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RUSH

Heavy Prog • Canada


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Rush biography
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 (1982-1989):
RUSH embraced the 1980s sound...
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21122112
Remastered
Island / Mercury 1997
Audio CD$1.50
$0.01 (used)
The Spirit Of Radio: Greatest Hits 1974-1987The Spirit Of Radio: Greatest Hits 1974-1987
Remastered
Mercury 2003
Audio CD$4.38
$2.79 (used)
Moving PicturesMoving Pictures
Remastered
Mercury 1997
Audio CD$2.88
$0.48 (used)
Clockwork AngelsClockwork Angels
Roadrunner Records 2012
Audio CD$8.98
$3.68 (used)
A Farewell to KingsA Farewell to Kings
Remastered
Mercury 1997
Audio CD$1.85
$1.84 (used)
Vapor Trails (Remixed)Vapor Trails (Remixed)
Rhino 2013
Audio CD$4.55
$4.62 (used)
HemispheresHemispheres
Remastered
Island / Mercury 1997
Audio CD$1.84
$0.96 (used)
The Studio Albums 1989-2007The Studio Albums 1989-2007
Rhino Records 2013
Audio CD$26.06
$24.07 (used)
RushRush
Remastered
Island / Mercury 1997
Audio CD$1.33
$0.85 (used)
Permanent WavesPermanent Waves
Remastered
Mercury 1997
Audio CD$1.46
$1.45 (used)
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RUSH shows & tickets


RUSH has no upcoming shows, according to LAST.FM syndicated events and shows feed

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)

2.86 | 766 ratings
Rush
1974
3.32 | 837 ratings
Fly By Night
1975
3.53 | 911 ratings
Caress of Steel
1975
4.09 | 1479 ratings
2112
1976
4.35 | 1520 ratings
A Farewell To Kings
1977
4.38 | 1642 ratings
Hemispheres
1978
4.30 | 1407 ratings
Permanent Waves
1980
4.41 | 1944 ratings
Moving Pictures
1981
3.95 | 948 ratings
Signals
1982
3.69 | 825 ratings
Grace Under Pressure
1984
3.52 | 721 ratings
Power Windows
1985
3.28 | 660 ratings
Hold Your Fire
1987
3.15 | 605 ratings
Presto
1989
3.06 | 619 ratings
Roll The Bones
1991
3.78 | 674 ratings
Counterparts
1993
2.85 | 612 ratings
Test For Echo
1996
3.45 | 638 ratings
Vapor Trails
2002
3.60 | 715 ratings
Snakes & Arrows
2007
3.94 | 778 ratings
Clockwork Angels
2012

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

3.85 | 337 ratings
All The World's A Stage
1976
4.03 | 422 ratings
Exit... Stage Left
1981
3.46 | 303 ratings
A Show Of Hands
1989
4.37 | 297 ratings
Different Stages - Live
1998
3.79 | 265 ratings
Rush - In Rio
2003
4.20 | 138 ratings
R30 - 30th Anniversary World Tour
2005
3.57 | 175 ratings
Snakes & Arrows Live
2008
4.01 | 133 ratings
Grace Under Pressure 1984 Tour
2009
3.56 | 45 ratings
ABC 1974
2011
3.30 | 104 ratings
Time Machine 2011: Live in Cleveland
2011
3.29 | 41 ratings
Moving Pictures: Live 2011
2011
4.29 | 37 ratings
Clockwork Angels Tour
2013

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

3.94 | 104 ratings
Exit... Stage Left (VHS)
1981
3.34 | 33 ratings
Through The Camera Eye
1984
3.98 | 96 ratings
Grace Under Pressure Tour (DVD)
1985
4.02 | 90 ratings
A Show of Hands
1989
2.92 | 61 ratings
Chronicles
1990
4.34 | 221 ratings
Rush in Rio
2003
4.41 | 226 ratings
R30 - 30th Anniversary World Tour
2005
4.04 | 123 ratings
Replay x 3
2006
4.12 | 131 ratings
Snakes & Arrows Live
2008
2.67 | 35 ratings
Working Men
2009
4.66 | 231 ratings
Beyond the Lighted Stage
2010
4.19 | 64 ratings
Classic Albums: 2112 - Moving Pictures
2010
3.81 | 74 ratings
Time Machine 2011: Live in Cleveland
2011
3.85 | 27 ratings
Clockwork Angels Tour
2013

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

3.44 | 53 ratings
Archives
1978
2.72 | 24 ratings
Through Time
1978
3.59 | 85 ratings
Chronicles
1991
3.28 | 59 ratings
Retrospective I (1974-1980)
1997
3.15 | 56 ratings
Retrospective II (1981-1987)
1997
3.11 | 70 ratings
The Spirit Of Radio (Greatest Hits 1974-1987)
2003
3.07 | 46 ratings
Gold
2006
2.80 | 42 ratings
Retrospective III 1989 - 2008
2009
2.76 | 36 ratings
Working Men
2009
1.83 | 24 ratings
Time Stand Still: The Collection
2010
2.35 | 25 ratings
Icon
2010
4.26 | 35 ratings
Sector 1
2011
4.60 | 38 ratings
Sector 2
2011
4.64 | 39 ratings
Sector 3
2011
2.00 | 1 ratings
Icon 2
2011
4.13 | 21 ratings
The Studio Albums 1989-2007
2013

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

2.00 | 34 ratings
Not Fade Away
1973
2.78 | 22 ratings
Finding My Way
1974
1.15 | 4 ratings
In The Mood
1974
2.82 | 21 ratings
Fly by Night
1975
3.00 | 24 ratings
The Twilight Zone
1976
3.44 | 29 ratings
2112: Overture/The Temples of Syrinx
1976
3.55 | 28 ratings
Closer to The Heart
1977
2.26 | 18 ratings
Everything Your Listeners Wanted To Hear By Rush... But Were Afraid To Play
1977
4.04 | 40 ratings
The Spirit of Radio
1980
2.72 | 38 ratings
Entre Nous
1980
3.91 | 45 ratings
Tom Sawyer
1981
4.20 | 5 ratings
Tom Sawyer / A Passage To Bangkok / Red Barchetta
1981
3.33 | 3 ratings
Vital Signs / Passage To Bangkok / Circumstances / In The Mood
1981
3.11 | 33 ratings
New World Man
1982
3.44 | 29 ratings
Distant Early Warning
1984
2.99 | 32 ratings
The Big Money
1986
1.86 | 18 ratings
The Story Of Kings
1992
2.71 | 15 ratings
Ghost of a chance
1992
2.95 | 20 ratings
Stick It Out
1993
3.35 | 24 ratings
One Little Victory
2002
2.81 | 170 ratings
Feedback
2004
3.44 | 34 ratings
Far Cry
2007
4.08 | 123 ratings
Caravan / BU2B
2010
3.57 | 70 ratings
Headlong Flight
2012
0.00 | 0 ratings
7 and 7 is
2014

RUSH Reviews


Showing last 10 reviews only
 2112 by RUSH album cover Studio Album, 1976
4.09 | 1479 ratings

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2112
Rush Heavy Prog

Review by franklogan1956

5 stars The album that started it off for me on my prog adventure!

Everything about this record just screams 'listen to me!' ? for me it's always return to this album following all the keyboard-driven prog from other bands and listen to some guitar-driven prog greatness!

The focus of the album is the 2112 suite which is just full of boundless energy and can be listened to on loop on a long car journey without ever growing sick of it!

I suppose you always like your 'first' album from the band the most as you return to it with nostalgic fondness - but i really think this is where rush set the 'benchmark'.

Do yourself a favour and rush out (har har!) and listen to this one again ? a trip into the past via a trip to the future!

F x

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 Caress of Steel by RUSH album cover Studio Album, 1975
3.53 | 911 ratings

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Caress of Steel
Rush Heavy Prog

Review by k3no444

4 stars "Caress of Steel" is known as the album that nearly killed Rush. With problems such as production issues, style changes, and a promotional roller coaster, Rush heard much criticism during this time, which is still felt by listeners today. When discussing this album with others in the past, all I heard were negative remarks, which I quickly bought into. Basically skipping over this album, I would always listen from "Fly By Night," then to "2112." After some time, I decided to give this album a second chance, which I am glad I did.

Like "Meddle" is to "Dark Side of the Moon," Rush could not have released "2112" without releasing "Caress of Steel" first. The opening track is a continuation of their bluesy old selves, influenced by bands like Led Zeppelin. The wild shriek of Geddy Lee, powerful drums of Neil Peart, and guitar doodling of Alex Lifeson are prominent in this song, and is easily the song that most fans relate to off this album. Following this song are two other shorter songs "I Think I'm Going Bald" and "Lakeside Park," which I feel are also influenced by their two previous albums, but are less significant. As great as the first three tracks are, what I love the most about this album are the final two tracks, containing their most controversial songs "The Necromancer" and "The Fountain of Lamneth."

So many considered the drastic shift in musical style from the first half of the album to the second to be detrimental to the band, and the reason why Rush almost fell apart. The first half is traditional Rush, a mix of blues, punk, classic rock, and even hints of classic metal. The second half, on the other hand, was considered entirely revolutionary during this time, and to some ahead of its time. Taking on a more progressive, psychedelic, and experimental approach, these two songs totaling over 30 minutes in length sound like a mixture of early Genesis, early Yes, and King Crimson. Known for biting off more than they can chew, Rush attempted the next "Close to the Edge," using prolonged chord progressions, odd time signatures, and improvisation. Overall, I felt like Rush in their youth made an excellent attempt at progressive rock after taking this shot in the dark.

While both songs' lyrics may be hard to understand and are challenging to the listener in multiple ways, one can appreciate the musical knowledge behind the band. I love to listen to the chord progression and time signature changes in both "The Necromancer" and "The Fountain of Lamneth," traits that are still lacking in some of the most popular and most knowledgeable of rock bands. Being based on two separate concepts or stories, I love the use of each instrument in helping tell the story. The slower sections reminds me of journeying across the land, while the harder and faster sections help me picture a battle scene, or an intense action sequence. Lee's vocals are moving, especially in the beginning and end of "The Fountain of Lamneth," which help the listener to understand the feelings behind the characters in each song. While to some these songs may be considered excessive, to hear these attributes coming out of kids from Canada is absolutely astounding. With the time and effort put into these songs, it is absolutely necessary for the length of the second half of the album to take over part of your day.

Although "Caress of Steel" may not be considered the best progressive rock album of all time, it definitely is looked upon as an influence to modern progressive rock and metal bands today. The use of instruments in telling the concept, the musical knowledge, the unique vocals, the bluesy guitar, and unbelievable drum work are reasons for listening to this album. I highly recommend giving this album another listen.

Easily a 4 star rating.

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 Clockwork Angels by RUSH album cover Studio Album, 2012
3.94 | 778 ratings

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Clockwork Angels
Rush Heavy Prog

Review by Stalvern

5 stars

Unbelievable. At 60 years old (more or less), these guys not only put out an album that doesn't suck (which precious few 60-year-olds can boast), but actually stands up to the best of their classic material (which precious few Rush albums after Moving Pictures can boast). I got Clockwork Angels when it was first released two years ago, and it's lost none of its power since then - if anything, it's only gotten better with time.

Vapor Trails played a bit too directly to "current" (2002) trends after the band's six-year hiatus (there's a reason that it got included in the Need for Speed soundtrack!), and the band sounded conspicuously old on Snakes & Arrows (not a bad album at all, but way too slow and preachy for a band like this), but here, both Rush and their music are practically ageless. This whole album is loud, heavy, and ass-kicking in a way that used to be limited to one or two songs per record - imagine if Moving Pictures had sounded like "Tom Sawyer" all the way through and you'll have an idea of the approach here. Beyond that, Neil Peart has moved back from the topical lyrics of the last few albums and the more abstract subjects of the ones before to good old dorky science-fiction and fantasy... thankfully tempered this time with a healthy autobiographical slant. What would have been a fantastical concept album for its own sake in the '70s is used as a metaphorical and somewhat abstracted chronicle and exploration of Peart's own life and thoughts, and it comes off as personal and sincere, rather than self-important.

The style would be nothing, though, if the songs themselves weren't worthwhile. But they absolutely are! Rush, as a band, have always been plagued by inconsistency - damn near every album has, if not an actively bad song like "Rivendell" or "The Body Electric", at least a few really boring ones (does ANYONE like "Madrigal"?) - but the songs in Clockwork Angels are at worst decently engaging and at best excellent. (I'm not counting the tiny "BU2B" reprise there, but it at least has good lyrics and gets the hell out of the way once it makes its point.) "Caravan" is a butt-ugly (in a cool "Tom Sawyer" way), lumbering behemoth that sets the stage well; "BU2B" picks up the pace and rocks hard with some fantastic vocal melodies; "Clockwork Angels" is towering and grand without losing a bit of energy; "The Anarchist" and "Carnies" are a bit less distinctive but still loud, fun, and memorable; "Halo Effect" provides a nice change of pace with its slower, acoustic feel; "Seven Cities of Gold" treks along on a truly monstrous bass riff (not line, RIFF) from Geddy Lee; "The Wreckers" is speedy, beautiful, and dark; "Headlong Flight", the album's big centerpiece, is an absolute beast and the most overtly prog Rush song since... hell, probably since "Natural Science"; "Wish Them Well" is kinda weak and sing-songy compared to the rest, but still on the fair side of fair-to-middling, especially with its kickass bridge; "The Garden" wraps everything up in a grand, curtain-closing finale, with one of Alex Lifeson's most beautiful guitar solos EVER and a lovely comedown section at the end - EVERYTHING on this album is a keeper. Sorry if it was tiresome to run through every single song, but I really wanted to make it clear - there's no filler on this thing at all (some people might call "BU2B2" filler, but what exactly does one minute "fill" on an hour-long album?), and "Wish Them Well" is the only song that even approaches being a skipper. For any band, that's pretty good. For a band at Rush's age, it's downright impressive. For a band at Rush's age, with Rush's spotty track record, it's a goddamn miracle.

Of course, as great as it is, it isn't a perfect album. It has some expectedly goofy moments (the "steampunk carnival" intro to "Carnies", the villain's "chilled-out" interjection before the jam section of "Headlong Flight"), a couple of underdeveloped ideas (the repetitive chorus to "Caravan" and the relatively thin-sounding bridge to "Carnies" could have used a bit more fleshing out), and not nearly enough '70s prog twists and turns in the songwriting and structures for a concept album about steamliners and airships, but in the face of everything it does right - which is absolutely everything else - it's hard to complain. Lee, Lifeson, and Peart are all at what has to be a peak of their instrumental performance, with the rhythm players pounding away complex-but-powerful bass and drum work and Lifeson shredding out some of the best riffs and solos of his career, and Lee's voice might actually benefit here from its slide into a lower register; the shrieky '70s Lee never had this kind of force to his singing, and even his mitigated upper range is still safely out of my reach. Far from being softened by old age, Rush have honed their craft to absolute masterhood, and they employ it with consummate wisdom. I hope that they have another album left in them, but if not, this would be one hell of a swan song.

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 Power Windows by RUSH album cover Studio Album, 1985
3.52 | 721 ratings

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Power Windows
Rush Heavy Prog

Review by Meegan

3 stars Don't get me wrong this album is incredible but not from a progressive standpoint

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.

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 Grace Under Pressure by RUSH album cover Studio Album, 1984
3.69 | 825 ratings

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Grace Under Pressure
Rush Heavy Prog

Review by MJAben

1 stars A synth-washed nightmare, this is not the Rush I grew up with and loved. The music is light and tame, and overridden with synth, the guitar and drums take a step back and the bass is near gone. The is an 80's pop album, more than it is classic Rush, which is fine, I understand that this is an album of the times, but the times were a dark time for prog and even the prog that did exist were largely synth-overloaded, pop-imitating or both (as is the case with this album).

Perhaps I'm not being fair with this coming criticism but I've always felt that the weakest aspect of Rush was without any doubt Geddy Lee's vocals, he worked in the Power-Trio bombastic music of the past but he is NOT a pop singer (certainly not a good one).

I wouldn't recommend this album to anybody, if you are a fan of 80's style Rush then pick up Signals and Counterparts and ignore the rest (I would even recommend Power Windows over this calculatedly safe and banal album).

Only for Rush collectors or fans of 80's Pop, neither of which I am

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 Fly by Night by RUSH album cover Singles/EPs/Fan Club/Promo, 1975
2.82 | 21 ratings

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Fly by Night
Rush Heavy Prog

Review by Unitron

2 stars Rush-Fly By Night----The Single

This was the only Fly by Night single released; surprisingly. I would think that the song 'Anthem' would of made a much better single, with how it's proto-metal style would appeal to a wider audience in my opinion. Unfortunately, this single picked two of the weaker songs from the album.

1. Fly by Night-----This is the song from Fly by Night that gets played on the radio all the time. I understand why this song was released as a single, but that doesn't mean I like it. It's a really boring song that doesn't go anywhere, and that's pretty unfortunate for a title track. It is catchy, I can give it that, but I don't really find much enjoyment from this song. (4.5/10)

2. Best I Can-----If this is the best they can, I would hate to hear what the worst they can is. Corny jokes aside, this isn't a terrible song at all, just filler that doesn't go anywhere like the title track. Now again, I understand why they picked this song as a single, it's catchy and easily enjoyable for mainstream radio I suppose. I can pretty much tell that Rush was not easily fooled into scoring radio hits, seeing as when their recording company asked them to make shorter songs after the masterpiece 'Caress of Steel' they basically gave them the middle finger and made '2112'. Back to the actual song, it's okay. It has some decent lyrics and melodies, but it's another song that doesn't go anywhere. (4.5/10)

Overall, it may have been a good single choice, seeing as it scored Rush a classic rock staple, these song are still a couple of the weaker tracks from Fly by Night. Maybe it's just because I'm not a huge fan of the album in the first place, but Anthem is one of the best hard rock tracks I've ever heard so why not 'Anthem'? Not a bad choice like 'In the Mood' but not as good as 'Finding My Way'

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 Feedback by RUSH album cover Singles/EPs/Fan Club/Promo, 2004
2.81 | 170 ratings

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Feedback
Rush Heavy Prog

Review by Guillermo
Prog Reviewer

3 stars An EP recorded and released in 2004 just to celebrate the 30th Anniversary of the relase of their first album in 1974, doing covers of songs that they liked and bands that influenced them. It sounds well. They sound like having a lot of fun recording these songs. I was a bit surprised that the band recorded two songs which were originally recorded by BUFFALO SPRINGFIELD ("For What is Worth" and "Mr. Soul") as the musical style of that band ( Folk Rock with some protest songs) I think that it was very far from the musical style that RUSH developed years later. More surprises come with the recording of two songs which were originally recorded by THE YARDBIRDS ("Heart Full of Soul" and "Shapes of Things"), whose style was more Blues and Pop Rock from the sixties oriented than RUSH`s music in later years. The musical styles of the rest of the songs are really more expected to have inlfuenced RUSH as band: two songs originally recorded by THE WHO ("Summertime Blues" and "The Seeker"); one song originally recorded by LOVE ("Seven and Seven Is") and a last one which was originally covered by CREAM ("Crossroads"). All the songs are very well arranged and played, and it is interesting to listen to RUSH playing them in their own style without any Prog Rock arrangements, just having some fun in the recording studio. It was a bit strange that the band did not record any songs from LED ZEPPELIN or BLACK SABBATH, being these two bands very influential in the songs and sound that RUSH recorded in their first album, but maybe they did not record any songs from these two bands to avoid the usual comparisons of their early sound with the sounds of those two very influential bands.

A bit similar to JOHN LENNON (with his "Rock and Roll" album from 1975, which also was recorded like a deal with a person who sued him of alleged plagiarism of one song, but that is another history), PAUL McCARTNEY (with his "Run Devil Run" album from 1999) and other artists who have recorded albums with covers from songs which were previously composed and / or recorded by other artists, this EP from RUSH was done more for fun than for anything else. I don`t have anything against the idea of doing that. So, if someone is in the mood to listen to an album like this, just have fun and enjoy it.

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 Power Windows by RUSH album cover Studio Album, 1985
3.52 | 721 ratings

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Power Windows
Rush Heavy Prog

Review by Guillermo
Prog Reviewer

2 stars If there really was a definition of the "very typical sound from the eighties" I could say that there are some "very typical albums from that age". I could define that typical sound with the next "ingredients": the use of heavy reverberation; the heavy use of digital keyboards; the heavy use of electronic drums; the very "digital bright and clear" production of the sound; a tendency for the music to sound somewhat "plastic"; the tendency of the music from some Prog Rock bands to sound influenced by Pop Rock Music...

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.

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 Not Fade Away by RUSH album cover Singles/EPs/Fan Club/Promo, 1973
2.00 | 34 ratings

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Not Fade Away
Rush Heavy Prog

Review by Guillermo
Prog Reviewer

2 stars RUSH in the beginning of their recording career. This is a single from 1973 released by the original line-up of the band (Geddy Lee, Alex Lifeson and John Rutsey). While the production of this single leaves a lot to be desired, it is not as bad as I expected it to be after reading several reviews about it.

"Not Fade Away" is a song which was originally recorded and released by the late Buddy Holly. This song is very simple in structure, and I also have listened to other versions of this song covered by other bands like THE ROLLING STONES and FOREIGNER. Not being a very interesting song, I think that not much could be done in terms of arrangements to a song like this, and I also can`t see why RUSH selected this song to be recorded and released as the Side One of this single. The arrangement for this song tends more to Heavy Metal, but the limitations of the song did not help the band very much to play an interesting arrangement for it.

In the Side Two of this single there is a better song than "Not Fade Away", titled "You Can`t Fight It", which was composed by Lee and Rutsey. It is mostly a Rock and Roll song with some influences from LED ZEPPELIN and BLACK SABBATH. Even the guitar playing shows some influences from Jimmy Page. This song could have been included in their first album very well as I think that in musical style it could have worked very well in that album. But that first album sounds better in production terms than this early single.

Maybe RUSH only recorded this single for fun, more to give it as a gift to their families and friends. Anyway, it sounds like they had a lot of fun recording it. I don`t know if both songs of this single have been released in any RUSH compilation album. But maybe one day they could include them in a new compilation album...maybe more for historical reasons than for anything else.

For collectors and very die-hard fans of the band only.

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 In The Mood by RUSH album cover Singles/EPs/Fan Club/Promo, 1974
1.15 | 4 ratings

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In The Mood
Rush Heavy Prog

Review by Unitron

1 stars I really don't understand what purpose this single had, It doesn't have a B-side, just has two different sound versions of the weak track 'In the Mood'.

In the Mood----This was the weakest track from Rush's debut. The lyrics are obnoxious about sex, and the drums and guitar are lack-luster and nothing spectacular. I understand why they released this song for a single, it IS something that you could hear on the radio, but why not include a B-side like singles have most of the time? It just has side A and B as two different sound versions of this one track.

An understandable pick for a single, but I could not see anyone buying a single with just two sound versions, seems redundant to me.

1 star.

Hope you found this review helpful.

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Thanks to Tony R for the artist addition.

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