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POWER WINDOWSRushHeavy Prog |
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Rating: 4.5 stars

If you're bent on buying every RUSH album (and I'd actually recommend it), you'll look into "Power Windows" yourself eventually. Because the album can sound awfully dry on vinyl, spend a few extra bucks and go for the compact disc.

















the big money: a very powerfull track. i think i don't need to discripe it, because it is possible to download it on this page grand designs: this track is built around a tricky keyboard-hook. i think this is one of the weakerones, just because there is nothing to grab the melody and hold it in the mind. if there is five minutes pause i would not remind the melody. manhatten projekt: because i am german i can not understand anything of lyrics, because germans got used to the fact that lyrics are most of the time "i love you" or other boring lines. thats the fact why we germans (and i don't want to ignore all the other countrys where english is not spoken) just overlook neil pearts great lyrics. but without these gret lyrical moments this song features some great melodies, i think one of the best rush - eightyspieces marathon: i think that this is my rush - all - time - favourite. it feautures one of lee's best basslines and vocal stuff. i like the ...nearly entreating vocals in the chorus. the pomp and the keyboards. plus the real strings and the choire. wow! territories: this is a a realy great song, i think. a cool, tight drumbeat and in the chorus there is a slightly spooky mood. midtown dreams: another real strong song. i think it is amazing how tight geddy lee is playing keyboards, basspedals, real bass and vocals at nearly the same time.... i would like to know how this song was played live, becuase this seems to be impossible.... emotion detector: the same as in "marathon". very emotional, very much keyboards, but: i think, beside marathon, this could be my number one in "power windows". the only thing that annoys me are the awfull eightys simmonsdrums. mystic rhythms is, thats my opinion, a very weak track, that seams to be a copy of manhatten project. but it feautures one of neil pearts most exciting groove to practisse...
i think, thats a good album, that features some great kayboards and melodies. very enjoyable!!!!
yours dave


Overall, though, this album is great. I highly recommend it if you're a fan of Rush's less epic and proggy material, like Grace Under Pressure and Signals. It's well worth getting, and compares favourably to Rush's older stuff, such as Hemispheres. While it's not entirely in the same vein, it's still Rush, and Rush are brilliant.


From the opening drums of Big Money to the catchy fade out to Mystic Rhythms, there are a mixture of good and mediocre songs. All songs are linked with a specific theme regarding power and how we abuse it. Highlight tracks are The Big Money, with it's catchy verse and catchy bass work, and some great lyrics and drumming from Peart. Territories features some precision drumming, insightful lyrics, and a great riff from Lifeson. Manhattan Project deals with nuclear arms and features a catchy chorus, precision drumming, and more great riffing from Alex Lifeson. The finale to the album, Mystic Rhythms, is a triumphant track that begins a bit somberly, but picks up pace as the track evolves.
Overall, Rush fans should not be disappointed. However, this is not an album to give a person trying to get into Rush. It's a good album, but not necessary to all fans of progressive music. 4/5.

"The Big Money" comes out of nowhere, guitars raging, drums crashing, bass and synths swirling, and in the center of the maelstrom is that voice...THAT VOICE, slapping the listener in the face but fierce!
"Grand Designs" is my favorite song on the album, with synths and percussion up front, letting the bass and guitar dwell quietly in the back til midway through, when Lifeson roars to the foreground.
Production is graceful, atomspheric, things that were lacking on GUP. Lyrics are more poetic, more worldly, and more well-written, and it does seem that this album was written as a response to the coldness of GUP, which is, IMO, their worst disc ever. And so it goes...
I do believe that every album after this simply built on the great things "Power Windows" acheives, til they reach their 80's pinnacle with PRESTO. This album marks the height of synth-era Rush at their powers, able to mix prog, rock and synth-pop into a delectable and satisfying dish.


this is a pop, prog, thecno, rock album as many other album for the period 1980- 1990 for rush .very complex album. memorable at the vocal.
for me the sonority is perfect for this period of time (1985). wath is stunning with rush, this is the perfect balance between prog and pop this is not as alan parsons project (eve and other album) where pop is more present than prog (even if i love this albums)
i have to say that for me, the best thing for (prog fans) in this album is, odd time signature (of course) , complex bass. great sonority guitar, amazing guitar playing , keyboard sonority and arrangement, and of course amazing drum and cymbal by neil peart.
now, i talk about keyboard sonority and arrangement, for me this album is the finest hours for keyboard creativity. you have to listen the record but il tell to you right now, the keybord is this record is one of the best thing that i have ever heard. astonishing atmosphere and melody. sometime pure keybord sonority and sometime orckestration sonority. the keybord is more present than in , hold your fire album, but the other instrument are not negliger.
if il could meet rush members and ask only one question, i would ask . how was yours life at this period of 1985
thanks to alex lifeson for astonishing guitar playing, simple and so perfect. as a reviewer had say already this record has one of the best echoed guitar solos sounds ever made by Rush.

"Power windows" is pure adrenaline !!!
It's the most powerful album I ever heard in my life.
outstanding musicians, 100% perfect arrangments, a must have album...
so I give 5 stars for this essential masterpiece.

It's not a masterpiece and not that progressive but it's certainly a great album and one that will always mean a lot to me.



As a production piece, 'Power Windows' is amazing. Peter Collins and the band definitely captured the atmosphere that the songwriting calls for. Whether or not you like their chosen style at this point, there's no doubting the quality of the recording itself. But I still hear a weak album filled with weak songs; not even the performances of the insanely talented members pull it through. Geddy Lee's voice veers into a disturbingly complacent, bland area that took him years to grow out of. Neil Peart's continued use of electronic drums sucks a lot of life out of his performance. And poor Alex Lifeson, once again drowned out by an enormous bank of digital synths and electronic drums. When he does rear his head, it's usually in washes of pastel chords, all brittle and thin.
Many of the songs seem interchangeable, many sounding alike. That fact that I've listened to this well over 20 times and still can't recall anything of "Grand Designs", "Middletown Dreams" or "Emotion Detector" is telling. But there are two moments of magic here. "Marathon" is gifted with a chorus of profound emotional weight, musically and vocally. Despite Geddy's white-funk bass slappin' and poppin', the rest of the song supports the grand chorus well enough. And final track "Mystic Rhythms" has enough brooding atmosphere in its exotic character to pull it through. A dramatic, engaging ending to a sadly unengaging album. Both of these songs would've fit well on 'Grace Under Pressure'. More of their kind is sorely needed here, as I find the rest of it flat, chilly and uninspiring.

Highlights: EVERY SINGLE TRACK!!! Not to be missed by any lover of atmospheric rock/pop!

"Territories" starts off with electronic drumming followed with keyboard and guitar and bring the music into arrangement full with keyboard effects. The song moves into complex composition with soaring keyboard and guitar sounds. Geddy's bass lines are great! "Middletown Dreams" is a good track with Geddy's tight basslines combined with keyboard sounds. "Emotion Detector" starts with keyboard and electronic drumming; guitar provides sounds at the back. The song moves in electronic drum beats. "Mystic Rhythms" closes the album with another keyboard-based music. I also like Lifeson guitar rhythm work accompanying Geddy's vocal.
It's another excellent addition of any prog music collection. Keep on proggin' ..!
Peace on earth and mercy mild - GW

"The Big Money" is exceptional. The slap bass line rocks in the verses, it’s probably one of the better bass lines he’s written. The guitar solo in the song it great, although it doesn’t sound quite as strong as it should be. This is probably due to either the production or the type of guitar he used at the time, plus I’m comparing it to the Rush in Rio version where the guitar sounds much fuller.
The next track is "Grand Designs". This is where the synth and chime sounds are overdone. The beginning alone is enough to make you cringe. It sounds very . . . joyful. Not that sounding happy is a bad thing, however it feels like something that would fit on a kid’s TV show. Other than that, the verse of the songs works well. The guitar has a reggae-like quality to them.
I don’t have a problem with Rush using synthesizers to complement the music, it appears that here they decided to use it way to much. Listen "Middletown Dreams", "Mystic Rhythms" and "Emotion Detector" for the ‘dated’ 80’s sound I am referring to. I’m sure back then it might have sounded fine, but twenty something years later, it doesn’t come off as ‘cool’ sounding.
Besides the negative points, this is a Rush album so you can expect worthy performances by each member of the band. I wish the guitar’s sounded a bit thicker to make the music for driving, but the solos here are worthy to be called Lifeson’s own. The bass lines, as mentioned previously, as quality. Neal Peart sounds like he began experimenting with electronic drums, as the album has some drumbeats that vary from the typical drum kit possibilities (see Mystic Rhythms).
All in all, "Power Windows" is another great Rush album worthy for any prog collection. I prefer the predecessor Grace Under Pressure, since it has the more appealing songs for my taste, though I must gratulate Rush for a worthy successor. This one has grown on me the more I listen to it. Try to put the synth in context and enjoy the album.
album rating: 8/10 points = 80 % on MPV scale = 4/5 stars
point-system: 0 - 3 points = 1 star / 3.5 - 5.5 points = 2 stars / 6 - 7 points = 3 stars / 7.5 - 8.5 points = 4 stars / 9 - 10 points = 5 stars

Boy, what happened between records? Rush got much more lighter, with powder blue suits , super sweet synths and ponytails. Not cool. Just watch the Big Money video and tell me about it after. The song itself is kinda lame, but only in subject. Musically, Power Windows is du jour, with keys, drums and guitars of the era. It sports nice melodies, but the whole thing is a bit too melancholic for my tastes. This is actually the first time that I put a Rush album in the shelf.
Some songs are great values like Mystic Rythms, Territories and Manhattan Project. But for the rest, this is light pink filler. the sound is good for the times, but they did much better with Hold Your Fire.
After the grave lyrics and anxious atmosphere that was Grace Under Pressure, this is a trip to a pastel world.


Geddy Lee proves himself to be an accomplished keyboardist-bassist-vocalist, Alex Lifeson's solos are better than ever before and Neil Peart, as ever, defies the norm with his thought-provoking lyrics, god-like drumming and short hair. Producer Peter Collins should not be overlooked. His contribution was easily as significant as the band members' were. Here is my overview of the eight glorious "soundscapes" on offer:
1) The Big Money: (10/10) The perfect opening track. Soaring synth and rapid-fire drumming accompany this lyrical critique of money and its destructive powers (POWER is this album's recurring lyrical theme). The instrumental section starting off with Alex's atmospheric guitar sound and some impressive percussion really make this a Rush classic.
2) Grand Designs: (10/10) A brooding look at triviality and the lack of substance in style. Alex's guitar reminds of Chic's Nile Rodgers (of all things!). Some might say the heavily synthesized chorus was ill-advised. I wouldn't, though.
3) Manhattan Project (10/10): An ironically positive-sounding observation on the state of nuclear science. Turn it up loud to hear that driving bass chord at the beginning! A very melodic verse leads into a memorable chorus underpinned by a glorious guitar motif. Then comes an orchestrated section that really succeeds in capturing the feeling of the Enola Gay as it flew "OUT OF THE SHOCKWAVE!" (don't you just love that part?). Alex's short solo is PHENOMONAL! What did you expect? Richie Sambora?
4) Marathon (10/10). The first really bass-driven song. A jittery bass-line in the verse and bridge leads into a supremely catchy chorus featuring a choir (probably a Mellotron eight-voice choir, though.)! Once again, Alex's solo, with it's out-of-this-world bends, is the highlight!
5) Territories (10/10): The least traditional Rush-sounding track, but by no means the weakest (a relative term where this album is concerned). Neil's lyrics even add some humour. Heavy on synth but all the better for it. Neil is the real star on this on, in both musical and lyrical "territories".
6) Middletown Dreams (9/10) It sure says a lot about this album when a track like this is considered the weakest! The tricky stop-start intro impresses, as does the (once again) catchy pre-chorus and chorus. I can just imagine fans of 70's Rush cringing when the synth-piano bit starts. I can also imagine them rotting away in their mother's basement listening to worn-out vinyl copies of 2112, too.
7) Emotion Detector (9/10). As with the previous track, this is weak compared to the rest, but still amazing. It features a great keyboard hook and impassioned chorus. Simply a great Rush track, period! Shame they've never performed it live...
8) Mystic Rhythms (10/10) A slow-paced epic with an apt title. Even the synth, which is commonly thought to be clinical and cold sounds emotional here. If you don't get chills when you hear that deep synth chord when Ged sings "or the African sun", you're practically bionic! As someone who lives in Africa, I can honestly say that these 3 Canucks have fully captured the rhythm and atmosphere of dark Mother Africa. And on a synth-driven 80's arena-prog album! Whaddayaknow?
So, to sum it up: this album is alarmingly melodic, intellectual, professional, emotional, (do forgive me) mystically rhythmic and vibrant. While I do believe that every Rush album has its place, from the kimono-sporting, bollock-clutching high vocals and ambitious concept of 2112 to the organic, synth-free metallic thunder of Vapor Trails, this is the album I will always consider their best. I don't think the band themselves realize just how good this album is.
In my opinion, this is a great starting point for potential new fans, as well as compulsory addition to existing collections.


"The Big Money" has been a favourite of mine for a long time. Geddy's vocals are outstanding in this one that opens with lots of synths and drums followed by bass, guitar and vocals.There are some really good bass lines on this one although each member of the band gets to show their chops. "Grand Designs" features some higher pitched synths that really annoy me and the vocal melody before the 4 minute mark is disappointing. So this song is a letdown for me.
Things get a lot better with "Manhattan Project", I like the way it speeds up with Alex's guitar melodies as Neil is pounding away on the skins. "Marathon" has a good chorus and a nice guitar solo as well. "Territories" features uptempo synths and guitar that come and go. The song ends with a bass solo. "Middletown Dreams" features short guitar outbreaks with lots of keys and steady drums until the chorus where synths and vocals are the focus. Another good guitar solo 3 minutes in. "Emotional Detector" features this long, emotional guitar solo from Alex that is by far the highlight of this song. "Mystic Rhythms" opens with...surprise, rhythmic drums as well as some good vocals in this contemplative song.
There is a lot here to like and it's well worth checking out.

The Canadian trio changed their musical direction roughly every 4 albums, managing to adapt, to evolve and to create their own style. "Power Windows" started a new musical direction period after "Grace Under Pressure". However, the magic and the progressive craft are now gone... No catchy heavy riffs, no epic moments, no futuristic synthesizer or no jazz-rock passages either. All tracks here sounds similar, poppy and commercial. The second half of the 80's has not been quite a favorable period for RUSH, as for most 70's progressive rock bands.
The Canadians will a little rectify their musical style four years later, with "Presto" and "Roll the Bones"...

Geddy splits up his duties a bit more evenly between keyboards and bass, turning out some monstrous licks (particularly on "Big Money") as well as dynamic synthesizer work. Peart, while still using lots of digital drumming is much more precise and interesting here than on their last album; his lyrics begin to show his growing love for homonyms as well. Alex is, well, Alex-- his guitar work wants for nothing. Stand out tracks include the aforementioned "Big Money", "Grand Designs", the very smart and political "Territories" and the symphonic "Mystic Rhythms".
A big '80's sound that holds up well today (although you'd never know they were written then if you get a chance to hear them performed now) and features a lot of songs to sing along to and think about.
Songwriting: 4 Instrumental Performances: 4 Lyrics/Vocals: 4 Style/Emotion/Replay: 4

Rush continue to disappoint here, with some of the most uninspiring stuff since watching paint dry. I think most classic prog fans will find these derivative synth lines and melodies completely boring and unbearable. Some of Peart's drumming is still quite good, but the rest of the makeup is just so laughable as to make an almost impossible serious listening.
I suppose that might be the only thing to take solace in. I'm really not sure what Rush was trying to achieve musically during this period, but it certainly put off a great many of their classic fans. Those who would like to experience some really good Rush, check out material from Moving Pictures and earlier.


I think _The Big Money_ is familiar to many. While it has a slick beginning, the place where the song really comes to life is after the 2:45 mark. Alex plays a beautiful shimmering solo with a backdrop of synth fills and skittery drumming which all comes together around 3:50.
I'll pass over _The Grand Designs_ except to note the extended drumming at the end of the song.
_The Manhattan Project_ is probably the most melodic song on the album. If you're not familiar with this song, listen to it after the 3 minute mark. The orchestra sets up the main melody followed by beautiful basswork from Geddy culminating in a tasty Alex solo.
The middle section of _Marathon_ is the most stunning part of this CD. From 2:55 to 4:05, you're treated to a tremendous Alex solo set to a 7/4 beat. The song closes with a truly great chorus, very much in line with the uplifting theme of the song.
_Territories_ has the best lyrics of any song on this album. While it's easy to get put off by the disco beat, if you get used to it, you'll start noticing small things: the far east opening, Alex's powerful playing, Geddy's funk like closing, the synth fills which actually help this song etc.
_Middletown Dreams_ gets going around the 2:00 mark. Listen to the interplay between the synth and the double scratched guitar leading to Alex's solo around 3:00. Watch for the reintroduction of the bass line around the 4:00 mark.
_Emotion Detector_ starts off like a ballad with a synth-guitar interplay that lasts around a minute. This song, however, has a blistering solo between 3:30 and 4:30. Even if the song itself isn't my favorite, the solo is worth multiple listens.
_Mystic Rhythms_ is also probably familiar. Again, while it's easy to dismiss because it sounds like bland synth pop, it reveals much more upon repeated listening. Again, watch for Geddy's bass to re-enter the picture halfway through the song. Notice how Alex and the synth set up a very trippy atmosphere.
While it's easy to derisively dismiss Power Windows as a pompous synth-hard rock hybrid, it is much more difficult to sustain a dismissive attitude upon multiple listening. Rush attempted to marry keyboards with Alex's guitar and Geddy + Neil's rock solid rhythm section. I think they succeeded. The integrity and the musicianship on display overwhelm an initial negative reaction.

Rush starts the album with a bang: the energetic rocker "The Big Money." It has all the elements I described above and the rhythm section especially shines. "Grand Designs" is a poppy tune dominated by Geddy Lee's vocals and keyboards. Pay attention to the short piano solo halfway, it sounds complicated and caught me off guard. Rush's composition skills are shows in "Manhattan Project", which features good melodies, instrumental breaks, and dynamics. in "Marathon", Geddy Lee shines again in all areas, especially his bass performance.
Unfortunately, it doesn't sound very original after the first half. "Territories" has good parts but it sounds too much like a hybrid of "Grand Designs" and "Marathon". despite the interesting bass lines and guitar solo, "Middletown Dreams" is quite boring during the singing parts. "Emotion Detector" is easily the bottom of the barrel here, a dated-sounding mediocre pop song. Fortunately, "Mystic Rhythms" is a quite solid track with good guitar-synth interplay and another moment where Geddy Lee shines. great vocals in the choruses and great use of a synthesizer that manages to be emotional.
If you're interested in Rush and don't mind a mellower and more keyboard-oriented album, give it a try.
1. The big money (B) 2. Grand designs (C+) 3. Manhattan Project (B) 4. Marathon (B) 5. Territories (C) 6. Middletown dreams (C-) 7. Emotion detector (D) 8. Mystic rhythms (B-)

...but is it a bad thing? Not necessarily! This is a surprisingly strong release from Rush, albeit a bit different from their classic era. It seems that after whipping out the guitar in Grace under Pressure the boys decided to put it away behind the synths again, if this time less than on Signals. Musically, Rush starts to dance on the borders of Rock, Prog and New Wave, creating a fairly interesting mix. None of the songs dip under 5 minutes as well, making for some fairly solid compositions. It's clear here, though, that the times have changed, but Rush was always good at adapting.
The album starts off on an off note. THE BIG MONEY is a song that will surely make the prog fan's ears bleed if they're not prepared for what's coming. One guitar chord, then synth notes scream in an 80s fashion as Geddy shouts big money goes around the world!. Not exactly the swords and Shields stuff that made Rush so famous. However, as is the case with most Rush music, the music itself is enough to save this song. Geddy's bass line on this one alone is enough to make any critical audience stop and think, 'Oh, okay, they still know what they're doing... you guys scared me, though.' The next track, GRAND DESIGNS, is along the same sythed path. Starting out with a synth riff that's a bit more pleasing to the ear than the last, this song starts off a bit more.. calmly. It's a great track as well, likely one of the standouts on the album, and also one of the more progressive points. Better playing by Lifeson on this one, if still low-key. Geddy is one again the focal point, however, as his bass and voice are really the two things that drive the song.
The rest of the album is also littered with gems. The dark and eerie MANHATTAN PROJECT is the next song up. Lyrics based on the Hiroshima bombing leave one with a sense of unease as Neil tells the story of the race to build the bigger bomb. MIDDLETOWN DREAMS is a song with the same amount of darkness, if with a little bit lighter subject manner. TERRITORIES is another track worth the listen, a tale of patriotism and '...greener on the other side' school of thought.
There are a couple classic Rush tracks to be had yet. MARATHON is easily the best song on the offering. Once again driven by Geddy's bass and voice this is a track that's midpacedly blissful to listen to. EMOTION DETECTOR is another great, if lesser known, with some great lyrics accompanying a very well arranged musical section. However, aside from Marathon, the next best thing on this album would have to be the coda MYSTIC RHYTHMS. Another very dark track with interesting lyrics tat's bound to catch the ear of the prog-head.
Concluding now.
3 stars is what this album gets! Good, not amazing, but good. Fans of 80s Rush will delight in this one, fans of only their 70s stuff will likely be thrown off. For everybody else the album is hit and miss. You might love it and you might hate it. Recommended for those who want something good in the 80s.


I just can't get over how good the songs as this album are. It's mostly due to the band's great chops and comfort with the technology they've embraced. Here you'll find digital sequencers, drum machines, looped guitars.....an enthusiastic embrace of all that was the rage in 80s synth sounds. But it is the songs that make it all good. Big Money is a classic 80's pop rock song. Grand Designs and Middletown Dreams feature the razoer sharp staccato guitar work Lifeson had perfected at this point. Territtories combines the more subdued 80's Rush with Peart's world-vision lyrics perfectly. Mystic Rhythms is synth heavy but creates a brooding atmosphere.
All in all the final culmination of perhaps the greatest 12-year run of music consistency in the annals of rock music. From 1974 to 1986 Rush released no less than nine 4 and 5 star albums and toured for a year and a half behind each one. That is a record I'm not sure any other band, of any type, can match. Power Windows represents the end of that run, but it is a fitting conclusion.,

As much as the band may fondly admire Power Windows as a solid piece of work, the fans were not as admirable. Fan reaction was particularly "guarded". This was the most "high-tech" polished album the band had ever produced. Power Windows is indeed spiced liberally with electronics from both Geddy Lee (bass/keybords) and Neil Peart (drums) who began to use "percussion samples". This has become one of the biggest complaints of this particular album. Too many triggered sampling effects and not enough good old fashioned playing.
For one reason or another, I personally just never got into Power Windows (or Hold Your Fire). I feel they just did not connect with the long-time fans. People who were introduced to the band during this period have a different out look on the whole thing.
I give the album just 3 stars. It does have a few good songs on it, but over-all it's weak. It's still a must have for all Rush fans. Not to mention that all of Rush's catalog has been remastered and is currently selling at bargain prices!
Best tracks: The Big Money and Mystic Rhythms


The sound on Power Windows is synth dominated but still with great bass, drums and guitar playing. There are actually some very good guitar solos from Alex Lifeson on the album. Very inspiring IMO. You have to have a strong stomach for eighties synth to enjoy this album, but it´s not a problem for me. I think it sounds great.
The album starts with The Big Money which I think is a great and powerful song. Other songs worth mentioning is Manhattan Project and Marathon but as I mentioned above all songs are excellent except for Emotion Detector which is a bit average. The beautiful Mystic rythms ends the album in grand style.
The musicianship is excellent. Neil Peart´s drumming is as inspired as always and Geddy Lee´s vocal performance is sharp and delivered with attitude. The band had at this point in their career reach a level of perfection that most bands will never reach.
The production is wonderful IMO. The bass is quite high in the mix and it suits me fine that you can hear the powerful basslines this clear. The synths are high in the mix as well and that´s an aquired taste if that will please you. I think it fits some songs better than others just as I stated in my review of Grace Under Pressure.
Rush eighties albums alienate many. Even some fans of seventies Rush dislike their eighties output. Mostly because of the excessive use of synth. My introduction to Rush was through their eighties albums so for me those albums have a special place in my collection ( except Signals which is not a favorite of mine). Power Windows is an excellent album and deserves a 4 star rating from me. Rush have corrected almost everything I wasn´t fully satisfied with on Grace Under Pressure and for that they receive the fourth star.

I think it is more than fair to say that Rush were stuck in a rut in the mid 80's. With Signals, Rush tried something new, and even if the band's classic era ended with Moving Pictures - their last great album - Signals was still somewhat fresh and interesting to these ears. Even so, Signals was the start of a downward spiral for Rush that continued with Grace Under Pressure and culminated with Power Windows. If Grace Under Pressure was Signals part 2 then Power Windows is Grace Under Pressure part 2. It seems that they stopped developing at this point and instead were content with doing more of the same.
More of the same can sometimes be a good thing though if the template is strong enough and it is done with passion and energy. But it is here that Rush failed so terminally. The songwriting is really weak here and every single track sounds like a bleak and uninspired copy of some song from the two previous albums. Signals and Grace Under Pressure - even if they were no longer Prog Rock album - still featured some classic Rush tunes. Power Windows, on the other hand, does not feature a single song that can be said to belong to Rush's best, not even the best of 80's Rush. This is simply run of the mill or Rush by the numbers. It all sounds like something we have all heard before a million times and the result is one of Rush's most uninspired recordings ever. Even the cover art is awful!
Thankfully - as it was pretty much impossible to make a record worse than the present one - Rush would again start to improve with the next couple of albums. Power Windows was the first time they hit rock bottom.

In my opinion this is the last Rush album I can enjoy from start to finish. Among this 5 minute songs Peart delivers some of his most inspired drumming. Moreover, there are some interesting lyrics here. As an example you could read the ones from "Manhattan Project" or "Marathon" which also happen to be two of my favourite 80's Rush numbers. Lifeson manages to put some memorable solos among the synth fest on songs like "The Big Money" or "Emotion detector".
The only flaw I seem to find on this record is that it's a little bit monotonous on its sounding. The band could have put some acoustic piece in the middle to break the pattern this record holds. But overall, "Power Windows" is proof that even in the dark ages the 80's were, there was still place for some good material out there.
3.5 stars. Exellent addition to any Rush lover collection



Taking a back seat is Lifeson's guitar. Like many guitarists in the 1980s, Lifeson experimented with echoey chord bursts and thin leads. The heavy use of keyboards doesn't bother me much (in fact, I like good keyboard melodies and backdrops), but Lifeson's experiments I found disappointing. You could see hints of this same type of guitar work on their previous album.
The songs are still elaborately arranged, Peart's drumming (even with electronic drums thrown in for good measure) is it's usual quality of excellence, Peart's lyrics are still well written and thoughtful and often covering subject matter much lacking from the fodder being played on 1980s radio stations.
For an album called Power Windows, where the themes tended to be about power, one wonders why the music lacked this power, often leaving the feeling of coldness. If it wasn't for that one quality lacking, I would rate this a masterpiece. Still it was exceedingly better than other neo-prog releases from 1985. Four stars for an exceptional, but somewhat flawed album.


Well, "The Big Money" is a great album opener for sure. The basslines in this song are definatly stunning in a manner that I can't beileve, the Wal holds its own tone definatly. I like the Wal bass much more than the Steinberger because of the mid-ranged sound that you get form the Steinberger. Geddy's vocals are really nice on this, and the keyboards are pretty interesting, especially the opening keyboard riff. Mr. Peart is near perfection of course, and in the music video for this song, you can see him singing along with the song! It's kind of funny, me and my friends always point it out whenever we are watching it somewhere. "Grand Designs" is a very boring piece for me, one of the only ones. It's too "cold" sounding for me, and it is very heartless from a singing standpoint. It just dosen't have that same amount of energy for me, but the lyrics are really nice. "Marathon Project" is kind of like a ballad, but gets louder when the chorus comes around. It reminds me alot of "Distant Early Warning" from the previous album the year before. Its a very cool song, interesting keyboards that add really nice texture and atmosphere to the song. "Marathon" is a really cool song to me. I always listen to it when I go for a walk or a run or something along those lines. Its got a really cool bassline and the vocals are sweet. The keyboards at the chorus are perfect, same with the guitar, thanks Alex Lifeson! "Territories" is where I start to get a little bored with the overall album. The song is good, it just dosent give me any motivation to listen to it after about two minutes, thats why I always skip to the next track. Heartless to me, if you asked. "Middletown Dreams" is okay too, its a bit better than "Territories" but its still a bit heartless, same with "Emotion Detector," which was the only track not played live on any tour so far. So, the best track for me is the last track, of course. "Mystic Rhythms" is near perfection. Its pop-prog and its so pretty, that, in fact, when I listen to it, sometimes (the first time I listened to it) I started to cry at the end. I don't know why, its just so stunning.
Though not Rush's best in their catalog, its amazing. You should get it if you like Rush's other 1980's stuff.

After listening through this album on a few occasions my opinion on the matter remains the same as it was before. I'm simply not convinced by the music offered here. Let me be clear on one thing though, there is nothing particularly wrong with these compositions from a general point of view and all of my objections are only based on difference of personal taste that restrains me from seeing Power Windows as anything more than a fans only release.
This album is literally drained in layers upon layers of generic synthesizer sound which I found charming when it was used sparsely on the early '80s albums. For me, the essence of Rush lies in their ability to perform highly technical rock music where each member is exceptionally great at their particularly instrument. Unfortunately the emphasis has now been shifted by placing the skill in the background while basic keyboard patterns occupy the foreground. There are a few good songs that still manage to get past these limitations but overall my objection stands for most of this album. Just listen to the intro of The Big Money where Neil Peart begins the album with a magnificent drumbeat which then becomes completely overshadowed by the simplistic keyboard sounds.
The direction that Rush was heading for during the '80s might have been considered hip at the time but hopefully most fans can agree that this material hasn't aged as well as some of their earlier material where the band was relying more on their skill which sometimes instead resulted in some questionable choices in the sound department.
**** star songs: The Big Money (5:34) Manhattan Project (5:04) Territories (6:18)
*** star songs: Grand Designs (5:05) Marathon (6:09) Middletown Dreams (5:15) Emotion Detector (5:10) Mystic Rhythms (5:53)

I eventually started to like it quite a lot.
Lyrically, this album is very high. Targeting serious topics (nothing like Yes lyrics here and not Zepelinesque as debut album's words), it's not bad musically too. The point is that Rush were never so bad (they don't have "depth" from which they would leap to the (if not) top, or simply higher. It's half caused by the fact that they simply started later than other groups (in early 70s rather than in late 60s) and lasted longer, but it's also caused by their relatively consistent quality.
Flow of songs here is interesting, there's probably no weak track as well (maybe the worst would be Middletown Dreams - I'm glad that we don't have this kind of suburbs in Czech Republic, one house looking exactly like another, in perfectly designed row), even it's not as good as their top albums (Moving Pictures to name one) and I'm aware of that difference.
4(+), that's it.

None of the three men shine quite like they used to in an instrumental sense; rarely do we hear a standout performance from anyone. They also seem to abandon the use of odd metres (I can't find any here) that gave earlier classics like ''YYZ'' some flair. Tracks 3 through 7 sound like totally anonymous '80s pop; ''Grand Design'' starts with one of the worst keyboard lines I've ever heard.
''The Big Money'' sounds like any other pop song, except with insanely tricky basslines, a respectable guitar solo and a memorable hook. ''Mystic Rhythms'' is the only track here that could compete with the Rush classics; it creates the best atmosphere on the album as it is very haunting and...well, rhythmic. Sadly, these two tracks don't cut the mustard comparing to classic Rush in it's glory. Leave POWER WINDOWS for the curious fans that can mine a hidden gem or three out of this; I haven't found much.

How opinions differ from reviewer to reviewer. I'm no pop fan and see this and Hold Your Fire as the pinnacle of Rush's output, although there are other good efforts too (Hemispheres, Moving Pictures, Signals). For me 7 of these songs are 5-star quality. Only the rather boring and predictable Manhatton Project lets it down.
This album has great lyrics, fantastic playing, intricate arrangments and good tunes. OK, the songs are relatively short and maybe some have a fairly routine structure, but just listen to what is going on under the surface.
I could listen to this all day.
Solid 4 stars.


I think the first thing to say about this album is that it is very good, well performed, with the trio sounded as tight as ever, and, perhaps more importantly, trying out new ways of recording and playing without ever wishing to "sell out", as some of its protractors would tell us.
It features three of the finest tracks the band have ever recorded. The opener, Big Money, as good an example of power rock as you were likely to get in this period of time, Marathon, featuring perhaps Geddy Lee's finest musical contribution to the band (which is saying something), and, the absolute highlight, the album's closer, the intense, sublime, and exotic Mystic Rhythms.
Elsewhere, amongst tracks which strike one as being a little bit too close to mediocrity for comfort, only the brooding, and intensely played, Manhattan Project comes even close to hitting the three aforementioned tracks heights.
In hindsight, this album can, perhaps, be viewed as one of the band's works which marks a transition, and, hence, them seeking to find comfort in that new direction. Certainly, its successor, Hold Your Fire, would find the band sounding and looking far more comfortable and consistent.
As I have said before, this is a good album, but nowhere near consistent enough to mark it out as an excellent piece of work. The highlights, though, do make it a purchase worth having in your collection.
Three stars for this, from a band who have never made a poor album in their entire career, which is perhaps the finest tribute one could possibly pay.

In this regard, this album fails in the best possible way. The textures are clearly meant to invoke pop rock of the time, given the very electronic and bright atmosphere, the way the guitars and bass clanged and bounced as opposed to really rocking, and the fact that, well, this album opens up with a VERY Reagan/Thatcher-esque song, "Big Money". However, aside from the opener, these songs are long, with none shorter than 5 minutes, and feature very subdued and mature songcraft more akin to what had been done on side 2 of MOVING PICTURES. I think that any fan who say this as a departure wasn't really paying attention or had been applying a filter to their albums, selectively avoiding paying attention to songs like "Witch Hunt" or especially "The Camera Eye" which prefigure this sound years prior.
Over time, this has become a favorite of mine. It doesn't quite reach the pinnacle of PERMANENT WAVES / GRACE UNDER PRESSURE / COUNTERPARTS for me, but it is definitely in a second tier, offering very satisfying songs. What I meant by it's failure as a pop album is that these songs are not very accessible; they take a long time to get into due to their subdued, subtle approach to songcraft, only opening up after four or five listens for me. It has pop sounds, but this feels like a prog album, like they were overly cautious in terms of approaching the pop sound and, in their caution, crafted something quite proggy instead. It's definitely proggy in the '80s sense of neo-prog and synthesized textures, but proggy nonetheless. Give this one time. It's better than you think.

With POWER WINDOWS, Rush continued their new atmospheric era that begun with Signals in 1982. Even though the sound generally has changed for the worse (the drums are mixed in a more mainstream fashion for instance) the songcrafting still remains strong throughout the album, with MARATHON as the definite highlight. Its probably one of the best songs Rush managed to churn out during their 80s period. Lifesons guitar still sounds as great as ever and Lees new funky bassplaying is a nice addition. Overall the album is weaker than the two preceding ones, but it still garner a spin or two without skipping any of the tracks.


On the other hand, the songwriting starts falling off a cliff on this album. The more up- tempo/rhythmic songs (and parts of songs) sound great with this new approach, but the style of a few of the songs has creeped into the land of generic adult pop, and no amount of busy arrangements can really save them. The one I like the least is the fan favorite "Manhattan Project;" I no longer consider it the worst song they'd done to this point, and I've actually grown to like the up- tempo parts with the "big bang came and shook the world ..." vocal melody, but oh man I hate the main portion of that song. I'm sorry, but I just cannot see the appeal of a generic adult contemporary melody singing hackish lyrics about WWII and the atomic bomb. I just can't buy the idea that singing about a "serious" topic makes a song with such a weak musical skeleton better; to me, it can only make it worse. The ending orchestration definitely only makes things worse.
Switching gears, I have to say that, after many, many listens, I still have trouble finding much to praise in "Grand Designs," "Middletown Dreams" or "Emotion Detector." Ok, "Grand Designs" has a really intricate arrangement of interlocking synths and guitars, and one mildly ok hook, but I can barely keep my attention focused on it when I'm listening to the song, so retaining much more from it once it's done is a nearly impossible task. "Emotion Detector" has a decent up-tempo chorus, and "Middletown Dreams" has some passion in its more "heavenly" moments, but that's largely all I retain from these two tracks. The sound is still cool, but the hooks are largely absent, and that strongly matters to me.
The other four tracks, though, are freaking amazing, and because they've impressed me more and more over the years, I've boosted the album's rating a good deal above where it was. The opener, "The Big Money," demonstrates all of the album's strengths in ample form (with amusing lyrics to boot). I mean, you have the amazing opening barrage of riff-interplay from the guitars, drums and synths; you have a fun vocal melody; you have a great mid-song jam, with all of Lifeson's skills on display. I know some who consider it one of Rush's cheeziest singles, and they may be right, but it's still extremely entertaining. As is the first-half closer, "Marathon," a rousing anthemic pop song with a nice vocal melody and a chorus that may be based in cheezy 80's pop but is still extremely well-written (and so much fun to sing along with). The synths are way too quintessentially mid-80's, and the lyrics are a bit silly, but I find the song great despite these two small flaws.
The second half starts off with "Territories," a track that sounded impressive the first couple of times I heard it, then became less so (once I realized how similar the main guitar line was to guitar lines in the title track of King Crimson's Discipline album), then became more interesting as I realized it had other cool aspects as well. The lyrics are a decent jab at the concept of nationalism, and the way the music alternates between the "hypnotic" main guitar line and more aggressive parts is quite impressive. It's a little overlong at 6+ minutes, but it's a nice song. It pales in comparison, though, to the concluding track, "Mystic Rhythms," which I simply adore and so should you. It's extremely different from anything the band would ever try again in their career, but there are just so many great things about this song - that simple yet catchy "African" beat throughout, the "mystical" lyrics, the FANTASTIC chorus (with terrific guitar and synth interplay) ... I mean, I don't even mind the lengthy fadeout! As far as mid-80's Rush goes, music does not get much better than this.
After all is said and done, if you're really desperate for mid-80's-style Rush, you'd be much better off getting Signals. But if you've consumed that album as much as possible, then this should be the next stop. At the very least, I can say this - for what's largely a generic mid-80's album, this sure has a unique sound, and that's enough for me.

With the band's eleventh studio album we have entered their nondescript phase proper. I don't mean that in a particularly negative sense, its just that from here on every album can be broken down into good songs, quite good songs (a few rubbish songs) and with not much else to say. With total running times of ~50 minutes and track times of ~5 minutes Rush might even seem a bit generic if it wasn't for the variations in style between albums and the legacy they had already established. I am a huge fan of the band and enjoy (most of) these album very much, but it does seem a bit strange that even after so many listens there is so little I am able to highlight as being particularly good or bad.
The Good: The Big Money, Manhattan Project and Territories
The Bad: Nothing much.
The Verdict: B+

I am not that keen on the middle era Rush. The era starting with the excellent Permanent Waves, but then tailing off after that with some albums. Power Windows is probably their least great album from this period.
Opening with one of their heaviest songs ever; Big Money, the album developes into a 1980s pastisj where not much survives the test of time to be honest. This album sounds a bit dated although the songs are good. The synths are also pretty overpowering on this album too and I can understand why Alex complained about being pretty unemployed throughout.
This is an album the casual listener safely can bypass. I have been listening to this album on a regular basis for the last two decades and I value it though. I am also fond of the songs here. But a great album ? Nope. It is good though.
3 stars

Essentially, if you've heard Signals and Grace Under Pressure, you've heard all the tricks the band have to offer here - it's yet another synth-heavy version of Rush's music with a focus on shorter songs, except this time the songs all tend to blend in together and become interchangeable and there's a sense of self-plagiarism about the affair. (Heck, Middletown Dreams is even - lyrically speaking - a rehash of Signals' Subdivisions). Not Rush's best, not by a long way; this album marks the point where the band's golden era was well and truly over.


After 10 glorious studio albums, 5 of which were revered as masterpieces, Rush produce this and the 80s swallow them whole and they spit out an album that really is not great. I love Rush but have to take stock when they produce this type of non-prog radio friendly matter. There is too much mediocrity and forgettable material on this album that mars an otherwise great experience.
Well, I guess I better focus on the highlights. It certainly begins well with the great rocking 'The Big Money' which has a fantastic melody and there is Lee slappin' de bass. Lifeson is terrific on lead guitar and Peart keeps a consistent tempo that drives it along. The presence of synths is overpowering but it works well enough. The production on the album is treble turned to the max and sounds a bit gutless in the bass department. It is 80s to the max and as a result thins out the heaviness replacing it with crystalline clean textures which is not a good thing for Rush. A bit of dirty guitar would not have harmed the sound but all is restrained and Lee hardly troubles his distortion pedal.
'Marathon' is a wonderful song with an exceptional melody and I love this most of all I think on this album. the lead break is killer and if only they would stick to this formula. I mean we all love hearing Lifeson blaze away on his guitar, don't we? The synths are dominant but here it works beautifully. The chorus is one of the all time great Rush melodies. It has a majestic sound and I can never tire of that uplifting tune. Thank heavens for songs like these which save this album from a very low rating.
'Territories' is another one I have rarely heard but it has a cool drum beat and ethereal synths. It sounds unique on the album, as the music is played differently using subtle variations of instrumental style. Lee sounds very good on vocals. Lifeson's guitars are pitchier and he plays more aggressively especially on the riff leading to the second section. The melody is well executed and overall I really like the song, though is not well known.
Now for the songs that are not so good, and there are too many of them for my comfort. 'Grand Designs' is downright filler material, dull and drenched in synthesizers. There are loud chimes of guitar and it all seems so happy and upbeat and as a result annoying. The Partridge Family were never this happy. 'Manhattan Project' is a forgettable song but at least it rocks, the treble is so thin it hurts my ears though. Man, where is the bass sound, guys? Lee's vocals are overdone and really I would rarely return to this mediocrity.
Rush's overuse of synthesizers on songs like 'Middletown Dreams' and 'Emotion Detector' have not dated well though I am sure in the 80s it blew everyone's socks off. No? Oh well. 'Middletown Dreams' is so crystal clean, sudsy and streamlined you can clean the bathtub with it. The sound screams 80s and the synths are just overpowering throughout. It is little wonder why they don't bother to play this song live anymore, they would clear the building. In all fairness Rush are a product of their time back in the 80s and it is easy to criticise but I only wish they had taken it easy on the radio friendly synth pop. Heck, even Ultravox were darker and heavier than this.
'Emotion Detector' continues in the same vein, synths to the wall and crystal clean pitchiness to blow your ear muffs off. The jangly guitar is relentless but at least the synths are not so demanding. The sound is crisp and happy but at this point I could have done with a distorted blast or a blistering riff, and none are forthcoming; the band are not interested, as they are now sons of the 80s and damn the critics and die hard fans.
'Mystic Rhythms' saves the day with a great closer, not to the standard of the opening tracks but still very good. The electronic percussion makes me take notice of Peart who has been in the background. The melody is better here, the synths are in the background, except for those interminable trumpet blasts. This still has a great feel overall especially the chorus.
"Power Windows" is not the worst Rush album but like "Hold Your Fire", "Roll The Bones" and "Presto" it is among them. Thankfully the 80s would soon be over and Rush would come out the other side with a heavier sound that made them so great in the 70s. 4 decent tracks so it deserves at least 3 stars but of course you would be better off getting hold of any of the previous 10 albums if you want to hear Rush at their absolute best.

Unfortunately the band is no longer prog (and it's questionable if they're even rock) on this album. Instead, they have taken up more of a pop sound, filled with the synth they started to fool with heavily since Signals. Some of the melodies are great, but realistically the album is so saturated in the dreadful 80's sound that it drains much of the enjoyment I should have received from the album.
Track-wise, there is nothing that really stands out, except maybe 'Big Money.' There are some Rush moments throughout, but they are often brief and do little to save the song. Unfortunately, this is where my heavy interest in Rush mainly ceases, with perhaps the exception of Counterparts and to a lesser extent Presto and Snakes and Arrows. I won't give this album a one star as I think they have other albums that deserve that score more than this does, but it pains me to see the decline of the band in a progressive sense.
3/10

The feel and the sound of this album are superb, one of the best mixed albums from this period in Rush's history. Sure, it has that digital coldness to it but I believe that is part of the intent of this album. Songs like Marathon with its cold bridge or Mystic Rhythms with those astounding melodies would sound out of place mixed into a warmer sounding album like Signals.
No, this is Rush at one of their many creative peaks, it is after this album that I consider their songwriting to have changed into a slightly different direction and doesn't always sit well with me. But here on Power Windows everything just works, the sound of it all, the drums, the bass, the guitar, the keys and the bass pedals (put to good use on this album!). The quality of songs are pretty much consistent across the board, though to this day I still have minor issues with Territories and Emotion Detector, I just still can't enjoy them on the same level as the rest of the album, they are far from terrible, I just think they are a little more dense than the other tracks and are harder to get into. Or maybe it's just me.
Favourite song: Mystic Rhythms or Marathon Least Favourite Song: Emotion Detector
Overall: 4/5
Should be part of everyone's Rush collection without a doubt!

In their defense I should point out that the field of electronic keyboard technology and innovations in the mid-80s was erupting like a musical Mount Vesuvius, putting an almost infinitesimal variety of fantastic sounds at the fingertips of anyone who wanted to (and could afford to) explore that colorful realm. Evidently Rush's bassist/vocalist Geddy Lee was their Ponce De Leon in that area and the other two members gave him enough rope to hang himself. Whereas Geddy's tasteful and inventive foray into the world of synthesizers made 84's "Grace Under Pressure" a well-crafted album that tactfully melded their traditional sound with a more modern, "New Wave" approach to prog rock sensibilities, his unrestrained obsession with them turned "Power Windows" into a classic case of excessive audio enhancement. The band's decision to turn the producing reins over to the eager-but-still-green-behind-the-gills Peter Collins didn't help to curb Lee's addiction to synthetics, either. I'm not saying it's a bad record, just a slight misstep on their long, successful road that continues to this day.
Rush does the right thing by opening the disc with their strongest offering, "The Big Money," wherein they charge right from the gate with Alex Lifeson's huge power chords exploding through the speakers. The immediate presence of Geddy's heavy synth embellishments indicates that the trio was completely committed (for better or worse) to his vision of integrating a multitude of keyboards into their progressive art. This song in particular makes me think of where The Police would have ventured if they'd "gone prog" at some juncture. Due in no small part to Neil Peart's drumming there's certainly no lack of intensity, especially during Alex's guitar lead in the middle section. Next is "Grand Designs." On this cut the production is extremely bright and clean but not at the expense of the lower frequencies, displaying that the group had wisely learned the experiential lessons of how to make the recording studio work to their benefit. The tune's glossy synths and deep reverberations are cool but the songwriting involved is somewhat average. Speaking of depth, "Manhattan Project" has it in fathoms. Lifeson's precision is remarkable in erecting an un-ignorable wall of guitars to back up Lee's impassioned vocal while Neil, as usual, provides the necessary high-octane fuel.
The following track "Marathon," is where I began to suspect that the synths were intent on taking over. While they stop short of making the number's overall ambience appear timidly saccharine or trite (mostly because of their reliable and edgy bass, drum and guitar foundation that bolsters the vital dynamics that sets them apart from the herd) their unnecessary dominance is unnerving at times. I admire that Rush stays true to their prog roots, though, by continuing to utilize odd time signatures and unorthodox riffs and also by tacking on a grandiose soundscape at the end that satisfies the insatiable symphonic prog monster dwelling in so many of us. "Territories" doesn't fare as well. The tune comes off as a strange mixture of late model Genesis and ever-so-briefly-hip Duran Duran pop. I find the way the synths rudely intrude into the number's personality a bit garish and startling at times, setting the track on an uneven keel from start to finish. "Middletown Dreams" begins with another blast from Alex's 6-string arsenal, leading to more Police-inspired rhythmic patterns. (Being a fan of that influential band, I don't mind much at all.) Further kudos to Lifeson for employing an array of different guitar effects to keep the tunes from sounding identical yet the deficiencies in the composing keep surfacing the farther one travels through the album. In essence, melodies manufactured to fit into jam-induced arrangements don't always translate to "memorable."
"Emotion Detector" is next and it's at this point I finally have to agree with so many of their critics (and die-hard fans, for that matter) in announcing that Geddy's synthesizers had become obstructive, overemphasized to the degree that they cloud the view. This is where an experienced producer would've insisted on injecting some modicum of restraint into the proceedings but perhaps Peter Collins was exhorting Lee to take it to the limit, thus compounding the problem exponentially. Despite its shortcomings, however, this cut features the best of Alex's guitar rides found on the record. On "Mystic Rhythms" Peart's booming toms grabbed my aural attention from the get-go and I hoped that the band would take me out on a high note. Alas, though I kept yearning for something spectacular and thrilling to occur, nothing does and I was left with a feeling of still being slightly hungry.
One major flaw in "Power Windows" is that Neil's always entertaining drums are consistently positioned down in the mix and that in itself is inexcusable. Bringing them up to their rightful volume could've cured a lot of ills. But, having said that, I don't want to give the impression that I find this collection of prog tunes to be un-listenable. On the contrary, in light of what else was being released in the autumn of 1985, this record was downright exemplary in comparison. The prog waters were running pretty shallow in that era and Rush at least had the guts to follow their envelope-pushing muse wherever she led. The album reached #10 on the LP charts and kept them afloat so there's a lot to be said for that alone. It is what it is. 2.8 stars.


I figured this is as good as any to do my first review on, being my personal favorite album of one of my most highly coveted bands of all time. Power Windows is in my opinion the most melodic and lyrically complex Rush album out there. The music is rich and very layered which might seem to make it a bit tough to get every texture/riff/effect/etc. processed at the same time, but it most certainly makes you want to listen to it again to find what you missed. Part of my undying love for this album might be the really intense personal connection I have with it, but nevertheless, it is a monster of an album, and not "pop" by any means. Rush, to me, was one of the very few (and I mean VERY few) bands that carried on into the '80s that kept creating music as good (or in my opinion better) as the output they had in the '70s.
I view Power Windows as a concept album, albeit a more undefined one, with all of the songs revolving around the central idea of power, hence the title. Geddy does not sacrifice his bass playing for the keyboards one bit on this album, and songs like "The Big Money" have some of the craziest bass lines I've ever heard in any Rush song. The prominence of the keyboards, which can get on people's nerves is one of the greatest things about the album, with all of the thick textures and sounds that really stick out and get in your face. The guitar work on this album is also stunning, and although it might be in lesser amounts than in previous albums, it adds a huge melodic and lovely effect to the music (Mystic Rhythms especially) that is absolutely stunning. This album is certainly a shift from previous Rush efforts, but to me it's the highlight of the other '80s albums that Rush had. (Every other album they released in the '80s is stunning IMO, but this one stands out.
Lets (finally) move to the tracks. The album starts with "The Big Money", which is full of new synth effects and crazy bass lines never before heard in Rush's catalogue of music. While not my favorite track on the album, it holds its ground beautifully and is a great opener for things to come.
Grand Designs starts off with a huge synth opening that quickly evolves into the main bulk of the song. Another wonderful track. One of my favorites on the album.
Manhattan Project easily competes for my favorite song on the album. It is dark, airy, and has an eerie feeling, but lets room for the lyrics, which to me is probably the most important part of the song, to shine. The foreboding sound of the bomber plane flying over head is quite a wonderful way to start the song, and it's wonderful live with the string section (Clockwork Angels tour 2012!)
Marathon is a monster track with another busy baseline. (I'm a bassist so I tend to care about these things quite a bit :D) This is another really powerful track, especially during the huge climax/crescendo at the end where we here Geddy go into the VERY high vocal range for the last time on a studio recording. This is another huge track that is easily one of my favorites. (But almost all of them are!)
Territories was my first big introduction to Power Windows, and made me realize I didn't hate the album like I thought I did. This one pretty much opened the door for '80s Rush (past Moving Pictures) for me and opened my eyes to how great it was! Some more great lyrics in this song, and (I have to say it) SICK bass line. This was my favorite track on the album for a very long time, and still is up there.
Middletown Dreams was the last song I bought off of Power Windows, after I just assumed it was an attempt to "remake perfection" (Subdivisions). Shocked as I was, I was completely and horribly wrong, as this is one of those melodically melancholically beautiful tracks that gives you the chills, especially when the keyboard line comes in before the lines "A middle-aged madonna..." It adds a depressingly beautiful energy to the song that makes it really powerful and unforgettable. Easily one of my all-time favorite Rush songs.
Emotion Detector might just be my least favorite song on Power Windows. Don't get me wrong, it's a hell of a track, it just doesn't really give the "power" that I think the other tracks give. Maybe I'm just being to harsh on it, but it's just not one of the songs that makes the album so near perfection. Although the guitar solo is arguably one of my favorites from Lifeson out of all of Rush's extensive catalogue of music.
Last but most certainly not least, Mystic Rhythms. Easily the most powerful and melodic track on the album, there is really no better way to end such an amazing album with a song like this. You have to appreciate the song for the beauty it has, and it's really just one of those songs that you just need to put the headphones on, sit back, close your eyes, and absorb. From the first hit of the drum to the final fading glory of the song, it is easily my favorite (I say that reluctantly, with 7 other songs all worthy of this title) track on the album.
And I guess that concludes this monstrous review. I can understand how you may not appreciate this album because of the "lack of guitars" or "emphasis on keyboards" or it's "retroness", but give it a shot, then listen to it again, because this album is better with age. Oh and before I forget, I was more than excited when I saw all of the PW songs in the Clockwork Angels tour! With the orchestra=perfection.
From an F to an A++ rating, this album scores in at near perfection with an A++.


Power Windows is the last album by peak-era Rush. Sorry if that's hard for their many fans to swallow but it's true. The initial glorious run of albums that were both kickass and interesting, largely start to finish, ended here. Some would argue it ended much earlier but I'll give them the benefit of the doubt. Nevertheless, despite such proclamations this is still a very decent album that entertains with relative ease. Some have called this album part 2 of Grace and there is some truth to that. They have their similarities although Grace is a more focused and intense, while Power Windows ever-so-slightly loosens the pit bull grip to the neck. I used to prefer Grace by far, these days I appreciate Power Windows more.
The album begins with a Rush "classic" in Big Money....one of those songs I remember exactly where I was when I first heard it. My friend and I had purchased the new cassette and tore the cellophane off, running for his car stereo to hear the new Rush! We though this track was promising, only to proclaim most of the rest of the album garbage. We wanted to like the new Rush and Yes albums but we were 70s throwbacks trapped in the 80s even at our young age. We were immersed in total self-hatred of our decade which in retrospect doesn't look so bad. The 80s had its moments, from D Boon to D Byrne. Today Big Money still presents the band in a good light with a spirited mélange of tastes and textures in a largely rocking meal. In several tracks Geddy's bass playing is just phenomenal and Alex quite inventive. He can still rip off a nice solo too, check out Marathon!
The rest of the album maintains a consistent appeal after all this time. I enjoy the melodies and catchy choruses along with the period sound, the big synths and echoey guitars don't bother me at all. I lament the lyrical changes Neil is going through, as we move from poetic science-fiction and literature/philosophical themes to the stylishly whiny bleeding-heart lyricist of Manhattan Project, Territories, and Middletown Dreams. But otherwise there is a sense of fun here within the music that was missing in the two previous albums, even though they may have been stronger on the whole. There's a bit more variety than Grace and more flair than Signals. There is a hard to describe haunting melancholy along with hope, dressed in a sound that is stylish and ambitious.
These three albums form the 80s Rush in my mind, they capture the band in the final throes of their peak. Starting with the next album the band began to sound increasingly formulaic despite proclamations of constant change and the eventual, nearly constant siren song of the "return to form." There has never been a return to form because that is no more possible than McCartney returning to White Album, or the Stones to Exile. That isn't to say there wouldn't be more worthwhile albums, I simply maintain this one was the end of their most vital period. Ignore the terrible reviews that cry crocodile tears about synth overload--this is good stuff.

This is one of those very typical eighties albums which also has all the "ingredients" that I mentioned above. Other albums that have the "eighties formula" from more or less the same period are: ELO`s "Balance of Power"; ASIA`s "Astra"; GTR`s album; YES`s "Big Generator"; GENESIS`s "Invisible Touch"; A-HA`s "Hunting High and Low"; PETER CETERA`S "Solitude / Solitaire"... The list is very big, in fact. It was like there was not really a diving line between musical genres. Many producers used the same "production formula" during those years, even in the Pop and Rock music from the Spanish language countries (I can mention one Pop album in that language which sounds very similar in the use of that "production formula": the debut album from a female singing trio called FLANS, very far from my musical tastes, but I recognize that the album, which was recorded in Europe, has an excellent very typical eighties production).
Another thing in those years was that many bands and soloists still recorded an album each year. So, they worked harder than many bands and soloists do in the present days to record an album per year and also dedicated a lot of time to touring. So, sometimes it was inevitable that they repeated some musical ideas which they used in previous songs in new songs for new albums. This happens in this album from RUSH. I can listen to some ideas being repeated like a tired formula from previous albums like "Grace Under Pressure" and "Signals", like the heavy isolated guitar chords and some keyboard sounds and arrangements and the use of some electronic drum parts. But the main difference between those albums and this "Power Windows" album is the even more heavy use of keyboards and reverberation, even in a saturated way, and the songs tend to sound more influenced by Pop Rock music than by Prog Rock music. So, the heavy reverberation, in my opinion, is the main feature of this album. Also, the album as a whole sounds very processed by many technological means, sounding musically "cold" like many albums from that period. In my opinion, RUSH sounds a bit tired in this album, trying to join the eighties fashion in musical style and sound. There is only one song that I really liked from this album, and it is called "Emotion Detector". So... sorry, but this is not an album which I would like to listen to again.

On my way back from seeing a friend in Dallas I had a 3 hour lay over in Houston. While waiting for my flight I thought about what I would consider to be my favorite Rush album (and yes I do think about stuff like that sometimes). Eventually I came to the conclusion that it was Power Windows. From a progressive viewpoint this album is nothing special, it doesn't have any 20- minute long epics like previous albums from the band, it's not very exploratory, the lyrics aren't very complex, the themes are fairly simple. If I look at this album in terms of what it did for Prog and how it deepened the genre, I would have to give it a 2 out of 5 stars. But this album for me really is a 5 out of 5 stars. There is not a song I do not like on this album, from The Big Money to Mystic Rhythms. This album is great not because it was a definitive prog album, it's great because every song on it is solid. The best part about this album is its lyrical simplicity. It doesn't take you on a complex adventure, rather it gives you short and simple ideas. However these simple ideas are powerful. Neil Peart's goal was to give the listener a general idea of his opinion and then allow listeners to make their own opinions about the topic. Musically the album is fantastic (how could it not be? It's Rush). Unless you absolutely hate the synth, which if you do I'm not sure if prog is for you anyways, you can respect this album. I went with the 3 star rating because I decided to average my ratings I made earlier. I went closer to 2 starts because I see this website as a hub for finding iconic progressive music, and since this is a poor progressive effort, it needs to be a little lower.
If you're looking for a great prog album, with complex themes, and lyrics this album is not for you.
If you're looking for an album with simple, understandable, yet powerful lyrics, as well as great musicianship, I highly recommend this album.

As soon as "The Big Money" makes its grand statement with a blast of synthesizer chords and Alex Lifeson's mix between chords and rapid-fire lines on the guitar front, you can already tell you're in for something both bold and oddly distant. Power Windows is a pretty bizarre album because, while many of its lyrical themes are personal and social, and the guitar work has a tone that cuts through the production to reach the listener on a more personal level, the synthesizers end up pulling you away at the same time. Songs like the electronic drum-oriented ballad "Mystic Rhythms" and the dreamlike tune "Manhattan Project" have a bizarrely expansive and cold quality that, strangely enough, inspires more intrigue and warrants repeated listens just to catch every little nuance of this experimentation. However, Rush do make plenty of room for both more progressive and poppy arrangements to offset these darker moments. "The Big Money" is incredibly fun (despite its message of greed) because of how bubbly and fast-paced the instrumental work proves to be once the grand opener. The same can also be said of my personal favorite tune on here, "Marathon," which combines fantastic instrumental work in the verses (primarily that wonderful bass line from Lee) with a wonderfully inspiring chorus that features Geddy Lee at his best vocally. And of course, there's that great message about getting through the marathon known as life, and how tough the run can be.
Unfortunately, just like with Grace Under Pressure, many Rush fans will likely be turned off by this incarnation of the group. Even for these ears, the synthesizer experimentation gets pretty old after a while. Once at the 6th or 7th song, one might just wish for a break from the ridiculously frequent keyboard use and instead go for some more guitar-oriented Rush music. Granted, there are a few songs that break the pace a bit in this regard, like the more hard rock-oriented tune "Territories" or even a good chunk of "Marathon," but some may wish for more of Lifeson's guitar playing. However, the bright side is that he does have a larger presence here than he did on Signals, which almost cut him out entirely. Regardless, if you're in the mood to check out some of Rush's oddest material and you feel adventurous, Power Windows is a nice bet. It takes Grace Under Pressure's dark, cold sound and expands upon it with more synthesizers and overall experimentation. It's multifaceted, sparse, dark, and high in replay value. It's worth playing multiple times just to, once again, hear something you didn't catch the first time around. Just don't expect it to immediately be one of your favorite Rush albums... go in with the right mindset and you'll be all good.
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mrintel
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Guran7004 (Lars-Göran Rosén)
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kqwiet
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Xonty
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RadioactiveToy
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progkotsaklas (Kotsos Kotsou)
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Tempel
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Hisoka
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Renzo Sánchez (Renzo Sánchez Gambetta)
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nod1975
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Jabez7
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thoughtships (Nick Lee)
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Minty
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ZBDMiller
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relayer74
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AndAhls
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Mjolner
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Rui__
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latimeria_chalumnae
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vivifiant
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rakaufmann
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Razors Edge
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glasswhale
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Jester70
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Klingonian
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dragonspirit
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Roy_Batty
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CouldntThinkOfAUsern
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Der Brazilian Kat
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prisonerno6
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sinchan
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Tony R (Tony) SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
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mneil1968 (Neil Anderson)
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yggdrasil72 (Paolo Lo Iacono)
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Gongo
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dr wu23 (Doug)
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rrkk
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Mellomoog
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JHAP
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generator69
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Nick Cooper
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THX1138
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crimsogenes
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muaddib878
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eddiejobson
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gramon
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evolver1
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bas
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Leafblade490
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occido
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dragonflight
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negipan
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CharlesPL
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gaui
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remus (Kris Vogel)
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ed14 (ILDAR)
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Snowbound1997
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progressive_98 (Benjamín Veas)
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cfergmusic1 (Charlie Ferguson)
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Le_Nostalgique (Le Nostalgique)
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mateustargino (Mateus Targino)
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isle (Lars Vinther-Larsen)
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dukeofmar
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ster
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ClockTower (James)
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asturias
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Philoufk
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Kingsnake (ACCOUNT DELETED)
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khonepius
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ttt_progmaster
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Andre the Aeropagite (Andre Machado)
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plam1967 (marc plamondon)
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CJBroetto (Clayton Juliano Silva Broet)
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karolcia (Piotr Lachowicz)
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NickArvas (Nikhil R Vasisht)
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Ionme (Ioakimidis Ioakim)
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Phipz-97 (Philip Wagner)
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AnimalsofMariabronn (Scot Robinson)
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USchl (Uwe Schleicher)
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svartpelz (Stian Rosvoll)
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Regis00 (Reko Latvanen)
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masked (Pablo Riofrio)
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Steve Wyzard (Steve Wyzard)
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dickmusic (Jaakko Soimakallio)
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jacobaeus (Alberto Nucci)
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UncleRust (Melvin)
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dyyigor1958 (Igor)
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Spitf1r3
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Mirsset
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ponkine (Eduardo Rojas Morales)
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patkin (patrick)
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fifek (Rafal Bigda)
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Maggese (Kürşat)
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psgnw (Pat Garret)
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Pekka (Pekka Turunen)
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MrPoisson (Hiram Silva)
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graysnk2 (Grayson Kohary)
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RockMan1961 (Andrzej Maslowski)
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judahbenkenobi (Judah-Ben Morales)
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Alberto Varela (Alberto Varela Hermida)
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TechnicolorMan
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justaguy
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revskypilot
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AZirk (Alex Zirkelbach)
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steelyhead
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j2clark2
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Progulous (Nonem Jones)
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J.Andrew (Andre Guerreiro)
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