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Thursday, February 13, 2014

Prog magazine Signals feature with new Alex Lifeson interview now online
10:28AM EST | comments (48) |

Last week we learned that the latest issue of Prog magazine contained a feature on Rush's Signals album with the cover tagline Rush: creating Signals, a synth rock opus!. The feature itself is titled The Albums That Saved PROG: Signals and contains a new interview with Alex Lifeson that was conducted when he was in London last November to receive the Spirit of Prog award at the Classic Rock Awards. Eric over at the Power Windows site has transcribed the article and made it available online here. Alex shares some of his memories about the recording of the album including its heavy use of keyboards:

... The problem with Signals, from Lifeson's viewpoint at least, lay not with the songs but in an irregular production. "In a couple of key places there was too much emphasis placed on the keyboards," he explains. "The mix of Subdivisions has always been a disappointment for me. I recall leaning over to push up the faders [to increase the guitar levels in the mix] and Terry would smile and push them back down again."

Lifeson tolerated this situation for a while, 'taking one for the team' in today's parlance - though Lee later related how the normally placid Lifeson returned to the studio with fresh perspective following a few days away, storming into the control room with the statement: "There's not enough guitar on this record for Chrissakes!"

"The language was probably more colourful than that," guffaws Lifeson at the memory. "But look, a band operates on consensus. Everybody else felt we were going in the right direction. To my way of thinking there was an imbalance, but I have no regrets. ...

The article also contains a short sidebar piece with Haken vocalist Ross Jennings. You can read the entire article/interview at the Power Windows site.

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Comments

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#48 - Posted 2/17/14 @11:04AM by simon r

Odd that this has come up again. I personally love the keyboards on Signals and Power Windows so agree with Geddy on this one. I think the keyboards adds another layer to the music of the band and not just be a hard rock band.UFO an example with Paul Raymond`s keyboards on Love to Love and other tracks.
Sorry Alex dont agree with you on this. You can still hear Alex`s solos loud and clear. I think they both complement each other brilliantly.
#47 - Posted 2/17/14 @7:09AM by jupeguy [contact]

agreed mg. Signals was my first Rush concert(I was 16) and Countdown was just amazing live. Have always really liked Countdown and don't understand the negs. it gets from the band or fans.
#46 - Posted 2/16/14 @10:30AM by MGRushFan

I find it strange that Rush distances themselves from Countdown. To me, that is one of their greatest songs. It has everything. A modern Jacobs Ladder feel for the intro, an amazing amount of musical tension and release, plus those great synth solos. I always loved that song.
#45 - Posted 2/15/14 @6:45PM by ted1001001 [contact]

Hi all,

I was surprised to read that the original pressing of Signals has an extended version of Countdown with a one-minute reprise of The Analog Kid at the end ?!? Running time is 6:49. I had the original LP at one time, but it has long since been replaced by the CD version which has the 5:49 version of Countdown. :-(

Does anyone know where this can be found?

Ted
#44 - Posted 2/14/14 @2:10PM by Alexfan [contact]

Jimmy, I'm with you - whatever they do, I will love.

But when the topic comes up, I definitely have opinions.
#43 - Posted 2/14/14 @12:34PM by jiminseattle [contact]

Shit, I love it all. I don't care who is behind the boards as long as the three men of Rush are a jammin. I've only been listening to music for 45 years but honestly I choose not to distinguish the producers as we the fans can do nothing about it.
#42 - Posted 2/14/14 @12:25PM by jiminseattle [contact]

Ah and this is what makes the Rush world go round. Love Snakes and Clockwork Angels.
#41 - Posted 2/14/14 @12:19PM by Alexfan [contact]

I wish there was an "edit" button too sometimes....

It is pretty hard to not correlate the departure of Broon with the dynamic change in music...

One could argue, they dispatched Terry because they were changing - like it or not, or that because Terry was gone, they strayed too far from where they should have been, but in any case, most would agree that we all thank God they met Terry Brown in the first place, and that he took them as far as he did.

In my fantasy, they would do a concept album, on the principle that everything returns, 360 degrees. The circle of life, etc. And in this fantasy, Broon is behind the board. That would be awesome. No more bass chords, no more wall of noise. Alex would be playing melodic clean arpeggios, Geddy and Neil would be providing some wicked rhythmic backdrops, and the soundscape would be clean and crisp, with lots of room. I can dream right?
#40 - Posted 2/14/14 @12:06PM by MGRushFan

I can sum it up in 3 words.

"Bring Back Broon"

or

"Broon, Bring Back."

or

"Back, Bring Broon."


Down with the soul-killing effects of the song killer commonly known as "Bouussgggeeeejjjeke"
#39 - Posted 2/14/14 @11:46AM by drummerboy2112

I meant,

'I'd say there were many other bands *AT THE TIME*, whose final..." 1st para

"But compare that, with Terry's body of work *AS A PRODUCER* outside..." 3rd

'Without it, but excluding everything past 1987, you *DONT* get BTLS," in the last paragraph


sorry should have proof read

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