Moving Pictures (Mercury) - Rush (CD 1997)

Moving Pictures is my favorite Rush album and apparently the favorite of many others as well. It is Rush s best selling studio album. While more commercial than the string of art rock collections of the 70 s, this album stands on the legs of seven strong tunes that are still far from mainstream. They are all linked by theme and it s a blast figuring out how they all relate (I won't rob you of that experience). The sound of this album is a perfect marriage of psychedelic synthesizers and growling guitars, utilizing the strengths of both without compromising the identity of either. Throw in Neil's time signature-defying drums and Geddy's versitile vocals and you simply can t overemphasize the emotional energy of the progressions and harmonies contained within this album. Yet I can t help wondering if some of my emotional attachment stems from the fact that this was the first Rush album I was exposed to, and at a delicate time in my life high school. I must have played this album more times than any other album in my collection. Enjoy, because it s the last time Rush will strike this balance for years.

Tom Sawyer:
A very simple theme, but powerful stuff compared to most made-for-radio music. Today s Tom Sawyer reflects society, exhibiting both its good and bad qualities. How many listeners pay attention to the meaning of those words while humming the synthesizer notes flying by in waves, I m not sure. This is the single most recognizable song Rush has produced, and has gotten the most radio play. Clearly it isn t their best work, but even this radio-friendly pop tune, handled with Rush s expert skill, is something more than a pop tune. It is just catchy enough to get your attention and just deep enough to give you something to think about.

Red Barchetta:
I believe this song was based on a short story about a young man in the future who sneaks off to the country to drive his grandfather s old (and outlawed) combustion engine sports car. It chronicles the joy of controlling a powerful machine as opposed to simply riding passively in an automated electric vehicle. As the oppressive force of the government bears down on the young man, the song equally stresses the fun of rebelliousness. The music is outstanding, giving you the feeling of zooming through the countryside in a convertible at high speed on a spring day. I especially like the opening and closing harmonics Alex plays.

YYZ:
An instrumental tune from Rush is always a treat, and this one gets my vote as their best. From the initial triangle ding to the final chord, this song is mesmerizing. Alex s grinding guitar sings the melody to perfection. If there s a weakness to this song it is the repetition of the melody lines, though it hardly bothers me when I listen to it. Perhaps that s what makes it more commercially acceptable compared to their previous instrumentals. The melodies are so strong and burrow so deeply into your consciousness that they are welcome no matter how long they stay. How Rush decided to name this song after the call letters for the Toronto airport, I don t know.

Limelight:
Describing their life in the limelight of publicity, Rush gets autobiographical. Alex s straightforward, crunchy lick is a great way to begin this tune, and his rhythm work guides this song along its way. It has a somewhat optimistic sound to it that shifts to melancholy for brief moments as Geddy croons about life in the limelight. Yes, this song is about the life of a popular musical act living their the world's eyes upon them. Rush insures us it is neither easy nor enviable. I once had a hard time with that, since I wanted to be a member of Rush from the moment I heard this album. Dreams do die hard.

The Camera Eye:
The most eccentric song on the album with its extended instrumental intro and unusual structure. No verse/chorus/verse here, but a progressive story-like description. Somewhat reminiscent of Xanadu , the intro is mesmerizing with its fluttering synthesizer notes juxtaposed over Alex s harmonics. Then my spine tingles as Alex shifts to grinding power chords. I could listen to that intro all day long. The song itself isn t bad either. This song examines two great cities, New York and London, through the eye of a passive, though, appreciative viewer.

Witch Hunt:
Coming off the emotional high of Camera Eye , it is difficult to get into this piece at first, especially with its ominous opening sequence involving mob noises. (There s an interesting story behind those noises, by the way. I read that the band and just about the entire studio crew went outside and made lots of loud noises through the windows. What s more, it was a very cold night so they were all freezing their butts off.) But the jet lag doesn t last long. This song starts off slowly, then builds appropriately, telling the story of vigilantes going hunting for a monster. But what is the monster? The song doesn t give us the answer directly, but suggests that these people are jumping to a premature conclusion, something society always seems to struggle with. The theme of irrational, overzealous people leading the fight against any who are different is no less significant to our troubled times than it was a thousand years ago. Misguided religious leaders, bigots and anarchists should take heed of these lyrics. But I suspect that if they did listen to this song, they would assume it wasn t talking about them.

Vital Signs:
This is the first song that even hints at the future for Alex Lifeson and his guitar sound. While the rhythm line he plays is driving and appropriate to the tune, you can detect a sense of minimalism here. His guitar sound is a little high pitched and thin, compared to the usual growl associated with a Les Paul and big stack of amps. It isn t enough to get concerned about, but in retrospect I can hear the seeds of Rush s later sound in this song. The synthesizer isn t necessarily the prime instrument here, either. Musically, this song is quite mellow, relying more on Geddy s voice and the lyrics to create tension and melodic interest. It has less energy than the other tunes on the album, that s for sure. But within the context of this album, it fits perfectly well. As for the song s theme, it s about human existence and the human mind. Deep stuff handled very well. Here s a sample lyric, which is actually the chorus, though the chorus isn t repeated verbatim:

A tired mind become a shape shifter
Everybody need a mood lifter
Everybody need reverse polarity
Everybody got mixed feelings
About the function and the form
Everybody got to deviate from the norm

So this was my first Rush experience. It isn t everyone s favorite and I understand that. It isn t nearly their most artistic album either, but the manner in which this band handled themes like fame, rebellion and the human mind is way beyond the treatment other bands could muster. The fact that Rush veered into the commercial realm with this album was disturbing to many Rush fans. I can understand that, too. But I can also accept the band s explanation of why they chose to grow musically instead of rehashing old musical territory. The fact that their songs were often misunderstood was definitely disturbing and it must have been a draining experience creating music of such depth and complexity. Unfortunately, their musical output since Moving Pictures has been less consistent, which indicates to me that the music of the 70 s was their true musical center. Now don t start sending me flaming email; I like Rush s 80 s and 90 s music plenty. But I sorely miss their unique style of epic music making. Now, if you re a fan of later Rush music only, then be warned that my criticism increases sharply. I give them credit where I feel it s due, but I m not willing to rate just any Rush musical output as excellent.