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"The Big Money" is a song by Canadian rock band Rush, originally released on their 1985 album Power Windows. It peaked at #45 on the Billboard Hot 100 [ 2 ] and #4 on the Mainstream Rock chart , and has been included on several compilation albums, such as Retrospective II and The Spirit of Radio: Greatest Hits 1974-1987 .
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.
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 ]
Geddy Lee Weinrib (/ ˈ ɡ ɛ d i /; born Gary Lee Weinrib, July 29, 1953) is a Canadian musician, best known as the lead vocalist, bassist, and keyboardist for the rock group Rush. [4]
In 2006, a DVD version of the original production, with its audio re-mastered in 5.1-channel Dolby Surround by Rush guitarist and co-producer Alex Lifeson, was released as part of the DVD box set, titled Rush Replay X 3. In 2007, the DVD version of A Show of Hands, as it was included in Replay X 3, was released as a single, stand-alone DVD.
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. [16]
"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 ...
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