_hi_water._ ranks all 171 Rush songs... AGAIN

[_hi_water._]

I promise I'll complete it this time... and I'll make sure to post more in one day because doing it daily sucked...

..and no, I don't have the old list anymore

 

Anyways...
I've really gone on a discography run with these guys again, especially with the reunion coming up. I also remembered how I tried making a list like this a few years ago, but I feel like giving out some respect in some well-condensed posts every so often. I have digested this list into tiers, as well as posting the progress of each album through the list, and posting the whole list's progress so far.

Some of these could definitely change later, but I feel very confident in how I placed most of these.

A couple of tracks I considered interludes into another song shortened the list into 171 and not 173. I included Feedback again, even though ooooo spoilers, it will get dumped again.

 

Soon, I will begin posting the first tier!

[_hi_water._]

TIER 1: The Worst

The cool thing about my experience as a Rush fan is that I don't think they have had any songs I thought were straight out bad or that I really hated. With that being said, there are definitely some tracks worth not wanting to remember or am never ever excited to hear when listening to an album.


171. “Virtuality” (Test for Echo (1996) - 1 of 11)

Not sure if this is the bottom pick that everyone else would choose - and I understand. It has a very heavy riff that surrounds the track, and some great instrumentation features throughout, too. But you know why this is here - the lyrics... and man, they are really hard to listen to on this very day. Just imagine introducing someone to Rush, and they hear this album, and then get to "Net boy, net girl /Send your impulse around the world / Put your message in a modem / And throw it in the Cyber Sea." Has to be one of the worst rock choruses of this era - just a completely awkward experience. And this won't be the first song on Test for Echo getting shot at with blandish and mediocre lyrics.

170. “Rivendell” (Fly by Night (1975) - 1 of 8)
Sorry, but I really can't like this one. There's literally almost nothing about this track that is moving to me. It feels like the longest track on Fly by Night, despite only being 5 minutes. I have no idea truly what went behind the execution of this track, whether that be the recording or the actual idea of it. It's really something that can be deduced to 'Geddy whispering in the microphone with an acoustic guitar'. The LOTR fanboyism I can handle, but there is hardly anything else cohesive about the track. It's an absolute slog track and momentum killer on what I think could've been an otherwise near-perfect debut album for Peart. 

169. “Crossroads” (Feedback (2004) - 1 of 8)

Holy shit - this is one hell of a disappointing cover. Most of all, it really just represents how not-so-great of an idea Feedback really kind of is. They didn't choose bad songs to cover, including this one - but the overall sound and execution are just poor, with this song being the primary example of it. A cover album like Feedback would've worked so much better if it had been done in the 1970s, especially when they were more into this style of rock. I understand why they released this EP, of course - R30. This track was obviously performed much better live by Rush than in the studio, but there's quite an argument that it is the producers' fault for making "Crossroads" sound like Vapor Trails.

168. “Tai Shan” (Hold Your Fire (1987) - 1 of 10)

Another track that can once again be pointed and blamed on the production. I've always thought much of Hold Your Fire as sounding quite like the B-sides or demos to Power Windows, where in this album, the mixing sounds like it was performed in a hollow, empty room and some shitty recording equipment. It's really a shame, because that's the ultimate detriment of Hold Your Fire. A song like how this one was executed, probably had the band thinking it was time to completely change their sound. There could've actually been a chance for this track to be an actually decent song, as it has some interesting ideas in instrumentation, as well as more cool backing vocals by Aimee Mann. The mixing absolutely destroys any sonic value or emotional excitement this track could've had.

167. “For What It’s Worth” (Feedback (2004) - 2 of 8)

Another disappointing cover that brings back the issues Feedback has. The Vapor Trails-like mix destroys a lot of the spirit and ambition that could've been challenged in what could've otherwise been an excellent choice for Rush to cover.

166. “The Way the Wind Blows” (Snakes & Arrows (2007) - 1 of 12)
And here, folks, is what I think is easily their worst 6+ minute song. I've been talking quite a bit about mixing here, where the mixing in Snakes & Arrows ain't all that great either - but this isn't a track to really blame on the mixing. It's a very dull track that slowly repeats itself in ways that don't feel necessary, not to mention its bland drum intro and an unexciting blues riff from Lifeson. Major disappointment.

[treeduck]

It's really easy with RUSH, the heavy metal ones at the top, the poser nonsense at the bottom and you're done. 

[grep]

Put your message in your WiFi and it will be absorbed by someone's AI.

[_hi_water._]

1 hour ago, grep said:

Put your message in your WiFi and it will be absorbed by someone's AI.

Perfect

[_hi_water._]

TIER 2: Oh Yeah... These Songs Do Exist

 

Many of the songs I put at the bottom are pretty much memorable for the wrong reasons, or are just utter disappointments. This next tier... contains songs that are simply fine, but don't have much value in needing to revisit them just by themselves.

165. “Need Some Love” (Rush (1974) - 1 of 8)
Not much to say about this one... It's one of the most generic rock songs that Rush could've ever really produced, to my ears. It comes down to the fact that it is 2 minutes, and I don't remember much about listening to it afterwards. On an album full of fun rock (and bluesy) tracks with excellent hooks and melodies, this is just lackluster at its finest.

164. “Take a Friend” (Rush (1974) - 2 of 8)

Definitely a better song than the previous, except that I really am not a huge fan of the melodies on this one... at all. "Take yourself a friend / Keep 'em till the end / Whether woman or man / It makes you feel so good" - hits a little bit corny. It has an excellent fade-in hook leading to one of the better riffs on the whole album, but otherwise nothing much too exciting.

163. “Seven and Seven Is” (Feedback (2004) - 3 of 8)
In comparison to the last few covers that I recently discussed, this one is far better in terms of performance, and could possibly be one of the better performances on the whole EP. Unfortunately, the Vapor Trails-esque mixing drags this song down to the ground very hard.

162. “Dog Years” (Test for Echo (1996) - 2 of 11)
Much like "Virtuality", this is another song that really enforces the biggest issues with Test for Echo. There's plenty of great instrumentation, but it soon gets dragged down by some generic or uninspiring melodies. This one runs a lot faster than the other track, and I would say this has better musical development than that one, although some of it can be hurt by the buzzy mixing the album has. And then we are introduced to one of Peart's weakest metaphors ever - "It seems to me / As we make our own few circles 'round the sun / We get it backwards / And our seven years go by like one." Not sure what exactly was intended here, but I don't think the impact that was meant to be heard has made its mark very clear to the listeners (at least me... right?).

161. “Face Up” (Roll the Bones (1991) - 1 of 10)
Easily the most forgettable track on the album - an album where plenty of interesting ideas occur within each track. This song feels most hurt by its repetitive verses and choruses that aren't very interesting to begin with. Kinda stinks too, because the hook is quite riveting.

160. “Good News First” (Snakes & Arrows (2007) - 2 of 12)
Damn, I wish to appreciate this one more. The mashing of Lifeson's electrics and acoustics is very pleasant, as well as some fun experimentation Geddy explores on this track (the mellotron!!!). It also feels like a shame that these beautiful lyrics have really gotten lost in a terribly mixed track. This song presents some of the worst problems in Snakes & Arrows, particularly with how they treat Geddy's vocals in parts - "The best we can agree on / Is it could have been worse / What happened to your old benevolent universe?" Oooof.

159. “Bravest Face” (Snakes & Arrows (2007) - 3 of 12)
Pretty much the same as the last one... with some differences. There is much more interesting thematic structure in the verses, and a much more tuneful chorus. If only some of their later albums were produced better...

158. “You Bet Your Life” (Roll the Bones (1991) - 2 of 10)

It serves well as just being the closer for Roll the Bones - plenty of cool ideas that are used in producing this track, especially when getting into the latter part of the song. Otherwise, not much worth revisiting this song for.

[_hi_water._]

My list so far:

171. “Virtuality” (Test for Echo (1996) - 1 of 11)
170. “Rivendell” (Fly by Night (1975) - 1 of 8)
169. “Crossroads” (Feedback (2004) - 1 of 8)
168. “Tai Shan” (Hold Your Fire (1987) - 1 of 10)
167. “For What It’s Worth” (Feedback (2004) - 2 of 8)
166. “The Way the Wind Blows” (Snakes & Arrows (2007) - 1 of 12)
165. “Need Some Love” (Rush (1974) - 1 of 8)
164. “Take a Friend” (Rush (1974) - 2 of 8)
163. “Seven and Seven Is” (Feedback (2004) - 3 of 8)
162. “Dog Years” (Test for Echo (1996) - 2 of 11)
161. “Face Up” (Roll the Bones (1991) - 1 of 10)
160. “Good News First” (Snakes & Arrows (2007) - 2 of 12)
159. “Bravest Face” (Snakes & Arrows (2007) - 3 of 12)
158. “You Bet Your Life” (Roll the Bones (1991) - 2 of 10)

[grep]

Take yourself your pills, swallow them to the end
whether woman or man, they'll keep your BP down

SO dooowwnnnn! 

Edited March 8 by grep

[grep]

I completely agree with the production criticism of Feedback. It's like VT lite.  Kind of boring, IMO - even though a good effort. 

Those songs would have been more well received, IMO, if they went for an early days stripped down production. Make the EP sound like the old days, not just revisit them. 

 

[_hi_water._]

TIER 3: Listenable...? Passable...?

 

This next tier is basically just material from Rush that I feel is serviceable. While a few others before that could fit this definition, there are certainly more qualities to be heard within these next tracks.

157. “War Paint” (Presto (1989) - 1 of 11)
Get ready for a massive Presto dump in this section of the list. I chose this one to be the weakest from this album, mainly just because of how overly generic it tends to be. It feels like the Presto track with the least going on in it, aside from some of the choruses and repetition at the end of the track - all of which isn't particularly the greatest, either. There's certainly some interesting instrumentation on this one, particularly with the drum fills and the bass - not really much to say about this song overall.

156. “Hand Over Fist” (Presto (1989) - 2 of 11)
Rock, paper, scissors... the song. While I do understand the message in the track, the added lyrics make it really seem unnecessarily cheesy. Aside from that, there are some pretty cool bridges between Alex and Geddy throughout the song, as well as some of the better performances by Lifeson on this album. The biggest problem in this track is also reflective of the tinny mixing from Rupert Hine, mainly with how the acoustics are centered throughout, and the acoustics are very important on this song in particular. A fine song that I don't mind much when listening to Presto.

155. “Anagram (for Mongo)” (Presto (1989) - 3 of 11)
Some really great lyrics are found in this song, although it doesn't really turn out as an anagram. "There is no safe seat at the feast / Take your best stab at the beast / The night is turning thin / The saint is turning to sin." I like how the piano is executed throughout the track, including the solo, alongside some of the cool drum fills added by Peart. The overall execution in this track otherwise isn't really standout at all.

154. “Second Nature” (Hold Your Fire (1987) - 2 of 10)
If there was one more track on Hold Your Fire I'd personally get rid of, it would be this one. For the positives, it has some excellent lyricism - "No one is blameless /But we're all without shame / We fight the fire / While we're feeding the flames" - quite beautiful. However, I think that this song has problems in both the songwriting and production. It's easy to blame it just on how roomy the mixing is, which doesn't help the instrumentation on a ballad whatsoever. 

153. “Shapes of Things” (Feedback (2004) - 4 of 8)
Definitely not a memorable cover from this EP, especially with how the mixing affects it badly. Underneath all of it, though, there are quite a few interesting performances by Lifeson and Lee, which makes it just okie-dokie.

152. “Peaceable Kingdom” (Vapor Trails (2002) - 1 of 13)
So when I am ranking all of these songs from Vapor Trails, I feel it is somewhat fair to talk about both the original mix and the remix. And for this track, whether I am listening to the 2002 or 2013 version, I confidently feel as if this was the weakest track from the album. This song is very inspired (lyrically at least) from the aftermath of 9/11/2001, and is lyrically not bad at all, and certainly better than a shit-ton of other tracks by other artists that came around in this time period about this subject. However, this definitely feels like the most out-of-place song on the whole album in terms of messaging and definitely contains some of the more underwhelming performances they've had in this era. My least favorite on Vapor Trails is just alright for me.

151. “Half the World” (Test for Echo (1996) - 3 of 11)
Definitely one of the most conflicting tracks in their discography. I can't tell if their repetition of "half the world" throughout the whole song is genius or if it's really just an uninspiring track lacking substance. The melodies and instrumentation throughout definitely work, but there are only certain times where I would ever want to revisit this track - perhaps not really their finest work in the department.

150. “In the Mood” (Rush (1974) - 3 of 8)
One of the only times Rush wrote a song about fuqqin'. This definitely rocks hard, especially with Rutsey's underrated playing with the cowbell added. It's a very solid rock song, although I think they went a little bit tacky in writing "Hey, baby, it's a quarter to eight / I feel I'm in the mood / Hey baby, the hour is late / I feel I've got to move." Only bothering revisiting it when listening to the debut... or one of the live cuts.

149. “The Stars Look Down” (Vapor Trails (2002) - 2 of 13)
Never thought that this track was the best in terms of songwriting, and the execution definitely lacks in the original mix. It contains some of the more powerful lyrics on this album, if only it were translated better vocally - can really hear the strains in Lee's voice in moments, particularly in the chorus.

148. “Mr. Soul” (Feedback (2004) - 5 of 8)
Definitely one of the more pleasant performances on this EP - although unfortunately, like most of Feedback, lots of the detail gets lost in mixing, especially in the transitions of each part of the song.

[_hi_water._]

My list so far:

171. “Virtuality” (Test for Echo (1996) - 1 of 11)
170. “Rivendell” (Fly by Night (1975) - 1 of 8)
169. “Crossroads” (Feedback (2004) - 1 of 8)
168. “Tai Shan” (Hold Your Fire (1987) - 1 of 10)
167. “For What It’s Worth” (Feedback (2004) - 2 of 8)
166. “The Way the Wind Blows” (Snakes & Arrows (2007) - 1 of 12)
165. “Need Some Love” (Rush (1974) - 1 of 8)
164. “Take a Friend” (Rush (1974) - 2 of 8)
163. “Seven and Seven Is” (Feedback (2004) - 3 of 8)
162. “Dog Years” (Test for Echo (1996) - 2 of 11)
161. “Face Up” (Roll the Bones (1991) - 1 of 10)
160. “Good News First” (Snakes & Arrows (2007) - 2 of 12)
159. “Bravest Face” (Snakes & Arrows (2007) - 3 of 12)
158. “You Bet Your Life” (Roll the Bones (1991) - 2 of 10)
157. “War Paint” (Presto (1989) - 1 of 11)
156. “Hand Over Fist” (Presto (1989) - 2 of 11)
155. “Anagram (for Mongo)” (Presto (1989) - 3 of 11)
154. “Second Nature” (Hold Your Fire (1987) - 2 of 10)
153. “Shapes of Things” (Feedback (2004) - 4 of 8)
152. “Peaceable Kingdom” (Vapor Trails (2002) - 1 of 13)
151. “Half the World” (Test for Echo (1996) - 3 of 11)
150. “In the Mood” (Rush (1974) - 3 of 8)
149. “The Stars Look Down” (Vapor Trails (2002) - 2 of 13)
148. “Mr. Soul” (Feedback (2004) - 5 of 8)

Once we get to the Top 100, I'll make some eyes widen... heh heh.

[_hi_water._]

TIER 4: Lots to Like

We're definitely starting to enter the part of the list where the songs become pretty solid and totally fine to come across when putting on their albums.

147. “Neurotica” (Roll the Bones (1991) - 3 of 10)
This is usually the most panned track from this album - and while I agree that the chorus is mostly kind of weak (albeit sometimes a little fun to listen to), there's plenty of other things going on that I really like. When it comes to the two albums Rupert Hine produced, this album overall sounds better, with this track making a great case for that. The transition about 30 seconds in the track, as well as the solo part near the end, is damn good.

146. “Spindrift” (Snakes & Arrows (2007) - 4 of 12)
Another very panned track from the album of its release - I feel that there are enough qualities to this track to keep it in this tier. Much of the track is bruised by its rough mixing, as well as some transitional choices, particularly in the vocals. However, this definitely has one of the most memorable and menacing riffs from the album. Definitely a fine song to hear when putting on Snakes & Arrows.

145. “I Think I’m Going Bald” (Caress of Steel (1975) - 1 of 5)
Easily the most out of place track and moment from Caress of Steel (aside from another thing I'll get to soon enough...). The lyrics are very dumb, certainly, though this is definitely one of the heavier moments on the album that pours brilliance in development. Even with this song, it can be heard how they've really developed their sound and songwriting structures since the last couple of albums... although it does share a little bit of chord similarities with "In the Mood".

144. “Scars” (Presto (1989) - 4 of 11)
Definitely one of the coolest and most interesting tracks on the album, although it is once again another track hurt by the production. This song reminds me of similar 80s styles explored by artists like Eurythmics - and I dig that. The style of this song makes it memorable on Presto, although I wish there was more oomph in the instrumentation throughout.

143. “The Seeker” (Feedback (2004) - 6 of 8)
Alright, I suppose that I am talking like a broken record about Feedback at this point. I have to also mention that there are brief moments in this track where Lee's voice definitely sounds like it is straining, and it can be very noticeable when it happens. Other than that, there are some pretty solid performances when covering this Who song, with Lifeson nailing the riff.

142. “Double Agent” (Counterparts (1993) - 1 of 11)
I might be one of the few to argue that there are no weak tracks on Counterparts. Out of all the albums post-80s, this album has my favorite production by a long shot. However, that unfortunately feels like the weakness found in this track that makes it stand out the least for me. The bass and electric performances are thrilling, and Geddy's vocal changes throughout the track are kind of fun to hear. This song definitely needed more help with the mixing, especially in some of the transitions that end up feeling too mashed together.

141. “Time and Motion” (Test for Echo (1996) - 4 of 11)
Lots of musically interesting styles are used in this song, especially the keyboards that remind me of Dream Theater quite a bit. It also contains one of Lifeson's best riffs throughout the album. I do wish this song were cut a little bit shorter, where some of the verses later in the song make it seem much longer than it needs to be.

140. “Limbo” (Test for Echo (1996) - 5 of 11)
Much like the previous track, this should be cut shorter. Lots of interesting ideas are put together here, like putting in samples of Monster Mash, and Lifeson having fun with some dissonant riffs. May be my least favorite instrumental, but it's still quite enjoyable.

139. “We Hold On” (Snakes & Arrows (2007) - 5 of 12)
If Rush flew out with this song as their very last, I would've been perfectly okay with that. Lifeson is going out with some gritty riffs, and Peart is just smashing the hell out of nearly everything he has in his kit right there. Looking back at this song, there are some splicing jobs that do kind of bother me, especially at the 1:20 mark.

138. “Here Again” (Rush (1974) - 4 of 8)
The longest track on the debut definitely needed to be cut shorter. But there's quite a lot that can be thrilling to hear once it all happens, particularly with the bluesy melodies surrounding "I've seen your face before / Is it ever gonna, ever gonna change again? / And I've been in one, one place too long / Is it ever gonna, ever gonna change again?"

137. “Chain Lightning” (Presto (1989) - 5 of 11)
Right from the get-go of hearing this song, the stark difference in production really crashes into my ear. It does let go quite a bit with the melodies and verses that make it all worth coming back to and remembering. There are also some... interesting-ish ideas thrown in here as well (what even are the bah-bah-bahs...?).

136. “High Water” (Hold Your Fire (1987) - 3 of 10)
A very underrated closer from Hold Your Fire, often overshadowed by the momentum-killer track behind it. Although lots of its potential is hidden by the production, there are plenty of soothing and fun ideas throughout the song that could've also made it work as a closer for Grace Under Pressure or Power Windows. The ending of the song is performed really nicely, although it does kind of come in and end a little abruptly.

[yyz305]

1 hour ago, _hi_water._ said:

TIER 4: Lots to Like

We're definitely starting to enter the part of the list where the songs become pretty solid and totally fine to come across when putting on their albums.

147. “Neurotica” (Roll the Bones (1991) - 3 of 10)
This is usually the most panned track from this album - and while I agree that the chorus is mostly kind of weak (albeit sometimes a little fun to listen to), there's plenty of other things going on that I really like. When it comes to the two albums Rupert Hine produced, this album overall sounds better, with this track making a great case for that. The transition about 30 seconds in the track, as well as the solo part near the end, is damn good.

146. “Spindrift” (Snakes & Arrows (2007) - 4 of 12)
Another very panned track from the album of its release - I feel that there are enough qualities to this track to keep it in this tier. Much of the track is bruised by its rough mixing, as well as some transitional choices, particularly in the vocals. However, this definitely has one of the most memorable and menacing riffs from the album. Definitely a fine song to hear when putting on Snakes & Arrows.

145. “I Think I’m Going Bald” (Caress of Steel (1975) - 1 of 5)
Easily the most out of place track and moment from Caress of Steel (aside from another thing I'll get to soon enough...). The lyrics are very dumb, certainly, though this is definitely one of the heavier moments on the album that pours brilliance in development. Even with this song, it can be heard how they've really developed their sound and songwriting structures since the last couple of albums... although it does share a little bit of chord similarities with "In the Mood".

144. “Scars” (Presto (1989) - 4 of 11)
Definitely one of the coolest and most interesting tracks on the album, although it is once again another track hurt by the production. This song reminds me of similar 80s styles explored by artists like Eurythmics - and I dig that. The style of this song makes it memorable on Presto, although I wish there was more oomph in the instrumentation throughout.

143. “The Seeker” (Feedback (2004) - 6 of 8)
Alright, I suppose that I am talking like a broken record about Feedback at this point. I have to also mention that there are brief moments in this track where Lee's voice definitely sounds like it is straining, and it can be very noticeable when it happens. Other than that, there are some pretty solid performances when covering this Who song, with Lifeson nailing the riff.

142. “Double Agent” (Counterparts (1993) - 1 of 11)
I might be one of the few to argue that there are no weak tracks on Counterparts. Out of all the albums post-80s, this album has my favorite production by a long shot. However, that unfortunately feels like the weakness found in this track that makes it stand out the least for me. The bass and electric performances are thrilling, and Geddy's vocal changes throughout the track are kind of fun to hear. This song definitely needed more help with the mixing, especially in some of the transitions that end up feeling too mashed together.

141. “Time and Motion” (Test for Echo (1996) - 4 of 11)
Lots of musically interesting styles are used in this song, especially the keyboards that remind me of Dream Theater quite a bit. It also contains one of Lifeson's best riffs throughout the album. I do wish this song were cut a little bit shorter, where some of the verses later in the song make it seem much longer than it needs to be.

140. “Limbo” (Test for Echo (1996) - 5 of 11)
Much like the previous track, this should be cut shorter. Lots of interesting ideas are put together here, like putting in samples of Monster Mash, and Lifeson having fun with some dissonant riffs. May be my least favorite instrumental, but it's still quite enjoyable.

139. “We Hold On” (Snakes & Arrows (2007) - 5 of 12)
If Rush flew out with this song as their very last, I would've been perfectly okay with that. Lifeson is going out with some gritty riffs, and Peart is just smashing the hell out of nearly everything he has in his kit right there. Looking back at this song, there are some splicing jobs that do kind of bother me, especially at the 1:20 mark.

138. “Here Again” (Rush (1974) - 4 of 8)
The longest track on the debut definitely needed to be cut shorter. But there's quite a lot that can be thrilling to hear once it all happens, particularly with the bluesy melodies surrounding "I've seen your face before / Is it ever gonna, ever gonna change again? / And I've been in one, one place too long / Is it ever gonna, ever gonna change again?"

137. “Chain Lightning” (Presto (1989) - 5 of 11)
Right from the get-go of hearing this song, the stark difference in production really crashes into my ear. It does let go quite a bit with the melodies and verses that make it all worth coming back to and remembering. There are also some... interesting-ish ideas thrown in here as well (what even are the bah-bah-bahs...?).

136. “High Water” (Hold Your Fire (1987) - 3 of 10)
A very underrated closer from Hold Your Fire, often overshadowed by the momentum-killer track behind it. Although lots of its potential is hidden by the production, there are plenty of soothing and fun ideas throughout the song that could've also made it work as a closer for Grace Under Pressure or Power Windows. The ending of the song is performed really nicely, although it does kind of come in and end a little abruptly.

High Water is one of my favourites from Hold Your Fire. I agree that it ends abruptly. 

[grep]

It's got to be second nature, I mean the places where we live,
Let's talk about this sensibly, War Paint at 157 is insensitive

I think i might have questions.......  

:)

Edited March 10 by grep

[grep]

I think I've gone bald, Yeah I think I've gone BALD!  

[_hi_water._]

TIER 5: Things Start Getting More Exciting...

This is the part of the list where I start hyping some songs up more than dissing them.

135. “The Big Wheel” (Roll the Bones (1991) - 4 of 10)
One of the better-produced tracks on Roll the Bones, with fun little elements thrown in here, such as the brief vehicle noises Lifeson makes throughout the track, for example. May not be the most memorable track ever, but it sure has quite a melody to it.

134. “Out of the Cradle” (Vapor Trails (2002) - 3 of 13)
A very emotional closer on an emotional album (although it can be felt better listening to the remix). Would've been a great track for them to end with overall, but also seems like a great track to adopt the idea of themselves pushing forward.

133. “Between Sun & Moon” (Counterparts (1993) - 2 of 11)
While it by no means has my favorite melody, also being an easy target to be made fun of - damn it, this song is very well produced. Listen to this track with speakers; it contains a brilliant hard rock riff that booms along with the bass.

132. “Madrigal” (A Farewell to Kings (1977) - 1 of 6)
Definitely a short, but creative and beautiful ballad found near the end of A Farewell to Kings. However, it never felt too significant or memorable a track to recall from after listening to the outer greatness found on the album.

131. “Superconductor” (Presto (1989) - 6 of 11)
Maybe the cheesiest single they've ever released - but I can't lie that this one is actually quite a bit thrilling. The "superconductor!" chorus is very fun, and the dramatic progression at the end with several drum fills gives me one hell of a ride.

130. “Where’s My Thing?” (Roll the Bones (1991) - 5 of 10)
Possibly the best-produced track on the album, creating a fun instrumental track (and the best song of its trilogy!). May not be that thematic to the album, nor the most memorable instrumental - there's plenty of progressions in instrumentation, as well as tempo changes that make it a treat to hear.

129. “Carnies” (Clockwork Angels (2012) - 1 of 11)
I've always thought of this one as being my least favorite track on the album - it might just not be my favorite track thematically on one helluva concept album, and it's also not what I would consider the best-produced track on the album. There are lots of brilliant, heavy Lifeson riffs scattered throughout the whole track, along with some interesting sound effects that make it feel a little noisy and weird compared to the rest of the majestic tracks around it.

128. “Nocturne” (Vapor Trails (2002) - 4 of 13)
Maybe not the most impactful track on the album, although it sounds great with whichever mix is being listened to. The pounding drum patterns and the fiery chorus make it a fun song to hear when nearly finishing this record.

127. “Ceiling Unlimited” (Vapor Trails (2002) - 5 of 13)
Quite like the previous track mentioned, only with it being a lighter punch after hearing the roaring opening track. Lots of great soloing on this tune, and the sections of lyrics "Winding like an ancient river / The time is now again" are quite powerful.

126. “Lakeside Park” (Caress of Steel (1975) - 2 of 5)
A mellow, but charming track about a nostalgic park from Peart's youth. It definitely could've used more oomph in instrumentation, but it sure is a pleasant track to hear between the heavy noise it is sandwiched between.

125. “Carve Away the Stone” (Test for Echo (1996) - 6 of 11)
A simple, but very effective closer for Test for Echo. I love the solo and chord progressions near the end of the song, all of which bring an exciting end.

124. “Lock and Key” (Hold Your Fire (1987) - 4 of 10)
One could really wonder how much better this single could've been if the production had been handled better, but there's a surprising range of musical elements brought into it. It has a very intense opening, and a killer solo from Alex - not to forget some repeated lyrics that kick ass: "I don't want to face the killer instinct / Face it in you or me."

123. “Making Memories” (Fly by Night (1975) - 2 of 8)
A pleasantly fun little track on Fly By Night that blends in some hard rock and soft rock elements - and it's about how fun it is to tour! Listening to it closely, it has some funny mismatching from the bass - is it meant to help create some dissonance...?

122. “Heresy” (Roll the Bones (1991) - 6 of 10)
May not be the most well-aged track from the album, given the circumstances happening around its release, but man, there's some powerful delivery in this ballad that makes it quite worth revisiting while hearing Roll the Bones. "Do we have to be forgiving at last? / What else can we do? / Do we have to say goodbye to the past? / Yes, I guess we do."

121. “Ghost Rider” (Vapor Trails (2002) - 6 of 13)
A well-produced track on Vapor Trails that contains some poignant structuring and vocal delivery from Geddy. Several haunting choices are used in the bass and electric, as well as some of Neil's playing that progresses to the end, possibly representing a motorcycle. Maybe not the track that uses its time up as well as others, it doesn't really make me feel less impacted by the greater wrath.

[grep]

Did I brick the album,
or did the album brick me? 
 

cutting and pasting in pro tools,
and we recorded Alex too loud,
But we have a thousand Geddys,
And a nice clipped sound...

Edited March 11 by grep

[roojacksid]

I like your logic. Personally, I could never rank Rush songs in any real disciplined way. Truthfully, there are songs I like much more than others, but it changes. 

The only Rush song I don't really care for is I think I'm going Bald. 

[_hi_water._]

TIER 6: Lots of Underrated Material... and Some Weaker Singles

This is the last section I'm posting before the Top 100! I think the tier name is explanatory, so let's dig in!!!

120. “Red Tide” (Presto (1989) - 7 of 11)
I've always liked this cut from Presto... It's just very well produced, man. I love the combination that has been mixed between the piano and the synthesizers, along with scattered sparkles from Lifeson and some flashy drums from Peart. Compared to the other songs on the album, it manages to be a rollercoaster in tempo changes. Lots of fantastic lyrics too - "Let us not go gently / To the endless winter night."

 

119. “Available Light” (Presto (1989) - 8 of 11)
A strong closer for Presto, although it could've been resurfaced with better mixing. The chorus, "Chase the wind around the world / I want to look at life / In the available light" - along with the progressing instrumentation leading to those higher range of notes, is quite exhilarating. 

118. “The Larger Bowl” (Snakes & Arrows (2007) - 6 of 12)
One of the most powerful tracks from Snakes & Arrows - "Some are blessed, and some are cursed / The golden one or scarred from birth / While others only see the worst / Such a lot of pain on the Earth". It might not be the strongest of arrangements they could've gone with in this particular track, but it's certainly a very good track to listen to on this album.

117. “BU2B2”/”Wish Them Well” (Clockwork Angels (2012) - 2 of 11)
Had to throw "BU2B2" in this spot as well... it didn't feel fair to just let a minute and a half interlude (the only one they've ever done, by the way) have its own spot, and it felt right to consider it as a transition track to "Wish Them Well". These tracks mostly stand out as an emotional gateway to the climax of the album, that being the closing track. I do think some of the arrangements on "Wish Them Well" could've been better produced, but it definitely leaves itself as a good penultimate track for Rush.

116. “Lessons” (2112 (1976) - 1 of 6)
On an album where all sorts of weird and dispersed things happen, especially on Side B, this track definitely stands out as the weakest. It still remains as a fun track from 2112, but considering how well arranged the other tracks are, as well as the whole songwriting process that occurred on this album, it definitely feels like the "simple hard rock" track from 2112. That being said, I really like the acoustic intro, as well as how Alex performs throughout the entirety of the track.

115. “Totem” (Test for Echo (1996) - 7 of 11)
Definitely a song I wish I could rank a little higher, although I think that the limitations in production left from Test for Echo give it this spot. For me, it's one of the best arranged tracks on Test for Echo, going on with great length to it. It's a very good (and personally relatable) track about religion to me, although I think they had another track that handled it all much better (you'll see!).

114. “How It Is” (Vapor Trails (2002) - 7 of 13)
The most conflicting ranking from this album  - on the remix, the arrangements can be beautifully heard, creating a very emotional track. On the other hand, the original mix is possibly the most compressed track from the album, leaving out a bunch of sputters in sound. This feels like a good place to consider them both.

113. “Presto” (Presto (1989) - 9 of 11)
"If I could wave my magic wand / I’d make everything all right" - highlight writing from this album. I do think the song tends to overstay its welcome a little bit, considering the instrumentation provided - but the overall impact does lead to a memorable track.

112. “Open Secrets” (Hold Your Fire (1987) - 5 of 10)
Another track that is once again limited from the mixing used in the album - but c'mon, imagine if this song was on Power Windows. Some great bass and synth lines working together and a wonderful solo from Alex, not to mention the lyrics: "The things that we're concealing / Will never let us grow / Time will do its healing / You've got to let it go."

111. “Roll the Bones” (Roll the Bones (1991) - 7 of 10)
Heh heh heh, here we go - may quite make it as the most polarizing track from their catalog. A very memorable song from the album, from all angles you can look at it. One of the greatest melodies throughout this era of Rush - "Why does it happen? Because it happens." But we all know what the discussion is about - the rap part! I have no idea if I am one of the few people here who may really enjoy listening to hip-hop/rap at all, so I can tolerate this part more than others. This part of the song is definitely hilarious to listen to, more than to really take it extremely seriously, which can also be its detriment. It makes me think more of if they should've let Geddy do his thing here, or get another rapper to bounce on here - they totally could've done it!

110. “The Main Monkey Business” (Snakes & Arrows (2007) - 7 of 12)
I do think the instrumental goes a little bit longer than it needs to - but man, I love the arrangements throughout the whole thing. The way that the drums sound, along with how Geddy's bass and Alex's soloing complement each other, is quite spectacular. 

109. “Halo Effect” (Clockwork Angels (2012) - 3 of 11)
Maybe a little too short, but it's a very sublime track in the middle of the album, which can be a "love" song interpreted in many different ways. I love all of the string parts that are arranged throughout, especially with the final verses.

108. “The Speed of Love” (Counterparts (1993) - 3 of 11)
A heavily underrated ballad on an album with plenty of great cuts. One of the better produced tracks on Counterparts, leaving with some atmospheric guitar work from Lifeson, and some fantastic fills from Peart. "Love is born with solar flares / From two magnetic poles / It moves towards a higher plane / Where two halves make two wholes" - fantastically written.

107. “Cut to the Chase” (Counterparts (1993) - 4 of 11)
A very heavy song with some clean riffs from Lifeson. The flashes of piano and backing vocals bring more life to this track, as well as the layering and left-right audio after and during the solo. 

106. “Secret Touch” (Vapor Trails (2002) - 8 of 13)
A heavy track from Vapor Trails that has had some interesting interpretations from both mixes. The original mix put the percussion at the focus, particularly with the woodblock intro. Other than that, the original mix is just compressed to hell. The remix really helps bring out emotionally gripping instrumentation that wasn't very well focused on in the original mix. "The way out is the way in" is one of the hardest and most memorable lyrics from the album.

105. “Summertime Blues” (Feedback (2004) - 7 of 8)
A performance from Feedback that... didn't turn out bad at all. The intro definitely makes things more exciting, introducing a very well executed riff from Lifeson, along with some pounding drum patterns.

104. “Cinderella Man” (A Farewell to Kings (1977) - 2 of 6)
Another track from A Farewell to Kings that is surrounded by the greatness around it. I do like the hooks at the beginning of the track, and it has a fun middle section. One of the cheesier, fun, and short tracks from this era. 

103. “Best I Can” (Fly by Night (1975) - 3 of 8)
Many of the performances throughout this song are absolutely soaring. The in-your-face drums, killer guitar solo, and Geddy screaming "I do the best that I can / I'm just what I am / I do the best I can / Well, I know what I am" rip hard.

 

102. “Workin’ Them Angels” (Snakes & Arrows (2007) - 8 of 12)
One of the more fun tracks from Snakes & Arrows that has fantastic arrangements (most of the album does, if I am being truly for real here). I do wish some of the things were brought out just a little more, like Lifeson's solo... of whatever instrument that is (I need to know, of course).

101. “Stick It Out” (Counterparts (1993) - 5 of 11)
One of their absolute heaviest tracks ever, and possibly the grungiest tune they have released. However, I do think that some better production and even a little songwriting could've helped improve what the song already contains of an excellent melody.

[grep]

On 3/12/2026 at 12:25 PM, roojacksid said:

I like your logic. Personally, I could never rank Rush songs in any real disciplined way. Truthfully, there are songs I like much more than others, but it changes. 

The only Rush song I don't really care for is I think I'm going Bald. 

Fun fact - Neil wrote Bald to make fun of KISS' "I Think I'm Going Blind".  :) 

 

Edited March 14 by grep

[grep]

We go out in the world and take our chances
Fate is just the weight of circumstances
Sometimes shit just happens
Roll the bones

 

[_hi_water._]

My list so far:

171. “Virtuality” (Test for Echo (1996) - 1 of 11)
170. “Rivendell” (Fly by Night (1975) - 1 of 8)
169. “Crossroads” (Feedback (2004) - 1 of 8)
168. “Tai Shan” (Hold Your Fire (1987) - 1 of 10)
167. “For What It’s Worth” (Feedback (2004) - 2 of 8)
166. “The Way the Wind Blows” (Snakes & Arrows (2007) - 1 of 12)
165. “Need Some Love” (Rush (1974) - 1 of 8)
164. “Take a Friend” (Rush (1974) - 2 of 8)
163. “Seven and Seven Is” (Feedback (2004) - 3 of 8)
162. “Dog Years” (Test for Echo (1996) - 2 of 11)
161. “Face Up” (Roll the Bones (1991) - 1 of 10)
160. “Good News First” (Snakes & Arrows (2007) - 2 of 12)
159. “Bravest Face” (Snakes & Arrows (2007) - 3 of 12)
158. “You Bet Your Life” (Roll the Bones (1991) - 2 of 10)
157. “War Paint” (Presto (1989) - 1 of 11)
156. “Hand Over Fist” (Presto (1989) - 2 of 11)
155. “Anagram (for Mongo)” (Presto (1989) - 3 of 11)
154. “Second Nature” (Hold Your Fire (1987) - 2 of 10)
153. “Shapes of Things” (Feedback (2004) - 4 of 8)
152. “Peaceable Kingdom” (Vapor Trails (2002) - 1 of 13)
151. “Half the World” (Test for Echo (1996) - 3 of 11)
150. “In the Mood” (Rush (1974) - 3 of 8)
149. “The Stars Look Down” (Vapor Trails (2002) - 2 of 13)
148. “Mr. Soul” (Feedback (2004) - 5 of 8)
147. “Neurotica” (Roll the Bones (1991) - 3 of 10)
146. “Spindrift” (Snakes & Arrows (2007) - 4 of 12)
145. “I Think I’m Going Bald” (Caress of Steel (1975) - 1 of 5)
144. “Scars” (Presto (1989) - 4 of 11)
143. “The Seeker” (Feedback (2004) - 6 of 8)
142. “Double Agent” (Counterparts (1993) - 1 of 11)
141. “Time and Motion” (Test for Echo (1996) - 4 of 11)
140. “Limbo” (Test for Echo (1996) - 5 of 11)
139. “We Hold On” (Snakes & Arrows (2007) - 5 of 12)
138. “Here Again” (Rush (1974) - 4 of 8)
137. “Chain Lightning” (Presto (1989) - 5 of 11)
136. “High Water” (Hold Your Fire (1987) - 3 of 10)
135. “The Big Wheel” (Roll the Bones (1991) - 4 of 10)
134. “Out of the Cradle” (Vapor Trails (2002) - 3 of 13)
133. “Between Sun & Moon” (Counterparts (1993) - 2 of 11)
132. “Madrigal” (A Farewell to Kings (1977) - 1 of 6)
131. “Superconductor” (Presto (1989) - 6 of 11)
130. “Where’s My Thing?” (Roll the Bones (1991) - 5 of 10)
129. “Carnies” (Clockwork Angels (2012) - 1 of 11)
128. “Nocturne” (Vapor Trails (2002) - 4 of 13)
127. “Ceiling Unlimited” (Vapor Trails (2002) - 5 of 13)
126. “Lakeside Park” (Caress of Steel (1975) - 2 of 5)
125. “Carve Away the Stone” (Test for Echo (1996) - 6 of 11)
124. “Lock and Key” (Hold Your Fire (1987) - 4 of 10)
123. “Making Memories” (Fly by Night (1975) - 2 of 8)
122. “Heresy” (Roll the Bones (1991) - 6 of 10)
121. “Ghost Rider” (Vapor Trails (2002) - 6 of 13)
120. “Red Tide” (Presto (1989) - 7 of 11)
119. “Available Light” (Presto (1989) - 8 of 11)
118. “The Larger Bowl” (Snakes & Arrows (2007) - 6 of 12)
117. “BU2B2”/”Wish Them Well” (Clockwork Angels (2012) - 2 of 11)
116. “Lessons” (2112 (1976) - 1 of 6)
115. “Totem” (Test for Echo (1996) - 7 of 11)
114. “How It Is” (Vapor Trails (2002) - 7 of 13)
113. “Presto” (Presto (1989) - 9 of 11)
112. “Open Secrets” (Hold Your Fire (1987) - 5 of 10)
111. “Roll the Bones” (Roll the Bones (1991) - 7 of 10)
110. “The Main Monkey Business” (Snakes & Arrows (2007) - 7 of 12)
109. “Halo Effect” (Clockwork Angels (2012) - 3 of 11)
108. “The Speed of Love” (Counterparts (1993) - 3 of 11)
107. “Cut to the Chase” (Counterparts (1993) - 4 of 11)
106. “Secret Touch” (Vapor Trails (2002) - 8 of 13)
105. “Summertime Blues” (Feedback (2004) - 7 of 8)
104. “Cinderella Man” (A Farewell to Kings (1977) - 2 of 6)
103. “Best I Can” (Fly by Night (1975) - 3 of 8)
102. “Workin’ Them Angels” (Snakes & Arrows (2007) - 8 of 12)
101. “Stick It Out” (Counterparts (1993) - 5 of 11)

[_hi_water._]

Before I post my top 100... the eliminations so far! Let's see what people think of what remains to be seen on my list!
 

Rush (1974) - 4/8 used
"Need Some Love"
"Take a Friend"

"Here Again"

"In the Mood"

 

Fly By Night (1975) - 3/8 used

"Best I Can

"Making Memories"

"Rivendell"

 

Caress of Steel (1975) - 2/5 used

"I Think I'm Going Bald"
"Lakeside Park"

 

2112 (1976) - 1/6 used

"Lessons"

 

A Farewell to Kings (1977) - 2/6 used
"Cinderella Man"

"Madrigal"

 

Hemispheres (1978) - 0/4 used

Permanent Waves (1980) - 0/6 used

Moving Pictures (1981) - 0/7 used

Signals (1982) - 0/8 used

Grace Under Pressure (1984) - 0/8 used

Power Windows (1985) - 0/8 used

Hold Your Fire (1987) - 5/10 used

"Open Secrets"
"Second Nature"

"Lock and Key"

"Tai Shan"

"High Water"

 

Presto (1989) - 9/11 used

"Chain Lightning"

"War Paint"
"Scars"

"Presto"
"Superconductor"

"Anagram (for Mongo)"
"Red Tide"
"Hand Over Fist"

"Available Light"

 

Roll the Bones (1991) - 7/10 used

"Roll the Bones"

"Face Up"

"Where's My Thing?"

"The Big Wheel"

"Heresy"

"Neurotica"

"You Bet Your Life"

Counterparts (1993) - 5/11 used
"Stick It Out"

"Cut to the Chase"

"Between Sun & Moon"

"The Speed of Love"

"Double Agent"

 

Test for Echo (1996) - 7/11 used
"Half the World"

"Time and Motion"
"Totem"

"Dog Years"

"Virtuality"

"Limbo"

"Carve Away the Stone"

 

Vapor Trails (2002/2013) - 8/13 used
"Ceiling Unlimited"

"Ghost Rider"

"Peaceable Kingdom"

"The Stars Look Down"

"How It Is"

"Secret Touch"
"Nocturne"

"Out of the Cradle"

Feedback (2004) - 7/8 used
"Summertime Blues"
"For What It's Worth"
"The Seeker"

"Mr. Soul"
"Seven and Seven Is"

"Shapes of Things"

"Crossroads"

 

Snakes & Arrows (2007) - 8/12 used
"Workin' Them Angels"

"The Larger Bowl"
"Spindrift"

"The Main Monkey Business"
"The Way the Wind Blows"

"Bravest Face"

"Good News First"

"We Hold On"

 

Clockwork Angels (2012) - 3/11 used

"Carnies"

"Halo Effect"

"BU2B2"/"Wish Them Well"

[_hi_water._]

TIER 6: Things Get Really Good...

This will be an interesting section to seek through, as it contains some of the better songs on (IMO) weaker albums, and the weaker tracks on better albums.

100. “The Fountain of Lamneth” (Caress of Steel (1975) - 3 of 5)
Feels like an accurate spot to put this. This feels like an underrated, treasured masterpiece all lying within the song, but there are quite a few things that weren't all executed as well as they should have. Starting with "In the Valley" and ending with "The Fountain", there are excellent narrative pieces in here, as well as some rippers from Lifeson throughout. "Bacchus Plateau" is another fantastic part that has some excellent complements among the electric and bass, as well as adding a well-executed narrative piece to the whole track. The best part, without a doubt, is "No One At the Bridge" - not only is it one of the best narrative pieces they have written in this era, but it also has some amazing music to go along with its emotional intensity, such as Alex's soloing and Neil's drum fills. Now to the parts I don't nearly like as much: "Didacts and Narpets" is an interesting piece they added to it, but I think its addition to the narrative whole of the song is not drawn out that well. The weakest part, by and far, is "Panacea" - it's a good narrative piece to the song, don't get me wrong - but holy, other than the lyrics, there is nothing significant going on with its execution, and it really kills the momentum the epic ever had (which is what makes "Bacchus Plateau" a little more exciting!). I understand to a great extent as to why this epic nearly killed the band, but also was a huge stepping stone for them moving forward, and the much better narrative and cohesive epics they've released are all to come!

99. “Heart Full of Soul” (Feedback (2004) - 8 of 8)
This one may have the benefit of being a cover that is hard to screw up. I've been critical of the production of this EP, and its overall execution - but this cover really does work. The arrangements are really pleasant to hear, making it at least one cover that's absolutely worth revisiting when putting on Feedback. Lee's vocals are wonderful on this track, and it's something not to be taken too much for granted in this era of Rush. A cover like this really does emphasize how great Jeff Beck and The Yardbirds truly were.

98. “The Color of Right” (Test for Echo (1996) - 8 of 11)
I'm honestly quite surprised that they never released this one as a single when putting out this album. It has a buzzing riff, with the verses and choruses having some of the most memorable melodies for a hard rock song in this period of Rush. "Make it easy on yourself / There's nothing more you can do / You're so full of what is right / You can't see what is true" is wonderfully written.

97. “Turn the Page” (Hold Your Fire (1987) - 6 of 10)
One of the more underrated tracks on this album that should've had some light of being turned into a single. It has one of the most memorable basslines they've had in the 80s synth period, immediately grabbing me in from the first few seconds of the hook. Obviously, better mixing would've done this track more justice, but many of these synth choices in between the verses and choruses are absolutely magnificent.

96. “Seven Cities of Gold” (Clockwork Angels (2012) - 4 of 11)
Oh, and here's another track with another excellent hook beginning with a kickass bassline! The bass and guitars that create an overall heavy riff structure, along with the narration and powerful choruses provided throughout this 6-minute track, make for one of the angrier tracks on Clockwork Angels. 

95. “Chemistry” (Signals (1982) - 1 of 8)
Never considered this as one of the best tracks on Signals, but it does have a lot going for it. It has some fantastic synth lines throughout the whole track, especially when it is used as the song's hook. The Lifeson solo at the end should not be forgotten after listening to the album, although I'd argue there are more thrilling tracks to be heard throughout.

94. “A Passage to Bangkok” (2112 (1976) - 2 of 6)
Beginning Side B of 2112, we get a humorous and nerdy track about smoking rings. It has a memorable hook that drives the whole song, as well as some rhythmic dissonance in the verses. Lots of the arrangements and rhythms throughout this track really make me feel like this is a train ride.

93. “Malignant Narcissism” (Snakes & Arrows (2007) - 9 of 12)
While I'm not sure what narrative this track adds to the album itself, it is a fun and short little instrumental track that is heard at the end of the album. The riffs in both the electric and bass create some fun rhythmic interplay, especially near the end, creating a memorable experience heard in Snakes & Arrows.

92. “Freeze (Part IV of "Fear")” (Vapor Trails (2002) - 9 of 13)
Man, I just really like these "Fear" songs they have in their discography. Most would agree that this is their weakest, but it's still a very unique track on Vapor Trails that feels memorable to me when getting to the end of the album. The metal structures composed throughout this song, whether in the verses, choruses, and bridges, are very well executed, and give me a great feel for what the "fight-flight-freeze" response is.

91. “What You’re Doing” (Rush (1974) - 5 of 8)
The main riff used in this song is simply very kickass, and is one of the most memorable from their debut album. The highlight of this track is the long solo in the middle of it, which has created excellent live usage from this group. Another simple, dumb, and fun track that is lovely to hear from the album before Peart.

90. “Finding My Way” (Rush (1974) - 6 of 8)
Album 1, Side 1, Track 1 - an excellent fade-in hook leading to a memorable and classic "Yeah, oh yeah", alongside the fantastic main riff that helps bring in all of the great melodies they are kicking off with. A truly great debut song that emphasizes the incoming talents of Lifeson and Lee (and the underrated Rutsey!), bringing out a classic hard rock favorite that will drive this group moving forward.

89. “Grand Designs” (Power Windows (1985) - 1 of 8)
This track really builds off the musical styles and attitudes they were approaching in this particular album. Lots of excellent synth-driven hooks that move along with some fun guitar parts throughout. The usage of keyboards along with the bass and electric really embraces some textures and layering that we haven't heard much from Rush ever before. Also, lyrics like "Life in two dimensions is a mass production scheme" still feel very relevant to this very day.

88. “Emotion Detector” (Power Windows (1985) - 2 of 8)
A very heart-gripping track from Power Windows that is intensely felt with the repeated lyrics "Illusions are painfully shattered / Right where discovery starts / In the secret wells of emotion / Buried deep in our hearts." There are multiple keyboard patterns throughout that really impact the 'emotional' feel the song is trying to portray, along with one of the most beautiful solos Lifeson has probably given in this period of Rush.

87. “Alien Shore” (Counterparts (1993) - 6 of 11)
An excellent deep cut that's found within the middle of Counterparts. In this period of Rush, Peart gives out some very powerful, yet interesting and creative metaphors that try to explore the relationships people have in terms of equality and unity, particularly with lyrics found in the choruses, such as "Sex is not a competition" or "Race is not a definition." I love the hook in this song (beginning with whatever the hell is being said there), and it also contains one of the best riffs on the whole album. 

86. “Before and After” (Rush (1974) - 7 of 8)
One of the more interesting and memorable tracks heard near the end of their first album, which I think really marks their first song that is technically divided into parts. The mellow "before" section is beautifully played in how slow and melodic it is. The "after" section is also quite simple, but it is a dramatic transition into some fun and catchy boogie rock, overall making this song a great ballad.

85. “Anthem” (Fly by Night (1975) - 4 of 8)
Track 1 from the first album with Neil Peart on drums - a highly memorable and highly energetic track that really showcases what the band wanted to become. The aggressive tones applied here really stand out for the alternating and repeated chords played throughout the whole track. The fast and alternating guitar riffs, bouncy bass, and in-your-face drum fills make it a track worth revisiting.

84. “Digital Man” (Signals (1982) - 2 of 8)
A six-minute track that opens with a memorable hook and a fun outro. The highlight of the track is all the drums here, creating a heavy opening and a fun rhythm all throughout. The instrumental breaks and keyboard usage in the song also stand out for the reggae-like style they are going for here.

83. “BU2B” (Clockwork Angels (2012) - 5 of 11)
Aside from the goofy title, this is definitely one of the most energetic tracks from the album, along with a heaviness that feels a lot similar to the styles of Rage Against the Machine or Metallica, which is not a bad thing whatsoever. The bubbling bass and atmospheric bridges from Lifeson really bring in a sort of life to this track that is thrilling to listen to. 

82. “Clockwork Angels” (Clockwork Angels (2012) - 6 of 11)
A beautiful and exciting seven-and-a-half-minute epic title track that manages to bring out the 'angelic' sound that they were going for in this track. The altering melodies and shifts in tempos and arrangements are all a thrill, with the bonus of building a big narrative piece for the album.

 

81. “Tears” (2112 (1976) - 3 of 6)
One of the most melancholic tracks they've produced, and it's a beautiful track to come by when listening to 2112. The slow and emotional verses and choruses are well executed and simply written, with some excellent instrumentation that progresses in each part, particularly the strings.

[grep]

Here I am on the road again
There I am up on the stage
Here I go playin' star again
There I go turn the page

 

Edited March 17 by grep