I hope you'll think about including some of the live albums too...I wasn't active much in the initial album discussion which I kinda regret and with the news of Rush perhaps coming to an end, I have even more motivation for a Rush binge so I think I'll try and listen accordingly and participate
My first Rush LP as a new release! Still one of my favs. I remember when a classmate saw them on this tour. He was sad they did not play Losing It (only song not played live on the original tour). Hope he lived long enough to hear the new live cd from the R40 tour! I saw them play Analog Kid (1 of my all time favorite Rush songs )on the Counterparts and Clockwork Angels tours.Signals (1982)
After the monster hit of Moving Pictures, the pressure was on to make a worthy followup. Signals marked the beginning of a controversial era among Rush fans. The synthesizers had gone from a supporting role with frequent melodies to being for the most part, a constant presence and a part of Rush's signature sound. The synth often doubled the guitar melodies and on many occasions, overpowered the guitar. The new modern sound, combined with the lack of progressive elements on the next few albums left many Rush fans polarized. Even to this day, the "synth era" remains a point of controversy for fans.
Writing for Signals began during soundchecks on the Moving Pictures Tour. While the band kept use of odd time signatures, many of the progressive elements had completely disappeared. No more showcases of the band's technicality, no more multi-part pieces, and no more long songs. In fact, Signals became the first Rush album to not have a song exceeding 7 minutes. The longest song, The Weapon, is 6:25. We wouldn't see another Rush song pass the 7 minute mark until Clockwork Angels in 2012.
Signals also marked a bit of a change of pace lyrically. Instead of themes inspired by Ayn Rand, the search for knowledge and eternal life, or mysterious figures, we are given more contemporary lyrical themes. Such as the new technology, space shuttle launches, and even more personal lyrics like Subdivisions, which deals with the feelings of being an outcast. A fitting shift, considering the mood of the music the band was writing.
While none of the songs were really as memorable as the smash hits found on Moving Pictures and Permanent Waves, Signals contained some of Rush's biggest hits. Both Subdivisions and New World Man remain classic rock radio staples, the latter being Rush's only song to break the US top 40. It was also a #1 hit in Canada. The Analog Kid, The Weapon, and Countdown were also released as singles but were less successful. Signals was overall another success for the band, charting at #10 on Billboard, #3 in the UK, and certified platinum 2 months after release.
Signals was the start of yet another chapter in Rush's long history. A more contemporary, mainstream friendly era for the band. For some, it was the start of a long period of decline for the band, for others it was the start of another exciting period for the band.
The first Rush tour I saw live! Despite promoting their softest & mildest LP, some songs such as Turn the Page and Prime Mover were amazing live (see the versions on A Show of Hands video)! High Water has some heavy guitar at times that is rare in this LP. I remember hearing Geddy on Rockline promoting this CD prior to the tour and a fan calling in practially begging Geddy to play Open Secrets live. Didn't happen.Hold Your Fire (1987)
Hold Your Fire marks the end of yet another chapter in Rush's long recording history. While it might not be their best work, it still played a big role in the band's development. In some ways, it is a transitional album like Permanent Waves and Fly By Night. Acting as a wake up call to the band, letting them know that it was time for a change.
Musically, the album is one of Rush's softer albums, very little hard rock is present. Geddy Lee noted that this album made him realize that they were headed in a "jazzier" and "softer" direction. One thing that is really noticeable on Hold Your Fire is the presence of a guest singer on Time Stand Still, Aimee Man from American New Wave act, 'Til Tuesday. Instead of a string section, a brass band is featured on some songs, such as Lock And Key.
The lyrics to this album are more varied than the previous two albums, not featuring any loose themes. Tai Shan is based on a poem written by Neil Peart on a bike ride in China. Open Secrets deals with communication and Second Nature is about working toward political change.
Hold Your Fire was the first album since Hemispheres to not crack the Billboard top 10. Though not a commercial failure, as it peaked at #13. It did make the top ten in the UK and Canada, however. Time Stand Still and Force Ten also both made #3 on the Mainstream Rock chart. It was also the first album since Caress Of Steel to not be certified platinum. It has not held up well with most fans and wasn't initially received well among critics either. Even Geddy Lee has mentioned some regret with this album, calling Tai Shan in particular, "an error".
Saw them on this tour. Was shocked that Chain Lightning did not get played. The first time I can think of since Caress of Steel they did not play the second track of an LP live. Also surprising they did not play the title track live, but 20 years later finally saw it live on Time Machine tour. Could have lived without Scars being played live. Still a great show and I agree that Available Light and Red Tide are amazing songs.Presto (1989)
In 1989, Rush was coming to the end of a very lucrative decade, having several singles popular on both the radio and MTV and a slew of top ten albums, it was a good time for the band. However, Rush is not the sort of band that finds a sound and sticks with it, they are constantly evolving. With Presto, it was time for yet another change of pace in the Rush sound. As Neil Peart said: "Things can go too far in any one direction and then we correct ourselves". The band decided to make minimal use of pianos and synthesizers, focusing on their signature power trio sound. Geddy Lee making use of a Fender bass, Alex Lifeson going back to his Gibson Hollow body, and Neil Peart ditching the electronic drums, it was like Rush had returned to the 70's, but with a modern twist.
To help propel the new direction, the band (newly signed to Atlantic Records) hired producer Rupert Hine, who was also weary of the band's keyboard filled sound. While the band still used some keyboards for texture, they were never the center of attention like what was common in recent years. The focus was now on vocal melodies, but also on guitar and bass. Peart's drums also had more life to them than on the previous album. The result was a brand new sound for Rush and the precursor for the 90's.
Despite the lack of keyboards, Presto is still a pretty soft record. It features many of the songwriting elements found on the synth era albums but with a classic instrumentation. There are a few hints to the more hard rock sound to come on songs such as Show Don't Tell and Superconductor, but for the most part it maintains the pop sound found on most of their 80's albums.
A very lyrical album, Presto contains a strong focus on vocal melodies, appealing to a pop audience. Neil Peart seemed particularly inspired for this album, working hard on lyrics. The band even decided to drop the idea of an instrumental in favor of using lyrics for Hand Over Fist.
Even though Presto cracked the Billboard top 20, it charted lower than Hold Your Fire and proved to bey ve one of their less successful records, hinting at a less commercial decade for the band. They have since expressed some regret for this album as well, though not calling any of the material an "error", but rather showing disappointment for the overall sound.
Despite this, Presto is not an album they've forgotten, as they play material from it to this day. They even performed the title track live for the first time on the 2011 Time Machine Tour.
Counterparts (1993)
In 1993, Rush had spent 4 years trying to reinvent their sound and create a classic hard rock Rush record. As the saying goes, third time's a charm. Counterparts sees the return of Rush as a hard hitting power trio. No more material that they would go on to regret and in its place is a strong, energetic, and often overlooked album. This seems to be the album that Rush wanted to make, a triumphant return to form.
Once again, the band decided it was time to find a new producer. Taking the place of Rupert Hine was Peter Collins, who had previously worked with the band on Power Windows and Hold Your Fire. This album also got help from a notable person, especially worth mentioning on a Maiden album, a young Kevin Shirley as engineer. The result was a much heavier more modern sounding album. Sonically, Counterparts could easily stand up to any other album in its time, and even sounds fresh today.
Like Presto and Roll The Bones, Counterparts features more guitar orientated. However, where the previous two albums focused heavily on vocal melodies and arrangements, this album is very riff driven with the exception of a few songs. Keyboards are almost non-existent, for the most part only acting as texture, and even then they're often mixed pretty low. This is probably Rush's most raw sounding album since the early 70's.
The lyrics are a bit more varied than on Roll The Bones, but follow a loose theme with many of the songs dealing with the need for balance (a theme not new to Rush), it also features many personal lyrics. Speed Of Love and Cold Fire both deal with love; the former being about the power it has over people and the latter examines two different concepts of love. Alien Shore and Nobody's Hero tackle bigger social issues, such as equality and heroism in the common man. Peart also took inspiration from Pye Dubois, who had cowritten Rush songs before, most noticeably Tom Sawyer. This time, Neil wrote a song based on his poem, "There Is A Lake Between Sun And Moon".
In a world that had just dived head first into Grunge, Rush still managed to release a commercially successful album. It reached #2 on the Billboard 200 and #14 in the UK. It also landed the band yet another Grammy nomination for an instrumental track with Leave That Thing Alone.
Counterparts is the first Rush album in a long time that doesn't sound dated, it's exactly what modern Rush should sound like. Like most of their later material, it is often overlooked. A shame, as it features some of their best material.
Test For Echo (1996)
In retrospect, Test For Echo is probably best remembered for being the last album Rush made before tragic events in Neil Peart's life caused the band to take an indefinite hiatus. That said, it doesn't sound like a final album, obviously since it was planned on being one. In fact it sounds the opposite, being a logical step from Counterparts and continuing the evolution that started with Presto 7 years earlier.
Test For Echo has a more raw and aggressive sound than previous albums, almost sounding more jam based. It also sees the band's more proggy elements starting to creep back, found in quite a few songs, including Time and Motion and Limbo. Many of the songs feature more extended arrangements and free feeling guitar solos reminiscent of the 70's Rush. Though this album, like Counterparts, also features some nods to their 90's contemporaries, such as in Half The World. This could also be the most raw sounding album yet; the keyboards are almost completely nonexistent.
This album also shows the band once again experimenting and developing their craft. For example, on Half The World we hear Alex Lifeson rock the mandola for the first time. He would continue to experiment with other stringed instruments later on, such as the bouzouki and mandolin. Almost 25 years and 16 albums later, we still see members of the band revealing previously unknown talents.
Throughout the 90's, Neil Peart had played on several Buddy Rich tribute projects. The new experiences combined with being introduced to other drummers, notably Journey's Steve Smith, inspired Peart to reinvent his style. In preparation for the next Rush album, he began studying with Jazz veteran Freddie Gruber. The result was a more loose drumming style and Neil now playing with a traditional grip. He also began incorporating Jazz fills into his live drum solos.
(1927-2011)
With 3 years since their last album and much growth in all 3 musicians, the result was a fresh sound for the band. Because of this, Test For Echo is more in line with Vapor Trails and Snakes & Arrows than Counterparts. It's hard to believe that this was the same band who had previously written songs like Time Stand Still and Presto. This was a more in your face band, with a riff based approach and songs that didn't lose energy, even when they weren't rocking.
Lyrics for this album are varied, with no obvious recurring theme or concept. Neil Peart once again collaborated with Pye Dubois on the title track. As of 2013, this is the last time the two collaborated on a track. Virtuality is about how the internet affects relationships, a theme that is more common today but certainly new when this album was written.
Test For Echo could be the most forgotten Rush album. Perhaps it's because of its time period, or it was overshadowed by the band's hiatus. Though it does feature the song that gave way for one of the band's most interesting arrangements. Upon returning to the stage in 2002, Geddy and Alex put together an acoustic duet version of the song Resist. Aside from that, not a lot of material from this album gets played live.
This was yet another Billboard Top 5 album for the band, though it only reached gold status. As other styles of music began to take dominance, Rush was still hanging on,despite not creating the same monster hits they had in the 80's.
Unfortunately, the celebration that comes with a new album and tour was cut short when Neil Peart's daughter was killed in a car accident. 10 months later, his wife also passed, succumbing to cancer. At this point, the band was completely put on hold with an uncertain future and very little possibility of continuing. A distressed Peart began a long series of travels across North and South America by motorcycle. He chronicled his journey in a book titled Ghost Rider: Travels On The Healing Road, released in 2002.
As an aside, this album turned 17 years old on Tuesday. It's exactly 20 days older than me.
Different Stages (1998)
Different Stages was dedicated to the memory of Neil Peart's daughter, Selena, and his wife, Jacqueline. The sleeve reads lyrics from Afterimage, "Suddenly... You were gone... from all the lives you left your mark upon. In loving memory of Jackie and Selena,"
Shortly after the tragedies in Neil Peart's personal life, Alex and Geddy went to work on compiling what might've ended up being a posthumous Rush release. With that in mind, Different Stages is an appropriate album, acting as a retrospective of sorts. It includes recordings from the latest Test For Echo tour, the 1994 Counterparts Tour, and a full length performance from the 1978 A Farewell To Kings tour. As expected, this album contains all sorts of goodies and rarities, from recent material like Driven and Animate, to classics like Cinderella Man and a full length performance of 2112! The 1997 tour was the first time Rush had ever played the entire piece live, so this monumental event had to be captured on a live album.
At a whopping three discs, this would be Rush's most expansive live album yet. A fitting way to close not only the decade, but really the entire first 25 years of their career. The first two discs cover the gamut of material, with a slight (understandable) focus on the 90's, but the older material also get quite a bit of attention. All the classics are there, but we also get debut live recordings of classics like Limelight, 2112, The Analog Kid, and Natural Science, on top of all the 90's songs that hadn't been represented yet.
Obviously the 2nd disc doesn't have a wide variety of material, being as it is from early in the band's career. But don't let this fool you, there are many setlist gems here too. A Farewell To Kings, Cygnus X-1, and Cinderella Man are all songs that had never seen a live release before. It's also interesting to hear early recordings of those songs anyway, as the only 70's live album before was All The World's A Stage.
Despite all the good qualities and being a wealth of live Rush material, Different Stages is not without its flaws. It seems like none of these shows were actually planned on being released on a live album and seem to be taken from a soundboard recording. The result is something comparable to a high quality bootleg. It's definitely the most raw Rush live release, but perhaps this is appropriate as the band was heading in a more raw sounding direction.
Different Stages might not be the greatest live album or a classic that will forever be remembered (or win a live album survivor), but I can't think of a more appropriate way to celebrate this band's career. It really seems like a thank you to the fans for all the support over the years. Had the band really called it quits back in the 90's, this would've been the perfect swan song. But of course, here we are 15 years later discussing it as the band wraps up yet another tour for a highly successful album.
Vapor Trails (2002)
In 2002, something amazing happened: Rush had returned with a new album! They began the 00's on hiatus. As the years went on it seemed less likely that they'd ever get back together, making Vapor Trails the album that almost never was. Yet in 2001, Neil Peart decided he was ready to make music again, and with that, production on Vapor Trails began.
Not being released until May 2002, this was the longest time Rush had spent working on a studio album. Musically it wasn't too much of a step away from Test For Echo and is a logical step in the band's evolution. Perhaps their heaviest record, this is the first (and) time since Caress of Steel that absolutely no keyboards or synthesizers are present. The band took a unique approach to recording this album, making songs out of one off jams.
The result is a stripped down, spontaneous and heavy hitting album.
As expected, the lyrics for this album mainly deal with Peart's personal life. Ghost Rider, for example, is about his motorcycle travels across North America. The band also created a new installment of the Fear series for this album. Freeze being about the choice between facing tragedy or letting it consume you. It is by no means a stretch to call Vapor Trails Peart's most personal album, lyrically.
Unfortunately, this album didn't come out quite as planned. Rush found themselves as victims to the growing "loudness wars". Distorted mastering created an unnecessarily loud album with clipping and no dynamics. The band, particularly Geddy, always regretted the sound of the album and in 2013, a remix by Richard Chycki was finally released. You can listen to it here.
Despite the blemished production, Vapor Trails marked the return of Rush, better than ever.
Rush In Rio (2003)
Shortly after the release of Vapor Trails, Rush embarked on a massive tour. This included the band's first shows in Brazil and some of the largest in their career. To celebrate this, they released a live album/DVD of their Rio show. This is the first live album to contain a complete Rush concert and also breaks the pattern of releasing a live album after every 4 studio albums.
Clockwork Angels (2012)
In early 2009, Alex Lifeson mentioned in an interview that Rush had begun work on a new album, making this one of the band's most anticipated releases. By 2010, new information on Rush's 19th studio effort began to surface and eventually Caravan and Bu2B were released as downloadable singles. However, it would not be another 2 years until this album was completed and released. The album was finally completed in winter 2011, and released the following summer.
While the 3 years leading up to the release were long, many fans would probably agree that it was worth the wait. Clockwork Angels was very well received by fans and many considered it to be their best in years. Rush as a studio force was back and better than ever.
One of the most notable things about this album is that it is their first concept album. Rush had always been a prog rock anomaly in that they were really the only classic prog band to not have the obligatory concept and/or double album. Yes had Tales From Topographic Oceans, Genesis had The Lamb Lies Down on Broadway, and Pink Floyd had The Wall. Not being a set of musicians who easily followed trends or did what was expected of them, Rush never forced themselves to create such an album. Instead, they waited until it came out naturally, nearly 40 years into their career.
Clockwork Angels tells the story of a man experiencing the hard ships of life while searching for meaning.
A companion for the album, in the form of a novel, was released later that year, written by a scifi author friend of Neil Peart.
Musically, the album has a similar sound to Snakes & Arrows but with many more progressive elements. It could be argued that this is Rush's most progressive album since Moving Pictures, at least. Segues, trilogies and extended instrumental sections are all present to give the album its progressive edge. But these are all combined with Rush's sense of good song writing that they developed in the 80's, creating the ultimate Rush album. Many songs harken back to classic Rush, such as Headlong Flight and its unmistakeable callback to Bastille Day.
The band also used extended instrumentation on this album; a string section is found on many of the songs, including Halo Effect, The Garden, and The Anarchist. The band even took the string section on tour with them to help represent the material live as well as add a new dimension to older songs.
Clockwork Angels is certainly a triumph for Rush. It's quite the achievement to not only create an instant classic, but to create it so late in your career is spectacular. Hopefully this isn't the last of Rush, as Clockwork Angels proves that they haven't ran out of things to say.
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So that's the Rush discography. Even though I had less time to spend on this toward the end, I had a ton of fun writing commentaries on these albums and reading the commentaries of others. I got a fresh perspective on many songs and albums, found some new favorites, and revisited material that I may not have noticed had it not been for this thread. And of course, I was reminded why Rush is such a great band in the first place. I'd like to take a quick break from these, but perhaps in December or the new year, I'd be interested in starting a discography discussion for another band. Maybe Judas Priest?
Anyway, thanks to all who participated/followed this thread at some point or another!
And not for the better.
Talk about "edgy")