I've not sen LOUK, but considering all the scripts are taken direct from LOSVU or LOCI episodes, I probably have. Also, British audiences are into just as much dumb shit as their American counterparts. It's not all Doctor Who and Downton Abbey over there, there's also Celebrity Juice, The Only Way Is Essex, and more…

I've always been fairly ambivalent to Grace, a lot of the songs sound kinda samey to me as Geddy's keyboards didn't seem to have the same variance of sound they did on Signals, and they really dominate the room for most of the record. I cannot deny the awesomeness of Afterimage, though.

There's a fan-"remaster" floating around the internet that, even though it's not official, is still a step up from the original hack job. IIRC, it's called the Bubba Skarda remaster. It's not as good as the remastered tracks that ended up on Retrospective III, but it's a start.

I can't play keyboards for shit (gt/vox/drm), but if I had a machine or a stompbox where I could push a button and make Open Secrets' synth stuff happen, I'd be the happiest man alive. Also The Pass is both phenomenal and something I can dangle over my bassist's head (as she's a Rush fan as well) as to why she should…

I'm gonna be the weirdass who goes to defend Rush's later output—-while Grace and Windows (Windows especially) ended up swallowing up the Rush we knew with synthesizers, the songwriting (well, most of it) tightened up incredibly on Hold Your Fire, though as proggy synthpop instead of straight-out prog rock. Presto's…

So basically it's The Long Walk meets Battle Royale with Tween Marketability. …seeing as I didn't like either Walk or Battle, I'll pass.