HEMISPHERES

This album, along with "Moving Pictures", was my first introduction to Rush, and Progressive Rock. "Hemispheres" simply mesmerized me from start to finish. The combination of Geddy Lee's vocals and bass, Neil Peart's intelligent, thought-provoking lyrics and absolutely unbelieveable drumming, along with Alex Lifeson's stunning guitar, creates a sound which no other band can match.

The first song, and main focal point of the entire album, Cygnus X-1: Hemispheres, is a magical song suite revolving around Peart's expertly developed conclusion to "A Farewell to Kings"'s closer, Cygnus X-1: The Voyage. As I heard "Hemispheres" before "A Farewell to Kings", I was not disappointed with the Peart's conclusion to "The Voyage", though I am aware that, for some of those who heard the albums in the "correct" order, it was a somewhat insatisfactory continuation. All is not lost, however, as the music is quite simply breath-taking. "Cygnus..." begins with an overture of sorts, similair to that of 2112, which introduces main themes and riffs which return later in the song. From there we move on to the main story, concerning the rivalry of two Greek Gods, and the return of "Cygnus X-1: The Voyages" 's protagonist, and, finally to the conclusion and acoustic epilogue. "Cygnus..." leaves me with a great sense achievement when it finally comes to an end.

Next up is "Circumstances", a comparitively short song in which Peart describes his experience of living in London when he was young. The song has a rather simple structure, but is still 100% progressive, with crazy time signatures, instrumental mastery and Lee's utterly unique voice reaching the strasophere during the anthemic chorus.

"The Trees" is a shorter story than "Cygnus...", but still has the same effect, except on a shorter, more controlled scale. An acoustic introduction, reminiscent of "Closer to the Heart" opens the piece, and after a short pause, Rush come in with a bang, which leads to the return of the chord sequence from the introduction, and then a break down which sees Rush return to the more gentle mood of the opening bars. Peart makes use of cowbells, and then the listener encounters a series of crashes, which build and build until the glorious 5/4 bass line breaks through, followed by a signature guitar solo from Lifeson and finally, the conclusion of the fable, which sees both opposing ideologies meet a sticky end.

The final treat for the listener on "Hemispheres" is "La Villa Strangiato", an insane instrumental based on Lifeson's odd nightmares, and even divided into 'chapters' of a story, to make "La Villa Strangiato" more than just a mindless instrumental. The song showcases each of the band member's individual talents. Lifeson begins the song with an astounding mexican guitar solo, provides the amazing riffs throughout the song, plays two more guitar solos during the gentle middle section and frantic passage between the middle section and reprise of the main riffs. Peart shines throughout, blending with Geddy perfectly to maintain a great rhythm section, and providing a few short solos towards the end. Geddy Lee is at his best here, working together with Peart in a way no one else can, and also providing a spell-binding bass solo towards the end. All-in-all, an amazing experience, and quintessential prog.

"Hemispheres" is probably my favourite Rush album, and, in my opinion, shows Rush at their most inventive and progressive. It's a shame that they didn't enjoy the process of making "Hesmipheres", as it marked the beginning of the end of Rush's most progressive era. Rush returned with the brilliant Permanent Waves and Moving Pictures, which both contained their final "epics", and then settled down in to the format of shorter, more accessible and "mainstream" format, with 1982's "Signals".

A Five Star album, without a doubt.