MUSIC REVIEW: Rush - Grace Under Pressure

"Rush rocks the 80s!"

Grace Under Pressure is not an exact copy of its predecessor Signals, but it seems to have been painted with the same broad strokes. It's synth-heavy, with a liberal nod to the 80s rock scene, and a compliant attitude to pop/rock. Although the songwriting is mostly strong, my biggest problem with the album is the way it was produced. Terry Brown out, Peter Henderson in. Lifeson's guitars seem suffocated by the production, whereas on Signals the synths and guitars worked well together. I don't know if this was deliberate or inadvertent, but I don't like it. The songs don't seem to rock as hard as they should. The overall sound is a little more tepid as a result.

Despite that, this is a great album from a characteristically great band. You can really here the 80s influence in this one, which isn't that bad because Rush handles it well. Each song sounds good to these ears, and there's a good deal of diversity, although a threatening and gloomy feel permeates the lyrics and the soundscapes. With the synths more important than before, it's good that Geddy's keyboards are a little more interesting than they were in Signals (although Signals may be the better album).

I have no direct complaints, because there is no song that I dislike. The catchy and rockin' "Kid Gloves" is the only song where Lifeson's guitars really take the musical vanguard, and it's a great song. I love the lush rhythms and emotion of "Afterimage," the big sound of mammoth organ synths in "Distant Early Warning," the acutely atmospheric "Red Sector A," and dynamic synths and melodies of "Between the Wheels," which I think is one of the band's most underrated songs. The chorus is especially great. Also worth mentioning is "The Enemy Within," the end...err, beginning of Peart's FEAR trilogy. Geddy's main bass lick gallops along with a frenetic tempo, backed by forceful guitars and precise drumming. Even the weird "Red Lenses" and lyrically silly "The Body Electric" are good songs, thanks to interestingly quirky music on the former and slick vocal hooks on the latter.

Like I said, no direct complaints, but I can fault Grace Under Pressure habit for some directionless ideas. For instance, "Afterimage," which is one of my favorite songs here, starts with a shadowy riff and a moody synth, but out of nowhere come these weird, staccato synth chords that sound out of place. It kind of throws the song off a bit. There are moments like this all throughout the album. Still, it is a great disc that I'm more than happy to own.