Signals [Original recording remastered]

Amazon.com
Rush had already begun using electronics and synth in their music by the time Signals was released in 1982, so the synth-heavy opener, "Subdivisions" (a song that proves that high-school separatism is older than last year), wasn't that great a departure from their previous material. Signals also contains the single "New World Man," which still gets heavy radio airplay almost 20 years later, as well as groove-heavy, tech-savvy songs like "The Analog Kid" and "Digital Man"--prescient comments on the forthcoming information technology revolution if ever there were any. This was Rush's first studio album following Moving Pictures, which arguably remains their strongest and most well-known effort, after 2112. That's a tough act to follow, and Rush did it in the best possible way--by maintaining their distinctive sound while updating it with 1980s touches. Signals indicates that it was a good move. -- Genevieve Williams

Signals,Rush,Mercury / Universal,Pop,Rock,Rock/Pop

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Signals [Original recording remastered]

Average customer rating: Signals Takes Rush Into The Next Level Of Their Career Good, but not great album Not Losing It Good but not great as Moving Pictures A great follow-up after a masterpiece!!!

Signals Rush Manufacturer: Island / Mercury ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Canada | North America | International | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music Progressive Metal | Progressive | Rock | Styles | Music General | Hard Rock & Metal | Styles | Music Hard Rock | Hard Rock & Metal | Styles | Music Pop Rock | Pop | Styles | Music Album-Oriented Rock (AOR) | Classic Rock | Styles | Music Arena Rock | Classic Rock | Styles | Music $7.99 and Under | Blowout Music | Stores | Music Pop | Styles | Blowout Music | Stores | Music Classic Rock | Styles | Blowout Music | Stores | Music Rock | Styles | Blowout Music | Stores | Music Alternative Rock | Styles | Blowout Music | Stores | Music Hard Rock & Metal | Styles | Blowout Music | Stores | Music International | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music $7.99 and Under | Prices | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: Permanent Waves Grace Under Pressure Moving Pictures Hemispheres Power Windows ASIN: B000001EST Release Date: 1997-06-03

Tracks:

1. Subdivisions
2. The Analog Kid
3. Chemistry
4. Digital Man
5. The Weapon
6. New World Man
7. Losing It
8. Countdown

Amazon.com

Rush had already begun using electronics and synth in their music by the time Signals was released in 1982, so the synth-heavy opener, "Subdivisions" (a song that proves that high-school separatism is older than last year), wasn't that great a departure from their previous material. Signals also contains the single "New World Man," which still gets heavy radio airplay almost 20 years later, as well as groove-heavy, tech-savvy songs like "The Analog Kid" and "Digital Man"--prescient comments on the forthcoming information technology revolution if ever there were any. This was Rush's first studio album following Moving Pictures, which arguably remains their strongest and most well-known effort, after 2112. That's a tough act to follow, and Rush did it in the best possible way--by maintaining their distinctive sound while updating it with 1980s touches. Signals indicates that it was a good move. -- Genevieve Williams

Customer Reviews:

Signals Takes Rush Into The Next Level Of Their Career.......2007-07-08

After Moving Pictures success (and Exit...Stage Left), Rush started to reinvent themselves and the line of demarcation between old Rush and new Rush is drawn. Signals brings in alot more synths and an upbeat sound and that is not necessarily a bad thing. Rush is growing older and so is their audience and it is the 80s, where the face of music is getting technical and technique isn't all that important any more. Not that Rush became lazy as players, they just didn't need to show off as much as they used to. Still flashes of musical brilliance, Signals is New Rush. The songs are:

Subdivisions - From the opening keyboard line to the intense timing of Neil's drumming, Subdivisions is a great introduction to the new Rush sound. Keyboards aplenty. The lyrics are tight. Great teenage angst song. One of my personal favorites.

The Analog Kid - This is a flashy, lofty song. It hums along. Great Alex riff. Many people didn't want to accept that Rush had changed and I was one of them at the time (I was 13 years old) and that didn't lose them alot of fans, it just made room for new ones. And the boy pulls down his baseball cap and covers up his eyes....

Chemistry - If anything, Neil's lyrics evolved along with Rush's more synth-friendly sound. Very technical, yet arresting. Rush was the thinking man's rock. Still are. This song rocks.

Digital Man - Neil found some cool, jazz-inspired timing changes on Signals and Digital Man proves this. He may have been listening to Lenny White or Steve Gadd or the great Buddy Rich and it shows. Another great song, Rush didn't lose any steam even as it changed direction.

The Weapon - Part II of the Fear Trilogy (Along with Witch Hunt and The Enemy Within). I love this song. A clear expression of the state of the world in the midst of the Cold War. Scary? Maybe.

New World Man - Became another signature song for Rush along the lines of Tom Sawyer, The Trees, The Spirit Of Radio . . . Signals was so good that even the naysayers couldn't entirely dismiss it. Sure it wasn't 2112 or A Farewell To Kings, but it was Rush and it was well-written and well-performed. Great song.

Losing It - One of my all-time favorite Rush tunes because it's so depressing that it rules. I love the dark subject matter, the nod to Hemmingway. Very poignant. Very cool.

Countdown - Apparently Rush was allowed to watch the liftoff of the Space Shuttle way back when and it inspired them to write this song. Cool, but probably the weakest song on the album. I don't hate it, because it's still pretty good, just not one of my favorites.


Overall, Rush managed the impossible by changing their sound to a more synth-heavy feel without giving up the quality of their music. Gone are the intense drum solos and eye-popping bass riffs of the past albums (YYZ) and we miss them as fans of the old Rush. They are changing with the times, adapting to the technology of the 80s and even though a slew of untalented music acts will surface, sing and fade quickly away, Rush will remain. I didn't really care for this album as a kid because it wasn't as heavy as Moving Pictures and that was my 13 year old opinion back then. But now, as an adult, I see the flaws in that logic. This is one of my favorite Rush albums along with all the old standards, and the next few album will shine as well.

Dig it!

Good, but not great album.......2007-05-08

Let me preface this review by saying that I'm not a huge fan of Rush's "keyboard era" ("Signals" through "Hold Your Fire"). Signals certainly has its moments; "Subdivisions" is a good song, "Losing It" is very powerful emotionally, "New World Man" is a very radio friendly pop song, and "The Analog Kid" is more like the traditional Rush sound. The lyrics on this album are very good as well, except maybe "Countdown" (i.e. "... excitement so thick, you could cut it with a knife!").

The main problem with this album is that Alex Lifeson's guitar really takes a back seat while Rush experiments with New Wave, and even in a few cases, Reggae music. I think they really got it right on the next three albums, starting with Grace Under Pressure, but this one is just too keyboard heavy for me. Overall, this is kind of a bland pop album and very much unlike the rest of Rush's catalog. I certainly appreciate what they were trying to do, but the next three, in my opinion, were a lot better.

Not Losing It.......2007-04-24

This record signified a change in style but not substance. Gone are the 10 minute plus epic songs which marked their albums up to this point. But there is still plenty of ebb and flow on the 8 song masterpiece. Every song is unique with added emphasis of keyboards. This album is the crossroads into a new era of sound were the synth takes prominence in many songs. I always thought the Rush keys made a good song sound even more powerful in songs such as Witch Hunt, Jacob's Ladder and Xanadu. You get more of the same here right from the get go in 'subdivisions' all the way through to the underrated 'Countdown'. All 8 songs are solid. There is no track skipping here. 'Losing it' is a gentle gem about growing old. I would love to hear Sting do a cover of this song.

Good but not great as Moving Pictures.......2007-04-13

I'm not a great fan but I like the band at a moderate level.
Moving Pictures was a five stars album, without a doubt.
Signals is good but not great. There is some truly good songs on this one but there is also some weaker ones. My choice would go, for the best of Signals as this...Subdivisions, The analog kid, The weapon, New world man and Countdown. The other three songs, Chemistry, Digital man and Losing it are not as good as the other mentionned above. For me, this one deserve three stars, but close to four !

A great follow-up after a masterpiece!!!.......2007-02-16

1982 - After Moving Pictures it was hard to conceive of RUSH doing better musically or commercially. This album packs just as hard of a musical punch. Although not as musically complex as Moving Pictures, Signals was a powerful piece of rock expression that only RUSH could create. It is very even & the songs blend together almost giving it a concept album feel. Moving Pictures had the same musical consistency. The album discusses social issues such as anxiety, depression, disatisfaction with everyday life, & tensions at home/work/school. These issues make the album very easy to relate to. This album is my favorite along with Moving Pictures & it drives from the opening exploding notes of subdivisions. It is heavily dominated by power keyboard patterns and power chord guitar patterns. Peart's drumming is very hard & driving but less complex than moving pictures but fits very well into the music. He works the high hat alot in this album. Geddy Lee's bass sound is also hard-edged but a little less complex than moving pictures. You can also hear geddy moving back & forth from bass to keyboards (as on stage) indicating much of the album may have been recorded live without backtracking. Geddy's vocals are also strong as usual but he's doesn't hit as many alto & soprano notes. Lifeson put the acoustic guitar away completely on this album & plays the fender with mostly power chords. He's also is playing more rhythm patterns & fewer solos. The fact that this album is so heavily dominated by keyboards is interesting because lifeson didn't care for keyboards much because he felt it drowned out his sound. It is by far the most keyboard oriented RUSH album on the catalogue. There is not one song on the album that doesn't fit & the order of the songs also is pivotal. Most of the songs on the album are in 4/4 time & are shorter. There are no long epics. Instead it's a harder edged rock album appealing to the youth of the day. A notable is on the song losing it they have a guest electric violinist playing. This would be the only time RUSH would use an outside musician. The entire album is phenomenal but notables are subdivisions, analog kid (geddy's great vocal range), chemistry, losing it, & countdown (relating to RUSH's fascination with the space shuttle). This album is an 80s epic classic & a stunning follow-up to their obvious classic rock album Moving Pictures. This also the last terry brown coproduced album...

Average customer rating: More of the bland stagnance of Takemitsu's later symphonic work Really enjoying this one A fine collection of late works and an ideal introduction Another world Takemitsu draws you into his dream world

Toru Takemitsu: Quotation of Dream (20/21 series) - London Sinfonietta / Oliver Knussen Oliver Knussen , Paul Crossley , Peter Serkin , London Sinfonietta , Sebastian Bell , Michael Collins , Andrew Crowley , Gareth Hulse , Joan Atherton , Rebecca Hirsch , and Timothy Lines Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Takemitsu | Takemitsu, Toru | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Takemitsu: A Flock Descends into the Pentagonal Garden Takemitsu: Requiem; Twill by Twilight Takemitsu: A Flock Descends into the Pentagonal Garden Takemitsu: Chamber Music Takemitsu: To the Edge of Dream / Folios for Guitar / Toward the Sea / Transcriptions for Guitar ASIN: B00000I0L6 Release Date: 1999-02-09

Tracks:

1. Quotation Of Dream: Day Signal
2. Quotation Of Dream
3. Quotation Of Dream: How Slow The Wind
4. Quotation Of Dream: Twill By Twilight
5. Quotation Of Dream: Archipelago S.
6. Quotation Of Dream: Dream-Window
7. Quotation Of Dream: Night Signal

Amazon.com

Sometimes, even while you are listening, it can be very difficult to understand how Takemitsu created such exquisitely beautiful music using so much dissonance. As the brief Day Signal opens the disc, for example, you're more likely to think of the glory of sunrise than of the discords. And Quotation of Dream, which quotes freely from Debussy's La Mer, is nearly as beautiful as its source. Rather than waste time figuring out how Takemitsu's spacing of notes and imaginative scoring influences our perceptions, it's much more rewarding just to relax and let the music wash over you. Knussen, who leads amazing performances here, has programmed the disc for a continuous listening experience, although the novice should probably listen only to a couple of pieces at one sitting. --Leslie Gerber

Customer Reviews:

More of the bland stagnance of Takemitsu's later symphonic work.......2007-06-03

It's inexplicable that so little of Takemitsu's extraordinary film music has been released in affordable editions outside Japan, while compilations of his boring, overtly derivative late orchestral output have enjoyed inclusion on releases by the likes of DG. Then again, DG hasn't had a good string of releases since the late '70s, so I don't expect too much from that fallen giant.

"Quotation of Dream" is easily one of Takemitsu's worst compositions and an absolute waste of time: a meandering exercise that tediously quotes Debussy's "La Mer" and recycles portions of Takemitsu's own "Dream/Window." Technically, this piece is as expertly constructed as all of Takemitsu's work, but that doesn't make it any less counterfeit of its' source material, or any less embarrassing for it. Why should I listen to this tiresome pablum when the compositions it borrows from are readily available?

"How Slow the Wind," "Twill by Twilight" and "Archipelago S." are typical examples of Takemitsu's late orchestral works: they assume a lovely sound and were composed with ingenious design, but that doesn't make them even remotely interesting or memorable.

There are a few works on this disc that are worth hearing. The aforementioned "Dream/Window" is a brilliant, beautiful twelve-tone composition that's infused with the drifting, dreamlike sonority common of his works - an aesthetic which is almost anathema to the rigorous character of most serialist compositions.
Also notable are "Day Signal" and "Night Signal," a pair of dissonant, evocative fanfares that bookend the album's content. These brass-voiced compositions seem almost facile to the ear at first listen, but repeated plays distinguish the cleverness of these little pieces as antiphonal movements.

None of the negative comments of this review should obscure the fact that Takemitsu was a truly gifted and intuitive composer. But it's inexplicable that so much of his best (and in many cases, most accessible) works of film, piano, chamber and electronic/tape music remain either out of print (often since being released on LP) or entirely unavailable for domestic consumption of his North American and European listeners when the least of his orchestral oeuvre is readily on hand.

There's nothing that I can say against these performances by Knussen conducting the LS. They're excellent, informed executions of mostly mediocre compositions. However, I'd much rather hear Knussen performing the best of his own small (but distinguished) oeuvre!

The production is decent: as transparent and pristine as most of the best digital recordings. These compositions don't demand any venture into extreme registers, but the soft passages are capably, audibly reproduced without any loss of their inherent subtlety.

Really enjoying this one.......2006-04-29

I have only recently begun listening to Takemitsu. Was introduced at a guitar recital. I have been slowly accumulating more of his compositions. For me, this is possibly the best.

Composition intrigues me perhaps more than any other aspect of music, and this fellow was clearly inspired. I would liken his music to that of Alan Hovhaness, but without some of the more brash moments of that composer. I can also hear the influence of Debussy, but Takemitsu takes the listener in many enjoyable directions throughout this CD.

The playing and recording are also top-notch.

A fine collection of late works and an ideal introduction.......2004-12-11

QUOTATION OF DREAM is the first of Deutsche Grammophon's several collections of pieces by late Japanese composer Toru Takemitsu, who thankfully has been getting ever-more attention since his untimely death in 1996. Takemitsu was a mainly self-taught composer, and because of this there seems to be little that connects him to his serialism- or minimalism-inspired colleagues. Nevertheless, Takemitsu's own path is fascinating, exploring Japanese and Western compositional principles in isolation and in combination and striving to transcend them both. These pieces, several of them related by shared thematic materials. are lovingly performed by the London Sinfonietta conducted by Oliver Knussen, who was a friend and admirer of Takemitsu.

The disc is framed by two antiphonal fanfares written in 1987, "Day Signal" and "Night Signal", together called "Signals from Heaven". They are closely related, both using dissonance to suggest the changing of the skies, but with one inverted from the other to suggest an opposite tone.

A quip of Takemitsu was "I am self-taught, but I consider Debussy my teacher." The first major work here, "Quotation of Dream - Say sea, take me!" (1991), is a tribute to Debussy using quotations from his "La Mer" as if the composer was trying to recreate the piece he had just woken up from dreaming. The title also refers to its use of some material from "Dream/Window", an earlier composition present on this disc. "Quotation of Dream" is a lovely tribute to the composer's greatest inspiration, but the majority of the work comes only from Takemitsu. His use of a zig-zag of harmony, of orchestral colour that comes forth and recedes like waves is nothing you have ever heard before in orchestral music.

"How Slow the Wind" (1991), inspired by a poem by Emily Dickinson, is rather more brooding. It's most interesting moments occur toward the end, when cascading woodwind sounds and the faintly mechanical notes of two Swiss cowbells transform the work into something different. This is one of Takemitsu's most impressive works,

"Twill by Twillight (in memory of Morton Feldman)" (1988) is an experiment with a musical "tapestry", where a theme "weaves" through the piece. The piece is pretty music, but does little to make itself memorable and for me remains the low point of this collection.

The title of "Archipelago S." for twenty-one players (1993) refers to the landscapes of Seattle, Stockholm, and the islands of the Sato Inland Sea . The piece has an innovative stage layout, with the players grouped into five "islands": a five-person brass group, two mixed seven-piece groups, a clarinet sitting to the right, and a clarinet sitting to the left. The effect is indeed somewhat nautical and this recording exploits the space well.

"Dream/Window" (1985) is probably the most important composition on this disc. Every note of this piece is of the greatest delicacy, and the work as a whole is so crystalline and fragile that one feels one will break it just by listening to it. Though Takemitsu's later works are impressive, they have never seemed to me to acheive the perfection of "Dream/Window". What is surprising is that this work is true twelve-tone music, yet with Takemitsu's skill it does not sound dull or scientific.

If you ever think that modern-classical music is written only by dispassionate ivory-tower robots like Pierre Boulez, the works of Takemitsu will show you that contemporary techniques can, under the right hands, touch the emotions as much as the intellect. While it takes some time to get used to (nearly six months for me), this is probably the single best introduction to the music of Toru Takemitsu. And one should certainly listen to this before getting the other DG "20/21" discs, which are rather more specialised (with, for example, one having traditional Japanese pieces and the other flute and guitar works).

Another world.......2003-10-18

Toru Takemitsu was one of the late 20th century's most individual composers whose scores use primarily the traditional instruments of western classical music. Perhaps in part because he wrote film scores in addition to concert pieces, his art is highly communicative and un-academic. It has the double merit of being about as far as you can get both from gnarly, dissonant modernism and from pretty-pretty New Age ear candy.

Quotation of Dream includes seven pieces from the last decade of Takemitsu's life (he died in 1996), including the premiere recording of the title piece. The disc begins and ends with fanfares that, while perhaps effective as aural bookends, are to my ears undistinguished. The music that lies in between, however, is extraordinarily compelling.

Takemitsu's style in these works is generally meditative, with frequent slow, quiet passages, strings predominating. But there are dramatic incidents and color as well: flaring brass, rising like a mountainous island from a tropical sea; raindrops of chimes; drawn-out woodwind lines weaving sinuously through swirls of massed violins. The music sometimes pivots around silent pauses, like the empty spaces in Zen painting. In Quotation of Dream, twin pianos (played by Paul Crossley and Peter Serkin, respectively) dominate the foreground with gentle cascades of notes while orchestral clouds form in the background.

The musical language is often reminiscent of Debussy and Ravel; in mood (though not in technique) it can resemble the slowest and most mysterious moments in music of the second Viennese school (Schoenberg, Berg, Webern et al.). The subtlety and elusiveness probably owe something to the composer's Japanese heritage. But this is no cut-and-paste job; the overall impression is startlingly original.

I have not read the liner notes, and have no idea of what Takemitsu is trying to "say," or what these scores "mean." I would also suggest that those considerations are pretty irrelevant: the important thing is the sound world that he has created, which is both other-worldly and bracing.

Oliver Knussen, a contemporary British composer and a friend of Takemitsu, conducted the London Sinfonietta in these recordings. It is apparent that that he helped the players, who sound expert, get "inside" the music.

Anyone who already knows and appreciates Takemitsu's sensibility need not hesitate to acquire this disc. It can also be recommended for all but the most determinedly "mostly Mozart" classical devotees.

The presentation is not ideal. Deutsche Grammophon has never excelled at digital recordings, and the sound of this disc, while detailed and transparent, is a bit bright and clinical. The disc is contained in one of those cardboard containers that some labels are now trying to get you to accept in lieu of the standard jewel case because it's cheaper to produce (but not cheaper for you to buy). The atmospheric sepia-toned photo on the cover has a fat round sticker on it that shouts "World Premiere Recording"; if you try to peel off the sticker, it leaves ineradicable shreds. The plastic tray with the central claw ring is glued to the cardboard. Take care not to break the plastic, because there is no way you can replace it.

Takemitsu draws you into his dream world.......2002-04-07

These pieces from Takemitsu's maturity represent the pinnacle of achievement for this gifted composer. Without regard to trends and fashion in contemporary music has has created his own sound universe. A peaceful, yet oddly non-somnolent, serenity informs virtually every bar of these wonderful pieces. The music is beautiful, lush and imaginative at every turn and despite strong ties to the French impressionists it is creative and unique and infused with Takemitsu's personal stamp and his nature-mystical aesthetic. The sound and the performances are first rate and Oliver Knussen must be congratulated on doing such a fine job in bringing these excellent pieces to life. If you love Takemitsu, you will love this CD. If you are new to Takemitsu, this is a wonderful introduction to one of the 20th century's finest composers.
Recommended without reservation.

Average customer rating: great REZ BLUES.....

RESERVATION BLUES The Soundtrack Jim Boyd and Sherman Alexie Manufacturer: Thunderwolf ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Blues | Styles | Music Western Swing | Country | Styles | Music General | Folk | Styles | Music General | Soundtracks | Styles | Music General | Alternative Rock | Indie Music | Stores | Music Similar Items: First Come, Last Served Smoke Signals: Music From The Miramax Motion Picture Unity Bone Days Going To The Stick Games ASIN: B00004Z125 Release Date: 1995-09-15

Tracks:

1. Reservation Blues
2. Treaties
3. Indian Boy Love Song
4. Father And Farther
5. My God Has Dark Skin
6. Falling Down And Falling Apart
7. Big Mom
8. Urban Indian Blues
9. Small World
10. Wake
11. Old Man Singing
12. Break And Keep
13. 99 Percent Alike
14. Prophecy

Album Description

This recording blends Spokane/Coeur d' Alene Indian writer Sherman Alexie's words with Colville Indian songwriter Jim Boyd's music to form a very moving collaboration.

Three songs from this CD was placed in the miramax motion picture Smoke Signals and is included on the TVT Records soundtrack.

The song "Small World" was placed on the benefit CD HONOR, which included many other guests such as; Bonnie Raitt, the Indigo Girls, John Trudell, Matthew Sweet, and many more.

Customer Reviews:

great.......2005-08-08

Best Indian Blues album. Alexie + Jim = reality check = lets move beyond where we are now = then we may be able to get some of it back. Now go check out a folksinger from Minnesota, her name is Sarah Thomsen. Not the jazz artist but the folk singer, get her Is This for Freedom cd. Wow. And don't forget Annie Humphrey.

SG

REZ BLUES............2001-02-25

ESSENTIAL JIM BOYD I AWAIT PATIENTLY FOR HIS NEXT MASTERPIECE GREAT SONGS ON HERE LIKE FATHER AND FATHER ,REZ BLUES,TREATIES AND MORE IT'S REZ BLUES AT IT'S BEST I CAN'T SAY ENOUGH ABOUT THIS MUSICIAN I HAVE ALL HIS CDS AND THERE RIGHT NEXT TO MY BILL MILLER COLLECTION WHOM I RESPECT.

Average customer rating: Beauty soundtrack Poetic, moving, spiritual journey. Great Music Just buy it

Smoke Signals: Music From The Miramax Motion Picture B. C. Smith Manufacturer: Tvt ProductGroup: Music Binding: Audio CD Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music 1990s | By Decade | Soundtracks | Styles | Music General | Soundtracks | Indie Music | Stores | Music Movie Soundtracks | Soundtracks | Indie Music | Stores | Music Similar Items: Smoke Signals RESERVATION BLUES The Soundtrack Mahk Jchi Weaving The Strands: Music By Contemporary Native American Women First Come, Last Served ASIN: B000007Q6L Release Date: 1998-06-23

Tracks:

1. Forgive Our Fathers Suite
2. On Fire Suite
3. Fourth Of July
4. Arnold's Body
5. Road Buddy
6. Arnold Is Dead
7. Treaties
8. Fry Bread
9. Reservation Blues
10. Hippy Arnold
11. Journey Begins
12. Alternate Gymnast
13. A Million Miles Away
14. Good Day For Breakfast
15. Breaking Bottles
16. Arnold Leaves
17. Clobbering Thomas
18. Super Thomas
19. John Wayne's Teeth
20. Charles Bronson
21. Fry Bread Riot
22. Jesuit Basketball
23. Trailer haircut
24. Victor's Run Suite
25. That's My Father
26. Father And Farther
27. All My Relations

Amazon.com

At its best, the soundtrack to Smoke Signals is a beautiful experience--simple orchestrations with plaintive flute and guitar (just check out "Arnold Is Dead") give the soundtrack to this Native American-directed, -written, and -acted film an introspective feel. Too often, however, the otherwise moving score by B.C. Rich resorts to standard rock clichés. The electric guitar used throughout has a generic '80s metal sound, which does little to enhance the film's tone (unlike the included and wonderful vocal contributions from Native American ensembles Ulali and the Eaglebear Singers). Guitar-shaded soundtracks can work extremely well (check out the excellent Gas Food Lodging score). Here, however, the ax is up-front and distracting. It's a shame because on more subdued tracks like "Charles Bronson," "Fry Bread Riot," and "That's My Father," the Northwest Sinfonia is simply sublime. Cuts by singer/songwriters Dar Williams and Jim Boyd are also featured, making this soundtrack all the more powerful. --Jason Verlinde

Customer Reviews:

Beauty.......2004-03-08

It's difficult to give beauty any meaningful score. 'Five stars' just isn't enough in this case. From start to finish, this is a great collection of music... one of those CDs you buy a second time because it deserves to be shared with a good friend.

soundtrack.......2002-09-16

I've never been a soundtrack lover but this one's the exeption. It captures the mood and emotions of the movie. I just love it...

Poetic, moving, spiritual journey........2002-01-25

At times the soundtrack to Smoke Signals is lighthearted, like the laugh-out-loud novelty of the Eaglebear Singers chanting a song called "John Wayne's Teeth." At other times it is a hummable road song, like "Reservation Blues" or "A Million Miles Away." But most of the time it is a journey, a journey of remembrance, questions, pain, and, like the phoenix, rising from the ashes and soaring.

I loved the two songs by Ulali, one of which ("All My Relations") can be found on their album Mahk Jchi. Their haunting acapella chants really made "Forgive Our Fathers Suite" the best song on the soundtrack even though it was difficult to choose a favourite. The song is eerie, powerful, connected, a plea. Pounding drums and near-guttural chants open the track, but near the middle there is a sudden transition to a gentle three-part harmony flowing like the river, a sense of tension being released, of past ghosts freed and worries laid to rest.

The music ranges from quiet guitar and flute, Native flute and percussion ("Charles Bronson"), chant and guitar ("Victor's Run Suite,")to a mixture of rock and Native influence ("On Fire Suite," "Fourth of July"). Many of Thomas's storytelling songs have the exact same introduction ("Hippy Arnold," "Good Day for Breakfast," and "Fry Bread Riot" all sound suspiciously similar although it does lend continuity to the setting).

This is one of the best soundtracks I've ever invested in. There are a variety of songs spanning a number of genres, all Native, all representing different aspects of who we are and where we are going. It is always touching, powerful, and an awakening whenever I listen to it. If you are searching for something or if your journey is only beginning, pick up a copy of "Smoke Signals" to help you on your path.

Great Music.......2000-11-04

This songs on this CD exude both the thunder and gentleness of musical expression. On many of the songs the Native American elements are very strong. Other songs are more white folky sounding, and then there are the ambient soundtrack snippets which sound good to, but aren't really full- fledged "songs". There are a few tracks which I just can't get into, but overall its a great CD with an excellent production. Wow- what a film though. Very powerful stuff.

Just buy it.......2000-07-01

Whatever brought you to this site insures that you won't be sorry with your purchase. I have over 80 NA artists' CD. I am proud to include this one in my collection BTW: If you get through the final tract without tears or a lump in your throat, you get a special prize at heaven's gate...

Average customer rating: A breath of fresh air The One of the Greatest, Unheralded Guitar Albums Too much fuzack! Exuberant, exciting, creative masterpiece

Signals Wayne Krantz Manufacturer: Enja ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Bebop & Post-Bop | Compilations | Jazz | Styles | Music CDs $7 - $10 | Jazz General | Jazz | Today's Deals in Music | Formats | Music All Bargain Titles | Jazz General | Jazz | Today's Deals in Music | Formats | Music General | Jazz | Indie Music | Stores | Music Similar Items: 2 Drink Minimum Separate Cages Long to Be Loose The Green Field Underground ASIN: B000005C8P Release Date: 2002-05-25

Tracks:

1. Alliance
2. Faith In The Process
3. One Of Two
4. Don't Tell Me
5. As Is
6. Signals
7. Sossity; You're A Woman
8. Music Room
9. Two Of Two
10. For Susan

Customer Reviews:

A breath of fresh air.......2005-05-16

This album is a breath of fresh air for a jazz enthusiast like myself. For me it's a new album even if it's been recorded in 1990. Anyway Wayne's guitar playing sounds really fresh and new even fifteen years after the recording of this album. His music is a sort of electric jazz very melodical but at the same time complex especially rithmically. The album is composed of combo tunes and of tunes where Wayne plays by himself. I can say that his approach to guitar playing is very deep harmonically, but he excels really in the rhytmic stuff. Not talking about comping stuff, I'm saying that he is great rhytmically in both phrasing and comping and evething in between the two ways of playing. Something you can't say of a lot of guitar players which usually are not so forward in terms of subdivisions. Even when Wayne plays by himself he is fantastic rhythmically ,,, you really have to hear him for yourself. And even when he plays with the band he gives and take a lot of rhytmic inputs. His style is very rich and dense. The album is very entertaining and melodical. A must have for the jazz (and jazz guitar) enthusiast. He plays his own music caught between his friend Mike Stern'stuff (less hendrixesque) and Pat Metheny (but without Pat's chromatic idiosyncrasies). He is a really new voice in Jazz guitar, probably the best I have heard recently. Catch him if you can.

The One of the Greatest, Unheralded Guitar Albums.......2005-05-10

This is without a doubt one of the best guitar albums ever. Krantz is a complete package with a unique and totally integrated harmonic and melodic signature on the guitar. He has a blazing, complex technique, but it always serves the music. And his tone...incredible. Considering that this was recorded in the mid-Eighties, it has absolutely NO smooth jazz influence or schmaltz and, in fact, was recorded to be the antithesis of that genre, while still merging the rock and jazz idioms in an approachable, commercial way. A complete artistic success, but unfortunately not a commercial one. If you have even the slightest interest in the electric guitar, this album is essential.

Too much fuzack!.......2002-12-18

Wayne Krantz is an exceptional talent and the solo pieces on this CD are first rate. But the tracks with the band just reek of the hell that is smooth jazz. "Two Drink Minimum" is a much better choice for the uninitiated.

Exuberant, exciting, creative masterpiece.......1999-09-29

This is an exciting original work by a very creative artist and performer. The flow of the music is hypnotic and full of energy. The sound expresses both breadth and depth of character and range. It is a "must" for jazz enthusiasts. Mr. Krantz's work is technically precise and musically unmatched.

Average customer rating: Production is lacking you will not find a more passionate and heavy album Great metalcore - amazing instrumental skill Brutal, yet melodic Face Yourself.

Mirrors Misery Signals Manufacturer: Ferret Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Death Metal | Hard Rock & Metal | Styles | Music General | Hard Rock & Metal | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Redeemer The Price of Existence A Desperate Man's Diaries Sirens Saints ASIN: B000GUJZ6E Release Date: 2006-08-22

Tracks:

1. Face Yourself
2. The Failsafe
3. Post Collapse
4. Migrate
5. One Day Ill Stay Home
6. Something Was Always Missing, But It Was Never You
7. Reverence Lost
8. Sword of Eyes
9. An Offering to the Insatiable Sons of God (Butcher)
10. Anchor
11. Mirrors

Customer Reviews:

Production is lacking.......2007-06-13

The songwriting, lyrics, new vocalist, instrumentals, EVERYTHING on this album is amazing. Too bad they didn't have Devin Townsend as a producer again. Of Malice & the Magnum Heart is still probably the best sounding album i've ever heard, ever.

you will not find a more passionate and heavy album.......2007-01-11

this cd is insane. if you like of malice and the magnum heart (misery signals previous disk) you'll love this cd. the melodic parts are more melodic and the heavy parts are heavier. the guitar parts have gotten way more technical as well, but not in a way that makes you not appreiciate the technicality of the record because it's over done, but in a way that just makes every single song memorable, much like malce but more so. the new vocalist isn't as good in my opinion (he's not as raspy and the vocals just aren't as powerful without all the layering) but he's still really good and he still gets me pumped, except for when he does this stupid like whispering thing, where the old vocalist would do the tough guy talking thing this guy whispers and it sounds retarded. this cd is great if you're already a fan if you're just getting into misery signals i suggest buying Of Malice and the Magnum Heart. some stand out tracks are sword of eyes, anchor, and something was always missing but it was never you.

Great metalcore - amazing instrumental skill.......2006-12-31

This is my first sampling from Misery Signals, and I have to say that Mirrors has blown me away.

At first listen, I decided that buying the CD was an okay venture, since the music seemed to be solid enough. After a few more listens, I was committed. The musicians in this band are truly amazing, and have a great sound. The run-of-the-mill vocals were somewhat of a turn-off for me, but its simple to look past them to the true music. Don't get me wrong; the vocals are great if you're into the whole screaming thing. But personally, I got hooked on metalcore because of the music, and not the screaming. I was not disappointed. After owning the CD for a week now, some of my favorites include "Sword of Eyes," "Anchor," and "Mirrors." The two headlining tracks are great too ("The Failsafe," "One Day I'll Stay Home"), and (slightly) more radio-friendly.

All in all, this is one of those rare CD's that you can listen to straight through. Every song has its good attributes.

Definitely pick it up if you're a fan of the more melodic side of metalcore!

Brutal, yet melodic.......2006-10-27

As it's been mentioned by other reviewers, this is an amazing album. I don't even remember how I stumbled onto Misery Signals, but I'm very glad I did. The best way I can describe this band is to say that they mix hardcore vocals (without cheesy HC lyrics), complex heavy, yet melodic riffs, and pummeling DB drumming to produce a progressive, Hopesfall meets hardcore type sound. Actually, the slight similarity to old Hopesfall is what really attracted me. The best part about Misery Signals is that they cannot be easily compared to anyone else!

If you're looking for something crushing, monstrous, yet simultaneously beautiful, pick this CD up. It's a breath of fresh air amongst other bands in the stagnating metalcore scene.

"One Day I'll Stay Home" and "The Failsafe" are worth the price of the CD alone. Amazing songs.

Face Yourself........2006-09-27

This is another outstanding album from a band that contineus to rise above the mold in a genre now bland with routine and formulaic bands that rely on simplicity to make it. Misery Signals is most noted for their ambient yet crushing, atmospheric yet brutal sound which they further refine on 'Mirrors'. The guitars play off each other and hardly ever strum any normal power chords. It's all a combination of beautiful harmonies and picking with a tight low end in the bass.

Now it's to noted that this album is different from the first, 'Of Malice & The Magnum Heart' which is an amazing album as well. Gone are the punchy sounding drums and the prevalent bass lines. They have a new singer, whose voice is like a wall of soun. He also speaks a lot of the lyrics which is how Jesse Zaraska (the old singer) used to do it. But the overdubbed vocals are gone leaving a more aggressive sound. It works well here. Here is a track-by-track review:

1.Face Yourself - unlike the previous MS album, this song just hits you in the face with Carl Schubach's monstrous screaming and chugging guitars.Whereas the old album built you up to the opener with an intro track, this song just plain massacres with its breakdowns. Bear in mind that a MS breakdown is unlike anything you've ever heard with hard to hit time signatures and odd strum patterns. Fantastic ending. 5/5

2.The Failsafe - The first single and video. This song is amazing and the drums stand out masively. It is crushing yet very very melodic with it's clean passages which is what MS does best. The spoken words leading up to the insanely heavy breakdown are perfect. 5/5

3.Post Collapse - me and my friend call this song 'beefy'...and it is. It is probably the heaviest song on the album. Like Face Yourself, it slams you with it's crushing riffs. An awesome song. 5/5

4. Migrate - A very short soft song. Something diff but recognizably MS's style. The spoken words are intense. A welcome respite after the previous song's onslaught. 5/5

5. One Day I'll Stay Home - this song blows my mind. A sweet intro with weird timing, it is relatively soft. This song still retains it's power, though. The best part about this song is Fall Out Boy's Patrick Stump's guest vocals on the chorus. Different yet it fits so well. Who would've thought? 5/5

6. Something Was Always Missing But It Was Never You - probably the best intro to any hardcore song ever. It is heavy and pretty yet again and the timing gets me very time. The only noticeable bass riff is in thi song and it rips. 5/5

7. Reverence Lost - the worst song on the album, but by NO means is it bad. The drums just take off in the beginning. This is a really melocid song but ends on a heavy note. 4/5

8. Sword of Eyes - an sweet song. The intro is kind of haunting and the length is pretty long. It has some awesome riffs and a breakdown that makes me wanna shout every time. There is also a part where everything but the drums and vocals stop...ahhh...so good...5/5

9. An Offering To The Insatiable Sons Of God (Butcher) - not sure about the name. Kinda slow in the beginning and the lyrics are really simple. Nothing amazing...it is sorta mellow. 4/5

10. Anchor - Oh man, the single greatest riff I've ever heard is in the intro to this song. I love it. When I heard it I was like "holy crap!" This song is shorter than the rest besides Migrate as well. The breakdown where Schubach yells "This attempt has failed!" is the most forceful on the album. Love it. Ah, the riff. 5/5.

11. Mirrora - I'm still getting used to this song. It is the longest and the most epic on the album. All sorts of things going on here and the lyrics are really good as well. A perfect way to end a masterpiece. 5/5

All in all, a breath of fresh air in a stagnant scene. Go buy it now.

Like now.

Average customer rating: Spaciously coiled, sonic tension, brainy brawn the pinnacle of post-punk Effusive praise, barely restrained origins you won't be dissapointed

Signals, Calls and Marches Mission of Burma Manufacturer: Rykodisc ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Punk | Hardcore & Punk | Alternative Rock | Styles | Music American Punk | Hardcore & Punk | Alternative Rock | Styles | Music Post-Punk | New Wave & Post-Punk | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music General | Alternative Rock | Indie Music | Stores | Music General | Hardcore & Punk | Alternative Rock | Indie Music | Stores | Music Similar Items: Onoffon The Horrible Truth About Burma Zen Arcade Double Nickels on the Dime Our Band Could Be Your Life: Scenes from the American Indie Underground 1981-1991 ASIN: B0000009Q4 Release Date: 1997-07-01

Tracks:

1. That's When I Reach For My Revolver
2. Outlaw
3. Fame And Fortune
4. This Is Not A Photgraph
5. Red
6. All World Cowboy Romance
7. Academy Fight Song
8. Max Ernst

Customer Reviews:

Spaciously coiled, sonic tension, brainy brawn.......2006-08-16

One of the first CDs I bought was Rykodisc's 1987 MoB complete compilation; it was at the time the longest CD yet issued! The sound on that, I thought, could not be bettered, but after waiting a while to buy the remastered EP, this is not a cash-in job simply getting you to pay for the album again in (for me) its third form (counting my vinyl). I tend not to 'upgrade' a CD unless absolutely convinced it's one needing improvement. On this, I admit I gambled. I thought MoB sounded fine on that pioneering CD, but this re-issue nearly a decade later shows the sound's tighter and ratcheted up a bit more in intensity.

Which is saying a lot for MoB. The first four songs stand here as one of the most powerful post-punk statements ever recorded. The next eight (two--which were a single--are added to the original six). Why four stars? Well, I never liked "Academy Fight Song," but even its clunkiness sounds passable here--it's in a better place following the EP as it was meant to be heard; the 1987 chronologically ordered compilation began with "AFS," but I think it's moved better as a footnote than title header, so to speak.

For a young band's first recorded songs, these show maturity in lyrical ambition (if a bit too strained into prep school self-consciously alienated smarts on the two single songs), precise musical arrangements, and three singer-songwriters in training. It sounds spacious yet coiled, and prepares you for their triumph, "VS." as more than a warm-up. (I might add that while their reunion "Off/On" nearly matched "VS.", that their third album, this year's "The Obliterati" (great multi-level pun) may even surpass "VS." in its formidable stature. This EP shows that the band had what it takes for the long haul, then and now. It comes out roaring, and combines brains with brawn in a way few "college radio/alternative" bands of the era have managed to come close to. I don't think any American post-punk band on an early 80s debut surpassed this EP.

the pinnacle of post-punk.......2006-01-15

I first encountered Burma on the radio; "Academy fight Song" and "Revolver" were actually "hits" on a major Boston radio station -- this being waaay back in the day before Clearchannel bought up everything and radio became the same sucky suck on every channel. Good catchy punk songs, they grab you quickly. (Though "Academy" really reveals its multi-tracked mystery in headphones...) It wasn't till some time later, coming down on clear MIT-blotter acid one misty dawn, that I heard "Signals, Calls, and Marches" in full, but when i did, it completely redefined what I thought was possible with a guitar, a bass, and some drums. (And tape loops, aaah, the tape loops...) "Revolver" pulls you in with its angular intensity, shakes you around ("and now the sky is empty, but that is nothing new..."), then leaves you hanging on this melancholy chord, which --before you ever have time to process it-- has Peter Prescott pushing you with his kick drum into "Outlaw", which kicks in with a jagged, ideologically choppy riff. "Fame and Fortune" rolls in on an epic, moody wave, and build in intensity before crashing into this haunting, spacious breakdown that has Roger pulling all sorts of sounds out of his guitar. And for two guys who never really put technique before passion in their vocals, Roger & Clint always come up with these rough harmonies that seem all the more effective for rising out of a sea of noise. (Something Husker Du would later take to the bank...) Side 2 (oops, showing my age) kicks off with "This Is Not A Photograph" which features Dada-esque lyrics, an absolutely PRIMAL riff, and some sicksickSICK slide guitar plunges from Roger. "Red" is a journey through all sorts of terrain; "there's a window in my head", don't you know it. This one starts off thrashing, and dissolves into this abstract chaos, a looping octave-jumping bassline with a completely note-free guitar-solo, and swirling loops of vocal madness that just take this BEYOND. Then it all comes down with the chiming, double-guitar chords of "All World Cowboy Romance", perhaps Burma's most melodic track, and all without a vocal (except for their trademark "oohs" in the background...) Rhytmically, structurally, tonally, lyrically, this band was capable of stuff I haven't heard anyone equal since. (OK, well UZI and early Sonic Youth came close.) But with this band, it all came down to an indefinable mad passion and intensity, and that comes across clearly on this record. I remember deciding to listen to this every day for 100 days straight, and I did, because I wasn't sure I'd ever hear anything as good and I wanted to savor this album, to burn it into my brain so deeply that it would cut the grooves on the grey matter. To this day, I can hear this album note for note in my head, and that's an intimacy I have declined to share with any other record.

Effusive praise, barely restrained.......2005-11-22

A crystalline distillation of everything that was Boston's MOB. Grrrrrrr-eat songs like "This Is Not A Photograph" and "Acadamy Fight Song" punctuated with Roger Miller's twisting guitar. This is an envigorating listen, right up there with "Spiral Scratch."

origins.......2005-06-22

I can't help but note that everything new I hear on the local indie station these days sounds like somebody in the band was a MoB fan. That, or a fan of Gang of Four. Still, this takes nothing away from MoB, which did a much, MUCH better job with this genre than 99% of the imitators- all the way back in 1980. This doesn't sound dated to me, no more so than REM's Murmur, which to me is a completely timeless record. Yeah the critics at Pitchforkmedia slather all over this stuff and maybe it's a bit overdone, but largely the album deserves exactly as much praise as it's gotten. Seminal stuff for sure.

you won't be dissapointed.......2005-02-15

A truly historic band, Mission of Burma challenged not merely the status quo of the mid 80's punk/hardcore, but the very constraints of BLAH BLAH BLAH - if you want a an overwrought, spin-filled history of MoB, go read Pitchfork or SPIN. This is a great CD with most of the band's "hits" (ha!) and is probably the best introduction to the band for new listeners. Plus, it has the amazing Academy Fight Song b-side from the Max Ernst 7". I can't pigeonhole their sound to any specific genre, but it has as much in common with Gang Green as it does Gang of Four. The songs have intelligent lyrics, complex structures, catchy riffs, hummable choruses, and whether you're a punk looking for something a cut above the average 80's Boston hardcore, a hipster riding their reunion buzz or just looking for some great, timeless music, you really can't go wrong with Mission of Burma.

Average customer rating: From tragedy comes triumph boringest band ever good stuff... Amazing Production Makes you want to Weep and Mosh at the same time

Of Malice and the Magnum Heart Misery Signals Manufacturer: Ferret Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music General | Hard Rock & Metal | Styles | Music Pop Rock | Pop | Styles | Music $9.99 and Under | Blowout Music | Stores | Music Pop | Styles | Blowout Music | Stores | Music Rock | Styles | Blowout Music | Stores | Music Alternative Rock | Styles | Blowout Music | Stores | Music Hard Rock & Metal | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music $9.99 and Under | Prices | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: Not One Word Has Been Omitted The Design Villainy & Virtue You Come Before You Clients ASIN: B000255LK2 Release Date: 2004-06-01

Tracks:

1. A Victim, A Target
2. In Response To Stars
3. The Year Summer Ended In June
4. In Summary of What I Am
5. The Stinging Rain
6. Worlds & Dream
7. Murder
8. On Account of an Absence
9. Five Years
10. Difference of Vengeance and Wrongs

Customer Reviews:

From tragedy comes triumph.......2006-08-08

"Of Malice & The Magnum Heart" is basically a farewell to two friends of the band who died in a horrific car accident. Throughout this entire album, you can feel the hurt, pain, and anger of the days following the tragedy. A very good album, and one that needs to be listened to by anyone who has ever lost loved ones in their life.

boringest band ever.......2006-06-05

I have seen these guys twice, once opening for six feet under, and the other for strapping young lad. And god almighty both times i wanted to bash my head in concrete to keep from hearing these guys. Overall these guys suck even the heavy parts and the melodic parts will put you to sleep. Stop trying to be unearth and opeth and make good music like they do...

good stuff..........2006-06-01

When i first heard "The Year Summer Ended in June" i loved it after the first time i heard it...
The other songs are good too...but not the best this year, but good;D

Amazing Production.......2006-04-13

Misery Signals is one of those bands that will leave a mark in the pages of hardcore. Ryan Morgan [guitar] and Kyle Johnson [bass] from Milwaukee, Wisconsin. Were members of renowned hardcore outfit 7 Angels 7 Plagues and are now current members in this outstanding modern hardcore act. Of Malice and the Magnum Heart is Misery Signals first major release and god damn its good. This group heavily tours all corners of the world, so you can probably look for them at Warped Tour this year. Devin Townsend, lead singer for Strapping Young Lad shows off his skills as a producer with this album, he also does backing vocals on the track "a Victim, a Target." If you are a fan of 7 Angels 7 Plagues, Poison the Well, or Skycamefalling you probably already know who these guys are, but if you don't, then you should really consider checking this out.

Makes you want to Weep and Mosh at the same time.......2006-03-16

Truely a great album, below is my review of each song

1.A Victim,A Target-A kickass opening song a little on the short side but it gets the point across, and prepares you for the rest of the album 4/5

2.In Response To Stars-I freaking love this song one of the heaviest songs on the album definitely a favorite it's beyond amazing 5/5

3.The Year Summer Ended In June-A great song the lead single off the album,easily their most catchy song 5/5

4.In Summary Of What I Am-Probably my favorite song on the album, i love how they have the back up screams and the lyrics are great 5/5

5.The Stinging Rain-Another great song, like the rest of the album very emotional not much to say it is quite catchy 4/5

6.Worlds and Dreams-A little interlude before the heavy as hell song murder kicks in its quite calming but i mostly skip it lol 3/5

7.Murder-Jesses screams on this song are top notch truely an emotional song but great none the less 4/5

8.On Account Of An Absence-An awesome emotional/yet powerful song 4/5

9.Five Years-A great song about realization the guitars at the end are freaking awesome 4/5

10.Difference Of Vengeance and Wrongs-A very odd song kinda emoish i did not expect it at all the vocals are different but good, and Jesse screams occasionaly to keep it from being Monotonous, the ending is heavy as hell though and that saved it in the end.Lyrics are great though.3/5


So basically Of Malice and The Magnum Heart is a great Heavy yet Emotional album and Misery Signals definitely needs to be recognized.

Average customer rating: Signals Takes Rush Into The Next Level Of Their Career Good, but not great album Not Losing It Good but not great as Moving Pictures A great follow-up after a masterpiece!!!

Signals Rush Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Canada | North America | International | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music Progressive Metal | Progressive | Rock | Styles | Music General | Hard Rock & Metal | Styles | Music Hard Rock | Hard Rock & Metal | Styles | Music Pop Rock | Pop | Styles | Music Album-Oriented Rock (AOR) | Classic Rock | Styles | Music Arena Rock | Classic Rock | Styles | Music Similar Items: Permanent Waves Grace Under Pressure Moving Pictures Hemispheres Power Windows ASIN: B000001F2N Release Date: 1990-10-25

Tracks:

1. Subdivisions
2. Analog Kid
3. Chemistry
4. Digital Man
5. Weapon
6. New World Man
7. Losing It
8. Countdown

Amazon.com

Rush had already begun using electronics and synth in their music by the time Signals was released in 1982, so the synth-heavy opener, "Subdivisions" (a song that proves that high-school separatism is older than last year), wasn't that great a departure from their previous material. Signals also contains the single "New World Man," which still gets heavy radio airplay almost 20 years later, as well as groove-heavy, tech-savvy songs like "The Analog Kid" and "Digital Man"--prescient comments on the forthcoming information technology revolution if ever there were any. This was Rush's first studio album following Moving Pictures, which arguably remains their strongest and most well-known effort, after 2112. That's a tough act to follow, and Rush did it in the best possible way--by maintaining their distinctive sound while updating it with 1980s touches. Signals indicates that it was a good move. -- Genevieve Williams

Customer Reviews:

Signals Takes Rush Into The Next Level Of Their Career.......2007-07-08

After Moving Pictures success (and Exit...Stage Left), Rush started to reinvent themselves and the line of demarcation between old Rush and new Rush is drawn. Signals brings in alot more synths and an upbeat sound and that is not necessarily a bad thing. Rush is growing older and so is their audience and it is the 80s, where the face of music is getting technical and technique isn't all that important any more. Not that Rush became lazy as players, they just didn't need to show off as much as they used to. Still flashes of musical brilliance, Signals is New Rush. The songs are:

Subdivisions - From the opening keyboard line to the intense timing of Neil's drumming, Subdivisions is a great introduction to the new Rush sound. Keyboards aplenty. The lyrics are tight. Great teenage angst song. One of my personal favorites.

The Analog Kid - This is a flashy, lofty song. It hums along. Great Alex riff. Many people didn't want to accept that Rush had changed and I was one of them at the time (I was 13 years old) and that didn't lose them alot of fans, it just made room for new ones. And the boy pulls down his baseball cap and covers up his eyes....

Chemistry - If anything, Neil's lyrics evolved along with Rush's more synth-friendly sound. Very technical, yet arresting. Rush was the thinking man's rock. Still are. This song rocks.

Digital Man - Neil found some cool, jazz-inspired timing changes on Signals and Digital Man proves this. He may have been listening to Lenny White or Steve Gadd or the great Buddy Rich and it shows. Another great song, Rush didn't lose any steam even as it changed direction.

The Weapon - Part II of the Fear Trilogy (Along with Witch Hunt and The Enemy Within). I love this song. A clear expression of the state of the world in the midst of the Cold War. Scary? Maybe.

New World Man - Became another signature song for Rush along the lines of Tom Sawyer, The Trees, The Spirit Of Radio . . . Signals was so good that even the naysayers couldn't entirely dismiss it. Sure it wasn't 2112 or A Farewell To Kings, but it was Rush and it was well-written and well-performed. Great song.

Losing It - One of my all-time favorite Rush tunes because it's so depressing that it rules. I love the dark subject matter, the nod to Hemmingway. Very poignant. Very cool.

Countdown - Apparently Rush was allowed to watch the liftoff of the Space Shuttle way back when and it inspired them to write this song. Cool, but probably the weakest song on the album. I don't hate it, because it's still pretty good, just not one of my favorites.


Overall, Rush managed the impossible by changing their sound to a more synth-heavy feel without giving up the quality of their music. Gone are the intense drum solos and eye-popping bass riffs of the past albums (YYZ) and we miss them as fans of the old Rush. They are changing with the times, adapting to the technology of the 80s and even though a slew of untalented music acts will surface, sing and fade quickly away, Rush will remain. I didn't really care for this album as a kid because it wasn't as heavy as Moving Pictures and that was my 13 year old opinion back then. But now, as an adult, I see the flaws in that logic. This is one of my favorite Rush albums along with all the old standards, and the next few album will shine as well.

Dig it!

Good, but not great album.......2007-05-08

Let me preface this review by saying that I'm not a huge fan of Rush's "keyboard era" ("Signals" through "Hold Your Fire"). Signals certainly has its moments; "Subdivisions" is a good song, "Losing It" is very powerful emotionally, "New World Man" is a very radio friendly pop song, and "The Analog Kid" is more like the traditional Rush sound. The lyrics on this album are very good as well, except maybe "Countdown" (i.e. "... excitement so thick, you could cut it with a knife!").

The main problem with this album is that Alex Lifeson's guitar really takes a back seat while Rush experiments with New Wave, and even in a few cases, Reggae music. I think they really got it right on the next three albums, starting with Grace Under Pressure, but this one is just too keyboard heavy for me. Overall, this is kind of a bland pop album and very much unlike the rest of Rush's catalog. I certainly appreciate what they were trying to do, but the next three, in my opinion, were a lot better.

Not Losing It.......2007-04-24

This record signified a change in style but not substance. Gone are the 10 minute plus epic songs which marked their albums up to this point. But there is still plenty of ebb and flow on the 8 song masterpiece. Every song is unique with added emphasis of keyboards. This album is the crossroads into a new era of sound were the synth takes prominence in many songs. I always thought the Rush keys made a good song sound even more powerful in songs such as Witch Hunt, Jacob's Ladder and Xanadu. You get more of the same here right from the get go in 'subdivisions' all the way through to the underrated 'Countdown'. All 8 songs are solid. There is no track skipping here. 'Losing it' is a gentle gem about growing old. I would love to hear Sting do a cover of this song.

Good but not great as Moving Pictures.......2007-04-13

I'm not a great fan but I like the band at a moderate level.
Moving Pictures was a five stars album, without a doubt.
Signals is good but not great. There is some truly good songs on this one but there is also some weaker ones. My choice would go, for the best of Signals as this...Subdivisions, The analog kid, The weapon, New world man and Countdown. The other three songs, Chemistry, Digital man and Losing it are not as good as the other mentionned above. For me, this one deserve three stars, but close to four !

A great follow-up after a masterpiece!!!.......2007-02-16

1982 - After Moving Pictures it was hard to conceive of RUSH doing better musically or commercially. This album packs just as hard of a musical punch. Although not as musically complex as Moving Pictures, Signals was a powerful piece of rock expression that only RUSH could create. It is very even & the songs blend together almost giving it a concept album feel. Moving Pictures had the same musical consistency. The album discusses social issues such as anxiety, depression, disatisfaction with everyday life, & tensions at home/work/school. These issues make the album very easy to relate to. This album is my favorite along with Moving Pictures & it drives from the opening exploding notes of subdivisions. It is heavily dominated by power keyboard patterns and power chord guitar patterns. Peart's drumming is very hard & driving but less complex than moving pictures but fits very well into the music. He works the high hat alot in this album. Geddy Lee's bass sound is also hard-edged but a little less complex than moving pictures. You can also hear geddy moving back & forth from bass to keyboards (as on stage) indicating much of the album may have been recorded live without backtracking. Geddy's vocals are also strong as usual but he's doesn't hit as many alto & soprano notes. Lifeson put the acoustic guitar away completely on this album & plays the fender with mostly power chords. He's also is playing more rhythm patterns & fewer solos. The fact that this album is so heavily dominated by keyboards is interesting because lifeson didn't care for keyboards much because he felt it drowned out his sound. It is by far the most keyboard oriented RUSH album on the catalogue. There is not one song on the album that doesn't fit & the order of the songs also is pivotal. Most of the songs on the album are in 4/4 time & are shorter. There are no long epics. Instead it's a harder edged rock album appealing to the youth of the day. A notable is on the song losing it they have a guest electric violinist playing. This would be the only time RUSH would use an outside musician. The entire album is phenomenal but notables are subdivisions, analog kid (geddy's great vocal range), chemistry, losing it, & countdown (relating to RUSH's fascination with the space shuttle). This album is an 80s epic classic & a stunning follow-up to their obvious classic rock album Moving Pictures. This also the last terry brown coproduced album...

Average customer rating: You asked for this...you asked for it! Rock and roll, pure as it can ever be

This Flag Signals Goodbye Swearing at Motorists Manufacturer: Secretly Canadian ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music ASIN: B000066JHE Release Date: 2002-06-04

Tracks:

1. Over The Middle Bridge
2. This Flag Signals Goodbye
3. Press The Number Three
4. Doors Are Closing
5. Fan Mail For A Criminal
6. Leaving Adams Morgan
7. Borrowed Red Bike
8. Drinking On The Roof
9. Room Full Of You
10. Anything You Want
11. Losing Mine
12. The Real Thing
13. Collecting Skylines
14. (It Came) Out Of Nowhere

Customer Reviews:

You asked for this...you asked for it!.......2005-03-09

Swearing at Motorists are the quintessential rock band. They still live life on the road between gigs and they write good drums & guitar songs about relationships, life on the road , and getting high. This is probably their most rocking album to date. All songs are well-crafted storytelling that make you wanna shake your butt.


They don't put on a half-bad live show, either.

Rock and roll, pure as it can ever be.......2002-07-22

Swearing at Motorists are the masters of seeming simplicity... maybe true simplicity. They may not be the first act to discover that, in the era of recorded music, there is no longer any need for songs to have repetitive choruses that can be picked up in one listen-through. And yet they just might be the first ones to apply the finding to rock and roll while staying within a true rock and roll ethic.

The typical deviant from verse-chorus-verse structure is a graduate of having written (many) verse-chorus-verse songs. This songwriter may escape his habits, but it's rarely by simple removal of the repetitive elements of the song -- instead he substitutes variations on the tempos, melodies, riffs, words, and rhythms established at the outset a song. The extension of the song -- being the aspect in which the song differs from other songs -- becomes the essential element. And so it is that everything viscerally unnecessary to a pained soul that picks up a guitar comes to dominate -- and that we have experimental composition masquerading as rock and roll.

In the future of rock and roll channeled by Dave Doughman, it's verse-chorus-... end. The listener is never subjected to a second verse that's a dry, dispassionate variation on the first. What remains desperately vital may only be eighty seconds' worth, but so be it: on to the next vital eighty seconds. A dozen or so tracks later, you haven't wasted *any* seconds. And five listens later you may start thinking of the album as one big composition, and you start thinking that complexity may not have been sacrificed at all, and that maybe passion and sophistication are not opposing forces, and that it's odd that you are feeling again.

(Then when you see the Motorists live, you may find yourself wanting to personally make sure that Dave Doughman never comes in harm's path, because you may be suddenly overcome by a strong sense of the urgent necessity that the artistic inspiration he embodies never be extinguished by mere vagaries of existence on this damned planet. Or you may just notice that he rocks hard.)

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