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I guess the only thing we have to go on in terms of 'context of the album' is the Bob LeBad statement that came out a month or so bacck, which stated, among other things: "The band challenged their compositional skills and pushed the envelope the whole way, and even came up with engaged and fitting lyrical themes in the ancient greek tradition: war, death, politics and octopi."
@supernaut – Barleycorn also has connection to traditional English folk via Traffic.
I saw Musical Box a few years back, performing The Lamb Lies Down On Broadway at Hammersmith Odeon. It is a much-maligned truism of the state of prog in the UK that tribute bands such as this (and even smaller ones) can draw bigger crowds than current bands writing and performing their own music. A sad state of affairs.
You hit a very proud (as in projecting from a surface) nail on the head – Motorpsycho are indeed open to and draw on everything without making it sound dated, immitative or tired, while at the same time infusing it with pure motorpsychodelia. I admire that to … a lot
@otherdemon – Thanks
Be sure to wave at the cameras 
@otherdemon – do you know how this stream works? Do we just have to open the link and it will run? Or is there something more to do to get access?
@otherdemon РYeah, maybe. Or maybe I was just high on being at my first MP gig and other stuff. It's all so subjective. At Roadburn this year one of my friend's said he found the improvisatory noodling at the beginning of Un Chien was dreadful, just screechy and pointless. He was up in the balcony. I was on the floor, dead centre, about ten rows back and to me it was glorious. He said there were no bass tones or rhythm to ground it. I was shocked. I asked, did you not hear Bent's three repeated bass notes [like in the Roadworks K̦ln recording] giving the whole thing form, direction and grounding? No, he replied. Oh well. You never really know.
@supernaut – at least we agreed on some things
And thanks for prompting me to go back and listen to some old (and not so old) Rush again. It's been a while. And sometimes you discover things aren't what you thought they were. @otherdemon and supernaut – They opened with ASFE in London – my first ever MP gig, and I exploded. I thought it was a perfect opener, full of mad energy that just made me want to relive my punk youth and start pogoing! Not so easy at 55.
I couldn't so easily imagine it in the middle of a set though.
Peart can play that stuff ok (as you say, it's not one or the other), I just don't see it as his forte. There are a lot of drummers who can't do what he can (or as well as he can), but can do amazing groove till the cows come home. It's just a matter of some drummers being better at one thing than another – like some guitarists are great shredders but not as good as others at playing great rhythm. No criticism from my side of Peart, Geb or Tomas – I think all three are great, but they each have their own style and areas of expertise, which in some areas overlap and others don't. Compare Peart with Bruford – Peart could never play the way Bruford does on, say, Starless and Bruford could never play the way Peart does on, say, Tom Sawyer. And even if they could, why would they want to?
EDIT: So I just listened to both For What It's Worth and Mr Soul from the Feedback album. The first, apart from Alex's lead contributions, leaves me pretty cold. It certainly has none of the soul of the original (and that includes Peart's drumming), though it's a competent enough cover. The second was a little more engaging but again the drumming feels much like a run-through. Doesn't stop Peart being one of my all-time favourite drummers by some distance. The funny thing is, his groove does come through during, for example, the mid-section of Jacob's Ladder, where the patterns are more complex but he uses them to drive the song forward like very few else do. Subdivisions might be another example – he's pushing the groove, but not with simple beats, even though it's a straighforward song. He's playing all around the beat but still keeping it on point, and that's part of where his brilliance lies for me. Than again I might be dreaming
Interesting discussion. It is true that some drummers can't do both (take Neil Peart for example – a big favourite among rock drummers but not really a groovemeister), but as supernaut says, they don't negate each other. As for Tomas – not sure, maybe you have a point Marc. Will go away and listen to ASFE right this damn moment!
@Aman Dime = Dimeadozen
It's a torrenting site. If you're new to torrenting you'll need to do a bit of reading up first. And I recommend you read some of the material on the Dimeadozen wiki page too:
Just watched the video on YouTube of Amgala Avenue – far out, love it. It reminds me a little of short-lived but brilliant Magma spin-off One Shot (who are well worth checking out). Definitely looking into this a bit more. Thanks for the signpost.
@supernaut – Listening to a couple of the recordings from this mini-tour (Bielefeld and Erlangen) I kinda know what you mean about Tomas. He sounds loose (in the good way), relaxed, confident, unencumbered. I'm really getting off on his playing on these recordings. I'm glad you had such a far out show.
