A Blogg that is also a Poll, Kansas in Rush

This thread is going to be somewhat squished between two forms, it will take shape as a blog, but it will also be opinion talk, where votes will be allowed for "academically" reasons. I have given myself a little hiatus in creating polls (in two days). Because I want to focus on more cohesive and carefully constructed poll/blog - plogg perhaps it’s I will call it 😉, for fun. I want to channel two voices in a way, one is the enthusiastic "fanboy" whom with bias and intent looks forward to present songs or bands I care for, but I also have an interest to practice to apply sociological, aesthetic and musicological terminology/insight which works better in a blog format than in a poll.

I borrow some of the enthusiasme of these "overplayd" songs from two fellows that havent "overheard" them 

I love there insight in lyrics, and newb enthusiasme to aspects of the songs seasoned prog ears (perhaps) does not hear anymore

they sadly does not have a video about "Tom Sawyer" though they got plenty of Rush songs overall... 

so i borrow  the enthusiasme from two others 

so words as taste, flavour, idea, form and content, have an aesthetic and sociological context/intent, two words/terms i want to voice is the difference between liking  and  appreciating  the distinction i will try to use in the future is from Rick Beato, in how he talks about production values whether it is about 00s pop song or 70s prog songs. The distinction between appreciating production technique vs liking a band (fan). Liking is about being a fan of the subject and appreciation is about respecting various parts of the subject one intersects, one can appreciate how a technique is used without liking the band one intersects, or well one can do both but in general there is a distinction. 

I want to present two songs which most here knows about which is Tom Sawyer  (1981) and Carry On Wayward Son (1976), both to me are such good examples of aspects which shows how both production is a key to songs, how composition is key but also how both are sort of archetypical  showcases of evolution of "heavy prog", though Kansas being symph prog, Carry on Wayward Son, is in its own right a heavy prog song, to my ears. But that is not the case of the discussion, just a detail. Both songs share some similarity’s, but I will also make it clear, i also regard Rush and Kansas as two wildly different animals/beasts in terms of the power which both bands individually have. Though they have some shallow similarity’s, but I won’t get into too much details. They both show equal strength and power in both these songs, which makes the songs sounds in some way similar. Despite that, both songs judged solely by themselves towards each other share some stark similarities. 

Key similarities, 

• they are "inn your face" direct in how they begin
• instantly recognisable, they have character/aura.
• based on interviews i have read/heard by drummer of Rush, Neil Peart, he likes in general to improvise in most of Rush’s song catalogue, play various variations of tracks. EXCEPT Tom Sawyer, it must be played in the exact order as in how it is recorded in studio, almost to the ghost note precision. 
• I don`t know if that is the exact case of Carry On, but i have a feel/sense that it might also be in that way also there, Phil Eheart have similar strictness in not to diviate  much in that exact form the drum is played, because the drums in that song are also "in a neat shape" so to play other ways would be wrong somehow. 
• both have great enthusiasm in performance from the bands that plays them every note is ment, every beat is ment to be on the exact spot, the delivery and changes in the songs are on the dime. 
• both bridge between prog in style and performance but with a public / commercial success story, crossover territory in such department 
• both start the albums their on.