Rush - Permanent Waves
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Free Music Notes for Permanent Waves
Free Music Review: Some of Rush's greatest songwriting comes from here
Hit: 5 Stars
Permanent Waves(1980). Rush's 7th studio album. With the last two albums, A Farewell To The Kings(1977) and Hemispheres(1978), Rush ended the decade with a bombastic and progressive bang. Many feared that if they were to commercialize their sound a bit, the band's style would suffer. Permanent Waves immediately put that worry to rest. As many have said, PW is the first foray into shorter, more sophisticated songwriting, and yet it's not a complete departure from their earlier albums either. It acts as more of a bridge between eras. There are still a couple of long epics which hint back towards other albums, but at the same time there are now a couple of "Simple-for-Rush, complicated-for-radio" bill-board hits to go along with them.
PW has many different lyrical themes interspersed throughout the album, such as love, state of society, choices, and even the topic of music itself. I know that many people can interpret what each song means far better than I can, but I will provide a brief explanation of the tracks, so please bear with me. Here's the breakdown track-by-track:
1) The Spirit Of Radio- One of the two big radio hits. This song talks about the comparison of musical sincerity to the illusion of integrity that fame can create. Everything about this song is excellent, from the riff-filled intro, to the chorus midsection, and even the soft-section towards the end. It also contains one of my favorite Rush lines: "All this machinery making modern music can still be openhearted. Not so coldly charted it's all just a question of your honesty..." 10/10
2) Freewill- Phenomenal radio hit, with some of Geddy's best vocals and a memorable solo by Alex. This was the first Rush song I'd ever heard, and so it helped to get me into the band. Lyrically, it's about the freedom of choice and its multiple consequences. Another priceless line can be found here: "If you choose not to decide, you still have made a choice." 10/10
3) Jacob's Ladder- A slow, thematic epic number about the nature of thunderclouds. The lyrics don't really carry the song, as there aren't that many, but the instrumentation is what this track is all about. Alex plays his best guitar work on the album right here, with synths that add extra depth. One of Rush's greatest overtures. 10/10
4) Entre Nous- Another top-notch track, this one is about interaction of people towards one another. Not very popular among Rush fans, but often considered deep down to be a fan-favorite. It has a strong guitar/vocal melody in the verses, complemented by an acoustic chorus section. 10/10
5) Different Strings- A mellow acoustic break from the hard-rock pace of the rest of PW. The theme here is love. Although this song doesn't stand out as much as the others take note that Geddy is the one who writes the lyrics here. Neil's the king at songwriting, but still Geddy proves that he can stand on his own very well. 9/10
6) Natural Science- THE BAND'S BEST LONG EPIC EVER WRITTEN! This track is about the views of a society from afar. Rush has written many long epics over the past several albums, but in my opinion, they peaked here as far as creativity goes. It starts off with the sound of a calm ocean tide followed by an acoustic section. Not long thereafter, it breaks into an all-out hardrocker, filled with frantic bass-lines, guitar riffs, frantic drumming, and effective vocals. It splits into several different time-signature changing sections, and then finally ending with the sound of a full ocean tide. Not as long as Cygnus X-1 or 2112, but still one of Rush's finest moments of their entire career. 10/10
PW may be only six tracks long, but the content within it is unrivaled, consistent, and far and beyond some of the best work Rush has ever done. Unlike their other albums, there isn't a single weak moment on here. PW gets five stars hands down. While Moving Pictures(1981) may be named the best Rush album by numerous fans, PW has to live in its tall shadow, and it carries most all of its strengths without being over-hyped like MP is. I HIGHLY RECOMMEND THIS TO ANY AND EVERY RUSH FAN OUT THERE. BEGINNERS SHOULD START HERE. Still, don't think that this is the only album worth checking out though, as there are numerous equally enthralling efforts spread out over the course of the last three decades. I know that there is no such thing as a perfect album, but as far as this band's work goes, PW is the closest to being perfect as a Rush album can get.
Free Music Review: Rush Firing on Every Cylinder
Hit: 5 Stars
I love every progression that Rush made up until _Grace Under Pressure_, which was the start of a slow and inexorable decline for them (definitely highlighted by some great pieces, sure, but they have never re-ascended to _Moving Pictures_ and this). _Permanent Waves_, along with _Moving Pictures_, represents Rush's pinnacle. All the musicians are at their loosest, most-inspired, and most-baroque (however that works: guess you would have to ask them); Peart's lyrical approach is less sci-fi and more philosophically direct, and therefore better; the compositions are at their leanest and hungriest. A source of perpetual marvel.
Yes, I know, you can hear "Spirit of Radio" and "Freewill" on AOR just about every day of your life if you tune in, even "Jacob's Ladder" now and then. I almost guarantee that you won't hear the last three songs here on AOR, though, and each of them have their own exalted virtues. But let's take a tour through the most famous songs: "Spirit of Radio," well, you've heard it a hundred times, at least. It might be easy to forget that it is a pivotal moment in rock history, probably the most successful fusion of hard rock and reggae ever, not to mention a marvel of concision for Rush that fits ten minutes worth of highlights into its brief, for Rush, 4 minutes and 57 seconds.
"Freewill" has some of Neil Peart's most memorable lyrics, a wholesale attack on organized religion that makes free-thinking sound like the only sensible (and thrilling) option: "All preordained/ A prisoner in chains/ A victim of venomous fate/ Kicked in the face/ He can pray for a place/ In heaven's unearthly escape." This reverse psychology had everything to do with my slow escape from the orbit of my preacher-father's church, much to his chagrin. The amazing soloing (especially Lifeson's!) also had everything to do with my entry into the Religion of Rock.
"Jacob's Ladder" is the third most famous song here. There's a great live version of it on _Exit . . . Stage Left_. Another great commentary on everything under the sun from Peart and a slow-burning Rush classic.
Now, we get to the lesser-known tracks, all of them more than worth shelling out the cheap price for this classic album. "Entre Nous" is a relatively brief rocker about relationships that is about as honest as they come. It's a love song, of sorts, but one that might not make your baby melt in your arms: "We are strangers to each other/ Each of us another/ No one else has read/ We've been joined by bonds of love [. . .] Just between us/ I think it's time/ For us to recognize/ The differences we sometimes fear to show [. . .]/ The spaces in between/ Leave room/ For you and I to grow." Ah, realistic love. No "baby, baby, I need you so bad" here. It's all about reason as the boys provide unreasonably mind-boggling time changes at the drop of a pin.
"Different Strings" is another love song, this one in a minor key, so gloomy that you might almost call it sub-minor. This one is atmospheric and an underappreciated gem in the Rush catalog.
Perhaps the most underappreciated Rush song of all is the epic "Natural Science" that wraps up this session. O . . . my . . . God. This song is more apocalyptic than "Jacob's Ladder." More fierce than "The Temples of Syrinx" and boasts not only Lifeson's best recorded solo (solo #2), but one of his top five solos besides (solo #1). All the anger, the anthemic pleading for Mother Earth (oh please help us avoid the destruction of the planet, science . . . oracular lyricism: "Forming a world state of integrity/ Sensitive, hopeful, and strong"), the love, the genius. This is Rush at its most abandon-reaking, passionate, jouissant. I would lay my life down for this song. Join the eco-army, all ye prog-hippies. You get the idea.
In short, buy this album just for the last three tracks, at least. "Natural Science" is the diamond tucked in the Rush catalog, just a little too long for AOR. This album constitutes the rarefied plateau they reach after an already brilliant career. The stuff that brings a soul to feel like bursting.
Free Music Review: Rush backs off from the epics while still maintaining a very high technical standard
Hit: 5 Stars
By 1980, Rush had left the large scale compositions behind them and had started to shorten the format. Interestingly, the band did not sacrifice any of the technical excellence that characterized their music even as they started to inch into the musical mainstream. In fact, I do remember hearing Spirit of the Radio and Freewill played a lot on the radio and thinking that they were just fantastic tunes. As I recall, it was the sophistication with which the songs were played that really grabbed me.
The lineup on Permanent Waves included bassist extraordinaire Geddy Lee (lead vocals Rickenbacker bass; Oberheim polyphonic synthesizer; OB-1; mini-moog synthesizer; and Taurus bass pedals); Neil Peart (drum kit; and lots of percussion including: tympani; timbales; orchestra bells; tubular bells; wind chimes; bell tree; triangle; and crotales); and Alex Lifeson (6 and 12 string electric and acoustic guitars; Taurus bass pedals). This group of only three individuals managed to churn out a wall of sound that sounded as if had been made by an ensemble twice that size. Their technical ability was astounding too: these guys could rock out in 7/8 just as easily as they could in common time (4/4). I do recall seeing Rush in concert as a teenaged prog rock fan back in 1981 (Moving Pictures tour) and just being wowed by the performances - Neil Peart still amazes me, both with his approach to the drums and his lyric writing ability. As I recall, his drum kit was at an absolute peak of "massiveness" in 1980 - 1981.
The six tunes on Permanent Waves range in length from 3'48" to 9'17" with most in the 3-6 minute range (this album is a bit short overall). There is a broad spectrum of music on the album that includes the densely arranged, yet shorter pieces that (somehow) managed to get radio play, to the more prog rock pieces that got me into the band in the first place including Jacob's Ladder and the incredible, riff-heavy progger Natural Science. The two tracks that I always enjoyed listening to and that somehow seem to fall through the cracks include Entre Nous and Different Strings - both are somewhat quieter and a bit more reflective, yet do not lose the distinctive stamp of Rush's unique brand of progressive hard rock/heavy metal. Geddy's use of synthesizers is very tasteful and he generates some fairly atmospheric moments in-between the more powerhouse sections of wall shaking, "thinking man's" progressive metal that made the band famous.
This remastered version of the album is about as close as it will get for those folks that never owned the vinyl (the original photos and lyrics to each piece have been included). As somebody who did buy this on vinyl when it came out, the CD will never hold the same magic, but it did (admittedly) bring back some fond memories. The sound quality is superb and the production by Terry Brown is excellent.
All in all, this is a fantastic example of progressive hard rock/heavy metal and is very highly recommended along with A Farewell to Kings (1977); my personal favorite (Hemispheres, 1978), and Moving Pictures (1981). For those folks that like this particular brand of progressive rock, a few albums by Kansas are highly recommended including Leftoverture (1976) and Point Of Know Return (1977).
Free Music Review: Moving what?
Hit: 5 Stars
I've always thought "Permanent Waves" was a somewhat underappreciated Rush album. I mean, I know it was hugely successful in its own right, but it seems that when it comes to Rush I keep hearing "Moving Pictures" this and "Moving Pictures" that. I, for one, find "Permanent Waves" to be clearly the better of the two albums. For one thing, I think "Shapeshifter" from MP may well be the worst Rush song EVER, but there's more to it than that. For whatever reason, everything came together on "Permanent Waves" in a way that it didn't on MP. This may not be the best Rush album, but it's probably the best combination of musicianship, creativity, and heart in their catalogue. "Permanent Waves" was the first Rush album I ever listened to, and for newbies it's definitely a good place to start. At six songs clocking in at an efficient thirty-five minutes, it's a handy introduction to everything that Rush has to offer. What's most instantly notable about the band is, of course, their musicianship. Geddy Lee, Alex Lifeson, and Neil Peart are all masters of their instruments who play some complex stuff, but they all play together very well, with no one stepping on anyone else. And while Geddy's vocals certainly never made anyone forget about Frank Sinatra, there's no denying his distinctiveness, and he adds some much-needed emotion to the polish of the music.
However, what I think really elevates "Permanent Waves" to the top of the rock heap is the songwriting. For this album Rush turned down the progressive elements from their previous albums to create a more radio-friendly sound, but this is still pretty advanced stuff, and some of their best tunes can be found here. The opening combination of "Spirit of Radio" and "Freewill" exemplifies exactly what's so great about "Permanent Waves." Both songs feature the intricate rhythms that characterize much of Rush's work, but at the same time they include catchy melodies and shredding guitar solos that just about anyone could enjoy. "Entre Nous" is another catchy song that's extremely simple by Rush standards, but it's got an addictive guitar riff and some synthesizers for depth. What's more, all of these songs have a feeling of "warmth" that's not at all in keeping with the "coldly intellectual" tag that's often associated with the band. What's not to like?
The last two songs are classics as well. "Different Strings" is an acoustic song that's sort of a departure for Rush, but it works. The lyrics are thoughtful, Geddy's singing is heartfelt, and it provides a nice break from the hard-driving stuff. The album ends with the obligatory epic, "Natural Science." At just over nine minutes, it's nowhere near Rush's longest song, but it still has that distinctly "epic" feel. The song starts off slow, but it picks up in intensity and complexity as it goes along, and there are plenty of instrumental passages that let the guys show off their skills. It's a downright invigorating song, one of Rush's best.
Anyway, not to down "Moving Pictures" or any other Rush album, but I really don't think PW has gotten quite the credit it deserves, at least compared to some of their other work. "Permanent Waves" may not be as grandiose as its predecessors, or quite as accessible as its sucessors, but it balances the two elements perfectly. I know this is an extremely subjective matter, but I find "Permanent Waves" to be as good a Rush album as any. If you're looking to get into Rush, start here.
Free Music Review: The Freedom Of Music!
Hit: 5 Stars
Purely as musicians there is little doubt Rush have always had an impeccable reputation as musicians.But in many ways this is the album that put them over the edge in terms of popular and commercial success. That move would not be fully realized until the follow up Moving Pictures but this one is about 99.98% there. The man reason why this album was such a sudden public success has to do with the fact the band have started to emphasize shorter pop/rock type songs as opposed to prog/rock symphonies of earlier recordings.Although most Rush fans already know this. For the most part,the bright production-already becoming (very lightly) puncuated by electronics is mildly rooted in the bands late 70's sound yet the blend of old and newer styles mark a certain level of perfection in Rush's general production.Nothing could epidomize this whole spirit better then "The Spirit Of Radio",showing adulation to the format that was now bring Rush the most success while at the same time observing how so many musicians trade in their artistic integrity for applause and fame;an old story if there ever was one but luckily one that the band believed in enough to practice-the pursuit of vision over commercialism that is.That isn't to mention the terrific guitar solo Alex throws down;a classic rock riff right up there with Jimi Hendrix's on "Purple Haze" or Jimmy Page on "Whole Lotta Love"."Freewill" doesn't take anything away from the spirit of the first cut,although the solos are traded in for the rhythmic ensamble style that was forward thinking to where Rush would take their sound on albums like Signals or even Grace Under Pressure a few years later."Jacobs Ladder",with it's anthemic bursts of fanfare is somewhat of a throwback to the "old" Rush but,with the same new production style it's clear even Rush's longer numbers from here on are going to be different.The longest tune here is "Natural Science"-not only are Neil's highly poetic,reflective lyrics indicative of the new approch he was taking on this album but the song,a composition that moves from a mildly folksy approch to an almost funky jazz/fusion-inflected groove would serve Rush excellenly in years to come.On the other side of the fense "Entre Nous" finds the same kind of lyrics,only oriented towards romance (at least I THINK so)married to yet another great pop song.I am not saying brainy lyrics and poppy tunes don't match but to some people that quality may have stopped it from being the hit is deserved to be."Different Strings" isn't exactly a ballad but it's acoustic mellowness gives it the illusion of being so-it's also a song on this album that became very popular.So taken together this album has more then enough radio friendliness and variety to become a huge artistic AND commercial success,and it did. Not only that but it began what I'd describe as the third period of Rush's musical career,one that's thankfully been based on comrodery and longjevity long past what many bands in any genre can claim to have.