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The video also features the band performing the song on an oversized Monopoly-style game board with the words "Big Money" in the middle. A full-length version of the video was included on the VHS and laserdisc releases of Rush's Grace Under Pressure tour concert film, while an edited version was released to MTV and other outlets, as well as on ...
The 9:37 song, the fourth and final track of the album, was Rush's first entirely instrumental piece. The multi-part piece was inspired by a dream guitarist Alex Lifeson had, and the music in these sections correspond to the occurrences in his dream. The opening segment was played on a nylon-string classical guitar.
Lee began playing music in school when he was 10 or 11 and received his first acoustic guitar at 14. In school, he first played drums, trumpet and clarinet. However, learning to play instruments in school was not satisfying to Lee, and he took basic piano lessons independently.
When "Praise This" plays the opening chords of "Money," Koryn Hawthorne lifts her microphone and debuts a special version of the hit song: When things so bad, my God's so real I praise His name ...
It was during sessions at The Manor where Rush brought in musician Andy Richards to play additional synthesizers and assist in their programming. His rig consisted of a PPG Wave 2.3 synthesizer connected to a Roland Super Jupiter module through a MIDI system, a Yamaha QX-1 digital sequencer, and a Roland Jupiter-8 and Yamaha DX7 synthesizer. [ 8 ]
"Xanadu" is the first Rush song in which synthesizers play an integral part. Unlike the previous albums, 2112 and Caress of Steel, "Xanadu" uses both guitar and synthesizer effects. The song also marks Rush's clear foray into program music, although previous albums had displayed some elements of this. Subsequent albums during the late 1970s and ...
Developing out of the fusion of traditional Black gospel with the styles of secular Black music popular in the 70s and 80s, Urban Contemporary gospel is the most common form of recorded gospel music today. It relies heavily on rhythms and instrumentation common in the secular music of the contemporary era (often including the use of electronic ...
Lifeson says the guitar solo in the song is a "really hard solo to play", describing it as "frenetic and exciting" and "one of the most ambitious pieces of music Rush has ever done". [15] In his book Rush, Rock Music and the Middle Class: Dreaming in Middletown , Chris McDonald describes Lifeson's play as a "searing, rapid-fire" guitar solo.