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  • Posted October 1, 2010

    more from this reviewer

    The Follow-Up

    Signals may suffer a bit in retrospect due to its being the album following Moving Pictures, which was a huge success, and its also being the middle entry in what may be a hazy trio of albums that concluded with Grace Under Pressure. The two hits from the album, "Subdivisions" and "New World Man" continue to get heavy airplay to this day, which in its own way is a testament to the music's staying power. However, the other songs on the album are equally as good, if not better in some areas. "The Weapon" (part 2 of Neil Peart's "Fear" trilogy of songs), "Losing It", and "The Analog Kid" especially stand out as fine combinations of power-trio rock and a particular kind of grace. I only downgraded Signals a few notches because it isn't quite up to Moving Pictures, and that some of the early-80s synthesizer tones just sound off these days. Still, don't let minor quibbles such as this stop you from getting this one while you can.

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  • Anonymous

    Posted October 1, 2010

    Rush evolve even as some of their fans remain in the primordial ooze

    Some Rush fans see Signals as a sign of selling out, others like myself see it as a sign of branching out. In no way is this Rush's finest record, but the traits that most Rush fans love about the group (quality of musicianship, Neil's thought-provoking lyrics, succeeding on their own terms) are all here. Subdivisions is without a doubt a Top 5 Rush song of all time. They could've taken a whole album side to delve into the subject of teenage alienation, but Neil has honed his lyricism at this point so it can be boiled down to completion in 5+ minutes. The Analog Kid is one of my alltime favorites: hard- rocking, with Alex at the forefront, and Neil's vivid imagery of being a kid before computers, video games and iPods captured kid's attention. Chemistry is heavy, yet brainy. A great combination. Digital Man has a good beat, but isn't particularly interesting. The Weapon, 2nd song released in 4-song Fear "trilogy" has been described by Neil as the closest Rush ever came to a disco song. The disco beat is definitely there in the chorus. (Can you imagine Alex, Geddy & Neil in white Travolta suits?). Disco sucks! New World Man, albeit the highest charting Rush song of all time, is interesting lyricly but kind of boring musically. The problem Rush creates is that they set the bar so high musically that it's very difficult to reach that height every time. Losing It is a sad song, but one of the albums musical highlights with Ben Mink contributing on violin. Countdown, like The Analog Kid, paints vivid images. This time its about the first Space Shuttle launch. Because of its dated nature, Rush don't play this one in concert, but its one of the highlights of Signals. So, what do you get with Signals? Three Rush classics: Subdivisions, The Analog Kid and Countdown. Also, Rush is growing up, evolving, changing. These things are all positive. And the great thing about this band is that if you didn't like this album, you knew they weren't going to make 10 more carbon copies of it in the years to come. Yes, the days of the kimonos and the chest hair are over and we'll always have those memories. But, what most of us who have been with Rush since the beginning like about them is that they're unpredictable and diverse. I mean, do we really want every record to sound like 2112?

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  • Anonymous

    Posted October 1, 2010

    Fisrt in ''New Wave'' of Rush Albums

    This album breaks away from the traditional Rush sound by putting the synths up front, with the guitars lower in the mix. The songs are shorter and more melodic than earlier Rush albums. The sonic clarity isn't all it could be, but the album has a more personal feel to it than in the band's earlier work. On a pesonal note, ''Subdivisions'' is my choice as best track on the album.

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  • Anonymous

    Posted October 1, 2010

    Great Rush from a golden period

    As the follow-up to the phenomenal Moving Pictures, this record had a lot to live up to. Fortunately, it met the challenge, although with a somewhat different sound than fans of those days were used to. This is the first Rush album where the keyboards are up front - providing the mood in the sinister 'Subdivisions', backing up the lively 'Analog Kid' and all but drenching the avant-garde 'Weapon'. The overall sound of Signals is a tad pale compared to the previous album, but the songs still measure up, replete with the progressive-meets-pop formula Rush had already established.

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