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Track Listings
| 1. '2112': I: Overture/II: The Temples Of Syrinx/III: Discovery/IV: Presentation/V: Oracle: The Dream/VI. Soliloquy/VII. Grand Finale |
| 2. A Passage To Bangkok |
| 3. The Twilight Zone |
| 4. Lessons |
| 5. Tears |
| 6. Something For Nothing |
Editorial Reviews
Amazon.com
Only Rush could have pulled this off, and only in the '70s. 2112--the title suite of the band's 1976 breakthrough album--is a comically pretentious, futuristic rock opera written by a nerdy drummer and sung by a whiny-voiced geek. It also happens to be a great piece of rock & roll that lifts the listener through a variety of moods and textures from genteel acoustic ("Oracle") to thrilling metal ("The Temples of Syrinx"). Perhaps realizing that they had taken conceptualism about as far as it could go, even these guys backed off on the epic hero stuff for later releases. 2112 still stands as one of the great signposts of the prog-rock era. --Michael Ruby
Product Description
Futuristic sci-fi imagery, virtuoso technique, absolutely killer rock riffs it all came together on Rush's 1976 concept album 2112 . The title opus joins A Passage to Bangkok; Something for Nothing; Tears; Lessons , and more!
Customer Reviews
Most Helpful Customer Reviews
793 of 814 people found the following review helpful
By Joe
Format:Audio CD
I'm no die-hard Rush fan, but I know my rock history & Amazon's review(of an Amazon essential recording no less, now in the R&R HoF Definitive 200 albums list [#198])by Michael Ruby doesn't quite do justice to either the band or the album. The band has been around now for more than 35 years, but critics still harp on the same things: poor vocals, pretentious lyrics, & nerdy drummers, failing to take the band's progression into account & trivializing their early works.
Further, if someone only reads the Amazon editorial review, he(or she) would get the impression that after this record, Rush stopped making prog-rock records. I know for a fact that they didn't stop making songs under 10 minutes until 1982's "Signals". It's not as if they suddenly woke up and said, "hey, those rock critics are right, we ARE bombastic & pretentious".
The review also fails to mention that all three members of the band are respected BY THEIR PEERS & have each won awards for their musical skills. In the end, that's the problem with rock critics: they always have their reputations at stake, which is why the professional Amazon reviewer can't come out and say that he likes it without dousing his words in irony & campiness. It's uncool for rock critics worth their salt to actually admit that they like Rush; if it were cool, Rush would be in the R&R hall of Fame. So, dear reader, do me a favor & click YES if you agree the reviewer Michael Ruby hasn't done justice to the band or record in his review.
By the way, the live version of "2112" on "Different Stages" is an excellent example of how 1) Geddy Lee's vocals have mellowed over time & 2) Rush's musicianship has further improved since 1976.
Further, if someone only reads the Amazon editorial review, he(or she) would get the impression that after this record, Rush stopped making prog-rock records. I know for a fact that they didn't stop making songs under 10 minutes until 1982's "Signals". It's not as if they suddenly woke up and said, "hey, those rock critics are right, we ARE bombastic & pretentious".
The review also fails to mention that all three members of the band are respected BY THEIR PEERS & have each won awards for their musical skills. In the end, that's the problem with rock critics: they always have their reputations at stake, which is why the professional Amazon reviewer can't come out and say that he likes it without dousing his words in irony & campiness. It's uncool for rock critics worth their salt to actually admit that they like Rush; if it were cool, Rush would be in the R&R hall of Fame. So, dear reader, do me a favor & click YES if you agree the reviewer Michael Ruby hasn't done justice to the band or record in his review.
By the way, the live version of "2112" on "Different Stages" is an excellent example of how 1) Geddy Lee's vocals have mellowed over time & 2) Rush's musicianship has further improved since 1976.
158 of 166 people found the following review helpful
By John S. Ryan
Format:Audio CD
This album is the one that brought me to the Rush party. It's still one of the finest rock albums there is.
Before 1976, Rush had released a competent but undistinguished Self-Titled Debut, with bassist/vocalist Geddy Lee (Gary Lee Weinrib), guitarist Alex Lifeson (Alex Zivojinovich, of which 'life-son' is a literal translation), and drummer John Rutsey doing a passable imitation of Led Zeppelin. Following Rutsey's amicable departure, Lee and Lifeson were joined by mad percussionist and thoughtful lyricist Neil Peart, whose influence was evident over the next two LPs (_Fly By Night_ and _Caress of Steel_). But although there was lots of good music on them, the band hadn't quite found its voice yet.
Then came _2112_ -- without which quite a few of us would never have _heard_ of their first three albums. This one got lots of people's attention, including mine; I was introduced to it by a junior-high buddy who was as blown away by it as I was. As of this release, Rush had _arrived_.
The title piece, as you surely know, is a twenty-minute science fiction 'rock opera' inspired largely by Ayn Rand's _Anthem_. Don't let that put you off; you don't have to have a high opinion of Rand's work in order to appreciate _2112_. (I don't think much of her as a philosopher myself, although I've enjoyed some of her non-ATLAS SHRUGGED fiction.) Peart is nobody's follower, and when it comes to Rand he knew which bits to keep and which to reject.
Here (as in his other Rand-inspired material) he seizes on the right stuff: individualism, iconoclasm, reason, intellectual self-reliance, respect for human competence and achievement, and a deep commitment to political and social liberty. He and the band also have some things Rand didn't: the desire to rock out, and the ability to do it extremely well. (All these of guys were, and are, consummate craftsman who have consistently earned the respect of other musicians of all types. Unfortunately they didn't know, in 1976, what Rand actually thought of rock music.)
The result is an absolutely blistering first track (originally an 'album side') and as clear-sighted a hymn to individual freedom and nonconformity as rock has ever seen. Pretty good work for three guys in their early twenties -- particularly in heavy metal, a genre not ordinarily noted for elevated philosophical discourse.
The rest of it ('side two') is decent enough too. The best of it, arguably, is the TANSTAAFL sermon 'Something for Nothing', but I also enjoy 'A Passage to Bangkok' (devoted, incidentally, to another subject Rand wouldn't have approved) and the lugubrious 'Tears' (lyrics by Geddy Lee). The other two tracks -- 'The Twilight Zone' and 'Lessons' (lyrics on the latter by Lifeson) -- are okay but they aren't Rush's best work.
Now, as much as I love _2112_, I can't say I think it's Rush's best release ever; they followed it up with a string of magnificent albums, pushing further and further into what turned out retroactively to have been 'prog rock', opening our ears and our minds as they went. (And they're not done yet.) I have my opinions about which albums are their best, and other Rush listeners have theirs.
But this one has a special place in history -- both Rush's history and mine. I still play it, and I still enjoy it as much as I did twenty-eight years ago. Thanks, guys -- from me and all the other geeks.
Before 1976, Rush had released a competent but undistinguished Self-Titled Debut, with bassist/vocalist Geddy Lee (Gary Lee Weinrib), guitarist Alex Lifeson (Alex Zivojinovich, of which 'life-son' is a literal translation), and drummer John Rutsey doing a passable imitation of Led Zeppelin. Following Rutsey's amicable departure, Lee and Lifeson were joined by mad percussionist and thoughtful lyricist Neil Peart, whose influence was evident over the next two LPs (_Fly By Night_ and _Caress of Steel_). But although there was lots of good music on them, the band hadn't quite found its voice yet.
Then came _2112_ -- without which quite a few of us would never have _heard_ of their first three albums. This one got lots of people's attention, including mine; I was introduced to it by a junior-high buddy who was as blown away by it as I was. As of this release, Rush had _arrived_.
The title piece, as you surely know, is a twenty-minute science fiction 'rock opera' inspired largely by Ayn Rand's _Anthem_. Don't let that put you off; you don't have to have a high opinion of Rand's work in order to appreciate _2112_. (I don't think much of her as a philosopher myself, although I've enjoyed some of her non-ATLAS SHRUGGED fiction.) Peart is nobody's follower, and when it comes to Rand he knew which bits to keep and which to reject.
Here (as in his other Rand-inspired material) he seizes on the right stuff: individualism, iconoclasm, reason, intellectual self-reliance, respect for human competence and achievement, and a deep commitment to political and social liberty. He and the band also have some things Rand didn't: the desire to rock out, and the ability to do it extremely well. (All these of guys were, and are, consummate craftsman who have consistently earned the respect of other musicians of all types. Unfortunately they didn't know, in 1976, what Rand actually thought of rock music.)
The result is an absolutely blistering first track (originally an 'album side') and as clear-sighted a hymn to individual freedom and nonconformity as rock has ever seen. Pretty good work for three guys in their early twenties -- particularly in heavy metal, a genre not ordinarily noted for elevated philosophical discourse.
The rest of it ('side two') is decent enough too. The best of it, arguably, is the TANSTAAFL sermon 'Something for Nothing', but I also enjoy 'A Passage to Bangkok' (devoted, incidentally, to another subject Rand wouldn't have approved) and the lugubrious 'Tears' (lyrics by Geddy Lee). The other two tracks -- 'The Twilight Zone' and 'Lessons' (lyrics on the latter by Lifeson) -- are okay but they aren't Rush's best work.
Now, as much as I love _2112_, I can't say I think it's Rush's best release ever; they followed it up with a string of magnificent albums, pushing further and further into what turned out retroactively to have been 'prog rock', opening our ears and our minds as they went. (And they're not done yet.) I have my opinions about which albums are their best, and other Rush listeners have theirs.
But this one has a special place in history -- both Rush's history and mine. I still play it, and I still enjoy it as much as I did twenty-eight years ago. Thanks, guys -- from me and all the other geeks.
38 of 39 people found the following review helpful
By "astyanax"
Format:Audio CD
If you're not interested in 20 minute long songs, hard drving guitar and rhythm sections, sci-fi inspired lyrics, long instrumentals, a high pitched voice singing the lyrics, then 2112 is not for you. This is Rush's fourth album, their breakthrough which legitimately set them to become one of the most lyrically profound and musically astute power trios in the entire world. 2112 (pronounced "twenty one, twelve") is the main song on the album. It tells of a society ruled by the communist priests of the Temples of Syrinx who believe in crushing the human spirit so every one lives according to a lifeless conformity. The hero dares to defy them and leads the revolution through music. How does it end? Listen to the album. Also present are five lesslengthy songs like A Passage to Bangkok, which sounds like a shopping list for drugs, Something for Nothing, a song that defines reality itself, the acoustic show-stopper Tears, the Twilight Zone and Lessons. The lyrics of most songs are done by drummer Neil Peart, who sounds like a college professor. Alex Lifeson contributes hard-rocking guitar lines which soar and frighten. And bassist, vocalist, keyboardist Geddy Lee sounds like a Medieval minstrel. At times you almost start to think that he is the hero of the story. A classic album and a must have for any serious lover of heavy metal and lyrical profundity.
Most Recent Customer Reviews
3.0 out of 5 stars
Delivered on time.
The cover had a big scratch or scratches and I would have returned it but I had an opportunity to have the artist sign the book.
Published 5 days ago by Phil
5.0 out of 5 stars
RUSH2112
An amazing album. If I could give it more than five stars I would. The first Rush album I ever heard. It was a religious experience. Read more
Published 6 days ago by Shelby Stein
5.0 out of 5 stars
RUSH. 2112. 5.1. Say no more.
"2112" is an essential release in the Rush cannon for too many reasons to list here. Suffice it to say, it upped the ante in a way that North American prog hadn't ever... Read more
Published 8 days ago by Peter W.
5.0 out of 5 stars
This is 2112, minus the (awesome) original cover graphic
If you don’t have it on CD, then you can buy this with confidence. If you’ve never heard this record, you should – it’s an important piece of music. Read more
Published 9 days ago by Melissa Thompson
5.0 out of 5 stars
Rush 2112 (5.1 version)
Contrary to what some of the other reviewers have said, the 5.1 version of 2112 sounds really good to me. It's like listening to an LP without the crackling noises. Read more
Published 21 days ago by MrNorjam
5.0 out of 5 stars
Amazing!!!!
This product is amazing! Such high quality! The "comics" artwork is great, the bluray sound amazing, the whole booklet is a piece of art. Highly recommended!
Published 22 days ago by Felipe Degan Ferraz
5.0 out of 5 stars
we have assumed control!
oh come on....do i really have to explain 2112?? if you are a fan of rush and this album...it's beyond cool! the 5.1 sounds great on my system! immerse yourself!
Published 27 days ago by Jay McKenney
4.0 out of 5 stars
Glad to see true Blu-ray audio
I would have given this 5 stars except that I compared it to the Dark Side of the Moon (DSOTM) SACD. Read more
Published 28 days ago by Ken
3.0 out of 5 stars
Great record, I already knew that. Cover was destroyed though
Luckily the record itself was in good shape, which is what matters. One of my favorites by Rush. The cover we got was completely destroyed, which was disappointing since the... Read more
Published 1 month ago by JENNIFER WILEY
5.0 out of 5 stars
It is a great timeless album
I loved this album growing up and it is still awesome. I used to have both the cassette and the album but the both disappeared a long time ago.
Published 1 month ago by D. Smith
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