And I said, ‘I would simplify it.’” He laughs heartily. They asked what my take on it would be, if I were producing. Then we got round to talking about their album. So I flew over to Toronto, and we had a lovely dinner. “I was once asked to go and meet Rush, with a view to producing them. When it comes to a really good prog-related story, Midge Ure's got a corker. But yes, that style of music certainly influenced us on Signals. Alex is in a whole other world his record collection ranges from Pat Metheny to Martha and the Muffins - pretty broad scope there. LEE: Yes, we have been, although not just Ultravox. It sounds as if you've been listening to techno-rock groups such as Ultravox. Why the modification of sound? Lee credits some of the music the band has listened to during the past year, like one of Peart's favorite records, Ultravox's moody, layered *Vienna*.ĬIRCUS: On Signals, you use synthesizers more than ever before they fill up spaces that normally would be filled by Alex's guitar. Synthesizers replace what normally would be solo space for guitarist Alex Lifeson, who enriches songs like "Losing It" and "Chemistry" with atmospheric sunbursts of color. On this record, even more so than on last year's Moving Pictures and 1980's Permanent Waves, the music's jagged edges have been softened and the rhythms are less frenzied. Signals (Mercury), their 10th album overall, should be their biggest yet. Rush's last three LP's have gone Top 10, quite a feat for a band whose music is so atypical of most commercial successes. love midge ure's voice.From Circus Magazine - November 30th, 1982 Sonya from Kimball, Miwhat a haunting song.Don from San Antonio, TxLove this song.Adam from Boyce, VaOne of the greatest songs I've ever heard.Artsy and excessive - yet the song is optimal in nature. This song carries a heavy load of overdignified splendor, with the video done in abject vain to capture the essence of the then-neo noir arrogance that Vienna possessed. This gem also combine's Midge's blase disregard by his simple-yet-articulate proclamations ("this means nothing to me"). Lance from Ingelheim, GermanyBest listened to during the cold, harsh winter months this song crystalizes the essence of a dead, still winter night.Darren from Bedford, United Kingdomthe video was shot in Covent Garden Market in London and not, Vienna."Western Promises" my favorite, few lyrics and voice, the keybords just. Pedro from PortugalWhat an excelent song.Years gone by, but that feeling is still there everytime I listen to it. Heard it for the first time in a dark Dorset night and I was suddenly caught in the crepuscule of Vienna of the emperors and their ephemeral glory, masterfully depicted in an aura of haunting melancholy: in a word, decadence. Stefano Lazzarini from RomaMost probably my favourite song.Other than that, they liked it." (courtesy: Ultravox Discography) We were determined that it would be our third single and fought with Chrysalis over it naturally, they thought it was far too long at six minutes, too weird for a Top 30 chart hit, and too depressing and too slow. It was the song that best represented what we were trying to do. We knew it was the musical high point of the album and made it the title track. Except for finessing the middle 'solo' section of the song once we were in the studio, that was basically it. It all clicked in a few hours and we ironed out the rough spots the next day. We started playing something to it and then had the thought of using a chorus idea that we had laying around which we'd previously worked on but had no verse for. to paraphrase myself, I said something like, "What about this, then?" and began the 'Vienna' rhythm. I had a drum machine/synth pad (CR-78 & 'Synare' pads) pattern in mind that I'd wanted to do something with and played that. Warren Cann, the band's drummer: "The song came together very quickly.
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