The idea of "Exit" was to create an additional live disc to disk which had been launched, Permanent Waves [1980]. But until then his manager, Cliff Burnstein, virtually forcing them to enter the studio to record their best album, Moving Pictures [1981], which add more songs to the large repertoire of "Exit" (note that the DVD of the concert has other songs not on the CD).
Let's talk show. It was a tour across the United States, where huge stadiums were needed to accommodate so many people. Nearly 50 thousand people and a euphoric atmosphere gives way to one of the best concerts of the band. 3 musicians: Geddy Lee, Neil Peart and Alex Lifeson, 4 instruments: Drums, Bass, Guitar and Synthesizer. The perfect combination to display a live round from beginning to end, where what matters is the sound, not appearance (in the case of other bands of sand, is just the opposite. Example, Kiss).
Now the CD. What is special about this concert that did not possess any other show? First of all, excellent musicians. Playing 2 instruments at once is complicated, but Geddy Lee was on fire, and he did. Neil Peart was inspired by the batteries, playing solos extensive and complicated, in addition to spice up each song with Microsol as complicated as extended solos. And Alex Lifeson playing as in the study, the guitar solos are great, they sound exactly like his entire discography.
"The Spirit Of The Radio" is an excellent introduction to the concert (on CD in the DVD start with Limelight). Geddy's voice plays with the falsetto as he has been doing in all your disks, in tune. The guitar looks sharp in his ear, while Neil applies its expertise in batteries. Then comes "Red Barchetta" and the audience's emotions begin to feel. "YYZ" is the demonstration of why Neil Peart was considered the best drummer of his time. One almost 3 minutes epic that emulated the late John Bonham, the audience exploded in silence when he finished his demonstration of skills. Have been there to witness this gesture is something that is priceless.
After "Passage to Bangkok" is a classic. "Closer To The Heart", and the public Geddy Korea with the beautiful lyrics of this song, while the musicians play the game. Alex Lifeson's entrance and a short one was required to continue with the environment, and give way immediately to "Beneath, Between and Behind". Again, the audience explodes.
"Jacob's Ladder" is the song that has touched more solid so far (if you are playing as you read the review). All the musicians demonstrating their skills in an intricately epic song, which talks about a battle between two great armies.
"Baron's Bane / Trees" sounds great in this version. Aventuresca, a large section with guitar, energetic musicians playing, the audience crazy. Neil fed to the battery Microsol song, giving way to a small synthesizer solo. We ended up extending a note and live experience. Something hard to do if they have the necessary supplies. "Xanadu" starts with a E issued by the synthesizer, guitar playing very softly, while Neil plays the elements of the battery that had been used in other songs, like bells, Chrimes and congos. The song takes shape when the battery goes strong to break the peace of experimentation. Now after almost 6 minutes of the song, you can hear the first words of Geddy, going to something like Led Zeppelin. The perfect falsetto singing "Xanadu!, Xanadu!" and a great performance make it the gem of the disc.
"Freewill", arguably their best song, was played inspirationally, and almost identically to the version of the LP, taking with appropriate applause. "Tom Sawyer" is known worldwide for the brilliant Neil Peart solo in batteries, and emulating the album version, which played perfectly without miss any percussion.
The album ends with the magnificent performance of "La Villa Strangiato", where it looks like Alex Lifeson want. Only after the guitar solo, not tune anywhere, earnest people to the beat of this song instrumental for almost 10 minutes long end applauding with all his might to Rush, who had presented one of the best concerts of his career.
