RUSH - 2112

I don’t know where to start. 2112 is one of the most overwhelming albums I have ever heard, one of the most mathematical albums ever released (Vinnie Paul from Pantera, Danny Carey from Tool, Sebastian Bach, ex-Skid Row, all Dream Theater members, Tony Choy and Kelly Shaefer from Atheist, Billy Corgan from Smashing Pumpkins and Jack Black and his Tenacious D can attest to that).

I should start with some sort of introduction about how the three Canadians called Rush ended up writing this album. Their band’s first release, self-titled, enjoyed a warm reception in Canada and Northern US, followed by a positive reaction to their second effort, Fly by Night. However, some critics were already starting to be displeased by certain songs that were not cool enough for the time, such as By-Tor and the Snow Dog, the first mini-story written by drummer virtuoso Neil Peart, which would inspire the band to write other conceptual songs for their next album, Caress Of Steel. Because of songs such as The Fountain of Lamneth, Rush were starting to drop significantly in the critics’ eyes. The critics would almost beg them to return to a more commercial style in song structure but also in lyrics. After they understood that the sales for this album pretty bad, Geddy Lee (bass, vocals, organ), Alex Lifeson (guitars) and Neil Peart said to themselves, well, if we’re going to drop out of the showbiz, at least let’s make it dramatic. And so, here we are at our titular album. Rush wanted to write a conceptual album that would bring a peak of science-fiction lyrics, sudden rhythm changes, instrumental meticulousness and the best they had to offer as musicians. They even started the album with their 20-minute title song, as they were convinced that it would be their last album. But, surprise! While critics were seething against Rush, fans started to multiply like rabbits and the album quickly became one of the best-selling albums of that year (it even became platinum). 

2112 was seen even then as the defining album for the band for several reasons. First of all, it marks the end of the first stage of Rush and the beginning of the next, probably the most innovative, until they started to rely on the effects of the 80s. Second, band members give their best instrument performances (this album starts Neil Peart ascension to his current title as the best rock drummer) best songwriting (there is no moment that is less than genius on this album). Third, the cover would become the band logo, with the nickname “The Star-man”. The list could continue, but one of the most important reasons is that, when this album was launched and especially due to the enthusiastic reception from the fans (and obviously later from the press), Rush could now do whatever the hell they wanted in their following career: write songs much longer than the normal length, fill their songs with progressive details, create conceptual albums, sci-fi lyrics, etc.

The album starts with spacey synths and the first unforgivable riff, a perfect introduction for what’s to come. This song, called 2112, consisting of 7 parts, includes tons of drum breaks, guitar solos, Geddy’s fingers constantly move along the bass guitar neck... it is incredible, all the details coming together (plus the organ, effects, delays, acoustic guitars, various other percussion instruments) to launch the listener into a sci-fi sound voyage that they seem to forget whenever the song ends, as it sounds as fresh with every listening, even after 34 years. The other songs are under the 3-minute limit and could be objectively described as radio-friendly, slightly cheesy, catchy... in other words, hits! The only thing that annoys me with this album is that whenever I listen to it, I feel it ends too soon. A must-have for any music lover. 

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