Rush: A Musical Journey

KevinJS

Lunatic Member
This thread will detail the music of one of rock's most enduring bands. I intend to write a post for each album and explore some of what was going on at the time of release of each one.

The work of Rush has been part of my playlist for many years, but I don't intend to make this thread a personal journey. The fact that I buy my coffee from the gas station where Neil Peart's motorcycle was inadvertently filled with diesel is neither here nor there. It doesn't give me a single degree of separation from the band, nor does it make me feel that I've walked in the footprints of the gods. The music has been important to me and it has certainly impressed me, but this thread will collate the thoughts of others, hopefully finding some anecdotes that long time fans will find familiar and introducing the band to those who are not so familiar with the Canadian trio.

I've no idea how long it will take to work my way from Rush to Clockwork Angels. I'd rather take my time over it and do a good job than present a list of albums and little else. I spend long periods away from my sound and computer equipment and would rather not attempt to do it on my phone, my only link to the civilized world, so in the main, I'll be waiting until I'm home to post to the thread, but taking notes at other times for inclusion in the posts.

Anyway, this is more of a statement of intent rather than an informative post. Exploring the 40 year history of one of the most influential bands of all time will be an interesting study.

Thanks to @Ethan25 for planting the seeds of the idea. I encourage you to take a look at a similar thread he is working on following the life and work of Phil Keaggy.
 
Have been a fan for many years, Beginning with Caress Of Steel. I went to drumming school as a teen, Of course Neil's work was a constant lesson plan. The progression of the band has been fun to follow. Look forward to future posts. Will through in what I can.
 
Rush

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Track list:

1. Finding My Way
2. Need Some Love
3. Take A Friend
4. Here Again
5. What You're Doing
6. In The Mood
7. Before And After
8. Working Man

The first album, released on the band's own label in Canada and later by Mercury in the US. Rush has only had one change in lineup over their history and the self-titled album is the only one featuring the original trio, Geddy Lee on vocals, bass and keyboards, Alex Lifeson on guitar and John Rutsey on drums.

Rush formed in 1968 and played anywhere they could find an audience, playing covers of well known rock bands as well as their own work. But record deals didn't come easy and it seemed that the band would be destined to play Toronto clubs until they got bored and went back to their day jobs.

The band resorted to self publishing their debut album and a copy of it ended up on Donna Halper's desk at WMMV in Cleveland. Whether Donna was bowled over by the music or not, she recognized a talent and, more importantly, a track that is a boon to radio presenters everywhere; a track that allows a bathroom break and will still be playing when the business is done. The 7 minute plus Working Man was ideal and Rush hit the airwaves, courtesy of a DJ's visits to the ladies room. Donna said later that Working Man was the right sound at the right time, appealing to the blue collar population of Cleveland, who responded enthusiastically and called in requesting information on where this new sound could be acquired. Halper has gone down in history as the woman who discovered Rush and was rewarded by having the first two albums dedicated to her. She also spoke at the enrolment of the band into the Rock and Roll Hall of Fame.

With a record contract in hand it was time for some changes. John Rutsey, while enthusiastic enough, was diabetic and not physically up to the rigours of life on tour and was replaced by Neil Peart. Terry Brown began a relationship with the band as producer which lasted many years and an uphill battle ensued, as the band found it necessary to prove their worth to Mercury. The next 2 or 3 posts will go into some detail about that struggle, as the next albums are introduced. Lee and Lifeson joke about Peart forever being the new guy, but it's a sure fact that his skill with lyrics propelled the band along a far different path than would otherwise have been the case.

That a debut album is still playable after more than 40 years and compares favourably with the rest of the band's catalogue is testament to the talent that Donna Halper heard. From the raw power of Working Man to the gentle blues of Here Again, Rush is still well worth spending 40 minutes on.
 
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View attachment 916053

Track list:

1. Finding My Way
2. Need Some Love
3. Take A Friend
4. Here Again
5. What You're Doing
6. In The Mood
7. Before And After
8. Working Man

The first album, released on the band's own label in Canada and later by Mercury in the US. Rush has only had one change in lineup over their history and the self-titled album is the only one featuring the original trio, Geddy Lee on vocals, bass and keyboards, Alex Lifeson on guitar and John Rutsey on drums.

Rush formed in 1968 and played anywhere they could find an audience, playing covers of well known rock bands as well as their own work. But record deals didn't come easy and it seemed that the band would be destined to play Toronto clubs until they got bored and went back to their day jobs.

The band resorted to self publishing their debut album and a copy of it ended up on Donna Halper's desk at WMMV in Cleveland. Whether Donna was bowled over by the music or not, she recognized a talent and, more importantly, a track that is a boon to radio presenters everywhere; a track that allows a bathroom break and will still be playing when the business is done. The 7 minute plus Working Man was ideal and Rush hit the airwaves, courtesy of a DJ's visits to the ladies room. Donna said later that Working Man was the right sound at the right time, appealing to the blue collar population of Cleveland, who responded enthusiastically and called in requesting information on where this new sound could be acquired. Halper has gone down in history as the woman who discovered Rush and was rewarded by having the first two albums dedicated to her. She also spoke at the enrolment of the band into the Rock and Roll Hall of Fame.

With a record contract in hand it was time for some changes. John Rutsey, while enthusiastic enough, was diabetic and not physically up to the rigours of life on tour and was replaced by Neil Peart. Terry Brown began a relationship with the band as producer which lasted many years and an uphill battle ensued, as the band found it necessary to prove their worth to Mercury. The next 2 or 3 posts will go into some detail about that struggle, as the next albums are introduced. Lee and Lifeson joke about Peart forever being the new guy, but it's a sure fact that his skill with lyrics propelled the band along a far different path than would otherwise have been the case.

That a debut album is still playable after more than 40 years and compares favourably with the rest of the band's catalogue is testament to the talent that Donna Halper heard. From the raw power of Working Man to the gentle blues of Here Again, Rush is still well worth spending 40 minutes on.


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First off Go Buddy !! :beerchug:
I saw them often around this time, Rutsey was a great player as well... as I recall he used to have a drum riser that had white fury carpet on it like you see in Low Rider type interiors...First time I saw Peart the riser was reflective material.. Peart changed the dynamic...I never felt that Peart overplayed or called attention to himself through 2112 or even through Moving Pictures because the whole band upped their game in unison..There are some things post Moving Pictures in particular that to me really call attention to drums as an orchestra in themselves..
The poster came home with me from this show....
 
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First off Go Buddy !! :beerchug:
I saw them often around this time, Rutsey was a great player as well... as I recall he used to have a drum riser that had white fury carpet on it like you see in Low Rider type interiors...First time I saw Peart the riser was reflective material.. Peart changed the dynamic...I never felt that Peart overplayed or called attention to himself through 2112 or even through Moving Pictures because the whole band upped their game in unison..There are some things post Moving Pictures in particular that to me really call attention to drums as an orchestra in themselves..
The poster came home with me from this show....

Certainly there was nothing wrong with Rutsey's drumming. From the point of view of one looking at a simple list of albums and finding his name on only one, it's easy to dismiss his input, but the history and development of the band includes 6 years of work of which he was a central part. The decision to let him go could not have been an easy one. I seem to remember that the subject was aired in the "Beyond The Lighted Stage" documentary.

Put this thread on my watch list. Being a trucker too i know your schedule is crazy. Looking forward to more posts when you get the chance.
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Thanks for that pic. I'd intended to mention the Trailer Park Boys episode in which Lifeson is kidnapped later in the thread.
 
View attachment 916103

First off Go Buddy !! :beerchug:
I saw them often around this time, Rutsey was a great player as well... as I recall he used to have a drum riser that had white fury carpet on it like you see in Low Rider type interiors...First time I saw Peart the riser was reflective material.. Peart changed the dynamic...I never felt that Peart overplayed or called attention to himself through 2112 or even through Moving Pictures because the whole band upped their game in unison..There are some things post Moving Pictures in particular that to me really call attention to drums as an orchestra in themselves..
The poster came home with me from this show....

Don't think he overplays either, But the off tempo licks(A trademark) Catches your attention. After a 1000 Listens, I still hear something new he's doing. More noticeable pre Moving Pictures, Even after, Always Interesting playing.
 
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Fly By Night

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Track list:

1. Anthem
2. Best I Can
3. Beneath, Between and Behind
4. By-Tor And The Snow Dog
5. Fly By Night
6. Making Memories
7. Rivendell
8. In The End

1975 saw two additions to the Rush catalogue, the first of which was Fly By Night. Peart's influence is immediately apparent. The album introduced the mythology-based tracks which would form a great part of the band's early work and which would still be played a generation later, both by the original fan base and their children.

Fly By Night was not well received at the time of its release, either by the record buying public or by critics. Maybe the world wasn't ready for tales of Snow Dogs or hat tips to Tolkien, but the band were aware of an undertone of disquiet at Mercury.

40 years on, and it seems unbelievable that tracks like Beneath, Between and Behind, Anthem and Fly By Night were not instant hits but the enthusiasm and fan base were not yet in place. It seems to have become an almost unspoken agreement between the band and their fans that a new album is going to take some figuring out, lacking the catchy little tunes that other bands rely on. Rush started off the way they intended to carry on, playing THEIR music, THEIR way. In recent years they have carried their fans with them. In those very early years, they had a bit more explaining to do.

If Working Man allowed Donna Halper to powder her nose, By-Tor and the Snow Dog would have allowed her to slip out for a couple of pints too. Although short compared to their later program works, it weighed in at over 8½ minutes. It was clear that Rush were not aiming to be a singles band.

So the scene was set. The members of the band were hopeful, but aware that their future could involve a return to the day jobs that they had left behind. The future, at this point, was by no means certain.
 
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View attachment 916145

Track list:

1. Anthem
2. Best I Can
3. Beneath, Between and Behind
4. By-Tor And The Snow Dog
5. Fly By Night
6. Making Memories
7. Rivendell
8. In The End

1975 saw two additions to the Rush catalogue, the first of which was Fly By Night. Peart's influence is immediately apparent. The album introduced the mythology-based tracks which would form a great part of the band's early work and which would still be played a generation later, both by the original fan base and their children.

Fly By Night was not well received at the time of its release, either by the record buying public or by critics. Maybe the world wasn't ready for tales of Snow Dogs or hat tips to Tolkien, but the band were aware of an undertone of disquiet at Mercury.

40 years on, and it seems unbelievable that tracks like Beneath, Between and Behind, Anthem and Fly By Night were not instant hits but the enthusiasm and fan base were not yet in place. It seems to have become an almost unspoken agreement between the band and their fans that a new album is going to take some figuring out, lacking the catchy little tunes that other bands rely on. Rush started off the way they intended to carry on, playing THEIR music, THEIR way. In recent years they have carried their fans with them. In those very early years, they had a bit more explaining to do.

If Working Man allowed Donna Halper to powder her nose, By-Tor and the Snow Dog would have allowed her to slip out for a couple of pints too. Although short compared to their later program works, it weighed in at over 8½ minutes. It was clear that Rush were not aiming to be a singles band.

So the scene was set. The members of the band were hopeful, but aware that their future could involve a return to the day jobs that they had left behind. The future, at this point, was by no means certain.

Did not appreciate this LP unti "A Farewell To Kings". I was listening to that in my barracks room, When a guy next door brought over Fly By Night. I'd only heard a few tracks. We played both LP's back to back. Next day at PX we both bought what we were missing. Thanks again Kevin. You rock brother!
 
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