In the span of 24 hours I revisited forty years of parenting, music and sports.
Friday night we attended the Rock and Roll Hall of Fame induction at the Barlcays Center in Brooklyn, mostly to see two-thirds of Rush (inducted a few years ago) do the honors for Yes, my all-time favorite band and the core of so much of my love of music. Saturday took us to the other new hockey arena in the tri-state area, this time to see Patrik Elias take one final pre-game lap as he has announced his retirement from the NHL. Elias cemented us as Devils fans, not just for bringing home two Stanley Cups (and two more Finals appearances) but for his loyalty, work ethic, and popular presence in the local area. His number will be retired by the Devils in 2017-18, and he is a likely NHL Hall of Fame candidate. Over the course of two nights in two big rinks, we saw the past, present and future of various testaments to craft well plied, through the lens of our past, present and future love of music and sports.
The similarities between the two nights were subtle but present: Playing — sports or music — is critical to our enjoyment. Seeing something live gives you context and texture and experience that you can’t get from recorded or televised events. Our heroes, whether known to us personally or just from the backs of their sports cards and record sleeves, influence our approach and goals and style. Our greatest moments of joy are often theirs as well.
Hearing Geddy Lee and Alex Lifeson describe the influence Yes had on them as teenage musicians was priceless; it was a peek past the close of the “R40” tour that wrapped all the way around to the beginning of Rush time. Devin Harrison connecting Jeff Lynne’s ELO to his late father, and Geddy Lee invoking the awesome power of Chris Squire’s bass lines by sitting in with Yes on “Roundabout” made it feel as if both musical icons were smiling from on high. From past to present to future – Elias was greeted at center ice for the ceremonial face off by his wife and daughters, a surprise that made all in attendance (including Patrik himself) tear up; they are the influences on his future life.
[ed note: This was originally posted as a page, but wasn’t getting any traction, and in an effort to clean up the site a bit I’m moving the content into the mainline. Plus I’ve been trying to squeeze ever lower frequencies out of my Sonos sub, using the TruePlay software to offset the minor dropped ceiling rattle it sometimes induces.]
Subwoofers are snarky audio components: feed them the wrong audio, with the wrong level settings, and you feel like you’re in a subterranean basement that’s all low echo and no daylight. But gently place one in your listening room, set the levels to not overpower your over-200 Hz drivers, and listen to some tracks with pronounced bass, and you’re in heaven. There’s an indescribable feeling of being at a live show, with the bass pouring over you, undulating your shorts or shirt sleeves, and for a moment you not only hear the music but feel it, in phase, and it’s nothing short of catching a bit of ocean spray as you hear the wave crash and smell the salt.
I also love “bass in front” music. So I’m biased. But after a few weak attempts to place a subwoofer and drive it well, I’ve fallen in love with my Sonos Sub – much less dependent on room placement and with the Sonos controller’s ability to level adjust, I can take 6 or 8 decibels off the top and keep the kitchen furniture from rattling.
If you’re wondering what the fuss is about, listen to the following with and without a well-matched sub, and see if the deeper bottom transports you to that spot on the musical beach:
Yes, “Wurm”, from the end of “Starship Trooper” on “Yessongs”. This is the gold standard, with Chris Squire working the Moog Taurus bass pedals into a frenzy.
Genesis, “Squonk,” from “Seconds Out”. More bass pedals, more prog, more Mike Rutherford! If you’ve ever heard progressive rock referred to as “arena rock”, you get the idea here – that sound could fill a football stadium (American or European).
Rush, “Subdivisions,” preferably from the live “Clockwork Angels” set, but even the studio version. More bass pedals, sitting under Geddy’s synth playing.
Phish, Mansfield MA show from July 1, 2014. There are a few “brown notes” in there, and listen to the second set closer “Harry Hood” around the 14:00 mark.