2112

Infamous prog rock legends Rush never had an easy ride in their early years. They began as a hard rock band with incredible potential, and it did indeed take them a few albums before they struck brilliance. A short ways down the road, after the rather ambitious (but not bad) Caress of Steel, they faced trouble with the record company who wanted them to avoid the complex song structures, unique lyrics, and the like associated with Rush now. The Canadian prodigies didn't heed these warnings, and went all out on their 1976 masterpiece, 2112.

You could say that this was the album in which Rush found their sound, so to speak. Many consider this their magnum opus, while I disagree; this record is pure brilliance. Rush proved that they weren't just some Canadian rock band, they were going to be what is arguably the greatest band of all time. Many praise this as the greatest rock record of all time, others claim it is overrated; all opinions aside, the status that this album still holds to this day is legendary.

The album is split down the middle, with the famous epic 20 minute title track on side A, and five different marvelous tracks on side B. The title track features seven different movements of varying structure and intensity, while the 5 on the B side are rather unique to each other as well. One of the main issues with Caress of Steel was its rather broken and inconsistent structure, which hurt the album as a whole. However, on 2112, the stunning title track transitions seamlessly while keeping each of its seven sections distinct and profound. This would be one of Rush's greatest strengths in their following albums in the 70's and 80's: the ability to construct moving and fantastic epic pieces without compromising continuity, and it began here.

The title track is one of the most profound pieces of rock music ever composed. The narrative of this track combined with the sheer talent unleashed in its movements is mind-blowing. This song is evidence that Neil Peart was the secret weapon that Geddy and Alex needed, not only as a drummer, but as a lyricist. The heavy lyrics of "Soliloquy" are of sharp contrast to that of "In the Mood" or "Finding My Way", and it marked a point in which Rush were maturing into the living legends they are now; but the lyrics are only a compliment to the sheer awesomeness of the music. The song also showcases a seriously profound amount of musical talent with its diverse yet perfectly flowing movements. The aggression and pure power of "Overture" and "Temples of Syrinx" tempered by the awe-inspiring "Discovery", "Presentation", and the lovely "Soliloquy" makes for a song that transcends the boundaries of any ordinary "epic" song.

The B side of 2112 often will get criticized as being "weak" or even "just not very good". I'll tell you straight up that's bullshit. Granted, when you have a monster like "2112" preceding you, it can be hard to stand out; but these songs are each wonderful tracks. The two in particular that are fantastic would be "Lessons" and "Something for Nothing". "Lessons" remains a favorite of mine with its charming verses and aggressive chorus. "Something for Nothing" is one of my all time favorite Rush songs with a badass bass line and one of the best chorus' that Rush has ever written. "Tears" is one of my favorites when it comes to slow, poignant Rush songs (while "Losing It" takes the cake) with a very nice atmosphere and fantastic vocal performance from Geddy. The weakest song is "The Twilight Zone", but even then it is still a great track, showing that this album follows and keeps a very high standard of greatness.

The musicianship and songwriting on this album is fantastic. Alex Lifeson developed a less gritty and more atmospheric guitar tone that adds a bit of dimension to the music, while Geddy Lee's gritty, driven Rickenbacker tone would first show up here. Not only did their sound evolve into something amazing, but the musicians' true instrumental talents began to show their colors on this record. Alex's guitar playing is rather unique, resorting to lots of thick and heavy open chords to give a thick wall of sound while Ged hammers away with that sexy Ricky. Alex's soloing is, however, still quite dirty and bluesy on this album. This is evident all throughout the album, and while I prefer the entrancing solos he would play on later albums, he adds another level of aggression with solos such as those from the title track, "Lessons", and "Something for Nothing".

Neil's drumming is of the highest level, with fills and rhythms that are quite creative and adept in their nature. This isn't Neil's greatest performance, but it definitely remains one of best to be played. The quick fills and aggressively creative drumming of the overture and "Temples of Syrinx" are not only present there, but on the whole album. While his insane fills and unique patterns are one of the famous traits of Neil's drumming, he also plays delicately crafted rhythms whenever the album slows down to go right along with what the song is doing. A great example of this is on one of my favorite parts, "Presentation", in which Neil plays along wonderfully to match the intensity. Neil's percussive mastery is always one of the most exhilarating additions to Rush's music, and one could argue that his legacy began here.

2112 is generally heralded as Rush's masterpiece, and honestly, it really just might be. Such generalizations, however, don't fit a band of the caliber of Rush, the greatest album to some might be one of the weakest to others. With a career spanning over 40 years of brilliance, releasing only a couple weak albums, any of their many albums can be claimed as a magnum opus; but none of it would've been possible if not for 2112. This album smashed boundaries and it continues to be one of those records that just inspires awe upon the listener. This is essential listening for all prog rock fans, its influence was massive and it still is a hallmark of the entire genre. Truly amazing stuff, definitely one of the greatest albums of all time.

"You don't get something for nothing You can't have freedom for free You won't get wise with the sleep still in your eyes No matter what your dreams might be!"

Originally written for The Metal Archives