1. Working Man. This track is one of my least favorite, although I like Bach's vocals, the rest of the track leaves me somewhat lacking. The guitar is fairly straight ahead blues rock riffing. Nothing too awe-inspiring. Sheehan's bass lines are up to his usual coolness.

2. By-Tor and the Snow Dog. Having never heard the original version, I didn't know what to expect... suffice it to say if this is a good cover of the tune, I NEVER want to hear the original. Labrie sounds forced at best. I love DT (pre-FII) but he really didn't do anything for me on this track. Lots of Portnoy noodling, but not much content.

3. Analog Kid. Wow! Jack's voice is powerful as ever on this tune... and the song clearly puts it, "YOU MOVE ME! YOU MOVE ME!" Every players performance on this track is flawless. From Romeo's light speed alternate picked scalar runs and sweep picking to his fabulous interplay with bandmate, Pinnella. Of course my personal favorite is when Sheehan doubles Romeo's guitar part on bass... WOW! My favorite track on the CD.

4. The Trees. Nice rendition by Baker and crew. Baker's voice is smoother than Geddy's on this track. Allman adds a very "SG-esque" solo to this. Portnoy does some very nice wood block/claves sort of percussion on this one. Sheehan really shines on this one as well.

5. La Villa Strangiato One of the two instrumentals on the disc. Awesome. Sheehan has some very nice solo bass parts. Portnoy is PEART on this one. He grooves! Morse is his usual virtuosic (?) self. Some nice volume swells to start the solo, which builds to some syncopated interplay with the whole band until ends in a nice little rendition of cartoon music ( you know the one they always play when showing the mouse trap that is sprung using a bowling ball to roll down a gutter to knock over an iron to move the domino to drop on a scale... get it?) Murphy does some nice flying after Morse's part. He really nails the feeling of Lifeson not really knowing where the solo is going, but somehow resolving itself, with a tad more technicality and 90's flair.

6. Mission. Martin's voice really grates on my nerves. I do sorta like the tune. This is another track I have not heard Rush do. Berry does a nice job on what sounds like a fretless bass or synth of a fretless. Berry's guitar tone is somewhat different, sort of a clean distortion. All in all, not too impresive from a prog standpoint.

7. Anthem. Slaughter kills me... and not in a good way. I own "Stick it to Ya". I'm not proud of that, but I didn't mind his vocals on that CD. Here, he just screams and yells in his trademark Zeppelinesque whine. This is a high energy rocker that falls flat with Mark at the mike. Not even Lynch's soloing can save this one. Lynch's tone is trebly and thin... much like his self title "Lynch Mob" CD tone for the most part. Gone are the crunching guitar sounds of albums like "Back for the attack", or even the more bass and midrange heavy attack of Lynch Mob's "Wicked Sensation". Lots of pentatonic noodling with some scalar stuff thrown in. Hamm's jazz-like bass is decent, but nothing spectacular. He needs to do more rock slap and pop and two handed stuff to show off his abilities, neither of which he shows on this track. Castronovo does some nice work on this one. he is the master of the double bass drums.

8. Jacob's Ladder. I love Bach's harmony vocals on this one. Very different from the original version. Sheehan's bass and Portnoy's drums really lay down a nice thick rhythm for somewhat non-traditional sounding rhythm track. Petrucci's solo is very mundane, more akin to Clapton than Yngwie or Vai. I like this track merely for the vocals and syncopation.

9. Closer to the Heart. Absolutely better than the original, although no changes. I love Alder's voice. He's very emotive without being high pitched and whiny like Geddy. Matheos pretty much plays Lifeson's solo note for note. If you like Rush, and you like Fates, then you'll love Fates doing Rush. Oh yeah, they do add one small part to the end of the song, something from 2112, I just don't remember what song it is from.

10. Natural Science. If you like Townsend, more power to you. I heard Rush do this one live and to say it blows away this version is a gross understatement. At least he attempts to sing on this track rather than scream (see Vai - "Sex and Religion"). Murphy does have some nice soloing with a little harmony guitar, but nothing too shredder-like.

11. YYZ. The second instrumental on the CD, and my second favorite song. Anyone familiar with Rush will know this trademark song. It actually shames the original. Murphy can burn and shows it. Castronovo has been possessed by Peart, but he still double basses you to death and it's GREAT, not to mention his fills which really add to the tune!! Murphy does a nice job on the "egyptian sounding" solo. Hamm is awesome on bass. He really flies and gets to do is slap and pop stuff. Wow!!

12. Red Barchetta. Labrie sings much better on this one. At times he strains, but as a whole he is much more melodic. A nice melodic rocker. Morse has a nice solo, very speedy, yet not over bearing. Malone does some nice fretless? bass work and Reinert's drumming leaves nothing to be desired.

13. Freewill. I really like this one. Gregoor has a very distinct voice and I love it. At times you can pick up on a slight accent, but nothing is garbled. Marcel shreds with some nice sweeps and scalar runs. And he's a heck of a nice guy as far as I can tell from e-mailing him. Cadden-James is somewhat low in the mix, so it's hard to really here if he's shining or not. Actually he does shine on the solo part now that I hear it.