Rush – Seattle 1976 Soundboard / 1CDR

Rush – Seattle 1976 Soundboard / 1CDR / Uxbridge
Paramount Theater, Seattle, Washington, USA 28th October 1976

Play sample :

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RUSH in 1976, which sent out the daimyo board “2112” and “ALL THE WORLD’S A STAGE” in quick succession. A soundboard album that conveys the era of that leap is now available.
Recorded in this work is the stereo sound board recording of “October 28, 1976 in Seattle”. Speaking of 1976, the three tours “CARESS OF STEEL Tour” / “2112 Tour” / “ALL THE WORLD’S A STAGE Tour” were mixed, and it was also a time when the meaning changed greatly at fine timing. First, let’s check the position of the show in the schedule at that time.

●1976
“CARESS OF STEEL Tour”
・ January 3-10: North America # 1 (3 performances)
“2112 Tour”
・ February 9-June 18: North America #2 (49 performances) ← * ALL THE WORLD’S A STAGE
・ July 8-August 1: North America # 3 (12 performances)
“ALL THE WORLD’S A STAGE Tour”
・ August 8-December 31: North America #4a (67 performances) ← here
●1977
・January 3-May 22: North America #4b (76 performances)
・ June 1-13: Europe (9 performances)
“A FAREWELL TO KINGS Tour”
・ August 20-December 30: North America # 5 (87 performances)

This is the 1976/1977 RUSH. 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 performance of “North America # 4”, which replaced “ALL THE WORLD’S A STAGE Tour”.
This work, which conveys such a show, is a wild sound board with a very thick core. It’s vintage and not the type to compare with the official, but instead (?) It’s full of freshness. I don’t care about the experience of the concert, and the core of the bare is unprocessed and assaults. An ensemble with a furious density that does not seem like a trio grabs the skull and shakes the brain, which is the power of MOTORHEAD.
It’s amazing how powerful it is and how well it conveys its unique precision. While the vocals and beat sounded as if they were roaring with the youth, the ensemble did not collapse at all, and the complicated developments were determined with a vengeance. He continues to unleash his subtle virtuosity casually and lightly. It is a sound board that firmly engraves in the brain down to the fine details of such details.
A show that is like an extension of “ALL THE WORLD’S A STAGE” is depicted with such a detailed and powerful sound. Let’s organize the set while comparing here.

・Senko no 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 (★)
・Steel Embrace: Bastille Day/Lakeside Park
・2112 AD: 2112/Something For Nothing
* Note: “★” marks are songs that cannot be heard in “ALL THE WORLD’S A STAGE”.

… and it looks like this. In general, it feels like “ALL THE WORLD’S A STAGE with a different song order”, and “Best I Can” is selected instead of “What You’re Doing” for the encore last. And the performance that spells such a set is intense. It is a masterpiece called “one of the best performances” by maniacs, and it emits furious energy. If Alex is aggressive, Neil also releases tremendous power from a tremendous one-stroke and approaches with a furious number. On top of that, Geddy is the most amazing. A youthful high note that stretches well and barks powerfully. You can listen to the tremendous vocalization that Robert Plant in his heyday is also like.
Alex and Neil’s jam is surprisingly delicious. Geddy seems to have cut the string, and it is connected with a blues jam in a hurry, but this is also very deep. The sympathy of improvisation creates a strange tension, and it is a wonderful listening spot that you can’t think of as a connection.
Standing in the midst of a breakthrough, this is a tremendous soundboard album that hits the limits of youth and passion. Although it is not the type of substitute for the official, it is also a hidden treasure that allows you to enjoy the power and dynamism that is absolutely impossible in the official work with the raw sound. One of the inevitable Korezo in the collection. Please enjoy it to the fullest.

★ Stereo sound board recording of “October 28, 1976 in Seattle”. It is a wild sound board with a very thick core, and the unprocessed sound comes as it is. An ensemble with a ferocious density that you wouldn’t expect from a trio grabbed his skull and shook his brain, and Geddy roared powerfully with youthful high notes that stretched well. It is a soundboard album of power and dynamism that is poured directly into the brain by a super-high show that even maniacs call a masterpiece.

Uxbridge 1726