MUSIC REVIEW: Rush - Roll the Bones

"Get busy with the facts."

Although the overall quality of songcraft is a notch or two below Presto, Roll the Bones is similar in style -- very melodic rock, although this one has a tendency to rock a little harder. I suppose this might be attributable to producer Rupert Hine's influence (he worked on Presto, too). If you liked Presto, you should like Roll the Bones, although if Presto wasn't your cup of tea Roll the Bones may still be likable given the harder edge.

In terms of melody, the band still shines. The title track is a positively groovy number with a killer vocal hook in the chorus. There's also...ready for this?...a rap section in this song! It's weird, but it's pretty funny and has its own element of charm, and heck, it fits perfectly. While that melodic sensibility is still here, the more hard-hitting production charges inspiring songs like "Dreamline" and "Face Up" with an absolutely infectious quality. One also has to appreciate the band's first instrumental in 10 years with "Where's My Thing?" It's not the same virtuoso material as "La Villa Strangiato" or "YYZ," but the arrangements are stellar and the solid melodies are present. "Bravado" is one of the few Rush songs with vocal melodies I'd call beautiful, and "The Big Wheel" has an ultra-catchy chorus and fun verses. And, it's been awhile, but Lifeson's guitar solos are suddenly energized like they haven't been in a long time. There's a lot of power in the solos here, especially on the first two songs.

I don't think there's any filler here...the songs are either great or good. No, it's not Hemispheres or Moving Pictures...it's Roll the Bones, and it's different...but still awesome.

MUSIC REVIEW: Rush - A Show of Hands

"Slick songs with an edge."

It bewilders me that people say the songs here sound identical to their studio versions. I couldn't disagree more. In most cases, I think the performances on A Show of Hands catch fire, injecting considerably more energy than was present on the studio renditions. Though not quite the unadulterated intensity of All the World's a Stage, due to some glossing with overdubs and some added maturity, A Show of Hands is still exciting and emotionally charged. Take, for instance, "Subdivisions," a song whose energy breaches the ceiling with a crunchier presence of Lifeson's guitars, fiery drumming, and Geddy's passionate delivery. Actually, on each song here Lifeson's guitars have a bigger presence than the studio versions. That alone boosts the intensity level. Yes, the incidence of overdubs detracts strongly from the imperative, genuine live feel, but I'd still say there's more than enough energy to compensate. "Marathon," one of my favorite Rush songs, never gave me more goose bumps (that final chorus just soars!). "Closer to the Heart," a requisite concert staple, gets a new jam tagged onto the end, and it's a strong conclusion to a strong live album. Sprinkled throughout are songs that showcase the lighter, melodic side of the band. "Time Stands Still" and "Mystic Rhythms" sound infinitely better here than on the studio versions, thanks to a powerful, emotional performance. Peart's drum solo "The Rhythm Method" is sure to have a few jaws hitting the floor. The man is the master! If you didn't like Rush's "synthesizer era," don't buy this unless you're a completist. But if you do like those albums, definitely get this one.

MUSIC REVIEW: Rush - Exit...Stage Left

"Killer songs and performances."

Suitably enough, Rush recorded a live album to top off the most successful period in their careers. Permanent Waves and especially Moving Pictures had secured reams of popularity for the power-prog trio, so a high-energy live compilation was the perfect coda to this hallowed chapter in the band's history.

The tracks here cover a fairly broad range of Rush's catalogue up to this point, but skip over the debut and Caress of Steel. Although this collection largely covers the band's shorter, more commercial songs, they never forget the progressive rock wings on which they once soared. I'd say the song selection is perfect. Alongside hits like "Freewill," "Tom Sawyer," and "The Spirit of Radio" are progressive epics like "Xanadu" and "Jacob's Ladder." One of my favorite moments on the album comes with "La Villa Strangiato," an astounding instrumental tour-de-force that concretizes the band's standing as musicians' musicians. Live, this song SMOKES. Lifeson's first solo in this song is infused with tenfold the passion of the original, and I can't help but get chills up and down my spine listening to it. Still, while the energy is there and the songs are great, there is major overdubbing that renders the album a wee bit too polished, and the band's blazing live ebullience is diluted somewhat.

Still, this album many wonderful moments. The precise, stunning drum solo during "YYZ," "Closer to the Heart" with the entire crowd joining in with Geddy on vocals, the ultra-high energy performance of "Red Barchetta," the serene melodies of "Broon's Bane" as a seque into the hard-rocking "The Trees"...the list is endless.

I was kind of disappointed by the album's dubious representation of the concert experience. At the end of most tracks, the sound fades out and then comes back in for the next song. It's like it's taking snippets from several concerts instead of capturing the seamless performance. Most live albums cut superfluous crowd noise and chitchat, but blend crowd noise together so that it flows smoothly from song to song anyway. This works better in preserving the feel of the actual show. Annoyingly, here you'll often hear silence between the tracks and it creates a frustrating disjointed "concert" experience.

But it's not so bad. As a high-energy live "greatest hits" type package, Exit Stage Left can't be beat. Rush rules the world, and this captures them at their best.

(Oh, and make sure you get the Remastered edition, which has "A Passage to Bangkok," a rockin' song that was not included on some of the earlier pressings.)

MUSIC REVIEW: Rush - Presto

"Up there with the best the band has to offer."

As the self-designated music snob and uncompromising progressive rock fan, you might have expected me to hate Rush's mega-synthesizer laden phase that began with Signals and ended with Hold Your Fire. Well, not quite. I love all those albums, and Hold Your Fire especially sits comfortably with Rush's other greats. The 80s was a time when Rush drifted farther away from their progressive roots, and began writing more melodic, groovier songs. Although Presto is very different from the four preceding records, I believe it captures that melodic quality best. It goes a bit more towards the "rock" than the "synth-fest". It is one of my favorite Rush albums.

Lifeson and Lee, who write the music, clearly have an incredible ear for melody. This album is just bursting with hooks...every song features an infectious chorus, an ear-catching guitar lick, or a tuneful arrangement...though, often, it's all of the above. Here, they've toned down on the use of synthesizers, although they are still present, but now they add a subtle texture to the music. Instead of driving the song, they supplement it, like on "Superconductor" where the keyboard helps elevate the song's intensity as they build under the song's catchy refrain. Lifeson's guitar is back in the forefront on many most, although his riffs seem more designed for tight, hooky rhythms and not technical flash or big crunch. Here, it's all about fantastic melodies. There are also a lot of simple piano chords that set a nice melodic foundation on songs like "Available Light." And lyrically, Peart would be hard-pressed to match the quality here. "The Pass" is some of his most touching writing. Also, his call for environmental awareness on "Red Tide" isn't cheesy like it is with other lyricists who tackle the issue. The song rocks too. I've also noticed "Chain Lightning" doesn't get a lot of praise, but I think it's a great song with an unforgettable melody.

I could discuss every song individually, but I don't see the need. Each track is a perfectly crafted song, concise, musically arresting, with superb vocal melodies with an emotional redolence that sometimes evades Rush's music. I must say one thing though. I resent Peart for telling me "The mirror always lies" (from "War Paint") when basically every other "mirror" song I've heard says the mirror _never_ lies. This makes me screw up the line when I try and sing along. Shucks... But ah well. It's a stupid, dumb complaint, and it doesn't change the fact that this is one of my favorite albums from one of my favorite bands.

MUSIC REVIEW: Rush - All the World's a Stage

"In the flesh."

Wow... I've never heard a live recording where the crowd whistles so much. Anyway, that's not so important. Rush had just released their pivotal power-prog release 2112, which featured the phenomenal side-long title track based on the writings of Ayn Rand. And the highlight of this live release is, in my opinion, an awesomely energetic performance of that epic. Some parts are cut out, reducing the song to 16 minutes, but it still rocks, man. At this stage in their career, Rush was rockin' hard, evident with crushing cuts like "Bastille Day," "Something for Nothing," and "Working Man," which has one of Lifeson's most exciting guitar solos to this day. The band also performs "By-Tor and the Snow Dog," which features some sublime instrumentation in the middle. Neil Peart's drum solo is interesting and very musical...I mean, it's more than just a guy hitting stuff. This is a great live album from the days when Rush was young and gushing energy.

MUSIC REVIEW: Rush - Power Windows

"Attack of the 80s, part deux."

This is part two of what I call "The Rush 80s Trilogy," preceded by Grace Under Pressure and followed by Hold Your Fire. (Signals really felt like a transition.) With all three of these albums, Geddy's keyboards were BIG, sometimes cheesy, and sometimes more important than Lifeson's guitars as the source of power for the songs. Of the 80s Trilogy, Power Windows is the hardest rocking of the bunch, and the mix of New Wave in with their staple hard rock direction made for some good music.

What's important here is that the synths are lumped back with the feel they had in Signals -- that is, a better balance is struck between the guitar riffs and the keyboards. The bass sounds bigger on this album too, so I'm thinking that Peter Henderson (from P/G) wasn't the right producer for Rush.

To me, there are few Rush songs better than "Marathon." This song has the tremendous power to raise mood with its high spirits. This song just gushes power...anytime you're feeling down and out, just throw on "Marathon" and everything will be cool. Peart's lyrics are inspirational, and the intensity of Lifeson's solo raises the song to dizzying heights that peaks with the final chorus, incorporating vocal harmonies, choral synths, and real strings. It's just awesome.

There's a bunch of other good stuff too. On "Middletown Dreams" is a good anthemic cut with some of Lee's most interesting synthesizers. Lifeson's guitars here work in bursts that works neatly with the synthesizers. "Mystic Rhythms" is one of the band's most magical compositions, with echoic percussion and synths and ambient guitars. It's sort of ghostly but beautiful. "Manhattan Project" is gutsy and evocative with cool keyboard speckling. "Territories" uses some world influences to spice up the composition, but unfortunately the chorus lacks any punch and the lyrics are pretty ambitious. "Big Money" is the extensive opener with fiendishly catchy riffs and lyrics. "Grand Designs" and "Emotion Detector" are fine songs as well, but I'm tired and running out of things to say.

Not everyone likes this form of the former power-prog trio, but for the rest of us, it's another rockin' album from Rush. Now, what is the best album of the 80s Trilogy is up for debate, but Power Windows definitely has the best song. ("Marathon.")

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.

MUSIC REVIEW: Rush - Signals

"Rush hits the synths hard!"

There is a chorus of voices that aver Rush went downhill after Moving Pictures. I like all of Rush's work, so I would instead say that they changed without depreciating in quality. Deftly merging with the 80s' music climate, Rush's synthesizers -- which, up to this point, had always added texture and ambience -- now became one of the band's main thrusts, working alongside Lifeson's groovier, lighter rhythms. Lee was singing at much lower ranges, and many were finding that he had a very pleasant voice when he wasn't shrieking. Hey, I love his old voice, but it was a bit much for some people.

The fantastic MTV hit "Subdivisions" opens the album with an urgency propelled by lush synthesizers and big hooks, which sets the tone for the rest of the disc. Alongside this commercial triumph is the other radio hit, "New World Man," which is a catchy blend of rock and reggae. "Chemistry" is similar in style to this one, but the lack of a vocal or lyrical hook kills the song. Other highlights include the sad "Losing It," which includes delightful electric violin and some of Peart's most touching lyrics; "Digital Man," which is up-tempo yet mellow and catchy; and the superb "Analog Kid," which rocks hard with the verses but slows to a placid exquisiteness with the unforgettable chorus.

The overall feel had altered, but Rush retained their passion and songcraft that allowed them to survive -- and prevail -- with the change in bearing. That's why this is a great album.

MUSIC REVIEW: Rush - Moving Pictures

"The crush of Rush."

I find it delightfully ironic that Rush, a band critics loved to hate, released Moving Pictures, the album I'm sure critics hate to love -- it had them eating their words, after all. An undeniably great album from those pretentious and nerdy progressive rockers? Yeah right! Seriously, it is difficult to contest this disc's perfection, which is the logical extension of its predecessor, Permanent Waves (it could very well be called Permanent Waves Part II). Moving Pictures is a highly engaging, accessible, and timeless piece of work.

Although the touted folds of progressive rock were being peeled off, the improvements over their previous releases are manifold. Very importantly, Lifeson's solos are more melodic than ever, but the style is still unmistakably his. The songwriting is intense and the musicianship is brilliant, but this is catchy stuff. This is probably the most welcoming progressive rock album ever recorded. I mean, you didn't have to like progressive rock to like Moving Pictures. That's part of this record's magic...but only part, mind you. We all know Rush is terrific in terms of ability, but we would have never guessed they could write such great songs? Yes, we had hints of it with "The Spirit of Radio" and "Freewill," but here the songs are better than you'd be led to expect. (Although I must say I prefer Permanent Waves to this, on the whole...heresy, I know!!)

Moving Pictures is ultra-sleek, commercially accessible but not-necessarily-commercially-directed songwriting is done impossibly well. The album's production is perfect, hitting the right balance between Rush's power and clarity, which is just right for this kind of release. (Before this, rawness and power were good...after, clarity and slickness were preferable.) Rush's lyrics were changing to accommodate the shift in musical direction. Less broadly philosophical, more modern and "normal," but still intelligent and socially intuitive. "Red Barchetta" is the last sci-fi song Peart ever penned (unless the you count the robot songs). The concept seems simple, but there's an interesting bit of underlying commentary that we expect from Peart. "Witch Hunt's" lyrical message is fairly acidic because of the scathing metaphor involved. Clever stuff. What I always liked about Peart is that it was easy to understand what his songs were about, but his diction and intelligence were always inspired.

Some call it the best Rush album. Some call it the best rock album. I'll avoid the extremes and just say it's a must-have classic that belongs in the musical library of any rock n' roll or progressive rock fan. Oh yeah, and if you like Rush but you don't have this, something's seriously wrong with you.

MUSIC REVIEW: Rush - Fly by Night

"Enter Peart."

Fly by Night signals the departure of John Rutsey and the recruitment of superlative rock drummer Neil Peart. Peart's membership helped guide this band to a more progressive, powerful trio than they were with the debut. His contributions musically and lyrically were HUGE. But it's important to keep in mind that in being an important album, Fly by Night is not necessarily a great one.

The record begins with "Anthem," a fiery-played rocker with Peart's first lyrical input. He lacked subtlety at this point; his Randian lyrics come across as pompous and hollow when too direct. (With "2112" and "The Trees," for instance, the lyrics work well because he's more clever.) "Rivendell" reminds me of a medieval minstrel's song. Gentle acoustic guitar accompanies Lee's most limpid vocals. I actually like this one, although many others don't care for it. I also enjoy the peppy riffs and catchy chorus of the title track, and the Zeppelin-esque "In the End."

I'd say the best song here is "By-Tor and the Snow Dog," a seminal progressive suite for the band. Although people say the instrumental interlude is aimless and boring, I like it a lot. The band uses their instruments in resourceful ways to convey the battle between By-Tor, the prince of the underworld, and the Snow Dog, a beasty-monster-thing. In that respect, it's somewhat like Yes' "The Gates of Delerium," but not quite as good. (On their live album All the World's a Stage, the band extends the instrumental section and makes it more interesting.)

Rush still required growth, some focus, but they were on the road to success.

MUSIC REVIEW: Rush - Rush

"Hard to review."

Rush's first recording isn't a Rush album, per se. It's actually a little hard to judge fairly as it is pretty forgettable in the grand scheme of Rush's career.

Before Neil Peart joined, before Rush gained notoriety as a respectable progressive rock band, they were a becoming Led Zeppelin-esque band that rocked hard. And they rocked hard well. Former drummer John Rutsey was no Peart, but it doesn't matter. This is rock n' roll, with no trace of the progressive ambition the band would later embrace with Peart's vision.

So what does it offer? Sleek guitar licks, melodic and lyrical hooks, and energetic arrangements and performances. Some of the lyrics are embarrassingly banal at times, and in many ways the album is disappointingly straightforward, but what the album lacks in instrumental pyrotechnics and progressive factors, it makes up for it with the infectious exuberance of a band's first album. Even at this first step of their career, the band shows high spirits and a good knack for songwriting.

The band would quickly change for the better with the departure of Rutsey and the arrival of Peart. Although many dismiss this album as the forgettable debut, I can't help but be amused by its simple charm. It does nothing to show how they were destined for greatness, but the music is good. Isn't that what matters?

MUSIC REVIEW: Rush - Caress of Steel

"Lack of focus can't undermine quality of material."

Although this is one of Rush's most unfocused records, I've always really liked it. I guess the band hadn't quite cohered entirely at this point, and it's a bit weird to have one song about heroes fighting against an evil wizard and another song about getting old and losing your hair.

The side-long epic "The Fountain of Lamneth" shows that the band hadn't quite mastered the long format. For one, the song FEELS long (and it is, at twenty minutes), whereas later Rush epics seem to zip by. Still, it's got the requisite thematic integration, soft moments, loud rocking moments, and a catchy chorus during "Baccus Plateau". It's a favorite.

"The Necromancer" is basically three separate songs tied together by a little story about an evil sorceror and those who fight him. The narrator is hilarious because his emotion and pacing his so awful, but I wouldn't have it any other way. The song finishes with an triumphantly uplifting riff (the necromancer has been defeated!) that makes me want to raise my fist into the air.

The rest of the album is pretty ok. There is the laughably bad, ultra-generic "I Think I'm Going Bald," but "Bastille Day" is a solid rocker and "Lakeside Park" is mellow and catchy. The album is really worth it for the two long songs. It's easy to forget this one (it was the precursor to 2112, after all), but it's underrated and deserves recognition.

MUSIC REVIEW: Rush - A Farewell to Kings

"Add this to a list of 'Rush's Best.'"


While 2112 was the first Rush song I ever heard, A Farewell To Kings was the first Rush album I owned (the store didn't have 2112 at the time). Sentimentally, it's a favorite because it was among my first progressive rock albums, but beyond the gushiness I still love this album because it's great music.

For a band that critics hated, Rush had quite a following at this point, picking up numerous fans who'd been dazzled by the band's stunning musicianship, philosophical reflection typically disguised as fantasy/sci-fi stories (but not always...sometimes it was just a story), and the fact that they freakin' rocked. A Farewell To Kings produced one of the band's most popular songs, "Closer to the Heart," which continues to receive the attention of classic rock radio stations all over the place. I don't use superlatives too much, but I must say that this is the best rock song under three minutes EVER. The socially conscious title track squeezes a lot of "progression" into a 5 minute song. The highlights of this album are the mesmerizing epic "Xanadu" and the rockin' space adventure known as "Cygnus X-1, Book I." Even though the latter is best appreciated as a precursor to the phenomenal "Hemispheres," it's a great song even on its own. The first movement is ominous, the second is catchy and exciting, and the third is an insane rhythmic assault underscoring Lee's screaming vocals.

Finally, like most of Rush's work, this really doesn't sound dated at all, despite being released in the late 70s. Timeless music is great music!

Critics are retarded. Rush rules. Or something. But I'm pretty sure I'm right.

MUSIC REVIEW: Rush - Permanent Waves

"One of the best rock albums ever."

It is with Permanent Waves that Rush began to shed their progressive trappings and garner more interest beyond the steadfast progressive crowd. Geddy Lee began to sing at lower ranges, complexity was trimmed, but excellence was preserved. It is a precursor to Moving Pictures; a bridge between their recondite progressive rock days and their immersion in the mainstream. But while most transitional albums merit dismissal, Permanent Waves remains one of the band's best releases, accessible to the band's aficionados from their progressive era or their lush pop/rock days.

"Spirit of the Radio" and "Free Will," both recipients of lucrative radioplay, prove that songs can be commercially accessible without sacrifice. Neil Peart's superb lyrics lift "Spirit of the Radio" from a mere tribute to radio in Toronto to something markedly intelligent (he could always make something simple seem deep), and it features some of rock's most memorable guitar riffs. "Free Will" is an anthemic piece with inspiring individualist lyrics and an energizing solo by Lifeson.

Beyond the album's most recognizable songs, there's plenty of great material. "Entre Nous" is a love song with brains, all the better because it never uses the word love (all of the best love songs eschew the word, I find). "Different Strings," featuring some piano during the chorus, is a pretty song, and my favorite of the band's ballads. "Jacob's Ladder" is one of the band's most mysterious compositions. The stormy arrangement is dense, with swirls of synthesizers and fierce, chaotic riffs. The epic "Natural Science" is the closest thing to their previous epics, written in three movements and covering plenty of musical ground, from the enigmatic opening, to the futuristic-sounding mid-section, to the anthemic finale. It's as good as anything they ever wrote.

In the end, Permanent Waves is a rock milestone. A remarkable synthesis of progressive rock and commercial music, although there's nothing really commercial about it. Just great music, plain and simple.

MUSIC REVIEW: Rush - 2112

"Totally awesome rockin' prog and memorable sci-fi story of heroism."


2112 was an important album for Rush, because it combined with breadth of scope that they'd previously flirted with combined with tighter songcraft. Not to mention, absolutely memorable proto-prog-metal rockin' awesomeness. Up to this point, it was their best album. It was also their breakthrough record (well, comparatively speaking), and showed that lots of people would like a twenty minute epic if it was done so well.

2112 is NOT a concept album (a lot of people mistakenly label it as such). Anyone who says it is has the burden of showing how the title track is at all related to any of the other songs. Trust me, no such connection will be made unless you've hit the bong about 1000 times.

In any case, the big title track does tell a heroic story about one man who fights for individualism in a collective world. Ostensibly inspired by Ayn Rand's novella "Anthem," it uses a frightening sci-fi setting to tackle the good old debate of the individual vs. the collective. For the first time, the band writes an epic that seems about half as long as it really is, with inflections of driving riffery, soft acoustic moments, and virtuoso proficiency throughout. Reams of ear-catching riffs drench the "Overture," and the song progresses through its seven movements of rocking euphoria. This SOB is one of my favorite Rush songs ever, and it's the one that really got me turned onto the band.

The rest of the album is pretty good, but "2112" is what this disc is all about. A must own rock album.

MUSIC REVIEW: Rush - Hold Your Fire

"Attack of the 80s Part III."

Sure, the unequivocal 80s pop sound is evident here, like synth-soaked songs, the vocal stylings, and whatever else. That's not inherently bad news, however. You see, unlike most progressive rock bands, Rush fared well when the 80s sucked them in (Yes or Genesis, on the other hand, were turned to crap by the 80s). There is nothing tremendously distinctive about the songs themselves, other than the fact that the writing is very high caliber all throughout. Hold Your Fire is similar in sound to Power Windows, but it rocks a little less and shines a bit more often from track to track. I can empathize with the prog rockers who were PO'ed when Rush went in a very commercial direction, because it can be frustrating when a band goes through radical changes. I dig this record though. Neil Peart maintains his reputation as rock's best lyricist, while Lee's continued flirtations with synthesizers yields some effective results. Some people say "Damn you, Lee, drop the keyboards and pick up your bass guitar!" Cripes, listen to the album! It's full of dexterous bass playing, and combined with Peart's drumming it rounds out one of the best rhythm sections around. I kind of feel sorry for Lifeson, who is one of rock's most original guitarists but whose role on this album is diluted (although he provides an awesome solo on "Mission" and some vital energy on "Force Ten" that make that song so great, and some great ambient chords on "Tai Shan"... and lots of other cool parts, so whatever). Although I've never really warmed up to "Turn the Page," I dig this album... and this is from an overweening progressive rock fan. So, I give Hold Your Fire 5 stars.

MUSIC REVIEW: Rush - Hemispheres

"Awesome Rush."

Rush's days of progressive rock hit their zenith with Hemispheres. It was big, bold, pretentious, orchestral...and it rocked. The incredible piece, "Cygnus X-1 Book II," proved that the band had mastered the epic format. Written in six movements, tied together by thematic unity, and telling the story of the philosophical conflict between reason and passion, it is possibly their best epic. Here, the band combines classical music's sense of space and monumental scope with rock's raw power and energy. The mixture of loud and soft passages and crescendos do more than add to the dynamics of the arrangement, but also perform well in translating the emotion of the composition, which is important given the song's philosophical overtones. Eighteen minutes never went by so fast...which is complimentary. It takes considerable skill not to make an epic seem long, and even more to make it seem short. This is especially laudable in Rush's case, since they don't have the added dimension through an emphasis on keyboards that most progressive bands have.

Side 2 of the album features two short songs and a 10 minute instrumental. The short songs are stronger than most that have preceded this album. "Circumstances" is a classic short Rush song (they have so many!), characterized by Lee's trademark shriek (really high on this one!), tight riffs and a great melody. "The Trees" is another favorite. A forest is used as a metaphor for socio-economic issues. Corny? Nope, just really smart. The serene interlude complements the natural setting, with some inventive percussion from Peart. "La Villa Strangiato" is what the band called "an exercise in self-indulgence." Ten minutes of awesome instrumental virtuosity that affirms the skill of the band. They say it's pompous, but the song is good enough that non-musicians can still appreciate it. Lifeson's guitar solo here is one of the all-time best Rush moments.