Rush is a Canadian rock band formed in August 1968, in the Willowdale neighbourhood of Toronto, Ontario, composed of bassist, keyboardist, and lead vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. The band and its membership went through a number of re-configurations between 1968 and 1974, achieving their current form when Peart replaced original drummer John Rutsey in July 1974, two weeks before the group's first U.S. tour.
Since the release of the band's self-titled debut album in March 1974, Rush has become known for the instrumental skills of its members, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and libertarian philosophy, as well as addressing humanitarian, social, emotional, and environmental concerns.
Musically, Rush's style has changed over the years, beginning in the vein of blues-inspired heavy metal on their first album, then encompassing hard rock, progressive rock, and a period dominated by synthesizers. They have been cited as an influence by various musical artists, including Metallica,[1] Primus,[2] and The Smashing Pumpkins[2] as well as progressive metal bands such as Dream Theater,[1] and Symphony X.[3]
Rush has won a number of Juno Awards, and was inducted into the Canadian Music Hall of Fame in 1994. Over their careers, the members of Rush have been acknowledged as some of the most proficient players on their respective instruments, with each band member winning numerous awards in magazine readers' polls. As a group, Rush possesses 24 gold records and 14 platinum (3 multi-platinum) records.[4] Rush's sales statistics place them third behind The Beatles and The Rolling Stones for the most consecutive gold or platinum studio albums by a rock band.[5] Rush also ranks 79th in U.S. album sales with 25 million units.[6] Although total worldwide album sales are not calculated by any single entity, as of 2004 several industry sources estimated Rush's total worldwide album sales at over 40 million units. The band's most recent tour, an intercontinental promotion for Snakes & Arrows ended on July 24, 2008 in Noblesville, Indiana.[7] The band is currently in the midst of writing new material for their next studio album Clockwork Angels and will be touring in the Summer of 2010 on the "Time Machine Tour".
The early years (1968–1976)
 | Sample of "Working Man" from the debut album Rush, the song which landed them a record contract. |
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The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, front man Jeff Jones, and drummer John Rutsey. Within a couple weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[8][9]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[10] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[11][12]
Immediately after the release of the debut album in 1974, Rutsey resigned due to health difficulties stemming from diabetes and a general distaste for touring. Rush held auditions and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[14] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[15] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[15][16]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two protracted numbers back-to-back, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[17] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of small venues which led to the moniker the "Down the Tubes Tour."[18] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112. It was the band's first taste of commercial success and their first platinum album in Canada.[19] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[20][21]
[edit] The progressive rock era (1977–1981)
After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding their use of progressive elements in their music. Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record Battlescar for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play Battlescar. The song acted as both a transition from Max Webster to Rush, as well as a warm up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
| | Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay. |
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly pop-progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the ten-and-a-half-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
Musical style and influences
Rush's musical style has changed substantially over the years. Their debut album was strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who[67] and Led Zeppelin [10] but also became increasingly influenced by bands of the British progressive rock movement.[68] In the tradition of progressive rock, Rush wrote protracted songs with irregular and multiple time signatures combined with fantasy/science fiction-inspired lyrics; however, they did not soften their sound. This fusion of hard and progressive rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their sound with the trends of this period, experimenting with New Wave, reggae and pop rock.[69] This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the alternative rock movement.[70] The new millennium has seen them return to a more rock and roll roots sound, albeit with modern production.[67]
[edit] Band members
- Geddy Lee – bass, lead vocals, keyboards, mellotron, bass and synthesizer pedals, electric and acoustic rhythm guitar (September 1968 – present)
- Alex Lifeson – six and twelve-string acoustic and electric guitars, classical guitar, mandolin, mandola, bouzouki, backing vocals, bass and synthesizer pedals (August 1968 – present)
- Neil Peart – drums, electronic and acoustic percussion (July 1974 – present)
[edit] Former members
- John Rutsey – drums, percussion, backing vocals (August 1968 – July 1974)
- Jeff Jones – bass, lead vocals (August 1968 – September 1968)
[edit] Reputation
More than 30 years of activity has provided Rush with the opportunity for musical diversity across their discography. As with many bands known for experimentation, changes have inevitably resulted in dissent among critics and fans. The bulk of the band's music has always included synthetic instruments in some form or another, and this is a great source of contention in the Rush camp, especially the band's heavy reliance on synthesizers and keyboards during the 1980s, particularly on albums Grace Under Pressure, Power Windows, and Hold Your Fire.[71][72]
The members of Rush have themselves noted that people "either love Rush or hate Rush", resulting in strong detractors and an intensely loyal fan base. In July 2008, Rolling Stone magazine commented that "Rush fans are the Trekkies/trekkers of rock".[73] The band has not been nominated for entry into the Rock and Roll Hall of Fame since their year of eligibility in 1998. The Hall's refusal to induct Rush may be a consequence of the band's insistence on remaining outside the mainstream of rock when it comes to self-promotion, in favor of maintaining a high degree of independence.[74] Supporters cite the band's accomplishments including longevity, proficiency, and influence, as well as commercial sales figures and RIAA certifications.[75] However, Lifeson has expressed his indifference toward the perceived slight saying "I couldn't care less, look who's up for induction, it's a joke".[76] Rush has gained a degree of recognition in popular culture despite any official recognition from the Hall.[77] The three band members were made Officers of the Order of Canada in 1996.[78]
As a band, Rush has been nominated for and received various awards throughout its career. Likewise, the individual members have received coverage in various modern music magazines for their instrumental abilities.
[edit] Geddy Lee
Geddy Lee's high-register vocal style has always been a signature of the band — and sometimes a focal point for criticism, especially during the early years of Rush's career when Lee's vocals were high-pitched, with a strong likeness to other singers like Robert Plant of Led Zeppelin.[79] Although his voice has softened over the years, it is often described as a "wail".[79][80] His instrumental abilities, on the other hand, are rarely criticized. An award-winning musician, Lee's style, technique, and ability on the bass guitar have proven influential in the rock and heavy metal genres, inspiring such players as Steve Harris of Iron Maiden,[81] John Myung of Dream Theater,[82] Les Claypool of Primus,[83] and Cliff Burton of Metallica[84] among others. Lee is notable for his ability to operate various pieces of instrumentation simultaneously. This is most evident during live shows when Lee must play bass, supply lead vocals, manipulate keyboards, and trigger foot pedals during the course of a performance, as in the song "Tom Sawyer".[68] Because of this, he is required to remain in one place during songs containing complex instrumentation. Lifeson and Peart are, to a lesser extent, responsible for similar actions during live shows.
[edit] Alex Lifeson
Instrumentally, Lifeson is regarded as a guitarist whose strengths and notability rely primarily on signature riffing, electronic effects and processing, unorthodox chord structures, and a copious arsenal of equipment used over the years.[85][86][87] Despite his esteem, however, Lifeson is often regarded as being overshadowed by his bandmates because of Lee's on-stage multi-instrumental dexterity and Peart's status as a drummer.[88]
During his adolescent years, he was influenced primarily by Jimi Hendrix, Pete Townshend, Jeff Beck, Eric Clapton and Jimmy Page.[89] For versatility, Lifeson was known to incorporate touches of Spanish and classical music into Rush's guitar-driven sound during the 1970s. Taking a backseat to Lee's keyboards in the 1980s, Lifeson's guitar returned to the forefront in the 1990s, and especially on 2002's Vapor Trails. During live performances, he is still responsible for cuing various guitar effects, the use of bass-pedal synthesizers and backing vocals.
[edit] Neil Peart
[edit] Music
Peart is commonly regarded by music fans, critics and fellow musicians as one of the greatest rock drummers of all time.[90] He is also regarded as one of the finest practitioners of the in-concert drum solo.[91] Initially inspired by Keith Moon, Peart absorbed the influence of other rock drummers from the 1960s and 1970s such as Ginger Baker, Carmine Appice, and John Bonham.[92] Incorporation of unusual instruments (for rock drummers of the time) such as cowbells, glockenspiel, and tubular bells, along with several standard kit elements, helped create a highly varied setup. Continually modified to this day, Peart's drumkit offers an enormous array of percussion instruments for sonic diversity. For two decades Peart honed his technique; each new Rush album introduced an expanded percussive vocabulary. In the 1990s, he reinvented his style with the help of drum coach Freddie Gruber.
Discography
[edit] Studio albums
- Rush (1974)
- Fly by Night (1975)
- Caress of Steel (1975)
- 2112 (1976)
- A Farewell to Kings (1977)
- Hemispheres (1978)
- Permanent Waves (1980)
- Moving Pictures (1981)
- Signals (1982)
- Grace Under Pressure (1984)
- Power Windows (1985)
- Hold Your Fire (1987)
- Presto (1989)
- Roll the Bones (1991)
- Counterparts (1993)
- Test for Echo (1996)
- Vapor Trails (2002)
- Snakes & Arrows (2007)
- Clockwork Angels (2011)
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