After many years of derision and disrespect, Rush has
finally achieved a degree of respectability in the world of music, capped off
by their recent induction into the Rock and Roll Hall of Fame. Many are
coming to realize what fans of the band have known for years, that Rush is an
innovative, talented, and forward-thinking rock band. For 40 years they
have been reflective of the musical times, not following trends but instead
constantly being influenced by the music around them. In the early 80s,
the band found themselves with their greatest success yet thanks to the
breakthrough of the Permanent Waves and Moving Pictures
albums. They had gone from heavy-prog cult band to mainstream AOR. Their
contemporaries went from Yes and Led Zeppelin to Styx and REO
Speedwagon. But they really yearned to be in the company of The Police and
Talking Heads, the bands they were listening to at the time, and this is what
led to 1982's excellent album Signals.
Rush had been using synthesizers and keyboards for several years, mostly in
a background or atmospheric capacity. Now, the synths moved to the front,
not replacing but sharing equal time with guitar, bass, and drums. Geddy
Lee proved to be as proficient on the keys as he is on bass. In fact, the first
sound you hear on the album is the ominous synth tones of
"Subdivisions," an early 80s version of the power riff. Like the
previous two albums, Signals opens with its best (and best-known)
track. Neil Peart's unusually angry lyrics attack suburban conformity and
plasticity with a punk-like ferociousness. Guitarist Alex Lifeson proves
guitars and synths can coexist as he reels off one of his most powerful and
emotional solos. "Subdivisions" may not be as famous as "The
Spirit of Radio" or "Tom Sawyer" but it's every bit as good as
those undisputed classics.
For the rest of the album, Peart moves from anger to an attempt to find more
positive ways for creative people to transcend their
surroundings. "The Analog Kid" opens with a more traditional
guitar riff and comes off as a great high energy rocker. Like many bands
of the time, Rush began incorporating reggae sounds into their mix and that
influence is most greatly felt on "Digital Man." All three band
members are quite comfortable locking into a reggae groove and melding it with
some classic rock riffing. This was the first album where the band
completely abandoned long, multi-part compositions. Yet they still nodded
to their prog past noting "The Weapon" as part two of a reverse
trilogy that began with the Moving Pictures cut "Witch
Hunt." Musically, "The Weapon" is actually the most 80s
influenced track on the album, with pulsing synths reminiscent of Giorgio
Moroder. The album takes a poppier turn with the catchy "New World
Man," a song that actually became the group's first single to crack the
Top 40. Underneath the verses, however, Geddy Lee tosses off some of his
most intricate bass lines, proving he hasn't completely forsaken the bass for
the synthesizer. The album concludes with the upbeat "Countdown,"
a tribute to the recent first flight of the space shuttle Columbia.The world has finally come around to recognizing Rush as one of the all time greats. Diving into their catalog reveals a band always in touch with the musical world around them. They would move onto U2-style arena rock in the late 80s, a re-emphasis on guitar oriented rock with the grunge/alternative breakthrough of the 90s, and a recent return to their prog roots, but with a contemporary rock sound. Signals can be seen as a transitional album, yet the quality of the material and strength of performance make it an essential entry in the catalog of an essential band.
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