If you choose not to read these reviews, you still have made a choice...Rush Reviewed
 

So, I decided to jump on the discography review bandwagon. I had a hard time deciding which band to start with, but then I saw "I Love You, Man" on TV again recently, saw Rush make an appearance, and knew my decision had been made. My favorite Canadian band, one of my favorite progressive rock acts, and one of the biggest influences on my own personal guitar playing, Rush just make really great music. They are also one of the most enduring bands in music. All three members can be considered virtuosos on their instruments, yet still make incredibly well crafted music as they all know when to give each other space and when it is time to shine.

For those that have the misfortune of not knowing Rush, they formed initially in 1968 and rotated members around until 1971 when they settled on guitarist Alex Lifeson, bassist/vocalist Geddy Lee, and drummer John Rutsey. They released one album with Rutsey, but he soon resigned due to health reasons and a distaste for touring. This could not have been more fortunate for the band as they soon recruited drum god Neil Peart, one of the greatest drummers of all time. With this lineup, Rush has lasted over 30 years and released 18 original albums, a covers album, and 8 live albums.

Considering Rush's wealth of material, I think I have plenty to work with. A discography this large can seem daunting to some, so I hope these reviews will help people who are curious to get into this amazing band as well as promote a discussion for other fans of Rush out there. So, if this has sparked any interest, read on!

Rush (1974) - REVIEWED (6.5/10)
Fly By Night (1975) - REVIEWED (7.5/10)
Caress of Steel (1975) - REVIEWED (7.5/10)
2112 (1976) - REVIEWED (8/10)
All the World's a Stage (Live) (1976) - REVIEWED (8/10)
A Farewell to Kings (1977) - REVIEWED (9/10)
Hemispheres (1978) - REVIEWED (9/10)
Permanent Waves (1980) - REVIEWED (10/10)
Moving Pictures (1981) - REVIEWED (10/10)
Exit...Stage Left (Live) (1981) - REVIEWED (10/10)
Signals (1982) - REVIEWED (8/10)
Grace Under Pressure (1984) - NOT REVIEWED
Grace Under Pressure Live (1984) - NOT REVIEWED
Power Windows (1985) - NOT REVIEWED
Hold Your Fire (1987) - NOT REVIEWED
A Show of Hands (Live) (1989) - NOT REVIEWED
Presto (1989) - NOT REVIEWED
Roll the Bones (1991) - NOT REVIEWED
Counterparts (1993) - NOT REVIEWED
Test For Echo (1996) - NOT REVIEWED
Different Stages (Live) (1998) - NOT REVIEWED
Vapor Trails (2002) - NOT REVIEWED
Rush in Rio (Live) (2003) - NOT REVIEWED
Feedback (2004) - NOT REVIEWED
Rush R30 (Live) (2005) - NOT REVIEWED
Snakes and Arrows (2007) - NOT REVIEWED
Snakes and Arrows Live (2008) - NOT REVIEWED

Looking forward to this. I've been looking to get into Rush but don't yet know what's worth getting.

I met a guy last year who loves Rush, saw them live on Snakes and Arrows and a few other tours...he actually showed me a bass that Geddy Lee had used on a tour, said it was too beat up to use and that he was trying to fix it. Pretty cool stuff! Forgot to ask how he got it, though.

Anyway, I've always been one of those people who thought 2112 was pretty neat, liked Moving Pictures but outside of that just gave occasional listens to Grace Under Pressure and Permanent Waves, mostly to "Spirit of the Radio" and "Red Lenses".

So I'll read this with pleasure, and maybe broaden my horizons - the one issue I have is that it seems like their lyrics are even MORE nonsensical and stupid than other prog bands, though that might just be shortsightedness or lack of understanding - perhaps my viewpoint is wrong. I look forward to this!

Oh, and Peart's drumming gets a bit unnecessarily thick at times, like he's just drumming for the hell of it. On tour I'm sure it's amazing, but when he does it on a song it drags on a bit. Phenomenal drummer, though.

This is a daunting task. There a few Rush albums that I don't want to listen to again and definitely wouldn't want to review. Looking forward to reading the reviews though. This is one of my favorite prog bands.

EDIT: Also, well done on the thread title. I love that line in "Freewill".

Nice work on the thread title. I've always liked Rush although I haven't really listened to much of their post-Power Windows material. Geddy Lee is an inspirational bassist (not so much an inspirational vocalist though ;)). And they actually managed to put out some good stuff in the 80s... Signals has to be one of my favourite Rush albums. And it's cool that they're open to self-parody and entertainment in general (I'm referring to their appearances on ATHF and Trailer Park Boys).

Thanks for the interest, guys! I have my work cut out for me, but I've found something to enjoy in almost every Rush album. So, without further ado, here is:

Rush (1974)

Rush's debut album can be considered somewhat of an anomaly in the Rush discography. This album has a very hard rock Led Zeppelin vibe to it, and while they manage to pull the sound off well it lacks the originality and progressive complexity their later work has. Despite that, there are still a lot of Rush-isms that hint to us what to expect in later albums. Alex Lifeson's guitar work always manages to blend interesting chords together with the almighty power chord. He always seems to know when to use one or the other, and that ability to recognize when to use simplicity rather than self indulge in guitar work he is obviously capable of is what helped set Rush apart from other progressive rock bands. Though this album is rife with your everyday classic rock riffs, there is something behind them that makes the songs interesting. Geddy Lee was obviously born knowing how to play bass, because even in this album he is able to take Lifeson's riffs and imbue them with life like no one else can. Without his incredibly creative basslines, these songs would be so dull and typical they probably would have never gotten a record deal. The creative chemistry between Geddy and Alex is unreal.

Not much can really be said about John Rutsey's drumming. He was a competent drummer, but knowing that Neil Peart is a scant album away leaves me wondering what this album could have been with him there. Not to mention that Peart took on most of the lyric writing duties once he joined. In fact, the lyrics are probably the most jarring aspect of this album. Geddy sings about topics that are things Rush just never really sings about. In later albums, they cover sci fi themes, fantasy, and social commentary. I mean, really now, who wants to hear someone like Geddy Lee, with his balls-in-a-vice falsetto, sing, “Hey baby, it's a quarter to eight, I feel I'm in the mood,” on “In the Mood”? What a creeper.

Overall, the album is enjoyable. Not surprisingly, it's the more progressive songs that I find are the standouts for me. “Here Again” has some great moments, and “Working Man” (the definite highlight of the album) is a Rush concert mainstay even to this day. There is some really great riffwork in there. I wouldn't recommend starting here for Rush newbies, but I wouldn't avoid this album, either. Come to this one after you've gotten to know some of their more recognized material. There really isn't a bad song on here, but Rush is capable of so much more.

That is why I give this album a 6.5/10. This is based solely in comparison to the amazing work they do just a couple albums later.

I've never really gotten into Rush (I kind of hate to say it because everyone does, but Geddy Lee's voice is annoying as ****). Perhaps this thread can turn me.

Well, I hope to turn you guys into die hard Rush fans. Although, Geddy's voice is actually the big reason I hear when it comes to Rush hate.

I love their lyrics...I don't find them too nonsensical. They usually cover some pretty cool issues. Are there any specific songs you are talking about?

Thanks! Signals is one of my favorites also. I also really like Grace Under Pressure, but that seems to be iffy for some people. Neil Peart showing up in the ATHF movie was hilarious. "The drum solo of life!" They also have some pretty entertaining videos playing during their concerts as well.

I've really been in a writing mood recently, so I was able to pump out the next review.


Enter the Peart. Yes, ladies and gentleman, little did Geddy and Alex realize when they brought on this humble tractor-part salesman they were hiring a drumming legend. His style and intensity are apparent right from the start with the lead track “Anthem”. Natural and complex all at once, Peart's drumming fit perfectly with Geddy's all-over-the-place bass and Lifeson's smooth-yet-rocking guitar. In a sense, “Fly By Night” can be considered the true Rush debut.

This is the album where we start to see Rush's first true progressive leanings. In a broad sense, the music is still very Zeppelin-inspired, but there is something in the music just dieing to break out. “By-Tor and the Snow Dog” can be considered their first progressive rock attempt, as it is divided into parts, tells a clear narrative story, and clocks in at over 8 minutes. It is also a really damn good song. The rest of the album is really a straight ahead hard rock affair, but the songwriting is much stronger than their self titled debut. The riffwork is incredibly catchy as Geddy and Alex have obviously grown more accustomed to each others' styles. It is also amazing how Neil was able to settle in with the music so seamlessly. His style is so intense that a less talented drummer would have sounded forced in. However, it sounds as if he has been playing with the band for years.

Another vast improvement over the debut is the lyrics. With Geddy and Alex not really interested in lyric writing, they willingly handed the job over to Neil. Neil Peart is a die-hard Ayn Rand fan, and this has come across in a number of their albums. The lead song “Anthem” is inspired by the book of the same name. That theme will also be revisited on their prog epic “2112”. He also writes many mythology and fantasy inspired songs, such as the previously mentioned “By-Tor and the Snow Dog”. He also writes your straight ahead songs about life, such as the title track (a song about dropping everything, leaving everything behind, and starting anew). It is actually hard to determine what helped the band more, his epic drumming or his insightful lyrics. Just go listen to “In the Mood” off the debut one more time if you are not convinced.

This album is rife with little treasures of songs (“Anthem”, “By-Tor and the Snow Dog”, and “Fly By Night” being my personal favorites). Overall, I give this album a 7.5/10. A vast improvement, but still not quite there. It is hard to pick out faults in the album (aside from the "Lord of the Rings" themed "Rivendell"...that song is pretty boring), but this still isn't their strongest work. I also still wouldn't start with this one if you are new to the band. You really couldn't go wrong if you did, but this is hardly among their best. They will soon do much, much better.

For your entertainment:

Excellent. Thank you. I look forward to reading the reviews. :)
Rush is pretty much essential to my existence.

I'm not sure, it just seems like sometimes there really isn't any deeper meaning - or it's way too clouded and vague to make out.

Nonetheless, I've enjoyed the reviews so far and yesterday dug out my Grace Under Pressure vinyl I totally forgot I bought (:/) for some listening.

It's time to get progressive. After messing around with prog rock on “By-Tor and the Snow Dog” on their last album with positive results, they decide to go all out with “Caress of Steel”. Their hard rock stylings are still in full swing, but are slowly molding their own distinctive style (in other words, they have vastly improved over their debut). They also decide to ease the listener into the progressive side of things since the first 3 songs are your typical tried and true hard rock songs. These songs are not as strong as some found on “Fly By Night”, but are catchy in their own right. Honestly, they could have fit perfectly on that album. “Bastille Day” opens the album similarly to the way “Anthem” opened the last, “I Think I'm Going Bald” has a kind of ultra cheesy theme but still works in a weird way, and “Lakeside Park” has some pretty nice guitar work. Alas, those were just to warm you up for the next two epics “The Necromancer” and “The Fountain of Lamneth”.

Now, Rush has always been good at pop structured songs, and after a while return to that formula. However, I feel their prog epics have always been their most interesting work. If you were to look at the critical reception for “Caress of Steel”, you will find it was not received well. This was meant to be Rush's breakout album, but having turned their backs on straight ahead rock, a lot of their fans (and critics) didn't know what to think. Rush's supporting tour was subsequently referred to as the “Down the Tubes” tour. In this reviewer's humble opinion, however, this album could easily be held up with the finest of their prog albums.

Let's take a look at these two epic beauties. I'll refrain from going into their stories as half the fun is listening to the lyrics and figuring out what is going on by yourself. “The Necromancer” starts off very slow with some trippy guitar and spoken word vocals in the background. This segment is called “Into the Darkness” and it definitely sets a tone that Rush had yet to hit upon until this time. About a third of the way through, it kicks into high gear and rocks your face off with “Under the Shadow”. Then they switch gears again with “Return of the Prince”. This segment is still all about the rock, but changes the tone. All three parts are totally different, yet work together really well. The song never gets boring, in my opinion. This is one of their finest epic songs.

Then we get an even longer epic, “The Fountain Lamneth”. The first segment, “In the Valley” is really good. There is wonderful juxtaposition between heavy and soft. The next segment “Didacts and Narpets” is basically just an excuse to show off what Neil can do on the drums. He definitely knows his stuff, but it seems a little forced and is really the only weak part of the song. Luckily, it's only a minute before we get “No One At the Bridge”. It is another brilliant segment with some gentle appregiated chords from Alex. “Panacea” is an acoustic segment, but this is the point of the song where I start to feel that this is just bunch of different songs stuck together. It is pretty good, but points out one of my complaints with Rush's early progressive work. One segment would end, the next would begin with no real transition between. But hey, the music is good and they were learning. “Bacchus Plateau” picks up with the hard rock again and “The Fountain” revisits the theme of “In the Valley” to close out the song. Overall, a good song and definitely hints to their breakout epic “2112”, but due to the problems I mentioned, I prefer “The Necromancer”.

With each album Rush is slowly progressing to a style all their own. This album may have shocked current fans with their decision to go progressive, but that should not be a reason to ignore it. This is another album to visit after you are familiar with some of their other work, but it is a worthy addition to anyone's collection. This one gets a 7.5/10.

Great reviews so far. I actually had no idea Rush did prog epics. This is making them far more interesting to me.

Then you will enjoy the next review. 2112 is considered a classic by most prog fans, and is one of their best known records.

Great thread idea, Duga.

Turns out that this summer Rush will be embarking on a US and Canadian tour where they will be playing the Moving Pictures album in it's entirety, as well as testing out new material for a forthcoming album. Should be good times.

http://www.rollingstone.com/music/news/;kw=[24942,129715]?RS_show_page=0

Hope that didn't take the wind out of you're thread's sails. :)

Wow, that sounds freaking awesome. Rush is really impressive live...they can play 2-3 hour shows like it's nothing and they have been doing it for over 30 years. There are younger bands out there that don't play shows half that length.

And no, you didn't take the wind out of the thread's sails. I would actually like if people got to talking about them more.

So you heard it guys, comment away.

That sounds pretty interesting. As I said before I've never been a huge Rush fan, but a chance to hear a live version of Moving Pictures and those "tests"? Might have to get some tickets.

Ok, so I've been chomping at the bit to review 2112, so I managed to get this done before I go out and get drunk. Ladies and gentelmen,


Despite the poor reception for “Caress of Steel”, it was obvious Rush would gain some recognition at some point. They had so much obvious raw talent that it was bound to happen. Due to the failure of the last album, Rush's record label pressured them into staying away from concept based songs. However, Rush stuck to their guns and produced their first hit, “2112”. This would prove to be one of their iconic albums, and the starman logo found on the back cover art would become the Rush logo, which lasts even today.

With “2112”, Rush has yet to let go of their hard rock based songs. The general vibe is very much similar to their preceding releases, but it is obvious they are really getting their footing with the progressive direction they wanted to take. Alex's guitar playing is that much smoother, which is very much needed to compliment Geddy's chugging bass lines. Neil continues to shine as well. His drumming on the song “2112” never fails to inspire air drums whilst listening. This demon makes drumming sound incredibly easy. The image I have of Neil in my head is that Geddy and Alex present him with some music, he ponders for a moment, and says “Ok, got it...let's do this beast.” 10 seconds later everyone's minds are blown.

“2112” is quite an intense slice of progressiveness. The story is loosely based on Ayn Rand's book “Anthem”, and it is quite straightforward so I will let the listener check it out on their own. The first segment, “Overture”, sets the stage nicely with some ominous synth. The notes just kind of hang in the air, leaving you anticipating the music to come. What follows is some of the most intense riffwork ever to come out of the prog genre. The following segment, “The Temples of Syrinx”, follows the same theme, only slightly modified. These two segments are nothing short of perfect. “Discovery” is where things get a little sketchy to me. It just feels very out of place, despite the relevance to the story. The overall song is much better about the flow from one segment to the next, but Rush are still obviously working out the kinks. “Presentation” is another solid bit of music, but is really only interesting in how it moves the story along. The same goes for “Oracle” and “Soliloquy”. They are really good and fit nicely into the song, but definitely do not compare to the first two segments. “Grand Finale” is where it picks up again. This segment is incredibly intense and ends the song perfectly. Once it is all done, you will be quite amazed 20 minutes has just gone by.

The rest of the songs are more or less just backup for “2112”. Don't get me wrong, they really are some of the best pop structured songs Rush has produced up until this point, but after such a mammoth of a song like “2112”, it's really hard to impress much more. Although, “A Passage to Bangkok” is a really good song. I have a soft spot for any song about traveling around Asia testing out all the different strains of weed. Nicely done, Rush. The next 3 songs are honestly a bit forgettable, but Rush closes out the album with the stellar “Something For Nothing”. It has a driving riff that just gets me all pumped up.

This marks the end of a very specific Rush sound. Though they have obviously toyed around with progressive rock (duh), their sound has remained quite Zeppelin-esque. There will be no more of that from here on out. Though they remain rooted in hard rock, their next studio album welcomes a sound that is truly unique to Rush.

This album gets a solid 8/10 from me. You might be asking, “If this album is so iconic, why not a 9 or 10?” Well, the reason is because they still have issues with transitioning segments in their epics, and it was pretty obvious the other songs didn't get as much attention. The album as a whole isn't as good as it could have been. But hey, 8/10 is still good, and Rush is about to hit a string of albums that would prove these guys know exactly what they are doing. This would also be a fine starting point for someone who has never listened to Rush (as long as you enjoy prog epics). Thost who don't, wait a couple albums. Your time will come.

So, Rush have definitely been able to hone their skills with the past 4 albums. After a hit like “2112”, it was time to show off their live chops. Rush have always been great live, which is a reputation they maintain even to this day. Rush's first live album, “All the World's a Stage”, begins a tradition of sorts where Rush releases a live record every 4 albums. They began releasing more live albums sporadically later in their career, but they have always maintained at least one every 4 albums. This is great for someone wanting to really track the progress they made, as you get to hear what Rush sounded like at each era of their existence. This particular album was recorded in Toronto's Massey Hall during a 3 night residency in 1976.

“All the World's a Stage” doesn't disappoint, as they collected a lot of the stronger tracks off their first 4 albums (including a near complete performance of “2112” - which is the only reason I am not upset they didn't include “The Necromancer” or “The Fountain of Lamneth”). It begins with the one-two punch of “Bastille Day” and “Anthem”, the two openers from “Caress of Steel” and “Fly By Night”, respectively. These are the first instances where it becomes obvious that Rush doesn't like to add extra performers to their act. It is solely the trinity of Peart, Lee, and Lifeson. They do a great job of staying true to their recordings, but it becomes apparent it is only the 3 of them when Lifeson breaks into his solos. It is impossible to have rhythm guitar and lead at the same time (obviously), so it is noticeably lacking at those moments. This might bother some people, but I think it actually adds to their appeal. I truly respect them for attempting to create as full a performance as possible while limiting the performance to strictly just the band itself.

The rest of the performances are stellar and lend themselves to a very entertaining live album. There are a few medleys thrown in to cover their debut material. Rush doesn't like neglecting any of their eras, so when it comes to performing songs off that album they usually throw them into medleys to avoid having to truly “perform” them. Very understandable. Another standard I use while judging live albums is whether or not they “feel live”. This really does. You can hear the crowd, there are a couple screw ups here and there, and the whole thing sounds...well...live. There is some great energy here.

The songs themselves are great, and having reviewed all the albums these songs come off of already, you know my opinion of them. Since each live album tends to mark the end of a Rush “era”, I will simply give it a score based on how I view the preceding era. This is the end of Rush's hard rock era, and following it is some of the best straight ahead progressive rock ever to come out of that time. I hereby rate the past era 8/10.

This performance isn't off the album, but this medley is on it and this is also from the same tour. It is very interesting to see Rush in their young days!

For those following, prepare yourselves. Within one album it seems Rush has figured out exactly how to make amazing progressive rock, create a style all their own, and still rock your face off. Yes, that's right. Rush has officially entered their classic era with “A Farewell to Kings”, my personal favorite "epic era" Rush album. The next few albums are generally considered the best of their career, and I'd have to say I completely agree. Whenever I'm in a mood for Rush, I generally reach for one of their albums from 77-82. I can't recommend “A Farewell to Kings” enough, and encourage everyone to give it a listen.

It is obvious straight from opening title track that Rush have finally found their place in the music, and they burst out with a new found confidence. The album starts with some classical guitar, something Lifeson utilizes a bit more often in the next couple of albums. Then they smack you straight in the face with a riff that is both highly creative in chord progression and full of energy. I think it is Lifeson himself who grew the most between albums, as he now knows exactly when to employ smooth, sweeping chords and when to use the almighty power chord. His playing is incredibly refined, and has never complimented Geddy's bass more. He uses the “chorus” effect much more, throw in some reverb, and what you get is an amazing tone. The whole thing just blends together so seamlessly.

“Xanadu” is probably one of the best songs Rush has ever written. It has everything I mentioned above, and also shows how much Rush has learned when writing progressive songs. One of my complaints in earlier albums (namely “Caress of Steel” and “2112”) is that their longer songs just sounded pieced together. “Xanadu” is the first evidence that they have finally learned how to make a prog epic that flows seamlessly as one piece of music. And just listen to the bassline in “Cygnus X-1”. With those two tracks alone, it seems as if Rush woke up one day and went, “Ah, now I know how we should play!” And decided to just lay out some of the best music ever recorded.

Though the longer songs are the stars of this album, “Closer to the Heart” was one of Rush's first radio hits and is a concert mainstay to this day. Sadly, the other two shorter tracks, “Cinderella Man” and “Madrigal”, drag the album down a bit. It is obvious they poured all of the energies into “Xanadu” and “Cygnus X-1”, and even though they aren't terrible songs, they aren't very strong, either. It is easily forgiven considering how incredible all of the other songs are.

I hereby give this album a 9/10. Near perfect, if it weren't for the two clunkers mentioned above. I also fear I haven't given Neil Peart much credit in my review. Rest assured, his skills are as incredible as ever. He is so good on his instrument, that I feel it just goes without saying. Listen and be amazed. Without a doubt, this album is a Rush must.

I love Rush too. My favourite albums right now are the Grace Under Pressure (mainly because of 'Distant Early Warning'), 2112, Signals, A Farewell to Kings and Hemispheres.

The only Rush album I've ever heard was their debut, I thought it was okay. From what I remember anyway.

A lot of times when a band releases a really great album, it is easy to get this feeling that they just won't be able to top it with their next one. Rush, however, always made it a point to keep moving. Every album showed progress and growth and each subsequent album followed a very natural progression. In the late 70's, they got so good at this progression and change that nearly everything they touched was pure gold. Though “Hemispheres” has a sound very similar to “A Farewell to Kings”, it very subtly hints at albums to come.

Sure, there is still a giant 20 minute epic as the first track out of only 4, but it is “The Trees” that really foreshadows the pop structured songs Rush will be writing from here on out. Without a doubt, that is the highlight of this album. Maybe the subject matter is a little bit cheesy (trees used as a metaphor for the rise of communism), but the music is just ridiculously creative and intriguing. With this song alone, it is clear Rush is able to write shorter songs with the potential for being radio hits. The other shorter song, “Circumstances”, is another solid attempt at a traditionally structured song and fits into the album nicely, but it doesn't hold a candle to “The Trees”.

So, maybe Rush isn't so progressive after this album. “Hemispheres” is still balls deep in progressive rock, so I think I better mention it. In fact, this album really could be considered the pinnacle of their progressive attempts (which may be why they decide to totally change it up with their next album). “Cygnus X-1: Book II” has one of the most clever tie ins to another song I've ever seen. At first, it seems it has absolutely no relation to “Cygnus X-1: Book I” off their last album as it goes into Greek mythology and the latter is completely science fiction. However, if you pay close attention, you will notice that at the end of the song our black hole traveling hero from Book I emerges, having become disembodied and is now considered a god, even amongst those at Olympus! Pretty clever twist, Rush. I won't mention any more of the story since it is fun to figure out what is happening on your own. The only issue I have is that this is probably the only Rush epic that I actually get bored with. Right around the 12 minute mark I start wondering when the thing is going to be over. It is still entertaining, and I can still listen to the whole thing through, but this is the only epic Rush has written that gets me checking the time.

Rush's time as a pure and true prog band concludes with their first instrumental. And oh, is it a fitting conclusion. “La Villa Strangiato” is one of my favorite songs ever by any band. Starting off nice and slow, it slowly builds until it smacks you straight in the face with some of the best instrument interplay ever crafted. It gets fast, it gets slow, it rocks, it gets emotional...this song has it all. All I can say is you are doing yourself an incredible disservice by not listening to this song at least once in your life. If I had to point to one musical moment in Rush's back catalog thus far proving their prowess, this song would be at the top of my list. Just freaking listen to it.

So what does the final album is Rush's epic years get? I'll give this one a 9/10. It lost a point just because “Cygnus X-1: Book II” got me checking my watch on occasion. Their last epic ever shouldn't have done that. You'll notice 9/10 is still a very high score. Yes, that is because you need to listen to this album. So listen to it. Now.


Sadly, I couldn't find a studio version of "La Villa Strangiato", so you get a live version. Maybe this will motivate you to go get the album.

"The Trees" is the sort of thing I mentioned earlier. It's really silly. Still a good song, though.

I do like the upcoming albums more than the stuff you've reviewed already.

As I mentioned in the last review, Rush fully exercised their epic song demons and with “Permanent Waves” decided to work on traditionally structured songs. This worked out extremely well for them since this and their next album “Moving Pictures” are considered their two best. They certainly contain the songs that are played the most on the radio. This doesn't mean that Rush is any less progressive, however. They still have odd time signature changes, incredibly virtuosic playing, and weird sci fi sociopolitical subject matter. In fact, this is another reason Rush can be proud of their musical output. They are one of the few bands to write the majority of their songs under 10 minutes while still being able to remain progressive.

Up until this point, Rush has been consistently evolving. Though they dropped their hard rock blues inspired vibe after “2112”, there were still hints of it all the way to “Hemispheres”. This is the album where that style has been almost completely dropped. Their style has become much more fluid, marked by the addition of a more liberal use of synthesizers and the fact that Lifeson began to use single coil guitars rather than his go to humbuckers. You may have noticed the growing use of said synthesizers in their last couple of albums. Well, they are only going to become more and more important to Rush's sound all throughout the 80's. “Permanent Waves” and “Moving Pictures” are the two albums where the band manages to strike the perfect balance of synthesizer and guitar. If Rush were a less creative and inspired band, they could have kept with this style for the rest of their career and they would have been completely successful for it.

This is one of two albums (as I said, the other being “Moving Pictures”) that practically define what Rush is all about. If you have enjoyed any of the preceding albums at all, this album is sure to blow your mind. It is amazing the way Rush was able to come together and write such amazingly catchy and entertaining music while staying true to their intense level of musicianship. The album begins with two of the best openers ever conceived, “The Spirit of Radio” and “Freewill”. The latter is the song that originally got me into Rush, as I'm sure it did for many others. They are two of their most well known songs. The lyrics for “Freewill” are also very thought provoking. This album contains some of Neil Peart's best lyrical work. There are two longish songs on this album (“Jacob's Ladder” and “Natural Science”), but the way they are structured it seems as if they are long naturally and not for the sake of being prog rock. “Jacob's Ladder” just flows in such a way that it ends up being a little longer than your typical pop song. “Natural Science” almost hits 10 minutes, but it really just seems they wanted a great album closer. They completely nailed it, as well. “Natural Science”, along with the two openers, is one of the highlights of the album. It's another number where the lyrics are just amazing. “Time after time we lose sight of the way – our causes can't see their effects,” is such a great line. “Permanent Waves” is packed with those.

This album doesn't have a single weak moment on it. If I had to choose a low point it would be “Entre Nous”, but even that song is good. This is an absolute must hear for everyone. I can't say I really have a favorite Rush album, but if I had to pick, “Permanent Waves” would be a good candidate. From beginning to end, I am completely satisfied with everything my ears are hearing. That's why this album gets a perfect 10/10. I wish I was able to write music like this.

Great review of Permanent Waves. My mom is a huge Rush fan, and as a kid I remember seeing a copy of this record as well as a copy of 2112 in her collection that were almost completely worn out. I'm familiar with all the singles of course, and I'd like to thank you for sharing some of the deeper album cuts. All three of them are amazing musicians.

Neil Peart did a hilarious interview a couple of years ago with Rick Mercer - he's kind of like John Stewart or Stephen Colbert, except he goes out and does interviews, as well as the fake news type of thing. You get to see Neil's amazing kit and hear him play some cool stuff. Here it is if anyone's interested:



I know a few people who went to the same high school as Neil Peart in Hamilton ON, though not at the same time!

Hemispheres and Permanent Waves are both fantastic. I'm with you on La Villa Strangiato - that bass solo blows my mind!

Yes, I'm still writing these reviews. Just a lot more slowly than I was. Since I have half an hour to kill before I get off work for the weekend, I figured another review would help move the time along. You know how sometimes a band will have one particular album that everyone ends up owning? Like Peter Frampton and “Frampton Comes Alive!”, “Moving Pictures” is the album that a casual music lover would have if they only had one Rush album. Is it the best Rush album? Well, that is really up to the listener, but the fact that nearly everyone can at least mumble the lyrics “Modern day warrior mean mean stride, today's Tom Sawyer mean mean pride” does say something about the album's quality. Especially since they were still considered prog and it was the 80's and people were pretty much over prog at that time. It hit number 3 in the US and has gone quadruple platinum, so if you haven't heard it then you should probably get on that...

I would be surprised if anyone reading this never heard “Tom Sawyer”. It still gets played quite a bit on the radio and has made its way onto several movie soundtracks. It is one of those songs where once you hear it you know you've heard it before, just not by who. This song is a phenomenal opener. Just listen to that opening snyth part. Never has something sounded so 80's yet so timeless all at the same time. Rush was the sneakiest band ever when it came to throwing in synth to a guitar based band. “Moving Pictures” has ever so slightly more synth than “Permanent Waves”. A few albums down the road, all the sudden you are thinking, “Didn't they have guitars before? WTF happened?” The awesomeness continues with “Red Barchetta” and one of the best instrumental ever written, “YYZ”. YYZ is the airport code for Toronto Pearson International Airport, and they play the letters in morse code at the beginning of the song. The rest is just deadly. There is some drum and guitar virtuosity going on in the song, but Geddy really steals the show with the bass in that one. “Limelight” was another huge radio hit, “Witch Hunt” would go on to have several sequels on other albums, and “Vital Signs” is an excellent closer. “The Camera Eye” is Rush's final foray into longer songs. Never again will they play a song over 10 minutes. It's a good thing they pull off another classic with this one, then. “The Camera Eye” is another long song that doesn't feel long at all. Somehow, Rush is able to keep the whole thing interesting the entire time.

The overall sound, though slightly beefed up in the synth department, is very similar to the sound they achieved on “Permanent Waves”. In my mind, that and “Moving Pictures” seem like they go together as if they are part 1 and part 2. “A Farewell to Kings” may be my favorite Rush album, but those two albums are the two albums that say better than any other “We are Rush...here is what we can do”. The bass has never been more versatile while still being so driving, the guitars use very smooth open chords while somehow keeping a hard rock feel, and as always not much needs to be said about Neil's drumming. After this album, it starts to become very very apparent Rush want to mess with synths. I'm just glad they held off this long and were able to give us this masterpiece.

What else would I give this album besides a 10/10? There is a reason Rush is going to be playing this album in it entirety on the next tour. Which I will be gladly attending.

Yes, I'm purposefully not posting Tom Sawyer on here. If you really haven't heard that song, look it up.

Oh man, Moving Pictures was one of the handful of albums that built the foundation of me loving music from my earliest years. When it came out I was only four years old and obviously not running out and buying albums, but my brother was 12 and my cousin was 14 and they listened to this album constantly. I just remember the songs from the album being omnipresent in my early childhood. And I loved that album cover! I think all of it seeped in on very fundamental level with me and has informed my tastes one way or another ever since.

The first time I heard Tom Sawyer, I was a junior in high school. I was at a rock themed bar and they played the video for that song on the big screen. All my friends were like..."Is that a ****in guy or girl? ****in weird" but I was really enjoying the song. I went out and got their greatest hits the next day.

Janszoon, Moving Pictures sounds like what Stop Making Sense by Talking Heads was for me. That album just seeped right into my brain and I still pick out the bits of music I enjoy that remind of it.

Stop Making Sense is a hell of an album. Quite a bit better than Moving Pictures IMO, so I envy you there I guess.

Resurrect the old thread from the summer. Really was hoping you'd finish b/c it's kind of a cliffhanger. If you won't I will. I'm loving a reason to re-listen to my favorite Test For Echo. Snakes and Arrows as well...

Yeah, I should finish this up. Or at least try to keep it going...I've got a week off coming up, so I will get to it then.

So I ended up being in a writing mood tonight. I was also in the mood for some Rush. Review time.

Another four albums down, another live album. Not only is “Exit…Stage Left” my favorite live album from the band, it also caps off my favorite era. After this, Rush head straight into the plastic overproduction of the mid 80’s. This gives us one last chance to enjoy those humbuckers and the warmth of acoustic drums (I can handle a lot of what Rush put out in the mid 80’s, but Neil using electric drums is sacrilege).

The great thing about this album is that it’s not just songs from their studio albums slapped together from live shows. There was a lot of thought put into the flow of the whole thing. A couple songs from their first four albums are sprinkled throughout for flavor. “Spirit of Radio” will always be a no contest album opener. If that song is on any album, it’s going to be the first track. If it’s not, someone screwed up. If you’ve listened to their albums, you know the songs that follow are going to be awesome. I’ve always felt Rush had just the right balance of live flare (drum solos, minor screw ups, and a really immediate energy) and studio like precision. It’s also great to hear that they’ve all improved since their last live album (though I’m sure more pricey equipment helps). An excellent “La Villa Strangiato” closes out the album leaving you wanting more. This album is nothing but pure Rush satisfaction. 10/10

I really respect Rush for not looking behind. They have consistently moved forward. There are many bands out there that have tried to change their sound to fit the current trends. Most of them just end up sounding stale and uninspired. Rush has given me the impression that they simply “absorb” those trends and experiment with it in their own right. Sometimes it works, sometimes it doesn’t. On their next album, “Signals”, they take a real interest in the synthesizer trend. Later in the nineties they get more aggressive (obviously because of grunge). All the while never revisiting things they have already mastered.

“A Passage to Bangkok” just came on. Time to spark up the fragrance of Afghanistan…

The beginning of Rush phase 3. If you didn’t hear the slow increase in the use of synthesizers over the last few albums, you must not have been paying attention. Many fans don’t like their mid 80’s output, but to be honest this sound was inevitable. It definitely wasn’t an overnight decision to use such heavy production. Personally, I think they started off quite strong. Signals does use a load of synth, but it somehow manages to keep that Rush feel and it gives us some classics.

“Subdivisions” is a great opener and is a concert mainstay to this day. It is also an indication of things to come for Alex Lifeson. Sadly, this phase of the band really suppresses his guitar playing. We all know by now how talented he is, and in my opinion his open chord style of playing would not have overpowered the songs had they beefed up his parts just a little. Still, I give him credit for modesty. And in all honesty, the songs are still really good. “The Analog Kid” shows off some decent guitar playing, “Chemistry” is unique in that it is one of the few songs Alex and Geddy wrote the lyrics for, “The Weapon” continues the Fear saga, and “New World Man” became Rush’s highest charting single. All in all, there is really very little complain about but there is just something about that production…

Rush seems to like exploring new styles with a couple albums before moving on. Their next album Grace Under Pressure has a sound nearly identical to Signals and after that we get dosed with even more synthesized production power. Ah, sadly the classic days of Rush are over but why would we want them to retread old ideas? What lies ahead are albums for those who are already fans of the band, but that doesn’t mean they are bad. They still manage to write some incredible music. Their albums just become a bit more tiresome to get through to find those songs.

Great yet overproduced music plus a completely horrendous album cover gives this album an 8/10. Not too shabby!

Cool thread. Gonna keep going on this, and add the new one?

Ah, so I still have some readers. Now that the semester is over and I have a couple months of straight lab work, I'll be able to slack off a bit more and pump out a couple Rush reviews.

I would really like to finish this off...and considering they have a new album in the works, it would be great to finish off the thread with that.

Thanks for reading!