2112

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Rush – A Three Man Canadian Juggernaut

A darkly lit stage, the crowd silently anticipating one of the greatest power ballads of their generation. My first encounter with this awesome juggernaut of rock music occurred in 1976 in Dallas, Texas; in a venue that is more widely known for football history than it’s off season concerts, Texas Stadium rocked to the palpable sound of three men, performing a rock masterpiece.

The group Rush is a band out of Canada, made up three dynamic individuals whose poetic conceptualisation and monster rock virtuosity have made them a driving force in the rock music world.

The band, composed of Geddy Lee, performing on Bass, Keyboards and Lead Vocals, Alex Lifeson on Acoustic and Electric Guitar and Neil Peart on Percussion and Drums; thrills their fans with a sound so rich, raw and powerful that it is almost impossible to believe they alone are performing.

Formed in Toronto, Ontario in 1968; the band (in it’s current configuration) has recorded and performed world wide for over four decades. With the tight, precise musical talent they are known for and their narrative driven lyrics, Rush has become one of the driving forces of modern heavy metal rock.

2112

The bands album “2112″ was originally intended to maintain their concept album image, telling the tale of a world in which man had been subjugated by their dependence on technology. Enslaved by the ‘Priest’s of Syrinx’ to shun all non-computer oriented ideals man is thrown into a world without art or philosophy. The ensuing storyline deals with the revolution of a captured civilization and the unshackling of humanity from their machine masters.

The opening music of ‘2112-Overture/Priests of Syrinx’ invests the listener into the fray.

“We’ve taken care of everything
The words you hear the songs you sing
The pictures that give pleasure to your eyes
It’s one for all and all for one
We work together common sons
Never need to wonder how or why

We are the Priests of the Temples of Syrinx
Our great computers fill the hallowed halls
We are the Priests of the Temples of Syrinx
All the gifts of life are held within our walls

Look around this world we made
Equality our stock in trade
Come and join the Brotherhood of Man
Oh what a nice contented world
Let the banners be unfurled
Hold the Red Star proudly high in hand

We are the Priests of the Temples of Syrinx
Our great computers fill the hallowed halls.
We are the Priests of the Temples of Syrinx
All the gifts of life are held within our walls”

With these words, written by Neil Peart, who admits to using Aryn Rand’s “Anthem” as the basic platform, the story of this battle for human rights is begun.

The A side of the album tells the first part of this story of enslavement, enlightenment and ultimate survival. With songs such as Discovery, Presentation, Oracle – The Dream, Sililoquy, and Grand Finale; the band begins to paint this picture in music.

Unfortunately, due to managerial pressure, the idea of a concept album was forestalled and the B side contains unrelated yet, still remarkable works such as, A Passage to Bangkok, The Twilight Zone, Lesson’s, Tear’s and Something for Nothing.

The continuation of the saga would later appear on Rush’s Hemisphere’s album released two years later, in 1978.

Cover Art – Defining Rush

The album cover, Starman, was conceptualized to show the “Hero” facing a large, ominous red star. The hero is Man, naked to show only his determination and creativity in opposition to the sinister power of a force that seeks to overwhelm him. The star, signifying the Federation, the fictional power of the storyline was intended to relate only to this album; however, fans of the album were so impressed with the image that it became a reoccuring theme to many later albums.

Rush continues to write, compose and perform pieces with a great deal of depth. Their work invokes art, poetry, moral and ethical values and the idea that man is a honorable and worthwhile creature; shades of philosophical, religious and technological ideals are abundant through their long catalogue of work.

The band, Rush; an arch-type in the world or music, has permanently affixed themselves in the annuals of rock by consistently pushing the boundary of music and lyric.