Showing posts with label Rush. Show all posts
Showing posts with label Rush. Show all posts

Sunday, June 14, 2015

Rush R40 concert in Chicago: 40 years, three musicians, two buddies and one awesome concert


I start with a warning: This post includes spoilers.

The day of the epic R40 Rush concert finally arrived, wrapping up an insanely busy period that included a conference in Louisville, four intense work days at Mackinac Island, a visit from a king and queen, an honors ceremony, a high school graduation and finally an open house with relatives and many, many marching band members.

With all of those events going well, a celebration was in order. And a long-awaited Rush concert with my buddy and fellow Rush fan would do the trick!

I arrived in Chicago around 1:30, in time for a late lunch. Will used to write restaurant reviews and knows lots of cool places to eat. I know lots of things on the Panera Bread menu. So Will picked our lunch spot, a neat place in Lincoln Square. We spent the afternoon checking out a store filled with action figures of the past and catching up.

While we communicate frequently by email, it was our first time together since Will's epic birthday surprise just over a year ago. Fiancee Laurie pulled off an amazing feat -- gathering friends and family from across the country in a U.S. Cellular Field skybox to celebrate a milestone birthday.

Will has shed his ponytail after five years, and we've both had eventful years. It was a long overdue opportunity to share stories and photos.

We then made our way to the United Center, which also is home to the Chicago Bulls and Blackhawks, the latter still competing for the Stanley Cup.

There are statues of Michael Jordan and Blackhawks heroes, and Jordan is wearing a Blackhawks jersey – that’s a “sweater” to hockey fans.

From our seats in section 314, we determined that the rest of the audience leaned toward middle age, but not as old as we thought it would be, and heavily male, though with more ladies than expected. Perhaps Rush is suddenly becoming cool!

Billed the R40 tour to commemorate the 40th anniversary of Neil joining the band, the show is decidedly an effort to look back at a long and glorious career.

I peeked at a set list online, but Will prefers to be surprised. I offered only that it read as if Geddy and the gang said, “Dave and Will, create a set list for the show” then accepted, and said “Well, we’ll make some changes, but this is pretty good.” Part of the fun for me was knowing what was coming, and watching Will’s reaction to hearing some long-unplayed favorites.

Note that this is twice in two years that I've been able to keep a big secret.
You know you are at a Rush concert when the line for the men's room is out
the door and down the hall, and there is no line for the ladies' room.

And Will was indeed surprised when the band ripped into “The Anarchist” from Clockwork Angels as the curtain raised, a curious choice to be sure.

The show was a trip back in time, starting with three songs from the most-recent release and the stage filled with some of the steam punk props form the Clockwork Angels tour.
The band proceeded to work backwards through its catalog, from Clockwork Angels though the debut album, and even a snippet of a pre-Rush song at the very end.

But as the band played, guys in red jumpsuits – like the movers on the cover of Moving Pictures – began disassembling the props, replacing them with a wall of Marshall amps on Alex’s side and white washing machines on Geddy’s stage right. On past tours, Geddy’s sounds were pumped directly through the PA, so he filled his side of the stage with various appliances, including revolving dessert trays.

The second half curtain rose to reveal a wall of amps on both sides and Neil’s old drum kit with chimes, and bells.

Geddy and Alex also pulled out older instruments as the set list worked backwards, including the double-necked guitars and bass for “Xanadu.”

And there were concert effects of the past to go with songs of the period, like the lasers shooting across the United Center during “YYZ,” which was greeted by Will yelling, “Hey, it’s “XYZ!” More than 30 years later, we are still bitter.

As the band proceeded to play older songs, the movers started removing amps. By the end of the show, Geddy was reduced to one amp set on two chairs and Alex with one stack – and the screen behind the stage showing a high school gym, showing where it all started.

Highlights

The set list was amazing, with the band dusting off favorites that have not been played in decades, including “Jacob’s Ladder,” “Hemispheres Book II Prelude,” “Cygnus X-1,” “Lakeside Park” and “What You’re Doing.”

The video screens were a big help, showing close-ups of the musicians and also videos from the past.

Hall of Fame pitcher Randy Johnson is photographing the tour, and even from the upper bowl we could pick out the 6-foot, 10-inch “Big Unit” at the edge of the stage snapping away.

The intermission included outtakes from previous tour videos, ending with the South Park “Lil Rush” into to “Tom Sawyer,” which the band used to start the second half.

Speaking of “Tom Sawyer,” the guy sitting behind us was funny. He was a little older, and needed help from a kid when he wanted to post a concert photo on Instagram. But he went nuts as the first notes of “Tom Sawyer” burst through the PA, loudly singing both the lyrics AND the keyboard parts – “Wooo-woo-woo-woooo—woooooo.” He also knew all Geddy's song intros from the live albums.

Was this annoying? Yeah, a little. But he was clearly a huge fan having a great time.  And he somehow convinced his wife to come to the show with him. Enjoy the show and rock on, my loud friend!
Printed tickets are convenient, but I miss real ticket stubs!
Geddy noted that it's still hockey season in Chicago, with the Blackhawks battling the Tampa Lightening. And one of the red-jumpsuited movers came out in a Hawks jersey for one of the prop changes. That's cool because when I saw Rush at the Nassau Coliseum for the Permanent Waves tour, Geddy and Alex came out for encores wearing Islanders jerseys, noting that the team was in the Stanley Cup finals. A year later on the Moving Pictures tour, Geddy again noted that the band was performing on eve of a Stanley Cup victory.

So, if the Hawks win, Geddy and the boys get some of the credit. 

Minor grumble

One minor beef: The band worked backwards through its catalog, but skipped songs from Test for Echo, Presto and Hold Your Fire, and Power Windows. Since Will and I earlier in the week ranked Presto and Hold Your Fire at No. 2 on our R40 Countdown, we were bumming that we didn’t get to hear songs from those discs. It’s easy to look back and think they could maybe trim two of the Clockwork Angels songs and one of the Snakes and Arrows songs and work in some things from the omitted.

But that’s minor. And as Will pointed out, Rush could add three hours to the show and would still not be able to play all the songs we want to hear. That the burden of being spectacular.

All in all, a wonderful concert experience. It included a great band with great songs with a great show – all experienced with a great friend.


And Will jumps in:

I told Dave ahead of time that there were two things that Rush usually does at a show, besides kick all form of butt:

1) They play something old I'd never heard live before.

2) They play something I'd never heard before, period.

Mission accomplished:

1) “Jacob's Ladder” (a wish fulfilled, thanks boys), all of” Xanadu”(thanks again), a large chunk of “Cygnus X-1,” “Lakeside Park.”

2) “What You're Doing.”

I, too, loved the retro sets and lights. I half expected Alex and Geddy to come out in kimonos for 2112, like the Foos did at the RRHOF ceremony, but, well, you can't have everything.

I, too, was similarly disappointed about the skipping of certain things. Skipping Test for Echo was no surprise, because, as I assume, Neil just absolutely refuses to play anything from it. Skipping Presto was a disappointment, however. (I also would've preferred “Dreamline” instead of “Roll the Bones.”)

The second half of the show more than made up for the first half. After “Spirit of the Radio,” the boys served up a big steaming plate of progressive: It was basically an hour-long chunk of 10-minute songs broken up by only the obvious “Closer to the Heart.” I ate it all up and was asking for seconds.

In thinking about it more, the disappointment of no Presto was two-fold, not only for not hearing one of those songs again but also I was hoping for the rabbit to re-emerge from a top hat one last time. Hey, if you're doing retro staging, that had to have been one of their most famous pieces. It then could have stuck around and "rocked out" to “Subdivisions.”


Here's a video with the rocking rabbits in the background!

Unlike Dave and the unknown poster below (ahem), I didn't like the roll-back set list, although I understand why they did it that way (for the set), and it was a good choice, but, as Dave noted, I like to be surprised, and as soon as I realized what they were doing, I was able to start guessing most of what was coming, which wasn't as much fun. The only times I was truly surprised was “Hemispheres” and “Lakeside Park.” (I was surprised for “The Anarchist,” too, but only because I couldn't imagine that as a lead song. It was more a WTH surprise than an OMG surprise.)

It wasn't my favorite Rush concert, but it was awesome, like a hundred million hot dogs, sir.

Here's the R40 Countdown Will and I compiled as we waited patiently for the show.

No. 1: Moving Pictures (both of us)
No. 2: Hold Your Fire (Dave), Presto (Will)
No. 3: Permanent Waves (Dave), Signals (Will)
No. 4: Roll the Bones (Dave), Permanent Waves (Will)
No. 5: Power Windows (Dave), Roll the Bones (Will)
No. 6: Test for Echo (Dave), Grace Under Pressure (Will)
No. 7: Signals (Dave), A Farewell to Kings (Will)

Tuesday, June 09, 2015

Rush R40 Countdown at No. 1: Moving Pictures, otherwise known as 'the music of the universe'


Less than a week from the epic R40 concert in Chicago, and Will and I wrap up our countdown with an entry that will surprise no one.

No. 1: Moving Pictures
Released in 1981

Highlights: Every. Single. Song.

Least glorious moments: None.

Cool Neil Peart lyrical moment:

“They say there are strangers, who threaten us
In our immigrants and infidels
They say there is strangeness to dangerous
In our theaters and bookstore shelves
That those who know what’s best for us
Must rise and save us from ourselves”
-- "Witch Hunt"

Moving Pictures isn’t just the best Rush album. It actually might be the best album ever.

This is perfection on vinyl – and cardboard, because the album cover is brilliant, too.

Even Rolling Stone magazine, which hates all things good, had to begrudgingly rank Moving Pictures among its best albums of all time.

Moving Pictures was released in February 1981, my junior year in high school. I embraced it about as hard as a high school kid can embrace anything, carrying me through all the joys and sorrows a 17-year-old can muster.

Much of the music from the 1980s sounds dated. That’s not a bad thing if you, like me, love all things 1980s. But all the songs on Moving Pictures still sound fresh and exciting. They are timeless.

We are going to have to go through each of the seven brilliant tracks.
Here's a live version of "Tom Sawyer" with the classic "South Park" intro.  

“Tom Sawyer”

“Tom Sawyer” is “the music of the universe” according to an episode of Chuck, with the song serving a central role in the plot.

In the spring of my junior year, I boldly ran for treasurer of the General Organization, the not-so-cleverly named version of our student council. This was a strategic move, as I knew I was not popular enough to be president or vice president, but knew enough of the popular kids to think I might get enough sympathy votes to snag a lower office. Everybody wants to run for president, but who wants to be treasurer?

I designed a populist campaign around the idea of allowing local bands to perform concerts after school. Naturally, I used “Tom Sawyer” lyrics for my campaign posters.

“What you say about his company is what you say about society
Catch the mist – catch the myth – catch the mystery – catch the drift”

I came in second out of three candidates, but gained office midyear when the very nice girl who won left early for college.  Serving on the council with me was the sister of the acting Baldwin brothers, who also was very nice.

I’m not sure if credit for the one little victory of sorts goes to Neil Peart, or to Pye Dubois, the Max Webster lyricist who collaborated with Peart and likely never had to work again.


“Red Barchetta”

The lyrics were inspired by the short story “A Nice Morning Drive” by Richard S. Foster. Set in a future when cars are banned, our protagonist goes for a ride in a brilliant red Barchetta preserved by his uncle and encounters the authorities, whom he eludes after a high-speed chase.

Neil tells it better, of course. But all high-school boys love the idea of rebelling against the authorities.


“YYZ”

This is a tale of heartache, which is pretty neat for an instrumental.

I wrote concert and album reviews for the Berner Beacon, our school paper. It was, perhaps, the only thing I did that was cool.

The sporadic publishing schedule meant that an issue included both my glowing album review of Moving Pictures and an equally glowing review of the tour stop at the Nassau Coliseum.

Now, like any good Rush-obsessed fan, I was aware that YYZ was the three-letter airport code for the airport in the band’s native Toronto. I also knew that the opening notes of the song were those letters in Morse code. I even knew that, being Canadians, the guys in Rush pronounced the letter Z “zed.”

In those days, we wrote our stories on a typewriter and turned them over to the editors who turned them over to someone else to typeset. This was a dangerous thing, as I learned.
The morning the papers were delivered, I rushed to the stack to see both my reviews in print and bask in the praise.

Then I read the copy.

Someone – the editor, the typesetter, who knows – either decided I didn’t know what I was talking about or wasn’t paying much attention and changed “YYZ” to “XYZ.” They did this in both reviews.

Not even the retired Pye Dubois would have been able to find the words to describe the sorrow and humiliation of that day. Because, for the rest of the day, people stopped me in the corridor to inform me that the name of the song was “YYZ,” not “XYZ.”

I know, friends. I know. I will get over this someday – but not any time soon.


“Limelight”

“Limelight” is a top-five Rush song and has always been a favorite. But I didn’t quite understand the full meaning of the lyrics until I read "Roadshow," one of Neil’s travel books, where he writes about riding his motorcycle between shows.

Throughout the book, Peart tells about how he is uncomfortable meeting fans, leaving that role to Alex and Geddy. He’s uneasy with the trappings of rock stardom, which is fine.

“Cast in this unlikely role, ill-equipped to act  with insufficient tact. One must put up barriers to keep oneself intact.”

And:

“Living in a fisheye lens, caught in the camera eye. I have no heart to lie. I can’t pretend a stranger is a long-awaited friend.”

So if you run into Neil, don’t tell him how “Time Stand Still” changed your life and ask for an autograph. Just say “Thank you for the music” and move on.


“The Camera Eye”

This is a Rush song about New York. Do I need to say more?

“The Camera Eye” – the phrase doesn’t appear in the song – actually compares the homeland and London. Clocking in at nearly 11 minutes, it was the last of the long Rush songs. And all of it is glorious.



“Witch Hunt”

I had a really cool creative writing teacher who allowed us to bring in a song that we thought had great lyrics and play it in class.

If you’ve read this far, you knew I was going to use this opportunity before a captive audience to extoll the virtues of Rush. I settled upon “Witch Hunt,” with its soaring keyboards and haunting lyrics about prejudice and fear.

I remember beaming as one classmate said, “That was pretty cool, Dave.” Any opportunity to spread appreciation for Rush. 


“Vital Signs”

Moving Pictures ends with the fairly experimental, “Vital Signs” which merges reggae and electronica to create a Rush classic.  

The lyrics are unusual by Neil standards. But he ends with the phrases “Everybody got to deviate from the norm” and “Everybody got to elevate from the norm.” When you are a teenage boy who feels like an outcast much of the time, this is a rallying cry.

The album cover

I have a wonderful job that allows me to meet many incredible people and visit amazing places. One special day, I was allowed to tag along when my boss visited Toronto.

Now, there were many fascinating things that occurred on that day, including sitting in the far back seat of an SUV wedged between the general consuls of two countries. These are the kinds of things the uncool kid in high school would have a difficult time believing could ever happen to him 30 years on.

Our agenda that day included a meeting with the premier of Ontario. As I sat in her outer office, it occurred to me that I was not just sitting in a beautiful and historic Canadian building. I was sitting in the Ontario Legislative Building.

Had we arrived at the main entrance, and not a side entrance closer to the street, I would have seen the three distinctive arches and short steps.

Yes, I was in the very building on the cover of Moving Pictures.

While there were many interesting things on the walls, I could not find the framed paintings of the Starman logo or the dogs playing poker.

It’s all well and good that I didn’t realize this right away. Because I’m not sure the others in my travel party would have appreciated my demand that we all re-create the album cover. 

So there we are, with Rush albums ranked from the least glorious to Moving Pictures.
What did we learn from this exercise?

First, there is something special about a band with longevity, especially when you become a fan fairly early in its career. Rush was with me from high school to college to jobs to a marriage to kids and friends to new jobs and homes and growing older.

Second, Rush is really, really good. The bulk of the music stands the test of time. It was a challenge ranking the albums, especially in the middle. There are great songs and great memories associated with all of them. 

And Will jumps in:

No. 1: Moving Pictures
Released in 1981

Well, I couldn't have said that any better ... but I'm going to try.


No, just kidding. After all that, what's left to say?

I have a few things, and I'll do them in bullet form:

* "Red Barchetta" was THE song that got me into Rush, period. Loved the story, loved the sound. That said, it isn't my favorite song on the album. "Witch Hunt" is.

* Six of the seven songs made my top 1,000, the highest ratio of any album with that many songs on it. The only albums that had more songs make my list were the double album Quadrophenia, by The Who, and Ten, by Pearl Jam, which has more songs than Moving Pictures does. The only song from Moving Pictures that didn't make my list is "Limelight." It was an early favorite, one of the many things I played to death back in the Eighties ... which is why I probably don't like it as much any more. I just got tired of it, unlike, say, "Tom Sawyer," which I played to death but probably never will get tired of hearing.

* Moving Pictures is not my favorite album of all time by any group. (Quadrophenia is.) I didn't do an album ranking, but Moving Pictures has to be in my top 5, maybe No. 3. The only albums I know for sure I'd rank ahead of it are Quadrophenia and Duke, by Genesis. I'd probably also rank Lifehouse ahead of it if it existed as a Who album in 1971 the way Pete Townshend finally assembled it in 1999 as a solo effort. (Most of Lifehouse ended up on Who's Next. You might have heard something off that album once or twice ... or 10,000 times.)

* I've cited Bill James before, and because he's my favorite author, I'm going to close by citing him again: In his New Historical Baseball Abstract, James writes about how Satchel Paige is a victim of revisionist history (or attempts to make other players look better). He says it's become common to write things like Paige wasn't even the best pitcher on the Monarchs, let alone the best pitcher in Negro League history if not all of baseball history. James doesn't buy it, and the reason is that Paige is the reference point in any such discussion. Everyone has to compare with Paige, because ... well, he IS the greatest. The same thing with Walter Johnson and his fastball. As James points out, Johnson was the reference, because his fastball WAS the best.

You see this with music. It's become hip and cool to make lists of albums where Sgt. Pepper's Lonely Hearts Club Band by The Beatles isn't listed No. 1. Heck, you often will see that it isn't even the No. 1 Beatles album. Someone will rank Revolver or Rubber Soul ahead of Sgt. Peppers, saying that those albums laid the groundwork for Sgt. Peppers and hold up better than Sgt. Peppers does: "Revolver is the best album, not even barring Sgt. Peppers." It's the same thing as with Satch or The Big Train. Sgt. Peppers IS the best Beatles album--and, by extension, the greatest album of all time--again, because it's the reference point.

That's where we are with Rush and Moving Pictures. Moving Pictures IS Rush's greatest album, period. The difference between Moving Pictures and Sgt. Peppers is that NO ONE tries to argue that another Rush album is better than Moving Pictures. Sure, people might have different favorites--my brother the other day told me he'd put Signals in his top slot--but if we're talking quality, the vote is unanimous.

So, that's all I have to say. I'd like to thank Dave for including me in this exercise. It was fun, and I'm looking forward to Good Ol' No. Pete Rose--14, as in this will be my 14th Rush concert. If it's my final one, because the boys aren't going to tour any more, I leave with no regrets.


And here is the rest of your Rush R40 Countdown:

No. 2: Hold Your Fire (Dave), Presto (Will)
No. 3: Permanent Waves (Dave), Signals (Will)
No. 4: Roll the Bones (Dave), Permanent Waves (Will)
No. 5: Power Windows (Dave), Roll the Bones (Will)
No. 6: Test for Echo (Dave), Grace Under Pressure (Will)
No. 7: Signals (Dave), A Farewell to Kings (Will)

Saturday, May 30, 2015

Rush R40 Countdown at No. 2: Hold Your Fire, Presto, life-changing albums without apologies


So close! We're less than two weeks away from the epic R40 concert in Chicago, and Will and I are in the final stages of our epic countdown of Rush albums from the least-glorious to Moving Pictures. 

This week we're at No. 2 -- with two picks that will surprise many Rush fans. 

No. 2: Hold Your Fire
Released in 1987

Highlights: “Time Stand Still,” “Prime Mover”

Relative least-glorious moment: “Tai Shan”

Cool Neil Peart lyrical moment:

I turn my back to the wind
To catch my breath
Before I start off again
Driven on without a moment to spend
To pass an evening
With a drink and a friend.

I let my skin get too thin
I'd like to pause
No matter what I pretend
Like some pilgrim who learns to transcend
Learns to live as if each step was the end.

Time stand still
I'm not looking back
But I want to look around me now
See more of the people
And the places that surround me now.

Freeze this moment
A little bit longer
Make each sensation
A little bit stronger
Experience slips away.

I turn my face to the sun
Close my eyes
Let my defenses down
All those wounds
That I can't get unwound.

I let my past go too fast
No time to pause
If I could slow it all down
Like some captain
Whose ship runs aground
I can wait until the tide
Comes around.

Make each impression
A little bit stronger
Freeze this motion
A little bit longer
The innocence slips away.

Summer's going fast
Nights growing colder
Children growing up
Old friends growing older
Experience slips away.

-- "Time Stand Still," and you get the entire song this time!

I’m not going to apologize for ranking Hold Your Fire so high in the R40 Countdown.
I recognize that the album is not as beloved by many in the Rush universe. Even Will has it near the bottom of his list. It didn’t sell as well as many of the band’s other releases.

But for me, it was the right album with the right message at the right time.

“Time Stand Still,” particularly, changed the way I look at life.

Realize that the album was released in September 1987. That was a very special time for me.

I had just graduated from college and was working as a reporter, a job I had dreamed about having while growing up. The Mets even were the defending world champs. And, best of all, I got married in October. Everything was … perfect. I remember walking around Chicago on our honeymoon with “Time Stand Still” working through my head.

You see, while loving all things ‘80s, I’m not really someone who lives in the past. I can let go of the past pretty well. But I want to grab the present and not let it go until I can study, experience and learn from it all. Admittedly, this tends to exhaust people around me

I think that might be what Neil is talking about when he writes, “I'm not looking back, but I want to look around me now, see more of the people and the places that surround me now” and more so in, “Freeze this moment a little bit longer make each sensation a little bit stronger.”

Twenty-eight years after the album came out, I probably think about that concept every day. I try to look closely at things and remember because I might not get that chance ever again. I try to meet people and make them smile because I might not get that chance ever again – and it’s really a challenge for some people.
Here's a tremendous live version of "Time Stand Still."

Today is a good day. Even if it’s a bad day, it’s a good day because there are people in our lives who might not be there tomorrow. Tell the people you love that you love them and the people you are proud of how proud they make you feel.

My daughter leaves for college this fall. I know it’s the best thing for her. But I also know things will change forever. I’m going to enjoy every minute I can spend with her this summer, and I know it will go by too quickly. If time were to stand still this summer, I’d be OK with that. "Summer's going fast, nights growing colder. Children growing up, old friends growing older." 

But while “Time Stand Still” is my favorite song of all time and would carry any album, there are wonderful tunes throughout. I love the unbridled optimism of “Prime Mover,” with stanzas ending with “Anything can happen!” On Roll the Bones, that sentiment would seem to be a warning. But on Hold Your Fire it feels celebratory, that adventures and something good are around any corner.

Look to the album title. Like Moving Pictures, it’s a clever pun, with a photo inside of a guy juggling balls of fire. The band takes the phrase the other way: Hold your fire, as in “Don’t shoot – don’t hurt, see what the other person is saying. Just slow down and see things from another perspective.” It’s still a good message as we see a world increasingly torn by conflict.


And, yes, there are keyboards. There are people who think Hold Your Fire was the peak of Rush’s flirtation with synthesizers. This isn’t Rush becoming A Flock of Seagulls, but I like A Flock of Seagulls, and the Human League and other ‘80s new wave bands Will mentioned last post. Leave it to Rush to take the best of that genre and Rushify if to create something magical.   
And Will jumps in:
Nor should you apologize to anyone about making Hold Your Fire your No. 2 pick. I'm not gonna apologize for this one either:

No. 2: Moving Pictures
Released in 1981

Just wanted to see if anyone still was paying attention. No, I'm not gonna Dick Whitman you at this point. There can be only one conclusion possible to this here list, which means I'm heading back to New York to write the iconic Coke jingle. No. 2 has to be:


No. 2: Presto
Released in 1989

Like Dave, I chose an idiosyncratic pick as my runner-up Rush album, and I never thought about it once. When I began my list, I put Feedback at No. 20, Moving Pictures at No. 1 and everything else in between to be moved around, with one exception: I immediately put Presto at No. 2.

It's funny to me how many people include this album in the Synth Era. The first time I heard "Superconductor," I thought it was a return to the old Rush sound and a big step back from, say, the stuff on Show of Hands. Goes to show you what I know.

Anyway, this album is strong all the way through: Five songs from it made my top 1,000: "Show Don't Tell," "The Pass," "Scars," "Presto" and "Available Light." "Scars" and "Available Light" made my top 100, and "Scars" -- Rush at its funkiest -- is in the top 30. Actually, there isn't a bad song among the bunch in my inexpert opinion.

But that's not the only reason why Presto finishes No. 2. Gather round, kids. It's story time again: Sherman, set the Wayback Machine to October 1990.

As a rule, I'm a negative person. It's an unfortunate character flaw that I can't seem to shake. What I try to do then is surround myself with as many positive people as possible and feed off their energy. Dave's one of those people; God only knows what he gets out of our friendship, maybe a little surliness as well as someone to attend card shows and Rush concerts with.

In the fall of 1990, I was in a pretty good spot. My beloved Reds were in the playoffs for the first time in a decade (a long time for a Reds fan who grew up with the Big Red Machine), and I was embarking on my first trip to Cooperstown. I'd take a week and drive from Flint.

To make an epic story somewhat reasonable, it was a trip fraught with peril after I crossed the U.S.-Canada border at Niagara Falls. In keeping with the road trip I'd taken the previous year, I wanted to avoid big cities and highways. My plan was to take U.S. 20 from Buffalo across New York. By the time I got to Batavia, roughly, it didn't take long for me to learn that there were no motels on U.S. 20, and it was getting late.


Here's a great live version of "The Pass," one of the great songs on Presto.

I drove around for at least an hour in several directions. At one point, I decided to give in and drive up to Rochester until I realized that it would take me two hours out of the way. Discouraged, I turned around and headed back ... to nothing.

Being 26, male and stubborn, I decided I didn't need no stinking motel, so I found a quiet country road, pulled off, put a few shirts up on the windows, turned on the radio broadcast of the ALCS between Boston and Oakland and called it a night.

The next morning, I awoke to a brilliant fall day (and the realization that I hadn't stumbled upon the family from The Hills Have Eyes, thankfully). I wasn't more than hour on the road when I came across a flea market to the side of the road. With visions of baseball-card finds dancing in my head, I pulled off in town to grab some lunch ... and my car wouldn't start. Wouldn't start, wouldn't turn over, dead as a door nail.

It being Saturday, this was a problem. No one could tow my car. In fact, except for the gas station where I parked, which wasn't a service station, nothing seemed to be open except the flea market. Fortunately, I noticed a motel almost right across U.S. 20 from the flea market, and after going to the flea market--and buying only a 1954 Topps Spook Jacobs card--I headed to the motel to check in and wait until a tow truck could get my car.

It was a long wait, because, like I said, nothing was open on Saturday, which meant nothing was open on Sunday either. A long day of walking back and forth from the town to the motel a few times was broken up by a single Jets game on TV.

I took my Walkman on my walks with a tape I'd made--Manic Nirvana by Robert Plant on one side and Presto on the other. The Presto stuff stood out (and continues to stand out in my memory). I have a clear vision of walking up the hill to the town overlooking the meadow where the flea market was with "Available Light" playing.

Finally, I got a call first thing Monday morning. The tow truck and taken my car to the nearest repair shop, and they were working on the problem. The problem was a bad starter motor, and within an hour--$80 lighter plus the motel cost--I was back on the road.

The drive itself was one of the best I've ever taken. It was a gray foggy day, but U.S. 20 provided an endless sea of red, orange and yellow trees in full fall bloom. I didn't take a picture of it, but I don't one to remember how everything looked.

I made it to Cooperstown at night and checked into my motel two days late. (I'd called to let them know the situation.) I drove into town to get dinner and realized "Hey, that's the Hall of Fame right there!" I wasn't going to go until two days later, but ... it's RIGHT THERE! Of course, I went in for a quick "pre-visit."

The Hall of Fame was everything I was hoping it would be and Cooperstown was everything I could have wanted it to be. Every store sold some baseball paraphernalia. That's MY kind of town.

The next leg of my trip was Toronto. I wanted to spend more time there, but I just made a quick in and out having lost two days to my car woes. By the time I hit Collingwood, a sleepy town on the Canada side of Lake Huron, I was in a very gloomy mood. I was thinking about how interesting and cool my trip was ... which made it absurd.

I realized as I opened a box of 1990 Upper Deck while watching The Simpsons on a grainy TV in my room that I'd taken all these photos and I'd never show them to anyone. Who wants to see pictures of a solo vacation? Exactly. No one. I was feeling very alone, so I decided to just drive home a day early.

When I arrived, my phone rang while I unloaded my car. I decided to let the answering machine get it. It was Dave, calling me to offer some pearls of wisdom about the NLCS game that was about to start. It was Game 6, and the Reds had a shot at closing out the Pirates and winning the pennant. As Dave was in mid-sentence I decided to pick up.

"Hey ... you're home?"

Yeah, I explained. I cut the trip short a day.

"Well, what are you doing home? Get over here and watch the Reds win the pennant with me!"

That was just the thing I needed to hear. In short, Dave wasn't going to let me get a good funk on, so we ordered pizza, swapped baseball cards and watched as the Reds, in fact, won the pennant that night. It was a friend coming through at exactly the right moment.

After that, how could Presto--the soundtrack of that trip--NOT be my No. 2 Rush album?

Our R40 Countdown so far:

No. 3: Permanent Waves (Dave), Signals (Will)
No. 4: Roll the Bones (Dave), Permanent Waves (Will)
No. 5: Power Windows (Dave), Roll the Bones (Will)
No. 6: Test for Echo (Dave), Grace Under Pressure (Will)
No. 7: Signals (Dave), A Farewell to Kings (Will)