Signals | ||||
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Studio album by | ||||
Released | September 9, 1982 | |||
Recorded | April – July 15, 1982 | |||
Studio | Le Studio, Morin-Heights, Quebec, Canada | |||
Genre | ||||
Length | 43:12 | |||
Label | Anthem | |||
Producer |
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Rush chronology | ||||
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Singles from Signals | ||||
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Alternative cover | ||||
Signals is the ninth studio album by Canadian rock band Rush,released on September 9,1982 by Anthem Records. [3] After the release of their previous album, Moving Pictures ,the band started to prepare material for a follow-up during soundchecks on their 1981 concert tour and during the mixing of their subsequent live album Exit...Stage Left . Signals demonstrates the group's continuing use of synthesizers,sequencers,and other electronic instrumentation. It is the last album produced by their longtime associate Terry Brown,who had worked with them since 1974.
The album peaked at No. 1 in Canada,No. 3 in the United Kingdom,and No. 10 in the United States. In November 1982,the album was certified platinum by the Recording Industry Association of America for selling one million copies in the United States. Rush released three singles from the album:"New World Man",which became the band's highest charting single in the United States and a number-one hit in Canada,as well as "Subdivisions" and "Countdown". The group supported Signals with a concert tour from April 1982 to May 1983. Signals has been reissued several times,including a remaster with a new stereo and 5.1 surround sound mix in 2011.
In July 1981,Rush ended their tour in support of their previous album Moving Pictures. [4] The album became their most commercially successful of their history,granting them their first No. 1 album in Canada and selling over one million copies in the United States at the tour's conclusion. [5] Rush then took a three-month break,during which they oversaw the production and mixing of their second live release,Exit...Stage Left,at Le Studio in Morin-Heights,Quebec. In one of drummer and lyricist Neil Peart's diary entries written during this time,he had been cleaning a Hayman drum kit that was housed in the studio and,in September 1981,began working out a song with two members of the band's road crew,the unreleased "Tough Break". [6] Peart was also working on lyrics,in particular a set which included "Subdivisions",a track the group would later record for Signals. [6]
Having arranged some material for their next studio album,Rush toured North America and Europe from October to December 1981 with a setlist that contained "Subdivisions". [7] The group had their sound man capture their soundchecks on tape which provided a method of developing new songs,which was particularly the case for "Chemistry". [6] The majority of Signals was written and rehearsed in early 1982. [6] Geddy Lee has said that the group were aware of how easy it would have been to "play it safe" and produce another Moving Pictures,a mindset the band was entirely against. [8] The album displays the band continuing to incorporate the synthesizer into their songs with less emphasis on guitar-oriented riffs which had been the focus of their sound in the 1970s. Lee considered Signals as the beginning of a new era for the band. [9] In hindsight,he said it was considerably difficult to make because it took longer than usual for the band to achieve the right feel for each song. [10] Some ideas that Alex Lifeson and Lee had initially saved for potential solo albums were used on Signals. [11] Writer and journalist Greg Quill noticed a "cyclical framework" in Signals,specifically the album opening in suburbia followed by contemplating escape in "The Analog Kid". Then,"universal human imponderables" are explored through humanity,sex,religion,and ageing,which ends in an actual escape in "Countdown". Quill spoke to Peart about this theory,to which the drummer replied:"You noticed that. We were hoping no one would. It's so unfashionable these days to construct grand concepts. We're being closed mouthed about it". [12]
Recording began at Le Studio in April 1982,and ended on July 15. [13] It is Rush's last album co-produced by their longtime associate Terry Brown,who had worked with them since 1974. He was joined by engineer Paul Northfield with assistance from Robbie Whelan. [13] Rush intended to finish the album in June,but had to spend additional time in the studio which led to a month's reduction in their planned vacation time. [14] Upon completion,the album was mastered by Bob Ludwig at Masterdisk. [13]
"Subdivisions" was one of the first songs Rush had arranged for Signals. [6] After Peart devised a set of lyrics,Lifeson and Lee wrote a collection of musical ideas to fit Peart's words. Peart recalled that his bandmates interrupted him as he was cleaning his car and set up a portable cassette player on the driveway outside the studio,and played him what they had come up with. Peart added:"I listened closely,picking up the variations on 7/8 and 3/4,the way the guitar adopts the role of rhythm section while the keyboards take the melody,returning to bass with guitar leading in the chorus,then the Mini-moog taking over again for the instrumental bridge",and told Lifeson and Lee that he liked it. [6]
"The Analog Kid" originated during the group's stay at Virgin Gorda in the British Virgin Islands in January 1982,travelling on a yacht named Orianda. [6] Peart had written the words to the song initially as a companion piece to "Digital Man",which Rush had started working on in late 1981,and presented it to Lee. The two discussed what could be done with the lyrics in a musical sense,deciding on the opposite on what the words may suggest,with Peart describing the track as "a very up-tempo rocker,with some kind of a dynamic contrast for the choruses". [6]
"Chemistry" was developed during soundchecks on the Moving Pictures tour in 1981. It was during one particular session during the United States leg whereby,after each member checking each of their instruments separately,"a little spontaneous creation" came about which produced a song without the group realising it. Each member played a different part;Lee played what became the keyboard section for the bridge,Lifeson the guitar riffs heard in the verses,and Peart the drum pattern for the chorus. [6] Upon listening to the soundcheck tapes,Lifeson and Lee took each section and arranged it into a complete track before they produced a demo which almost matched the version recorded for the album. [6] "Chemistry" marked the first time that each member collaborated on the lyrics to a song,with Lifeson and Lee devising its title,concept,and several phrases that they wished for it to include. Peart then took their ideas and developed a set of complete lyrics. He named "Chemistry" as the easiest song to write for Signals. [6]
"Digital Man" was one of the songs worked on during the late 1981 writing sessions at Le Studio,during which the music and lyrics for its verses,plus the ska-influenced bridge,was worked out. [6] The song was also heavily influenced by funk,with Lee's bass line described as "so funky and fluid its almost laughable". [15] Its instrumental break has been compared with "Walking on the Moon" by The Police. [16] The song developed further in March 1982 during the band's one month stay at The Grange in Muskoka Lakes,Ontario. [6] Peart wrote the remaining lyrics by an open fire in his chalet while Lifeson and Lee worked on the music in the adjacent barn. After numerous attempts they devised a combination of suitable words and music for the chorus,and Peart wrote:"We were all very pleased with the dynamic and unusual nature of the part,it was so different for us". [6] However,Brown expressed a lack of enthusiasm to record the song and remained so until the group had continually talked about why it worked "until he got tired of hearing about it". [6] "The Analog Kid" and "Digital Man" served as the inspiration for comic book writer Troy Hickman to create heroes of the same names in his 2004 comic Common Grounds . [17]
"The Weapon" is the second part of Rush's "Fear" song series. During a writing session at a northern Ontario manor home in 1981,Lee and his friend Oscar devised what Peart described as the foundation of "a highly mysterious and bizarre drum pattern" with his drum machine. [6] At a subsequent rehearsal,Peart learned to play the part on his own drum kit which required him to alter his usual technique,but took the experience as an enjoyable challenge. [6]
"New World Man" was put together in May 1982 when the backing tracks for the album's other seven tracks were completed,and there was enough space on the vinyl for a song under four minutes. [6] Had the track become too long,the band would have put it down and used it for a subsequent release. "New World Man" began with Peart writing lyrics that tied in themes from other songs on the album,"and came up with a straightforward,concise set of lyrics consisting of the two verses and the two choruses". [6] The group adopted a "fast and loose" approach for its corresponding music and worked swiftly,with the song fully arranged in one day and recorded in the course of the next. [6]
"Losing It" originated from a theme Lifeson had come up with which was used in subsequent rehearsal sessions to produce a demo with keyboards and drums. [6] In June 1982,when the band revisited the song in the studio,they discussed the possibility of Ben Mink of the band FM playing the electric violin somewhere on Signals,and decided that "Losing It" was the best track for his contribution. [6] To cater for the part,Rush put down the basic track for a jazz-oriented solo section and invited Mink to the studio which included him multi-tracking various notes to resemble a complete string section. [6] The lyrics include references to the latter years of writer Ernest Hemingway–"For you the blind who once could see,the bell tolls for thee". It was not played live until 2015 when Rush performed it at five concerts on their R40 Live Tour.
"Countdown" was inspired by the band attending the launch of the STS-1 Columbia space shuttle in April 1981,the first of NASA's Space Shuttle program. They had been invited to the launch and observed it from a VIP area at an air base in Cape Kennedy,Florida. [6] The song features samples of radio communications recorded before and during the flight.
The sleeve was designed by Hugh Syme,who is credited with its concept,direction,and graphics,with photography from Deborah Samuel. Syme based his design upon receiving merely the album's title,and recalled a "great deal of trouble" in a cover that he and the group were satisfied with. "I decided that,with such a phenomenally important word with the kind of potency it potentially had,to go with something really dumb,really inane". [18] He noted,however,that the cover still tied into the meaning of some of the songs on the album,in particular "Chemistry". [18] The final concept came out from the result of several failed ideas,including one that Syme devised which would have involved Rush hooked up to electroencephalography machines as they played in the studio and a snapshot of their heartbeats and brain waves taken during a performance. [19]
The front photograph depicts a Dalmatian dog sniffing a red fire hydrant on a green lawn. [18] [19] Samuel shot the image on the rooftop of her studio. The lawn is a piece of AstroTurf,and the hydrant was rented from Toronto and repainted the desired colour for the cover. She recalled a search to find a Dalmatian who could sniff on command,and placed dog biscuits underneath the hydrant multiple times to get the final shot. [20] The back cover is a pretend blueprint of a neighbourhood with what Lee described as "make believe subdivisions", [14] detailing Warren Cromartie Secondary School,a fictional school named after Canadian baseball player Warren Cromartie. He and the Montreal Expos are thanked in the album's liner notes. [13] Syme considered the back cover "a little subtle,perhaps over-indulgent". [18]
The album was released in September 1982. The album peaked at No. 1 in Canada, [21] No. 3 in the United Kingdom, [22] and No. 10 in the United States. [23] In November 1982,the album was certified platinum by the Recording Industry Association of America for selling one million copies in the United States. [24]
Rush released five singles from Signals. "New World Man" reached No. 21 on the Billboard Hot 100 singles chart for three weeks in October and November 1982. It is the band's highest charting single in the US,and the only one to have reached the top 40.
Review scores | |
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Source | Rating |
AllMusic | [25] |
The Encyclopedia of Popular Music | [26] |
Rolling Stone | [27] |
At the time of release, Rolling Stone criticised the band's choice of "emphasizing synthesizers at the expense of Alex Lifeson's guitar," calling the album "mostly a wasted effort." [28]
Louder called Signals the 29th best album of the 80s. [29]
AllMusic retrospectively praised the album,complimenting the band for not simply making Moving Pictures,Pt. II,continuing their exploration of the synthesizer and introducing more contemporary themes into the lyrics. [25]
Ultimate Classic Rock placed Signals seventh in their list of "Top 10 Rush Albums," [30] while Stereogum placed the album third (behind Moving Pictures and 2112 ) in their list of "Rush Albums From Worst to Best," labelling it "the most audacious album of the band's career." [31]
In the 2010 documentary film Rush:Beyond the Lighted Stage ,Trent Reznor cited Signals as an influence for incorporating keyboards into hard rock. [32] Canadian music journalist Martin Popoff stated that Signals was his favorite Rush album because of the "creamy production." [33]
In 2022, Guitar World named Signals the #9 greatest rock guitar album of 1982,saying that although there was a "shift to a more electro-synth sound",there was "still room for Alex Lifeson to do his thing on his six-string",and that "Geddy Lee remained the best bassist in rock". [34]
Year | Label | Format | Notes |
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1994 | Mobile Fidelity Sound Lab | CD | Gold CD remaster. [35] "The Weapon" has one line of lyrics missing at 3:12. The label stated this was the case on the master tape delivered to them. Both "New World Man" and “Digital Man”have endings a few seconds longer. |
2011 | Anthem | CD,DVD | Digitally remastered as part of the three-volume Sector box sets,also available in 5.1 surround sound. [36] |
2015 | Mercury | LP,digital format | Digitally remastered. [37] |
2023 | Mercury | LP,Blu Ray,digital format | Three digitally remastered formats:(1) Super Deluxe Edition,(2) one-LP Picture Disc Edition,and (3) Dolby Atmos Digital Edition [38] [39] |
All lyrics are written by Neil Peart except where noted; all music is composed by Alex Lifeson and Geddy Lee
No. | Title | Lyrics | Length |
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1. | "Subdivisions" | 5:35 | |
2. | "The Analog Kid" | 4:47 | |
3. | "Chemistry" | Lee, Lifeson, Peart | 4:57 |
4. | "Digital Man" | 6:23 |
No. | Title | Length |
---|---|---|
5. | "The Weapon" (Part II of "Fear") | 6:24 |
6. | "New World Man" | 3:42 |
7. | "Losing It" | 4:53 |
8. | "Countdown" | 5:49 |
No. | Title | Length |
---|---|---|
1. | "Subdivisions" | |
2. | "Red Barchetta (Live)" | |
3. | "Countdown" | |
4. | "New World Man" | |
5. | "New World Man" | |
6. | "Vital Signs (Live)" | |
7. | "The Weapon (Single Edit)" | |
8. | "Digital Man" |
Credits are taken from the album's 1982 liner notes. [13]
Weekly charts
| Year-end charts
|
Region | Certification | Certified units/sales |
---|---|---|
Canada (Music Canada) [49] | Platinum | 100,000^ |
United Kingdom (BPI) [50] | Silver | 60,000^ |
United States (RIAA) [51] | Platinum | 1,000,000^ |
^ Shipments figures based on certification alone. |
Rush was a Canadian rock band that primarily comprised Geddy Lee, Alex Lifeson (guitar) and Neil Peart. The band formed in Toronto in 1968 with Lifeson, drummer John Rutsey, and bass guitarist/vocalist Jeff Jones, whom Lee immediately replaced. After Lee joined, the band went through several line-up changes before arriving at its classic power trio lineup with the addition of Peart in July 1974, who replaced Rutsey four months after the release of their self-titled debut album; this lineup remained intact for the remainder of the band's career.
2112 is the fourth studio album by Canadian rock band Rush, released in March 1976 by Anthem Records. It reached No. 5 in Canada and became the band's commercial breakthrough in the US, peaking at No. 61.
Hemispheres is the sixth studio album by Canadian rock band Rush, released in October 1978 by Anthem Records. After touring to support the band's previous release, A Farewell to Kings, during which the group gained popularity in the UK, Rush started work on their next album. As with the band's previous studio album, Hemispheres was recorded at Rockfield Studios in Monmouthshire and Trident Studios in London with longtime engineer and arranger, Terry Brown. Rush continued its progressive rock sound with the side-long "Cygnus X-1 Book II: Hemispheres" and the nine-minute instrumental "La Villa Strangiato", which was the band's first instrumental piece.
A Farewell to Kings is the fifth studio album by Canadian rock band Rush, released in September 1977 by Anthem Records. After touring their previous album 2112 (1976), which saw the group reach a new critical and commercial peak, they started work on a follow-up. They decided to record at Rockfield Studios in Wales, the first time Rush recorded an album outside of Toronto. The band expanded their sound with each member playing new instruments that they had not previously used, and recorded a mix of concise and long songs.
Fly by Night is the second studio album by the Canadian rock band Rush, released on February 14, 1975, by Mercury Records. It was the first Rush album to showcase elements of progressive rock for which the band has become known. It was also the first to feature lyricist and drummer Neil Peart, who replaced original drummer John Rutsey the previous summer just prior to the band's first North American tour. Peart took over as Rush's primary lyricist, and the abundance of fantastical and philosophical themes in his compositions contrasted greatly with the simpler hard rock of the band's debut album.
Caress of Steel is the third studio album by Canadian rock band Rush, released on September 24, 1975, by Mercury Records. It was recorded immediately after the band concluded touring in support of their previous album, Fly By Night, and marked a development in the group's sound, moving from the blues-based hard rock style of their debut towards progressive rock. Songs such as "The Necromancer" furthered Rush's advancement into narrative-driven, fantasy-based compositions, while "The Fountain of Lamneth" was their first prog-rock "epic" to span an entire side of vinyl. Other tracks like "Bastille Day" and "Lakeside Park" became staples of the band's live setlists.
Vapor Trails is the seventeenth studio album by Canadian rock band Rush. It was released on May 14, 2002, on Anthem Records, and was their first studio release since Test for Echo (1996), the longest gap between two Rush albums. After the Test For Echo tour finished in July 1997, drummer and lyricist Neil Peart suffered the loss of his daughter and then his wife in separate tragedies. As a result, the group entered an extended hiatus during which it was not certain they would continue. They eventually reunited in January 2001 to rehearse material for a new album, recording for which lasted until December. For the first and only time since Caress of Steel (1975), the group did not use any keyboards or synthesizers in their music, incorporating many layers of guitar, bass and drums instead.
Roll the Bones is the fourteenth studio album by Canadian rock band Rush, released September 3, 1991, on Anthem Records. The band began working on the album after a brief creative hiatus following the tour promoting their previous release, Presto (1989).
Moving Pictures is the eighth studio album by Canadian rock band Rush, released on February 12, 1981 by Anthem Records. After touring to support their previous album, Permanent Waves (1980), the band started to write and record new material in August 1980 with longtime co-producer Terry Brown. They continued to write songs with a more radio-friendly sound, featuring tighter and shorter song structures compared to their earlier albums.
Permanent Waves is the seventh studio album by Canadian rock band Rush, released on January 18, 1980, through Anthem Records. After touring to support their previous album, Hemispheres (1978), the band began working on new material for a follow-up in July 1979. This material showed a shift in the group's sound towards more concise arrangements and radio-friendly songs, though their progressive rock blueprint is still evident on "Jacob's Ladder" and the nine-minute closer "Natural Science." Bassist/vocalist Geddy Lee also employed a more restrained vocal delivery compared to previous albums. Permanent Waves was recorded at Le Studio in Morin-Heights, Quebec with production handled by the group and Terry Brown.
Grace Under Pressure is the tenth studio album by Canadian rock band Rush, released April 12, 1984, on Anthem Records. After touring for the band's previous album, Signals (1982), came to an end in mid-1983, Rush started work on a follow-up in August. The band had decided to not work with longtime producer Terry Brown, who had collaborated with Rush since 1974. The new material accentuated the group's change in direction towards a synthesizer-oriented sound like its previous album. After some difficulty finding a suitable producer who could commit, the album was recorded with Peter Henderson.
Power Windows is the eleventh studio album by Canadian rock band Rush, released on October 11, 1985 in Canada by Anthem Records and on October 21, 1985 in the United States. After touring in support of their previous album, Grace Under Pressure (1984), the band took a break and reconvened in early 1985 to begin work on a follow-up. The material continued to display the band's exploration of synthesizer-oriented music, this time with the addition of sampling, electronic drums, a string section, and choir, with power being a running lyrical theme. Power Windows was recorded in Montserrat and England with Peter Collins as co-producer and Andy Richards on additional keyboards.
Hold Your Fire is the twelfth studio album by Canadian rock band Rush, released on September 8, 1987. It was recorded at The Manor Studio in Oxfordshire, Ridge Farm Studio in Surrey, Air Studios in Montserrat and McClear Place in Toronto. Hold Your Fire was the last Rush studio album released outside Canada by PolyGram/Mercury. 'Til Tuesday bassist and vocalist Aimee Mann contributed vocals to "Time Stand Still" and appeared in the Zbigniew Rybczyński-directed video.
Presto is the 13th studio album by Canadian rock band Rush. It was released on November 17, 1989 by Anthem Records and was the band's first album released internationally by Atlantic Records, following the group's departure from Mercury. After the Hold Your Fire (1987) tour ended in 1988, the group members reconvened in December to decide their next step and agreed to take six months off before starting on a new album. Presto marked another change in Rush's sound, with guitar taking a more dominant role in the writing, a reduction in synthesizers and a return towards more guitar-driven arrangements.
Counterparts is the fifteenth studio album by Canadian rock band Rush, released October 19, 1993, on Anthem Records. After the band finished touring its previous album Roll the Bones (1991) in mid-1992, the members took a break before starting work on a follow-up.
Test for Echo is the sixteenth studio album by the Canadian rock band Rush, released on September 10, 1996 on Anthem Records. It was the final Rush album to be co-produced by Peter Collins. The band supported the album with a world tour in 1996 and 1997, after which they went on a five-year hiatus following the deaths of drummer Neil Peart's daughter and wife, and would not record again until 2001.
"Tom Sawyer" is a song by Canadian rock band Rush, originally released on their 1981 album Moving Pictures as its opener. The band's lead singer, bassist, and keyboardist, Geddy Lee, has referred to the track as the band's "defining piece ... from the early '80s". It is one of Rush's best-known songs and a staple of both classic rock radio and Rush's live performances, having been played on every concert tour since its release.
"Limelight" is a song by Canadian progressive rock band Rush. It first appeared on the 1981 album Moving Pictures. The song's lyrics were written by Neil Peart with music written by Geddy Lee and Alex Lifeson. "Limelight" expresses Peart's discomfort with Rush's success and the resulting attention from the public. The song paraphrases the opening lines of the "All the world's a stage" speech from William Shakespeare's play As You Like It. The band had previously used the phrase for its 1976 live album. The lyrics also refer to "the camera eye", the title of the song that follows on the Moving Pictures album.
Snakes & Arrows is the eighteenth studio album by Canadian rock band Rush, released on May 1, 2007, by Anthem Records. After their R30: 30th Anniversary Tour ended in October 2004 the band took a one-year break, during which they agreed to start work on a follow-up in January 2006. The album was recorded in five weeks with co-producer Nick Raskulinecz, a fan of the group who was praised by each member for his approach and technique. It contains three instrumental tracks, the most on any Rush album.
"Witch Hunt" is a song by Canadian rock band Rush. It was released on their 1981 album Moving Pictures, and unlike many other Rush songs it was a true studio production, with a variety of percussion instruments and overdubs, and a separate keyboard player. It is the first of four songs in what has been called the band's "Fear" series, the other three being "The Weapon", "The Enemy Within", and "Freeze", although this song is the third part of the series in order, and went on reverse chronological order by the album.
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