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No bad Rush album


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According to this article, there isn't a truly bad Rush album, just varying degrees of inspired genius.

 

When asked for the definition of “guts” in a long-ago magazine profile, author Ernest Hemingway replied that he meant “grace under pressure.” With that, he not only coined a popular phrase but unwittingly named the 10th studio album released by Rush, which arrived some 55 years later, on April 12, 1984.

 

The title of Grace Under Pressure may have seemed like an admission of an embattled state of mind within Rush. After all, their sound was evolving away from the heavy prog of yesteryear towards more commercial forms, which alienated some of their fans, particularly as they embraced technology. But the truth was far less complex, and the album’s title simply alluded to the escalating Cold War tensions of the mid-'80s, and their role in inspiring many of the themes penned by Neil Peart.

Ironically, the lyrics designate Grace Under Pressure as one of Rush’s bleakest, most pessimistic albums.

 

That stands in direct contrast to the clean production concocted by the band and engineer Peter Henderson, who had replaced original choice, Steve Lillywhite, in a pinch. These bright sounds were, of course, largely executed on the virtual battalion of synthesizers which had captured Rush frontman Geddy Lee's imagination of late.

Synths provided much of the melodic thrust on Grace Under Pressure over Alex Lifeson’s once-pivotal guitar. And yet, the infinitely-versatile six-string god was clearly complicit with Rush’s technology-obsessed agenda, because he abandoned power chords and showy solos for sharp strums that evoked jazz and reggae (

").

 

Regardless of their composite parts, new songs like "Distant Early Warning," "Afterimage," "

" and "Between the Wheels" were all assembled to Rush’s typically exacting and meticulous standards. Yet they somehow managed to combine inventive arrangements with easily digestible hooks, even as they delved into the predominantly dark and disconcerting lyrical concepts. No wonder, then, that Grace Under Pressure easily duplicated the No. 10 Billboard placing of its predecessor, Signals (if not the Top 5 achievements of Moving Pictures and Permanent Waves) while cruising to platinum certification.

 

Rush’s commercial musical direction through the '80s remains a topic of hot debate within their fan base. But a single spin of Grace Under Pressure is enough to remind us there’s no such thing as a truly bad Rush LP. There are simply different versions of inspired genius, fit to suit a sweep of musical tastes.

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According to this article, there isn't a truly bad Rush album, just varying degrees of inspired genius.

 

When asked for the definition of “guts” in a long-ago magazine profile, author Ernest Hemingway replied that he meant “grace under pressure.” With that, he not only coined a popular phrase but unwittingly named the 10th studio album released by Rush, which arrived some 55 years later, on April 12, 1984.

 

The title of Grace Under Pressure may have seemed like an admission of an embattled state of mind within Rush. After all, their sound was evolving away from the heavy prog of yesteryear towards more commercial forms, which alienated some of their fans, particularly as they embraced technology. But the truth was far less complex, and the album’s title simply alluded to the escalating Cold War tensions of the mid-'80s, and their role in inspiring many of the themes penned by Neil Peart.

Ironically, the lyrics designate Grace Under Pressure as one of Rush’s bleakest, most pessimistic albums.

 

That stands in direct contrast to the clean production concocted by the band and engineer Peter Henderson, who had replaced original choice, Steve Lillywhite, in a pinch. These bright sounds were, of course, largely executed on the virtual battalion of synthesizers which had captured Rush frontman Geddy Lee's imagination of late.

Synths provided much of the melodic thrust on Grace Under Pressure over Alex Lifeson’s once-pivotal guitar. And yet, the infinitely-versatile six-string god was clearly complicit with Rush’s technology-obsessed agenda, because he abandoned power chords and showy solos for sharp strums that evoked jazz and reggae (

").

 

Regardless of their composite parts, new songs like "Distant Early Warning," "Afterimage," "

" and "Between the Wheels" were all assembled to Rush’s typically exacting and meticulous standards. Yet they somehow managed to combine inventive arrangements with easily digestible hooks, even as they delved into the predominantly dark and disconcerting lyrical concepts. No wonder, then, that Grace Under Pressure easily duplicated the No. 10 Billboard placing of its predecessor, Signals (if not the Top 5 achievements of Moving Pictures and Permanent Waves) while cruising to platinum certification.

 

Rush’s commercial musical direction through the '80s remains a topic of hot debate within their fan base. But a single spin of Grace Under Pressure is enough to remind us there’s no such thing as a truly bad Rush LP. There are simply different versions of inspired genius, fit to suit a sweep of musical tastes.

Great review of GUP. :)
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How do we define "bad"? There are definitely Rush albums that are weak or mediocre, but every one of their albums has at least a handful of great songs. Test for Echo is their weakest album IMO and even that one has Driven, Virtuality and Resist.

You tell'em, Net Girl!
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According to this article, there isn't a truly bad Rush album, just varying degrees of inspired genius.

 

When asked for the definition of “guts” in a long-ago magazine profile, author Ernest Hemingway replied that he meant “grace under pressure.” With that, he not only coined a popular phrase but unwittingly named the 10th studio album released by Rush, which arrived some 55 years later, on April 12, 1984.

 

The title of Grace Under Pressure may have seemed like an admission of an embattled state of mind within Rush. After all, their sound was evolving away from the heavy prog of yesteryear towards more commercial forms, which alienated some of their fans, particularly as they embraced technology. But the truth was far less complex, and the album’s title simply alluded to the escalating Cold War tensions of the mid-'80s, and their role in inspiring many of the themes penned by Neil Peart.

Ironically, the lyrics designate Grace Under Pressure as one of Rush’s bleakest, most pessimistic albums.

 

That stands in direct contrast to the clean production concocted by the band and engineer Peter Henderson, who had replaced original choice, Steve Lillywhite, in a pinch. These bright sounds were, of course, largely executed on the virtual battalion of synthesizers which had captured Rush frontman Geddy Lee's imagination of late.

Synths provided much of the melodic thrust on Grace Under Pressure over Alex Lifeson’s once-pivotal guitar. And yet, the infinitely-versatile six-string god was clearly complicit with Rush’s technology-obsessed agenda, because he abandoned power chords and showy solos for sharp strums that evoked jazz and reggae (

").

 

Regardless of their composite parts, new songs like "Distant Early Warning," "Afterimage," "

" and "Between the Wheels" were all assembled to Rush’s typically exacting and meticulous standards. Yet they somehow managed to combine inventive arrangements with easily digestible hooks, even as they delved into the predominantly dark and disconcerting lyrical concepts. No wonder, then, that Grace Under Pressure easily duplicated the No. 10 Billboard placing of its predecessor, Signals (if not the Top 5 achievements of Moving Pictures and Permanent Waves) while cruising to platinum certification.

 

Rush’s commercial musical direction through the '80s remains a topic of hot debate within their fan base. But a single spin of Grace Under Pressure is enough to remind us there’s no such thing as a truly bad Rush LP. There are simply different versions of inspired genius, fit to suit a sweep of musical tastes.

 

Author's clearly never ventured past HYF

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Bad albums? Only two in my opinion, Presto and Snakes. And even Snakes has Far Cry, so it wasn't a complete waste of matter.
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Bad is in the ear of the beholder.

 

i for instance think these are kinda bad

 

Vapor Trails

Grace Under Pressure

Clockwork Angels

 

but......they have their fans. so....que sera sera

 

Mick

Doris Day has no bad albums?
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Bad is in the ear of the beholder.

 

i for instance think these are kinda bad

 

Vapor Trails

Grace Under Pressure

Clockwork Angels

 

but......they have their fans. so....que sera sera

 

Mick

Doris Day has no bad albums?

Maybe, but she for sure didn't lose her singing ability in her later years.

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All the albums are top shelf. Even hyf and sna. Today I played caress on a car trip and felt so proud that I discovered this band. All the albums are unique. Random listening to signals or fly make me drop my jaw. They aren’t a normal rock band. Their geniuses and I think they balance each other. I also think ca ranks up with the first 7 albums.
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All the albums are top shelf. Even hyf and sna. Today I played caress on a car trip and felt so proud that I discovered this band. All the albums are unique. Random listening to signals or fly make me drop my jaw. They aren’t a normal rock band. Their geniuses and I think they balance each other. I also think ca ranks up with the first 7 albums.

 

Agreed with it all except the part about SnA being top shelf. It's the only Rush album I actively avoid, with the exception of about 4 songs. Well, and about 1/2 of Roll the Bones.

Edited by Wil1972
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Bad Rush albums?

Hold Your Fire, Counterparts, Presto, Vapor Trails for starters. Snakes N Arrows seemed OK at first but repeated plays showed it up to be unmemorable.

 

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