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Old 03-10-2017, 02:12 PM   #17
Join Date: Mar 2006
Location: Dystopia
Posts: 12,382
Originally Posted by Undertoad View Post
I mark the song down, though, for two aspects.

1) It up-transposes again, this time by one note, for the final bit. I just personally find that to be a hokey songwriting trick most of the time. (It shares that trick with "My Baby Takes the Morning Train", for example.)

2) As with Mr. Phil Collins before him, here you have a drummer who over-employs the shitty drum machines of the early 80s. Not one real drum on the song. Sir are you not offended.
As a whole, I mark the song down for the 2-3 minutes of aimless keyboard noodling that occurs after the song should have faded out. It's like 6 minutes long, and I'm sorry but you better be a progressive band with elaborate song sections to sustain an over 5-minute length.

Aimless noodling over a repeating pattern is the reason--I think--that Rush's album Caress of Steel reviewed poorly. They were trying too hard to be a 'standard rock' band, and not playing to their song-structuring strengths. Except in Bastille Day. Great song, and also a great message, that the Ayn Rand-reading Rush fans should remember, along with their fevered anti-communist fantasies.

Yes, more than one song can get stuck in the repeat file, because Bastille Day is the other one I've been stuck on all this week. Also, singing in the shower. Presumably both in the same shower, at some point.
There's a level of facility that everyone needs to accomplish, and from there
it's a matter of deciding for yourself how important ultra-facility is to your
expression. ... I found, like Joseph Campbell said, if you just follow whatever
gives you a little joy or excitement or awe, then you're on the right track.

. . . . . . . . . . . . . . . . . . . . . . . . . . Terry Bozzio
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