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on August 12, 2005
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.

Even the glorious Analog Kid which is upbeat in mood and lyric, still sounds as if there is a lingering pathos that just sounds unreal when the sudden abrupt chorus hits of "you move me, you move me."

For good measure there are other songs that aren't dark at all, (New World Man, Chemistry, Digital Man), but there is an overhanging cloud that seems to exist over every song.

This to me is the greatness of this album. THe tracks and all the music prowess of the members combined with the early 80's new wave snyth mood going on, produced a dark complicated album that somehow touches me individualy like no other album. There had been dark themes such as say 2112 but it's a story, Witch Hunt is a common concept and brooding too, but somehow the bleakness and grandeur of this album speaks to me "personally" for the first time for a Rush album.

The band has still made great phenomenal albums (and even made a bleaker sounding album in Grace Under Pressure), but this is the one that speaks to me. It's like a perfect conversation with your best friend you haven't seen in a long time.

There is no album ever that even sounds like this. Do enjoy.
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on August 22, 2015
**Edited review - after several listening sessions past my initial response, I have unfortunately confirmed my position that this is a terrible re-release of "Signals" (on Blu-Ray Audio). I am actually less impressed in the BRA release than I was in my initial 'reactionary' review (putting aside the language better fitting a more honest, but much more raw response to this piece of skit) now that I have taken the time to listen to several iterations of this release on several formats. I've inserted updated content, so this updated and edited review jumps around. I've inserted " ** " to show where I've inserted updated or edited content to preserve as much of my initial response. **

Let me start by stating that I have been a Rush fan since puberty (and I'm no spring chicken), and this is one of my favorite albums - from any artist. I have the original "Signals" album in vinyl, purchased in 1983. I do not award a 1 or 5 star rating without merit - but this blue-ray release has earned every bit of the single star I awarded it.

**Update - My initial review was admittedly reactionary (I was pissed… angry - but not drunk). However, after listening to several versions of the "Signals" album on 4 different formats - my initial 1-star review was well justified. I wavered and gave it 2 stars for a day after a brief discussion with a friend who found my review a little harsh. As this friend is another dedicated Rush fan (and an accomplished musician) I gave him the chance to hear what I was hearing to make sure I wasn't off base. After listening to the BRA along side several other versions of this release - his opinion was as passionate as mine. Back to the rest of my original and unedited review - because it hits the nail on the head.**

This Blue Ray Audio (BRA) version is a significant disappointment. I have been waiting for this release for several months and finally received it today (22AUG15) - and I am DEEPLY displeased in the production overall.

In all honesty, I am trying to provide an objective review - but am beset by near-anger in the half-witted production value of this expensive release version of the album.

Here are some of the specifics and opinions relating to them: there are three versions of this production on the disc: DTS-HD Master 5.1; Dolby TrueHD 5.1 and PCM Stereo. To cut to the chase: the only one that is worth listening to is the PCM Stereo version - and in honesty, it's not better than any previous release (exact same specs as the last DVD-A release, in fact).

With regard to the multi-channel versions of the production: there is more depth in a piece of paper than in the re-production attempts of either of the 5.1 versions of this production.

I don't come to this opinion lightly either. Again, I have been Rush fan since 1981 - and my 'audiophile' credentials (electrical engineering internship, assistant engineer and production specialist at Dunlavy Audio Labs - during the early to mid 90's) helped shape my now unfortunate penchant for acoustic analysis.

**(update continued) Again - I have compared several versions of the original "Signals" release, and yet the frequency and dynamic range of the versions on this release actually sound more compressed than older versions in other formats, not unlike the original 'pixelated' and poor quality Mercury CD release from the mid '80s.

The 20-160 hz frequency range seems practically nonexistent in every version included on this BRA - similar to what you would expect with an over-compressed MP3. There is no more acoustic resolution or depth in this reproduction than in any previous digital format. My nearly worn out original copy of "Signals" on vinyl has much better acoustic qualities (in every way) than this piece of garbage - and I am no vinyl snob!**

Here is the setup I used for the basis for my review:
Onkyo TXNR-1000, 6 Polk RTi-8 towers, CSi-5 center channel speaker, Velodyne Digital Drive 10" Sub, a Samsung BDJ-7500 Blue-ray and Sony Playstation 3 (the PS-3 is still regarded by many as the best Blue-ray player). The source media I used for comparison included a FLAC release of "Signals" that was sourced from the limited DVD-A release (played from my iomega/Lenovo PX4-300D NAS) and my 1982 copy of the album played through my Technics SL-3110 Direct Drive Turntable (full manual).

While my setup certainly does not represent an "audiophile" grade system, nor does it incorporate the latest technology available - you can trust it can faithfully reproduce at least as much or more than what a great majority of systems covering mid-fi through some of the snobbiest mid-tier audiophile setups are capable of producing. My system is far from perfect - but it provides a high-quality, real-world source perspective.

The positives for this BRA title:
- It's clear they were able to access the original masters for the multi-channel production attempts (apparently not used on the PCM version) - some of the vocals seem more raw than in previous production attempts (again - on the multi-channel versions - not the PCM version).

The cons:
- The 5.1 versions make it sound like these tracks were an experimental demo tape - with all the low-quality that comes from a marginally produced demo-tape (the flip-side of the positives previously noted). I don't think there is a worn out metaphor I can use to describe how one-dimensional and flat the 5.1 versions sound. Even the PCM version lacks the spacial dimension and improved clarity you would expect in a Blue-ray release. It makes you feel like you got your pocket picked (if you buy it).

- You are paying the (full) price you would be willing to pay for a fully and properly re-mastered production release - but you only receive an older re-release (apparent copy and paste job for the PCM version), and a hack job for the multi-channel versions... and that is NOT cool.

Conclusion: Mercury Records has earned and maintained the reputation of poor production quality for decades. Their products have been the proof of this pudding for decades. What is disgusting is the BRA release of this album would be so devoid of any value-added the format provides - in an apparent extension of the production quality representative of past years.
"Fly By Night" was so well re-done on BRA that I was hoping "Signals" would benefit as much from the production re-processing. Apparently, the mighty $$$ ahead of production value took front set in the release of this album. There are no redeeming values that I can attribute to this production version. I do not recommend the Blue-ray Audio release of this album.
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on August 23, 2015
I've been a Rush fan since 1981, and have attended every tour since 1984 -- a veteran of 25 live shows of the band -- leading up to the R40 tour last month. I just listened to the Blu-ray that landed in the mail yesterday, on 8/22/2015. That said, this recording deserves a fair and honest review.

I listened to it on a mid-range 5.1 system, and as a 5.1 recording it sounds decent. But the vinyl and original CD versions of this recording had heart, and much of that was found in Ged's vocal performance on the recording. With this Blu-ray release, I'm saddened that there are different vocal performances on "Subdivisions" & "The Analog Kid," and maybe one other track, but the revised first two tracks are what stand out. With these new vocal performances, the emotional edge from Ged's performance in the first two tracks (which set the tone for the entire recording) seems to be missing, which is heartbreaking for someone like myself who grew up with this recording and listened to Signals 1000 times like it was a religious experience.

I believe the Rush fans, who have lived and sworn by this recording for over 30 years, deserve an explanation for this change in vocal....why was it necessary to insert a new vocal performance into this release? Why would you change out the original performances like that? Why was that necessary? Was someone asleep at the switch? Did they think fans wouldn't notice? I can't help but feel a combination of a kick to the groin, an insult on my intelligence, and that my wallet has been hijacked $30.

What else....I'm not a fan of the astronaut voices being mixed out either....and some of the synths have been toned down, most notable in Subdivisions, Kid & Countdown. I'm undecided as to whether that was totally necessary either....the synths definitely date the recording, but that's also part of the appeal and what makes it special, setting it apart from their other recordings. It's a 1982 time capsule.

Otherwise, there are positives to this Blu-ray release....the "muddy" feel to the original recording (a charm for some purists) has been toned down since the room is more full of information through the expanded channels. I REALLY like how Alex's guitar is more isolated and stands out, and how you can hear the nuances in it. Ironically (per my earlier comments), I really like the new feel to "Digital Man" with it's added couple of bars and "The Weapon" with its slightly modified/extended guitar solo -- but, again, I'm left wondering why they'd do that. Mixing engineer's decision? Band decision?

I'm undecided as to whether or not to recommend this release. The sound quality is superb and improved from the remastered CD, and Al's more pronounced guitar sounds great, but Ged's new vocal performances in the two first tracks are going to be upsetting to purists....which would include any Rush fan who's been listening to this treasure recording since Nov 1982, including this (Analog) kid.
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on March 13, 2004
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?", answered Teddy, rubbing his suddenly throbbing shoulder blade.
"Whoa, man, you got Signals? Cool. Dude, I gotta go kick Branch Fields' (behind) but I'll be back in a few minutes. I really gotta check out some Subdivisions."
You can't really expect cerebral conversations from 8th graders, can you? Especially not amongst that bunch of high-achievers. Every last one of them would end up at Walsingham Academy soon enough. That's pretty much where all the rich preppies in our town with a weakness for buds and brew ended up spending their high school days (and parents' bank accounts) once their parents decided public school was a bad influence on them.
Me, I just sat there one lunch table over taking in the scene and scratching my head. For the life of me, I couldn't figure out what "Subdivisions" was. And who the heck was this Neil Peart guy? Though my days of living in York Terrace had almost come to a close and my parents had recently given in and bought me a pair of Converse (after years of making me wear Maypops purchased at Murphy's Mart), I was still hopelessly on the outside looking in when it came to popular culture. I honestly didn't know whether "Subdivisions" was a song, a tv show, or a magazine. If it wasn't "Diff'rent Strokes", Mozart, or Loretta Lynn, chances are, I wasn't familiar with it since my parents weren't exactly the biggest embracers of popular culture themselves back then.
It was only a few weeks later in Mrs. Perger's pre-algebra class that I finally solved the mystery of "Subdivisions". To placate the clique of 8th graders who dominated our class, Mrs. P would sometimes declare Fridays "radio day" and pull out her little brown radio and blast FM 99. To me, it all sounded pretty much like noise. I remember finding it impossible to tell Van Halen and Led Zeppelin apart for months even though about half the songs they played on FM 99 seemed to be by one of those two bands.
So, it was on a Friday afternoon in Mrs. P's class that I finally heard the words `subdivisions, in the high school halls, in the shopping malls, conform or be cast out' pouring out of that little brown radio. Huge cheers, a frenzy of high-fiving, and other displays of staunch male heterosexuality erupted around the classroom.
"I told you, Dude. `Subdivisions' rules!" shouted Teddy.
Walter couldn't nod his head fast enough in agreement. Even Branch Fields, still smarting from the legendary beating he'd suffered a few weeks earlier, had to agree, "Subdivisions most definitely rocks" he proclaimed.
"Shut up, Branch", hissed Walter.
Conform or be cast out, indeed.
So, how'd you like my story? I'm sure if you hated it, you've probably already punched the unhelpful review button. Fair enough, but you still haven't listened to my adult opinion on Signals. For a decidedly untrendy synth-heavy hard rock album, Signals holds up surprisingly well and remains musically interesting throughout. "Subdivisions" is one of rock's great songs - you can't ask for much more from a song than inspired, catchy songwriting and insightful social commentary. "The Analog Kid", "Digital Man", and "The Weapon" are all quality. I never used to be a fan of the overplayed "New World Man", though I can actually sort of enjoy it now. "Chemistry" is interesting musically, but the lyrics are positively wince-inducing. Overall, even for casual Rush fans, Signals is well worth having in your collection, especially if you have a decent speaker system that does the excellent production quality justice.
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on May 17, 2002
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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on October 26, 2015
Review of DMM Vinyl

After a long delay in the release sequence in this series (due to production issues) Exit Stage Left and Signals finally arrived almost within a few weeks of each other. While the somewhat highly criticized Exit was a nice interlude in the series, Signals was an album that I was really looking forward to in this series ... probably more so even than Moving Pictures. And while that release was clearly one of the best in the series, I was hopeful that Signals - with its "digital" synths - would sound equally amazing in this new analog version. Suffice it to say, I'm content. Mine arrived in near perfect condition - the only thing that seems askew is the slightly harsh noise between "Losing It" and "Countdown" on Side 2. Then again, there has been some variation in these records since the beginning of the series, some near perfect and others with a lot of pops and clicks. But there is a ton of bass tone on this pressing and at times it may slightly overwhelm Geddy's vocals. Still, it sounds amazing.

Signals was a bit of a difficult record for me back when it was released because when you judge this in the footsteps of Moving Pictures it maybe felt like a bit of a let down. In fact, for many years I didn't even listen to these songs other than what played seemingly endlessly on the radio. But over time, as I listened to it on its own merit I grew in appreciation for what was going on musically and lyrically. Peart's reggae-like rhythms on "New World Man" and "Digital Man" really stand out now to me more so than they did back in the day. His role was a bit more of the rhythm driver on Signals rather than a virtuoso percussionist. And those synth sounds that everyone was so apprehensive about in the early 80's still sound perfect (especially on this vinyl) in 2015. This entire album really was/is the perfect blend of analog and digital - the merging of the old school and new (at least at that point in time) and it was quite genius how well they blended the two worlds, making this album the perfect bridge between Moving Pictures and the much more stripped down and commercial Grace Under Pressure. And most importantly, some 30 years later, these songs still move me - "Subdivisions," "The Analog Kid" and the progressive "The Weapon" ... and then there is "Countdown," with its musical embellishment of the Columbia's history-making launch, which still to this day sends chills down my spine.
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on July 22, 2012
I'm a music collector and musician. This is my favorite album of all time. To me, it doesn't get much better than this. I enjoy the variety that is here, and the melodies are top notch. I've even tracked down an official music book from the 80's that features just these songs in the book. The chords that are featured in there have been learned and used as new vocabulary for my own music. I also have a huge poster of this album in my studio. It's the best. I'm VERY used to the Rush fans and other folks complaining about this one, and I've also talked to other people who love it as much as me. I wish they did another whole album's worth of material before Grace Under Pressure that sounded as good as this. I just read a 1 star review that is solely based on Rush's choice to change their sound to THIS, and the reviewer was disappointed. I think it was an arrival of sorts. Is it possible to like this better than Moving Pictures? Yes. Do many people think I'm crazy that I call this my favorite album of all time? Yes. Fine by me, and thanks for reading!!
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on September 28, 2000
I've been a Rush fan since 1983. During my angst-ridden early teenage years, the music and lyrics of Rush meant more to me than anything else. Although my fanatacism for the band has toned down considerably in recent years, Signals remains one of those rare albums that I can listen to over and over again, and practically never grow tired of. There is not a weak moment on this album, and as far as I'm concerned it is this, rather than the oft-cited classic Moving Pictures, that represents the high water mark of the Rush oeuvre.
Not unlike Yes' 90125 or Marillion's Misplaced Childhood, Signals fuses a majestic synthesis of Hard Rock, New Wave, and Progressive Rock. If only more bands had plied this particular stylistic nexus! From the opening chords of the soaring, synthesizer-dominated Subdivisions (one of two tracks, along with New World Man, which probably needs no introduction to anyone considering the purchase of Signals) to the closing moments of Countdown, this album virtually crackles with freshness and exuberance. In it lie some of Rush's most underrated tracks: The Analog Kid, a joyous and rocking exultation to the overwhelming beauty of the world, as seen through eyes untainted by cynicism; Digital Man, a reggae-tinged, atmospheric masterpiece; Losing It, a gentle and touching paean (in 5/4 time, no less!) to those who once achieved greatness. The latter remains as one of this bands greatest ballads.
Signals is an underappreciated masterpiece, and a fitting capstone to a trio of albums that captured Rush at their absolute zenith (the first two being Permanent Waves and Moving Pictures, respectively). It also marked a turning point for the band, as they were entering a period that favored sythesizers and lush, complex arrangements to overt instrumental virtuousity. That particular period culminated in 1985's Power Windows, a breathtaking technical marvel, however on the basis of sheer songwriting quality, Signals can't be beat.
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on December 27, 1999
Signals is, for me, the definition of the timeless Rush album. This is the case because after all of these years I still listen to it in its entirety every single time I play it. I cannot make the same statement for any of the other Rush CD's I own, nor any of the 200+ CD's in my collection. It also holds the distinction of being the first CD I ever purchased, all the way back in 1986. I still have that CD, cracked case and all. It has such a sentimental value to me that I have always wanted to keep the original, and that means the original case as well. Of course, when the remastered version was released, I bought that as well, for the obvious reasons: the improved sound quality (REALLY noticeable here), and the original album photography and art design. If I were to be stranded alone on a deserted island with one CD, a portable player powered by solar energy or any other alternative power source, a fine pair of headphones, and all of the time in the world to kill, Signals would be my choice, hands down, for that one CD. Maybe another reason why Signals always stands the test of time is that when this came out in 1982 I was at an unforgettable point of my life, my senior year of high school, and the song "Subdivisions" connected with me more than any other song I had heard to that point, lyrically speaking. Even though that song was a statement about kids conforming to the masses and paying the price of their individuality for acceptance, I felt I could relate to the lyrics by being the antithesis to Neil Peart's lyric statement. For I was extremely introverted and individual, yet I still felt a desire to conform, to be accepted. Though in order to do that, I would have had to not be myself and become a non-individual, to "sell my dreams for small desires". So, in a way, the lyrics had their own unique meaning to me: The desire to escape the "subdivision", the society of non-individualism, yet still feeling the need for acceptance by their society from the isolated world that lies on the outside. And now, 17 years later, through all of the changes in my life, and all of the Rush songs I have absorbed into my psyche, "Subdivisions" remains my undisputed favorite, with the other seven songs on Signals fighting for second place. Sonically, even though this is the album where the synths really began to announce their presence (where they would stay for the next 10 years), they are here in a soulful enough synergy with the guitars/bass/drums that they do not detract from the energy produced by that core, but enhances the energy instead. The overall sound remains "human", not "artificial". It would be the last time the keyboards and the guitars would mesh so perfectly in the wash of sound, for on Grace Under Pressure, they would begin to detach themselves from one other, not to return in such a perfect synergy until Roll The Bones.If you want to own the one definitive Rush studio album, one that speaks to the heart both musically and lyrically, Signals is that album. Because I guarantee you will still be playing this album when the others in your collection begin collecting dust.
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on May 5, 2006
Really, this is Rush's third-best album of the eighties, not far behind _Moving Pictures_ (#1) and _Permanent Waves_ (#2). Musically, Lee, Lifeson, and Peart are at the top of their game here. Geddy's basso continuo churns your guts and your cerebellum all at once, Lifeson has some of his most cutting guitar solos ever, and Peart shows that he's a human rhythm processor, throwing every offbeat in wherever you least expect it (he's especially facile with Caribbean rhythms here, mixing them in with his hyperkinetic metal style, a process he started with "Spirit of Radio" and perfected over the years).

Like many other reviewers note, this one gets buried under its ominous predecessor _Moving Pictures_, but that's not really fair. This one is definitely an accomplishment in its own right. It shows Rush with more focus than they've ever really had. Each song is somewhere around the five-six minute mark, with the exception of the single "New World Man." It's almost as if they sat down together and said, "Okay, we can't have any songs that take up half the album side on this one. Let's see what comes of this." And, you know what? There is not a weak song on here. If you asked me to pick a highlight, I would say all of it. There is nothing that releases as many endorphins as, say, "Red Barchetta," but many of these songs are more philosophical (though of the kind that aims at adolescent boys) than songs about cars and space invaders. But, never fear, this album is still an endorphin festival of its own devices. These are songs about the art of war ("And the knowledge that they fear/ Is a weapon to be used against them"--"The Weapon"), teenage angst ("Be cool or be cast out"--"Subdivisions"), the anxiety of influence ("He's old enough to know what's right/ But young enough not to choose it/ [. . .] He's a New World Man"), technophobia, discomfort between the sexes: You name the anxiety and this album explores it with scientifically reckless aplomb while still kicking you in all the right parts of your anatomy.

It's really amazing how these songs give me the same sorts of shivers that they gave me as a dreamy farm boy of twelve years who collected baseball cards and was just discovering his hormones. More than two decades later and I am a PhD candidate who has been through a divorce, gained and lost major addictions, you name the anxiety and I'VE been through it. Take the best power trio in the history of rock flailing away on a limber beat with a high-voiced little man singing "He's got to walk a fine line/ And keep his self-control" and I'm a boy flush with acne and funny feelings all over again . . . and I LIKE it. Makes you realize that that little boy never goes away. That's the lyrical genius that Peart plumbed and the musical genius that all three of them turned inside out over and over again. They never quite lived up to it ever again after _Signals_. Maybe this is the last halcyon transmission of the band's own adolescent years as a band together. Whatever it is, it is an amazing document of a band right near the cusp of its powers. Whatever anyone else says, this is essential Rush.
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