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Though not the "breakthrough" album for Rush that it is common supposed to have been--this was actually "Hemispheres"--"2112" is a landmark in Rush's creative development and in the development of progressive rock and heavy metal. It can fairly, though arguably, claim to be the first real Heavy Metal album. The sonic mud of Black Sabbath, the instrumental incompetence of the band and the drugged-out babble of Ozzie's lyrics made "Sabbath" incapable of being anything other than something to annoy parents and neighbors with.
"2112" is the first real achievement of the second generation of hard rock and Rush is the band that made that second generation main stream.
The influence of the pseudo-Nietzchean philospher Ayn Rand on Neil Peart's lyrics--as opposed to his life--has been way over blown. Peart is a far deeper thinker than Rand ever was and far better writer than she was as well. Where as Rand spewed out gigantic books filled with one-dimensional characters embalmed in endless pages of incomprehensible polysyllabic babble, "2112"--the side long piece--presents a comprehensible dystopic future. A future where, as under the Soviet Union, artistic expression is as tightly controlled as political expression. The intelligent tyrants always understand that controlling art is as much a tool of controlling the masses as control of the police and the military. The horizons of acceptable expression must be guided through the channels of the party or the religious dogma.
"2112"'s protagonist finds a guitar in cave. Elated with his discovery, the chance to bring some color into the drab life of totalitarian existence, he presents his discovery to the head tyrant. (Much of this detail as included in the liner notes of the LP, excised from the CD). The tyrant-priest goes on a rant, smashes the guitar and banishes the intruding fool who whold have disturbed the existing social order--and endangered his power.
Musically Rush is still very much under the tutelage of Zeppelin, Cream and Yes. But they have already begun to hone the unique sound that first appeared on the brilliant--and unfairly maligned predecessor to this album--"Caress of Steel" (perhaps the coolest album title ever).
The parts that go to make up the whole of "2112" are much more co-hesive and do tell the story of our hapless protagonist. The intro blazes into a Zeppelinque bombs-away (foreshadowing the song cycle's climax by quoting the main theme from the "1812 Overture). "The Temples of Syrinx" presents the world through the eyes of the priests. Life is pretty sweet for them, as it always is for the rulers, so why should they put a seal of approval upon anything which might interrupt this cozy state of affairs. Blazing guitar work and the intricate interplay of bass and drums that would become the hallmark of Rush's sound for the next 30 years are all in place. While Lifeson's guitar would shift from Pagian/Claptonian heroics to harmonic color, and back again, the recipe for 30,000,000 US records and decades of ultra-succesful tourign were well and truly laid.
The high point of both the album and "2112" is "The Oracle." The distortion and crunch give way to a much subtler sound and when the inevitable bombs-away beings its a much more deft and agile sound. The lyrics of freedom against a soul-deadending despostim are also stirring (though perhaps less so to a generation whose grown up without the shadow of the Soviet Union).
If you can listen to Rush play "2112" live in concert and not leap to your feet, something's wrong with you. While "Hemispheres" would refine the side-long piece/concept album to the point beyond which only reptition was possible, the basics are all here on this album. "Hemispheres" reaches an orchestral pitch that "2112" does not, as its does intellectually as well, but "Hemispheres" cannot top the raw power of three musicians bound and determined to defy not only the musical conventions of the day but the pressures of the "industry" to conform to more "accessible" themes and forms.
It is this defiance, which pulses through ever note and drum-beat that separates "2112" from every other Rush album. These three Canadians from the suburbs were going their own way with a vengeance. It's a joy to listen to this clarion call to individualism and freedom (things which had little in common with Rand's incoherence, the latter being something which Peart quickly picked up on as he clearly realized that Rand was motivated not buy the beauty of freedom but solely by the hatred of the oppressor who drove her family from Russia).
The second side of the album is a decidedly mixed bag of stylistic experiments. "Something for Nothing," the album's closing number is a straight ahead rocker in the manner of "Bastille Day." Ferocious riffs, wicked fills and driving bass dominate it and deliver one of the most polished pieces of hard rock ever mined by this band.
"A Passage to Bangkok" is easily the best song on the second side. From the quirky microtones of the intro to the rugged rythym this songs celebrates, as one Rush biographer put it, "a connosier's appreciation..." of what is left for you to decided.
"The Twilight Zone" is a tongue-in-cheek tribute to Rod Serling. And like the tongue-in-cheek (or should we say "in toupee"?) "I Think I'm Going Bald" on "Caress" it doesn't accomplish what it sets out to. The music of "Twilight Zone", however, cannot be ignored, as the rambling, bumbling "Going Bald's" tune can and should be.
"Lessons" and "Tears" are forgettable stabs in the direction of the soft/folk rock of James Taylor, Peter Frampton and the Eagles who were beginning to replace Zeppelin and the other "dinosaurs" as the Seventies moved toward their terrible climax. They should be give one listen and then relegated to the CD when you the album to your iPod.
Normally the missteps on side two (one song average, two mediocrities) would merit dinging a star off an album. But this Rush and this is "2112." If all they had delivered was the nearly 20 mins of Side One (ahhh, records, anyone miss 'em? Didn't think so), this would be known as one of the most perfect EPs ever recorded. As it is, the rousing achievement of "2112" drowns out the mistakes of the Side Two and, in the memory of Rush fans, leaves only "2112" behind.
If you're looking for a place to begin your journey into the every rewarding world of Rush, 2112 is the place to start. It is the keystone by which the three albums that went before can be judged and the foundation for the 13 studio albums that were to follow.
If you can't get past hating Geddy's voice--as my wife can't--then the loss is, sadly, yours. You'll be depriving yourself of the incredible musical and lyrical talents of Canada's greatest and most succesful musical group--as well as those of the greatest living bassist and drummer and one of the greatest guitarists.
Rush is that almost extinct breed of artist in this age where marketing and packaging, focus-groups and market research take the place of talent and inspiration: they have no egomaniacal need to parade their private lives before you. They only want to deliver music. Whether anyone else likes it or not is irrelevant to them. In the "American Idol" universe this makes them a treasure indeed.
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Who says time travel isn't possible?
Wow. My face just melted while listening to this album! I have a quality cartridge on my player, but it is an old belt driven model from the 70's and the components are simply not as awesome as they used to be. Regardless, this whole album took me back 40 years to the first time I heard it as a kid. Un-freaking-believable!! I was never a die-hard Rush fan, but I always liked their music. As I've gotten older I've really, really started to appreciate everything that was good from the 70's and 80's....the music, the music videos, the movies, the video games, etc....the hours upon hours riding our bikes everywhere and not coming home until way past dark and our parents never getting worried. But I digress...this review is about the album, not my childhood.It arrived in a well-protected, rigid cardboard made specifically for vinyl records. The cover was fully enclosed in a plastic bag, and the actual record was protected by a heavy duty vinyl-intended sleeve with manufactured in paper sheet to add some rigidity for easy on/off. When pulling the record out of the cover, make sure to look for the 5" square sticker which is an image of the album cover logo. On the back of this sticker are the instructions for your MP3 Download. NOTE: The expiration date of my code was listed as December 31, 2016. When I first saw this I got frustrated as one of the reasons I bought this particular item was to get the MP3 download. However, I decided to go to the website and type in the information and the download was successful!!As to the physical album...it looks and feels incredible. Heavy 200g vinyl. It's thick and solid and feel durable in your hand. Even on my old worn-out player, the sound is incredible. I don't need technological sound enhancements (extra bass, etc) to my vintage music...what I want is crystal clear playback, and this is what was delivered. I have a gorgeous Marantz 2016B receiver and a pair of Marantz speakers set up in my living room, and I couldn't be happier with the sound. I also love the hologram which appears on Side B when you shine a light above it (I used the light from my cell phone camera). The image spins in the opposite direction of the record spin, and sparkles like a disco ball flashing different colors. Soooo cool.
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