01	2112						20:33
	02	A Passage To Bangkok						03:34
	03	The Twilight Zone						03:19
	04	Lessons						03:52
	05	Tears						03:34
	06	Something For Nothing						03:57

Anthem Records - 1976
Produced by Rush & Terry Brown

Geddy Lee - Bass, Keyboards, Vocals
Neil Peart - Percussion/Drums, Lyricist
Alex Lifeson - Guitarist
with Hugh Syme, keyboards

1. 2112 (20:34):

I. Overture (4:32)
II. Temples of Syrinx (2:13)
III. Discovery (3:29)
IV. Presentation (3:42)
V. Oracle: The Dream (2:00)
VI. Soliloquy (2:21)
VII. The Grand Finale (2:14)

3. A Passage To Bangkok(3:34)
4. The Twilight Zone(3:17)
5. Lessons (3:51)
6. Tears (3:31)
7. Something For Nothing (3:59)

Превью от Алекса Вольпертса:

Rush '74

Эх, молодость, молодость… К моменту создания диска музыкантам едва исполнилось по 20 лет, хотя вместе они играли аж с 69 года. За 5 лет им удалось записать всего один сингл - Don't Fade Away Бадди Холли. Итак, что же представляет собой дебют легендарных канадцев? Всего-навсего хард-рок в стиле еще более легендарных Led Zeppelin. Сходство феноменальное, надо отметить. Наиболее яркие песни: Finding My Way, Here Again ("наш" ответ на Since I've Been Loving You), и уже в чем то похожая на "настоящих" Rush Working Man, ставшая их традиционным концертным номером. Откровенно говоря, у всех песен без труда можно отыскать Цеппелиновский аналог Следует учесть, что на этом диске играет Джон Ратси, а не Нил Пиерт. Короче говоря - этот альбом для тех, кто непременно хочет собрать все релизы группы. С точки зрения прога на этом альбоме мало интересного, но впереди звездное будущее.

Оценка: 4 из 10

Fly By Night '75

К моменту создания второго альбома в группе произошла единственная за всю ее историю замена: больного сахарным диабетом Ратси заменил Нил Пиерт - феноменальный барабанщик и прекрасный поэт. Удивительно, но это изменение состава явилось синергетическим: на Fly By Night перед нами почти другая группа, куда то подевалась большая часть заимствований и подростковая неуклюжесть, музыка стала четче и значительно усложнилась. Anthem - динамичная, яркая песня…"Гимн сердца и гимн разума" - девиз группы на всю многолетнюю карьеру. Эта песня - первый знак перемен, которые произошли с группой, с мистическими и чувственными стихами Нила, навеянными одноименной книгой Эйн Ранд (о ней - чуть позже). Не важно, что Best I Can и Beneth, Between & Behind оказываются довольно заурядными хард-роковыми номерами, шаг вперед сделан. Трехчастная By-Tor & The Snow Dog вводят группу в мир прога. Это мощная, несколько психоделическая композиция, с меняющимися настроениями и странноватыми похрюкивающими звуками, очевидно символизирующими битву добра и зла (By-Tor - злодей). Ура, мир спасен и все завершается веселым звоном колокольчиков! Кстати, за имена героев-бойцов взяты имена двух псов, чьи клички можно перевести как Кусака и Снежок :) ! Из оставшихся 4-х песен наиболее интересны нежная акустическая баллада Rivendell и сама Fly By Night. За этот диск группа получила Канадскую премию Juno, как наиболее перспективная молодая группа, Что ж, канадцы были чертовски правы.

Оценка: 7 из 10

Caress Of Steel '75

Этот альбом критики приласкали самой что ни на есть "стальной лаской". На самом деле, им наверное тяжело было осознать, что на свете стало еще одной оригинальной группой больше и, соответственно, была сделана попытка выдать прогресс за деградацию. Да, действительно диск вышел несколько невнятным. Его открывает боевая и несколько банальная Bastille Day. За ней следует одна из самых глупых песен группы (а может и самая глупая) - I Think I'm Going Bald. Может на альбоме AC/DC опасения Лайфсона полысеть и оказались бы убедительными, но никак не на диске Rush. Последующая Lakeside Park звучит лучше, переходя от игривого риффа куплета к нежным арпеджио припева. Уф! На этом меньшая (и худшая) часть диска завершена. Впереди два массивных эпика. Первый из них, 12-и минутный, называется Necromancer и основан ни на чем ином, как на Властелине Колец Толкиена. Это довольно мрачная и жесткая композиция со светлой и жизнеутверждающей концовкой. Второй эпик, The Fountain Of Slamacis получился еще лучше, музыкальное и лирическое содержание переплетаются самым наилучшим образом, рисуя картину поисков магического фонтана. Не шедевр, но и не неудача.

Оценка: 7 из 10

Само ревью от Алекса Вольпертса:

МЕСТЬ ! Месть правила свой бал во время записи этого диска ! Месть критикам и всем тем, кто не захотел понять Cares Of Steel! Как известно, действие всегда равно противодействию, и разозленные критики немедленно окрестили еврея и двух славян "криптофашистами" (надо же, какое слово придумали)! Вернемся к музыке. Первая вещь на диске, сама семичастная 2112, вкупе с красной звездой атакующей человека и породили "фашистские" истории. 2112 повествует о мрачном тоталитарном обществе, расколе человечества на две части (к этой теме Rush еще вернутся, и с большим успехом), а так же жизни и смерти юноши на фоне этих событий. Более того, 2112 основана на уже упомянутом романе Эйн Ранд Anthem, романе, надо сказать, довольно правого толка. Музыкально 2112 просто великолепна - от увертюры до финала музыка, стихи, эмоциональный голос Ли, который то визжит как разъяренный банши, изображая жрецов, то выводит рулады партии юноши, его виртуозный бас, слои акустических и электрогитар Лайфсона и своеобразные "стены" ударных Нила - все находится в совершенном балансе. Чем бы на руководствовались музыканты при создании песни - но они добились своего, их никто больше не смел тронуть пальцем. На данный момент это самая длинная вещь группы - 20 минут. Оставшееся время на диске занимают странноватая Passage To Bangkok, красивые и эмоциональные Twilight Zone и Lessons, нежная и трогательная Tears и довольная агрессивная Something For Nothing. Песни, конечно, хорошие, но после яростной и ярчайшей 2112 воспринимаются скорее как довесок, хоть и необходимый. Начиная с этого альбома Rush окончательно перерождаются в арт-роковую группу. Их перестают обвинять в сходстве с кем либо, но недалек тот час, когда появятся группы, которых будут обвинять в сходстве с Rush!

Оценка: 9 из 10.


Bob Eichler:
Ah, the glory days of Rush, when they were still doing proto-progmetal epics and Geddy Lee was still shrieking like a helium-filled banshee.
The twenty minute title track is a guitar-laden concept song that tells a story set in a future where a totalitarian society has outlawed music for being unproductive. Into this setting comes our hero, who discovers an ancient guitar, learns how to tune and play it in a matter of minutes, takes it before his leaders, gets rebuffed for wasting their time, has a dream about the guitar's creators, and finally overthrows his evil masters, just so he can play his guitar. Very overblown and goofy, but still fun, with some decent stop-time parts at the beginning and an early progmetal sound throughout.
Side two is an odd mix of rock songs that Jon and Sean have already covered pretty well, so I'll skip describing them and instead tell a story. You know those people who, when they're listening to music via headphones, forget that other people can hear them sing? Well, one day back when I was in college, I was walking across campus and passed a guy who was listening to 2112 with his walkman. How did I know it was 2112? Because the guy was screaming, in a high falsetto, "YOU CAN'T GET, SOMETHING FOR NOTHING!". I laughed the rest of the way back to the dorm.

Jon Fry:
Listening to ELP's Tarkus the other day, it struck me how many similarities exist between that album and this one: each has a side-long track, composed of a ludicrous sci-fi narrative with instrumental virtuosity by a trio of solid musicians, along with another side of unrelated, and apparently neglected, songs of varying quality. The epic side, "2112," is fine enough in it's own hard-rocking way, but there's nothing new here and by 1976 the idea of a side-long concept piece was hardly a novelty. Alex Lifeson's technical and tasteful guitar parts are the highlight of this piece for me. Geddy Lee is a musician, not an actor; when he attempts to play the role of several different characters in this suite, he falls flat on his face.
The second side fails to make any impression at all on me. Songs like "A Passage to Bangkok," "The Twilight Zone" and "Something for Nothing" are fairly ordinary 70's hard rock pieces, while prettier tunes like "Lessons" and "Tears" are pleasant while they last, but nothing I'd recommend going out of your way to hear. My assessment of this album as a whole is that it is typical hard rock with a few progressive flourishes. The chops are here, but these three hadn't yet reached the level of their later compositional skills. Beginning with the next album, A Farewell to Kings, Rush would release a string of works that, honestly, blow this one out of the water.

Sean McFee:
In 1976 Rush would officially join the progressive rock fraternity, which was nearing the end of its days as a mainstream power. Their brand of progressive rock had some fundamental differences compared to the English stuff. For one thing, it was closer to their heavy metal roots. In addition, it had that alien quality of music being created outside of the culture that spawned it, which you can also find in Continental European progressive.
The main progressive influences here seem to be Yes, particularly in the Squire-like bass work. The music is still a mix between metal and "proper" progressive, often similar to "Fountain of Lamneth" from Caress of Steel. The attempt at tackling a grandiose theme is present, as the title suite (which spans one half of the album) owes a great debt to Ayn Rand's Anthem, and would forever link Rush to Rand even long after there had ceased to be a link.
There is some pretty good stuff on this album, as Rush can really rock out at this point. There's also some fairly questionable material, such as the pointless drug anthem "A Passage to Bangkok" and the surreal "Twilight Zone", which I'm assuming is meant as some kind of joke. This album is commonly cited as Rush's breakout album. While I wouldn't agree that Rush had quite arrived at this point, they were definitely catching on to something.


joe

Based loosely (NOT!) on Ayn Rand's novella Anthem, the lovingly overblown title track starts us off, relating the story of a citizen from Megadon, another of those cautionary brave new worlds, controlled by its politico-religious leaders, the Priests of Syrinx. Anonymous, our narrator, tells us that he felt he had a pretty good life, watching Templevision or reading the evening Temple Paper (making me wonder why Peart mercifully spared us entitling the planet something like Templora or Templana instead of Megadon...) BUT THEN! Our hero stumbles upon an ancient instrument with six strings that can play beautiful music, which he then presents to the authoritative leaders of his world thinking he will win their praise and bring about a new, harmonious world. BUT LO! Instead he is rejected by the Priests and the instrument destroyed, thus prompting his decision to commit suicide according to his principles [beats chest] rather than succumb to enslavement by the forces of conformity.
Of course, high praise enough goes to Rush for somehow getting a generation of teenage boys to play air guitar and scream along "Weeee are the Preeests... of the Tinpolzzzz of Seereeenks!" Still, how does this work as a whole hold up once you pass high school? The "Opening" and "Temples of Syrinx" at least, are rife with those metallized Spanish riffs and mucho Geddyshriek (c'mon, you love it and you know it). Past that, though, the rest of it is pretty much of the "rock opera in its own mind" variety. Even at the tender age of 8 (when I first heard this), I still thought the Orwellian "we have assumed control... we have assumed control" ending was unbelievably silly. Largely this suite is good evidence that maybe the phrase should be changed to "Rand before Webber" instead of "beer before liquor."

But at least you have to admit the first side generally makes its presence known. The second side, however, generally does not. On the positive side, we get a few bonus Zep-knockoff riffs thrown in for "A Passage to Bangkok," and the introspective "Tears" finds Geddy actually singing in a frequency that humans can register, a welcome reprieve.

A rite of passage, for me and I would suspect for many of you already reading this, and for many more young'uns to come, thank heavens. Or thank the intellectual greatness of man [beats chest]. Being way too sentimental for my own good, I will simply say in conclusion that Rush would gain much on the maturity end of the scale with their future releases. They still haven't quite topped that band photo, though, erm...

5-28-03




Rush [Canada]
Rush (74), Fly by Night (75), Caress of Steel (75), 2112 (76), All the World's a Stage (76), A Farewell to Kings (77), Hemispheres (78), Permanent Waves (80), Moving Pictures (81), Exit: Stage Left (81), Signals (82), Grace Under Pressure (84), Power Windows (85), Hold Your Fire (87), A Show of Hands (89), Presto (89), Roll the Bones (91), Counterparts (93)

If you like science fiction/literary lyrics, the sound of a Rickenbacker bass, and agile lead guitar, the music of this Canadian power trio is for you. Don't be put off by Geddy Lee's screechy vocals and the group's occasional inclinations to heavy metal. This is progressive rock. Odd time signatures abound, Lee is a poll-winning bassist, synthesizers are used intelligently on all but the earliest albums, and the drumming of Neil Peart is, to many, the best there is. Start with Moving Pictures and Permanent Waves. If you don't think these are progressive...

They get slated a lot in prog circles, but this is mainly due to their fans who tend to get stuck in a rut when they find Rush and think nothing could ever compete. This is nonsense of course but Rush have made some fantastic music. I honestly think there's not a bad track on any album up until Presto. This, for me was the start of their decline. I was very disappointed with Counterparts ... their worst ever. Get *anything* other than the last 3 (even then, with the exception of Counterparts, they're ok). A great, great band that contains brilliant musicians. I know Peart's lyrics are pseudo-everthing garbage but the music is so good ...

Rush is the epitome of the "power trio." Through their 20+ year career, they've proved themselves to be the leaders at their respective instruments while creating incredible music. They've gone from Zeppelin-like rockers to 20+ minute epics to shorter, but still spectacular pieces of musical wizardry. One aspect of Rush that draws many fans is the well-written and deep lyrics, almost exclusively written by drummer Neil Peart. The music is generally created by bassist/vocalist/keyboardist Geddy Lee and guitarist Alex Lifeson. Geddy has been enshrined in many bass halls-of-fame, and Alex is generally accepted to be a "guitar god." Of course, Neil's thundering and mind-boggling solos also keeps him on top of drumming polls since the 1970's. The band's early days featured other members, but eventually settled into the Lee, Lifeson, and John Rutsey line-up. They recorded a single ("Not Fade Away"/"Can't Fight It"), and soon, a full LP, Rush. This LP boasted many classics like "Working Man" and "In the Mood," good rockers that seem to end shows brilliantly even 15 years after the LP was released. But due to some problems (one being health), Rutsey left the band and Neil Peart joined in 1974, solidifying the line-up for the next 2 decades and more. The next 2 efforts, Fly By Night and Caress of Steel, featured some short rockers as well as longer epic-like pieces, such as "By-Tor and the Snowdog." Some songs featured different segments, tied into the story written mainly by Peart. The music seems to be a transition between straight-ahead rock tunes and more complex progressive tracks. The LP that sent Rush over the initial hump was the epic 2112. The title track, "2112," written under influence of Ayn Rand and objectivism, became the masterpiece of Rush music. A 20+ minute piece, telling the story of a man who discovered music in a musicless and conformist society. Lyrically and musically, "2112" was a masterpiece. Other tracks from this LP seemingly acted as Rush's farewell to short rock songs. At the end of this tour, a live LP was recorded called All The World's A Stage. This featured much of the songs that made Rush a musical powerhouse in these early years. Now the second phase of Rush's career began, with the release of A Farewell to Kings. Classics like "Xanadu" and "Closer to the Heart" represented the softer and the extended pieces that Rush would be creating for the next few years. Synthesizers were now employed by the band, played in the studio and on stage by Lee. The band decided to remain a trio, as the chemistry was perfect. Longer, drawn-out pieces became the norm for Rush, offering intriguing time changes and chord progression, as well as demonstrating each musician's incredible skills on their respective instruments. The next release was Hemispheres. This LP contained 2 short tracks and 2 extended tracks. One of the shorter tracks became one of the fans' favorite: "The Trees." Now keyboards are becoming an integral part of Rush music. Every song now had a major keyboard part, but not intrusive into their music. The long pieces offered incredible musicianship ("La Villa Strangiato"), as well as a great story (in "Cygnus X-1 part II - Hemispheres"). In concert, the 2 parts of "Cygnus" were played together, creating another Rush epic. Sensing the effectiveness of shorter pieces, the next LP, Permanent Waves, offered mostly shorter pieces. "Freewill" became a classic overnight, and the "The Spirit of Radio" guitar lick became a favorite to guitarists all over the world. Two longer tracks, "Jacob's Ladder" and "Natural Science," were not as long as past pieces, but more concise and musically as intricate as their older counterparts. Then Rush recorded perhaps their most popular LP: Moving Pictures. Many classics came from this album, such as "Tom Sawyer" and "Limelight," though it did boast Rush's last extended epic, "The Camera Eye." This was the end of the second phase of Rush's career, one of transition from long epic pieces to shorter, more concise, and intricate songs. As at the end of all of Rush's phases, they recorded a live LP: Exit...Stage Left. This live LP almost fully representative of the shorter pieces of this phase, as well as some of the longer pieces (though avoiding the "Cygnus" series). The third phase of Rush began with the aptly titled Signals. The LP featured the new sound of Rush, a collection of shorter but punchier songs. Keyboards have become a very large part of the music, and the interplay of guitar, drums, bass, and keyboards became technically almost impossible to play live. But these are exceptional musicians.... The two LPs that followed, Grace Under Pressure and Power Windows, also followed nearly the same mold. Songs were shorter and often keyboard dominant, but are becoming technically incredibly intricate (such as "Big Money" and "The Enemy Within"). The third phase of Rush ended with the release of Hold Your Fire. The music has become so intricate, that some were almost impossible to pull off live. "Turn The Page" often gave Lee a headache, as it boasted a ridiculously-busy bassline along with a rhythmically-different vocal line. Keyboards took over much of the music, though the interplay between the instruments became utterly incomprehensible. Most of the songs did not function in 4/4, often switching between odd-times. And as in the end of all Rush phases, a live LP was released. A Show of Hands contained the stronger pieces from the phase, though suspiciously absent were songs from Signals. Moving to a new label, Rush embarked on their present phase with Presto. They sought to remove the dominance of keyboards in the music, and go back to a bass-drum-guitar sound. They welcomed this with harder but still intricate songs such as "Show Don't Tell" and "Superconductor." The recent two LPs, Roll the Bones and Counterparts, offered the same direction in music. Through the history of Rush, they have passed through many distinct phases. Every one of those phases represented a triumph in music, allowing the band to move on. Rush represents what three people can do together, working together for a common goal. Though each are incredible musicians and writers, the combination of the three creates a magic that we all know as Rush. Very seldomly in progressive rock does a band not go through member changes in 20 years. This is a testament to the chemistry that they created over the years, apparent in the slew of masterpieces. -- Mel Huang




- SU.MUSIC.ART.ROCK (2:5030/741.13) ----------------------- SU.MUSIC.ART.ROCK -
Msg : 2177 of 2278 +2184 Scn
From : Paul Cachanoff 2:5023/42.35 03 Sep 01 18:58:22
To : All 07 Sep 01 00:46:22
Subj : RUSH trivia
-------------------------------------------------------------------------------
Как поживаете, All ?

Мало кто знает:), что:

0. Rush - обалденная группа.
1. Hастоящее имя Гедди Ли - Gary Lee Weinrib. Его бабушка говорила с сильным
еврейским акцентом и "Гэри" у неё выходило как "Гедди". Отсюда и псеудоним.
2. Hастоящее имя Алекса Лайфсона - Alex Zivojinovic! А уж как
произносится...Бог весть.
3. Фамилия Peart произносится как "Пиэрт".
4. Rush продали 21,5 миллионов пластинок во всём мире. В мировом списке лучше
всего продаваемых групп они занимают 56-е место вместе с REO Speedwagon.
(err...fuckin' offtopic!:((
5. Все альбомы Rush стали как минимум золотыми в Америке.
6. Самые успешные их альбомы: Chronicles (2*Platinum), 2112 (3*Platinum),
Moving Pictures (4*Platinum).
7. Самое высокое место в хит-параде, занятое альбомом Rush - второе (в
Америке), альбом Counterparts.
8. Есть видеоклипы на 31 песню Rush (включая Xanadu, A Farewell To Kings, La
Villa Strangiato). Официально выпущена лишь малая часть.
9. Rush - одна из немногих известных рок-групп, не имеющих неизданного
материала.
10. В Necromancer декламацию исполняет Пиэрт, он же (а не Лайфсон) произносит
"subdivisions" в одноимённой песне, а вот в "Chain Lightning" слова "that's
nice" говорит Лайфсон. Рэп в "Roll The Bones" исполняет Ли.
11. Hазвания "Big Money", "Grand Designs" и "The Camera Eye" взяты из книг
Джона Дос Пассоса.
12. У Пиэрта в 1997 г. разбилась в автокатастрофе дочь Селена, а в следующем
году умерла от рака жена Жаклин. Именно поэтому очередная пластинка Rush пока
задерживается.
13. Lerxst - кликуха Лайфсона, Dirk - Ли, Pratt - Пиэрта.

(с) faq сайта Rushmania.

C уважением, Paul Cachanoff.
--- УТВЕРЖДАЮ. MSG-редактор капитан 2.5 ранга Голд Дедович фор ДОС UNREG
* Origin: Ты чего, отец, ползаешь? (2:5023/42.35)



Rush - 2112
--------------------------------------------------------------------------------
Release Date: 1976
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Track Listing
1) 2112:
i) Overture
ii) The Temples of Syrinx
iii) Discovery
iv) Presentation
v) Oracle: The Dream
vi) Soliloquy
vii) Grand Finale
2) A Passage To Bangkok
3) The Twilight Zone
4) Lessons
5) Tears
6) Something For Nothing

Member: Rickenbacker 05/28/03

It's almost funny to think that the year 2112 is somewhat in our sights at this point! But in 1976, 2112 was all about space travel, jetpacks for all, clean white, loose clothing & shiny silver homes under the stars! It's also the title of Rush's 4th album. 2112 is the album that the members of Rush generally regard as their 1st "real" album. Geddy Lee described the other 3 as 'groping in the dark' for their own identity as a band. This album sees the band finally leaving the shadow of Led Zeppelin behind...& moving further into the realm of British prog.

The title track is a much more polished concept that they had attempted on Caress of Steel; The side-long epic. Once again, it's divided into several suites (or movements) Seven this time. Neil Peart takes his cue in lyric from Ayn Rand's short novel "Anthem". Naturally, he puts his own sci-fi spin on it & the result is a Rush classic. It follows the story of a young man in the year 2112 who lives in a futuristic, totalitarian society. Everything is provided for them. Everything is dictated to them (by 'The Priests of the Temples of Syrinx') & the 'hero' is quite content...until he wanders off to his place of reflection (behind a waterfall) & finds a relic of the past- a guitar.

His wonder at it & his imagination begin to soar at the possibilities of this "new" machine. Unfortunately, his enthusiasm for the instrument isn't shared by the Priests, who see it as a threat to their power..... And for the 3 of you who haven't yet heard this recording, I won't give away the entire story! But I will say that you're in for 20 minutes of great prog rock served up 70s style- just the way God meant it! There have been many debates as to how exactly this story ends, & I think that's part of the beauty of this song. Listen for yourself & you be the judge...

The 2nd half consists of much shorter songs, but still showing a noticable maturity from the last 3 offerings.
"A Passage To Bangkok" is a smokey, hard rock ride to the far east chock full of references to weed & more traveling on the road. They humorously play up the Asian feel with stereotypically "Oriental" notes at one point.

Neil (& I'd guess Geddy & Alex) must've been huge fans of the tv series "The Twilight Zone". Not only did they dedicate Caress of Steel to creator Rod Serling, but they went & made a song of the same title. It makes allusions to a few episodes as it goes along with a shuffle beat. Neil does a decent job of creating a hazy, dreamy picture in the lyrics.

Alex Lifeson takes a stab at lyrics in "Lessons" & I have to say, it's probably the closest thing to filler on this album. Somehow, the chorus doesn't quite flow smoothly with the music in my ears. It rocks, but I don't think that's enough to make a good song.

Geddy Lee takes a turn at solo lyric writing & I think has much more effective results with "Tears". It's a very somber tune with a looming sense of loss. It's also the 1st Rush song to feature keyboards, played by their longtime graphic designer, Hugh Syme.

Rounding out 2112 is "Something For Nothing". You'd think it being the very last song it might be filler material, but it's actually a strong, very well written hard rock song. Became a popular crowd pleaser during their mid 70s tours. The lyrics are typical Neil Peart pro-individualism; a theme he was both praised & criticized for for several years.


The overall improvement in production is evident on 2112. There's something of a *suggestion* of melancholy on this album, despite the many rocking moments. It certainly is no feel-good album. But it's still a watershed accomplishment for a band that was still on the rise at the time of release. It marked the end of Rush's 1st phase (of studio albums) & the 2nd phase was on the horizon...