The Artist - Rush
The Album - Vapor Trails
The Song - "Secret Touch "
In Secret Touch Lee lures singing while the others hang back. They kick and shuffle in command, yet reminding us again the relevance of the heart. "They way out is the way in." This may become their mantra, likely infusing their fans to contemplate further. And Alex displays such finesse, cleanly minimizing, nearly creating our sheer craving those little runs within.
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Read on for a full review of the album...
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The avid Rush fanatic has this CD already. If you're even the slightest Rush acceptic, stop reading and go buy this CD already. As chance has it , over the years this reviewer has met with a number of rock listeners who claim Rush disengaged, like the spaceship loses its foundation chunks, after their brilliant, 1981 Moving Pictures release. These fans have this new and stunning Rush album, Vapor Trails, to listen forward to. It sounds entirely now, state of the arts realm, while keeping every nuance of their style and a plethora of brief nods to their right and due influences. Frontman Geddy Lee is unaged at 48, his voice smooth as ever yet full and mature, like a friend and mentor. In a recent SF Chronicle interview he discusses wishing mainly that time could stay right were it is, and hints at red wine being connoisseurishly relevant to his vocal chord maintenance. Lest that deter any teetotaler, remind him or her that no 3 men combined, who've done for the genre of rock what Rush has, have their cohesive I.Q. And yet, Vapor Trails arguably is Rush's most human album since the aforementioned. But it isn't cozy, rather they meet you at your mind. One wonders if at the Censors Board there'd been discussion of affixing a label per sellable CD with the unprecedented warning: This disc contains material which, depending on the listeners capacity for mental activity, when heard, may induce visual thought and may stimulate educational wonder.
* One Little Victory starts busy, an attack. Lee's vocals unnerve, in an inspirational way. This has often been a signature of theirs. Lifeson's riffs are dangerously page, though not in a Zeppelin context. And as sure as day follows night in our orbit through the expanse, Peart's lyrics are channeled adeptly through Lee's voice.
*Ceiling Unlimited has some basslines seemingly lifted from the Moody Blues' Classics aisle. This has lyrics to cast us weak in the lobe, with such ponderances involving inhumanity, vanity masking as a capital C'd comedy, and laughter, hope, and aiding those who, needing straw, are teased by the title.
*Ghost Rider can come off thinly contrived, this reviewer believes, in a solid poke at the myth of it all. It starts in on a headless horse, with, of all similarities, to a Red Hot Chili Peppers piece from a few years ago. Shifting tensions effortlessly, it rocks steady and begs almost a sad plead before the build into a restrained release of, not a Lifeson solo, but his weave of apt notes, rocky, hinting of more.
*Peaceable Kingdom is entered in a most Yes way. How better? They play seemingly with the time. They borrow eloquently from an early 90's Rock-Metal standard no less than of Mr. Osbourne's bassist of a staple FM radio play. A most musical piece in that these 3 can incorporate so much density within meaningful clarity, and find lifeson riffing and chopping amid a blend of wonder and confusion.
*Stars Look Down lends us lofty in our heads. This is best listened to on a clear night on a highway jaunt. It's ethereal, with some of the crispest acoustic guitar you've ever heard. It too, touches on some fine Yes-influence. It hints at E.L.P. it's ethereal but has substance, leaving us looking up.
*How It Is sweetly catches for subtle prods. Lee lets hooking emotion out in a rare glimpse of that word evoking.
*Vapor Trail is nothing short of mesmerizing from the evermasterfully timed drums of Peart to Alex's backdrop giving Lee his Transfixing chant. It's a wall of song. As good as any here.
*EarthShine snugs it's way fitting this album. These 3 compose and baffle. Such simplicity, such complexity, such true export.
*Sweet Miracle is as much a ride as it is a note, a poem with carrying music, spiriting its outer mysticism. One cant help think they're teaching.
*Nocturne employs dream sequentials, straight-ahead rock, lyrics such as, "on the instant of waking/another world of dreams appears." The entire theme is an intrigue.
*Freeze references as a Part IV of 'Fear' which last appeared on their brilliant milestone, Moving Pictures. Thread their advisories, cue their culling, dare to consider why they've progressed their cerebral sharing. Rush is an establishment of higher listening.
*Out Of The Cradle splendidly exits this invigorating album. Alex yet again pieces his craft with such affection, Geddy's voice as smooth as ever, Neil's pen no less mighty as his sword, his precision kit.
And if not for their decided dignity and poised humility one would offer these Canadian castles of celebrations of nobility a moat to tour from within. Imagine what a keepsake to have, such as a key to a backstage, drawbridge doorpass!
Morgan Field