At the beginning of “Headlong Flight”, a title from the last studio album by Rush,, Clockwork Angels From 2012, Alex Lifeson plays a rapid solo on the guitar. Answer to the Geddy Lee and Neil Peart with quick, unison played bass and drum strikes. This moment is one consciousalmost exact replica of a passage from “Bastille Day”. Which was originally published 37 years ago and contained as title 10 on the compilation. It is both a funny reminiscence and – here in a new context – an example of how Rush 50 the extensive sheet of the band, which lasts over four decades, is a single saga.
This narrative quality is the greatest strength of Rush 50. It is not a greatest hits package like Chronicles from the 1990s. Although it contains many of the band’s best known songs. It is also not a collection of rarity. Although it contains a handful of unpublished title.
Instead, it is an impressionist musical memoir that moves chronologically. And back to every rush studio album, while at the same time bringing in a wealth of satisfactory live material. Including the very last Medley that the trio performed at its last show in 2015.
“Rush 50”: a career highlight
It is available in different configurations. Including as Four CDs and Seven LPs. And it is the first rush composition since the end of the band and the Death of Peart Carefully curated, sequenced and packaged in 2020. It is a suitable career highlight. Which is equally suitable as an introduction to uninitiated or as an accompanying work for superfans.
For the latter category, one of the main attraction here is the very first new edition of Rush’s debut single. A 45 that was published on the band’s own label Moon Records and contains a cover version of Buddy Holly’s “Not Fade Away” and “You Can’t Fight IT”, which was written by Lee and the original drummer John Rutsey. In itself, the pieces are nothing special. Especially when you consider that this year too Led Zeppelin with Houses of the Holy,, genesis with Selling England by the Pound And other bands that paved the way for Rush celebrated success.
The band apparently agrees: “My God, we hated it,” says Lifeson to David Fricke in one of two liner emergency essays, which are included in a hardcover screen strap over 100 pages that is included in the set. Together with a wealth of photos and new, song-specific works of art by the long-time rush cover artist Hugh Syme.
But the tracks offer a valuable context for breathtaking development that will follow in the next few years.
The arrival of Neil Peart in August 1974
Rush 50 RutSey is right, especially with “Need some love” and “Before and after”. Two live tracks that were recorded in 1974 during a appearance at a high school in Ontario. Memorable extracts from the rush documentary Beyond the Lighted Stage from 2010. And that sound much harder than the studio versions on the self -titled debut album of the band. Nevertheless, the beginning of the album is actually just a prelude to the most important drummer change in the history of rock. Pear’s arrival in August 1974.
It is fascinating, a few previously unpublished tracks from a concert in Cleveland that took place less than two weeks after Pearts debut-the R&B cover “Bad Boy” and the early original “Garden Road”-with a live-in-studio version of the opener from Fly by Night“Anthem” to compare. Which was recorded only four months later. In the first piece, Peart gives his sovereign interpretation of Rush 1.0. In the second, which already shows its characteristic mixture of a terrifying power and breathtaking precision, he lays the foundation for the sophisticated sound of the band.
Rush 50 Documented in an impressive way the big heyday of the band in the middle to the end of the 1970s. Both through studio recordings (the opening sections of “2112”, “Closer to the Heart”) and by wild live material. When “Something for Nothing” was recorded in the Massey Hall in Toronto, the home of the band in 1976, all elements that they made the epitome of the power trio of their time were fully available. Lees penetrating scream. Lifeson’s growling riffs. And Pearts maximum attack.
An alternative lifeson guitar solo
An astonishingly tight version of the epic instrumental suite “La Villa Strangiato” from 1979 from the Dutch Festival Pinkpop shows how their compositional skills kept up with their technical skills. And the enthusiastic speech choirs of the audience In the end it becomes clear how they could challenge themselves while they delighted the audience. (A so -called “Vault Edition” by “The Trees”, which has never been outside of the Rock band-Video game has been published, contains an alternative lifeson guitar solo. Like a similar “working man” in the competition, which was previously published as a digital single, it is a small sales argument.)
The first half of Rush 50 contains most of the band’s best -known songs. And leaves space for a generous overview of the underestimated chapters, which is part of the commercial highlight in the USA Moving Pictures from 1981 followed. Excerpts from the synthetic years in the mid -1980s sound as part of Rush 50 Solid than ever. And defy the tired, puristic rock view, from which the trio had too far away during this time.
The aggressiveness of the Grunge era of “Stick it out” really comes into its own here
“The Big Money” from the album Power Windows From 1985 some of Lifeson’s most inventive guitar work shows. Among them is a solo that is characterized by shimmering texture. While ‘Time stood still’ out of the album Hold Your Fire From 1987 Peart shows how he brilliantly adapts his superhuman dexterity to the context of the sleek contemporary pop rock.
Likewise, the parts dedicated to the nineties and 2000s are a strong argument for overlooked albums such as Counterparts from 1993. The aggressiveness of the Grungs era of “Stick it out” really comes into its own here. As well Snakes & Arrows from 2007 (represented by the dynamic, exotic instrumental “The Main Monkey Business” and a live version of the moving “Workin ‘Them Angels”).
And it is a pleasure to hear how the band enthusiastically picks up earlier parts of their catalog on stage. Like a short, fiery detour into the instrumental Prog workout from “Cygnus X-1” from 1977, which was recorded live in Rio in 2002. And an urgent interpretation of “Between the Wheels” from 2004. A deep cut from the album “Grace under Pressure “ from 1984.
The latter is one of several songs Rush 50whose texts wrote by Peart now appear incredibly forward. “Witch Hunt”, a deep cut from Moving Picturesfor example. To hear in a gripping live version. It now reminds almost inevitable of the xenophobia of the Trump era. Also because of lines like: “You say there are strangers who threaten us. Our immigrants and unbelievers.”
“Wow, what a surprise”
In addition to the opening single “Not Fade Away”, the most historically remarkable title here is the last. A previously unpublished document of the last 10 minutes, the Lee, Lifeson and Peart ever on stage have spent. At the end of their R40 tour, in which the setlist was played in the reverse chronological order, they revived the early days. And played a medley from the debut album titles “What You’re Doing” and “Working Man”. That ended with a neckline from “Garden Road”.
The performances are strong. But what happens afterwards is even more impressive than the music. In the middle of thanks to the audience and the crew says Lee: “Wow, what a surprise.” As the fans know, he reacted to Peart’s unexpected appearance at his side. Previously, the drummer had always respected the “backline meridian” so-called. And never joined his bandmate at the end of a show.
Reminded with the preservation of this emotional moment Rush 50 to a brotherhood and a discography. And concludes a reasonable epic tour, which is one of the most fulfilling and rewarding trips in the rock.