Rush - 'Red Barchetta' (visualizer)
My uncle has a country place, that no-one knows about
He says it used to be a farm, before the Motor Law
Sundays I elude the ‘Eyes’, and hop the Turbine Freight
To far outside the Wire, where my white-haired uncle waits
Jump to the ground
As the Turbo slows to cross the borderline
Run like the wind
As excitement shivers up and down my spine
Down in his barn
My uncle preserved for me an old machine -
For fifty-odd years
To keep it as new has been his dearest dream
I strip away the old debris, that hides a shining car
A brilliant red Barchetta, from a better, vanished time
Fire up the willing engine, responding with a roar!
Tires spitting gravel, I commit my weekly crime...
Wind in my hair -
Shifting and drifting -
Mechanical music
Adrenalin surge -
Well-weathered leather
Hot metal and oil
The scented country air
Sunlight on chrome
The blur of the landscape
Every nerve aware
Suddenly ahead of me, across the mountainside
A gleaming alloy air-car shoots towards me, two lanes wide
I spin around with shrieking tires, to run the deadly race
Go screaming through the valley as another joins the chase
Drive like the wind
Straining the limits of machine and man
Laughing out loud
With fear and hope, I’ve got a desperate plan
At the one-lane bridge
I leave the giants stranded
At the riverside
Race back to the farm
To dream with my uncle
At the fireside...
He says it used to be a farm, before the Motor Law
Sundays I elude the ‘Eyes’, and hop the Turbine Freight
To far outside the Wire, where my white-haired uncle waits
Jump to the ground
As the Turbo slows to cross the borderline
Run like the wind
As excitement shivers up and down my spine
Down in his barn
My uncle preserved for me an old machine -
For fifty-odd years
To keep it as new has been his dearest dream
I strip away the old debris, that hides a shining car
A brilliant red Barchetta, from a better, vanished time
Fire up the willing engine, responding with a roar!
Tires spitting gravel, I commit my weekly crime...
Wind in my hair -
Shifting and drifting -
Mechanical music
Adrenalin surge -
Well-weathered leather
Hot metal and oil
The scented country air
Sunlight on chrome
The blur of the landscape
Every nerve aware
Suddenly ahead of me, across the mountainside
A gleaming alloy air-car shoots towards me, two lanes wide
I spin around with shrieking tires, to run the deadly race
Go screaming through the valley as another joins the chase
Drive like the wind
Straining the limits of machine and man
Laughing out loud
With fear and hope, I’ve got a desperate plan
At the one-lane bridge
I leave the giants stranded
At the riverside
Race back to the farm
To dream with my uncle
At the fireside...
Η αλλαγή της δεκαετίας (από τα 70ς στα 80ς) βρήκε έτοιμους τους Rush, οι οποίοι προσαρμόστηκαν εύκολα στα νέα (ηχητικά κι όχι μόνο) δεδομένα των 80ς. Μπορεί οι (κλασικοί τους) δίσκοι στα 70ς να παραμένουν απλησίαστοι (ακόμη και από τους ίδιους), όμως η μετάβαση έγινε και ήταν ομαλή. Το "Moving Pictures" (που κυκλοφόρησε τον Φεβρουάριο του 1981) περιλαμβάνει πιθανά το πιο δημοφιλές τραγούδι των Καναδών progsters, το (εναρκτήριο) "Tom Sawyer".
Στην παρούσα ανάρτηση θα σταθούμε στο μουσικό κομμάτι "Red Barchetta", το οποίο συνέθεσαν ο Geddy Lee, και ο Alex Lifeson, ενώ τους στίχους έγραψε ο Neil Peart. Σχετικά με το τραγούδι οι Jim Berti, Durrell Bowman είχαν γράψει στο βιβλίο "Rush and Philosophy: Heart and Mind United":
«"Red Barchetta" itself repeatedly "fixes" its temporal complications at the ends of many sections. In the exciting passage that most closely approximates the feeling of speeding, unhindered, down an empty road (when the protagonist "commits his weekly crime", 2:28-2:58), the music is filled with syncopated accents that keep thrusting us forward.
In addition, each phrase takes away two beats from normative four-measure groups in 4/4; we're moving faster than can be contained within standard phrases. But the last group, punctuated with Lee's "adrenaline surge", brings back those two beats—we're entering a new zone, where time can now flow freely.
And indeed, in the next section (2:58-3:18), while changing harmonies takes us on a bit of a journey, the phrases lock comfortably into relaxed four-bar groups in 4/4. The following guitar solo (3:18-3:41) introduces further metric complications, alternating 4/4 and 3/4 bars for eight units of seven beats each.
But again the last unit brings back the "missing" beat, making for a satisfying conclusion of eight beats before we head back into the main song. And for the final, peaceful phrases built around Lifeson's guitar harmonics (from 5:10), while the initial groups imply 4/4 phrases lasting a somewhat unexpected two, six and again six bars, from 5:32 to the song's fade normative eight-bar groups sound the rest of the way.»
«"Red Barchetta" itself repeatedly "fixes" its temporal complications at the ends of many sections. In the exciting passage that most closely approximates the feeling of speeding, unhindered, down an empty road (when the protagonist "commits his weekly crime", 2:28-2:58), the music is filled with syncopated accents that keep thrusting us forward.
In addition, each phrase takes away two beats from normative four-measure groups in 4/4; we're moving faster than can be contained within standard phrases. But the last group, punctuated with Lee's "adrenaline surge", brings back those two beats—we're entering a new zone, where time can now flow freely.
And indeed, in the next section (2:58-3:18), while changing harmonies takes us on a bit of a journey, the phrases lock comfortably into relaxed four-bar groups in 4/4. The following guitar solo (3:18-3:41) introduces further metric complications, alternating 4/4 and 3/4 bars for eight units of seven beats each.
But again the last unit brings back the "missing" beat, making for a satisfying conclusion of eight beats before we head back into the main song. And for the final, peaceful phrases built around Lifeson's guitar harmonics (from 5:10), while the initial groups imply 4/4 phrases lasting a somewhat unexpected two, six and again six bars, from 5:32 to the song's fade normative eight-bar groups sound the rest of the way.»
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