SIGNALS

"Signals" is the ninth studio album of Rush and was released in 1982. It was the follow up to their previous and very successful studio album "Moving Pictures". Stylistically, the album was a continuation of Rush's foray into the new oriented technology of the 80's, through the increased use of electronic instrumentation such as keyboards and electric violin. The synths really add another layer of sound to the album as a whole and clearly without them, the album would not have the charm it has. Other noticeable changes were the decreased average song length and lyrical compression.

"Signals" represents the first studio album released by the band that belongs to their third musical phase that ended with their twelfth studio album "Hold Your Fire" released in 1987. The other two studio albums released by the group between these two studio albums are "Grace Under Pressure" released in 1984 and "Power Windows" released in 1985.

The line up on the album is Geddy Lee (lead vocals, Rickenbacker 4001 and Fender jazz bass, Mini Moog, Obernheim OB-X and OB-Xa, OB-8, Roland Jupiter-8, Obernheim DSX, Roland TR-808 rhythm machine and Moog Taurus pedals), Alex Lifeson (Fender Stratocaster double neck and Moog Taurus pedals) and Neil Pearl (Tama drums, Avedis Zildjian cymbals, Wuhan China Type cymbals and percussion). The album had also the participation of Ben Mink (violin).

"Signals" has eight tracks. All lyrics were written by Neil Pearl, except "Chemistry" that was written by Lee, Lifeson and Pearl and all music was written by Geddy Lee and Alex Lifeson. The first track "Subdivisions" is my favourite song on the album. The keyboards are lush and gorgeous here, and Geddy's voice is in his top element here. Based on whether or not you like "Subdivisions", this is in a certain way the track that can basically decide whether or not you will like "Signals". The second track "The Analog Kid" is a very different song. This is a much more guitar oriented song and represents the hardest rocking song on the whole album. It features Lifeson at his best and with Lee flowing nicely. The guitar and the bass lines are very powerful and are very well supported by an incredible drumming by Pearl, as usual. The third track "Chemistry" represents one of those rare and fascinating occasions where all three band's members share lyrical work. This is another very interesting song with again the massive use of synthesizers. The guitar and the bass are also really powerful on this song. This is an incredible example of a perfect mix of guitars and keyboards. The fourth track "Digital Man" is a song that brings some musical elements of reggae. Sincerely this a track that in some parts reminds me the music of The Police and particularly Pearl sounds like Stuart Copeland. This is a very interesting, good and strong track from the album, even though that it isn't for sure one of their most popular songs. The fifth track "The Weapon" continues were "Witch Hunt" left off and will follow it as part two of the "Fear" trilogy, and is excellent with its explorations of how people, and societies, use fear against each other. It's the lengthiest track on the album and it has almost mechanical drumming and some electronic noises. This is another great track with very important lyrics. The sixth track "New World Man" is a song that reminds me of "Digital Man", because it has the same meaning and the musical influences of reggae. At a first place it sounds a little bit commercial like it was made to be passed on the radio. This is one of the weakest tracks on the album, but I sincerely think that it's a catchy song with great singing from Lee. The seventh track "Losing It" is a great ballad, reflecting on the waning years of one's life man. Lifeson has some great guitar work with his solo and Ben Mink's violin is simply and absolutely gorgeous on this song. It's a very different track and the most experimental of the album. This is also the only song on the whole album that uses acoustic guitars. The eighth and last track "Countdown" was designed for commercial and video play, but I sincerely like it. It's a song that musically and lyrically builds in symbolism and homage to the lunch of a space shuttle. It's a very well done and tasteful song with a great keyboard work for those who appreciate it. This is a very strong ending to a strong album.

Conclusion: "Signals" is another very good and fine album from Rush that certainly worthy of Rush's name. Fans of their older musical era from their progressive musical period might have an initial hang up, like me, but this album will certain grow to be a favourite of them. With "Signals", the band is still rocking and moving with a fluid grace. It soars with the kind of spirit only these veterans can produce or get way with on such a style change. Lee's bass is still great and his solos work very well, if anything his dominant here. Pearl's percussion is complex, at times subtle, but still dominating rhythm machine. Lifeson's leads are drowned out his solos are still great, his imprinting is still working its magic as a multi textured part of the whole. The musical arrangements are excellent, the group writing pieces of music that flow with grace, the production here melding the compositions into an artistic whole, sounds and textures ebbing and rising with a craftsman detail. So, we can say that the final result is another great studio album from Rush, indeed.

Prog is my Ferrari. Jem Godfrey (Frost*)

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