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The Best Song From Every Rush Album

Rush drummer Neil Peart (pictured above) passed away last Tuesday, January 7, 2020 (aged 67). He was also the main lyricist for the band. Some time ago I read an article by Ryan Reed posted on the Ultimate Classic Rock website taking a look at the best Rush songs from every album. The full text is available at https://ultimateclassicrock.com/best-rush-songs/

I have put together these songs in a Spotify playlist (link below) as I believe that this is a true representation of some of the highlights through time of this amazing band.

Spotify Playlist - The Best Song from every Rush Album

'Rush' (1974): "Working Man"

Without this head-banging fuzz-rock anthem, Rush's debut LP would be an afterthought – a demo-worthy stepping stone to their prog destiny. But "Working Man," with its Black Sabbath-styled riffs and blue-collar lyrics, is a stone-cold classic. After a primal, two-minute pummel, they tease an ambitious streak with wild guitar solos, triplet drum fills and tempo changes, climaxing with Alex Lifeson's grandiose fanfare of string bends. Rush had only one flash of brilliance, but they harnessed its power to forge their hard-prog path.

'Fly By Night' (1975): "Fly by Night"

Bristling with energy at a compact 3:19, "Fly by Night" packs more unbridled second-by-second fun than any other song in the Rush canon. Lifeson's crunching, descending guitar riff is instant joy – the sound of, well, flying by night and changing your life – and the rhythm section's torrent of proggy fills (Geddy Lee's chorus triplets, Neil Peart's splash accents) achieve a perpetual, cinematic tension, as you wonder when and how the next surprise will emerge. (Even the bridge is built on a quality hook, with Lee singing merrily through a trippy wave of phaser – an effect achieved by running his vocal through a Leslie speaker.)

'Caress of Steel' (1975): "Bastille Day"

This song is the sound of the titular battle, the hard-rock guillotine claiming her bloody prize. Surprises aplenty: the downbeat shift at 3:55, the climactic tempo slow-down and slow-mo guitar harmonies. Lee's voice is still high and shockingly shrill, but by this point he'd learned to utilize more restraint, picking and choosing moments to shatter glass with his high trills.

'2112' (1976): "A Passage to Bangkok"

2112 is a tale of two sides: Rush saved their silliest, most long-winded ideas for the title epic and turned the second half into a catch-all hodgepodge. "A Passage to Bangkok" is one of the sharpest vocal melodies the band wrote pre-1980, and it's a load of fun as a lyric – Peart's lighthearted (lightheaded?) fable about traveling via train to Thailand in search of the world's finest reefer at each stop.

'A Farewell to Kings' (1977): "A Farewell to Kings"

The intro to A Farewell to Kings' anthemic title track signals the changes afoot: Synth and glockenspiel flutter over Alex Lifeson's gorgeously plucked, stereo-panned classical guitar, ushering in a trademark thunderous hard-rock riff. There are surprises around every turn: funky bass-led sections, rhythmic shifts, 7/8 time. Their future was limitless.

'Hemispheres' (1978): "La Villa Strangiato"

Rush subtitled this instrumental powerhouse "An Exercise in Self-Indulgence" – ironic since, by their geeky standards, it never offers a moment to yawn or check your watch. This one's full of subtle, deeply emotive playing: the rhythmic shift at 3:33, with Peart settling into a funky hi-hat pattern; Lifeson's palm-muted guitar figure; a swinging, jazzy section ("Monsters!"), mind-melting bass and solos ("The Ghost of the Aragon"). Perfection.

'Permanent Waves' (1980): "The Spirit of Radio"

There's almost a punk edge to this breakout hit, which helped Permanent Waves peak at Mo. 3 in Canada and the U.K. and No. 4 in the U.S. Another track where Geddy Lee wrote himself a quality melody that stands separate from the riff. The reggae breakdown and climactic piano stomp gave this one a commercial appeal no one could have predicted five years earlier. Peart's lyrics are about listening to Toronto radio station CFNY-FM.

'Moving Pictures' (1981): "Tom Sawyer"

"Tom Sawyer" is the ultimate Rush song in several ways. It's their most famous piece, occupying a prime piece of classic-rock radio real estate for almost four decades. It's their cleanest, most seamless fusion of prog and hard rock, boasting some of their tightest ensemble playing and a guitar riff catchier than "Smells Like Teen Spirit." Like the entirety of 1981's Moving Pictures, it's also a fascinating crossroads between '70s and '80s Rush, arriving a few years after the knotty conceptual sprawl of Hemispheres and a few years before Lee became obsessed with synthesizers. The piece originated from one of numerous jam sessions during a particularly frigid winter rehearsal at a Toronto farm; Peart, meanwhile, developed his lyrics of rebellion from a poem he received from lyricist Pye Dubois based on Mark Twain's 1876 novel The Adventures of Tom Sawyer. The result is the Rush masterpiece – a compact, four-and-a-half-minute summation of everything they represented.

'Signals' (1982): "Subdivisions"

Rush had given themselves over to synth worship, but it hadn't affected the quality of their music. "Subdivisions" is menacing prog-pop with rumbling, pitch-shifted vocals and some of the tastiest analog synth leads this side of a Stevie Wonder album. Peart contributes one of his jazziest, most complex grooves in the 7/8 section, which only makes the pattern more satisfying when he "resolves" the implied tension in 4/4. Still, Lifeson has bemoaned both the song's and album's production in the years since, specifically calling the mix for "Subdivisions" a "disappointment for me."

'Grace Under Pressure' (1984): "Kid Gloves"

Alex Lifeson wiggles to the forefront on "Kid Gloves," flipping the bird to Lee's synthesizers all the way. The guitarist's delayed, palm-muted 10/8 riff – which conjures Genesis' "Follow You Follow Me" with a proggier sensibility – is the highlight of Grace Under Pressure, offering some grit to an album that often gets lost in reverb. He sounds like he's exploding with pent-up anticipation on the guitar solo, which flaunts an Eddie Van Halen-like tremolo bar flair.

'Power Windows' (1985): "The Big Money"

Lee is one of a handful of prog musicians with the chops – and willingness – to get funky. And on this dynamo single, he smacks the crap out of his bass strings like they owe him a gambling debt. But "The Big Money" is more than just a killer groove – it's also easily one of Rush's most deceptively intricate radio hits, bouncing giddily from atmospheric synths to tribal tom-toms to arena-rock choruses. The band's early '80s sonic exploration – the brushes with reggae and ska and synth-pop – had coalesced into a color all their own.

'Hold Your Fire' (1987): "Time Stand Still"

Singer-songwriter Aimee Mann's breathy vocal adds a soothing femininity to this Top 3 hit, marking the band's first collaboration with a guest singer. "When we wrote that song, I just became obsessed with having a female vocalist come in and add a different nuance to it," Lee told A.V. Club in 2015. "We talked about a lot of different vocalists. At that time, I was a big fan of Kate Bush, and I’ve always been a big Björk fan. Somebody suggested Aimee Mann, and we listened to her work. Her voice is absolutely beautiful and really possessed a lot of the qualities that we were after, and she was thrilled to come up to Toronto and lend her talents to our song, which I think really elevated the track. She’s such an awesome person and we had a ball with her."

'Presto' (1989): "The Pass"

"All of us get lost in the darkness / Dreamers learn to steer by the stars," Lee croons on this cosmic power ballad, the single most emotional moment in the Rush catalog. It's a perfect symbiosis of music and lyric, as Lifeson's rippling guitar solidifies the poignancy in Peart's poetry about teenage suicide.

'Roll the Bones' (1991): "Bravado"

Rush go into power-ballad mode here, with Alex Lifeson's huge, ringing chords wafting over Neil Peart's jazzy drums.

'Counterparts' (1993): "Between Sun and Moon"

Counterparts marked a return to Rush relevancy – the point where songwriting caught back up to technique. Everyone's on fire here: Lee crafts one of his sharpest chorus hooks, and Neil Peart pounds out a funky tom pattern on his all-acoustic kit. (You couldn't blame the guy for experimenting with electronic drums, but a player this precise doesn't need any excuse to sound more like a machine.)

'Test for Echo' (1996): "Test for Echo"

"Test for Echo was a strange record in a sense," Lee reflected in the 2012 Rush book An Oral History, Uncensored. "It doesn’t really have a defined direction. I kind of felt like we were a bit burnt creatively. It was a creative low time for us." One rare exception to that rule is the instantly hummable title-track – a radiant blast of modernized alt-prog.

'Vapor Trails' (2002): "Vapor Trail"

Rush get full-on atmospheric with Vapor Trails' pseudo title track, another flirtation with radio-friendly alt-rock. Lifeson washes his hands of distortion, and Peart bashes a snare with a ringing, marching-band style tone.

'Snakes & Arrows' (2007): "Far Cry"

"One day I feel I'm ahead of the wheel, and the next it's rolling over me," Geddy Lee belts, preaching a universal truth. It's one of Lee's strongest choruses of the modern era.

'Clockwork Angels' (2012): "The Garden"

A rare Rush song that will leave you reaching for the Kleenex, "The Garden" stands out in the band's catalog for its sweetness and simplicity, its clarity and control. It's an unusual arrangement for these guys, with Lee crooning softly over a David Campbell string arrangement, Jason Sniderman's twinkling piano and Lifeson's restrained acoustic guitar. And its decollate quality initially concerned producer Nick Raskulinecz. "Nick was a little wary of it getting too sweet," Lifeson told MusicRadar. "The demo was very acoustic. The piano parts were there, as were the strings, but everything was kind of soft. Nick wanted us to toughen it up some." Luckily, they didn't do much toughening. If this is how the Rush story ends – and by all indications it will be – this was a poignant curtain call.

[teenagetidalwavetyphoon-blog]

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