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RUSH

Heavy Prog • Canada


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Rush biography
Formed in Toronto, Canada in 1968

RUSH are a pioneering line-up of Seventies Progressive rock, who influenced many Prog, hard-rock and heavy metal bands. This Canadian band is composed of bassist, singer and keyboard player Geddy LEE, guitarist Alex LIFESON and renowned drummer Neil PEART. In 1974 John RUTSEY was replaced by Peart who also assumed the role of the band's primary songwriter. Acclaimed for their instrumental virtuosity, their lyrics and longevity, throughout their 40+ year career they've proved to be the masters of their respective instruments while creating challenging yet popular music. They have the record for the third most consecutive gold or platinum albums for a band on the US album chart behind The Beatles and The Rolling Stones.

Now, a brief summary of the band's career ...
Through the history of RUSH, they have passed through many distinct phases. Every one of these phases represents a triumph in music, allowing the band to move on. As at the end of all of RUSH's phases, a live LP was released. This tradition began with "All The World's A Stage", recorded live at Massey Hall in Toronto, Canada. Since then, the group has released three additional live albums: the best selling "Exit... Stage Left" (1981), "A Show of Hands" (1989), and the three-disc set "Different Stages" (1998), which encompasses three decades of the group's music.

FIRST PHASE (1974-1976):
In the beginning, they started off as hard rock blues outfit with John-boy before he left and Neil came in, bringing his sci-fi mind into the works. The music seems to be a transition between straight-ahead rock tunes and more complex progressive tracks. "Caress of Steel" is a landmark album in the history of RUSH. Lyrically and musically, "2112" was a masterpiece. This multi-platinum release remains one of RUSH's best-selling albums.

SECOND PHASE (1977-1981):
They moved headlong into progressive rock in the later part of the decade, starting with the album previous and right on to their massive breakthrough, 1981's "Moving Pictures". Synthesizers were now employed by the band, played in the studio and on stage by Geddy. This was the end of transition from long epic pieces to shorter, more concise, and intricate songs. "Permanent Waves" is widely considered to be second only to "Moving Pictures" as RUSH's finest achievement.

THIRD PHASE (198...
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RUSH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

RUSH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.94 | 1142 ratings
Rush
1974
3.37 | 1279 ratings
Fly by Night
1975
3.54 | 1336 ratings
Caress of Steel
1975
4.11 | 2203 ratings
2112
1976
4.33 | 2341 ratings
A Farewell to Kings
1977
4.38 | 2536 ratings
Hemispheres
1978
4.28 | 2167 ratings
Permanent Waves
1980
4.39 | 2976 ratings
Moving Pictures
1981
3.95 | 1391 ratings
Signals
1982
3.70 | 1202 ratings
Grace Under Pressure
1984
3.54 | 1058 ratings
Power Windows
1985
3.26 | 959 ratings
Hold Your Fire
1987
3.17 | 881 ratings
Presto
1989
3.09 | 901 ratings
Roll the Bones
1991
3.75 | 964 ratings
Counterparts
1993
2.86 | 875 ratings
Test for Echo
1996
3.42 | 888 ratings
Vapor Trails
2002
3.57 | 1003 ratings
Snakes & Arrows
2007
3.95 | 1127 ratings
Clockwork Angels
2012

RUSH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.85 | 479 ratings
All The World's A Stage
1976
4.05 | 604 ratings
Exit... Stage Left
1981
3.51 | 434 ratings
A Show Of Hands
1989
4.34 | 402 ratings
Different Stages - Live
1998
3.84 | 365 ratings
Rush - In Rio
2003
4.24 | 214 ratings
R30 - 30th Anniversary World Tour
2005
3.62 | 234 ratings
Snakes & Arrows Live
2008
3.94 | 186 ratings
Grace Under Pressure 1984 Tour
2009
3.56 | 70 ratings
ABC 1974
2011
3.43 | 171 ratings
Time Machine 2011: Live in Cleveland
2011
3.40 | 71 ratings
Moving Pictures: Live 2011
2011
3.99 | 104 ratings
Clockwork Angels Tour
2013
3.94 | 22 ratings
Kiel Auditorium, St. Louis, Missouri - 14 February 1980
2015
4.35 | 51 ratings
R40 Live
2015

RUSH Videos (DVD, Blu-ray, VHS etc)

4.00 | 142 ratings
Exit... Stage Left (VHS)
1981
3.41 | 40 ratings
Through The Camera Eye
1984
4.00 | 112 ratings
Grace Under Pressure Tour (DVD)
1985
3.98 | 121 ratings
A Show of Hands
1989
3.04 | 88 ratings
Chronicles
1990
4.35 | 286 ratings
Rush in Rio
2003
4.42 | 271 ratings
R30 - 30th Anniversary World Tour
2005
4.08 | 141 ratings
Replay x 3
2006
4.13 | 152 ratings
Snakes & Arrows Live
2008
2.82 | 46 ratings
Working Men
2009
4.68 | 291 ratings
Beyond the Lighted Stage
2010
4.19 | 82 ratings
Classic Albums: 2112 - Moving Pictures
2010
3.93 | 108 ratings
Time Machine 2011: Live in Cleveland
2011
3.94 | 68 ratings
Clockwork Angels Tour
2013
4.85 | 11 ratings
R 40 (DVD Box Set)
2014
4.43 | 55 ratings
R40 Live
2015
4.39 | 23 ratings
Time Stand Still
2016

RUSH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.43 | 60 ratings
Archives
1978
2.74 | 25 ratings
Through Time
1978
3.00 | 2 ratings
Anthology
1984
3.58 | 112 ratings
Chronicles
1991
3.35 | 77 ratings
Retrospective I (1974-1980)
1997
3.19 | 74 ratings
Retrospective II (1981-1987)
1997
3.22 | 81 ratings
The Spirit Of Radio (Greatest Hits 1974-1987)
2003
3.13 | 57 ratings
Gold
2006
2.92 | 54 ratings
Retrospective III 1989 - 2008
2009
2.80 | 44 ratings
Working Men
2009
1.95 | 30 ratings
Time Stand Still: The Collection
2010
2.33 | 29 ratings
Icon
2010
4.19 | 42 ratings
Sector 1
2011
4.56 | 46 ratings
Sector 2
2011
4.55 | 45 ratings
Sector 3
2011
4.86 | 7 ratings
Moving Pictures 30TH Anniversary Deluxe Edition
2011
3.29 | 7 ratings
Icon 2
2011
4.25 | 32 ratings
The Studio Albums 1989-2007
2013
3.53 | 21 ratings
2112 40th Anniversary edition
2016
4.21 | 14 ratings
A Farewell To Kings (40th Anniversary)
2017
5.00 | 1 ratings
Permanent Waves (40th Anniversary Edition)
2020

RUSH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.01 | 39 ratings
Not Fade Away
1973
2.84 | 29 ratings
Finding My Way
1974
2.88 | 8 ratings
In The Mood
1974
5.00 | 3 ratings
Bastille Day
1975
3.12 | 31 ratings
Fly by Night
1975
3.12 | 31 ratings
The Twilight Zone
1976
3.62 | 38 ratings
2112: Overture/The Temples of Syrinx
1976
3.72 | 39 ratings
Closer to The Heart
1977
2.31 | 21 ratings
Everything Your Listeners Wanted To Hear By Rush... But Were Afraid To Play
1977
3.56 | 15 ratings
The Trees
1978
4.15 | 51 ratings
The Spirit of Radio
1980
2.89 | 45 ratings
Entre Nous
1980
3.98 | 56 ratings
Tom Sawyer
1981
4.25 | 12 ratings
Tom Sawyer / A Passage To Bangkok / Red Barchetta
1981
4.00 | 11 ratings
Vital Signs / Passage To Bangkok / Circumstances / In The Mood
1981
4.23 | 12 ratings
Subdivisions
1982
3.90 | 10 ratings
Countdown
1982
3.15 | 39 ratings
New World Man
1982
3.75 | 8 ratings
The Body Electric
1984
3.59 | 37 ratings
Distant Early Warning
1984
4.00 | 3 ratings
Afterimage
1984
3.12 | 39 ratings
The Big Money
1986
4.00 | 7 ratings
Prime Mover
1987
4.57 | 7 ratings
Closer To The Heart
1989
4.10 | 10 ratings
The Pass
1989
2.84 | 19 ratings
Ghost of a chance
1992
4.00 | 6 ratings
Roll The Bones
1992
1.89 | 20 ratings
The Story Of Kings
1992
3.05 | 25 ratings
Stick It Out
1993
3.33 | 27 ratings
One Little Victory
2002
2.85 | 207 ratings
Feedback
2004
3.80 | 5 ratings
Summertime Blues
2004
3.53 | 41 ratings
Far Cry
2007
4.10 | 134 ratings
Caravan / BU2B
2010
3.59 | 78 ratings
Headlong Flight
2012
4.67 | 9 ratings
The Garden
2013
3.00 | 3 ratings
7 and 7 is
2014
4.40 | 5 ratings
Roll The Bones
2015

RUSH Reviews


Showing last 10 reviews only
 Chronicles by RUSH album cover Boxset/Compilation, 1991
3.58 | 112 ratings

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Chronicles
Rush Heavy Prog

Review by sensedatum

4 stars This one is a very good compilation album from Rush. It is perfect for people who wants to listen to Rush for the first time, since it spans their entire career up to that point. It features songs from every album of Rush in the 1974-1991 period, including the live releases (16 albums in total). The songs are arranged chronologically, so you can sense their music evolution. They have chosen two songs per album, except for the live ones, and the recently released presto, wich features only one song each. And from 2112 there is an abridged version of the 2112 suit. Note that this are not the remastered versions of the songs (since the rush remasters were not done yet), but the sound is very good. Keep in mind that a remaster not always sounds better than thenoriginal realese. To complement this compilation I would add a few more songs from albums released after 1991: "animate" and "leave that thing alone" from COUNTERPARTS (1993) and "test for echoes" and "resist" from TEST FOR ECHOES (1996). That would be a perfect collection indeed. [R1]
 Power Windows by RUSH album cover Studio Album, 1985
3.54 | 1058 ratings

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Power Windows
Rush Heavy Prog

Review by prog_traveller!!

4 stars Released in 1985, in full sinth pop explosion, 'Power Windows' is one of the most talked about albums in the Rush discography: despised by many, for the excessive concessions to the plasticized sound of the time, appreciated by others, who have grasped the continuity of the 'album compared to the works started with' Signals', without altering the attitudes of the group, receptive to all kinds of contemporary music. It must be said that the album is very distant from the works that made Rush famous and loved in the prog rock field in the second half of the 70s, although this does not mean that PW represents the qualitative nadir of the Toronto trio. Perhaps the best way to approach the album is to ... ignore that it is a work of Rush, trying to grasp its intrinsic qualities regardless of the labels and expectations that each work of the group generates in those who have heard their masterpieces of the 70's. Let's try to do it now.

The Big Money, placed at the opening of the album, benefits from a granite guitar riff, whose echoes form the basis of the song: on them stands the voice of Geddy Lee, less explosive than in previous years and albums, evolved in a very similar way to that of Jon Anderson of Yes; the keyboards play a not secondary role in the pace of the piece, adorning it with sounds that would not have displeased the Peter Gabriel of those years. The subsequent Grand Design, introduced by the synthesizers, is characterized by a quieter course, and by the excellent rhythmic texture of Lifeson and Peart: the refrain is very refined, which tries to move away from easy harmonic solutions. Manhattan Project, with references to the atomic and post-atomic nightmare, emphasizes the pop vocation of the album more, but does so with a very particular class and composure, not trivial especially in the central part of the piece, in which keyboards and guitar echo the iterations of the classic Rush sound.

The emotional peak of the album is represented by Marathon, with a particularly deep and introspective text: from a purely musical point of view, it is a symphonic rock, with orchestral interventions, with a strong melodic grip. The following Territories raises the technical level of the work: the piece is not immediate and re-proposes, updating it, the prog rock of the first Rush, albeit in a different context and with different instruments, with a splendid conclusion left to the bass and keyboards of Geddy Lee . Middletown Dreams returns to stand out for the lyrics of Peart, although weighed down by an excessive intervention of the synthesizers that steal excessive space from the other instruments, without adding particular creativity to the song. Emotion Detector is probably the closest to pop piece created by Rush during their thirty-year career: just compare the verse / chorus alternation, the ease of the melody and the decorative intervention of the synthesizer.

The conclusion of the album is entrusted, instead, to a true masterpiece, both in the text and in the music, such as Mystic Rythms: a moving song that tries to explain (and succeed) the mystery of music, from its primordial beats to the electronic elaborations of the years '80, gem of the Rush repertoire of the period. A summary judgment on the work appears, compared to what has been observed, rather difficult: if it is true that all the songs are of an excellent technical / compositional level, we note with some regret the involution of the group's sound, especially in the parts of guitar and drums, and an excessive respect for the song form, already revealed, indeed, in the previous albums.

It must also be said that this album grows with ratings: after a first listen it deserved a 2 star rating, after many years I gave it 4 stars, pretending to ignore the wonders of the '70s .

 Hemispheres by RUSH album cover Studio Album, 1978
4.38 | 2536 ratings

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Hemispheres
Rush Heavy Prog

Review by MaxnEmmy

5 stars This is the best RUSH album of the 70's and beyond. This is Rush trying to be rush and succeeding beyond all expectations. They were in a progressive mood when they went into the studio and came out with this product. It's a real story more than an album. It's Neal Peart trying his best to produce something that is meaningful and deep. He was heavily involved in science fiction and Ayn Rand and wanted to meld the art of freedom with different time signatures and themes which made sense in a story setting. This may be the best album released in 1978. That depends on what one thinks music should be. If you think music is background motifs, you will not like this album. If you believe in God and think freedom is the most important thing on earth, you will love it.
 Clockwork Angels by RUSH album cover Studio Album, 2012
3.95 | 1127 ratings

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Clockwork Angels
Rush Heavy Prog

Review by prog_traveller!!

4 stars "Clockwork Angels". This is the fascinating and mysterious name of the last full-length of the Canadian prog trio Rush after 5 years of waiting since the last release. Steampunk setting concept, tells the story of a boy who embarks on a journey, physical but above all interior, between exotic places and golden cities, coming into contact with strange characters, pirates, anarchists and above all the figure of a watchmaker who will remind him provided that his time is limited. Already from the cover the disc seems to invite us to enter this apparently distant world, the red sky and in front of a clock with mysterious symbols; the hands point to 21:12. We insert the CD into the player and we are immediately dragged into this strange universe by the opener, Caravan, whose initial atmosphere makes us travel with the mind before the powerful irruption of Lifeson's guitar. An excellent song on the edge of Hard Rock, perfect for opening the dance; then we find BU2B which is enriched with an acoustic intro accompanied by the soft voice of Geddy Lee before the explosion of practically heavy instruments.

Such a harsh sound hadn't been heard for a long time in the discography of the three. Angelic choirs introduce Clockwork Angels, third track; the atmosphere created by instruments and voice is magical, hypnotic, evocative, especially with the text in front. It needs some listening as it is less direct than the others but it is really particular and well done, perhaps my favorite; the tranquility created by the title track is immediately broken by Neil Peart's drums who introduce the energetic The Anarchist, with a beautiful oriental solo. What is immediately striking about this album are, in my opinion, the sounds; modern but at the same time ancient, as if instead of buying the record we had found it by chance, putting it in order in the attic. The record continues with Carnies, introduced by a rather distorted guitar; Neil's work is exceptional. I could go on and on quoting all the songs, but it would be useless. Better to listen to them directly, from the ballad Halo Effect rich in acoustic parts, to The Wreckers with a melodic refrain and a beautiful text, to the very successful Seven Cities Of Gold where Mr. Lee's bass is king. Particular attention deserves Headlong Flight, the album's first revealed song: in this song Geddy's extraordinary ability on bass and above all the ability of the three to perfectly blend technique, creativity and beauty emerge more than ever. The disc ends with The Garden, the garden where each of us finds himself and his memories, his dreams, what makes us what we are, while in the meantime time passes ... Piano to accompany the voice and a masterful solo by Alex, a guitarist who is always too underestimated but capable of giving great personality to his compositions without unnecessary technicalities. Pure emotion.

Thus ends "Clockwork Angels", an ambitious, particular album that needs a lot of listening to be thoroughly savored; definitely an album, for better or for worse, different from previous releases like Rush have always accustomed us to. There really is everything that sets them apart: bass lines worthy of a Steve Harris on steroids, Peart's drumming square and always suitable for the context, Lifeson's guitar to season it all; and above all the class, which the three have to sell. If we think that this is their 20th studio album, hats off to this trio of infinite creativity ...

 Snakes & Arrows by RUSH album cover Studio Album, 2007
3.57 | 1003 ratings

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Snakes & Arrows
Rush Heavy Prog

Review by prog_traveller!!

4 stars There are very few bands that after over 30 years of career are able to churn out an album so innovative and fresh with new ideas and that does not smell of already heard. And among these few could certainly not miss the Rush! One wonders how this is possible!

The three Canadians have always been gifted with a particular genius that makes sure that every album of theirs is not a photocopy of their past. But 30 years is a long time and being able to still be so lucid after so many years is not for everyone. Too many bands going forward in their careers have lost creativity, thus falling into banality and repetitiveness making their fans lose credibility about their future. The Rush, on the other hand, no! Probably they have never been satisfied with doing what they have done and they always wanted more! A band that has never believed in the impossibility of matching the glorious past and has fully honored this belief! While maintaining the belief that they have written masterpieces destined to remain milestones of their repertoire, they have never supported the belief that these masterpieces are unparalleled and have always believed in the possibility of writing others, perhaps not necessarily at those levels but always able to leave the sign! If for the fans of many bands with a glorious past the news of a new album coming out does not give hope for a masterpiece or something that sounds fairly new but simply an album that is "at least good and listenable" for Rush fans instead no ... The hope of finding themselves in front of a new masterpiece is still there, maybe it is not always satisfied but at least it is there!

This is the impression you get after listening to "Snakes And Arrows" 18th studio album by the Canadian rock band. After a surprisingly energetic record like "Vapor Trails" they took 5 years off to reflect and retrieve ideas on how to set up the next abum so that it would be fresh enough instead of returning immediately the following year with a vague and dull record because it was produced hastily . It was really worth it "Snakes And Arrows" really does not show at all a band of over 50s with 33 years of career behind them that has come to decline due to mental fatigue ... indeed it shows a rejuvenated band made of stainless minds still able to give surprises. In terms of sonority, the album offers a mix between hard rock and progressive rock that had so much made Rush's fortune in the second half of the 70s but colored with new ideas that do not make the album a déjà vu. For example, we find, for example, reminiscent rock-blues, folk-rock influences and in the lyrics and music the more intimate and reflective side of the band emerges more than ever. Note the emphasis given to the acoustic guitar, never so protagonist. The variety of instruments used also makes the album interesting: in addition to acoustic, electric and 12-string guitars we find mandola, mandolin and bouzouki. Once again the keyboards are left aside (except for some slight insertions in "The Main Monkey Business" and "Faithless") but their lack is not felt heavily, given the decent work of the various instruments. And the recording quality is a spectacular thing! Never a sound so clear and clean, devoid of any impurities.

Looking at the tracks we find immediate songs such as the powerful opener "Far Cry" and "Spindrift", more reflective and dreamy among which "Faithless" and "Bravest Face" certainly stand out, songs with a strong acoustic connotation such as "Armor And Sword", "The Larger Bowl" and the bluesy "The Way The Wind Blows". Fantastic then the instrumental trio including an ethnic and oriental style "The Main Monkey Business", the reflective folk- oriented acoustic "Hope" and the harder "Malignant Narcissism" with an impeccable rhythm section where Geddy Lee makes his bass almost a weapon. destructive!

But all the traces, even those not mentioned, are very valid and never random. This is one of the most valid releases of the year 2007 and moreover made by a group that after many years shows no signs of fatigue, which is worth double.

 Exit... Stage Left by RUSH album cover Live, 1981
4.05 | 604 ratings

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Exit... Stage Left
Rush Heavy Prog

Review by prog_traveller!!

5 stars With "Exit? Stage Left" the three Canadian geniuses known as Rush produce what I believe is their most fascinating live. The tracklist is quite complete, and includes works from "Fly By Night" (1975), "2112" (1976), "A Farewell To Kings" (1977), "Hemispheres" (1978), "Permanent Waves" (1980 ) and "Moving Pictures" (1981), in my opinion their best albums. It starts immediately strong with the hit "The Spirit Of Radio". Here the mix of blues, catchy choruses and the mastery of musical technique to which the masters have accustomed us gives life to truly engaging atmospheres, even more than those created in the studio recording.

After the wonderful "Red Barchetta", the third song is the legendary "Yyz", instrumental that has become a must for the trio. The intro of bells starts from nothing and the crowd rejoices: then it's all a succession of back and forth that ends up falling into the void ... but then His Majesty Neil Peart enters the scene with one of his phenomenal solos: to be amazed . As if nothing had happened, he immediately hangs up with the song, and again the crowd explodes. In this interpretation of "Yyz" lies all the greatness of Rush: knowing how to involve the public, perfectly blending different styles together. And listening certainly says much more than any word. After five other great songs, "Broon's Bane", "The Trees", "Xanadu", "Freewill" and "Tom Sawyer", the ending is what everyone wanted: "La Villa Strangiato", performed flawlessly and, indeed, even better than the studio version. Lifeson's initial intro is longer and more powerful and the solo of the same in the middle of the song is something indescribable in words: a very emotional crescendo, to be listened to with your eyes closed, freeing your mind, letting yourself be flooded by the pure ecstasy that it provides. And then the jazz-bluesy part masterfully interpreted, the syncopated cuts and the dry finish, which leaves the listener astonished, but truly satisfied.

In short, a truly complete, fun, engaging and well played live, with all the volumes in place: a great performance by a group that will never cease to amaze us in terms of technique, innovation and originality. I get chills every time I feel it. This is what progressive should bring, in my opinion: real chills down the spine.

 Time Stand Still: The Collection by RUSH album cover Boxset/Compilation, 2010
1.95 | 30 ratings

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Time Stand Still: The Collection
Rush Heavy Prog

Review by arriving

3 stars This compilation seemingly serves two purposes: (1) to "mildly exasperate" [replace with stronger language as appropriate] established fans and completionists hoping for something more than a cheap collection of thirteen more radio-friendly familiars and (2) as a cut-price entry point to low-income newbies who've heard the name but don't want to invest in anything more substantial. The spread of ratings on this collection presumably reflects the relative priorities of the listeners, and which of the two "purposes" is more relevant to them. While it's UTTERLY SUPERFLUOUS to the established fan, except as a re-ordering of some classics, the material it offers is not suddenly corrupted by its target audience. More to the point, nobody comes into this life an established fan.

Now, I confess I'm slightly biased: I picked this up in HMV for three or four quid aged 13 or so, having been lent "Moving Pictures" by a friend for a week and being sufficiently impressed (although my 4/4-regimented brain became quickly confused) as to wonder what else this band might have released. And it's after buying this that my interest was properly piqued (although "MP" is still my favourite by a mile). Alongside some early-era classics ("Fly by Night", "By-Tor" etc.) and obligatory 'hits' (all relative in the prog world, of course? "Spirit", "Sawyer", "Limelight"), we get what probably constitutes the best of Rush's slightly maligned '80s output (although, unfortunately, not "Subdivisions"), the brilliant 'title track', "Grace Under Pressure", "Big Money" and the like. I have to confess that, to my ear, hitherto unaccustomed to outright prog and satiated on the occasionally arty MOR of my parents, this latter category had particular appeal, although with time my interest has migrated "backwards", as it were - although I still maintain Rush offered more mature lyrics and less riffy (an adjective I almost always use pejoratively) songs in their 80s period.

Song for song, this is obviously a great album. It's perfectly fair to say that five randomly chosen songs from this CD would almost certainly beat the five songs on 2112's second half, for example. I'd go further and say that I'd rather listen to this right now than 2112 (which is, to be honest, overrated and silly). As a cohesive entity overall, though? the cover art looks dramatic if unimaginative, we have some general liner notes (good background but nothing Wikipedia can't offer) and not much else, the track ordering isn't particularly inspired, the selection far from perfect, even as a commercially-oriented release?but, then again, for the naïve and impecunious uninitiated, I can't think of many better ways of spending three pounds (or was it four?). I admit I don't share the general prog distrust of compilation albums, particularly for bands who don't make concept albums, but plurality of opinion is always useful.

That being said, if you want to get a prog-newbie into Rush, you'd probably be better off lending them Moving Pictures?

 2112 by RUSH album cover Studio Album, 1976
4.11 | 2203 ratings

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2112
Rush Heavy Prog

Review by AFlowerKingCrimson

4 stars This was originally written several years ago by myself under a user name I used before my current one. I made only a few minor changes for this review here.

This is the album that kept Rush alive as professional musicians and gave them a larger audience. It didn't quite give them mainstream success (that would happen soon enough though and probably with "Permanent waves") but it is the album that saved their career and is possibly one of the biggest cult albums of all time.

This might not be the best place for someone totally new to Rush to start with (for that I would say either "permanent waves" or "moving pictures") but it's not bad either and if you are a moderate fan or even sort of like Rush you should definitely hear the is album. It will make you a believer.

The vinyl version consists of the 2112 suite on side one and five shorter songs on side two. The cd plays consistently with no bonus tracks in the same order. The 2112 suite consists of 7 separate sections that make up the entire piece(and side). Overture starts with an eerie synthesizer played by Hugh Syme that soon kicks into high gear for an instrumental hard rock tour de force of a track. At the end Geddy Lee sings "and the meek shal inherit the earth" which suddenly segues into another monster guitar riff that starts off "the temple of syrinx." "Discovery" starts with the sounds of water and a mellow electric guitar telling the story of the protaganist and his battle with the priests who don't understand his discovery. The rest of the sections on the 2112 suite seem to alternate between mellow parts and heavier moments often with melodies that are repeated from earlier sections. The 2112 title track ends with a distorted voice with the words "attention all planets of the solar federation" repeated a few times. The voice concludes with the line "we have assumed control" which is repeated a few times. This adds to the eeriness and somewhat dark nature of the track and is one of the most intense and goosebump inducing moments in rock that I have heard.

Side two starts with "A passage to bangkok" which is a mid tempo rocker about touring areas that specialize in a certain natural substance that many musicians know all too well. This was a good track to start off side two. "Twilight Zone" is the band's tribute to the old black and white fantasy tv series narrated by Rod Serling. The next track "lessons" starts off with strumming acoustic guitar before kicking into high gear. A decent enough track but probably the weakest on the album. "Tears" is the most mellow track on the album and probably the closest so far the band has come to having a traditional symphonic sound due mainly to the use of mellotron(played by Hugh Syme). "Something for Nothing" is the final track on the album and is the hardest hitting and most powerful on side two. Lyrically it tells us to not take our lives for granted and that we need to be in control of our own destiny. This song sums up the frame of mind the members must have been to the extent that 2112 was a make or break album for the band and they needed to take control like the mysterious voice that ends side one.

The side long title suite on side one is worthy of five stars. The second side is good but not mind blowing like the first side so three stars. So, therefore I give it an over all rating of four stars. An obvious choice for anyone wanting to further explore Rush after hearing their radio songs or "moving pictures" and or "permanent waves."

 Grace Under Pressure by RUSH album cover Studio Album, 1984
3.70 | 1202 ratings

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Grace Under Pressure
Rush Heavy Prog

Review by prog_traveller!!

4 stars Let's face it right away. Rush is a band that has never had any kind of creative limit or boundary artistically. The band moved with extreme simplicity from the hard rock of the beginnings, mindful of the lesson given by Led Zeppelin, to the hard prog of the phase ranging from 2112 to Permanent Waves, to the contamination with the English New Wave of the 80s up to heavy rock of the latest albums. Artistic inconsistency one would think, yet it is simply immense creativity, too much to be confined to a single genre. Yes, because if it is true that they have practically changed genre from album to album, they all have one thing in common: the very high quality level. "Grace Under Pressure", the 1984 album hits the target fully, resulting in yet another and indisputable proof of the band's talent. A handful of captivating songs, sophisticated melodies and a sublime rhythm section.

The task of opening the dance is left to "Distan Early Warning", a wonderful and enthralling prog rock with excellent melodies. The sound is crystal clear, no heavy distortions, yet the song manages to unleash a truly remarkable power. The second song, "Afterimage", one of the most touching songs in the entire Rush discography, written in memory of a friend of the band and dealing in general with the loss of a loved one, is dominated by dark and oppressive keyboards, alternating with the piercing riffs of Lifeson. With Between The Wheels the group still demonstrates a great mastery in the use of synths, creating disturbing but engaging melodies, combined with a masterful work of the guitar, which in the end gives us a magnificent solo. The Body Electric, whose text talks about an automaton that, having become aware of its nature, lives in the desperation of being forever forced to behave as it has been programmed, it is a slow song, whose rhythm is broken and interspersed with sudden changes of rhythm, insertions of keyboards or the pungent sound of the bass, recreates the image of a machine at work. Pleasant, but definitely inferior to the others, are The Enemy Within, Kid Gloves and Red Lenses; the first is a piece with notable reggae influences, based on a very simple and linear structure; the second flows smoothly on melodies that, although well orchestrated, lack incisiveness and are a little anonymous, while with Red Lenses the quality returns to levels a little higher, thanks to a pleasant and cadenced rhythm, in which they are put first the skills of Lee and Peart in building excellent variations.

The album seems well thought-out from start to finish, and it also manages to convey a joy of playing. Top-class compositions like "Between The Wheels", "Red Sector A" or "The Enemy Within" (the first part of the "Fear" trilogy) simply have to be in every CD cabinet. The fact that the rest of the song material from "Grace Under Pressure" is in no way inferior is just a side note here. If you are looking for a multi-faceted, catchy but nevertheless very interesting RUSH album, you shouldn't be wrong with this CD.

 Signals by RUSH album cover Studio Album, 1982
3.95 | 1391 ratings

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Signals
Rush Heavy Prog

Review by prog_traveller!!

4 stars Drawing from the vast discography of Rush, this Signals is a very marked departure from its predecessor "Moving Pictures" who had done the same. The first era of Rush is now over, sealed by the fantastic live "Exit... Stage Left". On Signals we do not find the long and complex suites that have always been the hard core of the Canadian trio, but all songs with an average length (the longest, The Weapon arrives at 6:23 minutes), synonymous that Rush have now decided to lend their great skills and their extraordinary feeling to the song-form, certainly not diminishing the quality to which their fans had accustomed them. The sound has also become much more dilated and velvety also due to the much more present keyboard sound carpets than before. It goes without saying that the performance of the three is absolutely superior to the norm: Geddy and Alex appear much more focused on the atmosphere than before, Neil, still the author of fantastic lyrics, finds a less "nervous" condition behind his instrument than in the past. He is once again the author of the entire lyric side of the album with the sole exception of "Chemistry" in which everyone participates. This ninth studio album in the Rush discography will also be the latest produced by Terry Brown, who had tied his name to the band's production since their debut "Rush".

Immediately with "Suvbdivisions" we already have a half idea of what this album has in store for us; a piece that we could define as "keyboard-oriented" because of its massive keyboards and a slightly obscured Lifeson. On the other hand, "The Analog Kid" is more guitar but with the keyboards always present. Another song with keyboards in great shape is "Chemestry" even if Lifeson does not betray with some good guitar laps. In "Digital Man", on the other hand, much more space for Lifeson and Lee's excellent bass lines even if the synths still don't give up. "The Weapon": the rhythm almost winks at the disco-music of those years and the electronic experiments really reach their peak thanks to riffs that barely touch techno. Faster and more sparkling the "The New World Man" with Lifeson who, while taking advantage of electronic bases, can finally give vent to his charge. Melancholic and perhaps a little sad "Losing It" with synth turns able to move the most emotional eyes and precious touches of violin and a good solo of Lifeson. The experimental "Countdown" with a rather spatial intro and beautiful turns with synths is also pleasant.

Great Rush album indeed!

Thanks to Tony R for the artist addition. and to Quinino for the last updates

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