MOVING PICTURES

What can I say about this album? Every song on it is a masterpiece! I've been listening to Moving Pictures since elementary school and I can safely say I haven't gotten at all sick of it and I don't think I ever will. Moving Pictures is in my humble opinion Rush's most moving (haha) album and the fact that it is their most popular album is no coincidence. My personal attachment aside, Moving Pictures can be the soundtrack to anyone's life because of Neil Peart's larger-than-life lyrics and quite the same for the arrangements that Geddy and Alex made around them. Their teamwork really shows through on this album. My dad had introduced me to Rush when I was in sixth grade. I actually didn't like them at first even though they're my favorite band now. Geddy's vocals are a bit unusual to say the least, but there's nothing wrong with deviating from the norm ;) Rush is an acquired taste as you have to expect the unexpected with them. That's probably one of the reasons why it's hard to get sick of Rush once you do start listening to them. Moving Pictures is the album that finally got me into Rush. On the day October 20 of 2013, I finally gave them a second chance (courtesy of my Dad) and I didn't regret it. I've been hooked ever since. So it opens up with Tom Sawyer. I wasn't sure what to think at the time but this song is awesome, needless to say. It's not Rush's best, even though it's the song that they're known for, but it has its moments. The synth and guitar solos are what sell it to me, and Neil Peart's drumming is particularly flawless on this song. As the song is fading out, the drum fills change pace which is a nice touch. The guitar line on that part is simple but very deep. It was also interesting to learn that those portions of the song are in 7/8 and occasionally 6/8. Rush makes those odd time signatures work seamlessly. 4/5 Red Barchetta is the song that got me hooked. The chorused clean guitar sound is great and signature of 80s Rush (as well as the 80s in general). But when the song changes pace into the part right after the first verse it's just so awesome. And it's fitting for a song about driving around with the wind in your hair... illegally. Such an imaginative plot for a song. The energy of the song is a perfect match. 4/5 YYZ is just crazy. The intro is bizarre to new listeners but context is important. Turns out it's the morse code signal for the Toronto airport, the city where Rush is from, in music form! It's in a 5/4 time signature and reminds me of a more heavy sound that probably inspired bands like Tool, especially with the tritone. And then the main riff that comes in is just impossible not to like (impossible to play too). This song changes pace in a "cinematic" way in the same way that Red Barchetta does. Once again this song features some of Geddy's synth playing, after a very technical solo from Alex Lifeson. Neil Peart's drumming is consistently impressive throughout. The musicianship of all three members shines on this one. 4/5 And if the first 3 tracks didn't leave a good first impression on me, then Limelight hit it home for sure. That opening riff is just so good. The 6 notes that it is comprised of just say something that can't be put into words. Alex's guitar lines in this song are just phenomenal; his solo and the guitar part during the chorus (which goes back to that chorused sound) are dreamy. Of course the accompanying bass, vocal, drum parts are nothing short of what you'd expect from Rush, don't get me wrong; but this song kind of puts the spotlight (or the limelight ;)) on Lifeson. Despite that, this song is about Neil and his struggle with fame. Geddy once again manages to sing his lyrics in a way that captures them perfectly so the musicianship isn't necessarily mismatched per se. But this is definitely an Alex song in my mind. 5/5 Limelight is a satisfying conclusion to the A side of Moving Pictures, and while it feels like it could serve as a good conclusion overall, The Camera Eye and the following tracks prove that Rush had a lot more to say. I would say most people sadly stop listening after Limelight because it feels like such a finish, but I was guilty of doing so on my first few listens as well. This song opens with an ambient, relaxed sort of sound, as does the entire B-side to an extent (Limelight serving as a transition between the energetic A side and the soothing B side). The synth and guitar parts are alluring and tranquil. But that is not to say the pace changes are not present. A brilliant guitar riff then comes in