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.
Signals is the ninth studio album by Canadian rock band Rush, released on September 9, 1982 by Anthem Records. 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.
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.
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.
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.
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.
"The Spirit of Radio" is a song by Canadian rock band Rush, released from their 1980 album Permanent Waves. The song's name was inspired by Toronto-based radio station CFNY-FM's slogan. It was significant in the growing popularity of the band, becoming their first top 30 single in Canada and reaching number 51 on the US Billboard Hot 100. It remains one of their best-known songs and was a concert staple.
"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.
"The Trees" is a song by Canadian rock band Rush, from its 1978 album Hemispheres. The song is also featured on many of Rush's compilation albums, and was long a staple of the band's live performances. On the live album Exit...Stage Left, the song features an extended acoustic guitar introduction titled "Broon's Bane."
"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.
"The Analog Kid" is a song by the Canadian progressive rock band Rush. It was released as the second single from their 1982 album Signals and reached number 19 on the Mainstream Rock chart.
"A Passage to Bangkok" is a song by Canadian rock band Rush, released in March 1976 by Anthem Records. The song appears on the band's fourth studio album 2112 (1976). With the album's title track comprising the first half of the record, "A Passage to Bangkok" opens the second side of the album.
"Roll the Bones" is a song by the Canadian rock band Rush. It was released as the second single from their 1991 album of the same name.
"Nobody's Hero" is a song by Canadian progressive rock band Rush, released as the third single from their 1993 album Counterparts. The first verse deals with the AIDS-related death of a gay man named Ellis Booth, a friend of Neil Peart when Peart lived in London. After the chorus, the second verse speaks of a girl who was murdered in Peart's hometown, Port Dalhousie and was the daughter of a family friend, as remembered by Peart in Far and Wide: Bring That Horizon to Me! The girl is rumoured to have been Kristen French, one of Paul Bernardo's victims.
"Test for Echo" is the title track and first single from Canadian rock band Rush's 16th studio album released in 1996. The song's lyrics were written by Neil Peart and Pye Dubois with music written by Geddy Lee and Alex Lifeson. The song reached No. 1 on the Billboard Hot Mainstream Rock Tracks chart. It was the band's fourth consecutive album to yield a chart-topper on this chart, along with "Show Don't Tell" from Presto, "Dreamline" from Roll the Bones, and "Stick It Out" from Counterparts. The song also peaked at #6 on the Canadian Singles Chart, which is the band's highest position on that chart since "New World Man" peaked at #1 in 1982.
"Show Don't Tell" is the first single on Canadian rock band Rush's 1989 album Presto. The song peaked at number one on the U.S. Hot Mainstream Rock Tracks Chart, the second of five songs by Rush to top the chart.
"Animate" is a song by Canadian progressive rock band Rush from their 1993 album Counterparts. The song reached number 35 on the Billboard Mainstream Rock chart in 1994, staying on the charts for three weeks.
