The original line-up formed in August 1968 in the neighbourhood of Willowdale in Toronto, Ontario, by guitarist Alex Lifeson, front man Jeff Jones, and drummer John Rutsey. Within a couple weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Rutsey and Lee. The single generated little reaction and, due to record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin. Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.
Immediately after the release of the debut album, Rutsey resigned in July 1974 due to his affliction with diabetes and a distaste for touring. Rush held auditions and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first US tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist as Lee and Lifeson had very little interest in writing, contributing to only a handful of song lyrics over the rest of the band's career. Instead, they focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart due to his love for fantasy and science-fiction literature. However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Caress of Steel was reported by some critics to be unfocused and an audacious move for the band due to the placement of two protracted numbers back-to-back, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night. Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of small venues which led to the moniker the "Down the Tubes Tour." In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112. It was the band's first taste of commercial success and their first platinum album in Canada. The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic Guide critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.
After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members pushing the progressive rock envelope for Rush even further than before by expanding their use of progressive elements. Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.
Permanent Waves (1980) shifted Rush's style of music dramatically via the introduction of reggae and new wave. Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, due to the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day. Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on cerebral topics that explored humanistic, social, emotional and metaphysical elements.
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly pop-progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the ten-and-a-half-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound. The band underwent another radical stylistic transmutation with the release of Signals in 1982.
While Geddy Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines as evidenced by songs such as "Countdown" and the lead-off track "Subdivisions". Both feature nimble lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man", while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk. More specifically, Alex Lifeson's guitar tone and playing style on Signals were very reminiscent of contemporary acts of the time who were well known for incorporating such rhythms into their music. Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Eventually Rush hired Peter Henderson to co-produce and engineer the album in his stead.
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmon's electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals. Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms; "Distant Early Warning", "Red Lenses", "Red Sector A" and "The Enemy Within" serving as prime examples.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Geddy Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable on "The Big Money", (the album's modest-charting single) with spotlights on "Grand Designs", "Middletown Dreams" and "Marathon." Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Ed Rivadavia, the culmination of this era of Rush. Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the 80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity". Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200. At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush stuck to their creative approach of incorporating traces of more exotic musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components. This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[39] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for "progressive rock", some of the songs could be considered more adventurous than what one might expect from a standard modern rock band. For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of several relatively complex musical passages repeated throughout. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record. Lifeson and Lee's playing remained more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing due to formal Jazz and Swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo. In October 1996, in support of Test For Echo, the band embarked on an extensive and successful North American tour, the band's first without an opening act and dubbed "An Evening with Rush." The tour was broken up into two segments spanning October through December, 1996 and May through July, 1997 with the band taking a respite between legs.
After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly due to personal tragedies in Peart's life. Peart's daughter Selena died in a car accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[42] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
After sufficient time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners due to its rapid guitar and drum tempos. Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album. The album debuted to moderate praise and was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush In Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands which the members of Rush cite as inspiration around the time of their inception.[44] Also in the summer of 2004, Rush hit the road again for the very successful 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005.
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry," was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.
The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland. The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and is currently scheduled to end on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center. On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.According to the latest Rush electronic newsletter and Peart's official website, it has been confirmed that performances filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 will eventually be released as a live concert DVD.
Rush's musical style has changed substantially over the years. Their debut album is strongly influenced by British-Blues rock: an amalgam of sounds and styles from such rock bands as Cream, Led Zeppelin, and Deep Purple. Over the first few albums their style remained essentially hard rock, with heavy influences from The Who and Led Zeppelin, but also became increasingly influenced by the British progressive rock movement. In the tradition of progressive rock, Rush wrote protracted songs with irregular and multiple time signatures combined with fantasy/science fiction-inspired lyrics; however, they did not soften their sound. This fusion of hard and progressive rock continued until the end of the 1970s. In the 1980s, however, Rush successfully merged their sound with the trends of this period, experimenting with New Wave, reggae and pop rock. This period included the band's most extensive use of instruments such as synthesizers, sequencers and electronic percussion. It is largely agreed that the culmination of this era of Rush was in 1987 after the release of Hold Your Fire. With the approach of the early '90s and Rush's character sound still intact, the band transformed their style once again to harmonize with the alternative rock movement. The new millennium has seen them return to a more rock and roll roots sound, albeit with modern production.
Current members
Geddy Lee – bass guitar, lead vocals, keyboards, mellotron, bass and synthesizer pedals, electric and acoustic rhythm guitar (September 1968-present)
Alex Lifeson – six and twelve-string acoustic and electric guitars, classical guitar, mandolin, mandola, Bouzouki, backing vocals, bass and synthesizer pedals (summer 1968-present)
Neil Peart – drums, electronic and acoustic percussion (July 1974–present)
Former members
John Rutsey – drums, percussion, backing vocals (summer 1968–July 1974)
Jeff Jones – bass, lead vocals (summer 1968-September 1968)
Discography
Rush (1974)
Fly by Night (1975)
Caress of Steel (1975)
2112 (1976)
A Farewell to Kings (1977)
Hemispheres (1978)
Permanent Waves (1980)
Moving Pictures (1981)
Signals (1982)
Grace Under Pressure (1984)
Power Windows (1985)
Hold Your Fire (1987)
Presto (1989)
Roll the Bones (1991)
Counterparts (1993)
Test for Echo (1996)
Vapor Trails (2002)
Feedback (2004)
Snakes & Arrows (2007)
Official Website: http://www.rush.com/
Listen to Rush Music!
Watch Rush Video!
Limelight
Tom Sawyer
Far Cry
Driven
Half The World
Nobody Hero
Roll the Bones
The Pass
Show Don't Tell
Camera Eye (Live 81)
