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Rock - Paru le 12 juin 2012 | Roadrunner Records

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Rock - Paru le 7 février 1981 | Anthem Records Inc.

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A une époque où les groupes de hard rock tentaient d’expérimenter d’autres styles musicaux, Rush débarque en 1981 avec Moving Pictures, un album dans lequel les frontières entre hard rock et new wave sont abolies de la plus belle des manières. Le disque est un véritable recueil de classiques, contenant la plupart des titres les plus connus de Rush comme Tom Sawyer, Red Barchetta ou encore l’instrumental YYZ. Moving Pictures constitue une parfaite démonstration de ce que le hard rock est capable de produire lorsqu’il est poussé hors de ses limites. Un tour de force qui devient le plus grand succès de Rush. © LG/Qobuz
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Rock - Paru le 1 avril 1976 | Mercury Records

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A sa sortie en 1976, 2112 crée une véritable surprise. Pour ce quatrième album, Rush alors considéré comme de pâles seconds couteaux du hard, ouvre la voie à un hard progressif qui doit autant à Led Zeppelin qu'à King Crimson et Yes. Rush définit un style où l'énergie et la technique se mêlent à merveille. Formation en trio, Rush possède un son compact, la sophistication ne prend jamais le pas sur l'efficacité, cette caractéristique va accompagner le groupe durant la majeure partie de sa carrière et lui valoir le soutien constant des fans. La longue suite « 2112 » qui ouvre l'album pose les bases d'un disque exceptionnel, 2112 s'approche vraiment très près du chef d'œuvre. En dehors de l'excellence de l'interprétation, de la qualité des compositions, de la perfection de la production, 2112 recèle ce soupçon d'originalité qui fait les grands albums. La voix de Geddy Lee et sa capacité à tutoyer les aigus, est loin d'être étrangère à cette originalité. La guitare d'Alex Lifeson avale sans broncher les choruses nerveux comme les arpèges acoustiques, avec aisance et la discrétion des très grands. Chez Rush pas de démonstrations interminables, pas de solos pour satisfaire les égos, les trois musiciens sont au service du groupe et au diapason de son projet. 2112 ouvre la voie à une discographie qui recèle d'autres très bons albums, en étant le premier, il est aussi le plus marquant. © ©Copyright Music Story Francois Alvarez 2015
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Pop - Paru le 14 mai 2013 | Rhino Atlantic

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Pop - Paru le 10 mai 2013 | Rhino Atlantic

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Pop - Paru le 14 mai 2013 | Rhino Atlantic

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Pop - Paru le 14 mai 2013 | Rhino Atlantic

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Rock - Paru le 1 septembre 1977 | Anthem Records Inc.

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A Farewell to Kings, publié en 1977 devient rapidement la preuve que le groupe Rush ne cesse d’améliorer ses talents de songwriting et que la cohésion musicale entre ses différents membres reste au cœur de la musique. Le trio canadien de hard rock signe ici l’un de ses meilleurs disque grâce à des chansons telles que Closer to the Heart qui reste un modèle de chansons brillement construite, ou encore l’incroyable Xanadu qui, pendant 11 minutes, démontre toutes les aptitudes techniques et créatives des musiciens de Rush. Guitares classiques, électriques, puissance rock et sonorités électroniques typiques de l’époque font de ce disque une œuvre mémorable. © LG/Qobuz
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Pop - Paru le 14 mai 2013 | Rhino Atlantic

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Rock - Paru le 1 octobre 1981 | Anthem Records Inc.

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Rock - Paru le 1 septembre 1982 | Anthem Records Inc.

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Instead of playing it safe and writing Moving Pictures, Pt. II, Rush replaced their heavy rock of yesteryear with even more modern sounds for 1982's Signals. Synthesizers were now an integral part of the band's sound, and replaced electric guitars as the driving force for almost all the tracks. And more current and easier-to-grasp topics (teen peer pressure, repression, etc.) replaced their trusty old sci-fi-inspired lyrics. While other rock bands suddenly added keyboards to their sound to widen their appeal, Rush gradually merged electronics into their music over the years, so such tracks as the popular MTV video "Subdivisions" did not come as a shock to longtime fans. And Rush didn't forget how to rock out -- "The Analog Kid" and "Digital Man" were some of their most up-tempo compositions in years. The surprise hit, "New World Man," and "Chemistry" combined reggae and rock (begun on 1980's Permanent Waves), "The Weapon" bordered on new wave, the placid "Losing It" featured Ben Mink on electric violin, while the epic closer "Countdown" painted a vivid picture of a space shuttle launch. Signals proved that Rush were successfully adapting to the musical climate of the early '80s. © Greg Prato /TiVo
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Rock - Paru le 12 avril 1984 | Anthem Records Inc.

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Grace Under Pressure was the first Rush album since 1975's Fly by Night to not be produced by Terry Brown, who was replaced by Peter Henderson (Supertramp, Paul McCartney). The change resulted in a slightly more accessible sound than its predecessor, Signals, and marked the beginning of a period where many Rush fans feel that synths and electronics were used too prominently -- in effect pushing guitarist Alex Lifeson into the background. The songwriting and lyrics were still strong however, as evidenced by the video/single "Distant Early Warning" (a tale about nuclear war) and the often-overlooked highlight "Kid Gloves," one of the album's few songs to feature Lifeson upfront. Other standouts include a tribute to a friend of the band who had recently passed away, "Afterimage," the disturbing "Red Sector A" (which details a concentration camp), and one of Rush's first funk-based songs, "The Enemy Within." Whereas most other rock bands formed in the 1970s put out unfocused and uninspired work in the 1980s (which sounds very dated), Rush's Grace Under Pressure remains an exception. © Greg Prato /TiVo
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Rock - Paru le 1 octobre 1985 | Anthem Records Inc.

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Like much of the band's '80s output, Power Windows finds Rush juggling their hard-rock heritage with new technology to mixed results. With Alex Lifeson choosing sparse, horn-like guitar bursts over actual crunch, Geddy Lee's synthesizers running rampant, and Neil Peart's crisp, clinical percussion and stark lyrical themes (evoking cold urban landscapes), the result just may be the trio's "coldest" album ever. Still, it does boast its share of important tracks in "Marathon" and "Manhattan Project," while offering an energetic, tongue-in-cheeck hit single in "The Big Money." In an album that rewards patience (repeated listens are the key), the most gripping moments are saved for last, with the beautifully eerie textures of "Mystic Rhythms," a song that was later used as a concert drum solo showcase for Peart. © Eduardo Rivadavia /TiVo
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Pop - Paru le 27 septembre 2013 | Rhino Atlantic

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Rock - Paru le 1 avril 1976 | Mercury Records

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A sa sortie en 1976, 2112 crée une véritable surprise. Pour ce quatrième album, Rush alors considéré comme de pâles seconds couteaux du hard, ouvre la voie à un hard progressif qui doit autant à Led Zeppelin qu'à King Crimson et Yes. Rush définit un style où l'énergie et la technique se mêlent à merveille. Formation en trio, Rush possède un son compact, la sophistication ne prend jamais le pas sur l'efficacité, cette caractéristique va accompagner le groupe durant la majeure partie de sa carrière et lui valoir le soutien constant des fans. La longue suite « 2112 » qui ouvre l'album pose les bases d'un disque exceptionnel, 2112 s'approche vraiment très près du chef d'œuvre. En dehors de l'excellence de l'interprétation, de la qualité des compositions, de la perfection de la production, 2112 recèle ce soupçon d'originalité qui fait les grands albums. La voix de Geddy Lee et sa capacité à tutoyer les aigus, est loin d'être étrangère à cette originalité. La guitare d'Alex Lifeson avale sans broncher les choruses nerveux comme les arpèges acoustiques, avec aisance et la discrétion des très grands. Chez Rush pas de démonstrations interminables, pas de solos pour satisfaire les égos, les trois musiciens sont au service du groupe et au diapason de son projet. 2112 ouvre la voie à une discographie qui recèle d'autres très bons albums, en étant le premier, il est aussi le plus marquant. © ©Copyright Music Story Francois Alvarez 2015
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Pop - Paru le 14 mai 2013 | Rhino Atlantic

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Rock - Paru le 1 janvier 1980 | Anthem Records Inc.

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Since Neil Peart joined the band in time for 1975's Fly by Night, Rush had been experimenting and growing musically with each successive release. By 1980's Permanent Waves, the modern sounds of new wave (the Police, Peter Gabriel, etc.) began to creep into Rush's sound, but the trio still kept their hard rock roots intact. The new approach paid off -- two of their most popular songs, the "make a difference" anthem "Freewill," and a tribute to the Toronto radio station CFNY, "The Spirit of Radio" (the latter a U.K. Top 15 hit), are spectacular highlights. Also included were two "epics," the stormy "Jacob's Ladder" and the album-closing "Natural Science," which contains a middle section that contains elements of reggae. Geddy Lee also began singing in a slightly lower register around this time, which made their music more accessible to fans outside of the heavy prog rock circle. The album proved to be the final breakthrough Rush needed to become an arena headliner throughout the world, beginning a string of albums that would reach inside the Top Five of the U.S. Billboard album charts. Permanent Waves is an undisputed hard rock classic that endures. © Greg Prato /TiVo
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Rock - Paru le 25 octobre 1978 | Anthem Records Inc.

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Rush began life as a power trio in the Led Zeppelin/heavy rock mode. Over the years the band refined their musical vision as they gained both instrumental and conceptual facility. 1978's HEMISPHERES marks their transition from heavy riff-mongers to full blown art-rockers. Lee, Lifeson and Peart employ a number of tricks from the prog-rock bag here; (very) extended songs, multi-part suites, long instrumental passages, rapidly shifting tempos and time signatures, complicated unison riffs and synthesizer orchestrations. It's to Rush's credit that these elements enhance their sound instead of obscuring it. In fact, "La Villa Strangiato" would become one of the band's best-loved '70s efforts and a long-standing concert favorite. © TiVo
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Rock - Paru le 8 septembre 1987 | Anthem Records Inc.

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Hold Your Fire is an album in the purest sense; infinitely greater than the sum of its parts, it gradually draws in the listener by slowly revealing its nuances and secrets. While the use of keyboards is still overwhelming at times, Geddy Lee employs lush textures which, when coupled with a greater rhythmic and melodic presence from guitarist Alex Lifeson, results in a far warmer sound than in recent efforts. Of course, drummer Neil Peart is as inventive and exciting as ever, while his lyrics focus on the various elements (earth, air, water, fire) for much of the album. Opener "Force Ten" is the band's most immediate number in years, and other early favorites such as "Time Stand Still" and "Turn the Page" soon give way to the darker mysteries of "Prime Mover" and "Tai Shan." The multifaceted "Lock and Key" is quintessential Rush, and sets the stage for the album's climax with the sheer beauty of "Mission." As was the case with 1976's 2112 and 1981's Moving Pictures, Rush always seem to produce some of their best work at the end of each four-album cycle, and Hold Your Fire is no exception. © Eduardo Rivadavia /TiVo