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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.
"Hope" is one of the three instrumentals on the Rush album Snakes & Arrows. According to Neil Peart, the title of the instrumental was inspired by the chorus of the ninth Snakes & Arrows track "Faithless", which contains the word "Hope". [1] It is the band's second shortest studio-album-song, clocking in at 2 minutes 2 seconds.
"YYZ" (natively pronounced why-why-zed) is an instrumental rock composition by the Canadian rock band Rush from their 1981 album Moving Pictures. The live album Exit... Stage Left (1981) and the concert video recording A Show of Hands (1989) both include versions in which Neil Peart incorporates a drum solo – as an interlude on the former ...
Malignant Narcissism is an instrumental track from Rush's 2007 album Snakes & Arrows. "Malignant Narcissism" was nominated for a 2008 Grammy under the category of Best Rock Instrumental Performance, Rush's fifth nomination in said category.
It contains three instrumental tracks, the most on any Rush album. Snakes & Arrows was released on CD and a limited edition double LP (5,000 copies) and Music Video Interactive format (25,000 copies). [2] It peaked at No. 3 in Canada and the United States and in September 2007, was certified gold in Canada. [3]
Individually, the members of Rush have been recognized for their instrumental abilities through various magazine publications and polls. In recognition of the band as a whole, awards include various Junos , Grammy nominations, topping miscellaneous Canadian music polls, and induction into the Canadian Songwriters Hall of Fame , and American ...
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"Xanadu" is a song by the Canadian progressive rock band Rush from their 1977 album A Farewell to Kings. [1] It is approximately eleven minutes long, beginning with a five-minute-long instrumental section before transitioning to a narrative written by Neil Peart, which in turn was inspired by the Samuel Taylor Coleridge poem Kubla Khan.
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