10/31/2023 0 Comments Rush moving pictures“Alienation is the craze,” sang the Cars two years earlier, sounding neither crazy nor alienated but arch “Put aside the alienation,” Neil Peart countered on “Limelight.” Optimism without sentimentality? In this biz? For a couple of hours, this Moving Pictures package envisages a world of love and light.Blu-ray Audio: (Dolby Atmos* / Dolby TrueHD 5.1* / DTS-HD Master Audio* / PCM Stereo)īlu-ray Video: (Dolby TrueHD 5. Best, Rush was constitutionally incapable of cynicism. “Tom Sawyer” brushed against the Top 40 gates without gaining entry. 3 in America, their best chart position to date the RIAA would certify it five-times platinum. Thanks to its tautness, conceptual integrity, and the fortuitous manner in which their career ambitions and radio programmer taste intersected, Moving Pictures functioned as much a harbinger of a new artistic era as David Bowie’s Young Americans. After Hemispheres’ rather ponderous “La Villa Strangiato,” Rush present “YYZ,” an instrumental ready for new wave on which Lifeson and Lee circle each other, back off, and let Peart offer a series of rolls that are the stuff of which fanzines are made. That’s why they’re Rush and you’re not.Īnd sometimes words are crap. Bands who envy Rush’s gilded cage “must get on with the fascination/The real relation, the underlying theme.” Before anyone can say, “Speak for yourselves, dorks,” the trio builds toward a break less impressive for how Lifeson outdoes David Gilmour in guitar dive-bombing than in Lee’s bass licks. “Limelight” presents no complaints-advice not wisdom, remarks not pronouncements. An inspiration for bucketloads of maudlin crap, the touring life didn’t affect a muse that had shown to this point little interest in the larger world. As Rush matured into their Moving Pictures era, their instrumental flourishes matched their newfound plainspokeness. As proof they were regular dudes who like the cars that go vroom, Rush offered “Red Barchetta,” an ode to the Italian roadster that idles and revs like one Lifeson goes from pinched intro to an interlude that cracks the song in half. The simultaneous lateral and forward motion of their music matched the positivity of the lyrics. 1981’s version of Mark Twain’s 19th-century warrior with a mean, mean stride does many things that make sense only in Peart and co-lyricist Pye DuBois’ notebook, but the enthusiasm of Lifeson’s guitar fills and Peart’s nervous triplets are matched by Lee’s Oberheim-OBX solo. Such is the case with “Tom Sawyer.” Rush’s signature song embraces technology without succumbing to its dazzle. To write a manifesto is folly songs become manifestos. After all, to quote him, “Everybody got to deviate/From the norm.” With Lifeson playing up- and downstrokes, Moving Pictures’ “Vital Signs” shows the most obvious signs of Police work, but the sequencer may bear the influence of Peart’s beloved Ultravox. Rush experimented with a slight skank on Permanent Waves’ “The Spirit of Radio,” which might explain why it became an actual hit in reggae-drenched England than in an America that went through the trouble of keeping Black disco-tinged acts off the air. To absorb Black rhythms through the filter of another white trio works as insurance: It’s less fraught to get blamed for borrowing from people who look like you. Someone in the Rush dressing room must have loved the Police who were, at the time, three albums into a career that would turn them into the world’s biggest band and most fractious trio. Taking seriously the notions of progress espoused by their lyrics, Rush must have noticed these bright, shiny tunes on the FM dial mostly recorded by younger men whose brevity matched their hair length.Īnd rhythms too! Not quite mystic ones, but Rush’s instrumental chops and charming, gawky futurism produced a supple incorporation of dub and reggae. Instead of three- and four-minute things like “Fly By Night,” “The Trees,” and “Closer to the Heart” acting like smoke breaks between epics, the ten-minute “The Camera Eye” is the anomaly amid a suite of often severe tunes with choruses and middle-eights. Released in 1981, their eighth studio album-reissued in honor of its 40th anniversary in a sumptuous multidisc/multi-LP set-mastered concision. Touring had taught Rush the interior design of their own material. When they discovered they could sound pretty on A Farewell to Kings’ “ Closer to the Heart,” it was a glass of wine after years of grape juice. With Rush, though, there was a turbulence, an aversion to the ornamental. Now that no one younger than 50 gives a damn about why punk recoiled from prog, those albums before 1980 offer solid, stolid musical elongations on the addled fiction familiar to, say, fans of Genesis’ 1973 album Selling England by the Pound. They continued to write songs with a more radio-friendly sound, featuring tighter and shorter song. After touring to support their previous album, Permanent Waves, the band started to write and record new material in August 1980 with longtime co-producer Terry Brown. young enough) to laud the “genius of Ayn Rand” in the liner notes to 2112 (1976), Rush flitted through the decade setting their influences to music. Moving Pictures is the eighth studio album by Canadian rock band Rush, released on Februby Anthem Records.
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