![]() The singing is where the big changes are, with Ged singing in a much lower register and from a reserved, voyeuristic POV rather than the first person Cygnus screaming. The massive gear change from verse to chorus on Analog Kid was and still is a killer change the huge singing synth pad with the big Maj7 guitar part and half time is stunning I was 20 when Signals was released and purchased the vinyl straight away and set out to learn the new songs. The chorus gtr part on Subdivisions is something very special with the pedal doubling of the B note. I didn't get into Presto and beyond.Ĭheck back to Xanadu for synths all over everything in a Rush song. The pre Presto Rush album I enjoy the least is the debut album. Songs like The Trees, Red Barchetta and Tom Sawyer fall much more in the embarrassing category, IMO.and it is because of the lyrics.even Digital Man is more in that category than Losing It. When you say "embarrassing", I feel you are talking about the lyrics and vocals and not the music. The only part I enjoy in Vital Signs is the arpeggiator! New Word Man I could do without Vital Signs as well. Nowadays it's one of my go to Rush songs. Countdown is a blast to play learning that song made me like it much, much more. Losing It is an incredible song, period.zero embarrassment. ![]() It sounds like you didn't let Signals grow on you. He had a 10 or 12U rack that failed during the gig and Sting and Stu continued on with Ee-oh, ee-oh for 20 mins or so while roadies tracked down the issue. When I saw The Police in 1980, Andy's chorus was set "very high". They were heavily influenced by The Police at that time. However, as I reflect on it, I think the classification fits.Ĭlick to expand."The Chorus setting was too high"? Signals is a studio album. Had it had a different production, it would have likely survived stinker classification. There were some good songs, but Countdown and Losing It were a bit embarrassing. I also thought Alex's guitar tone got washed in the mix on Signals the chorus setting was just set too high. That album had its ambience, but those drums and the distorted bass were always in your face. I think it starts with the production, which sounded very compressed and in the background compared to Moving Pictures. However, Signals just didn't work for me and I'm not sure what it is. They had an incredible four album run staring with 2112 and I really loved the first three albums for different reasons. However, Signals was the first album since I became a fan in 1980 that let me down. I don't think Red Sector A would have happened without the Weapon. I don't think New World Man would have happened without Vital Signs. Also, I think certain parts of each album opened the door for parts of the next. Part of the excitement of their fan base, which included and still includes me, was the anticipation of hearing where they were going. If they just release Moving Pictures after Moving Pictures, they would have grown stale. But if they had not challenged themselves and their fans by continuing to innovate and explore all four corners of the studio with their evolving sound on Signals in September 1982, would there even have been a Rush in the 21st century? Geddy Lee, Alex Lifeson, and the late Neil Peart all weigh in for this classic rock interview.I was tempted to post a few replies to my response in the good/stinker thread in which I cited Signals as a stinker, but I thought that would be hijacking so I decided to start my own.įirst, I think one of the reasons that Rush had such a long shelf life was their willingness to change. With back-to-back million sellers Permanent Waves in 1980 and then the massive Moving Pictures, Rush risked their new-found fame and fortune with the 1982 album Signals, expanding their arrangements with new instrumentation and additional layers of sound. So what did the band do for the follow-up when all of their hard work paid off ? They changed.īecause the album also contained the Top Ten hit “New World Man” and sold over a million copies in its first two months, there is tendency to assume that Signals was easily embraced by all of the Rush faithful. These efforts finally resulted in Rush’s worldwide blockbuster Moving Pictures. By 1981, Rush had built a fiercely loyal fan base through eight albums ( only one of which did not sell more than its predecessor) and road-dog touring, all the while honing their chops, their arrangements, and lyrical themes into laser-tight focus.
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