Next 3-album block, it took me a while to get to these, but trying to analyze these albums from a new objective perspective is interesting. I'm skipping over the live releases.
2112 (1976)
This was the critical make-or-break album, and the one where I feel they truly became Rush, as their decision to remain true to themselves despite what the record company wanted finally paid off. They also got the side-long epic formula down, with a far more cohesive and structured epic track format than the "Fountain of Lamneth". I love the way all the different themes from the parts find their way into the Overture, same approach they would used on the Hemispheres Prelude two years later. The songwriting was also a lot more emotional and meaningful, and less experimental or showy than COS. They were evolving from instrumentalists to songwriters. 2112 conveys a lot of emotion and energy to go along with the message, and it aged reasonably well (although the Ayn Rand references did get them nasty criticism from Barry Miles of the NME at the time). Side B is a bit overshadowed by side A but has a lot of little unplayed gems. "A Passage to Bangkok" has been a fan favourite, but "Twilight Zone" and "Lessons" demonstrate some original themes and evocative music and soloing. The production piece (not meant for live performance) "Tears" shows Lee's lyrical side and gives a preview of the preview of the the role keyboards would eventually play in filling out the song. My favorite on that side is "Something for Nothing", just a powerhouse of a song with a strong, driving bass line and unapologetic individualistic message. Of the first 4 albums, this was the one that was on my turntable the most often.
A Farewell to Kings (1977)
Of all the album intervals over the years (especially the ones that contained a live release), this is the one that demonstrated the most astronomical musical growth - a quantum leap forward. It's almost like listening to a different band. Lifeson brought in a whole palette of different guitar sounds, adding more classical, acoustic and 12-string electric to the mix. His soloing takes a new direction, sometimes with angular, disjointed stabs in songs like the title track or Cygnus X-1, or the more signature soaring scales in Closer to the Heart and Xanadu that became known as "Lifesonisms". Peart brings in an orchestra's worth of percussion and Lee adds more synthesizers (giving a taste of the direction to come) and doubles on rhythm guitar. The songs are rich, layered, inspired and chock full of tasty guitar licks. The arrangements are lush and quite interesting to see reproduced live by the band. I still find Cygnus X-1 a bit too angular and obtuse for my taste, but Xanadu will forever be THE master track on the album, and a favorite to hear (and play) live. Closer to the Heart also did well as a single, which helped propel the band's profile, but I have to admit a strong dislike for this song for some reason, partly because I see it almost and the antithesis of Rush songs, partly because I hate playing it but I have to
. "Madrigal" is the production piece here, seeming to pick up where "Rivendell" and "Tears" left off, and "Cinderella Man" is another great example pf those crazy Rush turn-on-a-dime timing changes and that classic angular Lifeson soloing.
Hemispheres (1978)
In the search for a prog-rock creative outlet, it is possible to overdo it, and Hemispheres was almost the straw that broke Rush's back. The result is a brilliant if somewhat misunderstood prog album, and the last side-long epic we would see from Rush. I have to admit, it took me a while to grow into this album, it was a bit of an acquired taste at first. Not easily accessible to my growing ears at the time, I rediscovered it by accident in a tape left in my truck in 1994, right around the time I was starting to get involved in Rush tribute bands. I developed a new appreciation for it since first hearing it 11 years before. The arrangements are extremely complex, the mythological themes a bit obscure, but the end result is pretty powerful and moving. Angular and evocative, with chorus-drenched guitar tones, classical guitar breaks, some extremely busy bass playing and mind-bending rhythm and percussion, it's a treat for any musical ear. I love the way the title track soars, then crashes, and finally picks up in an epic flourish. "The Trees" runs the gamut in terms of dynamics with a gentle classical intro giving way to heavy riffs, a quiet middle section leading into heavy riffage punctuated by percussion, representing some sort of woodland revolution reminiscent of ByTor. The highlight for me is La Villa Strangiato, probably the most innovative and difficult Rush song to play on guitar. The solos are evocative and heartfelt with their dynamics - the song just builds up to an exciting crescendo and it is always a pleasure to see or play live. One of my bands attacked this album as a live show presentations and we barely avoided falling flat on our faces, but it was fun to try. In this regard, regardless of the directions they took in later years, this album remains Rush's one true pure progressive masterpiece.
www.halleonard.com
