It falls to Dave Grohl, Taylor Hawkins and producer Nick Raskulinecz to attempt an ascent of Overture, and to their credit, they get near the summit. Steven Wilson brings a modern ethereality to The Twilight Zone, featuring a pleasingly detuned spoken voice entirely reminiscent (probably deliberately) of the narrator in The Necromancer. The aforementioned version of Tears by Alice In Chains drags the song groundward, their trademark minor-key harmonies lightly gritting the oyster, channelling the Scorpions as they go. Talking of the covers disc, it’s largely a quality affair, Rush being a particularly difficult band to either interpret or mimic. Tears (covered on the bonus disc by Alice In Chains) echoes the uplifting melancholy in the Panacea section of The Fountain Of Lamneth from Caress Of Steel, equally illustrating the band’s nous with simpler structures. The Twilight Zone (producer Terry Brown’s favourite track) is an absolute sleeper, Lifeson’s airy, laid‑back solo in particular a thing of wonder, gently floating in to land at the track’s close.
RUSH 2112 ALBUM REVIEW FULL
As Alex Lifeson said: “It was the first record where we sounded like Rush.” Chock full of the tropes, merely hinted at previously, that would go on to define the band’s core sound – syncopated stab rhythms, U-turn mood shifts and whimsical meanderings, all tightly knitted into a powerful, cohesive heaviness – it’s been a mainstay of their live set ever since.
At a whisker over 20 minutes, the seven-movement title track is the longest in the canon, and definitively the most Rush-like. The opening ominous swirling synths are piercing in their clarity and elsewhere, once-buried layered instrumentation resurfaces at unexpected moments, not least a brightly strummed acoustic before the brief appearance of Tchaikovsky’s 1812 motif.
RUSH 2112 ALBUM REVIEW UPDATE
Given a minor update at the end of 2012 for the deluxe version (likely numerical reasons: a centennial reverse-anniversary if you will), this 40th anniversary edition adds a plethora of extras – expanded artwork, a second disc of celebrity superfan cover versions, restored live footage from Passaic in ’76, a 25-minute interview with Alex Lifeson and producer Terry Brown – and a full remastering at Abbey Road.Īt the risk of getting all audiophile-anal, it’s a remarkable job – veritably sparkling, as crisp, shiny and futuristic as the contents.
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