MOVING PICTURES

Rush's most successful album, outstanding as its 3 predecessors, and the last of its most progressive stage, which ended with the double live album Exit ... Stage Left, shows us the state of grace and maturity they had reached for hand us Moving Pictures. Again, the use of a wide variety of musical instruments (6 and 12 string guitars, pedals, synthesizers, and percussion elements) allowed Canadians to display all their virtuosity.

Side A, which begins with the powerful Tom Sawyer and takes Mark Twain's short story adapted to the modern world as a reference, goes through an intense musical path, in which there is space to embark on the song Red Barchetta in a Ferrari 166 MM Barchetta (model 1948), in a career of the future, inspired by the short story A Nice Morning Drive by Richard S. Foster, surprise us with the instrumental YYZ (IATA code of Toronto airport) considered one of the best instrumental songs of rock and piece indispensable that gives way to Neil Peart's percussion solos in his live shows, and conclude the side with the rocker Limelight, a reflection of how difficult it is to keep private life isolated from everything that involves fame.

The Camera Eye, which begins side B, is the last composition of extensive duration (almost 11 minutes) of the group, but already leaving aside the mythical and fantasy theme, and more focused on worldly life, making references to New York and London. It is an excellent song and once again we enjoy the virtuosity of the three musicians, especially Alex Lifeson's guitar. The album is completed by the deep darkness of Witch Hunt, and finally, Vital Signs, influenced by reggae rhythms, which would partly mark the path of Rush for his next work, Signals.

Moving Pictures is undoubtedly one of the cornerstones of Rush's discography and progressive music from the early 1980s.