Rush/WA,USA 1976 Soundboard

RUSH in 1976, who sent out the great albums “2112” and “ALL THE WORLD’S A STAGE” in succession. A soundboard album that conveys the era of that leap is now available. This work records the stereo soundboard recording of the “Seattle performance on October 28, 1976”. Speaking of 1976, it was a time when the three tours “CARESS OF STEEL Tour”, “2112 Tour”, and “ALL THE WORLD’S A STAGE Tour” were mixed, and the meaning changed greatly depending on the timing. First of all, let’s check the position of the show on the schedule at that time. 1976 “CARESS OF STEEL Tour” ・January 3rd – 10th: North America #1 (3 performances) “2112 Tour” ・February 9th – June 18th: North America #2 (49 performances) ← *ALL THE WORLD’S A STAGE ・July 8th – August 1st: North America #3 (12 performances) “ALL THE WORLD’S A STAGE Tour” ・August 8th – December 31st: North America #4a (67 performances) ← ★Here★ 1977 ・January 3rd – May 22nd: North America #4b (76 performances) ・June 1st – 13th: Europe (9 performances) “A FAREWELL TO KINGS Tour” ・August 20th – December 30th: North America #5 (87 performances) This is RUSH in 1976 and 1977. The official live album “ALL THE WORLD’S A STAGE” was produced from the Toronto performance of “North America #2”, but the Seattle performance of this work was four and a half months later. It was the 36th concert of “North America #4” which replaced the “ALL THE WORLD’S A STAGE Tour”. This work, which conveys such a show, is a wild soundboard with a very thick core and a spectacular sound board. It is a vintage type that is not compared to the official type, but instead (?) the rawness is full open. The bare core attacks without being processed, without caring about the experience of the concert. The fierce density ensemble, which is hard to believe is a trio, grabs the skull and shakes the brain, and it exudes the power of MOTORHEAD. It is amazing because it is so powerful and yet has a unique precision. While the vocals and beats sound as if they are blasting away at their youth, the ensemble does not collapse at all, and the complex development is decided with a bang. The subtle virtuosity continues to be casually and lightly delivered. It is a sound board that firmly imprints even the finest details in your brain. Such a delicate and powerful sound depicts a show that is like an extension of “ALL THE WORLD’S A STAGE”. Let’s organize the set while comparing it here. ・Flash rush: In The Mood / Working Man-Finding My Way ・Night flight: Anthem / Fly By Night / In The End / Bytor And The Snow Dog / Best I Can (★) ・Embrace of steel: Bastille Day / Lakeside Park ・2112 AD: 2112 / Something For Nothing *Note: The “★” mark is a song that cannot be heard on “ALL THE WORLD’S A STAGE”. …And so it is like this. In general, it feels like “ALL THE WORLD’S A STAGE with a different song order,” and “Best I Can” was selected for the last encore instead of “What You’re Doing.” And the performance that spells out such a set is intense. It is a masterpiece called “one of the best performances” by maniacs, and it exudes ferocious energy. Alex is aggressive, and Neil also approaches with a ferocious number of hands while exuding tremendous power from each and every hit. On top of that, the most amazing is Geddy. He barks powerfully with a youthful high note that stretches well. He gives us a tremendous vocalization that is comparable to Robert Plant in his prime. Among them, the jam of Alex and Neil is surprisingly delicious. It seems that Geddy broke a string, so he hastily connected with a blues jam, which is also very deep. The sympathy of improvisation creates a strange tension, making it a wonderful listening experience that doesn’t seem like a stopgap. This is a tremendous soundboard album that stands in the middle of a breakthrough and slams down the full force of youth and passion. It’s not an official substitute, but on the contrary, it’s a treasure that allows you to enjoy the power and dynamism that would never be possible in an official work with a raw sound. This is an inevitable piece in your collection. Stereo soundboard recording of the “Seattle performance on October 28, 1976”. The extremely thick core is a wild soundboard, and the raw sound is charged without processing. The fierce density ensemble that you wouldn’t think of as a trio grabs your skull and shakes your brain, and Geddy barks powerfully with a youthful high note that stretches well. This is a soundboard album of power and dynamism that flows directly into your brain, even for maniacs. Paramount Theater, Seattle, Washington, USA 28th October 1976 STEREO SBD (79:18) 01. Bastille Day 02. Anthem 03. Lakeside Park 04. 2112 05. Fly By Night 06. In The Mood 07. Something For Nothing 08. Guitar And Drum Jam 09. In The End 10. Bytor And The Snowdog 11. Working Man / Finding My Way / Dr um Solo 12. Best I Can Geddy Lee – Bass, Lead Vocals Alex Lifeson – Guitar, Backing Vocals Neil Peart – Drums STEREO SOUNDBOARD RECORDING