Hating Rush

[Entre_Perpetuo]

Don't forget that a lot of uneducated people were intimidated by Neil's lyrics. They couldn't understand what the words meant.

 

I kinda doubt anybody hates Rush because they’re uneducated and don’t understand Neil’s lyrics. I feel like the only people who hate Neil’s lyrics are those who do understand them and think they’re preachy or have bad influences or are clunky or something like that. I have no clue what the words to Sigur Rós’ music mean, but I still enjoy the music.

I've known two people who didn't understand anything about 2112 or Ayn Rand and disliked them for that reason.

Primarily it's the early stuff. "Time Stand Still/I'm not looking back/but I want to look around me now" is pretty universal.

 

I think calling anyone uneducated for not knowing Ayn Rand or understanding 2112 is still a stretch. Obviously you have people in mind that you know better than I ever will, but it just sounds insulting when you say someone's too uneducated to like something.

[goose]

It seems impossible to me to not understand Neil's lyrics. If anything, a criticism I have read (and generally agree with) is that they are overly literal, which come across to some as pedantic.

[Weatherman]

It's kind of hilarious that Randy Bachman has praised Geddy, Alex, and Neil as individual musicians, but not the music per se.

 

Isn't one of the well known funny little tidbits about Neil that despite being really good friends with Stewart Copeland (The Police), Copeland has gone on record saying that he's not a fan of Neil's playing?

For real? He probably objected to Neil's belabored compositional style.

They're very different players. In the Police, when Copeland was presented with a new song by Sting or Summers, he wrote and recorded the drum part within two or three hours. It just came to him quickly, and he never got in the way of his own creativity.

Edited September 12, 2021 by Weatherman

[Weatherman]

There's also a big contingent of people, a lot of whom are music critics, that gravitate to rock that's more spontaneous and gut-level and "in the spirit" of three chords and rebellion and aren't going to be impressed by complicated time signatures and philosophical lyrics. That isn't a value judgment by me about which type of music is better than the other, I'm into stuff all across the spectrum, but there's a reason critics in the late 70s and early 80s were going to prefer stuff like the Clash or Elvis Costello or early pre-stadium U2 to stuff like Rush. The whole narrative at the time was that punk rock, which is EXTREMELY well-liked critically, happened as a response to the "excesses" of prog, and Rush is arguably the most commercially successful prog band of that era, so of course they're going to get the majority of the hate.

 

Personally, I'd argue that making a 20-minute concept piece in response to your label threatening to drop you if you don't get more commercial is as "punk rock" as it gets, but that's neither here nor there.

Great comment.

A little piece of me dies every time an accomplished, sophisticated band full of good, inventive musicians says, "Oh, we're getting back to basics on the next record, just four guys in a room jamming on three chords." UGH.

Looking at YOU, Bono.

lol

[Weatherman]

It seems impossible to me to not understand Neil's lyrics. If anything, a criticism I have read (and generally agree with) is that they are overly literal, which come across to some as pedantic.

With an iron fist in a velvet glove

We are sheltered under the gun

In the glory game on the power train

Thy kingdom's will be done.

 

These are NOT literal lyrics. These lyrics, like so many of Neil's, do not offer easy comprehension.

People who are very literal, or impatient, or uneducated, will get frustrated by them.

(They may still like the music, but if they're looking for a reason to dismiss a band like Rush, this presents a good one.)

[goose]

It seems impossible to me to not understand Neil's lyrics. If anything, a criticism I have read (and generally agree with) is that they are overly literal, which come across to some as pedantic.

With an iron fist in a velvet glove

We are sheltered under the gun

In the glory game on the power train

Thy kingdom's will be done.

 

These are NOT literal lyrics.

 

But these ARE.

And the things that we fear

Are a weapon to be held against us.

He's not afraid of your judgement

He knows of horrors worse than your Hell

He's a little bit afraid of dying

But he's a lot more afraid of your lying.

Which is where the criticism comes in. Rather than let the more lyrical stanzas speak for themselves, Neil often seems compelled to reiterate the message literally.

[Mr Freeze]

[Syrinx]

Here is a 1979 concert review so you can see what they were up against.

 

Rush at Varsity Stadium, Sept. 2, 1979

By Bruce Blackadar – Toronto Star

 

“Rush tries to bludgeon audience”

 

Attending a Rush concert is like being a masochist who’d enjoy a heart transplant operation in his friendly neighborhood hospital.

But the Rush fanatics – who used to be legion in these parts – seem to be losing their addiction to pain. Only 8,000 showed up last night at Varsity Stadium to happily endure the three-man Toronto heavy metal group’s mind-shattering barrage of technological and electronic wizardry that it cunningly disguises as music.

It’s meaningless to attempt to review what Rush is doing; that would be like trying to explain the political necessity of planting bombs in churches to a sweet old nun running a children’s orphanage.

However, we can say that the trio – Neil Peart on drums, Geddy Lee, vocals and bass, and Alex Lifeson, guitar – are certainly professional, like a team of frogmen who possess an exquisite mastery of technical matters.

First, there’s the overwhelming bass line, always present, steering the electronic carnage that makes up the bulk of the band’s albums, like Hemispheres and 2112, this way and that.

Then there’s the dentist drill voice of Lee, which after not all that many songs becomes a deft instrument of torture for the listener. It’s a voice that begins immediately at the level of pain and, miraculously, and very unfortunately, proceeds to a higher plane.

Finally, there’s the drum work of Peart, the frightful heartbeat, the rhythm of doom.

Other ingredients of the Rush assault include a mind-bending sound system, full of hysterical – and meaningless – distortions, a perfectly synchronized light show, and the band’s weird philosophical stance of intellectually primitive conservatism.

Much of what the band does – such as The Spirit of Radio, a new song they introduced to their fans last night – is wildly exciting. But the other material is pointless electronic overkill of the highest order.

[Presto-digitation]

I think I'd be more concerned if critics and the average music fan "got" them. Not to be contrarian or some edgelord, but it's kind of cool - albeit frustrating at times - to like a band that others struggle with. They are and remain a bit of a secret handshake of sorts. I'm okay with that.

 

A lot of bands I have liked over the years are divisive that way, including old Rush pals Kiss. If you know what it's like to be the fan of one of those bands, you have come insight into being a fan of the other as well, even if for wildly different reasons. Somehow I'm just drawn to those artists.

 

Why the hate, I don't know, although I suspect it's more a matter of time and place than anything. Where the press "is" in terms of what they deem cool or edgy or talented versus what's coming along at the same time. So, bad timing perhaps. Or maybe bands like Rush and Kiss were always going to be the underdogs for the most part.

 

Regardless, their longevity and fanbase proved all the critics wrong or at least muted them into obscurity on the subject. I'm even better with that!

Edited September 13, 2021 by Presto-digitation

[grep]

Here is a 1979 concert review so you can see what they were up against.

 

Rush at Varsity Stadium, Sept. 2, 1979

By Bruce Blackadar – Toronto Star

 

“Rush tries to bludgeon audience”

 

Attending a Rush concert is like being a masochist who’d enjoy a heart transplant operation in his friendly neighborhood hospital.

But the Rush fanatics – who used to be legion in these parts – seem to be losing their addiction to pain. Only 8,000 showed up last night at Varsity Stadium to happily endure the three-man Toronto heavy metal group’s mind-shattering barrage of technological and electronic wizardry that it cunningly disguises as music.

It’s meaningless to attempt to review what Rush is doing; that would be like trying to explain the political necessity of planting bombs in churches to a sweet old nun running a children’s orphanage.

However, we can say that the trio – Neil Peart on drums, Geddy Lee, vocals and bass, and Alex Lifeson, guitar – are certainly professional, like a team of frogmen who possess an exquisite mastery of technical matters.

First, there’s the overwhelming bass line, always present, steering the electronic carnage that makes up the bulk of the band’s albums, like Hemispheres and 2112, this way and that.

Then there’s the dentist drill voice of Lee, which after not all that many songs becomes a deft instrument of torture for the listener. It’s a voice that begins immediately at the level of pain and, miraculously, and very unfortunately, proceeds to a higher plane.

Finally, there’s the drum work of Peart, the frightful heartbeat, the rhythm of doom.

Other ingredients of the Rush assault include a mind-bending sound system, full of hysterical – and meaningless – distortions, a perfectly synchronized light show, and the band’s weird philosophical stance of intellectually primitive conservatism.

Much of what the band does – such as The Spirit of Radio, a new song they introduced to their fans last night – is wildly exciting. But the other material is pointless electronic overkill of the highest order.

 

They hadn't even gotten to the synth era yet. LMAO. I wonder how this guy felt about SIG, P/G, PoW and HYF.

[Pound of Obscure]

I've had people describe Rush as too busy. Or as a wall of sound, wall of noise. They overplay. They're too complicated. You can't just listen to it, you have to think. Stuff like that.

 

Of course, chipmunk on helium.

 

Fair enough. Folks can't like everything.

The wall of sound, wall of noise certainly applies to the last 3 albums and live for that matter. I've never figured out why they seemed to lose the ability to record themselves. The sound quality of their recordings just tanked with VT and never recovered.

[Fridge]

I think it's because they were just uncool, nothing more complicated.....their music didn't have enough bump n' grind for the average listener, and a key area no one seems to mention is that they seeemed to alienate women...As we are all aware, trying to get laid was a major reason for going to concerts back in the day, and seeing as a Rush audience was pretty much a sausage fest then that was a big reason for blokes to give their music a body swerve......I certainly remember when I was a young man back in the 80s if I was lucky enough to get a girl back to my place, you can guaruntee the last things going on the stereo were Rush albums!

[Mr Freeze]

[driventotheedge]

I've had people describe Rush as too busy. Or as a wall of sound, wall of noise. They overplay. They're too complicated. You can't just listen to it, you have to think. Stuff like that.

 

Of course, chipmunk on helium.

 

Fair enough. Folks can't like everything.

The wall of sound, wall of noise certainly applies to the last 3 albums and live for that matter. I've never figured out why they seemed to lose the ability to record themselves. The sound quality of their recordings just tanked with VT and never recovered.

I don't think it was them but rather their producer and engineering the sound for the phone and earbud generation. Their last 3 albums sound a lot better with the bass adjusted down since it's up in the mix to be heard through earbuds/phone speakers. T4E was the last album that sounded proper to my ears.

Disagree about how they sounded live. Seemed fine to me tho I'm no audiophile.

[Timbale]

Here is a 1979 concert review so you can see what they were up against.

 

Rush at Varsity Stadium, Sept. 2, 1979

By Bruce Blackadar – Toronto Star

 

“Rush tries to bludgeon audience”

 

Attending a Rush concert is like being a masochist who’d enjoy a heart transplant operation in his friendly neighborhood hospital.

But the Rush fanatics – who used to be legion in these parts – seem to be losing their addiction to pain. Only 8,000 showed up last night at Varsity Stadium to happily endure the three-man Toronto heavy metal group’s mind-shattering barrage of technological and electronic wizardry that it cunningly disguises as music.

It’s meaningless to attempt to review what Rush is doing; that would be like trying to explain the political necessity of planting bombs in churches to a sweet old nun running a children’s orphanage.

However, we can say that the trio – Neil Peart on drums, Geddy Lee, vocals and bass, and Alex Lifeson, guitar – are certainly professional, like a team of frogmen who possess an exquisite mastery of technical matters.

First, there’s the overwhelming bass line, always present, steering the electronic carnage that makes up the bulk of the band’s albums, like Hemispheres and 2112, this way and that.

Then there’s the dentist drill voice of Lee, which after not all that many songs becomes a deft instrument of torture for the listener. It’s a voice that begins immediately at the level of pain and, miraculously, and very unfortunately, proceeds to a higher plane.

Finally, there’s the drum work of Peart, the frightful heartbeat, the rhythm of doom.

Other ingredients of the Rush assault include a mind-bending sound system, full of hysterical – and meaningless – distortions, a perfectly synchronized light show, and the band’s weird philosophical stance of intellectually primitive conservatism.

Much of what the band does – such as The Spirit of Radio, a new song they introduced to their fans last night – is wildly exciting. But the other material is pointless electronic overkill of the highest order.

 

 

The pearl clutching over the "electronic" aspect of the music is so funny to me, given that we're talking about '79...and he's specifically referencing Hemispheres and 2112. It sounds so, so OLD.It makes me think of Floyd in the Pompeii film (I think) talking about how all the electronic equipment their using is still the same as using instruments - I think they're discussing, like, an echo-plex pedal and an early synth arpeggiator. :lol:

Edited September 13, 2021 by Timbale

[tangy]

Here is a 1979 concert review so you can see what they were up against.

 

Rush at Varsity Stadium, Sept. 2, 1979

By Bruce Blackadar – Toronto Star

 

“Rush tries to bludgeon audience”

 

Attending a Rush concert is like being a masochist who’d enjoy a heart transplant operation in his friendly neighborhood hospital.

But the Rush fanatics – who used to be legion in these parts – seem to be losing their addiction to pain. Only 8,000 showed up last night at Varsity Stadium to happily endure the three-man Toronto heavy metal group’s mind-shattering barrage of technological and electronic wizardry that it cunningly disguises as music.

It’s meaningless to attempt to review what Rush is doing; that would be like trying to explain the political necessity of planting bombs in churches to a sweet old nun running a children’s orphanage.

However, we can say that the trio – Neil Peart on drums, Geddy Lee, vocals and bass, and Alex Lifeson, guitar – are certainly professional, like a team of frogmen who possess an exquisite mastery of technical matters.

First, there’s the overwhelming bass line, always present, steering the electronic carnage that makes up the bulk of the band’s albums, like Hemispheres and 2112, this way and that.

Then there’s the dentist drill voice of Lee, which after not all that many songs becomes a deft instrument of torture for the listener. It’s a voice that begins immediately at the level of pain and, miraculously, and very unfortunately, proceeds to a higher plane.

Finally, there’s the drum work of Peart, the frightful heartbeat, the rhythm of doom.

Other ingredients of the Rush assault include a mind-bending sound system, full of hysterical – and meaningless – distortions, a perfectly synchronized light show, and the band’s weird philosophical stance of intellectually primitive conservatism.

Much of what the band does – such as The Spirit of Radio, a new song they introduced to their fans last night – is wildly exciting. But the other material is pointless electronic overkill of the highest order.

 

Only 8,000 showed up!

 

As a rush fanboi at that time I will say that was par for the course.

 

 

 

[taurus]

Here is a 1979 concert review so you can see what they were up against.

 

Rush at Varsity Stadium, Sept. 2, 1979

By Bruce Blackadar – Toronto Star

 

“Rush tries to bludgeon audience”

 

Attending a Rush concert is like being a masochist who’d enjoy a heart transplant operation in his friendly neighborhood hospital.

But the Rush fanatics – who used to be legion in these parts – seem to be losing their addiction to pain. Only 8,000 showed up last night at Varsity Stadium to happily endure the three-man Toronto heavy metal group’s mind-shattering barrage of technological and electronic wizardry that it cunningly disguises as music.

It’s meaningless to attempt to review what Rush is doing; that would be like trying to explain the political necessity of planting bombs in churches to a sweet old nun running a children’s orphanage.

However, we can say that the trio – Neil Peart on drums, Geddy Lee, vocals and bass, and Alex Lifeson, guitar – are certainly professional, like a team of frogmen who possess an exquisite mastery of technical matters.

First, there’s the overwhelming bass line, always present, steering the electronic carnage that makes up the bulk of the band’s albums, like Hemispheres and 2112, this way and that.

Then there’s the dentist drill voice of Lee, which after not all that many songs becomes a deft instrument of torture for the listener. It’s a voice that begins immediately at the level of pain and, miraculously, and very unfortunately, proceeds to a higher plane.

Finally, there’s the drum work of Peart, the frightful heartbeat, the rhythm of doom.

Other ingredients of the Rush assault include a mind-bending sound system, full of hysterical – and meaningless – distortions, a perfectly synchronized light show, and the band’s weird philosophical stance of intellectually primitive conservatism.

Much of what the band does – such as The Spirit of Radio, a new song they introduced to their fans last night – is wildly exciting. But the other material is pointless electronic overkill of the highest order.

 

Only 8,000 showed up!

 

As a rush fanboi at that time I will say that was par for the course.

 

and for some context, they played Hamilton Ivor Wynne Stadium the week before (35 minute drive from Toronto) and played Toronto 3 previous dates on the Hemispheres tour. This was the pre-PeW tour - no new album yet. This is the kind of dickish coverage they got throughout the years. f**k that guy even though he's dead

[jnoble]

I remember reading a review for the then-new Roll The Bones album in People magazine and it was obvious the reviewer didn't even bother to listen to the album because he criticized Lee "screeching voice" and the sci-fi theme songs neither of which are anywhere to be found on that particular album LOL

[Entre_Perpetuo]

I remember reading a review for the then-new Roll The Bones album in People magazine and it was obvious the reviewer didn't even bother to listen to the album because he criticized Lee "screeching voice" and the sci-fi theme songs neither of which are anywhere to be found on that particular album LOL

 

Dang that's blatant. Even one cursory listen would have given him the RTB rap to write some nasty paragraphs about.

[yyz2112]

It's Geddy's voice more than anything. I always thought they would be as huge as Pink Floyd, Stones or Led Zep if they had a more accessible singer. Wouldn't switch out Geddy for quids though, I love them as they are. Keeps the casuals away from our favorite band!

[Presto-digitation]

I remember reading a review for the then-new Roll The Bones album in People magazine and it was obvious the reviewer didn't even bother to listen to the album because he criticized Lee "screeching voice" and the sci-fi theme songs neither of which are anywhere to be found on that particular album LOL

 

I once read a review for a Kiss show that was canceled last minute, but the review of the show that never happened was published anyway. Oops.

[Weatherman]

I remember reading a review for the then-new Roll The Bones album in People magazine and it was obvious the reviewer didn't even bother to listen to the album because he criticized Lee "screeching voice" and the sci-fi theme songs neither of which are anywhere to be found on that particular album LOL

 

I once read a review for a Kiss show that was canceled last minute, but the review of the show that never happened was published anyway. Oops.

I used to work in journalism at a very famous newspaper, and the obituary guy showed me the obituaries of famous people that he'd already prewritten and had ready to go.

He didn't like it when someone famous died unexpectedly because he'd have to work overtime that day.

[grep]

I remember reading a review for the then-new Roll The Bones album in People magazine and it was obvious the reviewer didn't even bother to listen to the album because he criticized Lee "screeching voice" and the sci-fi theme songs neither of which are anywhere to be found on that particular album LOL

 

I once read a review for a Kiss show that was canceled last minute, but the review of the show that never happened was published anyway. Oops.

I used to work in journalism at a very famous newspaper, and the obituary guy showed me the obituaries of famous people that he'd already prewritten and had ready to go.

He didn't like it when someone famous died unexpectedly because he'd have to work overtime that day.

 

This is exactly what they do.

 

When Queen Elizabeth passes, as one example, almost everything we read : the history, her life story, the nostalgia, the funeral plans, is all written already. Will be dusted off and brought to date for the time she passes, and then published.

[Alex’s Amazing Arpeggios]

It's Geddy's voice more than anything. I always thought they would be as huge as Pink Floyd, Stones or Led Zep if they had a more accessible singer. Wouldn't switch out Geddy for quids though, I love them as they are. Keeps the casuals away from our favorite band!

 

Being a Rush fan(atic) is like being part of a secret club.

You either ‘ get ‘ their music and love them .. like we wise people all do

:-)

... or are indifferent.. such as causal music fans who - and I know I’m maybe over stereo-typing

- normally focus mostly on vocals and simple songs in 4/4 time which are instantly catchy ‘

and you can dance to without having to sit down and concentrate on the lyrics

... or hate them ... mostly I guess ‘ trendy critics ‘ who haven’t got the time or patience

to give their albums more than 1 listen.

Edited September 15, 2021 by Alex’s Amazing Arpeggios

[Malignant Narcissist]

Here is a 1979 concert review so you can see what they were up against.

 

Rush at Varsity Stadium, Sept. 2, 1979

By Bruce Blackadar – Toronto Star

 

“Rush tries to bludgeon audience”

 

Attending a Rush concert is like being a masochist who’d enjoy a heart transplant operation in his friendly neighborhood hospital.

But the Rush fanatics – who used to be legion in these parts – seem to be losing their addiction to pain. Only 8,000 showed up last night at Varsity Stadium to happily endure the three-man Toronto heavy metal group’s mind-shattering barrage of technological and electronic wizardry that it cunningly disguises as music.

It’s meaningless to attempt to review what Rush is doing; that would be like trying to explain the political necessity of planting bombs in churches to a sweet old nun running a children’s orphanage.

However, we can say that the trio – Neil Peart on drums, Geddy Lee, vocals and bass, and Alex Lifeson, guitar – are certainly professional, like a team of frogmen who possess an exquisite mastery of technical matters.

First, there’s the overwhelming bass line, always present, steering the electronic carnage that makes up the bulk of the band’s albums, like Hemispheres and 2112, this way and that.

Then there’s the dentist drill voice of Lee, which after not all that many songs becomes a deft instrument of torture for the listener. It’s a voice that begins immediately at the level of pain and, miraculously, and very unfortunately, proceeds to a higher plane.

Finally, there’s the drum work of Peart, the frightful heartbeat, the rhythm of doom.

Other ingredients of the Rush assault include a mind-bending sound system, full of hysterical – and meaningless – distortions, a perfectly synchronized light show, and the band’s weird philosophical stance of intellectually primitive conservatism.

Much of what the band does – such as The Spirit of Radio, a new song they introduced to their fans last night – is wildly exciting. But the other material is pointless electronic overkill of the highest order.

 

Only 8,000 showed up!

 

As a rush fanboi at that time I will say that was par for the course.

 

The reviewer stated "...Much of what the band does – such as The Spirit of Radio, a new song they introduced to their fans last night – is wildly exciting. But the other material is pointless electronic overkill of the highest order...."

 

So if much i.e. presumably the majority, of what the band does is 'wildly exciting' then I assume that's a positive and they liked most of the songs/music - the 'other' material being in the minority of their setlist.

The reviewer must have had a chip on his shoulder about Rush.

 

How many artists/bands have people not liked on initial hearing and then continued that prejudice even when they are presented with music by the said band that they actually like?

I initially disliked the Smith based on the 1st couple of songs I heard but then when I heard a few more later that I liked (Bigmouth strikes again, What difference does it make) I eventually came round to liking them albeit it took a while to get over the original prejudice.