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Signals (Remastered) Original recording reissued, Original recording remastered

4.5 out of 5 stars 301 customer reviews

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Audio CD, Original recording reissued, Original recording remastered, June 3, 1997
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Editorial Reviews

Product Description

Rush had already begun using electronics and synth in their music by the time Signals was released in 1982, so the synth-heavy opener, "Subdivisions" (a song that proves that high-school separatism is older than last year), wasn't that great a departure from their previous material. Signals also contains the single "New World Man," which still gets heavy radio airplay almost 20 years later, as well as groove-heavy, tech-savvy songs like "The Analog Kid" and "Digital Man"--prescient comments on the forthcoming information technology revolution if ever there were any. This was Rush's first studio album following Moving Pictures, which arguably remains their strongest and most well-known effort, after 2112. That's a tough act to follow, and Rush did it in the best possible way--by maintaining their distinctive sound while updating it with 1980s touches. Signals indicates that it was a good move. -- Genevieve Williams
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Product Details

  • Audio CD (June 3, 1997)
  • Number of Discs: 1
  • Format: Original recording reissued, Original recording remastered
  • Label: Mercury
  • ASIN: B000001EST
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (301 customer reviews)
  • Amazon Best Sellers Rank: #3,079 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
For a band that has encompassed a huge collection of albums, spawning 3 decades, and seen several musical trends and revolutions, Signals is still the album I find myself going back to again and again. I'd also like to say, that for purchasers of this disc the Re-master (In comparison of the disc that is not), makes Niel's drums sound a little more crisp, and the album is a bit louder and has erased some of the softness of the recording. That being said on with the review....

I won't go around echoing the same comments that I have heard here from time to time. The departure from the radio friendly greatness of the last 2 albums, the flat keyboards and poor mixing of Alexs guitar, the absence of 7-10 minute opuses/concepts, the dropping of Terry Brown. All this has been talked about and leaves all those hard core Rush fans (many who seem to borderline be obsessed on the level of Star Trek geeks), too much to fight over.

What I will say is that to me this is an album that distinctly captures a mood and an era that doesn't exist anymore. The snythns have this demonic dark underpinning, and for the first time there were many songs on the album (for Rush) that had a distinct dark brooding theme to them. Subdivsions doesn't just hint at the drudgery and disspair of teenage pressure, it's litteraly hammered home in Geddy's verse of "conform or be cast out", as if he had to spell it out for the listeners.

The Weapon, while being a great moody piece for Niel to shine hammers home the possible apocalypse, and Loosing It easily needs no introduction with it's self-titled moniker, and Ben Minks violin solo. It isn't so much that Ben's violin sings as much as it literraly weeps and cries.
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Format: Audio CD
When I was in 7th grade, I didn't know a thing about popular music. I mean absolutely nothing. My pop music-loving buddies, David and Chris B., would debate the relative merits of Culture Club and Men At Work while my classic rock purist friends, Steve and Chris S., would argue over the relative merits of Van Halen II and Led Zeppelin III. Me, I'd just nod and smile as though I had the vaguest notion what they were talking about.
Things reached their nadir one day in the lunch room where a gaggle of cool 8th graders, including Teddy Christie and John Cook, were sitting hunched over a Walkman at a nearby table. Well, to be honest, at the time, I didn't know what a Walkman was, so all I could really determine was that they were hunched over a small box that they kept passing around.
"Dude, check out some Subdivisions!" shouted Teddy, a savagely tanned little fellow with a mop of black hair perched atop a head that was several orders of magnitude too large for his body. As usual, Teddy was impeccably decked out in a Surf Wax t-shirt, Bermuda shorts, and tan canvas Vans.
"Neil Peart rules!" bellowed John, a savagely tanned tall fellow with wavy brown hair and a nose with just enough of a hook in it to let you know he came from money. Boy, did John ever look resplendent that day in his Izod polo shirt (collar carefully turned up), chinos, and loafers sans socks.
Just as Teddy and John were about to reach that stage of rocked-out euphoric bliss that only an Alex Lifeson guitar solo can evoke, Walter Stryker appeared out of nowhere and thwacked Teddy on the back, "Dude, what are you guys doing? Are we still gonna fire it up after school? I got the buds!"
"Hey, Walter! We're checking out some Subdivisions. You heard it yet?
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Format: Audio CD
SIGNALS may not be as heavy or exciting as it's studio predecessor MOVING PICTURES, but that doesn't make it any less enjoyable. Lifeson's guitar took a back seat to GEDDY LEE'S synthesizers, but this still sounded like Rush; it was actually their last album with that original RUSH sound and not coincidently, their last album with Terry Brown.

While me and my brothers were initially disappointed with Signals, it's now one of my favorite albums of theirs. The songs themselves are terrific; there are many classic Rush songs here, such as the very scientific opening track, the synth heavy Subdivisions. I didn't mind their chose of synthesizers around this time; I think they added
more color and texture to their sound and the synths on this album sound gorgeous. The band still rocks out on this, especially on SUBDIVISIONS, THE ANALOG KID and DIGITAL MAN. DIGITAL MAN and the other man song, NEW WORLD MAN, saw RUSH flirting with POLICE-like reggae and I found the results rather enjoyable.

The real star of this album is NEIL PEART; his drumming has never been, before or since, so playful and adventurous. Check out his little disco beat at the beginning of SUB, or his playing on DIGITAL MAN and especially on THE WEAPON; this guy knew his way around his drum kit! LOSING IT is a gorgeous little song with very sad lyrics sung perfectly by GEDDY LEE and features BEN MINK on electric violin. GEDDY LEE actually does some of his finest singing on this and comes up with many memorable vocal lines.

This is a wonderful album!
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Signals (Remastered)
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