Unhappy with the results of
Signals, the band came to the difficult decision that they needed a new producer, meaning longtime producer and friend Terry Brown was out. The band was eager to see how someone else would treat their music, and they wanted someone who could bring ideas to the table that they didn't have already. Their choice ultimately was Steve Lillywhite, but shortly before recording was scheduled to begin, he backed out, and they had to scramble quickly, with Peter Henderson being the pick, which was in good in the sense that, in Geddy's words, he was a very good engineer - the album sounds fantastic - but when it came to being an actual producer, helping with the arrangement of songs and whatnot, he was lacking, and much of that fell on Geddy, who did more work than usual in that regard. As a result, the album went down as one of their more difficult ones to make, but the results were pretty great.
The album,
Grace Under Pressure, the band's 10th studio album, has a dark and cold feel that is a good reflection of the time, and the album cover is very fitting, too, in that regard. While
Signals had an odd mix, this album had a tremendous one, with the hard rock grit that had always defined the band once again being the backbone, while both the guitar and keys were up front and center. All four main instruments - guitar, bass, drums and keys - are clear as day; it really is a wonderful mix. As for the songs, it is a great collection of tunes.
Side 1 is flawless. "Distant Early Warning," "Afterimage," "Red Sector 'A'," and "The Enemy Within" is a beastly album side, even though I think the studio version of "Red Sector 'A'" pales in comparison to every live version I've heard of it. Side 2 isn't quite as flawless, even though it ends with "Between the Wheels," which is a highlight of the synth era. On the flip side, the other three tunes on Side 2 are all solid, but none really stand out as complete wholes, even though all have some dynamite moments: the guitar solo in "Kid Gloves;" the lead drums in "The Body Electric;" that pre-chorus drum pattern in "Red Lenses."
Overall, this is an upgrade over
Signals on multiple levels, IMO; better vibe, better mix, better flow. Better songs is a debate, but P/G is just an easier and more enjoyable listen from start to finish. On its own, without comparing it to the other Rush records,
Grace Under Pressure is a really, really good record, and a most worthy addition to the Rush legacy.
Topic: The History of Rush v. Discography Thread: Epilogue (Read 85726 times)
