Feedback [EP] [Digipak] - Rush (CD 2004)

Rush took a different path with this release, foregoing their tradition of recording only original music. In celebration of their 30th anniversary, they chose to record songs from the era of their beginning. This was a risky move because fans don t always appreciate hearing their favorite band covering another band s material, especially a whole album of it. And in this case, songs from the 60 s era might not have struck a chord with today s music audience. Well, prepare yourselves, music fans, because this is one collection of covers that will blow your socks off. This mixture of songs represents a range of styles, from 60 s folk-rock to pure classic rock to the very roots of rock and roll. Rush concentrates not on creating new and different sounding music, but on interpreting music with a history and pedigree. And it deftly represents their skill as musicians. They didn t simply plug in and play the songs as they were originally were composed, but put that special Rush spin on them, and yet they still preserved the basic personality of each song.

For fans that were disappointed by Rush s last studio effort, Vapor Trails, and wished for something better, this is a godsend. It s just ironic that it comes in the form of covers, but don t let that bother you. Song s like Seven and Seven is and Heart full of Soul were just made for Rush. Masters of eccentric song formulation, Rush is completely at home on these songs that feature interesting chord progressions and song structure yet the tri honorably pays tribute to more fundamental songs like Summertime Blues and Crossroads.

Crossroads has seldom been rendered with such class and hard-rock chops. Geddy s vocals far exceed Clapton s and Alex s precise, beefy riffs and sharp soloing give this old blues tune and injection of new blood. While I still prefer Robert Johnson s original version to any rock version, this one is as pleasing as any I ve heard. A similar effect is found on the two Buffalo Springfield tunes on this disk, Mr. Soul and For what it s Worth. Although these classics don t carry quite the same social and political weight they once did, their messages still reverberate in an age of over-commercialization and dubious military action. Not only do they sound mighty fine clothed in Alex s heavy guitar riffs, but Geddy s vocals are just plain better than Neil Young s. These tunes sound excellent rendered with modern recording methods and with Rush s power-rock sound.

Rush didn t attempt to make Summertime Blues sound much like its acoustically driven inspiration or the classic rock versions that were so popular four decades ago. With an injection of some powerful distortion-driven guitar chords, this piece becomes a modern message of youth angst, still quite relevant today believe it or not. This song has been re-interpreted many times by acts as substantial as The Who and Blue Cheer, but I believe this version by Rush stands up to them all. It isn t a song I would have expected or chosen for Rush to cover, but I can t argue with the results.

In Seven and seven is and Shapes of Things, Rush brings a modern rock sound to these more folksy songs and yet still preserve just enough of the spirit of the original 60 s versions by Love and The Yardbirds. Actually, these songs remind me a lot of the tunes that appeared on the first Rush album, which still held on to that rebellious sound of the early rockers. Even in Rush s version, they harken back to a time when rock music was a movement more than it was a commercial product. Both of these songs take full advantage of Alex and Neil s talents, producing rich, textured, complex music. Just as one would expect from Rush.

For Rush to record a popular favorite like The Seeker by The Who speaks volumes about their confidence. In this one, some ineffable quality is lost in Geddy s translation of Roger Daltry s vocals, though his range and performance can t realistically be criticized. Maybe it s just a personal preference, but Daltry s version is better. Also, this track seems to reflect the original more than any other. Alex, on the other hand, performs his licks with precision and passion, leaving no room for complaint. This old classic still sounds great, regardless of who plays it.

If I have any real criticism for this album, it is simply the number of tracks. I just didn t get enough. And considering the era and styles Rush chose to draw from, there s an almost unlimited supply of material that could be mined. Of course, I m not sure I would be satisfied if the album contained 20 tracks or even 30. This is by far the most delicious Rush album in two decades, dating back to Moving Pictures. It s just interesting that it comes in the form of covers. But there s something that shouldn t be missed here. The realm of rock from the 60 s and 70 s was a far different time than now. Music meant something different and the artists had a different mindset going into it. The music created then should not be lost by newer generations and this is an excellent way to spark their interest. I only hope that other bands as influential as Rush will take this cue and create similar works.

A note on the recording quality of this album. Clearly, some degree of the sound from Vapor Trails was carried over, most notably on Heart Full of Soul and Seven and Seven Is. That is, there s some overuse of distortion and some mixing problems. But the effect is much less than on their last studio album. In fact, I find this album to be superior in every way.