rush

“Nigel Tufnel Top Ten” RUSH albums with Mike and Meat – re-edited for length

GRAB A STACK OF ROCK With Mike and the Mad Metal Man

Special Re-Run

“Nigel Tufnel Top Ten” RUSH albums with Mike and Meat:  LeBrain Train re-edited

May 16, 2020:  A very special show went down, back in the primitive wilderness days of Facebook Live.  It was pandemic times, and seeking ways to come up with musical discussion topics, Uncle Meat invented the “Nigel Tufnel Top Ten”.  I was resistant to doing list shows, because everybody else was posting lists.  Top ten lists…so ours went up to 11.  Thank you Uncle Meat for coming up with this concept.  This was our first of many list shows, which became our trademark.

In an ironic twist, we lost Fred Willard on that day, who was indeed in the movie This Is Spinal Tap, from which the phrase “these go up to 11” was taken.  We paid tribute to Mr. Willard off the top of the show…and at the end too.

In this short episode, Meat and I run down our top 11 Rush albums, with a special guest list from Michael Morewood.  Back in the Facebook Live days, only two people could share the screen!  Written lists, sent into us, were the only way to include more than two people!

This luminescent list of Rush was a portion of a longer show, so it has been edited down to just the Rush lists and the Willard tribute.  Please enjoy this awesome set of lists, now in a perfectly digestible size!


Wednesday June 17 at  12:00 AM EST, 1:00 AM Atlantic.  Enjoy on YouTube.

 

#1245: By-Tor and the Snow Dog(s) at the Lake

RECORD STORE TALES #1245: By-Tor and the Snow Dog(s) at the Lake

It so happens that our weekend at the lake, June 4 to 7 2026, coincided with the opening of Rush’s 50th Anniversary tour.  New drummer Anika Nilles had nothing to prove, but still silenced the doubters.  It is wonderful to see Rush, aging but still capable, taking the stage to “Xanadu” of all songs.  In the world of live rock, it is often the drummer who falls first.  The taxing job is hard on any mortal, let alone Neil Peart.  When it was too painful for him to continue, Rush called it a day.  Sadly, Neil was gone soon after.  Now, after a respectful five year mourning period, Rush have returned.  If they don’t record this for a live album, they would be making a mistake.

As much as Sunday was about Rush (you can hear people saying “Oh my God!” during the opener), our drive up to the lake on Thursday night was about Kiss.  I had to prepare for our “Top Ten Kiss Songs Not About Love” show.  Since I picked one song from the Creatures of the Night album, I decided to put on the Creatures box set.  We put on the two live discs and listened to a set of some of Kiss’ most awesome music, including the rarely played “Keep Me Coming”.  Kiss sounded great on that tour, and Vinnie Vincent was a much better fit than Mark St. John (whose Poughkeepsie live disc we played on the way home.)  What made me laugh out loud was Paul’s intro to “Love Gun”.  Obviously that song wasn’t going to make my list, but this version definitely wasn’t!  Paul was telling the story, this time about going through an airport metal detector.  Guess what – Paul set off the detector, and a hot female security guard (of course!) came to pat him down.  “Before I knew it, she was holding onto my…” teased Paul.  This is usually where he gets the audience to shout “LOVE GUN!”  But this time, Paul says, “She was holding onto my COCK!”  I nearly spit out my coffee.  These shows that were never released as official live albums before are definitely uncensored.  A lot of “fucks” and a lot of “fucking”.  Jen asked if Paul usually swore so much.  Not on the usual releases anyway!  Kiss were certainly not a subtle or intelligent band on stage, though they got less stupid as time went on.  As much as we enjoyed the music, there is no better word than “cringe” to describe some of Paul’s song intros!

We got to the lake in good time, unpacked my new drone, assorted drinks, and settled onto the front porch.  The first song was “Next Summer” by Arkells.  I took the drone up for a sunset flight.  As usual, all my drone videos are set to music, and the following morning I edited a quick but beautiful clip to the tune of “Cover My Eyes” by Marillion.  Finding a track of the right length is usually the trick.


Marillion – “Cover My Eyes”

I had a few goals as usual this weekend.  One of them, for a change, was not to cook too much.  As a new tradition, we’re grabbing Friday’s lunch at the Cheesy Monkii up by the airport where our butcher, The Beefway, also resides.  I had their panko-crusted cheese curd tacos.  A revelation.  This summer we want to cook less to give me a rest, and eat local.

We did a great show on Friday afternoon, in the old 3:00 timeslot.  This is the old slot once cohosted by MarriedandHeels, then Jex Russell, and finally Johnny Metal.   When it became clear that I could use this afternoon slot with Johnny again, he suggested Kiss as the topic.  Perfect!   It was our 150th episode, so Kiss seemed like the topic to tackle.  My favourite band, and ignored on the show far too often.  Joining us was Sidney Cini from Slogan’s Rock and Metal Extravaganza, who asked if he could join but wasn’t certain until Friday.  Sidney was on his best behaviour as promised!  Together we rocked a solid hour of Kiss and it was a show I’m proud of!


Top Ten KISS Songs Not About “Love”

I had a few goals this weekend as far as video goes.  I continue to marvel at what we can make today with just the average cameras and laptops that everybody has these days.  If the year was 1986, I would have wanted to document everything!  I was talking to my mom about this on the weekend.  All she remembers was me being in my room all the time.  I won’t deny that, but what my mom doesn’t understand is the musical connections.  If I had a camera in 1986, I’d be able to document so many moments.  I was collecting Kiss.  I heard Animalize Live for the first time that summer.  I loved sitting in my room, undisturbed, listening to tapes and reading comic books and rock magazines.  I always had something to read, and listen to, in my room.  Her point was all the outdoor stuff that I missed out, that I am catching up on right now.  That doesn’t change the importance of that time in the bedroom.  Often I would lie with headphones on, on the top bunk, and just watch people go by while listening to my newest music.

It’s different when you’re a kid, loving that music.  It’s a solitary time.  It’s not anymore.  Now mom and dad stay home on the weekends Jen and I are at the lake.  And so I bring the laptop out onto the porch, and listen to music.  Sometimes it’s Kiss, or Black Sabbath.  Others it’s jazz, or Blue Rodeo.  The last few weeks, it has been Angine de Poitrine.

We don’t need to go over Angine de Poitrine, the most polarizing new band in ages.  Dee Snider says he’d rather listen to Jon Bon Jovi in 2026 than Angine de Poitrine.  Those who don’t get it, really don’t get it.  All I can say is that there is something hypnotic about that music.  I love it and I wear their shirt proudly.


Angine de Poitrine – “Sarniezz” Live excerpt

This summer I am returning to toy animation.  One manic July weekend in 2012, I shot an entire 45 minute “movie” using my Transformers toys and set to heavy metal music.  I’d never do that again; it was far too much time and work all crammed into a single weekend.  I always try to maximize my time at the cottage, but that pushed it.  This summer, I’m creating brief animated vignettes, like the one above.  Then, something strange happened.  While looking at my 2026 animation, the 2012 animated movie, and all the others that I made but never released, I realized everything could fit together into one larger narrative.  That is edited and will be released later this summer, but I continue to animate.  There will be the full length animated film made up of past and present footage called Transformers Revisited, and new vignettes as I add onto the story today.

Lots artistically accomplished, and time well spent.  The weekend would not be complete without some beach dogs.

The second drone video of the weekend was in honour of Rush, and three of our beach’s best dogs.  They are Daisi, Molli and Alfie (Lord Alfred), and they posed for some video action.  It turns out that little Alfie, the newest of the bunch, is a ham for the camera!


Rush – “By-Tor and the Snow Dog”

Feeling a little extra energetic, I really managed to pack in a lot of creative work.  I recorded an entire bonus episode of Grab A Stack of Rock, which will debut in the coming weeks.  As Harrison takes a break, I need to fill the gap.  The bonus episode that is coming will hopefully be of interest.  If it’s not, well…I tried!  And I like what I completed.  So even if you don’t, I do, and ultimately that’s the goal.

I made one final video before we left for home.  Jen got some Harry Potter colour-changing hot chocolate, so we did a quick taste test.  Yes, it really does change colour as soon as you add hot water!  And it tasted good too.  I tried “Hufflepuff” flavour, which turns an orange-yellow and tastes of citrus.  I quite liked it, even if Jen says she’ll stick to her coffee!

Leaving for home never gets easier, though it was mitigated with more Kiss on the drive back.  Listening to the music that only reminds me of better days is one way to help ease that transition back home.  Until next time…when we look forward to more adventures in the cottage in the woods.

 

RE-REVIEW: Geddy Lee – My Favourite Headache (2000, 2024 reissue with bonus tracks)

GEDDY LEE – My Favourite Headache (2000 Atlantic, 2024 Anthem reissue)

As a Rush fan, Geddy Lee’s solo album My Favourite Headache never quite clicked.  The lyrics seemed inferior and the music immemorable.  In 2024, Geddy reissued the album with two bonus demo tracks.  This is a perfect time to revisit the album and see if time has been kinder than I was in my original review.  It has been a number of years since last listen; perhaps even a decade.

The phrase “my favourite headache” means making music to Geddy Lee.  The art of crafting songs is a headache, but he would not trade it for the world.  That is what the title means.  For historical context, this album was made when Rush were on a serious hiatus.  Neil Peart was dealing with tragic loss and nobody knew if the band would ever reunite, including Neil.  From that soil grew My Favourite Headache, which Geddy recorded with drummers Matt Cameron of Pearl Jam and Soundgarden, and Jeremy Taggart of Our Lady Peace (on one song).  Geddy plays the lion’s share of instruments with Ben Mink and other guests also contributing.

As it should, “My Favourite Headache” opens with some heavy bass, Geddy’s fingers flying.  Then, it degenerates into a dissonant and hard guitar riff with throws the listener for a loop:  it’s not at all like Rush.  It might be the bass player and singer from Rush, but this does not sound like Rush.  Which is good; which is the point.  It takes a moment to adjust.  “My Favourite Headache” slows to a lush section with piano, violins and violas by Mink.  The lyrics are fascinating.  “I watch TV, what do you want from me?”  There is a lot to unpack here now that Geddy is able to express himself verbally in his music.

More Rush-like is “The Present Tense”, a song about living in the now.  It bounces from heavy choruses to softer acoustic verses, which is perhaps a different approach from a Rush one.  Perhaps by doing something more streamlined, Geddy wrote a catchier song here.  His bass sings full, but not over-dominant.  Cameron is an apt companion on drums; while not attempting to play like Peart, he is more than capable of navigating the tricky changes and fills.

“Window to the World” has a more exotic feel in its light chords, and Geddy uses his bass to deliver some delightful trills and hooks.  It has some of those jarring dissonant guitars from the title track, but not as prominent.  This song is melodic, largely easy to digest, and it delightfully careens from soft to hard, with interesting keyboard textures.

Heavier is “Working on Perfekt”.  This might be the most enticing of all Geddy’s songs.  Tense verses are broken by a sparser chorus.  Electronic sounds aside, this is a very Rush-like song.  You can almost image what Alex and Neil would do with it, but as Geddy’s song, it is rich in tones and deep, tense hooks.

“Runaway Train” is one of the brightest, most upbeat songs.  Mink’s keys and violins add a light, airy feel above Geddy’s hammering bass.  His playing is always eloquent and entertaining, if you choose to focus on the bass.  Between the electronics and Mink’s rich contributions, there is a lot you can listen to.  Or just enjoy the song.  It’s a good one.  Perhaps I misjudged this album before.

The first mistep might be “The Angels’ Share”, which some may love, but fails to launch for me.  It’s a lighter song, but Geddy’s bass ensures it’s like lead.  Ben Mink provides some really interesting soloing and backing, but the song itself never quite takes off.  In hindsight it sounds like Clockwork Angels-era Rush.  While we are in this perceived rut, Geddy throws his worst lyric out in the next song:  “Say goodbye to suburbia, you don’t have to cut the lawn.”  That’s from “Moving to Bohemia”, which is actually a pretty catchy song.  It’s pretty upbeat for this album, and Geddy’s bass playing is at its most thumping.

Geddy turns up the funk on the magnificently weird “Home on the Strange” (with Taggart on drums).  What the hell is this?  It’s crazy, it’s like Geddy pulled out all funkiest records in his collection and combined them.  The lyrics here are also quite fun:  “He’s a Canadian icon, he sleeps with his clothes on.”  Is it autobiographical?  “And he don’t like change, you may think he’s deranged, but he’d rather be home, home on the strange.”  Once you get used to its groove, this song won’t let go.

Back to the light, with “Slipping”, which relies on acoustics and piano for a gliding kind of feeling.  This is followed by “Still”, which is unusually sparse and simple.  An acoustic ballad, with an upbeat tempo, it’s a beautiful song.  It certainly sounds autobiographical.  “Still halfway up that hill, my fingers may bleed but I’ve got to get there still.”  This song strikes me as the best, musically and lyrically, on the album.  Strange that it never jumped out at me before.

Closer “Grace to Grace” remains an exceptional song, and one that really ends the album on familiar territory.  A burning guitar and driving bass are the focus, as if to say “Hey guys, I’m always going to rock.  Thanks for joining me on this trip.  Here’s a song I think you’ll like.”

Of course, on this new reissue, Geddy treats us to two previously unreleased demo versions.  If you haven’t bought the album before, you may as well go for this edition.  True, I usually criticize albums for being a bit on the long side, and My Favourite Headache is a bit long, but demo bonus tracks are added value that you don’t have to include if you just want to listen to the “album” for the experience.  There doesn’t seem to be any recording information about these two demos, “My Favourite Headache” and “Home on the Strange”.  These are full realized arrangements, though without all the vocals.  “My Favourite Headache” might surpass the album track for its live sounding rawness.  Maybe it should have been an instrumental with only a chorus?  The demo is great.  Same with “Home on the Strange”.  These tracks are worth the listen, and the re-buy.

Ultimately, My Favourite Headache requires the listener to set aside any thoughts of Rush, no matter how much Geddy and his bass will always sound like Rush.  It’s a challenge, but once you get there, it is easier to appreciate the songs and the experiment.  It takes time to absorb, as it is actually a very dense production, even for Geddy.  Ben Mink’s contributions are priceless textures that help transport yourself away from a Rush mindset.  Listen to those; focus on Mink and appreciation will come.

3.5/5 stars

Check out my autographed copy of My Favourite Headache by clicking the thumbnail.

Check out Grant Arthur and Davey Cretin as they get this album all wrong on the Warehaus tonight.  8 PM EST June 23 2025

Rock Daydream Nation: Why I Prefer 80s Rush – Signals & Hold Your Fire

Join Peter Kerr and myself, two self-confessed fans of 80s Rush, as we discuss Signals and Hold Your Fire.  This fun and insightful episode of Rock Daydream Nation shines an admiring light upon two albums that bookend an era of keyboard-oriented Rush records.

This era of Rush has sometimes been criticized for highlighting synth and keyboards over riffs.  While there is always some truth to this, does that mean a decline in quality?  Not necessarily.  It might just mean bands are becoming interested in different kinds of rock music.

Peter and I pick a number of songs to highlight, and play music clips to illustrate our examples.  Check out the show!

Sea of Tranquility: The Review Crew – New Album Reviews April 12, 2025

It is a point of pride for me that I made my debut on Sea of Tranquility with a Bon Jovi album and still got invited back!

It was my pleasure last week to join Jamie, Ryan and Rick for the Review Crew:  new album reviews!  I chose two for my appearance this time:

  1. Thomas Polychuck – new self-titled CD (to be reviewed here soon)
  2. Rush – Rush 50 

This was actually my third time reviewing the new massive Rush box set.  Practice makes perfect?

Show highlight for me:  Ryan Skow’s friend’s description of the music he likes:  “Nuclear Fuck Metal”.

Please check out the show and let me know how I did on my most recent visit to the Sea of Tranquility!

Tim’s Vinyl Confessions Ep. 638: What Made Us Get Rush 50?

‘Twas an honour to sit with Rush scholars Tim Durling, Chez Cetra, and Ryan Murphy and talk about this wonderful Rush 50 box set!  You’ve already read my review, but what did these other fine folks have to say about this immersive Rush anthology box set?

Perhaps the most interesting testimony came from Ryan, who initially wasn’t all that psyched about the box set.  His attitude changed when he started digging in.  Why?  You’ll just have to watch and see.  Tim’s words are below.

To celebrate five decades of basically the best music ever, Rush recently released a career-spanning box set: 4 CDs or 7 LPs with a beautiful outer protective box, a stunning book full of information and amazing new Hugh Syme artwork for almost every song included. Ryan from ‪@Rushfans‬, Mike from ‪@GrabAStackofRocK‬ and frequent TVC co-host Chez give our thoughts on the value of owning the RUSH 50 BOXSET.

 

REVIEW: Rush – Rush 50 (2025)

RUSH – Rush 50 (2025 Mercury)

Don’t try to do any math and figure why Rush 50 is out in 2025 instead of 2024.  What matters is:  Rush 50 is out.  It is stunning, both sonically and visually.  The box art by Hugh Syme fits right in that Rush mold, akin to Chronicles.  That’s to say nothing of the hardcover book inside, which we will discuss later on.  The design is excellent.  In the back, the CDs peek out of thee sleeve like golden coins.  It’s just a really cool looking, and sounding, box set.  The remastering here is terrific.  Geddy’s bass is wonderfully separate from the guitars, and you can really hear the details as you remember them.  Brilliant job here.

Rush 50‘s four discs follow roughly chronologically.  They include a generous number of live tracks, which is not at all to the detriment of this set.  Some of the live tracks come from other box sets, from live albums, and some are rare or unreleased versions.  “Garden Road” is one long desired by Rush fans, though “Fancy Dancer” is conspicuous by its absence.  (Don’t assume this is the last collection that Rush will release.)

In the days of downloading via Bittorrent, I found crappy vinyl rips of Rush’s first single “Not Fade Away” / “I Can’t Fight It”.  I burned them to a CD, and lamented that this would likely be the only “physical” copy of the single that I would ever own.  15 or 20 years later, this new anthology-style box set Rush 50 includes the single as the first two tracks on disc one.  To finally have these songs, officially, physically, and sounding so full and rich compared that that old CDr, it scratches that itch that I have as a collector.  If I could afford that first single, I’d have it already.  This will do even better, because it’s clean and digitally perfect.  It’s also quaint.  The almost psychedelic echo on “Not Fade Away” is a detail I didn’t remember.

Similarly, about 15 years ago Rush released the “Vault Edition” of the track “Working Man” for a limited time on iTunes.  I burned that to a CD too.  Now it is here physically, along with another “Vault Edition” of “The Trees” that I was unaware of.  Now we have both on CD.  Itch scratched once again.

Wisely, Rush made sure some of the biggest hits that people want are studio versions:  “Closer to the Heart”, “Tom Sawyer”, and “Subdivisions” for example.  Joe Average, who just wants a cool box set instead of all the albums, often ends up complaining when bands out live versions instead of studio versions of the songs they really wanted.  (Trust me, I worked at the Beat Goes On for 12 years.)  The other thing is, the live versions they did select are superb.  Let me tell you, the Bonham-esque drums on the jammy “Before and After (live)” sound absolutely massive.  It’s certainly appropriate for a band of this reputation to include so many live versions.  Most of disc two is live.

With equal wisdom, Rush ended this box set with the last songs plays at the their last ever concert.  Going back to the very beginning, Rush end the anthology with those final live takes of “What You’re Doing/Working Man”, with just a smidgen of “Garden Road”.  It’s an emotional way to end the journey, and this box set is indeed a journey.  That’s the wonderful thing about anthology style sets.

 

The remarkable Hugh Syme worked overtime to produce the art for the hardcover book.  Yes, not only do you get words and photos, but also brand new double-page artwork for most of the songs on Rush 50.  It is the kind of box set that will give you enjoyment every time you listen to it, because you can crack open that book and just study.  My study has barely begun; I have not really been able to look at each and every piece of art yet.  Rest assured though, Hugh Syme provides all the justification for the price of this set, with the book alone.  If this were a hardcover sold in a store on its own, it would probably be at least $60 bucks as a book.

A massive career like Rush’s deserves a massive box set.  You won’t believe it until you hold it in hand.  This thing is monolithic; a purchase that will not be regretted.

5/5 stars

REVIEW: Talas – If We Only Knew Then What We Know Now… (1998 Japanese/bonus track)

TALAS – If We Only Knew Then What We Know Now… (1998 Warner Music Japan)

The Japanese edition of this Talas live album is something to behold.  It comes with lots of extras:

  • Beefy cardboard slipcase to house the jewel case beneath, plus…
  • A beautiful bonus 22 page photo booklet,
  • Japanese lyric sheet,
  • Two bonus tracks!

The first bonus track is just a shorty, a message from Billy Sheehan.  He briefly explains the history of the band, as much as one can in 34 seconds anyway.  The second bonus track is more interesting and valuable.  It is a vintage studio track called “Doin’ It Right”.  Very pop, but also paradoxically pounding.  It’s not available anywhere else, and it’s not bad at all!  It recalls other early poppy rock tunes by metal bands, such as Quiet Riot and Kick Axe’s obscurities.  One of those Japanese bonus tracks that is worth shelling out for.  But that’s just Common Knowledge!

(The rest of this review was previously publish in 2016)

The Talas story did not end with the breakup of the band.  Of course not; bands both famous and obscure like to reunite for nostalgia shows.  Talas did that in 1997 with the original power trio lineup:  Billy Sheehan on bass, Paul Varga on drums, and Dave Constantino on electric guitar.  With classic material (from the first two Talas albums) and a few unreleased songs, they memorialized their reunion with a brand new live CD.  Billy even pulled his old platform boots out of the closet for this one.

As usual the set opens with “Sink Your Teeth Into That” and an enthusiastic home town crowd.  Talas only sounded better with age.  The original voices are there and just as strong as they were in 1982.  It actually sounds like everyone has improved over the years.  A speedy “High Speed on Ice” is in the second spot ensuring no loss of momentum.  Material from the first self-titled Talas album is included too (unlike the last live album Live Speed on Ice).  “Expert on Me” is very pop in construction, but clearly not as great as the songs from album #2, Sink Your Teeth Into That.  Speaking of which, the slow rumbler “Never See Me Cry” is brilliantly adapted to the stage.

“Power to Break Away” is one of the previously unrecorded songs, and it kicks it just as hot as anything from Sink Your Teeth Into That.  It’s taut with hooks and the prerequisite bass workouts.  “Tell Me True” is the second unreleased song, a slow non-descript dirge ballad that takes a while to get going.

Imagine Billy Sheehan plowing his bass right through a funky Led Zeppelin riff.  That’s “Thick Head”, an awesome track from Talas (1979).  “You” has a cool vibe, almost like an unheard Aerosmith demo from the Done With Mirrors era.  A few other tunes from the first Talas (“Most People”, “Any Other Day” and “See Saw”) are adequately entertaining.  Back to Sink Your Teeth Into That, “King of the World” is still one of the best Talas tunes, overshadowed by only a few like “Shy Boy”.  Here, “Shy Boy” is preceded by a Paul Varga drum solo.  The sheer velocity of “Shy Boy” itself makes me wonder how Varga did it.  It’s just pedal to the metal, blurring the lines and smoking the minds.

Nothing like a good cover to help draw a live album to a close.  Talas did two:  “21st Century Schizoid Man” and “Battle Scar”.  The King Crimson cover is a daring one to attempt.  They somehow manage to strip it down and pull it off with integrity.  As for “Battle Scar”?  Total surprise there!  Max Webster were just across the border from Buffalo, and Billy Sheehan nearly joined Max at one point late in their career.  Introduced by a Billy Sheehan bass solo, this Max/Rush cover is the set closer.  As a final addition, “Battle Scar” surely makes this one hell of an album for the history books.

Since this is a more recent release on a well known label (Metal Blade), it turns out that If We Knew Then What We Know Now is an easy CD to find in the shops.  Fortunately this is a good first Talas album to add to any collection.

4/5 battle scars

 

 

RUSH – RANKED! All the albums in order, by LeBrain #2 of 2

Jonathan was so psyched for these lists that he wrote almost 8000 words. Me, I could barely get to 1500. For that I apologise. It has nothing to with the subject at hand, that being the ranking of all 20 Rush studio albums. It’s simply a matter of being burned out after 10 years of writing every single day. So here’s my list — not as comprehensive as Jonathan’s but hopefully enjoyable for you to compare and contrast.

My history with Rush goes back to 1994 and starting at the Record Store. I had been wanting to get into Rush since the 1990 release of the Chronicles compilation, but found the back catalogue intimidating. Finally I bought Counterparts, my first Rush and followed it with Chronicles, Signals, 2112 and Roll the Bones. I was off to the Rush Races. After some reflection, here’s how I feel about the Rush catalogue today. This list is very fluid and might be different by this time next year — but the bottom five are likely to remain there forever.

Let’s do this!

Jonathan’s list can be found by clicking here.

20. FEEDBACK (2004) This covers mini-album is one I never go back to. I remember being super psyched hearing “Summertime Blues” blasting from my car radio on a summer evening in 2004. After the initial blast subsided and I heard the EP, I was simply underwhelmed by Rush’s covers of classic rock influences. “Summertime Blues” is only the tune that I really liked. One interesting thing that I remember clearly: once we sold out of the initial shipment of Feedback EPs, it took weeks to get restocked by the distributor. This led us to wonder if the EP was a limited edition and was already sold out. Fortunately that was not the case, but clearly they didn’t print enough CDs to fill demand.

19. TEST FOR ECHO (1996) On the day of release in 1996, one of our customers purchased Test For Echo, hated it, and attempted to return it a few hours later. One problem: he had destroyed the disc in the meantime. Don’t ask me how. But that disc was hammered and he was furious we wouldn’t take it back after such abuse. He was a little wiener but despite his shitty demeanor, he didn’t get his money back. We offered him an exchange for another copy, but he hated the album so much, he declined and departed my store swearing never to shop there again. Good riddance, but I did have to agree with him that the album sucked. The only difference was, as an actual Rush fan, I kept my copy. Shite: “Dog Years”.

18. PRESTO (1989) This album was considered a bit of a return to form after so much synth on Signals through to Hold Your Fire, a span of four albums (not counting the unassailable Moving Pictures). Sure sure, I get why fans were happy to hear the jazzy-rock of “Show Don’t Tell” without a lot of keyboards clogging up the works. I find Presto to be a collection of mostly unmemorable material. “The Pass” is a total keeper, but I don’t need the rest.

17. CARESS OF STEEL (1975) Apologies all around. It’s impossible to rank Rush album without ruffling a few feathers. Something has to go at 17. Caress is a heavily harsh listen; fight me. It’s simply a matter of taste. You either love this complex brutality, or you prefer something else. No big deal. I find Geddy’s vocals to be a bit too far on the harsh side here, and the music is pretty impenetrable without putting in the work.

16. POWER WINDOWS (1985) An album that just never grabbed me. Loved “Marathon”, disliked “Big Money”. Found it a little herky-jerky, though the music video was undeniably cool. “Manhattan Project” is majestic and “Mystic Rhythms” is classic but I never come back craving the rest. With most of these songs present on various Rush compilations, Power Windows tends to gather dust.

15. HEMISPEHERES (1978) “Rush have songs about trees talking to each other, how different parts of the brain works and outer space bullshit,” said Ricky from the Trailer Park Boys. That could be a Rolling Stone magazine review as well. It’s not bad but it certainly is difficult to penetrate. This is probably Rush at their most progressive though mileage will vary.

14. RUSH (1974) John Rutsey, doomed to underappreciation under the shadow of Neil Peart, but special in his own way. The original Rush was less progressive and more jammy, to the delight of all who own their debut album Rush. “What You’re Doing” was a pissed off middle finger made even more so by Skid Row’s cover in the 1990s. Of course it also contains the monolithic “Working Man”, one of the most massive pieces of granite that Rush ever chiseled out of the Canadian shield. A monster!

13. SNAKES & ARROWS (2007) Though a fine late period Rush album with beautiful acoustic passages, Snakes & Arrows has a lot to compete with. It ranks lower than those other albums due to its length. Rush went in without limitations, utilized three instrumentals, and ended with an album that might have been able to lose a couple songs. “Armor and Sword” is a clear highlight, as is closer dynamo “We Hold On”. Rush have some of the best closing songs!

12. HOLD YOUR FIRE (1987) I love most of Hold Your Fire, but man this album just overstays its welcome. It’s not the keyboards, it’s the last couple songs. “Tai Shan”, “High Water”, no perhaps those could have been left for B-sides. “Mission” is amazing, “Time Stand Still” is a delight (as is Aimee Mann) and “Prime Mover” kicks. The synths are at their peak here, but that’s not an intrinsically bad thing. Alex got to come back into focus on the later albums with some incredible guitar work. Ultimately this was as far as Rush could go in that direction before experimenting once again.

11. VAPOR TRAILS (2002) Another album that a few disgruntled customers returned, but not due to the quality of the music. This time it was the production they hated; the brickwalled mix. This album is overblown to the point of near-distortion, and so was actually remixed a few years later in an alternate version. That version is probably your preferred listen, but there is something to be said about the sheer brutality of Vapor Trails. Rush’s heaviest album, overall? Peart’s triumph, after suffering so much loss in his life, that much is certain. A long album again, but there is a lot to love here including “Ghost Rider”, “Vapor Trail”, “Secret Touch” and closer “Out of the Cradle”. A very important album for if Rush weren’t feeling it anymore, that would have been the end.

10. FLY BY NIGHT (1975) I’m a sucker for “Rivendell”. Geeky goodness all around. It feels young, naive and innocent and that only lasts a moment in a lifetime. “Bytor” is a wicked ride through the arctic frost. “Anthem” needs no introduction or explanation. While not flawless there is so much to love on Fly By Night. There’s even a 5.1 mix to check out, one of several Rush albums released in surround sound.

9. CLOCKWORK ANGELS (2012) What a final album by a band; any band for that matter. Rush’s first true concept album from start to finish, with an accompanying novel? Why hadn’t somebody thought of this before! “The Wreckers” and “Headlong Flight” are absolute masterpieces, with the latter recalling early Rush circa “By-tor”. Many people point to album closer “The Garden”, with full orchestra, to be one of the band’s all time unsung best moments. It is quite a shame that it had to be the final Rush album ever, but so few bands go out on highs like this.

8. ROLL THE BONES (1991) Simply terrific album that succeeded where Presto failed: delivering great, memorable Rush songs. The playing was still dexterous complexity to the power of three, but the songs were better honed. Highlights included “Dreamline”, “Bravado”, “Ghost of a Chance” and the title track. Regardless of the rapping. Did you know they considered getting John Clease to do that “Jack, relax, get busy with the facts” rap? I might have liked that.

7. GRACE UNDER PRESSURE (1984) A natural evolution from Signals (1982), this followup had a chillier ambience but plenty more great synth-tinged rock. Upon first hearing it, I was obsessed with the cybernetic “Red Sector A”. I still am. There is much to love on this 80s afterimage. A looming iceberg of 80s progressive rock, Grace Under Pressure is essential to my collection.

6. PERMANENT WAVES (1980) With hindsight, sort of a transitional album. The last of the long epic songs, for a long time. Four stone cold classics: “The Spirit of Radio”, “Freewill”, “Jacob’s Ladder” and “Natural Science”. “The Spirit of Radio” really foreshadows the direction Rush would go in the near future. A fantastic album, and easy to fall for quickly.

5. A FAREWELL TO KINGS (1977) Two words monumental and majestic. Those words come up a lot, but look! “Closer to the Heart”! “Xanadu”! “A Farewell to Kings”! “Cygnus X-1”! Rush were challenging themselves and the listener. A Farewell to Kings must rank in the Rush top five for the sheer magnitude of its song for song firepower.

4. COUNTERPARTS (1993) Huge feels for this early 90s triumph. Rush seemed to be honing in on a sound, starting with Presto. Roll the Bones got them closer to the mark. Counterparts was it, the target. Bullseye. “Animate” is a top tier Rush track, as is “Nobody’s Hero” based on a number of true stories. “Double Agent” is different and grooving, and “Everyday Glory is another magnificent Rush album closer. Nothing bad can be said about Counterparts except that it was a difficult album to top, as Test For Echo proved.

3. 2112 (1976) Sci-fi metal? Don’t mind if I do! 2112 is Rush’s most coherent concept, though only half an album’s worth. The story is well executed and nearly all highlight. The rest of the album ain’t bad either with “A Passage to Bankok” being a masterful example. A Rush album that should find a home in every household with taste. I received this as a gift for my 23rd birthday.

2. MOVING PICTURES (1981) If you were going to point to one album as “the” Rush album, it would have to be Moving Pictures. “Tom Sawyer” is “the” Rush song, and one cannot live to the fullest without “Vital Signs” and “Limelight”. If that wasn’t enough, get some “Red Barchetta”, “Witch Hunt”, “The Camera Eye” and immortal instrumental “YYZ”. Just a magnificent

1. SIGNALS (1982) With “Subdivisions” as my gateway to the holy trinity, this #1 pick should come as no surprise. Signals was an early Rush purchase of mine, after Counterparts, 2112, and Roll the Bones. This album has some serious rich synth songs such as “Countdown” and “Losing It” with some good old fashioned Rush gallop on “The Analog Kid”. Not to be underestimated is “The Weapon”, with synth ticking like clockwork. Everything on this album rules, no filler, and if you don’t like synth then just stop buying Rush after, like 1979. The end.