on July 7, 2004
Canadian power trio Rush's ninth(and eighth studio overall) album entitled Moving Pictures was released in February of 1981 to fans whom were heavily anticipating a strong follow-up to the previous year's Permanent Waves, which was Rush's first Top 5 album here in the US thanks to songs like Freewill and The Spirit of Radio. When fans first went to the stores to buy MP, the artwork must have caught some eyes. The title of the disc Moving Pictures had monumental multiple meanings. First, there is workers actually "moving pictures". Then, there are people crying because the pictures are so moving. Finally, there was a film crew making a moving picture of the whole scene on the back cover. Plus, actual moving pictures of the band at their respective instruments(on the original CD, drummer Neil Peart's photo was missing, luckily on this remaster, his photo was restored). Also, Bob Ludwig(whom originally mastered the album), did a superb job on the remastering of this remastered version. All of the songs on Moving Pictures were written by all three Rush members except*(with Pye Dubois) and +(by Geddy Lee/Peart). The album starts at full throttle with Tom Sawyer*, which was talking about modern-day heroes and using one of Mark Twain's character as a metaphor and featured rapid playing by Peart, guitarist Alex Lifeson and bassist/vocalist/keyboardist Lee, whom was singing more and more in a lower octave on this album than previous albums. The song Red Barchetta follows, and is about a person who goes to his uncle's farm and discovers a car. The music picks you up then accelerates as the song goes on and then ends as it began by dropping you off at the next location. Next is YYZ+, an instrumental named after the luggage tag code at Toronto airport. That track was used as the focal point for Neil's drum solo in concert off and on for the next nine years after this track came out. The first half ends with Limelight, which was more of Neil's song about his problems dealing with fame and was more sensitive than Alex or Geddy were in dealing with autograph hounds and stalkers and was a Top 100 hit in 1981. The second half kicks off with the 11 minute epic The Camera Eye, which was the last 10 plus minute suite Rush ever recorded and is a classic and is split in two parts. First, we're in modern day New York and then we go back to ancient times London and featured excellent guitar work by Alex and synth and bass work by Geddy. Next is Witch Hunt, which was the third part of a four-part saga called Fear and is about dealing with prejudices and injustices in the world. Interesting fact, the mob rants at the start of the track was actually multi-tracked rants and raves of the three Rush members whom were acting hyper after drinking bottles of Scotch outside of the studio(Le Studio in Morin Heights, Quebec, Canada) and it was cold outside(below freezing) and the band were drinking and bellowing to create that rant effect. Plus, the song had album Rush album cover guru Hugh Syme on synthesizers and two drum tracks by Neil to create a synth drum sound years ahead of its time. The album concludes with Vital Signs, which would not have sounded out of place on a Police album and is a great track. Moving Pictures was an instant smash peaking at #3 on the Billboard album charts and selling over 4 million copies in the US alone making it Rush's biggest seller. Today, this album still sounds fresh and hasn't aged at all. This album belongs up there with The Dark Side of the Moon, Who's Next, Hotel California, Back in Black, Appetite For Destruction, A Night at the Opera and Sgt. Pepper. A classic!!!
You can't go wrong here. If your a rush fan you know how great the cd is. I like Rush but I don't love Rush. In fact most of their 80's output i would be happy to never hear again. But when Rush is good they are Great. And this (along with 2112. Wow could you imagine 2112 in 5.1. talk about a record made for the format) is Rush at their best. This CD is solid from start ti finish. The 5.1 mix on the Blu Ray is great. Clearest you have ever heard rush. I really hope that this is the begining of a re-issue program which would be amazing. Snakes and Arrows came in 5.1 and it wqs great. Now we get the amazing Moving Pictures. Keep the 5.1 coming!! It really is like a whole new way of listening to music and with 5.1 or 7.1 systems getting so cheap you don't have a reason not to.
on July 4, 2004
This album is seen as one of, if not RUsh's best album and also as the transition between their first few CDs (which were more hard/prog rockish) and their more experimental future albums. Much of the praise that this album gets is well deserved as many of Rush's classics come from this album.
Since this is a Rush album, the excellent musicianship is obviously present. Neil Peart's drumming is amazing on this album as he creates complex rhythms and navigates the band's irregular time signatures with ease. Peart's lyrics are also interesting and thought provoking in some cases. Alex Lifeson's guitar playing is also top notch. He lays down some great solos and some classic riffs like the one in "Limelight". The final member of the group, Geddy Lee is also amazing on bass. He creates many great basslines (as usual) like the one in the instrumental "YYZ". He lays out some nice synthesizer parts too. His high pitched acquired taste vocals could take away from the album for some but I think they fit the music fine. They are more tolerable than those on some previoius albums which were even more high pitched.
1. Tom Sawyer: This is the most popular song off this album. It deals with independence and individuality. I really like the bass parts and the drums in this song. The song is quite catchy. Definitely one of my favorites off this album. Classic Rush. 10/10
2. Red Barchetta: This 6 minute song is also one of my favorites. The lyrics are about a future society/govt. that bans the use of cars. The character in the story is going joy riding in his Uncle's hidden car. The music is very good as are the lyrics. I like the vocal melodies as well. Great song 9.5/10
3. YYZ: This instrumental starts out with Peart tapping out morse code on his cymbal. The song then moves into a dissonant section before transitioning into its main melody. The extremely cathcy bass lines are really superb in this song. They pretty much dominate the much of song before the guitar solo. There are many mini bass and drum solos throughout the songs as well. Extremely catchy. Another favorite and Rush classic. 10/10
4. Limelight: Another amazing song. The lyrics are about fame. The opening guitar riff is superb and is extremely catchy. Probably the best on the album. I like the vocal melodies a lot too. ANother one of the big hits from this album. 10/10
5. The Camera Eye: This song is the first not so good song on the album. It is about 11 minutes long. I definitely did not give this song much of a chance and I should listen to it again. I just don't care for really long epics so much unless i find them really interesting. I think some of the guitar parts were catchy. The lyrics are about New York and London possibly. 7/10
6.Witch Hunt: Pretty good song. There is a sample of some sort of mob. Next is a nice synthesizer part that I think they got a guest to do. The music is dark as are the lyrics. The song is part of the "Fear" trilogy. Neil Peart said in an interview that it was about how fear leads to mob mentality. The lyrics are quite cautionary. It is semi political and seems left leaning. Not one of the best songs but still pretty good. Good lyrics. 8/10
Vital Signs: I didn't like this one. Sounds a bit reggaeish. I didn't really appreciate this one. It's OK. 5/10
Overall, I reccomend this album. The first half is really top notch but the last three songs were a bit less compelling. I give this five stars more or less because the first 4 songs were so good.
The great musical academic Tom Morwood once called this the greatest album of the 80's. I think he's right. Aside from "Tom Sawyer" (fer Christ's sake even Barenaked Ladies did a tribute to this song) you get such classics as "Red Barchetta", "YYZ", "Limelight", and of course "Vital Signs". This is back in the day when 7 or 8 songs made an album, and Moving Pictures' 7 songs are a hell of a collection.
Although the Rush catalogue was remastered back in '97 (or there 'bouts) this is the first Rush deluxe edition to hit the shelves. Unlike most deluxe editions, this one contains no bonus tracks. Disc one is Moving Pictures, remastered, and disc two is the entire album in hi-def 5.1 plus three music videos. Disc 1 has been remastered (yet again!), but don't fret -- unless you're an audiophile, you don't need to worry about that. The 1997 CD edition sounded fine, as does this. You're buying this for the 5.1, and if you can't play 5.1 just stick with the original CD which sounds pretty much the same to the average Joe Listener.
If you don't own this album yet, what are you waiting for? Any rocker with a sense of integrity owns at least one Rush album, and it may as well be this one. Although Geddy had brought the keyboards out, this album still represents the perfect mix of Alex's guitar and Ged's keys -- not fighting for space in the mix, but sharing it equally and powerfully.
The 5.1 mix, done by Toronto's own Richard Chycki (he's been doing Rush and Triumph remixes for years now) is pretty damn good. It's different. Listen to "Vital Signs" for example. It's different, the balance of instruments and vocals. Considering the origial stereo mix was perfect, and you can't fairly compare to perfection, I will just say the mix is different. It's definitely a great listen on a good system, I liked what Chycki did. Again, listen to "Vital Signs". What he did there just creates this amazing field of sound. There's a great separation of instruments. Rush were a great band to mix in 5.1, you can really hear the individual playing.
The music videos are old and don't look so hot, but here they are. I have always loved watching the "Tom Sawyer" video, Neil bashing his kit in Le Studio with that big glass window behind him in the dead of winter. The "Vital Signs" video is unreleased.
Liner notes are by David Fricke and are quite different from previous deluxe editions. They don't go into great detail regarding the making of the album nor the 5.1 mix, as previous deluxe editions did. However, it's David Fricke, and therefore a good read.
In a music genre where most of the music is sex, drugs & r'n'r I believe that Rush stands out by being different. Rush have very intelligent lyrics, signature time changes, complex epic songs and musical integrity. The band prides themselves on being very good musicians and are each masters of their instruments. The Canadian progressive-rock trio have no shortage of great music and albums, however, to some listeners Moving Pictures is probably the best Rush album because while it still has that epic and progressive typical Rush feel to it, it's not one big piece that you have to listen to entirely at once like 2112 or Hemispheres. Moving Pictures continues the more radio-friendly formula of 1980's Permanent Waves and as far as I'm concerned do it very well, while maintaining the Rush sound and great music. I suppose the best way to define the album is by saying that it's the most accessible Rush album, after all, not everyone like 20+ minutes songs or grandiose epic songs (I do), for this release the band when for a less epic and more direct-to-the-point approach. MP remains Rush's most successful album to date (4X Platinum) if that says anything, but every fans have their own opinion of which is the band's best album.
Let's go through some of the songs. "Tom Sawyer" is obviously the big it on Moving Pictures, it's a classic rock track and one of the songs the band is best known for. I've heard it thousands of times but it's a great song and a true classic, what can I say? "Limelight" is my personal favorite song of the album AND my favorite Rush song. It describes the experiences of fame. "YYZ" is an excellent instrumental song which shows just how good each band members are at their respective instruments. It's a fantastic piece of music and remains one of the band's best musical pieces even if instrumental. Moving Pictures has what many Rush fans consider to be the last true "epic" song the band did, "The Camera Eye". Well Rush IS nothing short of epic but what I mean by epic are the real long Rush songs, the epic pieces. "Vital Signs" is a true highlight of MP, the song is fairly long at over minutes, Geddy displays a lot of emotion in his voice on this one. I feel it's one of the band's best songs.
After Moving Pictures, Rush went into a more commercial or radio-appealing sound (although I wouldn't consider the band to be commercial) with more keyboard-oriented songs and sounded more like contemporary 1980's music. Moving Pictures is one of Rush's best albums and an excellent place to get into the band but don't miss out on the band's other classic works like "2112" and "Hemispheres"! 5 stars for this one.
on October 10, 2008
'Moving Pictures' is certainly one of the most accessible albums Rush have ever produced; however, when you sit down to listen to it, it is quite apparent that even though it is now released on a single sided CD, it still has two sides, the pop and hard rocking side one comprising the first four radio friendly songs, and the somewhat darker and more intriguing second side comprising the last three unusual songs. Virtually everyone who has listened to rock radio in North America between 1981 and now certainly knows "Tom Sawyer" and "Limelight", but how many have heard the dark and emotional "Witch Hunt", the strangely ambling reverie driven "Camera Eye", or the Indutrial Metal Reggae sounds of "Vital Signs"?
With 'Moving Pictures' Rush demonstrate their facility with writing intensely rich and powerful pop rock and intensely dark and edgey Progressive inspired rock. While that latter is where it seems the heart of the band lies--in creating interesting and challenging music within a hard rock format, they still like to write music just for the sheer fun of it.
I don't think that there is another album that says 1981 in quite the same way as 'Moving Pictures'. It is very much the soundtrack of that year, but it does have a sound that is still relevant today.
Play their previous album, 'Permanent Waves', then put on "Tom Sawyer", the lead track to 'Moving Pictures'. The first thing that you will notice is that the production is slick and warmer and more bottom heavy. Musically, it is not a very big leap from its predecessor. However, it showcases a better balance of song writing versus music playing. 'Permanent Waves' seemed to lean more towards the playing, whereas on 'Moving Pictures', there is a shift towards emphasizing the song.
There is a cohesion to the sound and feel of the album, yet each song stands out so distinctly and strongly. Maybe that is why the album remains popular to this day.
One of the biggest sonic changes to my ears is the change from Rickenbacker bass to Fender bass. The Rickey defined Geddy's sound for many years, so the switch to the Fender Jazz bass is quite startling. On "Tom Sawyer", Alex is playing what sounds like a Gibson Les Paul, but on later tracks he too switches to Fender and picks up a Stratocaster to achieve some very Andy Summersesque guitar sound. Neil's drums, as always, have balls--although they did not sound this good again until 1996's 'Test For Echo'.
Comparing "Red Barchetta" to their back catalog, one is immediately struck by how much more exuberant this song is than what they usually play. It doesn't really have that hard edge and darkness that one normally associates with Rush.
On "YYZ", Rush, and in particular Alex, really cut loose. Alex leads and the others follow in perfect synch, which is ironic, considering that the song is written by Geddy and Neil. The album has a "growl and purr" to it, and it is highly evident on this track. They seem to be rolling all their musical interests into one song, yet the song remains remarkably cohesive.
The last of the radio friendly songs is "Limelight". This is the most pop sounding song on the album, yet there is something distinctly askew about it. It has a simple pop melody and beat, yet the drums sound like cannons. They are right up there in your face--something very unusual in pop music. It sounds like a pop song, yet there is so much going on with each of the players that one can argue that it is a Progressive Rock tune.
"Camera Eye" moves us to the second side--the side that challenges the listener after side one filled them up with pop rock goodness. This is the first song to slow you down and make you listen. "Camera Eye" is more dynamic in terms of tempo, range, and feel than the preceeding tracks. It is even more dynamic and dramatic than "Red Barchetta".
Being Rush, they have to do at least one song that challenges the listener and really stands out from the other tracks on an album. On 'Moving Pictures', that song is "Witch Hunt". This song is full of darkness and anger--the complete opposite of the feeling of the rest of the album. In many ways, this song predicts the 'Snakes & Arrows' album.
The guitar and bass drone heavily throughout this song in a similar fashion to "Jacob's Ladder" from 'Permanent Waves'. The drums are what carry this song along, punctuating the vocals and guiding the moods.
My favourite track on 'Moving Pictures' is "Vital Signs". It sounds absolutely amazing, even 27 years later. It rocks, yet it is weird. It has pop touches, but the time signature (4/4, but with the emphasis on the third beat), the manical bass lines, and the biting guitar add up to pure genius. How to classify this song--perhaps Heavy Metal Reggae? The influence of The Police are all over this song, but they have done it in a way that is pure Rush. In many ways, the culmination of everything that they have tried to accomplish on this album.
on May 13, 2004
Canadian power trio Rush's ninth(and eighth studio) album Moving Pictures was released in February of 1981 to fans whom were anticipating a strong follow-up to the previous year's Permanent Waves, which was Rush's first Top 5 album in the States thanks to songs like "Freewill" and "The Spirit of Radio". When fans first went to the stores to buy MP, the cover must have caught some eyes. The title of the disc Moving Pictures had monumental meanings. First, there is workers actually "moving pictures". Then, there are people crying because the pictures are so moving. Finally, there was a film crew making a moving picture of the whole scene on the back cover. Plus, actual moving pictures of the band at their respective instruments(on the original CD, drummer Neil Peart's photo was missing, luckily on the remaster, his photo was restored). Also, Bob Ludwig(whom originally mastered the album), did a superb job on the remastering of this remaster. All of the songs on Moving Pictures were written by all three Rush members except*(with Pye Dubois) and +(by Geddy Lee/Peart). The album starts at full throttle with Tom Sawyer*, which was talking about modern-day heroes and using one of Mark Twain's character as a metaphor and featured rapid playing by Peart, guitarist Alex Lifeson and bassist/vocalist/keyboardist Lee, whom was singing more and more in a lower octave on this album than previous albums. The song Red Barchetta follows, and is about a person who goes to his uncle's farm and discovers a car. The music picks you up then accelerates as the song goes on and then ends as it began by dropping you off at the next location. Next is YYZ+, an instrumental named after the luggage tag code at Toronto airport. That track was used as the focal point for Neil's drum solo in concert off and on for the next nine years after this track came out. The first side concludes with Limelight, which was more of Neil's song about his problems dealing with fame and was more sensitive than Alex or Geddy were in dealing with autograph hounds and stalkers. Side two kicked off with the 11 minute epic The Camera Eye, which was the last 10 plus minute suite Rush ever did and is a classic and is set first in modern day New York then goes back to ancient times London and featured excellent guitar work by Alex and synth and bass work by Geddy. Next is Witch Hunt, which was the third part of a four-part saga called Fear and is about dealing with prejudices and injustices in the world. Interesting fact, the mob rants at the start of the track was actually multi-tracked rants and raves of the three Rush members whom were acting hyper after drinking bottles of Scotch outside of the studio and it was cold outside and the band were drinking and bellowing to create that rant effect. Plus, the song had album cover guru Hugh Syme on synthesizers and two drum tracks by Neil. The album concludes with Vital Signs, which would not have sounded out of place on a Police album and is a great track. Moving Pictures was an instant smash peaking at #3 on the Billboard album charts and selling over 4 million copies in the US alone. Today, this album still sounds fresh and hasn't aged at all. This album belongs up there with The Dark Side of the Moon, Who's Next, Hotel California, A Night at the Opera and Sgt. Pepper. A classic!!!
on March 19, 2004
This rightfully deserves its reputation as a top Rush album, if not the best effort in a sizeable catalogue.
Moving Pictures falls square in between the hard, progressive rock of their 70s concept albums and their later alternative sound with its embrace of synthesizers. There are synths, but they're worked in to accent the music here. With Signals, the 1982 followup, Rush would take on a more layered, synth-heavy sound where Alex Lifeson's guitar would serve more as color work, or even disappear into the mix later in the decade.
This album is concise, and the vinyl was programmed perfectly. With only seven tracks, there is no weakness here, and the first side features one famed piece after another. Side one opens with perhaps the band's most famous single, Tom Sawyer. The synth sound accents the hard riffs in this cynical ode to rebellion and individualism. Red Barchetta is a total fan favorite and live staple about a young man's weekly tradition of racing his uncle's old hot rod. YYZ is a funky instrumental that is also a live staple and instantly recognizable with its ride cymbal opening. Then Limelight brings it home with its deep, fat riffs in a song about the concept of fame (hence the title.)
The old second side is more cerebral, I think. Camera Eye is an 10+ minute epic, the last of its kind for the band. The music is phenomenol--this doesn't feel as long as it really is. Part of that is due to the structure of the song--it's split into two considerations of 'the city'. First it's New York, then London, talking about the hustle and bustle and the lives people have in these crowded spaces. The track is contemplative rock, highlighted by warm synths and excellent riffing. Then comes Witch Hunt, a superb track. It opens dark and menacing, the sounds of a colonial witch hunt (locals ranting and raving with imagery of pitchforks and torches) over an eerie synth. The song is monstrous--it opens up with Geddy's wailing and more synths, and Neil Peart's ridiculous fills. The whole album comes to a close with the tense but controlled Vital Signs, featuring more effective synth work, more contemplative lyrics.
Rush has always been a thinking man's rock group, going beyond the call of duty of rock to provide something of substance in a mass market field. They don't churn out tired love songs or whining odes to the misery of life. And how many groups can get away with lines like 'faces are twisted and grotesque'? Rush never makes the top of the charts, they don't make many videos, they don't live like decadent rock stars (though the guitarist had a particularly rock-star New Year's Eve incident turn ugly), they don't create controversy to mask a lack of talent, they don't resort to tricks or gimmicks.
The Rush remasters are very welcome, though the more valuable releases are the earlier ones that were recorded in analog. (Rush actually started going to digital recording pretty early.) It's interesting to listen to the new and then the old, and compare how the mix has changed. The traditionally crisp sound of the band is enhanced with the remasters and is clearer than ever. You can usually find them a bit cheaper than most new retail discs, though you may want to pick and choose your favorite Rush albums to upgrade.
on March 13, 2004
Band class was never my forte and yet for some reason I stuck with it throughout my secondary school years. My high school band director, Mr. Shapiro, actually once urged me to "play quietly" at an important band competition in Florida. Sure that comment hurt my feelings, but it would have taken more than that to get me to drop out of the three bands to which I proudly belonged: concert, marching, and jazz. Heck, sophomore year Mr. Shapiro actually insisted four of his least talented musicians (including me, of course) spend second period of the entire year in a small room away from the rest of the class, a scarring experience I previously detailed in my review of Iron Maiden's Somewhere In Time cd. If that banishment didn't humiliate me into quitting the band, believe me, nothing could.
Besides, there was one other alto sax player in the band, Topper, who was almost as bad as me. A glutton for punishment, Mr. Shapiro often forced Topper and me to engage in saxophone duels over second-to-last (5th) chair, much to the chagrin of our classmates. The 3rd and 4th chairs of John and Courtney were way beyond our reach, even after Courtney abandoned her saxophone practice habits and Rush fixation to embark on a period of rampant promiscuity that challenged the efficacy of even the most potent birth control pills.
One individual who regularly put contraceptive regimes to the test but never abandoned his Rush fixation, however, was Mike, by far the best sax player and arguably the finest musician in the band. Mike had a stranglehold on first-chair that his chief rival, Jeff, harbored no illusions of ever usurping. Jeff was good, but Mike clearly was special. And it wasn't just on the sax that Mike worked his magic, a fact he made apparent to us every time Mr. Shapiro took a sick day.
On the days Mr. Shapiro spent convalescing at home, we were expected to practice during band class as though he was actually present. In reality, however, as soon as class began, someone would usually end up putting a Van Halen or Rush album on the band room stereo system. Eventually, a collective urge to emulate our heroes would strike us. The stereo would be abruptly turned off and someone would start jamming. Desperate to shed my musical loser label, I'd venture over to the keyboards where I was far more competent than on saxophone and start cranking out the intro to "Jump" or "I'll Wait". There'd be this brief moment where everyone would begin to rethink their opinion of me until Terry, our fantastic tinted-glasses wearing drummer, would come in on the skins and I'd start screwing up the tempo. That would be about the time Mike would saunter over, brush me aside, and take over playing those keyboard riffs flawlessly.
As much as everyone enjoyed hearing Mike play Van Halen songs, he'd soon be inundated with requests for the song that we all loved to hear him play, "Red Barchetta". Rumor had it that Mike could play the keyboard parts for every song on Rush's already legendary Moving Pictures album, but the crowd primarily wanted to hear "Red Barchetta" so unfortunately that rumor remains unsubstantiated to this day.
As always, Mike and Terry blazed their way through a torrid version of "Red Barchetta" and I returned to being regarded as a musical loser. I can't even imagine what my classmates would have thought of my musical skills had Geddy Lee, Neil Peart and Alex Lifeson been in our band class. Competing with Mike was bad enough but can you imagine having to compete with those three as well? Most people, including Courtney in her pre-puberty incarnation, regard the Moving Pictures album as Geddy, Neil, and Alex's artistic zenith and I've yet to encounter any evidence that contradicts that position. The playing on Moving Pictures is dizzyingly spectacular and the song-writing is top notch and shockingly traditional relative to Rush's usual more progressive fare. The album includes my personal favorite Rush song (would you believe, "Red Barchetta"?) as well as the greatest rock music instrumental I have ever heard ("YYZ"). Mention the latter to my friend Chris, circa 1986, and he'd have offered you a 5-minute monologue on its myriad merits. Then, of course, you've got the two radio mega-hits, "Tom Sawyer" and "Limelight" whose awesome power have been somewhat sanitized due to years of radio saturation. Side 2 features classic Rush deep cuts like "The Camera Eye" and "Vital Signs". Moving Pictures is the one Rush album that every rock fan MUST have in his or her collection.
on February 19, 2004
A lot of people go into raptures over "Moving Pictures" and why not -- it is without a doubt the most complete Rush album and if you were going to own only one album of their music, you could certainly not do much better (save for a live album).
It encompasses the gamut of the band's persona, musically and lyrically. We all know "Tom Sawyer" as a modern rock anthem, "Limelight" as a peek into the world up on the stage, and "YYZ" as the ultimate power rock instrumental. We take another science-fictional journey in "Red Barchetta" and get in touch with our world through "The Camera Eye" and "Witch Hunt". "Vital Signs" is my favorite Ruch tune (and I was so glad the live board bootleg of it ends "Live in Rio") for its message and its rich sound.
Rather than continue the effusive praise which others have done more adequately than I can, let me just say that "Moving Pictures" bring us as close to heart of this band as any of their works. You see it in Neil's writing, Alex's virtuoso axework, and Geddy's driving base-line. This album personifies the trio's interconnectedness and the fusion that is created when they come together as Rush. Each is among the most talented at his instrument; Neil I think gets the most credit as the excellent drummer he is, but Geddy is one of the best bassists of all time and Alex takes to the guitar work with a passion that belies technical excellence. When they unite, the result is astonishing, and nowhere is that more true than in this album.
Enough boosterism... do yourself a favor... pick up this album, put on a good set of headphones, and feel the power for yourself...