TEST FOR ECHO

My first Rush album (really!), and I've never tired of it. Each song is spectacular and colorful, even if almost all of them border on simplicity. The lyrics are some of the best of any Rush album. That's not to discount the impeccably good playing from this Canadian trio. The sound is crisp, rugged, and begs to be heard and reheard.

"Test for Echo" Loaded with Alex Lifeson's clean, chorused guitar and Geddy Lee's mellow vocals, the album gets underway. But it's scarcely thirty seconds before the Lee's bass and Lifeson's distorted sound come in and bring the music to heavy maturity. Lifeson's solo is well-crafted, but I believe he could have chosen a different sound. Also, I think Neil Peart's drumming is really muddy in parts.

"Driven" With a heavy guitar riff and funky bass riff, the most popular track from the album is in full swing. Acoustic guitar and synthesizer back up the lead-in to the chorus before the heavy guitars and drums return. Lee delivers a phenomenal bass solo.

"Half the World" A folksier rock song than the others, this has a catchy melody (and even catchier lyrics). It's clever, even if the music is pretty plain. The acoustic instrumentation adds variety, if only briefly.

"The Color of Right" Another more run-of-the-mill rock song, this keeps my interest far longer than what the typical rock band doles out. I've never not enjoyed it, so there's that; the harmonies are good, the musicianship is good, the lyrics are good- I suppose it's the composition itself that just doesn't stand out. I also feel that the arrangement toward the end is rather sloppy.

"Time and Motion" I have always held mixed feelings about this one. I feel the guitar work (especially on the solo) is rather sloppy and that the overall sound is far too noisy. On the other hand, the refrain is one of the best vocal melodies ever written in heavy progressive rock, and the bridge is so intriguing. It's honestly difficult to judge.

"Totem" Quasi-religious lyrics and a fantastic rhythm make this an outstanding track. Peart uses those toms to impart a slightly tribal feel, but Lee's vocals are at once boastful and mysterious. Lifeson delivers a proper solo for the chord progression, even if it is brief, giving way to the darkest part of the song.

"Dog Years" One of the heavier tracks, this one has some terrific, thought-provoking lyrics. The bridge is much softer, but builds exceptionally, especially with Lee's bass growling in the background.

"Virtuality" Rush keeps it heavy with yet another great song full of relevant lyrics, this time about the strange nature of technology and the interconnectedness of the informational highway.

"Resist" The electric guitars are toned down a bit to allow the piano sound and acoustic guitar room to breathe. The vocals are lovely, with inspirational lyrics that build into an impressive and encouraging conclusion.

"Limbo" The instrumental of the album has a ripping bass line to kick it off. Lee's vocals soar in the backdrop, filling out one of the band's more complex works in terms of arrangement. It's a sprawling piece of music, one that takes several listens to fully enjoy.

"Carve Away the Stone" The final song is another encouraging one. It features a simple blast of heavily distorted guitar chords with Lee singing, before an intriguing instrumental pre-chorus engages the hearer. While the lyrics promote self-sufficiency in overcoming obstacles, the instrumental jam in the middle just grooves on all fronts.