40 years old in September 2022. I hope we will be getting something special assuming that there is a 40th anniversary release.
So, I put side one on for a spin yesterday. Well, actually listened through Amazon music but that is by the by.
It struck me just how good this album is at evoking moods / how the music carries the music so well.
So, not that you need it, but here is the track listing.
Subdivisions
The Analog Kid
Chemistry
Digital Man
The Weapon
New World Man
Losing It
Countdown
I know some dismiss the final track, but it is not a duffer to these ears. Possibly not in quite the same lofty league as the other tracks, but worthy nonetheless.
A couple of thoughts / memories:
Subdivisions, no doubt, is a firm fan favourite and I think one of their finest moments, both in the studio and live.
I remember when they played New World Man in Toronto (Vapor Trails, 2002) and I lost my head. I think I may have lost my voice a little singing along so loudly. I was so ecstatic, nay euphoric! There are few bands that can cause this level of excitement, happiness, awe and involvement from me.
I know that there are some that cannot get beyond the increased use of keyboards on Signals. Also, there are no longer form tracks on here (even Moving Pictures had The Camera Eye). 8 short, sharp, punchy toons.
All in all, perhaps this is an example of 'less is more', which continued with the next 2 albums, then things started going slightly downhill with Hold Your Fire. Yes I know, I know. I am probably one of the biggest fans of that album, but if we had been restricted to 8 songs, would we have got Tai Shan? Mind you, which of the other 9 would we have lost? I couldn't choose one.
When I get a chance, I'm going to listen to the 2nd side.
They really were in a solid gold patch from Hemispheres through to (imho) Presto, doing very little wrong.
I know I am drifting / rambling a bit here.
So, over to y'all for your views on Signals if you have any you'd like to share. If I haven't made it clear - well I am very much a supporter.
It's pretty straightforward for me:
It's a fcking masterpiece.
Just like its predecessor MP, but of course in a different way.
And what an extraordinary coincidence that the two best songs ever released by anyone ever happen to be the first two tracks of this album!
What are the chances?! :)
Subdivisions and the Analog Kid are top 10, maybe top 5 Rush songs for me (Subdivisions for sure)
It is also the most easy listening one for me, there is not track that stands out in a negative way yet it is also not a very demanding album to listen to. I would say it is a light listen.
Love it though, cover and all.
There's a couple of 'misses' on Signals for me. Chemistry is weak and Digital Man is a 'bitza' if ever there was one. Countdown is a bit of a 'plodder' and The Weapon is a bit of a Visage rip-off although both have their moments.
Analog Kid is superb and is the only track here that could be considered hard rock, which disappointed me at the time.
Instant like for this album...think it was Tommy Vance as usual that heralded its release by playing New World Man..
side one for me was just top notch.. was loving the extra keyboard stuff going on and The Police like guitar sound... Countdown was ok but weakest track on the album for me...
God knows why i never did Inglistion again for the tour but i missed that one...
Quote from: R6GYY on May 20, 2022, 11:33:24 PM40 years old in September 2022. I hope we will be getting something special assuming that there is a 40th anniversary release.
I haven't bought any of the 40th Anniversary releases yet but i'll be all in for Signals through to Hold Your Fire/A Show Of Hands.
My go to Rush album, I just wish someone like Steven Wilson would do a remastering job on it , I think the sounds could be lifted or enhanced from when it was recorded. It's all great apart from Countdown.
love the songs, production feels flat to me
At the top of their game here, undoubtedly. Listened to it yesterday while power-washing the drive. Singing along knowing that the noise would make my terrible voice inaudible; it turned a chore into pleasurable experience!
It struck me while listening how similar in lyrical structure Losing It and Middletown Dreams are.
Losing it has the dancer and the writer, and Middletown Dreams the salesman, the boy and the middle-aged madonna. Both end with a conclusion based on the lives of the characters mentioned.
I like Signals. Without checking, it must be in my top five Rush albums.
Apocryphally, this is the album that got Terry Brown sacked, and whether that's true or not, the production does leave something to be desired. The guitar sound is a lot heavier in the main than it was on Moving Pictures and those old analogue synths occupy similar territory in the frequency domain. It's not as elegant-sounding as its predecessor.
Of course the warm sonic veil of vinyl playback, beloved by so many, does this album no favours. That was all we had back in the early '80s unfortunately, but the improved accuracy of reproduction and better dynamics of the CD format (and of course improvements in other domestic HiFi equipment) help to cut through the mud.
My own copy is the MFSL remaster with the missing vocal snippet in The Weapon. Never got to the bottom of that mystery.
The first two tunes were the ones that grabbed me first - classic Rush of course, with that trademark WHOOSH! factor in Analog Kid especially. Took me a while to get the next two, Chemistry and Digital Man which I've always thought of as a sort of pair. But I liked them as much as any tune on there once I did. Brilliant songs.
The only one I don't like is Countdown which really does clunk in a conspicuous way, for me.
It is rather strange how Brown went from a sonic masterpiece with MP to the sludge of ESL and the poor production on Signals.
This was the first Rush album I bought after I'd moved from home. As I only had a boogie box I had to get it on cassette. I felt a little underwhelmed at first (maybe the cassette vibe), but have come to appreciate what a great album it is - especially Losing It, which an absolute classic. I had an opportunity to see Rush on their signals tour, but as I was so skint I couldn't afford to go - but one of the guys kindly brought a programme back for me (which I still have). I never did get it on vinyl either, maybe I'll see what the 40th anniversary release has to offer.
Quote from: Nick on May 23, 2022, 09:23:20 PMIt is rather strange how Brown went from a sonic masterpiece with MP to the sludge of ESL and the poor production on Signals.
I've never sensed any deficiencies with Terry's work on Signals
I think it was bound to sound 'different' as he was tasked with mixing in another instrument taking a dominant position over Alex's guitar (for the most part) which was obviously not the case with the previous record. Even if Alex didn't want it that way, I believe Geddy did (possibly supported by Neil)
Quote from: David L on May 23, 2022, 10:44:05 PMQuote from: Nick on May 23, 2022, 09:23:20 PMIt is rather strange how Brown went from a sonic masterpiece with MP to the sludge of ESL and the poor production on Signals.
I've never sensed any deficiencies with Terry's work on Signals
Listening to it now, you have a point. It does have a sort of 'veil' over the sound, certainly compared to MP. Could be a bit more clear and punchy. It reminds me a little of the comparison I would make between FBN and CoS.
With such friction between Terry and the band (or Geddy, at least) it must have been a trial trying to get Signals 'right'. I can envisage huge compromises being made to get it finished if the working environment was not great.
I would love it to have the production values of Power Windows, punchy and popping.
Got thinking again about Losing It looking at Neil in particular. He wrote it while still a young man of course but I'm wondering how he reflected back on it in later life. For sure he suffered the same frustration as the dancer, as drumming became more and difficult for him.
I was wondering about the writing though. Does anyone remember when he last published piece was - how soon before he died? Did his illness make writing more difficult as time went on?
I thought his illness came on shortly after the CA tour finished. He seemed to be able to drum effectively but in pain on the tour.
Would have been the R40 tour I think, but I was last aware of him writing something in 2016.
Quote from: Slim on May 24, 2022, 08:46:36 PMWould have been the R40 tour I think, but I was last aware of him writing something in 2016.
Correct, think my memory is shot.
Quote from: dom on May 24, 2022, 03:13:03 PMI was wondering about the writing though. Does anyone remember when he last published piece was - how soon before he died? Did his illness make writing more difficult as time went on?
I would guess he kept writing until the very end; he just couldn't help himself. It is just he stopped publishing stuff. One day when his family is ready we will find out his thoughts as the disease dragged him down.
There is an Ultimate Rush Playlist Challenge on Instagram right now,account called Rush Fans
4 teams put together playlists of 15 songs, with some basic rules in place about choosing X number of "long songs", Y number of "classics" etc
The lists are interesting, but fuck me how are people slotting songs like We Hold on and Spindrift in there?
Will try and copy the lists when I get a chance
Quote from: Jonners on May 25, 2022, 04:36:48 PMThe lists are interesting, but fuck me how are people slotting songs like We Hold on and Spindrift in there?
Madness.
Quote from: Jonners on May 23, 2022, 04:04:15 PMlove the songs, production feels flat to me
The Remaster does sound better.
Quote from: David L on May 21, 2022, 09:59:18 AMThere's a couple of 'misses' on Signals for me. Chemistry is weak and Digital Man is a 'bitza' if ever there was one. Countdown is a bit of a 'plodder' and The Weapon is a bit of a Visage rip-off although both have their moments.
Analog Kid is superb and is the only track here that could be considered hard rock, which disappointed me at the time.
the opening riff sounds like "Fade to grey" but isnt that a standard electronic riff of the time? the Weapons explodes into a different direction
I think it's more that pulsating sequencer pattern. I'm pretty sure The Weapon was deliberately based on it.
On the GUP tour live video, when "The Count" is introducing The Weapon and he says, "Oooh, listen to that synthesiser!!" and THAT pattern kicks in, it's a glorious thing of beauty.