Sargon2112 said:The first Rush I ever heard was around 1991 when I was 14 - Fly By Night. It was on my middle school friend's copied cassette (as much of the album as he could fit on one side), which he had obtained from his older brother. On the flip side of the cassette was Moving Pictures. We were blown away with FBN, but just when we didn't think it could get any better, we flipped the tape and Tom Sawyer started up. That was it, I was absolutely hooked. I had never heard anything like it. I remember thinking, "now this is what music should sound like." I wore out a Sony walkman or two just playing Rush. I would save my grass cutting money just to buy a Rush tape every couple of weeks until I had them all. The lyrics to the songs got my attention just as much as the music and really had a profound influence on me from a young teenager into adulthood. The intelligent, yet catchy style and subject matters really got my gears turning and essentially convinced me that being stupid was not an option.
In a word, inspirational.
A great drummer, a great mind, a great lyricist, a great person. He really was someone so very special. Many will grieve the loss of this awesome man.
questor70 said:They were, let's face it, THE nerd's rock band. Neil's lyrics always used proper grammar (no ain't) and complete disinterest in sexual topics. Probably the height of nerdiness was Natural Science which was basically a textbook recitation of evolution. These are the qualities that simultaneously distinguished the band and limited its mainstream appeal.
Days of Broken Arrows said:Rush wasn't just three virtuosos. It was three virtuosos who could play as if they were one. This isn't easy to do. Not only do you have to be in sync with the other musicians, but you have to put your ego aside for the greater good.
As much as I like Genesis and some other prog groups, none of them played this way. The only comparison I can make is to the vocals of the early Beach Boys, where Brian Wilson would drive them through take after take to get an exacting sound that's mindblowing when you hear it a cappella.
Peart must have played a role like that in Rush. Because they had a much looser on their first album, when they had a different drummer. Instrumentally, they sound like almost any other hard rock act on their debut album.
But when Peart drove the rhythms, there would be segments music so tightly performed they almost sound inhuman. The best example is the transition section that comes up at about 3:33 in "The Spirit Of Radio." It sounds like a drum machine programmed in tandem with a sequencer, but it's a band doing that.