20 Rush Albums in 20 Days: Counterparts

DAY SEVEN: Rush, Counterparts, running time 54:17, released October 19, 1993

Rush continued to explore heavier-guitar production in the 90s, and at the time I remember not caring for it so much.  Hearing "Stick it Out" for the first time, it seemed like a poor throwback, but now in hindsight, it makes perfect sense.  Rush has never isolated itself from musical trends, and as grunge had already taken hold of the airwaves, it’s not surprising that the sound of the times would have impacted the band's writing and production.  It’s probably a good thing that it did, because the result was increased sales and a new generation of followers.

Counterparts begins very solid, with “Animate,” “Stick it Out,” “Cut to the Chase,” “Nobody’s Hero” and “Between Sun & Moon” (the middle track sounding a lot like it belongs on Rush’s previous release, Roll the Bones – to me it’s reminiscent of “Face Up.”), but the album’s middle suffers by comparison.  The overall theme of relationships between men and women lends itself to a more personal, intimate lyrical approach that sometimes sounds a little too straight forward for Rush.  The opening of “Alien Shore, (“You and I, we are strangers by one chromosome”) is, to me, not the best way to begin a song, and the lines like “For you and me, sex is not a competition” from "Alien Shore" just don’t seem to work.

When I saw Rush at Minneapolis’s Target Center in 1994, my least favorite tune was “Double Agent,” and hearing it again today, I stand by my conclusion.  The spoken word section is embarrassingly bad.  When Geddy sings “so tight” and “at war” after speaking the words a moment before, it reminds me of Budweiser’s “Real Men of Genius” ad campaign.  Not good!  

Luckily, the album ends where it began, with three excellent tracks, the instrumental “Leave that Thing Alone” followed by “Cold Fire” and the uplifting “Everyday Glory.”  Why this latter track, or songs like “Cut to the Chase” and “Between Sun & Moon” haven’t made it into a regular concert rotation is one of those mysteries I’ll never understand.  All of these would be welcome replacements for the played-out live performances of “Force Ten” and “Dreamline.”  If Rush has a weakness, it’s the unwillingness to play a more varied setlist from tour to tour. 

As with all of Rush’s releases from 1987 on, this album is too damn long, but it’s still among their best efforts.  Subtract “Double Agent” and “The Speed of Love” and you’ve got a very solid 44 minute album.  Kill your children, artists!  Subtraction is addition.

Tomorrow, I’ll be listening to…drum roll, please…number 17: Vapor Trails.  I’ll go to the 2013 remix of the album, figuring I shouldn’t have to subject myself to an original mix that even the band was unhappy with.

20 Rush Albums in 20 Days: Rush

DAY SIX: Rush, self-titled debut, running time 40:07, released March 1, 1974

It’s hard to imagine how the album Rush would be remembered today were it not for the forty years that followed.  Listening to it now, there are little glimpses of what the band would become, and to separate these songs from the band’s overall legacy is difficult, but this afternoon I attempted to enjoy the album on its own terms, and you know what?  I really liked it.  I actually think that as a total package, it’s a superior product to Fly By Night (which I listened to last week).  However, it aims lower – much lower – than any of their subsequent efforts, and in retrospect it’s easy to see that on the next couple of albums the band needed to find its footing and stumble a few times in order for albums like 2112 and A Farewell to Kings to transpire.  For their debut album, all they needed to do was create good, rocking, blues-based songs, and they succeeded big-time.

I noticed a few things while listening to this album:

1)   John Rutsey’s drumming is very capable, and your average 70s rock band would have been happy to have him laying down their rock grooves.  This surprised me a bit.

2)   Geddy actually sings in a lower register more frequently on this album than he does on the next several, and it sounds good.  If you ever listen to the live version of “Working Man” from All The Worlds A Stage, you’ll notice that Geddy raises the pitch of the verses way, way up.  I like the studio version better, with a discernible melody in a lower register.

3)   Alex Lifeson was all of twenty years old while recording this album, and so much of what he does is melodic and tasteful.  He allows his solos to breathe, something seasoned professionals often fail to do.

4)   Rush employed extensive use of doubling lead vocals and, on occasion, lead guitar, a technique that worked very well to create a fuller sound.

Sure, the lyrics on most of these tunes are silly, but what do you expect from teenagers?  There are great riffs (“Finding My Way,” “What You’re Doing”), refreshingly positive messages from a blues-rock band (“Take a Friend”) and a little foretaste of more ambitious efforts (“Before and After” and “Working Man.”).   Comparing this album to other rock bands of the 70s, Rush is better than anything Kiss ever produced (IMO), and better than bands like Foghat, Head East and Ted Nugent.  It doesn’t reach the heights of, say, Van Halen’s or Boston’s debut album, but still, an honest and impressive album for a bunch of 20 year-olds.

Comparing this album to Fly by Night or Caress of Steel is almost ridiculous.  Those albums aimed very high and missed a bit.  This album aims straight on and, to my ears, hits the mark.  It’s like comparing a Will Ferrell movie to a poor film by Scorsese.  Still, that’s exactly what I’ll be doing in thirteen days.

Tomorrow, I’ll be listening to…drum roll, please…number 15!  Fast-forward nineteen years to the album Counterparts, an oft-overlooked effort (except for my local college radio station that plays it incessantly!).  Off we go…

20 Rush Albums in 20 Days: Grace Under Pressure

DAY FIVE: Rush, Grace Under Pressure, running time 39:12, released April 12, 1984 (my 16^th birthday)

No Rush album captures the feel of a time period the way Grace Under Pressure does, taking us to an era of Reagan and Gorbachev, The Day After, War Games and general paranoia about what lay ahead.  It’s a feeling that might not lend well to an enjoyable listen, and indeed, the entire first side of Rush’s tenth album is in a minor key with production that sounds like cold, stainless steel.  Luckily, just as the album starts to labor under its own weight of self-importance, side two comes to save the day

Rush recruited Peter Henderson to help with production after parting ways with long-time producer Terry Brown, and the results are mixed.  Some of the choices are extremely unsatisfying.  Half way through listening to “Afterimage” I had the sneaking suspicion that Journey’s ”Separate Ways” must have been playing on an endless loop in the control room prior to recording this song.  Terrible synth choices, and for me, the weakest song on the album by far.  The instrumental breaks of this tune and the following track, “Red Sector A,” are among the most unsatisfying of any Rush song.  True, Alex Lifeson doesn’t need to have a guitar solo on every song, but instrumental sections also have to lead somewhere.  Here, they remain stagnant, serving as little more than time filler.

The opening track, “Distant Early Warning,” still holds up well, and the lyrics “You sometimes drive me crazy – but I worry about you” have never resonated more to this father of three.  The dreary mood of side one gives way to a refreshing set of songs on side two that alter the feel of the album just enough to provide a welcomed second wind.  “Kid Gloves” is a fun tune, and one that I would have expected to become a mainstay in Rush’s setlist, but it hasn’t been played in concert since 1984.  Go figure.  Rush added “The Body Electric” to its most recent tour, and I thought it was a refreshing addition.  Yes, the chorus is a little cheesy, but I’ve always been a fool for cheesy songs.  “Red Lenses” is one of those tracks that inspires a heated reaction.  My son hates the song, and from what I’ve read on-line, many other Rush fan feel the same.  I love it.  And though a guitar solo is avoided yet again on this tune, the instrumental passage works, offering a change in feel instead of just droning on the way other tracks from this album do.  "Between the Wheels” ends the album where it began, in an ominous minor key, as if to remind the listener that despite the mild humor of the previous song, things really aren’t okay.  As if we needed reminding.

Lifeson's guitar work on Grace Under Pressure is very interesting.  I comare his crunchy, clean upbeats on "The Enemy Within" to his work on "Vital Signs" three years earlier, and it's apparent to me that by 1984 he'd found his footing, managing to make the guitar relevent even in the evolving sonic landscape of the 80s.  His contribution, both innovative and subtle, warrants repeated listenings.

Grace Under Pressure benefits from it's short length.  One more tune – especially a tune in a minor key – would have put it over the edge.  As it stands, it's a decent, if imperfect, album.

Tomorrow, I’ll be listening to…drum roll, please…number 1!  The debut album.  Back to the basic blues/rock band with banal lyrics.  This ought to be interesting…

20 Rush Albums in 20 Days: Fly by Night

DAY FOUR: Rush, Fly By Night, running time 37:38, released February 15, 1975

Rush hit paydirt when they recruited Neil Peart to take over drumming duties from original member John Rutsey.  Not only did they inherit a drumming virtuoso, they found a new lyricist – arguably the more important contribution of the two – whose writing would match the musical exploration that was to follow.  Except for a few lingering songs penned by Lee and Lifeson, lyrics would now be the responsibility of Peart, and gone would be the days of “Hey baby it’s a quarter to eight.”  It was a necessary change. 

I am no longer a fan of the high screeching vocal style of early Geddy Lee, and as a result it’s difficult for me to enjoy the first several Rush albums on the same level that I once did.  Indeed, the best songs on Rush’s second album, Fly By Night, are those in which Geddy uses the lower register that would become so familiar in the 80s.  “Making Memories” and “In the End,” in addition to being good songs, both serve as a respite from the shrieking onslaught of Geddy’s vocals.

Still, some of the other tunes are infectious with their complicated grooves and melodic phrases, and Neil’s drumming is so strong that I get the feeling Lee and Lifeson felt unhindered for the first time, able to follow whatever direction their musical imaginations might take them.  “Anthem” begins the album with a vengeance, and it’s apparent with the first lick that this is not the same Rush that recorded “Working Man” just a year before.  Both “Fly by Night” and “Beneath, Between, Behind” are terrifically catchy tunes with great riffs, but the band really misses the mark on three other tracks.  “Best I Can,” written by Lee, is a throw-away song that sounds like a reject from Rush’s debut album.  “Rivendell” is a two minute tune that does on for nearly five minutes with no forward movement.  In effect, it’s a journey that goes nowhere.  And then there’s “By-Tor and the Snow Dog,” a tune that many Rush fanatics love, but for me is overbearing and obnoxious.  In addition to going on far too long, it overshadows Lifeson’s significant guitar work with an incessant and unpleasant “growling” effect created by Lee (and multiple effects).  Yes, I know.  It’s supposed to represent the growl of By-Tor.  I get it.  But it doesn’t make for good listening.  Rush played excerpts from this song on their Vapor Trails tour, and I thought it worked well on that level, but listening to the entire tune isn’t a journey I’d like to repeat anytime soon.

Fly By Night offers glimpses of what the band would become, and while not perfect, its high points still outweigh the low ones.  But better things lay head.  I'm not sure where this will fall when I rank the albums 1 through 20 in another 16 days, but I would suspect somwhere in the bottom half.

Tomorrow, I’ll be listening to…drum roll, please…number 10.  Back to the 80s we go with Grace Under Pressure.  Let’s see if the bridge from the guitar-based Rush to the synth-based Rush holds up well.  Stay tuned…

20 Rush Albums in 20 Days: Moving Pictures

DAY THREE: Rush, Moving Pictures, running time 40:02, released February 12, 1981

So here it is, what many consider to be Rush’s best effort, the album the band themselves played in its entirety throughout their 2010-2011 tour.  Moving Pictures.  So the questions is: does it hold up? 

Um…yeah.  Or…at least half of it does.  Part of it is a masterpiece.  And yet…

Upon listening to it front to back, the first thing that struck me – especially after listening to Hold Your Fire and Presto the previous two days – is just how clean and uncluttered Moving Pictures sounds.  The band was still very much insistent on recording what they could reproduce live, and the result is a crisp mix in which each instrument shines brightly.  Consider Lifeson’s solo on the opening track, “Tom Sawyer.”  Whereas in later years Rush would have added a keyboard part and two additional guitar tracks to emphasize certain moments, here we get the band at its most basic best: a well-executed solo over the clean bass sound of Geddy Lee and the brilliantly recorded “snap” of Peart’s drums.  Perfect.  I’ve heard that Rush were influenced by The Police, and though the music is of course completely different, I can see how the production on Moving Pictures might have been inspired by albums like Outlandos d'Amour and Reggatta de Blanc.

The first side of Moving Pictures is among the best twenty minutes ever recorded.  It has the band’s best instrumental (“YYZ”), among its most melodic songs (“Limelight”), the most identifiable and spirited story (“Red Barchetta”) and, of course, what many believe is the band’s quintessential track (“Tom Sawyer”).  My friend and I used to make fun of Lifeson’s wailing guitar solo in “Limelight,” thinking it completely out of character with the rest of the tune.  Now I think it’s a stroke of genius.  I guess thirty-three years can do that to one’s perspective.

Not so with Lifeson’s work on the closing track of the album, “Vital Signs.”  Here his guitar choices are sloppy and uncertain – not to mention overbearing – almost as if he didn’t know what to do with this foreshadowing of the direction Rush would travel over the next four albums with keyboards taking center stage.  Lifeson would evolve into this role nicely over the next decade.  Here he’s still finding his legs, and the song suffers as a result.

During side two, I enjoyed “The Camera Eye” despite the dated synthesizers, though it does go on too long.  Then I got to “Witchhunt,” a track that for me surprisingly labored under the weight of self-importance and overall drudgery.  I couldn’t help but picture Spinal Tap parodying the first verse of this song: The night is black without a moon/The air is thick and still/The vigilantes gather on/The lonely torch lit hill.  Christopher Guest could have worked wonders with this tune, along with a dancing witch galloping around a black cauldron.  Can’t you picture it?

These are minor quibbles.  Moving Pictures is an excellent album.  Perhaps not as perfect as I remember it, but damn good.  It should not go unnoticed that this album runs at just over forty minutes.  Countless bands would do well to remember that the greatest albums ever recorded stop at around the forty minute mark (or well before).  If Rush had recorded this album just six years later, they would have added two additional tracks, likely encumbering the overall package.  Less is sometimes more.  Just because you can fill 60-70 minutes of a CD doesn’t mean you should (when Aerosmith started releasing albums lasting over an hour – 1993’s Get A Grip – you just knew that things had gone too far).

Tomorrow, I’ll be listening to…drum roll, please…number 2.  Talk about a stylistic change!  Fly by Night is on the docket for tomorrow (only 37 minutes long, too!).  Can’t wait.