Playing Time.........: 00:36:01
Total Size...........: 82,43 MB
NFO generated on.....: 02.01.2009 00:19:55
:: Generated by Music NFO Builder v1.19 - www.nfobuilder.com :
Review from Amazon.com
Mostly recorded in 1979, PERMANENT WAVES (1980) marked the starting point for Rush's full-blown entry into condensed, accessible progressive rock. They abandoned the 20-minute suites and mystical lyrics for catchy progressive song structures, and more human, worldly-related topics. But, Geddy Lee (vocals/bass/synths), Alex Lifeson (guitars) and Neil Peart (drums/lyrics) didn't lose their brilliance in composition, even if most of the track lengths were fit for radio.
"The Spirit of Radio" is an ever-popular track, and seems to still get as much radio airplay as it did over two decades ago. A catchy, melodic track with cerebral lyrics dealing with no other than the radio, and it's effect on us listeners (i.e. music fans.)
"Freewill" is a philosophical rocker dealing with personal beliefs (e.g., god, fate, stars) and the consequences - positive or negative - of them. Neil Peart seems to be quite ambiguous in his lyrics, and you can't necessarily tell what *his* personal beliefs are at times. He seems to be playing more a role of devil's advocate, which in some cases is probably the smartest part to play.
"Jacob's Ladder" brings slight resemblance to Rush's 70s period, as this is the most *proggish* on the album, and more than likely can please fans of that particular period. Mostly instrumental, it's an atmospheric rocker which leans toward the darker and heavier side. Highlights of the track are the instrumental section in 5/4, and later, a spatial, instrumental section featuring guitarist Alex Lifeson (later joined by band) playing a snaky riff in 13/8, while Neil is keeping time nicely, and Geddy lends some darkly airy synths on top it all. This track bears considerable King Crimson influence, though clearly, it's still Rush's trademark sound.
"Entre Nous" is something of a ballad, but with intellectual-oriented lyrics. Alex Lifeson's trademark atmospheric arpeggios, Geddy's subtle, but commanding vocal combine nicely to make a highly compelling track.
"Different Strings" is the soft tune on the album. Though possibly seen as a warm up to the following track, it stands nicely on it's own. Poignant as well.
"Natural Science" is the other most *proggish* number on the album. Written in three sections, the lyrics mostly deal with nature and the enviornment. Complex musicianship is very apparent, but doesn't overshadow the strangely catchy and addicting elements found here.
This would be a perfect place to start for anyone interested in Rush. Features a nice balance of complex musicianship and accessibility that's hard to beat. Recommended.
When I first started seeing "Gold" CDs in the mid-80s I thought it was just another way to get me to pay more money for basically the same quality as aluminum-substrate CDs. In other words, I thought it was all...hype.
I even had a Tower Records employee tell me, "The only difference is that the gold doesn't oxidize as fast." (Given the intellectual level of the average Tower employee, that he used "oxidize" was impressive enough.) Which, while true, it also tells me that the guy had either never heard one of the discs or didn't have access to even mid-level audio equipment.
So I've been laboring under a 25+ yr delusion that Gold CDs were a marketing ploy.
Well, I've justed listened to Mobile Fidelity's "Permanent Waves", Special Limited Edition no. 3042. (I read somewhere that only 5000 are made, if so I got lucky since I almost passed it up.)
Not only was a I wrong, I was DEAD WRONG. I feel like such an idiot. I could have--SHOULD HAVE--all of MoFi's Rush editions. Now they are going for $100 and up (if nothing more than an investment!). The wife--sadly, like most women, a Rush-hater--ain't gonna go for dropping that kind of cash.
As for the sound quality I concur absolutely with many of the reviewers: this is simply the best sounding "Permanent Waves" I've ever heard, and I've owned FOUR previous editions (LP, Cassette, un-Remastered CD and Remastered ["The Rush Remasters"] CD) and this blows them ALL away.
The sound quality is breathtaking. I used the "STRAIGHT" setting on my Yahama HTR-6050 Receiver so that none of its decoders would alter the sound out-put from my Toshiba HD-A30 (yes, it's an HD-DVD player, it's also a d*mn good CDDA player). Only in concert (esp on this last tour) have these songs sounded better.
Geddy's bass: clean and punchy; sharp and fat at the same time (Rush fans should know exactly what I mean), something rarely fully captured on disc ("Power Windows," even pre-remastering, was an excellent example--and don't I wish I had that Mo-Fi version of that!).
Alex's guitar: Mr. Lifeson's guitar ranges from shimmering (the 12-string on "Natural Science"), to the emotive scream of "Spirit of Radio's" solo, to the measured, martial pace of the mid-section of "Jacob's Latter." (The last being the only Rush song ever called "beautiful" by a Rolling Stone reviewer--not that we Rush fans CARE what Rolling Stone thinks anyway.)
Neil's percussion: probably the most amazing thing about this disc is the complete fidelity to his "old" kit, with its plethora of percussive devices both familiar and bizarre.
The tympanis on "Jacob's Ladder", to give one example, reverberate so cleanly it was almost as if I could reach out and touch them. His snare snaps back with a wicked authority so many drummers aim for and so very, very few achieve.
The only better sounding disc I've ever heard are SACD's, e.g. Coltrane's "Lush Life" and Janine Jansen's "Four Seasons". Of course, even this disc doesn't equal an SACD, but it's closer than anything else.
I could write 10,000 words about this gem of a remastered disc. But Amazon only allows 1000 and I doubt most folks would want to read it.
For an album I've listened to on at least a weekly basis since 1983, if not daily, I was further surprised as how many "new" things I discovered from this single listen. (Needless to say, there'll be many more.) The opening tidal pools of "Natural Science" to the closing crash of the in-coming tide reminded me so much of La Jolla Shores it was eerie.
Hugh Syme's piano work on "Different Strings" is also beautifully rendered. I don't know if he was playing a Steinway grand--it certainly sounded like it. Whatever it was, few of my "classical" piano CDs sound this pure. The fidelity is so good that at the end of this track I can hear what I believe Alex's pick tapping a pick-up. It's THAT good.
If you're a Rush fan and an audiophile (and aren't the two really synonyms?), you simply MUST have this disc.
Let's hope this disc sells enough copies to warrant yet more Rush albums from MoFi's Magical Mixing Laboratory. They deserve it--and so do we.
I only hope that more Rush CDs are coming from MoFi's Magic Mixing Laboratory.