I've been wanting to make this poll for a long time, but I wasn't sure if there were enough Rush fans around here to make it worthwhile. But I decided to go ahead anyway. I've only included the band's studio albums, not any of their many live albums or the album of covers they released last year.

My favorite Rush album is 1985's Power Windows.

Moving Pictures is a freaking masterpiece.

I also like the Permanent Waves and Signals albums quite a bit.

SO many good ones it was really tough picking just one, but I still had to go with 2112. I used to listen to that while working on my art - it was so freakin' inspiring.

Fly by Night and Permanent Waves were fabulous too.

what really shocks me is that New World Man was their only top 40 US single... I mean, it's kinda hard to believe NWM went to #21 yet songs like Tom Sawyer, Limelight, Subdivisions, Spirit Of Radio and Freewill WEREN'T top 10 singles.

what really shocks me is that New World Man was their only top 40 US single... I mean, it's kinda hard to believe NWM went to #21 yet songs like Tom Sawyer, Limelight, Subdivisions, Spirit Of Radio and Freewill WEREN'T top 10 singles.

Its weird what happens because Tom Sawyer was a HUGE hit as I recall in Canada. I think it must have something to do with airplay frequency. If the DJs like it, it'll get more airtime which can really help.

Its like Triumph did o.k. in Canada, but FM was more popular, when they played gigs in the U.S., they reversed their order and Triumph would headline because they were more popular there than here. Strange!

Its weird what happens because Tom Sawyer was a HUGE hit as I recall in Canada. I think it must have something to do with airplay frequency. If the DJs like it, it'll get more airtime which can really help.

Its like Triumph did o.k. in Canada, but FM was more popular, when they played gigs in the U.S., they reversed their order and Triumph would headline because they were more popular there than here. Strange!

Tom Sawyer was a huge rock radio hit, but yet only got to #44 on the singles chart. But it was big enough on rock radio that a local station counted down the top 200 rock songs of the millennium in 99 and Tom Sawyer was #10, only stuff like The Beatles, Zeppelin and Floyd were higher.

But still, the song is such a classic on radio that it's hard to believe it was NOT a #1 hit

Tom Sawyer was a huge rock radio hit, but yet only got to #44 on the singles chart. But it was big enough on rock radio that a local station counted down the top 200 rock songs of the millennium in 99 and Tom Sawyer was #10, only stuff like The Beatles, Zeppelin and Floyd were higher.

But still, the song is such a classic on radio that it's hard to believe it was NOT a #1 hit


Yeah - really!! Especially when its taken into countdowns and that high up. I've always loved Rush - great guys too. :D

I voted for Grace Under Pressure, it's got a great guitar sound, and has a few of my favorite songs: Distant Early Warning, Red Sector A, The Body Electric, Kid Gloves, Red Lenses, Between the Wheels. Red Sector A is a big favorite in concert.

It's actually hard for me to pick a favorite Rush album, since they've always been one of my favorite bands, and they've changed and improved over the years. I would also choose 2112, Hemispheres, Moving Pictures, Signals, Power Windows, and Test For Echo as well. I am a huge fan of Test For Echo.

Since the live albums and their latest, Flashbacks, with their 60's covers aren't listed, I take it this only counts for the studio albums?

I voted for Grace Under Pressure, it's got a great guitar sound, and has a few of my favorite songs: Distant Early Warning, Red Sector A, The Body Electric, Kid Gloves, Red Lenses, Between the Wheels. Red Sector A is a big favorite in concert.

It's actually hard for me to pick a favorite Rush album, since they've always been one of my favorite bands, and they've changed and improved over the years. I would also choose 2112, Hemispheres, Moving Pictures, Signals, Power Windows, and Test For Echo as well. I am a huge fan of Test For Echo.

Since the live albums and their latest, Flashbacks, with their 60's covers aren't listed, I take it this only counts for the studio albums?


I'm a huge fan of Test For Echo too. That would be by number two favorite Rush album. Of course, with the exception of Caress of Steel and Presto, all of their albums are great.

I'm a huge fan of Test For Echo too. That would be by number two favorite Rush album. Of course, with the exception of Caress of Steel and Presto, all of their albums are great.Caress of Steel was at a point early on when Rush was not focused in their musical direction, which they cleared up when they did 2112 the next year in 1976. What really was disappointing to them as well was when they tried to come out with a nifty silvery metallic album cover for Caress of Steel, and some goofballs in the art department at the record label messed up made it all bronzy looking, more like Caress of Copper! :doh: :lol:

I saw the Presto tour in 1990 with Mr. Big opening, and that was great! Presto was their attempt to move away from their keyboard-dominated albums and head back into more guitar-driven music. They didn't really accomplish that fully until Test For Echo in 1996. The whole thing was perfectly layered with guitars. "Half the World" is one of my favorite songs on the album. I think it's their best album of the 90's. They put out a great concert in 1997. They played the 2112 epic saga in its entirety! :cool:

I wish I could change my vote to Test For Echo!

I saw them twice on the Test For Echo tour. The second date, in June 1997, was recorded for the Different Stages live album released the following year. The show took place at The New World Music Theater in Tinly Park, Illinois.

Have you heard the rumor that has been going around through Journey, that Rush ripped them off. According to Neal Schon, Tom Sawyer is a ripoff of Journey's Nickel and Dime. I personally don't think it is true, but here is the quote from Neal Schon:

(from the Digital Collegian July 20, 2005)

The band managed a few times to inform the crowd of how they've helped other bands achieve musical greatness.

"When we toured with Rush, they liked this next song so much that they ripped the riff from us ... this is called 'Nickel and Dime,' " said guitarist Neal Schon, referring to Rush's hit "Tom Sawyer".

I don't believe that at all, Rush and Journey may have peaked around the same time in popularity, but I think musically they are as opposite as night and day. I couldn't picture Journey playing anything that remotely sounded like Tom Sawyer, it was not their style.

I don't believe that at all, Rush and Journey may have peaked around the same time in popularity, but I think musically they are as opposite as night and day. I couldn't picture Journey playing anything that remotely sounded like Tom Sawyer, it was not their style.


I couldn't agree with you more. Neal is so full of it. :mad: But the current Journey fans are buying into it. Over at the official Journey website there is a thread that talks about it, and they really believe this.

P.S. Neal is talking about the music that was before Steve Perry joined the band, when they were playing alot of prog rock, but still if you listen to the sample of Nickle and Dime or anything pre-Perry it is hard to believe that anyone would want to rip that stuff off. Oh and they also say that Kansas ripped them off too with their songs.

isn't Neil Schon the same "genius" who fired Steve Perry from the band because he needed time to recover from back pains and didn't have the patience to postpone a tour for it?

isn't Neil Schon the same "genius" who fired Steve Perry from the band because he needed time to recover from back pains and didn't have the patience to postpone a tour for it?


Yeah that's the genius. :lol: :lol: ;)

That's why I'm a Perry fan! :D

Isn't this like when Journey accused Van Halen of being "afraid" of them or ripping them off, or whatever that was?

Give me a break!! I can't believe people are buying into that even today! The two bands are totally different. I've been a fan of both since the 70s. The guy's a fruitcake!

Rush were talented enough and had been popular enough that there's no reason they'd ever need to ripoff any other band. I also know two of them personally and there's just no way.....

Obviously if they're accusing other bands as well....I'd call it some jealousy and trying to give them bad press to increase their popularity. :rolleyes:

Rush, 1974.

Most people's introduction to Rush came from this album, Yers Truly included.
Man, were we just blown away by "Working Man"? That song just baked and was one of the heaviest things ever released in 1974. But at that point, Rush
were just a hard rocking trio slugging it out in the clubs of Toronto. People were calling them a poor man's Led Zeppelin clone band for some reason, and there was not much here to indicate where they would eventually head. Their drummer for this album was John Rutsey, who left the band due to diabetes and didn't share their interest in going prog.

"Finding My Way" was also a killer song, another proper intro to Rush. They almost didn't make it in America, guess people didn't get into Geddy Lee's banshee vocals, but a few dj's here really gave them a big push which started it all.
"What You're Doing" is another heavy song that's catchy.
"In the Mood" is perhaps one of Rush's horniest songs. Of course they would write love songs from a more cosmic perspective, but this one is a perfect backseat soundtrack.
"Working Man"--Still considered by many "fans" to be their best track. "They sold out after this one!!" :rolleyes: But yeah, it rocks, Alex Lifeson's guitar solo just smokes. Everyone can play it. Notice the caption (if you still have the LP) which says For Best Results, Play at High Volume.

Song listing:

Finding My Way
Need Some Love
Take A Friend
Here Again
What You're Doing
In The Mood
Before And After
Working Man

Perfect beer-drinking album. But nothing like what was to follow. After this, Rush became a different band entirely. :cool:

Cap'n's rating:

:cheers: :cheers: :cheers: :cheers:

Isn't this like when Journey accused Van Halen of being "afraid" of them or ripping them off, or whatever that was?

Yes. I think the comments were that Eddie can't play anymore and that he is afraid that Neal will show him up.

The comment is so stupid coming from a guy that every solo album he has, he sounds like a clone of Carlos Santana, and who had a band built around his great playing but couldn't find success until Steve Perry came along. And who didn't have a marketing idea of his own, so he stole Prince's idea of giving away their current CD at concerts. And on that current CD there is a song that sounds an awful lot like a Van Halen song. Hmmmm! :rolleyes:

What I don't get is why would you make such a public comment like that?? I mean couldn't Rush sue him or the band for make such comments??? You would think after all these years if it were true that Rush stole from them and other bands stole from Journey, that they would be sued by Journey? Didn't Huey Lewis sue Ray Parker, Jr. for Ghostbusters sounding like one of their songs, and did Chuck Berry sue George Harrison for the same thing?? So if Neal feels so strongly about this why didn't he sue Rush??? :rolleyes:

So if Neal feels so strongly about this why didn't he sue Rush??? :rolleyes:


Exactly!! Kills me when people accuse but then don't follow through with a lawsuit - to me, that basically proves that their accusations are b.s.!

TipperFan, which two members of Rush do you know? That must be really cool. They always come across as really cool guys. No Eddie Van Halen sized egos. I admire all three guys in Rush, but the one I would like to meet most is Neil. He's one man I really look up to.

TipperFan, which two members of Rush do you know? That must be really cool. They always come across as really cool guys. No Eddie Van Halen sized egos. I admire all three guys in Rush, but the one I would like to meet most is Neil. He's one man I really look up to.

I know Neil and Geddy and yes, they are incredibly down to earth - to this day. Neil, as you know has had a few rough years, but is coming around. Geddy has always been the super shy one. He would usually just sit quietly in a corner at a party - not a snob, just a fairly quiet guy. We had a laugh one night when I was attempting to sing as high as he does (he was in tears laughing at me).

I actually met Neil through one of his cousins. We were up at their cottage (incredibly beautiful - its like a mansion in Muskoka) and one night Neil shows up. I just about dropped dead! I didn't want to look like the typical idiot fan but stammered when I first spoke to him (that was is 1979). He made me feel comfortable pretty quickly and took an interest in my art (although they were already under contract so I couldn't do anything for them). I was at their studio once and Neil even let me pound on his drums for a bit (I was a bit of a drummer). Even got free tickets to a concert at Maple Leaf Gardens one New Year's Eve.

The music scene in Toronto back then was incredible. I did some art for Triumph and Saga and smaller "bar" bands back then.

Yes - Neil's always been my favourite and you would really like him.

(btw - Rik Emmett......and jerk! Mike Levine was the funny one and Gil Moore was a nice guy).

I know Neil and Geddy and yes, they are incredibly down to earth - to this day. Neil, as you know has had a few rough years, but is coming around. Geddy has always been the super shy one. He would usually just sit quietly in a corner at a party - not a snob, just a fairly quiet guy. We had a laugh one night when I was attempting to sing as high as he does (he was in tears laughing at me).

I actually met Neil through one of his cousins. We were up at their cottage (incredibly beautiful - its like a mansion in Muskoka) and one night Neil shows up. I just about dropped dead! I didn't want to look like the typical idiot fan but stammered when I first spoke to him (that was is 1979). He made me feel comfortable pretty quickly and took an interest in my art (although they were already under contract so I couldn't do anything for them). I was at their studio once and Neil even let me pound on his drums for a bit (I was a bit of a drummer). Even got free tickets to a concert at Maple Leaf Gardens one New Year's Eve.

The music scene in Toronto back then was incredible. I did some art for Triumph and Saga and smaller "bar" bands back then.

Yes - Neil's always been my favourite and you would really like him.

(btw - Rik Emmett......and jerk! Mike Levine was the funny one and Gil Moore was a nice guy).


That is so incredible that you know these guys. Geddy has always seemed to be quiet. Thanks for sharing your story with us! :cool: :yourock: :bighug:

I know Neil and Geddy and yes, they are incredibly down to earth - to this day. Neil, as you know has had a few rough years, but is coming around. Geddy has always been the super shy one. He would usually just sit quietly in a corner at a party - not a snob, just a fairly quiet guy. We had a laugh one night when I was attempting to sing as high as he does (he was in tears laughing at me).

I actually met Neil through one of his cousins. We were up at their cottage (incredibly beautiful - its like a mansion in Muskoka) and one night Neil shows up. I just about dropped dead! I didn't want to look like the typical idiot fan but stammered when I first spoke to him (that was is 1979). He made me feel comfortable pretty quickly and took an interest in my art (although they were already under contract so I couldn't do anything for them). I was at their studio once and Neil even let me pound on his drums for a bit (I was a bit of a drummer). Even got free tickets to a concert at Maple Leaf Gardens one New Year's Eve.

The music scene in Toronto back then was incredible. I did some art for Triumph and Saga and smaller "bar" bands back then.

Yes - Neil's always been my favourite and you would really like him.

(btw - Rik Emmett......and jerk! Mike Levine was the funny one and Gil Moore was a nice guy).


I read Neil's book Ghost Rider. It was very moving and inspirational. He is a true survivor. I can't even imagine trying to live my life after the death of my wife and daughter (if I had a wife and daughter). That he survived this awful tragedy only increased my respect for the man.

I know Neil and Geddy and yes, they are incredibly down to earth - to this day. Neil, as you know has had a few rough years, but is coming around. Geddy has always been the super shy one. He would usually just sit quietly in a corner at a party - not a snob, just a fairly quiet guy. We had a laugh one night when I was attempting to sing as high as he does (he was in tears laughing at me).

I actually met Neil through one of his cousins. We were up at their cottage (incredibly beautiful - its like a mansion in Muskoka) and one night Neil shows up. I just about dropped dead! I didn't want to look like the typical idiot fan but stammered when I first spoke to him (that was is 1979). He made me feel comfortable pretty quickly and took an interest in my art (although they were already under contract so I couldn't do anything for them). I was at their studio once and Neil even let me pound on his drums for a bit (I was a bit of a drummer). Even got free tickets to a concert at Maple Leaf Gardens one New Year's Eve.

The music scene in Toronto back then was incredible. I did some art for Triumph and Saga and smaller "bar" bands back then.

Yes - Neil's always been my favourite and you would really like him.

(btw - Rik Emmett......and jerk! Mike Levine was the funny one and Gil Moore was a nice guy).Rik Emmett's a jerk?? :eek:

Fly By Night, 1975

Rush's sophomore album was the beginning of the real Rush lineup, with new drummer Neil Peart, who would go on to not only become one of the greatest drummers of all time (okay, he IS the best!!), but also one of the greatest, most intelligent lyricists of all time. Geddy and Alex didn't want to write lyrics, so they were lucky they found a guy who was heavily into Ayn Rand and Tolkien (The Lord of the Rings, etc.). Ayn Rand's themes of rational self-interest could be heard on the song "Anthem", a song that literally is an anthem, and would be replayed through many of Rush's epic concept albums. Rush were really beginning to take shape at this point; the album was not as garage-rock heavy like the debut album, but the music and lyrics were still very heavy for 1975. "Fly By Night" features some of the most familiar opening chords in rock and roll, a familiar ditty, and is beautifully rephrased in the closing track "In the End". The album's epic centerpiece, "By-Tor and the Snow Dog" is an excellent, rocking track which features their ability to go through amazing tempo changes and handle sweeping segues and guitar effects. Always a huge concert favorite and one of my own personal favorites. The album received a Juno Award (Canadian equivalent of the Grammy), and deservedly so. The band made a successful transition into prog territory.

Song list:

1. Anthem
2. Best I Can
3. Beneath, Between & Behind
4. By-Tor and the Snow Dog
5. Fly by Night
6. Making Memories
7. Rivendell
8. In the End

Cap'n's rating:

:rock: :rock: :rock: :rock:

I read Neil's book Ghost Rider. It was very moving and inspirational. He is a true survivor. I can't even imagine trying to live my life after the death of my wife and daughter (if I had a wife and daughter). That he survived this awful tragedy only increased my respect for the man.

Same here. I had lost touch for quite a while, but when I heard what happened, I contacted his cousin to see how he was doing. Oddly enough, I've read excerpts of the book (a local Sunday paper published some when it was released) and even that broke my heart - I haven't been able to read the whole book yet, but I'm thinking of it this Fall. I know I will be inspired, but it'll be painful. :(

Rik Emmett's a jerk?? :eek:


OH YEAH!!! The stories I could tell you!

The biggest ego I've ever seen on a guy in my life! He even upstaged the bride at her wedding (a mutual friend of ours who was a roadie for Hellfield). They wanted an understated wedding and held it on a Sunday at a Pioneer Village in north Toronto in 1981. They had the horse-drawn carriage, small chapel, simple lace wedding dress (not even a gown really).
Rik shows up in a white stretch limo (white limos were JUST coming out then so it really stood out), gets out, and HE'S in an all white, three-piece suit with this huge "Star" pin on the lapel!
It was this nice, quiet wedding until "the big rockstar" showed up. :rolleyes:
He's been known for doing that sort of thing a lot - takes over private events.
There was also another incident backstage at a concert I went to (actually to discuss business with their manager and that's why I was backstage). Even Gil was cracking off snide jokes about him on that one. :crazy: :lol:

The great Neil Peart... :rock: :drummer:

I voted for Grace Under Pressure, it's got a great guitar sound, and has a few of my favorite songs: Distant Early Warning, Red Sector A, The Body Electric, Kid Gloves, Red Lenses, Between the Wheels. Red Sector A is a big favorite in concert.

It's actually hard for me to pick a favorite Rush album, since they've always been one of my favorite bands, and they've changed and improved over the years. I would also choose 2112, Hemispheres, Moving Pictures, Signals, Power Windows, and Test For Echo as well. I am a huge fan of Test For Echo.

Since the live albums and their latest, Flashbacks, with their 60's covers aren't listed, I take it this only counts for the studio albums?

I loved Grace Under Pressure when it came out.
I still do to an extent, but the thing that I can't get out of my head is how dated the lyrics are- the whole cold war theme of nuclear holocaust.

Still, the music is fantastic and the lyrics, for what they are, are great too, it just bugs me a little.

Red Sector A is one of my all time favorite Rush songs.
I also really like Afterimage, The Body Electric, and Between the Wheels.

As far as my favorite Rush (studio) album of all time I would have to go with Moving Pictures- which I got when originally released on vinyl in a trade with my cousin for The Who's Fance Dances (guess who made out on that deal).

Beyond Tom Sawyer and Limelight I love Red Barchetta, YYZ (killer versions of both on Exit Stage Left), and Vital Signs (what a song!).

I think it's great that on Vital Signs, the last song on the album, there are the lyrics, "Signals get crossed/And the balanced distorted" - Signals being the name of the next studio album. Coincidence? Maybe.

This all being said, I think their best album overall is 1981's live Exit Stage Left.

Today happens to be Geddy Lee's 52nd birthday. So a big Happy Birthday to one of rock's greatest vocalists and bass players. :singer:

Today happens to be Geddy Lee's 52nd birthday. So a big Happy Birthday to one of rock's greatest vocalists and bass players. :singer:


I thought there was something about today's date when I saw it!! Happy B'Day Geddy! You still rock!! :rock: :guitar:


(I had to laugh to - that pic you posted is how he would sit usually at parties!!! :lol: )

And the pic of Neil is how he looked when I first met him - talk about intimidating see him like that just casually walk into a cottage!
(actually he looks a lot like one of my brothers who was a bass player - people also said he looked like George Harrison a bit and when he was a little older, Tom Selleck). Neil has the most beautiful eyes. (Sorry - had to get the chick's point of view in there! ;) )

Today happens to be Geddy Lee's 52nd birthday. So a big Happy Birthday to one of rock's greatest vocalists and bass players. :singer:

:birthday: :birthday: :birthday: :birthday:

I loved Grace Under Pressure when it came out.
I still do to an extent, but the thing that I can't get out of my head is how dated the lyrics are- the whole cold war theme of nuclear holocaust.

Still, the music is fantastic and the lyrics, for what they are, are great too, it just bugs me a little.

Red Sector A is one of my all time favorite Rush songs.
I also really like Afterimage, The Body Electric, and Between the Wheels.

As far as my favorite Rush (studio) album of all time I would have to go with Moving Pictures- which I got when originally released on vinyl in a trade with my cousin for The Who's Fance Dances (guess who made out on that deal).

Beyond Tom Sawyer and Limelight I love Red Barchetta, YYZ (killer versions of both on Exit Stage Left), and Vital Signs (what a song!).

I think it's great that on Vital Signs, the last song on the album, there are the lyrics, "Signals get crossed/And the balanced distorted" - Signals being the name of the next studio album. Coincidence? Maybe.

This all being said, I think their best album overall is 1981's live Exit Stage Left.The lyrics on Grace Under Pressure ARE rather dated!! :lol: All the Cold War paranoia business back in 1984, I wonder if Rush should have an album addressing the post-911 world, see what they'd do with that. But of course, that would become outdated as well!

The lyrics on Grace Under Pressure ARE rather dated!! :lol: All the Cold War paranoia business back in 1984, I wonder if Rush should have an album addressing the post-911 world, see what they'd do with that. But of course, that would become outdated as well!


It would, but would still be cool to hear what they would do. I can just picture how they would describe the falling of the towers, let alone interpret the fight.

Caress of Steel, 1975

Rush's next album, Caress of Steel, also released later in 1975 (in a day and age when bands could take mere months between releases), was a disappointment commercially and critically. The band decided to make good on its prog-rock intentions, but just didn't quite hit it. The label was nearly ready to pull the plug on the band. The album features two of their best-known songs, the anthemic rocker "Bastille Day" and "Lakeside Park", but becomes rather mired down in "The Necromancer" and "Fountain of Lamneth" epics (I'm familiar with "The Necromancer"and it sounds pretty decent, but I haven't heard the album all the way through). On KISW during their Top 999 Rock Songs of All Time countdowns in years past, "I Think I'm Going Bald" often makes it on there, a good song, but not a great one. Rush at this point seemed creatively frustrated, this was an album they could have gotten away with making later on in their careers after having fully establishing themselves, but not when they were still trying to prove themselves. The lyrics were nifty Tolkien fluff and you had to be lover of the Hobbit in order to fully appreciate them. The music was lacking that certain punch, though the intent was there, as if they were trying to be a heavier version of Yes with their epics. Just when all seemed going nowhere for the band, they embarked on their "farewell" tour, the "Down The Tubes" tour.
Rush were obviously having problems!

As I mentioned before, the cover should have been called Caress of Copper! :lol:

Song list:

1. Bastille Day
2. I Think I'm Going Bald
3. Lakeside Park
4. Necromancer: Into Darkness/Under the Shadow/Return of the Prince
5. Fountain of Lamneth: In the Valley/Didacts and Narpets/No One At The Bridge/Panacea/ Bacchus Plateau/The Fountain

Captain's rating:

:rock: :rock: :rock:

is it me or has Geddy Lee gotten a little work done? He looks better now in his 50's than when he was young.

Even though I love the music, I admit the "Vital Signs" video on VH1 Classic was kinda funny to watch because there was a camera angle and Geddy was far enough away from the camera that he actually kinda looked like the old witch from Snow White because of his nose and hair :lol:

http://www.nndb.com/people/547/000025472/geddy-lee.jpghttp://going24-7.com/pins/images2/hagappleoval.jpg

is it me or has Geddy Lee gotten a little work done? He looks better now in his 50's than when he was young.

Even though I love the music, I admit the "Vital Signs" video on VH1 Classic was kinda funny to watch because there was a camera angle and Geddy was far enough away from the camera that he actually kinda looked like the old witch from Snow White because of his nose and hair :lol:

http://www.nndb.com/people/547/000025472/geddy-lee.jpghttp://going24-7.com/pins/images2/hagappleoval.jpg

Hey some of the best singers and musicians have big noses. I can think of one in particular. ;)

Hey some of the best singers and musicians have big noses. I can think of one in particular. ;)

LOL, Barbra?

well, you should've seen the profile and the way Geddy's head was tilted in the video, it was funny. The guy looks a lot better these days

2112, 1976

JACKPOT! The Rush album where their prog-rock aspirations finally, fully came together. The band was frustrated and furious that no one was taking them seriously, so they lashed back with a vengeance. The label warned, "no more artsy concept albums"--and they came back with one of the biggest of all time!! It was a stunner. The album begins with the trippy time/space travel noises to where you are transported to a different album on a different planet (Earth?) in a saga that fully encapsulated Ayn Rand's core philosophy. If anyone is familiar with the 1946 story "Anthem", where a member of a collectivist society dares invent an electric light against his society's wishes, the main character in the year 2112 discovers an ancient relic: an electric guitar, which can bring the gift of beauty and music to their sterile world. Instead, the priests who run the society banish it and him with his "corrupting" ideas. This album is the definitive statement on the power of rock and roll--and the opposition to its potency. Rush truly came together on this one. The whole album is a masterpiece. The label wasn't too happy with an "artsier" album than the last ones, but the band succeeded in creating an intelligent piece of rock with this one. And it didn't hurt that the album cover was eye-catching and symbolic.

Which brings to mind the problems that Rush encountered with few "religious" knuckleheads since the album was released. Critics in fundamentalist
"Christianity" saw fit to attack the album as having "Satanic" symbols--"Ooh, look, a pentagram!"--when in fact the red star on the front was the symbol of the society of the future in the album's epic saga. It was practically a case of life imitating art. Rush were denounced as "Satanists" by so many church groups, but Neil Peart was not amused by this. His position was more of a "freethinker" than any satanic inclinations (which caused others to dub Rush as "secular humanists"), but it would have just been fine to accept Rush as musicians with more than a bit of intelligence.

Other great tracks on the album include "A Passage to Bangkok" about globetotting for certain *vegetable substances*, "The Twilight Zone", written in honor of their late hero Rod Serling who had passed away the year before,
"Tears", a beautiful, touching ballad, and "Something For Nothing", co-written by a fellow Washingtonian. This album is one of their best. It was not only smart, but it rocked, and features some of their most memorable tunes. One of their very best. One of the best rock albums of all time.

Song list:

I. 2112 Overture
II. The Temples of Syrinx
III. Discovery
IV. Presentation
V. Oracle: The Dream
VI. Soliloquy
VII. The Grand Finale

2. A Passage to Bangcock
3. The Twilight Zone
4. Lessons
5. Tears
6. Something For Nothing


Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

All The World's a Stage, 1976

In the era of the live album, Rush offered their own recording of their spectacular concert set with this double-LP which featured heavy duty live versions of "Bastille Day", "Anthem", "Fly By Night/In the Mood", "2112", and others. The album may have had a garage-y feel to it, but it brought an intensity that was only hinted at on studio tracks. The crowd goes gonzo for their heroes as well. I originally listened to this album for its live version of "Working Man/Finding My Way" witht the drum solo, but was completely blown away by "By-Tor and the Snow Dog", which sold me on the album. That song was riveting, with the special guitar and bass effects (still wondering, what are those creepy grunting noises through the first solo? Sounds like evil Prince By-Tor's minions from hell as he proceeds into battle with our hero Snow Dog) :starwars , and above all, the trippy interlude which feels like the battle being conducted in a snowy winter night. "In the End" is also excellent, and easy to learn on guitar. For me, this album featured the full power of Rush, way back when, live was the best way to experience them, either on the album or in concert (I attended my first Rush concert in 1977). But the band would even improve by leaps and bounds a year later.

On the cover is the popular "Man-in-star" symbol (I actually thought it was a lighting prop at first) which merits explanation. The red star indicates the collective society in 2112, where all citizens are told what to think and how to live and urged to agree. It is not a "satanic pentagram", but in a way it could represent something satanic--collectivized masses in a totalitarian system who lack freedom. And here comes the Man who confronts the societal Star, why is he naked? It suggests purity, without societal trappings such as clothing, like a perfect nude figure in art. He represents an ideal, heroic, untainted, and brave. Rush were fully living out this concept at this point, a band that had no use for what the music industry deemed important for the success of one's music. They were not meant for the masses, but in the process, tons of rockers flocked to them. They were neither a proper heavy metal band nor prog-rock, but featured elements of both. They were too intelligent to be mere metal, but too down to earth to be highbrow prog. Oh yeah, some Christians have explained that there is a satanic "face" within the symbol. And of course the one Christian who enlightened me to this "fact" was a huge Bon Jovi fan. :rolleyes: Nice how people obsess over such pointless trivia than listen to, what's that? Oh yeah, the music.

Song list

1.BASTILLE DAY
2.ANTHEM
3.FLY BY NIGHT
4.SOMETHING FOR NOTHING
5.LAKESIDE PARK
6.2112
Ⅰ.OVERTURE
Ⅱ.THE TEMPLES OF SYRINX
Ⅲ.PRESENTATION
Ⅳ.SOULILOQUY
Ⅴ.GRAND FINALE
7.BY-TOR AND THE SNOW DOG
8.IN THE END
9.WORKING MAN/FINDING MY WAY
10.WHAT YOU'RE DOING

Captain's rating:

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The order in which I would rank Rush's studio albums:

1. Power Windows
2. Test For Echo
3. Roll The Bones
4. Moving Pictures
5. Signals
6. Permanent Waves
7. Grace Under Pressure
8. Counterparts
9. 2112
10. A Farewell To Kings
11. Hemispheres
12. Hold Your Fire
13. Vapor Trails
14. Fly By Night
15. Rush
16. Presto
17. Caress Of Steel

A Farewell to Kings, 1977

A year later, Rush began to distance themselves further from their garage-y roots with a more sophisticated sound on their new album which was full of surprises: Not only was Alex Lifeson incorporating more acoustic guitar into their songs, but this was Geddy Lee's first album where he introduced keyboard/synth playing. "Farewell to Kings" was a very polished, yet no less intense album. The title track opens with a gentle classical guitar into accompanied by keyboards, then blasts into the main theme, another indictment on the corruption of power. The album continues into the majestic 11-minute "Xanadu" which borrows lyrics from the 18th century poet Samuel Taylor Coleridge--it's a song which takes your breath away. Then comes a new Rush anthem that has been a staple in concerts ever since, "Closer to the Heart" which opens with classical guitar and features Neil Peart's catchiest lyrics. "Cinderella Man" touches on more Ayn Rand themes concerning individual fortune and wealth vs. collective greed and jealousy (I wonder if Ron Howard heard the song in reference to his latest movie). "Madrigal" is a nice soft song, which is then followed by the album's ten-minute closer, "Cygnus X-1", the opening of an epic song which would be continued on the next song. Rush kept the suspense musically brewing, even though it seemed forever for them to get to the point. But the song is an engaging listen. One of my first Rush albums I ever bought.

Song listing:

1. A FAREWELL TO KINGS
2. XANADU
3. CLOSER TO THE HEART
4. CINDERELLA MAN
5. MADRIGAL
6. CYGNUS X-1 (BOOK ONE)

Cap'n's rating:

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Hemispheres, 1978

The next album, Hemispheres, released the following year, remains one of their very best during their classic prog era. The first side of the album featured the album-long side of the continuing tale of Cygnus X-1 and delved deep into the matter of the cause of its cosmic turbulence. It was an intriguing story indeed. Basically the story was about the two sides of the human brain, the analytical and the intuitive, symbolized by the gods of reason and love, Apollo and Dionysus (actually, Dionysus is the god of wild, passionate emotions rather than love--that belongs to the godess Aphrodite). Human lives strove to find the proper way to live according to both gods: Apollo was the giver of structure, logic, orderliness, while Dionysus dealt with the more spontaneous, free flowing, things, laughter, joy, music, tears (actually, music is actually very mathematical and structured--something related to Apollo). Both sides found that neither god could provide the ultimate answers: Apollo's way was too "emotionless", while Dionysus's way was too "disorganized". Ultimately human society falls into chaos until Cygnus returns and offers a solution.

The album cover offers a hint of the meaning: the nude man represents the "intuitive, feeling" side, things of Dionysus, beauty, freedom, artistic inspiration, while the dapper clothed man represents structure, order, "prim and proper", "sensible" things of Apollo.

The other songs on the album include "Circumstances" with some lyrics in French, "The Trees", one of their biggest songs about a certain parable about nature, and the closer, "La Villa Strangiato", subtitled, "An Exercise in Self-Indulgence", a full-on instrumental featuring Loony Tunes cartoon music on "Monsters!". Actually, the album was not the easiest one for the band to make, but it did establish them as a definite band to watch for. This album featured some of their best playing.

Song list:

1. Cygnus X-1 Book II: Hemispheres
Part 1: Prelude
Part 2: Apollo/Dionysus
Part 3: Armageddon
Part 4: Cygnus
Part 5: The Sphere
2. Circumstances
3. The Trees
4. La Villa Strangiato
Buenos Nochas, Mein Froinds!
To Sleep, Perchance to Dream...
Strangiato Theme
A Lerxst in Wonderland
Monsters!
The Ghost of the Aragon
Danforth and Pape
The Waltz of the Shreves
Never Turn Your Back on a Monster!
Monsters! (Reprise)
Strangiato Theme (Reprise)
A Farewell to Things


Cap'n's rating:

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Moving Pictures

Permanent Waves, 1980

This was the first album to be released in the new year 1980 (along with Van Halen's Women and Children First). The year before, Neil was contemplating on writing lyrics based on Arthurian legend, but realized wisely that what was called "progressive rock" was a dying relic in the eyes and ears of many fans.
Punk and new wave were the rage, and made virtual dinosaurs out of the virtuosity-oriented bands. Rush realized that the 80's were going to be a time of change and could not continue with "outdated" concepts in their songs, yet they could not help but feel that there was too much trendiness going on in the world of rock. Prog may have become old, but new wave was going to be a flash in the pan--was there a way to balance the two, to be completely and consistently prog oriented, yet remain up-to-date and even ahead of their time?

Permanent Waves was their answer. They confronted the musical quandary of musical trendiness in the upbeat anthem "The Spirit of Radio", a blazing display of Rush's bright musicianship and ability to adapt. Rush had truly arrived on this album, and radio programmers and music industry heads were interested in finding out more about this young Canadian band--though Rush were reluctant to be co-opted in anyway into something they weren't. They continued with the driving "Freewill", another classic from the band, and finished side one with the suspenseful "Jacob's Ladder", a hit on the 1980 tour (which I was fortunate enough to have seen!). "Entre Nous" was a big song on the album with catchy refrains, but the centerpiece of the album was the phenomenal "Natural Science", which touched on the topic of shifting trends in music--and that they were a part of a more permanent wave than just the "new wave" that downplayed musicianship and honesty. But as much as they were opposed to the "new wave" glutting the industry and airwaves, they found themselves seduced by it with a little more emphasis on keyboards and the inclination to make radio-friendly hits such as "Spirit of". Gone was the inclination to create monster-sized epic album side tracks. But of course they couldn't resist the urge to create something along those lines with "Natural Science". The album was a more than fitting start to a new decade.

Song list:

1. The Spirit of Radio
2. Freewill
3. Jacob's Ladder
4. Entre Nous
5. Different Strings
6. Natural Science
I. Tide Pools
II. Hyperspace
III. Permanent Waves

Cap'n's rating:

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Moving Pictures, 1981

Success at last!
On the followup to Permanent Waves, Rush's 1981 album finally established them as the band and record of the year with the pulsating opening track, "Tom Sawyer". The searing blast of synthesizer and thunder of drums and guitar, this song made everyone stand up and take notice. The lyrics, written by Pye Dubois, who also wrote lyrics for fellow Canadian rockers Max Webster, hit a universal nerve about the stubborn resolve of youth reflected in the famed literary character. The whole song was relentless and rollicking.
The next song, "Red Barchetta" (often mispronounced, actually pronounced "bar-ket-ta"), was a churning, driving (no pun intended) track about a powerful Italian car. One of Rush's most popular instrumentals, "YYZ", the code for the Toronto Airport, is a dizzying display of riffs and leads with manic bass and drum fills. Another anthem, "Limelight", rounds out the first side. The song touches on the band's growing popularity and Neil Peart's need for privacy, which he realized he was losing as the band was becoming bigger and bigger. The band found themselves surrounded by
new fans and industry types who seemed to have designs on them, to try to cash in on their success. The song was their attempt to put this attention into perspective. "The Camera Eye" is the album's centerpiece, an intense and powerful piece, one of the best tracks on the album with roaring guitars and driving percussion. Synths flow through the track with lyrics about the constant flow of city life not pausing to see history and subtle moments around them. The next song, "Witch Hunt", with its haunting opening of a mad lynch mob, dealt with one of the band's biggest concerns, the rise of religious and ideological bigotry which condemned different ideas out of fear. It is plain that Rush saw the rise of religious and political conservativism (one and the same!) in the early 80's as a threat to freedom in the early 80's, as they themselves were victims of anti-rock preachers and their followers (in fact, some of these preachers condemned the song as promoting "occultism"!). The song was the "third" (actually the first, counting backwards) in their song cycle, The Trilogy of Fear. The whole album is amazing, with crunching guitars, pounding bass and drums, a perfect blend of synths, and overall steller production values. Rush's finest hour.

Song list:

1. Tom Sawyer
2. Red Barchetta
3. YYZ
4. Limelight
5. Camera Eye, The
6. Witch Hunt
7. Vital Signs

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock: :rock: (I'm giving it 6, it's that good!!)

Permanent Waves and Moving Pictures-Rush's first two masterpieces! :rock:

Exit...Stage Left, 1981

After the usual four album cycle, Rush released another live album full of songs from their current albums since "All the World's a Stage". Their 1981 "Exit..." album was not as "live" as the first one was, but featured more live versions of songs culled from performances during their past few tours minus the first four Rush albums, except for "Beneath, Below, Behind" from "Fly By Night". The songs were faithful live renditions of their studio tracks on a double album that contained a more massive concert arena sound, and the tracks were quite impressive. The audience in Glasgow sings along to "Closer to the Heart", "YYZ" features a drum solo, and Alex Lifeson's acoustic instrumental, "Broon's Bane" neatly segues into "The Trees", which segues into a mesmerizing version of "Xanadu", with synth effects. "Jacob's Ladder" was an equally impressive live track with dreamy synths and hints of a bona fide religious experience. At the time it was the closest Rush came to a greatest hits album, and displayed their concert prowess. It was huge! But then, Rush were now one of the hugest bands on the planet. There seemed to be nothing out of their reach.

Song list:

1.THE SPIRIT OF RADIO
2.RED BARCHETTA
3.XYZ
4.A PASSAGE TO BANGKOK
5.CLOSER TO THE HEART
6.BENEATH, BETWEEN & BEHIND
7.JACOB'S LADDER
8.BROON'S BANE
9.THE TREES
10.XANADU
11.FREEWILL
12.TOM SAWYER
13.LA VILLA STRANGIATO

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Signals, 1982

Now that Rush had succeeded in gaining the music world's attention, the question remained: How do you improve upon perfection? There was no question that they would have a hard time matching the success of Moving Pictures. On Signals, they forged on with a more synth-oriented sound on songs such as "Subdivisions", an urgent, relentless song lamenting the feeling of lostness and alienation of suburban life--definitely one of their best. Some critics complained that the album was "less rocking", Alex Lifeson's guitars seemed to take a back seat to Geddy Lee's explorations with synthesizers, but songs such as "The Analog Kid" countered that argument. Later in the mid-80's, many metal bands would criticize the synthesizer was a "gay", "effeminate" instrument, but at this point, Geddy made it "heavy" (Rush never really considered themselves a metal band in the first place). On songs such as "Chemistry" and "Digital Man", it was clear that Rush had matured gracefully into becoming a full 80's band and had left their 70's excesses behind. "The Weapon", the second song in the Fear Trilogy, evoked tension-filled visions of the Cold War and public hysteria. The government was adept at keeping the populace misinformed and totally on edge about perceived enemies. The ska-influenced "New World Man", about the emerging role of North America, became their first Top 40 hit. Some thought the song "Losing It" was a semi-autobiographical song about one's weakening prowess (Some music reviewers at my college newspaper thought that since Rush were "not as rocking" as before, they were were somehow "losing their ability" to play well--perhaps expectations were too high to make "Moving Pictures Part 2", but Signals was just part of the progression of their sound). The album concludes with "Countdown", about the historic launch of the Space Shuttle a year earlier. The band happened to be part of the audience that watched firsthand at the space center.

Signals is thought by some not to be the biggest album by Rush, but some critics failed to see that the point of progressive rock is to progress. Rush was not about to deliver a remake of past glories in order to keep record execs or "fans" happy. The album was a definite 80's album which embraced a few different styles, obviously new wave had some impact on them, but it was consistently Rush. The album showed their willingness to experiment and expand.

Song list:

1. Subdivisions
2. The Analog Kid
3. Chemistry
4. Digital Man
5. The Weapon (Part II of Fear)
6. New World Man
7. Losing It
8. Countdown

Cap'n's rating:

:rock: :rock: :rock: :rock:

Exit...Stage Left, 1981

After the usual four album cycle, Rush released another live album full of songs from their current albums since "All the World's a Stage". Their 1981 "Exit..." album was not as "live" as the first one was, but featured more live versions of songs culled from performances during their past few tours minus the first four Rush albums, except for "Beneath, Below, Behind" from "Fly By Night". The songs were faithful live renditions of their studio tracks on a double album that contained a more massive concert arena sound, and the tracks were quite impressive. The audience in Glasgow sings along to "Closer to the Heart", "YYZ" features a drum solo, and Alex Lifeson's acoustic instrumental, "Broon's Bane" neatly segues into "The Trees", which segues into a mesmerizing version of "Xanadu", with synth effects. "Jacob's Ladder" was an equally impressive live track with dreamy synths and hints of a bona fide religious experience. At the time it was the closest Rush came to a greatest hits album, and displayed their concert prowess. It was huge! But then, Rush were now one of the hugest bands on the planet. There seemed to be nothing out of their reach.

Song list:

1.THE SPIRIT OF RADIO
2.RED BARCHETTA
3.XYZ
4.A PASSAGE TO BANGKOK
5.CLOSER TO THE HEART
6.BENEATH, BETWEEN & BEHIND
7.JACOB'S LADDER
8.BROON'S BANE
9.THE TREES
10.XANADU
11.FREEWILL
12.TOM SAWYER
13.LA VILLA STRANGIATO

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:


Even though Exit...Stage Left has more of my favorite songs on it then All the World's a Stage, I actually think that All the World's a Stage is an overall better live album.

Signals, 1982

Now that Rush had succeeded in gaining the music world's attention, the question remained: How do you improve upon perfection? There was no question that they would have a hard time matching the success of Moving Pictures. On Signals, they forged on with a more synth-oriented sound on songs such as "Subdivisions", an urgent, relentless song lamenting the feeling of lostness and alienation of suburban life--definitely one of their best. Some critics complained that the album was "less rocking", Alex Lifeson's guitars seemed to take a back seat to Geddy Lee's explorations with synthesizers, but songs such as "The Analog Kid" countered that argument. Later in the mid-80's, many metal bands would criticize the synthesizer was a "gay", "effeminate" instrument, but at this point, Geddy made it "heavy" (Rush never really considered themselves a metal band in the first place). On songs such as "Chemistry" and "Digital Man", it was clear that Rush had matured gracefully into becoming a full 80's band and had left their 70's excesses behind. "The Weapon", the second song in the Fear Trilogy, evoked tension-filled visions of the Cold War and public hysteria. The government was adept at keeping the populace misinformed and totally on edge about perceived enemies. The ska-influenced "New World Man", about the emerging role of North America, became their first Top 40 hit. Some thought the song "Losing It" was a semi-autobiographical song about one's weakening prowess (Some music reviewers at my college newspaper thought that since Rush were "not as rocking" as before, they were were somehow "losing their ability" to play well--perhaps expectations were too high to make "Moving Pictures Part 2", but Signals was just part of the progression of their sound). The album concludes with "Countdown", about the historic launch of the Space Shuttle a year earlier. The band happened to be part of the audience that watched firsthand at the space center.

Signals is thought by some not to be the biggest album by Rush, but some critics failed to see that the point of progressive rock is to progress. Rush was not about to deliver a remake of past glories in order to keep record execs or "fans" happy. The album was a definite 80's album which embraced a few different styles, obviously new wave had some impact on them, but it was consistently Rush. The album showed their willingness to experiment and expand.

Song list:

1. Subdivisions
2. The Analog Kid
3. Chemistry
4. Digital Man
5. The Weapon (Part II of Fear)
6. New World Man
7. Losing It
8. Countdown

Cap'n's rating:

:rock: :rock: :rock: :rock:

This is one of my favorite Rush albums. I think that every song is great with the exception of "Countdown". "Subdivisions" also happens to be my all time favorite Rush song. I grew up in the suburbs of Illinois and I've always been able to relate to this song.

This is one of my favorite Rush albums. I think that every song is great with the exception of "Countdown". "Subdivisions" also happens to be my all time favorite Rush song. I grew up in the suburbs of Illinois and I've always been able to relate to this song."Countdown" was a bit of a disappointment. "Subdivisions" is definitely one of their best songs.

Grace Under Pressure, 1984

In 1984, Rush found themselves under intense demand by the record label to release a new album in the midst of a creative block. A year and a half had passed and time came to release new material. The label seemed to be asking for a new album to equal Moving Pictures, and the band may have wanted to re-capture that intensity, but clearly, it wasn't happening. The dark themes, generally relating to the Cold War, indicated that Rush was hitting a bit of turbulence on Grace Under Pressure. Musically, the album was top-notch. Many fans were curious about the bold ambitious sound of Alex Lifeson's "Hentor" guitar. It was some of the heaviest guitar in a while. But Lifeson explained the Hentor was actually a modified Fender Stratocaster named after their producer Peter Henderson, you couldn't buy one off the shelves. The album started out with "Distant Early Warning", an ominous song touching on Canadian territory being used by the United States for radars to detect Soviet radars, another example of Cold War paranoia imposing on Canadian sovereignty. "Afterimage" was dedicated to a late Rush Associate Robbie Whelan. "Red Sector A" became a huge concert favorite, its lyrics dealing with desperate life in a concentration camp (Geddy Lee lost relatives in the Holocaust in Nazified Europe in World War II). "The Enemy Within" was song #1 in the Fear Trilogy, a political commentary with a ska beat about paranoia within society towards itself. "The Body Electric" was a sci-fi tale about humanized robots (the video resembled Star Wars). "Kid Gloves" was a rocking number about bullying and intimidation with fast beat, and "Red Lenses" was another song about Soviet terror, with a funky, danceable beat. The final song was one of Rush's most angst-fueled, fearful songs, "Between the Wheels" where synths and guitars whine like banshees. Peart was full of a sense of apocalyptic doom in this song, as well as on the rest of the album, but the closing song was especially effective. The album was a perfect companion piece to George Orwell's prophetic year, and no doubt the band had read the book for inspiration. The band still felt disappointed at their overall output on this album, and felt a change was due. It was time to recharge their creative batteries on their next outing.

Song list:

1. Distant Early Warning
2. Afterimage
3. Red Sector A
4. The Enemy Within (Part I of Fear)
5. The Body Electric
6. Kid Gloves
7. Red Lenses
8. Between the Wheels

Cap'n's rating:

:rock: :rock: :rock: :rock:

Power Windows, 1985

Rush finally were able to reinvent their sound for the 80's on their mid-decade release, Power Windows. They had given up trying to recreate the heaviness of Moving Pictures, and instead of the droning dark guitar and lyrics of Grace Under Pressure, they embraced a leaner sound with bit of clean, jangly tone. Alex Lifeson's guitars gave more of an atmospheric, ambient texture that was still heavy in its own way. The opening song, "The Big Money", knocked the wind out of everything on that first power chord, and Geddy's and Neil's rhythm section was as pulsating and relentless as ever. It was a completely new sound for Rush, and would become the new Rush sound for the next few albums. The theme of the album was that of power: "The Big Money" was of course the power of money, "Grand Designs", a brightly charged rocker, was about the power of creative ideas, and "Manhattan Project", one of the album's strongest tracks and one Rush's finest performances, was about the power scientific ideas--in this case, the rush to create and use the atomic bomb (before the Soviets or Nazis did) and end World War II would lead to a terrible fear hanging over the heads of future generations after the act of Enola Gay. The song was suspenseful, and even used a classical orchestra to thrilling effect. "Marathon", another great track, was about the power of physical endurance. "Territories" was about the power of nationalism, "Emotion Detector" about the power of love. The album's closer, "Mystic Rhythms", was about the power of the unknown. What made this album significantly different musically was not only the use of cleaner guitar tones and synths, but Rush's use of different rhythms, there was a sense of a world-beat in their brand of hard rock that was nothing like their ska attempts. In fact, the beat they were using was not easy to categorize. There was a sense of funk, but even that description was not even applicable. In any case, it was all Rush, the band no one could pin down. It was exciting to see the band develop and mature. The album was one of their best.

Anyone remember "The Big Money" video, one of the few they ever aired on MTV by Rush?

Song List:

1 Big Money
2 Grand Designs
3 Manhattan Project
4 Marathon
5 Territories
6 Middletown Dreams
7 Emotion Detector
8 Mystic Rhythms

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Power Windows, 1985

Rush finally were able to reinvent their sound for the 80's on their mid-decade release, Power Windows. They had given up trying to recreate the heaviness of Moving Pictures, and instead of the droning dark guitar and lyrics of Grace Under Pressure, they embraced a leaner sound with bit of clean, jangly tone. Alex Lifeson's guitars gave more of an atmospheric, ambient texture that was still heavy in its own way. The opening song, "The Big Money", knocked the wind out of everything on that first power chord, and Geddy's and Neil's rhythm section was as pulsating and relentless as ever. It was a completely new sound for Rush, and would become the new Rush sound for the next few albums. The theme of the album was that of power: "The Big Money" was of course the power of money, "Grand Designs", a brightly charged rocker, was about the power of creative ideas, and "Manhattan Project", one of the album's strongest tracks and one Rush's finest performances, was about the power scientific ideas--in this case, the rush to create and use the atomic bomb (before the Soviets or Nazis did) and end World War II would lead to a terrible fear hanging over the heads of future generations after the act of Enola Gay. The song was suspenseful, and even used a classical orchestra to thrilling effect. "Marathon", another great track, was about the power of physical endurance. "Territories" was about the power of nationalism, "Emotion Detector" about the power of love. The album's closer, "Mystic Rhythms", was about the power of the unknown. What made this album significantly different musically was not only the use of cleaner guitar tones and synths, but Rush's use of different rhythms, there was a sense of a world-beat in their brand of hard rock that was nothing like their ska attempts. In fact, the beat they were using was not easy to categorize. There was a sense of funk, but even that description was not even applicable. In any case, it was all Rush, the band no one could pin down. It was exciting to see the band develop and mature. The album was one of their best.

Anyone remember "The Big Money" video, one of the few they ever aired on MTV by Rush?

Song List:

1 Big Money
2 Grand Designs
3 Manhattan Project
4 Marathon
5 Territories
6 Middletown Dreams
7 Emotion Detector
8 Mystic Rhythms

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:


This is my favorite Rush album. I was happy to read in a recent biography of the band that both Geddy and Neil think very highly of this album. Geddy goes as far as to say that it was the best album they put out during the the 1980's and 1990's. The album's best track is "Middletown Dreams", which continues with the theme of suburban living first discussed is "Subdivisions". I think that Neil's lyrics were never better then they were on this album.

Moving Pictures, that's for me. :)

This is my favorite Rush album. I was happy to read in a recent biography of the band that both Geddy and Neil think very highly of this album. Geddy goes as far as to say that it was the best album they put out during the the 1980's and 1990's. The album's best track is "Middletown Dreams", which continues with the theme of suburban living first discussed is "Subdivisions". I think that Neil's lyrics were never better then they were on this album.Interesting, he thinks it's even better than Moving Pictures?

This album was a real turning point for Rush in the 80's. It's one of their defining albums when they just sounded so fresh and rejuvenated.

Hold Your Fire, 1987

Continuing on in that fresh clean-tone vein was Hold Your Fire, which opened with a heavy-hitting number "Force Ten", a favorite concert opener (or closer) with Geddy's bass thumping throughout like a marathon run. The album was also their first to feature a guest vocalist, a female singer, no less--Aimee Mann of 'Til Tuesday ("Voices Carry") who later went on to solo career, on the hit "Time Stand Still". Time was the underlying concept on the album, as well as instinct. "Open Secrets" was another decent track which sang about touching raw nerves over sensitive issues. Keyboards were very prominent on the album, making Alex's guitar not the central focus of the music. The band felt that each member fit nicely on the recording, no one was more up front than the other, they all interlocked as a cohesive whole. The next song begins with a haunting, sad piano note on one of their best, and most overlooked songs, "Second Nature", about society's wasted potential on improving its lot. We have the ability to change what's wrong, but oddly the opportunity gets squandered. "Prime Mover" is another excellent track--ever notice the difference in Geddy's choice of basses; on earlier albums, his Rickenbacher would have a heavy crunch, but his use of either Fenders or Wal basses would have a nice springy sound. Rush were running like a well-oiled machine on this album, using tempos and rhythms that no other band was using at this point (this was still very much the height of the hair metal years). "Lock and Key" was a tense, fearful song about protecting the instinct to hurt or kill from being released. Neil scored with a very insightful song about human nature, and it featured some of Alex's best guitar playing (he was a huge endorsee of the Canadian brand Signature Guitars, which are no longer around). "Turn the Page" is one of their best, a sprinting, adventuresome track with some of their best lyrics ("How can anyone be enlightened? Truth after all is poorly lit"). "Mission" was the centerpiece track, if there was one ("Hold your fire, keep it burning bright"), a nice optimistic song about preserving one's visions and fulfilling dreams. "Tai Shan" was a light number about Neil's bicycle trip to China and being mystified by its ancient landmarks. Neil is a known tourist who has circled the world when Rush was not on tour.

So what can be said, but another fine album from Rush? It may have not been as big or as groundbreaking as "Power Windows", but the band was still improving and inspiring in their music. This is one of my favorites. It proved that Rush didn't need to be "heavy" to give that musical rush. The overall sound felt like a mighty "rush" of wind. 1987 was the year of a number of big name prog-rock offerings (Pink Floyd's "Momentary Lapse of Reason" and Yes' "Big Generator") but Rush succeeded well above all with this album over the competition.

Song list:

1. Force Ten
2. Time Stand Still
3. Open Secrets
4. Second Nature
5. Prime Mover
6. Lock and Key
7. Mission
8. Turn the Page
9. Tai Shan
10. High Water

Captain's rating:

:rock: :rock: :rock: :rock: :rock:

A Show of Hands, 1989

Now that the third cycle of four studio albums had been completed, Rush released double-live disk number three which highlighted their top songs from Signals to Hold Your Fire, including live versions of "Witch Hunt" and "Closer to the Heart" (always a good concert closer). This album was more of an improvement over Exit...Stage Left, the songs felt more live and huge. It was a cute touch to open the concert with "Three Stooges" :stooges: before kicking into high gear with "The Big Money". Unfortunately, only one song from Signals, "Subdivisions", was represented, but the album did feature Neil's signature drum solo under the clever title "Rhythm Method", and the electronic drum effects were spectacular--he made them sound like trumpet blasts! Neil Peart is without question the greatest drummer in the world. Since the album was recorded on their Hold Your Fire tour, most of the songs were from both that album as well as from Power Windows.

The album was great, but it also represented a close to another chapter in the long career of Rush. The 90's were fast approaching, and it was time to update their sound to fit what was going on musically--a little something away from synth saturation and onto....something else entirely. ;)

Song list:

Track Listings

1. Intro
2. The Big Money
3. Subdivisions 4. Marathon
5. Turn The Page
6. Manhattan Project
7. Mission
8. Distant Early Warning
9. Mystic Rhythms
10. Witch Hunt (part 3 of "Fear")
11. The Rhythm Method
12. Force Ten
13. Time Stand Still
14. Red Sector A
15. Closer To The Heart

Cap'n's rating:

Presto, 1989

In the latter half of 1989, Rush not only had signed on to a new record label, Atlantic, after leaving Polygram, but updated their sound for the approaching 90's. They attempted a return to more guitar-driven rock, after a decade of being dominated by synths, one of the big staples of the 80's. It was a good choice, seeing the new decade about to be immersed in radical new guitar sounds. Unfortunately, the new album, Presto, while being a step in the right direction, came close but didn't quite hit its potential. The album starts out promisingly enough, the jangly chords of "Show Don't Tell", with Geddy's funky bass fill. It remains one of their minor classics. It appears that the prevailing theme to the album was vision, as indicated in the title of the next song "
"Chain Lightning", one of my favorites from the album. The next song, "The Pass", was a sobering, sensitive soft song about suicide. The song is quite moving and encouraging, about the listener being a hero who needs to reconsider giving up in the battles of life, a song that remains one of their best. "War Paint" opens with powerful chords and seems to sound like a winner, I like this song, but upon repeated listenings, it doesn't quite measure up to Rush's quality standards. It's a little too ordinary for Rush. The lyrics are neat, continuing on in the "hero" mode, where young people are "knights and princesses" who mask their fears and insecurities with makeup and other superficial symbols of machismo and glamor. During the Presto tour in 1990, they played this song (with huge inflatable rabbits in top hats on stage!) with an interesting video and animation. The next song, "Scars", has a funky bassline, but is only an okay song. The title song, "Presto", was played to death on KISW fifteen years ago, and it's a nice song, but it sounds like too many other songs on the album, kind of that nice funky groove, but really not quite so spectacular. It was catchy, has nice guitars all through it, but it doesn't set the world on fire like other qualified Rush classics. It seems like Rush were settling in for a sort of "MOR" mode, not good, a little too easy-listening for prog-rock. The next song, "Superconductor", was a great improvement, a bona fide rocker which remained a concert and radio favorite for a while. The song dealt with the power of illusion that actors and actresses have over the perceptions of their audiences. After that, the album mires in mediocrity, by Rush's standards. "Anagram (for Mongo)" was clever with its word plays, but the music was not particularly innovative. "Red Tide" fared better as an urgent rocker warning against environmental destruction (and threw in the danger of AIDS as well), but songs like "Hand Over Fist" were rather corny, with that patented Presto beat. The song tied into the rock-paper-scissors motif on the liner notes illustration. Not quite the stunner that we knew Rush to be.

It seems that if the album was full of weaknesses, it was probably understandable since Rush were trying to recapture their guitar rock glory yet
continue in the funky, jangly grooves of their past few albums. They wanted to move away from being over-synthed, and the guitar lines were merely serviceable. Kinda cool, but rather ho-hum. Rush just needed a chance to prefect their new sound.

The Presto tour, however, was excellent, and who could ask for a better opener than Mr. Big!! The band was a perfect choice, with the excellent veteran bassist, Billy Sheehan (one of the best!), who originally with the David Lee Roth band with Steve Vai, and red-hot guitarist Paul Gilbert, who played with blinding speed--and with a power drill! It complimented Rush perfectly, as far as the guitar/bass virtuosi goes. During their set, during their hit "Addicted to That Rush", vocalist Eric Martin asked the audience, "Are you addicted to RUSH???!!!!" The crowd went ballistic--YEEEEEAAAAAHHHHH!!!!!!! :rock: One of the cool things about having Mr. Big on the bill, as Geddy commented later, was that WOMEN started showing up at a Rush concert!!

Song list:

1. Show Don't Tell
2. Chain Lightning
3. The Pass
4. War Paint
5. Scars
6. Presto
7. Superconductor
8. Anagram (for Mongo)
9. Red Tide
10. Hand Over Fist
11. Available Light

Cap'n's rating:

:rock: :rock: :rock:

I'm really enjoying the Rush album reviews that you have been writing, Captain. You have been doing an excellent job! :) One thing though, "Afterimage" is actually the second song off of Grace Under Pressure where as the second song on Presto is "Chain Lightning". This is only a minor mistake in your otherwise great reviews though.

Presto, along with Caress of Steel, is the low point of Rush's recording career. As much as I've tried to like Presto I never have been able to. This album simply isn't up to the standards that I expect from Rush. I know the band themselves were not happy with this album either. Of course, the album does have a few high points like "Show Don't Tell", "The Pass" and "Anagram (for Mongo)". Rush's next album, Roll the Bones (one of my favorites!), would more then make up for Presto!

Presto, 1989

In the latter half of 1989, Rush not only had signed on to a new record label, Atlantic, after leaving Polygram, but updated their sound for the approaching 90's. They attempted a return to more guitar-driven rock, after a decade of being dominated by synths, one of the big staples of the 80's. It was a good choice, seeing the new decade about to be immersed in radical new guitar sounds. Unfortunately, the new album, Presto, while being a step in the right direction, came close but didn't quite hit its potential. The album starts out promisingly enough, the jangly chords of "Show Don't Tell", with Geddy's funky bass fill. It remains one of their minor classics. It appears that the prevailing theme to the album was vision, as indicated in the title of the next song "Afterimage", one of my favorites from the album. The next song, "The Pass", was a sobering, sensitive soft song about suicide. The song is quite moving and encouraging, about the listener being a hero who needs to reconsider giving up in the battles of life, a song that remains one of their best. "War Paint" opens with powerful chords and seems to sound like a winner, I like this song, but upon repeated listenings, it doesn't quite measure up to Rush's quality standards. It's a little too ordinary for Rush. The lyrics are neat, continuing on in the "hero" mode, where young people are "knights and princesses" who mask their fears and insecurities with makeup and other superficial symbols of machismo and glamor. During the Presto tour in 1990, they played this song (with huge inflatable rabbits in top hats on stage!) with an interesting video and animation. The next song, "Scars", has a funky bassline, but is only an okay song. The title song, "Presto", was played to death on KISW fifteen years ago, and it's a nice song, but it sounds like too many other songs on the album, kind of that nice funky groove, but really not quite so spectacular. It was catchy, has nice guitars all through it, but it doesn't set the world on fire like other qualified Rush classics. It seems like Rush were settling in for a sort of "MOR" mode, not good, a little too easy-listening for prog-rock. The next song, "Superconductor", was a great improvement, a bona fide rocker which remained a concert and radio favorite for a while. The song dealt with the power of illusion that actors and actresses have over the perceptions of their audiences. After that, the album mires in mediocrity, by Rush's standards. "Anagram (for Mongo)" was clever with its word plays, but the music was not particularly innovative. "Red Tide" fared better as an urgent rocker warning against environmental destruction (and threw in the danger of AIDS as well), but songs like "Hand Over Fist" were rather corny, with that patented Presto beat. The song tied into the rock-paper-scissors motif on the liner notes illustration. Not quite the stunner that we knew Rush to be.

It seems that if the album was full of weaknesses, it was probably understandable since Rush were trying to recapture their guitar rock glory yet
continue in the funky, jangly grooves of their past few albums. They wanted to move away from being over-synthed, and the guitar lines were merely serviceable. Kinda cool, but rather ho-hum. Rush just needed a chance to prefect their new sound.

The Presto tour, however, was excellent, and who could ask for a better opener than Mr. Big!! The band was a perfect choice, with the excellent veteran bassist, Billy Sheehan (one of the best!), who originally with the David Lee Roth band with Steve Vai, and red-hot guitarist Paul Gilbert, who played with blinding speed--and with a power drill! It complimented Rush perfectly, as far as the guitar/bass virtuosi goes. During their set, during their hit "Addicted to That Rush", vocalist Eric Martin asked the audience, "Are you addicted to RUSH???!!!!" The crowd went ballistic--YEEEEEAAAAAHHHHH!!!!!!! :rock: One of the cool things about having Mr. Big on the bill, as Geddy commented later, was that WOMEN started showing up at a Rush concert!!

Song list:

1. Show Don't Tell
2. Chain Lightning
3. The Pass
4. War Paint
5. Scars
6. Presto
7. Superconductor
8. Anagram (for Mongo)
9. Red Tide
10. Hand Over Fist
11. Available Light

Cap'n's rating:

:rock: :rock: :rock:

I'm really enjoying the Rush album reviews that you have been writing, Captain. You have been doing an excellent job! :) One thing though, "Afterimage" is actually the second song off of Grace Under Pressure where as the second song on Presto is "Chain Lightning". This is only a minor mistake in your otherwise great reviews though.

Presto, along with Caress of Steel, is the low point of Rush's recording career. As much as I've tried to like Presto I never have been able to. This album simply isn't up to the standards that I expect from Rush. I know the band themselves were not happy with this album either. Of course, the album does have a few high points like "Show Don't Tell", "The Pass" and "Anagram (for Mongo)". Rush's next album, Roll the Bones (one of my favorites!), would more then make up for Presto! :thanks: I don't know why I confused "Afterimage" with "Chain Lightning", I guess subconsciously saw something in the CL lyrics that made me thing of the Grace Under Pressure song. I actually like "Anagram (For Mongo)", it's a really clever song lyrically, but it's really funny, in the review for the album in Rolling Stone, the reviewer compared it to "Long Long Way From Home" by Foreigner! :lol: I think the music to it was good, but needed more of a punch. It's actually one of my favorite songs from the album--and the anagrams make sense! It's still better than some of the other songs like the title track and a few others on the second side. I think if it were a low point in Rush's career, I think that's because they were between labels and struggling to meet deadlines, etc. They were probably in a creative block trying not to rehash former glories and attempting to come up with something new to celebrate their label switch
(or at least trying to prove themselves to their new label). The time after Caress of Steel and during Grace Under Pressure were more of a career low point for them--one of their biographers said that in 1984 the members of the band confided they were nearly thinking of breaking up. But GUP was a very good album, though it does feel as if they were trying to recapture Moving Pictures' heaviness. It seems there was a sense of creative block there as well.

Roll the Bones, 1991

Their next album was a much-needed improvement over Presto. Not only was it more guitar driven, but featured more innovative melodies and stronger songs. The opening track, "Dreamline", was a powerful and energetic song that became one of their biggest. The underlying theme behind the album was chance, in the opening song, the lyrics discussed the opportunity of fulfilling dreams in the prime of youth. The next song, "Bravado", while not the strongest song on the album (though much better than material on Presto), remained a decent track performed live in concert. The title track brought an interesting surprise: rap!! Had the urban music scene finally hit our favorite Canadian power trio? Well, the song was nice and funky, it just worked as a great Rush song. The sophisticated funk neatly tied in with the theme of life as one great big gambling casino. The underlying theme of the song, take your chance--and roll the bones. The spoken rap had a seductive and intimate quality to it, and the song didn't sound so contrived to jump on the rap-metal bandwagon, it sounded uniquely Rush. "Face Up" is a fairly good song, and the next song, "Where's My Thing?" was another fine instrumental that Neil insisted they record before he delivered any more lyrics.
Interestingly enough, the song is part of a cryptic "Gangster of Boats" trilogy, which I hadn't seen on later albums. Oh well. "Big Wheel" is another great rocking song which deals with the longings of youth. "Heresy", a slower, more reflective song, comments on the sweeping changes taking place in the former Soviet Union and how those of us in the West needed to reconcile ourselves to the fact that "the Rooskies" were no longer the enemy. The "heresy" was that of communism, which no longer had teeth in the new post-Cold War era. "Ghost of a Chance" was a haunting (no pun intended) and beautiful song about the fleeting fluke known as love. Oddly, Neil pokes holes in our previous conceptions of love, things which make it so other-worldly and sublime: he says he doesn't believe in love as a mystical state, nothing angelic, etc., and yet it is these images we ascribe to it that make it special and bigger than anything else in life. Neil doesn't seem like quite the "mystic", but more of the down to earth free-thinker, and we get his attitude that we have a "ghost of a chance" to find love and make it last. We may like to think of love as being this big, special all-embracing thing, we find our soulmates and such, we're destined to be together, etc., but this seems to fade in the harsh realities of divorce and estrangement. This song may have had a special importance later on in Neil Peart's life, as we shall see. "Neurotica" and "You Bet Your Life" are also very strong songs. The whole album had that certain jangly tone as their past few releases, but the funky bass and rhythm section was top-notch. An improvement over its predecessor by leaps and bounds.

One thing I noticed was around that time, I got the Columbia House DVD catalogue, and for some reason, this album had an "E" (for "Explicit Lyrics") on their listing. :confused: I read through the whole album lyrics and found nothing (except the word "crap" in the song "Heresy"). I wrote back to Columbia House and asked why Roll the Bones by Rush had an "E" symbol. Their response? "The E symbol is to notify listeners of lyrics that they may find potentially offensive." And I wrote back and insisted that they tell me which ones on the album, but they never replied. I wonder if it might have had to do with the album cover with the kid kicking the skull, maybe skulls were spooky to some weenie listeners, because only death metal bands have skulls on their albums... :rolleyes: Oh yeah, an illustrator by the name of Pushead, who did album and t-shirt illustrations for Metallica, even did a cool skull t-shirt illustration for Rush with this album. :cool:

The Roll the Bones Tour was astoundingly good, this time Rush brought a new
bass-prominent trio to support them, Primus. Bassist Les Claypool, one of the greatest and wackiest musicians in rock and roll, opened up the show with the announcement: "LADIES AND GENTLEMEN--THIS SHOW IS DEDICATED TO BARNEY FIFE!!!!!" :lol: It was a perfect match for Rush. The show in Seattle received rave reviews!

Song list:

1. DREAMLINE
2. BRAVADO
3. ROLL THE BONES
4. FACE UP
5. WHERE'S MY THING?
6. THE BIG WHEEL
7. HERESY
8. GHOST OF A CHANCE
9. NEUROTICA
10. YOU BET YOUR LIFE

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Chronicles, 1990

With blatant disregard for chronological order (no pun intended? ;)), Rush released their "greatest hits" compilation double album in 1990. Btw, in 1976, after the success of 2112, there was a three-record set called Archives, which featured their first three albums. For all of us Rush fans who worship daily at the Temples of Syrinx, it can be disappointing, since "best of" albums never really do justice to a band, especially to one with a varied career as Rush. They were never a "hit" band, and while tracks such as "Tom Sawyer", "The Trees", and "Subdivisions" are permanently lodged in our brains,
there is a lot of attention paid to the "non-hit" tracks that great to listen to. With Rush, we're here for the full-meal deal. But for people who are new to Rush, this album is a great overview to get them started on a life-long love affair with the band. There are a few problems, however, with this album:

1. The epic tracks such as "By-Tor and the Snow Dog", "Xanadu", and "Hemispheres" are omitted. These tracks are important in showing Rush's wide range on the earlier songs, those were their forte in the 70's. Oh well, if this album is only to highlight their musical prowess for the unitiated to get them to buy the actual albums, then that's a minor complaint.

2. "2112" only contains the Overture and Temples of Syrinx. To fully appreciate the song, the album side must be played in its entirety (kinda funny of thinking albums having "sides" these days). It was always cool that in years past, on KISW's Top 1000 Rock Songs of All Time, they would play the entire epic 2112 saga. But in the past few years, they've weenied out and just played the first two songs. Hey, more room for Limp Bizkit on the countdown, right? :rolleyes:

3. "A Farewell to Kings" is inexplicably edited, perhaps for space. We want the full song!!

But regardless, the album is a very decent representation of Rush's best songs (but would have been greatly improved if they threw in "Take Off" with Bob and Doug Mackenzie with Geddy on song vocals. :joke: :lol: ).

Song list:

Disc: 1

1. Finding My Way
2. Working Man
3. Fly by Night
4. Anthem
5. Bastille Day
6. Lakeside Park
7. 2112: Overture/The Temples of Syrinx
8. What You're Doing [Live]
9. Farewell to Kings
10. Closer to the Heart
11. The Trees
12. Villa Strangiato
13. Freewill
14. The Spirit of Radio

Disc: 2

1. Tom Sawyer
2. Red Barchetta
3. Limelight
4. Passage to Bangkok [Live]
5. Subdivisions
6. New World Man
7. Distant Early Warning
8. Red Sector A
9. The Big Money
10. Manhattan Project
11. Force Ten
12. Time Stand Still
13. Mystic Rhythms [Live]
14. Show Don't Tell

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Counterparts, 1993

On their next release, Rush had discovered grunge, incorporating the Pearl Jam-y grooves on some songs. Alex Lifeson's guitar even got tougher by this time. It is interesting to note that they were interested in taking Temple of the Dog out on the road for openers, Neil simply loved the band--until he found that the side project paying tribute to fallen singer Andrew Wood featuring members of Soundgarden and Mother Love Bone (before they became Pearl Jam) was a one-time only band. Andrew Wood, of course, was the flamboyant lead singer of Seattle's Mother Love Bone and was on a promising start to a recording career on a major label when he tragically overdosed and died from a heroin injection. But back to the album, the first track is one of Rush's best: "Animate", a powerful, entrancing song which borrows a bit from Pearl Jam's rhythm section sound. It became a huge favorite in concert. The next big song from the album was the rocking "Stick It Out," and never had Rush sounded so menacing, even though the lyrics were positive and upbeat. Another classic. "Cut to the Chase" was another bold song with a driving melody, and the next song, "Nobody's Hero" was a very sad lament that touched on themes of ostracism of gays and like people.
Rush felt the alienation of many whom society had shunned. "Between the Sun and Moon" was another fine rollicking track, and the guitars on "Alien Shore" had an eerie atmospheric vibe. One didn't necessarily need a distorted tone to sound heavy. Same with "The Speed of Love", another excellent track. To be honest, I am not totally familiar with this album, but you knew it was a big step and a vast improvement over Presto. "Double Agent" is an interesting track with a spoken word monologue, and the music is foreboding and charged. "Leave That Thing Alone" is a decent instrumental
(not quite on par with "YYZ" however), but Geddy's bass and Neil's drums fit perfectly (hence the album's title). "Cold Fire" is a breezy track about tense relationships with women. All in all, another excellent album, even bolder than its predecessor. Rush were definitely moving in the right direction. Some may have felt that Rush were co-opting the grunge thing as they slightly co-opted rap on "Roll the Bones", but the whole album works. I haven't heard it all the way through, but Amazon.com was able to provide snippets, and the album sounds perfect.

It's interesting to note on that tour, they opened the show with a film scene of a nut and bolt interlocking to the 2001: A Space Odyssey theme--and it was completely Freudian!! ;) :lol:

Song list:

Track Listings
1. Animate
2. Stick It Out
3. Cut to the Chase
4. Nobody's Hero
5. Between Sun & Moon
6. Alien Shore
7. Speed of Love
8. Double Agent
9. Leave That Thing Alone
10. Cold Fire
11. Everday Glory

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Am I being too generous with an album I'm not entirely familiar with yet? :confused: Who cares, it's Rush!!! My personal favorites are "Animate" and "Stick It Out". "Cut to the Chase" sounds like a good one.

they had a nice little comeback with Counterparts, I remember Stick It Out being HUGE on the radio, and I also heard Cold Fire, Animate and Nobody's Hero on the radio, and these same stations seem to shun post-Signals Rush.

I know this album leaves out alot of great Rush songs. However, it is an excellent introduction to the band's music. Actually, this double album was my introduction to Rush. I was in 8th grade at the time and I had a friend who was a huge Rush fan. He was always begging me to listen to Rush. :lol: And during all of this, Chronicles was released. So I went out and bought it. Honestly, at first I hated every song except "Time Stand Still". After a couple more listens the music really began to grow on me and I began to collect all the albums. If I remember correctly, the first one I bought was Hold Your Fire.


Chronicles, 1990

With blatant disregard for chronological order (no pun intended? ;)), Rush released their "greatest hits" compilation double album in 1990. Btw, in 1976, after the success of 2112, there was a three-record set called Archives, which featured their first three albums. For all of us Rush fans who worship daily at the Temples of Syrinx, it can be disappointing, since "best of" albums never really do justice to a band, especially to one with a varied career as Rush. They were never a "hit" band, and while tracks such as "Tom Sawyer", "The Trees", and "Subdivisions" are permanently lodged in our brains,
there is a lot of attention paid to the "non-hit" tracks that great to listen to. With Rush, we're here for the full-meal deal. But for people who are new to Rush, this album is a great overview to get them started on a life-long love affair with the band. There are a few problems, however, with this album:

1. The epic tracks such as "By-Tor and the Snow Dog", "Xanadu", and "Hemispheres" are omitted. These tracks are important in showing Rush's wide range on the earlier songs, those were their forte in the 70's. Oh well, if this album is only to highlight their musical prowess for the unitiated to get them to buy the actual albums, then that's a minor complaint.

2. "2112" only contains the Overture and Temples of Syrinx. To fully appreciate the song, the album side must be played in its entirety (kinda funny of thinking albums having "sides" these days). It was always cool that in years past, on KISW's Top 1000 Rock Songs of All Time, they would play the entire epic 2112 saga. But in the past few years, they've weenied out and just played the first two songs. Hey, more room for Limp Bizkit on the countdown, right? :rolleyes:

3. "A Farewell to Kings" is inexplicably edited, perhaps for space. We want the full song!!

But regardless, the album is a very decent representation of Rush's best songs (but would have been greatly improved if they threw in "Take Off" with Bob and Doug Mackenzie with Geddy on song vocals. :joke: :lol: ).

Song list:

Disc: 1

1. Finding My Way
2. Working Man
3. Fly by Night
4. Anthem
5. Bastille Day
6. Lakeside Park
7. 2112: Overture/The Temples of Syrinx
8. What You're Doing [Live]
9. Farewell to Kings
10. Closer to the Heart
11. The Trees
12. Villa Strangiato
13. Freewill
14. The Spirit of Radio

Disc: 2

1. Tom Sawyer
2. Red Barchetta
3. Limelight
4. Passage to Bangkok [Live]
5. Subdivisions
6. New World Man
7. Distant Early Warning
8. Red Sector A
9. The Big Money
10. Manhattan Project
11. Force Ten
12. Time Stand Still
13. Mystic Rhythms [Live]
14. Show Don't Tell

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Roll The Bones is one of their best! I would rank it as my third favorite, behind Power Windows and Test For Echo. Interestingly enough, these three albums are also Geddy's three favorite, except in a slightly different order-Power Windows, Roll The Bones, Test For Echo.

Roll the Bones, 1991

Their next album was a much-needed improvement over Presto. Not only was it more guitar driven, but featured more innovative melodies and stronger songs. The opening track, "Dreamline", was a powerful and energetic song that became one of their biggest. The underlying theme behind the album was chance, in the opening song, the lyrics discussed the opportunity of fulfilling dreams in the prime of youth. The next song, "Bravado", while not the strongest song on the album (though much better than material on Presto), remained a decent track performed live in concert. The title track brought an interesting surprise: rap!! Had the urban music scene finally hit our favorite Canadian power trio? Well, the song was nice and funky, it just worked as a great Rush song. The sophisticated funk neatly tied in with the theme of life as one great big gambling casino. The underlying theme of the song, take your chance--and roll the bones. The spoken rap had a seductive and intimate quality to it, and the song didn't sound so contrived to jump on the rap-metal bandwagon, it sounded uniquely Rush. "Face Up" is a fairly good song, and the next song, "Where's My Thing?" was another fine instrumental that Neil insisted they record before he delivered any more lyrics.
Interestingly enough, the song is part of a cryptic "Gangster of Boats" trilogy, which I hadn't seen on later albums. Oh well. "Big Wheel" is another great rocking song which deals with the longings of youth. "Heresy", a slower, more reflective song, comments on the sweeping changes taking place in the former Soviet Union and how those of us in the West needed to reconcile ourselves to the fact that "the Rooskies" were no longer the enemy. The "heresy" was that of communism, which no longer had teeth in the new post-Cold War era. "Ghost of a Chance" was a haunting (no pun intended) and beautiful song about the fleeting fluke known as love. Oddly, Neil pokes holes in our previous conceptions of love, things which make it so other-worldly and sublime: he says he doesn't believe in love as a mystical state, nothing angelic, etc., and yet it is these images we ascribe to it that make it special and bigger than anything else in life. Neil doesn't seem like quite the "mystic", but more of the down to earth free-thinker, and we get his attitude that we have a "ghost of a chance" to find love and make it last. We may like to think of love as being this big, special all-embracing thing, we find our soulmates and such, we're destined to be together, etc., but this seems to fade in the harsh realities of divorce and estrangement. This song may have had a special importance later on in Neil Peart's life, as we shall see. "Neurotica" and "You Bet Your Life" are also very strong songs. The whole album had that certain jangly tone as their past few releases, but the funky bass and rhythm section was top-notch. An improvement over its predecessor by leaps and bounds.

One thing I noticed was around that time, I got the Columbia House DVD catalogue, and for some reason, this album had an "E" (for "Explicit Lyrics") on their listing. :confused: I read through the whole album lyrics and found nothing (except the word "crap" in the song "Heresy"). I wrote back to Columbia House and asked why Roll the Bones by Rush had an "E" symbol. Their response? "The E symbol is to notify listeners of lyrics that they may find potentially offensive." And I wrote back and insisted that they tell me which ones on the album, but they never replied. I wonder if it might have had to do with the album cover with the kid kicking the skull, maybe skulls were spooky to some weenie listeners, because only death metal bands have skulls on their albums... :rolleyes: Oh yeah, an illustrator by the name of Pushead, who did album and t-shirt illustrations for Metallica, even did a cool skull t-shirt illustration for Rush with this album. :cool:

The Roll the Bones Tour was astoundingly good, this time Rush brought a new
bass-prominent trio to support them, Primus. Bassist Les Claypool, one of the greatest and wackiest musicians in rock and roll, opened up the show with the announcement: "LADIES AND GENTLEMEN--THIS SHOW IS DEDICATED TO BARNEY FIFE!!!!!" :lol: It was a perfect match for Rush. The show in Seattle received rave reviews!

Song list:

1. DREAMLINE
2. BRAVADO
3. ROLL THE BONES
4. FACE UP
5. WHERE'S MY THING?
6. THE BIG WHEEL
7. HERESY
8. GHOST OF A CHANCE
9. NEUROTICA
10. YOU BET YOUR LIFE

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

The Conterparts tour in 1994 was the first time I saw Rush live!

Counterparts, 1993

On their next release, Rush had discovered grunge, incorporating the Pearl Jam-y grooves on some songs. Alex Lifeson's guitar even got tougher by this time. It is interesting to note that they were interested in taking Temple of the Dog out on the road for openers, Neil simply loved the band--until he found that the side project paying tribute to fallen singer Andrew Wood featuring members of Soundgarden and Mother Love Bone (before they became Pearl Jam) was a one-time only band. Andrew Wood, of course, was the flamboyant lead singer of Seattle's Mother Love Bone and was on a promising start to a recording career on a major label when he tragically overdosed and died from a heroin injection. But back to the album, the first track is one of Rush's best: "Animate", a powerful, entrancing song which borrows a bit from Pearl Jam's rhythm section sound. It became a huge favorite in concert. The next big song from the album was the rocking "Stick It Out," and never had Rush sounded so menacing, even though the lyrics were positive and upbeat. Another classic. "Cut to the Chase" was another bold song with a driving melody, and the next song, "Nobody's Hero" was a very sad lament that touched on themes of ostracism of gays and like people.
Rush felt the alienation of many whom society had shunned. "Between the Sun and Moon" was another fine rollicking track, and the guitars on "Alien Shore" had an eerie atmospheric vibe. One didn't necessarily need a distorted tone to sound heavy. Same with "The Speed of Love", another excellent track. To be honest, I am not totally familiar with this album, but you knew it was a big step and a vast improvement over Presto. "Double Agent" is an interesting track with a spoken word monologue, and the music is foreboding and charged. "Leave That Thing Alone" is a decent instrumental
(not quite on par with "YYZ" however), but Geddy's bass and Neil's drums fit perfectly (hence the album's title). "Cold Fire" is a breezy track about tense relationships with women. All in all, another excellent album, even bolder than its predecessor. Rush were definitely moving in the right direction. Some may have felt that Rush were co-opting the grunge thing as they slightly co-opted rap on "Roll the Bones", but the whole album works. I haven't heard it all the way through, but Amazon.com was able to provide snippets, and the album sounds perfect.

It's interesting to note on that tour, they opened the show with a film scene of a nut and bolt interlocking to the 2001: A Space Odyssey theme--and it was completely Freudian!! ;) :lol:

Song list:

Track Listings
1. Animate
2. Stick It Out
3. Cut to the Chase
4. Nobody's Hero
5. Between Sun & Moon
6. Alien Shore
7. Speed of Love
8. Double Agent
9. Leave That Thing Alone
10. Cold Fire
11. Everday Glory

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Am I being too generous with an album I'm not entirely familiar with yet? :confused: Who cares, it's Rush!!! My personal favorites are "Animate" and "Stick It Out". "Cut to the Chase" sounds like a good one.

Test For Echo, 1996

If there were a Rush album that best represented their peak of any given decade, Test For Echo was it! The band had spent the past few albums trying to perfect their guitar sound and capture the best of past eras, and their new album had done just that: It had the driving distorted guitar of Moving Pictures and Grace Under Pressure, and the jangle and funk of Power Windows and Roll the Bones. It simply encapsulated and crystallized their best sounds. The guitars were multi-layered as well: Some songs had both distorted and clean tones on each other, as well as acoustics for a very thick, distinct sound. The album starts out with the title track, the ominous opening notes hinted that something dark and sinister reflected in the lyrics about reality t.v. "show" trials and criminal miscreants enjoying their fifteen seconds of fame on camera. The main riff was pummeling and unlike anything Rush ever put out before. A totally amazing song. The next song, "Driven", continued in that same churning momentum, one of their heaviest songs, with an excellent video. The song ranks up there with "Red Barchetta". Geddy's bass snarls like a beast on the hunt in this one. The next song is one of my favorites from the album, "Half the World", which features the layers of guitars in this very upbeat track which has that certain jangle effect. "The Color of Right" is another great track with decent vocals from Geddy, though I'm not sure if I'm the biggest fan of the next song, "Time and Motion".

"Totem" is another excellent song which offers a commentary on the variety of religious belief. I remember in my church denomination magazine
Light and Life, for the Free Methodist denomination, I read one of the silliest articles by one young man who was attending Bible college. He said that
Rush were "New Agers", as evidenced by the song "Totem"!! Actually, Neil Peart seems to be more on the "freethinker" side of things, and comments in the song how our beliefs shape our perceptions of the world around us. I remember on a religious radio show called "Talkback With Bob Larson", a notorious anti-rock broadcaster, a person identifying himself as Alex Lifeson came on from Lake Champlain, New York, and asked what the broadcaster thought about Rush. Alex (or was it really him?) said that he was a Christian and was saved by the blood of Christ, which really turned the conversation around to where the broadcaster was very enthused. (I heard Alex Lifeson later in a radio interview and he didn't have the British accent that the man identifying himself as Alex on the Talkback program had. So was this a well-meaning fan or does Alex speak with both British and "American" accents? :confused: ) So back to the article, the man accusing Rush of being "New Agers" seemed to want it both ways, he was very hip on what was going on in music, making references to Stone Temple Pilots and Crash Test Dummies, both of which he enjoyed, but filled his article with the usual admonitions about "God not wanting us to fill our minds with bad things, and to keep on the path of holiness and righteousness", etc. It was like he felt too guilty for what he liked. He admitted that his favorite bands had unsavory lyrics, but his article was very hypocritical. ohno:

So back to the album: "Dog Years" is another riveting track, even though at first I didn't care for the chorus, but now I think it's a great song, which talks about life cycles. "Virtuality" is another one of the album's highlights, with the idiosyncratic melody lines and lyrics which talk about the seductive nature of the internet and its seeming ability to "replicate" life and its experiences. It's another one of my favorites and simply rocks. It's definitely a Rush signature song much like "The Spirit of Radio". "Resist" is another favorite, a softer, acoustic track which gets played often in concert. The lyrics are profound and powerful, refering to moral weakness and human frailty. "Limbo" is yet another instrumental, and on the radio, the band insisted it was NOT about Rush Limbaugh!! :lol: Some of the guitar and bass lines evoke The Edge of U2 and "Red Skies at Night" by The Fixx.

Looking at some of the comments on Amazon.com (like that sways me), many seem to be divided, either the album is a complete and utter disappointment, or it's an amazing work. I take the latter position, of course.
Since Rush was never a big critical favorite, you can expect a variety of opinions from Rush fans who've become critics themselves. It seems that they fail to realize that Rush is a progressive band that can't sit still in one place musically. Not only does this album showcase a broad pallette of Alex's guitar work, it highlights Geddy's and Neil's funkier rhythm section (Neil even took a Buddy Rich drum course to refresh his drumming abilities--not that he's slacking away in the drum department). The Test For Echo tour was amazing, they even played "2112" in its entirety! But unfortunately, it would be the last we would see from Rush (studio-wise) for a while. Neil's daughter would later die in a car accident, and if that were not enough, his wife would pass away from cancer. :crying:

At one point, it seemed like the end of a very long run for Rush.

Song list:

1. TEST FOR ECHO
2. DRIVEN
3. HALF THE WORLD
4. THE COLOR OF RIGHT
5. TIME AND MOTION
6. TOTEM
7. DOG YEARS
8. VIRTUALITY
9. RESIST
10. LIMBO
11. CARVE AWAY THE STONE

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock: :rock:

Some people wouldn't be so generous, but I WOULD!!!!

With the exception of Power Windows, Test For Echo is my favorite Rush album. I love every track on this album. If I had to pick a favorite though it would be a tie between the title cut and "Virtuality".

Different Stages, 1998

Now having reached the end of their four album cycle yet again, Rush released their fourth live album, a 3-disk set which culled not only performances from their Test For Echo tour, but also some older live tracks featured on the final disk. The whole album is very impressive--on the plus side, it features "2112" recorded live in its entirety :cool: , but on the minus side, no songs from Grace Under Pressure, Power Windows, or Hold Your Fire are represented. :( But still a steller offering regardless. The music captured live fares even better than on A Show of Hands, the guitars are crisp and sharp, and the bass and drums just crackle with life. Actually, I don't have this one in my CD library yet, but I'm sure to get it soon! The highlights include: So many, where do I begin?? Well, just about all of them, but "Resist" sticks out in my mind, that is such a great song, and so does "Bravado", which I'm finding is a totally underrated song. It's also a treat to hear "The Analog Kid", as well as the moving "Nobody's Hero". And of course, "2112". It's great to hear old classics like "By-Tor and the Snow Dog", "Xanadu", and "Cygnus X-1" again, and the album closes with an unlikely choice for a live song, "Cinderella Man". The guitars on "2112" actually seemed to be tuned differently than heard on the studio album, but are great to hear anyway. A definite must-have for any Rush-a-holic!!!

Song list:

DISC1

1. DREAMLINE
2. LIMELIGHT
3. DRIVEN
4. BRAVADO
5. ANIMATE
6. SHOW DON'T TELL
7. THE TREES
8. NOBODY'S HERO
9. CLOSER TO THE HEART
10. 2112:
I. Overture
II. The Temples of Syrinx
III. Discovery
IV. Presentation
V. Oracle: The Dream
VI. Soliloquy
VII. The Grand Finale

DISC2
1. TEST FOR ECHO
2. ANALOG KID
3. FREEWILL
4. ROLL THE BONES
5. STICK IT OUT
6. RESIST
7. LEAVE THAT THING ALONE
8. THE RHYTHM METHOD
9. NATURAL SCIENCE
10. THE SPIRIT OF RADIO
11. TOM SAWYER
12. YYZ.

One website says "Force Ten" is on the second disk?

DISC3
(Recorded at HAMMERSMITH ODEON, LONDON 1978)

1. BASTILLE DAY
2. BY-TOR & THE SNOW DOG
3. XANADU
4. A FAREWELL TO KINGS
5. SOMETHING FOR NOTHING
6. CYGNUS X-1
7. ANTHEM
8. WORKING MAN
9. FLY BY NIGHT
10. IN THE MOOD
11. CINDERELLA MAN

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock: :rock:

Different Stages, 1998

The music captured live fares even better than on A Show of Hands, the guitars are crisp and sharp, and the bass and drums just crackle with life.

Bright antennae bristle with the energy?
:p
Ha, gotcha!


This has to be my next Rush purchase.

I saw the Test For Echo Tour (PNC Bank Arts Center, June 19, 1997 - Holmdel NJ).

I wish I remembered more of it, but it was a pretty intoxicating night.

I was at one of the shows that was recorded for the Different Stages album!
Oddly enough, I do not own a copy of Different Stages. I tend not to collect many live albums. I do own All The World's A Stage (which I love) and Exit...Stage Left (which I think could have been better) but I do not own A Show of Hands, Different Stages or Rush In Rio (not the cd anyway, I do have the two set DVD). I have heard parts of Different Stages, however. I might add that we were never told that the concert was being recorded. It wasn't until Geddy and Alex did a live radio show in 1998 to promote the album, that I found out that one of the two Test For Echo shows I had attended had infact been recorded. In was during this live radio show that I heard a number of the tracks off of Different Stages.

Counterparts, 1993


Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Am I being too generous with an album I'm not entirely familiar with yet? :confused: Who cares, it's Rush!!! My personal favorites are "Animate" and "Stick It Out". "Cut to the Chase" sounds like a good one.

I listened to the whole album for the first time today and I think the best songs are "Animate," "Stick it Out," "Cut to the Chase," and "Cold Fire."

Animate gets a Pearl Jam tinge to it, the guitar lick is similar to "Animal" by them. Still, I really didn't think about Pearl Jam or grunge when I heard it, I just thought of it when I read your review. Funny how that clicked in my head.

I really like those 4 songs I mentioned. "Cold Fire" could use a little more heaviness, but it sounds like it could be great live (sadly, I see it is not on any live Rush album). :(

I would have to listen to Counterparts a few more times to tell you the best of the rest of the songs, though my first impression is that "Double Agent" and the instrumental "Leave That Thing Alone" are pretty good.

Moving Pictures b/c I like the song Tom Sawyer

Rush Retrospective, Vol 1 (1974-1980) , 1997

I wasn't about to list this album, but let's do so anyway: This is a decent collection which features tracks from their first album to their classic 70's prog-rock stage up to their entry to the 80's. One glaring omission is that of "The Temples of Syrinx" which has customarily followed the "2112 Overture". But a decent compilation regardless. Interestingly enough, their first song on record, "Finding My Way", the rough-edged opener to their debut, shows up last, in fact, none of the songs are chronological order to represent their musical progression.

Song listing:

Try our music sampler to hear song samples from this album.

1. Spirit of Radio
2. Trees
3. Something for Nothing
4. Freewill
5. Xanadu
6. Bastille Day
7. By-Tor and the Snow Dog
8. Anthem
9. Closer to the Heart
10. 2112 Overture
11. Temples of Syrinx
12. Villa Strangiato
13. Fly by Night
14. Finding My Way

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock: 1/2 (loses half a point for not having "The Temples of Syrinx" on it)

Bright antennae bristle with the energy?
:p
Ha, gotcha! :lol: I knew something like that was coming!!

am I the only person who thinks 1974-1978 and 1980-1987 would've been better start and stop points for the two Retrospective albums? Permanent Waves ushered in a new sound and era for the band and I think it'd work better alongside Moving Pictures tracks than Hemispheres songs.

am I the only person who thinks 1974-1978 and 1980-1987 would've been better start and stop points for the two Retrospective albums? Permanent Waves ushered in a new sound and era for the band and I think it'd work better alongside Moving Pictures tracks than Hemispheres songs.I agree, Permanent Waves was the start of the new phase of Rush and really did not have much in common with their epic rock phase.

Rush Retrospective, Vol 1 (1974-1980) , 1997

I wasn't about to list this album, but let's do so anyway: This is a decent collection which features tracks from their first album to their classic 70's prog-rock stage up to their entry to the 80's. One glaring omission is that of "The Temples of Syrinx" which has customarily followed the "2112 Overture". But a decent compilation regardless. Interestingly enough, their first song on record, "Finding My Way", the rough-edged opener to their debut, shows up last, in fact, none of the songs are chronological order to represent their musical progression.

Song listing:

Try our music sampler to hear song samples from this album.

1. Spirit of Radio
2. Trees
3. Something for Nothing
4. Freewill
5. Xanadu
6. Bastille Day
7. By-Tor and the Snow Dog
8. Anthem
9. Closer to the Heart
10. 2112 Overture
11. Temples of Syrinx
12. Villa Strangiato
13. Fly by Night
14. Finding My Way

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock: 1/2 (loses half a point for not having "The Temples of Syrinx" on it)

It does have Temples of Syrinx on it- look at #11!

I actually have this cd as it was sent to me by BMG music club when I forgot to reply to their monthly pick. I am not a big fan of greatest hits albums.

As once said on Kids in the Hall, ""Greatest hits albums are for children and housewives"

It does have Temples of Syrinx on it- look at #11!

I actually have this cd as it was sent to me by BMG music club when I forgot to reply to their monthly pick. I am not a big fan of greatest hits albums.

As once said on Kids in the Hall, ""Greatest hits albums are for children and housewives"Where did I read it didn't have "Temples"?? :confused:

Better change my rating, then! :doh:

I don't think Greatest Hits albums tell enough about the artist.

[QUOTE=Captain ABlairica]Rush Retrospective, Vol 1 (1974-1980) , 1997

I wasn't about to list this album, but let's do so anyway: This is a decent collection which features tracks from their first album to their classic 70's prog-rock stage up to their entry to the 80's. Interestingly enough, their first song on record, "Finding My Way", the rough-edged opener to their debut, shows up last, in fact, none of the songs are chronological order to represent their musical progression.

Song listing:

Try our music sampler to hear song samples from this album.

1. Spirit of Radio
2. Trees
3. Something for Nothing
4. Freewill
5. Xanadu
6. Bastille Day
7. By-Tor and the Snow Dog
8. Anthem
9. Closer to the Heart
10. 2112 Overture
11. Temples of Syrinx
12. Villa Strangiato
13. Fly by Night
14. Finding My Way

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Where did I read it didn't have "Temples"?? :confused:

Better change my rating, then! :doh:

I don't think Greatest Hits albums tell enough about the artist.

well, sometimes GH albums are for the best if you're on a budget. If one is on a budget and wants a Rush collection but only likes a handful of songs, The Spirit Of Radio and Chronicles are sounder investments than buying a bunch of studio albums if the only songs he or she wants are Tom Sawyer and Subdivisions. Plus, GH albums can gear people into venturing out to other works by the artist. My very first introduction to Rush was Chronicles in late 93, then I moved onward to Moving Pictures and Counterparts, then got Permanent Waves, Signals and 2112 via Columbia House in 95.

Rush Retrospective, Vol. 2 (1981-1987), 1997

The second "best-of" compilation released that year pretty much had everything you could expect, plus a few more songs that were popular in the Rush catalogue, this one focusing on their 1980's output.

Checking out one Amazon.com review they say that once Rush added keyboards and started moving away from their classic 70's sound, they "lost their greatness" and "never recovered" from their earlier glory. So what do you think, did Rush "lose it" when they stopped writing epic tracks or did they just get better? I think we all know the answer to that one--they RULED!!! But you do recognize a difference in the past 15 years that Rush have been virtually ignored by radio with their most recent albums. You hear them on classic rock radio, but that's not enough for a band that's been about moving ahead than about remaining stuck in the past in Nostalgia Central.

Song list:

1 . The Big Money
2 . Red Barchetta
3 . Subdivisions
4 . Time Stand Still
5 . Mystic Rhythms
6 . The Analog Kid
7 . Distant Early Warning
8 . Marathon
9 . The Body Electric
10 . Mission
11 . Limelight
12 . Red Sector 'A'
13 . New World Man
14 . Tom Sawyer
15 . Force Ten

Cap'n's rating:

:rock: :rock: :rock: :rock: :rock:

Vapor Trails, 2002

After a hiatus of several years, Neil Peart had recovered from the bereavement of his devastating double-loss of both his wife and daughter to record a new album with the band. The fears were put to rest that Rush would never play again, and 2002's offering was a marked change from their previous albums. It was the first album in many a moons that did not rely on very many synthesizers, it was purely a guitar driven album, as they were on their first efforts. The album continued in the jangle and drone vein of Test For Echo, but unfortunately, many fans were disappointed with the results, it sounded too "different" and even over-produced. But actually, the real disappointment lie in the fact that though Rush had progressed further than they had ever been, contemporary rock stations played the (minor) hit "One Little Victory" for about five minutes a week before dropping it all together, and classic rock stations, of course, ignored any new offerings from Rush in favor of time-honored albums such as Moving Pictures. The album sounds decent to me, although I have only heard, other than "Victory", the song "Earthshine" in concert, and the Amazon.com site has given little snippets of the songs on the album to give me a better picture ot it. The album also has a "Part IV" in the Fear Trilogy, a track called "Freeze". I need to hear the rest of the album, but so far, I like it.

Song list:

1. One Little Victory
2. Peaceable Kingdom
3. Ghost Rider
4. Ceiling Unlimited
5. The Stars Look
6. How It Is
7. Vapor Trail
8. Out Of The Cradle
9. Earthshine
10. Sweet Miracle
11. Nocturne
12. Freeze (Part IV of 'Fear')
13. Secret Touch

Cap'n's rating:

:rock: :rock: :rock: :rock:

Vapor Trails is probably Rush's heaviest album. Also, there isn't much melody in the songs. When it was first released in 2002 I didn't like this album very much, but over the past couple of years it has grown on me a little. If this album can be compared to any other Rush album, it would be their 1974 debut. The Vapor Trails songs do sound great in concert though.

Rush In Rio, 2003

Now how's THAT for a live album! THREE discs recorded at a concert down south of the border! Nearly every album is represented (except for Hold Your Fire and Caress of Steel), and if you're familiar with Spanish (or Portuguese? since this is in Brazil), you can tell the drum solo falls under the song title "O Baterista" (drum="battery"+"-ista": "person who drums, batters or beats (on percussion", "drummer", Neil, of course!). Haven't heard this one, but I saw parts of the very cool video at Guitar Center a few weeks ago. Plus I saw them in concert the following year.

The album cover depicts a very festive reptile dressed like Carmen Miranda, a dinosaur--seeing that Rush were joking about being musical "dinosaurs" in the land of NU-metal and Brit(ney)pop. Nothing ancient about Rush here--except many of the songs were first recorded well before Britney and Justin were soiling their Pampers. The progressive rock of Rush is well ahead of its time.

As great as this mega-CD is, the year 2003 ended badly for Rush: in Florida, Alex Lifeson was arrested on New Year's Eve for an altercation involving his son and the police at a club. Seems his son, rather inebriated, wanted to hop on stage and sing Auld Lang Syne with a band, the club owners wouldn't let him, and Alex and his wife got swept up into the fracas when the situation got physical. Police were called and Alex and his wife allegedy attacked and "spit on" the officers after the cops roughed up their son (an understandable reaction from parents when others are beating up the fruit of your loins--plus it's New Year's Eve, and people are not going to be in the most sober moods). It was a very sad and ugly situation, and ironic as well, since Alex Lifeson is one of the nicest guys in rock and roll, and known to be a rather responsible person, unlike many in the business. Would this incident further prevent Rush from playing in the States, after having been Canada's goodwill ambassadors of music to America for decades?? :( The answer lie ahead.

Song list:

DISC 1
01 . Tom Sawyer
02 . Distant Early Warning
03 . New World Man
04 . Roll the Bones
05 . Earthshine
06 . YYZ
07 . The Pass
08 . Bravado
09 . The Big Money
10 . The Trees
11 . Freewill
12 . Closer to the Heart
13 . Natural Science

DISC 2
14 . One Little Victory
15 . Driven
16 . Ghost Rider
17 . Secret Touch
18 . Dreamline
19 . Red Sector 'A'
20 . Leave That Thing Alone
21 . O Baterista
22 . Resist
23 . 2112

DISC 3
24 . Limelight
25 . La Villa Strangiato
26 . The Spirit of Radio
27 . By-Tor and the Snow Dog
28 . Cygnus X-1
29 . Working Man
30 . Between Sun & Moon
31 . Vital Signs

Cap'n's rating:

:banana: :mango :banana: :mango :banana: :mango (They're TROPICAL FRUITS, get it? :D )

Feedback, 2004

In spite of Alex's legal woes, 2004 was in fact a very good year for Rush: they celebrated their thirtieth anniversary as a band with a major tour--well, in actuality, the tour may have been promoted as celebrating "thirty years as a band" when in fact it was thirty years of releasing albums. The story of Rush goes back several years before their debut hit the shelves: hence their disk of new songs, something they had never really done previously--cover songs. Their Feedback album was a tribute to the songs that got the band interested in playing music in the late 60's in the first place. You are not meant to take this music too seriously, it's all in fun, and they do interesting takes on some classic songs. "Summertime Blues", the Eddie Cochran tune from the 50's covered by both the Who and Blue Cheer, gets an intriguing treatment from our favorite power trio, even though Geddy's vocals don't quite match the growl of Roger Daltrey. Musically, the song has more in common with 60's Bay Area proto-metal noisesters Blue Cheer than with the Who or Eddie Cochran (there is a drony chord fill where the vocals ("You can't use the car because you gotta work late) are supposed to be.
"Heart Full of Soul" is their cover of the legendary Yardbirds, the British Invasion band who would at one time spawn one of Rush's biggest influences, Jimmy Page, later of Led Zeppelin. The band then gets political with Buffalo Springfield's "For What It's Worth", and return to the Who with Quadrophenia's
"The Seeker"--and you have to admit, some of their renditions of the songs are a little too polished to have their original classic rock grit, Rush had matured into being rather meticulous in their style. Alex Lifeson had been a huge fan of the feedback opening the Beatles' "I Feel Fine", but on this album, the 60's songs don't have the rawness, the garage-y-ness. I suppose that if they were to head back to the barn where Red Barchetta is stored, they might recapture some of that cool 60's guitar drone. "Mr. Soul" from Buffalo Springfield, featuring Neil Young on the original track, tones down the tempo, but does a decent job, and "Seven and Seven Is" originally by the band Love rocks it up a bit with bit more distortion and jammy-ness. Rush heads back to the Yardbirds for a cover of "Shapes of Things", again, Geddy's vocals take some getting used to (he seemed to have a good rocker howl voice thirty years prior)--he does a good song, but he seems a little too restrained and not loosened up enough to belt it out. Cream's "Crossroads", a cover of the classic blues track by Robert Johnson, feels right at home for Rush, covering a previous power trio. My main exposure to this album is both on Amazon.com and live during their tour last year. It's a little different to hear Rush, a phenomenal band whose sound and style had grown by leaps and bound over the past three decades, try to recapture their youthful exhuberance and innocence on this album, but musically, it feels more like their current Bones/Counter/Echo/Vapor style--which is not a bad thing if you're not a classic rock purist. An album I'd like to check out more and get more of a feel of!

And of course, classic rock radio virtually ignored the album, as is the case with many classic rock artists who have had something new to offer: case in point, Tom Petty and the late George Harrison.

Song list:

1. Summertimes Blues
2. Heart Full of Soul
3. For What It's Worth
4. The Seeker
5. Mr. Soul
6. Seven and Seven Is
7. Shapes of Things
8. Crossroads

Cap'n's rating:

peacesign: peacesign: peacesign: peacesign:

And now it's time for....

Rush....through the years!!! A photographic timeline of one of the greatest bands in the world!!! Canada's greatest export next to Labatt's, Molson, and bacon!! Okay, BETTER than that, of course!!

An early picture of Rush with John Rutsey, 1974. I could have sworn when I first saw this picture, Geddy was grabbing Rutsey's crotch! :eek: :lol:

An early live shot of Rush. Did you know they were actually BOOED when they opened up for Sha Na Na? :eek:

May have mentioned that one of the reasons John Rutsey left was due to diabetes.

The first Album without a doubt!!


I have 3

RUSH
2112
A FAREWELL TO KINGS

1 or 2 more I could get before the 1981 album..

Moving Pictures is a freaking masterpiece.Yeah it would be if they didnt digitally compromise it!

I limit myself to what I will accept because I WANT 100% ANALOG on my records.. (To me its a much nicer experience)

The first Album without a doubt!!


I have 3

RUSH
2112
A FAREWELL TO KINGS

1 or 2 more I could get before the 1981 album..

Yeah it would be if they didnt digitially compromise it! (Every record from this one on is NOT TRUE ANALOGUE and its sad (Thier BEST album))

I limit myself to what I will accept because I WANT 100% ANALOG on my records.. (To me its a much nicer experience) :nod:
Yeah, after all, one great song on 'Signals' was "Analog Kid".

I'm going to have to add to this list of Rush reviews, since they have come out with some great albums since then.

I'm thinking that the reason why the record industry is in such sad shape is because of the departure from analog. Nothing sounds raw and live, organic, anymore. It's all digital, flat computerized sounding. And we need vinyl to make a comeback, full album cover art, the whole deal. Back then, it was an event.

And downloading stuff from iTunes is not quite the musical epiphany as back when you forked over your hard-earned chump change on 'A Farewell To Kings'.

:nod:
Yeah, after all, one great song on 'Signals' was "Analog Kid".

I'm going to have to add to this list of Rush reviews, since they have come out with some great albums since then.

I'm thinking that the reason why the record industry is in such sad shape is because of the departure from analog. Nothing sounds raw and live, organic, anymore. It's all digital, flat computerized sounding. And we need vinyl to make a comeback, full album cover art, the whole deal. Back then, it was an event.

And downloading stuff from iTunes is not quite the musical epiphany as back when you forked over your hard-earned chump change on 'A Farewell To Kings'.

Didn't Joe Walsh record his most recent solo album in analog? I assume it's not called Analog Man for nothing. :)

I'm thinking that the reason why the record industry is in such sad shape is because of the departure from analog. Nothing sounds raw and live, organic, anymore. It's all digital, flat computerized sounding. And we need vinyl to make a comeback, full album cover art, the whole deal. Back then, it was an event. Gosh what an excellent reply!!!!

YES DIGITAL IS TRASH!!!!!!! -- IS THE WORST THING TO EVER HAPPEN TO AUDIO/VIDEO!!

I was doing some reading on Van Halen and Metallica and I discovered Van halen DID NOT COMPROMISE ANY OF THIER ALBUMS!!! (Up till the latest one which is ('A different kind of truth' (http://en.wikipedia.org/wiki/A_Different_Kind_of_Truth))) and Metallica didnt compromise any albums until AFTER THIER 'BLACK ALBUM' IN 1991 (That was the last true analog album from them (Which IS THIER BEST ALBUM! (http://en.wikipedia.org/wiki/Metallica_(album))))


It really is sickening how ppl have been so conditioned to think crap is better,its really quite sad........

I don't really follow-up on Rush like the people here in this thread, but I was wondering how do we know that the Moving Pictures album was recorded in analog, mixed in digital? Is there any message on the album to prove it? I'd like to see a picture of it.

Yes it says on the album "DIGITAL MASTERING BY: "

And if you look here you can see it

http://en.wikipedia.org/wiki/Moving_Pictures_(Rush_album)#Personnel

Oh, btw, Rush DID do a song on 'Signals', "Digital Man", which was two songs after 'Analog Kid". Hmmmmmm.....

Yup........ I believe every album AFTER MOVING PICTURES is also compromised......

Quite stupid of them in my opinion!!!!!


EDIT:

I just was looking into this on discogs,etc and the ONLY RECORD they put out that says anything "Digital" is "Moving pictures" -- THATS AWESOME IF SIGNALS IS IN THE CLEAR!! (I love the songs on that record)


EDIT 2:

I got the inner sleeve for SIGNALS and Im sure i see "Digital mastering by" on it....

www.vinylrecords.ch/R/RU/rush/signals/rush-signals-2980.jpg

Like I said before: STUPID IDIOTS!!