(05:29):
quotations, it says about theright size for a five-year-old.
So anyway, I can just imagineNeil Peart at a small desk
writing lyrics for this.
But anyway, there's a songcalled Manhattan Project.
That's on this and it sort of,in a poetic form, provides a
(05:50):
synopsis of the ManhattanProject.
The developing of the bomb, youknow, the one that they dropped
on Hiroshima and Nagasaki backin 45 and pretty intense, and if
you've ever seen the movieOppenheimer you know he
eloquently provides the wholestory behind it.
(06:15):
You know the drama behind it.
The race, you know, going outinto the desert, out and I think
it was like New Mexico, andwith a bunch of other scientists
all over the, you know, allover the United States and other
parts of the world thatconvened there to develop it,
and pretty, you know prettyheavy stuff and pretty far out.
(06:41):
So anyway, that's one of thesongs and we're going to listen
to all of them, I think.
Uh, coming into this, I think Ialready have my top three.
Firmly, I mean, after listeningto this, listening to this
album, dozens at least, maybeeven hundreds of times.
Um, tim is a little bit newerto it, I think you know a couple
of them resonated with him and,uh, there's a couple that I
(07:04):
don't like and I've never reallyliked.
I've tried to, but it's just, Idon't know, can't win them all.
I guess, without further ado,tim's going to join us.
Tim, how's it going bud, oh,excellent Good.
Kudos to Tim, he did granddesigns.
That was not bad.
You like that synth part?
(07:24):
Kudos to Tim, he did granddesigns.
That was not bad.
Speaker 3 (07:27):
Yeah, I heard you like that synth part.
I found that song to be veryagreeable with whatever came to
mind to play.
It's an open feel to it.
The harmonics amazing.
Speaker 2 (07:43):
Yeah, you weren't even doing the guitar part, you
were doing the synth part butyou were doing with the.
Speaker 3 (07:48):
I was layering over the.
Speaker 2 (07:50):
That beginning.
Speaker 3 (07:50):
The rhythm and the synth was it's a very catchy
synth, so I had to learn thatfirst.
Speaker 2 (07:56):
Yeah, no, I liked it, it was good.
Speaker 3 (07:59):
It's always the synth that's going to have you
remembering the song.
Speaker 2 (08:04):
Right, the very beginning of that song is catchy
and I get it Starstruck.
Yeah, exactly, it's great.
Anything stand out for you onthis album, anything that you
wanted to.
Speaker 3 (08:19):
For Three Guys.
They make a lot of coordinated,just you know it's like a train
Composition.
It's very coordinated andcomposed and fast.
Speaker 2 (08:35):
Yeah, for three musicians to get on the same
page so accurately must be.
They have to really know eachother really well, and that's
what I've always appreciated.
Speaker 3 (08:45):
Yes, it's really tight, yeah, really tight yeah.
Speaker 1 (08:50):
Excellent.
Speaker 3 (08:51):
And then this I love the whole concept of it, the
power and the different typesand the song.
Really for him making music,that's a great way to do it to
to lump it into categories andjust to be out there about his
message and yeah, and all thesongs they're you know, taking
(09:14):
part in, I guess, an industrythat has a top-down structure,
like at many other things, anduh, that's how they became
established.
Speaker 2 (09:25):
It was, they're, they're not a radio friendly
band.
And uh, yeah, the some of thesongs take a G.
It will grand designs.
Yeah, it makes a, takes a jabat it, yeah.
Speaker 3 (09:38):
Yeah, but uh yeah.
Speaker 2 (09:42):
Well, good man, it's good.
Yeah, well, we're going to getinto it.
The first song is Big Money,and this is just about how money
plays an influence on the wholeworld and how it goes around
the world and how it is a forcefor good or bad and all that
stuff.
Speaker 1 (09:58):
They go around again.
They just go around and around.
Speaker 2 (10:02):
All right, yeah, that's a little.
Speaker 3 (10:05):
We're going around, all right, here we go, we're
(10:29):
into it here, that's right.
Speaker 1 (10:35):
Oh, we're into it here.
Soft money Shout out to GeorgeCarlin Soft money you take a
penny, you give a penny, youtake a penny from the tray.
Speaker 3 (11:09):
Oh oh, it makes sounds If a money falls in the
woods.
Does a money make a sound?
Speaker 1 (11:30):
It's our app, wow, wow.
Speaker 2 (11:43):
Throughout history it's sort of always been this
way it has In terms of moneypower it calls the shots, it
does Slappy bass, tasty wave.
Slept to be ass.
Speaker 1 (12:21):
So much fucking money , 11, right you take a penny
from them.
Oh, I need some tasty ribs,cool buzz and.
I'm fine, he's a fool on atelevision Tray From the
(12:43):
crippled servant.
No, that's the jar.
I'm talking about the Trey.
The pennies are for everybody.
Oh for everybody.
Yeah well, those are wholepennies, Right.
I'm just talking aboutfractions of a penny.
(13:04):
Shout out to Office.
Speaker 2 (13:07):
Space Shout out to Rod Roddy.
Speaker 1 (13:11):
It's the Mitsubishi Mirage four-door sedan with a
clutch.
Speaker 3 (13:16):
And power windows.
That's right.
And power windows.
Shout out to the guy that putthe drill bit on the manual.
Oh yeah, that's the redneck way, that's right, yeah.
Speaker 2 (13:36):
I grew up in a factory town.
I probably went to high schoolwith a few of their dads.
Speaker 3 (13:40):
Manual roll is great.
Manual roll up, sure Manualtransmission.
Speaker 1 (13:45):
In exchange for my core values.
Speaker 2 (13:53):
See this part like right here, like they're all
soloing like at the same time.
They do that all throughoutthis album, which is kind of
cool.
Speaker 1 (14:03):
Wow.
Speaker 2 (14:22):
A lot of metaphors.
It's good and bad.
Speaker 3 (14:28):
Right.
Speaker 2 (14:33):
It's got a heavy hand .
There's the.
There's the the release.
There's the release.
Speaker 1 (14:44):
I'm not afraid anymore.
Thank you, rock and roll yeah.
Speaker 2 (15:02):
This is probably the other biggest.
Are we going to make this a hit?
I mean, this was released as asingle, and then Mystic Rhythms.
The last song was also a singleyour call.
Speaker 3 (15:14):
From an outsider's view, it's not much of a hit.
Yeah, no, yeah, I don't know?
Speaker 2 (15:20):
Yeah, no, it's in there, okay, so no hits on this.
Speaker 3 (15:23):
Okay, we're going.
No hits, no, no hits on this.
Speaker 2 (15:25):
Okay, we're going no hits, no hits on this Rock and
roll.
It's a great song, I think.
Speaker 3 (15:31):
We're just cavemen.
You know, we're just cavemen.
Listening to music, it's just,it's just key.
Speaker 2 (15:35):
Rock your honor and yes, I'm ready.
Speaker 3 (15:38):
Thank you.
Are you ready For number two?
Speaker 2 (15:41):
I am Grand Designs.
Here it is.
There's that riff you love.
Speaker 1 (15:45):
Simple lines intertwining.
Speaker 3 (15:56):
Neil Peart is amazing drummer.
He is.
Speaker 2 (16:04):
How to keep time.
That way, it's just like howdoes he time?
That way, it's just like.
Speaker 3 (16:09):
It's a mad jungle man on drums.
So much stuff, spring cleaning.
Shout to the spring cleaners.
That's right, the runners, thetea drinkers.
Speaker 2 (16:23):
Absolutely Get your earbuds in.
Watch out for that car.
Absolutely Get your earbuds in.
Yeah, watch out for that car.
Speaker 3 (16:29):
Watch out for that yellow light.
I love this.
The precious metal, the rock,it's just key rock, it's great.
Yeah, that's A lot of uselesstalk.
Yeah, that's.
I hope our listeners don'tthink that about us.
Speaker 2 (16:51):
We say all the time it's total useless talk, but
that's what the listener comesin for it's the shapes, the
forms, the lines, theintertwining, subtle lines,
intertwining.
Speaker 3 (17:03):
That's what's called my love poem Swimming against
the stream, yeah.
Speaker 2 (17:26):
This is a middle finger to the record industry.
All these lyrics right here.
Mass production scheme.
Mass production scheme.
Speaker 1 (17:41):
A little taste Like a tinder drop in the ocean, a
diamond in the waste.
Speaker 2 (17:49):
Not a diamond in the rough, a diamond in the waste.
That's the.
Speaker 3 (17:53):
I almost thought it was diamond in the waves when I
first listened to it.
Speaker 2 (17:57):
Yeah, you can't.
It's diamond in the waste, butyeah, it does sound like that
you can't tell the waste ofprocessed.
Speaker 1 (18:05):
Process anything sold , bought or processed.
Process anything sold, boughtor processed.
Or repair anything sold, boughtor processed.
You know it's a career.
I don't want to do that.
Speaker 3 (18:14):
It should be a musician, john, that's right.
Speaker 2 (18:20):
Shout out to John Cusack.
Speaker 3 (18:23):
Say no, what is it?
Speaker 2 (18:24):
Say anything.
Speaker 3 (18:25):
Say anything.
Speaker 2 (18:26):
That's the one where he has the jam box.
Speaker 3 (18:28):
Yeah, he just wants to spend time with your daughter
, sir.
He's getting good at kickboxing, so don't be afraid.
That's right.
Just get in the ring, getknocked down around.
Speaker 2 (18:52):
Again, here's the soloing All three of them at the
same time.
Speaker 3 (18:57):
I like the whammy bar .
Yeah, a lot of whammy bar.
Speaker 2 (19:04):
Using it just subtly.
The whammy bar is a microcosmof what they're doing using it
just subtly.
Speaker 3 (19:07):
The way they are is a microcosm of what they're doing
.
They're taking the pitch andthe tone of everything and
throwing it through the ringer.
That's right, oh.
Speaker 2 (19:19):
Yeah, I agree.
What the fuck is he talkingabout?
Oh, oh, you know, fuck is hetalking about Uh-oh, uh-oh.
Speaker 3 (19:29):
You know what I'm talking about.
Speaker 2 (19:32):
Yeah, exactly, yeah, that's.
You tell him guy from officespace.
Speaker 1 (19:38):
Fear and love.
Fear is in the negative energyspectrum and love is in the
negative energy spectrum andlove is in the positive energy
spectrum.
Speaker 3 (19:51):
Can't be that simple.
Speaker 1 (19:53):
Who the fuck is he talking about?
Oh, oh.
Speaker 3 (20:02):
Oh, oh, oh.
You know what I'm talking about.
Oh.
Speaker 2 (20:08):
That's a great song.
Speaker 3 (20:12):
The drum rolls afterwards.
Right, it's like mini drumrolls.
Oh, did you hear that?
Speaker 2 (20:29):
No, Did you hear that ?
Oh yeah, no, I mean yeah,slapped off.
He did slap, it Slept a bit,all right.
So that's song number two, sideone.
This next one is the ManhattanProject.
Speaker 3 (20:54):
I'm hoping to turn it into a weapon.
I will kill you.
Speaker 1 (21:05):
All right oh all right.
Speaker 2 (21:13):
Oh, this is very unrush at this point in time in
their career.
The band some fans didn't likethis.
I liked it myself it, it's moresensitive yeah.
Speaker 1 (21:30):
It's a smart, smart lyric.
They're in a race to yeah it'snot a love song.
Speaker 3 (21:51):
It's a despair because of destruction of all
things yeah, he remembers whenit all began he was just a few,
so frozen at that point in time.
Oh, the scientist helped him.
Yeah, ah, would you listen tothe gibberish?
(22:13):
They've got you saying it's sadand alarming, big stick winning
trick.
Speaker 2 (22:28):
That's a reference to Euchre or spades, depending on.
Euchre.
Yeah, it's like a card game.
In Michigan they play, I thinkin Canada too.
Euchre, yeah, it's like,instead of spades, it's just
like four tricks, four or five.
Anyway, it's a play on words.
Euchre, I've never heard it's aplay on words Euchre?
Speaker 3 (22:46):
Yeah, I've never heard of it, I have, I just.
Speaker 2 (22:51):
It's old world stuff.
It is.
It's before the internet, youknow.
Just people used to play withlike playing cards.
Yeah, I think it's like the Aceof, or no, it's the Jack of
Diamonds, jack of Hearts.
Speaker 3 (23:03):
I wonder if Rush has playing cards.
Speaker 2 (23:07):
Rush, no, it's the Jack at Dime, jack at Hearts.
I wonder if Rush has playingcards.
Rush playing cards, yeah, Imean, who'd be the ace?
Speaker 3 (23:12):
Probably Neil Peart.
Yeah, maybe Shout out to Rushplaying card brand that we don't
know about.
That exists.
I have an idea.
Take us up.
Speaker 2 (23:23):
Let's invent it.
We can make it right now.
Like Neil Peart will be the ace, geddy will be king.
There will be a fight.
Who would be?
Yeah, all of that.
Hey, geddy's mom will be thequeen.
I don't know Geddy's mom.
I like that idea.
(23:44):
They could be like some of theroadies lower down.
There's some guys I've touredwith for years.
We're on to something I don'tknow.
I'm a great good God.
Speaker 3 (24:00):
Gentlemen, your attention please Change
forevermore.
Speaker 2 (24:08):
Evermore, we were talking over the most important
part of the song the crescendo.
Speaker 3 (24:13):
Yeah, it was.
Speaker 2 (24:17):
Oh, this is cool.
Well, yeah, they had a wholestring section.
I think this is why they wentto five different studios One
studio where they had a choirand then another one where they
had a string section.
Speaker 3 (24:32):
I like that.
Speaker 1 (24:36):
They're expanding yeah.
Speaker 2 (24:38):
Shot down the rising sun.
Japan Big Bang took and shookthe world.
They shot down Japan.
Speaker 3 (24:44):
Yeah that was messed up.
Chain reaction was done.
Speaker 2 (24:50):
Big Shot's tried to hold it back.
Watch Hobbit Highlander.
They talk about a little bit ofa cover-up or like a scapegoat.
Big Bang took and shook theworld.
Speaker 1 (25:03):
Shot down the rising sun.
Shut down the rising sun.
Hope will be there.
I will.
Whatever the hopeless may say,I will.
Speaker 2 (25:28):
Getting an attack on my laptop.
See, this is all about.
This is world politics comingfull circle?
Speaker 3 (25:35):
here.
I know I think they can't evenpodcast with a virus on our
computer.
Exactly, jesus, just throwthese things out the window.
Well, well.
Speaker 2 (25:45):
I'm hopeful.
Yeah, even though it's hopeless.
Speaker 1 (25:50):
Okay, great song though, yeah.
Speaker 2 (25:52):
All right now.
This is Marathon, Last songinside one.
Speaker 1 (25:58):
Hey, for no particular reason, I decided to
go for a little run.
Speaker 2 (26:03):
Shout out to the runners.
Speaker 3 (26:07):
It's not how fast, yeah, right.
Speaker 2 (26:11):
It's not about the distance, it's about getting out
there, right, yeah and you knowwhat, if you are training for a
marathon as you're listening tothis, you know just, it's not
how fast you can go.
Speaker 1 (26:24):
It's not how fast you can go.
The voice goes into the flow.
Speaker 2 (26:27):
Excuse me, flo, it's not how fast you can go.
Speaker 1 (26:36):
Excuse me, Flo.
Oh, the chest of flash we'regoing streaky.
Speaker 3 (27:16):
He's really hitting that snare, isn't he?
I cannot believe you've neverheard Rush.
Come on, we need more Rush fansout there.
Speaker 2 (27:23):
Let's go, keep your pace up.
Runners, you can do it.
This is about willpower.
You know, songs are aboutdifferent types of power.
Yeah, keep going.
You gotta keep doing it, youcan do it.
Speaker 3 (27:37):
Don't forget to eat something that's right.
Speaker 2 (27:42):
And those gels are bullshit, right yeah, you don't
need that.
Speaker 3 (27:48):
You don't need all that sugar, just some protein.
Get some garbanzo beans in yourpocket, some ground beef, if
you're into that.
Speaker 2 (27:58):
I yeah the gels, I don't know, but maybe like in a
marathon.
Speaker 1 (28:02):
You can miss a stride .
Speaker 3 (28:03):
You just hydrate.
Wait, there's Streak ofLightning.
Speaker 1 (28:12):
Good streaking.
Speaker 3 (28:15):
After you win, you gotta win first.
Speaker 1 (28:32):
Whoa.
Speaker 3 (28:32):
Fire it, let's go, that's right.
Speaker 1 (28:34):
Oh wait, just a minute.
Good streaky, yes, like astreak of lightning, good
streaking In the summer sky.
Speaker 3 (28:51):
Oh, I like this part, that's right.
Speaker 1 (28:59):
The world went and got itself in a big damn hurry.
Speaker 3 (29:07):
Is that like a lifetime moment?
That's right.
Shout out to Kramer and Brooks.
That's right, Kramer and Brooks.
Yeah.
Speaker 2 (29:22):
You just can't burn out too fast.
That's why you got to paceyourself.
You just can't burn out toofast.
Speaker 1 (29:32):
That's why you gotta pace yourself.
Then you and the gals can takea load off and watch something
on Lifetime.
Speaker 3 (29:45):
I love this solo.
I do too.
It sounds a bit like the Totoguitarist A little Lukather yeah
, Lukather, yeah it does.
Speaker 2 (29:58):
I thought I read somewhere that Alex didn't like
this song, Like didn't work forhim or something.
I don't know what.
Speaker 1 (30:08):
Well, you can do a lot in a lifetime.
If you don't burn out too fast,you can make the most of the
distance.
Speaker 3 (30:22):
This is great.
Marathon is good.
Speaker 1 (30:28):
It's hitting for me.
Speaker 3 (30:29):
This one's growing on me, okay, yeah.
Speaker 1 (30:34):
What is it all about?
Speaker 3 (30:39):
That's a good question.
Yeah, this choir part was.
Speaker 1 (30:47):
Something always fires that light.
Speaker 2 (30:50):
I think this is done by Someone who's a big deal, I
think, and glory rose on by Likea streak of lightning.
The fudges are in place in thesummer sky.
I gotta look this up.
It's bugging me.
It's like a 25-person choir andsomebody and something From
(31:17):
England.
Speaker 1 (31:21):
Somewhere.
Speaker 2 (31:23):
Damn it.
I had it earlier.
I don't know.
You gotta look it up.
The guy of the album is neilcunningham.
You're gonna say something.
Speaker 3 (31:37):
I'm sorry oh, I, you know.
I don't know what it's about,neither does Mr Lundegaard.
Okay, nobody knows.
Speaker 2 (31:49):
That's a Fargo reference.
Yeah, the salesman.
Speaker 1 (31:52):
What is?
Speaker 3 (31:54):
it all about.
Oh yeah, that's next.
I'm jumping the gun, that'sright, you know, I need to just
Wait, just a minute.
Speaker 2 (32:08):
Okay, this is Territories.
This is just about likepolitics.
Middle Earth, shit yeah welljust like global stuff, like us
versus them, whether it's global, or just like sports gators
(32:31):
versus the seminoles, ohio stateversus michigan I'll just
trivial lines.
Okay, yeah, or yeah, capitalismversus communism, socialism
yeah, there's some socialism inthere.
Orism versus socialism.
That's the equivalent you needDemocracy versus fascism.
Speaker 3 (32:55):
Capitalism without socialism Is fascism.
Socialism without capitalism Iscommunism.
You need both.
You need a little bit of both,in my opinion.
Slap of the, slap of the bongothe ones we know and love yeah,
(33:25):
no snare on this.
Yeah, but the bongos arecrushing.
The journey of a thousand milesbegins with one step.
That's good.
Where was that from?
That's here on Marathonactually.
Oh, okay.
Speaker 2 (33:46):
Nice, it's a Chinese project.
Oh, that's actually.
Oh, okay, nice Chinese crowd.
Speaker 1 (33:48):
Oh, that's right.
Speaker 3 (33:49):
Yeah right.
Speaker 2 (33:52):
Got it right there.
Speaker 3 (34:08):
Why are we?
Speaker 2 (34:09):
feeding.
Speaker 1 (34:09):
The machine Don't feed the people, but we feed the
machines.
Speaker 2 (34:18):
So the word indifferent versus the two words
indifferent or indifferent.
The one word, the one word,indifferent circles.
We keep spinning around.
Speaker 1 (34:29):
They go around again.
Speaker 2 (34:31):
We see so many tribes over and under mine.
Speaker 1 (34:37):
While they're invader's dream of lands they
left behind.
Speaker 2 (34:46):
Better food.
Speaker 3 (34:48):
Better beer, better beer, yeah.
Speaker 1 (34:51):
We're just going around and around.
Speaker 2 (35:01):
Yeah, protectionism, no need to go around, we're
exceptional where we're at.
Speaker 3 (35:15):
Yeah, I like the pacing Quasi-evil.
Oh, I love that.
We're the citizens damn it yeah.
Speaker 1 (35:39):
Oh, that's super nice .
Speaker 3 (35:43):
Shout out to the machine marathon runners in
Shanghai.
Yeah, yeah, shout out to the cymarathon runners in Shanghai.
Speaker 2 (35:48):
Yeah, yeah, shout out to the cyborgs over there, yeah
.
Speaker 3 (35:55):
Who are Boston Dynamics?
Speaker 2 (35:56):
You can suck it hey listen, man, don't piss them off
.
All right, they're going to beour supervisors in two years.
Speaker 3 (36:04):
The Boston Robot Company.
Chill, chill, okay, just chill.
Speaker 1 (36:15):
Sell anything, buy anything.
Speaker 2 (36:18):
Chris, your numbers are down from last quarter.
Is everything okay at home?
Speaker 1 (36:23):
Or a change of accent or the color of your shirt,
better the pride that resides ina citizen of the world.
Speaker 3 (36:36):
Be a citizen of the world In a citizen of the world.
Speaker 2 (36:42):
Then the pride that divides when a colorful rag is
unfurled.
Speaker 3 (36:48):
Trivial territorialism.
Speaker 2 (37:08):
This is good.
Yeah, the whole wide world isan endless universe.
You can look at a telescope,see further out, or you can turn
around backwards and just getstuck in the smallest stupid
bullshit.
Speaker 3 (37:23):
The mitochondria For 500.
Yeah, powerhouse in the cellAscelia Silica Is it.
Speaker 2 (37:39):
Is it a Toyota, mitsubishi Celica?
Speaker 1 (37:41):
It's the Mitsubishi Mirage four-door sedan.
Speaker 3 (37:43):
It's a Mirage, it's all a Mirage.
It isdoor sedan, it's a Mirage,it's all a Mirage, it is, it's
a Mirage.
My sister had a MitsubishiMirage.
I smacked that thing up bad.
I tell ya, I smacked it up realgood, you okay.
No, this is the car that tookthe brunt.
Speaker 2 (38:06):
It's not a real stable car, is it?
No, maybe you were feeding themachine something, was it the
gas?
Maybe you gotta go with themid-grade, at least on a Mirage.
It's not good for snow days.
I'll just say that.
Speaker 3 (38:20):
It's not a good snow day.
Car A little spin-out,definitely Alright.
This is song two on side twoMiddletown A little spin-out.
Speaker 2 (38:26):
Definitely All right.
This is song two on side two,Middletown Dreams.
The office door is going toclose a little early and this
guy's going to do some drinking.
You've got to remember this is,this is in the 80s.
(38:49):
Oh, Salesman Turned to closethe blinds.
Speaker 3 (39:04):
Is he drinking a stout or is he just stout?
I think he's he a stout or ishe just stout.
I think he's stout himself.
Shout out to the stout drinkersyeah, don't do it on office
time.
Speaker 2 (39:27):
Because he's got big dreams, but he's stuck in the
office.
It's a dream.
Shout out to the Heartland,shout out to you salesmen in the
Heartland for desires driving.
When you're down, at leastbring out the hidden bottle
(39:51):
after store hours, yeah.
Speaker 3 (39:54):
Go to the park and bring some old bread Feed the
ducks.
Yeah, it's a dream.
Speaker 1 (40:04):
It's only a dream.
Speaker 2 (40:22):
He'd be climbing on that bus.
That's a weird dream thatsounds depressing For the rocks.
I do like the music, I justdon't like the lyrics.
Speaker 3 (40:44):
Again, really good punchy guitar rhythm here and a
synthy hook yeah shout out wehaven't talked about Peter
Collins.
Speaker 2 (40:59):
He's the producer.
I'm sure he had a lot to dowith this too.
Speaker 3 (41:20):
Love that.
Hold on to the dream.
Speaker 2 (41:35):
That was a nice little mini solo.
Yeah, there's a criticism of it.
They should have had more partsfor Alex Because his guitar
playing is probably peakingright after moving pictures and
signals.
It's only like two or threeyears after that.
Speaker 3 (42:05):
It's not unpleasant in your little town either.
Alright, you got.
Grass is greener.
Syndrome, with your littledream of selling your gadget
spinner worldwide Instead ofbeing a salesman for fire and
(42:27):
flood?
Yeah.
Speaker 2 (42:32):
I know what you said.
Speaker 3 (42:33):
It can be a little dream, it can be a big dream.
Speaker 1 (42:35):
Yeah, dreams transport the ones who need to
get out of town.
Speaker 2 (42:56):
Slept to BS.
Speaker 3 (42:59):
There's a lot of flow here at the end.
Speaker 1 (43:01):
Excuse me flow.
Speaker 2 (43:02):
Yeah, they dream in the town.
Excuse me, flo, yeah, now,sometime.
It's weird.
This is a song that hits withme sometimes, and other times
it's just like that.
But I mean just focusing on themusic.
(43:24):
I'm digging it All right, allright.
So I mean I'm digging it Allright, all right.
So I mean, I don't know, decideto well, it's hit and miss.
For me, this is EmotionDetector.
This is the only song thatthey've ever played live on this
album.
I should say there are othersongs, it's a non-starter for
(43:44):
even the band yeah yeah, I betyou there are some parts in this
.
They said this is difficult torecord.
This is probably a difficultsong to play.
Yeah, I'm sure all of theirsongs are super hard to play,
but maybe this is.
Speaker 3 (44:03):
I think Life wasn't sold on this one.
I think I read as well.
Speaker 1 (44:12):
I'm in a glass case of emotion.
Speaker 2 (44:16):
Yeah, maybe he was in a glass case of emotion.
This kind of has a Top Gun kindof sound, didn't it?
It does, doesn't that soundkind of Top Gun-y at the
beginning?
Speaker 3 (44:33):
Yeah, Very Top Gun-y.
Speaker 2 (44:40):
I think the Top Gun came out in 1985.
I guess they're trying to soundcontemporary at the time.
Speaker 1 (44:53):
We expose our insecure spots.
Trust is just as rare asdevotion.
Speaker 3 (44:59):
Say that again Be silly, darling.
Speaker 1 (45:00):
Trust is just as rare as devotion.
Say that again.
Give us our simple thoughts.
Say it, darling.
Speaker 3 (45:06):
Not pretend to be All work.
No play.
Speaker 1 (45:08):
We must do ourselves right open.
Start acting like a fool If weneed too much approval.
Speaker 2 (45:16):
I think Jack Nicholson just needed a little
bit too much approval.
Speaker 1 (45:20):
Then the cuts can seem to grow.
I think Jack Nicholson justneeded a little bit too much
(45:47):
approval.
Speaker 3 (45:48):
You gotta feel your emotions.
Speaker 2 (45:50):
Right like after the wall comes down.
You know, like when you'reUsually when you're in
relationships, there's a wallthere.
When that wall gets broken,that's when you know there's the
weakness.
It's a weakness when you'rewith people that you can't trust
.
If you can break yourself down,leave yourself vulnerable to
(46:11):
those who you can trust, itbecomes a strength.
Speaker 3 (46:18):
Put a couple sticks and some chewing gum over that
wall of previous emotion andjust continue.
Yeah, that's right.
Speaker 1 (46:34):
What the fuck is he talking about?
Speaker 2 (46:38):
I don't know.
Both of us are talking out ofour asses right now.
I'm trying to.
I'm not Neil Peart, we'rerunning high here.
Speaker 3 (46:46):
Yeah, getting far out , man Getting far out, this is
far this is far.
Speaker 2 (47:00):
I think they're going to start rocking out pretty
soon, like the tempo is going togo up and it's going to get
really frantic.
All right, here it is.
Speaker 3 (47:12):
There's like four on the floor right here.
Speaker 2 (47:19):
They're all soloing Except Neil, but you know he's
gonna do something cool, youjust gotta wait for it.
This is one of the best guitarsolos on this album.
Speaker 3 (47:50):
I think Might be successful.
Ah, no damn.
It is good, it sucks.
I don't like the first part ofthe song, I know.
Speaker 1 (47:57):
Right to the heart of the matter.
Speaker 3 (48:00):
I mean, it is a good song as a whole.
Speaker 1 (48:18):
I'm in a glass case of emotion.
Speaker 3 (48:38):
Sometimes our big splashes are just ripples in the
pool.
Huh, so maybe it's not that biga deal, the pool?
Huh, so maybe it's not that biga deal, right?
Right, that's interesting.
Speaker 2 (48:46):
Be cool.
The blue angels like doing athing to that song.
Oh that top top gun yeah.
I gotcha had to say somethingfor commission yeah you should
Got some connections over this.
Speaker 3 (49:04):
Call the angels.
Speaker 2 (49:08):
Shout out to Vince next door.
Maybe I'll put in a word to him.
Yeah, he knows him.
I think he knows him.
All right, this is the lastsong.
It's the Mystic Rhythms.
(49:28):
This was a song that had a lotof airplay on MTV.
Speaker 1 (49:35):
I can see that, yeah, at the time I think about, when
I look far away, things I know,things I wonder.
Speaker 2 (49:56):
Things.
I'd like to say it's very, it'slike Nagelel.
Speaker 3 (50:03):
It's like boiling over.
Speaker 2 (50:04):
You'll need to unlock your iPad first.
Speaker 3 (50:08):
What was that?
Speaker 2 (50:09):
The machines are taking over I know, You'll need
to turn on location services forthat.
Want to turn it on.
Just that's hilarious.
That was a mystic rhythm rightthere.
Speaker 3 (50:39):
Open the pod bay doors Hal.
Speaker 2 (50:44):
I'm sorry, tim, I cannot do that.
Speaker 3 (50:55):
Good drum and bass.
Speaker 2 (50:59):
I like how it goes to the acoustic.
A part of me was thinking thatyou were going to do this song
Because it's kind of like.
It's kind of like this easypace to it.
But you went for grand designs,I appreciate that.
(51:19):
Yeah, that was ambitious.
Alright, do it over.
So I went for grand designs, Iappreciate that, yeah, that was
ambitious.
Speaker 3 (51:23):
All right, do it over so I can do this song.
I'll learn this song on its own.
I think it would be a goodjumping point for another jam,
my own composer.
Speaker 2 (51:41):
You made the right call.
Grand Designs was perfect.
So this is like supernaturalpower, the powers of the unknown
(52:04):
.
Speaker 1 (52:04):
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
oh, oh, oh, oh, oh, oh, oh, oh,oh oh.
(52:26):
You know what I'm talking about.
Speaker 3 (52:31):
Oh, whoa, what was that?
Oh, this is the coolest part ofthe song.
All right, damn, it's like PhilCollins-y Very.
Speaker 2 (52:51):
Peter Collins is our producer.
He's like the deuce.
Yeah, bon Jovi, queensrycheSuicidal tendencies.
Oh, this guy has a wide range.
Speaker 1 (53:33):
Really splat, james Jimbo.
Speaker 2 (53:33):
Simple lines intertwining.
There are a lot of simple linesintertwining.
Yeah, jimbo Barton's Engineer,still a lot of sound Getting
that all right.
Speaker 3 (53:51):
The length is 44 minutes and 44 seconds.
It's pretty tight, it's goodstuff.
Speaker 2 (53:56):
What does it mean?
What does it mean?
Speaker 3 (54:00):
What does it mean?
Speaker 2 (54:05):
All right, yeah.
So what'd you think, man?
Speaker 3 (54:08):
Wild.
Speaker 2 (54:09):
Wild stuff, all right .
Well, it's time for the topthree.
What are we looking at for you?
What's your top three?
Speaker 3 (54:17):
You can take some time if you need to.
Yeah, I honestly that one madean impression.
Um, I think I'm going to go.
Territories Number three Goodcall, yeah, I like its message.
(54:38):
It had a uh Howard's in feel toit.
You know, anti.
You know one world, but only ifwe're sovereign as individuals.
Right, and we be you know oneworld organization, and if we're
(54:58):
not that then we can't betaking part.
You know perfect our owncountry.
Speaker 2 (55:06):
Yeah.
Speaker 3 (55:07):
Work out from there.
I don't know.
No, that's, that's exactly it,something like that.
Speaker 1 (55:12):
Like if we can just get past the pettiness of our
differences.
Speaker 2 (55:16):
We all need to work together to you know, explore
beyond you.
You know, in different circleswe keep holding our ground and
then in different circles, we'rein different.
We just keep spinning round andround.
So if we're separated, we justhold our ground, we don't go
anywhere.
If we're indifferent in indifferent circles, then we're
(55:38):
just not going anywhere eitheryeah good, what's your number
three?
yeah, my number three indifferent circles, then we're
just not going anywhere either.
Yeah, good, what's your numberthree?
Yeah, my number three is goingto be Grand Designs.
Nice, I like the music.
It's not really so much.
I mean, it's not even theirbest song about a middle finger
to the record industry.
They've got a couple that areeven better than that, but I
(55:59):
like the music.
A middle finger to the recordindustry Right, you know they've
got a couple that are evenbetter than that, but, um, I, I
like the music.
It's kind of interesting andcool and it.
I like how it.
You know the.
They have different, uh, the.
The pace and the tone changesfrom time to time.
So that's going to be my numberthree.
Speaker 3 (56:16):
Which one had the orchestra, the symphony,
Marathon.
Was that Marathon?
Definitely a good song, but Imean, this is tough.
I did like Middletown Dreams,but I don't know if it's on.
(56:43):
It's up there.
I'm going to go with the bigmoney.
Speaker 1 (56:47):
It's good, it's amazing.
Speaker 3 (56:49):
The big money was just a fire starter, ready to go
yeah.
Speaker 2 (56:55):
It's pretty simple.
It's just big money.
Does this big money?
Is this big money is this?
It's just, it's just big money.
Does this big money?
Is this big money?
Is this?
And it just didn't the the it'snot all bad, you know there's
some good.
It does this, but it, you know,big money makes mistakes.
Big money does a power.
Good has a heavy hand, has nosoul.
You know, I'm going to not mynumber two is going to like big
(57:19):
money's a hit for me, so I'mjust going to exclude.
I just think it's a.
I just that mystic rhythms aregreat songs, but they just they
should be out for me, I think.
But number I, number two isManhattan project.
It's nice.
I like the, the the lyrics are,and I saw the movie Oppenheimer
(57:40):
and I know the story pretty welland just the way that Neil
Peart thoroughly researched it40 years ago, because we're 40
years on the anniversary of thisalbum.
He's looking back at that event, 40 years in the past from when
he wrote it, and I think thatthat speaks to how timeless it
(58:02):
is and how, how poetic hesummarized the story of it, how
cleverly he, you know,constructed it and how the music
builds up and comes back downand it's got like an airplane
kind of a thing to it in thebeginning.
So I think it's a great song.
So that's my number two.
Speaker 3 (58:21):
Excellent, excellent.
Speaker 1 (58:23):
Okay.
Speaker 3 (58:28):
I mean I, I for me, I mystic rhythms, yeah, it's,
it's.
They saved, you know, a reallygood song for last and I
appreciate that on the album andit does kind of change it up.
It's it's got like more ofinternational feel, in my
(58:50):
opinion.
Um, yeah.
Speaker 2 (58:53):
Yeah, it's, it's, it's, it's slow, it's uh
sometimes the slower songs sinkon me.
Speaker 3 (59:00):
Yeah, yeah, no interesting sounds.
Yeah, yeah, no interestingsounds yeah.
Speaker 2 (59:02):
Subtle lines intertwining kind of thing.
It's gold.
It is gold it is a great songand it might be up there for me
if but I, I, I, I.
They played it on MTV all thetime.
It just feels and seems likekind of like a hit or it should
be at least in the context ofthis album, and so in the spirit
of it.
My number one is going to beterritories.
Speaker 3 (59:25):
Nice Because it's?
Speaker 2 (59:29):
it's hitting me right now.
It feels like in I guess.
I mean we're here in the UnitedStates and it just feels like
we're in the precipice of acompletely different world order
and nobody knows where this isgoing.
I guess we kind of know whereall this is going, but there's a
(59:50):
lot of division.
I mean, there's a lot of unityin some circles, but there's
disunity in others.
Speaker 3 (59:57):
Disunity and others and um well, disunity is pegged
up to be think it's you know.
I think we're more united thansome some of the news likes to
portray.
I don't know no, totally no no,no, yeah, that's the thing.
That's on the local level, yeah.
Speaker 2 (01:00:14):
Right, right, but then there were like big money
though that I mean maybe this is.
Maybe this is a song for likebig money and territories are
sort of like intertwined yeahthey're.
They're sort of together andthere are forces that are out
there to divide us, you know,and um, I think you know that's
sort of like a theme of thealbum and that's why it's
hitting me with with me and alot of people right now is that
(01:00:38):
this is, you know, this was made40 years ago and yet it's for
me, this is very relevant andthese songs, I listen to it and
I think, oh, wow, this is, thiscan be, this is very applicable
to you know, what's going ontoday, and he, when he was
looking back 40 years ago, hewas, he was doing the same thing
.
I'm talking with neil pierrewhen he's writing the lyrics, so
that's that's why it hits forme, so it's's a non-hit number
(01:01:00):
one for me.
I guess that puts a bow on it.
Yeah solid album.
Yeah, it really was All good,all right so any last thoughts?
Speaker 3 (01:01:09):
Rock on, all right, slap the bass Get out there.
Speaker 2 (01:01:12):
All right, that's it for us, woo.
What is this?
What is this?
Where's all the money that's asgood as money.
Speaker 2 (00:10):
sir, those are IOUs.
Go ahead and add it up.
Every cent's accounted for.
Look, see this.
Speaker 1 (00:18):
That's a car, 275.
Thou Might want to hang on tothat one.
Speaker 2 (00:30):
All right, thank you for listening to the Greatest
Non-Hits.
I'm Chris, and playing anacoustic version of the second
song on the Power Windows albumby Rush Grand Designs is my
co-host, tim.
The Power Windows album by RushGrand Designs is my co-host,
(00:52):
tim, and the Power Windows isthe 11th studio album from Rush
and they began recording it inApril of 85.
We're at the end of April of2025 when we are recording this
and it's been 40 years and thisis an interesting album, album I
would say really underrated andkind of a divisive album really
within Rush fans because it itrepresents to to some degree.
(01:16):
Maybe the the album before it,grace Under Pressure, was kind
of synth heavy, but this is asecond, the second album in a
row with a lot of synthesizers,whether relying on it a little
bit more from a musicalstandpoint, but it's a great
album and it's really relevanttoday.
It's one of these timelessalbums that has a lot of power
(01:40):
windows.
Think about the name of it.
Power windows are, especiallyin 1985, your car had power
windows.
That was a cool thing at thetime.
People used to roll theirwindows up with a lever kind of
a thing in a car, and all of thesongs are about different types
(02:03):
of power.
You know money.
There's territorial power,there's economic power, there's
emotional power, there'swillpower.
They're represented indifferent songs and so we're
going to listen to all of themtoday and, like we do always, at
the end of it we're going togive our top three and we're
(02:24):
really excited about it.
And it's from the 80s.
If you've been listening to theshow, you'll notice we're
taking a break from the format.
We're beginning our fourthseason now, and each season
we've been doing a differentdecade, and we're going back to
the 80s on this one, so we'rekind of ditching the format just
for this time.
Maybe it'll become a trend, Idon't know, but nevertheless, we
(02:47):
thought it would be Well.
To be honest with you, I wantedto do this album and Tim was
happy with it, and the reasonwhy is because I thought it was
important.
This is an album that has a lotof themes that I think are
relevant today or in any timeperiod.
The writing is fantastic.
(03:09):
Neil Peart, the drummer, is thelyricist for the band.
As we all know, eminem.
He passed away at the beginningof 2020.
God rest his soul.
But anyway, we're going tolisten to his incredible lyrics
(03:29):
and we're going to give ouropinions.
I mean, they're really cleverbecause they're sophisticated're
they're easy to understand.
It's it's.
They're fairly explicit, butsometimes some of the some of
(03:52):
the lyrics are general enough towhere you kind of know what
he's talking about.
But you can.
You can interpret it the wayyou want to.
It's open for your owninterpretation and how you feel
about it when you're listeningto it and how it applies to your
understanding of the world.
And I think that that's what'suh makes it so personal to me
(04:15):
and other rush song rush fanswho love this album is, you know
, when you're listening to ityou can think, yeah, I see that
now, whichever album orwhichever song that you're
listening to, and I thought Ireally knew this album a lot.
(04:35):
But every time we do one ofthese podcasts I always learn
something a little bit differentand maybe I knew this back in
the past.
But one of the things that, justreading Wikipedia the album
site Sound Studio in Elora,ontario I guess that's where
(05:08):
they wrote and rehearsed the newsongs after coming off of their
Grace Under Pressure tour in1984.
So I guess he was in thestudio's farmhouse while Geddy
and Alex were working on themusic and I guess he was on a
small desk just writing down thelyrics, doing research which in
(05:29):
quotations, it says about theright size for a five-year-old.
So anyway, I can just imagineNeil Peart at a small desk
writing lyrics for this.
But anyway, there's a songcalled Manhattan Project.
That's on this and it sort of,in a poetic form, provides a
(05:50):
synopsis of the ManhattanProject.
The developing of the bomb, youknow, the one that they dropped
on Hiroshima and Nagasaki backin 45 and pretty intense, and if
you've ever seen the movieOppenheimer you know he
eloquently provides the wholestory behind it.
(06:15):
You know the drama behind it.
The race, you know, going outinto the desert, out and I think
it was like New Mexico, andwith a bunch of other scientists
all over the, you know, allover the United States and other
parts of the world thatconvened there to develop it,
and pretty, you know prettyheavy stuff and pretty far out.
(06:41):
So anyway, that's one of thesongs and we're going to listen
to all of them, I think.
Uh, coming into this, I think Ialready have my top three.
Firmly, I mean, after listeningto this, listening to this
album, dozens at least, maybeeven hundreds of times.
Um, tim is a little bit newerto it, I think you know a couple
of them resonated with him and,uh, there's a couple that I
(07:04):
don't like and I've never reallyliked.
I've tried to, but it's just, Idon't know, can't win them all.
I guess, without further ado,tim's going to join us.
Tim, how's it going bud, oh,excellent Good.
Kudos to Tim, he did granddesigns.
That was not bad.
You like that synth part?
(07:24):
Kudos to Tim, he did granddesigns.
That was not bad.
Speaker 3 (07:27):
Yeah, I heard you like that synth part.
I found that song to be veryagreeable with whatever came to
mind to play.
It's an open feel to it.
The harmonics amazing.
Speaker 2 (07:43):
Yeah, you weren't even doing the guitar part, you
were doing the synth part butyou were doing with the.
Speaker 3 (07:48):
I was layering over the.
Speaker 2 (07:50):
That beginning.
Speaker 3 (07:50):
The rhythm and the synth was it's a very catchy
synth, so I had to learn thatfirst.
Speaker 2 (07:56):
Yeah, no, I liked it, it was good.
Speaker 3 (07:59):
It's always the synth that's going to have you
remembering the song.
Speaker 2 (08:04):
Right, the very beginning of that song is catchy
and I get it Starstruck.
Yeah, exactly, it's great.
Anything stand out for you onthis album, anything that you
wanted to.
Speaker 3 (08:19):
For Three Guys.
They make a lot of coordinated,just you know it's like a train
Composition.
It's very coordinated andcomposed and fast.
Speaker 2 (08:35):
Yeah, for three musicians to get on the same
page so accurately must be.
They have to really know eachother really well, and that's
what I've always appreciated.
Speaker 3 (08:45):
Yes, it's really tight, yeah, really tight yeah.
Speaker 1 (08:50):
Excellent.
Speaker 3 (08:51):
And then this I love the whole concept of it, the
power and the different typesand the song.
Really for him making music,that's a great way to do it to
to lump it into categories andjust to be out there about his
message and yeah, and all thesongs they're you know, taking
(09:14):
part in, I guess, an industrythat has a top-down structure,
like at many other things, anduh, that's how they became
established.
Speaker 2 (09:25):
It was, they're, they're not a radio friendly
band.
And uh, yeah, the some of thesongs take a G.
It will grand designs.
Yeah, it makes a, takes a jabat it, yeah.
Speaker 3 (09:38):
Yeah, but uh yeah.
Speaker 2 (09:42):
Well, good man, it's good.
Yeah, well, we're going to getinto it.
The first song is Big Money,and this is just about how money
plays an influence on the wholeworld and how it goes around
the world and how it is a forcefor good or bad and all that
stuff.
Speaker 1 (09:58):
They go around again.
They just go around and around.
Speaker 2 (10:02):
All right, yeah, that's a little.
Speaker 3 (10:05):
We're going around, all right, here we go, we're
(10:29):
into it here, that's right.
Speaker 1 (10:35):
Oh, we're into it here.
Soft money Shout out to GeorgeCarlin Soft money you take a
penny, you give a penny, youtake a penny from the tray.
Speaker 3 (11:09):
Oh oh, it makes sounds If a money falls in the
woods.
Does a money make a sound?
Speaker 1 (11:30):
It's our app, wow, wow.
Speaker 2 (11:43):
Throughout history it's sort of always been this
way it has In terms of moneypower it calls the shots, it
does Slappy bass, tasty wave.
Slept to be ass.
Speaker 1 (12:21):
So much fucking money , 11, right you take a penny
from them.
Oh, I need some tasty ribs,cool buzz and.
I'm fine, he's a fool on atelevision Tray From the
(12:43):
crippled servant.
No, that's the jar.
I'm talking about the Trey.
The pennies are for everybody.
Oh for everybody.
Yeah well, those are wholepennies, Right.
I'm just talking aboutfractions of a penny.
(13:04):
Shout out to Office.
Speaker 2 (13:07):
Space Shout out to Rod Roddy.
Speaker 1 (13:11):
It's the Mitsubishi Mirage four-door sedan with a
clutch.
Speaker 3 (13:16):
And power windows.
That's right.
And power windows.
Shout out to the guy that putthe drill bit on the manual.
Oh yeah, that's the redneck way, that's right, yeah.
Speaker 2 (13:36):
I grew up in a factory town.
I probably went to high schoolwith a few of their dads.
Speaker 3 (13:40):
Manual roll is great.
Manual roll up, sure Manualtransmission.
Speaker 1 (13:45):
In exchange for my core values.
Speaker 2 (13:53):
See this part like right here, like they're all
soloing like at the same time.
They do that all throughoutthis album, which is kind of
cool.
Speaker 1 (14:03):
Wow.
Speaker 2 (14:22):
A lot of metaphors.
It's good and bad.
Speaker 3 (14:28):
Right.
Speaker 2 (14:33):
It's got a heavy hand .
There's the.
There's the the release.
There's the release.
Speaker 1 (14:44):
I'm not afraid anymore.
Thank you, rock and roll yeah.
Speaker 2 (15:02):
This is probably the other biggest.
Are we going to make this a hit?
I mean, this was released as asingle, and then Mystic Rhythms.
The last song was also a singleyour call.
Speaker 3 (15:14):
From an outsider's view, it's not much of a hit.
Yeah, no, yeah, I don't know?
Speaker 2 (15:20):
Yeah, no, it's in there, okay, so no hits on this.
Speaker 3 (15:23):
Okay, we're going.
No hits, no, no hits on this.
Speaker 2 (15:25):
Okay, we're going no hits, no hits on this Rock and
roll.
It's a great song, I think.
Speaker 3 (15:31):
We're just cavemen.
You know, we're just cavemen.
Listening to music, it's just,it's just key.
Speaker 2 (15:35):
Rock your honor and yes, I'm ready.
Speaker 3 (15:38):
Thank you.
Are you ready For number two?
Speaker 2 (15:41):
I am Grand Designs.
Here it is.
There's that riff you love.
Speaker 1 (15:45):
Simple lines intertwining.
Speaker 3 (15:56):
Neil Peart is amazing drummer.
He is.
Speaker 2 (16:04):
How to keep time.
That way, it's just like howdoes he time?
That way, it's just like.
Speaker 3 (16:09):
It's a mad jungle man on drums.
So much stuff, spring cleaning.
Shout to the spring cleaners.
That's right, the runners, thetea drinkers.
Speaker 2 (16:23):
Absolutely Get your earbuds in.
Watch out for that car.
Absolutely Get your earbuds in.
Yeah, watch out for that car.
Speaker 3 (16:29):
Watch out for that yellow light.
I love this.
The precious metal, the rock,it's just key rock, it's great.
Yeah, that's A lot of uselesstalk.
Yeah, that's.
I hope our listeners don'tthink that about us.
Speaker 2 (16:51):
We say all the time it's total useless talk, but
that's what the listener comesin for it's the shapes, the
forms, the lines, theintertwining, subtle lines,
intertwining.
Speaker 3 (17:03):
That's what's called my love poem Swimming against
the stream, yeah.
Speaker 2 (17:26):
This is a middle finger to the record industry.
All these lyrics right here.
Mass production scheme.
Mass production scheme.
Speaker 1 (17:41):
A little taste Like a tinder drop in the ocean, a
diamond in the waste.
Speaker 2 (17:49):
Not a diamond in the rough, a diamond in the waste.
That's the.
Speaker 3 (17:53):
I almost thought it was diamond in the waves when I
first listened to it.
Speaker 2 (17:57):
Yeah, you can't.
It's diamond in the waste, butyeah, it does sound like that
you can't tell the waste ofprocessed.
Speaker 1 (18:05):
Process anything sold , bought or processed.
Process anything sold, boughtor processed.
Or repair anything sold, boughtor processed.
You know it's a career.
I don't want to do that.
Speaker 3 (18:14):
It should be a musician, john, that's right.
Speaker 2 (18:20):
Shout out to John Cusack.
Speaker 3 (18:23):
Say no, what is it?
Speaker 2 (18:24):
Say anything.
Speaker 3 (18:25):
Say anything.
Speaker 2 (18:26):
That's the one where he has the jam box.
Speaker 3 (18:28):
Yeah, he just wants to spend time with your daughter
, sir.
He's getting good at kickboxing, so don't be afraid.
That's right.
Just get in the ring, getknocked down around.
Speaker 2 (18:52):
Again, here's the soloing All three of them at the
same time.
Speaker 3 (18:57):
I like the whammy bar .
Yeah, a lot of whammy bar.
Speaker 2 (19:04):
Using it just subtly.
The whammy bar is a microcosmof what they're doing using it
just subtly.
Speaker 3 (19:07):
The way they are is a microcosm of what they're doing
.
They're taking the pitch andthe tone of everything and
throwing it through the ringer.
That's right, oh.
Speaker 2 (19:19):
Yeah, I agree.
What the fuck is he talkingabout?
Oh, oh, you know, fuck is hetalking about Uh-oh, uh-oh.
Speaker 3 (19:29):
You know what I'm talking about.
Speaker 2 (19:32):
Yeah, exactly, yeah, that's.
You tell him guy from officespace.
Speaker 1 (19:38):
Fear and love.
Fear is in the negative energyspectrum and love is in the
negative energy spectrum andlove is in the positive energy
spectrum.
Speaker 3 (19:51):
Can't be that simple.
Speaker 1 (19:53):
Who the fuck is he talking about?
Oh, oh.
Speaker 3 (20:02):
Oh, oh, oh.
You know what I'm talking about.
Oh.
Speaker 2 (20:08):
That's a great song.
Speaker 3 (20:12):
The drum rolls afterwards.
Right, it's like mini drumrolls.
Oh, did you hear that?
Speaker 2 (20:29):
No, Did you hear that ?
Oh yeah, no, I mean yeah,slapped off.
He did slap, it Slept a bit,all right.
So that's song number two, sideone.
This next one is the ManhattanProject.
Speaker 3 (20:54):
I'm hoping to turn it into a weapon.
I will kill you.
Speaker 1 (21:05):
All right oh all right.
Speaker 2 (21:13):
Oh, this is very unrush at this point in time in
their career.
The band some fans didn't likethis.
I liked it myself it, it's moresensitive yeah.
Speaker 1 (21:30):
It's a smart, smart lyric.
They're in a race to yeah it'snot a love song.
Speaker 3 (21:51):
It's a despair because of destruction of all
things yeah, he remembers whenit all began he was just a few,
so frozen at that point in time.
Oh, the scientist helped him.
Yeah, ah, would you listen tothe gibberish?
(22:13):
They've got you saying it's sadand alarming, big stick winning
trick.
Speaker 2 (22:28):
That's a reference to Euchre or spades, depending on.
Euchre.
Yeah, it's like a card game.
In Michigan they play, I thinkin Canada too.
Euchre, yeah, it's like,instead of spades, it's just
like four tricks, four or five.
Anyway, it's a play on words.
Euchre, I've never heard it's aplay on words Euchre?
Speaker 3 (22:46):
Yeah, I've never heard of it, I have, I just.
Speaker 2 (22:51):
It's old world stuff.
It is.
It's before the internet, youknow.
Just people used to play withlike playing cards.
Yeah, I think it's like the Aceof, or no, it's the Jack of
Diamonds, jack of Hearts.
Speaker 3 (23:03):
I wonder if Rush has playing cards.
Speaker 2 (23:07):
Rush, no, it's the Jack at Dime, jack at Hearts.
I wonder if Rush has playingcards.
Rush playing cards, yeah, Imean, who'd be the ace?
Speaker 3 (23:12):
Probably Neil Peart.
Yeah, maybe Shout out to Rushplaying card brand that we don't
know about.
That exists.
I have an idea.
Take us up.
Speaker 2 (23:23):
Let's invent it.
We can make it right now.
Like Neil Peart will be the ace, geddy will be king.
There will be a fight.
Who would be?
Yeah, all of that.
Hey, geddy's mom will be thequeen.
I don't know Geddy's mom.
I like that idea.
(23:44):
They could be like some of theroadies lower down.
There's some guys I've touredwith for years.
We're on to something I don'tknow.
I'm a great good God.
Speaker 3 (24:00):
Gentlemen, your attention please Change
forevermore.
Speaker 2 (24:08):
Evermore, we were talking over the most important
part of the song the crescendo.
Speaker 3 (24:13):
Yeah, it was.
Speaker 2 (24:17):
Oh, this is cool.
Well, yeah, they had a wholestring section.
I think this is why they wentto five different studios One
studio where they had a choirand then another one where they
had a string section.
Speaker 3 (24:32):
I like that.
Speaker 1 (24:36):
They're expanding yeah.
Speaker 2 (24:38):
Shot down the rising sun.
Japan Big Bang took and shookthe world.
They shot down Japan.
Speaker 3 (24:44):
Yeah that was messed up.
Chain reaction was done.
Speaker 2 (24:50):
Big Shot's tried to hold it back.
Watch Hobbit Highlander.
They talk about a little bit ofa cover-up or like a scapegoat.
Big Bang took and shook theworld.
Speaker 1 (25:03):
Shot down the rising sun.
Shut down the rising sun.
Hope will be there.
I will.
Whatever the hopeless may say,I will.
Speaker 2 (25:28):
Getting an attack on my laptop.
See, this is all about.
This is world politics comingfull circle?
Speaker 3 (25:35):
here.
I know I think they can't evenpodcast with a virus on our
computer.
Exactly, jesus, just throwthese things out the window.
Well, well.
Speaker 2 (25:45):
I'm hopeful.
Yeah, even though it's hopeless.
Speaker 1 (25:50):
Okay, great song though, yeah.
Speaker 2 (25:52):
All right now.
This is Marathon, Last songinside one.
Speaker 1 (25:58):
Hey, for no particular reason, I decided to
go for a little run.
Speaker 2 (26:03):
Shout out to the runners.
Speaker 3 (26:07):
It's not how fast, yeah, right.
Speaker 2 (26:11):
It's not about the distance, it's about getting out
there, right, yeah and you knowwhat, if you are training for a
marathon as you're listening tothis, you know just, it's not
how fast you can go.
Speaker 1 (26:24):
It's not how fast you can go.
The voice goes into the flow.
Speaker 2 (26:27):
Excuse me, flo, it's not how fast you can go.
Speaker 1 (26:36):
Excuse me, Flo.
Oh, the chest of flash we'regoing streaky.
Speaker 3 (27:16):
He's really hitting that snare, isn't he?
I cannot believe you've neverheard Rush.
Come on, we need more Rush fansout there.
Speaker 2 (27:23):
Let's go, keep your pace up.
Runners, you can do it.
This is about willpower.
You know, songs are aboutdifferent types of power.
Yeah, keep going.
You gotta keep doing it, youcan do it.
Speaker 3 (27:37):
Don't forget to eat something that's right.
Speaker 2 (27:42):
And those gels are bullshit, right yeah, you don't
need that.
Speaker 3 (27:48):
You don't need all that sugar, just some protein.
Get some garbanzo beans in yourpocket, some ground beef, if
you're into that.
Speaker 2 (27:58):
I yeah the gels, I don't know, but maybe like in a
marathon.
Speaker 1 (28:02):
You can miss a stride .
Speaker 3 (28:03):
You just hydrate.
Wait, there's Streak ofLightning.
Speaker 1 (28:12):
Good streaking.
Speaker 3 (28:15):
After you win, you gotta win first.
Speaker 1 (28:32):
Whoa.
Speaker 3 (28:32):
Fire it, let's go, that's right.
Speaker 1 (28:34):
Oh wait, just a minute.
Good streaky, yes, like astreak of lightning, good
streaking In the summer sky.
Speaker 3 (28:51):
Oh, I like this part, that's right.
Speaker 1 (28:59):
The world went and got itself in a big damn hurry.
Speaker 3 (29:07):
Is that like a lifetime moment?
That's right.
Shout out to Kramer and Brooks.
That's right, Kramer and Brooks.
Yeah.
Speaker 2 (29:22):
You just can't burn out too fast.
That's why you got to paceyourself.
You just can't burn out toofast.
Speaker 1 (29:32):
That's why you gotta pace yourself.
Then you and the gals can takea load off and watch something
on Lifetime.
Speaker 3 (29:45):
I love this solo.
I do too.
It sounds a bit like the Totoguitarist A little Lukather yeah
, Lukather, yeah it does.
Speaker 2 (29:58):
I thought I read somewhere that Alex didn't like
this song, Like didn't work forhim or something.
I don't know what.
Speaker 1 (30:08):
Well, you can do a lot in a lifetime.
If you don't burn out too fast,you can make the most of the
distance.
Speaker 3 (30:22):
This is great.
Marathon is good.
Speaker 1 (30:28):
It's hitting for me.
Speaker 3 (30:29):
This one's growing on me, okay, yeah.
Speaker 1 (30:34):
What is it all about?
Speaker 3 (30:39):
That's a good question.
Yeah, this choir part was.
Speaker 1 (30:47):
Something always fires that light.
Speaker 2 (30:50):
I think this is done by Someone who's a big deal, I
think, and glory rose on by Likea streak of lightning.
The fudges are in place in thesummer sky.
I gotta look this up.
It's bugging me.
It's like a 25-person choir andsomebody and something From
(31:17):
England.
Speaker 1 (31:21):
Somewhere.
Speaker 2 (31:23):
Damn it.
I had it earlier.
I don't know.
You gotta look it up.
The guy of the album is neilcunningham.
You're gonna say something.
Speaker 3 (31:37):
I'm sorry oh, I, you know.
I don't know what it's about,neither does Mr Lundegaard.
Okay, nobody knows.
Speaker 2 (31:49):
That's a Fargo reference.
Yeah, the salesman.
Speaker 1 (31:52):
What is?
Speaker 3 (31:54):
it all about.
Oh yeah, that's next.
I'm jumping the gun, that'sright, you know, I need to just
Wait, just a minute.
Speaker 2 (32:08):
Okay, this is Territories.
This is just about likepolitics.
Middle Earth, shit yeah welljust like global stuff, like us
versus them, whether it's global, or just like sports gators
(32:31):
versus the seminoles, ohio stateversus michigan I'll just
trivial lines.
Okay, yeah, or yeah, capitalismversus communism, socialism
yeah, there's some socialism inthere.
Orism versus socialism.
That's the equivalent you needDemocracy versus fascism.
Speaker 3 (32:55):
Capitalism without socialism Is fascism.
Socialism without capitalism Iscommunism.
You need both.
You need a little bit of both,in my opinion.
Slap of the, slap of the bongothe ones we know and love yeah,
(33:25):
no snare on this.
Yeah, but the bongos arecrushing.
The journey of a thousand milesbegins with one step.
That's good.
Where was that from?
That's here on Marathonactually.
Oh, okay.
Speaker 2 (33:46):
Nice, it's a Chinese project.
Oh, that's actually.
Oh, okay, nice Chinese crowd.
Speaker 1 (33:48):
Oh, that's right.
Speaker 3 (33:49):
Yeah right.
Speaker 2 (33:52):
Got it right there.
Speaker 3 (34:08):
Why are we?
Speaker 2 (34:09):
feeding.
Speaker 1 (34:09):
The machine Don't feed the people, but we feed the
machines.
Speaker 2 (34:18):
So the word indifferent versus the two words
indifferent or indifferent.
The one word, the one word,indifferent circles.
We keep spinning around.
Speaker 1 (34:29):
They go around again.
Speaker 2 (34:31):
We see so many tribes over and under mine.
Speaker 1 (34:37):
While they're invader's dream of lands they
left behind.
Speaker 2 (34:46):
Better food.
Speaker 3 (34:48):
Better beer, better beer, yeah.
Speaker 1 (34:51):
We're just going around and around.
Speaker 2 (35:01):
Yeah, protectionism, no need to go around, we're
exceptional where we're at.
Speaker 3 (35:15):
Yeah, I like the pacing Quasi-evil.
Oh, I love that.
We're the citizens damn it yeah.
Speaker 1 (35:39):
Oh, that's super nice .
Speaker 3 (35:43):
Shout out to the machine marathon runners in
Shanghai.
Yeah, yeah, shout out to the cymarathon runners in Shanghai.
Speaker 2 (35:48):
Yeah, yeah, shout out to the cyborgs over there, yeah
.
Speaker 3 (35:55):
Who are Boston Dynamics?
Speaker 2 (35:56):
You can suck it hey listen, man, don't piss them off
.
All right, they're going to beour supervisors in two years.
Speaker 3 (36:04):
The Boston Robot Company.
Chill, chill, okay, just chill.
Speaker 1 (36:15):
Sell anything, buy anything.
Speaker 2 (36:18):
Chris, your numbers are down from last quarter.
Is everything okay at home?
Speaker 1 (36:23):
Or a change of accent or the color of your shirt,
better the pride that resides ina citizen of the world.
Speaker 3 (36:36):
Be a citizen of the world In a citizen of the world.
Speaker 2 (36:42):
Then the pride that divides when a colorful rag is
unfurled.
Speaker 3 (36:48):
Trivial territorialism.
Speaker 2 (37:08):
This is good.
Yeah, the whole wide world isan endless universe.
You can look at a telescope,see further out, or you can turn
around backwards and just getstuck in the smallest stupid
bullshit.
Speaker 3 (37:23):
The mitochondria For 500.
Yeah, powerhouse in the cellAscelia Silica Is it.
Speaker 2 (37:39):
Is it a Toyota, mitsubishi Celica?
Speaker 1 (37:41):
It's the Mitsubishi Mirage four-door sedan.
Speaker 3 (37:43):
It's a Mirage, it's all a Mirage.
It isdoor sedan, it's a Mirage,it's all a Mirage, it is, it's
a Mirage.
My sister had a MitsubishiMirage.
I smacked that thing up bad.
I tell ya, I smacked it up realgood, you okay.
No, this is the car that tookthe brunt.
Speaker 2 (38:06):
It's not a real stable car, is it?
No, maybe you were feeding themachine something, was it the
gas?
Maybe you gotta go with themid-grade, at least on a Mirage.
It's not good for snow days.
I'll just say that.
Speaker 3 (38:20):
It's not a good snow day.
Car A little spin-out,definitely Alright.
This is song two on side twoMiddletown A little spin-out.
Speaker 2 (38:26):
Definitely All right.
This is song two on side two,Middletown Dreams.
The office door is going toclose a little early and this
guy's going to do some drinking.
You've got to remember this is,this is in the 80s.
(38:49):
Oh, Salesman Turned to closethe blinds.
Speaker 3 (39:04):
Is he drinking a stout or is he just stout?
I think he's he a stout or ishe just stout.
I think he's stout himself.
Shout out to the stout drinkersyeah, don't do it on office
time.
Speaker 2 (39:27):
Because he's got big dreams, but he's stuck in the
office.
It's a dream.
Shout out to the Heartland,shout out to you salesmen in the
Heartland for desires driving.
When you're down, at leastbring out the hidden bottle
(39:51):
after store hours, yeah.
Speaker 3 (39:54):
Go to the park and bring some old bread Feed the
ducks.
Yeah, it's a dream.
Speaker 1 (40:04):
It's only a dream.
Speaker 2 (40:22):
He'd be climbing on that bus.
That's a weird dream thatsounds depressing For the rocks.
I do like the music, I justdon't like the lyrics.
Speaker 3 (40:44):
Again, really good punchy guitar rhythm here and a
synthy hook yeah shout out wehaven't talked about Peter
Collins.
Speaker 2 (40:59):
He's the producer.
I'm sure he had a lot to dowith this too.
Speaker 3 (41:20):
Love that.
Hold on to the dream.
Speaker 2 (41:35):
That was a nice little mini solo.
Yeah, there's a criticism of it.
They should have had more partsfor Alex Because his guitar
playing is probably peakingright after moving pictures and
signals.
It's only like two or threeyears after that.
Speaker 3 (42:05):
It's not unpleasant in your little town either.
Alright, you got.
Grass is greener.
Syndrome, with your littledream of selling your gadget
spinner worldwide Instead ofbeing a salesman for fire and
(42:27):
flood?
Yeah.
Speaker 2 (42:32):
I know what you said.
Speaker 3 (42:33):
It can be a little dream, it can be a big dream.
Speaker 1 (42:35):
Yeah, dreams transport the ones who need to
get out of town.
Speaker 2 (42:56):
Slept to BS.
Speaker 3 (42:59):
There's a lot of flow here at the end.
Speaker 1 (43:01):
Excuse me flow.
Speaker 2 (43:02):
Yeah, they dream in the town.
Excuse me, flo, yeah, now,sometime.
It's weird.
This is a song that hits withme sometimes, and other times
it's just like that.
But I mean just focusing on themusic.
(43:24):
I'm digging it All right, allright.
So I mean I'm digging it Allright, all right.
So I mean, I don't know, decideto well, it's hit and miss.
For me, this is EmotionDetector.
This is the only song thatthey've ever played live on this
album.
I should say there are othersongs, it's a non-starter for
(43:44):
even the band yeah yeah, I betyou there are some parts in this
.
They said this is difficult torecord.
This is probably a difficultsong to play.
Yeah, I'm sure all of theirsongs are super hard to play,
but maybe this is.
Speaker 3 (44:03):
I think Life wasn't sold on this one.
I think I read as well.
Speaker 1 (44:12):
I'm in a glass case of emotion.
Speaker 2 (44:16):
Yeah, maybe he was in a glass case of emotion.
This kind of has a Top Gun kindof sound, didn't it?
It does, doesn't that soundkind of Top Gun-y at the
beginning?
Speaker 3 (44:33):
Yeah, Very Top Gun-y.
Speaker 2 (44:40):
I think the Top Gun came out in 1985.
I guess they're trying to soundcontemporary at the time.
Speaker 1 (44:53):
We expose our insecure spots.
Trust is just as rare asdevotion.
Speaker 3 (44:59):
Say that again Be silly, darling.
Speaker 1 (45:00):
Trust is just as rare as devotion.
Say that again.
Give us our simple thoughts.
Say it, darling.
Speaker 3 (45:06):
Not pretend to be All work.
No play.
Speaker 1 (45:08):
We must do ourselves right open.
Start acting like a fool If weneed too much approval.
Speaker 2 (45:16):
I think Jack Nicholson just needed a little
bit too much approval.
Speaker 1 (45:20):
Then the cuts can seem to grow.
I think Jack Nicholson justneeded a little bit too much
(45:47):
approval.
Speaker 3 (45:48):
You gotta feel your emotions.
Speaker 2 (45:50):
Right like after the wall comes down.
You know, like when you'reUsually when you're in
relationships, there's a wallthere.
When that wall gets broken,that's when you know there's the
weakness.
It's a weakness when you'rewith people that you can't trust
.
If you can break yourself down,leave yourself vulnerable to
(46:11):
those who you can trust, itbecomes a strength.
Speaker 3 (46:18):
Put a couple sticks and some chewing gum over that
wall of previous emotion andjust continue.
Yeah, that's right.
Speaker 1 (46:34):
What the fuck is he talking about?
Speaker 2 (46:38):
I don't know.
Both of us are talking out ofour asses right now.
I'm trying to.
I'm not Neil Peart, we'rerunning high here.
Speaker 3 (46:46):
Yeah, getting far out , man Getting far out, this is
far this is far.
Speaker 2 (47:00):
I think they're going to start rocking out pretty
soon, like the tempo is going togo up and it's going to get
really frantic.
All right, here it is.
Speaker 3 (47:12):
There's like four on the floor right here.
Speaker 2 (47:19):
They're all soloing Except Neil, but you know he's
gonna do something cool, youjust gotta wait for it.
This is one of the best guitarsolos on this album.
Speaker 3 (47:50):
I think Might be successful.
Ah, no damn.
It is good, it sucks.
I don't like the first part ofthe song, I know.
Speaker 1 (47:57):
Right to the heart of the matter.
Speaker 3 (48:00):
I mean, it is a good song as a whole.
Speaker 1 (48:18):
I'm in a glass case of emotion.
Speaker 3 (48:38):
Sometimes our big splashes are just ripples in the
pool.
Huh, so maybe it's not that biga deal, the pool?
Huh, so maybe it's not that biga deal, right?
Right, that's interesting.
Speaker 2 (48:46):
Be cool.
The blue angels like doing athing to that song.
Oh that top top gun yeah.
I gotcha had to say somethingfor commission yeah you should
Got some connections over this.
Speaker 3 (49:04):
Call the angels.
Speaker 2 (49:08):
Shout out to Vince next door.
Maybe I'll put in a word to him.
Yeah, he knows him.
I think he knows him.
All right, this is the lastsong.
It's the Mystic Rhythms.
(49:28):
This was a song that had a lotof airplay on MTV.
Speaker 1 (49:35):
I can see that, yeah, at the time I think about, when
I look far away, things I know,things I wonder.
Speaker 2 (49:56):
Things.
I'd like to say it's very, it'slike Nagelel.
Speaker 3 (50:03):
It's like boiling over.
Speaker 2 (50:04):
You'll need to unlock your iPad first.
Speaker 3 (50:08):
What was that?
Speaker 2 (50:09):
The machines are taking over I know, You'll need
to turn on location services forthat.
Want to turn it on.
Just that's hilarious.
That was a mystic rhythm rightthere.
Speaker 3 (50:39):
Open the pod bay doors Hal.
Speaker 2 (50:44):
I'm sorry, tim, I cannot do that.
Speaker 3 (50:55):
Good drum and bass.
Speaker 2 (50:59):
I like how it goes to the acoustic.
A part of me was thinking thatyou were going to do this song
Because it's kind of like.
It's kind of like this easypace to it.
But you went for grand designs,I appreciate that.
(51:19):
Yeah, that was ambitious.
Alright, do it over.
So I went for grand designs, Iappreciate that, yeah, that was
ambitious.
Speaker 3 (51:23):
All right, do it over so I can do this song.
I'll learn this song on its own.
I think it would be a goodjumping point for another jam,
my own composer.
Speaker 2 (51:41):
You made the right call.
Grand Designs was perfect.
So this is like supernaturalpower, the powers of the unknown
(52:04):
.
Speaker 1 (52:04):
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,
oh, oh, oh, oh, oh, oh, oh, oh,oh oh.
(52:26):
You know what I'm talking about.
Speaker 3 (52:31):
Oh, whoa, what was that?
Oh, this is the coolest part ofthe song.
All right, damn, it's like PhilCollins-y Very.
Speaker 2 (52:51):
Peter Collins is our producer.
He's like the deuce.
Yeah, bon Jovi, queensrycheSuicidal tendencies.
Oh, this guy has a wide range.
Speaker 1 (53:33):
Really splat, james Jimbo.
Speaker 2 (53:33):
Simple lines intertwining.
There are a lot of simple linesintertwining.
Yeah, jimbo Barton's Engineer,still a lot of sound Getting
that all right.
Speaker 3 (53:51):
The length is 44 minutes and 44 seconds.
It's pretty tight, it's goodstuff.
Speaker 2 (53:56):
What does it mean?
What does it mean?
Speaker 3 (54:00):
What does it mean?
Speaker 2 (54:05):
All right, yeah.
So what'd you think, man?
Speaker 3 (54:08):
Wild.
Speaker 2 (54:09):
Wild stuff, all right .
Well, it's time for the topthree.
What are we looking at for you?
What's your top three?
Speaker 3 (54:17):
You can take some time if you need to.
Yeah, I honestly that one madean impression.
Um, I think I'm going to go.
Territories Number three Goodcall, yeah, I like its message.
(54:38):
It had a uh Howard's in feel toit.
You know, anti.
You know one world, but only ifwe're sovereign as individuals.
Right, and we be you know oneworld organization, and if we're
(54:58):
not that then we can't betaking part.
You know perfect our owncountry.
Speaker 2 (55:06):
Yeah.
Speaker 3 (55:07):
Work out from there.
I don't know.
No, that's, that's exactly it,something like that.
Speaker 1 (55:12):
Like if we can just get past the pettiness of our
differences.
Speaker 2 (55:16):
We all need to work together to you know, explore
beyond you.
You know, in different circleswe keep holding our ground and
then in different circles, we'rein different.
We just keep spinning round andround.
So if we're separated, we justhold our ground, we don't go
anywhere.
If we're indifferent in indifferent circles, then we're
(55:38):
just not going anywhere eitheryeah good, what's your number
three?
yeah, my number three indifferent circles, then we're
just not going anywhere either.
Yeah, good, what's your numberthree?
Yeah, my number three is goingto be Grand Designs.
Nice, I like the music.
It's not really so much.
I mean, it's not even theirbest song about a middle finger
to the record industry.
They've got a couple that areeven better than that, but I
(55:59):
like the music.
A middle finger to the recordindustry Right, you know they've
got a couple that are evenbetter than that, but, um, I, I
like the music.
It's kind of interesting andcool and it.
I like how it.
You know the.
They have different, uh, the.
The pace and the tone changesfrom time to time.
So that's going to be my numberthree.
Speaker 3 (56:16):
Which one had the orchestra, the symphony,
Marathon.
Was that Marathon?
Definitely a good song, but Imean, this is tough.
I did like Middletown Dreams,but I don't know if it's on.
(56:43):
It's up there.
I'm going to go with the bigmoney.
Speaker 1 (56:47):
It's good, it's amazing.
Speaker 3 (56:49):
The big money was just a fire starter, ready to go
yeah.
Speaker 2 (56:55):
It's pretty simple.
It's just big money.
Does this big money?
Is this big money is this?
It's just, it's just big money.
Does this big money?
Is this big money?
Is this?
And it just didn't the the it'snot all bad, you know there's
some good.
It does this, but it, you know,big money makes mistakes.
Big money does a power.
Good has a heavy hand, has nosoul.
You know, I'm going to not mynumber two is going to like big
(57:19):
money's a hit for me, so I'mjust going to exclude.
I just think it's a.
I just that mystic rhythms aregreat songs, but they just they
should be out for me, I think.
But number I, number two isManhattan project.
It's nice.
I like the, the the lyrics are,and I saw the movie Oppenheimer
(57:40):
and I know the story pretty welland just the way that Neil
Peart thoroughly researched it40 years ago, because we're 40
years on the anniversary of thisalbum.
He's looking back at that event, 40 years in the past from when
he wrote it, and I think thatthat speaks to how timeless it
(58:02):
is and how, how poetic hesummarized the story of it, how
cleverly he, you know,constructed it and how the music
builds up and comes back downand it's got like an airplane
kind of a thing to it in thebeginning.
So I think it's a great song.
So that's my number two.
Speaker 3 (58:21):
Excellent, excellent.
Speaker 1 (58:23):
Okay.
Speaker 3 (58:28):
I mean I, I for me, I mystic rhythms, yeah, it's,
it's.
They saved, you know, a reallygood song for last and I
appreciate that on the album andit does kind of change it up.
It's it's got like more ofinternational feel, in my
(58:50):
opinion.
Um, yeah.
Speaker 2 (58:53):
Yeah, it's, it's, it's, it's slow, it's uh
sometimes the slower songs sinkon me.
Speaker 3 (59:00):
Yeah, yeah, no interesting sounds.
Yeah, yeah, no interestingsounds yeah.
Speaker 2 (59:02):
Subtle lines intertwining kind of thing.
It's gold.
It is gold it is a great songand it might be up there for me
if but I, I, I, I.
They played it on MTV all thetime.
It just feels and seems likekind of like a hit or it should
be at least in the context ofthis album, and so in the spirit
of it.
My number one is going to beterritories.
Speaker 3 (59:25):
Nice Because it's?
Speaker 2 (59:29):
it's hitting me right now.
It feels like in I guess.
I mean we're here in the UnitedStates and it just feels like
we're in the precipice of acompletely different world order
and nobody knows where this isgoing.
I guess we kind of know whereall this is going, but there's a
(59:50):
lot of division.
I mean, there's a lot of unityin some circles, but there's
disunity in others.
Speaker 3 (59:57):
Disunity and others and um well, disunity is pegged
up to be think it's you know.
I think we're more united thansome some of the news likes to
portray.
I don't know no, totally no no,no, yeah, that's the thing.
That's on the local level, yeah.
Speaker 2 (01:00:14):
Right, right, but then there were like big money
though that I mean maybe this is.
Maybe this is a song for likebig money and territories are
sort of like intertwined yeahthey're.
They're sort of together andthere are forces that are out
there to divide us, you know,and um, I think you know that's
sort of like a theme of thealbum and that's why it's
hitting me with with me and alot of people right now is that
(01:00:38):
this is, you know, this was made40 years ago and yet it's for
me, this is very relevant andthese songs, I listen to it and
I think, oh, wow, this is, thiscan be, this is very applicable
to you know, what's going ontoday, and he, when he was
looking back 40 years ago, hewas, he was doing the same thing
.
I'm talking with neil pierrewhen he's writing the lyrics, so
that's that's why it hits forme, so it's's a non-hit number
(01:01:00):
one for me.
I guess that puts a bow on it.
Yeah solid album.
Yeah, it really was All good,all right so any last thoughts?
Speaker 3 (01:01:09):
Rock on, all right, slap the bass Get out there.
Speaker 2 (01:01:12):
All right, that's it for us, woo.
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