Re-record the record in a different key or just go for it. ![]() And sometimes we would write without any consideration for what key we were in in the early days, and I would find myself with twelve tracks recorded in a key that was real tough to sing in, so I didn’t have a choice at that point. It was basically used for cutting through the density of the music. As the music changed, it became more interesting for me to write melodies as opposed to shrieking. “I have no conceptual adverse feelings about it. “I think I can still shriek if the music requires it,” figures Geddy. “I keep it downstairs in my studio for when I need it. “I bought it at Kresge’s,” laughs Lee on coming up with it in the first place. A little bit less so with Permanent Waves but more so with Moving Pictures - that whole idea of a collection of short stories is what we were after and that’s what Moving Pictures is.”Ĭonsensus is that Moving Pictures is the record where Geddy toned down his patented high shriek. ![]() “Because instead of one story you had five stories in the same time span, but you could link them with a sentiment or with an idea. “Yeah, it was great, really exciting,” Alex continues. The guys were enthusiastic about carrying on the concept kicked off with the last album. It wasn’t just in the studio - it was a really nice place to be at that point in our lives.” We had some guests visit, and we had a lot of fun across the whole process. I don’t want to say it was effortless, but the effort seemed to be very smooth. But at that time, there was just something that was very strong and positive about where we were with that record. There was a real positive energy, not unlike what we went through with Snakes & Arrows years later. ![]() We started writing there and basically wrote everything in rehearsal there, and then moved into Le Studio later that fall and started recording. “We were there in the summer, and everybody was in good spirits. We converted the barn into the studio, and set Neil’s drums up, and had areas for Geddy and myself. He had a really nice little home up there, nice cottage with a big barn on it. “I guess it’s just north of Peterborough. “We went out to Ronnie Hawkins’s farm, out in the Stony Lake area,” begins Alex, on preparations for the record that would serve as Rush’s Machine Head and Paranoid, or Fragile and Not Fragile, as it were. Rush were celebrating everything it meant to be Canadian. Living and raising families in Canada, writing on Canadian farms, recording immersed in the Canadian forest, bridging the divide between English Canada and French Canada, winning Junos and paddling canoes. Fortunately, the sequel effort this time didn’t disappoint, and the guys found themselves more Canadian than ever. Pleased with the living/working arrangements for Permanent Waves, Rush tried it again for Moving Pictures. Pleased with the living/working arrangements for A Farewell to Kings, Rush tried it again for Hemispheres. “The right time, the right place, the right song, the right parts.” Limelight charts a dizzying period in the band’s career, built of explosive excitement but also exhaustion, a state that would lead, as the ’90s dawned, to the band questioning everything they previously believed, and each member eying the oncoming decade with trepidation and suspicion. In the latter half of the decade, as Rush adopts keyboard technology and gets pert and poppy, there’s an uproar amongst diehards, but the band finds a whole new crop of listeners. Limelight: Rush in the ’80s is a celebration of fame, of the pushback against that fame, of fortunes made - and spent … ![]() Rush was one of the most celebrated hard rock acts of the ’80s, and the second book of Popoff’s staggeringly comprehensive three-part series takes readers from Permanent Waves to Presto, while bringing new insight to Moving Pictures, their crowning glory. In the follow-up to Anthem: Rush in the ’70s, Martin Popoff brings together canon analysis, cultural context, and extensive firsthand interviews to celebrate Geddy Lee, Alex Lifeson, and Neil Peart at the peak of their persuasive power. Includes two full-color photo inserts, with 16 pages of the band on tour and in the studio Part two of the definitive biography of the rock ’n’ roll kings of the North - covering Rush’s most iconic and popular albums, Moving Pictures and Power Windows
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