Rush – Moving Pictures (40th Anniversary Box Set)

Rush is a Canadian power trio that really needs no introduction. Initially formed in 1968, they hit released their first full-length album in 1974 and made their last lineup change at that point. Those three gentlemen then proceeded to write some of the most iconic music of the 20th and 21st centuries. In 1981, they released what would be their best-selling album, clocking in at over 5 million sold in the United States alone. Doing some of their best prog work on this record, the tempo and timing shifts are things of beauty. While it is hard to pinpoint a pinnacle for this band since they had such a rock-solid body of work, this is definitely a highlight.

Anthem Records
https://www.rush.com/

Geddy Lee – Bass Guitars/Keyboards/Bass Pedals/Vocals
Alex Lifeson – 6- And 12-String Electric And Acoustic Guitars/Moog Taurus Pedals
Neil Peart – Drums/Timbales/Gong/Orchestra Bells/Glockenspiel/Wind Chimes/Bell Tree/Crotales/Cowbell/Plywood

Released February 12, 1981, Moving Pictures is the eighth full-length record by Rush. This box set is a celebration of that record. Below is the tracklist of the actual disc. Also included in this box set is a four-vinyl disc recording of the hometown show. These are also on three CDs (one original disc, two for the concert). Then there are posters and a photo book, stories and profiles of the band members, a pair of drumsticks from the maestro, picks, and even a model of the Red Barchetta. The box is packed full of goodies and nostalgia. There are not many records I would spend this kind of money on… this is one of them.

Tracklist:

Tom Sawyer
Red Barchetta
YYZ (Instrumental)
Limelight
The Camera Eye (Part I: New York, Part II: London)
Witch Hunt
Vital Signs

Moving Pictures is nothing short of phenomenal. The disc opens with one of the most iconic songs of the last 50 years. Heard at sporting events worldwide and every classic rock station in existence today, “Tom Sawyer” is immediately recognizable to tens of millions of people worldwide (yes, I made that statistic up). Geddy Lee’s bass work and vocals are stupendous, Alex Lifeson’s guitar work is some of the best on the record, but the star of the show is still Neil Peart’s drums. This is the first song I truly worked at learning on air drums. I never mastered it, but the good thing is, air drummers never miss, no matter how awkward they look.

Next is the dystopian “Red Barchetta.” I’ve always loved the mental imagery this song conjures. From the gentle intro to the final crescendo, this song always made me smile, even while it made me a little sad. The song takes place in a land of laws where engines are outlawed, and the past is a distant memory personified, in this case, by an illegal car. The chase towards the end and the epic escape from the oppressors, leading to a fade-out that slowly drifts to a close, leave me with a smile on my face.

Now, we have “YYZ,” one of the best instrumentals ever written. The whole song feels like a massive jam session. Each instrument takes its’ turn shining. Each musician shows why they were the best at what they did. Bass, guitar, and drums all moved to the front and took turns doing leads. Named after the three-letter code for the Toronto, Ontario, Canada airport, this is said to be a song inspired by coming home. There is a happy feeling to most of the music, a celebration if you will. It fits the story.

A little quirky and fun, “Limelight” is the story of being famous, something everybody wants, but not everyone is ready for. This is my favorite guitar work on the record. I know “Tom Sawyer” is a bit more iconic, but I’ve always held this as my go-to when thinking about how much I love Alex’s playing. That solo, building and growing and swelling until he hits that held note that echoes throughout the next song segment is a work of art. I could spend more time raving about the instrumentation, but we all feel it.

“Camera Eye,” broken down into two sections named “New York” and “London,” are more old school, having more than one section to a song and running longer than many of their radio hits. This is the last 10+ minute song Rush did. The tempo shifts are some of Rush’s more progressive movements and are among the best prog work they did. Of course, that is my opinion, not a technical analysis of all their progressive movements.

“Witch Hunt” has a lot of weird going on. The mob-like voices in the beginning, the haunting tones used to fade the song in, and the wild distorted guitar work leading to the main riff act as a chaotic intro for some of Geddy Lee’s darkest vocals. The echoed vocalizations are eerie, and the subject matter is some of the darkest Rush sang about. Maybe this feels darker because songs like “2112” and “Red Barchetta” speak of an unknown dystopian future, while this is a song about a real past. It is a marvelous piece of work and fits into the mix of this album despite being nothing like most of the other songs.

“Vital Signs” has some different exciting facets. There is the reggae influence, the almost new wave drum patterns, and minimized snare sounds. The bass is on the low end and the guitar much higher up, offsetting each other, then the bass goes to a higher register, joining the guitar. The song has environmental overtones at times, possibly hinting the world is in danger and maybe in need of rescuing. The synth and organ tones on this song are unique and mesmerizing.

Every song has something different that makes it special. Whether it is a unique tempo, time signature, or tone, there is something distinct and interesting about each individual song. Meanwhile, every piece also showcases the talents of three of the best musicians the world has ever known. As a group, these three were loved by many and hated by others. There are very few rock music fans that are on the fence about Rush. They either love them or hate them.

This was the last album before there was a significant shift in vocal styles and a new musical direction. Signals added elements of New Wave and electronic music. That caused quite a stir and maybe part of the reason Moving Pictures is so well-loved. Not only was the music spectacular, but it was also the last of the “Old Rush” that would be heard for quite some time. This ended an era. I personally was happy with the next chapter in the book, but many people were very disappointed. That is too bad, considering Rush went on to release more excellent music.

Moving Pictures was the Rush album that cemented my love for the group. This record made me want to go back and learn more about their past music and look forward to whatever they would release afterward. I knew every word on this record. I could play all the parts of the record on my entire selection of air instruments. I had the full-on Geddy Lee arsenal, Neil Peart’s complete kit, and Alex Lifeson’s guitars. I thought I was doing quite well and got a great workout every time this record hit the phonograph. It was a full-body workout, complete with different spots in the room for playing each instrument.

My love of progressive rock and metal all started right here. When I write a review for progressive metal, I always listen to see if they pay homage to Rush. Some do, some don’t. Some go one step farther, like Allegaeon, covering “Subdivisions.” There are tribute bands and cover bands that do excellent versions of Rush songs. The entire rock world mourned the loss of Neil Peart. I’m okay with Rush never recording new music or touring again. One-off tribute shows with guest drummers honoring him? Sure. But he cannot be replaced. Period. He was a mortal man who attained a larger-than-life legacy by being one of the humblest people, yet best drummers, ever to have existed.

MZ Ratings:

Musicianship

Guitars – 10
Rhythms – 10
Vocals – 10

Songwriting – 10
Production – 10
Overall – 10.00

Rush – Moving Pictures (40th Anniversary Box Set)

Metal Zenith