RUSH - S/T: Paying Their Power Trio Dues
This is Rush... but not the way you know it. There areno tricky time signatures, brainy lyrics, keyboard embellishments, side-lengthepics or mathematically complex Neil Peart drum fills to be found here. Thegroup's self-titled debut is instead a reflection of the band's early,pre-Peart years as a Canadian power trio club band with arena rock dreams. Ifyou like rootsy, blues-inspired hard rock a la early Led Zeppelin or BadCompany, there is an earthy, "people's band" kind of fun to be hadhere.
Side one opener "Finding My Way" sets thetone: good-time hard rock with a simple yet dynamic arrangement that allowsguitarist Alex Lifeson to riff and solo his heart out as he receives psychicallyattuned, subtly melodic support from bassist/musical partner-for-life GeddyLee. John Rutsey was the drummer here and also served as the band's live showM.C. and lyricist at the time. Unfortunately, he destroyed his lyrics before recording without showingthem to his bandmates so they had to make up new ones on the fly. Hence, youget the dippiest lyrics of Rush's career on "Need Some Love" (an odeto horniness) and "Take A Friend" (which proposes getting friends asa solution to loneliness). Thankfully, the riffs and energy carry the listenerpast the first-thing-comes-to-mind lyrics. Things get moody on side closer"Here Again," a bluesy tune with interesting ennui/repetition-themedlyrics about the musician life and a melody reminiscent of "Heartbreaker"by Grand Funk Railroad.
The second side offers a strong, consistent set ofrockers. "What You're Doing" is a fun cruiser with a Zep-influencedswing to it, strong stuff that would become a heavy encore number on the firstRush live album All The World's A Stage."In Your Mood" is a rare number with music and lyrics solely by Lee:it's a fun one that offers a self-deprecating approach to the usual"chasing girls" rock scenario and a catchy, sing-along refrain."Before And After" offers the first hint of Lee and Lifeson's progambitions with a clever arrangement that starts with an acoustic idyll beforecraftily shifting gears into a driving rocker. However, the side's killer cutis the closer "Working Man": the lyrics' evocation of blue-collarhard work is convincing and the arrangement, which boasts a Sabbath-esque mainriff and effective changes of tempo, allows this version of Rush to showeverything they offer in just over seven minutes.
"Working Man" would also be the song that opened doors for the band, getting them their first U.S. airplay in Detroit and paving the way for a contract with Mercury Records. Peart would enter the scene as Rutsey departed for health/musical difference reasons and Rush would become the prog/hard rock crossover fave it was destined to be. That said, this debut remains the foundation of the catalog, both for establishing the skills of the Lee/Lifeson team and the introduction of producer Terry Brown, who entered the project to salvage a problematic mix, recorded new tracks for it and ended up becoming the band's producer through 1982. The end result may not be as intellectually engaging as the rest of the catalog but it's got a heft that appeals to your inner air-guitarist.