Kicking off the album is the excellent “Dance on a Volcano” from Genesis’ 1976 composition A Trick of the Tail, the first album to feature Phil Collins as vocalist (after the departure of the far superior Peter Gabriel). Raising the ante even further is the ambitious “Sound Chaser” from Yes’ 1974 opus Relayer, the first without keyboardist extraordinaire Rick Wakeman. Nick D’Virgilio, drummer for Spocks Beard, ably contributes vocals here, though fans may wonder why he didn’t pick a Genesis song, since he recorded with the Collins-less Genesis in the late ’90s. Gentle Giant’s prancing “Just the Same” approaches the mainstream prog threshold that eluded the original band at their peak.

What really sets this apart from other covers albums is Rudess’ tender piano medley of Yes’ “Soon,” Genesis’ “Supper’s Ready,” King Crimson’s “I Talk to the Wind,” and finally Yes’ “And You and I.” Only the Crimson cover features lyrics sung by Rudess himself and engineer Bert Baldwin. “Piece of the π” is the sole original, and what a scorcher it is: a growly voice intro akin to Pink Floyd’s “One of These Days”; lots of electronica applications; whimsical, Old West-styled piano ditties; and spacey synth workouts.

The pièce de résistance, however, is ELP’s “Tarkus” in its entirety. Rudess performs gloriously on Keith Emerson’s parts, never missing a note and taking deserved liberties to expand the overall sound, with thanks to Winger/Dixie Dregs drummer Rod Morgenstein (who plays on all album tracks) and two vocalists: Porcupine Tree’s Steven Wilson (on “Stones of Years”) and Winger’s Kip Winger (on “Mass” and “Battlefield”). On all the songs, Rudess adds his own interpretations, and this is what makes The Road Home so enjoyable of a listen—and so vital to the modern prog-rock canon.

Drum Nation is not entirely bombastic and breakneck drumming, however. “Up and Atom” by Killswitch Engage’s Justin Foley is a fairly mellow jazz number with a middle break with marimba like Steely Dan’s “Rikki Don’t Lose That Number,” and ending with the same tonal percussion that prefaces King Crimson’s “Larks’ Tongues in Aspic, Part One” -which is a fine contrast/complement to the rest of the album. Candiria’s Kenneth Schalk displays his musical genius in “Out of Nowhere” with jazzy polyrhythms and sampled applications for which his band is revered. Dillinger Escape Plan’s Chris Pennie, of course, comes up with the wildest composition of keyboards, creaking electronics, and otherworldly drum fills in “YMCA or TCBY.” Unearth’s Michael Justice displays his human beatbox tendencies on “Weak Would,” as he mouths cool beats then matches them note for note on the skins. In the bonus video “Drummers Are People, Too,” the players are filmed in their everyday routines: Joe Nunez’s dentist trip; the making of an interactive video game starring Lamb of God’s Chris Adler; golf lessons from Kenneth Schalk; life on the road by Jordan Mancino; and a tour of Derek Roddy’s exotic snake collection. Without a doubt, Volume 3 is the best in the Drum Nation series, as these drummers continue to raise the bar of percussive expertise.

On Subdivisions, however, the songs are more interpretive, though not nearly as far-fetched as Dwell Records’ 1999 Rush tribute Red Star. Magna Carta was savvy enough not to repeat songs from Working Man here, and the musicians assembled are just as prestigious. Instead of a completely revolving line-up of players, Vai/Satriani collaborator Stuart Hamm is the common bassist, Vinnie Moore plays all rhythm guitar tracks, and award-winning drummer Mike Mangini supplies the beats, while the keyboard duties are divided up between Bay area celeb Robert Berry, Magellan’s Trent Gardner, and Pulse Ultra’s Jeff Feldman.

Album opener “Distant Early Warning” is a by-the-numbers take with very little guitar wankery during the solos, and Zebra vocalist Randy Jackson does an ample job here. He’s not up to the task in “Subdivisions,” however, for he doesn’t intonate and resonate Geddy Lee’s gritty performance. He also leaves out the murmured “subdivisions” line before each chorus, which is odd-sounding in its absence. The guitar solos are lifted to add more keyboards, which is totally a prog thing to do, though they ruin the original’s terse finale by extending the keyboards for an overly drawn-out 1:45. In “Lakeside Park,” Skid Row’s Sebastian Bach nails Geddy’s vox, though the guitar solos are replaced with keyboards, which lessens the effect of the song’s original rawness; though they thoroughly do justice to this early ballad, they let the coda hang precipitously, ruining the three-note conciseness of the original. Beginning with some Roll The Bones-era instrumentation before plowing into “Limelight,” Winger’s Kip Winger simply dazzles with his vocals, especially in hitting those high notes, though he does prefer the usual pronunciation of the word “the” in the verse, “The universal dream/for those who wish to seem,” opposite to Geddy’s “thee” fondness. Mangini’s drums are amazing, though there is an audible click track in the back of the mix; Sepultura guitarist Andreas Kisser’s solo is lazier than Lifeson’s, and again they mess up the big finale, but it doesn’t detract too much from the original.

After some gratuitous keyboard fuss, the intricate chords of the album’s premier track, “Different Strings,” begin, and Robert Berry’s vocals shine resplendently with fantastic double-tracked harmonies. He also handles the guitar solo quite proficiently, as this is one of the few songs where the tangential solos actually enhance the track rather than detract from it. The warhorse “Tom Sawyer” is missing power though the playing is solid, while the exceptional “Bastille Day” has an abnormal intro like a RPWL fill, taking away from the rawness of the original. Guitar noodling by Testament’s Alex Skolnick in inappropriate places truly reduces the overall force – though when they stick to the blueprint, it’s done very well, thanks to the vocals of Warrant’s Jani Lane. He does another spot-on job with “2112 Overture” and “The Temples Of Syrinx,” this time with guitar virtuoso Vinnie Moore in tow. Even with its King Crimson-like midsection, the unlikely “A Farewell To Kings” is absolutely phenomenal, but whoever’s idea it was to cover “Didacts & Narpets,” the brief drum solo from A Caress Of Steel’s side two suite, “The Fountain Of Lamneth,” should be knighted. This marks the first time it’s been covered on a commercial release – maybe ever! – and they do a first-rate job, except that Geddy’s cathartic closer “Listen!” is instead mumbled. With the whole package pre-mixed by classic Rush knob-twiddler Terry Brown and retro Dalmatian-and-hydrant artwork by longtime band graphics guru Hugh Syme, Subdivisions is, simply and sweetly, made by Rush fans, for Rush fans, who continue to be some of the most dedicated fans in all of rock.