Rush – A Farewell To Kings

Many bands go through changes. Sometimes it’s to avoid getting bored, wanting to try something new. Sometimes it’s an attempt to better find their footing. Sometimes it’s a search for that ever elusive radio friendly single. For Rush, “A Farewell To Kings” was an attempt at all three.

Rush’s debut, self-titled album, was a combination of hard rock and metal. Their second, “Fly By Night” was not as rough around the edges and more straightforward hard rock. Their third, “Caress of Steel” ventured more into progressive rock territory. It was a change that alienated much of their established fan base. Although a good record, it was for the most part was a flop for the Canadian trio. “2112”, their fourth album, struck gold for them with its melding together the styles of its predecessors.

But what really had eluded Rush to this point, and what their musical career needed, was significant radio airplay. “Closer to the Heart” the sole single released from their fifth studio album, “A Farewell To Kings”, would change that.

For the most part, “A Farewell to Kings” revisted the progressive rock elements that had not done so well for them earier. But by this time, Rush’s songwriting talents had become more refined and their fans had come to expect more diversity from them.

Being just shy of three minutes long. “Closer to the Heart” was one of Rush’s shortest songs, which made it a great contender to be picked up for heavy rotation on rock radio stations. The fact that it had a beautiful underlying melody, insightful lyrics, and high caliber musicianship with a great guitar solo, made it an inevitable choice. Consequently, “A Farewell to Kings” and it’s accompanying single, “Closer to the Heart”, catapulted Rush’s popularity to the next level.

Rush – Moving Pictures

I remember anticipating the release of Rush’s eighth album, “Moving Pictures”, probably more than any other album I had up to that point. Yet it would be almost three months after it came out before I would actually get a chance to listen to it. By then, almost everyone I knew had already heard it.

Before “Moving Pictures” came out, I had always considered Rush to be one of the best kept secrets in rock. It wasn’t that they didn’t get any radio airplay, or that people didn’t know about them. It was just that with as great of musicians that they were, I never felt they got the recognition they deserved. They were a great band, but hardly anyone realized it. It was like a secret only a select few knew – and I was fine with that.

A friend of mine turned me on to Rush when I was in high school. He lent me their live album, “All The World’s A Stage”, because I had told him how much I liked the drummers Carl Palmer (Emerson Lake and Palmer) and Bill Burford  (Yes) and he wanted me to hear Neil Peart’s drum solo. I was an immediate fan, not just of Peart, but of Geddy Lee and Alex Leifson as well. I checked out a couple of their albums after that, and picked up their seventh album, “Permanent Waves”, the day it came out. when I heard their newest album was coming out in February of 1981, I couldn’t wait to get it – but I would have to.

I started Army basic training the third week of January 1981. We didn’t get to hear any music from the outside. Until basic training was over, we never got off base. To the new recruits, the outside world did not exist. By the time it did exist for me again, it seemed everyone knew who Rush was and their songs were all over the radio. You couldn’t help but hear songs from “Moving Pictures” everywhere. Nearly everyone thought they were a great band. The secret was out – and I was fine with that.

Rush 2112

Rush is a band that always exemplified virtuosity and detail. They were also band that believed in change and and doing things their way.

Rush’s first two albums were straightforward hard rock records that were fairly successful for the Canadian power trio, earning them a modest but dedicated following. However, their third album, Caress Of Steel, with its extended songs that went into progressive rock territory, was a flop for the band after it came out. But the band still had one more album to release in fulfillment of the record deal it signed with Mercury records. So disillusioned, they went back into the studio figuring their fourth record would probably be their last. It ended up becoming one of their most successful.

The record label wanted them to go back to their previous hard rock style with shorter songs, but the band members figured if they were going to do only one more album it was going to be done the way they want to do it. Against the recommendation of the record execs, they decided to make the first side of the album a mini rock opera based on a lyrical storyline their drummer Neil Peart had written. 

The premise is a futuristic science fiction story that took place in a dystopian society in the year 2112. The world is run by the priests who use powerful computers to determine how best to run a structured and efficient society where people are not necessarily happy, but for the most part, satisfied with their lives. The priests and their computers make all the decision for the people including what is considered art and what music people listen to. 

Venturing outside the city limits, a wanderer discovers an ancient guitar hidden in a cave behind a waterfall. Discovering the music he can make on it, unlike anything he had heard before, he takes his wonderful discovery to the priests so they can share it with the people. Instead, they get angry, smashing the guitar and telling him “it doesn’t fit the plan.” He leaves the city for good to live in isolation inside the cave. One night he has a dream of the elder race, who left the planet to “learn and grow,” before the priests took over. He has a premonition of them returning to reclaim their home. But as time passes, he begins to doubt his vision. Despondent and disillusioned, he eventually commits suicide. A bittersweet ending, as he never lives to see that his vision was real. The elder race return and give back to the people the freedom to make their own choices. 

There is an interesting detail that Rush put at the very end of the song 2112. After the elder race reclaim the world, they announce: three times “Attention all Planets of the Solar Federation” and then three times “We have assumed control.” The first part, seven words said three times, is collectively, 21 words, the second phrase is four words said three times, totalling 12 words. 2112