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Not even a year after their first release,
RUSH released Fly By Night. This record has a very
similar feel to the first record, but Anthem, the first track,
makes it hard to classify RUSH only as a classic rock band. Sure
the instrumentation is classic rock from the 1970’s, but the format of
this song is unlike most classic rock. It is easy to see RUSH’s
transformation into a more complex band immediately.
Best I Can breezes by unnoticeably, but
Beneath, Between & Behind jumps out! This is a much more complex
song. At this point, the differences between RUSH’s drummer on the
last record, John Rutsey, and Neil Peart are huge. While Rutsey was
predictable at best, Peart is creatively precise. A great song.
By-Tor and the Snow Dog
is a first for RUSH in the epic song arena, as the song is broken
into four noticeable parts chronicling the battle between two rivals.
Almost indescribably, RUSH is able to transform their bass and
guitar into visceral creatures battling for survival, as they screech and
grind and pan from left to right. Unless the listener gets the magnitude
of this, you’re left with a kind of “What the hell was that?” feeling.
This is an incredible defining moment for RUSH, as the dynamics of
By-Tor take over, speeding up, breaking, and slowing to almost
nothing. Crank this tune.
After the self-indulgence of By-Tor,
the simple, straight-forward Fly By Night is a great track
at the perfect place. It’s an all around great song, nothing exaggerated
or to interpret…it’s just great. Making Memories surprises
listeners immediately with RUSH’s first acoustic guitar song.
Another refreshing tune.
Rivendell is a much more intimate song
than the previous, and is a great example of early RUSH ballads.
Again the acoustic guitar is a welcome, but this song explores the wider
range of the trio’s talent.
To wrap up RUSH’s sophomore release,
In The End is perfection. Beginning with the same acoustic guitar
sound as the last two songs, makes a great listening experience. The song
shapes up to be a great tune, when it shifts up a half step, picks up the
pace, and enters with typical electric rock RUSH. This is a great
wrap to a surprising album.
Most noticeably different is Geddy Lee’s style
of bass. In this album, the bass is so much more than a bridge between
rhythm guitar and drums, it is starting to have a life of its own. Alex
Lifeson give just as much as the last record, and Neil Peart is a most
welcome addition. What makes this album great is it captures RUSH’s
transitional period nicely; it’s a treasure. |
