Rush Studio Albums - Taking the Long View

[stgaz]

The problem with joining a forum like this is that, no doubt over the years you guys have discussed, dissected, disagreed on and debated just about everything, and on multiple occasions.

 

However, as the only option to putting my thoughts forward is to say nothing at all, I post the below by way of adding my contribution.

 

This was a note I sent to the three people here in Australia I know who are Rush fans. I apologise in advance to it’s ambassadors for leaving out the debut album, and I don’t really wish to reignite a debate about Terry Brown’s influence, but I was telling it how I heard it. I had just listened to all the studio albums after the release Clockwork Angels.

 

So, for your edification and ritual disembowelment, I present my findings:

 

------------

 

So, over the last few weeks I've listened to all 18 Peart-era Rush albums back-to-back. If you haven't done it I can highly recommend it, although it is a pretty big undertaking. Next on the agenda is all the live albums.

Anyway, here are my reflections:

 

Rush are, of course, the greatest rock and roll band in the history of popular music. There is no question about it - the length, breadth, brilliance and innovation of their body of work stands alone.

 

Terry Brown was a genius too. The band fundamentally changed when he left the scene which tells me the band's vision was at least partly his as well. Also, they have only occasionally matched the sonic brilliance of the Brown era.

 

The biggest surprise for me was how much I enjoyed Test For Echo. I had written that album off as my least favourite, and had it not been for this exercise I most likely would have never revisited it. It was like listening to a completely new album.

 

The Presto / Roll The Bones brace of albums are still a weak section in the canon, but I gained a new perspective on how they fit in with the overall picture. I think we've all seen the 4-album cycle as holding true for the first three periods, but I always saw the Presto - T4E period as being more disjointed. Now I see that during the Signals-HYF period they were focusing on more conventional 'songs' and of course this coincided with the keyboard explosion. Starting with Presto, they got rid of the keys (which have never really come back to any great extent) and started to really hone in on melody. I think the weakness with Presto and RTB was twofold - the sound was too thin (they got rid of the keys, but nothing really came in and took their place) and some of the melodies were a bit twee. They were being a bit 'soft-rock' which is okay but not their strength. Counterparts at first seems like a drastic change, but I think it follows logically from RTB in that the weaknesses were addressed by beefing up the sound, and taking a more 'hard-rock' approach. In that sphere, they write strong melodies. So Counterparts is an album that focuses on 'song' and melody, and instrumentally it's actually quite straight-forward and direct, just like it's immediate predecessors. T4E starts adding back the complex arrangements and fancy-pants instrumentation into the mix, thus completing the four album cycle by combining the newly obtained skills with the traditional Rush strengths. Perhaps not perfectly though.

 

What made me think of all that was the fact that I mistakenly listened to T4E and Counterparts in the wrong order. I was half way through T4E, thinking about how it was so different from the previous album, when I realised I'd forgotten Counterparts. It was the only time in the whole exercise that one album didn't come across as a logical extension of the previous one.

 

Having bagged Presto and RTB, they still both contain some of Rush's best songs, including Available Light and Ghost Of a Chance.

 

I have tended to under appreciate Neil Peart's drumming. I know that's a strange thing to say, but it has been fashionable in drumming circles to underplay him in the face of fusion guys and other technical monsters. But he is a machine! So precise, so structured and so well thought out. No-one takes the care over their parts that he does. I mean, he really thinks about every stroke he makes which is very admirable. And he's a technical monster as well.

 

Still on NP, there's something about his lyrics that can really rub me up the wrong way. The way I started to think about it is that he can tend to write from the point of view of smug infallibility. I enjoy when he observes others without passing judgement, like Middletown Dreams, Camera Eye, and Losing It. There are songs on Snakes and Arrows that have a stridency which is off-putting ('I will quietly resist' ... by writing a song that I know will be listened to by thousands and thousands of people). I know I'm being harsh, but even in an otherwise quite moving song like 'Nobody's Hero' that opening verse just screams 'look how tolerant I am, compared to you bigots'. But that's probably just me. Of course it's hard to beat By-Tor and the Snowdog, and I don't think he has (although Xanadu came close!)

 

Really enjoyed Clockwork Angels at the end of it all. I reckon there is still a lot I can get out of it and look forward to doing so. It does represent a progression for the band which I didn't appreciate before and I think I might even get the novelisation which I think has now been released.

 

So there you have it. I just got the new Marillion CD in the mail, so maybe I need to dust off 'Script For a Jester's Tear' and run through their 15 or so albums ...

[stgaz]

And trying to make cut and pasted text a readable font size is also a challenge!

[Digital Dad]

New Marillion? Did you write that when Sounds came out? Really would

Like to hear your take on that datalog. They have such a long rich and creative catalog just like Rush do. Maybe not as consistent but overal very good.

[Jaminbenb]

I've always been one that celebrated a new album or tour, by listening to the whole set from beginning to end...I did the studio albums after the announcement of a tour, and will do the live albums once it starts getting closer to the show I will be attending... I usually listen on my iPod while on the treadmill at the gym, and since I usually do a good 40-45 minute workout, It gets me through about an entire album per day.

 

I skipped Rush because I feel that since this is the "R40" tour in 2015...Rush wasn't a consideration in their thoughts of "Neils 40th anniversary" so to speak (yeah I know Neil joined in 74, but his first album was 75)

 

So I started with Fly By Night, and went through the rest of the studio albums...skipping Feedback, since as I stated before "it was a novelty".

 

The first batch was great...hard hitting, full on rock, with some epic tracks

 

The next batch was their foray into the serious prog rock stuff, then they honed it down into PW, and MP and seemed to get into a more concise mode of song.

 

The next started out good, Signals had some sonic issues, but was a great album, the next few seemed to get a little "over-keyboardy" and it almost seemed like they were trying to get with the times....when they got to Hold Your Fire, I think it just got bad...(It's no (open) secret I do NOT like this album except for Turn the Page)

 

Then Presto started (IMHO) the period where I just wasn't a Rush fan...after being disappointed in HyF and HOPING that Presto would be a better step, I was mad...then RtB came out, and that was just a period of "what are they doing?....PLEASE get Terry Brown back!"

 

Counterparts saved them a little, and they did get back to better songs, and I can honestly say Test For Echo has some really good moments...and those really came to light LIVE... That's my true test....if I don't like something studio by a band (any band) I give it a shot live before I totally pass judgement. I wasn't able to see them on the Counterparts tour due to personal conflicts when they came to my general area, but I made sure I did get to the T4E tour...

 

When Vapor Trails came out, I think I was so starved for new Rush that I DID like it a lot, but the more I listened to it, the more it left a bad taste in my mouth, sonically...so it got put on the bottom of the pile...the newer remixed version is a good step in the right direction, and it did feel a little better listening to it. So it's above the HyF-RtB pile!

 

Snakes and Arrows, to me, goes back to their "take a song to it's "Nth" level" and is a favorite of mine, as is Clockwork Angels...not too many I don't like on those two...

 

So the summary of my "session" keeps the Hold Your Fire through Roll the Bones period as a serious weak part of their history....but I can still love the rest!

[JohnRogers]

I probably like HYF and Presto more than you do but I agree much Jaminbenb.

[Jaminbenb]

I probably like HYF and Presto more than you do but I agree much Jaminbenb.

 

Hey..one of my friends thinks HyF is the best album they ever released...but I can't get into it....There's a story here somewhere I wrote about when RTB first came out.. I LOVED Dreamline (and can put it in my top songs) then when I listened to the next few I was like "HUH?" and then when I went into my recording class, someone was playing it on the studio system, and everyone was standing there with the same dumbfounded look on their face that I had...

[EagleMoon]

I think the great thing about the band is that they have such a diverse musical catalog that if you don't like one era you very well might like another.

[stgaz]

New Marillion? Did you write that when Sounds came out? Really would

Like to hear your take on that datalog. They have such a long rich and creative catalog just like Rush do. Maybe not as consistent but overal very good.

 

Yes, Sounds was their newie. I never did get around to doing the Marllion back catalog, but I might just give it a try. They are brilliant. I thought Sounds was very good - I didn't care much for Happiness so was pleased at the return to form.

[Digital Dad]

New Marillion? Did you write that when Sounds came out? Really would

Like to hear your take on that datalog. They have such a long rich and creative catalog just like Rush do. Maybe not as consistent but overal very good.

 

 

 

Yes, Sounds was their newie. I never did get around to doing the Marllion back catalog, but I might just give it a try. They are brilliant. I thought Sounds was very good - I didn't care much for Happiness so was pleased at the return to form.

 

Still havent been able to trog my way thru all of it. After the last few Sounds was a welcome breath of fresh air.

[Digital Dad]

New Marillion? Did you write that when Sounds came out? Really would

Like to hear your take on that datalog. They have such a long rich and creative catalog just like Rush do. Maybe not as consistent but overal very good.

 

 

 

Yes, Sounds was their newie. I never did get around to doing the Marllion back catalog, but I might just give it a try. They are brilliant. I thought Sounds was very good - I didn't care much for Happiness so was pleased at the return to form.

 

Still havent been able to trog my way thru all of it. /

 

I meant Happiness. Marbles was thier last great one imo.

Edited April 2, 2015 by Digital Dad

[78jazz]

The Presto / Roll The Bones brace of albums are still a weak section in the canon, but I gained a new perspective on how they fit in with the overall picture.

 

While I don't disagree that the sonics could have been better at this time, I think that using the Counterparts equipment for Presto may have been a jump so big in the sound that it may have turned some off. Because of this, I think what they used did a good job of capturing the material (even if it could have been better).

[stgaz]

The Presto / Roll The Bones brace of albums are still a weak section in the canon, but I gained a new perspective on how they fit in with the overall picture.

 

While I don't disagree that the sonics could have been better at this time, I think that using the Counterparts equipment for Presto may have been a jump so big in the sound that it may have turned some off. Because of this, I think what they used did a good job of capturing the material (even if it could have been better).

 

And the big fat sound probably wouldn't have worked with most of that material anyway. It sure does work with the Counterparts material though - I really enjoy that album.

 

But who wants a band to record the same album over and over? I love that they try new things all the time. Even if it doesn't always work.

[Lorraine]

Still on NP, there's something about his lyrics that can really rub me up the wrong way. The way I started to think about it is that he can tend to write from the point of view of smug infallibility. I enjoy when he observes others without passing judgement, like Middletown Dreams, Camera Eye, and Losing It. There are songs on Snakes and Arrows that have a stridency which is off-putting ('I will quietly resist' ... by writing a song that I know will be listened to by thousands and thousands of people). I know I'm being harsh, but even in an otherwise quite moving song like 'Nobody's Hero' that opening verse just screams 'look how tolerant I am, compared to you bigots'. But that's probably just me.

 

No, it's not just you. I see him the same way, and it is most definitely puts you off.

 

Like what you wrote! :cheers:

[laughedatbytime]

Still on NP, there's something about his lyrics that can really rub me up the wrong way. The way I started to think about it is that he can tend to write from the point of view of smug infallibility. I enjoy when he observes others without passing judgement, like Middletown Dreams, Camera Eye, and Losing It. There are songs on Snakes and Arrows that have a stridency which is off-putting ('I will quietly resist' ... by writing a song that I know will be listened to by thousands and thousands of people). I know I'm being harsh, but even in an otherwise quite moving song like 'Nobody's Hero' that opening verse just screams 'look how tolerant I am, compared to you bigots'. But that's probably just me.

 

No, it's not just you. I see him the same way, and it is most definitely puts you off.

 

Like what you wrote! :cheers:

Very definitely true. The only thing I would disagree with is the implication that there AREN'T songs on S&A that aren't written from a POV of smug infallibility. Unless you count the instrumentals, they ALL are.

[stgaz]

Still on NP, there's something about his lyrics that can really rub me up the wrong way. The way I started to think about it is that he can tend to write from the point of view of smug infallibility. I enjoy when he observes others without passing judgement, like Middletown Dreams, Camera Eye, and Losing It. There are songs on Snakes and Arrows that have a stridency which is off-putting ('I will quietly resist' ... by writing a song that I know will be listened to by thousands and thousands of people). I know I'm being harsh, but even in an otherwise quite moving song like 'Nobody's Hero' that opening verse just screams 'look how tolerant I am, compared to you bigots'. But that's probably just me.

 

No, it's not just you. I see him the same way, and it is most definitely puts you off.

 

Like what you wrote! :cheers:

Very definitely true. The only thing I would disagree with is the implication that there AREN'T songs on S&A that aren't written from a POV of smug infallibility. Unless you count the instrumentals, they ALL are.

 

Don't get me wrong - I'm not a Peart-basher. I have one of those autographed 30th Anniversary prints taking a prized spot on the music room wall, alongside the postcard he sent me in the 80s (oh, how I danced like a maniac when THAT arrived in the post!) I guess we all get more overtly opinionated as we get older. He certainly has! But if you don't share the same opinion you're in trouble. Conform or be cast out indeed!

[EagleMoon]

Still on NP, there's something about his lyrics that can really rub me up the wrong way. The way I started to think about it is that he can tend to write from the point of view of smug infallibility. I enjoy when he observes others without passing judgement, like Middletown Dreams, Camera Eye, and Losing It. There are songs on Snakes and Arrows that have a stridency which is off-putting ('I will quietly resist' ... by writing a song that I know will be listened to by thousands and thousands of people). I know I'm being harsh, but even in an otherwise quite moving song like 'Nobody's Hero' that opening verse just screams 'look how tolerant I am, compared to you bigots'. But that's probably just me.

 

No, it's not just you. I see him the same way, and it is most definitely puts you off.

 

Like what you wrote! :cheers:

Very definitely true. The only thing I would disagree with is the implication that there AREN'T songs on S&A that aren't written from a POV of smug infallibility. Unless you count the instrumentals, they ALL are.

 

Don't get me wrong - I'm not a Peart-basher. I have one of those autographed 30th Anniversary prints taking a prized spot on the music room wall, alongside the postcard he sent me in the 80s (oh, how I danced like a maniac when THAT arrived in the post!) I guess we all get more overtly opinionated as we get older. He certainly has! But if you don't share the same opinion you're in trouble. Conform or be cast out indeed!

 

I'm not sure I quite understand that. He's expressing his opinion but how do you get in trouble if you don't like it? All you have to do is not listen to it. I've always liked that Neil is so opinionated about his world and religious views. For the most part it's all very positive and self-empowering.

[78jazz]

The Presto / Roll The Bones brace of albums are still a weak section in the canon, but I gained a new perspective on how they fit in with the overall picture.

 

While I don't disagree that the sonics could have been better at this time, I think that using the Counterparts equipment for Presto may have been a jump so big in the sound that it may have turned some off. Because of this, I think what they used did a good job of capturing the material (even if it could have been better).

 

And the big fat sound probably wouldn't have worked with most of that material anyway. It sure does work with the Counterparts material though - I really enjoy that album.

 

But who wants a band to record the same album over and over? I love that they try new things all the time. Even if it doesn't always work.

 

I think it would have worked with at least some of those Presto tunes (I think that jazz bass would have suited Show Don't Tell and the Pass nicely at least). I base this opinion on subsequent performances of Presto material.

 

Edited to add: We'll never know though. I think that not doing that was better than some give it credit for, and I'm glad it can't be changed.

Edited April 3, 2015 by 78jazz

[EagleMoon]

The Presto / Roll The Bones brace of albums are still a weak section in the canon, but I gained a new perspective on how they fit in with the overall picture.

 

While I don't disagree that the sonics could have been better at this time, I think that using the Counterparts equipment for Presto may have been a jump so big in the sound that it may have turned some off. Because of this, I think what they used did a good job of capturing the material (even if it could have been better).

 

And the big fat sound probably wouldn't have worked with most of that material anyway. It sure does work with the Counterparts material though - I really enjoy that album.

 

But who wants a band to record the same album over and over? I love that they try new things all the time. Even if it doesn't always work.

 

I think it would have worked with at least some of those Presto tunes (I think that jazz bass would have suited Show Don't Tell and the Pass nicely at least). I base this opinion on subsequent performances of Presto material.

 

Edited to add: We'll never know though. I think that not doing that was better than some give it credit for, and I'm glad it can't be changed.

 

The thinner guitar sound was just a popular thing at the time. That doesn't excuse the thin mixing and mastering of the album however.

[stgaz]

Still on NP, there's something about his lyrics that can really rub me up the wrong way. The way I started to think about it is that he can tend to write from the point of view of smug infallibility. I enjoy when he observes others without passing judgement, like Middletown Dreams, Camera Eye, and Losing It. There are songs on Snakes and Arrows that have a stridency which is off-putting ('I will quietly resist' ... by writing a song that I know will be listened to by thousands and thousands of people). I know I'm being harsh, but even in an otherwise quite moving song like 'Nobody's Hero' that opening verse just screams 'look how tolerant I am, compared to you bigots'. But that's probably just me.

 

No, it's not just you. I see him the same way, and it is most definitely puts you off.

 

Like what you wrote! :cheers:

Very definitely true. The only thing I would disagree with is the implication that there AREN'T songs on S&A that aren't written from a POV of smug infallibility. Unless you count the instrumentals, they ALL are.

 

Don't get me wrong - I'm not a Peart-basher. I have one of those autographed 30th Anniversary prints taking a prized spot on the music room wall, alongside the postcard he sent me in the 80s (oh, how I danced like a maniac when THAT arrived in the post!) I guess we all get more overtly opinionated as we get older. He certainly has! But if you don't share the same opinion you're in trouble. Conform or be cast out indeed!

 

I'm not sure I quite understand that. He's expressing his opinion but how do you get in trouble if you don't like it? All you have to do is not listen to it. I've always liked that Neil is so opinionated about his world and religious views. For the most part it's all very positive and self-empowering.

 

Mmm ... I guess what I was trying to express was that, when they sing something like 'Glittering prizes and endless compromises shatter the illusion of integrity ... yeah', then I'm shouting along with them, completely engaged and loving it. When they sing a song like The Way the Wind Blows, I'm far less engaged (which to me is being 'in trouble' because this is my favourite band!) because I can't help but feel under attack. I just found it hard to divorce that album in particular from the religious debates of the time which were so unsatisfying and loaded with personal attacks and name-calling. I still very much like the album, I just didn't feel particularly welcome to the party.

 

Or something like that - it's too early in the morning for this!