The History of Rush in 10 Songs
Here are 10 songs that represent Rush’s outstanding profession!
Ask any progressive rock fan to name their favored artists and Rush is nearly assured to come up.
After all, the Canadian trio – comprised of vocalist/keyboardist/bassist Geddy Lee, guitarist Alex Lifeson and percussionist Neil Peart – accomplished enormous good results amidst releasing 19 studio LPs (beginning with 1974’s Rush and ending with 2012’s Clockwork Angels). Nearly 10 years right after their final show – and practically 5 years right after Peart’s tragic passing – they stay one particular of the largest and most influential genre bands of all time.
Study Far more: 25 Essential Rock + Metal Albums of the ’70s to Pass on To Your Children
In a nutshell, Rush began as a challenging rock/heavy metal act prior to becoming kings of prog rock by the finish of the 1970s. From there, they started leaning into the increasing reputation of new wave/synth-rock/art pop as the 1980s unfolded, only to return to their challenging/prog rock roots throughout the 1990s and 2000s. In that way, their catalog sort of came complete circle.
Clearly, encapsulating their complete history in just 10 songs is a practically not possible (and inherently controversial) job, correct? Well, we like to reside dangerously, so we’ve attempted to do precisely that with the list beneath.
Keep in thoughts that this is not a ranking of Rush’s greatest songs in truth, there is at least one particular tune that represents a profession low. Even so, it need to be integrated to offer you the most comprehensive overview attainable, as featuring only Rush’s prime-tier tracks would imply telling only some of their story.
So, verify out our picks for the 10 tracks that greatest represent Rush’s history, and let us know which songs you’d replace (if any)!
-
The History of Rush in 10 Songs
-
“Working Man” (‘Rush,’ 1974)
Rush’s debut LP is notable for several causes, with the two largest getting that it is their only one particular with drummer John Rutsey and it wears the group’s appreciate for artists such as Led Zeppelin, Cream and Black Sabbath on its sleeve. Relatable album closer “Working Man” (which got lots of radio play in Ohio and endures a fan favored) demonstrates that nicely, each in terms of its instrumentation (agitatedly fuzzy and simple riffs and rhythms) and blue-collar lyricism (“Well, I get up at seven, yeah / And I go to work at nine / I got no time for livin’ / Yes, I’m workin’ all the time”).
They’re currently excellent players – and the song kicks ass – but there’s practically no trace of the prog rock eccentricities to come witihn this humble starting.
-
“2112” (‘2112,’ 1976)
Just two years later, the trio (with Peart firmly initiated) have been totally embracing their prog/space rock proclivities. The seven-aspect (20-minute) title track to their breakthrough fourth album is the apex of that period since it is their most iconic side-extended suite. (Aside from Peart’s signature drum solo, the initially two components of “2112” constitute Rush’s two most often played pieces in concert!) It’s Ayn Rand-inspired futuristic tale of “galaxy-wide war,” political upheaval and banned music was even turned into a comic book.
Sure, some folks might favor later epics (namely, one particular or each of the “Cygnus X-1” ventures), but there’s no denying how addictive and significant “2112” remains. Be it the grippingly intricate “Overture” the catchy as hell “Temple of Syrinx” the beautifully tranquil “Oracle: the Dream” or zany “Grand Finale,” it is a stylstiic classic that helped 2112 save Rush’s profession. Plus, bands such as Coheed and Cambria, Between The Buried and Me and Dream Theater may not exist devoid of it.
-
“The Spirit of Radio” (‘Permanent Waves,’ 1980)
Aside from getting one particular of Rush’s most recognizable openings, “The Spirit of Radio” was the lead single of Permanent Waves (which arrived in 1980 and kicked off the band’s turn toward extra economical and welcoming compositions). There’s nonetheless a wholesome quantity of prog rock in there, of course, but it also taps into new wave and even raggae! Its radio-friendly ethos is symbolized by its topic matter (a mourning of the altering path of FM radio), as well, and its international chart victories additional propelled Rush’s reputation in the U.S., U.K. and Canada.
Thus, “The Spirit of Radio” (and Permanent Waves as a complete) set the stage for exactly where Rush would go commercially and creatively just as they approached a new decade and a new era of music tastes and tendencies.
-
“YYZ” (‘Moving Pictures,’ 1981)
“YYZ” wasn’t Rush’s initially wordless voyage (Hemispheres’ “La Villa Strangiato” was), nor was it their final (Snakes & Arrows’ “Malignant Narcissism” was). However, when you believe of a Rush instrumental (and a progressive rock instrumental in common), you believe of Taylor Hawkins’ favored Rush piece: the Grammy Award-nominated “YYZ.”
Its mysterious percussive prelude – primarily based on the IATA station code of the Toronto Pearson International Airport – and blending of prog rock and jazz fusion offers it a pretty distinctive an exhilarating flavor. On that note, it is amongst the greatest examples of the trio performing with a shared thoughts, as they generally mirror every other’s patterns in involving playing inventive counterpoints. Best of all, it is very dynamic, with the joyfully difficult and vibrant initially half abruptly providing way to a significantly calmer and sadder synth-laden interlude.
It’s an particularly enjoyable ride that – unsurprisingly – has been covered by absolutely everyone from ambitious youngsters to achieved metal masters. Beyond that, it is been featured in several Guitar Hero games, creating it a compact but important aspect of an complete generation’s upbringing.
-
“Tom Sawyer” (‘Moving Pictures,’ 1981)
If any record is going to have two spots on this list, it is Moving Pictures because it is Rush’s signature LP. Likewise, if there’s one particular Rush song that absolutely everyone knows – regardless of if they’re a fan of the band or even the genre – it is “Tom Sawyer.”
After all, it is subsequently appeared in a lot of motion pictures and Television shows, like Small Soldiers, MacGyver, The Waterboy, Futurama, Aqua Teen Hunger Force and I Love You, Man. Additionally, it marked the initially time Lee switched from his Rickenbacker 4001 bass to his now-trademark Fender Jazz Bass, and it marked the band’s initially collaboration with lyricist Pye Dubois.
Picking up from exactly where Permanent Waves and “The Spirit of Radio” left off, the track’s central motif is likely (and deservingly) the most renowned keyboard riff in all of prog/classic rock. Similarly, it homes Rush’s hookiest melodies and some of their most enjoyable playful songwriting. Obviously, Lifeson’s guitar solo is legendary, as is Peart’s reasonably easy syncopation.
Honestly, what else requirements to be mentioned? It’s an absolute classic.
-
“Lock and Key” (‘Hold Your Fire,’ 1987)
Hold Your Fire was basically the apex of Rush’s dive into synth rock/new wave, and regardless of getting some praise upon release, it fell beneath sales expectations. (It’s small wonder, then, why they returned to guitar-driven rock with 1989’s Presto.) Today, Hold Your Fire is usually viewed as their worst 1980s LP (if not their worst LP to date), with “Lock and Key” usually getting noticed as one particular of their worst songs.
It’s effortless to hear why, as the soft promotional single (inspired by Carson McCullers’ The Heart is a Lonely Hunter) is overly schmaltzy and processed, lacking the sophistication, imagination, catchiness and humanity of Rush’s superlative perform. True, it is not as undesirable as the worst ‘80s stuff from, say, Genesis and Yes, and lyrically, it’s a respectable ode about mankind’s violent/animalistic instincts.
Nevertheless, “Lock and Key” embodies what’s arguably Rush’s worst period.
-
“Ghost of a Chance” (‘Roll the Bones,’ 1991)
Rush reunited with Presto producer Rupert Hine (Tina Turner, Saga, Kevin Ayers) for the pop rock/challenging rock of Roll the Bones collectively, they accomplished an enjoyably streamlined, contemporary and guitar-oriented aesthetic that additional distanced itself from their 1980s keyboard-primarily based persona. Romantic ballad “Ghost of a Chance” is a powerful instance of their revised sound, and its reputation (No. 2 on the Mainstream Rock Airplay chart) restored some of Rush’s industrial good results.
To be clear, it does not equal their extra difficult and distinguishing material, but it nails what it is going for devoid of bordering as well substantially on bland cheesiness. Rather, Lee’s deeper voice – at least compared to how he sang 15 years prior – brings soulfulness to his earnest singing, and the traditional rock arrangement is fairly fitting. Moreover, Lee’s subtly divine synths and Lifeson’s delicate strums add soothing nuance that elevates “Ghost of a Chance” above what a lot of of their pop rock peers have been undertaking at the time.
-
“One Little Victory” (‘Vapor Trails,’ 2002)
The six-year gap involving Test for Echo and Vapor Trails was the biggest Rush ever had involving studio collections naturally, the 1997 death of Peart’s daughter, Selena, and the 1998 death of his wife, Jacqueline, played important components in the trio’s hiatus.
Once Peart was prepared to get going once more, he and his bandmates reteamed for what would – in a handful of respects – be their comeback LP. Despite getting underwhelming in hindsight, the keyboard-much less and rambunctiously simple Vapor Trails sold nicely and really unfolded like an invigorated statement of goal.
Symbolically titled opener “One Little Victory,” in unique, enables Peart to reclaim his crown from the jump by way of thunderously characteristic syncopation. Lifeson and Lee stick to with fierce guitarwork and resolute singing, and even Peart’s words encapsulate Rush’s reflective mindset (“A certain measure of righteousness / A certain amount of force / A certain degree of determination / Daring on a different course”). By no suggests a classic, “One Little Victory” is an admirable declaration of qualified and private rebounding.
-
“Far Cry” (‘Snakes & Arrows,’ 2007)
The successor to Vapor Trails, Snakes & Arrows is amongst the group’s most divisive outings, as it is commonly ranked anyplace from the pretty bottom to the precise middle of their catalog. While it is surely a superior album, it located Rush sometimes – and to varying degrees –losing their identity to extra mainstream tendencies, as well. (Producer Nick Raskulinecz, who’d previously worked with Foo Fighters, Stone Sour and Velvet Revolver, undoubtedly helped steer them in that path.)
That’s not normally a undesirable issue, but when it comes to lead single “Far Cry,” the balance is a tad off. In other words, it is a strong song, but tonally/structurally, it also feels like a song that numerous other mid-2000s rock groups could’ve crafted if not for Peart and Lee’s recognizable rhythmic chemistry. Just as the broadest strokes of new wave overtook some of their late-80s perform, the broadest strokes of new millennium challenging/option rock overtook some of their mid-2000s perform.
-
“The Garden” (‘Clockwork Angels,’ 2012)
“The Garden” is the final track on Rush’s final studio record, so it is only correct to finish right here. Plus, it (like Abbey Road‘s closing “medley” in relation to the Beatles) capped of the career of its creators with tear-jerking meaningfulness. Whether intentionally or not, “The Garden” plays like a self-aware farewell that commemorates all Rush and their fans had shared over the prior four decades.
In general, Clockwork Angels returned to the conceptual centerpieces and prog rock foundations of Rush’s 1970s heyday. Although it is not “tricky,” “The Garden” nonetheless harkens back to the grand production and scope of these records because it decorates what’s fundamentally a easy acoustic ballad with beautiful strings, bittersweet piano chords, and all sorts of other beautiful ornaments.
No matter if he’s reflecting on a steampunk-inspired fictional globe or the genuine one particular, Lee’s singing has never ever been extra gut-wrenchingly genuine, either. That’s doubly correct since how poignantly universal and sobering the lyrics are, specially when he remarks: “The arrow flies when you dream / The hours tick away, the cells tick away / The Watchmaker keeps to his schemes / The hours tick away, they tick away.”
You cannot support but be moved to tears by it, and Rush fan or not, you cannot deny that “The Garden” is a stunning way to memorialize one particular of progressive rock’s superlative bands.
